Needlz Sets Off Projects For Trina And 50 Cent

New Tracks With Talib Kweli, Lupe Fiasco, Rich Boy and more

New York, NY — Multi-platinum producer Needlz has enjoyed a number of recent successes, including his contributions to Platinum albums for Young Buck, Game, G-Unit and Ludacris. His work on 50 Cent’s monster album The Massacre, with over 4.6 million copies sold to date, has been highly regarded by fans and critics alike. An animated video for the Needlz-produced “Piggy Bank” is available on The Massacre re-release, and the song will be featured in 50 Cent’s upcoming film Get Rich Or Die Trying.

Needlz has an arsenal of new songs brewing with the likes of lyrical phenom Talib Kweli, Interscope’s highly-touted up-and-comer Rich Boy, Miami veteran Trick Daddy, and Def Jam’s youngest emcee Cory Gunz. Needlz’ track “Throw It Back”, a crunk duet with the Diamond Princess Trina and G-Unit’s Young Buck, is currently featured on Trina’s new album The Glamorest Life.

Lupe Fiasco, the Chicago newcomer who recently garnered some attention from his Kanye West collaboration “Touch The Sky” on the Late Registration LP, has been working with Needlz as well. The two recorded “Hurt Me Soul” and “Tilted” for Lupe’s upcoming Atlantic Records debut album Food & Liquor, and “Tilted” is also featured on the NBA Live 2006 video game.

In addition to his major label accomplishments, Needlz has been focusing on his own Dry Rain production company. He has been helping to develop fresh sounds for some emerging talent, namely the enigmatic Fight Klub battle champ Serius Jones. Between Needlz’ melodic beat mastery and Serius Jones’ incredible songwriting abilities, music fans can look forward to some true heat in 2006.

For more information on Needlz, go to www.tygereye.net/needlz
For interviews and press information, contact dove@tygereye.net

Needlz Bio
In his unassuming t-shirt digging in the crates with an Ipod permanently tucked in his pocket, it’s easy to assume that producer Khari “Needlz ” Cain is just your average guy harboring a guiltless obsession for vintage records. However, after you listen to his musical arsenal and take a look at his A-List clientele, it is clear that his unique sound has the hardiness of a veteran tastemaker.

Needlz challenges musical boundaries by carving out his own identity in today’s highly competitive market. His list of production credits resembles a musical collage of Hip Hop and R&B, morphing soulful textures to fit seamlessly with any artist he works with. His distinctive club-savvy style is malleable enough to transcend genres, labels, and categories, and has posed as the musical platform for a slew of industry heavyweights including 50 Cent, Jermaine Dupri, Fabolous, Nappy Roots, Redman, Ludacris, Young Buck, and Scarface.

The Lansing, Michigan native developed a love for music at an early age from his father, a jazz buff who kept John Coltrane and Charles Mingus in constant rotation. He absorbed Hip Hop sounds of the early ¬Ç√Ñ√≤90’s from artists like The Roots, WuTang, Mobb Deep, Snoop, Nas, Jay-Z, B.I.G and A Tribe Called Quest. “Everybody had their own style and feel when they came out, ” he says of the era. “Coming from the Midwest, I listened to everything from house to bass music, to East and West coast. Albums that really inspired me were Nas’ Illmatic, Souls of Mischief’s 93′ Till Infinity, Snoop’s Doggystyle and The Roots Illadelph Halflife. I miss that feeling albums like that gave me. ”

Inspired to leave his own mark on the musical scene, Needlz began deejaying. He packed up to attend Florida A&M University, where he became a permanent fixture at parties and local clubs. With a firm understanding of how to make crowds gravitate to the dance floor, Needlz fueled his passion to get behind the boards and make the hits. “I deejayed until the end of ¬Ç√Ñ√≤99 and picked up producing as a hobby, ” he explains. “I was in my room in college one day listening to the second Wu album, and it just hit me. I wasn’t really feeling school or the thought of working in corporate America, so from that day on I spent all of my energy on getting to New York to pursue a job working in the industry. ”

Needlz moved to New York to pursue a graduate degree in Music Business at NYU. He utilized an internship at Bad Boy Entertainment as a testing ground for his production talent, and caught the ear of former A&R executive Folayan Knight. Impressed by the infectious personality of Needlz’ tracks, Knight began to manage the young producer and helped usher his music into the industry spotlight. Needlz gained acclaim for the infectious single “Think Ya’ll Know ” from Fabolous’ 2003 mixtape album, More Street Dreams 2.

In 2004, Needlz’ signature high energy production brought him to the forefront of popular music with the debut single from Tennessee’s G-Unit member Young Buck entitled “Let Me In “. The vibrant track became an instant hit, helping to push Young Buck’s album, Straight Outta Ca$hville, to Platinum status. “Let Me In ” was also nominated for a 2004 Vibe Award for ¬Ç√Ñ√≤Street Anthem of the Year’.

2005 has been a landmark year for Needlz, with two tracks on the Coach Carter Soundtrack, “Piggy Bank” and “God Gave Me Style” on 50 Cent’s monster LP The Massacre, “Crack” for Cassidy’s album, I’m A Hustler, and “Throw It Back” for Trina’s The Glamorest Life LP. His songs appear in 50 Cent’s Bulletproof Music video game, and in 50’s feature film Get Rich Or Die Trying. Needlz also landed the television theme music for both BET’s Rap City: The Bassment, and MTV’s Sucker Free Sundays.

With an ever-growing arsenal of production skills and style, Needlz stays true to his own creative spirit. “When I sit down to make a beat, I always try to do something I haven’t done before, ” he says. “I rarely use the same drums and sounds – at the end of the day I just make beats that I like. I’m just fortunate that people seem to like the same things I do. ”

With the establishment of his production company, Dry Rain Entertainment, and a growing musical palette of singles garnering strong radio support, Needlz is forging his way into an elite circle of beat crafters. “So many artists feel that they have to have one street record, a club anthem, and a few radio tracks to make an album successful, ” he attests. “I want to create music that inspires artists to push beyond the boundaries of current music. You can’t create history just by replicating the past – you always have to keep pushing the needle forward. “

Be the first to comment

Leave a Reply

Your email address will not be published.


*