GRAY IS IN THE HOUSE!

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GRAY

GRAY ( Erase Records | Whore House | Baci | AREA 94 | Prison Entertainment | TeddyBear | Samui | Jango | Koolwaters ) http://www.dj-gray.com // booking@dj-gray.com

An energetic blend of deep house, indie, nu-disco & tech-house music, which makes you feel good.

Performing all over Slovenia, Europe (United Kingdom, Germany, Czech, Belgium, Spain, Macedonia, Croatia..) and continuing his journey overseas with 1st performances on WMC 2013 in Miami, USA including First O­cial WMC Electro Swing Party! He’s been playing alongside acts Mark Knight, SNAP!, ATFC, Danism (Dan Liquid), Timmy Vegas (Soul Central), Beltek, Deetron, Siamus Haji, TAVO, Black Legend, Gary Caos, Nihil Young, Lady Lago, Ben Long (Space DJ’z), Trevor Rockcliffe,  Adam Jay,…

Lately focusing on house productions with his latest development house label called Wawaviva Records—he has gained huge support across the globe!

Productions from GRAY were played / supported by the biggest artists in the industry: Marco Carola, Paul Van Dyk, Markus Schulz, Baggi, Erick Morillo, Sascha, Matt Darey, John Digweed, Eddie Halliwell, Kevin Saunderson, Fedde Le Grand, Danny Tenaglia, Dr. Kucho!, Paco Osuna, Lützenkirchen, Niki Belucci, Groovebox, TAVO, Filthy Reach, jUANiTO, Joy Kitikonti, Danism, Hertz, Christian Varela, Victor Palmez, to name but a few.

His professional success continues with releases on labels: Universal Music, Erase Records, Whore House, Baci Recordings, AREA 94, Prison Entertainment, TeddyBear, Jango Music, Koolwaters, Natura Viva, Heavenly Bodies, Jungle Funk Recordings, Conkrete Digital, phD – Phonetic Recordings, Blanco y Negro / Vendetta, SuperCharged Mjuzieek, Check-In Recordings, Nervous Records / DJ Mag, Ibiza Ibiza Records, Ambassade, Attractive Music, Jesus Love Records, 1980 Recordings, Moonshake Records, Family Grooves, GaGa Records, Wawaviva & More…

His tracks were remixed by: Wayne Dudley, TAVO, Pedro Delgardo, Allan Banford, Elton D, Miche & Mirzinho, Section One,Greg Kobe, Psm & Kinetic Soul, Max Cooper, Adam Jay, Erwin Creeg, Flash Golden, Digital Soul, Reex and more, while one of his tracks was featured on a mixed CD from techno pioneer, inventor of remixing – Kevin Saunderson (May 2007, Explicit Musick) and more tracks on other compilations: Pedro Delgardo – Digital Lifestyle (Yin Yang Records), So Intense! – Volume 1 (RockitWave8) – mixed by Deekron, WMC 2009 sampler from 2Delicious Recordings included track DJ Gray feat. Karol – Movin’ On (Electro Mix). One of his early tracks “That’s all Folks” was currently feature in DJ MAG’s – 20 YEARS ON THE DANCEFLOOR – Mixed by Danny Tenaglia ! New tunes are appearing now on countless new compilations. In 2014 there were 6 compilations with tracks from GRAY / DJ Gray on TOP 100 Releases on Beatport and latest tracks are reaching TOP 100 House Chart on Beatport as well!

Remixes for US pop / dance / rnb group Anything But Monday (from who’s one of the girls is now superstar female singer Nayer) charted No.10 and No.11 on US TOP 50 DANCE, competing with tracks from Rihanna, Madonna, Pink, Britney Spears, Mariah Carey, Lady Gaga, Pussycat Dolls, The Killers, DJ Dan and released on Universal Music (USA)… and remix for Roxanne – Bad Little Girl track charted NO.1 on US TOP 40 INDIE CHART, released on HartecastMusic!

Latest podcasts:
http://www.dj-gray.com/my-music/mixes

Booking info:
booking@dj-gray.com or call +386 70 897 888 (ENG, SLO)

Kelcie in I’m Fallin’

Kelcie still image

Kelcie Ferreira absolutely lights up the video “I’m Fallin'”.  Tony Lindsay’s, 11-time Grammy winner, vocals already deliver a smooth, spicy performance to this danceable RnB track while passing the groove baton to Kelcie who commands the spotlight with her fresh, new face and her other anatomical gifts…

Sweet Soul Sugar Sista, Singer, Songwriter, Musician

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Amalia Watty

The early morning sunrise on the peerless island of Anguilla, my home, always feels like the PM sunshine but with a cool gentle breeze.

Free, warm and dancing to its own rhythm it’s own sound……the captivating Sounds of Anguilla permeate every aspect of this island paradise. I’ve used my island as inspiration to birth my art. The way the beautiful Anguillian women dance to the tunes of a live local soca or calypso band, hair blowing in the wind, bright smiles, laughter, waistline and hips swinging to the beats. Telling their folk stories proudly across 35 square miles from the east to the west end of the island. A tiny Caribbean treasure with more beaches than traffic lights all adding inspiration and color to comprise the infectious Sounds of Anguilla.

It’s easy for me to be lyrically honest in the context of my songs as my inspiration comes from the loud crow of the fowls just outside my window. I can still hear my brothers running up the ramp singing the same church hymns my great-grandparents sang on Sunday morning as loud as they could. As I sat in the western doorway giving way to the most perfect scenic view of the ocean in hues of blue that defy imagination. I would always sing unapologetically to my grandfather’s flawed and imperfect guitar playing, and nothing made me happier or was more fulfilling. What I loved most was coming home every day after school to the stereo blasting of musical legends such as Billie Holiday, Nat King Cole, Nina Simone, Bob Marley and Bill Withers.

To be honest Jazz, Soul and even Blues wasn’t my favorite style of music to listen to at first, but I grew to love and appreciate its art form while it slowly became apart of the fabric of my musical evolution. From the rasp in Nat King Cole’s voice to the fearless, honesty and strength in Nina Simone and Billie Holiday’s songs. The emotive melodies of Bob Marley always sent my spirit souring. I knew then that I wanted to write and sing words of substance and be an inspiration for those who would hear and be impacted by my music in the same way, just as those artists pierced my soul with their musical offerings.

Anguilla gave me life and made me who I am today. I got a full dose of gospel, soul and R&B music during my journeys to nearby islands where we would perform spiritual dance with our church group.

One Christmas, my Mom brought home an array of CDs by musical giants such as Toni Braxton, Celine Dion, Whitney Houston and Alicia Keys, and from that day onward I’d beg her to cornrow “snake” braids in my hair inspired by the style of Alicia. My mom had no clue what she had gotten herself into introducing me to these female powerhouses, but she quickly learned how passionate I had become with the musical influences of the artist she introduced into my life. We would sit outside on the porch with the house windows wide open letting the sounds and vibrations drift through as the sounds and lyrics filled the air, blaring the chorus “No one, no one, no one, could get in the way of what I’m feeling… No one, no one, no one..”.

My music has allowed me and my fellow Anguillian artist to perfect our craft daily, travel and share our music with the world and connect with people from all walks of life, while following our dreams. I have been blessed to perform at places like Soho House in West Hollywood, The Bitter End, The Hudson Hotel and Rockwood Music Hall in New York all enriching experiences which have become the most exciting part of my musical journey! Anguilla is a tiny slice of heaven but it’s rich heritage and musical footprint stretches worldwide. When people visit the island that I proudly call home the experiences they leave with allows them to take a piece of our culture with them through our unique musical sounds.

My obsession with Anguilla’s rhythms has birthed and sustained my passion for music, one that has fueled and fulfilled my dreams and aspirations of taking our eclectic sound to the world. I’m so proud of my contribution to the Sounds of Anguilla a milestone CD compilation that showcases our island paradise as it shares our native beats through the artistry of each talent that contributes their talents, wizardry and rich musical footprint. Each contributing artist offers many variations of art from the silky rasp of legend Bankie Banx, to the eclectic glare of British Dependency, to the soulful vibrations of Natalie and the thought conscious lyrics of Reggae band True Intentions and Omari Banks, culminating with the lyrical aerobics of rising rap star Raskim.

As fall is upon us I want my continued evolution through music to capture not only the wonderful sounds, sights and spirit of my island, but also share my journey in discovering who I am and what it meant growing up in Anguilla. I want my music to be seductive like the warm flavor that satisfies the soul almost like the feeling you get when you crave your favorite food. It keeps you coming back – like a sweet Addiction you wish would never end.

posted 09/04/2015 by Huffington Post

Nelly on Surprise Taylor Swift Performance, Status of ‘Country’ EP

Nelly; Taylor Swift

Nelly joins Taylor Swift during ‘1989’ World Tour stop in St Louis, Missouri on September 27th, 2015
Dilip Vishwanat/LP5/Getty

In the last decade and a half, Nelly has been a regional hip-hop pioneer, a chart-storming pop chameleon and an unlikely country crossover star. All those worlds collided on Tuesday night during Taylor Swift’s stop in his hometown of St. Louis, when the rapper joined the pop superstar and Haim for a run-through of his iconic 2002 Number One hit “Hot in Herre.” It’s just the latest stop for the remarkably resilient rapper, whose successes in the last two years alone include the remix of Florida Georgia Line’s “Cruise,” the country-rap hit “Hey Porsche” and the currently exploding “The Fix,” which is riding a bouncy DJ Mustard beat and a Marvin Gaye interpolation up the Hot 100.

Rolling Stone caught up with Nelly to find out about his long-standing relationship with Swift, the status of his long-rumored country EP and the 15th anniversary of the album that started it all.

This is your third time on stage with Taylor Swift. How did you guys hook up originally?
Robert, a guy that she works with, is a real cool friend of mine. We’ve done a lot of work together, over the past years, with like ‘N Sync and things like that. That’s my man. And then I met Taylor and her father and her mother, and they’re just some cool people. She’s like a little sister, man, she straight. I’ve been knowing her ever since she’s been on. She calls me whenever, it don’t matter, I’ll knock it out for her.

How does that phone call happen? Just, “What are you doing on Tuesday?”
“Yo, we’re coming to St. Louis, will Nelly be around?” A couple of times, they flew me out to come wherever she was performing. I think one time it was in Houston. And, you know, the girl’s fuckin’ loaded, she sends her own plane to come get you and shit, so it’s not a biggie. [Laughs.] It’s a drop in the bucket for her, you know what I mean? It’s a cool relationship. Before it’s all said and done, man, she could possibly be top five females of all time. As a matter of fact, I know she will.

So wait, what is her plane like? Is it awesome?
[Laughs.] It’s a jet, man. She ain’t got it all doily-ed up and nothing like that. It’s better than the one I don’t have.

When did they work out the choreography?
When I went in earlier that day, when we talked and she was like, “Me and the girls were up all night choreographing this. We did our own choreography, we’re going to kill this, Nelly.” [Laughs.] She’s just a dope person. She ain’t got no ill wills or nothing like that, and that’s kind of hard when you come from where we come from. You rarely come across those type of people. It’s kind of like, Taylor Swift and my granny. Who doesn’t love both of those people?

Did they show you the choreography before you performed it?
Yeah, yeah, it was hilarious. I loved it, man. And the girls, Haim, they’re just as energetic. It made me feel . . . just a tad bit old. They were like, “I can’t believe we’re gonna rock out with Nelly. I cannot believe it.”

“The Fix” is the biggest chart success you’ve had since “Hey Porsche.” How did that track come about?
You know, obviously, it’s a Mustard track. Mustard is like a nephew. We actually did a few tracks, but this was the one that made the most sense. It was dope to me because if you could picture where Nelly would be in 2015 after all of the blessings and things he’s been having over his career, just being able to be in this position. It kinda feels like a great place for me. In that vibe, in that lane, kinda like “hip-hop after hours,” so to speak.

Was it a pain to do anything Marvin Gaye-related after the “Blurred Lines?” suit?
Oh no, no, no, no. Before I even laid a vocal on that record I made sure that they were all good. [Laughs.] Like, hey, listen, I’m not even going to get in there and lay down a rough vocal or nothing. I’m not doing anything ’til these people sign off and say they’re cool. I ain’t got it, they’re gonna have to come to St. Louis and get mine and I don’t think they want it like that.

How is your country EP coming along?
It got kinda twisted. It’s not actually country, so to speak. I love country music. I respect country music so much that I would never think that I can sit down and just as easy do a country album. That’s not it. That’s just like some country artist saying, “Hell, I’m just gonna do a rap album.” What I will say is that, I’m tryna come up with an idea of doing an EP that crosses all boundaries, all genres and it may feature different country artists. But if you look at country music now it’s broadened up so much.

Country music itself in 2015 is an open door to anything
Right, even with Taylor, she started more country than anything when she was getting started. That is something I kinda kicked around as far as the EP, kinda coming up with different songs and different music in a field that I think may appeal to more of a pop-country, pop-R&B, hip-hop, country hip-hop [laughs] type of vibe. But never a “country album,” not like that. I respect country music to the utmost, I never think it’s just that easy. Never.

Do you have songs in the bank for it or is it just still ideas swirling around in your head?
I’ve dibbled and dabbled. I’m always working. I have studio here and I also have a school here where we teach kids how to mix, produce, engineer, teach them business 101. We are actually certified by the State of Missouri so we give out credits and everything. We deal with a lot of at-risk youth and things and things of that nature, too. So it’s been a great thing for my city. It’s called EI, Ex’treme Institute.

Do you do anything on a day-to-day basis with EI?
Not really on a day-to-day basis. I come in a few times in a year. I bring some of my artist friends down. T.I.’s came down, he’s talked to the kids. I’m definitely the one that gives away the diplomas at graduation, though.

When you started getting into country music would you actually go to Branson or just pick it up on the radio?
Well, you got to understand,I played baseball too. And playing baseball in the Midwest, you know . . . There’s not a lot of brothers on these teams. [Laughs.] I was very fortunate because of my uncle and my father, they were broad when it came to music. And actually, if I could give anybody credit for turning me on, it would probably be my uncle for his love of Lionel Richie. And you know how deep Lionel Richie runs with music across the board. 

Is there one country song that resonates the most with you that you can say touches you deeply and sincerely?
Hell yeah. “Cruise! [Laughs.] That touches me like nothing else, man. That touches me so deep, it even touches me in my pockets, baby! [Laughs.] But you know, I mean, it’s the obvious [ones]. “Sweet Home Alabama” it’s just like, how could you go wrong? And obviously “The Gambler.” My father loved “The Gambler,” he liked old Kenny Rogers. Everything him and Mrs. Dolly Parton were able to do, you know in those days. I mean it’s not like country music was my influence . . . but it gave me an appreciation for it. It’s kind of like crossing races. You know, if you’re a black guy and you’ve never met a white guy, or if all the white people you meet have been kind of dicks to you and then you finally meet that one cool white guy, you know? It kind of gives the next white guy you more benefit of the doubt. [Laughs.] And vice-versa.

 

That’s what Kenny Rogers is, the cool white guy…
He was the cool white guy! Kenny, he kind of opened the door! [Laughs.]

Something like “Cruise” really does show how similar music from different parts of the country really can be.
I think the way that kids grow up now, that with social media they get it all at once. Like, the coolest table in the cafeteria is probably the most mixed table of all. It’s got the coolest black kids, it’s got the coolest white kids, it’s got the coolest Asian kids, it’s got the coolest girls, the coolest guys, the jocks, the coolest nerd, you see what I’m saying? It’s the mixture. Even with Florida Georgia Line, they’re some pretty young guys they’re like 27, you look at Nelly, this is my 16th year so those guys [knew me] since they were freakin’ 11, I hate to say that shit [Laughs.] They’ve been influenced by myself and things of that nature, so when they come to the music they have no choice but to put some of the influence of what they’ve been listening to.

Well this year marks the 15th anniversary of Country Grammar.
Yeah, man.

What did you do differently on that record, compared to how you make records now?
Man, it’s a great saying, “You have a lifetime to make your first record, you got a year to make every one after that.” That’s basically it. When you’re talking about Country Grammar, man, we were waiting since I started rapping to make that album.

How was it different technically?
It’s a difference in the sound. I was kinda the only one doing what I was doing, now the whole fucking game is singing. [Laughs.] The whole game is melodic now, and I was the only one doing it. You know? I was the first one to sing his own hook, rap his own verses and sing his own bridge. And continuously doing that because my influences, such as Bone Thugs, Goodie Mob, Cee-Lo Green and Arrested Development, you’re listening to ’em and trying to find your own niche and then when you come with it but you come with it in a way that’s so surprising to people. People don’t understand that, shit, the whole game is doing Nelly.

Do you get rappers saying, “Thanks for hooking this up. Thanks for making this happen?”
Nah man, it’s all good. Obviously, when you meet other artists, other artists definitely show their appreciation. . . . It’s kind of hard to find someone that sings and raps that wasn’t a Nelly fan. And it’s a little easier to do it now because of Auto-Tune. I didn’t have Auto-Tune. That was straight my notes. I had to work that shit out. I had to actually hit notes.

Are you anti-Auto-Tune?
No, no, no. I’m not anti-anything. It’s just used so much now, it just sounds like the norm. That’s why I say I’m not “anti.” One thing I know and I understand is evolution. Everything must change. . . . Hip-hop was created by the youth for the youth. So, you got to let the youth take it where they’re gonna take it. If you want to be involved, be involved. If you don’t, you don’t. It’s getting to a point now where hip-hop has a history. Older people, when I was younger, they didn’t have hip-hop. If they didn’t like it, they just listened to whatever they wanted to do. Now I’m a parent. I had hip-hop, so I don’t have to listen to their hip hop. I can listen to my hip-hop. But we’re still listening to hip-hop.

Listen, I could be 65 years old, if Jay-Z’s having a concert, I’m there. We’re in a different era now. I’m not gonna never stop wearing Jordans. I mean unless another company gives me a hellafied check to stop wearing ’em. I don’t care if I’m 80, I’mma put on some sneakers. And it’s just one of those things that back in the day, it was a certain way you had to dress if you were older. “Why do you have that baseball cap on? C’mon, you’re a 50 year-old man. Why do you have on a ball cap and sneakers?” Now, shit, it doesn’t matter. I’ve been wearing this shit my whole life; I’m not going to change this. You look at Russell Simmons — that man, he has a ball cap and sneakers on everyday and he’s made damn near a billion dollars

Who are the rap artists that you and your kids bond over?
Obviously, Drake is my guy. He’s dope. And I say that to say we like Meek Mill. Neither one can make me stop listening to the other. As long as I get great music out of it . . . hear hear! Future is dope. Fetty Wap. But you know it’s a little different because I’m just not a regular parent. I’m also in the business. If I’m going to be in this business, I have to be in this business, so my appreciation for who they like is basically an appreciation for it. Now that they’re getting into music and wanting to do music — my daughter and my nephew — it’s a dope situation.

Article courtesy of RollingStone

 

Diddy, Jay Z Top Highest-Paid Rappers of 2015

Diddy; Jay-Z

BY

Diddy, Jay Z, Drake, Dr. Dre and Pharrell are the world’s five “Highest Paid Rap Acts” of 2015, according to Forbes‘ latest hip-hop cash round-up. Diddy, ranking Number One, reportedly earned $60 million in the past year from a variety of investments: Ciroc vodka, water brand AQUAhydrate, Revolt TV and clothing line Sean John.

Jay Z brought in $56 million, with Forbes citing three key income streams: entertainment company Roc Nation, recently acquired luxury champagne brand Armand de Brignac and 22 concerts alongside wife Beyoncé. Following at Number Three is Drake at $39.5 million, his highest ranking yet on the “Cash Kings” list. The rapper grossed an average of nearly $1 million per show across 50 tour dates, bringing up the bottom line with his surprise gold LP If You’re Reading This It’s Too Late and endorsement deals with Nike and Sprite.

Dr. Dre dominated last year’s list with $620 million, the highest entertainer total ever recorded by Forbes, following Apple’s $3 billion acquisition of Beats. In 2015, he ranks at Number Four with a more modest $33 million, with the publication citing his executive-produced NWA biopic Straight Outta Compton and long-awaited comeback LP. Rounding out the Top Five at $32 million is Pharrell Williams, whose diverse 2015 has included music production, tours, coaching on The Voice and work with clothing lines Billionaire Boys Club and Ice Cream.

The bottom half of the top 10 includes Eminem ($31 million), Kanye West ($22 million), Wiz Khalifa ($21.5 million), Nicki Minaj ($21 million) and Birdman ($18 million).

Forbes generates their annual list by considering “pretax income from touring, record sales, streaming, publishing, merchandise sales, endorsements and other business ventures.” The earnings are calculated from June 2014 to June 2015, using data from “Nielsen SoundScan, Pollstar, the RIAA and from interviews with managers, lawyers, executives and a handful of the artists themselves.”

article courtesy of RollingStone