Over the past several months, I’ve gotten A LOT of new music from people asking for reviews or features. Sometimes, I’m pleased, sometimes I’m… concerned.
But I just got Claude Deuce’s upcoming project, Claude Deuce: Young Elder, and I’m kinda giddy! He’s already pretty well-known behind the scenes, having written and produced for some of gospel’s finest, including Deitrick Haddon, Canton Jones, Ton3x, Izzy and Sean Simmonds. Now, he steps out as a solo artist.
In addition to his keen songwriting and production abilities, Claude is an incredibly gifted vocalist, with clear influences from Marvin Winans and Ton3x, to Stevie Wonder and Donny Hathaway.
I’ll do a full album review in a coupla weeks (cuz I want y’all to know PRECISELY why you need to purchase his album when it drops on July 14th), but in the meantime, I need y’all to check him out! I just added his single, “It Ain’t Over,” to the PunditPlayer. Launch the player by clicking the logo on the top-right of the page. Make sure you lemme know what you think!
Okay, y’all have waited long enough… Let’s continue our conversation with Melonie Daniels. If you missed PART ONE, make sure you click here to get caught up on things, then come right back!
In this segment, Melonie continues talking about her performing experience with Mariah Carey. Then, she discusses her own voice, why she actually does NOT think it’s that spectacular, and why she continues to train it.
I hope you enjoy. Here’s PART TWO…
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EJ: Talk to me more about your work with Mariah Carey. What was it like?
MD: It was incredible. I filled up a passport, had to add pages, and then pay for another one. *laughing*
EJ: Someone wanted me to ask you this and I told them I would: If Mariah was ever hoarse on stage, did you ever do her whistle tone notes for her?
MD: Oh, heck no. Mmmmm… That ain’t my ministry. *laughing*
EJ: You can do that!
MD: Not those whistle notes, I can’t do that whistle stuff. Well, I can do it, but it’s not controlled. It’s like a happenstance.
EJ: But you used to do her soundchecks for her, right?
MD: Yeah, cuz she wouldn’t come. *laughing*
EJ: *laughs*
MD: But, it’s like… at a certain point in your career, you know what you’re gonna do and you know what you’re gonna sound like. And if you have people working with you who know your characteristics, and they’re able to handle it, you let them do what they do.
I don’t think it was a “diva” thing. People who reach a certain status have so many people around them who overload their schedules. So, she would have interviews, photo shoots, TV tapings and all kinds of stuff, up ’til an hour before a performance. She wasn’t able to even come to the soundcheck. So, I would end up checking for her and her sound guys– so on point. They knew what hertz, what megahertz, the treble… all that stuff. And I was able to mimic her voice enough that they could get exactly what they needed, so that when she hit the stage, it was ready to go.
EJ: What was the road like with her? How did you fare, as a little Baptist girl, thrown into the mainstream industry like that?
MD: I was scared outta my mind! *laughing* And I had a moment– I was like “God, I know you didn’t give us the spirit of fear, but I’ve gotta be honest and say that I am scared witless that You’d allow me to go into this situation where I may be one of few, or maybe the ONLY one… I need You to shine through each and every thing I do– the way I work, carry myself, and sing.” I didn’t put singing first– I wanted my interactions before the singing because, at that point, singing was secondary. I had rehearsed and practiced enough.
EJ: How many years were you with Mariah?
MD: Eleven. From ’92 to 2003.
EJ: Do you miss working with her?
MD: I do and don’t. I did the road for eleven years and it was wearing. I walked away without it being a bad taste in my mouth. So, if an opportunity presented itself again, I would go. But I don’t think it would be with that camp because I believe that, whatever my assignment was, it’s done.
EJ: But, how did you know that? Why did you stop?
MD: Umm… God said it was time to move. I didn’t have a plan, I didn’t know where He was moving me, but it was a faith walk. And it was about taking the lessons that I learned in that professional surrounding and bringing that level of excellence to whatever was next, which happened to be Greater Allen Cathedral in Jamaica, New York.
I got there with people that had been in the industry with me, and because of our expertise, we were able to pour into the music ministry the things we had learned, to make a more excellent offering to God. Not just to build a music ministry and walk away, but to show people that it can be done excellently and still allow for the Holy Spirit to do what He wants to do.
EJ: That’s needed in the Body. So, do you ever get star-struck? Like, do you still have those “I can’t believe I’m here for this gig” types of moments?
MD: Yeah, I have those. Like, any of the awards shows. Because you turn one way, there’s Stevie Wonder. You turn another way, it’s Eric Clapton. You turn another way, there’s Boyz II Men (at that time)… Then, you’ve got David Foster walking past you and here comes Clive Davis and Aretha Franklin, Faith Hill and Celine Dion… You either take it in and process it, or you pass out from all the excitement. *laughing*
EJ: *laughs*
MD: I’m the kind that takes it in and processes it. The only person I get twisted over is Stevie Wonder. *laughing* I stop breathing when the man walks into the room because his ears are impeccable.
EJ: *laughing* But you’ve sung with him before, right?
MD: I’ve never sung with him. But when BET did the Walk Of Fame thing a few years ago, Mariah had to sing.
EJ: I remember that. She did “You And I.”
MD: Right. And I did the vocal arrangement for the backgrounds, because he didn’t have background vocals on that song.
EJ: I remember the performance AND the background vocals, and I could hear you loud and clear!
MD: *laughs* And I did her soundcheck. I’m glad they told me afterwards, but he was sitting in the back listening to me. And I was like “WHAT?!”
EJ: Oh wow.
MD: And I was like “I’m glad y’all didn’t tell me” because I would’ve said “I’m not doing it… somebody else do it!”
EJ: Are you kiddin’ me?!
MD: I’m so serious.
EJ: But don’t you KNOW… you know how great your voice is, right?
MD: Mmmm…
EJ: You really don’t?
MD: I don’t agree. *laughing* I do not agree. I hate to hear my voice. The only reason I listen to myself is for recording situations, if I have to match what I’ve done, or stack vocals.
EJ: What do you think is wrong with it?
MD: It’s not pleasing to me. I believe I have a decent voice, but it’s not pleasing to me.
EJ: But, you don’t think you have a nice tone?
MD: No. I think it does what it needs to do. But you’ll never get “high praise” about my voice from me.
EJ: I hear that. But that’s most vocalists, I think. How did you train your voice? Was it classical, jazz, piano lessons, what did you do?
MD: All of the above. I didn’t grow up playing piano, but when I went to college at Five Towns College, it was part of the curriculum. My ear was developed enough that I could take piano classes and make the connection between my voice and the music, and I was able to understand that it shouldn’t be separated.
And, just outside stuff with groups growing up– David Gates & Love, Peace and Joy, another group called God’s Creation, and another called One Accord, as well as being choir director at my church.
EJ: So, tons of formal training and experience, plus some informal work. How many octaves is your range, really?
MD: I think it’s four. I’ve not tested it in a minute, but I think it’s four. And females have less of a range than males do, actually.
EJ: Really?
MD: Yes. Claude V. McKnight is my principal example for this– he sings first soprano with Take 6, but he can sing as low as Alvin Chea.
EJ: He sings bass in the group, right?
MD: Yeah. So he has, like, a 6-octave voice. And the reason that guys have a wider range is because at puberty, when your voice changes, you get the low end, but you still keep that prepubescent high end, which most guys use as their falsetto.
For many females, three octaves is it. Some have four or five. I think I’m maybe four, or four and a half. When I was a kid, like around 12, I had a freakish situation as far as my voice was concerned– my voice changed in puberty.
EJ: Really?
MD: I was singing soprano like a squeaky little girl and, next day, I was singing tenor. I was devastated. So, my mom took me to voice lessons and I began exercising those top parts of my register. I have a pretty low break for a female– the break is that place where your voice changes from chest voice to head voice. For me, it’s pretty low. So, all that stuff you hear with me doing the high stuff is usually my falsetto and it’s been exercised to a point of strength, such that it sounds like my chest voice.
EJ: RIDICULOUS!
MD: But I did it out of a strange devastation. *laughing hard*
EJ: *laughs*
MD: I was like ”I’m a freak. I don’t wanna be a freak.” Please, it devastated me.
EJ: Did kids make fun of you?
MD: They didn’t make fun of me because they didn’t know what was going on. All they knew was that I was a chick with a low voice. *laughing*
EJ: Now, how did you learn to work a song so well? Some people start right in with all they’ve got and, by the vamp, there’s nowhere else to go. How did you train for that performance aspect?
MD: It’s about knowing the choices, knowing what your voice is capable of and not capable of… knowing what is comfortable for you. As far as ad libbing, if you don’t have the Word of God in your heart and your mouth, you have nothing to say.
EJ: SAY it!
MD: All it’ll be is riffs and “oh” and “yeah” and “no”. And that’s the extent of your WORD repertoire. You can tell if people are worshippers by how they ad lib on a song. You can tell what they have to offer by how they deliver a song.
Now, ”oh” and “yeah” is not always a bad thing, but it’s up to the individual with the gift to work your education of that gift. The gift comes from God, but the gifted are not perfect vessels, so we have to hone and train the gift in order for it to become effective.
EJ: It’s funny you mention honing and training the gift. A while back, your Facebook status update said you were on your way to a vocal lesson, and I laughed so hard because everybody was like “WHAT?! Not YOU!”
MD: Maaan, they blacked OUT! *laughing*
EJ: *laughs hard*
MD: I mean, I got so many comments for putting that up– “what do you mean?” or “you should be teaching it!”
EJ: Right. What’s the problem with those types of responses?
MD: It’s ignorance to think you don’t need it. But it’s also “celebritizing” things. Like, Meryl Streep– I wouldn’t be surprised if she goes and does stuff to keep herself sharp, and we call her one of the greatest actresses of the century. Or, like Denzel… he still shows up and does Shakespeare in Central Park. You know? Just to keep himself sharp.
There’s always room for improvement and the moment you think you’ve got it all, or that you don’t need anyone to show you anything… go on and pick out your casket.
* * *
Wowwww… good stuff, right?!
As I mentioned yesterday, I’m ending each interview segment with a clip of Mel doing her thing. Someone posted this video on YouTube and, though the video is not great, it’s MORE than worth the listen!
When we did the interview, she had just gotten back from this performance at the Gospel Heritage conference a couple of months ago. She told me that she had been sick with an upper respiratory infection (which almost turned into bronchitis) for several weeks. She had been on vocal rest during that time, and THIS PERFORMANCE was the FIRST DAY that she had sung in weeks. You’d never have known it cuz she held it down, as always…
Here’s Melonie singing “Precious Jesus”:
Lemme know what you think about the clip, but make sure you gimme feedback about the INTERVIEW too!
Y’all heard the Clark Sisters’ version of Stevie Wonder’s “Higher Ground” yet? They recorded it with Robert Randolph as part of the Oh Happy Day: An All-Star Music Celebration album, released by Vector Records/EMI Gospel last week. The project also features the Soul Children of Chicago (shout-out), Mavis Staples, Al Green and Heather Headley, as well as mainstream artists like Jon Bon Jovi, Michael McDonald, Joss Stone and Queen Latifah.
Honestly, at first, I thought “here comes a trainwreck,” but it’s really not bad AT ALL! Dorinda seemed a bit more reserved until the end, but each of the ladies held it down throughout. I think they really put their signature “Clark Sisters sound,” with the harmonies and acrobatics, on a classic song.
Listen:
PLUS, I’m glad to see them branching out and doing more stuff in different arenas, getting some of the recognition that they deserve from the mainstream.
Kim Burrell hasn’t released a commercial album since March of 2001. In my opinion, ’nuff said! Still, for those of you who need MORE reason to purchase this album, here’s my review.
Her new project, No Ways Tired, is actually a bunch of covers of classic songs. If other artists tried it, I’d prolly hit the snooze button and get back to it later. BUT, Kim Burrell can sing a phone bill and make a brutha wanna pay it on time, so I’m not mad!
In my opinion, THIS is where Kim Burrell really shines. She is an incredible vocalist, she’s bananas on the keys… but I think that she’s also a phenomenal ARRANGER. And, to that end, she’s absolutely showin’ off on this project.
If you recall, I went to her Christmas concert in New York back in December (click here to read my recap) and I talked about her phenomenal arrangements of Christmas classics. Then, when I interviewed background vocalist Jerard Woods, he talked about how they just gathered around her piano and she came up with these amazing arrangements (click here for that interview) for her Live In Concert album.
No Ways Tired opens with an authentically jazzy prelude in which she scats to the instrumental break of Stevie Wonder’s “Sir Duke,” before moving effortlessly into “Happy,” the type of excitingly complex track that you’d expect from her. The title track is next and you hear her put a jazz/funk spin to a very traditional tune.
The stylistic influences continue to shift throughout the album, from the mellow ”I Surrender All,” which sounds like it was recorded at one of those really tiny jazz clubs in New York, to the guitar-driven “Jesus,” a simple enough song over which her vocals dance beautifully. At all times, though, the project is quintessentially “Kim Burrell.”
Now, is it THEKim Burrell album we were all waiting for? Maybe not. I think everyone was expecting a studio album similar to Everlasting Life, where every singer– in gospel and beyond– would play it “over and over again,” memorizing every note. I don’t think that’s this album. But let’s be real, too: that album was probably one of the greatest albums in contemporary gospel music in the past twenty years.
That said, if you refer to the albums that you own as a “music collection,” I think No Ways Tired is a great addition to it. In my estimation, Kim Burrell is one of the most prolific musicians of our time and any music lover would be remiss in not copping what she puts out. Her creativity, tone, agility and ability are both unparalleled and inspiring, whether she’s singing a hymn, a jazzy joint or the churchiest drive out there.
In short: don’t play yourself cuz everyone will have this album and will have expected you to know what we mean when we say “use your happy!”
I LOOOVED this interview and I think y’all are gonna really enjoy it, too. I’m chatting with Deborah Smith Pollard (aka Dr. Deb) about her book, When The Church Becomes Your Party, which discusses the changing trends in gospel music and the new expressions of the traditional Gospel message.
Let me set things up real quick for you, so you’ll know exactly why you need to lean in CLOSELY for this interview! She holds a Ph.D. in American Studies, she’s an Associate Professor at the University of Michigan-Dearborn, she has done EXTENSIVE research and writing in African-American literature and the gospel music industry. She’s a concert producer, lecturer, gospel columnist… AND she’s a Stellar Award-winning gospel announcer on Detroit’s FM 98, where she’s hosted “Strong Inspirations” on Sunday mornings for nearly 15 years!
We had waaaaay more fun on our phone conversation than I could have expected (and talked about waaay more than I could even print!). She is a true treasure to the gospel music community.
Y’all, FOR REAL, buy this book and learn what her research has uncovered– you’ll be amazed. Here’s Deborah Smith Pollard…
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EJ: Hi! First, let me thank you so much for taking the time to chat with me.
DSP: Well, thank you for wanting to talk to me.
EJ: Oh, absolutely. A friend emailed me about the book a few months ago and I thought “I want to read this and I want to talk to her for GospelPundit.com,” so I really appreciate you for taking the time to do it.
I also need to take a quick minute to say THANK YOU for mentioning GospelPundit on your radio show the other week. You had listeners weighing-in on a topic I started, regarding Mary Mary’s upcoming video and the cameo appearances by mainstream artists. As you saw, we had A LOT of comments—some for it, some against it– at GospelPundit.com. How did people respond in Detroit?
DSP: The ones who called in and sent me text messages, they said that there are a lot of different ways to reach people and Mary Mary seems to want to go outside of the church walls. And if they can grab the attention of the audience by putting before them some of the popular, urban artists, as long as Mary Mary’s message isn’t being compromised, people felt that was fine.
EJ: Yeah, I hear that. And, it’s not a new debate at all, nor will it be the last, but it’s great to hear the various viewpoints on it.
Now, please tell me about this incredible and TIMELY book that you’ve written—When The Church Becomes Your Party. I’ve spoken with a few people in the industry and they’re raving about it. What’s the basic theme of your book?
DSP: The basic theme is that the new forms of gospel music, and the new forms of expressing gospel music, may seem disconcerting initially, but if you just step back and listen to the testimonies, or listen to the lyrics, you’ll see that the intention and the focus of those artists (and those who attend their concerts) tends to be the same as it’s always been. There’s the traditional message, but it’s wrapped for a new generation.
EJ: That’s awesome. So, it’s nothing new or something we need to be afraid of?
DSP: Right. Don’t be “scurrrrred.” *laughs*
EJ: *laughing* Right!
DSP: For example, in the last chapter, “Preachers In Disguise: Bringing The Holy to Hip-Hop,” I talk about the testimonies of people like Cross Movement and other artists like Kiwi (here in Detroit) or Corey Red… and I look at the things that they’ve said on record– why they do what they do. And then I print out a number of lyrics, either from their albums or you can find them online. And when you look at them, you can see why, even if it’s not your beat or your sound, it’s still a message worth supporting.
Certainly, I’m not one who embraces all kinds of rap. I love music, but if there is music that denegrades women, etcetera, that’s different. But that’s not what’s going on here with Christian rap and Holy Hip-Hop. I tell people: “get past the Timbs, get past the jeans”… *laughs*
EJ: I love that!
By the way, I’m loving the titles of these chapters—I think my favorite is “Muscle T-Shirts, Tight Jeans and Cleavage- (W)rapping the Gospel for a New Generation”. What in the world is THAT about?
DSP: That’s actually my favorite title! One of the things that I did was note that it’s not just about women. We talk a lot about women, and what they’re wearing, but I interviewed some men who said “you know, I have to watch what I wear when I perform,” and I thought “really?”
EJ: Not everyone considers that.
DSP: Right, but I thought, “well, why not?” Because if men can be swayed by what women have on, why wouldn’t women be swayed by what men have on? I look at the fact that when Kirk Franklin first came out, people were allegedly throwing their door keys, undergarments on stage…
EJ: No! *laughing*
DSP: So I go all the way back to the history of dress in the church/gospel community. Well, we have to go all the way back to the early church fathers, who wanted women in nothing clingy, had to cover their ankles (because ankles were too much of a turn on), they had to wear veils… then, later, in the Black church, that was the one place where people really COULD dress up. Coming out of slavery, we could be who we really were.
So, what happens is that we’re a more casual culture, but we also have young-thinking artists who say “I don’t want the audience to feel like we’re in this completely different world from them, that we’re unapproachable.”
Even Fred Hammond, four or five years ago, as we were doing an interview on my program, he told everyone to go home before his concert and change their clothes so that people can see that we’re approachable. So, I wanted to put the muscle t-shirts and the jeans and the cleavage, so we know that it’s across the board– things are changing.
EJ: Wow. That’s awesome because we don’t usually think of it from both sides.
DSP: Right. So, I address: what does Trin-I-Tee have on, what does Mary Mary have on, but also, what does Kirk have on, what does Donnie have on?
And I talk about the changing silhouettes, as well. Everybody isn’t skinny, but our “A-list” artists, as a rule, especially when we talk about the women– Vickie, Dorinda, Yolanda, Mary Mary… they are smaller overall than their key demographic. Again, not a good thing or a bad thing, but an observation.
EJ: This is so fascinating to me!
DSP: And, EJ, most importantly, they’re SMALLER THAN the full-figured Mahalia Jackson who, again, was building upon the popularity of the female blues singers of the time. Full-figured was fabulous back then. So, I think that part of the reason that these artists have been able to crossover is because they are glamorous. I let people decide for themselves whether it’s good or bad, but these are our artists today.
And when I go to a concert, I gotta tell you, EJ, I’ve got two hats on. I want to be there to enjoy it… *laughs*
EJ: *laughing* But you still wanna research!
DSP: *laughs* Right! I’m takin’ little pictures of what’s going on! If I see a tube top on someone in the audience, I’m taking note. I’m looking on stage and, if there’s cleavage or pants that are more fitted, I’m looking to see if the audience is murmuring, or what. How are they processing it?
EJ: Right.
DSP: At one point, we had Vickie Winans, CeCe Winans, Helen Baylor and Dottie Peoples at a concert. And Dottie Peoples was the only one who wore a dress. And I talked to my mentor in gospel radio, and she had some pretty strong words to say about everyone wearing pants. She said “if they had really been set FREE, they wouldn’t have those pants on.” Then, I called Vickie Winans, told her how much we enjoyed her and simply asked when she started feeling comfortable wearing pants. And she said “well, I didn’t start wearing pants until I was 30. But I’ve been shown a FREER way.”
EJ: WOW! Night and day.
DSP: *laughing* And I thought, here are two women who love God and love gospel music– one says “if they had been set free, they wouldn’t have pants on”; the other says “I’ve been shown a freer way.” And Vickie said that she never wears them in the sanctuary and she always checks to see where she’s going. But, I went to full-research mode to see how people have responded to the things they see on stage. That’s my favorite chapter title, too!
EJ: That’s such an interesting concept to me. While I have you, let me ask you a quick philosophical question. Do you think that the evolution of gospel music is inevitable? And let me explain why I ask: In his day, Thomas A. Dorsey was considered “radical” for throwing blues-infused chords into sacred music.
DSP: Absolutely.
EJ: And now, we call it “traditional gospel.” Same thing with Edwin Hawkins, for example. Even Kirk Franklin & God’s Property, when they did “Stomp” just over 10 years ago, were practically ostracized for having gone too far. Now, we’ve got Tye Tribbett & G.A. doing backflips and splits on stage, and the gospel community now considers THAT “the norm.” So, isn’t change bound to happen in gospel music?
DSP: Absolutely. I teach a class in gospel music and, one of the things that I tell the students is that “church people don’t live in the church.” You know? They live in the greater community. And the Black community, which is so dynamic, we create chords, we create instruments, we utilize things in new ways… I remember Pastor [Marvin] Winans saying “there is no ‘Gospel B flat chord’… it’s just B flat.”
EJ: Right!
DSP: So, he talked to my class about a commercial, I think it was for a paper towel, that worked its way into a gospel song. Twinkie Clark talked about loving Stevie Wonder her whole life, heard “Master Blaster” and decided “nobody’s doing any reggae in gospel,” and this is how ”You Brought The Sunshine” came about.
EJ: WOWWWWWWW.
DSP: People say “church people shouldn’t be mixing it,” but we are PEOPLE and just because somebody has created a “gangster” style of rap doesn’t mean that the whole speaking tradition isn’t ours. PREACHING is OURS. It’s our highest form of spoken word. And we use it in service already– the preacher gets going and the organist starts winding up to support his spoken word… it’s the same thing as rap, except they’ve added a drum to it or whatever else.
EJ: You’re blowin’ my mind!!! *laughs*
DSP: *laughing* So, whatever comes next is inevitably going to bring about changes in church music as well. Some people will embrace it, some people will say it’s Satan’s music, and all I say is “God, let me be around so I can write about it!” *laughs*
EJ: That’s incredible.
DSP: I have gone to these services, EJ, and I call them services. And I might be the only “grown person” there– the last one I went to featured Lecrae and The Ambassador. It was great… and you KNOW they’re going to do an altar call. You KNOW they’re gonna pray over those young people and challenge them about their walk in Christ.
Now, it’s not for everybody, it’s not even for all young people because some people prefer something more traditional. But for those who were THERE– young, old, in-between– they were blessed by the ministry, they knew the Word was going forth and it was just great to be a part of it!
So, that’s where we are NOW, something new is coming around the corner. And I just say that if you’re not going to embrace it, could you please maybe step aside…
EJ: Wow. Basically. *laughs*
DSP: And, wait a minute… could you PRAY that God gets the glory? That all those who are involved in whatever is new will give GOD the glory in what they’re doing. And that they won’t be pulled down by some who, without even paying attention to lyrics, or without even knowing the history, would judge it.
EJ: It’s funny, I often say that a lot of us Christians, we would’ve stopped the crucifixion if we could’ve.
DSP: *laughing*
EJ: *laughs* Because we get so stuck on making sure that we’re championing the cause for what is “right” and we have such a strong opinion about how things “have to” go, but sometimes… we just don’t know what the Lord is going to do or allow to bring about HIS plans. Y’know?
DSP: Mmm-hmm.
EJ: And, on the Mary Mary post we were talking about, somebody came on and said “well, I came to Christ through Mary Mary and Kirk Franklin.” So, if people wanna knock them for being too progressive or too out-the-box, that’s fine… but God is using them to win souls to Jesus.
You know, one of my students said that “I like Trin-I-Tee 5:7 because they showed me that I can look cute and love Jesus, too.” And maybe, for someone else, that’s not their style, but there are tons of people you can look to if that’s not your style, and you don’t have to tear them down.
EJ: So true. You’ve done a lot of research!
DSP: Well, I love how the book finally together and I’m so pleased that people have said so many kind things about it. As Pastor Winans says, “even if you don’t agree with the conclusion, you have to respect the research.”
EJ: Absolutely, because at the end of the day, we didn’t do the research, you did. And what you found is what’s out there.
Now, how can people get their HANDS on the book?
DSP: My own website, which will probably be www.deborahsmithpollard.com, will be launched soon. But in the meantime, people can go to my MySpace page for more info [click here for that], or to my publisher’s page at Wayne State University Press [click here for that].
EJ: Perfect. Well, thank you SO much for chatting with me.
DSP: I thank YOU for the opportunity. And continued success with the site!
EJ: Thanks. We’ll be in touch!
DSP: Okay.
EJ: Bye!
* * *
Thoughts??? Anybody already read the book? Anybody gonna hurry up and GET IT?!
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.
It was actually QUITE awesome. Mary Mary sang “Higher Ground.” They looked great, sounded great (threw in some harmonies and a nice, quick vamp)… and they carried themselves well. You can take ‘em someplace cuz they know how to act! Good job.
Another incredible performance that I simply MUST mention came from Esperanza Spalding, a phenomenal jazz artist who sings her total face off WHILE playing the upright bass! Doggone it, she sang “Overjoyed” like her life depended on it. Geeeeeez… If you love music, GOOD music, pleeeeeease do yourself a favor and search for her on YouTube.
Word has it that Mary Mary will be performing at The White House tonight as part of a tribute concert to Stevie Wonder, who has been honored with the Library of Congress’ Gershwin Prize for Popular Song. He’s only the second recipient of this honor, so it’s kind of like… a huge deal!
President and Mrs. Obama (STILL love saying that) are hosting the concert, which will also feature Tony Bennett, Diana Krall, will.i.am, and Martina McBride.
Didn’t get invited to the shindig? Never fret– the concert will be aired on your local PBS station on Thursday, February 26th (that’s TOMORROW) at 8pm ET.
Gee whiz… those gals are EVERYWHERE!
I wonder what they’ll sing… maybe a special ditty for the people?
But I just got Claude Deuce’s upcoming project, Claude Deuce: Young Elder, and I’m kinda giddy! He’s already pretty well-known behind the scenes, having written and produced for some of gospel’s finest, including Deitrick Haddon, Canton Jones, Ton3x, Izzy and Sean Simmonds. Now, he steps out as a solo artist.
Okay, y’all have waited long enough… Let’s continue our conversation with Melonie Daniels. If you missed PART ONE, make sure you 
EJ: I remember the performance AND the background vocals, and I could hear you loud and clear!
No Ways Tired opens with an authentically jazzy prelude in which she scats to the instrumental break of Stevie Wonder’s “Sir Duke,” before moving effortlessly into “Happy,” the type of excitingly complex track that you’d expect from her. The title track is next and you hear her put a jazz/funk spin to a very traditional tune.
EJ: Hi! First, let me thank you so much for taking the time to chat with me.
DSP: So I go all the way back to the history of dress in the church/gospel community. Well, we have to go all the way back to the early church fathers, who wanted women in nothing clingy, had to cover their ankles (because ankles were too much of a turn on), they had to wear veils… then, later, in the Black church, that was the one place where people really COULD dress up. Coming out of slavery, we could be who we really were.
EJ: You’re blowin’ my mind!!! *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…
EJ: Mmm-hmmm.
