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.

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

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

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

April artist of the Month

LUTHER VANDROSS

Photo by Kevin WestenbergCelebrating the extraordinary artistry and impact of the legendary superstar, J, Epic, and Legacy Records will join in the release of The Ultimate Luther Vandross on August 22nd. A first-of-its-kind, career spanning collection, the eighteen-track album is drawn from the multi-talented singer/songwriter and producer’s recordings for both J Records and Epic Records. The CD will include two previously unissued cuts, “Shine” (produced by Jimmy Jam & Terry Lewis), the first single from the album and “Got You Home.” “Shine” is already being blasted on the airwaves as radio stations across the country have jumped the gun and added it prior to its official impact date of June 19th. The overwhelming response from radio programmers includes comments from “it’s the hottest adult song of the year” to “it’s another great record from Luther!”

The Ultimate Luther Vandross features all of Luther’s chart topping singles including the Grammy-winning No. 1 pop/R&B smash, “Dance With My Father,” the title track for Luther’s 2003 platinum-plus J Records album; 1989’s Grammy-winning Epic hit, “Here And Now” and “Endless Love,” Luther’s 1994 million-selling duet with Mariah Carey. The CD also includes J hits “Take You Out” and “I’d Rather” and Epic ‘80s and ‘90s singles, “Never Too Much,” “Give Me The Reason,” “Any Love” and “Power Of Love/Love Power.”

The powerhouse album also reprises such Vandross classics as “A House Is Not A Home,” “Wait For Love” and “Superstar/Until You Come Back To Me” alongside key album cuts such as Luther’s 2003 duet with Beyonce, the cover of the Roberta Flack/Donny Hathaway classic “The Closer I Get To You,” “Buy Me A Rose” and “Think About You,” all taken from Luther’s last studio album.

Luther Vandross was undeniably one of the most significant vocalists of our time. Since the 1981 platinum-selling release of Never Too Much, Luther’s recording career spanned over two decades and resulted in a lifetime of chart topping hits. Through the 1980’s, he recorded a string of platinum albums, including Forever, For Always, For Love, Busy Body and The Night I Fell In Love. He scored his first Grammy Award in 1989 with “Here And Now.” 2003’s Dance With My Father received 4 Grammy Awards and has generated worldwide sales exceeding 3 million copies. Collectively, Luther’s body of work has sold in excess of 30 millions records worldwide, winning eight Grammy Awards, numerous Soul Train, BET, NAACP Image Awards and American Music Awards.

The release of The Ultimate Collection just over a year after his death is a solid reminder of the creativegenius, soulful magic and sheer artistry of Luther Vandross, an unforgettable presence and one of the most influential vocalists of our time.

http://www.luthervandross.com

March Artist of the Month

An old soul is the last thing you would expect to find inside Justin Bieber. But all it takes is one listen to the 15 year-old soul-singing phenomenon to realize that he is light years ahead of his manufactured pop peers.
After posting dozens of homemade videos on YouTube in 2007, where the multi-talented Bieber put his impeccable spin on songs from artists like Usher, Ne-Yo and Stevie Wonder, Justin racked up over 10,000,000 views purely from word of mouth.

“I started singing about three years ago,” says the Canadian native who grew up an only child in Stratford, Ontario. “I entered a local singing competition called Stratford Idol. The other people in the competition had been taking singing lessons and had vocal coaches. I wasn’t taking it too seriously at the time, I would just sing around the house. I was only 12 and I got second place.”

In an effort to share his victory with his loved ones, Justin began posting his performance footage online. “I put my singing videos from the competition on YouTube so that my friends and family could watch them,” he says. “But it turned out that other people liked them and they started subscribing to them. That’s how my manager found me. He saw me on YouTube and contacted my family and now I’m signed!”

Seven months after Justin started posting his videos online, former So So Def marketing executive Scooter Braun flew the then 13-year old singer to Atlanta, GA to meet with his elite colleagues. As if Justin’s natural singing talent wasn’t enough to impress Scooter’s inner circle, Braun knew Bieber was also a self-taught musician who plays the drums, guitar, piano and trumpet.

“Right when we flew into Atlanta, Scooter drove us to the studio and Usher was there in the parking lot,” remembers Bieber. “That was my first time ever being out of Canada so I went up to him and was like, ‘Hey Usher, I love your songs, do you want me to sing you one?’ He was like, ‘No little buddy, just come inside, it’s cold out.’”

All it took was a short time online for Usher to realize he was in the company of a future superstar. “A week later Usher flew me back to Atlanta,” says Bieber. “I sang for him and his people and he really wanted to sign me then and there but I still had a meeting with Justin Timberlake who also wanted to sign me. It turned out Usher’s deal was way better. He had L.A. Reid backing him up and Scooter had a lot of really good connections in Atlanta. I always tease Usher now and remind him he how he blew me off the first time we met.”

In October of 2008, Justin Bieber officially signed to Island Records. His debut album, My World is an intimate look into the mind of a budding young renaissance man. With production from star hit men like The Dream and Tricky Stewart who produced “Umbrella” for Rihanna and Beyonce’s latest smash, “Single Ladies (Put A Ring On It),” Justin has everything he needs to achieve pop supremacy.

His first single, “One Time” produced by Tricky, is about one of Justin’s favorite topics, puppy love. Usher joins Justin on “First Dance” where the two share verses on a song that Bieber describes as, “A slow groovy song that people can dance to.” On the Midi-Mafia produced “Down to Earth” Justin digs deep to talk about growing up. “Bigger” finds the teenaged singer maturing at a steady rate, while motivating his listeners to strive for their goals.

“I’m looking forward to influencing others in a positive way,” says Justin. “My message is you can do anything if you just put your mind to it. I grew up below the poverty line; I didn’t have as much as other people did. I think it made me stronger as a person it built my character. Now I have a 4.0 grade point average and I want to go to college and just become a better person.”

A virtually untapped well of natural artistic talent, Justin Bieber is primed to be a solid force in music for many years to come. “I think older people can appreciate my music because I really show my heart when I sing, and it’s not corny,” he says. “I think I can grow as an artist and my fans will grow with me.” And just think, he’s just getting started.

February Artist of the Month

Born: March 27, 1970 (1970-03-27) [1] Huntington, Long Island, New York, United States
Genres: R&B, pop, hip hop,[2] dance[3]
Occupations: Singer, songwriter, model, record producer, actress
Years active: 1988–present
Labels: Columbia, Virgin, MonarC, Island

Imperfections are in the eye of the beholder. You can see them as flaws, or as the very qualities that make us human — and that make us strive to be better people in search of a perfection that we know we can never fully achieve. In the thirteen songs on her spellbinding new album, Memoirs of an Imperfect Angel, Mariah Carey explores those aspects of our shared humanity with a rare depth, honesty and open-heartedness. It’s one of the strongest statements in her long, distinguished career.

The subject of Memoirs is love at all its stages in our lives. Experiencing it for the first time. Losing it. Remembering its most painful moments, and also its times of greatest innocence and joy. Yearning for it. Learning from it. Growing as a result of its profound power. Finding it again and being grateful for so great a gift. And, finally, being humbled, filled with wonder and elevated by love’s mysterious ways. In that sense and more, Memoirs is a full, immensely satisfying journey.

“Each song is like an intimate conversation or entry in a private diary,” Carey says about the album. “A lot of the songs reflect specific, different times in my life. Others were inspired by movies, actual events that happened to me, or the stories of friends who told me about experiences that they’ve gone through.” With just one exception, Carey wrote and produced the entire album in collaboration with The-Dream and Tricky Stewart. The trio clearly shared an inspired sense of what Memoirs should be. Sinuous grooves and instantly memorable melodies flow from track to track, while the wit and intimacy of the lyrics create the feel of one friend talking to another. As well-defined as each song is, Memoirs plays with the beauty and consistency of a classic, start-to-finish album.

“My main goal was to work with people I could collaborate with without it seeming redundant or stale,” Carey says. “In my opinion Tricky is one of the most underrated major producers out there right now. I really enjoyed collaborating with him. And I especially liked writing with The-Dream, basically because we both love having fun with lyrics and melodies, and we’re also capable of getting more serious on deeper songs. There is a particular sense of freedom I feel when we write together — even though I make him stay in the studio all night until he is ready to kill me! LOL!”

Memoirs’ first single is the hard-hitting “Obsessed,” which is accompanied by a video directed by Brett Ratner (the Rush Hour trilogy) in which Carey plays both the glamorous star and her stalker fan. Like the video, the song’s lyrics combine devastating putdowns (“Last man on the Earth still couldn’t get this”) with humor (“See right through you like you’re bathin’ in Windex”). The no-nonsense “Up Out My Face” captures a similar caustic mood, dismissing a former lover with the send-off, “When I break, I break, boy.” “It’s a Wrap” delivers a similar message about the end of an affair: “When it’s gone, it’s gone.” “Standing O,” with its irresistible chorus, sardonically applauds a faithless ex for his signature achievement: “You played the one that loved you the most.” “Betcha Gon’ Know” foresees karmic revenge for a wayward lover, but, once again, the clever lyrics (“Oprah Winfrey whole segment for real, for real / 20/20 Barbara Walters for real, for real”) encourage a smile amid the pain.

The ballad “H.A.T.E.U.,” meanwhile, finds the singer seeing life in the wake of a breakup and longing for the moment when loss and regret transform into a cleansing anger. But the title of the song doesn’t necessarily stand for what you think it might. “H.A.T.E.U. is the first song I wrote for the album,” Carey says, “and it stands for Having A Typical Emotional Upset.”

Always a brilliant technical singer with an extraordinary vocal range, Carey rises to new heights on that track. “I sing a recurring melody in the upper register of my voice; it’s not an ad-lib, but an integral part of the song’s hook,” she says. “That’s not something I’ve done before, and when listening back to it, it reminded me of how Minnie Riperton used her upper register on her hit song ‘Lovin’ You.’ I thought how ironic that her song was called ‘Lovin’ You’ and my song is called, ‘H.A.T.E.U.’ – and both use that upper ‘whistle register’ as a major part of the melody. So it’s sort of an homage to Minnie Riperton, a tribute to her since she has been so influential in my singing style.”

On a tender note, the wistful “Candy Bling” beautifully evokes the blissful realm of young love (“Anklets, name plates that you gave to me/Sweet tarts, ring pops had that candy bling/And you were my world”), while “Inseparable” aches for a love that went wrong for reasons that seem impossible to comprehend. “More Than Just Friends” floats off into a fantasy of what a casual relationship might become (“Permanently paint me in your picture like Picasso/Love me down till I hit the top of my soprano!”). “Ribbon” and “The Impossible” swoon with happiness and thankfulness over redemptive love that has returned to make life rich again. “You did the impossible,” Carey sings. “You rescued my love.”

Memoirs of an Imperfect Angel ends with a spectacularly powerful gospel rendition of Foreigner’s gorgeous ballad, “I Want to Know What Love Is.” Carey’s voice soars into the heavens as a soul-stirring choir makes it clear that the search for love is the closest that any human being ever gets to the divine.

Which brings us back to the angel of the album’s title. “I had written a song called ‘Imperfect,’” Carey says, “but it didn’t make it onto the album. The lyrics of that song address the fact that the world puts so much pressure on us — especially on women — to be perfect and look a certain way, and that is impossible because nobody is perfect. Only God is perfect. I know I’ve tried to be a good person, but I am definitely no angel!”

“But after I put this album together and decided to name it Memoirs of an Imperfect Angel,” she concludes, “I remembered that the Minnie Riperton album that contained ‘Lovin’ You’ was called Perfect Angel. So I felt in so many ways that it was meant to be.”

http://mariahcarey.com

January Artist of the Month

Birth name: Taylor Alison Swift
Born: December 13, 1989 (1989-12-13) (age 20)
Wyomissing, Pennsylvania, United States
Genres: Country,[1] pop[2]
Occupations: Singer-songwriter, guitarist, actress
Instruments: Vocals, Guitar, Piano,[3] ukulele,[4] 12-string guitar
Years active: 2006–present
Labels: Big Machine Records
Associated acts: Miley Cyrus, John Mayer, T-Pain

Stepping off Music Row and into the small but stylish lobby of Big Machine Records, a visitor quickly realizes it’s not just the walls that reveal the story of Taylor Swift’s meteoric rise to stardom.  Even the floors have a tale to tell. 

With much of the vertical real estate already claimed by industry awards, framed national magazine covers, and gold and platinum records, the staff has adopted the tactic of neatly stacking the continuous stream of accolades and achievements along the baseboards.  All that’s needed is a break in a busy intern’s schedule to grab a hammer, a few nails and search out any open wall space.
 
The image found most often found framed inside with all that precious metal: the cover shot of FEARLESS, Swift’s second album.  The photo captures Taylor’s face in profile.  Flowing blonde hair fills the top of the frame.  Her logo and the record’s title dominate the lower half. 

Of course, that one-word title is a part of pop-and-country culture now.  It’s been spotted at the top spot of charts around the world, entered into record books, and engraved on dozens of plaques and awards.  But at one point this extraordinary collection of songs had a name.  And the artist who put her heart, soul and talent into that music knew it needed to be something special.

“It’s a big deal to title your album, so I wanted to make sure that it was the right call,” remembers Taylor.  “Because you really have to make sure that it explains this body of work that you’re putting out these last two years of stories you want to tell.”

In the end, Swift decided on the single word that captures perfectly her journey to this moment.

 After all, this is the girl, who at the tender age of 10, had the guts to take the stage at every karaoke contest, festival, and county fair that passed through her hometown of Wyomissing, Pennsylvania.   This is the girl, who at age 11, took a trip to Music City and left a trail of amused receptionists as she dropped off her homemade demo tape at every label in town.  This is the girl, who at 14, became the youngest person ever to be signed as a professional staff songwriter at Sony/ATV Publishing.  This is the teenager who signed her first record deal before she could drive.  Who had the guts to step from an ACM awards stage and into the audience to introduce herself to Tim McGraw live on national television – just seconds after playing the last chord of her first hit song that bears his name.  Who at 17, became the youngest person to single-handedly write and sing a #1 country hit entirely on her own.
 
The image found most often found framed inside with all that precious metal: the cover shot of FEARLESS, Swift’s second album.  The photo captures Taylor’s face in profile.  Flowing blonde hair fills the top of the frame.  Her logo and the record’s title dominate the lower half. 

Of course, that one-word title is a part of pop-and-country culture now.  It’s been spotted at the top spot of charts around the world, entered into record books, and engraved on dozens of plaques and awards.  But at one point this extraordinary collection of songs had a name.  And the artist who put her heart, soul and talent into that music knew it needed to be something special.

“It’s a big deal to title your album, so I wanted to make sure that it was the right call,” remembers Taylor.  “Because you really have to make sure that it explains this body of work that you’re putting out these last two years of stories you want to tell.”

In the end, Swift decided on the single word that captures perfectly her journey to this moment.

 After all, this is the girl, who at the tender age of 10, had the guts to take the stage at every karaoke contest, festival, and county fair that passed through her hometown of Wyomissing, Pennsylvania.   This is the girl, who at age 11, took a trip to Music City and left a trail of amused receptionists as she dropped off her homemade demo tape at every label in town.  This is the girl, who at 14, became the youngest person ever to be signed as a professional staff songwriter at Sony/ATV Publishing.  This is the teenager who signed her first record deal before she could drive.  Who had the guts to step from an ACM awards stage and into the audience to introduce herself to Tim McGraw live on national television – just seconds after playing the last chord of her first hit song that bears his name.  Who at 17, became the youngest person to single-handedly write and sing a #1 country hit entirely on her own.
www.taylorswift.com

December Artist of the Month

Alicia Keys

Birth name

: Alicia Augello Cook
Also known as: Lellow
Born: January 25, 1981 (1981-01-25) (age 28)
Origin: New York City, New York, United States
Genres: R&B, soul
Occupations: Singer–songwriter, multi-instrumentalist, composer, arranger, record producer, actress, music video director, author, poet
Instruments: Vocals, piano, keyboards, cello, synthesizer, vocoder, guitar, bass
Years active: 1985–present
Labels: Columbia, Arista, J
Website: www.aliciakeys.com 

What does it mean to be the proprietor of your destiny? If you’re a singer, songwriter, pianist extraordinaire, producer, author, news correspondent, award winner, philanthropist and actress like Alicia Keys, it’s probably perceived as affluence. For Keys, prosperity isn’t measured monetarily but through passion, self-fulfillment and life experiences. It’s this philosophy that has made the songstress a master of endless promise and impressive achievements.

Born and bred in New York’s Hell’s Kitchen, Keys was strongly influenced by music from all different generations and disciplines including the essential music of Nina Simone, Donny Hathaway, Marvin Gaye and Stevie Wonder; classical compositions of Frederic Chopin, Erik Satie, and Leontyne Price; and urban lyricists such as Tupac Shakur, The Notorious B.I.G., Jay-Z and the Wu-Tang Clan.

Since the age of seven, she received formal training in classical piano and jazz stylings of Oscar Peterson, Fats Waller, and Marian McPartland with her instructor Margaret Pine. However, it was not until Keys attended the Professional Performing Arts School under the tutelage of Miss Aziza, a bold pianist who wrote and composed original songs, that Keys was introduced to the art of songwriting and producing.

Discovered by manager Jeff Robinson at a Harlem PAL when she was 14, Keys performed throughout the tri-state area, anywhere and everywhere she could from tiny clubs to street corners. Two years later, she received a scholarship for and briefly enrolled in Columbia University before leaving to pursue a music career.

The road was far from being easy, but Keys’ eclectic education and early life lessons inspired her musical hybrid of soul, hip-hop, jazz and classical. This fusion permeated her five-time, Grammy-winning 2001 inaugural release, Songs In A Minor, on Clive Davis’ J Records. Debuting at the top of the Billboard 200 chart, Minor sold more than 235,000 copies in its first week and later sales exceeded 10 million units worldwide.

Together with Robinson, President of MBK Entertainment, producer Kerry “Krucial” Brothers, A&R executive Peter Edge and Davis, Chairman and CEO of BMG Label Group, Keys and her mentors solidified a formidable friendship and powerhouse musical team that encouraged and nurtured her musical vision and identity. “My team offers me different perspectives, but always recognizes the artist in me,” she says. “They encourage me to be who I am creatively.”
After relentless touring, Keys followed her successful debut with her sophomore effort, The Diary of Alicia Keys, released in December 2003.

The critically-acclaimed anthology sold more than 618,000 copies during the first week of release in the United States, was certified seven-times platinum, and garnered an additional four Grammys. Reflecting on her work for Diary, Keys stated: “When the album was completed I was ecstatic because I really felt the energy of the songs and hearing them as one piece of work, I was finally able to say, ‘Yes, this is who I am right now.’ I’m so proud, happy, and excited that I could offer this music to the world.”

It was so well-received that in October 2005, she released the three-time, Grammy-nominated live concert recording, Alicia Keys Unplugged, featuring her most acclaimed music, new exclusive songs, as well as memorable collaborations with Common, Mos Def, Damian Marley and Adam Levine of Maroon 5.

Committed to excellence, Keys vowed that her new album As I Am will be like her previous masterpieces, a culmination of her world travels and personal experiences; and she certainly has delivered. “There’s no formula to my music, it’s just rooted in my heart and soul. Whether I talk about visiting the pyramids in Egypt, to witnessing the AIDS epidemic in Africa or matters of the heart everyone will be able to experience where I’ve been and where I am going in my life.”

In true Alicia Keys fashion, As I Am, raised the musical bar with stellar production by Keys, Linda Perry, Jack Splash, Mark Batson and Kerry “Krucial” Brothers. Described by Alicia as a powerful combination of “Rock ‘n Soul – Janis Joplin meets Aretha Franklin,” As I Am became another milestone recording in the young entertainer’s career with over 742,000 units sold during it’s first week of release. In addition, As I Am marks Alicia’s fourth #1 debut on the Billboard Top 200 chart and her biggest sales week to date. Upon the November 2007 release of As I Am, Alicia held the prestigious title as the biggest debut for a female R&B artist in SoundScan history, and the highest selling debut for a female artist since 2004.

Her third studio album, As I Am spawned the hit single “No One” which won two Grammy Awards in 2008 for Best R&B Song and Best Female R&B Vocal Performance. The third single from As I Am, “Superwoman” garnered an additional Grammy in 2009 for Best Female R&B Vocal Performance. Additionally, Keys received four awards at the 2008 NAACP Image Awards, was honored at the first annual BET Honors ceremony, and received the BET Award for Best R&B Female Artist.

Enjoying one of the most successful periods in her career with over 5 million copies of As I Am sold worldwide, Keys kicked off the As I Am Tour presented by Lexus in February 2008 with sold out shows for both the European and US portions of the tour.

Throughout her career, Keys has earned numerous accolades. In addition to twelve Grammy Awards, she’s nabbed eleven Billboard Music Awards, five American Music Awards, three World Music Awards, three MTV Video Music Awards, three MTV Europe Awards, two Nickelodeon Teen Choice Awards, three BET Awards, fourteen NAACP Image Awards, seven Soul Train Music Awards, two Soul Train Lady of Soul Awards, two People’s Choice Award, one My VH1 Award and more.

Complementing her musical achievements, Keys is also a New York Times best-selling author. In 2005, Penguin Group USA published Tears for Water: Songbook of Poems & Lyrics, an introspective tome of original poetry and lyrics from Keys’ first two albums. In 2004, The New York Daily News appointed Keys as a travel correspondent.

Each month she chronicled the sites and experiences of her summer world tour, which included a performance at The Great Wall of China. In 2006, Alicia completed her first marathon, which she proudly ran in the birthplace of the sport – Greece. Also, the siren and Robinson have co-developed and co-written an original series for the CW Network entitled “Zora,” which is scheduled to hit the tube later this year. Zora, the first production from their jointly owned production company Big Pita, Lil’ Pita (BPLP), is a coming-of-age dramedy that follows the growing pains of a 15-year-old, bi-racial high school student struggling with self-awareness and typical teenage issues, after moving to a new neighborhood following her parents’ divorce.

“This is not my biography, but it is slices of my life,” admits Keys, who also serves as the co-executive producer and co-creator. “It’s a special show because it examines the complexities of bi-racial identity and those awkward teen years when you’re still trying to find your place among your peers, community, and the world.” Currently, BPLP has additional projects in development including a show for MTV, a film with director F. Gary Gray (Italian Job, Set It Off), and the contemporary remake of the 1958 romantic comedy, Bell, Book & Candle, which originally starred Kim Novak. The production of Bell, Book & Candle is part of BPLP’s multi-year production deal with Disney.

Unbeknownst to her loyalists, Keys’ foray into Hollywood isn’t entirely unfamiliar territory. Inheriting acting chops from her theater mom, Keys co-starred on The Cosby Show as a friend of Rudy Huxtable when she was only four-years-old. In January 2007, the native New Yorker made her silver screen debut in Universal Pictures’ Smokin’ Aces, a high-octane, cat-and-mouse adventure between the FBI and a gaggle of deadly assassins who are both after the same prey – a former Las Vegas magician-turned-mob-snitch named Buddy Israel (Jeremy Piven). Keys co-starred as Georgia Sykes, a seductive yet ruthless assassin, whose vicious reputation precedes her, and who, together with partner-in-crime Sharice Watters (Taraji Henson) are among the two of the many annihilators recruited to take out Buddy for a cool million bucks.

“I loved everything about Georgia — her calm, cool and collected nature and ability to get down to business,” she says. “I was more interested in taking a risk with my foray into film rather than play a character that mirrors any part of who I am in real life.” Directed by Joe Carnahan (Narc), Aces’ stellar cast also included Ryan Reynolds, Ben Affleck, Andy Garcia, Ray Liotta and Common.
On her way to fast-becoming a marquee favorite, Keys banked screen time with Scarlett Johansson in 2007 for The Weinstein Company’s first post-Miramax production, The Nanny Diaries, which follows a college student who works as a nanny (Johansson) for a rich New York family.

As Lynette, the boisterous bohemian and best friend of Johansson, Keys describes her character as “the earth of the movie.” “I love that Lynette is the total antithesis of my Aces character,” she says. “That’s important, because I never want to do one style of anything and I welcome diversity in everything I do.”

Keys hit the silver screen once again in October 2008 as June Boatwright, one of the three Boatwright sisters in the Fox Searchlight film adaptation of the bestselling novel by Sue Monk Kidd’s The Secret Life of Bees.

That desire for diversification translates to her philanthropic efforts. In 2002, Keys joined with “Keep A Child Alive (KCA),” a non-profit organization dedicated to providing life-saving anti-retroviral treatment to children and their families with HIV/AIDS in Africa and the developing world.

“I have teamed up with KCA and co-founder Leigh Blake to lend my voice and support to the fight against AIDS that have left more than 12 million African children orphaned and 25 million dead in Africa during the last 25 years,” she says. “This organization is an emergency response to the deadly “treatment gap” that is destroying Africa.” After returning from Africa, Keys was instilled with a renewed sense of purpose and urgency in her. She and KCA have set a goal to increase the 17 percent of Sub-Saharan Africans who are receiving treatment to 72 percent — the total of people who desperately need the AIDS treatment. 
 
 Shortly after becoming involved with KCA, the chanteuse was named ambassador and co-host and musical director of the annual Black Ball, a benefit to promote HIV/AIDS awareness and raise funds for the charity. Over the last three years, Keys has brought together musical luminaries such as Bono, Kanye West, Damian Marley, Fela Kuti, David Bowie, Lenny Kravitz, Angelique Kidjo, John Mayer, Paul Simon, Nas, Common, and John Legend to help raise AIDS awareness and funds which provided ARVs to those desperately in need, help build clinics, pay for hospital staff, food and even care for orphans of the pandemic.

“It’s amazing to return to Africa and witness those who were so sickly they literally were near death, being brought back to life because of the medical care they were able to receive,” she says. “Just knowing that your time and effort has helped build pediatric wings in hospitals and supply medicine to those who might not otherwise receive it, gives me a real sense of purpose.”

Keys charitable contributions are not only felt abroad but also on her home soil. Her humanitarian efforts continue as a board member of “Frum Tha Ground Up,” a non-profit organization devoted to inspiring, motivating and encouraging the ambitions of America’s youth and bringing them to fruition by instilling fortitude, confidence and integrity. She’s also involved with “Teens in Motion,” a grassroots organization that provides a safe environment for teens to excel in dance, singing, drama, spoken word and self-esteem workshops, located in the South Bronx.

It’s Keys’ overwhelming desire to remain connected and affinity for the written language that prompted the re-launch of her website. A virtual fan club, www.ALICIAKEYS.com, offers a personal audio blog (the evolution of her long-running online journal), Alicia Keys’ Book Club (ever three months a book will be chosen to read and discuss), all released audio, bonus tracks, videos, behind-the-scenes photos, interviews, and unreleased mobile ring and voice tones, as well as ring backs. Those who enroll as club members will receive an exciting all access pass to the exclusive world of Alicia Keys.

Everything from her current projects in music, film, charity and production will be shared with members. But this intimate environment not only allows Keys to keep her ears to the streets, but is reciprocity at its best. “This site benefits me just as much as it does my fans,” admits Keys. “Not only, do I get to show my appreciation to those who truly support me and love music, but I can also finally document those special moments that I’d like to remember.” Members can also visit www.krucialkeys.com, the official website of her production company with business partner Kerry “Krucial” Brothers, to check out their studio sessions.

Undoubtedly, Alicia Keys is an evolving artist who has claimed ownership of her future. “My music allows me to speak freely,” she says. “It doesn’t have a beginning or ending because it’s an integral part of my ongoing journey.” As she progresses in her artistry and life, it’s evident that Keys profoundly invests her attention and energy to every commitment she makes. Whether it’s producing another platinum award-winning album or serving as an activist in the Motherland, our beloved soul maven is a creative force and will forever be the consummate musician, actress, entrepreneur, humanitarian and philanthropist.
 
www.aliciakeys.com

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