I found this record in my inbox when I woke up yesterday and figured it would be the talk of the town, as was the case when these 4 teamed up for the Swagga Like Us record a few months back.

I’m not sure if this is leaking slow, everybody’s on vacation or people really aren’t feeling the track (*raises hand*), but it hasn’t made much noise at all from what I’ve seen.

This is supposedly the newest record from Lil Wayne’s Rebirth album coming June 23rd.

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From AllHipHop.com

The man killed during a high-profile shooting at the Beverley Center in Beverley Hills, California today was Atlanta rapper Dolla, sources have confirmed with AllHipHop.com.

Dolla, born Roderick Anthony Burton II, hailed from East Atlanta and Los Angeles. He was signed to Akon’s Konvict Muzik imprint.

The rapper was shot and killed shortly after 3:00 PM near the La Cienga Boulevard entrance, after a fight between a group of individuals broke out.

Witnesses report that a woman was seen firing a handgun. Another source said a male suspect was arrested at Los Angeles International Airport as he attempted to board a flight.

Dolla was originally a member of Hip-Hop group Da Razkals Cru, before he landed a gig for Sean “Diddy” Combs as a model for Sean John.

Dolla had gained a buzz via his track “Who The Heck Is That?” which featured T-Pain and Tay Dizm.

The rapper was reportedly working on his debut solo album titled a Dolla & A Dream.

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Audio Download: Dolla “Make A Toast”

Shout Out to DJ Noodles for the track

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Borrowed from RapRadar because it appears this leak crashed their site.

I’ve finally liberated myself from the Compact Disc. I’m not just talking about purging some old discs that were laying around.  I literally got rid of every CD in my collection. It was a symbolic move for a forward thinker like me who works in the music industry.  While the most of the industry seems incapable of facing reality and letting these things go, I needed to cleanse myself of this hopelessly out-of-date product.

As a DJ, I did my best to avoid giving up vinyl. In the pre-Serato age of DJ technology, it was a pretty tough task to keep the record crates hot, especially as record labels began cutting down on their vinyl production before the music industry made a complete promotional shift to CDs and mp3s. Eventually, I had to cave when it became impossible to stay on top of current releases strictly using vinyl. I was also a little jealous of other DJs strolling into gigs with their entire set in a backpack, while I was still lugging record crates around town.

I still have my entire vinyl collection.

Parting with the CD is a lot different for me. I’ve really come to hate the things.

The CD represents everything that is wrong with the music industry today. While most labels are (finally) aware of the digital outlets available for music distribution, their business structure continues to revolve around consumer demand for these discs, evidenced by the fact that they still dump loads of money into marketing and producing them. Instead of focusing on how to survive in the digital age, labels are still trying to figure out new ways to dupe the consumer into buying these worthless discs.

Every week the release of Soundscan numbers makes my job more difficult because CD sales continue to decline. If an artist’s numbers come in and an album doesn’t meet label estimates, and they never meet label estimates, the label starts to wonder why the CD didn’t sell, especially with an artist who has a great online presence. Regardless of whether or not I was involved with the project, obtaining a budget from the label for their next project becomes much more difficult because of the misguided thought that a strong presence online is indicative of high consumer demand for an album.

In reality, there’s no correlation at all between an artist’s online presence and their ability to sell CDs. What the internet age has brought to the music industry is a closer relationship between artists and their fans. The rapport between artist and fan today was unimaginable just a few years ago and this is all due to the constant stream of information, media and personal interactions the internet provides. Fans have come to view themselves as friends to these artists, not just another fly-by-night supporter.

As strange as it may sound, I think the closeness of these relationships make it less likely that fans will buy an artist’s CD. The fan begins to feel as though all the marketing they’re seeing is for other people, the general public, those that don’t share the close relationship many of these fans feel are unique between them and that artist. This bond can arise from a simple comment left on a fan’s Myspace profile, a response to a message or in some cases a running dialogue with the artist. The fan comes to believe the artist isn’t possibly interested in their money and because most fans aren’t compelled to toss a friend $16 in exchange for something they don’t need, the same rules apply to the purchase of a CD.

There is one solution to this problem. Don’t view it as a problem at all. Today’s fans are not opposed to spending money on things like concert tickets, merchandise and pretty much anything that can be used to accessorize a cell phone. With the strong bonds formed through the internet, the artist is assured a much better chance of longevity in their career and can continue profiting in these areas long after their label stops supporting them. Generally, the artist is seeing better returns in areas outside of CD sales, so it’s in their best interest to keep a healthy online fan base, even if they don’t buy CDs.

The ideology that a “true fan” will spend upwards of $16 for a product they don’t need demonstrates the narcissism still inexplicably driving these labels, who are doomed if they continue working with these dated business models that obviously aren’t working.

As for me, I feel great in this new CD-less world I’ve created for myself, as I finally have an excuse to give the CD peddlers on 34th Street when I don’t buy their product: “No thanks. I stopped using them.”