Friday, November 4, 2011





BILLBOARD talkin bout us!!!

The 50 Best Indie Labels in America, Part I

#5. Slow Motion Soundz
Self-described as “an entertainment research and development company,” this Alabama outpost has released music for up-and-comers G-side, whose laidback rhymes are paired with beats from labelmate Block Beataz, who often samples lush, atmospheric pop artists like Beach House and Enya.

LOCATION: Huntsville, AL

GSIDE (GMANE mention) in FORBES!!!

Hip-Hop Duo G-Side Will Release Their New Album, Island, on Bandcamp

Huntsville, Ala. hip-hop group G-Side will release their forthcoming fifth album, Island, on Bandcamp next month. The critically acclaimed duo of Stephen Harris (aka ST 2 Lettaz) and David Williams (aka Yung Clova) began distributing their music digitally in 2001, and they’ll be selling Island exclusively on Bandcamp for the first few months that it’s available: Their label, Slowmotion Soundz, will release the album Nov. 11. This is one of many coups for the growing digital music retailer, and it’s a move that’s similar to the site’s exclusive debut of Sufjan Stevens’ 2010 EP, All Delighted People: The popular indie artist sold the EP on Bandcamp a full three days before it was available elsewhere, and enough people bought it from the site to land it at No. 48 on the Billboard 200 and help bring Bandcamp to an entirely new audience.

Like G-Side’s Harris and Williams. Around the time Stevens’ made the jump to Bandcamp, a friend and fellow Alabama MC named Geoffrey Robinson (aka G-Mane) introduced the site to Harris, Williams, and their manager, Codie G (who also serves as marketing director for their label). As Harris points out in an e-mail interview, the duo had been using sites iTunes, Rhapsody, CD Baby and DigStation to spread their music online, and they were intrigued by the user-friendly nature of Bandcamp. “At the time no artists from our region were using it at all. So it made us trailblazer,” Harris says. The group already began getting accolades for trailblazing musically, with outlets like NPR putting G-Side at the head of a pack of Huntsville hip-hoppers ready to take the national scene by storm.

G-Side’s next move into the spotlight came Jan. 1, 2011, with the release of The One… Cohesive. It gave G-Side the chance to use Bandcamp for a full-length effort and put the site to the test. “After we released The One… Cohesive there was a noticeable influx in users,” Harris says. “Bandcamp links started popping up everywhere.” Unlike other retailers, Bandcamp gave G-Side full access to consumer demographics so they could tell who was listening to and purchasing Cohesive. Along with timely payments from the site, Bandcamp business development consultant Jennifer Elias reached out to the band to ask about the success of their marketing strategies.

Which is part of the reason G-Side have taken to Bandcamp. The other part? Control: Harris says he and Williams are control freaks and will most likely be working on the album until the eleventh hour, as Bandcamp gives the option to upload entire recordings whenever the perspective user wants. The site also has built a marketplace for physical music–vinyl, CDs, and cassettes–which allows for G-Side to create a more personal product for their fans. “It allows us to distribute and manufacture our own product with no middleman and the rates are fair. With this and the information about our consumers we can personalize the CDs they receive via autographs, posters, stickers etc.,” Harris says. “This has opened up tour dates, collaborations, articles and overall personal interaction with the fans who purchased our albums. It closes the gap between the fan and artist.”

The flexibility that G-Side found with Bandcamp has given them the chance to play a little numbers game with their two full-lengths for 2011: the release date for Cohesive (1/1/11) matches that for Island (11/11/11), and it’s a subtle celebration for Codie G. turning 33 this year. “These dates only come around once in a lifetime,” Harris says. “It helps to market both albums so those who missed the Cohesive can play catch up when they purchase Island.” Harris adds that Island is set to have 11 songs and will cost $11.

Charts and marketing aside, Harris says the music on Island is about G-Side first and foremost. ”This time we decided to make the music for us and not try to make singles or records for a certain demographic,” Harris says. “We are making songs to represent our island, Huntsville.”

G-SIDE: LIVE in Norway!!!!

Wednesday, October 26, 2011

Monday, September 19, 2011

CLICK HERE: D/L GMANE "AllNiteSmokeSession"


1. Roll Up Intro (Produced by AllRounda Productions)
2. Black Jesus (Produced by AllRounda Productions)
3. High (Produced by Sam Jay)
4. Attack Me (Produced by Ric & Thadeus)
5. KD Joint (Produced by Canness)
6. Pimpin featuring PimpSlimOrangeJuice (Produced by Epik Beats)
7. Sweet (Produced by Illmuzik)
8. Think (Produced by Laws of Movement)
9. Miss My Dawg (Produced by Laws of Movement)
10. Wordz Uv An Ex-Drug Dealer (Produced by Street Poetry)

Wednesday, April 6, 2011

Monday, March 7, 2011


My potna King David puttin it down for BAMA!!

King South goin Live in FLO-TOWN!!

GMANE "Maria"

**click on title to listen & d/l**

Prod by MidiMarc
Review by Brandon Soderberg

Despite the relatively minor events of the song—a woman gets revenge on some chumps that ripped her off—G-Mane makes “Maria” (produced by MIDIMarc) mythical. He’s the rapper bard poet, telling Maria’s story in detail-filled couplets that give us a sense of her but only a sense–she remains distant and unknowable. A local legend.
Like most rap songs about girls, it begins with physical description, but it’s not as simple as “She’s fine, she’s a bad bitch,” (though that’s part of it), but that her skin, her thighs–everything–illustrates how together she is in every aspect of her life: “She’s got a good head on her shoulders/Take no shit off top”.
G’s description of Maria is almost non-sexual because like, you’re just not going to get next to Maria like that: “Queen bee, she handle business since her nigga on lock/Other niggas wanna move in, thinkin’ they got clout/But she focused, do her thing, she got two sons to think about.” Notice how the verse shifts from physical details, to compliments about her person, to hard, cold, facts about Maria’s circumstance. Like any woman in power, she’s constantly threatened/courted by suitors who just can’t conceive of her doing it all on her own or think she’s easy to take advantage of and takeover. G-Mane’s wise to admire her from afar.
Particularly affecting is the aside about her sons, because it humanizes Maria and also, makes her even more impressive–she isn’t just after money, she has kids to support, a husband’s tiny empire to hold down. From there, the description moves back into the physical but now it’s all material objects, from the shit she wears (Prada, Gucci) to the gun she carries. The verse ends with G-Mane calling her “The Godmother”–the ultimate compliment.
There’s no hook on this song, what divides the verses is a quick interlude wherein G-Mane spots Maria and casually says, “What’s up?” We have to wait until the next verse to hear what Maria tells him–again, she’s too much of a myth for us to hear her voice–and it’s at this point that our storyteller, gets wrapped-up in the tale: “She said G, I need you to do a favor for me/I think these dudes in the bathroom, I want you to go and see.” Of course, the dudes are in there.
G-Mane’s not asked to pop these dudes. He’s not even asked to say anything to them. Just confirm that they’re in there. Maria’ll do the rest. This kind of minor-detail storytelling is something G-Mane does a lot. His songs are hardly ever street epics and gun-battles, it’s more often than not, little bullshit like this. And cleverly, G-Mane sprinkles this part of the song with similarly “unimpressive” details: his drink order (“a Budweiser with a coke, ice, and jack”), that he took a piss while in the bathroom.
When G returns from the bathroom, verifying the guys are in there, Maria hands him the drink he ordered, but the action’s described as “she passed a libation”. Once Maria touches something, it becomes something bigger and grander–the drink, a small sacrifice. It’s like that part in “Pop the Trunk” from another Alabama wordsmith, Yelawolf, when Yela’s friend hands him his watch before he “grabs his biscuit”. Like, something’s passed between them, and it’s far more nefarious than just a simple Cartier watch or Budweiser.
Reflecting the listener’s perverse curiosity, G-Mane says, “I knew I had to step out, to see these boys get crept-on”, and so, we have a first-hand description of how Maria takes these fuckers out. This is a real dedication to storytelling rap because like, G’s concerned with the logistics of his story and so, he has to justify how he witnessed the shooting: He went out of his way to see it.
And then there’s the violence itself–what the whole song has built up to—and it’s a blast of small details, it’s not exactly epic, it’s quickly done, curt, concise, and violent. The closest to this mix of dramatic tension and just like, casual, flash of violences I can think of would be the “action” scenes in Donald Goines’ novels. Like, it’s all over before it even started and it’s all the awkward, bitter, aftermath.
The song’s final lines describe the kill-shot, and once again, G-Mane goes to crime movies to compliment Maria’s heartless calm. But this time, it’s not the grand, Don-like qualities of The Godfather that make Maria something else, but her similarity to Ice Cube’s iconic Boyz n the Hood character. That kind of wild, heartless efficiency: “Like Doughboy, she told him turn your punk-ass over then/Smashed-out in a blacked-out Rover, The End.” One last, blunt flash of detail and then it’s over.

Monday, January 10, 2011

Monster of the Midway

Check out my potna Bravo Money MONSTER OF DA MIDWAY... DOWNLOAD FOR FREE