After arriving in New York, Hyman began what would be a longterm and fruitful partnership with music producer Norman Connors. Connors, who became familiar with Hyman via her popular nightclub act, was introduced to her by fellow musician Richard Clay. It was this meeting, that resulted in her recording a cover of the classic Stylistics song “Betcha By Golly Wow”, a version that I personally believe is superior to the original. After featuring on Connors’ album in 1976, Hyman attained radio success with frequent duet partner Michael Henderson on the song “We Both Need Each Other”, peaking at number 23 on Billboard’s Black Singles chart. Following the success of the single, Hyman signed to legendary independent label, Buddha Records, and released her self-titled debut album the following year.

Following the acquisition of Buddha Records by Arista in 1978, Hyman’s talents were now under the tutelage of music industry legend, Clive Davis. Davis, who’d already been an integral part of the careers of singers Janis Joplin, Bette Midler, and bands Earth Wind and Fire, and Aerosmith, intended for Hyman to become a pop crossover success. After enlisting Barry Manilow to pen her next studio effort, Hyman released her third album, Somewhere in My Lifetime, in 1979. Though the album was a gorgeous mix of mid tempo songs and ballads, the record failed to resonate with pop audiences. Hyman’s follow-up album, You Know How to Love Me, found Hyman paired with R&B producers James Mtume and Reggie Lucas. The lead single of the same name, peaked at number 12 on the Black Singles Chart, and is considered one of the great disco tracks of the late 1970’s. The album itself sold 400,000 copies, which was the most Hyman had sold at that point, but still disappointed the label heads at Arista.

The 1980s saw Hyman expand her talents into other forums of the entertainment world, culminating in her star-making turn in the Broadway revival of Duke Ellington’s Sophisticated Ladies, alongside Gregory Hines from 1981 to 1983. For her work in Sophisticated Ladies, Hyman was nominated for a Tony Award for Best Newcomer, and garnered a new audience of fans that were captivated by Hyman’s dynamic voice and stunning beauty. Simultaneously, Hyman found herself with a top 10 R&B hit with the song “Can’t We Fall in Love Again”, with Michael Henderson. In the time that Hyman spent doing Broadway, Davis’ attentions were shifted to developing Arista newcomer Whitney Houston, and after a fractious seven years, Arista chose to drop Hyman from the label in 1985.

https://www.youtube.com/watch?v=UivPgMzzn6E

Throughout the latter part of the 1980s to the early 1990s, Hyman divorced husband and longtime manager Larry Alexander, and like so many others of her time, struggled with a dependency on cocaine, and alcohol. Diagnosed with Bipolar II disorder, Hyman would begin a cycle of stints in rehab, followed by periods of sobriety and relapse that would plague her for the rest of her life. It was also during this time, that Hyman produced some of the most emotive and personal work of her career. After signing with Philadelphia International Records in 1986, Hyman released Living All Alone the same year, the title track in which, became one of her best known songs. “Living All Alone” became a staple in her live performances, which frequently featured Hyman’s ability to whistle the entirety of the song’s musical break. 1991’s Prime of My Life was Hyman’s first studio album in five years, and featured Hyman’s sole pop hit, “Don’t Wanna Change the World”, which peaked at number one on the R&B charts, and 68 on the Hot 100. The album itself went gold, and was the final album to be released during Hyman’s lifetime. Throughout 1992 to 1994, Hyman was deeply enveloped in drug abuse after the deaths of both of her parents, and being ravaged by the psychological effects of Bipolar II. In spite of her troubles, Hyman went on to craft her final album of new material, the hauntingly titled, I Refuse to Be Lonely in early 1995.

On June 30, 1995, after failing to arrive at a sound check for a show she was scheduled to perform at the Apollo Theater, Phyllis Hyman was found dead in her apartment; the victim of an apparent suicide, aged 45. After experiencing several delays that reportedly had a negative impact on Hyman’s mental health in her final months, I Refuse to Be Lonely was posthumously released in November of 1995. Like many of the singles throughout her career, it was the title track that proved to be a standout on the album, and tragically, turned out to be the swan song of her career. Though the life and career of Phyllis Hyman experienced both triumph and tragedy, what should be remembered most is her enigmatic and witty stage persona, majestic voice, and captivating beauty, along with an expansive musical catalog of soul touching work. If you’ve never been familiar with her, I highly encourage you to check out her greatest hits collection down below.

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With a career spanning 6 decades, Womack first started making moves in the music world in the 60s as a member of The Valentinos, the group he founded with his siblings and that was discovered by Sam Cooke. It was during this period that he started building his reputation as a writer, penning with his brothers the first UK #1 hit for The Rolling Stones in 1964, “It’s All Over Now,” a song that was originally intended for his group to record and release. After Sam Cooke’s death stalled the group’s career, Womack continued to work as a musician and writer contributing to some of the most revered musical work of the 60s: he played guitar on several songs from Aretha Franklin’s iconic Lady Soul album, he wrote songs for Wilson Pickett and played and composed for Rock artists such as Sly and the Family Stone and Janis Joplin.

In the 1970s Bobby Womack found his breakthrough as a solo artist, releasing acclaimed albums and singles, such as the iconic “Across 110th Street,” released in 1972 as part of the soundtrack to the omonymous blaxploitation movie set in Harlem. In 1976 he released the breezy R&B hit “Daylight,” while he returned to the top of the charts in 1981 with “If You Think You’re Lonely Now” from his album The Poet.

In the last years of his career, he notably lent his voice to “Stylo” released in 2010 by the virtual band Gorillaz. The single was met with positive reactions by critics and helped expose Womack to a new audience. His last album, The Bravest Man in the Universe, was released in 2012 and was his first release in more than a decade.

Bobby Womack passed away in 2014, but not before establishing his legacy as a songwriter. A number of his songs have been covered or sampled by contemporary artists, such as K-Ci Haley of Jodeci, Kelly Rowland (who covered “Daylight” with Travis McCoy for her 2007 album Ms. Kelly) and Mariah Carey, who referenced Womack and his “If You Think You’re Lonely Now” on her 2005 comeback single “We Belong Together.” “Across 110th Street” was given new life in 1997 with its use on the Quentin Tarantino directed movie Jackie Brown.

The versatility of his writing and the warm timbre of his voice have left an indelible mark on R&B music. His long career as a musician and singer produced an extensive catalog that has received acclaim by critics and his peers, being referenced as an influence by many artists. Bobby Womack was inducted into the Rock and Roll Hall of Fame in 2009.

Check out some of Womack’s most popular cuts:

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I never really listened to Nina Simone until a few years ago. I was familiar with her name, knew her voice a bit especially from samples in hip hop (Common, Lil’ Wayne, Kanye West & Jay-Z). Then I listened to Nina Simone, and I have yet to slow down.

Nina is a complicated figure in music history, in part because she will not fit into a traditional genre box, and she preferred it that way. Born Eunice Waymon on February 21, 1933 in segregated Tryon, North Carolina, she was a classical piano prodigy from the age of 3. Her first act of civil rights activism was during her first recital at the age of 12. Her parents were moved from the front row to the back to accommodate white attendees, and she refused to play until her parents were given back front row seats.

From there, she auditioned and was rejected from Philadelphia’s Curtis Institute of Music (supposedly due to her race), and began playing piano and singing in Atlantic City, which is where she was reborn under the moniker Nina Simone. The stage name was an effort to keep her secular performances from her mother, a Methodist minister. Her repertoire at this time was classical, jazz, and blues.

She found success with a rendition of “I Loves You Porgy” (her only Billboard Top 20 record), and began her ascent to prominence. Her notability grew when her music began to politically reflect the times, first in 1963’s “Mississippi Goddam”. As she progressed further into politically charged lyrics and tones, her music also began to incorporate more soul & R&B, while effortlessly juggling her other genres, which by this point also included showtunes.

After the Civil Rights era began to crumble, so did Nina. She effectively vacated the United States and spent time living here and there before finally settling in France. after leaving the US in the 1970’s, she recorded and released just 4 more studios albums (and a handful of live albums). Her final album, A Single Woman, was released in 1993.

What draws me to Nina, is not only her sporadic and diverse catalog, but her unmistakable voice. I love how she described her singing voice: “Sometimes I sound like gravel and sometimes I sound like coffee and cream”. Her soulfulness mixed with occasional agitation is spellbinding, and her cadence is nothing short of incredible. And her skill as a pianist is genius. This is also the woman who incorporates a classical solo in the style of Bach in the middle of a cover of “Love Me Or Leave Me”, effortlessly. It works so well, it is always on any Nina playlist I create.

Her diverse representation of black women on “Four Women” is a chilling masterpiece, as is her demanding rendition of Screamin’ Jay Hawkins’ “I Put A Spell on You”. Lyrically, “I Wish I Knew How It Would Feel To Be Free”, as she sings about breaking the chains holding her and wanting to giving all she can give, could be read as a plea. Somehow, she delivers it with such optimism and motivation and hope, it is a true awakening. Even when she sings in another language, such as French song “Ne Me Quitte Pas”, her soulfulness properly conveys the song’s meaning, ‘please don’t leave me’.

My favorite Nina song will forever be “Sinnerman”. It’s a 10-minute spiritual awakening that shakes me to my core, every single time I listen. From the opening notes of the piano, through each change and progression of the song, I quiver.

Though Nina remained somewhat unsung over the years, thankfully her influence continues. Last year Netflix released a family-approved documentary What Happened, Miss Simone? to examine and explain Nina’s complicated life (mostly through clips of Nina herself speaking). The film went on to be nominated for an Academy Award. Nina has been gone for over a decade but her music and her genius will continue to inspire generations to come. I guarantee it.

Explore Nina further with this playlist:

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Tori Kelly has had quite the come up. The 23 year old California native had her first brush with fame 12 years ago, at age 11, on the television show America’s Most Talented Kids. Six years ago, she appeared on Season 9 of American Idol, where she auditioned before Simon and crew. Simon wasn’t feeling her, but the rest of the panel disagreed and sent her to Hollywood. Unfortunately (or, perhaps, fortunately) she didn’t last long there. Nevertheless, she has proven to be quite consistent, and like many other mid-2000s aspiring singers, she took to YouTube. There, she slayed cover after cover and built up a modest fanbase. However, it was an acoustic/beatbox version of Frank Ocean’s “Thinkin’ Bout You” that garnered Tori major attention in 2012 (and over 24 million views to-date). Following its success, Tori wrote, produced and recorded her first EP, Handmade Songs by Tori Kelly, and released it digitally in May of 2012.

Handmade Songs, despite the circumstances, is a solid set of singer-songwriter goodness. The set’s standout is “All In My Head,” a relatable acoustic ballad about the confusions of dating. Though, that is not to cast aside her passionate lament on her imminent fame (“Confetti”), or the sassy “I’m not like the other girls” quip, “Eyelashes.” Meanwhile, the atmospheric and ethereal “Celestial,” has a melody that recalls one of Michael Jackson’s more obscure moments, “Scared of the Moon.” The EP went on to sell an impressive 14,000 copies in its first year of release, and prompted her introduction to Scooter Braun (the manager behind Justin Bieber’s success) and a deal with Capitol Records.

With a major label deal at her disposal, Tori wasted no time and released yet another EP: the aptly titled Foreword. Serving as a bridge between her Handmade Songs and her 2015 debut album, Foreword is a polished but still simple, earthy, and heartfelt 5 song collection that helped to define the singer-songwriter’s sound, and tide over her growing fanbase. Highlights from the set include a gorgeous, fluttering acoustic ballad, “Paper Hearts” and her first attempt at an anthemic song, “Dear No One.” This vulnerable yet assertive moment of both loneliness and independence showed that Tori could not only craft a clever, quality track – but also one with undeniable hit potential.

After the release of Foreword, the budding star’s focus shifted to crafting the perfect debut album. And, on the one year anniversary of Foreword, she gave fans the first glimpse of her debut with a new acoustic song: “Funny.” On the track, she posed the question: “what’s your definition of a true superstar?” Funnily enough, with this very song, she answered her own question by showcasing her powerful, raw vocal talent like never before. Such a voice belongs to none other than a true superstar. While it wasn’t the first song I heard from Tori Kelly, it is the song that single-handedly made me fall in love with her. Just. Listen.

You see, before last summer, I had no idea who Tori Kelly was, but… I kept hearing her name, and seeing it on festival lineups and such. I went to the Billboard Hot 100 Music Festival, and I wanted to go watch her performance, to finally check her out, but for reasons I can’t even remember… I didn’t. Feeling guilty and even more intrigued because of how much I was hearing her name, I decided to buy her album at Target, on Labor Day weekend, on my way home from the Made In America Festival. I couldn’t name one song of hers, but I bought her album. I blindly trusted my friends who told me how great she was, and decided to give her a chance. Talk about good word of mouth. Oh, and that Pepsi commercial helped too.

https://www.youtube.com/watch?v=PQ01AT5mI4Y

But… it took me another couple months before I even got around to listening to her album. Don’t ask me why; I don’t know. Of course, as soon as I turned it on and got to “Nobody Love” I said “Ohhhhh, this girl!” (I didn’t know that was her song). Then, when I got to track ten, “Funny,” I was floored; FLOORED, I tell you. My jaw dropped. I hit repeat. I rewound that epic bridge, that run, and I got my LIFE. Instantly, I was angry at myself for not giving this girl a chance earlier… but, hey, at least I did, right?

Then, because I become a bit obsessive when I find a good new artist, I had to learn her life story. Upon learning about her ethnic background (white, black, and Puerto Rican) I wasn’t surprised that such a combination produced yet another superstar. Like Mariah Carey, Tori Kelly is basically a representation of every American – and she’s got a voice that makes her a rightful heir to the Empress’ throne (unlike that other girl they like to compare to Ms. Carey). The comparison goes further than their genetics, though: Tori has a phenomenal voice – and she knows how to use it. Not only that, but she is an honest and undeniably talented songwriter with a gift for lyric and melody. Like any good artist, she is amalgamation of her influences, but not a carbon copy of any of them. You can hear the influence of Mariah, Beyoncé, Jill Scott, and Lauryn Hill.

Yes, Lauryn Hill. It’s not so much in her sound, it’s in her subject matter and method of delivery. Just listen to songs like “Unbreakable Smile,” “Anyway,” or even her singles “Nobody Love” and “Should’ve Been Us.” While she certainly serves vocals that render her competition irrelevant, she also slips into a subtle flow that might pass for singing – but really, girl is dropping some bars. The most blatant example of this trend on Unbreakable Smile is the aforementioned “Anyway.” She sings her way through most of the hip-hop-tinged bop, but for the bridge she slides into full on rapping and drops some bars on us like she is the next coming of Lauryn Hill and, and… and… I get ALL OF MY LIFE. The first time I heard “Anyway” (it’s track 14), I had already been blown away by “Funny” and by that point was a certified stan-in-the-making, but then she went and dropped another bomb on me. She dropped those bars and I about threw my iced tea across my car and hit rewind once again. I had to Snapchat it and send it to people; I was so taken aback… floored once again. It was Thanksgiving week, and I certainly had someone to be thankful for: Tori Kelly, the second coming of Lauryn Hill. Praise her.

Immediately I took to Google to see if she was perhaps going out on tour; she wasn’t, but she had two upcoming shows in NYC. Yassing up a storm, I frantically tried to get tickets to no avail – they were sold out. Disappointed in my own lateness, I carried on with my casual fandom and hoped she’d announce a tour soon. In the meantime, I listened to her album more and more… falling more and more in love with her talent. The voice, the songwriting, the guitar playing, her beauty; all of it. Indeed, she is the definition of a true superstar.

Since then, I’ve (obviously) purchased both of her EPs and scrounged my way through her back catalog. Two weeks ago, when she announced her tour, I pounced on the opportunity and splurged a bit: I am going to see her April 27th, 28th, and 29th. The first two shows are at New York City’s Beacon Theater (between her and Mariah, I may as well move in), and the final show is at the House of Blues in Boston. Not only that, but for the last two shows, I bought the VIP meet and greet package because I want to tell her in person how damn amazing she is.

I haven’t felt this way about any new singer since Kelly Clarkson won my heart as the first American Idol. Some of you may be gagging like, “wait, what about Adele? Lady Gaga?” Nope. I enjoyed their debuts, but I wasn’t enamored in the same way I am with Tori (Clarkson’s debut wasn’t all that, she more so hooked me from the show than with her album… until Breakaway, anyway). Since I fell for Destiny’s Child in 1999, the only other new artists who have excited me as much as Tori, with their debuts, are Kanye West and, most recently, J. Cole. To be honest, I’m not even sure I was as hype over Kelly Clarkson as I am with Tori Kelly.

So, why am I so hype? Well, aside from the songs I’ve already mentioned explicitly (“Anyway” and “Funny”), there are plenty of great songs on Unbreakable Smile. The title track is another standout; it’s almost like her declaration of independence; her career philosophy, if you will. And, I can’t help but love the many sassy one-liners, such as “Maybe I can sell out shows without taking off my clothes, God made me sexy, I don’t care if only I know” and “I’d rather make ’em yawn than be a pawn on your chessboard.” With the title track, and “Anyway,” she’s unapologetically makes it clear that she will carve her own lane, and won’t bend to the whim of the powers that be. Both showcase her bold and sassy (yet lovable) side, which is further echoed on the angsty bonus track “Bottled Up.”

On “Nobody Love,” “Should’ve Been Us,” “Expensive” and “California Lovers” she shows that she can flawlessly execute an uptempo just as well as a ballad. Just listen to the bridges on “Nobody Love” and “Expensive,” specifically; on both songs, the track erupts bombastically, production-wise, while Tori slays a melisma filled run. “Should’ve Been Us” is an infectious anthem of jealousy and resentment for the one that got away. On “California Lovers” she teams up with hip-hop veteran LL Cool J for a breezy, convertible-ready jam.

“I Was Made For Loving You,” with Ed Sheeran and “First Heartbreak” show her ability to deliver an impassioned, emotional love song. On the perfectly matched duet with Sheeran, she delivers a more tender, nuanced vocal. However, she lets it all pour out on the hypothetical-heartbreak ballad,  “First Heartbreak.” Meanwhile, “Talk” and “Falling Slow” showcase her more subdued, atmospheric side and echo Ms. Carey with their layered vocal and ethereal qualities. As does the “Art of Letting You Go,” for the nostalgic quality to its lyrics; it’s a mid tempo bop about a childhood love she just can’t let go of.

With a debut album this good, I can only imagine what is next for Tori Kelly. It’s an album that deserves your undivided attention, and many, many listens. Trust me, you will fall in love too. The only thing missing from Unbreakable Smile is a truly huge single. No worries, though; she’s still young and so is her career. Undoubtedly, great things are to come. Just look at her predecessors in recent years: Kelly Clarkson, Adele, and Lady Gaga, to name a few – they all outdid themselves with their second full length releases, both artistically and commercially (Breakaway, 21, The Fame Monster). It’s only the beginning for Tori, and her Unbreakable Smile is sure to intensify, because it’s clearly not going anywhere any time soon. Tori Kelly is here to stay.

Her debut album, Unbreakable Smile, will be reissued this Friday, January 29th, with two new tracks, including her latest single, “Hollow.”

*Be sure to check out the remix with Big Sean, too (Mariah, her impact!).

The post Why I fell in love with Tori Kelly (and you should too)! appeared first on THE 97.

Last Monday, September 21st, Michael Mott held yet another showcase of his latest Pop and R&B songs at New York City’s Rockwood Music Hall. Once again, the composer was accompanied by a versatile band, a trio of talented background singers, and show-stopping group of lead vocalists including Brad Greer, Heather Little, Natalie Weiss and Loren Allred of The Voice fame.

Several months ago, Mott and Allred came into acquaintance and Mott very wisely selected her to sing at one of his showcases back in June. You might remember our Spotlight of the show then. The songstress brought the house down with her performance of Michael Mott original, “So Relentless,” which she performed again last week:

https://www.youtube.com/watch?v=yzQIwVqfiuA&feature=youtu.be

Since then, the pair seem to have built a mutually beneficial working relationship and thus found themselves together once again, on the same exact stage, at last week’s show at Rockwood Music Hall, Stage 2. When Loren performed “So Relentless” yet again,- however, she improved her rendition vastly in comparison to June’s. The real breakout moment, though, was a performance of a previously unheard Mott original, “Single City.”

A clip from last night. “Single City” written by @michael_mott !

A video posted by Loren Allred (@lorenallred) on Sep 22, 2015 at 1:48pm PDT

The impassioned ballad is metaphorical with its double meaning, highlighting New York City as a “single city” that offers one so much opportunity, yet at the same time it’s a very “single city” – home to lots of lonely people; loneliness is a product of it’s vastness. The clever and beautifully written lyric was expertly executed by the immensely talented Loren Allred in its debut performance. It was a perfect pairing of beautiful song, and phenomenal voice. She stole the stage, the night, even, with her flawless performance of the track. A consummate professional, despite the small setting, she made it seem as though you were watching a superstar in a big arena, yet somehow still keeping the intimacy of the venue, and song, intact. Allred evoked the presence of divas like Ms. Carey, know for such thoughtful lyrics like Mott’s, and a voice as captivating and engrossing as Beyoncé’s. Due to a tremendous demand post-show, the pair plans to hit the studio to record the track for release.

A video posted by Michael Mott (@michael_mott) on Sep 22, 2015 at 5:05pm PDT

Via one single song, on one single night, in one “Single City,” it seems as though a perfectly promising pairing has been realized in Loren Allred and Michael Mott. Every songwriter needs a muse; a coalescing compliment… and every diva needs a super songwriter who can write songs that will masterfully showcase her superstar voice. Mariah Carey’s career blossomed from such a pairing with her first long-time cowriter Walter Afanasieff, and continued to find such bonds with collaborators like Jermaine Dupri, and James “Big Jim” Wright later in her career. Janet Jackson flourished via her partnership with Jimmy Jam and Terry Lewis, beginning with 1986’s Control, and always remaining loyal to the writing/production duo.

Needless to say, we anxiously await the release of “Single City,” and any future collaborations between the two. It may very well be that Loren Allred found her own Walter Afanasieff in Michael Mott. On the same token, perhaps Mott has finally found his own Mariah.

In the meantime, watch performances by Brad Greer and Natalie Weiss from Mott’s showcase last Monday:

https://www.youtube.com/watch?v=NkfEzf4H1VU

https://www.youtube.com/watch?v=zrMWbkqMD28

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https://www.youtube.com/watch?v=0lpRokqgs3g

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Holly Elle is one of those artists that we’d like to introduce to our readers. She is a Canadian native Electro-Pop artist who started out by being featured on MTV’s Real World: San Diego. Her second EP, Leopardess, received a positive response from the press for its fiery and empowering thematics, which have secured her a connection to the LGBT community.

Holly Elle is now launching her newest single, titled “Lose Control.” The song has all the structural characteristics of an Electro-Pop song: the club-ready production and the lyrics are catchy and all is topped with a grabbing hook. Take a listen:

[soundcloud url=”https://api.soundcloud.com/tracks/179641220″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]

Holly’s goals are, as she states, “Loving music, continuing to make it, and finding an outlet” and we wish her all the best for her future projects and to find her break in the industry.

If you’re interested in her music, you can follow Holly Elle on Twitter or on her Facebook page.

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Some of you may have heard this song on the radio around the same time a more known hit song called “The Worst” was being spun heavily through the airwaves earlier this year.

It’s a case of two sisters sharing a moment in the spotlight. Yes, Jamila Akiko Chilombo, better known as Mila J, is Jhené Aiko’s older sister and both of them have been on the come up for years, finally finding now their chance to break through in the industry.

“Smoke, Drink, Break-Up” is the introduction to Mila J’s music to many, since her first album Split Personality (2006) failed to make a dent. This time, the 30 years old singer and songwriter (who is also notorious for appearing as a dancer on Prince’s music video for his 1991 hit “Diamonds and Pearls”) came harder. The song is a full 90s immersion, with a guitar-driven beat reminiscent of Timbaland and Missy Elliott’s signature early productions. The lyrics chronicle the destructive habits of a couple gone bad, when everything is alright as long as no one is sober.

Her second single, called “My Main,” (hot beat provided by DJ Mustard) is instead an ode to loyal friendship: the kind of girlfriend who is going to always be there no matter what happens, the so-called “ride or die.” With a cameo from Ty Dolla Sign, Mila J showcases her masterful dancing abilities on the music video which is a nice distraction from the banal and repetitive lyrics.

The rest of the Made In L.A. EP will be released on October 14 through Motown Records. We’re honestly hoping for more 90s throwback moments rather than contemporary club-ready clutter.

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