Publishing 101: Jim Jones & Max B


Nobody in Dipset thought Jimmy would be a rapper. No-one took his rapping career seriously, Cam, Duke, Dame, you name it. (Me,My Moms and Jimmy doesn’t count! )

Cam was writing all of Jimmys rhymes up until 2002. Jimmy starts writing his own material. He surprised people, and to be honest, he was very introspective, talked about some real life issues at times.

Jimmy finally signs a deal in 2004 with Koch Records. On My Way To Church does some good numbers, especially considering that Koch was an Independent label.

With the next album he gets an increase workload, getting high doesnt help either, so he uses some rhymes from his ByrdGang group every now and then. But the most frequent writer was Max B.

Max and Jimmy eventually have a dispute over several reasons, which I wont go into. He stops writing for Jimmy and leaves ByrdGang.

One mistake Max had made, was selling his publishing to Jim Jones for $9ooo. Ouch.

Jim Jones pretty much owns Max B. Truth hurts. Max B won’t make a cent off any of the records he wrote for Jimmy. One of them was a Gold selling single too. This isn’t a 50/50 split, this is 100% ownership of his material.This means that for $9000 Max had given Jim a revenue of  what I estimate to be over several million dollars.

I’m assuming this is what was a factor in stopping Max from moving to the big leagues,(Max B  is a good songwriter, he wrote a Gold single with no deal).There was interest shown from Konvict Muzik, G-Unit and at one point Cam’ron/Diplomat Records. (not to forget his court case).

Publishing is power. These 360 deals are designed to get even further in an artists pocket. Diddy was making money off Jada/Styles/Sheek up until 2005 I believe.

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About Harlem World

the BAWSE *ross grunt*

Posted on February 12, 2010, in Uncategorized. Bookmark the permalink. 2 Comments.

  1. Hey

    Fisrt off, I wanted to commend you on your blog. It’s a great site. I have a few questions and wanted to see if you could answer them:

    1. I’m a Lil Wayne fan, but I’ve always wondered about the ghostwriting accusations. Did Gillie really write the Carter I, because its sounds like Wayne started to improve on the Sqad Up mixtapes. The only thing that changed was his flow.

    2. You stated in an earlier post that Drake and Wayne sometimes trade whole verses. Do you have any examples?

    3. If you own your own publishing, how much can you make over the course of your life?

    • Hey Mike, thanks for reading.

      1) Rumor has it Gille wrote the Carter 1. This is untrue. He tutored Wayne while he was at Cash Money, gave him an improved flow, subject matter and put him onto some Philly slang. However, Gillie Da Kid was ghostwriting for Birdman for years. On the track, What Happened To That Boy, it was Gillie who wrote his verse. He wrote a lot of material there.

      2)There’s 2 examples, one was when Wayne used Drakes verse from Money To Blow at the 2008 VMA’s. The other was a freestyle 2 years ago, where Wayne uses a Drake verse.

      3) Publishing can have endless income streams. If a track of yours appeared in a film you could get a minimum of around $25000 just to licence it. If you had a top 40 single, it could potentially be millions. Theres so many avenues, look at DJ Hero and Def Jam Vendetta as an example.

      I hope this was of some help to you.

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