Omar interview on Colourful Radio 29-January-2017

The musical history of British soul pioneer Omar is renowned – the Lyefook family has musical talent embedded deep in their DNA, Omars’ father Byron worked as a studio musician and drummer with Bob Marley, Horace Andy and even The Rolling Stones. Omars’ younger brother, the Grammy winning producer, remixer and DJ professionally known as Scratch Professer has been making jaws drop since the age of 13, stunning the crowd at the 1988 DMC UK Finals with his turntable skills.  Samia Lye-Fook (Omar’s sister) is a renowned vocalist in her own right, and a BRIT School alumna, then there’s their big brother….Omar.

Born October 14, 1968, in London but raised in Canterbury, gifted, prolific and considered a musical prodigy; Omar learned his craft classically, playing the trumpet, piano, bass guitar and percussion. A former principal percussionist of the Kent Youth Orchestra and later a graduate of the Guildhall School Of Music, Omar has been making music for more than 32 years.

Back in 1985 he released his first single ‘Mr Postman’ on his father Bryons’ Kongo label, which was also the original home for his first album, which contained the track that changed everything… ‘There’s Nothing Like This’. That album was re-issued by Gilles Peterson on his Talkin’ Loud imprint in 1991. This album established Omar as a stand out and unique artist, with ‘There’s Nothing Like This’ hitting the charts, so began a musical chain of events that has continued unabated up to the present day.

The follow up ‘Music’, a vastly more orchestral and organic affair that highlighted Omar’s maturing as a composer, arranger and vocalist. Aside from the memorable title song, standout tracks included the still requested Get To Know You Better and the brilliant duet with his new Freestyle Records label mate Carleen Anderson, ‘Who Chooses The Seasons’.

Soon after Omar signed to RCA, for whom he cut two further albums that notched up acres of critical acclaim, as well as introduced him to several of his musical heroes and heroines. On the1994’s ‘For Pleasure’ album, this includes some of Omar’s most prolific songs such as ‘Saturday’, ‘Outside’ and the Erykah Badu favourite ‘Little Boy’. He worked alongside the legendary former Motown producers Leon Ware and Lamont Dozier creating this masterpiece of an album.

On ‘97’s ‘This Is Not A Love Song’, this was largely a collaboration with LA-based producer David Frank, he did a great cover of The Stranglers’ ‘Golden Brown’ and got to sing with one of his all-time favourite vocalists, Syreeta Wright on two songs, including the sumptuous slowie ‘Lullaby’. By 2000, Omar had moved on again, this time signing up with hip French imprint Naïve Records.

The following year, now well established as the leading icon of the UK’s resurgent soul movement, Omar released his fifth album, ‘Best By Far’, a self-produced album, which he allowed his interest in cinematic soundtracks and jazz to shine through. Once again, the star names turned out on the album version of ‘Be Thankful’; a re-cut of the William DeVaughn seventies soul hit, featured Erykah Badu. A long time fan of Omar’s she came good on her word and jumped at the chance to feature on this track. Meanwhile MOBO winner Kele Le Roc supplied the strident lead on the anthemic groove ‘Come On’.

2006 saw the release of ‘Sing (If You Want It)’ which featured contributions from US rapper Common, Angie Stone and U.K. artists Rodney P and Estelle – but his crowning achievement was obtaining the Stevie Wonder duet ‘Feeling You’.

It is, of course, a major coup for any UK recording artist to be able to call on the services of a musical legend like Stevie Wonder. The simple truth is that Stevie has been a fan of Omar’s music since he first heard T’here’s Nothing Like This’ back in 1992 – the same year he promised to write Omar “his first number one”. The 14-year wait turned out to be well worth it when, one day, Stevie called Omar out of the blue and told him he was in London and had just what he’d promised. A jam session later and the irrepressibly funky and melodic ‘Feeling You’, with Stevie on vocals and keyboards, was born.

Several years passed whilst Omar wrote more original music for the follow up album, but he also moved into acting, developed and performed his one-man stage play, did voiceovers, collaborated with all manner of likeminded artists – and then in 2012 received notification that he was to be awarded an MBE for services to the British Music Industry – a rare accolade for an artist who was never overly focused on commercial chart success.

In July 2012 – legendary soul boy, DJ and sports presenter Mark Webster contacted Freestyle A&R man Greg Boraman to tip him off that Omar had the new album completed and was looking for a new label. Boramans ‘speed of light’ email response could have won a Guinness Book Of Records title for the world’s fastest and most excitedly positive email in all history and so the discussions began….

Omar-MBE-733×10242013’s ‘The Man’ was heralded by all as an amazing return to form, and rated as Omars’ strongest album of his career – the title track, released as a single signposted all the archetypal components people have come to expect from an artist as original and unique as Omar. Rave reviews and a renewed interest and energy greeted this new music – and of course, suitably timed was Omars’ trip to Buckingham Palace to finally collect his MBE from Prince Charles, “Prince Charles, said “Do drop off a copy of your new album” … ‘Will do’ I said!. I am absolutely chuffed to bits.  I want to dedicate it to all my die-hard fans who have always told me to keep on doing what I’m doing”

And true to his word – Omar has kept doing just that. Aside from making weekly appearances on BBC Television in Javon Prince‘s comedy show, touring the world, recording and performing as one 5th of The British Collective and of course, supporting Stevie Wonder at 2016’s epic and unforgettable Hyde Park concert.

2017’s new release ‘Love In Beats’ is Omars’ 8th studio album and may just be the most diverse and varied to date; incorporating Caribbean rhythms, an undercurrent of funk, with touches of zouk, a jazzy waltz and spoken word. It also features collaborations with US soul legend Leon Ware, highly regarded Blue Note pianist Robert Glasper, rapper Ty, Guadeloupe born singer Jean-Michele Rotin, UK soultress Natasha Watts, The Floacist and Mayra Andrade, the Cape Verdean born singer who lives and records in Paris.

Mainly recorded at his own Backyard Studio in South London, his unique voice, multi -instrumental and production skills, really come through on ‘Love In Beats’. With the help of his brother Scratch’s productions skills they have brought forth a new collection that may just be the most beautifully formed and career defining album of all.

‘This is an album of a labour of love between myself and my Grammy award winning brother The Scratch Professor. It is filled with powerful songs and mesmerising beats – that is Omar music and my brothers sound, it is truly ‘Love in Beats’

Spiritual interview on Colourful Radio 22-January-2017

Clifton ‘Specialist’ Dillon’s production and management company, Oufah Music continues to make paradigm shifts in the music industry. The label is known for producing high quality hits; most recently for breaking worldwide chartbusters including OMI’s billboard topping singles ‘Cheerleader’ and ‘Hula Hoop’. To the music industry this is no surprise as Clifton ‘Specialist’ Dillon has a gift for building, directing and managing the musical careers of many
big name artists including Shabba Ranks, Ky-Mani Marley and Alborosie. Over the last three decades Specialist’s honours include Grammy Awards, Billboards Awards, Platinum and Gold sales, along with untold success in digital streaming and downloads making him the Caribbean’s most consistent and successful producer.

Oufah Music is now working with the artist, Spiritual, producing his highly anticipated first full length studio album ‘Awakening’ due for an early 2017 release on VP Records. The album’s leading singles ‘Time Has Come’ and ‘Stand Up For Rasta’ are already in rotation worldwide, gaining positive feedback for the team.

In reviewing the outcome of this collaboration, veteran Journalist, John Masouri summarises that, “Spiritual’s music transports us to another time, when reggae legends like Bob Marley first took the rebel sound of Jamaica to a worldwide audience. Authenticity can be heard in every note…”.

He went on to give credence to the quality album produced “Under Specialist’s direction, Spiritual has been able to realise his musical vision at last, and deliver an album that can stand alongside the seventies’ classics that inspired him as a youth. There are traces of Burning Spear and Culture in his voice, whilst the songs hark back to an era when artists were judged on their integrity, both musical and otherwise.”

Spiritual was raised in Allman Town and sang in his local choir before embracing Rastafari as his true calling. “I’m here to preach and to practice love to all people. Love is the cure for everything. Love makes you healthy and I’m convinced that one day, scientists will discover that it’s the basis of living, y‘know? Because we should all be loving people, and that’s the key message in my music. It’s all about love and progress” the artist reasons.
“It’s really been a

pleasure to work with talent such as Spiritual” said Specialist “He brings us
back to an era of consciousness, of journeys foretold and I see it as our responsibility to not only chart our own futures but to preserve and give respect to the ones who’ve laid the foundation for artists like Spiritual to be heard.”

“I am a servant of Jah for the children of the world with one Aim and one Destiny”
– Spiritual

Ms Paige interview on Colourful Radio 15-January-2017

Ms Paige (née Ashley Johnson) fuses the soul of R&B with the passion of Caribbean musical genres. Embarking on the Caribbean music scene in 2004, daughter of Canadian recording artist and 6-time Juno nominee, Debbie Johnson, Ms Paige has been a staple in representing Canada on a global scale.

Having released over 35 singles to date in both the Reggae and Soca genres, she continues to receive international support on the airwaves in several countries.

As a singer/songwriter, she received both the 2013 and 2016 award for Caribbean Music & Entertainment’s Top Soca Artist, as well as a number of nominations, including the Black Canadian Award for Best Caribbean Style Artiste, St. Vincent & The Grenadines SVG AMP’s Reggae Single of the Year and International Music & Entertainment Association’s Reggae Song of the Year.

Ms Paige is whole-heartedly dedicated to evolving in her craft and will inevitably leave her own unique musical footprint on the world.

Kindred The Family Soul interview on Colourful Radio 27-November-2016

Kindred The Family Soul is simply Aja Graydon and Fatin Dantzler; artists, songwriters, lovers, family. Both got their start as teenagers. Fatin producing his first released material with Bell Biv Devoe at 17 and Aja recieving her first recording contract from Delicious Vinyl at 14, these two “grew up” in the record business. In 1997 they were introduced via  hip hop band, The Roots, production camp. Fatin was a hired gun to write songs for Aja’s  solo project at the time. By the fall of 1998 they became husband and wife and while assuming the roles of a new couple and new parents, Fatin took a job selling appliances and Aja became a homemaker caring for their first born, Aquil. After being unexpectedly let go from his job the couple contemplated the future. They’d developed a strong creative chemistry  for Aja’s  solo project so they decided to try performing as a team and Kindred The Family Soul was born.

Performing weekly at the famed “Black Lily” showcase at a small club called The Five Spot, Kindred developed a reputation for electric live performances featuring a 10 piece band. Hustling parents of a toddler by day and ripping stages by night. This amazing event would, along with Kindred, foster careers from the likes of Jazmine Sullivan, Floetry, Jaguar Wright, Music Soulchild and a host of others. A regular patron/performer at the Lily was Jill Scott. She was close to releasing her classic first album and decided to introduce the president of her then label, Hidden Beach, to her friends Aja and Fatin. This introduction would change everything.

In 2003 Kindred The Family Soul released their debut album Surrender to Love. “ Far Away” and “Stars” both became top ten urban adult contemporary hits and anthems for lovers everywhere. The album recieved a Soul Train Award and a BET Award nomination. The group began producing events and showcasing new talent as well. One such event was “The Upper Room” featuring a then unknown, John Legend and Jazmine Sullivan. All after welcoming their 2nd child Diya into the world.

Their second album, “In this Life Together” was released in 2005. The project’s  lead Single “Where Would I Be (The Question)”  was a wonderful follow up hitting top 10 on urban AC radio and boasted crowd favorite, “Woman First”, an anthem addressing the sacrifices of women for their family and relationships. The second album solidifies Kindred The Family Soul as a voice for families and couples. Presenting a needed image of “Black Love” in an industry that rarely highlights it. Just prior to its release they would welcome their 3rd child, Nina.

The 3rd album,The Arrival, was released in 2008. Singles like “House of Love” and “Just the Way You Are” continued the tradition of celebrating love and fortitude. Kindred began producing their own music videos and both songs were known for their touching visual stories. Both were mainstays on VH1 Soul and Centric. The title,“The  Arrival” was a nod to the birth of the couples set of twin girls,  Lanaa and Ain.

2009 was a year of great change. The first black president was in the midst of his first term.  The country was in a financial slump and the group found itself without a label deal. Kindred The Family Soul began documenting their journey through this climate of change in a web series called “Six Is It!”, named jokingly about expecting their sixth and final child, a boy. Deen.

In 2011 they released their first album with Purpose/Shinachie records,  “Love Has No Recession”. An album about triumph over adversity and the enduring power of love. Critically acclaimed and compared in intent to the classic,  “What’s Going On?”. The album featured single “Magic” and “You Got Love” a surprising collaboration with Snoop Dogg offering  a sixteen bar verse about his love for his wife. The group also  founded a media company,  The Media Shack and produced and directed 5 music videos for the album. They also continued to produce the web series for 3 more seasons.

2013 Kindred digitally released a live album to celebrate the 10th anniversary of the release of their debut album Surrender To Love. It was a rare recording of the group live in London performing every song on the the then, just released album.

The 5th album, simply called “A Couple Friends” was released in 2014. Kindred along with Shinachie records produced a short film directed by hometown friend Jamal Hill, to accompany this album. The film follows the story of couples connected to Kindred The Family Soul and how they move through their challenges with love and friendship as the anchor. The group also wrote their first children’s book, “Mama said, “Clean Up!”” based on a freestyle song performed by all their children and featured on the album.   2014 also ushered in a commitment to community. Kindred The Family Soul began producing two annual events in their hometown of Philadelphia. Kindred The Family Games and Kindred The Family Reunion, both free to the public.

In Spring of 2015 they recieved an opportunity to be a part of a national commercial  for Walmart. Highlighting the culture of the family reunion,  Kindred The Family Soul and all six of their children were featuring during a summer long campaign. The commercial recieved over a million hits on You Tube and is still of the most watched ads ever produced by the retail giant.

This Fall Kindred will be releasing their 6th studio album titled Legacy of Love. The lead single has already hit number 1 on soul charts in the UK and top 40 on AC charts here in the States. Considered timely and needed the single titled ,”All my People” paints a vision of equality, peace and unity.

Trina Broussard interview on Colourful Radio 20-November-2016

Trina Broussard is the real and down to earth girl next door who just so happens to have a voice as powerful as an R&B diva.

Influenced by her mother, who sang jazz, her father who played guitar for several big bands, Anita Baker, Stevie Wonder and Donny Hathaway, Trina, a Houston , TX native began pursuing a music career in 1990 after relocating to Atlanta , GA. It wasn’t long before the new girl in town wooed some of the biggest names in R& B with her talent and skills. “I sang background vocals for Bobby Brown, Pebbles, Babyface, Mariah Carey, Toni Braxton and Be Be  &  CeCe Winans when I moved to Atlanta “, says Broussard.

Through her association with Trey Lorenz, she began writing and then later signed with Jermaine Dupri’s set up at Columbia Records, So So Def. Her single “Inside My Love” received heavy radio airplay and was featured on the 1997 platinum-selling Love Jones movie soundtrack. In 1998, Broussard  co-wrote the Queen of Soul Aretha Franklin’s hit record “Here We Go Again”, and also released her own single “Love You So Much” the following year. Almost unbelievably, the album has not been released until now. “I was disappointed that we had got to the threshold and somehow things just didn’t work out” recalls Trina.

Over the last ten years promos of the album have been exchanging hands for over £100. Songs such as “Sailing” and “Not Around” have been championed by soul DJs who could never understand why such a brilliant record hadn’t come out officially.
“Inside My Love” finally acquired a released through Expansion Records in the UK and was described as a masterpiece in contemporary soul. Collaborations include songs co-written with Jamey Jaz, Rahsaan Patterson, Alicia Keys, Puff Johnson and Trey Lorenz.

“I try to bring the reality of who I am to what I do as a woman… I just want to put good songs out there” she says. Her follow up album “Same Girl” was released by Motown and included “Dreaming Of One Good Love” picked up by Expansion for the “Soul Desirables Collection”. Meanwhile “Sailing” and “Why Do I Feel So Sad” became available for 2008’s “Dedicated To Soul” collection on Expansion opening the door for the full CD release of “Inside My Love”.

Broussard released Life of a Libra was released in 2010, her latest single ‘Adieu’ was released in 2016.

Catch Trina Broussard supporting Kindred the Family Soul on the following UK dates:
Thu, 17 Nov O2 Institute3 Birmingham
Sun, 20 Nov Jazz Cafe, London
Mon, 21st Nov Hideaway London
Tue, 22 Nov Band On The Wall Manchester

Steel Pan Fusion interview on Colourful Radio 06-November-2016

A contemporary take on steel pan, jazz and world music with an exciting, dynamic cultural ensemble.
Steel Pan Fusion is driven by the powerful engine of drummer Sam Blue Agard and bassist Liam Joseph while percussionist Phillip Harper increases the rhythmic momentum with his array of congas and cowbells. Keyboardists Andre Louis and Joe McGrail add expressive harmonies and countermelodies to the arrangements, and saxophonist Adriano Rossetti-Bonell enriches the themes alongside two carefully deployed Steel Pan players, David Vine and bandleader Wade Austin. All of the aforementioned prove to be very agile soloists, and they are well served by strong material such as Louis’ Find Your Inner Self, Vine’s Beach Bum and Austin’s title track.
The flavour is in the fusion and the fusion is in the family.

Angie B interview on Colourful Radio 30-October-2016

Angie B, Born 29th September and named ‘Angela Dunkley‘, The youngest child to Jamaican Parents, Mavis and Wilfred.

Angela adapted her name to Angie B. Since growing up as a child she was used to people calling her by her nickname ‘Angie‘ (Otherwise Ange). Although, the ‘B‘ came about through her marriage around 20 years ago; it’s the start of her marital surname and she became accustomed to being called, ‘Angie B‘ for nigh on 20 years. So of course it grew on her, became the norm and most suitable for her artist name.

Not only is Angie a wife, but also a mother of ten children with eighteen grandchildren. 

Angie is the only British child and the youngest of four; Louis, Rose, Trevor and then herself. Yet, they always said she was ‘More Jamaican than the others as she absolutely adored Jamaica, The Jamaican Patois Accent, The Roots and Culture’ and always felt more at home in Jamaica. Upon visiting Jamaica,  she fell in love with the suburban areas but especially the ghetto as it’s there she had the most fun and best memories.

She first went to Jamaica as a child, whilst there she also experienced the schooling from a young age- getting a hint of the sort of lifestyle her parents had whom were from Tivoli Gardens, Kingston.

Angie grew up in ‘The Pentecostal Church of God’, where she learned to sing and was also in the choir group until she got selected to be a gospel soloist.

Often times she sung duet with her mother, A Sunday School Teacher, whom had a strong singing voice herself and was also great at harmonising. Shortly afterwards, her older sister joined the church too, and they became like a singing trio. Angie recalls all three of them singing together, she describes it as ‘a very special moment’.

She took Piano lessons, which she did for about a year. She also had Violin lessons and some experience in playing the Bass Guitar.

Furthermore, Angie’s the distant  cousin of legendary Errol Dunkley. Although, Errol were closer to her older brother, and next cousin the late guitarist Lascelle Dunkley AKA Tonic Man. Tonic being the ex-guitarist for the late Sugar Minott,  Also was session player for the late legendary Alton Ellis band; He featured on Ellis’s ‘Golden Jubilee‘ album, after rehearsing with them.

When Tonic came to the UK in the early 80’s as a guitarist with Sugar, he lived with Angie and her family, where they became very close due to being similar characters. Angie laughs ‘I[she] was a rebel back then, he liked that in me[her], as he wasn’t one to be reckoned with either’.

It was ‘Tonic‘ whom paved the way for her and they would rehearse night after night, -so long as he did not have a gig!

They did two reggae songs together that Angie B composed, titled ‘Mash Up’ and the other one of which she couldn’t’recall the title of.

Tonic and her brother Trevor, introduced her to a lot of the reggae artists that she didn’t know; her brother grew up with singers such as Bob Marley, whom stayed at his home in the 70’s when he visited the UK.

Angie was also introduced to artists such as legendary Ken Boothe, John Holt, and Roy Cousins famous for’Pick up the Pieces’ who was a close family friend; to mention a few.

She was first taken to a recording studio aged just 15 years old by the late ‘Jah Woosh’, her brothers’ best friend, to DJ on a track for him. As, back in those days, she could ‘toast’ which is now more familiarly called ‘singjay’

She recalls those days as days when lyrics could roll of her tongue,  she states,’ I can no longer freestyle the same way’.

Angie rehearsed many times in the past with Alton Ellis, they were even on the same bill recognised under her former marital singing name ‘Angela Campbell‘.

She finally recorded her first solo-single aged 22-23 years on a ‘V.I.P Label‘. Her song titled ‘Love Me‘ was a soul track which was on what was called a Disco 45,  and was produced by Patrick Boothe. The single was followed up by her next,’I’ll be there‘, also produced by Patrick Boothe, and co-produced by herself. Pop singer Louise Tucker aided and accompanied Angie with this single. Alton Ellis played a great role in Angie’s life as he influenced Vinton Brown to invest in her, whilst Alton was her mentor.

Angie performed in Brixton Town Hall on the same bill as Alton, Bristol, Bow and a few more. But, at the ‘African Famine Relief’ event, she recalls Maxi Priest encouraging her to go on stage, and being ‘nervous’, as the crowd was in the hundreds; the largest  she’d ever performed un front of. She remembers going on in the middle of the programme, before the bigger names were to appear,  and  after she sung the first 8 or 9 words she says,’they were screaming which gave great motivation’ to the point she ‘took to that stage like she owned it’.  She wasn’t really a drinker, but discovered after having a stiff brandy, she overcame the issues of nerves and shyness.

She appeared and was interviewed in and by ‘ The Voice’ newspaper for her musical talent.

Soon after, Angie went to Holland on holiday and accidentally left a cassette there and, as if by chance, a singer ‘Oty Limond’ was looking for a female singer to form a duet with his band ‘Euram‘. Fortunately, Angie’s friends out there invited Oty & his band to listen to her songs and her cassette, where they immediately decided they liked what they heard and got in contact with Angie.

Angie did a couple radio interviews in Holland and before she knew it,  Oty Limond of Euram, paid for her and her late, acting manager, Vinton Brown, to join them in Switzerland. Where the band resided, and that was not their only trip together.

She rehearsed constantly for a couple weeks and on other visits performed in the evenings at pre-planned venues in Davos and Zurich etc. She came back to UK for a while then was off again as she was to appear live on Zee TV with Oty performing  his song, ‘You Will Be Near‘.

She appeared in venues,  on their big screens and television, she recalls ‘it was really nice, V.I.P  treatment  and experience all-round’, she loved it.

She managed to purchase her 1st car from that, although it wasn’t brand new, she was happy with  it.

A short time later, they, the band. were offered a record deal by a major record label  ‘Arista records’  it was sadly turned down by Oty  as ‘Arista records‘ did not want the band, only the 2 main singers, Angie and Oty  but, as they were with him from the beginning, due to loyalty Oty could not accept the offer.

Angie admits she did become a bit dishearted and worse her mother was becoming fearful of the music world, as a few negative stories were being broadcasted by the media,  she was worried sick, as she did not trust them and especially  because Angie was now going abroad regularly, this too, was breaking her spirit.

She went on to have more children and had some of her own personal issues and troubles in her life.

In early 90s she recorded a ‘Soul’ track with UK singer Wayne Marshall, ‘Got No Love’, Produced by Wayne.

Although Angie never released it, and still has it on a 24 track, she has since done a reggae version. Though,  with the addition of singjay lyrics and an extra verse, but she kept the main body & titles; in other words, she has resurrected the track in a new form.

‘Who knows’, she says, ‘I may still release the original soul version too, one day, so we’ll wait and see…’

In the latter part of the 1990’s,  she put her knowledge and energy into managing her sons’ MC/Garage crew, named ‘And Wot Cru’. And later began managing two other crews.

Angie’s ‘And Wot Cru‘ performed at open mics and many venues, paid and unpaid even.  To name a few- Hackney Empire, The Lyric Theatre, etc.  They also performed on the same venue as Julian Marley, where they had the crowds going ecstatically. To add, they participated in a ‘Mothers Against Guns‘ Event including Dance competitions. Angie was interviewed on BBC Radio in Milton Keynes, which she felt honoured to do.

The crew won many awards, and publicised in the local press; they were achieving their goals and dreams.

The late great legendary Queen of Reggae, Louisa Mark’, visited  Milton Keynes and called Angie on-stage to sing with her. She was one of Angie’s childhood best friends.

Angie recalls everything was fine for a while as she knew all Louisa’s songs, but this night her voice changed uncontrollably on a note,’it went so high’, she said, she ‘didn’t think a note so high existed’. Louisa and Angie gave each other a fleeting glance, something was wrong even if no one else knew it , they knew it. They discussed it later that evening, Louisa was as surprised as Angie was, and advised her to get it investigated. Angie started having bouts of coughing, even whilst talking; she was worried, so that prompted her to get a check-up two days later, if that didn’t happen that night, God knows what may have happened.

In the days to follow, Angie was diagnosed with polyps and a massive cyst on her vocal chords, she was practically suffocating. She had to be operated on immediately at the findings, after which she was then told she ‘may never be able to sing again’.

However, when everything eventually healed and she tried to sing, she could not hit any notes, neither did she sound the same; her voice dropped a couple tones down, so she attended a vocal training class in the hospital.

Angie believed what doctors told her and feared losing her voice completely,  she gave up singing entirely it was ‘not an option’, she felt at that time. She decided to start her own business and she set up a successful retail business.

However, things took a very bad turn a few years later which affected her entire family, .Angie still feels very bitter about and it still has a lot of impact on her views of life.

After the loss of her mother in June 2010, which had a major effect on Angie, it left her feeling shattered. Though, this was soon followed three years later by Angie’s elder, and sole, sister in 2013. She was devastated as she lost them both to the same condition. To make matters worse, a few months later her cousin Tonic Man… all of whom died as a result of cancer. She was exceptionally close to her mother, when her mother passed, both Angie and her sister leaned on each other; After losing her sister she felt more lonely.

Angie needed something to fill the voids. Everyone, family, friends and even some people whom had heard her sing, started encouraging her to go back to her singing as they believed she could still sing, and a great, therapeutic way to release. The final straw was when she sung for her sister’s funeral, she was again encouraged to go back to her music so, she contacted veteran and friend ‘General Saint’, she came to realise she was serious about singing. Even though, he personally had never heard her sing before, but he had great belief in her. He hooked her up with Producer, Robbie Tyndale, who supplied her with three instrumentals he’d made and basically said, ‘get on with it’, so she did.

Amazed and astonished with what she had done, Saint said ‘Angie, I’m shocked, it’s better than what I had ever imagined!’, he loved her voice and her style. For her age, she sounded so young, and at that point she had only done her 1st track, ‘Had It All’. Saint liked the little singjay part she had done, and thought she should incorporate more in her songs as it suited her. He too is a talented singjay artist, so Angie had faith that he knew what he was talking about about, so she did. At this point, she came up with’ In Da Club’ influenced by her children; her son wrote the SingJay part. Moreover,  Saint was truly amazed at it and just loving what she was producing. Then came ‘Fall In Love’ all recorded at Blu Jeanz, in which Saint and Robbie had started.

Later, she did a few Dancehall tracks that had been written for her. Angie states she ‘does not usually have anyone writing for her, but as it was her son, she did not mind’.      It gave her a little more space to concentrate on some Reggae and Lovers Rock songs. As she appeared to be covering all areas, she has even recorded a few soul tracks too, as that is what she had experience with in the past and had released.

Of her music she insists, ‘ I am versatile.’

She continues to support her children in their music and give light where she can though they are more mainstream.

Her album is complete and now released, entitled, ‘Personally Yours’, which is slowly being introduced now, containing a mixture of styles and moods. Her album was mainly produced and mastered by her long time ex-producer , Patrick Boothe. Angie mentions, ‘It’s so good to have some of my old links back’ and ‘It’s good to live well with people… after so long, as childhood friends… who would have thought thirty plus years later?!’

She has also been quite successful with another track off a Compilation Album ‘Everytime We Touch’, released and produced by Starrvybz Ent, URV ‘Mumma’s Cry’, which was a hit for her in a few European Countries, which meant a lot to her personally.

Of music, Angie says music stops her ‘from focusing so much on the loved ones’ she has lost and helps ease her pain’, as she has been through a lot over the past 10 years.

Angie has other talents too, she does Art when she has the time and loves taking part in dsicussing Political Views, including Black History.

She retorts,”Music is also a part of me, it is my first love,  I can always express my feelings, emotions, experiences, fantasies, fallacies, pain, whatever, through my music”.

Angie feels ‘BLESSED’ as recently she has signed a VPAL Distribution Contract with CEO Donovan Williams. To some people it may seem  non-unique, but she feels honored at this time in her life. AND she has recently released via VPAL the first, duet ‘Feelings of Love’, with singer/producer Patrick Boothe. Available on iTunes, Amazon, HMV DIGITAL and many more.

Angies’ s aim is to keep on making good music, stay focused, positive and to keep trying out new musical ventures. There is so much talent out there, but, she hopes one day to leave her mark, inspire and touch people with the music/songs she creates and hopes people will recognise her as a serious artist and as one of the veterans, one day.

As told by Angie B .

Junior Giscombe interview on Colourful Radio 09-October-2016

Junior first began singing in a local band at the age of 14, encouraged by the

Sounds of doo-wop, early Motown, soul and reggae.

As the years passed however, the hobby became a full time musical career and Junior realised that his talents lay in writing and performing his own music. His first recordings date back to a cover of the ever green song “Nice and Slow “by Jessie Green, then the song which got him noticed “Hot up and Heated”.

Initially signed to Phonogram Records, 1982 saw Junior hit the chart heights with the infectious anthem ‘Mama Used To Say’ which became a transatlantic hit, prompting Junior’s appearance as the first black British artist on Soul Train and earning him Billboard’s ‘Best Newcomer Award’ presented by the legendary James Brown.  The U.S. hit, ‘Too late’ which reached no 8 and his auspicious debut album ‘Ji’ followed.

Junior’s second album ‘Inside Looking Out’ was released in 1983 featuring the U.S. hit ‘Communication Breakdown’.  Travelling throughout the U.S. for promotion, Junior teamed up with the renowned producer Arif Mardin, who was later to contribute tracks to Junior’s third album ‘Acquired Taste’ released in 1984.  That same year Junior wrote ‘Do You Really Want My Love?’ for the multi platinum selling Beverly Hills Cop sound track album.  At this time he was subsequently enjoying success as a songwriter with his compositions recorded by artists such as Phyllis Hyman and Sheena Easton.

What followed in 1987 was Junior’s biggest European hit, ‘Another Step’, a duet with Kim Wilde, which reached number 6 in the U.K charts. A string of performances including a tour with Wilde as opening act for Michael Jackson took place.

Towards the end of 1987 Junior completed ‘Sophisticated Street’, his fourth and last album for Polygram.  Recorded in Minneapolis with producer Monte Moir and in L.A. with Stewart Levine, the track ‘Yes If You Want Me’ emerged as the album’s biggest hit single, providing Junior with yet another top 20 U.S. R&B entry in the Spring of 1988.

Taking time off to re-evaluate his direction, Junior felt he needed to enhance his creative control and went on to work with his choice of producers namely; Alan Glass, Blacksmith, Simon Law (ex Soul II Soul), Robbie Taylor and Greg Smith. From this collaboration of writers/producers came the album ‘Stand Strong’, released on MCA.  This heralded as Junior’s most focused work since his debut album.  Mixing an exciting variety of music, the album included such outstanding tracks as the sublime’ Morning Will Come’ and the nasty groove of ‘Step Off’.

Although critically acclaimed by all who heard it, Junior felt the album should have achieved more.  “Both I and the record company (MCA) felt that the songs on ‘Stand Strong’ were just too good to be ignored and so I wanted to do something to reintroduce them to a new audience.  Finally we rested on the idea of re-working the tracks and producing a new album, which would include 6 new tracks so as to give something more to those people who bought ‘Stand Strong’.

The album aptly entitled ‘Renewal’ was released in November 1992 on MCA and it saw Junior continue the relaxed theme of ‘Morning Will Come’ but taking it into the next phase.  As Junior said, “on this album I became a lot more spiritual and lyrically I felt I became much stronger.

On the ‘Renewal’ album are innovative tracks such as ‘Never Gonna Let You Walk Away’, You Don’t Have To Look Far’ and ‘Why’.  Junior Once again demonstrates his ability to reach out and appeal to a wide cross-section of people.

Junior went on to release a recreation of the Detroit Spinners and Dionne Warwick classic, ‘Then Came You’ in 1992.  This achieved national top 30 chart success.

In 1995 Junior contributed to that infamous first album by The ‘Lighthouse Family’ simply entitled ‘Ocean Drive’. “The titles, the titles I hear you ask.  Well they are ‘Keep Remembering’ and ‘What Could Be Better’.  This album sold over 5,000,000 (five million) copies worldwide.

That same year Junior decided to set up his own Label Step Off Music, “I was meeting so many talented people that it just made sense plus there were things that I wanted to say and new I couldn’t say while being signed to a Major.  The following year saw the release of ‘The Best of Junior’ album on Polygram.  Here they were to capitalise on Junior’s notoriety as a brilliant songwriter/producer’ singer once again. Junior released ‘Honesty’ his first album on his own label in Japan and commanded sales to the tune of 30,000 (thirty thousand) copies, this album was released in the U.K in January 1997.

Being that all giving natured person, Junior decided it was time to continue spreading his style around so during the same year he leaned more towards production.  This saw him doing more work with new artistes on Sony and Warner record labels.

Phillip Bailey of Earth Wind and Fire used one of Junior’s songs entitled ‘Anything Is Possible’.  The first single from his solo CD in Japan this reached sales in the region of 30,000 (thirty thousand) the album was released in the U.S in June 1998.

Junior’s song writing skills have in no way been left untapped and while he has been out of the limelight, he has continued to be prolific, penning songs for a number of artistes, including Maxi Priest, Penny Ford (ex Snap), Amy Stewart, and RubyTurner. To-day we have such artistes as Heavy D, Warren.G, Cam’rom and Brand Nubians taking a lick of the classics’ Mama Used To Say and Too Late’.

A pioneer in his field, Junior was the first artist to create and present British

based black music to audiences outside the U.K 25 years ago. Since

Then he has consistently produced a number of important albums which have

Charted his artistic growth and development. Junior demonstrates his unique

Talent for well-crafted and beautifully sung songs, which transcend categories

Simply drawing in and delighting any audience.

In 1999 he teamed up with T.V Presenter Richard Blackwood, who is his Nephew, to re-record Mama Used to Say as Mama Who Da Man. This was released in the spring of 2000 giving Junior his biggest hit to date as a Producer reaching No 3 in the UK National Chart. There then followed the Top 10 hit 1234 Get With The Wicked and Top 20 hit Someone There for Me and the album You’d Love To Hate This.

What of the future for our jovial genius you ask;

“I just want to touch a lot of people with my music,” he says. Junior is full of

Surprises for those of you who dare to treat your ears to a wide ranging

Sphere of great music, you have already followed him into the millennium and he won’t let you down. “I believe I am here for a reason and my next project which is a New Album my first in 10 years will show that.

“The Prophet Rides Again”.

New Album “OCEANS “

Shalamar Jeffrey Daniel interview on Colourful Radio 02-October-2016

Shalamar Biography

In the late 1970s and early 1980s the name Shalamar became synonymous with the contemporary sound of catchy feel-good dance music. Shalamar are best known for a string of worldwide hits such as The Second Time Around, Make That Move, I Owe You One, I Can Make You Feel Good, There It Is, Friends and of course their often copied anthem A Night To Remember.

Shalamar started life as a “manufactured” group. Dick Griffey was the talent co-ordinator for US hit show Soul Train when he decided to set up his own record label – SOLAR. He took session musicians and created a hit record – Uptown Festival – which was credited to a faceless artist “Shalamar” in 1977. When the record became a hit he realised that there was a demand for an actual group so he set about creating one with soul train dancers Jeffrey Daniel and Jody Watley together with singer Gary Mumford, the latter of whom quickly left the group to pursue other interests.

In late 1979 the group was riding high on the US R& B chart with their hit Take That To The Bank when Gerald Brown became the second lead singer to walk out on Shalamar in as many years leaving his fellow band members without a frontman again.

Jeffrey Daniel had met Howard Hewett at the LA nightclub “Maverick Flat” a few years earlier and had already asked him to take up lead vocals after Mumford’s departure. At that time, Hewett was committed to another contract to tour Europe with a covers band. When Brown left, Daniel asked Hewett to come on board again and this time he agreed. The rest is history.

Hewett’s first record The Second Time Around was a million seller. As well as being number one on the US R&B chart it went on to reach number eight in the main Billboard pop chart indicating Shalamar’s intention to cross over with an edgy sound incorporating funk, disco, R&B and pop.

The trio consisting of Howard Hewett as lead vocalist together with Jeffrey Daniel and Jody Watley became known as the “classic” line up of the group. From late 1979 to mid 1983 they racked up more than a dozen hits all over the world including North America, Europe, Africa and Japan. In the UK, Shalamar are also remembered for Jeffrey Daniel’s famous appearances on Top of the Pops where he introduced body popping and moonwalking to UK audiences. Daniel is also an award-winning choreographer well known for teaching the moonwalk to Michael Jackson as well as co-choreographing some of Jackson’s videos and for being his dance mentor.

At the height of their fame in 1983, Watley and Daniel left Shalamar leaving Hewett to continue the group with new members and further hits resulting in a personal grammy for Hewett.

In 1999, Howard Hewett and Jeffrey Daniel reformed the group and began touring again. For a number of years they left the third slot empty as they continued to invite Jody Watley back into the group. When they were happy that they had tried their best to encourage Watley to re-join, they felt that they should look for another female vocalist.

The natural choice of replacement was Carolyn Griffey, daughter of founder Dick Griffey. She grew up a pre-teenager spending much time in the offices and studios of Solar Records in the presence of the original Shalamar and their label bandmates including The Whispers, Midnight Star and her mother Carrie Lucas, herself an accomplished R&B artist. At the age of 18 Carolyn had a record deal with another group Absolute who had two songs featured on the soundtrack of the film Lambada.

Since Carolyn came on board in 2001, the group have been able to extend their performance repertoire to those songs such as Full Of Fire which require a female presence.

Alton McClain interview on Colourful Radio 25-September-2016

Alton McClain Scarborough has been singing professionally for over 40 years. After moving to Los Angeles in 1977, she met her first producer, signed a recording contract as Alton McClain & Destiny, and released the top 40 hit “It Must Be Love”. She has toured nationally and internationally with Teddy Pendergrass, Frankie Beverly & Maze, Chic, Peobo Bryson, The Gap Band as well as many others. While touring in Japan, she heard the call to sing Gospel. She then recorded the CDs God’s Woman and Renaissance. She is currently working on a third Gospel album as well as a cover album of Skip Scarborough’s music.

Donna Allen interview on Colourful Radio 11-September-2016

Donna Allen is the “Power House” Recording Artist from Florida. She’s travel all over the world preforming her Hits records, which includes smash hits such as: “Joy and Pain”, “He Is the Joy”, “Talk About Serious”, “Satisfied”, “Sugar”, “I’m Your Bride”, “Real”, “Your The Best Thing”, “Change”, and many more…. Her latest release “THANK YOU DJ’S” is predicted by many National Dj’s, sure to be a mega HIT all over the world. Donna Allen was the First Black NFL Cheerleaders(Swashbucklers) for the Tampa Bay Buccaneers. And, First Runners Up in the Miss Black Tampa Beauty Pageant in the 70’s. She’s had many hits in major motion pictures. Such as: “He Is the Joy” in the Hit Motion Picture, Produced, Written and Directed by: “Tyler Perry”, “Make It My Night”(Fatal Beauty) in Motion Picture starring: Whoopi Goldberg, “Real” in the Hit Motion Picture (The Specialist) Starring: Sylvester Stallone & Sharon Stone. “Real” Written by, World renown Song Writer: “Diane Warren”. Donna Allen has embarked on an acting career. She landed a leading role in the short film “Mama I Saw Jesus” soon to be release, Directed by: Jermaine Aglin. Donna Allen has tour with many major recording artist(s), having many credits to her name as a Lead and Background vocalist for many different sounds represented in a large variety of “A-List” Recording artist(s). You can hear her amazing vocals talents on the likes of: Lil Wayne, Jennifer Lopez, Gloria Estefan, Phyllis Hyman, Jon Secada, Etc. (Just to name a few). She’s compared to the likes of: Tina Turner, Gladys Knight, Chaka Khan, Anne Lenox, Joyce Kennedy (Mother’s Finest), & men; Such as: James Brown, Al Green, etc. Donna Allen undeniable Vocals Talents puts her in a “Class of Her Own”. Her New Dance House Single “THANK YOU DJ’S” will surly have you dancing and wanting more, and more, and more and more of “The ONE & ONLY “Donna Allen.

Jah9 interview on Colourful Radio 04-September-2016

Deeply mystical, Jah9 has emerged from a chrysalis of poetry, dub and spirit to become a powerful femiNINE energy within a universal grassroots movement of consciousness. Inspired by the open spaces in the instrumental dub of 1970’s Jamaican roots music, Jah9 sings with a voice that belies the dimensions of her physical body, from a soul much older than its current vessel; “reminiscent of that darkly operatic wailer for truth & justice, Nina Simone.” Her philosophy–profoundly spiritual, and her style–Jazz on Dub. Born Janine Cunningham, Jah9 spent her first 9 years in Falmouth, Trelawny, on the rural western edge of Jamaica before moving into the city of Kingston, in 1991. Transplanted in the city, this country girl, used to the idyllic Falmouth where everyone knew everyone else, was suddenly struck by chaos disguised as order in Jamaica’s capital. Highly sensitive to her surroundings, she ventured inward and found an outlet for her feelings in the words that she wrote.

Growing up in a conscious family with a preacher for a father and a social worker for a mother, Janine had always been aware of the injustices in the world. However, it was not until she was on campus at the University of the West Indies that she would embark on a pivotal journey to find her true voice. At UWI, she would gather with a group of fellow socially conscious and Rastafari brethren by a fire to steam herbs and reason for long hours. There her heart was opened to the teachings of Haile Selassie I and her ears to the hypnotic bass of the heavy dub rhythms of roots reggae. Janine eventually embraced her childhood nickname, Jah9, as she learnt the significance of the word “Jah” and the number “9”. A staple on Jamaica’s underground poetry scene by 2009, in instrumental dub she found a place where her words could live, and the songs she started to write found eager encouragement. Jah9 began recording with renowned keyboardist and flautist Sheldon Bernard and her demos caught the attention of the legendary Beres Hammond, who then began helping to develop her recording technique. She later teamed up with popular producer Donovan Bennett of Don Corleon Records and released her first 2 singles in late 2010.

Her focus and determination eventually culminated in the release of her debut album entitled “New Name”, an homage to her personal spiritual journey produced by pioneer dancehall selector and roots producer Rory ‘Stone Love’ Gilligan. Voted album of the year by AchisReggae.com, “New Name” has been described as “quite simply, the superb sum of its parts: a straight cultural roots album” by United Reggae’s Angus Taylor.

Since 2013, Jah9 has performed on the main stage with her band ‘The Dub Treatment’ at most major European and US reggae festivals. Described as “black magic” and “possessing a chilling yet bewitching vibrato evoking a young Ella Fitzgerald and a rootsy coolness à la Erykah Badu” her dub-filled live performances elevate consciousness and invoke a spiritual reawakening.
Jah9, a certified yoga instructor trained in Kemetic, Ashtanga and Iyengar methods, has been known to compel her audiences during her live set to pause, breathe deeply and feel empowered. She opens minds and soaks them in knowledge and positivity. As a way to intimately engage with her fan base, Jah9 also curates an organic rhythm-based yoga experience she calls ‘Yoga on Dub’. Jah9 is rooted in her African heritage and driven to serve. In 2015, while on tour in Italy and Malta she was intent on engaging with African refugees, sharing with them insight on the new environment they would face, natural wellness as well as yoga/breathing as healing therapy.

Jah9’s words are a reflection of the life she has constructed. Considered a nation
builder and community activist, she has been heavily involved in youth development work. She has helped develop programs for at-risk youth in Kingston, worked on the creation of “Healing of the Nation” public awareness campaign and been at the core of the creation of the non-profit youth and arts advocacy group known as Manifesto JA in 2005.

In 2016, the Universal year of 9 [2+0+1+6], Jah9 has established for herself a
foundation as a formidable lyricist and revolutionary force; and now shifts her energies to unveiling a deeper more personal deployment of her ‘Jazz on Dub’ sound. Empowered by her femiNINE – that which is found in the symbolism of 9, the symbol of creation and womb of the universe – Jah9 is set to release her sophomore album divinely-entitled ‘9’.

Jeniqua interview on Colourful Radio 21-August-2016

The Australian born singer/songwriter is equally comfortable with R&B, Soul, Jazz fusion & dance.
Her voice blends elements of these genres naturally to create a unique sound where every note
exceeds expectations.

Jeniqua, nominated for a Shorty Award, in 2014 for ‘best singer’, does all her own backing vocals, vocal arrangements, and co-production on her songs. She writes songs straight from the heart.
Always inspired by much on her journey, a deep love for God and a desire to connect with listeners across the globe, her rawness and personal revelations of much learnt in life so far, has captured the hearts of many and helped them on their journey too. Her mission through music, is to uplift, encourage & empower people in their own lives and meet them where they are at, whether expressed in a silky smooth ballad, or soaring to great heights in a powerful and funky dance track.

“Jeniqua is a phenomenal singer & songwriter that is not afraid to be herself. The out-pouring of her lyrics are truly positive & captivating. I recommend her music, not just to music lovers, but also for those who are seeking comfort & trying to find some release”, says Norma Carby, Lifestyle Mentor & Coach (NY).

Jeniqua was born into a BIG family. Unique, in that, referred to, as the ‘1,2, 3 Family’, (an Australian Mother’s record). Her parents, had, first child, then twins & then triplets. Jeniqua is one of the triplets. Born in Australia, though parents heritage is European (Swiss, Danish, Polish, French, Irish, Scottish).

Always known she had a God given gift and talent for singing, as a young girl, Jeniqua chose to take her natural gift further. Her voice was once assessed by a local vocal coach where she picked up the skills to be able to pass on her natural talent, along with knowledge of vocal posture, to others and began vocal coaching. She had also written poetry from a young age, went on to teach herself piano, adding melodies and chords to poetry verses and eventually writing lyrics to her own songs, as her creativity continued to blossom.

With a continual flow of songs in her heart, Jeniqua is constantly writing and has many more songs to share with you and grateful to all the radio stations, that feature her on playlists and in rotation and to her fans across the Globe, who support her music.

Jeniqua has track record of writing catchy tunes. From 2010 to present, she has released many songs filled with heart and inspiration, such as ‘MAKING LOVE’, her ‘JENIQUA EP’ both charting on playlists in UK and the USA. In August 2014, single: ‘U GOT IT GOIN ON’, was released also receiving great reviews and fast becoming a favourite on the airways.

Fast forward to May 2016, ‘HOW DO I LOVE YOU’ single was released, gracing both
Gospel/Christian contemporary and mainstream playlists. Then ‘Awaken my soul’ 7 song CCM/Gospel LP/ALBUM was released on 21st July 2016.

Forthcoming releases include, Jeniqua’s song ‘YOU R MY SMILE’ featured on Social Climax Part 2 mixtape from the UK, with DJ Niceness and her highly anticipated debut album and further singles.

These are just a few, among the many projects she has been working on. Continuous writing and inspiration, fills her day.

Jeniqua’s huge voice and talent has been compared to many established recording artist that influenced her development, though make no mistake as a vocalist, her voice is an unmistakably unique and divine gift. Her combined talents and style make her the complete package entertainer.
“Jeniqua’s voice, stage presence, raw talent and work ethic will have a huge impact on the industry.”

Nana Genesis interview on Colourful Radio 14-August-2016 

Nana Genesis is a singer-songwriter, vocal coach and performing arts teacher from London, Great Britain.

The Beginning

Having started singing and performing at the tender age of 6 to family and friends, writing her first song at the age of thirteen and leading harmonies in school productions, Nana was clearly born to perform.

Nana’s musical flair did not stop there, as she successfully joined the London Allstars Steel Band and played at the famous Notting Hill Carnival. At the same

time, she decided to learn to play the guitar and hasn’t looked back since. Whilst still at school, Nana sneakily auditioned to be part of the band, Ezeke and Aqua Vita . She got the job, but was not able to tour with them until she finished school. Having completed her education, Nana was finally able to go on a world tour with Aqua Vita. Meeting and sharing the stage with Natalie Cole, Ella Fitzgerald, Cher and Ben Vereen . Whist playing at the Monte Carlo Sporting Club, Nana was able to secure a solo slot, performing for Princess Grace of Monaco Grace Kelly! where Ms Kelly took to the floor on her own, dancing as Nana sang.

Rediscovering Reggae

Looking for a new challenge, Nana decided to tap into her love of Reggae, having grown up listening to it as her father was Jamaican. Nana travelled to Jamaica where she worked with the legendary Gregory Isaacs.

She also went onto back the formidable Freddie McGregor . It was a dream come true and Nana finally secured her reputation as a strong vocal artist and excellent backing singer.

With Reggae finding its way back into her life fulltime, Nana went on to work with Earl Sixteen, Culture, Junior Delgado, Johnny Osbourne and the Mad

Professor at Ariwa Sounds Having been writing her own songs for years, Nana was finally able to record some tracks with PWA Records and went on to perform them across the UK, with her most successful single, Holding On .

Me, Now

Nana has continued to work as a backing vocalist. Recording in the studio, on stage, covering Pop, Soul, Jazz and Reggae . She also writes for other artists and performs her own material.

Whilst continuing to work on her own music and perform with high profile artists, Nana wanted to pass on her knowledge to other budding musicians so completed a Performing Arts Access course gaining a Distinction . She currently works with various performing arts companies and schools as a vocal coach, training singers and performing for nationwide events and charity functions.

Whilst doing all this, Nana also uses her exceptional talent to work with people who have Dementia, as a singing coach. Her work with clients has proven to boosts their brain activity, manages stress and stimulates positive interaction with others.

Whilst teaching and writing, Nana continues to tour as a busy artist, performing at many festivals and venues with the likes of Max Romeo, John Holt, Michael

Prophet, Wayne Wonder, Ken Booth, Chucka Demus & Pliers, Queen Ifrica, Levi Roots, Little Roy and Gappy Ranks ( on the Jools Holland Show BB2 ),

Derrick Harriott, Savanna, Nature, One Love Orchestra and Mary Wilson from the Supremes.

Nana’s musical influences spread far and wide, but the key artists include: Judy Mowatt, Barbra Streisand, Nina Simone, Whitney Houston, Bob Marley and Marcia Griffiths.

Nana is now ready for the next phase in her career and has written and produced her own album, The Story So Far , and will be promoting it and performing very soon. Watch this space!

Marsha Ambrosius interview on Colourful Radio 07-August-2016

A great song takes you on an emotional journey. It’s an exploration into and embracing of longing, passion, remorse, romance, friendship, love, pain, happiness and everything that falls in between.

Multi-Grammy® nominated musician Marsha Ambrosius knows a little something about writing great songs. Whether it’s as one half of Floetry, on her chart-topping solo debut Late Nights & Early Mornings or her career as an acclaimed songwriter /producer, her observations on love and life paired with her soulful and honest vocals flip the personal into a universal truth.

Marsha Ambrosius will unleash her next tale of love and life through the release of her sophomore solo album, Friends & Lovers. Produced and written by Marsha, Friends & Lovers features collaborations with Charlie Wilson, Skye and Lindsey Sterling. The sixteen-track album plays host to a variety of standout records including the hip-hop flavored “Stronger” featuring Dr. Dre, which is a remake of Sade’s “Stronger Than Pride.” The track, produced by Marsha, is the perfect combination of soul and hip-hop. When discussing the collaboration, Marsha joyfully offers, “I’ve been privileged to be under great wings that have allowed me to shine.”

The first single is the moody, yet inspirational “Run.” According to Marsha, “Run” was not intended to be a single, but instead was “just a magical moment in the studio. I remember sitting behind the piano and it’s like (the song) wrote itself. I kept hearing – ‘What am I running from, what am I running towards? It was run away from the pain I feel now.’ Everything that I thought I was reaching for brought me down. It was that wake up call, that this could not be my life. I had to run towards something bigger and better. I feel like people get so caught up in who they think they’re supposed to be. You’re supposed to have plans but rules are made to be broken and plans change, all the time. There are curve balls that change your perception, and that’s what ‘Run’ is to me. There’s a melancholy tone but the lyrics have a rejoiceful, hopeful narration.”

Equally emotional is “Love” and like the sensation itself, the song is alternately hopeful and tinged with sadness. Quoting the lyrics, Marsha says, “‘When love knocks at your door, don’t turn it away, let it inside and invite it to stay… Just let it be.’ Don’t be afraid and if this is how you feel this must be love. There’s so many ways to spin what love is for you. It can be the most joyful and terrifying time to love at the level that you feel you deserve. With this song it was literally that morning, standing on the balcony, cup of coffee overlooking wherever in the world …I read the morning paper but there’s nothing in there about the love I have for someone. Yet this is the biggest news I have in my life…no one is reading about little old me. But for me, it was an affirmation and reminder of what to do when that is exactly what it is.”

“Spend All of My Time”, a special duet with the legendary Charlie Wilson addresses another facet of what it means to love and what it feels like to say goodbye. “This is about me missing my grandmother and my aunt to the point where it hindered how I carried on my day. I lost my grandmother in 2003. I lost my Aunt way too suddenly to cancer and to watch her deteriorate before my eyes made me look at what is important. Music became my importance. I felt guilty for that and I know that’s what they would have wanted for me. I had no choice, but to keep living. I’m out here trying to get this money so we can get to Disney World. Everyone is rooting for me and wishing me well and there’s me not being able to be by their side. All the happiness this money can’t buy, I wanna spend all my time with you.”

A native of Liverpool, England, Marsha burst on the music scene as the singing half of Floetry. Their 2002 debut Floetic produced “Say Yes” and “Getting Late” as well as four Grammy® nods. Following their 2005 sophomore album, Flo’Ology, the duo opted to take different paths and despite the difficulties of ending a long-time partnership, Marsha continued to build a name for herself as a songwriter and producer. Creating “Butterflies” for the late Michael Jackson in 2001, Marsha has also worked with the likes of Alicia Keys, Kanye West, Jamie Foxx, Busta Rhymes and Nas. She’s been nominated for a total of six Grammys®, honored by BMI as their “Songwriter of the Year” and has a devoted fan base that includes her musical idols Prince and Stevie Wonder.

Released in 2011, Late Nights & Early Mornings entered the Billboard Hot 200 at #2 and debuted at #1 on the Top R&B/Hip-Hop Albums chart. The single “Far Away”, was a staple on BET and Marsha was the recipient of a Centric Award at the 2011 BET Awards. “With my first project, I just knew that I just wanted to do an album. This time the concept came immediately, the stepping stone was already laid. So I was like, ‘Where do I go from here? What do I speak about?’ So I met a whole bunch of new friends I care about dearly and some potential lovers… it was like the sequel. I’m always connected to music but from a movie standpoint. Every song I create I see the movie, I visualize the video, I’ve connected to this character that you have to become to deliver the music. Even going back to the Floetry days, when I wrote “Getting Late” I knew that the lady had been divorced, that she had two baby daddies and the first one kept coming back,” Marsha laughs.

Asked what she hopes people will take away from Friends & Lovers and Marsha’s answer is as passionate as her music. “I wanted this album to be a thing that felt timeless. There are so many trends that come and go that if you find the space that makes you nostalgic, then that’s exactly the angle I was going for. To make you feel like you’ve heard this before or that it’s so relatable and you’re so able to connect with the story behind it, like ooh. I’ve had that wild night or I’ve had that early morning or I’ve met that friend who then became a lover. There are all these pieces of a puzzle that just come together in one project. I want them to know that she’s talking to me. On this album, my perspective is I want to hear you say what I want you to tell me.”

Will Downing interview on Colourful Radio 31-July-2016

Danielle Ponder interview on Colourful Radio 24-July-2016

Teri Tobin interview on Colourful Radio 17-July-2016

Flip through any old stack of underground disco and boogie vinyl released between the late ’70s and mid-’80s. If the name Leroy Burgess isn’t in the credits of at least one out of the first 50 you scan, consider it a fluke. Despite the fact that Burgess released a grand total of one single under his own name, he had his hand in so many recording sessions that even devout fans had trouble keeping tabs on his activities. Each release — some were by short-lived studio projects, others were by full-blown groups — was either aided or carried by Burgess, a multi-instrumentalist, vocalist, producer, arranger, and songwriter who made a significant impact on dance music during his hottest period of activity. Even if Burgess never had a single note of his voice recorded, his value to black music (including the birth of house) would be firmly in place — but it’s this facet of his career that has gained him the most attention. A supremely expressive gospel-steeped baritone, Burgess belongs alongside the soul greats when it comes to conveying all the life-affirming joy that comes with blissfully surrendering to love. One Leroy Burgess song is likely to temporarily lift all the weight off your shoulders and strip you of cynicism.

Born and raised in Harlem, Burgess sang in church choirs and was tutored by Herbie Jones, a Duke Ellington and Billy Strayhorn associate; apart from that, his musical knowledge was picked up informally through his mother (a onetime opera singer) and the infrequent family reunion meet-ups with his uncle, legendary Philly soul arranger/producer Thom Bell. He cut his teeth in the late ’60s as one-third of a group called the Mellow Sounds. Burgess, Stuart Bascombe, and Russell Patterson were still in their teens at the turn of the ’70s, but they were extremely anxious to be heard and recorded. A producer, songwriter, and arranger named Patrick Adams eventually became involved in several significant aspects and renamed the trio Black Ivory. It wasn’t without a struggle that Adams helped Black Ivory attain a Top 40 R&B single with their debut, “Don’t Turn Around.” Money was scrapped together for the recording, and numerous labels weren’t impressed enough to take the gamble. Today took that gamble and succeeded with it, though the group never made a huge breakout. Burgess remained with the group until 1977, when he opted to part under good terms. By that time, Black Ivory had a few ballad-heavy soul LPs under its belt. Burgess often co-wrote songs with Bascombe, Patterson, and Adams, and his time spent with Adams had a profound effect that lasted throughout his career. After Black Ivory, Burgess would often team with Adams, a figure who influenced him in more ways than one.

Despite the departure from Black Ivory, Bascombe and Patterson weren’t through with Burgess. The group was in need of a couple songs for an album and Burgess donated a pair that had been abandoned from a project that hadn’t panned out. These two songs, “Mainline” and “Hustlin’ (You Gotta Be Dancin’),” made for a turning point in Burgess’ career. Not only did Burgess allow Black Ivory to use the songs, but he also made a temporary return to help with the recording session. “Mainline,” which has long since become a dancefloor classic, got Burgess’ disco ball rolling. This and “Weekend,” another Burgess tune recorded for Adams’ Phreek, kicked off a seemingly endless series of projects that is nearly impossible to accurately depict with a time line. Releases by Bumblebee Unlimited (“Love Bug”), Inner Life (“Moment of My Life”), Dazzle (“Reaching”), Phreek (“Weekend”), the Fantastic Aleems (“Get Down Friday Night”), Aleem (“Release Yourself”), Intrigue (“Fly Girl”), Caprice (“100%”), High Frequency (“Summertime”), Universal Robot Band (“Barely Breaking Even”), and Change (“You’re My Number One”) featured Burgess’ involvement in various capacities, as did material from solo artists such as Rick James, Dino Terrell, Fonda Rae, Venus Dodson, Ben E. King, Eddie Kendricks, Peter Jacques, and Narada Michael Walden. Needless to say, Burgess was in-demand. He could write a song, arrange it, produce it, sing on it, play keyboards — almost everything short of pressing the records and delivering them to the shops.

In the middle of all this work, Burgess also found time to helm a couple projects. After one particular 1981 session with two of his most frequent partners, bassist James Calloway and drummer Sonny Davenport (the trio, fleshed out by Burgess’ keyboards, made for one of the finest rhythm sections in the field of disco/boogie), producer Greg Carmichael allowed the musicians to use the remaining recording time for whatever they pleased. The result was “Let’s Do It,” a sweet mid-tempo single full of all sorts of interlapping, oddball synth sounds and Burgess’ ever-beaming vocals (not to mention some valuable background help from Dorothy Terrell and Burgess’ sister, Renee). Released under the name Convertion, the single sparked a partnership with Carmichael that culminated in the Logg LP for Salsoul. The Convertion crew intended to continue under that name, but legal issues with SAM — the label that released “Let’s Do It” — prevented Burgess and company from using the name on another label. Regardless, Convertion continued as Logg and delivered a horribly overlooked self-titled LP on Salsoul in 1981. The album spawned three singles — “I Know You Will” (remixed by Larry Levan), “Dancing in the Stars,” and “You’ve Got That Something” — that exemplify the era that followed disco and predated house. Those three songs took up half the space on the album; the three non-singles were hardly slouches either. Amazingly, only “I Know You Will” had any effect on the charts, registering at a bonkers number 81 on the Billboard dance chart.

Burgess’ output was reduced to a slow pace by the end of the ’80s, though he did remain somewhat active throughout the early 2000s, collaborating occasionally with artists like Blaze, Glenn Underground, and Cassius. Burgess’ inability to become a household name can be attributed to a number of things. His happiness with anonymity, fostered by working under several aliases and with numerous groups, didn’t exactly enable name recognition. And the fact that the bulk of his work was released on small labels with little in the way of promotion — or radio stations willing to play music that was at the dance end of the spectrum — didn’t help either. Still, there isn’t a single history-aware house DJ who doesn’t know his or her Leroy Burgess. In 2002, the Soul Brother label tied up some of the many loose ends in Burgess’ discography by issuing two crucial releases: The Anthology, Vol. 1: The Voice and The Anthology, Vol. 2: The Producer. Around this time, Burgess began performing again with Black Ivory.

Incognito’s “Surreal” is one of the band’s freshest, most creative albums and sees the addition to their line-up of two outstanding new vocalists in Natalie Williams, UK jazz scene luminary, and 26-year-old German-born singer-songwriter Mo Brandis.

Incognito founder Jean-Paul “Bluey” Maunick originally wrote more than 30 songs for the project and whittled them down to the 14 selected for the finished album, which also includes vocal contributions from Maysa – described by Bluey as “my awesome musical muse” – and Vanessa Haynes.

The formula is beautiful songs over a bed of fluid bass lines and irresistible drum grooves, and the album reflects the energy of the band’s live shows, while adding a raw edge to their customary slick studio production.

Mo Brandis, born in Hamburg but brought up in Swaziland, began singing with Incognito on their live dates last summer. An accomplished pianist and sax player, he has already enjoyed success as a songwriter, responsible for a No 2 hit and Gold album in Germany last year. Mo sings and co-wrote the first single “Goodbye To Yesterday”, as well as the equally hooky “Don’t Wanna Know”. Bluey enthuses: “If there’s a young vocalist who can deliver on both sides as a modern R&B singer and a soulful old school crooner, it’s Mo”

Bluey is equally enthusiastic about the qualities that Natalie Williams – one of the most in-demand jazz-soul vocalists in London – brings to the band. “I first became aware of her when we played Ronnie Scott’s club and she was the singer with the house band – I thought she was amazing and began a pressure group to persuade this super busy bee to join us, which she finally relented to, with help from our keyboard player Matt Cooper”.

Natalie contributes the soulful “Above The Night” and the sparse Seventies-style bossa nova “The Stars From Here” as well as “Restless As We Are”. Vocal powerhouse Vanessa Haynes, who joined Incognito two years ago, is in blistering Loleatta Holloway-esque form on the album’s one cover song, “Ain’t It Time”, a little-known Seventies disco tune.

The album’s opener, the funky, bass-driven “The Less You Know” – written by Bluey with the band’s bass player Francis Hylton – is vocalled by the ever reliable Maysa. The US singer, who first featured with Incognito on their 1992 set “Tribes Vibes & Scribes”, also contributes a beautiful performance on “Capricorn Sun”, with its bubbling, rhythmic groove, which Bluey “wrote on my guitar after reflecting on a friend’s ongoing battles with his Capricorn partner”.

Long-time Incognito fans will be happy that there are two driving instrumentals – “Rivers On The Sun” and “Thoughtful Fantasies”, the latter continuing Bluey’s passion for Brazilian jazz funk with all horns blazing, and percussion breaks.

The band perform a 10-day US tour beginning March 28, and then begin several months of touring throughout the UK and Europe in support of the new album. They play London’s Islington Assembly Hall on May 25.