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Reservoir Media, Inc. today announced a new publishing deal with Diamond-selling songwriter-producer Fred Ball to publish his future works.

Based in London, Ball is a songwriter and producer whose catalog has garnered billions of global streams to date. Throughout his career, Ball has collaborated with some of the industry’s biggest artists including Beyoncé, Jay-Z, Eminem, Alicia Keys, Madonna, Mariah Carey, Madison Beer, Olivia Dean, Zara Larsson, and RAYE, among others. He has contributed to five Grammy nominations, including the Grammy Award-winning album Everything Is Love by Beyoncé and Jay-Z.

Ball is best known for co-writing and co-producing Rihanna’s RIAA-certified Diamond single “Love On The Brain,” which peaked at #5 on the Billboard Hot 100. Billboard also named it the most influential pop single of 2017 and ranked Ball #8 on its Hot 100 Top 10 Producers list that same year. “Love On The Brain” has since exceeded 2.2 billion streams on Spotify alone.

Ball’s other notable credits include “713,” “Friends,” and “Heard About Us” off the previously mentioned Everything Is Love; “Nice Guy” featuring Jessie Reyez off Eminem’s #1 album Kamikaze; “One Mo’ Gen” off Mariah Carey’s critically acclaimed album Caution; and “Dientes” by J Balvin, Usher, and DJ Khaled, which reached #1 on the Latin Airplay chart. He continues to be an in-demand collaborator for top-tier artists.

On signing with Reservoir, Ball said, “I’m so excited to be joining the Reservoir family. Their belief in my music and commitment to artistry made this an easy decision, and I can’t wait to see what we can build together.”

Reservoir Senior Creative Manager Russell Hunt also added, “Fred is a world class songwriter and producer whose talent, craft, and dedication have gained him commercial and critical success across several genres and markets. He has contributed to some of the most globally influential records of the past decade and more, and he continues to work with top-tier artists worldwide. We are thrilled and honored to support him as he adds to his ever-growing success.”

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Rod Wave earns his fourth No. 1 album on the Billboard 200 chart as Don’t Look Down debuts atop the list dated Sept. 12. The set earned 99,000 equivalent album units in the United States in its first week, ending Sept. 3, according to Luminate, largely driven by streaming activity. He previously led the list with Nostalgia (in 2023), Beautiful Mind (2022) and SoulFly (2021).

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 2,500 ad-supported or 1,000 paid/subscription on-demand official audio and video streams generated by songs from an album.

Of Don’t Look Down’s 99,000 first-week equivalent album units, SEA units comprise 90,000 (equaling 95.07 million on-demand official streams of the set’s songs — it debuts at No. 1 on the Top Streaming Albums chart), album sales comprise 9,000 (it debuts at No. 13 on Top Album Sales) and TEA units comprise a negligible sum.

The album was released as a 20-track standard, widely available CD and vinyl LP, alongside an expanded 24-track digital download and streaming edition. For its physical release, it was issued across six vinyl variants (including two signed editions) and two CD variants (one signed).

Don’t Look Down was preceded by a trio of top 40-charted titles on Billboard’s Hot R&B/Hip-Hop Songs chart: “Hustle” (No. 13 peak in August), “Piece of Your Love” (No. 24 in July) and “Feed the Streets” (No. 33 in February).

Don’t Look Down marks the singer-rapper’s eighth top 10-charted project on the Billboard 200, comprising the entirety of his charted titles. His first top 10 came with Ghetto Gospel in 2019, peaking at No. 10 that November.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published. S: Billboard

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Produced by: Genre & S Class

Directed, Filmed & Edited by: Gifted Glitch – courtesy of The Revindicated.

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Directed by New High Filmz
from the album : BETTER THAN MCDONALDS

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prod. Flying Lotus

Verse One (YOD)

ayo i sit back, sip jack, room on pitch black
get stacks, think back to who I bitch smacked
retract nothing, all i do is spit facts
y’all don’t get that cuz you ain’t live that
They tryna go tit for tat, that shit wack
Most cats just mad cuz i don’t chit chat
what type of shit is that? What is this preschool?
I gotta socialize to be cool? Why I hate talking to y’all
if we gotta speak regularly to not be enemies
I ain’t talking at all
G’head and hate me,
G*n off safety
The gist of this is “What have you done for me lately?”
They start talking crazy then it’s time bid adieu
it’s not all the things you did but the last thing you didn’t do

Pre-Chorus
If they thought you were goof, but you knew the truth
It wouldn’t bother you, now, would it? (uh-uh)
if they said you were broke, but you swimming in mad dough
It wouldn’t bother you, now, would it? (naw)
If they thought you were gay, but you in c**chie all day
It wouldn’t bother you, now would it? (not at all)
I just go ‘bout my day
Blocking out what haters say is one of those things that I’m good at

Chorus (YOD + GAM)
I don’t care what people say
(I don’t care what they say)
X4

GAM: I just stay out the way, Papier-mâché, tirade like a charade to me

Verse Two (YOD)

Ayo I lay low, same clothes, look like J Cole
Evade those a-holes they all on Pay Roll
Grateful dead sh*t my fanbase faithful
We see more engagement than J Lo
Leave my Opps in the past, i just get the bag and never worry
I’ll talk to you on the 31st of Neveruary
Stephen Curry, on finger I wear the ice
Haters just mad I ain’t wanna take their advice
vacation where it’s nice
But no matter where you go, they got mosquitos in paradise
Get heavy play
If the trade for living major is some haters then you make that trade everyday
Give a damn what my enemies say
How you Tryna please someone who gon hate you anyway

Pre-Chorus
If they thought you were goof, but you knew the truth
It wouldn’t bother you, now, would it? (uh-uh)
if they said you were broke, but you swimming in mad dough
It wouldn’t bother you, now, would it? (naw)
If they thought you were gay, but you in c**chie all day
It wouldn’t bother you, now would it? (not at all)
I just go ‘bout my day
Blocking out what haters say is one of those things that I’m good at

Chorus (YOD + GAM)
I don’t care what people say
(I don’t care what they say)
X4
GAM: I just stay out the way, Papier-mâché, tirade like a charade to me

BRIDGE / OUTRO (GAM + YOD)
I Never Cared about these people that always talk about people and Never ideas
I don’t care what they say
(I don’t care what they say)
I don’t care what they say
(I Don’t Care what they say)
I don’t care what they say
It’s not up to them how my day will go
I don’t care(I don’t care what they say)
I don’t care what they say
I don’t care
(I don’t care what they say)
I don’t care what people say
I don’t care what people say

Outro talking:
I know who I am, I know what I do, I don’t need you to tell me about myself
I’d rather go to a professional, and even then they might not get it right.

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Songwriting & Lyrics by Don Frost
Produced by Txmmy Beats

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Cory Gunz and OT The Real deliver hard-hitting East Coast street bars, channeling the classic 1990s boom-bap era with heavy props to Group Home’s 1995 DJ Premier-produced classic Livin’ Proof.

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Singer Shay Lia and Grammy Award-winning producer KAYTRANADA reunite once more for new single “SO GOOD” that is out today via RCA Records and KAYTRANADA’s new imprint Stand Up Guy Records. The song follows a string of iconic collaborations from the Montreal artists, including their breakout “LEAVE ME ALONE” from KAYTRANADA’s debut album 99.9%, 2018 single “CHANCES” and “Blue,” a standout from Shay Lia’s 2019 EP Dangerous.

Now, after a nearly 7 year wait, the two reunite once more for a single that perfectly encapsulates their effortless chemistry. “SO GOOD” features the signature swing that has become a hallmark of KAYTRANADA’s production over the course of his career and Shay Lia’s sultry vocals that naturally complement the song’s production. The song arrives on the heels of KAYTRANADA’s EU/UK headline tour earlier this summer and marks Lia’s first single of 2026.

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Written by Blu (except features)
Produced by Sndtrak
Mixed & Mastered by C Sik
Artwork by Dewey Saunders

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Producer: Huss

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Independent hip-hop artist Baron Von Alias has officially released his latest single, “Lost In Translation,” featuring certified hip-hop royalty Keith Murray and Tash of The Alkaholiks. The hard-hitting new track is now available on all major streaming platforms.

Produced by Steesh, the track delivers a distinct West Coast bounce that immediately sets a nostalgic yet revitalized tone. This heavy sonic backdrop inspired Keith Murray’s commanding opening line—a direct nod to The Notorious B.I.G.’s classic “Going Back to Cali.” Mirroring that legendary vibe, the track incorporates signature talkbox vocals alongside the amazing cutting skills of DJ A.D.S. By combining these core, fundamental hip hop elements, the track successfully captures a nostalgic yet thoroughly current vibe.

The title, “Lost In Translation,” carries a dual meaning for the artists. It explores how words and conversations easily break down and get confused in the modern world. At the same time, it serves as a metaphor for time travel and getting lost within the music industry—reflecting on artists who get left in the past by failing to keep up with current styles, trends, and the fast-moving digital landscape.

“The West Coast energy Steesh brought to the production immediately demanded something classic,” says Baron Von Alias. “Having icons like Keith Murray and Tash jump on the verses, combined with DJ A.D.S. bringing back those fundamental cutting skills, really locked in the vision. We wanted to tackle that feeling of being caught between eras, where you risk getting lost in the shuffle if you don’t stay true to the craft while evolving.”

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