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Vinal Edge Records, 26 years & counting
Photo/ND McCray
Based in Houston, Texas, Vinal Edge Records has been in business for over 20 years. In a time when record stores –big and small, are shutting their doors, owner Chuck Roast and his dedicated staff of two, Sam and Travis, keep the records turning.
Video: Nelson George and Roland TR-808
Photo/Nelson George
As part of Tribeca Film Fest’s Focus Forward Short Films, noted cultural critic, hip-hop head and film producer Nelson George gives us a two-minute and fifty-five second breakdown of the Roland TR-808 drum machine in “All Hail The Beat”. During the 80′s, the instrument of choice in the music of hip-hop, house, techno, electro, and beyond were influenced by the legendary 808. Even now, it’s still inspiring music producers and DJs alike. Very insightful.
Studio Tour with Dam-Funk (Scion AV)
Photo/Mathew Scott
Rather dope studio tour with Dam-Funk, otherwise known as the “Ambassador of Boogie Funk.” Shows us around his Ladera Heights, California studio. Creates a track on the spot. Love this brother!
Indie rockers Delta Spirit play Houston’s Cactus Music
Listen here [2 min 25 secs]
Delta Spirit’s lead man Matt Vasquez out back at Cactus Music, Thursday, Apr. 12, 2012. (Photo/ND McCray)
Delta Spirit is an indie rock and blues band now based out of Brooklyn, New York’s ever-expanding music scene. Last Thursday, the five guys did an in-store performance at Houston’s own Cactus Music, which is sort of like the “Amoeba of Texas.” They played a short set to a small crowd in promotion of their third LP, the self-titled Delta Spirit. After the show, lead singer and songwriter Matt Vasquez talked to me briefly outside in the back of Cactus–in the smoking area and told me exactly what the “Delta Spirit” is. Later that night, I caught the group at Fitzgerald’s in the Heights area, where they played to a near sold-out crowd.
Short film: “Being Bilal” [by Roni Nicole]
Shot in Atlanta, neo-soul artist Bilal provides a glimpse into his world with “Being Bilal”. A first in a series, the short film was directed by ATL-based filmmaker Roni Nicole.
Erykah Badu Reveals “Wild Rabbit” for Hennessy VS
As part of Hennessy VS’ recent campaign, “What’s Your Wild Rabbit,” Erykah Badu gives a behind-the-scenes look at what inspires her to create (aka her “wild rabbit”). According to the cognac’s website, the region of western France near Cognac (where Hennessy is made) is a hotbed for wild rabbits that are rarely seen. According to legend, the wild rabbit is a driving force or ambition in people that leads them from one success to another. I love that!
The neo-soul goddess as well as filmmaker Martin Scorcese and boxing champion Manny Pacquiao are part of the campaign. For more info, visit www.neverstopneversettle.com.
So what’s my wild rabbit? Open mindedness. Everything that I’ve done, do, will do, or write about, from music to film to books to travel, to the people I date or fall in love with, it’s all because I keep/have kept an open mind — in hopes of finding something or someone I never would’ve expected otherwise.
Sy Smith is therapy for the soul
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| Sy Smith / photo by Marlene Fisher |
Initiating and sustainingattention through music is one definition of music therapy. Sy Smith canbe defined as therapy for the soul. Holding a bachelor’s in psychology, thesinger, songwriter and musician brings her latest CD, Fast and Curious — which is her fourth release via her own imprint Psyko Records. With a career that definesvariety and music that touches the soul, jazz musician Mark de Clive-Lowe said this about the virtuoso via email:
“Sy’s a phenomenal singer andmusician first and foremost. She’s a master of her instrument and that’ssomething that’s not all that common these days. Whether it’s backing vocalsfor the late Whitney Houston, hitting it on stage with Sheila E or takingpeople’s breath away on a Chris Botti show, she can do it all.”
And doing it all seems tobe the singer’s goal. Media maven Fiona Bloom agrees, saying Sy has “the gutsto be different- mix genres/mash ups, tour the world and not be afraid to putin the work.” And “she’s a pleasure to work with.” So last week, I chatted withthe artist herself to get more insight into how she creates her music andof course, what it was like touring with Whitney Houston.
On releasing hermusic on her own terms
“All my releases have beenindependent; my record label [Hollywood Records] never put out my [first]album. They only released a single, so my first release was an EP I did in2001; and then The Syberspace Social I released in 2005. And thenI bootlegged my project from Hollywood Records and put it out in 2007. That wasPsychosoul Plus.”
On lessons learned in recording current CD Fast and Curious and first EP in 2001
“Every record I just tryto up my quality control as much as I can. I think … probably for Fast and Curious I definitely spent moremoney on mastering than I probably ever have. Because I really just wanted itto sound good, sonically, and audio wise. Where as I probably didn’t payattention to mastering when I released my first EP. So that definitely was athing [learned].
What else?? I made sure toget a matte finish on the CD to make sure I could autograph it better{Laughter}. That was something I thought of back when I put out Pyschosoul. But I definitely spent a lotof time hashing out the sequence of the album. I’d spent time on it before, butthis time I definitely wanted to make sure the album told a story with a properjourney.”
On touring with Whitney Houston
“She was just radiant; anointed.Her gift was much bigger than … the sound of her voice. Her gift wasconnected to something so much bigger. And you felt that every time she sang that connection to something higher. And I loved that she was so giving withher gift and her talent. And she was joyful. She radiated that kind ofthing and love. Yeah, her connection to the Almighty … it was a beautifulthing to witness.”
Sy Smith will connect to fans at Drom in NYC on May 3rd; but visit www.sysmith.com for even more concerttour dates. Below listen to a few tracks from Sy’s catalog of music.
Interview: Brooklyn Songstress Candice Anitra Talks Balance, Music and Alchemy
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| Candice Anitra |
Talking to Brooklyn-based/Philly-bred songstress Candice Anitra is like catching up with an old friend. She’s cool, funny, inspiring and totally open and comfortable sharing her life story. With her forthcoming release Big Tree – which includes her latest single “Love Sick” and a special song (“Today”) dedicated to the 2010 earthquake in Haiti, the “Left-of-Soul” singer recently spoke to me via phone about maintaining balance with family and career goals, the urgency of Big Tree and our connection to one another, as well as why she calls herself an “alchemist.”
As an independent artist, or just an artist in general, how important is it for you to have balance between your career aspirations and your personal goals? How do you juggle the two? Because you’re a mom too, right?
I am a mom; I have two daughters. It is very important. And it is something I need to work on everyday because my kids they are a priority to me and need to be home for them, so it’s crucial. I mean last year I had a couple of illnesses that I think was due in large part I was doing a lot and wasn’t working on being a friend to myself. I mean I had pneumonia…[but] I feel like I learned a really big lesson. Like just be a friend to yourself, be kind to yourself; in a way you would want someone to be to you in the world. Use that same intent. If you don’t love yourself and you’re not being loving towards yourself, how are you going to be the most good to your loved ones?
How old are your daughters?
My daughters are … my oldest will be six in April and my youngest turned four in January.
Awww, they’re at the good age too, that good and fun age.
They’re amazing; they are amazing. I love my kids.
Just finding that balance is still kind of hard for you?
It is. I mean I think taking one task at a time is key. Another thing I’ve learned; I cannot multitask when I’m with them. Either I’m working or I’m with them. So those are lines and boundaries I try to keep very clear. And my husband is my manager so I’ll say like after 10 we can’t be having talks about contracts in our bed. That doesn’t work for me! I need more concrete times to setup those talks. It’s something I’m working on everyday. And yes, it is so difficult and very challenging.
How would you describe your music? Because I’ve listened to Big Tree [available March 27] and really you can’t put it in a box. And I read you don’t like labels or being in that box, so how would you describe your music?
I would describe it as “Left-of-Soul.” Like rock is Jewish soul and pop is … to me I’m a soul singer and I do love all kinds of music … so my eclectic tastes are in there.
Yeah, I can hear it.
[Laughs] Yeah, I get around!
I can hear it. I was like where is she … its not progressive soul, it’s not rock, and it’s not R&B or neo soul. It’s like you really can’t put it into a perfect space.
It’s true. It’s tricky. What do I think is a good combo? Umm … Joan Armatrading-Meshell Ndegeocello combination. There’s definitely apart of my music that’s an amalgam. I think that’s because I just approach it from the emotion and from the story. When I’m writing I want to convey that. I want to get that emotion that I’m feeling right in that moment. I’m gonna use the sound to take you there. I think it just important to follow that narrative. So yeah, it makes me elusive! [Laughs]
I like it though; and I love the fact that you call yourself an alchemist, which is like one of my favorite words. So why do you use that particular one to describe yourself?
[Pauses] Do you like the book [The Alchemist]?
I love the book! It’s one of my absolute faves, Paulo Coelho.
Yes. It’s like one of those books that upon the fifth or sixth re-read you’re like “oh yeah.”
It’s like you’re constantly picking something new out of it. It’s like damn I’ve read it three times why didn’t I see that before.
Exactly! I love that we have that in common. Yes, alchemy for me it’s emotional. I have moments of challenge and for me what is healing is to move it through in this arch-y sort of way. I have a feeling; I hear a certain frequency or hear a melody and I just pour it into that.
So the title track “Big Tree,” which is by the way, one of my favorite songs on the album. I listened to it several times … but when I listen to it I feel like it should be in a movie, like it should be on a score or something.
Wow. I love you. [Laughs]
When you created it, was it intentional or was it just a natural thing to do? Because you have a background in acting as well.
I am dramatic in my writing. And so, um … to me that song was inspired by a tree that I look at when I’m writing at my desk. I really love trees and think they’re just a beautiful metaphor for human beings. They’re so resilient. I look at them as a storm blowing past and they’re still just standing there so graceful and so beautiful.
So yes, this title track the dramatic nature of it sort of lends itself to it. Like we need new myths. Like we need to be connecting to nature in a way that will help us balance the very harried pace that we live. We need remember these things. We need to recognize that opposed to it being a novelty. Like let’s protect the earth quote-unquote; let’s remember we’re connected to it. In that our reflections are everywhere. Let’s be apart of that. Let’s not forget it. So yes it’s sort of like a call to the fact that Mother Nature, Goddess, energy, life force, this idea we are all connected. Like why don’t you connect to me and let’s rock out a little bit! [Laughs]
Especially in a city like New York; I think sometimes you lose your grounding when you’re in a place like this. Because it is so fast-paced and you feel like you have to do so much. So having that song on the album is rather perfect.
Oh, thank you so much.
So tell me a little bit more about the entire album process; how did this project come to you?
It just erupted out of my person. [Laughs] So I’m digging and I have this other album where I can write and I’m doing this material for and it’s very fun–and before I knew it, I had just written another album.
It was urgent. And then because I have the kids and I don’t even know how I find the time do this. I’ll pick any time. A half-hour, an hour, 20 minutes in the morning and I will take it and use it and will just write my face off. I will go blazing and it just happened to me. I’m on this path now where I’m writing, and I’ve always been a writer. But combining the writing with singing … is just what I’m supposed to be doing now. I process this way. If something really strange and challenging is happening, I write about it. That’s how I feel not so alone.
I also read in your bio that you find the most joy in sharing your vulnerable side, that full spectrum of human emotion. In your music, how else to do you put your emotions out there?
I talk a lot about depression. I’ve had issues with depression. I have abandonment issues, like when my parents divorced when I was 12 or 13. I talk about that and emotional dependency; social and emotional awareness. And really this idea of sharing the things that everyone tries so desperately to hide. Like we should really connect to someone.
Like this morning, I was at my daughter’s school, my youngest. And this woman she had this pain-look on her face. And I could hear this kid crying and I could tell it was hers, that it was her kid. Sometimes the drop-offs don’t go so well, the kid is having a meltdown and you feel like … your heart is breaking. Like how can I leave them here, like they will never forgive me.
So I see her and I’ve been there. I was just like … you know that happened to me all the time last year… it’s so heartbreaking and it’s so hard to describe because you know they won’t forget … but you sort of feel traumatized when you walk away …feeling just like, “Am I doing the right thing?,” like you start questioning your whole methodology [Laughs]. Right there in the street, we’re walking back and forth! And I can’t leave.
And being able to share that with … like she said at the end of our conversation was, “Thank you so much, I needed that.” Like I remember being her, I’ve been her and I will be her again. Being able to connect with another human being like that over a challenge. You do feel fortified. You feel seen. You feel acknowledged. You feel like the Universe hears you when you’re like “I need someone to talk to!” You may not say it exactly like that but you want to be connected. You don’t want to feel like you’re alone.
So all that stuff I write about because it’s what I think about. It’s stuff I’ve been pontificating about since I was like 11. I was that kid that was thinking about life and gender and sexuality. I just remember reaching a certain age where my body had changed …and my mind had not quite caught up. And I feel like I’m still in that pattern.
So my last question is and I hate it’s gonna be my last question. So I know you’re from Philadelphia and I actually lived in Philly for a few months but you live in Brooklyn now. So in terms of music — which one do you think is better, Philly or BK?
Ohhh, you gonna put me on blast like that?! [Laughs] How could I ever live with myself?!
I know, I know it’s a hard question!
But I would say … Philly and BK are in me. I say that because of this … my parents were very Philadelphia Sound, Gamble & Huff; that was my beginning, my music education. So I feel I would be remised if I did not check that first. Because that’s where I come from…
Having said that, I live in Brooklyn now and I’m an adult and have not lived in Philadelphia for many, many years. Also I wasn’t really a singer there to be honest. I was a dancer, I was an actress; I was an actress who could sing. I did not … until I got to NYU, that’s when I felt comfortable with that persona.
My father, who is also singer, when I was about 12-years old my parents were having trouble and I’d go to him and say, “Teach me how to sing” and he was like “You’re not ready.” I didn’t totally process it at the time. But that was sort of what was happening when I was going from an actress who could sing to someone who could actually say, “Yes, I’m a singer and I want this singing part in this show.” You know … it wasn’t until ’06 that I was really able to write these songs and to have them pouring out of me.
I feel like I’ve looked at it from all sides. Like yes, that comment tripped me up. I understand my parents did the best they could. And um …. now that I know what it is, I’m just gonna move with that and I’ll write about it. That will be apart of it.
Philly and BK are apart of me but Philly is where I’m from … so Philly wins there.
You can follow Candice Anitra on Twitter @CandiceAnitra
Big Tree releases on March 27th; the NYC album release party is on April 5that Drom (85 Avenue A, btwn 5th & 6th). See ya there!
PROFILE: Heights Vinyl Curator, Craig T. Brown waxes poetic about the record business and why vinyl still matters
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| Photo credit: Marc Brubaker |
It’s hard not to call it a comeback but business owner Craig T. Brown has seen the resurgence of vinyl record sales firsthand. As owner of Heights Vinyl (3122 White Oak Dr.) in Houston, TX, the “vinyl curator” is apart of this re-emerging success story.
In a 2009 am New York article (print version), Scott Rosenberg captured a particular essence (of which some may feel) and physicality of vinyl records, “They’re big, heavy and cumbersome. The sound crackles and pops. They’re relics of a bygone era.” But according to Nielsen SoundScan data (from the same article), vinyl sales jumped 89 percent in 2008, that’s 1.88 million albums sold (taking into account “the 14 percent overall drop in CD, LP and digital sales combined.) In 2010, the numbers rose to 2.8 million; last year it was estimated that nearly 20 million records were sold at independent record stores, concerts and niche websites,” according to the New York Times.
Opening the shop nearly three months ago, Brown–who also works as a creative director at a technology company–began thinking about the concept of a record store last year, “A year ago I noticed that vinyl was kind of trending up again. I just started asking around in the Houston area, specifically the Heights area and nearly, probably 99 percent of the people I asked was like “Holy shit, yes, you have to do that.” And those positive responses made me think that maybe I can do this after all.”
That sense of community and connection is what tends to bring people back into record stores. It is the notion of finding something new, different, undiscovered that can be shared with others. As Brown began talking, about two minutes into the conversation, he walks over to a window shutter of signatures by various bands that have played at the shop, and talks at length about Khruang Bin, an up-and-coming instrumental outfit.
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| Khruang Bin playing the High Noon stage at Heights Vinyl |
“If you were to ask me, these are the next guys you’re gonna hear about around Houston. ”It’s groovy, funky, and instrumental. They probably brought our biggest crowd yet [to the store], but it wasn’t just their friends; people were like “Whoa” how come we’ve never heard of these guys.” Every Saturday night at six, regional and local bands play to a crowd of audiophiles and music lovers in the area. The shop is down the street from live music spot Fitzgerald’s as well as next door to The Onion Creek coffeehouse and bar.
But there is a childlike excitement when Brown speaks of his love of music. Red-headed and unshaven wearing a brown leather jacket, t-shirt and jeans, he could easily pass for a member of an indie rock band himself. With a beam in his eyes, he spoke on the moment he decided to open the shop: “So I was about 13-years old [laughs]…but my first working DJ gig was at 16-years old, so I’d been a DJ on and off for a long time. Just always loved record stores; even before 16 I’d just go and hang. It was always stuck in my mind that I love to buy records, to teach, not only selling people things but also helping…so I’ve seriously wanted to open a store for the past 10 or 12 years now.”
Revealing that his first concert was Iron Madden and second was New Order, and that he was a house DJ but grew up loving rock n roll as well, Heights Vinyl doesn’t specialize in any particular genre. But its soul, funk and jazz, pop, rock and electro sections are rather eclectic. The store also sells vintage turntables and a select variety of vintage headphones.
When asked why vinyl matters and whether iTunes is killing record stores, the Houston-native, who has also lived in Austin, Colorado and San Diego, had this to say in regards to new collectors stopping by, “You can’t go look at a mp3 collection, there’s nothing tangible. [But with a record] You can hold it, you can feel it; there’s a ritual to having to put it on and play it; it’s that experience of it that gives me chills when younger folks come into the store.”
Allen Stone visits "Live From Daryl’s House"
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| Photo credit: Christopher Nelson |
24-year old soul singer Allen Stone recently visited the set of Philly soulster Daryl Hall’s TV series Live From Daryl’s House, and what a treat it was. The two musicians’ soulful voices mesh to create wonderfully lush, harmonizing vocals on Stone’s hit song “Unaware,” which is from his self-titled sophomore LP (out on iTunes now). Influenced heavily by Marvin Gaye and Aretha Franklin, Stone is from Chewelah, Wash., a suburb outside of Spokane. But be sure to catch his performance on Jimmy Kimmel Live on March 13th.
SEVEN Questions with Deep House DJ-Producer Miguel Migs
Miguel Migs (born Miguel Steward, aka Petalpusher) respects the DJ movement. Always one to bring a lovely brand of deep house to the table, the San Francisco DJ, producer and musician is a master at what he does. With countless DJ mixes, remixes and nearly two-dozen EPs to his credit, Migs released his fourth studio album Outside the Skyline November of last year. The LP features well-known acts like R&B diva Evelyn “Champagne” King, alternative singer-bassist Meshell Ndegeocello and bossa nova pop artist Bebel Gilberto. Last month I had the chance to pose a few questions to the guy behind the decks to find out why he become a DJ, his career choices if he were not spinning records, and much more.
Outside the Skyline is solely made up of guest features, which is not your usual release, why go that route? I’m thinking the title of the album has something to do with it.
I really enjoy working with various artists/vocalists and exploring different styles… I love the whole process of song writing; recording and creating music and I wanted to create a cohesive album that reflects some of my inspirations. Soul, funk, disco, rock, reggae and electronic elements all interwoven, featuring a wide range of amazing singers, and ‘Outside the Skyline’ is the result.
Where do you go (mentally or physically) to create a song? How long does it take to get the right sound? And when do you know it’s finished?
I write songs very spontaneously and without an exact plan… usually, first I put together a rough track instrumental idea, then I get a feel for what style vocal would fit nicely on top. Sometimes I will write the lyrics and melody collaborating with the singer I have in mind, and sometimes I will write it myself and then bring in the vocalist to perform and record the song… there are no exact rules to the process, I just try and stay open minded to various styles and I have so many musical ideas always going through my head.
I’ve followed your DJ career for about 10 years now, what pre-show rituals, if any, do you have? Anything unusual like rehearsing in a room full of Patchouli incense and peach candles.
[Smiles] I just show up with my music and spontaneously see where it goes! It’s always a bit of an experiment, testing out lots of new tracks all the time as well as just having fun with it all.
Can you recall a particular experience that made you say, “I wanna be a DJ?” Because you were a musician beforehand.
I never planned on this really, it was not a serious goal to be a professional “DJ”, I just really enjoyed playing records for fun and it naturally progressed into a full-time thing along with the production and all…
If you hadn’t become an architect of music, what do you think you’d be doing?
I probably would have either opened a bar or a little restaurant… both of which I still might do in the near future actually… that or go open a little bar on a beach somewhere exotic like Tahiti… that sounds good, disappear and live in paradise!
Changing gears, what are your thoughts on the celebrity DJ culture; e.g. successful singers or rappers who are now “pursuing” a DJ career? And I’m using pursuing loosely.
To each his own, and the best of luck to anyone that wants to be creative with music. It’s personal taste and personal preference, but overall it has all become a bit watered down it seems. It’s definitely a different time now from the good old days of every DJ playing records and diggin’ through the crates.
I’m curious, what color do you think matches your music? And why?
Depends on the mood… maybe one part blue for the deep and laid back aspect, with some red or orange thrown in there for warmth.
Outside the Skyline is in stores now.
Salute The DJ: Small Talk with Brooklyn-based DJ Center
About two years ago at a small restaurant in Ft. Greene, Brooklyn, I had the chance to interview BK-based producer DJ Center. For those who may have missed the posting, I wanted to share it again because we seem to have entered the era of celebrity DJs, those who do it for the “rock-star appeal” instead of the heart and respect it deserves.
I’ve said it before (and I’ll say it again) that if I didn’t love writing so much, I would probably be a DJ. Nonetheless, in the talk Center speaks on toeing the line between soulful house and hip-hop; his debut LP Everything in Time, his best set, and the evolution of the DJ.
To get us all better acquainted, tell us about your background.
I was born in Romania, bred in New York. I came up with a hip hop background and from there got into soul and the classics. My mentor coming up was a jazz musician, so I have a jazz background as well. I first got in to it playing live situations, being a DJ with other musicians in a live setting; and then using the turntable as an instrument, and doing live production. From there, I cut my teeth right here in Brooklyn in terms of party-rocking, in clubs and lounges and understanding how to work a room. Also I learned to take people on a ride with me. So then I was fortunate enough to travel…I was going out to Cali a lot about 10 years ago, and built with DJs out there and was also picking up influences over there. I also made it to Europe and Southeast Asia as well. Just picking up all these different influences and so I think when you hear my sets now, everything from all my travels and experiences come across now. No longer is it just a hip-hop set or a hip-hop-and-soul set. It is hip hop, soul, jazz, funk, reggae, Latin…it’s all those things because I love music.
This segues right into my next question: Because when I listen to your music I hear the jazz, I hear hip-hop, I hear Latin flavor, but also I hear a lot of other cultures, that said: How would you categorize yourself as a DJ? Do you want to be known as a soulful house DJ or a downtempo DJ, or even a hip-hop DJ?
I just wanna be known as a good DJ. To me my favorite DJs and the best DJs aren’t put into boxes. They just play music and it’s always different, right. What they do, they are able to read the energy in the room really well and play that set for whatever that moment is, as well as educate the people. So I think at the end of the day, I just wanna be known as somebody who loves music and makes people feel good with the whole palette of the musical spectrum that I have…
So what would you say has been your best set?
I think my favorite and best sets were probably overseas in Europe. I would say Barcelona or London. I’d say that because of the openness and the reactions. I think over here in the States we may have our guard up, we might be a bit too-cool-for-school, have too many cliques going on, even worried about what other people may think [about our musical tastes]. Overseas I feel like the response to music is…and if you put it down right is…explosive. I mean you’re doing these huge rooms and the energy is through the roof and the appreciation is crazy. Though I haven’t been to Japan yet, I hear it’s a similar thing over there in terms of appreciation and just how much they love it. And as a DJ you connect with the crowd, right. What they give you is what you give back, and because you have that energy coming back at you, it makes you take it up a notch.
Have you ever had to change a set because of the energy of the crowd?
Oh yeah, all the time. I mean you can do your planning but I think when you’re in that moment, that’s really what’s going to guide you.
For the creation of Everything in Time, how did you come to record it and how did you know that now was the time to bring it to the masses? Because like you said you’ve been in the business for 10 years now.
I think…that’s a good question. I think there’s a natural evolution you go through as a DJ –where you start as a music lover, then you become a DJ; then you expand your vocabulary as a DJ and you get DJ experiences, and the natural step is going into the studio and laying down tracks, because you already have the crazy record collection you’ve amassed. So the inspiration and the influences in your library are endless and you start to get ideas. And there’s a clear relationship between putting together records and having them blend and mix in a live setting and taking sounds and instruments and working with musicians and blending those and having them mix. It’s pretty much a continuation.
Also, I remember being in Amsterdam and the promoter said something that really impacted me. It had to be like 2003 or 2005, and it was after the show and we were having dinner, and he was like what you do here is incredible, when you can come here for one night and rock it and people remember you that’s amazing, but when you produce music and have a product that you leave behind, your music lives on when you’re not physically here. And that moved me, you know what I mean. It was like that makes sense, how do I leave a piece of myself behind, beyond just mixes. So I think that was the start of it. I came home from that trip and I was like I gotta get to work. And three years later, you have Everything in Time.
So before that point, you never thought about putting out an album?
I mean I had worked in different capacities with a group, and we were putting out records, but a solo record that was the first mention. 2007 was when I really started getting serious, built a studio and pretty much dedicated my life to it.
How long did it take you to record this project?
It’s a three-year record. It took three years from start to finish. When I set off, I thought it would take three months; and that’s why it’s called Everything in Time. Because you can plan all you want, but until it’s ready, until it’s time…
There seems to be an underlining thread of positivity and motivation on the album, was that intentional?
That’s a good question, I don’t think it was intentional, but at the same time…I can say that to me, music is therapy. I think when I’m rocking a crowd I know that it’s therapy for the audience too. ‘Cause they’re probably escaping from their day-to-day and music has that power to take you out of your immediate environment and take you to a higher place. So I think that’s something I always strive for, to make music that can do that and have an effect on people is the goal. I want to make people feel good, and hopefully when they listen to it; it’ll remove whatever they’re dealing with for the time. So I think that was a subconscious intent. And you know just being a positive person and just living your life a certain way, that’s gonna be reflective in every interaction you have, and of course the music…
I’m always curious as to what DJs listen to when they’re not working, so what do you listen to in your off time? Like what’s playing on your iPod right now?
It’s funny when you’re in the club; you’re playing more up-tempo or party music, regardless of the genre. But at home I’m actually very downtempo. I’m very lounge-y in the crib. I’m listening to a lot of roots reggae, like 70s stuff; a lot of downtempo instrumentals, jazz; you know like Coltrane is a steady favorite. I’m listening to a lot of vocalists from overseas like there’s a woman who’s Tunisian, I actually worked with her on my record; her name is Samia Farah. She’s Tunisian, raised in France and sings in French; and I remember she had this jazz-quality in her voice. She reminds me of a French Billie Holiday. Like there’s something really old-school about her, I mean like 50s old school. So she kind of gave me that quality [on the record] and her catalog is bananas too; so I’m bumping her. What we did is cool, but her own stuff is like…dope. But most especially the reggae stuff on production.
This is my final question, tell us about the name: DJ Center.
It comes from…when I think about my relationship with music, and what I want to put forth out there. My favorite music is honesty. You know stuff that doesn’t hide behind anything, facades; or any kind of stigma or hype. I’m talking about Sly and the Family Stone, Donnie Hathaway. I’m talking about real artists, honest artists. And I think I wanted that same reflection in my name. And to me your center is your core; it’s like when you pull away all your layers, that’s what’s left. That’s where the name really stems from. And of course, the double meaning in hip-hop, the DJ is the center; the centerpiece of the foundation. So it has that double play as well.
Everything in Time released February 2010; the remix album dropped November 2011.
provided by Scratch DJ Academy
Interview: Q&A with R&B-Pop Star on the Rise, Leonard Friend
Why the pink shoes?
I really have no idea. The original idea for Leonard Friend came to me in the shower shortly after the demise of The XYZ Affair. The idea for the shoes came to me later that night. I guess they go hand in hand somehow.
Recently I just happen to visit PMT Dance Studios’ Facebook page and noticed their posting of your video “Serious Music,” saying you were alumni! Now, I’ve taken house-dance classes there, what classes did you take…so I can get THOSE moves? And where did your passion for dance come from?
PMT is amazing; I’ve met such wonderful people there. I’ve worked privately with the owner, Pavan Thimmaiah, for several years now, trying to hone in and create this style. I grew up being obsessed with Michael Jackson, learned how to Moonwalk as a kid, etc, but at a certain point my whole focus shifted towards the rock thing. This is basically the return to a childhood dream. Pavan is amazingly talented and imaginative; he’s really helped me turn this from an idea into reality. I cannot speak highly enough about that dude.
Tell us about Lynyrd Frynd. So you were once a rocker, now you’re crooning for the ladies, what caused the shift in sounds?
Now now, I’m an equal opportunity singer, I croon for everybody! [Laughter] I can’t say there’s any one particular thing that caused the shift. I still love rock music; I still listen to all sorts of stuff and play all sorts of stuff. But at a certain point, this got to be where my heart was, so I went with it.
I’m hoping that either “Mrs. Friend” or “The Last Gentleman” is the next single, but can you tell us what the second single might be?
I’m super glad you like those! I feel really proud of all the songs. I recently rerecorded most of “Everything For the Sake of Everything,” and I love it, so that is going to be the next single. But feel free to put “Mrs. Friend” or “The Last Gentleman” on your party mixes; it’ll be way hipper now that they’re going to be deep cuts instead of singles.
“The Year I Die” is a very strong track, full of emotions; tell me about the thought process in creating it?
That was actually one of the first songs I wrote for the record. Originally it had this slow D’Angelo kinda vibe to it and then I totally redid it with the more synthy-feel that it has now. It started with the lyrics and I took it from there. I liked the juxtaposition of having a super personal song on top of this very poppy soundscape.
How soon will fans get to see Leonard Friend in their city? Tour dates upcoming?
I hope to tour sometime in 2012, but nothing planned yet. For now keep an eye out for more music, more videos, and more random fun stuff! I have a ton of stuff planned for this year; I’m hoping I get to all of it.
Last question: Got any New Year’s Resolutions beyond the stereotypical “eat-healthier-exercise-more-be-a-better-person-jazz”?
I’m actually trying not to make lists or think of specific things. I just want this year to be the best year of my life. I have a good feeling.
Lynyrd Frynd EP will be available on January 31, 2012.
(Original interview posted on shortandsweetNYC January 17, 2012)
SEVEN Questions with Toronto Rock-Soultress Saidah Baba Talibah
Now, Saidah, which means “happy and fortunate,” is making her U.S. debut with lead single and title track to her much-talked about LP (S)Cream—a feisty mix of rock, soul and jazz bits. In Saidah’s words, “(S)Cream is a collection of dreams, daydreams and realities, that speak from a place of fierceness, vulnerability, insecurity and assuredness.”
It’s that fierceness; a heightened sense of sensuality and showmanship that placed Saidah’s second single and video, “So Cool” as AOL Spinner Video of the Day back in October.
Recently the singer shared with me her thoughts on creating her debut LP, what makes her “that” artist to listen to, something that may surprise you about her, and vegan pecan pie.
How was it having fans be apart of the creation of (S)Cream?
It really was a blessing. I mean, I was asking people to believe in me based on doing my own original songs that were totally different than what was out in the world, which at the time were a few songs featured on Robert Strauss’ albums ‘Quasars & Phasars’ and ‘Mr. Feelings’ — which was a more old school/dance music vibe. Needless to say, the process of making the album was about releasing a burning desire, I was so nervous — scared shitless that no one would want to hear what I had to say in song, but the response was overwhelmingly awesome!
Let’s see, we have your fellow Canadians Tamia, Deborah Cox and Melanie Fiona, who all took the R&B route, why rock music for you?
I’m not an R&B girl, never really was. I’ve always done different, stepped outside of what was expected of me. I’m not about a box. Plus I not only grew up in a household that nurtured and had such diverse music, I also grew up in Canada, it’s rock country!
What do you want people to know about your music; what makes you “that” artist to listen to?
I want people to know that my music is based on feelings, moments. It’s not perfect; it’s real and raw at times. It’s a soundtrack to life and the music changes, it’s not all one genre, because we’re not all one dimensional, nor are our feelings.
Why do you think emotions create some of the best music?
Because it’s real, uncensored, raw, meaningful. Music is magical; it can transport you anywhere — towards fantasy or deep into reality.
Your videos are wildly creative, especially your latest “So Cool”…. do you always want to stretch people’s perception of music & the visuals behind it?
Oh definitely! That’s what being creative is about, stretching perception. I mean, being an artist is allowing you the chance to play out dreams or just simply to play and to dream.
What would people be surprised to know about you?
That I am a shy and introverted person, at times.
Level with me…vegan pecan pie or homemade soy ice cream?
Vegan Pecan Pie! And make it raw, please.
Saidah’s debut album S(C)cream is out now.
Forthcoming Interview Series
Robin Thicke Interview on Chelsea Lately
Okayplayer TV: Yelawolf {Interview}
Theophilus London Speaks to Fab 5 Freddy on New York in the 80′s {Video Interview}
Interview: Bing Ji Ling (of Phenomenal Handclap Band) Talks Shadow to Shine, Japan, Retro Soul & More
