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Christina Aguilera

Contributor — Sun, 14 Jun 2009 02:00:14 +0000

Back To Basics has made Aguilera the biggest-seller in the SoundScan era for a female artist, passing Streisand’s 2-CD “The Concert” release in ’94. Her debut single, “Ain’t No Other Man,” off her double platinum album, was a huge success, along with her second single “Hurt,” while her third single “Candyman” continues to climb the charts.Aguilera has garnered rave reviews for her current 41-city North American tour. The tour kicked off in Houston, Texas and has stopped in Los Angeles, Boston, Phoenix, Vancouver, Las Vegas and New York among others. The “Back to Basics” 2007 North American Tour features a unique stage design that allows Christina’s fans unprecedented access to the stage with unbelievable sight lines as well as three distinct stage scenes, illuminated by more than 600 moving lights, and a state-of-the-art hydraulic system. Aguilera has assembled an acclaimed production team for her concert tour featuring choreographer and director, Jamie King (Madonna, Janet Jackson, Prince) and Roberto Cavalli, who is the tour’s exclusive costume designer. Working together, the team created a modern inventive vision fused with elements of retro glamour.

Destiny’s Child

Contributor — Tue, 09 Jun 2009 02:00:54 +0000

Destiny’s Child rose to become one of the most popular female R&B groups of the late ’90s, eventually rivaling even TLC in terms of blockbuster commercial success. Their accomplishments came in spite of several abrupt personnel changes, which were accompanied by heated, well-publicized feuds in the media and the courts. In fact, for a time, Destiny’s Child were known for that drama just as much as their music. Once the group stabilized again, though, they emerged with even more hitmaking power than ever before.Destiny’s Child were formed in Houston, TX, in 1990, when original members BeyoncÃ© Knowles and LaTavia Roberson were just nine years old; the two met at an audition and became friends, and Knowles’ father Mathew set about developing an act based on their singing and rapping, taking their name from a passage in the Book of Isaiah. BeyoncÃ©’s cousin Kelendria “Kelly” Rowland joined the group in 1992, and shortly thereafter they landed an appearance on Star Search, where they performed a rap song. The quartet’s lineup was finalized (for the time being) when LeToya Luckett joined in 1993, and they spent the next few years working their way up from the Houston club scene, eventually opening for artists like SWV, Dru Hill, and Immature. Finally, in 1997, Destiny’s Child was offered a recording contract by Columbia.The group made its recorded debut on 1997′s “Killing Time,” a song included on the soundtrack of the blockbuster Men in Black. Their self-titled debut album was released in early 1998, featuring production by Wyclef Jean and Jermaine Dupri, among others. Its lead single, the Jean-produced “No No No,” was a smash hit, selling over a million copies and topping the R&B charts. The follow-up singles — “With Me” and “Get on the Bus,” the latter of which was taken from the soundtrack of Why Do Fools Fall in Love? — didn’t quite duplicate the success of “No No No,” although Destiny’s Child would eventually go platinum (after the group’s later success). Destiny’s Child re-entered the studio quickly, bringing in producer Kevin “She’kspere” Briggs to handle the majority of their next record. Lead single “Bills, Bills, Bills” became the group’s first number one pop hit (and second R&B number one) in the summer of 1999, and paced by its success, the accompanying album, The Writing’s on the Wall, entered the charts at number six upon its release.That was just the beginning of the group’s breakout success. The second single, “Bug a Boo,” didn’t perform as well, but the third single, “Say My Name,” was another massive hit, their biggest so far; it hit number one on both the pop and R&B charts for three weeks apiece in early 2000, and made Destiny’s Child a pop-cultural phenomenon. However, at the peak of “Say My Name”‘s popularity, the group splintered. In December 1999, Roberson and Luckett attempted to split with manager Mathew Knowles, charging that he kept a disproportionate share of the band’s profits, attempted to exert too much control, and unfairly favored his daughter and niece. While they never intended to leave the group, relations naturally grew strained, and when the video for “Say My Name” premiered in February 2000, many fans (not to mention Roberson and Luckett) were surprised to find two new members — Michelle Williams and Farrah Franklin — joining Knowles and Rowland. Infuriated, Roberson and Luckett took legal action in March, suing both Knowles and their former bandmates for breach of partnership and fiduciary duties. A war of words followed in the press; meanwhile, the next Destiny’s Child single, “Jumpin’ Jumpin’,” hit the Top Ten, and The Writing’s on the Wall went on to sell a whopping eight million copies.The personnel-turnover drama still wasn’t over; in July 2000, just five months after joining, Farrah Franklin split with the group. The official reason was that Franklin missed several promotional appearances and concert gigs, although in later interviews she spoke of too much negativity and too little control in the group environment. Now reduced to a trio, Destiny’s Child was tapped to record the theme song for the film version of Charlie’s Angels; released as a single in October, “Independent Women, Pt. 1″ raced up the charts and spent an astounding 11 weeks at number one. Destiny’s Child were now indisputable superstars, the biggest female R&B group on the scene, and they quickly began work on a new album to capitalize. In the meantime, toward the end of 2000, Roberson and Luckett dropped the portion of their lawsuit aimed at Rowland and Knowles in exchange for a settlement, though they continued to pursue action against Knowles’ father; as part of the agreement, both sides were prohibited from ripping each other publicly.BeyoncÃ© had long since emerged as the group’s focal point, and on the third Destiny’s Child album, she assumed more control than ever before, taking a greater hand in writing the material and even producing some of the record herself. While recording sessions were going on, Rowland released the first Destiny’s Child solo track; “Angel” appeared on the soundtrack of Chris Rock’s Down to Earth. Former members Roberson and Luckett also announced the formation of a trio called, coincidentally, Angel, and Farrah Franklin set about starting a solo career.Survivor — whose title was reportedly inspired by a DJ’s crack about Destiny’s Child members voting one another off the island, much like the popular CBS reality series — hit stores in the spring of 2001, and entered the charts at number one. The first two singles, “Survivor” and “Bootylicious,” were predictably huge hits, with the latter becoming the group’s fourth number one pop single. A cover of Andy Gibb’s “Emotion” was also successful, albeit less so, and Survivor sold well — over four million copies — but not as well as its predecessor. Toward the end of the year, the group released a holiday album, 8 Days of Christmas, and announced plans for a series of side projects, including solo albums from all three members (to be staggered over the next year and a half, so as to avoid competition). In early 2002, shortly after This Is the Remix was released to tide fans over, Roberson and Luckett sued the group again, claiming that some of the lyrics in “Survivor” made reference to them (in violation of the earlier lawsuit settlement).The first Destiny’s Child solo album, Michelle Williams’ all-gospel project Heart to Yours, was released in April and featured a duet with gospel legend Shirley Caesar. Meanwhile, BeyoncÃ© won a leading role opposite Mike Myers in the third Austin Powers film, Goldmember, playing blaxploitation-style heroine Foxy Cleopatra; her first solo single, the Neptunes-produced “Work It Out,” appeared on the soundtrack, and her full solo album, Dangerously in Love, became a huge hit upon release in mid-2003. Despite much critical speculation, the trio reunited the following year and released Destiny Fulfilled in November 2004. In October 2005, the #1′s compilation was issued, followed by the Live in Atlanta DVD and CD sets in 2006 and 2007. ~ Steve Huey, All Music Guide

Raphael Saadiq

Contributor — Fri, 22 May 2009 02:00:47 +0000

He is a standard bearer for what folks call ‘old school’ music, a contemporary artist continuing a time-honored tradition that goes back to the ‘60s and ‘70s. From his early days as a member of the groundbreaking ‘80s group Tony! Toni! Toné! through his work as an award-winning producer of such artists as Joss Stone, The Roots, Snoop Dogg, John Legend among many others and his own solo albums, the multi-talented Raphael Saadiq has kept the faith. “Every record I’ve ever made has had those influences…The Temptations, Al Green, The Four Tops and so on,” Raphael explains from the L.A. studio where he recorded his latest illustrious work. This album is the culmination of a life time of experiences informed by the music i grew up on.”Indeed. Listening to The Way I See It, it’s immediately obvious that it could have been recorded thirty years ago. Musically cohesive in the same way that soul music albums were recorded back in the day, Raphael’s third solo album and first for Sony BMG is not merely a throwback: it is as close to the kind of record made in Detroit, Chicago, Memphis, Miami or New York by any number of super R&B hit makers to anything recorded since. While other contemporary artists may attempt to emulate the sound and flavor of ‘70s soul music, Raphael Saadiq brings real emotion, real feeling and production values that are simply (to borrow a popular phrase from back then), right on.The inspiration for singer/songwriter/musician/producer and arranger Raphael’s follow up to 2004’s critically-acclaimed “Ray Ray” set came from an unlikely destination. “I was out of the country, cooling out, in Costa Rica and The Bahamas. I was surfing and ran into people from all kinds of places…and I noticed everybody was listening to this classic soul music and when I came back home and the music for this album flowed organically, naturally. Since I have my own studio, I was able to perfect it, take my time to make it right. I was able to live with it, day after day and I think that had a lot to do with how the album turned out. In all, it took about four months to put it all together.”The result is that The Way I See It has the kind of smooth musical flow associated with great records made by pioneering producers at famous R&B companies like Motown, Invictus and Brunswick. From the foot-tapping opening track, “Sure Hope You Mean It” to the head-shaking reflective closer “Sometimes,” Raphael delivers a present day potent ode to a bygone era. Talking about the songs, he notes, “The first track shows my deep connection to The Temptations. The vocal has a David Ruffin ‘feel’: I pictured how it was when Eddie Kendricks, Paul Williams and the guys in the Temps were first introduced to the world. I looked at a lot of their album covers so I could immerse myself in the characters. I think of the track as vintage Motown with a Stax guitar line factored in…it’s like a melting pot of the two sounds…”Loyal Tony! Toni! Toné! fans will particularly appreciate “100 Yard Dash,” which Raphael describes as “a juke joint, Booker T.-type groove. I reflected back to my first T!T!T! albums when I was singing in a high tenor voice.” British R&B fans – specifically ‘Northern Soul’ lovers – will dig “Keep Marching” with its insistent driving beat and Raphael notes, “That’s the kind of song that can drive people crazy at my live shows…it’s a performance piece.” Cognizant of the strong respect and appreciation that UK audiences have for authentic soul music, Raphael adds, “I can’t wait to get to Europe to perform the songs on this album!”Speaking of the love Brits have for old school R&B, Grammy-winning Joss Stone (with whom Raphael worked on the best-selling 2007 set “Introducing Joss Stone”) is a special guest on the Smokey Robinson-inspired “Just One Kiss,” which also invokes memories of The Temps’ “Just My Imagination.” Says Raphael, “The track reminds me of early ‘70s soul songs and getting Joss to sing on it wasn’t hard because she has a profound appreciation for great classic music.”That same love for real music is exactly what has created a solid and loyal audience for traditional soul sounds among a whole generation of Latino concert-goers and record buyers: “Callin,’” with its Spanish language lines and pronounced doo-wop flavor is, Raphael notes, “a jump back to the music of the ‘50s. I wanted to make a track that would get the low riders. People talk about the division between Latinos and blacks but we all grew up together loving the same music. This song is a reminder of how we do when we get together…”Hearkening back to the Hot Wax and Invictus records made in Detroit by Holland-Dozier-Holland (soul music buffs, think Freda Payne and The Honeycone), “Staying In Love” is a nifty dance floor gem: “It reminds me of a Jackson 5 record, with that James Jamerson bass line, the kind of energy folks love from those Motown tracks.” And the lyrics? “I wrote it with my ex in mind…some of it is fabricated and some of it is true to life!” Raphael doesn’t fess up about the lyrics for the catchy “Let’s Talk A Walk” (opening line,“This place is crowded/Don’t know bout’ you/I need some sex/Some sex with you…”) only commenting that it’s “self explanatory!”As self-explanatory is the fact that Raphael Saadiq would make an album so satisfying for both old school heads and today’s hip music buyers: his background as a musician, singer and songwriter is steeped in a love for R&B married with a commitment to making his own brand of expressive soul music. Born and raised in Oakland, California learned to play guitar, drums, and bass at the age of six, making the bass his preferred instrument. Singing with a professional gospel group by the time he was nine, Raphael’s musical education encompassed classical music, ‘40’s spirituals, hymns, jazz and, of course, R&B. Shortly after high school, Saadiq won a chance to join Prince and Sheila E. on their 1984 “Parade” world tour.As the lead vocalist and bass player with late ‘80’s/early ‘90’s group Tony! Toni! Toné!, Raphael experienced his first taste of mega-success, kicking off with the hit single, “Little Walter” in 1988 through the now-classic slow jam “It Never Rains (In Southern California)” and the club/dance party of “Feels Good,” resulting in total sales of over six million copies for the band.After leaving the group, Raphael recorded two singles for hit movies (1995′s “Ask of You” from “Higher Learning” and “Me & You” from “Boyz in the Hood”). In 2000, he created the supergroup Lucy Pearl (with En Vogue’s Dawn Robinson and A Tribe Called Quest’s Ali Shaheed Muhammad) and the team’s much-appreciated sole self-titled album received Grammy, American Music Awards and Soul Train Music Awards nominations.Production credits for artists like Macy Gray, TLC and the Roots followed: in 2000, Raphael won a Grammy for the song “Untitled” from D’Angelo’s “Voodoo” and in 2002, he released his much-anticipated first solo album. Released on his own Pookie Entertainment imprint, the soul-infused “Instant Vintage” made history when Raphael became the first artist nominated for no less than five Grammy Awards without having a major record label deal.In 2003, Raphael released the live CD, “All Hits at the House of Blues” following it in 2004 with “Ray Ray.” In demand as a producer, songwriter and musician, Raphael’s impressive list of credits includes Whitney Houston, Mary J. Blige, Anthony Hamilton, Devin the Dude, Kelis, Q-Tip, Lil’ Skeeter, Ludacris, The Bee Gees, Nappy Roots, T-Boz from TLC, Young Bellz, Earth, Wind & Fire and many others: in 2006, he was the main producer and co-writer of seven songs for the “Introducing Joss Stone” project.Now comes The Way I See It, a masterful collection of new material that speaks to Raphael Saadiq’s deep love for rhythm and blues. “While I was making the album, I watched videos by Gladys Knight & The Pips, Al Green, The Four Tops…and fused them all together,” Raphael says speaking of the further inspiration he found for creating the album, which truly showcases the rich diversity of funky grooves and smooth balladry that is Saadiq’s calling card.The standout “Oh Girl” (not the Chi-Lites classic but an original Saadiq composition) stirs up images of famed Philly soul harmony groups like The Delfonics and The Stylistics: “I love the ballads by those groups, they’re among my favorite songs. When I listen to them, I wonder where did that sound come from. “Oh Girl” is like the kind of slow jam (director) Quentin Tarantino has use in his movies…” Another director, Spike Lee provided the impetus for the fast-moving “Big Easy,” with its notable New Orleans flavor: “I watched Spike’s DVD on the Katrina disaster and watching the people stay in the water for three days, man, wow …”Raphael grins when talking about the hypnotic “Love That Girl”: “Man, that’s all about the swing…the way girls swing their hips! It’s the type of song that will make people move and that shuffle beat reminds me of those ladies I used to see playing drums in church!” With its Motown-flavored tambourine-featured beat, “Never Give You Up” is what Raphael calls “my three generations song. It includes C.J., this youngster from Baltimore that I’m working with and Stevie Wonder. When we first did the track, I had this spot where we said, ‘Please invite Mr. Stevie Wonder to my album’ the way Stevie did with Dizzy Gillespie on one of his records. Originally, Stevie wasn’t on it but I felt like he should be there. I ended up calling him and he came over to the studio in an hour! I still can’t used to Stevie Wonder being my friend.”The Way I See It ends appropriately with the Sam Cooke-influenced “Sometimes” which Raphael explains is “the story of my mother and my grandmother who have always been such an inspiration to me through this journey. It felt right to close out the record this way.”Concluding, Raphael Saadiq – whose most recent studio excursions have included work with Keisha Cole, Snoop Dogg, The Grouch and Dave Young – says his latest album was “harder to make than “Instant Vintage.” Once I got into this, I got almost stuck ‘in character,’ the character of the old school singers I listened to. But I’m happy and excited it’s done. I put in a lot of work and I feel like I achieved something really great.” As longtime R&B historian and expert David Nathan of Soul Music.com says, “Raphael Saadiq’s latest album is the closest I’ve heard to a genuine, feel good R&B record since the ‘70s! Unlike others who copy or attempt to recreate the sound of soul from those days, Raphael Saadiq delivers the real thing.” ‘Nuff said.

Jennifer Hudson

Contributor — Thu, 14 May 2009 01:00:17 +0000

Every decade or so, a new voice emerges that is transcendent, timeless. In the ‘60s, Aretha was royalty; the ‘70s were under Chaka’s control; Whitney owned the ‘80s and Mariah lead the ‘90s. For this new decade, it could be very well be all about Jennifer Hudson. With her high-powered soulful style, the 26-year old Chicago native had already achieved feats that are reserved for most young singers’ dreams. The former American Idol contestant nabbed a much-deserved Academy Award for her unforgettable role as “Effie” in the 2006 movie adaptation of the Broadway musical Dreamgirls along with Golden Globe, SAG, BAFTA and Broadcast Film Critic’s Association Awards.An NAACP Image Award and Soul Train “Entertainer of the Year” Award winner, Jennifer’s now ready to make the same kind of impact on the world of music she’d made on the silver screen with the much-anticipated release of her sizzling Arista Records debut album. “I know people have high expectations because of Dreamgirls. I didn’t have a particular concept in mind when I started working on the album. I wanted it to show flexibility and versatility. My voice has different characters and I looked at each song as having different stories, since I’m an actress too,” says Jennifer, who starred in the 2008 summer box office hit Sex in the City. “They’re all different – sassy, vulnerable, loud and obnoxious, dramatic, romantic, spiritual – and they’re all a part of me.”Indeed, rather than being an extension vocally of her Dreamgirls role, Jennifer’s first CD reveals that she is more than capable of making music suited to her age! “It’s tricky because I played a character in her 30s in the movie so the audiences heard me with more of an ‘adult’ voice. But I’m just 26 and I have a lot of other sides to show.” And while her Arista debut shows that ‘adult’ side, it’s also filled with slammin’ cuts that show Jennifer can deliver on tracks produced by the likes of 21st century-hitmakers Timbaland, Tank, The Underdogs and Stargate.The infectious first single, “Spotlight” – produced by Stargate and written and co-produced by Ne-Yo – showcases what Jennifer calls “the sarcastic voice,” a story of insecurities within a relationship. Jennifer expresses her skill as a powerful storyteller with the Tank-produced “We Gon’ Fight.” “In the song, everyone’s telling me to pretty much throw the towel in on a relationship but this is a love that’s worth fighting for, an ‘us against the world’ kind of thing.” The funky “Pocketbook” (which features rapper Ludacris), written and produced by Timbaland is “very sassy, very much me. I spoke with each of the writers and they created a feel for me, for who I am. This song represents one side of my personality! This is something I would say – it has attitude yet it’s playful.”To her first auspicious debut – with contributions from Robin Thicke, Diane Warren, and others slated – Jennifer Hudson brings a deep love for singing that started during her formative years in Chicago. “My first influence was my grandmother (Julia Kate Hudson) and my earliest memory of singing publicly was at seven when I sang my first solo in church,” Jennifer recalls. “Then, four years later I sang at my great-grandmother’s 90th birthday and the members of my family were like, ‘she doesn’t sound like a little girl!’ I didn’t realize what I could do. Before that I used to walk around the house imitating Brandy and groups like Xscape and Jade. But Whitney was always there from when I was a child. I used to create my own little duets with her on ‘I Will Always Love You,’ Jennifer recalls.”Inevitably, Jennifer found herself in local talent contests and she became known as the “school singer” during her teens. Her innate ability to feel a song was further enhanced by listening to singers like Aretha Franklin, Patti Labelle and she notes, “Especially Gladys Knight. I realized that a song has to be something I can feel for me to be able to sing it rather than sing at it. How am I gonna move you if I’m not moved by the song I’m singing?”Jennifer’s first professional role came with a local production of the musical Big River when she was nineteen. In 2002, she landed a job with the Disney Wonder cruise ship, showcasing her four-octave vocal range before thousands of vacationers. But it was her exposure during the third season of TV’s American Idol in 2004 that introduced Jennifer Hudson to a nation duly impressed with her potent soulfulness. It took a couple of songs for Jennifer to make it in the pre-show auditions: “I flew to Atlanta, slept in the big Georgia Dome and the first time I had to sing while others were auditioning too. They wanted an original song but I didn’t have one so I did this kinda obscure song, “This Empty Place” that I first heard performed by Cissy Houston. Then, the judges wanted to hear something they knew so I did Celine Dion’s “Power of Love” and then “Survivor” by Destiny’s Child.”The rest is history. After Idol, Jennifer auditioned for the part of Effie in Dreamgirls, beat out thousands of contenders for the coveted role and went on to win an Oscar. “Sure, it was overwhelming but in a good way,” she reveals. “I knew all along I was going to sing for a living, that I was being prepared for something. So far, my career has been full of surprises and blessings, back to back,” she smiles. Now comes her all-important first album – “I’m so fortunate to have an audience from Idol and from Dreamgirls – all ages, kids, grandmothers, gay, straight, and all races. People may think they know what to expect from me but I want to show them I’m more than just a one-trick pony when it comes to music!” As her Arista Records album demonstrates, she’s artist who evokes a timeless voice for this decade.

Mariah Carey

Contributor — Sun, 10 May 2009 02:53:03 +0000

The best-selling female performer of the 1990s, Mariah Carey rose to superstardom on the strength of her stunning five-octave voice; an elastic talent who moved easily from glossy ballads to hip-hop-inspired dance-pop, she earned frequent comparison to rivals Whitney Houston and Celine Dion, but did them both one better by composing all of her own material. Born in Long Island, NY, on March 27, 1970, Carey moved to New York City at the age of 17 — just one day after graduating high school — to pursue a music career; there she befriended keyboardist Ben Margulies, with whom she began writing songs. Her big break came as a backing vocalist on a studio session with dance-pop singer Brenda K. Starr, who handed Carey’s demo tape to Columbia Records head Tommy Mottola at a party. According to legend, Mottola listened to the tape in his limo while driving home that same evening, and was so immediately struck by Carey’s talent that he doubled back to the party to track her down.After signing to Columbia, Carey entered the studio to begin work on her 1990 self-titled debut LP; the heavily promoted album was a chart-topping smash, launching no less than four number one singles: “Vision of Love,” “Love Takes Time,” “Someday,” and “I Don’t Wanna Cry.” Her overnight success earned Grammy awards as Best New Artist and Best Female Vocalist, and expectations were high for Carey’s follow-up, 1991′s Emotions. The album did not disappoint, as the title track reached number one — a record fifth consecutive chart-topper — while both “Can’t Let Go” and “Make It Happen” landed in the Top Five. Carey’s next release was 1992′s MTV Unplugged EP, which generated a number one cover of the Jackson 5′s “I’ll Be There”; featured on the track was backup singer Trey Lorenz, whose appearance immediately helped him land a recording contract of his own.In June 1993, Carey wed Mottola — some two decades her senior — in a headline-grabbing ceremony; months later she released her third full-length effort, Music Box, her best-selling record to date. Two more singles, “Dreamlover” and “Hero,” reached the top spot on the charts. Carey’s first tour followed and was widely panned by critics; undaunted, she resurfaced in 1994 with a holiday release titled Merry Christmas, scoring a seasonal smash with “All I Want for Christmas Is You.” 1995′s Daydream reflected a new artistic maturity; the first single, “Fantasy,” debuted at number one, making Carey the first female artist and just the second performer ever to accomplish the feat. The follow-up, “One Sweet Day” — a collaboration with Boyz II Men — repeated the trick, and remained lodged at the top of the charts for a record 16 weeks.After separating from Mottola, Carey returned in 1997 with Butterfly, another staggering success and her most hip-hop-flavored recording to date. #1′s — a collection featuring her 13 previous chart-topping singles as well as “The Prince of Egypt (When You Believe),” a duet with Whitney Houston effectively pairing the two most successful female recording artists in pop history — followed late the next year. With “Heartbreaker,” the first single from her 1999 album Rainbow, Carey became the first artist to top the charts in each year of the 1990s; the record also pushed her ahead of the Beatles as the artist with the most cumulative weeks spent atop the Hot 100 singles chart.However, the 2000s weren’t as kind to Carey. After signing an 80-million-dollar deal with Virgin — the biggest record contract ever — in 2001 she experienced a very public personal and professional meltdown that included rambling, suicidal messages on her website; an appearance on TRL where, clad only in a T-shirt, she handed out Popsicles to the audience; and last but not least, the poorly received movie Glitter and its attendant soundtrack (which was also her Virgin Records debut). Both the film and the album did poorly critically as well as commercially, with Glitter making just under four million dollars in its total U.S. gross and the soundtrack struggling to make gold sales. Following these setbacks, Virgin and Carey parted ways early in 2002, with the label paying her 28 million dollars. That spring, she found a new home with Island/Def Jam, where she set up her own label, MonarC Music. In December, she released her ninth album, Charmbracelet, which failed to become a success. Although she took nearly three years for a follow-up, Carey found a hit with 2005′s chart-topping The Emancipation of Mimi, her most successful record in years. ~ Jason Ankeny, All Music Guide

Alicia Keys

Contributor — Sun, 05 Apr 2009 05:01:27 +0000

Her official website says she possesses an “old soul,” and the hard facts seem to back up the implied claim of wisdom and experience that transcend Alicia Keys’ youth. Barely in her twenties, Keys was responsible for an extremely hot debut, Songs in A Minor. The release, which she wrote and produced for Clive Davis’ J Records, blends diverse influences, including R&B, hip-hop, classical, and jazz. The day the album went on the market, it sold more than 50,000 copies. Label executives confidently predicted similarly favorable numbers for the first week’s tally.Around the time that Songs in A Minor was released, Keys was popping up everywhere, including an Associated Press story. Where had she been before then? Her entire life, it seems, had been an accelerated learning experience, preparing her for a career in music. A Manhattan native, her musical gifts became apparent when she was five years old. As a choir major enrolled in Manhattan’s Professional Performance Arts School, she further developed her vocal talents with extra help from a teacher. By the time she was 16, Keys graduated and entered Columbia University. Music beckoned, however, and she quickly left Columbia behind.Keys was writing songs when she was 14, with seven years of piano lessons under her belt by that time. In later years, she appeared on movie soundtracks, including Shaft and Men in Black. In 1998, she signed a deal with Arista Records when the company triumphed in a bidding war over other labels. When Davis left the company for J Records in 1999, Keys went along. Davis promoted the careers of such artists as Carlos Santana and Whitney Houston, and part of his launch strategy for Keys was to secure exposure on BET and MTV, as well as on The Oprah Winfrey Show. Her 2001 major-label debut, Songs in A Minor, hit number one, went multi-platinum, and was followed in 2003 by another chart-topper, The Diary of Alicia Keys, which became a Grammy winner. The live CD/DVD Unplugged appeared in 2005, following her previous releases to the top of the charts. ~ Linda Seida, All Music Guide

Chris Brown

Contributor — Tue, 10 Mar 2009 08:31:14 +0000

Less than two years ago, he was the 16-year-old boy next door, a teenager from the small town of Tappahannock, VA (population: 2,000), with a world of talent and big dreams, fueled by the artists he grew up with, from Sam Cooke, Stevie Wonder and Donnie Hathaway to Michael Jackson and Usher.

Now, with the release of Exclusive, his sophomore album for Jive Records, Chris Brown is ready to take his place alongside those heroes.

“Exclusive is something that not everybody can get,” he says, explaining the title. “I feel it’s an album especially for my fans. It’s not for the critics or the haters… or people that get it just to fit in. It’s only for those who truly want to hear my music.”

Exclusive is the follow-up to his self-titled debut, released in November 2005, which debuted at #2 in Billboard and was recently certified double-platinum, having sold 1.9 million copies in the U.S. and more than three million worldwide.