come check out @tamarabubble find out more @smarterhiphop

Recently featured on Checkmate New York’s Artist Spotlight!

   (1) http://www.limelinx.com/files/bf70ff4d8233002b2b283681c8d33c98
              “Fever” – a free download link
(2) http://midwestmixtapes.com/2011/tamara-fever-single/
Tamara
FACEBOOK  http://www.facebook.com/TamaraBubble
TWITTER     http://www.twitter.com/TamaraBubble
YOUTUBE     http://www.youtube.com/TamaraMusicVEVO
WEB SITE     http://tamarabubble.wordpress.com/
REVERB        http://www.reverbnation.com/tamaramusic

                                                            BIO
PICTURE THE ULTIMATE BLEND OF POP, R&B AND JAZZ, SOUL AND HIP HOP.
MUSIC THAT DEFIES GENRE. DELIVERED WITH RAW VOCALS AND HEARTFELT EMOTION,
TAMARA CREATES TIMELESS HITS THAT WILL BE AROUND FOR YEARS TO COME.
In a world where emerging artists are constantly given advice to stay
in their lane and maintain creativity, Tamara has been granted a
permit to serve her soulful melodies to the masses on a platter of
music genres. She reigns in the independent music realm as the Pop,
R&B, Jazz and Hip-Hop singing sensation that has also been known to
spit a few bars, act and model.
Tamara was born in Brooklyn New York with a beautifully strong voice
that could easily pierce a rowdy crowd and calm them to listeners,
admirers even. As a youngster, she grew up singing background and
harmony on her church choir, but soon took the lead. Before long, she
began to take charge of more than the microphone with music
collaborations, songwriting for ASCAP and live performances at the
Apollo Theatre and Williamsburg music festival. Her strong stage
presence always left the crowd in tears because Tamara commands the
attention with her raw vocals and enticing melodies.
Her musical influences stem from legends and her songwriting concepts
are powerful, comical and sexy; attributes that keep her supporters
growing and take first-timers by storm. Tamara writes about love and
communication. She says what needs to be said telling more than both
sides of the story. She spares no feelings and literally steps on toes
as some of the lyrics in her songs suggest that the people involved
may ?get hurt?. There?s something to be said about an artist who can
passionately, yet playfully sing about a kitty cat and still manage to
connect with music lovers from eight months to 108 years of age.

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@LILTUNECHI ORLILWANYE drops selling 900,000 copies FIND OUT @SMARTERHIPHOP

There are very few names as synonymous with their art as Lil Wayne’s is with hip-hop. Since his 1999 debut solo album, Tha Block is Hot, Dwayne Carter has been one of the most consistently innovative — and consistently successful — rap artists in the history of the genre. His Tha CarterDedicationand Da Drought series of albums and mixtapes are deservedly considered some of the best in their respective categories, with astounding commercial success to match.
As we know, every artist has a point at which his or her career is clearly going downhill. Unfortunately, Mr. Carter has reached that point. Enter Tha Carter IV.
Lil Wayne’s content has always leaned more towards the type of drugs, women, and money influenced material that tends to resonate both with the casual fan and the hardcore hip-hop head. Of course, he wouldn’t be Weezy if a few overly-clever lines weren’t thrown in for good measure. Tha Carter IV starts off in classic form with “Intro,” where Wayne states that he’s “still running shit/I’m on my cardio.” Unfortunately, his creativity almost immediately loses momentum on the subsequent track, “Blunt Blowin,” where he drops this pitifully cheesy line: “All about my riches/My name should be Richard.” 
This kind of inconsistency remains constant for the duration of the album, and the pattern is sadly noticeable. The highlights of the album come from its many features; throughout the record’s running time, Carter tends to struggle on the tracks that lacks featured guests. This becomes alarming when one looks at the full feature list on the album: T-Pain, Tech N9ne, Andre 3000, Jadakiss, Rick Ross, Bun B, and Nas, amongst others. Perhaps Wayne is  leaning on the talents of his guests? 
A pleasant exception to this rule is “Nightmares of the Bottom,” a ballad that is very unusual for an artist like Carter. The track begins with the age-old cliché of being “lonely at the top,” but Carter adds the unusual aspect of fearing his inevitable demise in the music world, even acknowledging the promising class of younger artists saying, “I’m looking in my rearview, I see the world in it/I try to slow down and I get rear-ended.” This is a refreshing change of pace when compared to the rest of Carter’s material, which consists mainly of self-hype and tough talk. However, “She Will” and “So Special,” which feature Drake and John Legend respectively, are redemptive and arguable the best two songs on the album. Both songs feature tip-top verses from Birdman, Jr., and catchy hooks from the featured artists, showing that Weezy has mastered the tricky art of the collaborative song.
Another aspect of the album that cannot go unnoticed occurs in “It’s Good,” featuring Drake and Jadakiss. This song would be just another track on the album, but Carter decides to throw in a diss directed towards one of the best of all-time, Jay-Z. The diss comes as a surprise, seeing as Wayne and Jay have collaborated in the past and gotten along. There is an official story behind the diss, but it is clear that Carter needed a publicity stunt to try and reenter the top tier of hip-hop artists.
Tha Carter IV is not an album that will please diehard Lil Wayne fans, many of whom were disappointed by Carter’s quick foray into rock with Rebirth, and were looking for a great album to prove that good ol’ Weezy was back. This is not that album. However, if you’re a casual rap listener looking for a quick, easy listen, C4 is a solid-enough project that will get the job done — but not much more than that.

   Tha Carter IV