Fantasia | Back To Me

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“I’m the American idol because my lips are big but, my talent is bigger.” I still remember laughing out loud when Fantasia Barrino said those words during American idol season three. Laughing is the last thing I was doing when she sang Summertime. Laughing is the last thing she was doing when she was crowned the American Idol.

When American idol introduced the crowned queen to the world, they unleashed more than just great singer. We were all served with a reminder; to some maybe a new lesson – ‘No matter what you go through or have to endure, never to give up on your dreams.’ Six years later, the lesson still sits on my platter, only with new sides to support it. From a rollercoaster of family drama, threats of foreclosure, to an attempted suicide. Despite all these, Fantasia is still standing, still gifted and has a new album Back To Me which as of September 1^st debuted at No. 1 on the Billboard R&B Album charts.

Back To Me includes writing and producing contribution from artists such as Ne-yo, Claude Kelly (who has written songs for several artists including Chrisette Michele, Toni Braxton and Christina Aguilera) and Rico Love.

The album begins with the song The Worst Part is Over whose lyrics brought up a multitude of questions in my mind.

See I’ve been to a place called hell on earth/When your body’s the same but your heart really burns/That kind of pain is more like a curse/yeah yeah/I was down on the ground and the tears wouldn’t come/I can not make a sound and my voice would budge…

Was the song always slated to be the first song in the album or was it bumped up after surviving the suicide attempt two weeks prior to the album release? Either way, the song is ideal and one of my favorites.

Another of my favorites is Collard Greens & Cornbread. The ballad is as soulful as its title and suits Fantasia’s voice perfectly. They say the way to a man’s heart is through his stomach. Therefore, Sunday night soul food dinners with this song playing in the background will bring a whole lot of loving table – at least before football season begins.

Who could forget Fantasia’s performance of the song Even Angels on Oprah. Unfortunately, the recorded version does not sound as great as her performance during the show. Bittersweet, the first single of the album was released in May and continues to top the charts and get airtime in radios nationwide.

Fantasia is neither done living nor singing. I believe for one to celebrate victory, you must endure some battle. The battles she has overcome I’m sure will not be her last. Hopefully looking back at where she has come from and the gift of her voice will give her strength to go on. She had my vote six years ago on idol and still has my vote through the new album. Keep doing you Tasia.

Susan Mutharia
The Urban Music Scene

Kem | Intimacy (Album III)

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Chemistry - The study of matter and energy and the interactions between them. If I understood that definition during my high school years, life would have been a whole lot easier. It took the release of Kemistry in 2002 to grasp concept. With songs such as Love Calls, Say and, I’m Missin’ Your Love, Kem taught me and lots of other fans a few lessons we may have forgotten.

Intimacy - “…the moment you realize you are not alone is your finest hour, when you can finally allow yourself to be seen as you truly are,” defines Kem. Intimacy – the title of Kem’s third album released on August 17^th under Universal Motown Records. Intimacy, my definition, a smooth album that defines every meaning of the title with sophistication powered with the sultry voice Kem.

In his third album, Kem has stayed faithful to the soul / jazz composition. As the title suggests, the songs are sensual and seductive with tracks such as Human Touch, Can You Feel It and When I’m Loving You. Just like many albums, there are some songs that just stand out in an album. Share My Life is one that stands out and of course Why Would You Stay, the first single from the album. The song explores a vulnerable side trying to get back his woman, “I’ll never hurt you again/ I know you deserve a better man/ I was a fool to ever let you down/ so Why Would you stay?”

There are also two great collaborations in this album. In the first, Kem is joined by Maurissa Rose to perform If Its Love. In the second, the power voice herself Jill Scott renders her talent in the jazzy track Golden Days.

With summer weddings coming to a close and winter quickly approaching, this album is the perfect sizzle required to simmer things up this winter. It’s an album that will never grow old.

Susan Mutharia
The Urban Music Scene

Calvin Richardson – America’s Most Wanted

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First and foremost, I must ask how can Calvin Richardson top himself after his stunning Bobby Womack tribute project from 2009?   Being the so-called Soul Prince, the task should not be too difficult.  And who would complain when one’s current back-up band turns out to be The Revelations coming oh-so-fresh off their 2009 contributions, Deep Soul and The Bleeding Edge,that was a meeting of blistering southern soul recalling Stax, Hi and Malaco Records and streetwise sensibility.  Long before he found his solo platform, Richardson grew up with K-Ci & JoJo, the vocal powers behind Jodeci, whom he joined on the gospel circuit in his birth state of North Carolina.  But that aside, he has served up that extra saucy soulful grit since he bowed on the music scene with appropriately titledCountry Boy over a decade ago.  Despite the Womack cover “I Wish He Didn’t Trust Me So Much” on this 1999 release,the initial public expectations fell quite short as Uptown (the home label of Jodeci) never gave him a chance to shine a second time.  In the meantime, Richardson was keeping his chops fresh in a duet with Angie Stone, “More Than A Woman” from her 2001 Mahogany Stone project. 

Richardson released 2:35 in2003 with a new label - Hollywood Records, bigger sales and more assured vocal confidence.  This time out, several singles were represented, including “Keep on Pushin’ and “Not Like This.”   After hearing those riveting ballads, no one could really accuse Richardson of riding the coattails of the crop of R&B studs like Usher and Ne-Yo.  This was because of his uncanny ability to bridge classic soul lines with tailor-made hip modern arrangements.  Yet despite the positives that seemed to be in his favor, there was another long wait in store before Richardson headed back to the studio. 

Five more years past and another switch of record companies presented the 2008 release: When Love Comes;another turning point for Richardson who continued to crank up his songwriting and vocal game, especially on the sensual track, “Fire In The Attic,” with nods to Dizzy (Gillespie) and Santana; and the doo-wop peppered, “Sang No More.”  Though there were no singles culled from Richardson’s next disc: Facts of Life: The Soul of Bobby Womack, his laid back yet expressive voice naturally flowed with a southern soul charm and pulled most of the tracks off, including “Harry Hippie”and “Love Has Finally Come At Last” (a duet with Ann Nesby) without resorting to all-out mimicking the sixties and seventies soul legend,considering his tone has close similarities.   Richardson received further props the following year for his composition co-penned with Babyface, Darryl Simmons and others, “There Goes My Baby,” a monster Charlie Wilson hit from his Uncle Charlie disc in 2009.  Interestingly enough, Richardson’s version from 2004 that was never released on an album was remixed in a Lovers Rock style on Billion Riddim, a 2008 compilation which was the brainchild of reggae/hip-hop producers, The London Individuals.  

One year removed from Facts of Life, Richardson returns with America’s Most Wanted,co-produced by The Revelations producer Robert Perry; this time leaning completely on original material.  The title track some get the steppers bee-lining towards the dance floor.  The catchy mid tempo grooves for the adult contemporary R&B fan base,"Feels Like We Sexin', is sweetly layered with perculating percussion.  Since Richardson thrives on taking it nice and slow on a regular basis, there are plenty of tracks to choose from.  “Never Do You Wrong” is one example with its rich string orchestration, gentle guitar strums and juicy harmonies. The debut single and a justified pick, “You’re So Amazing,” finds Richardson at his lyrical genius: “I have been to the river, swam up a stream, Stood on the mountain top, I swear it leans, Like Martin Luther King said, girl, I had a dream, but I never stopped loving you.”  But where his voice absolutely sours and reaches his prime emotional niche is on the other highly recommended cut, “Come Over.”  

Granted Richardson is a breath of fresh air in a contemporary urban world where pure skills sometimes is few and auto tune perfection rules the roost. However, there are occasional issues on America’s Most Wanted,which can not be blamed on creative and business heads butting with each other as this disc is the third release on Richardson’s moniker, NuMo via Shanachie Entertainment.   Two examples are “You Possess My Body,” where the monotony level between the rhythm and melody can get on one’s nerve and the connection with duet partner Nadia during “Reach Out” never fully registers.   Even though America’s Most Wanted is a couple of steps down from Facts of Life,despite its killer backing band – The Revelations - it does not necessarily indicate Richardson has lost its southern soul touch. 

Peggy Oliver 
The Urban Music Scene

Vashawn Mitchell – Triumphant 

Many luminaries in the gospel industry have looked up to Vashawn Mitchell for impeccable gospel melodies since the late nineties.  And he has plenty of gospel history in his corner.   After his tenure with the St Mark Baptist Church music department under the tutelage of Bishop Lonnie Hunter, he worked his way up the ladder to the Senior Minister of Music position at Sweet Spirit Church.  Both congregations are located in Chicago, certainly one of the most influential urban music Meccas in the U.S.   While at Sweet Spirit, Mitchell was blossoming as a nationally known songwriter for notables like Vanessa Bell (Armstrong), Fred Hammond and Ernest Pugh.   His contributions with Bishop Larry Trotter and Sweet Holy Spirit with “It’s Only A Test,” “My Worship is For Real,”et. al. has enriched the traditional Chicago gospel sound.   Even though he built his reputation as an arranger (check out the classic hymn “All Hail the Power” from Believe In Your Dreams)songwriter (“Don’t Last,” “Where The Praises Are”) and producer, the Chicago native can hold his own in front of the microphone and exhorting others into the full worship zone.   Understandably, Mitchell, who faced some difficult times during his youth, feels totally at ease ministering for God; especially when it comes to encouraging those to understand God’s purpose for their lives.  He bowed as a recording artist in 1998 with So Satisfied alongside The New Image Chorale for the independent company Manatee Records. Yet Mitchell was willing to sacrifice his solo career for a season to further the cause of ministering to the Sweet Spirit church family.  

When Mitchell was ready to break from Bishop Trotter and Sweet Spirit, his solo career was back on track.  He financed his second solo project in2005 - Believe in Your Dreams, which was eventually picked up by Tyscot Records; then followed it two years later with Promises. But the biggest change of all was a change of address with a new church ministry role as Minister of Worship & Arts at New Birth South in the greater Atlanta area.  This move was probably the biggest sacrifice ever considering Mitchell cultivated his ministry and recording career within the Chicago gospel environment.  More recently, there was a switch of record labels in which he parted ways from Tyscot to join the EMI Gospel family. 

His new label debut, Triumphant,shifts the musical focus from the soulful Chicago gospel traditions to an urban pop attitude, but this minimizes Mitchell’s praise and worship dynamics.  He continues to gather excellent support from his choir,musicians and his longtime associates co-producers Daniel Weatherspoon and Rick Robinson.  Triumphant’s setting is the Higher Living Christian Church (Mitchell’s new church home in Hampton, GA.). The majestic opener complete with intense marching snares, “Conqueror,” sets the tone; dropping scripture verses about living victoriously such as “You are the head and not the tail.”(Deuteronomy 28:13). Mitchell’s creamy tenor takes “Nobody Greater” (the first single off Triumphant) on a captivating worship ride from a calm but confident manner to a joyful noise from both the choir; sandwiched in by well-placed adlibs from Tasha Cobbs. “Chasing After You” was first recorded by Bishop Paul S. Morton and The Full Gospel Baptist Fellowship Mass Choir in 2008 on their Cry Your Last Tear project.  In a wise move, the version on Triumphant rarely differs from FGBCF Mass, and features a fervent exchange between Mitchell and Tajuanese Robertson.  The title track brings a little bitof funky R&B punctuation especially the popping bass and the stopping points, but maintains the praise level with high integrity. The backing choir is stellar in their vocal tone and presentation throughout Triumphant; one example being “You Reign.”  Between the proclamation of “You reign, Jesus” and the plaintive worship vamps, this track substantiates the quality of talent Mitchell surrounds himself with.    For the “what really rocked my spirit” award, the honors go to “His Blood Still Works,” which detours back to Mitchell’s Chicago gospel roots.  It just seems every time the track’s soloist Lisa Page-Brooks grabs the microphone, the church service heads to a higher plain.

Mitchell may not quite have the vocal embellishments at his disposal.  Yet how he structures each track without going into overindulgence is what makes Triumphant one of the best praise and worship discs of 2010.  And when all is said and done, no matter where he lives or what musical style he tackles, I am sure more gospel artists will want to tap into Mitchell’s special talents.

Jackiem Joyner | Self-Titled Album

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I have often wondered why many artist’ first album is self titled. Is it because they are formally introducing themselves to the world? Is it an industry standard or is it an attempt to strip down the layers that define who they are?

Jackiem Joyner did not conform to the norm. His first album was titled Baby Soul, his second album Lil’ Man Soul and now his third and new album is self-titled Jackiem Joyner.  Explaining the title, Jackiem stated, “My first two albums were titled after my nicknames, but now it’s just me  -front and center - for the entire world to see, which is why I decided to go with a self-titled album.”

I see it as the divine and appointed time for him to release a self-titled album because an unexpected event recently happened in his life. Jackiem reunited with his father and two older sisters whom he had not seen for twenty-four years. The sentiments of connecting with the missing chips in the puzzle of his life can be felt through the album beginning with the first song The Reunion.

The Reunion has an upbeat tempo and is a true reflection of what Jackiem has described as the happiest time of his life. The mood flows into the song Back Together Again and once again without words, the artist draws us into the warmth of his nest.

One thing I am always looking forward to in Jackiem’s album is to hear his rendition and arrangement of great songs that we know. I am still battling with my top pick in this album. Perhaps you can help me decide when you listen. Is it his recording of Michael Jackson’s Off The Wall, the smooth sax in the Aerosmith’s ballad I Don’t Want To Miss a Thing or is it If This Isn’t Love?

All ten tracks in this album are great. While each track triggers a different mood and emotion, they all tie us back to the 'soul man' - Jackiem Joyner.

Susan Mutharia
The Urban Music Scene

Alexander O'Neal | 5 Questions The New Journey

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He’s back Alexander O’Neal is back in a better way, His new project, “5 Questions The New Journey” is nothing short of all his others cd’s. Alex has been releasing music in Europe the last few years to very good success, but still not in the U.S. like the good ole days.

My House - starts the cd off and if listen carefully Alex is keeping that signature Minneapolis sound and mixing it with a lite James Brown vocal style. The groove is strong and tight, and will, get you dancing quickly. This is the type of groove that you can’t dismiss cause it will have you hitting the repeat button.

I’m Back - The Minneapolis sound is more prominent on this song. Jimmy Jam and Terry Lewis was a influence on this song and it reminds me of 'Criticize', as such as the James Brown style vocal. And for those who can’t spell Alex, well he spells his name for you. But that’s ok - he spell’s it in a funky way.

Minnesota Shuffle - For all you steppers out there this is for you. It should also target the fans that like Mel Waiters and R. Kelly alike. It’s a nice mid-tempo groove.

I found true love, I can’t wait, first time - are mid- tempo slow grooves, with Alex’s signature vocal style for that classic sound, like his other classic song “if you were here tonight” and others slow songs.

You make me smile - is a jazz flavored slow groove, more like a smokey jazz club type of vibe, with a serious horn section that makes this song really stand out.

Love don’t love nobody -Well Alex is having one of his break-up arguments at the beginning of this song which is really a staple on some of the tracks. Same kind of intro, to get you ready for the song. This time he’s telling her that it’s not going to work. And he breaks it down, letting her know the deal is.

It’s your night tonight, 5 questions - are uptempo songs and the latter more on the rock and roll sides of things, but still danceable.

Love won’t let me wait - A classic Major Harris slow jam to be re-christened by Alex in his own special way. Alex breaks it down and takes command of this song and doesn’t overdo the production.

Alex is back in a big way and this cd will stand-up to his other albums, which is good cause Alex takes his time in the recording process, to deliver a quality product for his fans. They should not be disappointed with this cd. Alex voice sounds better now than ever before. He hasn’t lost any of the clarity that we have grown to love.

You can find this cd at www.dustygroove.com

Marv D

The Urban Music Scene

With three decades as one of urban praise and worship’s innovators and as a groundbreaking gospel artist, Fred Hammond has been there, done that,and so lots more in between.  From his partnership with The Winans, as the main driving force of Commissioned, to his early solo work with Radical for Christ (RFC), and now balancing a plate as singer/songwriter/producer et.al, Hammond simply knows what his audience wants -   to be drawn into the pure presence of God.  His approach has rarely changed through the years.  And that is quite alright with those who especially love to praise with an old-sound funky R&B base and love to worship with a soft soulful sensibility.   Being a versatile musician in his own right,Hammond was more than capable to add Latin elements, hip-hop, smooth jazz and acoustic rock when needed. 

When he put on his businessman hat, Hammond introduced other like-minded praise and worshippers that share the same honest passion for Christ.  For instance, In Case You Missed It…And Then Some released on F Hammond Music in 2001 was an opportunity to step back to hear soloists from RFC such as JoAnn Rosario and the family group The Singletons; just a few gifted voices who are part of the extended Hammond family.   In a similar vein to In Case You Missed It, Hammond once again steps into the background except on two tracks on Life In The Word to present another generation of worshippers.  

Like the title indicates, the project is entirely dedicated to scriptural devotional songs and scriptural verses in a quieter, sometimes acoustic setting.  Even though the musical tone on Life In The Word strays from Hammond’s trademark funky gospel jams in most cases, there is a still mighty spirit encompassing most of the tracks.   One of the few upbeat pieces, “You Do Great Things,” jumps starts Life In The Word with Faith Anderson (Kirk Franklin, Juanita Bynum) in the lead role. Lowell Pye, who is in high demand these days, reminds me in some ways of Hammond’s colorful vocal personality.  Pye's contribution on “Walking In Victory” knocks the praiser’s socks off.   Other voices to keep your ears open for are Michael Bethany (Israel & New Breed, Dawkins & Dawkins) who injects a sweet jazzy soul to “Need My Time With You” and Tilunda Larson (Kim Burrell, Donald Lawrence) whose commanding vocal presence throughout “All My Help” sends shivers down anyone’s spine.  Then there is Hammond’s turn on “Dwelling Place” as his lead and background voices are strictly locked into his purpose of worship.  

As a whole with the exception of the just OK title track, Life In The Word,which introduces the Fred Hammond Family Entertainment label, is a nice treat for those who want to hear solid contemporary gospel music.  And no matter what side of the glass Hammond sits, urban praise and worship will continue to be guided in a positive direction.

Peggy Oliver 
The Urban Music Scene

Kirk Whalum | Everything Is Everything

Listen to song samples from "Everything Is Everything", exclusively from Amazon, on our Jazz page by clicking here!!

Kirk Whalum is an eight-time Grammy nominee who has brought us great albums such as the Gospel According to Jazz and the BabyFace Songbook. The year 2010 has been a busy year for the artist. On March 16^th, Whalum released the third chapter of the Gospel According to Jazz trilogy. In April 2010, a new role was appointed in his life, the President and CEO of the Stax Museum of American Soul Music. Whalum who is a native of Memphis, TN had served as the Stax Music Academy Artist in Residence since 2006. Now on August 28^th, the artist will be releasing a new album Everything is Everything the music of Donny Hathaway.

The album begins with the song Giving Up followed by Someday We’ll All Be Free, a song that has been covered by many R&B artists including Alicia Keys, Deniece Williams and George Benson. Many artists have rendered their voice and talent in this album.  Musiq Soulchild who has had 11 Grammy nominations brings his soulful voice in the song We’re Still Friends while Rick Braun, another notable trumpet player joins Whalum in the song Love, Love, Love. The song Valdez In The Country is simply amazing with Whalum and Jeff Golub creatively using their weapon of choice – Whalum a trumpet, Golub a guitar.

A Donny Hathaway tribute would not be complete without one of the greatest A Song For You another song that has been covered by many artists. However the most chilling song in this album is You Had To Know featuring Lalah Hathaway, the daughter of Donny Hathaway.  The song was not performed, but written by Donny Hathaway for a female vocalist. I can only imagine the emotion she felt because while this album is a tribute to an icon, in her eyes, it’s a memory of her daddy whose life was quickly cut short from her life.

The 11-track album concludes with Voices Inside (Everything Is Everything). Surely everything is everything, what was meant to be will be. If I could find one word to describe the album, it would be nostalgic. A great tribute album will do that, make you wish you could go back to the time you first heard the original artist sing each song. My hat goes off to Kirk Whalum. Donny Hathaway would be proud. 

Susan Mutharia
The Urban Music Scene

Aysha – Stay With Me

(Advance review - EP to be released Aug. 24th, 2010)

As the music industry is synching more with the digital age, many promising musicians are packaging their musical wares on Myspace, Facebook and whatever cost effective methods they can take advantage of.  While pursuing a solo career, Aysha took full advantage of those avenues while investing time to become a savvy businesswoman and well-rounded artist.   Her constantly active personality absolutely fits her namesake (Aysha is African for life).  Though she did not have the luxury of growing up in a musical family, she found a way to breakthrough to the professional rankings.   Her humble beginnings began with the cover band Destination, which had a faithful local following in her hometown of Santa Barbara, California.  Then she joined the self-contained vocal quintet Girls In The Mix, who had in hand in writing all their material and choreographing their stage shows.  One of their career highlights was opening for several well-known urban hitmakers including Roger Troutman & Zapp.  Yet the talent scouts that scoped GITM’s shows noticed something specifically special in Aysha.  

Ina very eventful decade for Aysha between 1999 & 2009, it was shear determination and her regular gigs throughout the greater Los Angeles area that garnered her a nomination for Jazz Artist of the Year at the 2009 Los Angeles Music Awards.  And there were plenty of learning curves on the long solo road; developing a thick through bad business lessons learned, researching on the internet whom she would collaborate with and probing musicians on how to effectively produce her own music.  After learning all the aspects of recording herself, Aysha released her debut Love Is a Rock in 2006.  Several tracks – “Honey,” “Is This Just a Dream” and the Atlantic Starr 1991 R&B top twenty-five hit, “Send For Me” - were spotlighted on adult urban contemporary internet radio.  Several independent music magazines and non-internet radio outlets also zeroed in on this sultry R&B/jazz singer/songwriter, who has drawn comparisons to Chante Moore, Toni Braxton and Sade (whom Aysha considers her biggest influence).  Representing the true independent music star,Aysha still balances a ‘day’ job while perfecting her music and business tools.  As the CEO of KLW Records, which released her 2006 debut and her new EP - Stay With Me, she now mentors future independent artists to equip themselves in knowing the ropes of the business they call show.   

On Stay With Me, Aysha once again shapes her soothing alto voice into familiar old-school adult urban contemporary territory with songs about mature love.  The disc is all too short at five tracks plus three radio edits. Both guest saxophonists - contemporary jazz giants Everette Harp and Gerald Albright - pull more than their weight; Harp lending soft soulfulfinesse on the title track and Albright tearing it up every which way on the Latin-spiced, “Dreamin.’  “Keep on Loving Me” might as well be a tribute to Sade with its ethereal tones and jazzy harmonies.  A reprise from Love Is a Rock, the smooth groove driven “Is This Just a Dream,” is vocally hypnotizing from the get go.  Only “I Remember Your Love” lacks the musical luster of Stay With Me’s other four tracks. 

While Stay With Me does not stretch beyond a typical R&B/jazz project, Aysha’s sharp vocal phrasing and the supporting musicians serve up a pleasurable listening experience. Like Love Is a Rock, several like-minded adult urban radio stations are embracing Stay With Me for justified reason.  And despite the economic hard times that frustrate the music industry in several areas, even four years between releases for gifted talents such as Aysha, who is full of musical life in everything she sings, is still too long a waiting period. 
 

As part of the retro soul mass invasion during the past decade including Sharon Jones & the Dap Kings, James Hunter and several artists from the Soul Unsigned compilations the man called ‘Paperboy’ can now be added to that list.  Eli Reid was blessed with the opportunity to study and embrace artists like Ray Charles and Tyrone Davis - two of the singer/songwriter’s many musical heroes.  Reed’s initiation to soul music was a Charles box set from his father.  But before receiving the treasured gift that etched his professional future, Reid listened to anything at his immediate disposal from rock and roll (Chuck Berry) to country (Marty Stuart).   Reid showed a lot of promise as a performer by the time he reached high school, but his overall skills were met with mixed results.  While wowing the audiences with his expressive voice,his musicianship as a guitarist and saxophonist was not quite on par with his fellow peers.  

After graduating from high school, Reid took a DJ gig at a blues station in Clarksdale, Mississippi (the place where the ‘Paperboy’ nickname was birthed because of an old newsboy hat worn by Reid from his grandfather).  His curiosity and adoration of the blues grew while playing in various clubs throughout Mississippi, the true school of hard knocks for the young, inexperienced vocalist.  Through much rejection by musicians and the audiences, he learned his craft the hard way.   Yet those brutal experiences never dampened the fire and desire for his affection of classic urban music.  His next stop was a blues and music hotbed period – the windy city.  While enrolled at the University of Chicago, Reid hosted a highly regarded Southern soul radio program.  Living in a city loaded with history from jazz to house music, he naturally invested more time scavenging around record stores in adding to his record collection.    

From the familiar:Otis (Redding) and O.V. Wright; to the obscure: Boston soul singer Frank Lynch (who passed get rest) and Chess Records’ Mitty Collier, (the latter whom he befriended and played with during church services in Chicago), Reid increased his understanding of classic urban history. After further education of playing throughout Mississippi and Chicago and studying their musical culture in a less than two-year intensive journey, Reid returned to his birthplace of Boston to form his current back-up group, The True Loves.  Their first release - Sings Walkin’ & Talkin’ & Other Smash Hits! was recorded in one day and in mono; an anomaly in the modern high-tech recording era.  The follow-up, Roll With It on Boston independent label Q-Division, had more sophisticated production yet still kept the integrity of that fiery classic blues and soul flavor that leans on precision horn sections and moving vocals.      

With two successful and regionally hyped projects behind them, current New York resident Reid and The True Loves now join the major label ranks.  Their Capitol Records debut, Come & Get It,continues celebrating the spirit of sixties and seventies urban stylists through mostly original material and Reed’s widespread inspiration from his record collection.  In a daring move, he sought producer Mike Elizondo - more recognized as a hip-hop and pop producer -who sprinkles his subtle touches into Reed’s retro soul mix.  This choice of producer could have caused an over slicked mess, but Elizondo’s musicality is perfectly suited to Reed’s effervescent, roots soul style and deep respect for infectious pop melodies.  

Come & Get It begins with the only cover tune, “Young Girl,” recalling the R&B/pop smash hit “Can I Change My Mind” by Tyrone Davis, and is dedicated to Lynch, the songs’ original performer.  “Name Calling” soaked in the post-Motown era of songwriters Holland, Dozier & Holland, delivers deliciously soulful vocals while revealing Reed’s wittier side:  “You went from name calling to calling my name.”  Reid covers the wide scope of emotions on “Just Like Me” – growls, falsetto and the vocal slides in between.  “Pick a Number” takes it back to Philly with lush strings and funky drum riffs that climax the final chorus.   For a slight change of pace, “You Can Run On” marries Carl Perkins type rockabilly, the country/rock of Creedence Clearwater Revival and a foot-stomping gospel quartet.  To close Come & Get It down, “Explosion” breezes along like an accelerated James Brown funk breakdown.  

With his short body of work, including Come & Get It,there is no doubt Reid affectionately shares his passion for the music he has pursued and grown up.  And to some degree, the well-studied Reid has another step on some of his contemporaries in the retro soul movement.

Tracks: 

Young Girl 

Name Calling 

Help Me 

Just Like Me 

Come and Get It 

Pick a Number 

I Found You Out 

Tell Me What I Wanna Hear 

Time Will Tell  

You Can Run On   

Pick Your Battles   

Explosion  
 

Peggy Oliver 
The Urban Music Scene