Busy Signal – Night shift/one more night official video

September Artist of the Month

Busy Signal

Crooning a seductive plea for just “One More Night” over a bass heavy one-drop beat, deejay Busy Signal reformatted Phil Collins’ 1985 Billboard Hot 100 chart topper into a shimmering lovers rock gem and reached the number one spot on several reggae tallies. Busy retained the song’s original chorus but revised the verses to highlight the raw, rapid-fire patois rhymes that have earned him a peerless reputation as one of dancehall’s most formidable talents. Many people initially thought Busy was joking or perhaps just crazy when he decided to cover Collins’ middle of the road ballad but as he explains, “I wanted to do something different, in another part of Jamaican culture, I wanted to do rub a dub reggae, which gave birth to dancehall. So I was just playing around, singing songs like “One More Night” that I knew from when I was a kid, and decided to remake it with a reggae beat,” continues Busy, who received his moniker from a friend due to his hectic schedule. “People laughed because they couldn’t accept someone like me doing a song like that, but I am doing it as a dancehall artist, so that is difference. I love to think outside the box.”

Unconventional thinking manifested through triumphant risk taking trademarks Busy Signal’s third album “D.O.B.” which will be released by VP Records on July 13th. Throughout 15 scorching tracks, Busy’s resonant tone is woven into a kinetic configuration of dancehall beats accented by strains of salsa, pop, and even classical music. He chose the name “D.O.B.” which stands for date of birth or dominance of Busy, “because the album is like a date of birth for a new era, a new type of creativity for dancehall. It’s new in the sense of the flow, the melodies,” he explains. “If you listen to the dancehall deejays from back in the day, we say different things that mean different things in this era.” From the symphonic strings heard on “Opera” to the brooding beats that darkly tint “Nuh Fraid” Busy Signal’s broad swathe of influences yields an audacious brand of 21st century Jamaican music. “My stuff is always different because I never repeat myself,” he acknowledges. “As an artist you always have to be creative and on this one the creativity is way ahead.”

Born Reanno Gordon on January 24, 1982 and raised alongside three brothers and a sister by his devoutly Christian mother in the St. Ann’s parish community of Brown’s Town, Busy’s first exposure to music, like so many Jamaican youth, was in the church. While attending services and singing hymns he realized he possessed immense vocal talent and earned his very first encore from the church congregation; when services concluded, Busy would substitute the hymnal lyrics with his own words, much to the consternation of his mother.

In his early teens Busy’s family relocated to Kingston moving between the garrison communities of Standpipe, Tivoli Gardens and Papine, volatile environments that continue to inspire his gritty lyrical depictions. As a student Busy would save his lunch money to buy cassettes of popular music, everything from Madonna and Whitney Houston to Jay Z and Eminem and he was repeatedly reprimanded for beating out riddims on his desk. At night, he often snuck out of the house to hear such preeminent sound systems as Renaissance and Bass Odyssey, fascinated by the deejays’ voices that boomed through the towering assemblage of speakers.

Busy made the requisite links with several sound systems in hopes of becoming a recording artist and gained a modicum of studio experience voicing dub plates for Renaissance and Kilimanjaro. “Getting into the studio to do my first recording, I linked up with Fatta one of the engineers from Renaissance, then it was just on the rise from there,” Busy recalls. “I was trying to learn, trying to get it in the right context, melody, the verses, trying to know what is a hook, the importance of breath control, metaphor and word play, just trying to get better towards what I want to be in life.”

Busy took a step towards reaching his goals with the release of his first single “Shake It Fast”, voiced on Renaissance’s Tunda Clap riddim. His breakthrough, however, arrived in 2005 with the hits “Not Going Down” and the self produced “Step Out”, the title track of Busy’s critically acclaimed 2006 debut album released on Greensleeves Records. “Step Out” also featured the haunting ghetto narrative “Born and Grow” and the indomitable “Not Going Down” as well as a cadre of guest artists including Bounty Killer who mentored the early stages of Busy’s career and provided the aspiring deejay with his first opportunity to display his talent in front of a Jamaican audience. Busy’s association with the Killer led artists’ consortium called The Alliance brought him further renown, as did a succession of hit singles for various producers and his consistently enthralling performances at major Jamaican stage shows including Sting and Reggae Sumfest.

With the release of “Loaded” in September 2008 for VP Records, characterized by its authentic street savvy, quick wit, and mesmerizing vocal stream, Busy’s music was now cited as the gold standard for a new generation of dancehall releases. “Loaded” included such mega hits as the risqué “Tic Toc” (which ranked at number 70 on Rolling Stone’s 100 Best Singles of 2008); “These Are The Days”, a bitter commentary on the poverty and violence intrinsic to ghetto life and the compelling “Jail”, a grim recollection of Busy’s brief incarceration in the US. “The streets come with a lot of stuff; I was locked up once, a conspiracy charge, then I got bail,” Busy admits. “After that I was like I don’t want to be in the street, in the mixup or the confusion. I just want to do music.”

Whereas “Step Out” generated inaugural accolades and “Loaded” captured international attention, “D.O.B.” is poised to bring Busy the (dancehall) superstar status his vast, diversified talents merit. To insure a smooth delivery in the rebirth of dancehall that arrives with “D.O.B.” Busy chose to work with several of Jamaica’s finest upcoming producers including ” Clayton “Claybeat” Morrison and Carlington “Karl” Morrison, Karim “DJ Karim” Thompson, Kirk “Kirkledove” Bennet, Kalonji D’Aguilar, T’Jean Bennett and Andrew Myrie for UIM Records and, arguably, contemporary dancehall’s most successful hit maker, 20 year old Stephen “Di Genius” McGregor. “I get real work done with young producers, no disrespect to the big producers but I just try to give young producers an opportunity to get real work and real production out there,” says Busy.

The astonishing breadth of Busy’s vocal talents are expressed through various guises on D.O.B. from the fiery Spanish chanter of “Picante” and the self-produced, boldly orchestrated “Busy Latino”, to “hot gal” fashion commentator on “Hair Dresser Shop” to herb connoisseur on “Hi Grade”, its lyrics deftly delivered over a brilliant reworking of the immortal Stalag 17 riddim courtesy of Busy’s manager, veteran engineer/producer Shane Brown.

Busy’s hypnotic flow expresses appreciation for females’ “wining” skills on “How U Bad So”, “Gal Dem Song” and the big hit “‘Pon Me”, the latter produced by the renowned duo Diplo and Switch, better known by their dancehall persona Major Lazer.

Surprisingly robust-baritone phrasings complemented by orchestral inspired synth-strings dominate the thug-themed oratorio “Opera”. “Sometimes I listen to opera and people look at me like what am I trying to do?” discloses Busy who first heard the late, celebrated tenor Luciano Pavarotti at a friend’s house and was duly inspired to purchase his music. “Opera is not my music but I listen to its sound; the way the voice projects in opera it can shatter glass; that is vocal strength so I listen to that a lot.” “Sweet Love (Night Shift)” originally a number one hit in 1985 by The Commodores gets a similar treatment to “One More Night” with a gentle one-drop rhythm framing his confident melding of lover’s rock romanticism with dancehall’s bolder carnal expression.

Busy’s most compelling role on D.O.B. is as a spokesperson for disenfranchised (Jamaican) youth on several rugged, rhapsodic ghetto psalms. “Nuh Boy Caan Buy Wi Out” offers a riveting a cappella delivery relating the importance of remaining true to one’s principles despite tough circumstances. “Yes Dawg” provides an affirmation for inner city youths to reach their goals despite a system that Busy decries as “set up so the youths get paralyzed, hypocrites with dem bag a lies” and he smoothly alternates between deejay chat and American style rap, seeking “a Brinks full ah money right now” to help alleviate ghetto suffering on “My Money (Money Tree)”. Bounty Killer joins Busy for “Summn’ A Guh Gwaan”, a warning of the inevitable consequences when Jamaica’s poorest citizens are further squeezed by rising prices and diminishing services: “when dem run de higglers dem off de street, and de pickney get hungry can’t find food fe eat/and de big guys turn dem head like dem no see it…summn’ a guh gwaan.” The fearlessness chronicled through a series of blood-splattered gangster exploits on “Nuh Fraid”, which captures the sinister pulse that courses through Kingston’s garrison enclaves is definitely not for the faint hearted.

Violent scenarios depicted in various song lyrics have been repeatedly criticized for inciting real life carnage but Busy defends their inclusion in his rebirthing of dancehall as an unfortunate but authentic representation of life in the ghetto. “Guns are things we see all over, if there were no guns nobody could sing gun lyrics,” Busy reasons. “But artists definitely have to take at least a percentage of the responsibility in trying to balance it in the music.” Busy strives for equilibrium with “Peace Reign”: accompanied solely by an acoustic guitar, he pleads for a better way while seeking for peace for all mankind, revealing perhaps the most significant aspect of the charismatic, multifaceted musical identity presented on D.O.B. “People listen to Busy Signal and they will hear clean stuff and raw stuff but they wont hear 100% of either,” he notes. “I try to have that edge but balance it basically because I have corporate people that look up to me and ghetto people that look up to me too.

Read more: http://www.myspace.com/onebusysignal#ixzz0yuhhNvqP

Artist of the Month August

Dynamic, talented and sweet singing and some of the words that can describe this budding superstar. His persona as an onstage performer is a constant evolutionary process as he has moved from dancer to rap-per and now for the time being; he is receiving rave reviews as a pop artist. Young Dynasty or Young D (yes his name has evolved as well) was named Antonio Johnson some twenty-one (21) years ago when he was born in Barbados.

Dancing at the age of nine was what ushered him onto the stage and around the age of thirteen; he held a microphone in his hand and decided that he wanted to be a vocalist. Conversing with Young D can be quite misleading because one would never believe that someone who is so laid back, reserved and calm could have such a powerful voice.

While performing as a rap artist, Young D has released about six (6) singles with ‘Shawty Got It Going On’ being the most memorable and edgy. He admits that his source of inspiration is every day life and eve-rything that happens. He also credits facets of his music styling to singers like Neyo and Akon as well as sound writers like Claude Kelly and the Temptations.

For Crop Over 2010, Young D released his soca-fusion Whine it Girl which is a true party starter and a warm up for the faster tunes. Young D also wrote Rupee’s ‘All Night Long’ which has already proven to be a chart topper in Barbados, Canada and the USA. His sights are now set on becoming a chart topping pop artist and as he has plan on revolutionizing the dance clubs with his style of music.

MaddZart music video…. king road

Artist of the Month July

Maddzart – The King Road (Soca 2010) Maddzart

Raeon ‘MaddZart’ Primus is a soca singer from St. Vincent and the Grenadines .
Biography
Maddzart was born in Fountain , St. Vincent and the Grenadines as the second of two children. He began singing at age seven, representing his school in various competitions, where he performed folk, gospel, and other childhood sing along songs.
He joined the group Blaksand in June 2000. His soca hit, “The Town Song”, led to him placing second in the local Soca Monarch competition, and regional and international recognition was achieved. This led to him performing in Barbados , Grenada , North America, and England .
In 2001, MaddZart released another hit song, “Poor People Anthem.” The song proved that MaddZart could create a cry for the suffering. This song got him the first ever, local Ragga Soca Monarch title. Another renowned song of his is “Helicopter”. Though facing tough competition from Hairy Bank, he managed to wrestle his way to the second place for Soca Monarch and third place in the Road March competition.
In 2002 he once again managed to maintain his place in the top three at the Soca Monarch positions with his “Wind Song,” again fending off Chook it up. MaddZart extended his song writing skills in 2002 to writing, producing and arranging for an artist that went on to place second in the Junior Soca monarch competition. He also penned songs for two other Soca Monarch finalists that same year.
MaddZart writes all of his own songs. He credits his mood, certain events, his friends and as he calls them ‘the haters’ as inspirations. He considers Adrian and Anthony Bailey and Max Providence as significant influences, especially Adrian Bailey, who gave him his first opportunity to be recorded in a studio.
After a life time of providing entertainment at all levels, and nearly a decade of Carnival and Soca performances, MADDZART has decided to embark on a journey to create a whole new experience for fans and patrons alike. Brace your self as Hairoun Records and N-Sane Projexx presents MADDZART and the MADD SYMPHONY “BORN AGAIN”. Yes, MADDZART is no longer a part of the HSphaktor cast. And whilst he is still a part owner of HSphaktor, MADDZART is currently shifting his attention to different things and new projects. He is “BORN AGAIN”.
MADDZART’s production (MADDZART UNLIMITED) and engineering skills is now being nurtured in his self owned recording studio: N-Sane House of miXin; a project he has dedicated to not only making his own hits but working with young and upcoming talents who may not be able to afford the price tag on some of the major producers and recording studios. This studio is intended to be a hub for his new vision and movement MADDZART and the MADD SYMPHONY “BORN AGAIN”.
This new entertainment unit headed by MADDZART (R. Primus) C.E.O. of N-Sane Projexx, under the management of Classic Vibes promises a stage show that will be taken up a few notches, with theatrics, stunts, lighting, dancing, special effects, energy, and pulsating sounds. This is a birth of a new musical exodus with very essential elements from his past musical ventures and experiences hence the term “BORN AGAIN”.
Accomplishments
2000 2nd soca monarch

2001 1st raga soca monarch

2001 2nd soca monarch

2001 3rd road march

2002 3rd soca monarch

2003 Entertainer of the year

2003 1st soca monarch

2003 3rd road march

2003 3rd raga soca monarch

2004 3rd soca monarch
Discography
The Madd Symphony
Catalogue # HRCD004
Barcode # 3710106396
Label: Hairoun Records / M’Sayne Projexx
The Madd Symphony – Born Again
Catalogue # HRCD005
Label: Hairoun Records / MaddZart Unlimited

SVG CARNIVAL

I’m Addicted – Gideon James

The artist of the Month Gideon James

I’m Addicted- Gideon James (Vincy 2009) In June 2007, Gideon James debut his Solo album So Special in the Caribbean. The album was an instant success with dance hall singles like U-turn, Come Home and Work It, while receiving significant Radio airplay and CD sales.

In addition, the album’s title track climbed up the Caribbean Top 40 charts and was number one for three months. This success along with James signature sound caught the attention of Vertigram LLC.
Today, newly signed Vertigram artist Gideon James is hard at work performing in the Caribbean and planning a North American/European tour.

The single Work It is the first official release from Vertigram Records a division of Vertigram LLC. With remixes from veteran producers such as Richard Humpty Vission, Al B. Rich, Friscia and Lamboy, and Josh Harris, Work It made it onto the Billboard Hot Club Play chart and working the American dance floors. http://www.gideonjames.com

Trey Songz – I need a girl

May Artist of the Month

Since making his recording debut in 2005, Trey Songz has patiently and artfully crafted some of the most acclaimed and compelling R&B music of the decade. His first two Songbook Entertainment/Atlantic albums, “I GOTTA MAKE IT” (2005) and “TREY DAY” (2007), yielded a trio of top ten singles, “Girl Tonight,” “Last Time,” and “Can’t Help But Wait.” And when the latter song garnered Trey a coveted Grammy nomination for Best Male R&B Vocal Performance, it marked the validation of the faith shown in Trey by the late Atlantic Records founder Ahmet Ertegun, who hailed him as one of “the most promising R&B artists we have had since we started the company 60 years ago.” Now, with the 2009 release of “READY,” Trey Songz is more than ready to claim his place in the pantheon of R&B greats.

“Many people tell me that I don’t get my just due,” says Trey. “They may know my singles, but between my records, I’ve also released mixtapes like ‘Swagga Like Songz’ and ‘The Ladies Choice.’ Now, ‘READY’ embodies everything I am as an artist. Everybody can be happy with the album, from the hip-hop to the R&B crowd.”

“READY” draws music and lyrics from such accomplished producers and songwriters as Eric Hudson, Sean Garrett, Stargate, Bryan-Michael Cox, Soul Keys, Jermaine Dupri, Soundz, and long-time collaborator Troy Taylor.

On the album’s first official single, “I Need A Girl,” Stargate (Tor Erik Hermansen and Mikkel S. Eriksen) deliver their signature guitar-led production. The Norwegian-born, NYC-based pair previously worked on Trey’s Grammy-nominated “Can’t Help But Wait,” and decided to revisit their magic on “READY.”

From the street single, “Brand New,” to his self-described male version of Mary J. Blige’s “Be Without You” in “One Love,” the Virginian draws on a range of influences to craft an album that will thrill his longtime fans and happily surprise all newcomers to the Trey Songz story. Indeed, with its blend of hip-hop, R&B, and pop ? exemplified by tracks like “Black Roses,” where Trey croons over a distorted guitar ? “READY” demonstrates his growth on every front. The third time around, Trey displays a new vocal maturity combined with his renowned ability to twist notes and keys effortlessly, while presenting an increasing breadth of subject matter.

“With every move you make you have something to prove,” says Trey. “There’s always room for improvement. I’m growing, as a person, as an artist, and as a man. My clothes fit differently, my braids are missing? I’m changing as a person and the music is the better for it.”

Born Tremaine Aldon Neverson, Trey was raised as a military brat, with his family eventually settling in Petersburg, Virginia. Ironically, as a teen he wasn’t particularly interested in singing. Only after continuous encouragement from his mother, and drawing on his grandmother’s example as a devoted church choir member, Trey entered a local talent show at 14 years old. He won that competition and several more, eventually amassing 19 trophies. At 15, Trey crossed paths with producer Troy Taylor, who’s worked with everyone from Boyz II Men to Lionel Richie, and Taylor immediately recognized Trey’s talent.

After high school, at Taylor’s invitation Trey moved to New Jersey, where he developed his vocal, writing, and production skills. Trey soon found himself driving from the Garden State across the river to New York City. As he learned to record songs, Trey completed a proverbial musical boot camp, absorbing music by artists like Prince, Marvin Gaye, and Steely Dan during his commute between the two states. To earn his keep, the Virginian worked as Taylor’s vocal production assistant and transformed that experience into his debut album, “I GOTTA MAKE IT,” after signing with Atlantic Records in 2003.

On the business end, Trey began his production company, Songbook, in 2004 with Taylor. The company houses several producers but Trey doesn’t want to overstep his boundaries or stunt anyone else’s creative growth. “We’ve been honing Songbook,” says Trey carefully. “We make sure that we don’t keep people from what they have to do. I don’t want to get the talent if I don’t have a place for it. A lot of people sign artists that they’ll never release, just to have them. I’d rather let you find your own way.”

Among Trey’s numerous activities, he ? along with fellow Atlantic artist Flo Rida ? wrote and produced a street-smart rendition of “Jingle Bells” especially for clothing giant GAP, which proved to be a sensation during the 2008 Christmas season.

In August 2008, Trey added the philanthropic organization Songz For Peace to his repertoire, launching the charity with community activist Noonie Ward in Chicago’s crime-ridden Southside before bringing his message to his native Petersburg. The youth-centered organization, which attracted 500 kids at its opening event, travels to different cities speaking to teens about the dangers of violence and life’s positive opportunities. Songz for Peace is scheduled to visit several more cities across America this year, including Washington D.C., Atlanta, and Baltimore. “The violence within the youth is rising at an alarming rate,” says Trey earnestly. “I get to speak on that, and children listen to me.”

Deftly balancing and separating his roles as artist, businessman, and philanthropist, Trey has delivered his best work to date with “READY.” “I’ve always been the underdog of my class,” says Trey. “But this time nothing can stop me from achieving all that I want.”

www.TreySongz.Com

Next Page »