PeachTree Music Group

Sunday, November 15, 2009

Kennesaw State Basketball Upcoming Star & PTMG Production. Platinum Producer Kelvin McConnell a/k/a Natural Disaster.



















































ON the KENNESAW basketball court. KELVIN McCONNELL is highly known as one of Kennesaw State University great basket ball player's.

OFF
the court in the PTMG Productions music lab/studio. KELVIN McCONNELL is highly recognized and known as the certified Gold & Platinum, SUPER PRODUCER NATURAL DISASTER.


http://twitter.com/TheRealNatural
http://www.myspace.com/naturaldisaster08
http://www.youtube.com/natural33disaster
http://www.youtube.com/watch?v=TycpnZePSLI

JD introducing the Super Producer Natural Disaster
http://www.youtube.com/watch?v=kc91h-IXjrQ
http://www.global14.com/?s=natural+disaster

http://sports.espn.go.com/ncb/player/profile?playerId=36778
http://rivals.yahoo.com/ncaa/basketball/recruiting/player-Kelvin-McConnell-44565
http://ncaabasketball.beta.fanhouse.com/players/Kelvin-McConnell/73453?season=07-08
http://www.mdjonline.com/pages/full_story_sports/push?article-Owls+rout+North+Georgia%20&id=4486177&instance=special%20_coverage_right_column
http://espndb.go.com/ncb/player/profile?playerId=36778
http://www.dailycomet.com/article/20080101/SPORTS/319309563?Title=Nicholls-routs-Kennesaw-State

ATLANTA "PEACHTREE MUSIC GROUP"






Having an aspiring camp full of professional business men and women, producer's, writer's, composer's, artist's, business affairs, accountant's, staffs is pretty much like a lot of other aspiring young pioneers out there making exceptional pitches except we are actually pretty damn good!

I know myself and my team have came a long way from a decade ago and it's been continuous learning process working our way into this art of the music business.

Music and business influences are very diverse because the PeachTree Music Group family grew up listening, learning and reading everything from Gospel, Rap/Hip Hop and R&B to more alternative forms of rock, jazz etc. There are a great deal of musicians and business men beyond mention some of which are great role models, some who have been influential to us in helping us along our creativity, business decision makings and artistically path of professionalism.

What do we want from the industry? A lot of productive national work. Not just anything, just a fair deal. The most high will navigate success, no doubt.

That's about it for now. I appreciate you taking the time out to read and listen to what myself and team is trying to say.

ENJOY!




Friday, November 13, 2009

Antonio TopcaT Randolph @7opca7


Professional Summary

ANTONIO "7opca7" RANDOLPH

PeachTree Music Group and TopcaT is a production company; management, consulting company that specializes in artist development. Producer management and track placements on major projects for R and B, Gospel, Neo Soul, Jazz, Hip Hop, and Pop. PeachTree Music Group is the next big production power house in the south. We are partly responsible for a few major movement's being a success in the South. The SNAP and KRUNK MOVEMENT and now the SWAG MOVEMENT. Working with great A&R such as Eddie Weathers. Producer's such as Jermaine Dupri/Soso Def and Lil John/BME/Warner Brothers. Management 2004-2007 advising, assisting and maintaining artist such as Trillville (Top 20 US) and Dem Franchize Boyz (Top 10 US), management and PeachTree Productions.


Published on Sep 4, 2016
LEMONADE the Visual Album Available Now!



















Having an aspiring camp full of professional business men and women, producer's, writer's, composer's, artist's, business affairs, accountant's, staffs is pretty much like a lot of other aspiring young pioneers out there making exceptional pitches except we are actually pretty damn good!

I know myself and my team have came a long way from a decade ago and it's been continuous learning process working our way into this art of the music business.

Music and business influences are very diverse because the PeachTree Music Group family grew up listening, learning and reading everything from Gospel, Rap/Hip Hop and R&B to more alternative forms of rock, jazz etc. There are a great deal of musicians and business men beyond mention some of which are great role models, some who have been influential to us in helping us along our creativity, business decision makings and artistically path of professionalism.

What do we want from the industry? A lot of productive national work. Not just anything, just a fair deal. The most high will navigate success, no doubt.


That's about it for now. I appreciate you taking the time out to read and listen to what myself and team is trying to say.

I guess rather than offer the conventional biography that would normally accompany a presentation of this nature. I think I will provide information and music in a more simplistic manner so that you can get to know me in a professional manner.

PeachTree Music Group capitalizes on the growing entertainment market across the world since 2006 through the production and promotion of high quality production and entertainment. Located in Atlanta, Georgia.

The strength of PeachTree Music Group management team is derived from the blend of experience, creativity, savvy and energy. The following individuals who occupy key positions within PTMG are dedicated and prepared to ensure success.

The talented group of individuals such as Antonio TopcaT Randolph, Mr. Horne, Daimeial Michel who have united to form this innovative company, combined with industry affiliations and a highly esteemed Board of Directors, will catapult PeachTree Music Group into the future as one of the industry's leading entertainment companies. 

Song Writer’s and Producer’s

PeachTree Music Group is a seasoned and talented production camp under the PeachTree Music Group umbrella. We can easily be a very valuable addition to any record label basically from our productive presence alone. PTMG has added our company name to a legacy of musical masterminds and those who would rather be behind the scenes. We used our time in the industry not to seek fame and fortune but rather to learn the trade from the best in the business. 
The production company is all in one the perfect asset for an upcoming company or venture. Unlike most, we have the ears like true executives, producers, and engineers. 



Is a multimedia entertainment company that will supply profitable, positive, audio and visual entertainment to a diverse, international consumer group. PTMG is committed to wholesome entertainment across the board and firmly believes that quality and palatable entertainment can be realized without compromising commercial appeal.                                          


  ENJOY!




Thursday, November 12, 2009

THE PRODUCER MI$TAENZ a/k/a Donald Brown JR.


http://www.mybeatshop.com/MistaEnz

To all appearances, the namesake of Knoxville’s most formidable jazz personage has chosen a path that is wholly antithetical to everything his father stands for in music. The second son of esteemed pianist/composer/educator Donald Brown, Donald Brown Jr. has traded the warm acoustic intimacy of grand piano, stand-up bass and drum set (the trio format featured in Autumn in New York , one of his dad’s loveliest CD recordings) for a Midi keyboard, a set of monitors, and an MPC 2000 Akai drum machine. Samples, not standards, are his sonic currency. He has eschewed the organic rhythms of swing in favor of looping and prefab beats.

Some might even say that the son of our city’s world-renowned jazz statesman is not even a musician, at least not in the stodgiest sense of that word. Rather, he is an aspiring hip-hop producer, having made much of his living the last several years working with local artists like 5ive Ft. Giant and Jaystorm and Military Minded.

Now he has a couple of tracks for nationally known recording artists to his credit; his contribution to the new Pimp C record Pimpalation (Rap-A-Lot), the sweet ballad rap “I Miss U”, was singled out by XXL Magazine as the strongest of the album’s 16 tracks. Indeed, Donald Brown Jr. is a rapper, not a jazzer. And his dad is OK with it.

“Early on, he was turned off by the stereotypes associated with rap,” says the younger Brown. “He talked bad about it early on. But I said, ‘Dad, you gotta listen to my music.’ And over the years, he saw me stick with it, and that I was serious about it. And now both of my parents have been real supportive of what I do.”

“I was impressed with the passion he has for what he does,” admits the elder Brown. “He can work on his tracks sometimes 12 and 16 hours a day. And I’ve been amazed by the stuff he comes up with in the studio. He doesn’t play much piano, not like my other sons Keith and Kenneth. And yet the stuff he comes up with on the keyboard is really impressive.”

Which is one of several indicators that the apple really hasn’t fallen that far from the tree. Because Brown Jr. is in many ways a hip-hop producer/artist with the heart of a jazzman, or at least that of an R&B traditionalist. At 25, he says he’s already begun to see the musics that were integral to his upbringing—perhaps even part of his very DNA—reassert themselves in his own work.

A husky fellow who makes his lean-limbed sire look almost slight in comparison, Brown, Jr. remembers that he and his brothers listened to hip hop at an early age, even as his father’s music—jazz and R&B, and some ’70s funk and soul—dominated their household milieu. There was always plenty of recording equipment in the Brown home, so the brothers learned to four-track their own raps, producing their first full-length cassette tape when Brown, Jr. was in second grade, their first CD when he was 15.

But as his siblings gravitated inevitably toward jazz—eldest Kenneth is a drummer, while youngest Keith is pianist with considerable potential—Brown, Jr. stayed the course with rap, putting the skills he’d learned tinkering with his father’s equipment to good use, producing tracks for his friends. A talented visual artist, he could produce the musical tracks on a rapper’s CD, then design cover art for the jewel box as well.

The Brown brothers briefly flirted with having their own home-based Ozone Studio—Brown Sr. and wife Dorothy even helped them buy equipment—an effort that proved fruitless over the short haul, but was instrumental in furthering Brown Jr.’s skills as a producer.

“We were all about good music,” Brown, Jr. says. “But we didn’t realize you had to have a plan, talk to radio stations and record stores and aggressively sell your music.”

In 2000, Brown Jr. met another aspiring local rapper, Eric “Tallson” Gray (Brown, Jr. himself often records under the moniker MI$TA ENZ). They recorded an album together, with both of them rapping and Brown, Jr. producing, and marketed it on the “chitlin circuit”, at tiny clubs in small towns like Winchester and Manchester and Tullahoma, eventually moving 1,500 copies.

“We got such positive feedback, even though we knew the record really wasn’t very good,” Brown, Jr. explains. “The thing is, these small towns don’t get much outside entertainment.”

Their efforts garnered the attention of a small rap imprint out of Birmingham; though the duo signed on to record for the label, the project never came to fruition. But not long after, Brown, Jr. and Tallson joined with Jim Slay, a talented local rapper whose skills Brown, Jr. felt were underappreciated, and recorded a three-man effort entitled Southern Made , under the group name Common Folk.

Seeking broader recognition, the trio sent their record to Antonio “Topcat” Randolph, an Atlanta-based hip-hop impresario with his own PTMG Productions company and a small stable of rap artists. Topcat liked their work, and found label interest with the budding Dirty Bird Entertainment imprint in December of 2004.

Common Folk dissolved before anything came of the partnership, however, as did Dirty Bird Entertainment. But Brown, Jr. kept ties with Topcat, who had the wherewithal to shop the beats he recorded as a producer to other artists, including many platinum sellers.

A hip-hop record producer is a different animal from his counterpart in rock; while the latter largely guides, and sometimes gently molds, the artists in his charge, a rap producer is often responsible for assembling the musical tracks that underlie the spoken word—using samplers, keyboards, drum machines, and any other tools at his disposal. Brown, Jr. prides himself on imbuing the tracks he creates with more textures and thematic variations than those of many of his contemporaries, some of whom tend to lean on staid loops, endless repetitions of tired beats.

“I like tracks that are saying something musically as well as lyrically,” Brown, Jr. says. “I like to hear guitars and strings and bass, something more than just a drum beat.”

His musicality caught the ear of rapper Pimp C, one-half of successful southern rap duo UGK and now a solo artist. Released from a four-year prison stint (on a parole violation) in December, Pimp C selected one of Brown’s tracks for his comeback release Pimpalation . The aforementioned track, “I Miss U”, features a tuneful modern R&B-inflected beat that unfurls slowly, then resolves, before repeating again, with a chorus of girl-group singers crooning sweet soul harmonies underneath. Brown’s is the only contribution on the record that didn’t come from an established producer.

But Brown’s second musical contribution to a big-league rapper has been more problematic. Brown, Jr. says he had traded some of his own recordings with those of another aspiring young producer in Memphis. Somehow, his beats ended up in the hands of rapper Pitbull out of Florida, who made use of them on his track “Dope Game,” his contribution to a hip-hop compilation CD featuring various artists.

Brown, Jr. was upset when he heard his track appropriated without his consent, but he has since taken steps to ensure that he is properly credited for his work with Pitbull. “Stuff like that happens a lot in this music, where lots of hungry artists and producers don’t go through the right channels to copyright their stuff,” he says. “I’ve known plenty of people over the years who have had similar experiences.”

All of which served to remind Brown, Jr. of the hazards of his business. The truth is that though rap stereotypes are often thoughtless, even cruel, applied without fair consideration of the real people who are saddled with them, rap can be a mean business, sometimes overrun with deception, drugs, and thug posturing.

“There’s too much drama in hip hop for me,” says Brown, Jr., adding that he has had his life threatened on at least one occasion by another artist with a beef. “There are clubs where people feel like they need to bring guns, Crips and Bloods hanging out in some of the studios… there’s a negative energy that surrounds it.

“I want to get to the point where I can just produce, come in and do my tracks and leave. And I’d like to get into producing more than just hip hop. That’s one of the things I like about working with Antonio TopcaT. He isn’t single-minded; he has a rock group, an R&B group. I want to become a well-rounded producer.”

Not coincidentally, Brown, Jr. notes that his own musical tastes have slowly shifted in recent years, drifting back around to some of the music he heard coming from his father’s record player as a child—artists like Stevie Wonder, Sam Cooke, Marvin Gaye and soul group Black Ivory. He bemoans many rap artists who lack soul and melodic sense, who “do a dah-dah-dah beat, put bass under it and talk about jewelry or money, and it’s a top hit.”

“When I was younger, making rap tracks with my brothers, their tracks would always be more musical, while mine were more strictly raps,” Brown, Jr. says. “I was listening to Tupac and Eightball and Scarface and Goodie Mobb. Now that’s turning around. I’ve probably bought five hip-hop records in the last five years.”

“I think Donald has always enjoyed old-school R&B,” says Donald Brown Sr., noting that his son has manifested a new interest in expanding his keyboard repertoire as well. “But as he’s matured, I think he’s appreciated the value of it more. And maybe sensed the message is more powerful, with a more universal appeal.”

It seems an unlikely pairing—a father who is the inheritor of a distinguished jazz tradition, and a son who has embraced the brash urban modernity of hip hop. But appearances can be deceiving, and perhaps these two mwn called Donald Brown are even more alike than their shared name would indicate.

“It’s true that I’m not a big fan of rap,” Brown Sr. adds. “But I try to support him doing his music. He’s very passionate about it. And if he believes in it, I want to be there for him.”

City:Knoxville
State:TN
Occupation:Producer/Hustla
Company:PeachTree Music Group
Website:www.thebeatpage.com
MySpace URL:myspace.com/mitaenzbeatshop
Production Software:Reason 3 / Nuendo 2
Production Hardware:Roland XP-80 & Akai MPD16
Sounds Like / Influences:What Da People Say
Info:Donald Brown, II
a.k.a. Mi$ta Enz 
Artist Credits:Pimp C, Z-RO, C-Side, Trap Squad, Jump Fresh Kilck, & more......
Label Credits:Rap-A-Lot, Peachtree Music Group






Kel of MIKELMEDIA
"KEL ON DA BEATS"
http://www.twitter.com/mikelmedia
http://www.myspace.com/mikelmedia
http://www.facebook.com/mikelmedia
http://www.youtube.com/mikelmediatv

GORILLA ZOE WORLD STAR HIP HOP PRODUCED BY KEL
http://www.worldstarhiphop.com/videos/video.php?v=wshhNGg2VmT1as3u5AIH

LIL RENO PROJECT PAT & JUICY J WORLD STAR HIP HOP PRODUCED BY JUICY J & KEL http://www.worldstarhiphop.com/videos/video.php?v=wshhyIM4r6C0mxCE08s1

GORILLA ZOE FT GUDDA GUDDA & GUCCI MANE "WHERE IT AT REMIX" http://www.zshare.net/audio/67218101355f8e74/

Friday, February 13, 2009

TEAM INFAMOUS "Stay Enlightened With Hip Hop"



I2G chilled with Infamous for a exclusive interview. Check it out.
How did you get your start in the game and who are some of your influences?

Well we started out as a 4 member group (Trigger Mind) and in the summer of 2007 dropped a single well known locally called "Like My Swagg". We use to perform it every Monday at T.I's club Crucial that summer. Not long after that 1 member of our group decided he didn't want to be down anymore and that's how we ended up as the 3 member group INFAMOUS. We consider everybody that pave the way in the hip hop game as influences. Lets us know what and what not to do.


If you could best describe your style on the mic how would you describe it?

A mix of everything; we don't limit ourselves to one particular style. We'll just say versatile.


Do you have any upcoming mixtapes or albums in the works?

We're currently working on an album to be released in early spring 2009.

Any release dates set for any projects?

We have our new single "Wassup" (Track produced by Natural Disaster; he did Soulja Boy track "Turn My Swagg On") we will be releasing the 3rd week of Jan. and the B-side of it; the underground single "BENDOVA" (Produced by our own PlayBoi) will be on the same release.

What are your thoughts on the state of hip hop right now?

Needs a major injection of new music like ours. Nothing's really changed, just a few new artists and new music.

Do you have any upcoming shows or tour dates?

Currently trying to work something out with various promoters; nothing definite yet. We perform at the club we host (SOUTH SIDE 17) almost every Saturday.

What is the best way people can contact you? Myspace or email info?
They can contact us thru myspace: http://www.myspace.com/atlinfamous

and You Tube: http://www.youtube.com/antm70707


What advice would you give to a up and coming mc in the game?

Stay FOCUSED and stay on your grind!!

That is all from me. Any last words or shout outs?




Appreciate the interview.





















HITQUARTERS - AntonioTopcaT









www.hitquarters.com
Interview by Kimbel Bouwman
Interview with Antonio "Top Cat" Randolph, manager for Dem Franchize Boyz - July 23, 2007.
“If you don’t present your material together the right proper way, then the next man has the superior product,”
...says Antonio 'Top Cat' Randolph, one of the most successful hip hop managers in the south of the US.
Randolph, who manages Dem Franchize Boyz (Top 10 US), and Trillville (Top 20 US), oversees a conglemeration of management and production companies and collaborations, allowing him maximum control over his product and output.
He talks to HitQuarters about establishing his name in the south, and about the necessity for up and coming artists to have a musical vision and not just a sense of hype.
How did you start out in the music business?
I started out as an artist and producer. After learning how that works I realized it wasn’t what I wanted to do. I ended up doing the business, going into administration, production and reading a lot of books.
When did you form PeachTree Music Group?
I formed it about two years ago. PeachTree is to be a self-contained worldwide label being able to produce all urban, rock and pop music. Just a well-rounded label.
There’s also a film section in the making right now, focused on documentaries and shorts.
Who are your partners?
There’s Slim who founded Young, Rich & Dangerous Entertainment in October 2006 and handles all the promotion and marketing.
I have another partner, Marquan Smith, who is the Vice President of PeachTree. He’s in New York and he does a lot of A&R as well as production, and going out and seeking different artists.

What entails your consulting with all these music, management and entertainment companies?
It’s pretty much like management; consulting, advising and maintaining certain situations as far as helping independent labels develop into a self-contained position.
A lot of them really don’t understand about registration of songs or that you need a proper attorney. You just need all the proper tools and having great relationships to bring those things forward.

What artists are you currently working with?
Dem Franchize Boyz, Trillville, T-Rok from the 38 Click. I’m working with a lot of the Atlanta artists that are up and coming. Montana has a nice hot record out there, and another male vocalist, J. Bless.
Why do you have a joint venture with 17.20 Records?
Initially it was to release the album by C-Side. It’s doing pretty good. They have a new single called ‘Boyfriend, Girlfriend’, their second release.
How do you work with your artists?
I’m pretty much one-on-one with them. I try to see what their vision is and what direction they’re trying to go in. Just help them develop and just put their vision into action.
Do you hook them up with producers?
Yes. I have a production company, PeachTree Music Group.
How do you convince someone to take you on as a manager?
I don’t really convince them. It’s really based on word-of-mouth, and based on my work ethics and track record.
It’s kind of self-explanatory whereas you have Trillville and Dem Franchize Boyz, both platinum artists, on my track record. I’m the only one in the South that is in my own lane that can say that.
Everybody in the South knows that what I do is hot. You’re going to get the right deal if things don’t go well. And make a lot of money, getting busy on the road doing shows.
Whatever outlet they need to get to is not a problem to due to my prior relationships built over the years.

What needs to be in place before signing to management?
What needs to be in place with me is a good product. I can’t take on a project that first of all doesn’t have the grind behind it, and doesn’t have the label’s full backing. If they don’t have those, it means they don’t have the tools, so then I wouldn’t have the tools.
Have the tools. Have the record. Have everything in place. And the only thing that I would have to do is to come in and advise, maintain the situation. And they will move forward thanks to my knowledge and relationships.

What do you think is important for an aspiring rap artist nowadays?
Being self-contained. Knowing the business. And understanding what they’re in.
A lot of people get in the music business game because they’re watching MTV, but it’s not like that. It’s a lot of hard work, networking and relationships that have to be built.

What’s usually discussed in the first meetings with a new artist?
I ask them what their long term goals are. That will tell me if they’re in this for just hype or what they see on TV, or if they have a vision.
If they don’t have a vision I educate them and let them know that this isn’t something to play with, this is real business. You’re dealing with people that are going to be focused on your career all day, everyday.
If you’re not saying the right things, I know what I’m dealing with. If you try to move forward then I will advise you let you know that the way you’re currently viewing it is not the way to do it.
I just ask a few questions to really see where their mindset is, and then that’s when I know what work I have to invest in the artist or what level they’re at, or if they’re going to be successful artists or not.

How do you work in the studio with the artist?
The producer produces their tracks. I sit in and listen to the lyrics, to hear if their delivery and their punch-lines are proper. Making sure that the song has the correct lyrics, that it can be radio ready.
Making sure we have a proper mix down, proper mastering. Just making sure we have what is needed to have a hit record.

What do you consider ‘correct lyrics’?
When you’re writing lyrics, it’s an art. You have to sync. People have to relate to it. They have to actually feel what you’re saying. You have a vision, just make it make sense. Make sure it’s in sync.
Do you produce music videos?
On that end I don’t actually do the hands-on. I have partners that I work with that are in that department. I’m learning as I go along in that field.
Do you look for outside songs for your artists?
I always outsource. I have a few writers that I work with. A lot of writers that come in with nice hooks already done, or full songs, they go in and demo it up.
How do you find new talent?
I go to a lot of showcases. A lot of it comes from word-of-mouth or friends that tell me ‘check out this person over here, he’s working with Jazzy Pha, he has a record out there.
It’s just about being in the network. It comes to me or I’ll be out and I look at it, and I just inquire about it. My first approach would always be ‘who is your manager?’

How valuable are the unsigned artist music showcases?
They’re very valuable. A lot of artists go from starting at the unsigned showcases and grow into being great artists.
I watched T-Rok’s career. I watched him go from different labels and get to where he is at this point.
How should unsigned acts present their material nowadays?

They need to put a little bit more money and time into their product. They need to make sure that they have the proper mixing. Because they are in competition.
If they don’t put it together the right proper way, then the next man has the superior product. And then they’re going to go ahead and spend a little money. So they have to get a job, pay for their studio time, and try to get a mighty mix on it.
I prefer every artist out there to take it to that level instead of waiting for someone to do it for them.

Do you advise artists to think outside the box?
It’s a worldwide business. National and international. You have to be focused on the bigger picture instead of small.
Once you’re in a small rural area, go ahead on and make your name, because it starts at home first. Once you do that then you have to go outside the box. Then you have to travel and you have to meet people.

If you could dramatically change some aspect of the music industry, what would you do?
I would put all artists into development for at least a six months period.
What kinds of artists would you like too see gain more popularity?
I don’t have a specific kind. I want everybody doing what they’re doing in the music business who love the music industry, to just give it 100% and believe in what they’re doing. And just stay focused, regardless of what you’re doing specifically.
What’s the future for hip hop?
People understanding hip hop, understanding the business. Understand the culture of it.
What’s the future for PeachTree?
To be one of the No.1 labels that started independent and worked their way up to the top. I’m putting God first and foremost in front and in everything.
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Interview by Kimbel Bouwman