"Up To Somethin (featuring C-Mo)" genre: Hip Hop
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	This track is set-up sort of like a movie. The story begins with a phone message and ends with guns drawn on the streets of Detroit. For the most part, the verses cover the general concept of being "up to somethin", seemingly unaware (but actually undercover) about what's going on around them. The plot is vague, giving the listener a sense of what's happening without giving too many details. That dark tone is high-lighted by the suspenseful beat (marked with gloomy bass, sneaky drums and a grimey guitar), which I composed myself, perfecting every detail until it sounded exactly how I wanted (which can also be said about the whole track). At about 3:26, the beat literally transforms, transcending the entire mood as the plot thickens, giving the track a feel of criminal elegance (imagine a movie where you want the bad guys to come out on top). A simple (yet melodiously effective) piano melody is the cue as C-Mo arrives at the location to the sound of a blaring alarm system, as planned. Other than the hooks, he doesn't officially grab the mic until he's already out of the car, making his way around to the side door. That's when it all goes down. By the end of the story, a valuable lesson has been taught, providing an answer to the question of whether or not crime pays.
	CD: www.marcellee.com   Label: www.marcellee.com Credits: Marcel Lee (featuring C-Mo)
	Story Behind the Song This track is set-up sort of like a movie. The story begins with a phone message and ends with guns drawn on the streets of Detroit. For the most part, the verses cover the general concept of being "up to somethin", seemingly unaware (but actually undercover) about what's going on around them. The plot is vague, giving the listener a sense of what's happening without giving too many details. That dark tone is high-lighted by the suspenseful beat (marked with gloomy bass, sneaky drums and a grimey guitar), which I composed myself, perfecting every detail until it sounded exactly how I wanted (which can also be said about the whole track). At about 3:26, the beat literally transforms, transcending the entire mood as the plot thickens, giving the track a feel of criminal elegance (imagine a movie where you want the bad guys to come out on top). A simple (yet melodiously effective) piano melody is the cue as C-Mo arrives at the location to the sound of a blaring alarm system, as planned. Other than the hooks, he doesn't officially grab the mic until he's already out of the car, making his way around to the side door. That's when it all goes down. By the end of the story, a valuable lesson has been taught, providing an answer to the question of whether or not crime pays.

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