One of the most highly publicized events of the Stellar Awards weekend was the Bonnerfide Radio Launch Party, the celebratory event hosted by Gerard Bonner for… well, the entire industry.  The party did not disappoint… it was a virtual who’s-who of folks in the industry and just about everyone rolled through at some point to show their love.

In case you don’t know by now, Bonnerfide Radio is a new internet radio station created and hosted by Gerard Bonner (also of GospelFlava.com).  Within months, the interactive radio show/chat room experience was nominated for a 2010 Stellar Award for Internet Radio Station Of The Year, and garnered the support of MAJOR gospel artists, including Fred Hammond, J Moss, John P. Kee, Sheri Jones-Moffett and countless others.

The night, hosted by popular journalist and personality Jawn Murray, boasted performances and appearances from new and established artists including PJ Morton, Jonathan Nelson, Jason Nelson, George Huff, Melinda Watts, Myron Butler, Candy & Peaches West, Algernon, Tre Thomas, Claude Deuce, Sheri Jones-Moffett, Rae Ellis, CMO, Dominique Side, JJ Hairston, Darnell Davis & Remnant, Lisa Page Brooks… I have to stop there cuz I’m losing myself in the evening again.

But just imagine a relaxed (though packed to the RAFTERS) lounge setting at Nashville’s popular venue, Limelight, featuring food and drink, enhanced by ministry/entertainment from some of the most creative and skilled vocalists in our game.  That’s where I was on Friday night!

Wanna make sure I mention this testimony, too– immediately after THIS event, Gerard Bonner was involved in an automobile accident in which his car was totaled.  From what I understand, he was hit by another car, which sent his car head-on into a truck… an 18-wheeler.  Praise God, Gerard and the passengers with him, walked away with only minor bruises– no internal bleeding or complications whatsoever.  When I spoke with him a few hours later, he was resting up to make sure he had enough energy for the rest of the Stellar weekend!

Now, I’m not big on blaming everything on the devil… I think, sometimes, folks just have auto accidents.  But if you were blessed to watch how God has been dropping miracles for Gerard left and right over the past several months, and if you had seen how that evening was a confirmation of so many of Gerard’s dreams and ambitions (based on his calling), and if you had seen the wreckage and how the accident REALLY could’ve turned out another way… you’d probably be rejoicing that the hand of God remains more powerful than any attempt of the enemy, that His plans can never be ruined, that He’s a God of mercy, grace and love… I’m not thrilled about the accident, but I am thrilled that God is consistent in showing His children “I’m here for you… I’ve got plans for you… I’ve got you– physically, financially, emotionally, spiritually…”  Let’s rest in that.

Anyway… it was kind of a once-in-a-lifetime type of deal, cuz how many launch parties can be thrown?!  But maybe, if we’re nice to him, Gerard Bonner will throw the industry another shindig next year…

In the meantime, you can check out his live radio show EVERY weekday morning, from 9am to 12noon ET, at http://www.getbonnerfide.com/.  You’ll immediately see what everyone is raving about…

If you were at Marvin Sapp’s live recording (or at www.VerityRecords.com) on Friday night, you heard the great music that he plans to put on his new project, tentatively titled Here I Am, expected in the first quarter of 2010.

My wife and I were fortunate enough to make it to Grand Rapids for the event.  Once we got there, we met up with Gerard Bonner (Bonnerfide Radio, GospelFlava.com), Jawn Murray (AOL Black Voices, Tom Joyner Morning Show, etc.) and Sheilah Belle (The Belle Report) before heading to the venue.  Once there, we got settled in the front row along with Neechy (RocSpace) and the folks from Verity before the recording began.  When I tell you we were cutting up from JUMP… let’s just say we were a rowdy group.

Before the recording, Aaron Lindsey’s wife, Adrian, surprised him with an award to recognize him for his commitment to the gospel/Christian industry, and for writing and producing such GREAT music.  It was kinda awesome of her… wanna point it out cuz you wouldn’t know it if you weren’t there.

Next, Marvin Sapp’s brother, Henry Sapp, performed a stand-up routine to get the crowd ready.  I’m not a huge fan of stand-up, but he had the crowd laughing a bit.  Finally, drummer extraordinaire and MC-for-the-night Ray Bady came to the stage to introduce Marvin Sapp.

With lights and energy at level 10, Marvin Sapp took to the stage and performed some reeeeaaally great music.  For me, it got even better as the recording progressed.  Aaron Lindsey served as musical director/producer while Myron Butler worked the vocal production with some of the tightest background vocals you’ll find in the game (shout out to Candy & Peaches West and Deonis Cook).

My favorites of the night: “Fresh Wind,” a song with a churchy/quartet feel to it, the vamp of which we stayed on for a good while; “Comfort Zone,” an encouraging ballad penned by Ted Winn (who was in the house); and, of course, ”He Saw The Best In Me,” written by Sapp and Lindsey, which reminds me of “Never Would Have Made It” in terms of its lyrical simplicity but easy-to-relate-to sentiment.  I also enjoyed “Wait On Him,” “I’m In His Hands,” and “I Came.”  It was just an evening of really good music.

He capped off the night by thanking and acknowledging various people in the audience, which included Commissioned mastermind Michael Brooks (and, of course, his lovely wife Lisa Page Brooks!).  Almost as if unable to help himself, Sapp went into a quick impromptu medley of classic Commissioned songs written by Brooks– “City,” “Will You Be Ready,” “Giving My Problems To You”… it was tons of fun.  I got several tweets that the live feed was cut, probably because of licensing issues for those songs.  Sorry ya missed it!

Other folks of note in the crowd– Deborah Smith Pollard (Detroit radio DJ, author, speaker, professor and gospel historian), Michael Williams (drummer and former member of Commissioned) and Ken Reynolds (Integrity Music worship artist).

Pastor Sapp ended the entire evening by singing a small bit of “Never Would Have Made It,” like I’ve NEVER heard him sing in my life.  His range was limitless and he made me feel like it was the first time I heard the song, which is a very tough task given how much it’s been played.

Special shout-out to Kymberlee Norsworthy, Jazzy Jordan, Jeff Grant and Joseph Burney of Verity Gospel Music Group– you were fantastic hosts and you made the weekend great for us.  Plus, it was just good to see ya!

I’ve got a few photos for you below, but I urge you to check out Gerard Bonner’s website (http://www.GetBonnerfide.com, in the “In Concert” section) for a full collection of great shots.  And I also got a chance to chat with Marvin Sapp, Aaron Lindsey and Myron Butler after the recording.  I’ll tell you what they had to say later this week, so stay tuned.

Who else was in the house in Grand Rapids?  Who heard the recording online?  Which songs were your faves?

TALK TO ME!

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.