Aside from the actual taping of the Stellar Awards, folks eagerly anticipate the BMI Trailblazers Awards each year.   In fact, people often say that the BMI event features greater and more memorable performances than the Stellar Awards taping, though, this year… that MIGHT not be the case… I’m gonna call it a TIE!

In any case, BMI annually honors folks in gospel who’ve made significant contributions to the genre.  This year, Donnie McClurkin and Andraé Crouch were honored.  The celebration consists of a great lunch and some incredible tribute performances.  It went a lil’ something like this…

Before the honoring went down, Dorinda Clark-Cole came to the stage to perform her hit single “Take It Back,” which received a BMI Song Of The Year award (songwriter, Derrick Starks).  You already know that Dorinda brings it like none other and I was on my feet before I could even finish my salad.

Following that, we got a surprise performance from Jessica Reedy, who sang “God Has Smiled On Me” like a seasoned professional.  She really holds her own in this game and it’s great to see how welcoming the industry is of her.

The vocal production for the afternoon came from the incomparable Donald Lawrence and DeWayne Woods.  In the background– Tobi Darks, Dawn Jordan, San Franklin, Latrice Pace, Blanche McAllister and Anita Wilson.  YES!  The band– Joe Wilson on keys, Stanley Brown on organ, Kevin Stancil on bass, Jonathan DuBose on guitar, Marvin McQuitty on drums and Lloyd Barry on horns.  GOOD LORD!

The formal program began with the tribute performances to Donnie McClurkin, hosted by Byron Cage.  The background vocalists did a snippet of “That’s What I Believe” before Latice Crawford came to deliver her rendition of “I Call You Faithful.”  After that, Micah Stampley sang his heart out on “Speak To My Heart.”  McClurkin’s best friend and pastor, Marvin Winans, set the room ablaze with his performance of “Stand” (for which he also brought up BeBe Winans) before Yolanda Adams came to the stage to perform “We Fall Down.”

The McClurkin tribute performances were great, but I wish they had done some more songs for him– they could’ve dug a little deeper into the New York Restoration Choir days, pulled some more tracks from the Live In London album, or even focused a little more on songs that he’s written for other artists (like, “This Is The Gospel Of Jesus Christ” for Hezekiah Walker or “It Is To You” by Byron Cage).  Still, awesome job and I’m glad he was honored for his great contributions to the game.

After McClurkin accepted his award, it was on to the Andraé Crouch tribute, which was hosted by Yolanda Adams.  First, Donald Lawrence led the singers in a mindblowing medley of classic Crouch tunes including “Right Now” (led by Blanche McAllister), “Quiet Time,” “Soon And Very Soon”… it was just incredible.

Up next was the one and only Táta Vega, a longtime friend of, and singer with, Andraé Crouch.  She did an intro of “Speak Lord,” (which she recorded for The Color Purple decades ago) before transitioning into a soul-stirring performance of “Oh It Is Jesus.”  It was at THAT moment that the atmosphere of the entire room shifted from tribute to worship, and the event wasn’t the same again.

After that, Yolanda Adams couldn’t even regain her composure to introduce the next performance– BeBe & CeCe Winans singing “The Blood Will Never Lose Its Power.”  They just came on stage and took us to new heights, followed by Mary Mary’s staggering performance of “We Are Not Ashamed.”

Finally, Marvin Winans returned to the stage and shared some great stories about how instrumental Crouch was to the career of The Winans, even down to changing their stage name from “The Testimonial Singers” to simply, “The Winans” (thank God!).  He wrapped his segment with a performance of “Jesus Is Lord,” for which he simply had to call the legendary Karen Clark Sheard to the stage!

Andraé Crouch accepted his award and shared how he had been recently diagnosed with diabetes.  His doctors wanted to amputate his toe after discovering a large hole in it, but he shared that he had been miraculously healed!  He asks for continued prayer from the industry… great speech.

Finally, Marvin Winans led an impromptu segment of EVERYONE singing some classic Crouch songs that weren’t even on the program.  He called up Shirley Caesar, J Moss, Marvin Sapp, Donnie McClurkin… there are no words!

That’s that, essentially.  Dunno how much of it will make the edited televised program, but look for it on February 21st on Gospel Music Channel.  I’ll remind you as the time comes closer!

Soooo… whatd’ya think?!

Filming has begun in L.A. for the new gospel musical, Church.  Apparently, it’s a musical comedy/drama based on typical Sunday services at the musical’s fictional church, Glorious New Life Greater Emmanuel Faith Tabernacle Church of The Living God In Christ Up on the Hill.

HA!

Artists expected to star in the musical include Terrell Carter and Blanche McAllister-Dykes (both are some saaaangin’ folk).  The film is being directed and produced by Cory King and Foster Corder.

If done right (IF, I say!), it may be really great.  There is sooooooo much material to pull from in the church, and several folks in gospel have alluded to doing something like this for quite a while… I think some years back, Kirk Franklin and Donnie McClurkin mentioned that they were working on something based on the “church” experience, too.  Wonder what happened with that…

In any event, visit www.churchthefilm.com for more info on the movie.  I hope it’s good!

Okay, people.  Here’s the culmination of my chat with our vocalist extraordinaire, Melonie Daniels.  If you missed Parts ONE and TWO, click here to catch up on what she’s had to say so far!

In this segment, Melonie shares a bunch of info about her vocal routine, what it takes to be a great background vocalist, her work at NYC’s Village Undergound, her transition from background to foreground as a solo artist, and what’s next for her.  You don’t wanna miss it!

Ladies and gents, enjoy PART THREE:

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EJ:  How do you prepare for a studio session?  Like, how much rest do you get, what foods do you avoid, and all that?

MD:  Well, that’s a biological thing and it’s an individual situation.  There are those of us that are lactose intolerant, or allergic to citric acid, or whatever.  You have to know what your body is capable of handling, what your allergies are…

EJ:  And you don’t mean “allergies” like if you eat it, you have to go to the hospital, right?  You just mean “allergies” in the sense that your body responds negatively in some way?

MD:  Right.  It’s not a blanket thing.  I love the teachings of Lady Tramaine Hawkins, but her routine may not work across the board for everybody.

EJ:  What does she do?

MD:  She’s very protective of her voice.  Wherever she ministers, she has to shut down the air in the entire place, she stays wrapped up.  She can’t handle air conditioning.  And there are several singers that do that.  For me, I’m like “turn down the heat, turn up the COLD.”

EJ:  Really?!

MD:  I chew ice.  I don’t have a problem with dairy products, but I can’t do orange juice because I’m allergic.  So it really is dependent on the individual and knowing what your body can handle.

EJ:  Know your instrument, people!

MD:  Yeah, you have to really study yourself.

EJ:  That’s funny cuz some people take themselves so seriously based on what they’ve heard… like “no, no… I can’t do dairy right now because we’re singing later,” when that may not even affect them in the same way.

MD:  Right.  When I’m ministering and they ask me if I want water, I’m like “yes, ICE COLD.”

EJ:  Are you for real?

MD:  *laughing*  Yeah!  I’m like “you got some ICE?  Crack me up some ice!”  But that’s just me.

EJ:  *laughing* What does it take to be a great background vocalist?

MD:  Be teachable.  Be very studious.  And be quick about it.  Have good intonation, memorization, good pitch… Ear training has a lot to do with it because you have to pick up stuff so quickly sometimes.  And you don’t get a second chance a lot of times.  Rehearsal is the only place where you can fool up and get away with it, but when it comes to performance, you’ve gotta nail it.

And that’s why a lot of background singers are losing jobs– because a lot of people now are keeping Pro Tools nearby and aren’t using background singers.  You’ll never sound like what they have on the record because artists will either hire session singers that don’t travel, or they’ll do the vocals themselves.  So, there’s no way to sound just like that.

Most of my life, I’ve done live stuff.  I don’t sound exactly like the record, but I try to come as close to it as possible– to do the same inflection, the same words, and the same tone quality, if possible.  I have the advantage of being like a mimic, especially from growing up and watching cartoons, because I could mimic the characters’ voices.

EJ:  So, watch your cartoons, folks! *laughing*

MD:  That was my thing.  And even people’s speaking voices.  You have to study those things in order to be effective as a background singer.  And that’s why people keep getting called– they can give the singer certain nuances, they can give the artist something familiar.  You may have a great voice, but if you’re not able to conform VOCALLY to what someone requires of you for that moment…

That’s the hardest part of background singing for a lot of people– conforming vocally.  You have to, though.  They called me at the last minute to do something with Ricky Martin 8 or 9 years ago.  That next morning, I was on a flight and I had to learn five or six songs, three of which were in Spanish.  I took French.

EJ:  *laughing*

MD:  *laughing*  So, I had to take a crash-course in learning how to phonetically pronounce the Spanish lyrics.  And then, you know how some Spanish artists have the mariachi-type, nasal sound?  I had to adapt to that as well.  So, you have to be a chameleon of sorts as a background singer.

You know, the Bible says don’t conform to the world, but be transformed by the renewing of your mind… that’s the only place I conform! *laughs*

EJ:  *laughing*  Right!  I ask most of the background vocalists this when I interview them– can you assemble a dream team of background vocalists for me?

MD:  Ummm… Jerard and Jovaun Woods.  Blanche McAllister-Dykes… ummm… well, that’s a soprano, alto and tenor right there!

EJ:  Aaaaaand you’re DONE! *laughing*

MD:  See, that would be a great session.  Working with people like Donald Lawrence and Richard Smallwood, even with Mariah… I’ve had the opportunity to sing, coast-to-coast, with some great voices.  There’s a girl named Sharlotte Gibson, she’s on American Idol now singing background.  She used to sing with Mariah and she’s incredible, one of the L.A. crew.  Umm… the late Olivia McClurkin was a wonderful person to sing with.

EJ:  I know.

MD:  Oh my God.  Incredible voice.

EJ:  For real!  I miss her.  You know, in these interviews, I like to ask about how lucrative session work can be.  Do background vocalists need a day job or can they be alright?

MD:  They can be alright if they have a certain work ethic.  There’s no job too small, no job too big.  Pride goes out the window.  It can range from doing a demo session for somebody and getting $250 to do it, all the way to doing a performance and getting paid $5,000 to do background with Madonna.

EJ:  For one show?!

MD:  For one show.  It can be very lucrative.

EJ:  Am I on the wrong side of this business?! *laughs*

MD:  *laughing* That’s why I’m sayin’… If Sting, Elton John, Madonna and Cher… if any one of them wanna call me to put me on the road and I get $5,000 a show, guess who’s goin’?

EJ:  *laughing hard*

MD:  Me and my Bible!  *laughing*  But, like I said, there are certain criteria that have to be met before I can do that.

EJ:  Right.  No matter how much.

MD:  Yeah, no matter how much.  I’ve been offered hundreds of thousands of dollars and said “no,” because it didn’t feel right.  It didn’t sound right to my spirit to accept it.

EJ:  I understand that.  I wanna get to your solo artistry in a sec, but talk to me for a minute about the Village Underground in NYC on Sunday nights.  For those who’ve never heard about it, how would you describe what it is?

MD:  Basically, it’s an open mic– anyone that wants to come up and sing can sign the list and sing, accompanied by the band LIVE… no performance tracks.  And it’s just somewhere to let your hair down and enjoy music without being threatened by what you believe or don’t believe.

There was a time that we did, one Sunday a month, a gospel night.  But because we were in what people call a “secular” place (a bar), the owners complained because they were losing money. *laughs*

But there’s a responsibility involved in invoking the presence of God.  We were literally changing the atmosphere.  And they said they were losing money at the bar because we were singing gospel music.  We were forced to discontinue the gospel night, but that doesn’t mean we’ve stopped singing gospel music.  At any time, in that venue, someone may come up and sing a gospel song.  If it’s true to that individual, spirit recognizes spirit, and whoever’s in there will hook into it and we will have a worship moment in there that’s better than what you can find at some churches.

EJ:  Why do you think it’s become so popular?  It’s even been featured on Bobby Jones Next Generation as the place to be in New York.

MD:  It is an outlet for people, especially in this new generation, to be “in the world, but not of the world.”  Because you can be in a place, and not be a part of what’s going on in the place.  But that comes with a level of maturity in your walk with Christ.

I’ve heard people emphatically say “I will NOT” or ”I cannot be caught in a place like that.”  Those were the words that were used.

EJ:  Really?

MD:  Yes.  But on the flip side, Martha Munizzi comes down, Israel comes down, Lisa McClendon has called me to get information, Shari Addison and Crystal Aikin were there a month or so ago.

EJ:  Yeah, I haven’t been in years, but it’s great.  My wife and I are coming soon!

Listen, I wanna chat about your transition from background vocalist to artist.  First, is it hard to do and, if so, why?

MD:  Ummm… a lot of times, it’s an insecurity issue… not feeling adequate to deliver.  Comfort zones– you feel safe in a group, in the back.  I’m speaking all from personal experience.  Not feeling like you have anything to convey to the general audience…

But mostly, it boils down to insecurity.  Everyone has a purpose because God put us here with purpose.  It’s up to the individual, in their walk, to recognize the purpose that God has placed in them and to walk in that purpose.  And that can be difficult.

EJ:  Amen.  But you went for it… a coupla years ago you released your long-awaited solo project.  Talk to me about your album, Live In Concert.

MD:  It started as a conversation with my pastors.  And the church invested in me.  And September of 2006 was the result of that investment– we recorded a CD.  They just sowed into my life.

EJ:  That’s great.

MD:  Yeah, so that’s how the record got done.

EJ:  Who wrote and produced it?

MD:  Stanley Brown produced the music with Nathaniel Townsend III, the drummer.  I got to handpick everyone.

EJ:  How do you describe your style of gospel music?

MD:  The CD’s style is as eclectic as I am.  You can hear “Glory After This,” which is straight churchy, or “My King,” with intricate harmonies and chord structure, kinda gospel-jazz.  I’ve got a song on there called “Kingdom I,” which has a neo-soul kind of vibe.

EJ:  You workin’ on another album?

MD:  Umm… still planning stuff out.  Not actively working on it yet, but just thinking.  There are so many different directions I could go in, because of my musical influences.  I would love to do a “big band” gospel CD… I would love to do a neo-soul set, unplugged… I would love to do alternative-sounding stuff, because I’m a student of music, not just gospel music.  To me, all music is God’s music, honestly.

So, I have so many ideas that I have to narrow them down to get at least the NEXT project out.

EJ:  I was gonna say “we will take all of the above, thank you!”

MD:  *laughing*  That’s enough material for three more projects.  I would even love to do a CD of love songs for gospel folks who are uncomfortable buying Luther [Vandross], or Joe or Anita Baker… or Jill Scott.

But, then again, you have to contend with the critics who say that it doesn’t glorify God…

EJ:  Ewww… well, please contend!  I think that would be great.  Either way, I’m looking forward to it.

MD:  We’ll see.

EJ:  Well, that’s it for me.  I have REALLY enjoyed chatting with you and I appreciate you for taking the time to do this interview.

MD:  Thank you!

EJ:  No doubt.  I’ll talk to you soon.

MD:  Okay, bye.

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And, that’s THAT!  You can learn more about Melonie (and buy her bangin’ album) at her website, http://www.meloniedaniels.com/.

Sooooo… what did you guys think of the interview series???

Oh, and as a parting gift, here’s the Melonie clip for this segment.  It’s an audio clip of a KILLER track from her solo album, entitled “Glory After This”:

[Editor's Note:  Most of you know her as Joann Rosario, but I'm using her new name, as she recently wed Atlanta-based gospel DJ (and host of BET's Lift Every Voice) Cory "Coco Brother" Condrey.]

I’d actually like to do a post on each one of Joann Condrey’s albums, because I think the industry and consumers have kinda Slept On all of her stuff to date.  But, for now, I’ll stick with the most recent.

Her latest album, Joyous Salvation, was a great collection of some incredible music, featuring background vocals from some of the greatest in the industry (i.e., Darwin Hobbs, Blanche McAllister, Jerard and Jovaun Woods, LeAnne Palmore) and masterful production from giants like Aaron Lindsey, Fred Jerkins and Donald Lawrence.  This year, the project garnered her a Stellar Award nod for Contemporary Female Vocalist of the Year.

For your listening pleasure, here’s a snippet of one of my favorite tracks from Joann Condrey’s Joyous Salvation– “You Are Holy,” written/produced by Aaron Lindsey, with some bgvocal production by Donald Lawrence (you can hear it!).  Following it is a YouTube video (but it’s just audio) of another hit from that album–”Restore To Me.”

 

Who else has it?  You love it?  Who Slept On it?  Why?  Talk to me!

It was a good show, I guess.  But I have to say that I’m kinda tired of the same music videos now.  Like, reeeeaaaally tired.

Also, the choir “battle” was NO good for me… it seemed more like a subtle disagreement. And I love how diplomatic Donald Lawrence was in his critiques of them– stripping away the eloquent and encouraging words, though, I think he was basically just saying “me no likey.”

BTW, how THRILLED were we to see Donald Lawrence on the show?!  He did a great interview and sang “Let the Word Do the Work.”  The audience got with him more than they have with some of the more “urban/youth” artists.  Hmmm… makes you wonder what folks are really lookin’ for.

And I gotta shout out some of the sickest most enjoyable singers in the game– the “Co.”  (See?!  I’m using positive words, Donald!)  Only three of ‘em were there– Anita Wilson, Tobbi White-Darks and Blanche McAllister– but they were on point, as usual, doggone it!

What did you think???