Category: Music

Emerging Talent – Brutha

Emerging Talent – Brutha

Emerging Talent
Rick Florino

All in the Family BRUTHA

R&B needs Brutha right now. The Los Angeles quintet blends classic Motown flavor and modern “swagga” into a sound that’s simultaneously sexy and soulful. On their eponymous Island/Def Jam debut, these five young brothers revive soul with a smile. Their record, which came out on December 21st, has got feel to spare, and it’s the end result of a long hard road. Their journey from the streets to the stage is chronicled weekly on the hit BET show Brothers to Brutha. However, all of this recent time in the limelight hasn’t gotten to them.

Sitting in the Def Jam conference room, Brutha — Jake, Jared, Grady, Papa and Anthony — are some of the most genuine and funny cats you could come across. It doesn’t even feel like a label office when they’re there. It’s like a family gathering. That family chemistry is all over the record too. “As brothers, our bond is so crazy that it separates us,” explains Anthony. “I’m not saying it in a cocky way, but it’s a bond that I know the people in the crowd feel. It’s just a brotherly link. There’s that feeling that it’s this big family affair.” Everyone is also welcome in the Brutha family, and this is music that anyone can vibe with. Grady continues, “Our lyrics are very positive.

They’re real. There’s nothing falsely contrived. We got the chance to co-write our first single, and we worked with a lot of really talented writers on the album including Ne-Yo, The Corner Boys, R.L. from Next and Daron Jones from 112. We bring across real issues that people can relate to.” The show has become a success because people can relate to them as well. Jake states, “I think people are connected to the show because Of its honesty. Right before the cameras came, we were concerned about how we were going to be portrayed. We didn’t know if we should lay back on this or that. You know what? At the end of the day, we’ve got problems, we’re a family and we love each other. Why not show the world our problems and the way we solve our problems?

We are who we are when the cameras are rolling.” Jake shows that even though some of the songs are about being brokenhearted, their respect for the ladies remains in tact. “We try not to belittle or disrespect women, and we don’t use any curse words. We stay positive lyrically. In music today, there’s so much negativity. I’m not saying all rap music is negative, because it’s not.

There’s positive rap, but rap rules the airwaves right now. There’s not a lot of positive R&B, and that’s why we want to bring that back.” They’re bringing it back full force on tracks like the first single, “I Can Hear the Music” and “She’s Gone.” Both songs pack a classic sense of suave and a 21st century wallop. Papa shows the most important aspect of the group’s music though. “People go through a lot these days. I always saw music as my escape. I always wanted our music to be that escape for somebody when they’re going through something.

They put our record on to get through their situations.” Ultimately, Jared puts it best, “You’ve always got to put on some R&B to get through what you’re going through. R&B does touch the soul.” With that, they serenaded this writer a Capella, and backed up every word they said in the course of our time together. They’re the real deal, and I truly felt part of the family.

Lights, Camera, Luda…

Lights, Camera, Luda…

Rap superstar and actor gives us a front row seat at his Theater of the Mind

On Ludacris’s new album, Theater of the Mind [Def Jam/Disturbing Tha Peace], there’s a track called “Everybody Hates Chris.” It’s a hilarious hip hop romp co-starring comedian Chris Rock. Rock stands toe-to-toe with Luda, trading hysterical, incisive lyrical blows.

However, after talking to Chris “Ludacris” Bridges for a mere five minutes, it’s hard to believe that anyone could hate him. He may have sold over 15 million records worldwide and appeared in critically acclaimed films such as Crash and Hustle and Flow, but he’s still an affable, funny and friendly cat. Rap’s a fickle game, especially for an artist who’s seen both chart and big screen success of that magnitude. It doesn’t matter to Mr. Bridges though. He’s far too busy to even worry about what any detractors might have to say. That’s the message of “Everybody Hates Chris.”

From acting in this fall’s RocknRolla and Max Payne to running Disturbing Tha Peace Records to playing live, Ludacris certainly has his hands full. Adding to his plate, he just dropped Theater of the Mind at the end of November, and he’s got an upcoming role alongside Gerard Butler [300] in the action sci-fiepic, The Game [Out Summer 2009]. Touching down at the airport, he’s on his way to, you guessed it, handle more business, but as always, he’s cracking a wide smile. “I can’t complain, my friend. If I complained, I’d be dead wrong.”

An intelligent, suave MC with a unique cadence and a knack for clever stories, Ludacris is the 21st century’s answer to Slick Rick. He also happens to be the sharpest rapper to emerge from the Dirrty South. Theater of the Mind is his sixth full-length release, but he’s become an even better MC and entertainer on this outing. The record plays out like a blockbuster summer flick. It’s got action, laughs and even love — well it’s the kind of love that comes after way too many drinks at the club, but you get the picture. Theater of the Mind may very well be the first cinematic rap record.

“There’s a first time for everything,” he laughs. “This is album six, so I had to reinvent myself and come up with new things. I wanted take my creativity to an all-time high.

I wanted to present people with something other than just regular music and add an element of presentation. When you listen to the beginning of the album, you hear the movie reel rolling. I hope you feel something on every song. That’s what music should be about. If you don’t feel anything from the beats and the lyrics, it’s basically irrelevant, in my opinion.” All of his current screen time certainly played a part in cultivating the album’s cinematic bombast. “To a degree, I think the record was inspired by my participation in so many films recently,” he continues. “However, it was also inspired by trying to do something a little different and new. When you listen to music, you can paint a visual picture when certain things are said. I took that idea to a whole new level. I wanted to paint a visual picture on every song.” He had the chance to paint that picture alongside some of the biggest names in hip hop, including Lil Wayne, T-Pain, T.I., The Game and many others. “The tracks I did with T.I. and Lil Wayne were like us swapping, because I did songs for them. Lil Wayne and I went hard on ‘Last of a Dying Breed.’ It’s an event. That’s what I try to do with every song — make it a damn event. Lil Wayne’s a real lyricist, and there was some great competition on that record. I love working with different artists. On my album, I call them, ‘co-stars’ instead of ‘features.’ I think it’s good to have that competitive nature. We’re going at each other on Theater. It’s a crazy competition [Laughs].” That competition truly peaked on “Everybody Hates Chris.” Ludacris laughs just thinking about the song. “While I was shooting Max Payne in Toronto, I hit up Chris Rock. He happened to be coming up there to do his comedy show. I asked him to come listen to the song and if he’d be interested in getting on it. When he heard the record, he was like, ‘Hell yeah, I’m down.’ My name is Chris and he has a show called Everybody Hates Chris, that’s basically what it came down to. I swear we had to condense what you hear on the record. He was just freestyling. He was in the booth going hard.

It was basically freestyle comedy. I took the best of it. If you heard the unedited version of what he said, you’d be dying laughing. He said a bunch of funny stuff.” However, Ludacris didn’t just look to Hollywood and the rap world for Theater’s cast members. He also infiltrated the sports world, nabbing Floyd Mayweather for the robust and raucous “Undisputed.” He explains, “Floyd Mayweather is undisputed in boxing, and I feel like I’m undisputed in the rap game [Laughs]. The song compares punch lines and actual punches. There are metaphors between being in the ring and rap competition. There are a lot of similarities.

That’s one of my favorite songs because there are just so many damn punch lines and metaphors. It’s poetry in motion: my pen bleeds on the paper, heart screams with emotion.” Ever the perfectionist, Ludacris continues to challenge himself, by delving further into film. “Movies have been good. I’m still taking supporting roles. I want to continue to learn before I step into a starring role. I’ve been balancing music and movies. They are interrelated in a sense. However, there is one big difference. When I do music, I’m one hundred percent on my own time. I make my own rules. When I do movies, I’m on somebody else’s time. Between movies and music, I’m taking it one hour at a time, my friend. You’ve got to hustle. In times like this, you’ve got to make sure you’re consistent and you work hard.” Ludacris never ceases to hustle, and acting has become an integral part of his larger than life persona. He’s excited at any mention of his next confirmed big screen jaunt, The Game. “It’s a futuristic action flick set ten years from now. The Game is basically reminiscent of The Running Man with Arnold Schwarzenegger. It’s about these convicts in jail. They can take on a deal where they can enter a battle zone and be played as an actual video game character by another human being.

The convicts do it in order to shave time off of their sentences. It’s really crazy. There are chips in their brains that allow another human being to play them in the battle zone. It’s extremely tripped-out.” All of that screen time still hasn’t turned Ludacris “Hollywood” though. When he’s in tinsel town, he enjoys some of the more upscale establishments like Koi and Mr. Chow, but he’s always down to hit Roscoe’s Chicken and Waffles. “When I’m in L.A., I eat at Roscoe’s a lot. I shout it out on my records,” he laughs with a smile.

“You’ve got to love it, man. Who would’ve thought that combination of chicken and waffles would’ve been perfect for the palate?” Coming from the man who titled an album, Chicken-N-Beer, this isn’t a shocker, but it proves that Ludacris is still down-to-earth.

He also still loves playing live. “One of the greatest rewards of being an artist is being able to perform and having everybody know your words. There’s no better gratitude than doing something and having a response like that. Knowing that people are listening to album cuts, not just songs on the radio, and that they’re feeling your music keeps me motivated. In ‘Last of a Dying Breed,’ I say, ‘MC means move the crowd.’ It’s not about just standing in one place, it’s about giving people their money’s worth and making sure you’re just as energetic as they are.” There’s no rest for such an industry presence. He just came off another Saturday Night Live appearance, and it proved another good time for Luda. “SNL was great, man. I did ‘One More Drink’ with T-Pain, and we did a skit. The last time I was on there, I was the host and the musical performer. That was crazy. This time, we did one skit that was a continuation of one that I did before. It’s called ‘Blizzard Man.’ The whole SNL experience is always great. Anytime you do live television, it is what it is at the time. It always brings that element of excitement to another level. I love doing SNL.” However, that’s not the last act of promotion for Theater by any means. “We’re working through the holidays. Maybe, we’ll take a break on the actual holidays themselves — Thanksgiving and Christmas day [Laughs]. Besides, that we’re working.” Looking straight ahead, he continues, “I don’t take myself too seriously, especially at a time like this. I love cracking on my own self and doing things like that. If I’m making fun of me, you know that I don’t take myself too seriously at all, and I don’t think anybody should.”

That’s just another reason to love Luda…

- RICK FLORINO

Emerging Talent: Between the Mumbles

Emerging Talent: Between the Mumbles

How do you know when you’ve written a hit song? Andre Merritt was in the booth. He had just improvised a song about paranoia. If there was any doubt in his young mind, it was quickly erased by a soft voice in his headphones. Singing superstar Rihanna happened to be in the studio.

“Britney’s not getting this one”, she said. That’s how you know it’s a hit.

“Disturbia” was a smash hit, his first number one, and had the extreme honor of opening the 2008 MTV Video Music Awards. Andre was in the audience for the performance as Rihanna electrified the crowd. Millions of music fans around the globe tuned in. It was a dream come true.

Riding a wave of recent success, Andre speaks about the future with confidence and refreshing candor. He and the Graffiti Artizts team are now producing their own material, transitioning from mainly songwriting to the production of a full-length album with long time collaborator Chris Brown, who worked with Andre on the hit single “Forever”. The move into producing will yield more creative control, but also more responsibility. Andre seems ready for it and confident in what can set his musical vision apart from the pack. He sums up his musical tastes saying, “I want to take Journey and Chicago and introduce them to Lauryn Hill. Ballads.” He is not afraid of using the word “weird”, trusting his own judgment to see (or hear) around the corner for what others might consider too eccentric. That musical foresight has already scored big with audiences with “Disturbia”, a brooding dance number that strikes an almost cinematic vision of an unnamed terror, advising, “the darkness is the light.”

Though much success has already come to this young man, Andre is acutely aware and unafraid of the challenges ahead. “I’m not gonna lie. It’s hard work. You wanna believe that people are gonna get you. You wanna believe that people are going to get your work, but a lot goes into it.” A mentor like Jay-Z can serve as inspiration, but the ever-changing technical and commercial elements of the modern music industry create a constant frontier for emerging musicians attempting to navigate the business.

Proving his bona-fide Angeleno status, the car is his refuge, funneling the energy of the city into his songs. Digital recorder at hand, he constantly records his adventures through the city, his thoughts, snippets of a burgeoning melody. He scours the recordings for an elusive melody happened upon at a red light, searching for, “that something between the mumbles.” That “something” is an enormous talent for cutting-edge songwriting as Andre continues his upward trajectory through the city.

- PIETZ PETERSON

MC Lyte

MC Lyte

In this issue of LAX Magazine we are honored to have hip-hop legend and Grammy winner MC Lyte give us her take on a couple of divalicious ladies. In old school versus new school reviews Lyte checks out Mariah Carey and Leona Lewis.

Get to know MC Lyte’s new group, Almost September, featuring renowned producers Whitey and Jared Lee. Their groovin’ tracks are currently available on iTunes and you can catch them live in Los Angeles in July. Hit them up on myspace at myspace.com/Almost September

There are such huge expectations for this new artist. Automatically the title song, “Bleeding Love” reminds me of Jordan Spark’s “No Air,” yet I know there is something distinctively different about the two. She has a raw talent that feels very seasoned, but truth is she’s got so much further to go. I mean that in the best way. I can liken it to a seasoned player on a court versus a rookie who has just arrived but continues to score. Leona has what it takes and I look forward to hearing more from this young vocalist. Though the texture of her voice is wildly refreshing, there’s something about the production that’s predictable for “Better in Time” and “I Will Be”. “Forgive Me” reminds me of a Whitney Houston song and I guess if she’s not doing it then someone else should. She melts over this traffic with an amazing amount of confidence that exudes through every note. “Misses Glass” feels like everything we’ve been waiting for, however “Yesterday” is the best rendition of Mariah Carey that I’ve heard thus far. She’ll do well, I’m sure!

Years later and there’s still such an excitement that overcomes R&B/hip-hop lovers when Mariah drops a new compilation of songs. Although we share the same prefix — MC — she undoubtedly hums a tune like no other. Here with this new release she captures the essence of a true Mariah Carey sound. A formula once created by Jermaine Dupri for long ago group Xscape has seemingly worked for Mariah for years now. “Touch My Body”, one of my favs, is exactly what I mean when talking about a formula at work. “Touch Me” moves the crowd in the clubs and on the radio, making the tune a perfect sing-a-long song for the beginning of spring. “I’ll Be Loving You Long Time” uses a popular Debarge song as the sample that rocks this joint. I love the melody and it’s a feel good song. This will certainly get a lot of play on my long drives up the coast. Some singers NEED to dance, however with the notes MC is capable of hitting she needs to move nothing but those vocal chords. Oftentimes, I believe she holds back. She gives only what is necessary to make a hit, occasionally allowing her octaves to kick in for the bridge and vamp out of a number. I love it!! What a strategy! E=MC2 = another success to add to the already fascinating discography.

OBSESSIONS : THE AIRBORNE TOXIC EVENT

OBSESSIONS : THE AIRBORNE TOXIC EVENT

L. A. is to present-day indie rock what Seattle was to early-90s alternative — a breeding ground for bands that shape the sound of rock music immeasurably.

Enter The Airborne Toxic Event (TATE). They haven’t recorded a full-length record yet. But based upon their recent sold-out residency at Spaceland and shows at the Echo and the Troubadour, along with the heavy rotation of their single, “Sometime After Midnight” on Indie 103.1, KCRW and KROQ, it’s certain that TATE’s brand of foot-stomping, melancholic rock will soon be both revered and imitated by the masses. Taking its name from a subplot in Don Delillo’s postmodern novel, White Noise, TATE combines self-reflective lyrics and Cal Arts-educated musicians with a robust range of instruments — from a viola to a trumpet to the hood of a 1969 Alfa Romeo — creating a kind of artful distress, one that could only be birthed out of the industrial yards of downtown L.A.

EMERGING TALENT – Paul Freeman

EMERGING TALENT – Paul Freeman

How do you get a record deal? You can try Paul Freeman’s approach. Strapping on an acoustic guitar, he hopped on RCA’s boardroom table, and serenaded industry legend Clive Davis with a heartfelt song entitled “You and I.” That was all it took for Clive to sign Paul. The young Welsh songsmith is now readying his debut for a summer release through RCA/Arista and “You and I” is set to be the first single. While dining on sushi at Makai in Santa Monica, Freeman comes off charismatic, funny and extremely friendly. As chichi businesstypes gather in the dimly lit, slick bar, Freeman reclines in a corner booth. Clad in a classy button-up shirt, with his dark hair perfectly “rock and roll,” his eyes dart around the restaurant with a youthful fascination. It’s apparent that he absolutely loves Los Angeles, and the city is perfect for his Bruce- Springsteen-meets-Oasis-arena-rock. Between sips of cold, imported beer, Freeman exclaims, “Pete Townshend said, ‘Once a British guy moves to Los Angeles, he never goes home.’ It’s true!If you’re even slightly artistic, you feel comfortable here.”

Paul’s definitely gotten comfortable in Los Angeles. He crafts melodic pop songs with a rock edge, and the City of Angels has served as inspiration. Tracks like the pensive and powerful “Earthquakes” were a direct result of L. A. life. “That song is about something dramatic happening and shaking your foundation, but the word ‘earthquakes’ wouldn’t have even been in my consciousness if I didn’t live here.”

Nothing can shake Freeman on stage. Whether it’s The Troubadour or Molly Malone’s, he treats each gig like he’s at Wembley Arena. During one big rock anthem, “Go On,” Paul ventures into the audience and engages even the most uptight, jaded crowds. He explains, “Whether you’re an artist, painter, musician or filmmaker, you’ve got to do something that’s going to resonate with people. That connection is something that everyone’s looking for. That’s why I like to leave the stage during my performances. I want to emphasize the fact that we’re all the same. I’m just a guy with a microphone and a guitar. I’m no better or worse than anyone else.”

As an artist, Paul needed the creative release that Los Angeles provided, and it’s served him well. “When I decided to leave London, it was either New York or here. L.A. has got a creative energy that no other city has to offer. There are upsides and downsides, but look out the window — the Pacific Ocean is literally hundreds of yards away. Who wouldn’t want to live here?”

- Rick Florino