A record label is a brand and a trademark associated with the marketing of music recordings and music videos. Most commonly, a record label is the company that manages such brands and trademarks, coordinates the production, manufacture, distribution, marketing and promotion, and enforcement of copyright protection of sound recordings and music videos; conducts talent scouting and development of new artists ("artists and repertoire" or "A&R"); and maintains contracts with recording artists and their managers. The term "record label" derives from the circular label in the center of a vinyl record which prominently displays the manufacturer's name, along with other information.^[1]

Music industry[link]

Within the music industry; most recording artists have become increasingly reliant upon record labels to broaden their consumer base, market their albums, and be both promoted and heard on mp3, radio, etc. and of course television also, with publicists that assist performers in positive media reports to market their merchandise, and make it available via stores and other media outlets. The Internet has increasingly been a way that some artists avoid costs and gain new audiences, as well as the use of videos in some cases, to sell their products.

Major vs. independent record labels[link]

Record labels may be small, localized, and "independent" ("indie"), or they may be part of a large international media group, or somewhere in between. The largest four record labels are called "major labels".^[2] A "sublabel" is a label that is part of a larger record company, but it trades under a different name.

Imprint[link]

When a label is strictly a trademark or brand, not a company, then it is usually called an imprint, a term used for the same concept in the publishing industry. An imprint is sometimes marketed as being a project, unit, or division of a record label company, even though there is no legal business structure associated with the imprint.

Major labels[link]

    id:bg         value:white
    id:maciid      value:rgb(0.7,1,0.5) legend:BMG_Music
    id:maciie      value:rgb(0.8,0.8,0.6) legend:Decca_Records
    id:maciib      value:rgb(0.8,1,0.9) legend:EMI
    id:maciim      value:rgb(0.8,1,1) legend:Gramophon-Philips_Group_(GPG)
    id:maciif     value:rgb(0.8,0.9,0.7) legend:Hollandsche_Decca_Distributie_(HDD)
    id:maciii      value:rgb(0.8,0.8,0.8) legend:MCA_Music_Entertainment_Group_(MCA)
    id:macii      value:rgb(0.8,1,0.8) legend:Music_Publishers_Holding_Company_(MPHC)
    id:maciij      value:rgb(0.8,0.7,0.7) legend:Philips_Phonografische_Industrie_(PPI)
    id:maciin     value:rgb(0.7,0.9,0.7) legend: Polygram
    id:maciih      value:rgb(0.8,0.9,0.7) legend:Sony_BMG
    id:maciic     value:rgb(0.5,0.6,0.7) legend: Sony_Music
    id:maciik      value:rgb(0.8,0.7,0.9) legend:Sony_Music_Entertainment_(SME)
    id:maciil      value:rgb(0.7,0.9,0.9) legend:Universal_Music_Group_(UMG)
    id:maciig      value:rgb(0.9,0.9,0.9) legend:Warner_Music_Group_(WMG)
    id:lightline  value:rgb(0.8,0.8,0.8) 
    id:line       value:rgb(0.2,0.2,0.2)
    id:lighttext  value:rgb(0.5,0.5,0.5)

 Barset:macii
 Barset:reference

 width:15 textcolor:black

 barset:macii
   shift:(5,-5) anchor:from fontsize:m
   color:macii from:01/01/1929 till:01/01/2003 text: "MPHC"
   color:maciib from:03/01/1931 till:06/07/2009 text: "EMI"
   color:maciic from:11/17/1987 till:08/04/2004 text:"Sony Music"
   color:maciid from:01/01/1987 till:08/04/2004 text: "BMG Music"
   color:maciie from:01/01/1929 till:01/01/1990 text: "Decca Records"
   color:maciif from:01/01/1929 till:01/01/1950 text: "HDD"
 barset:break
   shift:(5,-5) anchor:from fontsize:m
   color:maciig from:01/01/2003 till:06/07/2009 text: "WMG"
   $skip
   color:maciih from:08/04/2004 till:10/02/2008 text:"Sony BMG"
   $skip
   color:maciii from:01/01/1990 till:01/01/1996 text: "MCA"
   color:maciij from:01/01/1950 till:01/01/1962 text: "PPI"
barset:break
   shift:(5,-5) anchor:from fontsize:m
   $skip
   $skip
   color:maciik from:10/02/2008 till:06/07/2009 text:"SME"
   $skip
   color:maciil from:01/01/1996 till:06/07/2009 text: "UMG"
   color:maciim from:01/01/1962 till:01/01/1972 text: "GPG"
barset:break
   shift:(5,-5) anchor:from fontsize:m
   $skip
   $skip
   $skip
   $skip
   $skip
   color:maciin from:01/01/1972 till:01/01/1998 text: "Polygram"

Major labels 1988–1998 (Big Six)

1. Warner Music Group
2. EMI
3. Sony Music (known as CBS Records until January 1991 then known as Sony Music thereafter)
4. BMG Music
5. Universal Music Group
6. Polygram

Major labels 1998–2004 (Big Five)

1. Warner Music Group
2. EMI
3. Sony Music
4. BMG Music
5. Universal Music Group (Polygram absorbed into UMG)

Major labels 2004–2008 (Big Four)

1. Warner Music Group
2. EMI
3. Sony BMG (Sony and BMG joint-venture)
4. Universal Music Group

Major labels 2008–2011 (Big Four)

1. Sony Music Entertainment
2. EMI Group
3. Warner Music Group
4. Universal Music Group

Major labels since late 2011, if approved (Big Three)

1. Sony Music Entertainment
2. Warner Music Group
3. Universal Music Group (EMI recorded music division to be absorbed into UMG, pending approval by antitrust regulators^[3][4])

Record labels are often under the control of a corporate umbrella organization called a "music group". A music group is typically owned by an international conglomerate "holding company", which often has non-music divisions as well. A music group controls and consists of music publishing companies, record (sound recording) manufacturers, record distributors, and record labels. As of 2005, the "big four" music groups control about 70% of the world music market, and about 80% of the United States music market. Record companies (manufacturers, distributors, and labels) may also comprise a "record group" which is, in turn, controlled by a music group. The constituent companies in a music group or record group are sometimes marketed as being "divisions" of the group.

Independent[link]

Record companies and music publishers that are not under the control of the big three are generally considered to be independent (indie), even if they are large corporations with complex structures. The term indie label is sometimes used to refer to only those independent labels that adhere to an independent criteria of corporate structure and size, and some consider an indie label to be almost any label that releases non-mainstream music, regardless of its corporate structure.

Sublabel[link]

Music collectors often use the term sublabel to refer to either an imprint or a subordinate label company (such as those within a group). For example, in the 1980s and 1990s, "4th & B'way" was a trademarked brand owned by Island Records Ltd. in the UK and by a subordinate branch, Island Records, Inc., in the United States. The center label on a 4th & Broadway record marketed in the US would typically bear a 4th & B'way logo and would state in the fine print, "4th & B'way™, an Island Records, Inc. company". Collectors discussing labels as brands would say that 4th & B'way is a sublabel or imprint of just "Island" or "Island Records". Similarly, collectors who choose to treat corporations and trademarks as equivalent might say 4th & B'way is an imprint and/or sublabel of both Island Records, Ltd. and that company's sublabel, Island Records, Inc. However, such definitions are complicated by the corporate mergers that occurred in 1989 (when Island was sold to PolyGram) and 1998 (when PolyGram merged with Universal). Island remained registered as corporations in both the US and UK, but control of its brands changed hands multiple times as new companies were formed, diminishing the corporation's distinction as the "parent" of any sublabels.

Vanity labels[link]

Vanity labels are labels that bear an imprint that gives the impression of an artist's ownership or control, but in fact represent a standard artist/label relationship. In such an arrangement, the artist will control nothing more than the usage of the name on the label, but may enjoy a greater say in the packaging of his or her work. An example of such a label is the Neutron label owned by ABC while at Phonogram in Great Britain. At one point artist Lizzie Tear (under contract with ABC themselves) appeared on the imprint, but it was devoted almost entirely to ABC's offerings and is still used for their re-releases (though Phonogram owns the masters of all the work issued on the label).

However, not all labels dedicated to particular artists are completely superficial in origin. Many artists, early in their careers, create their own labels which are later bought out by a bigger company. If this is the case it can sometimes give the artist greater freedom than if they were signed directly to the big label. There are many examples of this kind of label, such as Nothing Records, owned by Trent Reznor of Nine Inch Nails; and Morning Records, owned by The Cooper Temple Clause, who were releasing EPs for years before the company was bought by RCA.

Relationship with artists[link]

A label typically enters into an exclusive recording contract with an artist to market the artist's recordings in return for royalties on the selling price of the recordings. Contracts may extend over short or long durations, and may or may not refer to specific recordings. Established, successful artists tend to be able to renegotiate their contracts to get terms more favorable to them, but Prince's much-publicized 1994–1996 feud with Warner Bros. provides a strong counterexample, as does Roger McGuinn's claim, made in July 2000 before a US Senate committee, that The Byrds never received any of the royalties they had been promised for their biggest hits, "Mr. Tambourine Man" and "Turn, Turn, Turn".^[5]

A contract either provides for the artist to deliver completed recordings to the label, or for the label to undertake the recording with the artist. For artists without a recording history, the label is often involved in selecting producers, recording studios, additional musicians, and songs to be recorded, and may supervise the output of recording sessions. For established artists, a label is usually less involved in the recording process.

The relationship between record labels and artists can be a difficult one. Many artists have had albums altered or censored in some way by the labels before they are released—songs being edited, artwork or titles being changed, etc. Record labels generally do this because they believe that the album will sell better if the changes are made. Often the record label's decisions are prudent ones from a commercial perspective, but this typically frustrates the artist who feels that their artwork is being diminished or misrepresented by such actions.

In the early days of the recording industry, record labels were absolutely necessary for the success of any artist. The first goal of any new artist or band was to get signed to a contract as soon as possible. In the 1940s, 1950s and 1960s, many artists were so desperate to sign a contract with a record company that they usually ended up signing a bad contract, typically giving away the rights to their music in the process. To this day, standard recording contracts define record labels as the rightsholders of the music that the contracts cover. Entertainment lawyers can be used by some to look over any contract before it is signed.^{[citation needed]}

Through the advances of the Internet the role of labels is becoming increasingly diminished, as artists are able to freely distribute their own material through web radio, peer to peer file sharing such as BitTorrent, and other services, for little or no cost. Bigger artists such as Nine Inch Nails have announced an end to their major label contracts, citing that the uncooperative nature of the recording industry with these new trends are hurting musicians and the industry as a whole, and most of all hurting the fans.^[6] Radiohead also cited similar motives with the end of their contract with EMI when their album In Rainbows was released as a "pay what you want" sales model as an online download.

New label strategies[link]

With the advancement of the computer and technology like internet, leading to an increase in file sharing and direct-to-fan digital distribution, combined with music sales plummeting in recent years^{[citation needed]}, labels and organizations have had to change their strategies and the way they work with artists. New types of deals are being made with artists called "multiple rights" or "360" deals with artists. These types of pacts give labels rights and percentages to artist's touring, merchandising, and endorsements. In exchange for these rights, labels usually give higher advancement payments to artists, have more patience with artist development, and higher percentages in CD sales. These 360 style deals are most effective when the artist is established and has a loyal fan base. For that reason, labels now have to be more relaxed with the development of artists because longevity is the key to these types of pacts. Several artists such as Paramore, Maino, and even Madonna have signed such types of deals.

A look at an actual 360 deal offered by Atlantic Records to an artist shows a variation of the structure. Atlantic’s document offers a conventional cash advance to sign the artist, who would receive a royalty for sales after expenses were recouped. With the release of the artist's first album, however, the label has an option to pay an additional $200,000 in exchange for 30 percent of the net income from all touring, merchandise, endorsements and fan-club fees. Atlantic would also have the right to approve the act’s tour schedule, and the salaries of certain tour and merchandise sales employees hired by the artist. But the label also offers the artist a 30 percent cut of the label's album profits —if any—which represents an improvement from the typical industry royalty of 15 percent.^[7]

History[link]

Industry consolidation[link]

In the 1970s and 1980s, there was a phase of consolidation in the record industry that led to almost all major labels being owned by a very few multinational companies. CDs still flow through a handful of sources, with the majority of the sales going through the "big four" record labels.

Resurgence of independent labels[link]

In the 1990s, as a result of the widespread use of home studios, consumer recording technology, and the Internet, independent labels began to become more commonplace. Independent labels are often artist-owned (although not always), with a stated intent often being to control the quality of the artist's output. Independent labels usually do not enjoy the resources available to the "big four" and as such will often lag behind them in market shares. Often independent artists manage a return by recording for a much smaller production cost of a typical big label release. Sometimes they are able to recoup their initial advance even with much lower sales numbers.

On occasion, established artists, once their record contract has finished, move to an independent label. This often gives the combined advantage of name recognition and more control over one's music along with a larger portion of royalty profits. Artists such as Dolly Parton, Aimee Mann, Prince, Public Enemy, BKBravo (Kua and Rafi), among others, have gone this route. Historically, companies started in this manner have been re-absorbed into the major labels (two examples are Frank Sinatra's Reprise Records, which has been owned by Warner Music for some time now, and Herb Alpert's A&M Records, now owned by Universal Music Group). Similarly, Madonna's Maverick Records (started by Madonna with her manager and another partner) was to come under control of Warner Music when Madonna divested herself of controlling shares in the company.

There are many independent labels; folk singer Ani DiFranco's Righteous Babe Records is often cited as an ideal example. The singer turned down lucrative contracts from several top-name labels in order to establish her own New York-based company. Constant touring resulted in noteworthy success for an act without significant major funding. Ani and others from the company have spoken on several occasions about their business model in hopes of encouraging others.

Some independent labels become successful enough that major record companies negotiate contracts to either distribute music for the label or in some cases, purchase the label completely.

On the punk rock scene, the DIY ethic encourages bands to self-publish and self-distribute. This approach has been around since the early 1980s, in an attempt to stay "true" to the punk ideals of doing it yourself and not "selling out" to corporate profits and control. Such labels have a reputation for being fiercely uncompromising and especially unwilling to cooperate with the big record labels at all. One of the most notable and influential labels of the Do-It-Yourself attitude was SST Records, created by the band Black Flag. No labels wanted to release their material, so they simply created their own label to release not only their own material but the material of many other influential underground bands all over the country. Ian MacKaye's Dischord is often cited as a model of success in the DIY community, having survived for over twenty years with less than twelve employees at any one time.

Internet and digital labels[link]

With the Internet now being a viable source for obtaining music, netlabels have emerged. Depending on the ideals of the net label, music files from the artists may be downloaded free of charge or for a fee that is paid via Paypal or other online payment system. Some of these labels also offer hard copy CDs in addition to direct download. Most net labels acknowledge the Creative Commons licensing system thus reserving certain rights for the artist. Digital Labels are the latest version of a 'net' label. Whereas 'net' labels were started as a free site, digital labels are more competition for the major record labels.^{[citation needed]}

Open source labels[link]

The new century brings the phenomenon of open-source or open-content record label. These are inspired by the free software and open source movements and the success of GNU/Linux.

Publishers as labels[link]

In the mid-2000s, some music publishing companies began undertaking the work traditionally done by labels. The publisher Sony/ATV Music, for example, leveraged its connections within the Sony family to produce, record, distribute, and promote Elliott Yamin's debut album under a dormant Sony-owned imprint, rather than waiting for a deal with a proper label.^[8]

See also[link]

• List of record labels
• White label

References[link]

v t e Music industry Genres Avant-garde · Blues · Contemporary R&B · Country · Crossover · Dance · Drum and bass · Easy listening · Electronica · Experimental · Folk · Funk · Gospel · Hip hop · Instrumental · Jazz · Latin · Motown · New age · Operatic pop · Pop · Reggae · Rock · Soul · Soundtrack · World Sectors and roles Album cover design · Artists and repertoire (A&R) · Distribution · Entertainment law · Music education · Music executive · Music journalism · Music publisher · Music venue · Musical instruments · Promotion · Radio promotion · Record label · Record shop · Road crew · Talent manager · Tour promoter Production Arrangement · Record producer · Recording artist · Session musician · Songwriter · Sound engineer Record labels Major: EMI · Sony Music Entertainment · Universal Music Group · Warner Music Group · Independent: Independent UK record labels Release formats Album · Extended play (EP)/Mini album · Single Awards American Music Award · ARIA Music Awards · Billboard Music Awards · Brit Awards · Choice Music Prize · Classic Brit Awards · Diapason d'Or · Echo Award · Golden Disk Awards · Grammy Award · Grand Prix du Disque · Juno Award · Latin Grammy Awards · Meteor Music Awards · MTV Europe Music Awards · MTV Video Music Awards · MuchMusic Video Awards · Music of Black Origin Awards · New Zealand Music Awards · NRJ Music Award · TEC Awards · World Music Awards Charts ARIA Charts · Billboard Hot 100 · Canadian Hot 100 · RIANZ Singles Chart · Irish Singles Chart · UK Singles Chart Sales certifications ARIA (Gold · Platinum) · BPI (Silver · Gold · Platinum) · CRIA (Gold · Platinum · Multi-Platinum · Diamond) · PROMUSICAE (Gold · Platinum) · RIAA (Gold · Platinum · Multi-Platinum · Diamond) Publications Billboard · HitQuarters · Hot Press · Kerrang! · Mojo · NME · Q · Rolling Stone · Smash Hits · Top of the Pops Retailers Amazon.com · Fnac · HMV Group · Online music stores (iTunes Store) · Trans World Entertainment · Virgin Megastores Television Black Entertainment Television · Country Music Television · Fuse TV · Idol · Juice TV · MTV · MuchMusic · The Music Factory · Star Academy · Viva · The Voice · The X Factor Other A-side and B-side · Christian music industry  · Hidden track  · Grammy Museum  · White label Category

Shawn A. Mayer (born March 4, 1979 in Hillsborough Township, New Jersey) is a professional American football player, currently a safety on the Cleveland Browns practice squad.

Originally signed as an undrafted free agent by the New England Patriots in 2003, Mayer played in 9 games that season, compiling 15 tackles, including one in Super Bowl XXXVIII [1]. That one Super Bowl tackle remarkably was of Carolina Panthers wide receiver Ricky Proehl, who attended the same Hillsborough High School as Mayer. He would appear in only 3 games in 2004, and in February 2005 he signed as a free agent with the Atlanta Falcons who then allocated him to NFL Europe. Mayer excelled as a member of the Hamburg Sea Devils, matching the NFL Europe record for interceptions in a game (3), [2] setting team records for interceptions in a season (5) and in a game (3) [3] and earning All-NFL Europe honors. He would return to play for Hamburg during the 2006 season, this time allocated by the Cleveland Browns. [4]

Mayer started 23 games while at Penn State University and finished his career with 252 tackles, 5 interceptions, 1.5 sacks and 8 tackles for loss. He earned a Bachelor of Science in Administration of Justice from Penn State University in 2003.

He grew up in Hillsborough Township, New Jersey^[1] and was twice-named a USA Today All-American and New Jersey SuperPrep following his junior and senior seasons at Hillsborough High School where he also excelled in track and field.

References[link]

External links[link]

• NFL player page www.nfl.com
• Player profile, www.nfleurope.com
• Transaction history, Sportsnet

Late Night Alumni is a US house group composed of Ryan Raddon (Kaskade), Finn Bjarnson, John Hancock, and vocalist Becky Jean Williams. They are primarily known for mixing dance music with strings and soft trance-like vocals from lead singer Becky Jean Williams.^[1]

Biography[link]

Finn Bjarnson stumbled upon Becky Jean Williams (sister to R. John Williams, the lead singer of Faded Paper Figures) in the summer of 2003. “I had just been given a local Christmas CD that I had produced a couple tracks for,” Finn recalls, “and as I was listening through the tracks, there she was! Her beautiful voice and style immediately struck me.” A couple of phone calls later and they were in the studio together for the first time. “I had worked up this song called ‘Empty Streets’ and wanted to try her voice out on it...” Finn continues, “and it took off from there!”

Finn had already been working in the studio with Ryan Raddon (aka Kaskade), and soon Finn, Ryan, and Becky formed Late Night Alumni. In 2004, Hed Kandi made an offer to license and release a full length Late Night Alumni album. “At that point,” Finn says, “I knew the band was not ready. We were missing an element.” That missing element turned out to be John Hancock; a talented local producer with whom Finn had been trying to “find an excuse” to work with for years. The band was complete and hard at work at the debut Late Night Alumni album; mixing electronic and organic elements for a unique brand of chill that is easily distinguishable in today’s down tempo house music scene.

Empty Streets was released in September, 2005. Around the same time, Hed Kandi was bought out by Ministry of Sound and the album got shelved. However, despite lack of support from the group's record label, it soon grew into an underground classic.

The single of the same name received massive support in both clubs and on radio, getting Top Ten Radio Play in the UK and U, and reaching #1 in Spain. “Empty Streets” has also been licensed to commercials including a spot for the Toyota IQ. In addition, more than a dozen dance compilations have licensed the track, and it remains the most popular and downloaded song on Tiesto’s “In Search Of Sunrise” compilation.

Also, two of Late Night Alumni's songs, "Uncharted" and "You Can Be the One" have been featured in a new Steve Carell movie Crazy, Stupid, Love. which released on 29th June, 2011.

Of Birds, Bees, Butterflies, Etc. (2009 Album)[link]

Of Birds, Bees, Butterflies, Etc., the follow-up album to Empty Streets, was released as a digital download on November 3, 2009, with the physical CD released on February 2, 2010 on Ultra Records. On September 1, 2009, the group released "You Can Be The One," their first single from the album, which was available on Beatport & iTunes.^[2] This single was followed up with a remix by Sultan & Ned Shepard, which was released on September 23, 2009.

A music video for a live rendition of "You Can Be The One" was recorded at Velour in Utah. It features four violinists along with the four members of Late Night Alumni. Fans are comparing the video to Kaskade's live version of "4AM," which also features Becky Jean Williams on lead vocals and Finn Bjarnson on guitar.^[3]

An acoustic version of a song titled, "Golden," on their upcoming album was posted on their YouTube channel. Another live version of a new track, "What's In A Name," was also posted onto their channel.^[4]

Haunted (2011 Album)[link]

Haunted was released as a digital download on February 8, 2011. During the recording process, the group hoped to create a different dynamic by physically working together through most of the process rather than being isolated and using electronic communication methods to collaborate.^[5] The name of the album was inspired by ideas of being haunted by nostalgia and memories from the past while dealing with change in the present, although the old character of the undisclosed location in Salt Lake City where they recorded may have also influenced the title.^[6]

Two singles have been released so far, It's Not Happening and Main Street.

The song In The Ashes was also well received, and is a fan favorite.

Discography[link]

Albums[link]

• 2005 - Empty Streets
• 2009 - Of Birds, Bees, Butterflies, Etc.
• 2011 - Haunted

Singles/EPs[link]

Collaborations[link]

• 2012 - How Long with Kaskade

References[link]

http://www.youtube.com/user/LNAmusic

External links[link]

• Official Website
• Official Myspace
• Artist Page at Ultra Records
• Hed Kandi
• Kaskade
• Official Facebook Page

DJ Muggs
Background information
Birth name	Lawrence Muggerud
Also known as	Muggs
Born	(1968-01-28) January 28, 1968 (age 44)
Origin	Queens, New York
Genres	Hip hop
Occupations	DJ Producer
Labels	Columbia[1], ANTI-, Ultra
Associated acts	Cypress Hill Funkdoobiest Soul Assassins GZA Sick Jacken The 7A3 Ill Bill
Website	djmuggs.com

Lawrence Muggerud (born January 28, 1968), better known by his stage name DJ Muggs, is Cypress Hill's DJ and producer. He also produced tracks for Funkdoobiest, House of Pain, Dizzie Rascal, U2, Depeche Mode and more. He is the leader of LA art collective Soul Assassins.

Life and career[link]

Cypress Hill (1988–2004)[link]

Muggs was born in Queens, New York of Italian and Norwegian descent. Muggs moved to Los Angeles at Twenty.^[2] He briefly DJ'd the group 7a3, putting out one album before disbanding. After linking up with B-Real and Sen Dog to form the group Cypress Hill, he went on to produce seven studio albums with the group, from 1991 to 2004. Of the seven, four reached platinum status, and three gold. Meanwhile, he scored hits on the side with Ice Cube's "Check Yo Self" and House of Pain's "Jump Around." During Cypress Hill's early years, DJ Muggs met The Alchemist and his Dilated Peoples brethren on tour, deciding to take the young producer under his wing, providing a jump-start for his career.^[3]

Soul Assassins[link]

In 1997, Muggs released an album under the name Soul Assassins. The album, Soul Assassins I, reached #86 on the Billboard 200 and earned critical praise.^[4] Produced by DJ Muggs, it featured a variety of rappers including Dr. Dre, B-Real, LA The Darkman, Mobb Deep, RZA, GZA, Goodie Mob, KRS One and Wyclef Jean. In 2000 he returned to the Soul Assassins with Soul Assassins II, which reached only #178 on the charts but garnered similarly positive reviews.^[5] He also put out the record Dust, an atmosphere-heavy trip-hop affair with Greg Dulli, Amy Trujillo and Everlast on vocals. After the 2004 album Til Death Do Us Part, which didn't reach gold but landed #23 on the Billboard 200, Cypress Hill went on a hiatus from recording, enabling its members to focus more on their side projects.

Further Solo Projects & Return of Cypress Hill (2005–2010)[link]

In 2005, DJ Muggs teamed up with Wu-Tang Clan's GZA for the album Grandmasters, the first project released on his label Angeles Records. Patterned after a chess game, it received highly positive reviews;^[6] Muggs also announced a Soul Assassins III album, produced jointly by himself and Alchemist, reportedly to be preceded by a record called Cloak & Dagger, also featuring Alchemist.^[7] Instead, Muggs produced an album for Psycho Realm member Sick Jacken, Legend of the Mask and the Assassin two years later, in 2007. In 2008, Muggs announced that his album with California rapper Planet Asia would be the third Soul Assassins album,^[8] but the two released Pain Language later that year as a simple collaboration.

Before the release of his solo album Smoke N Mirrors in 2009, B-Real reported that Cypress Hill has been working on an album for roughly a year. Currently in the mixing phase, Muggs has produced half of the album's material so far, going to DJ Premier, Pete Rock and Mike Shinoda for the rest.^[9] In 2009, Muggs entered the Gumball 3000 cross-country race, and on June 23, 2009, Soul Assassins: Intermission was released, featuring RZA, Prodigy, Evidence, The Alchemist and Bun B.^[10] The first single for the album was "Gangsta Shit," by Bun B and M1 of Dead Prez.^[11] Despite its high-profile guest list, the release was met with lukewarm reception,^[12] and Muggs later clarified its status as a preview before the release of Soul Assassins III, the next full-fledged installment of his Soul Assassins series.^[13] Muggs plans next on recording his 5th V.S. album with group member B-Real.^[14]

On the Soul Assassins Official Website, it was also revealed that Muggs will contribute Production to the new album from rapper Apathy, "Honkey Kong" Due out in early 2011. The Track is Titled "Fear Itself"^[15]

In 2011, Muggs plans on releasing a New Album called "Bass For Your Face" which he describes as a West Coast "Dubstep" Album. Although he says the album will feature an extensive guest list, thus far the only guest named is London Grime MC P-Money. In October 2011, Muggs confirmed Via his Twitter Account that legendary Public Enemy Frontman Chuck D would contribute to the Album, and the albums lead Single would Feature UK artist Dizzee Rascal & Los Angeles Upstart MC Bambu.

Discography[link]

Studio album[link]

• 2003: Dust
• 2012: Bass For Your Face

Cypress Hill[link]

For the main article see the Cypress Hill discography.

Vs. Series[link]

• 2005: Grandmasters with GZA
• 2007: Legend of the Mask and the Assassin with Sick Jacken featuring Cynic
• 2008: Pain Language with Planet Asia
• 2010: Kill Devil Hills with Ill Bill

Soul Assassins[link]

• 1997: Soul Assassins I
• 2000: Soul Assassins II
• 2009: Soul Assassins: Intermission

Collaboration albums[link]

• 1999: Juxtapose with Tricky & Dame Grease
• 2004: The Last Assassin with Chace Infinite
• 2005: Mash Up Radio (Hip Hop vs. Rock) Vol. 1 with DJ Warrior
• 2005: Mash Up Radio (Hip Hop vs. Rock) Vol. 2 with DJ Warrior
• 2011: Los Angeles, Philippines with Bambu

[edit] References

External links[link]

• Official Site
• Interview With HipHopDX