Every time I look there is a new producer or rapper coming out of Atlanta and there always making a wave whether it be short or long-lived the music is making an impact. There’s so much new music coming out of Atlanta it’s hard to pay attention to all of it.

One rapper coming out of the city that you should get familiar with is 21-year-old Jaye Newton. The young rapper already has 4 projects under his belt and has already started building a buzz for himself. It wasn’t until his most recent project A Quarter Till 9 though, that he began gaining some notoriety. Now the ATLien is back with his new album Real Men Wear Pink (shout out to Cam’ron) along with business partner and producer Bossman. The 14 track project finds Jaye handling most of the work with some help from CLEOTRVPPV and J. Lights. The production is handled by Bossman with the exception of “Salsa Witcha Mama” which is produced by JaqueBeatz.

With influences ranging from Tupac to Aaliyah, Jaye continues to break down musical boundaries with this project combining a mix of hip-hop, trap, soul, gospel, and R&B. He even flexes his vocals on a few tracks. Overall he delivers a great project which conatains no filler and has a song for whatever mood your in. Jaye and Bossman are becoming one killer duo and this project is a testament to that.

Stream Real Men Wear Pink below and check out Jaye’s track by track breakdown as well.

We begin creating “Waltz With Me” the beginning of July. Bossman and I have a fascination with songs in 3/4 time so we decided to create another one just off of the strength of the one we created previously Drifting. We were at Bossman crib as we waited to move into our new apartment. He began playing the strings and I instantly felt words pour out. I always ask God to give me the words to say on the right instrumentation and that’s what happened with the first verse. It was me pretty much summarizing my career up until that time. My thoughts and just wondering how deep does people love for our music run and can it stand the test of time to everyone, not just my city. The second verse I wanted to speak on a previous relationship I was in were I felt we were great together just at the wrong time and through that we were never really able to recover the friendship from it which is one thing I missed, so I talked to her that verse and said what I felt there since I knew she will hear.

 

For “Don’t Save Em” I was down in Statesboro with the homies since Bossman went there at the time and it started as just a joke. My homegirl Shena began singing it when Boss played some random chords and Instantly everyone in the room followed. That happened before my last project “A Quarter til 9” came out in 2016. Fast forward to the top of 2017 I was back down at Statesboro in Bossman’s dorm and he played some smooth chords with the same electrical piano he played the first time on and that hook instantly popped back in my head from Shena. I am very reflective and honest in my music so if I say it, it happened so the first verse flowed out easily since I could relate to the hook. The second verse was me being conscious of my fan demographic and following and giving women a verse they can recite about no good niggas. I wanted to strip the term hoe from solely being a term towards women and opening the door up to having it be a unisex term towards anyone who acts in that light. I was nervous putting it out because of how I feel it can be misconceived but I would love to start up the dialogue.

 

“Shoot Your Shot Interlude” is probably the oldest beat on the project. We’ve had that song since 2014. Originally it was called Like I Do and I wanted to feature YungBabyTate on it. (Footage of the first verse can be found on my IG around the top of 2015) and Bossman hated that beat after he made it. We usually fight over keeping or dropping song because Boss gets tired of beats fast but I was so passionate about keeping it so I had to legit give him a hat and promise to rewrite it so it sounds new to keep it. No one knows this but the song was written a day after I saw Nai Br.XX perform for the first time at A3C. I was so at aww and speechless watching her that song is what I would have said if I didn’t freeze up when I met her for the first time there.

 

“Salsa Witcha Mama” came from me Bossman & JAQUEBEATZ chilling in the studio. We were just laughing and joking around like we always do and JAQUEBEATZ was making that beat in the background and at the time I think we saw one of our friends fine Mama’s on IG and there was a Sombrero in the studio at the time and I think Bossman was the first to say Salsa and Mama. From there I was like “I wanna Salsa Witcha Mama ayeeee yeaaaa” and the rest is history. Probably the fastest song I wrote ever lol.


“Liquid Courage”
is another of the older takes from the album I wrote that song 2015, the end of my freshman about a girl I won’t name here outta respect but my experiences with her during that time. She introduced me to alcohol since she’s 2 years older than me and that song is just the soundtrack to my life second semester freshman year. Me and Boss back in 2015 used to record at this studio on the eastside and almost signed a faulty deal to a guy who wanted to manage us at the time but decided not to because we fell out when it was time to. This was originally recorded up there and meant to be out in 2015 but after all of that bossman hated the song cause it reminded him of that time. I always loved the song though and the meaning so I again fought for this song to see the light of day and I’m glad it did. It’s super vivid and I hope the music video to it does it justice seeing and feeling how I felt fully.

 

“Relate” was created mid-July as well. This summer had to be the worst summer of our lives almost everything went wrong at the time. I got a hit and run accident, my phone was broke for months, rent was due & I was dead broke so I was just in a bad space. Because my phone wasn’t working people thought I was fake or curving them on purpose which was not the case and it was this huge resurgence of people clout thirsty and trapping during this time . I wanted something that matched this energy and Boss painted that with the drums he dropped and knocked that out in his room back home. I wanted it to an anthem for my hometown Ellenwood GA and a response to all the flex/stunt rap out.

 

“Quit Frontin” was one of the first songs created at me and Bossman apartment. We just built a studio so we wouldn’t have to go anywhere else and we wanted a playful fun sounding song that had a good bounce to it but was also open beat wise. Hearing the song made me think about if I had a cartoon about my love life. It’s not the most prosperous lmao. That’s why I take on many characters when rapping and switch my flow like I do. It’s animated. I channeled every girl in my life I wanted at the time that I had to fight to impress or show I was better than her man. I’m not a home wrecker but I will home wreck if I feel the girl is worth it and her man isn’t. So this is the anthem for the home wreckers lmfao.

“Bobby” was the second to last song we created and we pushed so close to the deadline. It was written and recorded September 2nd. Boss and I knew we needed one more upbeat song so the project won’t be Take Care 2 lol. We made a pact that if we didn’t finish by the deadline of September 3rd it would not be on the project. I am very humble but on this song, I wanted to be a lil cocky and let people know that I see my self as being one of the greatest writers not only in my city but period. Looking at this album there are so many hits in my eyes I felt I had the Midas touch so it’s written that way. We laid the verses down but had no clue where to go for the hook. I took a break and went to go DJ a party on the southside. As I was driving I just happen to think about a video that went viral of Bobby Brown dropping a vial of coke while performing at an award show in 91′. Almost instantly I was like “I dropped that crack like Bobby Brown.” I built around it and brought it to the Boss he thought it was just alright and told me a cadence he had in mind and after arguing a lil we compromised and used both lol. I had the homie BOREGARD pull up to drop his ad-libs on it because he’s the GOAT with adlibs and I wanted my official DJ Cleotrvppv to open it.

 

“Paparazzi” is from the early cut of the album. Originally I wanted to make a funk album with songs like this which would have made the project drop earlier in the summer but then Calvin Harris announced his project and I didn’t want to seem like I was biting that wave so it forced us to kinda reset the direction. It was created during a trip me and JAQUEBEATZ took to Georgia Southern to see Bossman. That weekend I was there we made 3 songs and that was one of them. It was the top of 2017, I had a show almost every weekend and this song felt like the backdrop to that. Everywhere I went someone would notice me and put me on their Snapchat and it made me feel like I was getting followed like TMZ but on a local scale so I wrote with that in mind. Bossman produced the foundation of the track which was the drums/percussion and sound. Jaque came in and recorded me and added the extra sauce to the track with the keys and engineering. My lil homie Anna D was in the studio with us when we created it and I thought it was cool if she said Paparazzi in between the breaks and when she did I felt it took the song over the top just her voice it reminded me of the flashing lights sample from Kanye (which is why I also had her say that as well.)

 

“Drifting” is one of my favorite songs I’ve ever written just off the honesty and Relatability. This song is written in the perspective of a man and a woman in a relationship. The man is out pursuing his dreams, live his life and busy majority of the time. Meanwhile, he is someone that home who is not as busy but longs for his attention and his time. I just found this to be the story of my love life too often to not talk about on my album. The emotion was brought out when bossman introduces me to the track with Nadia on the sample. Words just poured out of me as I try to explain myself and my side of the story will also put myself in the woman’s shoes in understanding her perspective. We recorded this song a little before “A Quarter Til 9” dropped. I knew it was too special to just throw out so I held on until it was time. Throughout the course of my life, I’ve come across many girls that I feel are great women and I could see a future with however the timing was wrong and I didn’t feel they were ready for my lifestyle and I wasn’t ready to share my ambition with a relationship. It’s a common theme in this season of my life I see. Of course, I long for love and want to ultimately be with someone perfect for me but I just feel I’m too selfish with my time to share it right now. But who knows maybe someone could balance me out. The sample of the girl is one of my close friends Kayla P. Originally I just wanted her to rap the last few bars because I didn’t know whether or not the audience would pick up on the fact that the second verse is not from me it is from her. She knocked it out with ease and afterward Bossman had a conversation with us about being brutally honest and uncomfortable. Wearing my heart on my sleeve is important to my music so I always want to be authentic with my audience so when it came to the name drop I was reluctant to add it since we are in a great space right now and I didn’t want anyone that knows her to approach her but I had to make a decision I felt would mean something long-term musically. Bossman took out the end of the beat and play those beautiful chords which really put a cherry on top.

“Seasons pt. 1” was written in a space of time when I was dealing with the fact that I chased after this one girl so strong for years , helped influence her break up with her long-term boyfriend, started talking to her, was at the peak of happiness, people got in our ear and heads, we mutually decided to take a break from each other only for me to see her ex-comment under one of her pics the next day my timepiece. I felt betrayed, played and lied to so I fell all the way back from her one semester and these words were a by-product of that time. It’s a great bookmark when I look back because the words are super honest and I vented it all out on that track. Play the song and it pretty much breaks the emotion down.

 

“Intermission From Cleo” was the last song recorded for the album. It was originally Seasons pt. 2 it had no singing on it and was just the Interlude just playing as a bridge in between songs but with Cleotrvppv in the studio, that day and me knowing she could sing before anyone else really knew I wanted to low-key debut that to the world with this. Her and boss were working on it while I and BOREGARD were going over the salsa remix and they were stuck on what to say. I sat with Cleo and we talked for a few and in between talking I wrote what she song because it was a direct reflection of what we feel personally in life. I remember the homie Michael Aristotle putting an Instagram caption up saying something along the lines of man I just realized I will be doing this for the rest of my life. So that’s what I meant by this is the life I choose. I also was inspired by the homie Se7en. I can’t remember when but we talked about how we want this forever and we don’t want to work 9-5s for the rest of our lives. I think this song is a great climax in the album and one of my favorites on the project. Thank you, Cleo .

 

“Days Like This” was made in July during our terrible summer. Bossman and I always talk about samples and how we feel a lot of people are dependent on them. We basically wanted to create a project and sound you can sample later so we pulled from this era and studied the sound of New Jack to make this. Once the foundation was made I knew this song would be crazy. It was originally meant to be the intro to a separate EP that grew up to be half the album. I wrote the hook and immediately knew I needed J. Lights on it. He’s one of the most talented singers I’ve ever witnessed so his vocals put the song over the top. The song was the perfect soundtrack to that day as well. J Lights had a terrible summer as well so it just hit home for all of us.

 

“Vacay” was made the same trip as Paparazzi. I remember it was like 6:15 when that beat was made, we had been up all night. It was just the loop of the wavy sound and the drums. The next night I think I was the only one up and they left me with all the beats that were made including Paparazzi and I just wrote to all of them throughout the night. Vacay meant something to me. The song was me talking about getting away from the world and just being on an Island with a love one where no bs could find me. Vacay is a metaphor for a girl also where I felt I needed or longed for someone who could give me that feeling of an escape from reality so I wrote it as such. I wanted to do something different and use heavy distorted autotune because I felt it painted that feeling equally. JAQUEBEATZ brought the beat to life with all the added instrumentation and engineering. We had a choir in for JAQUEBEATZ album and we were like why not use them for this as well. Anna D is draped in the background as well in reverse. The way it sounds we always knew it’ll be the outro just didn’t know what project.