music ghostwriter from Ghost Writer, Inc. In 2020 and further.Request a
Our site contains ghostwriter music samples. Also articles and links. Such as within the pic of Big Pun. Not always rapper news a la Capital Punishment. This page dwells somewhat on the past. But it’s fully oriented to the future. Big Pun himself, fortuitously, has one – he is still around!!! Hire one of our Great Caesar’s Ghosts, and enter your own musical future. GWI will professionally ghostwrite you a few bars or an entire song. Or edit what you already have. Into shape so worthwhile, even Big Pun would have to admit it!
Contact us, we have plenty of rap and hip hop ghosts, country artists, traditional folk, rock, classical, funk R&B, all kinds of ghosts quite alive and well to serve your needs. Just ask for our ghostwriter music samples. We will supply you online with any needed previous work. Sometimes as a link to a portfolio page. In the genre you want us to be working in. But you must stick with your music services provider to get things accomplished. So be sure to show up when you contact us, and keep on showing up!
email@example.com (only one “w” in rainbowriting). Also 425.205.9707, West Coast Time, Seattle area. Weekday mornings and evenings best to call. Leave me a message or text anytime!
Ghostwriter music samples from quality affordable ghostwriters.
Come to GWI for your musical needs. Also for ghostwriter music samples. GWI can supply certain ones on request. We also do lyrics, film and video scores. Everything at reasonable, affordable rates! Come back to keep your ear on things!
Ghost Writer, Inc. offers: film and TV score writing and editing. Weed music, classical, rap, hip hop and urban sounds. Country western, 70’s ballads and more. We can arrange for any type of music ghost or editor you need. Just send us a few bars; we’ll complete your score. Possibly, starting with a brief sample! Based on what you already have. Depending on the amount of work involved.
Then we sign a contract, if the job warrants it. We are GWI’s professional music and lyrics ghosts, writers and editors. We take ONLY upfront payment during course of completion. This includes musical scores, bars, original lyrics and rewrites.
Ghostwriter Music Samples News
Photograph by Terence Patrick / CBS / Getty
Pardison Fontaine, who has written songs for Cardi B, Kanye West, and others, is now moving out of the shadows and releasing material under his own name.
The rise of Cardi B so dramatically remapped what success could look like in music that it’s difficult to recall the landscape that preceded her. In her wake, the possibilities for social-media celebrity, for genre melding, and for multilingual pop hits are greater than ever. But she also helped reshape hip-hop in more subtle ways. For one, she shifted the fraught dynamic between rap’s stars and the people toiling in their shadow.
When Cardi released her landmark début album, “Invasion of Privacy,” last year, she was frank about something that was usually verboten—the help that she’d received from songwriters, namely a slick-talking New York rapper named Pardison Fontaine (born Jordan Thorpe). In the lead-up to the album’s release, she did an interview with the veteran hip-hop radio host Ebro Darden, in which the two discussed “Be Careful,” a song that riffed on Lauryn Hill’s “Ex-Factor” and portrayed Cardi in a new, emotionally complex light. (Fontaine’s demo track of the song had already leaked online.) “My boy Pardison . . . I told him, ‘I really want this record. I want it for me,’ ” Cardi told Darden. Fontaine, she said, agreed. “Just make sure you kill it,” he told her.
Cardi B. and many other famous rappers are noted for their probable use of ghostwriters.
It was unusual for a star rapper to admit that someone else had written one of her most notable songs. From one angle, Cardi was just being savvy—discussing a taboo subject on her own terms before others could use it as a cudgel. But her confession was also jarring, because the song in question was such a potent expression of female pain. The track seemed specific to Cardi B and the circumstances of her highly publicized relationship with her now husband, Offset, a member of the Atlanta rap trio Migos.
Fontaine, whose name appears in the credits for twelve of the thirteen tracks on “Invasion of Privacy,” was clearly not just a sharp writer but someone who could, on a dime, inhabit the forces that define an artist’s persona. When Kanye West assembled a team of writers for his 2018 album, “Ye,” he specifically requested the presence of whoever had written a line that he especially loved on Cardi’s album: “I gotta stay out of Gucci / I’m finna run out of hangers,” from the song “Drip.” Fontaine flew to Wyoming, where the album was recorded, and gave West lyrics that he’d written about his daughter.
Rappers are finding looser attitudes regarding the use of music ghostwriters.
The resulting song, “Violent Crimes,” told the story of a man newly attuned to women’s experiences after becoming a father. Given the scrutiny leveled at someone like Drake—and countless others before him—after allegations that he’d used a ghostwriter, the freedom with which ghostwriters can now be celebrated marks a somewhat shocking shift. It’s a sign not just of loosening attitudes but of rap’s newfound place at the core of the pop mainstream. If rap is now pop, it’s only fitting that its songwriting resembles that of conventional pop hits.
These days, Fontaine is moving out of the shadows and releasing material under his own name. If he was effective as a ghostwriter because he could verbalize complex, sometimes morbid dynamics between men and women, his new material is simpler. “I’m the new LL,” he announces on “Shea Butter,” a song from his new album, “UNDER8ED.” The line deftly captures the role that he plays in his own music: a tough, measured, sweet-talking Casanova whose main concern is women—scorning them, seducing them, hyping them up. It’s no wonder that Fontaine could so effectively inhabit the mindset of Cardi B, given that he seems to spend much of his time thinking about her female peers.
Moving from ghostwriter to songwriter is a breeze for many music ghosts.
Fontaine is foremost a writer; style and sound come second. “UNDER8ED” is a polished, competent, but not especially innovative blend of New York and Atlanta street rap, of hypnotic trap and boom-bappy beats. One moment, Fontaine is introspective and humble. The next, he’s bombastic and cartoonish—as on “Shea Butter,” an immensely fun riff on Ol’ Dirty Bastard’s club classic “Shimmy Shimmy Ya.” Fontaine can find others’ voices with ease, but at times he struggles to locate his own point of view as a solo star.
Perhaps the most bracing moments of “UNDER8ED” are those that harness the brooding, contemplative energy of songs like Cardi’s “Be Careful” or West’s “Violent Crimes.” These moments also feel the most revealing. The album’s opener, “Not There Yet,” is a forceful announcement not of an arrival but of the insecurity of navigating the early stages of notoriety. “It’s crazy how you gotta be eager and patient,” he says. “You can’t work a regular job, cause, locally, you famous.”
There’s no more shame in music ghostwriting than there is in rap music itself nowadays.
Looking at Fontaine’s list of songwriting credits, it would seem that he’s already experiencing the comforts of success. But achieving adulation at the back of the house when you desire the authority of the front leads to a complex bind. (It’s also one that ghostwriters have not often experienced, given the secrecy that historically surrounded their work.) After he released “Ye,” West admitted that he had not written “Violent Crimes” and credited Fontaine publicly, on Twitter.
One imagines that West believed this nod of recognition would please Fontaine. Instead, Fontaine was exasperated—perhaps because he did not wish to be pigeonholed as a mere ghostwriter, or perhaps because of the confessional nature of the lyrics that he’d written about his daughter. “Nobody needed to know,” Fontaine told GQ last year. He wrote West, “That’s not what I do that for.”
His response suggested that the tradition of shame around ghostwriting didn’t just help the stars who’d accepted assistance. It also gave ghostwriters a kind of mask, the freedom to voice their innermost feelings in private. That mask might have helped generate music that felt fresh, frank, and true. What will be revealed once it’s slipped is still being sorted out.
Carrie Battan began contributing to The New Yorker in 2015 and became a staff writer in 2018.
End of Story for Today – ghostwriter music samples to be found directly below.
Ghost Writer Music Samples – Brief spooky fun!
SPOTLIGHT ON GHOSTWRITER MUSIC SAMPLES – MIC S., Kimbro AND ROTEM H. These are by no means all. We have dozens of other ghosts available.
Mic S., rap music and lyrics ghost writer and editor. His music is sweet, transcendental and symbolic of the urban ways of the rap community. His rates are affordable, the music is sophisticated street poetry at its finest. Hire him to make some bars happen! Immediately below, find three of his best songs:
This is Mic, and I am here to offer you the most affordable and best quality ghostwriting in the world! I am an industry talent scout/ A&R who can assist you with your project. I can duplicate any style, from classic like Tupac, Biggie, Nas, and Jay-Z to contemporary like Drake, Rick Ross, Gucci Mane, or Kendrick Lamar, etc…I can even write female styles like Cardi B, etc…My prices are aggressive compared to anyone else online or in the industry, reach out to me for a quick turnaround time for your project!
Here’s a sample from PUSH Audio, Kimbro – Everything (produced by Chris Prythm). New heat, a love story with a hip hop approach. We present this through the benefit of SoundCloud. We partner with PUSH Audio, and you can hire rap and other ghosts through Ghost Writer, Inc. via their auspices:
Rotem H. – music composer and soundtrack designer. He composes original soundtracks for movies, commercials, games, corporate videos etc. Contact Rotem through Ghost Writer, Inc. We can arrange discounted rates for your music, lyrics and other soundtrack work. He is also willing to provide more ghostwriter music samples if needed.
Here is Rotem’s work on the soundtrack for a very popular and selling new video game based on the 1970’s era Soviet Russian USSR. This is for work done in 2019:
Workers & Resources: Soviet Republic – video game by 3Division.
Rotem worked on the second half of the music for this animated film.
Hire GWI – you get better rates for 2020 and 2021!