Name: Adam Bernard Home: Fairfield, Connecticut, United States About Me: Entertainment journalist w/ over a decade of experience. Lover of good music, fringe movies, day baseball & chicken shawarma. Nerdy, but awesome. See my complete profile
Señor Kaos penned “Girls Rock Too” as a special tribute to the many important women who’ve made an impact throughout history. This week’s Vid Pick is the video for that song. Enjoy!
Today the greatest episodic blog series to ever grace the earth returns with Episode 13 of From A to B 90’s Style. This month fellow superstar journalist Bear Frazer and I are tackling videos by Ace of Base, Del Amitri, Reel 2 Real and Elton John. Lacing all of them with the wit and powerful social commentary you’ve come to expect to from us. Enjoy!
Adam: Let’s start things off with something Swedish.
Adam: Wait, is this Mannequin? Bear: This video is very... two tone. Adam: I love that growl she has. Bear: Is it me, or does that living room look cluttered? Adam: Very. Cluttered living room, cluttered mind? Bear: I see the cluttered parallels, and whoever "she" is, "she" sounds like a whore… or Lily Allen. Adam: Hey, leave my Lily out of this! Bear: Check out that chick's hairstyle. I love it. It's so late 80's. Adam: She's the hunter, you're the fox. Bear: No. I'm the bear. Adam: Ha ha! Wait, we have “gentle voices that talk to us???” Thank God, I thought that was just me. Bear: Wait a second, is the yellow tint getting darker? Adam: There’s no smoking in bars Chachi!!! Man, that girl is skanky as all hell. Bear: My kinda girl. The other type are virgins. Adam: Oh the moralistic croonings of Swedish pop groups. Bear: Now where's the scene of them being nude on the beach? Adam: My personal files.
Bear: My first video is… less Swedish.
Bear: Look at these women strut. Adam: Whoa, that baby is ugly! The girls are hot, though. Bear: But those kids... were they born with those beards? Adam: Aaand there's your beach scene. Bear: Ha ha. I knew it would come in handy! Adam: He sings pretty well for a baby. Bear: They're overdeveloped. I guess its "Look Who's Talking: The Mature Baby Version.” Adam: I mean, he's no Jordy, but he's alright. Ahhh! Nooo! Close your legs dude!!! Bear: That baby with the long stache looks like John Belushi's motorcycle homeboy from Animal House. Damn! Babies checking out hot chicks in one piece suits at the beach… I'm envious of those toddlers. Adam: Blondes with boobs. A fine choice Mr. Frazer!
Adam: Alright, now let’s get loud and repetitive!
Bear: Oh wow! He's moving it in the city! Adam: Giant reggae singer loose in the city. News at 11. Bear: How dangerous! Oh my God! Is that girl's skirt flipping into the air? Adam: Yessir it is. Bear: How despicable! He's making them shake their saltshakers! He has some nerve. Adam: This video is pure genius, possibly the best video ever. But now he's saying he likes to move it move it. I much prefer the girls moving it moving it. Bear: Yeah and he is trying to move it. Adam: That girl is totally ignoring the loud reggae singer at the table. Bear: Which ain't appreciated. She's like, "sorry, I need to wash my hair." Adam: If he came up to my table singing like that I'd probably be like "oh really. Is that so? Now how about you move it move it outta my booth!” Bear: Ha ha! "Keep it moving, buddy!" Man, these girls are moving it everywhere. Inside... outside... it's everywhere! Adam: Even outside of the New Yorker they move it move it. Bear: This is one insane news report. Adam: On the next VH1's Where Are They Now... everyone from this video. Bear: Yeah. I'll tell you one place they don't move it, the Swedish beaches with the toddlers from Del Amitri.
Bear: Capping things off this month, something from a knight.
Adam: Oh for the love of God. The Lion King song. Bear: Done by everybody's favorite knight, Elton John! Adam: Nice earring. Bear: Yeah and nice glasses, Elton. Adam: I still have not seen The Lion King. This song is one of the main reasons why. Bear: I did, but most of the movie is in this video. This was the wedding song for so many circus animals in the mid 90's. Adam: You went to circus animal weddings? Bear: Yeah. After all, I am a Bear. Adam: I didn't know you were the type of bear that balanced on big rubber balls and juggled. Bear: I'm the ring bear, punk. Adam: At least this was back when Disney had animators and didn't just rely on Pixar for everything. Bear: Speaking of which, what was their last animated movie to hit theatres? The Hunchback of Notre Dame? Adam: Was Happy Feet animated? Bear: Happy Feet was pretty not interesting. Adam: Man, is this guy still singing? Bear: I love how Elton John feels so moved singing this all while standing in front of animated lions. Maybe it is true what they say; Elton John can put a wild animal in check.
When people are at an event where a DJ is providing the music the notion of requesting a song ends up coming to many party goers’ minds. The DJ is the only musical artist that people feel totally at ease making requests of while they’re working and, in truth, it’s not totally out of the question to do so. Like Biggie once rapped, however, "there’s rules to this shit," which is why this week, like the Notorious one once did for selling drugs, "I wrote me a manual." That manual is in the current edition of the Fairfield County Weekly and it was conceived by having a roundtable discussion with DJ E.L., DJ Halo (pictured above) and DJ Mo Niklz about the proper ways of approaching a working DJ.
Here’s what they had to say about approaching a DJ while they’re working.
Timing is Everything – Most DJs are open to hearing your requests, but you need to find the right time to put those requests in. According to Mo Niklz, “the best time to approach a DJ is to wait for a moment just after he’s fully mixed into a song because he should have the maximum amount of time to talk with somebody before he has to start working on getting the next track played. Also, if you’re there early enough and he hasn’t started spinning that’s obviously ideal.” Halo adds that “if it looks like I’m not having to concentrate too much on what’s going on, like when I take a sip of water, or when I’m not totally hunched over the turntables, that’s really the best time because otherwise you’re only getting a half to a quarter of my attention.”
Make it Quick – Once you’ve found the right time to approach the DJ, don’t loiter around his tables. Although it might seem nice to laud excessive praise, E.L. recommends a different kind of thank you. “Go enjoy yourself.” Halo seconds this, saying “just give your request and walk away.” He adds a surefire way to annoy the DJ is to stand around waiting for your request to be played. In that same vein, E.L. says another way to get on the DJ’s bad side is to keep coming back to the booth asking “are you going to play my song next?”
Have a Backup Plan – Halo recommends that requesters come equipped with a backup request, because even the best DJs don’t have every song ever made, while Mo Niklz says to simply make your request as broad as possible. According to Mo Niklz “the best thing is to give the DJ a genre, a time period, and an artist and have him build from there. That should give them a good idea of the type of music you want to hear.”
Recognize the Mood – When requesting a song a person needs to take into account everything else the DJ is playing. “If it’s a song that goes with the format I am playing then the request will get played sooner,” E.L. explains, “if I have the dance floor packed and someone requests a slow song, or a song that is totally not with the flow, there is no way I am going to kill the momentum. I try to stress that I am not a jukebox or the radio. If I am playing house music don’t ask for country music.”
A Tip Never Hurts – While most people tip the bartender every time they order a drink, how many people tip the DJ when they request a song? According to Mo Niklz that simple act you do to thank the bartender for getting you your drink might also go a long way in getting your request worked into the mix a lot quicker.
Avoid Greediness and Criticism – According to Halo one request is fine, half a dozen is going overboard. He adds that little is more aggravating to a DJ than a random person telling them how to work the crowd. “I’m the one they booked,” he explains. Mo Niklz seconds this, saying the best way to get on any DJs nerves is to tell them they don’t know what they’re doing (though, I guess that’s true for pretty much any job!).
Remember They’re Doing a Job – “I don’t mind being approached,” Halo explains, “but you must realize I AM working and I do need some modicum of concentration.” Mo Niklz adds that people also need to keep in mind “the DJ isn’t there to just talk with just you, he’s there for everybody.”
In the end, you don’t have to be afraid to approach the DJ you see spinning at your local bar or club, you just have to do it right. Following these guidelines is definitely a step in the right direction.
AR-15 is the duo of Jus Rhyme, who was seen on VH1’s The White Rapper Show, and Raw Potential (pictured L to R). They have a stance they call anti-racism and this quest for true equality permeates both their music and their lives. This week I caught up with them to find out more about their work, the problems many people have discussing race, and how they make sure they’re not the only ones who benefit from their shows. Oh, and yes, there’s plenty of discussion about Jus’ time on The White Rapper Show, as well.
Some music is meant to make you organize and protest. Some is meant to make you sit in deep contemplation. Then there’s the music that’s made so you can have a good freakin time. pH10 is all about making the latter and they do it better than almost anyone else out there. I originally found out about pH10 through RapReviews’ head honcho DJ Flash, who wanted me to interview them for the site (perhaps you caught it a few months ago). I was thrilled to discover pH10’s fantastic combination of Hip-Hop and Drum and Bass, but at the same time I was interviewing them for RR I couldn’t help but think they’d make a perfect Artist Of The Week. This week I reconnected with pH10’s Recone Helmut (pictured right w/ his pH10 partner SyBO) to make that happen.
Adam Bernard: For this interview I’m going to try to cover some ground we didn’t in December and also follow up on a few points from that interview. For starters, I notice PH are neither of your initials, and you don’t have ten members in your group, so how did pH10 become pH10? Recone Helmut: It's just a goofy play on the pH balance scale. The scale measures the acidity of a substance. pH10 is on the basic (bass) end of the scale. pH14 would be as base-y as you can get, but pH10 sounds better.
Adam Bernard: Why does the combining of Hip-Hop and Drum and Bass work so well? Recone Helmut: The short answer is DnB is simply double time Hip-Hop. Most Hip-Hop tracks range from about 80-95 bpm (beats per minute) and most DnB tracks range from about 160-190 bpm. This is why it's so easy to make Hip-Hop vocal tracks work in a DnB track. Plus, the two styles are cut from the same cloth. Hip-Hop from the beginning was about the breakbeat and then later, as the pioneers bought synths and started to learn the gear, the bass came into play. Remember how Straight Outta Compton forced us to find better speakers? So, both Hip-Hop and DnB are about the drums and the bass, the only difference is Hip-Hop expresses itself through the lyrics while DnB uses insane speed and heavy synths. At the end of the day it’s the same vibe.
Adam Bernard: You released an album last year titled Well Connected. In what ways do you feel you’re well connected with Hip-Hop audiences and in what ways do you feel you’re well connected with Drum n Bass audiences? Recone Helmut: I don't. I feel well connected to my friends, my girlie, my mom and the people that I choose to make records with, but I'm not trying to connect with my audience, I'm trying to kill them. If you're a pH10 fan, you're not the kind of cat that wants a hug from Recone Helmut, you want to battle him. You want to duck and deflect the onslaught of bass and kick drums and counter with demands of “heavier,” “louder” and “faster.” You, as a fan of pH10, threaten banishment if the Helmut fails in this mission. As you should. Fuck connections. This is war.
Adam Bernard: OK, with that in mind, what’s a pH10 show like? Recone Helmut: Loud, bass heavy and half drunk. Visually there are some programmed Trackspots behind us that change through each song and there's typically some projection happening behind us. We usually try to front load the event with the best local talent and just have a good fun night. We don't play live very often as we try to make each pH10 show an event, if you can dig that. The live show is truly the most enjoyable part of this whole endeavor for me. But there's no connecting, definitely no goddamn connecting.
Adam Bernard: Which parts of the country have you found to be most receptive to your work? Recone Helmut: Oh New York, how I miss you so. Believe it or not, CDBaby tells me that most of our sales come from Texas and the Southwest. Go figure. Personally I love the Northwest and of course the Northeast, but really, people are the same wherever you go. Take it away Stevie!
Adam Bernard: During our interview for RapReviews.com you noted that you don’t follow trends. Would you say you simply don’t follow them, or do you make an effort to go against them? Recone Helmut: Just don't follow them. Never have. I mean, I wore the neon green sunglasses in high school. I was cool enough to pull that off, but musically, I've always been about finding good shit and playing the hell out of it. No matter when it was made or how popular it happens to be at the time. I apply that same philosophy to making music, and trust me, we get more than our share of shit from the press for not paying attention to what's hip or fresh when making records. Oh well. What did Chuck say about critics again?
Adam Bernard: Staying on the topic of your music, I know that in addition to your love of Hip-Hop and Drum and Bass you also have an appreciation for rock and metal. Do you feel anything from those influences can be heard in your work? Recone Helmut: Have you heard a pH10 record? It IS metal. It's more metal than most metal is metal and I would know, I'm totally fucking metal. But yeah man, electronic music has a very soft, some would say flaccid, history. The roots are in 80’s synth pop and wankie British bands with funny glasses. I don't claim that as my past. We might use drum machines and keyboards to make records, but we do it with Slayer in our hearts.
Adam Bernard: In what ways do you feel you’ve evolved musically since you started? Recone Helmut: I dunno. The tunes are better? The sound is better? The work is definitely more collaborative and full of eclectic talent these days. The gear is more expensive, too, that's for sure. Have you seen the price tag on a Virus TI!? Totally worth it, though. Get a Virus TI, kids. You won't regret it.
Adam Bernard: What do you see yourself doing, and where do you see yourself going, next? Recone Helmut: I wasn't kidding in December when I said I was going to give electronic music a break for a while. I want our next record to be straight Hip-Hop. Find a hot MC, or a few of them, and just make a damn rap record. Also, next year we're going to make a live pH10 best-of disk. Recorded at Madison Square Garden, of course.
This week’s Vid Pick is something fun and freaky from Farchild. You can definitely see a Nine Inch Nails influence in this. Also - hot topless chick with a sword! (Thanks Farchild!) Can’t go wrong with that.
Bobby Valentino is only turning 29 at the end of the month, so it may sound a little odd for him to be talking about a rebirth. He’s been in the music industry since his teenage years, though, when he was a member of the group Mista, and going from being a child star to and adult one is a major change. This week I caught up with the R&B singer to discuss all things rebirth related, including his latest album, which happens to be titled The Rebirth, his feelings regarding his departures from both Def Jam and DTP, and how close the world was to seeing From Bobby Valentino to Kelly the movie.
Adam Bernard: Let’s start by talking about your new album, The Rebirth. In how many different ways is this album a rebirth for you? Bobby Valentino: In many ways. For one, I have a new situation with EMI / Capitol. I have my own label now, Blu Kolla Dreams, so that’s part of my rebirth. I think that’s my biggest rebirth because I stepped out on faith. I’m no longer with Def Jam and DTP, so I’m no longer under the wing of Ludacris. We’re still real cool, but it was just time for me to step out on faith and be control of my own destiny, so that was a rebirth. Also just me as a person, I’ve been in this industry for over ten years, so I’ve been up and I’ve been down, but in this game you have to have faith in yourself and believe in yourself and carry yourself with a lot of pride because your feelings can get hurt in this industry. When you’re up people are gonna praise you, they’re gonna ride the bandwagon, but when you’re down people will walk the other way when you come, they’ll kick you when you’re down, so all of that comes together to make The Rebirth.
Adam Bernard: What aspects of yourself do you show on this album that you haven’t been able to show before? Bobby Valentino: Just really my diversity. I worked with some new producers on this album, including Raphael Saadiq. Also I basically put this album together, me and my team, so as far as being in control creatively I feel like this album represents me and speaks for me because I had my hand in everything from the artwork to the mixing of record, I even produced on this album for the first time. That’s another part of The Rebirth and showing another side of me and what I have to offer.
Adam Bernard: You also have some pretty racy songs on the album, most notably “3 is the New 2.” What you know about that? Bobby Valentino: Hey man, that’s every man’s fantasy, to have two women at the same time. With me, my music, I make it for the women, but really it’s a tool for dudes. If you put on the CD it’ll speak and say the things that a man is probably afraid to say, or doesn’t know how to say.
Adam Bernard: So it should be used on a date. Bobby Valentino: That’s what I’m sayin, you can use it, it’s a tool. I got “3 is the New 2” and you might not know how to say it, or you might not know how to set it up properly, but you can throw on the song to break the ice. I got other songs on the album such as a marriage type of song where I’m singing my heart out and I’m saying it’s time to turn in my player card in. That’s actually the last song on the album.
Adam Bernard: Speaking of relationships, during a night out on the town, is Bobby Valentino a good wingman? Bobby Valentino: {laughs} I’ll put it like this, I’m the all-time assist leader. I’m dishin em out all the time.
Adam Bernard: Backtracking a bit, what happened with DTP? Were they just not equipped to handle an R&B artist? Bobby Valentino: No, I wouldn’t say it was that, it was more or less I was signed to Def Jam through DTP. I was actually dropped from Def Jam last February. When I was dropped from Def Jam I wasn’t really happy with my situation. They have their big roster over there, everybody from Rihanna to Ne-Yo to Jay-Z to Jeezy, Rick Ross, so it was kinda hard to really get the attention and the time and the focus that I wanted on my project, so we had some issues and they let me go. Then I stepped back and thought about what my next step needed to be. I felt that I’ve been in this game for over ten years and I’ve been through it all, so it was really time for me to step out on faith and do my own thing. Luda really respected that and he understood that and he’s on the remix for my first single, “Beep.”
Adam Bernard: And now you have Blu Kolla Dreams. How and when did you start it? Bobby Valentino: It’s been a movement that’s been going on a long time. The whole thing behind Blu Kolla is as an artist I take the blue collar approach; I’m the first one up punchin the clock in the morning and I’m the last one to go to sleep. People like blue collar workers, like police officers, postal workers, garbage men, those are the people that actually make the world go round, but they’re always the ones that don’t get the props. I feel like I’m that kind of artist. I’m putting in work 24 hours a day seven days a week, grinding, doing everything I gotta do. I just represent for all the blue collar workers out there, all the blue collar people. I feel like when you turn on the radio a lot of artists are talking about how much money they got, how much ice they got, how many cars they got. Truth be told, a lot of the artists don’t even have that stuff. Second of all, you’re speaking to a people that are going through a recession right now, so how are you relatable to your fans when your fans are spending their last ten or twenty dollars on your CD and you’re talking about that you’re a millionaire and you got ten cars. I know that most of my fans are blue collar workers, average people that are working 9-5, that are going to school to get their degree, and I want to be able to relate to them not only musically, but personally, as well.
Adam Bernard: Going back to your start in the music industry, I gotta ask, “Blackberry Molasses,” best song ever? Bobby Valentino: Oh man, that was definitely a big record, that’s where I got my start, when I was in the group Mista. That really was like my internship to the music business. I learned a lot about the business. I learned about music. Organized Noize were our producers, they produced our whole album, so I grew up around TLC, I grew up around Outkast and that whole Atlanta movement when Atlanta was just bubblin. I got to experience all of that, so that was my preparation to get where I am now. “Blackberry Molasses” was definitely a big situation and something that I’m appreciative of.
Adam Bernard: Where is the rest of Mista today? Bobby Valentino: Blue collar, out there grinding. Some are trying to act, some are still trying to do music, some of em got a couple kids. They’re just trying to make ends meet.
Adam Bernard: Most artists who blow up when they’re young don’t get to experience normal teenage life, but you ended up going to college and having all those experiences. Bobby Valentino: That was very important to me. I was in Mista during ninth, tenth and eleventh grade, so I missed the first three years of high school. I went back to school after that. In twelfth grade I graduated from high school and I also went to Clark Atlanta University, where I got my degree. My focus was always music, I knew that it was my first love and what I wanted to do, but my parents instilled in me having something to fall back on, to get my education. That’s something that nobody can take away from you once you get it. I really didn’t want to go to school at first. I wanted to do music, move to New York or LA, fulfill my dream. But I feel like that’s something I would never trade in, my degree, because my degree is in Radio / TV, so school really prepared me to do interviews, be on camera, speak properly, communicate and really to know the industry on another level. Another thing school really taught me was how to prioritize and in this game you got to be able to know what’s important.
Adam Bernard: From what I’ve read you also have an American Idol experience. What happened there? Bobby Valentino: That was an experience when I was in college. It was their first season and it was part of my trying to multitask, do music and go to college at the same time. It really taught me that you gotta keep going no matter if somebody tells you that you’re not good enough.
Adam Bernard: Finally, since I’m a very big baseball fan, and a diehard Mets fan, I gotta know, when are we going to see Bobby Valentino link up with former Mets manager Bobby Valentine? Bobby Valentino: Aye, we need to get together and we need to write a book or something, Baseball and R&B. We gotta hit one of them Brave and Mets games. I’m a big Braves fan. I actually played baseball in college, too. I was a centerfielder. It’s gonna be rough (for the Braves), when we were supposed to win three or four World Series we only won one and I think that was their prime right there. That was the best team. That was like the dream team. We did pull one championship out, but I feel like that was really our prime.
Seemingly everyone and their grandmother did the “25 Things” meme when it was going around Facebook. Even I succumbed to it, but I didn’t post it here since it had nothing to do with music or entertainment (of course, now it’s linked to in this sentence, but that’s different). The latest meme making the rounds actually is about music, so I figured why not share my “answers?” The deal this time around is we're supposed to put our designated music player on random and write down the first 25 songs it plays to “answer” the given questions. I had some… uhhh, interesting results. Enjoy.
1.) If someone says “are you okay” you say? Do the Bartman – Bart Simpson – Well, I hadn’t said it before, but I’m certainly going to say it now.
2.) How would you describe yourself? Don’t Speak – No Doubt – Hmm, my mouth does tend to get me into trouble.
3.) What do you like in a guy/girl? White Girls – Mighty Casey – Wow! Just wow.
4.) How do you feel today? Every Time We Touch - Cascada – I’m embarrassed this song is even on my computer. Moving on…
5.) What is your life's purpose? Need You Tonight - INXS – My life's purpose is to lust?
6.) What's your motto? Mr. Jones - Counting Crows – Actually, quite poignant if you check out the lyrics.
7.) What do your friends think of you? 10 Years of Hate - Ma$e – Assholes!
8.) What do your parents think of you? You Give Love a Bad Name - Bon Jovi – I am seriously not winning here.
9.) What do you think about very often? Dr. Feel Good - Motley Crue – A heroin dealer!?!? I think about heroin!?!?!
10.) What is your biggest turn-on? Every Rose Has Its Thorn - Poison – Well, I do love me some Rock of Love girls (and what's up with this run of 80's rock?).
11.) What do you think of your best friend? Blister in the Sun - Violent Femmes – When it comes to many of my female friends I would stop to check them out.
12.) What is your life story? No Rain - Blind Melon – How did they know about my time as a dancing bee!
13.) What do you want to be when you grow up? I Will Survive - Cake – So I want to be John McCrea? (Truthfully, I wouldn’t mind having his voice)
14.) What do you think when you see the person you like? Every Damn Day People - brokeMC – Apparently the person I like is trapped in a routine and needs a little bit of fun in their life.
15.) What will you dance to at your wedding? Melt - Dyalekt – Sure, why not? I'm just glad "Doin My Job" off of the same album didn't come up!
16.) What will they play at your funeral? Wild Wild West - Escape Club – Hells yeah! No mourning allowed! (and no Alonzo Mourning allowed either!)
17.) What is your hobby/interest?? Caress Me Down - Sublime – So basically, booty.
18.) What is your biggest fear?? Torn - Natalie Imbruglia – Well, I don't like lying naked on the floor... at least not by myself. Or does this imply I have a fear of Natalie Imbruglia? Imbrugliaphobia is real, but there is a cure! Talk to your doctor today.
19.) What is your biggest secret? Bust a Move - Young MC – Cuz I wink at weddings.
20.) What do you want right now? Stupid Girl - Garbage – Ha ha! How true!
21.) What is your obsession? Girl I’ve Been Hurt - Snow – C'mon, who isn't obsessed with early 90's Canadian reggae? (and that’s right, I have the follow up to “Informer” on my computer!)
22.) What will your child's first words be? Whenever, Wherever - Shakira – Really? Sounds like my kid’s gonna be a whore. Damnit!
23.) What do you say when you look in the mirror? Rollin' With Saget - Jamie Kennedy – If only!
24.) What is your opinion of sex? Wishing Well - Terance Trent D'Arby – Fairly on the money with this one.
25.) What will you post this as? I Want Your Sex - George Michael – Word up.
When I woke up this morning I thought - do you know what the world is in dire need of, another Adam B Experience podcast. Well, OK, maybe that’s not exactly how it happened, but here it is, another hour of dope underground Hip-Hop for your listening pleasure.
You can download or stream the entire show at RapReviews.com.
Playlist
Dirty Elegance w/ Big Pep - The Scrivener PreZZure - Lost My Mind 8th W1 - Poser J-Zone w/ Poison Pen - Project Paradise Homeboy Sandman - GGGRRRAA!! d_Cyphernauts - Suspense Jav aka Rapmononov - Revolution Terrence Jones - My Heart Stopped Euphon - Fresh Fish Steelo - Let It Roll Señor Kaos - Cut The Check Loj w/ Helixx C. Armageddon - 365 Dyalekt - Froze Up Meltdown Crew 54 w/ Alpha 20-20 - Feel Me
A lot of R&B singers can tell you about the ups and downs of love, but how many can also tell you what it’s like to be in a combat zone in Iraq? Meet Terrence Jones, singer / songwriter / military man. Originally from Fremont, Ohio, Jones has been stationed everywhere from Iraq to Ecuador, and all the while he’s bounced around he’s written and recorded music. Late last year Jones released his debut album, Secret Admirer, and this week I caught up with the R&B crooner to find out more about his musical upbringing, the concept behind his album, and how his time in the military has helped shape him both as a man and as an artist.
Adam Bernard: Start me off with some history. What shaped you into being the man, and the artist, that you are today? Terrence Jones: Growing up I had it rough. My mother raised me and my two sisters all by herself. I have brother, too, but he moved to Florida when I was really young. My mother did the best she could to raise me and my sisters right and lead us down the right path. We didn’t have a lot of money. I never had the hottest clothes, or the new shoes that most other kids had, but the biggest thing that got to me the most was not having my father around. I never met him and I have no clue what he looks like. I had to teach myself how to become a man. I can remember a situation when I was like ten years old, my mother was dating this guy and he treated her so bad. He was verbally and physically abusive and I can remember having so much hate and anger built up within me. I always felt like he was using her and I was so confused on why she didn’t leave him for the longest time. I always told myself I would never be like him and I was so glad when my mother moved on. Some of the songs covering these situations are on my album, one being called "No More" and the other being my favorite song on the album, “Fly Away.” And with that being said, without even knowing it I was shaping myself.
Adam Bernard: How did you get into R&B and when did you discover you had singing ability? Terrence Jones: I think living with a bunch of women most of my life got me into the R&B. {laughs} I was always around it and just kinda fell in love with it. My mother used to listen to Teddy Pendergrass, Marvin Gaye, and Earth, Wind and Fire and my sisters listened to Boyz II Men. Then I would go to my grandmother’s house and she was always singing all kinds of church songs and I would try to sing along with her. I had to be like seven or eight at the time. I can remember I used to sing in front of my grandmother all the time and she used to tell me I had a beautiful voice. She always wanted me to sing to her and begged me to sing at church. I told her to promise me she wouldn’t tell anyone that I sing for her. I always carried this "He-Man" image around, so I couldn’t let anyone know I was soft. {laughs} But after a while I started gettin up on stage at the church. I think I really discovered I had a talent for singing when I joined this five man boy band called IMAJ when I was in the fourth grade. I was just one of the back up singers for a while. I wrote some of the songs and I practiced all day everyday. When I got to seventh grade we started gettin real heavy on the CDs and talent shows and people starting telling me that I could make it as a solo artist. By the ninth grade I was on my own writing and singing and making my own albums. I had a vocal coach in my family named Tonya Tucker. She really made me the singer I am today.
Adam Bernard: All of that work has culminated in the release of your solo debut, Secret Admirer. Tell me all about the album. Terrence Jones: I know this kinda sounds weird, so brace yourself. A secret admirer is an individual who possesses extreme adoration for another person without disclosing their identity to that person. I flipped that whole statement and made it my own. In my case I’m the secret admirer who possesses extreme adoration for the music industry. I’ve been knockin on its door for a long time, sending gifts, which are my albums, but I’m still anonymous to them.
Adam Bernard: Your life is much more than just music. You’re also in the military. Tell me about the work you do there. Where have you been, what have been some of the more amazing things you’ve seen, and where are you going next? Terrence Jones: My military career has actually made me the man I am today. My job is very crucial so I am really not at liberty to discuss it, but I've seen some crazy things. I went to Iraq in ‘06. It was pretty wild there. I really had to stay on my toes. There wasn’t a moment that went by that you didn’t hear, or encounter, bombs or gunfire. I've also been to Ecuador. Since the mission in Iraq in ‘06 was so crazy they sent me to Ecuador to kinda unwind. It was so beautiful there. It was perfect because I got to perform at numerous clubs and go interact with the people and get myself out there. Ecuador has some of the most beautiful woman in the world. It was wild how they responded to my music. And since it was so chill I spent a lot of time in the studio. So I got a lot of songs done. I got home from Ecuador in February of ’08 and I’ll be headed back to Iraq in a month or so. I will be working on the next album there.
Adam Bernard: How do you manage to write love songs while you’re in such a combative place? Terrence Jones: It was definitely hard to write in such a combative area, especially having to be focused on the war. I’d just write whenever I got the chance. I would just be someone else for the day and put myself in a certain situation and write about it. My job in the military is very strict, so we really don’t get that much time to spend with our families, let alone time for me to go around and perform, especially since I leave for another country almost once a year, so relationships and family are very rough topics for most people in my job, especially married men and women. The divorce rate is really high and while in Iraq I witnessed a lot of deteriorating marriages and relationships. I would get permission from the people involved to write about their situations, so even though it was a tough time for them I used it to mold my music. That kept me really busy and by keeping me busy it allowed me to remain calm and collected in Iraq. I never had the chance to sit down and think to myself like, damn, I almost died today. I'd try to think about my family, performing on stage, and what it would be like to sign my name on a recording contract.
Jair Dynast's latest single, "Art of Invention," is a tribute to the many Black visionaries who may fly under the radar as individuals, but whose creations have had a tremendous impact on our lives. This could easily be a theme song for Black History Month. It's certainly one of the funkier history lessons out there.
There are a lot of questions you expect to hear from your mom when she gives you a call. “Have you heard of someone named Nipsey Hussle?” is not one of them. Of course, because this is my life we’re talking about here, the other day my mom called me up with just that question.
It took me a second to react. I paused, gathered my thoughts and replied “yes, but why have you?” Her answer – “some website called ihiphop” added her to their email list. Yes, that’s right, ihiphop is finally going after the much coveted retired housewives who love Billy Joel demographic!
Is this the new face of Hip-Hop? Judging by the pictures of the random scantily clad, barely of-age, girls attempting to show off their butts on ihiphop’s member pages I highly doubt it. Here’s what I think, I think that someone at ihiphop has been jacking email lists, an act everybody knows is a huge faux pas in the world of email marketing.
My mom ending up on a Hip-Hop social networking site’s email list is something that is fairly ridiculous, but we can actually learn a thing or two from this situation. First and foremost we can learn that the size of one’s email list doesn’t matter if it hasn’t been filled via the opt-in method. Who cares if a site says they have hundreds of thousands of subscribers if any significant percentage of those subscribers have come from stolen lists and are people that have zero interest in the messages being sent? This is exactly what renders so many email list “subscriber” numbers totally useless.
There’s also a potential ad dollar aspect to this because every site that sells ad space in their newsletters does so based on the number of subscribers they have. From an advertiser’s point of view, if you’re purchasing ad space in an e-newsletter you’re expecting that ad to reach a certain demographic. When someone jacks email lists and adds them to their total regardless of whether or not anyone on the jacked list has any interest in the content, advertisers are usually none the wiser and will still get charged based on the number of people on the list, rather than the number of people who actually signed up to be on the list. It doesn’t take a rocket scientist to figure out that my mother is not the target audience ihiphop’s advertisers are looking to reach. That is, unless there’s some kind of Phat Farm Over Fifty line that I don’t know about.
As far as the artists featured in the newsletter are concerned, any list that includes jacked names actually works to create more negativity around whoever they’re trying to promote than the positive press they’re looking for. Who wants to bet Nipsey Hussle doesn’t want to be known as “the spam that showed up in my mom’s email in-box?” Helluva title, right? It’s probably not what he’s looking for, but it’s a great illustration of the fact that adding names that don’t want to be on your email list can potentially do quite a bit of damage to your product.
Finally, since it was my mom’s email address that has started to get these emails I can only assume it was my email list that was jacked at some point in time by an ihiphop employee. If you are one of my many loyal subscribers who has been affected by this I sincerely apologize.
Oh yeah, and ihiphop, my mom’s taste in Hip-Hop is way more east coast lyrical!
Inside The NFL was a staple on HBO from 1977 up through the 2008 Super Bowl. This past season the show made the switch to Showtime and with that move came a few changes to the cast. Jenn Brown was one of the new additions they made. “They came to me and asked if I would be interested in doing some lighthearted, lifestyle, behind the scenes type pieces to kind of add a different element to the show,” she remembers. “I was like are you kidding me? You want me to work with Phil Simms, Cris Collinsworth, James Brown and Warren Sapp? Of course!”
Although some may have wondered how well the blonde bombshell would fit in with the all-male cast, Brown notes she’s always been able to hang with the boys. “They put me in these nice clothes and makeup and curl my hair, but don’t let it fool you because I’m still a tomboy at heart. I’d love to get on the field and play football with the boys.” In high school she hit the field plenty of times as a seven sport athlete and in college she played softball for the University of Florida. “I was closer to being one of the boys than one of the girls,” she says with a laugh.
Her long history in sports doesn’t end on the field. Brown has worked for ESPN and CBS, and many may recognize her from her time on the non-sports related E! News Now. About the only thing she hasn’t done yet is hit the dance floor with Dancing With The Stars alum, and Inside The NFL analyst, Warren Sapp.
Brown is OK with waiting for that dance, though, as she’s busy living out one of her biggest dreams. “They’re basically paying me to go hang out at football games,” she says elatedly, “it’s pretty awesome.”
Valentine’s Day is right around the corner and the one form of music that represents the day better than any other is R&B. Believe it or not, with everything a man may do for his lady on this day, the soundtrack to which it’s all done is just as important. Now, we all have our preferred artists, but since this day is about the ladies all the guys of the world need to put their favorites to the side and break out whatever albums their significant other wants to hear. This is where things get interesting, because you can tell a lot about the woman you’re dating simply by her choice of R&B singer. And ladies, you should be fully aware of what your selections say about you. This is why this week, as a public service for the Valentine’s Day community, I’m going to run down a list of ten prominent R&B artists and break down what a selection of their music represents.
Chris Brown – One of the hottest young singers of today. Just remember to put the emphasis on young. His “No Air” duet with former American Idol Jordin Sparks may leave your girl breathless, but if it seems like there’s a little too much fandom on her part you may want to check ID, because algebra homework and a curfew may be in her immediate future, while fifteen to twenty may be in yours.
Usher – Usher is a bit tricky when trying to ascertain how your Valentine’s Day is going to go. If it’s the Usher of Confessions fame you’re probably all good, but if it’s the much more recent Here I Stand Usher you could be with a girl hinting at marriage. That’s fine if you’re on the same page, but just know what you’re getting into when she suggests you put on his latest album. Usher’s more mature now and your date probably expects you to be, too.
Marvin Gaye / Boyz II Men – The night is going to end very nicely if your date decides either of these artists are the right ones to play. The songs “Let’s Get It On” and “I’ll Make Love To You” are almost always followed by a reenactment of their choruses. If these are your girl’s picks she’s looking to get lucky just as much as you are. Be aware, though, you might be dealing with an older woman, as both of these artists are more appreciated most by the “grown and sexy” crowd.
Brian McKnight – Much like Marvin Gaye and Boyz II Men, you might want to find out just how many presidential elections your date has been able to vote in when she chooses a Brian McKnight album. Here’s a good rule of thumb, however old she says she is, add five years. Brian McKnight’s songs are beautiful, intricate, and usually underappreciated by the younger audience, so if you have a girl who claims to be 30, assume she’s 35, and if she claims to be 35, then she’s damn near 40!
Robin Thicke / John Legend – Robin Thicke and John Legend are the new school equivalent of Brian McKnight. Unlike with Brian McKnight, though, if your girl chooses Robin Thicke or John Legend she’s probably not lying about her age. In addition to that bit of good news, their music also sets the mood perfectly.
Ne-Yo – Ne-Yo is a tough call. He definitely has his fair share of love songs, but a lot of his music is also intended to make a listener dance, which means your date might not be all that interested in anything other than a good time (ahem, HER idea of a good time, which is not necessarily the same as yours). Partying it up is all well and good, but just realize this is no sure thing. A selection of Ne-Yo essentially puts you back at square one when it comes to having any kind of knowledge of where things might go. For the ladies this would be an artist to pick if you want to remain a bit of a mystery.
Musiq – Another great artist for ladies who don’t want to reveal too much, on the same album where he sang a song titled “Love” he also had one about being “Just Friends.” What are you supposed to think with that kind of a mixed message? You could drive yourself “Halfcrazy” trying to figure it out, so rather than racking your brain, just enjoy the fact that your date has terrific taste in music and let the night lead where it may.
R. Kelly – In 2009, if your date openly wants R. Kelly set the mood for your Valentine’s Day evening, I’m sorry to report that there’s a good chance you may be dating a hood rat. Even before his trials R. Kelly was in poor standing for making lewd innuendos about his car when singing about women (“You Remind Me of Something,” “Ignition”), so any girl that still has him in their romantic music playlist after everything else that’s come out about him is definitely not alright. If she expresses a love of R. Kelly and it’s still possible to break the date, do it, and if she says she wants his music played because she’s “friends” with him, call the police because there might be an Amber Alert out for her.
Remember, your musical taste says a lot more about you than you may think, so set the mood right this February 14th and make it a good one.
Last year Illa J released the critically acclaimed Yancey Boys, which was his collaboration with his deceased brother, the legendary J Dilla. The album was so dope it earned a spot in my Top 25 of 2008. This week, hot on the heels of the release of the instrumental version of that album, I caught up with Illa J to discuss what it’s like continuing his brother’s legacy.
The stereotypes of southern rappers are that of excessive jewelry, loud lyrics, and general shouting about nothing. Thankfully, Atlanta emcee Señor Kaos represents none of the above. Maybe it’s because he was literally born into Hip-Hop with his father being a DJ, B-Boy and emcee in the early 80's. Maybe it’s because he cut his teeth in street ciphers where skill was of the utmost importance. Maybe it’s because he hasn’t spent his entire life in the south. Whatever the reason, Señor Kaos is a part of the subsection of southern Hip-Hop that is the complete opposite of what people assume the genre to be and his brilliant new mix-CD, Swagger is Nothing, Talent is Everything, is a testament to that. This week I caught up with Señor Kaos to find out more about both him and his music, some of the misconceptions outsiders have about the southern Hip-Hop scene, and the very unique collaboration he’d love to see happen.
Adam Bernard: I was actually a little surprised when I heard you were from Atlanta. Your sound and style aren’t what most people would consider to be “southern Hip-Hop.” Have you always been this way, or did you make a conscious decision to buck the current southern rap trends? (pun intended) Señor Kaos: Since my father was a Hip Hop DJ way back in the day I was raised on The Treacherous Three, Cold Crush Brothers, and later on De La Soul, Lord Finesse, Chubb Rock, Public Enemy, Ice Cube and Big Daddy Kane, so that's who I identify with. Saying that, Public Enemy didn't sound like Chubb Rock and Big Daddy Kane didn't sound like De La Soul. Everyone had their own unique style, so I would never want to follow the typical southern Hip-Hop trends. Why sound like somebody else, when you can sound like yourself?
Adam Bernard: What kind of misconceptions are there about the southern Hip-Hop scene? Señor Kaos: A lot of people hear the southern stuff on the radio from major labels, but they haven't been exposed to the raw Hip-Hop the city has to offer, so they don't know it exists. There are plenty of people born and raised in Atlanta who don't have the typical "southern accent" and there's plenty of music that sounds more like Mos Def than T.I., believe it or not. I think the BIGGEST misconception, though, is the idea that southern emcees can't really rhyme. I think Andre 3000 and Bun B tear that theory apart.
Adam Bernard: How has your hometown crowd responded to your work? Señor Kaos: It's been 50/50. I get a lot of love from the real Hip-Hop heads for being a staple in the Atlanta Hip-Hop community, and that's not just because of my music. For the past ten years I've been very involved in the community from the ATL Hip-Hop Coalition to promoting tons of Hip-Hop events and parties in the city. But there are also a lot of people in Atlanta who could care less because I don't sound like the "typical" down south emcee. I think with any hometown, people don't really respect you until they see you have a buzz in other markets. For me getting my music played in Japan, London and New York has done a lot. One of the cons of being in Atlanta, is that everybody thinks they’re a rapper! There's only a small amount of actual fans because everybody thinks they’re a rapper, or producer, or DJ. We need more fans and less artists. Adam Bernard: Your latest mix-CD is titled Swagger is Nothing, Talent is Everything. What inspired both the title and the album? Señor Kaos:Swagger Is Nothing, Talent Is Everything was inspired by the overuse of the word swagger in Hip-Hop music in the past year. Everybody thinks being an emcee is about your "style," which it very much is, but it's also about your content, wordplay and general talent. I was having a conversation with someone who said Hip-Hop nowadays is 90% swagger and 10% talent. I thought that was a shame. My response is "I don't care about swagger, I care about the music," and that's what spawned the title.
Adam Bernard: Then isn't the phrase "Talent is Everything" technically your swag? Señor Kaos: When you have natural confidence, you don't need swag! Swagger is really just something people use to impress others. If it's natural people will be impressed by your aura without you feeling like you have to put on a show at all times.
Adam Bernard: Let’s get into your music. How do you go about crafting songs that are intelligent, but don't necessarily beat anyone over the head with a message? Señor Kaos: Well, first I consider myself to be intelligent. I cannot dumb my music down to the point where it doesn't reflect who I really am. When you're a kid, other kids think it's cool to be "dumb." Everybody wants to be the class clown. If you appear to be too smart, kids label you as a nerd or what not. So the task has always been trying to find the mix of being cool enough, but also having a message involved in the music, as well. On Swagger Is Nothing Talent Is Everything I have a song called "Girls Rock Too." The song has a strong message about women's achievements in history, but it also has a bouncy enough beat where the DJ can play it in the club. On the song "For The Cream" I'm speaking on gentrification and the evils that people do to make money and on the song "Rain" I'm talking about how the weather patterns are affecting people’s way of life, but it's all done in a way to make the listener feel like they're not in a college class. KRS-One said it best years ago it's Edutainment, Education + Entertainment.
Adam Bernard: I'd be remiss if we didn't talk about your name. How did you become Señor Kaos? Señor Kaos: Awwww, great question. I've been waiting on someone to ask me that one for a while. Being an only child I developed the name Kaos, but there was somebody else in the neighborhood already named Kaos, so people would call me Kid Kaos, because I was younger. I turned the “Kid” into an acronym when I started emceeing at 13, so it meant Keen Imperial Dialect, which basically meant being sharp with your words. So I was known as Keen Imperial Dialect Kaos or just Kid Kaos for short. Around 2006 DJ Sucio Smash in New York started calling me Señor Kaos, and it stuck. Also at the time I felt there were too many "young" names in Hip-Hop. You have Lil’ Wayne, Lil’ Kim, Gillie The Kid, Willie The Kid, Young Dro, Young Jeezy, Young Joc, Young this and that. I wanted to stand out, and I don't feel like I necessarily make music for kids. I'm grown, you know. So once Sucio gave me the name Señor Kaos I ran with it. I hope I don't start a trend with emcees calling themselves Señor, though, that would upset me.
Adam Bernard: Finally, would Señor Kaos ever consider working with Butters' character Professor Chaos of South Park fame to take over the world… or at least the music industry? Señor Kaos: {laughs} Yes, sir! I'm definitely down to work with Professor Chaos. The industry is shady and needs to be taken over.
AOK Collective member P.Casso released a solo album late last year titled For Your Consideration and “Mr. Hollywood” is the first single, and video, off of that album. Check it out!
For decades all the indie labels out there have essentially been the Little Mac’s of the industry and when it came to the big fight they had to dodge every jab thrown their way and wait for the Mike Tyson’s of the music world to blink so they could finally have a chance to get a punch in. Now, however, with major labels failing to adapt to the internet and budgets for big releases shrinking by the day, the indies finally have a real chance at a fair fight. This is why now is the time for indie labels to step it up. How can they do this? Well, I have a few ideas.
Obviously I’ve never run a label, I’ve only seen how things work from the outside. That being said for the purposes of this article I’m going to put myself at the head of my own fictional record label and go over how I’d tackle this situation.
First, I’d make sure my artist roster is small. Just because the majors have less money doesn’t mean the indies have more. This is why indie labels can’t go dividing their funds up among numerous artists. If they want their artists to actually compete with the artists on the majors they need to try to both fund and work them as similarly as possible. Rather than giving everyone a small budget, I’d find the two to three artists I felt had the best chance to make the biggest impact and put all my time and effort into them. History has shown that once a label has a flagship artist, an artist the blows up in the mainstream, they will have a loyal fan base for a number of years. Just look at how Def Jam and Rawkus started as examples. A few artists blew up and their imprint became known as a symbol of great Hip-Hop for years to come (even when they were in the process of falling off).
Once I’d chosen the select few artists I wanted to work with I’d really work their albums. One thing I’ve noticed with the majority of indie releases is that the labels feel that putting out the album and sending one single out to college radio is all the promo they need. While this may generate enough sales to cover expenses and possibly even turn a minor profit (does anyone know if it actually does? If so, please leave a comment), it doesn’t work to create a long lasting awareness of the artist or the label. It creates more of a passing awareness. You’ll get your artist known for a month or two but then DJs and listeners will move on to whatever is sent their way next. This is how I see indie labels doing things now. They send out a single for one artist, get awareness for them for a month or two, then send out a single for the next artist on their roster. Why not send out a second and a third single for that first artist? Is his or her product not still on the shelves? Doesn’t he or she have more good songs on their album people should hear? Can’t you generate a lot more in profit this way rather than enduring the costs of having another artist record an album and having to put that entire package together?
A number of artists have proven that sometimes it takes more than one single to generate the buzz necessary to make an album a hit. Even Usher had to release a number of singles before getting the buzz he needed for the release of Confessions in 2004. By releasing a number of singles a constant awareness of the artist is created, which is something that should lead to more album sales (and concert ticket sales). By investing the money you were going to spend on another artist’s studio time to instead release another single or two and continue the promo push for your flagship artist you’re not only potentially reaping an equal, if not bigger, reward sales-wise, you’re making your flagship artist bigger and more well known, which in turn makes the label bigger and more well known, which should generate more interest in all your future releases.
I know, there’s an old adage about not putting all your eggs in one basket, and for the most part it’s a really good rule to go by. In these times, however, if an indie label wants to make the push to take it to the next level they may have to take this substantial risk to do so. The fact of the matter is all the indies out there need to realize right now is one of the few times in history that all the Little Mac’s out there have a legitimate shot to beat the Mike Tyson’s of the industry and if they don’t take advantage of it they might not see another opportunity like this ever again.
You wanted more of the best the underground has to offer and once again I am doing all I can to provide it for you with another hot episode of The Adam B Experience. This week I have new songs from some of your favorites, including Homeboy Sandman, 8th W1 and Loj, and I’m debuting a brand new artist by the name of Señor Kaos, who I really think you’re gonna dig.
You can download or stream the entire show at RapReviews.com.
Playlist
Homeboy Sandman - GGGRRRAA!! Troublemakers - No Room For Growth Skila w/ Creature & Gab Gacha - No Rest For The Wicked Loj w/ Helixx C. Armageddon - 365 Señor Kaos - Cut The Check 8th W1 - Poser PJ Morton - Mary (Live) Vinnie Scullo - Blood and Chocolate Milk Jake Lefco - Teeth Chatter brokeMC - Every Damn Day People Creature - Reckless Eyeballin Core Rhythm - Ronin Big Stat - I Gave You Everything
Jupiter Rising has been on the scene in some way, shape, or form, since 2006, but don’t feel too bad if you don’t instantly recognize them, founder Spencer Nezey has gone through a number of lineup changes with the group. Enter singer Jessie Payo. Suddenly Jupiter Rising’s lineup is rock solid. The California duo, he from Sacramento and she from Los Angeles, immediately saw the potential in their teaming and started recording together. The resulting sound they’ve created is a mix of pop, Hip-Hop, rock, downtempo, drum n bass and funk. In other words, it’s some really fun, danceable, music most anyone can get down to. With Jupiter Rising’s upcoming album, The Quiet Hype, which happens to be Nezey’s first with Payo, due out in March I caught up with both of them to find out more about their coming together, what makes their teaming work, and the inspiration behind their extensive genre-mixing.
Adam Bernard: Jupiter Rising has gone through a few members over the years. Is this a Menudo situation? What’s going on? Spencer Nezey: {laughs} It would seem that way, but no, it just took a little time until the project had the right people. Now that it’s Jess and I, I think we're good to go!
Adam Bernard: How did you meet Jessie and when did you know you had to work with her? Spencer Nezey: I meet Jess around 2006 through some mutual friends. She originally was a backup singer, but she always seemed to shine brighter then the lead singer, so when the time was right and Jupiter Rising needed a new lead singer she was the prefect fit.
Adam Bernard: Jessie, what was your initial reaction when Spencer approached you about being a part of Jupiter Rising? Jessie Payo: I saw it as a great opportunity and I was very excited. I had to fight my way in, though. Spencer believed in me, but I had to prove it. I auditioned up against over a hundred girls. Needless to say it all worked out.
Adam Bernard: Spencer noted you were a backup singer. Other than your time doing that, were you in any groups before this one? Jessie Payo: I was in a blues band in my teens with my dad called Jessie and the Raindogs and I started up my own band a couple years ago called the Jessie Payo Band.
Adam Bernard: What makes this Jupiter Rising teaming work? Spencer Nezey: What makes our teaming work is constant communication on all levels. We’re pretty alike as far what our goals are and that’s what makes a great partnership. Jessie Payo: And we have a system down in which we work. He’ll give me a few tracks that he’s produced and I’ll take the ones that I feel like I can write to. Once a song’s written, I’ll sing him the song. Once we’ve come together with the song, we’ll tighten it up together. We both come from different musical backgrounds so I think we compliment each other in the process of songwriting.
Adam Bernard: I’m glad you mentioned coming from different background because you describe your music using just about ever genre in the book. What influenced you to be so far ranging? Jessie Payo: I don’t think we pull from all genres on purpose. Spence and I listen to all kinds of music and I think it just permeates into the productions and songwriting. We’ve always got our ear out for new music and it inspires us. We make music that we feel good about no matter what genre of music it is. Spencer Nezey: Yeah, we grew up listening to so many different genres of music, so it’s only natural that we create music from every direction. Plus it’s a lot more fun to have lots of variety!
Adam Bernard: Why do you feel the crossing of genres is important? What can be gained by doing it? Jessie Payo: I think that in crossing genres the right way we can reach a wide variety of people. The more people support our music, the more we get the opportunity to keep on making it. Spencer Nezey: Crossing genres definitely allows us to create a larger fan base. Especially now, people listen so many different genres of music, so it’s very important to have a universal sound.
Adam Bernard: What do you hope people get out of your work? Jessie Payo: I want people to dance. I want them to create memories with it. I want people to relate a song to a personal experience in their lives. I just hope that The Quiet Hype inspires. Spencer Nezey: I hope people get inspired to create and that it gives people a sense of knowing that everyone goes through the same stuff, that you’re not alone. I think this album has a song for everyone.
B-Listers are a select group of artists that were featured in my Artist Of The Week series that ran every Monday from April of '06 to April of '11. All of these artists have two things in common; extreme talent, and a flight path far too under the radar for my liking. They took on the title of B-Listers as they embraced being featured by me, Adam B. Check out the AOTW Archives for all the interviews.
