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[FEATURES][ARCHIVES] Michel'le: For the Love of Music [September, 2010]

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Music has made quite a metamorphosis over the years. Growing up an avid music fan, we’ve all been a witness to the many twists and turns of the industry that have pushed a lot of the best artists and musicians away. More recently, we’ve seem a number of artists from more than 10 and 20 years ago making their way back into the world of music.

 

Think back just over 20 years ago to 1989. Michel’le was one of the most popular artists of that day and time. Hits like “Something in My Heart”, “Nicety” (A humorous combo of Nice and Nasty), and the all-out smash “No More Lies” solidified her as a staple in R&B history. Even a year before, she was well on her way to becoming a household name due to the single “Turn Off The Lights” with World Class Wreckin’ Cru’.

 

Following her immediate success, she took some time away to live life, returning in 1998 with a new album. Following this release, se opted for a little more living away from music. Of course, she’s quite the family woman, so there’s so much more that she has to do. Since ’98, she’s not only spent her time raising her children, but there’s also a book in the works, and so many other things that she’s ready to share with the world.

 

The return of Michel’le is surely a good sign for music. It’s solid proof that things are taking a turn for the better. The standards of music have taken a nosedive over time, and Michel’le just may be one of the artists to bring some of those standards back. In our talks tonight, she is no less than thrilled to be talking, and doing what she loves. No matter how many artists you hear say “I Love Making Music”, many are lying. Truth is, they hate it and it’s just a check to them. With Michel’le, it’s quite the contrary. Check our exclusive below to see just what she has in store!

 

Urban Connectionz Online: Thank you so much for taking the time out to talk to me tonight.

 

Michel’le: Oh, I should be saying the same thing to you

 

Urban connectionz Online: It’s such an honor talking to you. I still listen to you with World Class Wreckin Cru on Turn Off The lights. What feeling does it give you to know that people know and love your classics?

 

Michel’le: Well, it’s something that I saw when I first started singing. Thinking back to when I was doing an interview when I was 17, I remember I said that I wanted to be remembered. I believe that I manifested that

 

Urban Connectionz Online: Well before we really get down to business, tell me about your holiday and what you did?

 

Michel’le: Well actually, I went to do a show in St. Louis, so I was working. Eating a little barbecue….

 

Urban Connectionz Online: I think a lot of people are wondering, why a new album after more than a decade since your last? Many artists who are gone for as long as you’ve been away typically stay away, or find another love I should say. What inspired you to come back to us?

 

Michel’le: Wow. I don’t know. Why go away from something you love. I desire this. I figured when I have something to say, I will do it. It’s not a  career for me. I love to do this. I did it back then because I love it, and that’s why I have no competitive drive. Honestly, it doesn’t feel like I’ve missed a beat while I was away. To me, it’s all about being able to write a song. A six year old can write a hit. And also, there’s so many things that people do in their lives. I think it’s crazy to think someone would only be an artist. You can do so many other things

 

Urban Connectonz Online: What goes on in life when you’re absent from music for more than 10 years? That’s a whole lot of livin to do away from your fans, right?

 

Michel’le: Well, I have a family, and I’m single. I take voiceover classes, I’m writing a book, and I’m just enjoying life. I’m free now. I’ve been enjoying it. Just that freedom. It’s just like when you just get out of high school and you think, “What am I going to do?”. I know now. I’m ready to say what I have to say.

 

 

Urban Connectionz Online: How does it feel, coming back into the game, given how much things have changed since you have been away?

 

Michel’le: I think music is like a movie. When you come out with something that touches, they respond. When I first started, I sounded like nothing out there. It’s the same thing to me. If you have something they can relate to, they will. Music is just like movies, and actors putting out lots of different movies. They do so much, and then they do that one movie that everybody responds to.

 

Urban Connectionz Online: Do you feel the pressure to conform, or to fit in, almost like a new artist?

 

Michel’le: There is no pressure at all. I’m not a competitive person. If I became competitive, I would be cookie-cutter like so many other people.

 

Urban Connectionz Online: So I wanna hear about the new material that you’ve been putting together. Talk to me about the place of mind you’re in when you’re creating, and how it compares back to when you were making hits like “No More Lies”, “Nicety”, and “Something In My Heart”.

 

Michel’le: From those titles, I was a little angry and bitter. I think now I am writing from a different place. From wisdom, things I wanna manifest, instead of always having that anger. I think that now because I understand cause and effect in life, I write better. Back then, I was saying everything that I looked at in myself.. I view both sides better now. I’m doing singles. I’m three or four singles in. Everything sounds different.

 

Urban Connectionz Online: Now you’ve obviously been performing quite a bit over the past year or so. Back in December, you performed at Nokia Theater in LA with the likes of Robin Thicke, India Arie, Stevie Wonder, and so on. What was it like to be in the company of such greats, and to be back in that circle, so to speak?

 

Michel’le: And the Jonas Brothers. I’m such a sponge. I think getting and being in it, I can absorb the way I want. But I learn so much now, as opposed to then, that was a dream with Stevie though.

 

Urban Connectionz Online: How receptive have your peers been with you returning to music?

 

Michel’le: So far so good. Everyone is receptive. Even with those that aren’t, I have not met it yet. But I understand where they come from when someone does not know you or like you, you always have to look at yourself. I don’t take it personal. I never have. But I haven’t had that problem. 90% of the time, they don’t know what I’m about

 

Urban Connectionz Online: Are there any final comments for you? Anything you truly wanted to touch on?

 

Michel’le: Just that “Freedom to Love” is available on iTunes, and just, with my energy, I really wanna spread love. I’ve been on both sides of the tracks, and been underneath the train. Love is all there is. Visit me on Facebook, and at www.michel-le2010.com

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[FEATURES][ARCHIVES] Hoodstars: Starting Over [January, 2011]

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What better way to re-introduce ourselves to the masses than with an interview from a group who, themselves, are sort of re-introducing themselves to the masses. Any hip-hop fan on the west coast knows exactly what Hoodstars have brought to the table. Formerly known as Dem Hoodstars, they’ve spent a number of years culminating their craft and delivering their gifts on their own terms in Hip-Hop.

 

While so many others are following the latest craze and doing what’s hot for the moment, Band-Aide and Scoot have worked hard to make their own way in this business. All that hard work nearly proved pointless, after an indictment and a gang or rumors and negative press almost silenced their careers. Now, nearly two-years beyond the aftermath, Band-Aid and Scoot have risen above it all to resume their careers just where they left off.

 

Take a ride with us through this exclusive where they give us a play by play of what it’s been like nearly starting fresh. Here, you’ll get a bit of the beginning days leading up to the indictment, and all that has followed since then.

 

Urban Connectionz Online: Thanks so much for the time you all are taking today for this interview. I appreciate you guys more than you could ever know….

 

Hoodstars: Oh yea, thank you too

 

Urban Connectionz Online: So first off, talk to readers about how you all came together as a unit, and what brought you all to this current point?

 

Hoodstars: we grew up together as kids. We’ve been rapping together for years. Around 04, and 05, Band Aide was coming home, and I was doing my solo thing. We decided to come together as a group. But we’ve been doing this since junior high school.

 

Urban Connectionz Online: So you released “Controversy” back in October. Talk a little bit about that album, the process of making it, and how all of the rumors and things tied into that album?

 

Hoodstars: We was making this album before, until we had an interruption. It came about in 2008. I got indicted in 2009. That went until June 2010. We put a lot of new joints on there after that, about my incarceration and all we went through. Just real life situations. Whether we feeling good, in the club, having a good time, or dealing with relationships, even different situations. Homies getting locked up. Just situations from the hood, in general, it’s something for everybody.

 

UC: How difficult was it to come out of your situation, and get right back into recording? How were you able to pick up where you left off?

 

Hoodstars: It was really easy. This is our life. Scoot grew up where he was in the top 5 of the Bay area. It was just about time in getting it done. We did 2 albums in 6 months. Streets album with DJ Fresh, Then we dropped “Controversy”. We’re working on 4 to 5 albums now. Mixtapes and street albums.

 

Urban Connectionz Online: What did you all learn in the recording of your previous material that proved helpful in the creative process for this latest work?

 

Hoodstars: One thing we learned is everything you say, you got to be ready to face that. We were put under a microscope. I can’t say it was good, but we learned a lot from it. We know the consequences now. A lot of these niggas is real fake. Be careful what you say. We was real responsible. It ain’t what you do, but how you do it.

 

Urban Connectionz Online: The buzz around the lead single with David Banner seemed really good. Did you receive the type of response that you were looking for?

 

Hoodstars: We always, with any entertainer, rapper, singer, you never get what you really want. That’s just human nature. We reached the mass we wanted. We touched a lot of ears. A lot of people paid attention. We’re on our way to a video shoot right now. It is what it is. I don’t think Bill Gates is happy to be truthful. You always want more. We not mad. But we want to have a conversation with Jay-Z.

 

 

Urban Connectionz Online: Being all the way honest, you two have dealt with enough in your short careers that would make any artist throw in the towel. What has been your strength and motivation? Why keep going?

 

Hoodstars: Genuine love for this music. It ain’t a whole lot of money in it. It’s potential though. We’ve been doing it for a minute.

 

Urban Connectionz Online: In listening to you fellas talking, I heard you mention people like Jay-Z as being inspirational. I think it’s cool because there’s a lot to be learned from somebody like him. Shit, when have you seen somebody in their forties doing it on his level, non-stop?

 

Hoodstars: It ain’t no 20 year old out there like him. Ain’t nobody on his level. I go with the biggest icon in the game. To be discussin business with him. That’s what it is. We do this for the love. I don’t worry about what‘s going on outside the group. I’ll do a show for free. I love to do shows, tell the audience to do something, and they do it. This is what we do.

 

Urban Connectionz Online: What do you feel like you’re learning from other artists that are out there right now?

 

Hoodstars: How to brand yourself. Don’t just depend on the music. Use your name to get further than what the music can take you. Jay can do a clothing line, and people will buy it. He can sell out Madison Square Garden in a few hours. He dropped the label, the label didn’t drop him. Like Lil’ Wayne. Without him, there would be no Cash Money. I learned from them. Don’t depend on the music. We do it for the love. It’s the stepping stone. Never forget where you come from. Will Smith. Markey Mark. I learn from them about branding.

 

Urban Connectionz Online: What type of things do you have lined up with the album? Any shows coming at all?

 

Hoodstars: We’re trying to drop these street albums. “We the West”. Join forces with Beeda Weeda. Then our own album. Working on a reality series. It’s only so much we can do. Couple of tours in between. One with Waka Flacka, and one with Tech N9ne . We stay busy and go hard in the paint. Staying active.

 

Urban Connectionz Online: and online, everyone can find you where?

 

Hoodstars: Twitter. iTunes. Youtube.

 

Urban Connectionz Online: Any final thoughts at all?

 

Hoodstars: Just that we’re here. We’ve got quality music. Check us out on iTunes. Google us. See what we’re about.

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[FEATURES][ARCHIVES] Grandson: Loot Skywalker [January, 2011]

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U.G. Digital Mag: Thank you so much for your time man. I appreciate you taking the time today to knock this out…You’ve developed a very strong following on the underground circuit. What do you attribute this to? Why do you feel music fans have gravitated to you and your music?

 

Grandson: Mostly, I always attribute the ground floor to the internet. My brother and I had a group and we worked with MySpace. Passing out mixtapes. Events. On the net, then face to face. I think consistency is the main thing. If they only see you once in a while, then maybe. I come out 4 to 5 months a year. Then quality music speaks for itself.

 

U.G. Digital Mag: Knowing how rough your surroundings were, obviously you were able to escape the pitfalls, but how do you feel like you were affected by all that was happening around you? And how has that reflected in your music?

 

Grandson: It affected my younger years. Brushes with the law. Unfortunate situations. Being away from family at time. You can escape it. I didn’t focus on education so fell victim, but you learn from it. It’s a learning tool. Prison made me see that. It shows you that it gets no different if you keep doing the same thing.

 

U.G. Digital Mag: What has the climate been like around Virginia where you came up? Obviously a number of acts have come out of that area. Do you see that people look back for those who are looking to make it out?

 

Grandson: It’s pretty much like, I guess, everybody is trying to get away as fast as they can. There’s nothing here but those trying to make it. Nobody is here that made it. They may have studios, but you don’t see it. The underground climate is fierce. It’s strong and on the come up. I build a lot of camaraderie. DJ LES. He’s my mentor. He’s got a studio, and even some mainstream artists come through.

 

U.G. Digital Mag: How difficult has it been for you to make a name and build your career there?

 

Grandson: Oh man, it’s been very difficult. It’s all about really, doing what you don’t know. Once you know what you don’t know, then it gets better. I’ve been educating myself on the business side

 

U.G. Digital Mag: So talk to me about your new mixtape?

 

Grandson: Loot Skywalker. I felt like the actual Star Wars theme was relevant, because we want to take fans somewhere far away. People gravitate because of the different melodies, and hard edged sound. I use melodies that haven’t been used. Different production.

 

U.G. Digital Mag: What do you feel like you did differently this time around?

 

Grandson: Mainly, I’m doing a lot more singing on this album. Vocal singing. I usually mix it up more, but this one was more melodic and singing.

 

U.G. Digital Mag: So aside from the interviews, what else are you doing for promo? Are there any shows at all?

 

Grandson: We’re setting up for shows. I’m in the streets with the mixtapes. Promo events. I want to break a couple singles, videos, running out of time, and shorty got me gone. I want to get the streets going and the net going. I have a few viral videos coming out. The mixtape is coming with digital products, untitled, coming out at end of March, and the upcoming album is called Grand Opening.

[ARTIST] D.R.A.M.

D.R.A.M. is just like the guy next door -- if the guy next door could rap, sing, and make smash records. "I always had a boisterous personality," says the 28-year-old singer/songwriter. "Even when I was dead ass broke, I still found ways to have fun." 

Born Shelley Massenburg-Smith in Germany to a military mom, D.R.A.M. (an acronym for Does Real Ass Music) and his family planted roots in Hampton, Virginia, where he was raised. Growing up, he hung around his older cousins and found inspiration in artists beyond his years, such as luminaries like Al Green and Parliament. "As a kid, I remember everyone in my family played older music, it just rubbed off. It was a blessing," he says. 

When he hit his teens, D.R.A.M. was enamored by hip-hop and hit the mall every day after school to look for local rappers to challenge. "I was rapping just like Cassidy. He was my favorite rapper at that time," he recalls of the Philadelphia rapper. "It took a lot of growth, but I always knew that I was gonna make it as an artist. Over time my sound just developed." 

The biggest development came when D.R.A.M. dropped his '#1EPICSummer' mixtape in 2014 and captivated fans with his break out hit "Cha Cha." The infectious Latin rhythm fully showcased his soulful singing voice, and penchant for crating catchy melodies. The world took notice, including Beyoncé who posted a video on Instagram of her dancing to the song. 

"We put '#1EPICSummer' out on a whim, we didn't know how we were gonna make it work, but we knew we were gonna make it work," he says. "It was energy, the universe, the lord, all of that and timing." 

Fast forward a year and D.R.A.M. has quit his job at retail chain, Best Buy, dropped the highly-favored follow-up EP 'Gahdamn!,' hit the road on sold out tours with the likes of Chance The Rapper, and worked with the legendary Rick Rubin, who D.R.A.M. cites as his mentor. 

Now with the release of his debut album 'Big Baby D.R.A.M.,' D.R.A.M. is more determined than ever to prove that he is here to stay. Heralded by the double platinum, Lil Yachty-assisted "Broccoli," which hit #1 on the Billboard "Top Rap Songs" chart, as well as #1 on the Rhythmic radio charts, 'Big Baby D.R.A.M.' is filled with an assorted mix of soulful jams, laced with appearances from Erykah Badu and Young Thug, that are all tied together by D.R.A.M.'s magnetic personality. 

The wildly fun anthem "Cash Machine" starts with a show tunes piano courtesy of producer Ricky Reed, before erupting into a joyous toast to the good life. "Cute" is a flirtatious boy-meets-girl story where D.R.A.M. remains charming and innocent singing "I chose you like a Pokémon." "WiFi" features the Erykah Badu and together they tackle the question that's on everyone's mind: What's the code to your WiFi? Then there's "Sweet VA Breeze," a love song to D.R.A.M.'s home state, which he recorded over three years ago. "That's my favorite one on the whole project," he admits. "No matter where you go, you'll be alright if you stay true to where you're from. I'm from Hampton, Virginia." 

"I want to set my mark, and leave my mark. This is my intro, but I want it to stick and be one of the great ones," he says. 

With each track, D.R.A.M. remains a relatable superstar that will captivate fans for years to come. "Through conversation if I can relate with other people why not portray that in my music as well," he says. "I just gotta be true to me."

[ARTIST] Kevin Gates

The best way to understand Kevin Gates is to simply listen to his music.

 

“Whatever I’ve been through or I’m going through, I’m putting it out there in the songs,” the Baton Rouge rapper affirms. “If I tell the truth about me, what can the world say? I’d love to be accepted, but I’m not seeking acceptance. If you are a fan, it’s because you’re a fan of who I am psychologically, emotionally, and individually. The world can relate to a human being more than it can relate to a superstar.”

 

Chances are, you’re going to relate to his full-length debut album, Islah [Breadwinners Association/Atlantic Records], because of that honesty. The title—properly pronounced ees-la—is also the name of Kevin’s first-born daughter, and in Arabic the word means, “to reform.”

 

Since releasing his first mixtape Pick Of Da Litter in 2007, Kevin’s rise to success has been organic. Following his release from prison in 2011, he doubled down and delivered with a hyper focus that yielded 2012’s audience favorite Make ‘em Believe and 2013’s mainstream breakthrough The Luca Brasi Story, building one of the most dedicated and diehard fan bases in music. Upholding that impressive grind and capitalizing on this inspiration, 2014’s By Any Means bowed at #17 on the Billboard Top 200, moving over 17,000 copies upon release. Only nine months after that, Luca Brasi 2 entered the Top 40 with 26,000 units sold first-week, touting his biggest hit to date, “I Don’t Get Tired (#IDGT)” [featuring August Alsina]. XXL named him part of the revered 2014 “Freshmen Class,” and he received praise from Rolling Stone, Noisey, Pitchfork, Complex, Spin, The Fader, and more. 

 

Given that success, it’s surprising that he might acknowledge any need “to reform,” but he does nevertheless.

 

“If you go back to my old mixtapes, I was wild and out of control,” he admits. “Now, I’m trying to be better and grow. My daughter did that for me. As a kid, I became introverted. I didn’t have a lot of the things that the popular people around me had, so my self-esteem was low. My daughter looked at me in the eyes and said, ‘You’re so beautiful, daddy.’ She was the first person to ever tell me that. It just changed the way I look at myself in the mirror. That changed my life. It was never about me, but now it’s really no longer about me. It’s about me being able to provide for my family and the people I love. I’ve got to go harder.” 

 

Islah represents that mindset and the culmination of his work thus far. The single “Really Really” balances cinematic production with an unshakable chant, while Gates delivers autobiographical verses, recounting his own story.

 

“It’s about really really being who you are as an individual and not apologizing for it,” he goes on. “That’s what it is. I can feel the growth from my first mixtape to now. On every song, I want to give you a piece of who I am as an individual. ‘Really Really’ does that.”

Elsewhere, “The Truth” sees him confidently confront a controversial incident with conviction and clarity over an ominous soundscape.

 

“It was so crazy for me at that time,” he sighs. “I never felt more alone or betrayed, but I had to realize the people who love me stuck with me though that. The world kicked me when I was down, but they couldn’t destroy me. I had to address what happened. I told the truth. No disrespect, I don’t see color when it comes to people. There are only two types of people—real and fake. All I have is music, so I have to do this. It made me look at things from a different perspective.”

 

Islah begins with a personal favorite of Kevin’s, “Not the Only One,” which once again sees him doing what he does best: telling the truth. Breaking from typical tradition in hip-hop, he made a deliberate decision to include no features on the tracklisting.

 

“The reason I don’t have any features is if I win, I want to win by myself,” he exclaims. “If I lose, I want to lose by myself. This is up to me.”

 

As Kevin continues to personally grind, his label Breadwinners Association exponentially grows in tandem. In addition to housing his projects, the brand gives a home to artists including OG Boobie Black. It’s gone from as he puts it, “Two people in an Infiniti coupe doing shows to a whole team.”

 

Ultimately, Kevin Gates has one goal. 

 

“When people say my name, I want them to feel a certain way,” he leaves off. “Everybody walks around so numb. They’re not in touch. In the technological age, we become coldhearted. I’m going to provoke you to feel. That’s what Islah does.”

[ARTIST] Devvon Terrell

Good music arguably comes from a place that is insightful, meaningful and modern.This is where the living weirdo known as Devvon Terrell lives and sleeps. Hailing from Brooklyn, New York the singer has his own urban style and sound that is a testament to his generation.

Devvon Terrell took the internet by storm, showcasing his talent on various remixes and cover videos on youtube that have gained him as much as 200,000 views on a single video.

Devvon Terrell wears a variety of hats to translate his music to his audience. From shooting and editing videos to engineering, mixing and mastering all of his music. This jack of all trades mentality has earned him placements with And One Live, C2C Dj Khaled's Halftime Report, a number one Mixtape on Datpiff.com and countless other mediums. Devvon Terrell recently released his first album titled "Weird Sexy Cool" and earned a the spot of top 16 albums on the itunes RNB charts. With all his endeavors on the rise Devvon Terrell will surely make the transformation from local talent, to mainstream superstar.

[ARTIST] Casey Veggies

Casey Jones, better known by his stage name Casey Veggies[1] (born July 18, 1993), is an American hip hop recording artist from Inglewood, California. Since 2007, he has released five independent mixtapes under LA clothing and management company Peas & Carats Intl.[2] He released a collaboration mixtape with Rockie Fresh called Fresh Veggies, on December 16, 2013. His debut studio album, Live & Grow, was released on September 25, 2015.

 

-For More Information-

Official Site | Facebook | Instagram | Twitter

AUDIO/VIDEO

Mixtape: Customized Greatly 4: The Return of the Boy

[ARTIST] Dreezy

Remaking a song from the hottest artist in the industry is a dicey proposition. For most emerging artists, it’s a bad move, one that keeps them on the musical periphery. For Dreezy, her rendition of Nicki Minaj and Lil Herb’s “ChiRaq” catapulted her to national prominence because of her fiery delivery, ferocious lyricism and magnetic microphone presence. 

 

“I’m a fan of Nikki Minaj and I like what she did on the original ‘Chiraq’ with Lil Herb,” Dreezy says of the 2014 cut. “But I got the best bars in Chicago so it was only right for me to remix it and represent. The day my version of ‘ChiRaq’ came out her boyfriend texted us saying ‘You won’t last a week.’”

Dreezy has more than outlasted that prediction. Today, she’s one of the game’s most promising artists, a lyricist equally adept at delivering mind-blowing punchlines, riveting street-based stories, introspective selections and odes to true love. Her talent is on full display on 2014’s acclaimed Schizo mixtape, as well as her just-released Call It What You Want EP.

Dreezy developed her writing prowess growing up in a number of locations throughout the South Side of Chicago. By the time she was in kindergarten, she started drawing. Soon thereafter, she kept diaries and began crafting her own tales. 

“Sometimes I wrote really dark, sad stories about rape, murder and violence or stories about rocky relationships,” she recalls. “I remember writing a poem about my grandma when she passed away. I was always telling other people’s stories weaved with mine. I saw and experienced a lot and had to mature at a young age. I expressed it all through my poetry.”

Even as a child, Dreezy’s words were piercing. “I had no filter as a kid,” she says. “I was always saying something and not realizing what I just said. I wasn’t a bad kid. I was just smart for my age and wanted to express my opinion — and it got me in trouble. My mom got to a point where she just couldn’t deal and my dad had to tighten my ass up. When I moved to Dad’s, I learned there’s a time and a place for everything and not to go on first emotion with stuff.”

But the move brought its own set of complications. After getting caught stealing, Dreezy’s father put her on punishment for three months. Rather than sulk, Dreezy wrote to a beat CD she had. She’d grown up listening to Ciara, Bow Wow and B2K. But as a rapper, she was channeling Lil Wayne, Kanye West and Drake.

“When punishment was over I went straight to the studio and recorded all those songs, resulting in my first mixtape, The Illustration,” Dreezy explains. “I was talking about my life and really going hard, just giving bars. My auntie made a bunch of copies and I passed them out at school. The principal heard it, called me in to the office over the loudspeaker – and busted me for cursing on the tape.”
Dreezy’s profane raps were matched by straight-As in the classroom. Similarly, her lyrical skills translated well to her AP writing class, in which she excelled. She applied to and was accepted into Northern Illinois University. Dreezy attended the school for a few months, but dropped out to pursue music full-time. 

In 2013, a friend introduced her to producer D. Brooks Exclusive, the beatsmith whose work with King Louie, Lil Herb and others had him perched as one of the Windy City’s hottest rising sonic architects. “Chicago is known for a hard drill sound and Brooks was the only producer really adding piano melodies and violins, more feeling to his music,” Dreezy says. “And when the sound changes, he knows how to embrace it and make it his own.” 

Brooks produced Dreezy’s Schizo mixtape, which was released in February 2014. Her subsequent work on the “ChiRaq” remix led to her appearance on Common’s “Hustle Harder,” a cut from his acclaimed 2014 album, Nobody’s Smiling. The pioneering Chicago rapper appeared on Dreezy’s “No Good,” solidifying their bond. 

“I know if I ever need to talk to someone, Common can give me some good, sound advice,” she says. “He has good intentions and doesn’t want anything from me.”

Common isn’t the only prominent artist checking for Dreezy. “A few females reached out when ‘ChiRaq’ took off: Rah Digga, Shawnna, Remy Ma, Tish Hyman and some others,” she says. “I’ve already done collabs with Tink, DeJ Loaf, and Chicago female MCs Sasha Go Hard and Katie Got Bandz. Sasha is like my sister. Our friendship started out from rapping but we’re like sisters now. Katie and I are really good friends, too. We support each other. There’s room for everybody. That’s how it’s supposed to be.”

As Dreezy makes her mark among music industry icons and new artists alike, she remains focused on being counted among the genre’s elite. “My goal is to be legendary,” Dreezy says. “Music is my purpose and I want to set the bar — especially for females — and break all the records that come with it.”

[ARTIST] Jacquees

Jacquees(Singer/Choreographer/Writer) was born on April 15, 1994 in Atlanta, GA. He found his passion for both singing and dancing at the age of 9 with influences from The Jackson’s: An American Dream and The Temptations movies; imitating no less than the greatest. He has already started work on songs written by award winning writer, Ne-Yo and will be in the studio working on his upcoming iTunes album ‘Round of Applause’ with other notable writers including Jagged Edge’s Brian & Brandon Casey, Musiq Soulchild and TC, who has penned songs for several artists including, Beyonce’.

Jacquees has already recorded songs with T.I., Travis Porter, Lil’Chuckee(Cash Money/Young Money artist), Quincy(Diddy’s son) and will work with more artists on his next project. He toured with Atlanta’s Hot 107.9 during the 2011 Spring semester to several high schools for a Stop The Bullying campaign hosted by comedian and Hot 107.9 radio personality, Rickey Smiley. In August 2011, he released his first mixtape ‘Round of Applause‘ hosted by DJ Spinz on Livemixtapes.com. He dreams of working with artists such as Lil Wayne, Drake, Justin Bieber, Bow Wow, R. Kelly, Chris Brown and many more.

[ARTIST] Da Brat

On April 14, a star was born. Shawntae Harris better known by her stage name “Da Brat” is an American rapper and actress. Her debut album, Funkdafied (1994), sold one million copies, making her the first female solo rap act to have a platinum-selling album and the second overall female rap act (solo or group) after Salt N Pepa. Harris is the younger half-sister of actress Lisa Raye McCoy. She lived part of the time with her mother and grandmother and attended a strict Pentecostal church four times a week, where she sang in the choir. She also lived with her father and his mother, where she had fewer restrictions. Harris attended Kenwood Academy during the 1990-1991 school years, where she ran track and played basketball. She graduated from Academy of Scholastic Achievement, a continuation charter school that caters to at-risk students, in 1993.

In 1992, Harris's big break occurred when she won the grand prize in a local rap contest sponsored by Yo! MTV Raps. For the prize, she met the young rap duo Kris Kross. They introduced her to their producer, Jermaine Dupri, who signed her to his So So Def label. Dupri cultivated Da Brat's image as a "female Snoop Doggy Dogg," and she became one of the first female "reality-based" rappers.[1] Harris told the Atlanta Journal-Constitution that her stage name was inspired because she is "a spoiled only child."[1] Da Brat's debut album Funkdafied was released in 1994 and entered the rap albums chart at #1. The album went platinum, making her the first female solo rapper to sell one million units. The eponymous single reached #1 on the rap singles chart and #6 on the Billboard Hot 100. Her follow-up hit from the same album, "Give It 2 You," reached #26 on the Hot 100

In 1996, Da Brat released her second full-length album, Anuthatantrum, which included the single "Ghetto Love" featuring T-Boz of TLC. During the rest of the '90s, Da Brat came to be known more for her "featured" appearances on other rappers' and R&B singers' albums rather than for her own solo work. Da Brat was also featured with Kris Kross on the title track of their album Da Bomb (1993) as well as on their third album Young, Rich and Dangerous (1996). She contributed a rhyme to the hip hop remix of Mariah Carey's hit, "Always Be My Baby" (1996). She also made her feature film debut that year in Kazaam (1996) with Shaquille O'Neal.

During the summer of 1997, Da Brat appeared along with Dupri on a remix of Carey's "Honey (So So Def mix)" (1997) and recorded the hit remix of "Ladies' Night (Not Tonight)" (1997) with Lil' Kim, Left-Eye of TLC, Angie Martinez, and Missy Elliott. Also in 1997, she was featured on "Sock It 2 Me," a track on Missy Elliott's debut album, Supa Dupa Fly. In 1999, she appeared, alongside Krayzie Bone, on the remix to Mariah Carey's cover of Brenda K. Starr's "I Still Believe" (1988). She also appeared as a guest artist with Elliott on Carey's remix of "Heartbreaker" (1999), and on the remix of Brandy's "U Don't Know Me (Like U Used To)." That year, she was also featured on a remix of the Destiny's Child single "Jumpin', Jumpin'"

In early 2000, Da Brat released her third full-length album Unrestricted, which produced the moderately successful singles "That's What I'm Looking For" (U.S. #56) and "What Chu Like" (U.S. #26), featuring soul singer, Tyrese. In 2001, Brat continued her trend of being featured on other artist's remixes, reaching #1 on the Billboard Hot R&B/Hip Hop Singles chart along with rapper Ludacris on the main remix of Mariah Carey's "Loverboy" and being featured artist on Destiny's Child's "Survivor" remix. Da Brat also appeared as Louise in Carey's 2001 movie Glitter. In 2003, Brat released her fourth album, titled Limelite, Luv & Niteclubz, and appeared on the 4th season of VH1's The Surreal Life.

In 2005, she made a comeback of sorts when she was featured on the remix of the song "I Think They Like Me," by Dem Franchize Boyz, which also featured Bow Wow and Jermaine Dupri. The song peaked at No. 1 on the Billboard Hot R&B/Hip Hop Singles chart and No. 15 on the Billboard Hot 100.

In 2006, she was an onstage guest on Mariah Carey's The Adventures of Mimi Tour in Atlanta, New York City, Long Island, Washington, DC, Chicago, and Los Angeles performing her rap verses on the "Heartbreaker" and "Honey" remixes. She was also featured on Kelly Rowland's "Gotsta Go," a bonus track from her 2007 album Ms. Kelly and is also featured on "4real4real", a bonus track from Carey's E=MC². She also co-wrote a song with Carey called "O.O.C." which appears on E=MC² and contributes backing vocals on the track. In 2007, she participated in the fifth season of the VH1 reality series Celebrity Fit Club. Later that same year, she was involved in a night club altercation, which resulted in criminal charges and a 3 year prison sentence (2008-2010). Then, following her release from prison, she launched a web series about life after the experience—entitled “Brat Chronicles: In Transition;” on You Tube [3]. In 2011, she did a remix with Kelly Rowland called "Motivation" featuring Lil Wayne. She released her new single "Is It Chu?" on iTunes and other digital services on July 2, 2013

In 2015, she made her radio debut and joined the nationally syndicated Rickey Smiley Morning Show, as the new co-host. She is also a regular cast on the TV1 reality show –“Rickey Smiley For Real.” In the season’s finale episode (Dec 2), she made a television guest appearance on the highly successful Fox network hit show EMPIRE. This same date, she released her latest single #YAK (You Already Know); which is currently available on iTunes. 

Da Brat continues to work on her music career, by writing and producing music, as well as searching for and developing new artists. As she expands her career to include television and film, she is also taking acting lessons to further enhance and maintain her star power in the entertainment industry.

[ARTIST] Lil' Mo

On November 19, a star was born.  Cynthia Loving-Bryant would show the world why they would all know and come to love her by her stage name Lil' Mo.  Lil' Mo is an accomplished American singer, songwriter, vocal producer, radio personality, wife and mommy of 4.  As if that wasn't enough she can now add reality TV starlet to her resume.  Her best known feature credits are with Missy Elliott, Fabolous, Ja Rule, Jay-Z and the late ODB to name a few. She has vocal produced for the Tamar Braxton, Keith Sweat, as well as the greats we all adored while on earth Gerald Levert and Whitney Houston.  Born into a military family, her father Bishop Jacob D. Loving and Lady Cynthia Loving, both whom are Holiness preachers raised their family primarily in New York.  Due to her father's military assignments, they have "been on tour all their life," as Mo would coyly say.  From living in Texas, Georgia, North Carolina, to finally settling down in Maryland, Lil' Mo's dreams of becoming a famous singer and superstar led her to many local talent competitions and eventually back to NYC.

Touring with former emcee, the late Guru on his domestic and international Jazzmatazz Tour and her uncle, The Prince of Gospel John P. Kee, is what Lil' Mo feels equipped her with the tools she needed to bridge the gap between her church upbringing and hip-hop culture.  Because of the word of mouth buzz around NYC about Lil' Mo, she was contacted and signed immediately with Elektra Records by Senior Execs Sylvia Rhone and Merlin Bobb.  She entered the music industry as a protégé of label mate Missy Elliott.  Lil' Mo's breakout single, off the "Why do fools fall in love" soundtrack entitled "5 Minutes" was a great introduction of her tutelage with Missy.  She would appear on more tracks with Missy on her 1999 album "Da Real World'.  The "Hot Boys" remix single featuring Nas and Eve, sat at the top of the charts for over 16 weeks.  This caught the attention of Ja Rule and Jay-Z and others to have Lil' Mo lend her vocal and writing skills.

She has performed and written for many artists, including BlackStreet featuring Janet Jackson, Next, Bow Wow, Angie Martinez, Keith Sweat, Jaheim, Tyrese, Changing Faces, 3LW, Nicole Wray and the list goes on.  The smash hit "Put it on Me" released in 2001 with Ja Rule and Vita, was such an instant urban and pop radio chart topper, that Murder Inc. Records decided to feature Lil' Mo on a second single entitled "I Cry" which repurposed the 1978 O'Jays classic "Cry Together".  With these successes back to back, Lil' Mo decided now is the time to step away from the shadows of being a featured artist and step into the solo artist arena.

In 2001, her first commercial released album "Based on a True Story," was a major urban success.  The first single, "Superwoman" featuring Fabolous, was well received by the fans at retail and radio.  Anticipation for the album was through the roof.  Sadly, 3 days before its release, Lil' Mo was attacked and physically assaulted by an unknown assailant that left her with 23 stitches in her forehead.  That didn't keep her down.  Soon as she was cleared by doctors' to travel, she was back on the road.  In 2003, she released her follow-up album "Meet the Girl Next Door" in which the first single "4Ever" also featured Fabolous.  She would then settle down and hone in on her relatable communication skills to radio with "The Lil' Mo Show" to X 105.7 which was a CHR station in Baltimore.  This afternoon drive show swiftly became Number 1 and placed Mo at the top of being one of the most sought after on air personalities.  

In 2003-2005 she signed on with Cash Money Records, but later requested a release due to business issues beyond her control.  From 2005-2007 she performed and toured on the Jay-Z & 50 Cent headlined Roc the Mic Tour, from second act to headlining the Seagram’s Gin Tour, and the Sprite Simon Mall Tour.  Fast forward to mid 2007; Mo released an album entitled "Pain & Paper" independently.  No longer on a major label, she didn't want to leave her fans in limbo, so this mix tape CD was to hold them over as she would soon take a hiatus and concentrate on her family and restructuring her brand.  

After a 4 year break, in 2011 Lil' Mo dusted off her cape and hosted another afternoon drive show called "The Lil' Mo Show" on Viacom/CBS Radio WPGC 95.5 in Washington, DC.  During her brief stint back on air, Lil' Mo would sign off and head straight to the theater.  She performed in a play, "Sanctified" as well as having a huge placement in the Alice Walker's inspired book, off-Broadway play "The Color Purple" at the National Theater.  When her 1 year contract expired, Mo released another indie album, "PS iLove ME".  Mo describes this album as "everything I have been through since I've been away."  The album boasts features from Dawn Richard (Danity Kane/Dirty Money), Maino and PJ Morton.  For the female empowerment anthem "iLove ME," she paired with her friend and fellow Missy Elliot discovery, Tweet.   

Lil' Mo has taken 2013 by storm.  She has officially been casted on the TV-One/ThinkFactory Media hit series, "R&B Divas, LA".  She will co-star alongside Kelly Price, Chante Moore, Michel'le, Dawn Robinson and Claudette Ortiz.  Lil' Mo will share her journey back to the spotlight with husband/manager/producer Phillip Bryant and their 4 children ranging in ages from (10 to 9 months old).  The show's intro song "I'm a Diva" was written and performed by Mo in less than 2 hours.  She will be headlining tours in the UK as well as traveling the US to share her God given gift.  Mo declares this will be the biggest and best REBIRTH of her life.  She concludes "I am over ready, not only for my fans, but to prove to my children I am the greatest".


Besides touring and new endeavors, Mo has teamed up with Krian Music Group to release two heavily anticipated singles performed on TV One's #1 reality series R&B Divas LA. "I'm a Diva" which is the theme song, and "L's Up" was performed during the Divalogues finale. The future can only get brighter. As Mo says, "I'm ready for the spotlight."

[ARTIST] Conya Doss

Conya Doss has a voice that sounds like it’s both from the past and the future. She is classical-influenced, blues-influenced, R&B-influenced and rock-influenced, which herein lies the brilliance of how she collectively and seamlessly creates great music. Doss has built a solid reputation over the years as the modern benchmark for any young female artist and her forthcoming studio project Pocket Full of Purpose highlights that. With beauty, grace and confidence, the poised songstress has composed an 11-song compilation of warm and personal tracks that are full of soul with huge melodies. The skillful arrangement of horns, strings and piano riffs suit her finely crafted lyrics about love, life and pursuing your dreams.

Older and wiser, you can hear that Doss finds joy in doing music. On the first single “Don’t Change” a smooth, mid-tempo flow that syndicated radio host Michael Baisden has already deemed a “classic,” demonstrates the songbird’s emotional smarts and directness. The simple yet highly effective “Just Me” finds the songbird’s breezy voice twisting through candid sentiments of a young woman who is comfortable in her own skin, while “Where Do We Go From Here” provides imaginative songwriting with an engagingly conversational feel over a Conga-influenced beat. Frank McComb, Myron Davis and Rodney Jones serve as the main producers on Pocket Full of Purpose with the exception of newcomer Dre King.

Perhaps it was the birth of her son Landon Blu in 2010 that helped to provide inspiration for her fresh material, which is filled with bolts of newfound creativity. Since the release of Blu Transition, Doss has been juggling her responsibilities as teacher, mother and artist. “It’s been a challenge trying to effectively balance all of these things, but I’ve been patient with myself and this project,” explains the songbird. All of Doss’ album titles are authentically steeped in the spirit of growth and change and Pocketful of Purpose is no different. “Every aspect of this personal body of work has a purpose that I hope people will embrace and gain something meaningful from.”

[ARTIST] Freddie Jackson

To urban contemporary listeners, Freddie Jackson is one of the biggest stars of the latter half of the ’80s, dominating the R&B charts seemingly at will. Jackson’s forte was sophisticated, romantic soul ballads aimed at adult audiences, but he was also capable of tackling urban contemporary dance fare and even the occasional jazz tune. Yet unlike many of his peers — Luther Vandross, Anita Baker, Peabo Bryson, etc. — Jackson never managed to cross over to the pop charts, where none of his R&B smashes even breached the Top Ten. As new trends like hip-hop altered the urban contemporary landscape, Jackson gradually faded from view during the ’90s.

Jackson was born October 2, 1956, in Harlem, and like so many soul stars, he was trained as a gospel singer from an early age, singing at the White Rock Baptist Church. There he met Paul Laurence, who would later become his producer and songwriting partner. After completing school, Jackson joined Laurence’s group LJE (Laurence-Jones Ensemble) and played the New York club scene. During the early ’80s, Jackson moved to the West Coast and sang lead with the R&B band Mystic Merlin, but soon returned to New York to work with Laurence at the Hush Productions company. He sang on demo recordings of Laurence’s compositions, and also served as a backup singer for Melba Moore after she caught his nightclub act.

In 1985, Jackson landed a record deal with Capitol and issued his debut album, Rock Me Tonight. The Laurence-penned title track stormed the R&B charts, spending a whopping six weeks at number one, and made Jackson an instant sensation on urban contemporary radio. “You Are My Lady” gave him a second straight R&B chart-topper, and also proved to be his highest-charting single on the pop side, peaking at number 13. With “He’ll Never Love You (Like I Do)” and “Love Is Just a Touch Away” also hitting the R&B Top Ten, Rock Me Tonight topped the R&B album charts and went platinum. Jackson wasted no time issuing a follow-up set; Just Like the First Time appeared in 1986 on the heels of a number one R&B duet with Melba Moore, “A Little Bit More” (from her album A Lot of Love). Another platinum-seller, Just Like the First Time continued Jackson’s incredible dominance of the R&B singles charts; “Tasty Love,” “Have You Ever Loved Somebody,” and “Jam Tonight” all hit number one, while “I Don’t Want to Lose Your Love” went to number two.

The pace of Jackson’s success slowed to less superhuman levels with the 1988 release of Don’t Let Love Slip Away, which nonetheless featured another R&B chart-topper in “Hey Lover,” plus further hits in “Nice and Slow” and “Crazy (For Me).” The title track of 1990′s Do Me Again duplicated that feat, and “Main Course” just missed, topping out at number two. Even so, Jackson’s early placings in the lower reaches of the pop Top 40 had long since disappeared, and some critics charged that his albums were growing too similar to one another. Perhaps it was a lack of distinctiveness in his material that hurt Jackson’s chances for a pop breakthrough; whatever the case, 1992′s Time for Love failed to duplicate the crossover success Luther Vandross was belatedly enjoying, despite a hit cover of the soul classic “Me and Mrs. Jones.”

Seeking a new beginning, Jackson parted ways with Capitol in late 1993, and signed with RCA. His label debut, Here It Is, appeared the following year, with diminished commercial returns — in part because his straightforwardly romantic ballad style was increasingly out of step with the sexually explicit new breed of R&B crooner. Following a Christmas album, Jackson recorded Private Party (1995) for Scotti Brothers; its biggest single, “Rub Up Against You,” reached the Top 25 of the R&B chart. From then on, Jackson recorded independent albums with a modest level of commercial success. These releases included Life After 30 (number 81 R&B, 1999), It’s Your Move (number 45 R&B, 2004), the covers set Personal Reflections (did not chart, 2005), Transitions (number 26 R&B, 2006), and For You (2010).

For more info, visit:

www.freddiejackson.net

[ARTIST] Mary J. Blige

”I know who I am and what I can do. With each album, it’s just me continuing to grow.”

Pure, unadulterated and empowering. That has been Mary J. Blige’s calling card ever since her 1992 multi-platinum debut album, What’s the 411? And in the ensuing years, the singer/songwriter’s musical strong suit has attracted an intensely loyal fan base—responsible for propelling worldwide sales of more than 50 million albums.

With a track record of eight multi-platinum albums, nine Grammy Awards (plus a staggering 29 nominations) and four American Music Awards, Blige is only getting started. The singer returns just as fierce and compelling on her 10th studio album, the aptly titled “My Life II … The Journey Continues (Act 1).” Released via Blige’s Geffen/Interscope-distributed Matriarch label, the new project doubles as the sequel to Blige’s 1994 classic My Life.

“The original My Life started a movement,” reflects Blige. “And every album since then, from Share My Worldand No More Drama to The Breakthrough and Stronger With Each Tear, has marked a point of growth and evolution for me and my fans. What’s consistent is the fact that we all remain challenged in life to get to that next level. That’s one of the reasons for this sequel. And given the climate right now—the recession, war and other issues—I remembered there was so much healing with the first My Life. So that was another perspective behind my recording the album.”

Blige once again fashions a moving testimony about love, devotion and inner strength. Providing the album’s cornerstone is the track “Living Proof.” Also the closing song for the hit movie “The Help,” the spare yet powerful “Living Proof” speaks volumes about life’s hard-won rewards. It also resonates with Blige’s own growth as a woman and a singer/songwriter whose innate connection with her fans is unshakable. Bearing witness is the song’s second verse: “So glad the worst is over \ Cuz it almost took me out \ I can start living now \ I feel like I can do anything \ Finally I’m not afraid to breathe.”

“My fans and I are living examples that you can turn a negative situation into something positive,” declares Blige. “Conceptually, people have heard me like this. But artistically, with just a guitar, I don’t think they’ve ever heard me like that before.”

And Blige’s artistic growth doesn’t stop there. She goes toe to toe with Drake on her current uptempo chart-climber “Mr. Wrong,” then displays equal doses of fervor and naked honesty, respectively, on “25/8” (sampling the late Heavy D gem “Now That We Found Love”) and “No Condition.” She taps her rap alter ego Brook Lynn for the romance-sparked “Midnight Drive.” And as she did in 1993 with the 1975 Rufus featuring Chaka Khan hit “Sweet Thing,” Blige stamps new meaning onto a dance-floor revamp of the group’s 1983 classic “Ain’t Nobody.” Rounding out Blige’s life sequel are guest turns from Nas, Busta Rhymes, Rick Ross and a first-time pairing with Beyoncé on the diva-licious “Love a Woman.”

“A lot of women are misunderstood and a lot of men think they know what to do. But they don’t,” says Blige with a laugh. “This overall topic is very important right now.”

To help map our her Life journey, Blige collaborated with such intuitive producers as Jim Jonsin, Rico Love, Jerry “Wonda” Duplessis, Danja, Rodney “Darkchild” Jerkins, Sean Garrett, Tricky Stewart and the Underdogs. “Whoever has the right track that grabs my spirit, moves me and goes with the topics I’m coming up with … those are the producers I go for,” says Blige about her creative process.

Born in the Bronx, New York, Blige began moving people with her soulful voice when at 18 she signed with Andre Harrell’s Uptown Records in 1989, becoming the MCA-distributed label’s youngest and first female artist. Influenced at an early age by the music of Aretha Franklin, Chaka Khan and Gladys Knight, Blige brought her own gritty, urban-rooted style—fusing hip-hop, soul and honest, frank lyrics—to the forefront on her 1992 debut album What’s the 411? The multi-platinum set, executive produced by Sean “Diddy” Combs, quickly spun off several hits, including two No. R&B No. 1s: “You Remind Me” and “Real Love.”

Earning the nickname the “Queen of Hip-Hop Soul,” Blige began forging a unique niche for herself on the more personal second album, 1994’s My Life. Co-writing a major portion of the album this time around, Blige reaped such hits and signature songs as “Be Happy” and a cover of Rose Royce’s 1976 hit “I’m Goin’ Down.” At the time she was dealing with several serious issues in her life, including drug addiction, alcoholism and an abusive relationship.

Notes Blige, “When I went first went into the studio to work on My Life II, it occurred to me how strong I’ve become since then. And that what has made me strong is not just the joy and great things happening in my life but the trials and difficulties that cause you to want to move out of that uncomfortable place to get to the next stage. With the first My Life album, I didn’t have that understanding. I just did not know why I was suffering so bad, why I was hurting.”

And thus began the Blige movement: connecting legions of fans who identify with and have accompanied her throughout her personal travails and growth—all fearlessly related through her music. Each subsequent album reads like a chapter from an autobiography: Share My World (1997), Mary (1999), No More Drama(2001), Love & Life (2003), the multiple Grammy-winning and hit-spewing The Breakthrough (2005), Growing Pains (2007) and Stronger with Each Tear (2009). Along the way, she’s lined up a string of hit singles, including “Not Gon’ Cry,” “Love Is All We Need,” Seven Days,” “All That I Can Say,” “Family Affair” and “Just Fine.”

Music isn’t the only thing keeping Blige busy. She is the co-founder of the Foundation for the Advancement of Women Now (FFAWN), whose mission is to empower women from all walks of life to reach their full individual potential. Flexing her talents as an entrepreneur, Blige launched her Melody line of sunglasses in 2009. In 2010, her “My Life” perfume became the first to sell more than 60,000 bottles in one day on the Home Shopping Network—with $1 from each purchase donated to FFAWN. A second perfume, “My Life Blossom,” was introduced in summer 2011.

Blige, who co-penned “I Can See in Color” for 2009’s “Precious” soundtrack, is also ramping up her acting career. She’ll appear next June in the Adam Shankman-directed “Rock of Ages,” the theatrical version of the Tony-nominated Broadway musical with stars Tom Cruise, Alec Baldwin and Catherine Zeta Jones.

As she continues her multi-faceted journey, however, one constant remains for Blige: her fans. “Being connected with their lives is what keeps me going,” she says. “They’re the reason why I am where I am: confident in knowing who I am and what I can do. With each album, it’s just me continuing to grow. And that’s the takeaway I want for my fans with My Life II … to please look at what we’ve survived and how strong we are now.”

 

For more info on Mary J. Blige, visit:

www.maryjblige.com

www.thequeeninlondon.com

[ARTIST] Mint Condition

Once upon a time there were great funk/R&B bands like Earth Wind & Fire, The Meters, War, Kool & The Gang, Slave, and numerous others who constantly broke down musical barriers. The musicality of these units was superior – they could rock or funk out as easily as they could move the crowd with a tenor soulful ballad. The rise of electronic music gradually undermined self-contained bands but in the 90s a dynamic young new band emerged—Mint Condition, now the greatest self-contained R&B band of our time. Anointed early on by superstar producers Jimmy Jam and Terry Lewis (formerly of the band The Time), Mint Condition does it all—delivering hard-bitten funk with a hip hop edge, rocking out with screaming lead guitar, and crooning lush, "baby-making" soul ballads. The much sought after band, who mark their 20th Anniversary this year, has amassed a string of hits and performs hundreds of live shows each year. In the Fall of 2010 when Prince took the podium at the legendary Apollo to announce his "Welcome To America," and his plans to feature his favorite artists, it was no shock to many that Mint Condition was among them. The only band on his list that day? Mint Condition. During the month of February, TV One tapped Mint Condition as the house band seen and heard every night on the show "Way Black When," which celebrated the biggest African American stars throughout the 70s, 80s and 90s. With not one but two current hit singles on board—the sumptuous "Caught My Eye" and lead singer Stokley's duet with Kelly Price, "Not My Daddy," Mint Condition marks the 20th anniversary of its first chart hit with the release of 7… (Mint Condition’s seventh studio album) due out on Shanachie Entertainment/Caged Bird April 5, 2011.

"This time around we decided to not let ourselves become bogged down with strict thematic or musical boundaries," notes keyboard player Larry El. "We wanted, instead, to do a project that would be expressive of life's multi-facets. For the first time in our career, we looked back into our own musical catalogue for inspiration and resources. Without being a direct throwback, 7… weaves threads of nostalgia into the musical mix. It's kind of an ode to Minneapolis, Mint Condition style." 7… sounds unlike anything else in the R&B world -or any other world—today, once again demonstrating that Mint Condition is one of those rare artists on the scene with their own unique sound. Along with Mint Condition's bedrock funk and R&B balladry, elements of jazz, rock, and hip hop come into the mix. They have always delivered these elements live but here they are a part of their studio work. Nothing is formulaic or routine with Mint Condition, starting with the opening tracks "Can't Get Away" and "I Want It," which are seamlessly linked to play straight through, to "Twenty Years Later," an off-the-wall narrative depicting a 47 year-old addict wondering what happened to the last twenty years of his life, which opens with acoustic guitar and climaxes with an ironic jaunty Vegas-style vamp. It is the kind of organic creativity that only Mint Condition could achieve, an extra ingredient that years of playing together make it possible for them to deliver. In an era dominated by singles, 7… is truly an album, designed to be heard as a whole.

"Each member of the band is equally invested in both the music and the group itself," Larry El explains

"So when performing we can more readily live on the edge, musically speaking, where its most interesting, and still not lose t he original spirit and intent of the songs. Any given member can readily play what any other member is thinking or feeling." It is this kind of organic, edgy creativity that has made Mint Condition one of Prince's favorite artists. "In many ways, he (Prince) continues to be a mentor for us," says guitarist O'Dell. "He's a musical genius yet is never condescending. He has a way of making you feel he's your biggest fan—we certainly are his! He's the best. Watching him perform always sends you back to the shed; you know you still have work to do."

An unusual fact for a funk/R&B band that can also rock out, is that some of Mint Condition's biggest hits have been ballads and 7… delivers several more great ballads that are destined to be classics including the inspirational "Unsung," "Not My Daddy," the duet with Kelly Price and Stokley, with its unique lyric take on male/female relationships and, of course, the first hit single from the album, "Caught My Eye," with subtle lyrics that stand head and shoulders above the "sex you up" love ballads dominating the scene today. "The lyrics (of "Caught My Eye") tell it all," relates Stokley, who wrote the tune with Larry El. "It's a literal translation. But, at the heart of it all, is vulnerability. We have all felt those `first encounter' butterflies before. The band knew everybody would be able to relate to that."

The members of Mint Condition met as teenagers growing up in the Twin Cities—Minneapolis-St. Paul amidst a thriving music scene energized by Prince, The Time, Jam & Lewis, The Replacements, Soul Asylum and many other artists. Keyboardists Lawrence El and Keri Lewis, guitarist O'Dell, keyboardist/saxophonist Jef, drummer/vocalist Stokley, and bass player Ricky came together in the performing arts program at Central High School. Playing together in different combinations led to them forming Mint Condition; a gig at the famed First Avenue club in 1989 caught the attention of super-producers Jimmy Jam and Terry Lewis, formerly of The Time, and they were signed to Jam & Lewis' Perspective Records. MEANT TO BE MINT, their debut album, was released in 1991. Their first single, a New Jack Swing-styled number, had only modest success but it was a ballad, "Breakin' My Heart (Pretty Brown Eyes)," which has become one of the classic R&B ballads of our time, that was their breakthrough, hitting #3 on the R&B charts and #6 on the Pop charts, with the follow-up "Forever In Your Eyes" hitting #7 on R&B charts. Mint Condition was established as a gold-selling act. Further hit singles and albums followed, with "U Send Me Swingin’," "Someone To Love" and "So Fine" all hitting from the FROM THE MINT FACTORY album, "What Kind Of Man Would I Be" (another acknowledged classic) and "You Don't Have To Hurt No More" from DEFINITION OF A BAND.

Meanwhile the band earned its spurs as a live act, touring relentlessly and, unlike so many artists, delivering not only a performance equal to their studio work but one which often surpassed it. As a result, their legions of fans would turn out for a Mint Condition show whether they had a current hit out or not. After Perspective Records folded, Mint Condition signed with Elektra, delivering more hits with "If You Love Me" and "Is This Pain Our Pleasure" from the LIFE'S AQUARIUM album. In the early 2000s the group took a break from their relentless recording and touring schedule. They resumed as a quintet with only keyboard player Keri Lewis absent (though he sometimes re-joined them for specific shows releasing a new album LIVING THE LUXURY BROWN on their own Caged Bird label in 2005, hitting again with "I'm Ready." Their high-energy live performance was captured with the release of LIVE AT THE 9:30 CLUB and then 2008's E-LIFE yielded another hit with "Nothing Left To Say.

Two decades on, Mint Condition stands along with The Roots as the only high-profile examples of a self-contained, hit-making Black music band, and with Mint's emphasis on songs and great singing, the sole band carrying on the great tradition of R&B funk bands such as Earth, Wind & Fire, The Meters, War, The Commodores, Lakeside, Slave and many more that were an important, progressive element of the black music scene in the Seventies and Eighties. "We're fortunate that people have come to expect us to march to our own drum, musically speaking," says bassist Ricky. And even though we have carved out our own unique creative path, we've always been well embraced."

[ARTIST] Ida Divine

Ida Divine has flourished into one of the most apt, and exquisite Independent Artist in her genre. She is that oddity that can deliver the Motown style of song without missing a pitch. Her voice is intense and sultry, and when those lyrics are set free during performances or even a practice session, she seduces the hearts and minds of any listener that takes an interest in her.

IDA has hit singles such as “Grow Up,” “Time,” “IG My Shoe Game” and “Sometimes” just to name a few ; these singles have traveled worldwide to California, New York, Philadelphia, Georgia, Miami, Virginia, Chicago, Nairobi, Ghana, Nigeria, Toronto, Australia, Paris and Poland. She’s performed alongside Phonte, Lady Saw, Raekwon, Dead Prez, Anthony David, Pete Rock & CL Smooth and Naughty By Nature. She won Best R&B female vocalist for the Carolina Music Awards in 2009 for her a mix tape release “1979” after being out for only a short span of six months. Ida also won Best Female R&B artist at the 2012, Queen City Awards. Hanus TV nominated Ida for her best cover, and produced rendition recordings of “Poison.” This “Divine” entity has a feature in Four Magazine, Creative Loafing, Ihiphop, The Examiner, On Smash, Hanus TV, and Rodney Perry Live.

Ida Divine’s following compare her style and delivery to the Multi Grammy Award Winner Lauryn Hill. In my opinion, there is no comparison to another artist or lyricist. With her project “Molecular Legato”, her statement is clear, and she is just a creative damsel that’s stressing the message of artistic freedom. Ida’s humble, and peaceful nature is a great deal like “Razia Sultana”. When you combine those two strong qualities with her bravura, lyrical expression, in addition to her slayer-stage presence; you already know that she is the definition of artistry ascended, and has created a new trend of evolutionary-soul.

[ARTIST] Aloe Blacc

“My purpose for music is positive social change,” says Orange County, California native Aloe Blacc. “Even if the music itself does not explicitly express anything that may signify positive social change, the product of the music will.” He is speaking in general terms regarding his career, but more specifically about the circumstances surrounding his upcoming album, Good Things, co-written by the versatile vocalist and songwriter in conjunction with the in-house production team at Truth & Soul Records. 

Good Things marks a shift in methodology from personal to political for Aloe, who refers to the project as his report on present conditions—joblessness, homeless, the misappropriation of wealth, pillaging of resources, and a universal lack of compassion from the capitalism at-large under which we all function, but some struggle to survive. Song titles such as “You Make Me Smile” and “Miss Fortune,” coupled with airy, ethereal production from Truth & Soul’s Leon Michels and Jeff Silverman mask a foreboding undercurrent in which Aloe crafts lyrics both thoughtful and thought-provoking. Nowhere is this more evident than on lead single, “I Need a Dollar”—commissioned by HBO as the theme music for the series How to Make It in America—because ultimately, that is how to make it in America. 

The first-generation American offspring of Panamanian parents, Aloe has become what writer and activist Amiri Baraka (nee Leroi Jones) once said of John Coltrane. He is a singular “scope of feeling…a more fixed traveler” who has found cohesion in art and life. The path from his 2006 debut, the multi-genre Shine Through, to Good Things is akin to the maturation of Marvin Gaye between That’s the Way Love Is and the What’s Going On masterwork that followed. Aloe has never purported to be any heir to Gaye, but musically, Good Things and What’s Going On are companion pieces as both albums establish a character for the artists that sets them apart from the sea of performers making very vivid and discernible—yet normative and conformist—statements about who they are and what they do. Good Things is a definitive declaration that places Aloe directly in the framework of modern soul.  

At the heart of this musical character is a recession-age Robin Hood, whose goal is to sell and profit from his wares with hope of freeing the less fortunate from the capitalist system that serves as both their oppressor and his motivation. A 2001 graduate of the University of Southern California, Aloe credits a myriad of influences—transcendentalist scholars Henry David Thoreau and Ralph Waldo Emerson, French existentialism, Oprah Winfrey, Tavis Smiley, Cornel West—with leading him from the inner streams of consciousness he possessed as an MC early in his career, to a more disciplined approach to songwriting, and now, the desire to affect change and induce compassion by way of his own success. It is his grand scheme, which, not coincidentally, is also the name of his backing band (The Grand Scheme). The key is compromise and understanding the power of popular art. Aloe is willing to put the gloves on and engage in the marketplace. Good things lie ahead. – Ronnie Reese

[ARTIST] Philly Weeden

Philipé Winston Weeden is a Designer, Model, Ex Professional Football Player, Public Speaker, Author, Playwright and now Screen Writer. He has two published books titled REALationship Breakdown Philly Style: Based on Real Life Experiences and The Black Man's Guide: If You Knew Better You'd Do Better, under his belt and is currently working on his third book.

At a young age Philipé loved to write fictional stories. As he aged and matured his writings were about his own life situations. Throughout Philipe's life he has experienced good times and bad times. From being married, divorced, and father at a young age. But it doesn’t end there, he was also a member of a famous dance/rap group, the creator of his own clothing line, an off & on football career, a life threatening car accident and even being homeless. Throughout this, Philipé always remained humbled. How he survived? He lifted himself above all his hardships through his walk with God.

Philipé is an avid believer that with God all things are possible! He took a leap of faith and pursued writing. With the encouragement of his Facebook friends, Philipé set out to release all he had pinned up inside of him. He realized that by helping others through words he was in turn helping himself to heal. 

His first book REALationship Breakdown Philly Style: Based on Real Life Experiences released October 30, 2011 and pre-sold over 1,500 copies. The focus of this book was to breakdown relationships and help people to retain or gain one. The success of this book, along with the rave reviews from readers, gave Philipé the motivation to release his second book The Black Man's Guide: If You Knew Better You'd Do Better on January 1, 2012. This book focused on breaking down the male partner of the relationship. 

After releasing his second book, Philipé decided to take his writing to another level, birthing the hit stage play If You Knew Better You'd Do Better. The first showing on April 22, 2012 at Cleveland State University was a sold out show. Many of Philipe's supporters and fans demanded a second show that he delivered on June 3, 2012 which was filmed by TV 20 and aired June 2012. His cast, which he hand-picked himself, consisted of all local Clevelanders with no acting experience.

With all the suspense from the first play many people were left to wonder what happened to the characters and their situations. Since Philipé loves challenges, he embarked on the sequel immediately after the plays sold out show. The sequel titled "If I Knew Then, What I Know" played September 22, 2012 with another sold out performance. Part 3 "If Only You Knew... The TRUTH!" played May 4, 2013 and was the biggest production he has done thus far adding 4 sold out performances. Philipé went back in the lab to bring forth another 3 Part series from a Romantic- Dramedy perspective. First up was "BRUTHA's... We All We Got!" being performed in front of a sold out audience. He wrote and produced his next stage play "God's Gift to Women!" April 26, 2014. Not soon after Philipé started filming his first movie "If You Knew Better; You'd Do Better!" which premiered November 8, 2014 at Solon Cinemas selling out 4 theaters and over 1,000 people in attendance. Showing a second time at Cedar- Lee Theatres selling out with over 175 people in attendance. Then showing it at Capitol Theatre which included over 100 people selling out the auditorium.

“Standing in the Need” was Philipe’s first full production and Playhouse Square debut where he not only came into a new mark but being the first local African American production to sell out and produce stage plays at the Playhouse Square. 

He went on 6 months later to produce "SOULmate? A True Love Story" starring famed Actress Taral Hicks alongside leading Actor Justin Fraley.

[ARTIST] Janelle Monae

At long last, Janelle Monáe—the inimitable, award-winning, songwriter, performer, producer, CoverGirl and avant-garde funkstress—is back again, ready to release her another full-length “emotion picture” to the masses.  But as always, Janelle is not ready to talk about music just yet.  She’d rather talk about her past and how those fertile powerful experiences forced her to create her coming album The Electric Lady. 

 

According to Monáe, “I went back to Kansas City after my tour for my debut album The ArchAndroid.  And when I looked around me, I decided I wanted to make a raw, revealing album all about my life and the things I’d experienced in my community— about the laughter in the parks, the jams bumping in the cars, the jokes told over kitchen tables, all the life and warmth and struggles I felt there.  But I also wanted to figure out how to take Kansas City to the future…like a surreal Parliament album with lyrics by Octavia Butler and album art by Salvador Dali.”

 

As time passed, Monáe found herself increasingly drawn to the stories and experiences of the strong women in her life, and their ability to electrify and inspire individuals to do the right thing.  “At some point I realized that the true heart and glue of the community were the women.  My mama and grandmamma and my aunties and who to this day, are some of the most powerful beings on the planet.  Under their guidance, I went from cleaning houses everyday in my maid outfit to the world-traveling performer I am today.  They made me believe in myself enough to move from Kansas and pursue my dreams.  A lot of folks think I work hard onstage because of James Brown.  But they’ve never met my mother!”

 

Inspired by her mother and other matriarchs, Monáe began to write lyrics and songs about rebel women who refused to be marginalized and dared to live their life boldly and unapologetically in a distant future.  According to Monáe, “When I returned to the studio, I felt I had to do my part. Through my art, I had to help create the woman I wanted to see around me.  Incidentally, during concerts, for years I’d been painting this woman’s physique—the silhouette of her hips—

I have hundreds of these paintings with the same feminine figure over and over…this glowing Technicolor woman…seen from behind…regal, powerful and electric…My colleagues and friends told me to name this mysterious figure because she seemed to be a totem, a powerful symbol for me.  So I named her The Electric Lady, and that’s where the album’s title came from.”

 

As she began the audacious task of following up on her acclaimed debut LP The ArchAndroid—an album that topped critic’s lists in 2010 all over the world—she took along some trusty, brave companions: the original music producers of The ArchAndroid, Nate “Rocket” Wonder and Chuck Lightning of Wondaland Productions.  And together they crafted a new strain of jamming music they called “ish.”  In the hip hop community, “ish” is a euphemism for the profane four-letter word for excrement, but as Monáe explains, they set out, like proverbial alchemists, to turn lesser substances into gold. “This entire project was produced by Wonder & Lightning.  We set out to make a soundtrack for the Obama era, something that spoke to the beautiful, majestic and revolutionary times that we’re living in.  The musical language we’re speaking now is called ish. In the African-American community, we’ve been turning left-overs (like chitlins) and social depredation (like poverty) into delicacies and fine art for years.  So we just set out to turn the rubbish all around us into something beautiful. Ish is the bowtie on the funk.”

 

From the sound of The Electric Lady, ish is an urgent and dangerous form of dance music, rebel music that forces one to fight, jam, and fall in love.  Like on The ArchAndroid, the sonic textures of the album are varied, and the past and present come together to explode and create a mind-blowing future for pop and soul music.  For example, wondrous strings reminiscent of Curtis Mayfield and Bernard Herrmann orchestrations abound, Hendrixian guitar solos soar, Outkast-like raps float over punk rock riffs; defiant socially-conscious lyrics extol the virtues of soul-searching and fighting for change, while the funk simply melts your speakers: 808s boom and Prince-like synthesizers squiggle in your earhole, making it veritably impossible to just sit still.

 

“As we like to say at Wondaland, the booty don’t lie.  The booty always obeys the LAW OF THE JAM. You can’t hate on something that makes your booty move, that makes you jam and have a good time. And the booty will always tell you the truth of a given situation.  You can always tell what a community or a person truly believes by just studying the actions of their booties at any given time.  They can claim they love this other person or culture, or believe in this peaceful god, or really want freedom, but do their actions prove it? Their actions, what their booties do or don’t do, that tells you the truth.”

 

The recording process was fun, rewarding, but also strained by Monáe’s newfound need to be more courageous and personally revealing in her storytelling.  “To do this album properly, I had to revisit some turbulent chapters in my life, deal with some questions and experiences left over from my childhood.  There were so many things I had questions about.  Sexual things. Racial Things. Gender things.  Memories.  Things I thought I had left behind me.  New things I was discovering. But ultimately I found myself emulating my mother and grandmother and using their strength to surpass my fear.  I had to do that before I could write and sing and perform these new songs convincingly.  I’m not the kind of artist that can perform something night after night, if I don’t believe in it, or if it’s not true to me or my experience.”

 

Monáe was also inspired and emboldened by her truly amazing collaborators: Roman GianArthur, the wunderkind and Wondaland Arts Society artist-in-residence that, once again, provided the album’s magisterial overture; the soul star Miguel, who crooned his way effortlessly to the stars and helped provide a prime baby-making moment on the lush ballad “Primetime”; Erykah Badu, her self-ascribed “twin,” who used her cosmic grace and poise to help turn the first single “Q.U.E.E.N.” into a female empowerment anthem and a runaway smash; and none other than her lifetime hero, the legendary Prince, who contributed in countless ways, musically, vocally, and most importantly, spiritually—by conversing with her from his purple telephone in Minneapolis, whenever she was weak and unsure which artistic direction to go.

 

As she worked, Monáe found herself, as always, drawn again into her other love, science fiction, and the exploits of Cindi Mayweather, the heroine of her first EP Metropolis.  In fact, the new album serves as Suite IV and V of her Metropolis saga, and in this chapter, the android hero Cindi moves from self-realization to self-actualization: from the knowledge and owning of her unique superpowers, to actually using them to better the world around her.  Monáe says, “I like to think you can hear me using my superpowers this time.  And not just talking or wondering about them. The Electric Lady is like the big action sequence in the third act of an epic film.  Every party this album starts, or every baby born because of it, is actually another victory against the Great Divide.”

 

As she continued to work on the album, Monáe found herself displaying these superpowers in new ways in the recording studio, and found that some of her best creative work was done when she was running entire production sessions by herself.  “There were key moments like the rap on Q.U.E.E.N. where I needed to be alone.  I dimmed the lights, setup the mic and engineered myself.  I just let the words and sounds flow through me.  Overall, I’ve been feeling stronger as a producer, as well as writer.”  In addition, on this album, Monáe had the chance not only to produce herself, but also to produce her collaborators Miguel, Erykah Badu and Prince. “I’m still humbled by the collaborations and partnerships I have on this album. I actually got the chance to produce and write for some of my heroes.  And through my recording label the Wondaland Arts Society, I’ve been executive producing the artists I love.  Wondaland artists such as Deep Cotton and Roman GianArthur.  I’m proud of the Wondaland movement, and this new phase in my life as an artist, producer, and businesswoman.”

 

The fruits and rewards of this artistic journey can be heard in ample measure on the album’s courageous, outrageously funky first single “Q.U.E.E.N,” which features the queen herself, Erkyah Badu. “Erykah’s one of my best friends, and we talk about everything.  That particular song really developed from a deep conversation we were having about a woman’s place in the world. And how we were expected to be freaks and muses and virgin goddesses all at the same time by patriarchal cultures and religions.  Rather than answer all the questions we just decided to jam to them and let the booties decide.”

[ARTIST] Fantasia Barrino

Even before the question is posed, she makes clear the essence of her sound. “I’m a soul singer,” she says, with much pride and little hesitation. That’s who she is, at her core, and no matter the song she sings, her spirit seems to resonate from the speakers along with her voice. That’s the magic that Fantasia brings, every time.

At first listen, Side Effects of You might sound like an album about heartbreak and the process of piecing oneself back together. That’s true, in part, but if you have her tell it, there’s much more there. While the Grammy-winning singer has certainly enjoyed chart-topping, triple-platinum and multi-platform success since winning season three of American Idol, she, like everybody, has made some mistakes, too. Though she has never shied away from being transparent in her music, she wasn’t necessarily thinking about putting her words into song when she picked up a pen and her blank notebook two years ago.  

“When I started writing in my book, I had a bittersweet taste in my mouth,” Fantasia says of how she was feeling – professionally, personally, emotionally – after putting in a decade’s worth of hard work. “I’d been doing one-off shows and not really recording, but when my doctor put me on bed rest, I decided to use that time to start writing down some of the things that were on my mind. If I was able to get to the grocery store, people would stop me in my Hoveround chair and tell me what they were going through, so I wrote about that, too.” It was only after she met (and vibed with) London-bred producer, Harmony Samuels, that she realized it might be time to get back in the studio. With her trusted notebook by her side, she would eventually co-write seven of the 13 songs that comprise Side Effects of You. “I’ve always wanted to collaborate with someone the way Michael Jackson did with Quincy Jones,” she says of joining forces with Harmony, who serves as album producer. “As soon as I heard the song, ‘Supernatural Love,’ I knew he was the one.”

Crafting this, her fourth album, was like a dream come true for Fantasia as she made it her mission to tap into the music that has inspired her over the years. “When I was growing up, we listened to so many different types of music in my house,” she remembers. “It started with gospel and then the blues because my grandfather loved B.B. King. Of course I loved listening to my girls Monica, Brandy, TLC and SWV, but I also played Billie Holiday, Josephine Baker, Elton John, Ella Fitzgerald, Luther Vandross, Anita Baker, Bonnie Raitt and Queen. You can listen to any of those artists today because their music still stands and that’s what I wanted to do with this project. I want my music to be timeless.” 

Leading the album out of the gate is “Lose to Win,” which she co-wrote alongside Andrea Martin over a sample of The Commodores’ classic, “Nightshift.” “This is my testimony,” Fantasia says of this ode to the power of understanding when to hold, and fold. “Andrea and I really connected and I wanted to deliver this song for her. She allowed me to switch a few things up, but we were both able to put our feelings into the song.” Fantasia followed up with the slow-bounce club banger, “Without Me,” featuring Kelly Rowland and Missy Elliott. The song, which she co-wrote with Al Sherrod Lambert, Kyle Stewart and Missy, set the blogosphere and urban radio ablaze in record time. She sings of the moment that the veil is lifted on an unbalanced relationship. Once Kelly and Missy chime in, there’s no avoiding their burning question – “Where’d you be, without me?” “I always love working with Missy and it broke my heart that she wasn’t a part of my last album. I wasn’t going to miss the opportunity this time. And Kelly? She killed her verse!”


“End of Me” is a song so moving that it literally sweeps you off your feet. Co-written with Lambert and Amber Streeter, Fantasia sings of the type of love that is absolutely no good, but keeps calling you back, over and over again. Who hasn’t been there? On “Change Your Mind,” co-written with Lambert, Fantasia tips her hat to the late Whitney Houston. When she sings, “Come home to me, baby, I’ll be good to you, darling,” it’s so very reminiscent of Whitney’s 1990 hit, “I’m Your Baby Tonight” and that’s exactly how she wanted it.  

Two words come to mind when she talks about “Get It Right” – rock soul. “When I say ‘rock,’ I’m thinking of Tina Turner and when I say ‘soul,’ it’s all about Aretha Franklin,” she says of the high-octane track which she co-wrote with Streeter and Lambert. “With the live instruments, you get a Tina Turner/James Brown feeling and maybe even a little bit of Andre’ 3000’s ‘Hey Ya.’ When we were recording, I ran and grabbed everybody in the studio to sing with me. I love this song!” Then there’s the album’s title track. Produced by Naughty Boy and written by Emeli Sande’, Shahid Khan, Claudia Bryant and Ben Harrison, “Side Effects of You” is as haunting as it is vivid when it comes to the business of releasing someone who has wrecked havoc on you. “This song is the truth,” Fantasia says, “but it’s also kind of tricky because it’s about a man and medication. At first, I’m singing about him like he’s what I needed, but in the end, I flip it like he was actually the drug.” As for choosing this ballad as the title track, she explains that the song’s sentiments also relate to life, in general. “Everybody’s been hurt and the pain can be caused by family, friends and in my case, the industry, too. When I sing this song, I’m telling everybody who has ever done or said anything to hurt me that these are the side effects of you. Yes, this song is the truth!”

Back in 2004, on the night of May 26, a then-19-year-old Fantasia Barrino stepped onto the American Idol stage and won top honors. After wowing television audiences with her vocal talent, the North Carolina native released her debut album, Free Yourself, which featured as its first single, “I Believe,” a song that made her the first artist in Billboard history to debut at #1 on the Hot 100 chart. Her second single, “Truth Is,” would later hold the #1 spot on the charts for 14 weeks. During 2006, she released her New York Times bestselling memoir, Life Is Not a Fairytale, starred as her younger self in the Lifetime movie of the same name and by year’s end, released her second album, entitled, simply, Fantasia, which included the hit single, “When I See U.” What followed were the coveted role of Celie in Broadway’s The Color Purple (for which she won a Theater World Award), a guest spot on The Simpsons and a two-season run of the VH1 reality series, Fantasia For Real. During the summer of 2011, she released her third album, Back to Me, which featured the Grammy-winning single, “Bittersweet.” To date, she’s sold nearly three million records and 1.5 million digital tracks, domestically. Looking toward the near future, she will expand her musical repertoire even further when she joins classical singer, Andrea Bocelli, for his world tour in summer 2013.

Each of her experiences have contributed to who she is as an artist and also, as an inspiration to the next generation of performers whom are listening to each note she hits and watching her ascension. As she continues on her creative journey, she’s still has more learning and growing to do and many more songs to sing. What remains constant is that she loves music, she knows music, and she always sings from her heart, with all of her soul. 

So, how does she feel about her latest work now that it’s out in the world, for all to hear?

“I know that every artist says that their albums are like their babies, but Side Effects of You really is my baby,” Fantasia says with a laugh. “Besides the music, this album means so much to me because it represents the amazing creative relationships I made and the thoughts and ideas that were spoken into my life during the recording process. This project came together right in the nick of time.”

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