She’s one of my favorite singers to EVER walk planet Earth.  And I interviewed her.

Melonie Daniels is revered by many for her incredible range, her unique and distinctive tone, and a precise vocal agility.  She is multi-faceted and has sung with just about everyone– from her long career backing Mariah Carey to BGV’s and guest solo spots with gospel’s greatest artists (if I name them, we’ll be here all day, but for starters: Kim Burrell, Karen Clark-Sheard, Donald Lawrence, Andraé Crouch, Kirk Franklin, Fred Hammond…).  Most recently, you’ve prolly heard her voice in the background on the theme song for BET’s Sunday Best.  And since she stepped out as a solo artist a coupla years ago, she has been gaining even more attention among consumers.

We talked for so long that I’ma have to split the interview into 3 parts.  People, gather round and read PART ONE of my chat with my buddy, the INCOMPARABLE Melonie Daniels…

*     *     *

EJ:  Hey!

MD:  Hey!  What’s going on?

EJ:  Nothin’, except we’re doing our interview! YAY!!!

MD:  *laughing*

EJ:  I’ve been so excited for this interview.  You’ve been on my list.

MD:  Yeah, I was watching your progress as you interviewed Andrea [Mellini] and Jerard [Woods], and I was like “HEY!  When’s he gonna call me?!” *laughing*

EJ:  Are you kiddin’ me?!  You can ask my wife, ask anyone.  Everyone knows that you’re my fave.  And I kept saying “and ONE day, when I’ve ARRIVED…”

MD:  *laughs*

EJ:  Plus, I had a hard time when I was thinking about you because I wanted you for the “On BGVs” series, but you’re also really pursuing the solo career hard right now, so I didn’t know where to place you.  Same thing with Jerard [Woods] and Candy West.  I thought it would defeat the purpose of what you’re trying to do to feature you on the background vocalist tip.

MD:  Not necessarily.  Being part of a worship team at the church, and as a servant, you’ll always be called back and forth.  A lot of times, a lot of artists forget about the process because they’re busy doing what their goal was.

But one of my ultimate goals WAS to be a background singer.  All the rest is whatever God wants me to do, but I TREASURE that and I love doing it.

EJ:  I’m so excited right now.

MD:  *laughs*

EJ:  Really.  Because I love that we’re gonna get that perspective, and here’s why:  A lot of people– and it’s not a bad thing at all– but a lot of people intended to be solo artists and background work was a stepping stone to that end.  But you’re saying that background singing WAS your goal?

MD:  It was my plan from the time I was 4 years old.

EJ:  Why?!

MD:  Here’s the thing.  I’ve been in the church since conception, went back a month after I got out, and I’ve been in the church ever since.

EJ:  *laughs* I’m mad at “got out.”

MD:  *laughs*  Yeah, when I got out!  Cuz I was there from conception to birth, I waited for about a month, then I went on back to church.

But my mom and dad were both very active in ministry.  They were presidents of different auxiliaries at different times, superintendents of the Sunday School, ushers, pastor’s secretary, trustees, deacons… all that stuff.  So, I was always at church.

And, my parents (around the house) played every kind of music.  I was born and raised Baptist…

EJ:  Are you Baptist??  I thought you were COGIC for some reason.

MD:  What?!  Baptist born, Baptist bred, when I die, I’m goin’ to see Jesus. *laughing*

EJ: *laughs*

MD:  But, my mother tells me that, when I was 3 or 4 months old, she would say “hi,” and I was matching pitch with her.  I’m like “are you crazy?” So, from the time that I could function, cognitively, I was sitting on the bench next to the musicians of the church, listening to them teach parts to the choir.

EJ:  You were BORN to do music.

MD:  I definitely believe I was.

EJ:  Wow.  Ok, so this was the plan.  Talk to me about that, though.  Growing up, if this was the plan, how did you know HOW to do it?  Because there’s no roadmap.  People don’t write books on how to become a background vocalist.

MD:  Right.  And that is one of my desires, to do that, because there is no handbook.  Most of the time, like you said, they fall into it because they have a good voice, they’re teachable and they wanna help.

For me, I grew up listening to cartoon music… The reason I can identify certain pieces of classical music is because of Bugs Bunny.

EJ:  *laughs*  Right.  That’s true.

MD:  Ummm… TV commercials.  I was always intrigued by people who did those things because they weren’t seen.  And it’s like, “who’s DOIN’ that?”  Or TV theme songs.  You never knew who was doing that either.

EJ:  So, you specifically did NOT want the glory of being seen?  Cuz, as a kid… kids often wanna be singers because they think of the spotlight or the solo mic, or the glamour.  At age 4, you didn’t want that?

MD:  Mm-mmm.  My parents are ministers and they’re behind-the-scenes people.  They never exhibited that desire to be in the front– they always wanted to help.  And that was my example growing up.  So, I never wanted to be in the front.  Actually, I was anti-front. *laughs*

EJ:  Why?

MD:  It just didn’t intrigue me.  It didn’t capture my attention.  I was just like “as long as I can be a cog in the wheel, to help it get to the destination, I’m good.”

EJ:  But Mel, you have one of the greatest voices around.  Are you supposed to BE a cog?  Some people would say you’re not a cog-in-the-wheel voice… you’re a spoke-in-the-wheel or something.

MD:  Hmmm… No.

EJ:  You don’t take that?

MD:  No.  Because I think of it as the Body of Christ– everybody’s got a function.  And I don’t think anyone is more important than the other because we all need each part to function, interdependently and independently, in order for the Body of Christ to be effective.

Because if there’s just one person that always wants to be at the top, and they don’t offer anything to the Body, the rest of the Body can become ill.  Or, because of a lack of a function, it can become dormant or cause disruption.  And I don’t want that to be the story.

When I was growing up in my church in Long Island, I was an usher, I taught Sunday School, I worked in the kitchen.  I’ll STILL do it.  When Judy [McAllister] did her recording at [Greater Allen AME Cathedral], I was one of the sopranos.  And one night, we decided we would feed them.  Now, I don’t cook, but I was in the kitchen helping.  Had the hair net on and the plastic apron…

EJ:  Stop it. *laughs*

MD:  *laughing*  You know?!  But I don’t think that’s a take-down… it’s a part of being a servant.  Because, unfortunately, a lot of people reach an area of prominence and… I mean, the word “minister” in Greek, doesn’t that mean “servant”?

EJ:  Right.

MD:  And they forget that.  They think that they are to be served.  No, you are to serve.  That was the whole crux of Christ’s ministry.  So, I find it very very foreign for people to want to be served when they’re in a place in which they’re supposed to be serving.  It’s just strange to me.  And actually, it saddens me and sometimes sickens me when I see people that call themselves Minister, or Elder, or Apostle… Evangelist… and they want to be served instead of serving.

EJ:  This ain’t an interview– this is SERVICE!  *laughs*

MD:  *laughing*

EJ:  Okay, wait… cuz I’m getting sidetracked.  This is about to be my own personal convo.  Can you rattle off a quick list of people you’ve worked with?

MD:  A short list?

EJ:  I dunno how you can, but try. *laughing*

MD:  Okay, I’ll give you three and three.  And I’ll explain why cuz this is another area where people don’t understand why I do what I do.

EJ:  I know what you’re gonna do.  SAY IT!

MD:  Mariah Carey, Kim Burrell, Ricky Martin, Karen Clark-Sheard, Marc Anthony, Donald Lawrence.

EJ:  Perfect set-up for my next question!  Now, you just gave a very diverse list…

MD:  Exactly.  A little Spanish, a little R&B… *laughs*

EJ:  Right!  Respond to those critics, first of all, who say “if you sing gospel, you’re not supposed to be doing R&B.”

MD:  Oh, you’ve not read the comments, huh?  There have been major debates on YouTube– and I don’t even have an account there, other people put that stuff up and I just read the comments.  There’s a video where I’m singing “If Only You Knew,” I’m wearing a Hello Kitty t-shirt.

EJ:  At the Village Underground.  I’ve seen that.

MD:  Yeah.  And this woman was like “it’s amazing… she has a wonderful voice, but I thought she sang gospel.  I hope she did this BEFORE she committed her life to Christ.”

EJ: *laughs*

MD:  And one of my best friends responded and said “obviously, you don’t know who Melonie Daniels is because you would understand that she is very focused, she knows who she belongs to, and that Jesus Christ is her source.  She loves music, and she sings all kinds of music because of that.”

My opinion, and my opinion does not agree with everyone else’s– I believe that God created all music.  What happens is that the deceiver gets in the ear of the gifted, who are supposed to translate that message to glorify God, and perverts it and twists it.  But I believe that the source of every bit of inspiration is from God for music.  So, I love all music.

I have everything in my collection from Yo-Yo Ma to Slum Village.  And everything in between.  Big Band, Rosemary Clooney, Sarah Vaughn, Ella Fitzgerald, Duke Ellington, Count Basie… all the way down to Aerosmith, Def Leppard, to Journey, REO Speedwagon.

I just believe that music is made to give God glory.  The gift comes perfect, but the gifted are not perfect.  And I’ve gotten to a place in my walk with God where I can see Him in stuff.

EJ:  So, He’s there in “If Only You Knew”?

MD:  Yeah.  And people have talked to me, expressing their disdain or disappointment with me for the choices I’ve made, career-wise.  And it’s like, why are you mad at me because of the assignment God gave me, just because He couldn’t trust you with it?  God is able to trust me because he knows how far I will go.

EJ:  And how do you draw the line?

MD:  Ummm… there are certain things, like I’ve had rappers approach me like “Yo, Ma, your ‘bleep’-ing voice is incredible.”  And, first of all, I won’t do the cursing thing.  Your song can’t be profane, and it can’t demean women.  And then, you’ve gotta get into the whole hip-hop culture, too– it’s anti-Christ anyhow.

It’s all about getting money, gettin’ paid… women, trying to get respect and have street credibility.  I’m not with that.  My audience is God and I want HIM to be pleased with me.  I couldn’t care less what other people think.

I’ve grown to that point, but it wasn’t that way always.  I was bound for MANY years by what people thought of what I did.  And I had to come to the realization that GOD is the one I need to be pleasing, and nobody else.  And if He trusts me enough to be in these places, to be a light for Him, I have to (with integrity and a good work ethic) just do what I’m supposed to do.

EJ:  I hear that.

MD:  When I was singing with Mariah, she wasn’t singing all that stuff about “Touch My Body,” and all that.  And she knew there was a line that I wouldn’t cross, so there were songs that she wouldn’t even have me on, because of the subject matter.

And, you know, there’s that story in the Bible where there was a king who didn’t believe in God, but had one of the children of Israel in his court.  And when people tried to challenge him for that, he said “no, no… he worships the God of Israel and I respect him for his God and how he carries himself.”  That’s what God did for me in that season of my life.

EJ:  Amen.

MD:  And it was great.  SHE was covering me and the church people that are supposed to have a relationship with God didn’t do the same thing.  But she covered me.

*     *     *

So, that’s Part One, folks.  What did you think???

I think, for your musical pleasure (and mine), I’ma feature a different musical clip of her at the end of each interview segment.

First up is one that I’ve posted here before, but it REALLY embodies why she’s one of my favorites.  Her range is nuts, she finesses a song cuz she FEELS it, not cuz she’s trying to impress folks.  This clips makes me go wild, thinking about the glory of our God.

This is her singing “Forever” at her church, Greater Allen Cathedral.  It’s a longer clip, but worth EVERY SINGLE MINUTE.  Watch it, PLEASE, and worship the Lord:

If you recall, I posted a YouTube video of Tommye Young-West singing her hit, “Going Home,” a coupla weeks ago.  Click here if you need a refresher.

Then, I interviewed her phenomenal daughter, Candy West, as part of the On BGVs series.  Click here for THAT.

Well, I’ve gotten my eager little paws on her ENTIRE album and I’m telling you… the singin’ on this thing!  Her project, “Created To Worship,” is available now (click here to purchase), and I’ve been jamming to it for weeks!

To me, her album is a great reminder that many of our current industry favorites (gospel and otherwise) stand on the shoulders of underappreciated giants.  Having been a popular R&B singer in the 70’s, Tommye Young-West has that type of naturally soulful voice that takes you straight back to the days when singers just SANG… No premeditation, no over-practiced riffs– just raw (but accurate) vocals that seem effortless, but are really hard to replicate.

She sounds good on her ballads, but I’m an AVID fan of her more churchy tracks.  I listen to her foot-stomping “I Remember Church” EVERY morning to get my day started, and I’m NOT playin’.  I also adore “Going Home,” which was my introduction to her a couple of months ago.  And she works one song, ”Deliverance,” so tough… gather ’round, kids, and learn how it’s done!  Other stand-out tracks are “He’ll Make A Way,” which has a great quartet vibe to it, and a VERY nice, jazzy rendition of “He Touched Me.”

A quick, but honest disclaimer:  This album, genre-wise, may not be everyone’s cup of tea.  If you don’t get down with ol’ skool churchin’, you may not enjoy everything as much as I do.  That said, even if it ISN’T your genre, her vocal ability and power are undeniable and these tracks, I believe, are strong enough to convert ya!

For your listening pleasure, here’s “Deliverance”… listen, especially, to how she builds through the vamp:

Lemme know what y’all think!

This is one of those interviews that I simply HAD to do.  You’ve prolly seen the name “Candy West” floating around for years.  A bunch of my industry buddies are friends with her and, though we’d never met, she’s always been held in such high regard (as a person and as a vocalist).  I was sooooo excited when she agreed to do the interview!

She’s a game-changer who has worked with a bit of everybody, yet still remains as humble as can be!  In this interview, she talks about her wide range of background work, her work with the record-setting God’s Property and, now, Myron Butler & Levi… and she caps things off by talking about her long-awaited solo album!  I even managed to have her clear up some misconceptions about Kirk Franklin for us.

She’s incredibly kind, sweet and hilarious.  I give you the the one and only, Miss Candy West.

*     *     *

EJ:  Heyyyy!

CW:  Hi!!!

EJ:  YAAYYY!  We’re doing an interview!  [Editor's Note: I was so excited as we were scheduling this interview that I kept ending my emails with "yaayyy"... Candy decided that she was gonna top me by saying "Double Yay"... what kinda mess is that?! LOL]

CW:  YAAYYY!!!

EJ:  I’m thrilled to be chatting with you cuz I need people to know how significant your contribution to contemporary gospel music has been.  You can sit there and I’ll toot your horn for you… I’m gonna run through a very brief list of folks that you’ve worked with and you can confirm it at the end.

CW:  Ok. *laughs*

EJ:  God’s Property, 1NC, Myron Butler & Levi, Kirk Franklin, Fred Hammond, Yolanda Adams, Marvin Sapp, Mary Mary, Donald Lawrence, Dorinda Clark-Cole, Patti LaBelle, Dewayne Woods, Deborah Cox, Tonex, Bishop T.D. Jakes, on and on and on…

CW:  Yes!

EJ:  And this is not just session work, right?  You’ve written for some of their albums, arranged vocals, done lead vocals…

CW:  Absolutely.

EJ:  How would you characterize your journey in gospel music so far?

CW:  Umm… Let’s see.  I believe it has been a very balanced journey for me because I’ve had an opportunity to really learn so much.  Like a lot of singers that do background work, I just kinda fell into it.  Y’know?  It kind of presented itself as an opportunity.  It was nothing that I chose to pursue, it just kinda happened for me– God’s Property, then with Kirk, and one opportunity begat another.

So, for me, I was really soaking it all in because I knew that the end would probably be me becoming an artist.  I was just taking it all in, learning… not just as a singer, but as someone who’s been able to learn from some of the best writers, some of the best producers in the industry.

EJ:  That’s awesome.  Is there a singer that you wanna work with that you have not yet worked with?

CW:  In gospel?

EJ:  Either way.

CW:  There are actually a few artists that I would love to work with.  In gospel, I would love to work with someone like J. Moss, just to kinda see what our vibe is.  I love his writing and his approach!  I really feel like if I got a song from J. Moss, it wouldn’t sound like a J. Moss song.  Or, maybe it would. *laughs*

EJ:  *laughing* Right!

CW:  Umm… I would love to work with Mary J. [Blige].  I just love her spirit and what she gives.  I absolutely admire her– I’m one of her biggest fans.

EJ:  Cool.  Let’s go back to the beginning.  How did you start doing background work?

CW:  Just from singing with Kirk and 1NC and opportunities here and there, working with Myron [Butler] when he would do demo, when he was working on the Ted & Sheri project… I would do demos for him and demos for Kirk.  And that just kinda led to people asking “do you think Kirk would be okay with you singing behind me?”  I’m like “YEAH, I’m not under contract!” *laughs*  I was like, “I’ll do it!”

So, one thing kinda led to another.  I moved to L.A. for a bit, so that just opened the door for me to be free to kinda spread my wings a bit more and be afforded more opportunities to work with other people.

EJ:  Incredible how that happens!  Talk to me about the influence of your SINGIN’ mother, Ms.  Tommye Young-West on your musical career.

CW:  If it had not been for my mother, Tommye Young-West, I probably would not be singing.  I actually wanted to pursue a career in law enforcement.  I wanted to be an FBI agent.

EJ:  What?!

CW:  I really did! *laughs*  My mom had me singing at the age of 3 and, growing up in my grandfather’s church, that led to me being the choir director and a lead vocalist… Then, I worked on my mom’s albums– I did my first recording when I was 12.

EJ:  Wow!

CW:  So, she was very influential in why I am where I am today.

EJ:  That’s wonderful.  What other musical influences do you have?

CW:  You know, I grab inspiration from so many different people.

EJ:  Sure.

CW:  I have jazz influences– Ella Fitzgerald– of course, Kirk is a big inspiration to me because I kinda watched him grow from when I was a teenager.  He first came on the scene working with DFW Mass and Georgia Mass, and just seeing him grow from being a writer and a choir director to his status now… he’s been a big inspiration to me.

And I love Chaka Khan, Stevie Wonder… people who just make good music.

EJ:  I hear that.  I’ve spoken with several industry people, even lately, who are saying that you changed the game as it relates to background singing.

CW:  REALLY?

EJ:  Yes!  Like, a few weeks ago, Jerard Woods said to me that you were responsible for introducing the whole “vocal cry” thing that Kirk Franklin’s background vocalists are known for now.

CW:  *laughs hard*

EJ:  *laughing* Do you accept that?  And you can be humble about it and I will make it clear for the readers that you did not volunteer that info.  But do you accept that, and if so, did you intend to set a trend in that way?

CW:  You know what?  I know Jerard Woods said that… he’s one of the people who says that! *laughs*  I absolutely love him.  But I think that I do have to own up to it.  I’m one of those people that, you know, I really try to stay humble, but looking back, it’s like “wow, I really did help to establish that sound.”  Even when I wasn’t working with him after that, it was like you could still hear me in his work.

EJ:  Right!  And he still uses that style sometimes.

CW:  Yeah, so… I can take credit for that.  But, it wasn’t something that I set out to do.  You know?  I think it’s just a part of me and I was just giving people “Candy West,” just a part of what my vocal style is.

EJ:  But why did you think to approach vocal phrasing like that?

CW:  You know… *laughs shyly*

EJ:  *laughs*  It’s just what you had to give, huh?

CW:  Yeah, you know… some people can riff and run so sweetly.  So many singers have their “thing” and I think that’s just what my “thing” was.  When I sing, I have that kind of cry, the passion… and it came out and he was like “I love that!  I love that!  Everybody do it!”

EJ:  *laughing*

CW:  When I sing, I really try to live through the lyrics and really embrace what I’m singing about.  I don’t like to just sing a song because it’s nice.  I really like to embrace the words and I think that’s where that whole “passionate cry” comes from– it’s really taking a song and trying to make it live.

EJ:  Wow.  That’s awesome.  I mean, it’s what I think of when I think of his background vocalists, you know?  I mean, even now… they still do it, so that’s tremendous to me.

Let me touch on your time with God’s Property for a minute.

CW:  Okay.

EJ:  That album is the highest selling album by ANY gospel artist EVER, in the history of gospel music.  As of 2001, it was certified triple-platinum… you co-wrote “Sweet Spirit” on that album.  Did you all know, at the time that you were making that album, that you would make history?

CW:  No.  Nobody had any idea what the record was gonna do.  For us, we were just kids that were happy to do what we loved to do.  A lot of us grew up singing in different community choirs, so for us to be afforded the opportunity… When we started working with Kirk, we sang on his Christmas album, then on Whatcha Lookin’ 4… but we never expected to have our own album.

Y’know, cuz everybody records a record… so we just felt like we had an opportunity to work with an artist that was really starting to blow up, but we didn’t look at it like “oooh, we’re gonna blow up.”  It was an opportunity to record and to do something that we loved doing and put it on wax.  When it came out, the response was PHENOMENAL, but nobody knew that it was gonna do what it did.

EJ:  That’s unbelievable.  It’s one of my classic favorites– you can put it on and it’s still as good today as it was back in ‘97, y’know?

CW:  I know and the thought of that is so awesome!

EJ:  After God’s Property, you continued on with Kirk and you were a part of 1NC.  Now, let me make it clear:  you are not his spokesperson, but I do believe that you have something relevant to say about this next question.

A lot of people judge him as having been unfair to his singers in the past.  People will say “oh, well, he’s got a new group again.”  But as someone who’s worked with him on several albums, can you clear things up and speak to Kirk Franklin’s character in that regard, as it relates to you?

CW:  Absolutely.  I believe that– and I will vouch for Kirk on this– he is one of the rarest artists in regards to how he… he really does take care of his people.

EJ:  Mmm-hmmm.

CW:  And you can’t fault a person… Kirk has always found ways to recreate himself.  So, in that recreation and in the evolution of his new sound, you can’t fault him for finding a way to also re-invent the way the vocals are approached.  You know what I’m saying?  You don’t wear an old pair of shoes with a new suit… it’s like “this may not necessarily work together.”

And a lot of times, it’s hard to let go.  I’ve even been on that side of the fence as it relates to him.  On the Hero record, I did not record a song on that album.  He reached back and got me for The Fight Of My Life.  But prior to that, it was a hard transition for me because he felt like he was giving me an opportunity to be free, to express myself and do my thing… I was working with Myron Butler & Levi at that point, y’know?  And *interrupts herself* HEY SWEETIE!  I’ll talk to you in a minute, okay?  *returns to the phone* My nephew.

EJ:  Oh.  I was about to say “well, helloooo to you, too!”

CW: *laughing*  Yeah, but I think it’s just one of those things.  And, like I said, it’s hard to let go of a good thing.  When you’re in a good situation, you’re being paid well, you’re being treated well, you know… it’s really kinda hard to see yourself NOT doing.  It’s hard to be in a place where your services may not be needed for that particular moment in that person’s life.  So, I know it’s been a difficult thing for singers to deal with when he’s in transition and he decides to go to another level, and he decides that he wants to change things around him to make this next place more conducive to his dream and his vision.

EJ:  I hear that.  Thank you for speaking on that.  You’ve also worked with artists outside of gospel, right?  Like, with Brandy.

CW:  Yes.

EJ:  What was she like?

CW:  Working with Brandy was really cool.  We did a particular date with her… she’s one of those artists that’s just flawless.  You know?  Her whole approach to music is just… she’s one of those artists that will really inspire you to be creative and to be a better vocalist.  Absolutely phenomenal.

EJ:  I’m not surprised.  I should point out that a lot of gospel background vocalists, as well as major gospel artists, have worked with pop, R&B, jazz artists… how do you answer the critics who say “you can’t do that.”  You know, “if you’re in gospel, you can’t dabble outside of it in other genres”…

CW:  Y’know, I think that everybody has their own convictions about it.  You don’t tell a doctor that he can’t work on certain people because they’re not believers.  Or, because they live in a certain area or work in a certain job.  You don’t stop a doctor from helping those that he needs to help.

EJ:  Right.  Absolutely.

CW:  So, for me… you know, my mom, in the 1970’s, she had an R&B career.

EJ:  Right.

CW:  So, for us, in our household, it was different.  We grew up COGIC, but she didn’t stop us from listening to Stevie Wonder or the Doobie Brothers… my dad introduced me to jazz.  They wanted me to be a well-rounded vocalist and I just feel that sometimes, we put God in a box.  I’ve met so many R&B artists that, when I sit and talk to them, I say “you’ve got a lot of heart and it’s really unfortunate that ‘church people’ will cast you away because of the type of music that you sing, but you’ve gotta be one of the most sincere, realest people I’ve met.”

So, I think it’s about your own convictions on that, but I don’t have a problem with secular or pop artists.  I feel like, as long as it does not cause me to compromise what I believe in MY walk, then I don’t have an issue.

EJ:  Hmm… You preachin’, ain’t you?

CW:  I’m tryin’.  *laughs*

EJ:  *laughs*  Talk to me for a minute about Myron Butler & Levi.  You’re still singing with them, right?

CW:  Yessir!

EJ:  And it’s practically the same folks from God’s Property?

CW:  Absolutely.  Practically everybody that’s in the group now… we’ve known each other since we were like, 13 years old.  And for some of us, before that.

EJ:  How did the idea for this new formation of it arise?

CW:  I just believe that it was a part of Myron’s destiny to venture off and do his own thing eventually.  Y’know?  He always had a vision of doing it and, when he felt like it was time, he wanted to use this core group of people to make it happen because… it’s that SOUND, you know?  When we get together, that sound is unmatched… you can’t beat it.  It’s just a beautiful, beautiful thing.

EJ:  That’s awesome.  So you seem busy, but tell me: In reality, do most gospel background singers need a day job?

CW:  YES. *laughs*  I will not lie to you– when the work is coming and consistent, it’s fantastic, but there are those dry seasons where you’re like “you know…”  And I’ve been there so many times.  I’ve been at a place where I’ve had an eviction notice put on my apartment door, three or four times, just because I was really having a hard time just trying to make it.

EJ:  Wow.  That’s real!

CW:  Yeah, it’s like… so I’ve had to bite the bullet.  I know music is what I’m supposed to do, it’s what I was created for, but sometimes you just have to provide.  I have a son, so I not only have to take care of myself, but I have to take care of someone else.

EJ:  That’s right.  You can’t just be living out your dream at his expense.

CW:  *laughs* Exactly!

EJ:  I’m not mad at that.  That’s cool.  To say that someone is a good background vocalist, what does it take?  What’s the criteria?

CW:  You know, I’m glad you asked. *laughs*  I think that, to be a great or incredible background vocalist, you not only have to have the passion for it, but there’s definitely a work ethic that comes along with it.

Like, if I know that I’m gonna work with a particular artist, I usually try to study them, or the songs that I know they’re most likely to do, so I can kinda get a heads-up.  Once you get the music, you study.  You approach it as if it’s a job– I really have to be up on my game, knowing how this person works, so that when I go into that environment… when I’m in Rome, I will do as the Romans do.

EJ:  Yeah.

CW:  And I think that’s what makes for an excellent background vocalist.  You have to understand the art of singing BEHIND someone.

EJ:  Say that!

CW:  You know?  I mean, I’m an artist.  But I also sing with a lot of artists, so when I’m singing with them, I have to get out of “artist mode” and get into “servant mode.”  A lot of people don’t want to do the servitude, they just want the glory of being able to perform and have the platform.  So, it really does take the heart to know when to kinda bring it in and have the heart of a servant.

EJ:  Right.  FALL BACK!

CW:  Yeah, you definitely have to fall back.  Absolutely.

EJ:  From a practical standpoint, how do you prepare for a session?  What are you eating, how much rest are you getting the night before… all of that?

CW:  Well, I really try to rest.  Seeing that I don’t have a day job right now, I can kinda sleep in and take my sessions in the afternoon.  I try not to have to work too late if I can help it.  I try to stay away from sodas, cheeses, ice cream… now, if I’m not recording, I’m eating ALL of those things I just named! *laughing*

EJ:  *laughs*

CW:  It’s gonna be all about ALL of those.

EJ:  Each one!

CW:  EACH one.  Plenty of it!  *laughing*  But, you know, drinking tea and lots of water.  I really don’t like to eat before I know that I’m going to sing, cuz there’s just something about being full and heavy.  So, I really try to monitor my portions when I know that I’m going to be recording.

EJ:  Makes sense.  Now, every background artist that I’ve spoken to, I’ve asked about this– talk to me about touring in gospel music.  What’s it like being on the road?

CW:  The road, for me, and I know that everybody has their own experiences, but I absolutely love traveling.  A lot of times, you have to… I mean, I know how to tune out the riff raff and the extra stuff that comes along with it.

I love to shake hands and kiss babies, y’know?  I love to meet the people after the show is over, and just to be in touch with people.  It’s important because when people come out to hear you, they want to be able to reach you in some way.  It can wear you down sometimes– the things that come along with it, but I really enjoy traveling.  I wouldn’t trade it for anything.

EJ:  Nice.  I also ask every background vocalist to assemble a dream team of background vocalists… Now, Jerard Woods, he kinda assembled a choir.

CW:  Yes, he did!  I saw that!  *laughing*

EJ:  But who are some folks you’d have at your session?

CW:  That’s sooo hard.  Hmmm… Definitely my sister, Peaches.  Umm… Deonis Cook, he sings in Levi.  Oh, man… Minon Bolton.  Daniel Johnson.  Umm… there are so many people that I’ve absolutely loved working with.

EJ:  We can stop there and I’ll make it clear that you had a reeeallly hard time naming everybody! *laughs*

CW:  Right!

EJ:  Okay.  Now, I’ve been hearing some underground rumblings that you’re working on a long-awaited solo album.

CW:  This is true.

EJ:  *whispering* Can you tell me about it?

CW:  *whispering back*  Yes, I can.  *laughs*

EJ:  *laughing*  You mentioned you were in the studio earlier.  Is that what you were working on?

CW:  Yeah.  I’m working on my record.  Right now, it’s an independent venture, but we do have some prospects for distribution with a couple of labels and distribution companies.  But, I really wanted to work on this record and get a full body of work done so that we can have a bit more leverage and take it where we want to take it.

It’s a very versatile record.  I can’t name what it sounds like because I’m a very versatile singer and I really wanted to be able to showcase that I can holler and squall, but I can sing sweetly, I can bring out the rock side of me.  So, I think this record will definitely show that, with the different sounds– we’ve got some pop/rock, we’ve got some jook joint-type tunes, some soulful stuff, some reggae… but I think that when it all comes together, it’ll be a nice, heaping helping of gumbo…

EJ:  OH! *laughs*

CW:  *laughing HARD*  Did I just say a “heaping helping”?

EJ:  You soooo did.  I can play the tape back… “heaping helping of gumbo” is what you said.  *laughs*

CW:  Yes, I did say that.  It will be a heaping helping of gumbo once I’m done.  I want people to be able to enjoy it.  I’m trying to make it the best first record I can possibly make it, and then the next will be even better.

I think that first records are really hard sometimes because you can really try to outdo yourself and, when you do, you have a hard time doing it on the second record.  I want this one to be phenomenal and the next one to be mind-blowing, but I’m really proud of this music that I’m working on.

EJ:  Nice.  You wrote most of it?

CW:  Yeah, I wrote like 90-95% of it.  It’s a lot.  Plus, I’m also co-producing it and doing most of the vocal arrangements, which is a major task in itself.  But it’s definitely all good– it’s nothing that I can’t handle.

EJ:  How long have been working on it and when will it be DONE?

CW:  Actually, I’ve been attempting to work on this record for the past 2 or 3 years, but I started back working on it in December and I do plan on being done, hopefully, by the end of March.  I’ve been going, like… every day to the studio to make sure that I meet my personal deadlines.

Hopefully, we’re looking to do a summer/late-summer release.  I’m hoping to have a single by May.

EJ:  That’s good.  I’d love to promote on the site, if you need anything.

CW:  Absolutely!  I’ma need all the help I can get!

EJ:  Okay.  Last question.  Suzie and Tommy wanna be background vocalists– how do they get started?

CW:  *laughs*  That’s funny.  I would first say, make sure that Suzie and Tommy can really sing.

EJ: *laughing* CHECK YO’ SELF, Suzie and Tommy!

CW:  *laughs* Check yo’ SELF, first.  And check with your MAKER to see if it’s what He wants you to do!  *laughs*  But on a serious note, it’s not for everybody.  You have to have a certain heart for it, but the practical things are to network… get with people in your city, find out where the music scene is.  Go to those places, network, shake hands with people there… go to musicals, go to concerts, y’know?  Pass out cards and put yourself in position to be discovered.  No one is going to notice you without being proactive… you definitely have to be proactive.

EJ:  Wowwww.  Well, alright Suzie… Tommy… get it together!

CW: *laughing* Good luck!

EJ:  Right! *laughing*  Well, Candy, I really really really appreciate you talking to me.  And I can’t wait to post this so the people can know more about you and, hopefully, we’ll create a buzz for your solo project.  It’s gonna be insane, I know.

CW:  I’m looking forward to it.  I really appreciate you for taking the time and having the interest in interviewing me.  Thank you, EJ.

EJ:  Oh absolutely.  Quadruple YAAYYY!  I topped you.  I was gonna say “infinity yay,” but that would have ended the game.

CW:  Right! *laughs*

EJ:  I will talk to you soon.  Have a great day heading back to the studio.

CW:  Ok, have a good one!  Bye.

*     *     *

Soooooooo… what do you think???

For your viewing pleasure, here’s one of my favorite YouTube clips of her. Here, she’s singing “Day By Day,” a cappella, and WOWWW!

And don’t forget to check out her MySpace page for MORE tracks and info by clicking here.

Lots of big things coming up.  Some of ‘em, I can’t share just yet… some of ‘em, I can!

1.  We’re doing routine maintenance on the site TONIGHT and TOMORROW, so you may experience some very very short outages.  If that happens, give it a few minutes and check back.  Sorry for any inconvenience it causes– it keeps the site fresh and healthy!

2.  The next GospelPundit.com CD Giveaway will give you the opportunity to receive a FREE COPY of The Power Of One, the upcoming release from Israel Houghton!  Details coming soon.

3.  The next edition of On BGVs (background vocalist interviews) is coming SOON.  I hear that my hints are too easy, which may be true, cuz it’s no longer a secret that I chatted with an industry favorite– Miss CANDY WEST!  Whether you know of her from her game-changing work with Kirk Franklin, or from her most recent work with Myron Butler & Levi, you’re gonna loooooove what she has to say!  I asked her some good questions, if I do say so myself!  Keep it locked here for that.

4.  Y’all NEEEED to get in on our ongoing friendly, but spirited discussion that started yesterday about Mary Mary and the cameo appearances in their upcoming video… good talk and good points from all sides: http://www.gospelpundit.com/2009/03/04/word-has-it-mary-mary-shot-their-new-video/

5.  Love y’all.  But that’s not really an “update,” now is it?

Thanks and don’t forget to KEEP COMMENTING and SUBSCRIBE TO THE SITE by entering your email addy on the right >>>>>>>>>>>>>>>>>>.

Holla!

THIS woman of God… y’all heard of Tommye Young-West?

She sings like nobody’s business.  Her approach and attack are kinda reminscent of Aretha Franklin to me. I can’t stop listening to it!!!

Oh, and by the way, this post is a clue into who I interviewed most recently for the On BGVs background vocalist series!  Coming sooooon!  Any guesses???

Learn more about Tommye Young-West at http://www.oneluventertainment.net/.

I’ve not kept silent about the fact that my favorite male background vocalist is Jerard Woods.  Vocally, I think he’s able to do ANYTHING– he’s polished and professional, his tone is clean and effortless… and he just always seemed like a really cool guy.

He has provided vocals and/or vocal arrangements for CeCe Winans, Donnie McClurkin, Marvin Sapp, Kim Burrell, Donald Lawrence, Natalie Grant, Israel Houghton and a litany of other folks.  He and his wife, Jovaun Woods, are credited on tons of projects… basically anything coming out of Nashville!  LOL

Read the interview below to get a better idea of who Jerard is, how he balances his family life, the realities of touring, and much more!  Here, in the second installment of On BGVs, is Jerard Woods.

* * * * *

EJ:  You ready?

JW:  Yeah!  Let’s do it.

EJ:  Ok, talk to me about how you got started doing background work.  Is this what you wanted to do?

JW:  No, I didn’t plan to do background singing.  I was always singing lead, even as a child.  I didn’t start doing background work until I came to Nashville.  I was right out of college and I became friends with background singers who were already well-established… They were doing background work and they found out I could do it, so they recommended me to people and I was thrown into it.

EJ:  What did you do in Nashville before the session work picked up?

JW:  When I first got here, I worked for Xerox for like 8 months.  And I got a call to do a song for a Joe Pace album.  I sang on the record and Paul Wright (who produced the album) was like “Dude!  What are you doing at XEROX?!”  And it wasn’t him that made me quit, but it did confirm what I was already feeling in my spirit.  When I got here, I didn’t know what to expect.  I nervously took the job, but he was right.  It wasn’t for me.  Not soon after, I quit that job and just allowed God to use me in the music industry.  And slowly, I started to do more things.

EJ:  That’s awesome.  These days, you do a lot with CeCe Winans in particular.  How did you start with her?

JW:  My wife was singing with CeCe already.  When CeCe found out that my wife was married to a singer, she said “bring him to rehearsal!”  Now, being the stalker that I am (*laughing*), I knew all of her stuff, so I was already prepared.  I think that, to her, it seemed that I had a good work ethic, but I just watched her long enough to know her music really well.

EJ:  That goes well with my next question.  What makes for a great background singer?  Is it the work ethic?

JW:  I think that what distinguishes any background singer from others is that you’re professional, you’re always prepared, you learn quickly… I come across a lot of people who wanna do session work, but sometimes… umm… they’re… (*whispering shyly*) they’re just not good enough.  Or they don’t learn fast.

EJ:  Did you ever think you would be in such high demand? 

JW:  Noooooooo!  I would listen to records like everybody else, and listen for certain background vocalists.  Now, I’m working with them.  That, in and of itself… it blows my mind.  It’s really amazing how God has done that.  I never though I’d meet and become friends with these folks.

It’s only because of God that we get so many calls.  God has given us a lot of insight into how to keep working, and making it good and making it hip and all that kind of stuff.  And once producers start calling you, they talk to other producers and artists, you know?  Someone will say “who did you use for that track?” and they’ll say “oh, that’s Jerard and Jovaun and Leann and Darwin and Tiffany.”  There were times where we were literally singing on four records in a week.

EJ:  Are you serious?!

JW:  Seriously.  Even now… you could easily sing on ten or eleven records in a month and, if they all come out at the same time, your name is published in several places at once… and if you’re traveling and touring and performing at the same time, you get a lot of exposure and a lot of calls for work.

EJ:  That makes sense because when I first started seeing your name, it was like you were everywhere at once.

JW:  And we are!  *laughs*  No, we do work hard.  But the more you do it, the more experienced you get and the better and faster you get.  So, what would have taken us all day to do, it now takes me a fraction of the time to do.  Especially because, once you’re so used to working with a certain group of singers… you know, I’m used to knowing what they’re going to do.

EJ:  Ok, quit it.  You’re answering all my little questions before I can get to them!  My next question was going to be about synergy among groups of background vocalists.

JW:  *laughs* It’s true.  When you do it so much with the same people, you start to know what they’re going to do before they do it.  But, you know what?  The synergy that we have with each other is not just through singing.  We go to each other’s houses all the time.  We would just call and we’d all get something to eat.  We kick it when no music is even going on.  That’s how the synergy develops.

But it also depends on who we’re singing with.  Did you notice that singers in New York are WAY different from singers in Nashville or Los Angeles… or Detroit?  Anyplace where the singers do a lot of recording…

EJ:  Yeah…

JW:  So, when we started with Andrea [Mellini] and Donnie [McClurkin], they had this whole modern-day New York-broadway style.  Everything is “come out strong, heavy diction, and at the VERY end, very fast vibrato.”

EJ:  *laughs* That’s so true!

JW:  Right.  But in Nashville, vibrato is nearly illegal on sessions!

EJ:  Really?

JW:  Oh, ABSOLUTELY.  You do not… well, it’s getting better.  But if you don’t sing with it, you can make it in this city.  If you do sing with vibrato, charges will be filed.  But when we started with Donnie, he would say “VIBRATO!” but we weren’t used to using it, so it was an opportunity for us to learn to turn it on or off when we need it.

*Jerard pauses briefly to recite a full array of menu options to his 2 year old son*

EJ:  *laughing* I think it’s hilarious, by the way, that you’re giving your son so many options.

JW:  *laughs hard*  Yes!!  You have to, cuz you will get denied and rejected! 

EJ:  While we’re talking about family, let’s talk about the fact that you do a lot of background work with your wife.  The two of you have made a complete living off of background vocals, is that right?  I mean, you’re doing it with two kids and everything.  How?!

JW:  It’s HARD!  When the economy is not conducive to concerts, we’re not singing, so we’re not making money.  Or, if there’s a season where a tour cancels, you could be out for a while.  But the Lord is always kind to bring something else.  The good thing is that there are lots of artists, lots of studios, with lots of albums and producers.  We get calls from record companies, producers, and artists.   It’s amazing.

EJ:  How do you all find the time, especially with the kids?  Have you got babysitters?

JW:  We do get a babysitter if one is available, but you know what we started doing?  When we get calls for both of us, and we don’t have a babysitter, we say “hey, we’ve gotta bring our children.”  And our children are good.  I’ve stood in the booth and had my son on my hip while I recorded.  Or, if they say “no,” we say “okay, which do you need more– a soprano, alto or tenor?”

EJ:  I love that!  So, do you prefer doing studio work over live performances?

JW:  No, I prefer live performances.

EJ:  But you do more studio work, right?

JW:  Mmmm… Nah, it’s about what and what.

EJ:  *laughing*  That’s so southern!

JW:  *laughs* I’m from Louisiana, come on!  No, but it’s about the same.  But between the two, I prefer live.

EJ:  Why?

JW:  Well, the studio life didn’t come alive until I moved to Nashville.  I was already a “live performance” kind of person anyway.

EJ:  Who’s been the hardest to work with?

JW:  Probably CeCe Winans, Donnie McClurkin and Kim Burrell.  But in a good way.  Singing comes easy to singers, but these three challenge you and make you think harder because they are not predictable.

With CeCe, you must learn the art of vocal dynamics or effects.  You have to sing with soul, but do it softly.  With Donnie, you have to learn to be ready at all times, sing loud, high, and with heavy diction and control.  And with Kim, you have to first understand what she’s giving you to sing.  Then, you have to execute it flawlessly.

EJ:  Wow.  Let’s talk for a minute about Kim Burrell.  Now, this is when I first learned of you and we became best friends in my head… her Live in Concert album released in March of 2001, with accompanying video that I watched daily!  What was that experience like?

JW:  Amazing.  It was like a workshop to polish your skills.  Kinda like, if you’re in business and your boss sends you away to a training workshop to learn other things to bring back and apply to what you’re doing at the local office… *laughs*  She flew us all down to her house, got us around a keyboard, came up with the arrangements… it was AMAZING.

EJ:  A lot of people criticized that album, saying that the mix was bad or that there should have been more overdubs, but I still love that album.

JW:  Oh yeah.  There were challenges, things that were not in anyone’s control.  It was literally one of my best musical experiences.  It was incredible.

EJ:  So, you’ve done background vocals for some of the greatest, you’ve done some guest spots on several albums.  Recently, you released your own solo project, I Waited, on your own label, Found Sound Music.  Were you nervous to strike out on your own, or was that always the plan?

JW:  I was extremely nervous!  After doing backup for years, I went into this shell of not carrying the responsibility that an artist carries.  When you do background vocals, you have none of those responsibililites.  You forget about them.  So, I was very nervous, even now.

EJ:  What types of responsibilities?

JW:  As an artist, you have to do the whole gig thing, like “ladies and gentlemen… EJ!” and you come out and say “come on and praise the Lord!”  Even that became uncomfortable because I had spent so much time behind someone who was doing that.  I didn’t have to think of those introductions or segues to do songs.  In background work, it’s simple.  When the music starts, I come in.

EJ:  *laughs*  What’s next for you?  Can we get another album?!

JW:  Absolutely!  My next record is going to be with my wife.

EJ:  I love that.

JW:  Yeah, it’s gonna be Jerard and Jovaun.  We’re excited.  I’m tired of traveling without my wife.  Before we had kids, we were always singing together, traveling together.  I want that again.  She’s also an incredible vocalist that has a message she carries and she’s ready to deliver it.  We were thinking a solo album, but we decided to do it together.

EJ:  Cool.  Are y’all working on music already?

JW:  Ummm… somewhat.  Nothing is recorded yet, but we have some ideas.

EJ:  I can’t wait to hear it.  Tell me, how hard is it, generally, for a background vocalist to become a solo artist?

JW:  The transition sometimes is very hard.  It depends.  It depends on the person.  When you’re typecast, as we are, everybody… well, a lot record execs and people who make decisions…  they see us as very successful background singers, but they don’t see us as very successful artists.  And that’s the hard part, to convince them that we have that potential.

EJ:  So how do you convince them?

JW:  You can’t convince them by telling them.  You just have to believe what God has trusted you with and move as God directs, and room will be made for your gift.  Record execs may never see your potential, you have to see your potential.

EJ:  That’s so crazy to me because, often, the best singers are in the background, not in the forefront.

JW:  Yeah, but you represent a small percentage of people who believe that.  I know a lot of gospel artists who are very successful now, but have told me that it took time and many disappointments before they started to see a return on their investment into their own ministries.  None of them were overnight hits.  I, too, have to work hard and not give up before I get where I wanna be.

EJ:  Well, hopefully some folks will read this and realize!  Talk to me, if you will, about touring.  Do you enjoy it?

JW:  I love it.   I’ve always liked to travel since I was kid.  I like the idea of going to places I’ve never been, or experiencing events I know nothing about.

EJ:  I chatted with Andrea Mellini a few weeks ago and she talked about being on the road and the realities of it.  She explained that a whole lot of foolishness and, in her words, “devilment” can go on even in the gospel music community.  Have you noticed that, too?

JW:  *laughs*  “Devilment.”  Absolutely.  Some folks will hook and crook as far as money as concerned.  Some people have no problem with lying.  You have to deal with all of it and say to yourself “I’m the one who chose this profession.  I can either take it or get out of it.”  Unfortunately, the Christian music industry can be as bad as any other industry.  And I’m not just talking about the artists, it’s everywhere.

EJ:  That sounds so depressing!

JW:  And it IS if you stay there.  But you have to stay focused and stand on what you believe, and you can’t let someone else’s downfalls or mistakes cause you to be bitter towards the entire industry.

EJ:  Wow.  That’s real talk.  Andrea also said that she understands why CeCe has Alvin on the road with her.  You are blessed to work and travel a lot with your wife, Jovaun.  Talk to me about the dynamic of working together and being on the road together. 

JW:  A lot of couples love each other and get along, but they can only take each other in small increments… and that works for them.  But I LOVE working with my wife.  I love being with her.  The reality is that, sometimes, you have moments where people make propositions to you.  Sometimes it’s sneaky.  Sometimes it’s even in your camp.

EJ:  No!  But they know you’re married.

JW:  They may know I’m married, but if she’s not there for a minute… it’s almost like “hey, don’t ask, don’t tell.”  But that’s not just this industry, that’s in the world.

EJ:  *sighs* Ok, on a lighter note, I wanna do a quick game with you.  I’m going to say some words or phrases and I want you to respond with the first word that comes to mind, ok?

JW:  Ok.

EJ:  “Nashville.”

JW:  *pauses*  Family.

EJ:  “Stellar Awards.”

JW:  *pauses* Work.

EJ:  “Concerts.”

JW:  Exciting!

EJ:  “Groupies.”

JW:  You know, I’m not mad at groupies.  Umm… Underrated. 

EJ:  Wait.  Why do you say that?

JW:  Because usually, groupies are people who, even though they may be somewhat of a nuisance, love your ministry or love you, or love what you do SO much that they want to be around you all the time.  It may get on your nerves, but when you have people that love your ministry, you never know what they are capable of doing concerning your ministry.  They’re groupies, but they’re very passionate about what you do.  You always need those kinds of people. 

EJ:  I hear that… Ok.  “CCM.”

JW:  Something new.

EJ:  “Kirk Franklin.”

JW:  Inspiring.

EJ:  “COGIC.”

JW:  Foundation.

EJ:  Nice.  Jerard, who’s on your background vocalist dream team?  Like, if you were singing with the IDEAL group of vocalists, who would they be? 

JW:  How many people can I have? 

EJ:  As many as you’d like. 

JW:  Should I go by sections? 

EJ:  *laughs*  Wow.  Yes, please.

JW:  Ok.  The tenors would be Steve Crawford, Jason Nelson, Duawne Starling, Darwin Hobbs *pauses and asks his wife, Jovaun, which other tenors he likes*, Melinda Doolittle and Kathy Burrell… y’know?  I know I’m forgetting somebody… they’re gonna be SO mad when they don’t see their name.

EJ:  Ummm… Now, they can all blend together, right?

JW:  Yes, of course!

For altos– Leann, Debbie, Tiffany, I dunno if Sherry McGhee wants to sing soprano or alto today… we’ll put her for altos.  Melonie Daniels, Olivia McClurkin (RIP), Gail Mayes… and that should do it.

EJ:  This is intense.  Sopranos?

JW:  Singing soprano would be my wife, Jovaun… umm… Da’dra Greathouse, Andrea, Christie Richardson, Benita Washington, Angie Primm and Sheri Jones-Moffett. 

EJ:  Ummm… I think you kinda put together a mass choir, didn’t you?

JW:  *laughs*

EJ:  Last question, man.  Susie and Tommy wanna be background vocalists.  What do they need to do?

JW:  They need to surround themselves with people who are doing it.  Or go to a city where it’s being done, I think.  That was my way.  Oh, and learn from those who are doing it.  It’s a risky step, but if you’re good, what could possibly go wrong? 

And, I’ll say this:  when you sing background for people, you have to have the desire and ability to diminish.  Listen to everyone else around you and conform to THAT.  You cannot be a successful background group if you don’t diminish yourself as a vocalist to attain the sound that will benefit the group, and not just you.   People ask “how do you get that sound?”  We’re not doing anything spectacular.  We just blend as a unit.  When we sing, we’re not Jerard, Jovaun, Leann… we are a unit.  We have to die to our gifts at that moment because our goal is to have one sound and to sound like one voice.

EJ:  So true.  Jerard, man, thank you SO much for doing this interview.  I really, really appreciate it. 

JW:  Well, thank you!  It was my pleasure.
 
EJ:  Coolness.  Take care.
 
JW:  Alright, I’ll talk to you.

* * * * *

So, that’s that.  POST A COMMENT and TELL ME WHAT YOU THINK!

Make sure you check out his site at http://www.jerardwoods.com/.

And here, for your viewing pleasure, is a YouTube clip of Jerard Woods singing on TBN’s Praise the Lord, hosted by CeCe Winans.  He’s a worshipper and it’s awesome.  Enjoy!

Y’all have been TALKING today, you hear me?! Geez. Mad love to all of you for coming and weighing in on the Celebration of Gospel topic, the 106 & Park topic AND on the whole gospel-artists-singing-secular-stuff topic. If you missed any of those discussions, you oughta be ashamed… but you can always catch up! Just scroll down to see ‘em…

Also, thanks to all who are STILL SUBSCRIBING, Amen? Go on… look to your right and fill in your email address.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>

And, BIG NEWS that I’m really excited about. The next interview from the On BGVs series is coming INCREDIBLY soon.

Who is it with? Okaaaaaaay, I’ll tell you.

You’ve seen him behind CeCe Winans, behind Donnie McClurkin, behind Kim Burrell, behind TONS of folks… and he’s on so many albums it’s ridiculous. It’s the one, the only… Jerard Woods. DO NOT MISS IT!

Aight.  You may continue with your enjoyable GospelPundit.com experience…

At the end of December, I announced this new series, On BGVs.  Click here if you don’t know what the heck I’m talking about, but make sure you come back.

Well, the first post of the series is finally here!  I chatted on the phone with a great vocalist (and a great friend) and I’m REALLY excited that she agreed to do this… just for ME.

In the gospel industry, Andrea Mellini is probably most frequently seen singing with her brother, Donnie McClurkin.  But she’s an artist herself, singing lead with, and writing for, her family’s group, The McClurkin Project.  And there’s much more to tell, but I’ll let the interview do the rest…

* * * * *

EJ:  Hi!

AM:  Hi!

EJ:  You ready?!?!

AM:  Okaaaay…

EJ:  *laughs* So, how long have you been doing background vocal work?

AM: *sighs* It has to be since the early 90’s.  No, no that’s not true. It has to be … since age 17 or 18.  Wait.  Let’s just say 16. And that’s the age I’ll stick with for all eternity.

EJ:  How did you get started?

AM:  I was singing for Donnie McClurkin and The McClurkin Singers.

EJ:  And since then, who are some of the artists that you’ve worked with?

AM:  Oh wow.  Kurt Carr…

EJ:  Yeah, I remember seeing you on that video.

AM:  Uggghhh… Yeah, they told us to be trendy and my idea of trendy was this see-through dumb shirt that was too big for me… I should have been on somebody’s “worst dressed” list because it was horrible!  Oh gosh, who else?  Andraé Crouch, Sandra Crouch… I did some work on a BeBe & CeCe [Winans] greatest hits album, Vickie Winans, Marvin Winans… Michael Jackson…Martha Munizzi…

EJ:  Kirk Franklin?  Yolanda Adams?

AM:  Yeah, yeah.   Y’know, I don’t remember all of them.  I’m not wired that way.  I don’t make a mental log of who, when, what CD…  you know, it all just goes with the territory.  It’s not my “woo” factor.  My “woo” factor is living my life to please God.

EJ:  I get that.  Do you prefer studio work over live performances?

AM:  I prefer live performances.  When you’re in the studio, you have to be precise and if you work for a perfectionist, you’re in there for hours.  If it’s not right, you do it a million times.  A live performance, you give your heart, your passion, and you walk away.

EJ:  You’ve been doing this for a while now.  What do you think are some “must-have” attributes of a successful background singer?

AM:  Hmm… These days, everybody can sing.  You can get somebody from a grocery store who’s a good singer.  But to be a background vocalist who impacts people, you need a working relationship with the Lord.  You need to know Him and be in constant communication with Him.  I know that what I’m about to say is not really popular, but we need to live a holy lifestyle, a life completely surrendered to Him, so that what we sing affects people… because people come to concerts and church with all kinds of issues.  Some have been molested, they know someone who’s been murdered, they beat someone up or they’re being beat up at home by their spouses, they’re living in cars… all kinds of issues that are real issues.  Those people are coming to church and they’re coming to the concerts desperate for an answer.  Now, if I’m living a life of the devil, trying to sing songs of redemption, what I’m saying is not going to affect your spirit and minister to you.  I’d just be singing a song that makes you feel good.  But living a lifestyle that is holy and pleasing to the Lord is a must-have attribute if you are a background singer who wants to impact somebody’s life.

EJ:  Amen.  And from a musical standpoint?

AM:  You just have to be able to sing. *laughs*  Let’s just say that.  Because sometimes you need to learn stuff on the fly.  And if you can’t, as I say, “lock and load,” y’know.. grab it and go… you’re going to be a liability to whoever you’re singing with and a great frustration, too.  You have to be able to sing and do stuff in a moment’s notice.

EJ: Andrea, how glamorous is it all?

AM:  *quickly responds* Not at all… Well, not entirely.

EJ:  What?!  But what about the nice clothes and the makeup and stuff?

AM:  *sucks her teeth and laughs* It’s exciting and really cool the first two or three times, but after that it kind of loses its excitement.  Don’t get me wrong, I love what I do.  But do anything more than a handful of times and the excitement level goes way down!

EJ:  *laughing* I hear you.  Now, you’ve ventured out as an artist a bit with The McClurkin Project and doing some guest spots on TBN’s Praise The Lord. Any plans to do more?  Maybe a solo project?

AM:  Yes, actually, I’ve got some things in the works as we speak.

EJ:  REALLY?!

AM:  Mmm-hmm… I’ve written a handful of the songs already, but I’m in the “embryonic stage.”  I’ve written a handful of songs and a handful of people have them.  We’re just in the beginning stages.  I don’t have a timeline, no date as to what, when or how, but it’s in the works.

EJ:  Who would you like to work with?

AM:  I don’t know…. it really doesn’t matter.  As long as they can bring out what I’m trying to give.  Maybe… Tommy Sims seems to have a magic touch, so maybe Tommy Sims.  But it doesn’t matter to me.

I have a song in mind that’s been sung a million times, way back in the day, and I want to put a Latin twist to it. I thank God for my beginnings– I listened to rock and a lot of everything else.  So now that Christian music has all those elements in it (cuz I don’t listen to secular music), I can still listen to all of those sounds.  And I wanna be able to do it without a label saying “we don’t want that.”  I just wanna be able to do what I wanna do.

EJ:  Makes sense.  I think that’s a common concern for artists.  Ummm… what’s the best part about doing background work?

AM:  The best part of doing background work?  Umm… *her eldest son says something inaudible from the background and she responds to him: “Yes, praising Jesus Almighty.  Thank you.”*  The best thing, outside of people coming to know the Lord at the end of the concert (cuz that’s top), is traveling to places you’ve never been, experiencing cultures you’ve never seen… seeing how people praise the Lord in places outside of America… it puts America to shame.

EJ:  I know! Like in Africa.

AM: Yeah, like Africa– this thing we just did in Lagos, it rained like Noah’s Arc… I mean, pelted and pummeled rain until it flooded the whole area.  There were 300,000 to 400,000 people out there.  It rained and those people did not move!  They lifted their plastic lawn chairs over their heads until the rain finally canceled the sound and they were forced to leave.

EJ:  The sound system went out?

AM:  The sound system went out.  It was raining that hard.  There was no way to keep the equipment dry.  So, stuff like that… seeing how other people worship is great.  Anything outside of America– it’s like they worship the Lord for points!  They get it.  We’re the only ones like “yeah, whatever…”  He’s great to a point… we don’t really get it.  But if we were denied the basest comforts, like in other countries, we’d see how much God means to us and how desperate we are just to be in his presence.

EJ:  That’s incredible.  Speaking of traveling, how grueling is touring?

AM:  *sighs* For me, personally, I don’t like being away from home more than 3 days.  Anything past that, I lose focus on reality.  Being on the road is not completely fun.  The perfect example is Hopeville.  We were on the road for 6 months straight.  You had to pick the day you wanted to go home, on your own dime, and you’d better make sure you were back at the appointed time.  But if you didn’t have money to go, or the schedules didn’t work, or whatever, you were on the road for 6 whole months away from home.

That almost killed me because you have the whole “road mentality,” like “hey girl… you going for breakfast?  Let’s go.”  And where it’s fun, it’s fun.  But where it’s not, it’s not.  A lot of people on the road… we say we’re saved, but we turn into the biggest devils trying to get into all kinds of stuff.

See, no one talks about the ROAD… if you’re not careful, y’know, staying strong… You can get into all kinds of “devilment.”

EJ: *laughing*

AM:  So, y’know, I bring my bible, my bible aids, my notebook, and I stay in my bunk, and I read and pray.  If I don’t have to be somewhere, I go nowhere.  And whenever I do go out, I stay in a group with people.  See, full-time ministry will make or break you.  If you don’t have the right mindset, and realize that it’s all about souls… you can be tricked.  When you’re out of your element, on a bus, city to city, hotel to hotel… If you are not careful and if you are not focused, and stay in the presence of the Lord, the lines and boundaries that you have drawn for yourself start to blur and you will fall for everything!

EJ:  What?!  Are you serious?

AM:  This is the reality.  The road experience can kill your testimony if you are not careful and staying prayed up.  Now I understand why CeCe [Winans] has Alvin [her husband] with her everywhere she goes.  I understand that like you wouldn’t believe.  And it forces me to take stock in who I am and what I’m doing at all times… to know my strengths and weaknesses… to have that accountability factor and stick with people who have your best interests at heart.

Cuz you don’t have your mom, your husband or your wife with you on the road, unless your lucky… You can stay up all night.  You can bowl until 5 a.m. and go to a late movie, or stay all night at a restaurant… If you’re really not focused on what is REAL, you can get caught up.  This is real.  Here at *she rattles off her home address*, this is real life.  The only thing that’s real out there are the souls.  Everything else is dynamite if you are not careful.

EJ:  Wow.  Folks really need to hear that.  Hey, how’s the pay?

AM:  *chuckles*  Ummm… this needs to supplement something.  *laughs hard*  Maybe if you’re singing for Sting, you’re making a bunch of money.  But in the gospel music community, I don’t care who you sing for, you’re not making millions and trillions of dollars.  Y’know?  You’re not paying a college tuition by being a background singer.  And that’s why you have to have a passion for it.  It can’t be for money.  AT ALL!  I love what I do and the fact that I get paid to do what I love is awesome!

EJ: Which pays better?  Studio or live stuff?

AM:  Studio.

EJ: Really?  But live, you get your hotels paid for…

AM: Yeah, you get hotels paid for and you get per diem.

EJ:  But don’t some people do it?  Like Patti Austin?

AM:  Y’know, I don’t know. I don’t know what anyone else makes.  I never get into all of that.  I just… what I bring home is nice and if you do a string of stuff, it’s real nice.  But, studio seems to pay best, especially if they pay union wages.

EJ:  Okay.  Suzie and Tommy want to be background singers. How should they get started?

AM:  It’s kind of who you know.  Because you never see a “Calling All Cars, I’m searching for a background singer.”  It’s done in-house.  Someone refers someone, like “I can’t be there, but I know someone who can fill my space.”  And sometimes, it’s hard to get in, especially if it’s like a family thing.

EJ:  *laughs* Yeah, like with YOU all.

AM:  *laughs* Yeah.  This is how bad, though– I had a date to sing in Florida that conflicted with [Donnie's most recent live] recording.  Roger [Donnie's manager] called me about the recording and I said “I can’t go cuz I have to sing in Florida.”  He said “Andrea, you HAVE to do the recording.”  And I did.  I don’t know how– they moved heaven and earth to get me at the recording.  I’m sure someone could have sung in my place, but I let them move heaven and earth to do it.

EJ:  Hey, do you get to keep your clothes?

AM:  *laughs*  If I’m doing something that has a budget for background vocals, but 9 times out of 10, there’s not.  This is gospel, y’know, it’s not Mariah Carey or something.  And mostly, they don’t include background vocalists’ wardrobe.  Whoever handles wardrobe for the artist, the stylist or whoever, just says “wear black” or “I saw something in a magazine and let’s try that… so WHEN YOU GO SHOPPING, try to get it.” *laughs*  Normally, you’re just told the color and style and what to bring.

EJ:  Cool.  Andrea, who’s on your background vocalist dream team?  Like, if you were singing with the IDEAL group of vocalists, who would they be?

AM: Ummm… well, for starters, Duawne Starling.  His voice is amazing… He and Jerard Woods are, hands-down, my opinion (and of course I haven’t been everywhere and don’t know everyone)… oh, and Anthony Evans… they have some of the most amazing male voices I’ve ever heard.

EJ:  And who else?

AM:  Umm… Can I say their names even if they’re not background vocalists anymore?

EJ:  Sure.

AM:  Ok, all of CeCe’s old singers– Tiffany, Duawne, Cindy.  Even the more current ones– Leann, Jerard, and Christy.  But her singers– they’re ideal… Every one of Kirk Franklin’s singers, past, present and future!  And Angie & Debbie and Sherrie Kibble from the BeBe & CeCe days… ohhh, like, the greatest ever.

EJ:  What about Sherry McGhee?

AM:  OF COURSE!  All of Donnie’s singers– Sherry McGhee, she’s awesome.   Queenie, Ayana George… that goes without saying.  Seth Ready, Shawn & Rhonda McLemore… you’d have to name everybody I’ve ever sung background with.  Vince Freeman and Troy Bright!  The list goes on and on.

I think, when I do my thing, I want an all-girl band and all-male backgrounds.

EJ:  Why?

AM:  I think girls aren’t really given their due musically.  Gospel music is like a “boy’s club”… maybe one or two females are playing keyboards once in a while, but you don’t see a lot of female drummers or guitarists.  And I’m sure they’re out there because Beyonce is rocking those girls in her band.  But no one in the forefront of gospel has an all-girl band and I wanna be able to have one.  And if anyone has one after this interview, you know where they get their idea, so WHATEVER!

EJ:  *laughing*  And why a background full of guys?

AM: Why not?! *laughing*

EJ:  *laughing* “Why not.”  Andrea, I’ve really enjoyed chattin’ with you.  Thanks for being my first victim.

AM:  Thanks for having me!

* * * * *

Hope everyone enjoyed the interview. Lemme know what you think!

And if you wanna check out Andrea doing what she does best, watch the YouTube link of her singing “We Praise You,” the single (which she wrote) from the latest album from The McClurkin Project:

I’m launching a new series: On BGVs.

Background vocalists are essential to the success of most recording artists. This may be especially true in the gospel music industry, where some of the most popular artists don’t even sing much (e.g., Kirk Franklin and Donald Lawrence).  Most times, however, background singers simply don’t get their due.  You see ‘em back there workin’. You find yourself doing the same dances as them.  You probably even add an extra note to their harmony.  But who are they?

Well, in my estimation, some of the singin’-est and most gifted folks in music aren’t necessarily the ones headlining the concert you attended– they’re standing just behind and to the right of them.

This new periodic series, On BGVs, will feature interviews with some of the industry’s most incredible background vocalists.  Some you’ll know of, some you won’t.

Be on the lookout for the first of the series coming soon!