Amalgamation Magazine: An Industry Regularly

A blog companion to Amalgamation Magazine: An Industry Quarterly

Interview Conducted by David A. Mitchell

Rapper, lyricist, producer, entrepreneur, overall music icon Busta Rhymes initially came on the
scene during the early 90s as a member of the Leaders of the New School. By the mid-90s he was consistently delivering some of the hottest singles and music videos audiences had ever seen. Busta’s hit the charts more recently with his memorable spitfire verses on the No. 1 Chris Brown single “Look at Me Now.” Always one to seize the moment, Busta’s been bitten by the entrepreneurial bug—having just launched his new entertainment company, the Conglomerate.

These last 20 years, you’ve been able to garner a long discography of hit singles and radio favorites. What would you say are your two signature songs?

You know there is nothing like your first record that you put out…for me it’s “The Case of the PTA” with Leaders of the New School. “Scenario” with A Tribe Called Quest was one of those records that not only people saw me as an artist but as a brand. But there have been many standout moments…like the “Flavor in Your Ear” remix, “Put Your Hands Where My Eyes Could See,” “Victory” with Diddy and B.I.G., “Whoo Hah Got You All in Check,” “Break Yo Neck,” “Gimme Some More,” “Pass the Courvoisier,” “I Know What You Want” with Flipmode and Mariah Carey, “What’s It Gonna Be” with Janet Jackson and “Been Through the Storm” with Stevie Wonder. I’ve just had a lot of unbelievably blessed moments. I think these songs meant so much because the records themselves were beautiful. They touched the souls of the people; they touched the souls of the streets.

Could you tell us more about your new venture, the Conglomerate?

The Conglomerate is a new birth for me from a professional and creative standpoint. It’s the new company, the new record label—a fresh platform, a springboard for new artists, and new business ventures. I have a new West Coast artist by the name of J-Doe. He’s a great songwriter and producer. He has a song out called, “Coke, Dope, Crack, Smack.” The remix was recently released and features me, David Banner and T-Pain. I also have an artist by the name of Reek da Villain. He released his new single “Go Off,” produced by me and features Ace Hood, Kendrick Lamar and Swizz Beatz. Spliff Star was always a part of the [Flipmode] family and he has a new album coming out in September. We also have Noriega (N.O.R.E.) as part of the Conglomerate. He has a single called, “Finito,” featuring Lil’ Wayne and Pharrell. Noriega just released another single, “Electrolytes,” featuring Macy Gray. We recently released a record called “Tilt” with the entire Conglomerate roster, and produced by Rockwilder. A lot of phenomenal things are going on making for a fresh new beginning and it feels good.

What has your collaboration with Chris Brown on “Look at Me Now” meant for your career?

It’s definitely been a highlight—and another significant moment in my career. With that being
said, I’ve been having a lot of fun that comes with success and the accolades—especially from
the new generation and the younger demographic all the way up to the fans who have grown,
known and loved Busta Rhymes—from the beginning to who he is now. It’s fresh new energy and shows a whole new space I’m in creatively that is contributed to the skill set that was displayed on that record. Big up to Chris Brown! Big up to Lil Wayne! Big up to Diplo, and all of those guys for making such a big record.

As a songwriter, you’re signed to Kobalt Music Publishing. How important have they been
to managing your copyrights?

Anything that I’m doing goes through Kobalt. Ever since my relationship began with them some four or five years ago, it has been great. They’ve been doing a phenomenal job in overseeing the catalog and ensuring that things are moving the way they’re supposed to be moving.

How does it feel to be an artist who’s practically revolutionized music videos?

It is an unbelievable gift to be acknowledged in that way. It’s a blessing in itself to know that my contribution has been that significant. I’m appreciative of quality entertainment. If someone is watching my video, or they’re paying to attend one of my concerts or listening to my records, I make sure I deliver in the fullest capacity that I’m capable of. Whenever I shoot my videos, I try and do things that I know you’re only gonna get from Busta Rhymes. I go the extra step, the extra mile…and try to come as creative as possible. I’m glad that it has paid off.

Why do you think you’ve been able to remain relevant in the game for so long?

I attribute it to being a fan of the music. I genuinely love the music that I’m able to make. I’m just a diehard fan of Hip-Hop culture. I’m a diehard fan of Rap music. I’m a fan of all music. Hip-Hop has always been cutting edge since its birth. In addition to that, I keep my ear to the street and stay in-tune with what is going on. I was always taught to be ‘young, swift and changeable but always remain-dable.’ I try and live by that. Always be able to quickly change and adjust to whatever the climate shift of the industry is or what life in general is going to be; so that you know how to function. Don’t try and be an individual who lives in the past.

Jason Derulo is a global Pop star! In just a couple of years he has posted a string of hits that include the No. 1 “Whatcha Say,” along with the Top 5 follow-ups “In My Head” and “Ridin’ Solo.” More recently, his single, “Don’t Wanna Go Home,” from his sophomore album, Future History, has been heating up clubs and airwaves around the world, while the project’s second single, “It Girl,” moves steadily up the charts.

All of the Pop star trappings aside, Jason, first and foremost, is a songwriter. As a teen, he had written songs for Diddy, Danity Kane, Donnie Klang, Sean Kingston, Cassie and Lil Wayne, and has composed all of the songs on both of his solo albums. To celebrate these achievements, Derulo was named BMI Songwriter of the Year for 2011. In keeping with our salute to songwriter’s in this special edition, Amalgamation had the great fortune to speak with Jason Joel Desrouleaux about his new album, and his creative process.

Amalgamation Magazine Publisher David Mitchell pictured with Jason at a recent Hollywood listening party for Future History

I was 19 when I wrote my first album. I’ve travelled the world and I’ve seen a lot of things. I’ve been on my own world tour, as well as touring with Lady GaGa and the Black Eyed Peas. I’ve grown as an artist. I’ve grown as a singer, a songwriter, and most of all, I’ve grown as a man. Because of that I’m a little more edgy. The music in some cases has a bit more of a sexual element to it, a more emotional element to it; it’s an open book to who I am.

With so much going on in your career, as a writer how do you block out the many distractions?

Even though I’ve got a lot going on, I’m still a human being. Every day I’m experiencing life, so I still go through the same things everyone else is going through. I pull from those daily experiences. I also pull from those instances that are close to me, like my family and my friends.

Do you need a track to write to first? Or do you have existing ideas on paper or recorded?

I’m the kind of person who likes to have the track being done as I’m writing, or for it to be done already. I’m a very melody-driven kind of a writer. I like to go into the booth and have something there. I don’t write on paper first. It’s really fun for me to go into the booth and let it rip and whatever comes out…comes out!

What moved you to create such a feel-good record like “Don’t Wanna Go Home”?

I wanted to capture something, like an escape for people who are having problems in their lives. People are dealing with a lot of things, from natural disasters to recessions. If you got problems at home, you want to be able to escape from those problems. I wanted to create something that was really easy to listen to, as well as something that would hit on the streets; hence the title “Don’t Wanna Go Home.”

Did you believe you created a sense of familiarity in “Don’t Wanna Go Home” by incorporating elements like the Robin S “Show Me Love” sample and the Harry Belafonte “Day-O (Banana Boat Song)”?

Yes. I’m in love with that Robin S bassline. I wanted to dibble and dabble with that just to see what could come out of it. It happened to be magical. It was one of those things that kind of clicked. I know people have tried to use it in the past, but I wanted to mess with it myself. The “Day-O” is actually an old Jamaican folk song, and Belafonte made a rendition of it. A lot of people don’t know that. Hey, I’m a student of music, man!

Did you believe those elements would bring older listeners to the record?

Absolutely, but I was not thinking that when writing it. I was just going with the feeling. I wasn’t thinking about getting a particular audience. I was just doing a record that would make everybody feel good.

How do you know when you’ve written a hit?

It’s spine-tingling. Everybody gets that feeling when they know they have something. I don’t think it constitutes a hit record, but it constitutes a record that moves me, and hopefully it will move other people. There are a lot of variables that go into having a hit record, and it starts with a feeling.

Your new single was produced by The Fliptones—meaning you’ve worked with producers other
than JR Rotem. Who else helped you on your second album?

DJ Frank E (Justin Franks), E-Man (Emanuel Kiriakou), [Grammy-winning producer] The Dream….And
of course, I did work with JR Rotem again.

Were you looking to depart from the “Beluga Heights” sound with this particular album?

There’s definitely a magic that JR and I created together. I wasn’t trying to depart from his sound. I
just wanted to spread my wings and work with other people out there. JR is a genius. He’s a very
special producer and I worked with him on this album, too.

Who’s on your wish list to collaborate with?

Prince and Madonna

What lessons has Jason Derulo learned?

I feel like I’ve grown more in these last two years, than I have in my entire life. One of the more important lessons that I have learned is that music really has an effect on the world, and I feel like I have an obligation to make music that inspires people all across the world.

Interview Conducted by David A. Mitchell

For Evan Bogart, the art of multi-tasking is in his blood. After all he is son to the late Neil Bogart, founder and CEO of the legendary Casablanca Records—home to ‘70s superstars Donna Summer, Kiss and Parliament. Evan owns and operates two primary companies. He’s co-founder of the songwriting-production collective the Writing Camp (along with its principals David “DQ” Quiñones and Erika Nuri). He co-founded and resurrected his father’s old company The Boardwalk Entertainment Group, along with his brother, Timothy Scott Bogart. It is a multi-media organization with TV, Film, Recording, Publishing and Technology divisions.

Prior to forming the Writing Camp, he worked closely with producer JR Rotem at Beluga Heights. Among his credits was the international smash, “Take You There” by Sean Kingston, along with several songs for Jason Derulo. Bogart also co-wrote signature hits for Rihanna (“SOS”) and Beyoncé (“Halo”).

As a member of the Writing Camp, Evan has songs recorded and performed by the likes of Brandy, Beyoncé, Chris Brown, Selena Gomez, Jessica Simpson, Greyson Chance, and others.

Overseeing the Writing Camp’s operations is General Manager Billy Clark (former A&R executive: Def Jam, Atlantic), and Executive Vice President Larry Wade.

During the summer months, Bogart was one of the Executive Producers of the Bravo network television show, Platinum Hit. Hosted by Jewel, along with a panel of judges that included former American Idol judge Kara Dioguardi and Grammy-winning producer Rodney Jerkins, the reality show presented the songwriting process in a competitive light. Of course each week songwriter-contestants were voted off.

Now, Evan and the Boardwalk Team are launching a new reality based entertainment show for the fall season on the Hub Network, titled Majors & Minors. Over the course of 15 weeks, it will feature 12 talented kids mentored by superstar artists, songwriters and producers.

In partnership with the RCA/Jive Label Group and BMI, more than 40,000 kids were a part of the online submissions and auditioning process. When asked how he arrived at the clever title of Majors & Minors, “It’s a multiple play on words,” notes Evan. “There’s a play off the musical term of major and minor chords; they’re kids are under 18, which makes them legally minors; lastly, there’s the sports reference of major and minor leagues.”

Wearing both creative and entrepreneurial hats, how does Evan have time to juggle so many ventures? “Very carefully,” he says. “I still have time to write songs amazingly enough. Right now we’re filming a TV show. We have a joint venture with MTV. We’re developing artists like ZZ Ward and Wallpaper through Boardwalk. We have the writers signed to the Writing Camp, plus the writers coming from the Platinum Hit show. And I’m personally writing. I have a Jason Derulo single. I have a top 5 single with Hot Chelle Ray. I have records coming out on [UK act] VV Brown, Leona Lewis and Adam Lambert. I’m still able to pull all that off and do all of the other stuff. I’m really blessed to do what I love. Honestly, I wouldn’t want it any other way.”
(DAM)

Interview Conducted by A. Scott Galloway

With so many artists mimicking the delicious Pop sounds of yesteryear, it’s mind-blowing to discover an album by new singer/songwriter Nikki Jean that – thanks to her producer and her publisher – was able to collaborate with some of the masters of the craft on her very first album, Pennies in a Jar (on S-Curve Records). That list is Thom Bell, Burt Bacharach, Bob Dylan, Lamont Dozier, Jimmy Webb, Carole King, Carly Simon, Luigi Creatore, Barry Mann & Cynthia Weill, Jeff Barry and Bobby Braddock. Don’t know `em – Google `em! They are responsible for some of the biggest Pop hits of the `60s and `70s.

Born Nichole Jean Leary to a White mother and Black father in St. Paul, Minnesota, Nikki first fell in love with songs after watching a star-studded TV special about Irving Berlin – at the age of 5. Later moving to Philadelphia, she encountered Nona Hendryx (of LaBelle fame) who told her in no uncertain terms that she was a songwriter. Nikki worked with Questlove, leader of the band The Roots, on a cover of Sting’s “Be Still My Beating My Heart” in his side project The Randy Watson Experience before rapper Lupe Fiasco had her lace a hook for his 2008 smash “Hip Hop Saved My Life.” “That wasn’t even supposed to be a single,” she recalls, “but stations started adding it – a very exciting time.”

But at heart Nikki is not a Hip-Hop girl. She calls herself a “Classic American Pop” artist who took three years to make her dream debut with producer Sam Hollander (Train, Gym Class Heroes) – an album that corporate giant Columbia Records opted not to release and was then picked up by hungry indie S-Curve. It’s the kind of album most artists wouldn’t even dream of making until mid-way through or the tail-end of their career, but Nikki rose to the occasion with a lot of support from the masters. I spoke to Nikki Jean mere hours before a spot date in New York. As I expected from having watched several interviews with her on YouTube, Nikki was charming and candidly insightful about the craft of songwriting, her mentors and her journey.

Q: Where did your fascination with words begin?

N: Being an only child, songs became like friends to me. I could go into them and they would change my mood and take me somewhere else. I’m not a great physical expresser – I’m a terrible dancer and socially awkward – so being able to have the exact right words to say what I wanted to say became very important for me to make my way through the world.

Q: I love that you stress the importance of re-evaluating one’s work and rewriting.

N: I think rewriting is a lost art. I mean, everybody is a ‘writer’ now. I’m just partial to music of an earlier era – certain kinds of melodies and lyrics and concepts of songs. Sadly, we’ve sunken to the lowest common denominator today. Our word vocabulary, our song vocabulary, our melodic vocabulary and our rhythm vocabulary shrink every year. I imagine the pendulum will swing back. We might not be alive to see it…but then again we’ve got people like Bruno Mars making quite an impression. With so many songs on the internet, young people will discover Jackie Wilson, Sly Stone and Billy Strayhorn.

Q: What was the first music you were exposed to?

N: At home the music was Paul Simon, Billy Joel and Stevie Wonder. In the air the music was Prince and Jimmy Jam & Terry Lewis. The first time I ever went to Paisley Park, I was 9 years-old. I was in a play called Make a Joyful Noise. Our musical director sang background for Prince and arranged for us to have a tour.

Q: Before this all-star concept came to be for your debut, what did you think your first album would be?

N: I’ve already written hundreds of songs by myself. When I met my producer Sam Hollander, I told him I was dying to record some [of them]. His attitude was, “No. There are too many girls that play piano and sing.” People saw me as this Hip-Hop chick because of the Lupe Fiasco record. Everyone assumed I was R&B but I said, “Why is that?” They don’t call Joss Stone R&B and she’s way more soulful than me. They don’t call Adele or Fiona Apple R&B. What’s really happening here? We were having this long conversation where Sam learned that songwriters and songs are my thing. He said, “I don’t know any young people that can converse knowledgably about early 20th century songwriters. Let’s put you together with some of the great contemporary Pop writers.”

Q: So you and Sam drafted a wish list?

N: We had a crazy massive list! If there’s a great songwriter and you’re wondering why they’re not on the album, it’s because they didn’t want to be. The hardest people to get were Black writers…They just did not want to collaborate. Thom Bell was the second to the last person we got. For the longest time Lamont Dozier was the only one. I was heartbroken…like, “Man, I’m a Black woman writer.” So many Black writers were inspiring to me. We hit them up in every way – whoever had the connects—but at the end of the day they had a right to say yes or no. They earned that and I respect that.

Q: What was it like writing “How to Unring a Bell” with the great Thom Bell?

N: You don’t understand how I love my “Uncle Tommy.” I flew out to Washington State where he lives. At first we were just sitting there talking when we should have been working. He was telling me all these stories and I was taking it all in. At one point he said, “You know, what you can do…how can you unring a bell?” I thought, “That’s magic right there,” and just filed it away. When we finally started writing, I brought it back up. He said, “If you like it you can use whatever you want.” He wrote the melody and I wrote the first verse the first day. Then that night I wrote the rest, came back the next day and he was like, “Cool.” Then we started a piece of another song. With most of the people I wrote with we wouldn’t stop at one song…just in case.

Q: Your confidence level must have been pretty strong to sit down with these folks.

N: Once you’re in that situation you can’t be starstruck and not do a good job. If someone puts you in a room with Burt Bacharach and you mangle that, how many more opportunities do you think you’re going to get? I didn’t have the luxury of being scared. I just approached every situation like “these are the very best teachers I could ever have so let me just enjoy the moment and learn what I can.”

Q: Compare and contrast working with Lamont Dozier who came out of a 3-man team famous for musically hooky yet lyrically complex Soul-Pop and Jimmy Webb who’s known for solo composing more epic or intimate mega pop songs.

N: You know, Jimmy Webb’s first job was at Motown (in L.A.). Interestingly, Mr. Dozier’s and Mr. Webb’s chord voicings are very similar. They use a lot of second inversions with the right hand and frequently put something in the bass that changes the whole quality of the chord. I wrote very differently with both of them. I came to Mr. Webb with a completed lyric for “China” and he added the melody whereas Mr. Dozier and I sat in a room together and wrote “My Love.” They’re both incredibly flexible.

Q: Please share a few examples of lessons learned working with some of these masters?

N: Mr. Bacharach is so serious about finishing songs. Nothing else can happen until you do. I had a really tough time writing the bridge for “Pennies in a Jar” because I wanted it to be as good as the verses. Finally, months later, I had to break down and tell him why it took me so long. He said, “Lots of times I started things and felt the same way but you still have to finish them.”

Mr. Bell’s whole thing was, “You’ve got to grab your inspiration from the ether. The songs are out there, you’ve just got to reach out and grab them. When you can ride the ether with another person, that’s when things really get magical. That’s what I used to do with ‘Creed’ (Linda Creed).”

Mr. Webb wrote an amazing book called Tunesmith. I was almost afraid to work with him. As I read it, I felt like no song that I’ve ever written lives up to his standards. When we got together to write in New York, he played “Wichita Lineman” for me. It was a crazy moment I’ll remember my entire life. He said, “That song is one of the most important of my career, yet it doesn’t follow any of those rules. Sometimes you have to know when to throw the rules away.”

I learned humility and gratitude from getting unfinished songs to work on from Mr. Dylan [“Steel and Feathers (Don’t Ever)”] and Ms. King (“Rockaway”).

Carly Simon was magical. She pulled down a bunch of her writing – poetry, pieces of songs, all these pieces of papers – and said to me, “This is clay. Take whatever you need and make something.” That was such a gift, sitting with all these stacks of Carly Simon paper. She started me off at the piano with the beginning of a song then just let me play in her papers. It was crazy. She’d leave me alone for awhile, return and then we went back and forth to complete “Sex, Lies & Sunshine.”

Q: It’s great that all of these writing sessions (with the exceptions of Dylan and King) were in person.

N: Imagine a Tibetan Buddhist tradition. Some things can only be learned sitting at the feet of the master. Songwriting is one of them. I got something intangible from these writers that I could not have gotten any other way. And if they don’t pass it down then it dies. We have so much to learn from them. Our generation’s failure to do so would be our extreme loss.

Q: At what point did Columbia pull the plug on your album?

N: We were done. What you’re hearing on the CD is what they heard…but I was very fortunate. If your project doesn’t resonate with your label, the kindest thing they can do is release you…with the record. Had they kept me that would have been the real heartbreak. The executives at Columbia have a really good relationship with my management which have a lot of other acts on the label. That played a large part in my being able to get my record back. I said “Thank you for letting me go to S-Curve – into the arms of people that really want to work the record.” It deserves to be around people that love it.

Q: Your performance during release week on “Late Night with Letterman” was priceless.

N: It was incredible for me to have them. Paul Shaffer picked “How to Unring a Bell.” He wanted a string section and would pay for it, and wanted his band to play along with mine. They approached us about doing it a couple of days before the show. I can’t take credit for that – it wasn’t my hustle. It was just something I was extremely fortunate to be gifted with.

Q: In closing, please share your thoughts on recently departed lyricists Nickolas Ashford and Jerry Leiber.

N: What would Rock n’ Roll be without Leiber & Stoller? It’s hard to imagine. The same with Nick Ashford in terms of Soul music, he wrote songs that just uplift you and take you to another place. It doesn’t get any better!

Conducted by David A. Mitchell

(l-r): Mary Mary's Tina Campbell, David Mitchell, Mary Mary's Erica Campbell and producer Warryn Campbell

Fast forward 11 years and sisters Erica Campbell and Tina Campbell sound just as fresh and innovative on their sixth album, titled Something Big, featuring the singles, “Walking” and “Survive.” Once again produced by longtime collaborator (and Erica’s husband) Warryn Campbell, the project picks up where the group’s most recent mainstream success story, 2008’s The Sound and its Grammy Award-winning smash hit “God in Me,” left off. Amalgamation recently caught up with the ladies while in the studio to discuss their decade of achievements— particularly as it pertains to being songwriters.

Producer Warryn Campbell flanked by Mary Mary members Tina and Erica Campbell, during the ASCAP Rhythm & Soul Awards, where the ladies were Golden Note recipients

Q: How does it feel to be one of the more consistent Gospel/R&B/Pop writers artists
in the field today?

Tina: Amazing; it’s a huge blessing. We didn’t even have an expectation as it relates to our writing. All we hoped is that our songs moved people enough that they wanted to hear it for the rest of their lives. We wanted them to say that when our records came out, they didn’t just want the single, they wanted the entire album; they love it so much they had to have it because it speaks to them. Whether our songs make you dance, think, push you, pull you out of a pit…I love to think that our music does all of that.

Q: You two initially got your feet wet in the business as songwriters. What were those early experiences like writing for Yolanda Adams, 702, Robin S and others?

Tina: It didn’t feel like an extreme difference from becoming an artist. We were excited, we were happy, we were newfound songwriters. We had been making songs for years and hadn’t even realized—“Hey, you’re actually a songwriter.” We just gave the best of us. Now, when people accepted our songs, that’s when it was a different thing, but in terms of composing, we were just giving the best of us.

Erica: It was like excitement and anxiety all at the same time. I think every song and experience just kind of helped us gain a little more confidence. If you saw the [recent] BET Awards, Kevin Hart was talking about “No” people. We’ve been blessed to have a lot of “No” people around. “No,” that’s not tight! “No,” that ain’t sweet! “No,” that song is not fresh…I think it really taught us how to scrutinize what we were doing early on.

Q: Do you miss writing for other artists?

Tina: Absolutely. But we’re both moms, we’re both wives. We operate well in those roles, so it takes a lot of time and commitment. Finding that time and space doesn’t always happen.

Q: Please talk about how Warryn has been instrumental in the process from the very beginning.

Erica: Warryn is the other Mary. We try to force him into this group a little more than he would like to be. We call him for everything. He’s more than just my husband. He has been like a teacher for us. He’s guided our careers!

Q: Discuss your 10-plus year’s relationship with EMI Music Publishing.

Erica: The relationship is still fantastic. Big Jon [Platt, EMI President] is still our mentor. He listens to every album before anybody ever hears it, and kind of guides our plan and process. Sometimes it’s a Warryn Campbell-Big Jon conversation, but we look for Jon to give us his stamp of approval. I think the moment you stop listening to others is the moment you lose.

Tina: Big Jon shaped the way we approached Gospel from the very beginning. We had written a song with some very biblical terminology that you’d only understand if you grew up in church and read the Bible. Big Jon said, “This is great, but what are you guys talking about?” When he said that, we all thought collectively…we don’t ever want to deliver a message in a way that no one gets it. Jon saying that, had us make our message more plain and clear, that no matter your belief, you’re still down with usand you get it.

Q: As writers, do you bounce off of one another initially, or do you work separately first?

Tina: Things generally start with Warryn; he’s big on, “Let’s start with this!” Then he’ll have to leave the room for Erica and me to make sense of it. I used to hate that. It takes a moment to shift from artist mode to writer mode. Once we get into it, though, we’re working that muscle and we get stronger. But thematically, it usually starts with Warryn. Erica comes with a lot of great ideas or concepts. Warryn’s more “theme”…I will come in with the writing. Everybody’s element is necessary, and we’ve learned to appreciate each other’s contribution. Without the three of us it’s not the same.

Q: How important is it for you to write, collaborate and create with other people?

Erica: You know that’s not super important to us, because I feel if you have a combination that works, you stick with it. If we did an album with Warryn and it sucked, I’d say it’s time for a change. But that hasn’t happened. I think a lot of people flip it up and then they’re not always successful because they change a winning combination.

Q: How have you evolved as writers over the years?

Erica: I think life kind of inspires our writing. As you grow, you go through things…like pain, then you have your triumphs, your victories…all those things shape your opinion on how you view the world. And then you hear stories from people everywhere, and you write songs based on that. As you keep learning and growing, your music follows you.

Q: We’re sure you get this question a lot, but how do you categorize your music?

Erica: You can call it what you want. Sometimes it’s Gospel. Sometimes it’s Urban. Sometimes it’s R&B. Sometimes it’s Soul. Sometimes it’s just music that makes you feel. People have to learn not to put so much pressure on music. If you don’t write from a clear, and honest place—painful, angry, happy— then the song’s not gonna be good. Whatever the emotion, it has to be raw and good. If not, we get songs that come and go really fast and don’t move anybody. Some can live with that, but that’s not what I want.

Q: What’s it like to judge, critique and mentor unsigned artists on Sunday Best?

Erica: As we watch the Sunday Best artists, we’re always so moved to give them information. What a lot of people don’t see is us behind the stage talking to the artists…sometimes after they’ve been voted off. And we’ll give them as much information as we can. I take a lot of phone numbers, and just try to help them as much as I can. And we’re really busy, but at the same time, I feel like we have a responsibility to do that.

Q: You were recently honored by ASCAP with the Golden Note award for songwriting. Can you talk a bit about that recognition?

Tina: It was massive; completely huge! We pride ourselves on being good writers. We don’t just want a hit record. We want a profound record; something that touches and lives in your soul. So for ASCAP to say your music has done that was major.

Erica: From the first call when they told us we were being honored, I was overwhelmed. I felt so blessed and so happy. Then to look out at your peers…not just Gospel peers, but everybody. Puff [Sean Combs] was there that night and he was the first person that wanted to sign us. Big Jon was there, my family, my husband, our friends…people that sang back up for us that are now artists… That was a very big moment for us. I will never ever forget that.

Conducted by David A. Mitchell

To some of our younger readers: Before Antonio “L.A.” Reid became President of Arista Records, then onto Chairman of Island Def Jam, he and his creative partner Kenny “Babyface” Edmonds were one of the most prolific and celebrated songwriter-production duos in all of musicdom. Their impressive run from the mid-80s to the mid-90s included staples like [their own band] The Deele’s “Two Occasions,” Karyn White’s “Superwoman,” Bobby Brown’s “Don’t Be Cruel,” Whitney Houston’s “I’m Your Baby Tonight,” Pebbles “Giving You the Benefit,” Johnny Gill’s “My My My,” Boyz II Men “End of the Road,” and just about everything from the early Toni Braxton, After 7, and solo Babyface works…along with too many other songs to mention. Through their entity, LaFace Records, they would go on to join forces with Clive Davis’ Arista Records, and release an unprecedented string of artists and hits, the likes of Toni Braxton, Usher, and Pink, to TLC, OutKast, Toni Rich, and more.

L.A. Reid truly understands the power of songs and copyrights. During the mid-90s, he created HITCO Publishing, with signings that included Beyonce Knowles, Sean Garrett and Kevin “Shek’spere” Briggs. In 2009, he launched the L.A. Reid Music Publishing Company, a joint venture with EMI Music Publishing, where Reid and his staff will discover and sign both new and established songwriters to publishing deals.

Q: With all that you have going on, why have you remained committed to owning and a operating a publishing entity, whether with HITCO and now with the L.A. Reid Music Publishing Company?

A: My commitment is really to songwriters and producers and opening up the door of opportunity to them. Songwriting is the life-blood of our industry. Without songwriters we don’t have an industry. With everyone putting the emphasis on how we sell material, whether through a [music] cloud service like Spotify or download service like iTunes or buying it at a record store…none of that really matters without songwriters. Without songwriters there would be nothing to sell. My focus and commitment is and always will be songwriters.

What prompted you to align your current publishing company with a major corporation like EMI Music Publishing, as opposed to an independent like you’ve had in the past?

My alignment is with Jon Platt [EMI Music Publishing President, North America, Creative], the world’s great music publisher. He is a dear friend and consummate professional. He is a fan of music, and he has the greatest relationships with talent. While I love, respect and appreciate my corporate relationship with EMI, I’m proud to be associated with Big Jon.

The L.A. Reid Publishing Company is a relatively new entity. What’s the building process been like?

We have so much work to do, and we haven’t put nearly enough focus on it. I’m really hoping that now that I’ve gone through a rather long transition, from when I sold HITCO to leaving Island Def Jam, and coming to Epic Records and joining the X-Factor…I’m hoping that we will really attract some amazing songwriter-producers. We currently have some that I’m really proud of, but I’m hoping to really attract some more.

What in your opinion are the essential components to a hit song? And is there a difference between a hit song and a great song?

There are three things that a hit song cannot do without; it’s melody, melody, melody! I think a hit song and a great song are one in the same. When songs become hits, at some level they are great. That doesn’t mean they will appeal to everybody. Everything isn’t for everybody. But when it becomes a hit, that usually means there is something magnetic about it. There’s something in the chorus, in the lyrics, in the melody about it. The story really matters! If it’s a compelling story matched with a compelling melody, then you usually have something there.

Which songwriters on the scene today move you?

I love The Dream. Ester Dean is one of the best in the business. Tricky Stewart is amazing. Priscilla Renea is really special. Claude Kelly is fantastic. I cannot leave out an unbelievable songwriter like Bruno Mars, who through his music has some of the best combinations of melody, lyrics and vocal delivery. I wish I met him years ago. Those are some stand-outs. There are a lot of great songwriters out there, and I hope to meet more of them over the next six months.

Do you personally ever miss writing and producing?

Not anymore, I don’t really miss making music anymore; although I still feel like I do. It’s a really strange thing. My relationship with talent is such that if someone is making a record for an artist on my label or an artist-writer signed to my publishing company, then I feel it is me in a crazy way; I know it’s not. But I feel like it is, because I’m so close to it. But “no,” I don’t miss writing. I had the greatest partner in the world when I was writing and producing. My responsibility was largely producing. I have to say that if it was not for Kenny “Babyface” Edmonds, I wouldn’t have had the confidence to write that I had. He heard some things that I had written when I was young, and Kenny said, “Hey man, you’re actually really good.” I said, “Really?” He asked me to come and write with him. I like to say that Kenny and I discovered one another. I asked him to join my band The Deele, and he asked me to join him as a songwriter. It was his early belief in me and my ability to write that sort of helped that process. But once I wasn’t writing with Kenny anymore, I really didn’t have any desire to write. I had written with the greatest writer of all time. Who else was I going to write with after that? I decided at the point that my real passion was to nurture talent, and work vicariously through other songwriters.

The late Dick Griffey [founder of Solar Records] said some years ago that he doesn’t just look for singers because he can find one in every church. He said that he looks for stars. As a judge on X-Factor, and chairman of a record company, do you apply that same theory?

Dick Griffey was a large inspiration to me and someone I learned a lot from. In a concentrated time period, I was around Dick Griffey a lot. He was generous enough to let Babyface and I use his Galaxy Studios to really learn our craft. I slept in that studio so many days and nights, and learned how to make records. I learned so much about the whole idea of stardom from Dick Griffey. The time I spent with him was very important. He was so influential. Leon Sylvers was the producer for a lot of the acts at Solar Records. Leon—in my opinion along with Jimmy Jam & Terry Lewis, and Quincy Jones—is one of the greatest producers ever. Those Solar records are some of the best sounding records to this day. I still listen
to some of those Shalamar and Whispers records. The music of Solar is still very important to me today. It was my breeding ground as a producer, as a writer and as a record executive.

You have an early connection to Paula Abdul. You and Babyface wrote and produced her first single, “Knocked Out” back in 1988. What’s it like being reunited and working with her in your
new capacities?

I love her. Paula is such a doll. She’s so smart. I learn so much from her every day about being a judge and being on television. Every time I talk to her she drops another gem of knowledge. I couldn’t be happier. It’s comfortable for me because Paula is there. I’m the rookie on the panel. I’m the only one on the panel who hasn’t done television before. So, to have a deep-rooted relationship there really helps.

Did you realize that “Knocked Out” would be the launch pad of her career?

Truth of it is that was the launch of both of our careers. We were just starting. We had a couple of hits [as the Deele], but we were just starting our careers [as producer-songwriters]. We were all in Hollywood at the Galaxy Studios. We were at Solar Records. She was at Virgin Records. I felt that we all started together.

What are your goals for the new Epic Records, and could you please explain the new label structure?

When I left Universal Music Group as the Chairman of Island Def Jam, I came to Sony, and I asked for Epic Records. I wanted Epic Records because it was the label of Michael Jackson’s solo career. It was the Thriller label. It was the Pearl Jam label; the label of Luther Vandross, Sly & the Family Stone. Some of the greatest music I loved and respected came from Epic. I always felt that it was a company that was underloved and underdeveloped. It was a real choice of mine to come here.

Thankfully, Doug Morris, who is the Chairman of Sony Music and a dear friend of mine, said, “Okay, it’s all yours! Take it and do what you will with it.” It isn’t a merger of anything. I didn’t want a merger. I didn’t really want to come into another label that was fully established. I wanted something to build. My whole passion is in building. To just come in and work at an already established label, I’ve done that. What really moves me is developing new talent. I wanted a company where I could really have the room to develop new talent. Epic is a freestanding, full-service label with complete autonomy to do everything we need to do. The reason I’m doing X Factor is to help find and develop talent for Epic. All of us here are really committed and excited about what the future can be. We’re looking for great songwriters. We’re looking for great producers. We’re looking for talent. We’re set to go!

Quinton, please tell us about you background.

I was born in Tampa FL. I’ve lived in New York and Miami. I now reside in Tampa. My uncle owned a label when I was younger. He knew I always emulated Michael Jackson, so he let me perform when I was five years-old. After I hit the stage that night I knew what I wanted to do with my life.

How did you get in the business, professionally?

I joined a group in ’06 called 4ce. We were similar to B2K. I realized one day it wasn’t going to work so I went solo.

Talk a bit about your current project.

I’m currently pushing my recently released mixtape, Arrival of the Storm. I wanted to introduce myself into the world of R&B/Pop. My first single, “Match my fly,” has hit radio in a few cities and is starting to pick up. I will be shooting my official music video in mid-August. I just dropped the mixtape last month and it has had over 5,000 downloads. My first single is on the radio and I recently appeared on VH1’s Basketball Wives. I have been in the Top 5 on MySpace for Pop and R&B in Florida. I was also ranked No. 1 in the Soul category in Florida.

Who are some of the individuals you collaborated with on the project?

I have Kane Beats (Lil’ Wayne, Drake), Warren Oak Falder (Chris Brown, Keri Hilson), Random, Sound H, and many other really talented producers.

How would you describe your sound, vibe?

My sound is a mixture of smooth vocals over big beats!

Do you play instruments?

My pen and a microphone are my trusted instruments!

What artists influenced you?

I love artists like Michael Jackson, Aaliyah, James Brown, Luther Vandross, Usher, Tank, Brandy, Joe, Justin Timberlake, Ginuwine, Missy, Dru Hill, Lauryn Hill, Kim Burrell, just to name a few…

Your talents range beyond music.

Yes, I’m also a actor. I did a pilot TV show for Nickelodeon called, The Next Stop.

What have you most recently been doing to promote your career?

Lately I have been making a lot of guest appearances at events, doing shows and working with a publicist.

As a new artist, what’s going to separate you from the others out there?

My ability to write music that is easy to relate to while keeping a commercial sound helps me stay ahead of the competition. I can write any genre of music from Country to Rock. In the next five years I see myself performing at award shows, touring, and on the Billboard Charts.

If you could change anything about the business what would it be?

I would change all the politics that pigeonhole so many talented artists.

www.twitter.com/quintonstorm
www.facebook.com/officialquinton

With her current single “Last Friday Night (T.G.I.F.)” ascending to No. 1 on Billboard’s Hot 100 chart this week, global pop superstar Katy Perry ties with Michael Jackson to become the second artist in the 53-year-history of the Hot 100 chart to produce five No. 1 singles off the same album. Katy is the first female, and only living artist to accomplish this feat.

Read the entire Billboard story here: http://www.billboard.com/#/news/katy-perry-makes-hot-100-history-ties-michael-1005318432.story

The achievement follows shortly after Katy’s 2010 sophomore album Teenage Dream became the first album in the nearly 19-year history of Billboard’s Pop Songs chart to generate five No. 1 singles. Katy has dominated at Pop radio over the past year, with “California Gurls,” “Teenage Dream,” “Firework,” “E.T.,” and “Last Friday Night (T.G.I.F.)” accounting for five of the top six titles with the chart’s highest ever weekly spin totals. “Last Friday Night (T.G.I.F)” bests “E.T.” to become the song with the most weekly plays in the chart’s history.

In addition, on August 1st, Katy became the second artist in modern-day BDS chart monitoring to notch six consecutive No. 1 singles: “Waking Up in Vegas,” (from 2009’s One of the Boys), “California Gurls,” “Teenage Dream,” “Firework,” “E.T.,” and “Last Friday Night (T.G.I.F.).”

Currently in the middle of the sold-out California Dreams World Tour that runs through fall and began earlier this year with stops in Europe, Australia, New Zealand and Japan, Katy’s remaining U.S. tour dates are as follows:

August 17 Kansas City, MO Sprint Center**

August 19 Nashville, TN Bridgestone Arena**

August 20 St. Louis, MO Scottrade Center**

August 21 Chicago, IL Allstate Arena#

August 23 St. Paul, MN Xcel Energy Center#

Sept 7 San Antonio, TX AT&T Center**

Sept 8 New Orleans, LA New Orleans Arena**

Sept 10 Louisville, KY KFC Yum! Arena**

Sept 11 Grand Rapids, MI Van Andel Arena**

Sept 13 Columbus, OH Schottenstein Arena**

Sept 14 Indianapolis, IN Conseco Fieldhouse**

Sept 16 Omaha, NE Qwest Center**

Sept 17 Tulsa, OK BOK Center**

Nov 15 Hartford, CT XL Center##

Nov 16 New York, NY Madison Square Garden##

Nov 19 Las Vegas, NV Mandalay Bay Events Center##

Nov 21 Oakland, CA Oracle Arena##

Nov 22 Los Angeles, CA Staples Center##

*denotes show with Robyn

**denotes show with Janelle Monae

# denotes show with Natalia Kills

## denotes show with Jessie J

^ denotes show with Oh Land

This Soul singer-songwriter is making a career and a name for herself across the pond with her album Light Up the Darkness and its single, “Everywhere I Go.” What sealed the deal for us at Amalgamation is one of the album’s irresistible gems, “Passing By.”

Colie, please tell us about you background.

I was born and raised in The Bronx, NY. I currently reside in the D.C. area. I grew up with a father who was a singer who inspired me, and I attended the High School of Music and Art as a teenager, New York’s Arts High School. I started out in musical theatre-working mainly in the D.C. area, going on tour with the Kennedy Center. In order to expand my skills and supplement my income I started singing with different bands. I met my co-writer and producer Kwani Ali. We began working together, writing and recording and the rest as they say is history.

Tell us about your current project.

I just finished my project in March 2011, titled Light Up The Darkness. I am currently working on promoting the CD. The concept was to provide the listener with feel-good, uplifting music that had a live sound with a Jazz vocal feel and different rhythms to support it. We call our music “Holistic Soul.” My music is getting attention particularly overseas and more specifically, England. I actually went overseas to London and Bristol England to the Bristol Indie Soul Mixer. I performed in Bristol and had several interviews in England. I have been interviewing in the States as well, and I perform every week with my band at Jo-Jo’s Restaurant in Washington D.C

Do you play instruments?

My instrument is the voice and I can read music. I’m looking to strengthen my piano skills in the near future.

Who influenced you?

So many artists! My favorite female artist is Roberta Flack and then many jazz artists like Billie Holiday, Ella Fitzgerald and Nat King Cole. My favorite male artist is Luther Vandross and many other artists like Donny Hathaway and Jeffrey Osborne. My dad influenced me as well. His love for music shined through and my Aunt Mickie as well. I think it was her love for people and her unselfishness. She was a teacher by trade, but like a community mom and counselor. I want to use my music to reach out to people like she always did.

Tell us something people will find intriguing about you outside of music.

I don’t know how intriguing this is, but I am a teacher as well. So, my aunt really influenced me. I work with young people and their families who have special needs. My music is more than me just writing and singing songs. It is important to me to use my music to bring attention to folks globally, throughout the nation and in local communities who need our assistance. I have also written two children’s books that I am looking to publish soon.

What’s the best advice someone’s given to you?

There has been a lot, but what rings in my head these days is always pay yourself. Always take care of yourself-take that voice lesson, run that block, eat that salad, put $10 of that $20 in the bank, so you can grow and prosper and be the best you. Always pay yourself!

http://www.coliewilliams.com/

http://itunes.apple.com/album/light-up-the-darkness/id424319830?ign-mpt=uo%3D2