Anthony Hamilton Anthony Hamilton
VIBE/ Stacy-Ann Ellis

Freedom, Loss And Happiness: Anthony Hamilton Shares What He's Feelin' On His New Album

Anthony Hamilton opened up about his new album 'What I'm Feelin,' the inception of his gospel-tinged trap covers and today's undying R&B scene. 

Despite the highly-talked about discussion about the state of real music and artists, R&B is alive and well. It may have shifted from Mary J. Blige's "No More Drama," or even Jodeci's "Feelin'," but its heart is undoubtedly still beating and igniting those same feelings that come with a good melody or tight verse. And although there may be some lingering speculation, Anthony Hamilton is back to change all that.

Hamilton, the down-home artist with the powerful,  soulful vocals that can take you to church any given day of the week, is back with his fifth studio album, What I'm Feelin'. It's the Southern artist's first album since his 2014 Christmas offering, Home for the Holidays. And just as its title so candidly puts it, he describes the 12-track record as an unravelling of feelings or an "emotional cleanse," revealing a story that might be familiar to others but personal in its nature: his own.

"What you can take away from [the album] is the journey, my journey. I think it's not only my journey, but I think it's a journey of a lot of people," he says from across the table at VIBE's New York headquarters. "We have a lot of similarities in our lives. I believe people will be able to identify with that and see that I've been through all these things. I've travelled, I've met people who I wanted to push to get outside of their comfort zone, I've lost, I've gained, [and] I've partied. All those things that people desire, think about, or experience, they'll take away a real life on here."

The album took form in the heart of Nashville, TN, in the iconic Blackbird and House of Blues studios. There, the RCA artist linked with his long time collaborator and producer, Mark Batson, who most familiarly worked with Hamilton on the 2003, irresistible classic, "Charlene."

Although it's been many years since their infectious collaboration, the new sound that comes on What I'm Feelin' falls consistent with the soulfulness and relatable storytelling of love, triumph, and pain. From the reflective track, "Walk In My Shoes," which sings as an open letter to his ex-wife (whom he announced his divorce from last year) to the album's lead single, "Amen," which celebrates the beauty and simplicity of a woman's ability to make you feel good spiritually, physically, and mentally, Hamilton touches all of the bases.

But What I'm Feelin' isn't just a sonically, cohesive track list that paints a picture of this stage in his life; it's an album that gets back to the true essence of R&B and soul. "Have you ever read an R&B obituary where R&B is pronounced dead?" he jokingly asks. The answer is of course no. He's right; R&B has never died, and will not. What I'm Feelin' is one of the many examples of its new chapter.

Just a couple days before the project officially dropped, Anthony Hamilton opened up about the recording of What I'm Feelin', laying out his life on wax, trap covers and more.

VIBE: The album is called What I'm Feelin'. So what exactly are you feeling? What are some of the emotions you feel this album conveys to fans? 
Anthony Hamilton: I think there's a sense of freedom, even in the songs that feel like pain. There's a sense of freedom of letting go of that and preparing to search for happiness. I think that's an overall thing; it serves as freedom and the beauty of love. To have experienced that, in a marriage and now being single, I went through some emotional things and some big changes in my life, so freeing myself.

You mentioned that this album is somewhat of an emotional cleanse. Is it a cleanse in the sense of letting go of your divorce, or cleansing of something else? 
A lot of times, when you're an artist or celebrity, people want to be in your personal business. And I don't really care to share it really, but if I do speak about it, it's because I feel like it. I don't feel like I owe the people that, but this is a way I could get it out, sing about it. My music is a place I can go and reveal myself, my past, my path, and it just so happens I put some of it on my record. It's for me to hear it and deal with it, and if some one else is going through it, they could adopt that music and hopefully it'll do the same thing.

Can you describe the writing and recording process while working in Nashville? 
We went down to Nashville where we decided to go to this studio called Blackbird, where so many great hits and so many legendary artists have been. We decided to stay there and record and it became magical. Within four days, we had all these amazing songs that were really big and powerful. Actually the first time we went, we had a few really great songs, some that didn't make the album, called "Shot Glass" and a few songs that will be used. But the second time around, we knew then that this was a special place. The second round of recording at Blackbird, we came up with some really magical songs. We had a co-writer come in, Harry Lilly who was able to get some really great songs out of this session. Then we went to the House of Blues and recording went up another notch. It was about getting in, writing, not focusing on what was going on outside, and bringing in some of the best musicians like Vince Gill and Gary Clark Jr., Al Stephenson. It was a simple, beautiful experience. Nashville gave it a sense of peace and sense of underlying country and down-homeness to the album. It was soulful because of the people. Twelve of the songs were done in Nashville.

What was it like jumping back in the studio with producers like Mark Batson and Salaam Remi? 
At this point in my career, I wanted to do something that felt more cohesive and not work with so many different producers. I felt like me and Mark had had such great success in the past, and we hadn't been able to work together on the prior album. So this time I wanted to get in an do as much as we could together. It turned out to be a whole album. We'd been talking about it for a while, so Mark Batson and I went to Nashville where we could both focus, no distractions other than music, and it came out a successful project.

How would you describe the relationship you've cultivated with him? 
It's a natural understanding that we have, of Mark understanding me in terms of what it takes to bring out the best in me sonically. And I know how to approach his music and what makes it best for him as team. We want to make sure that both parties are extremely happy, but ultimately, it's about the fans. And the same thing with Salaam Remi and James Poyser when working with them. They understand me as an artist. I don't have to say to much; I just go down there, it gets done and the outcome is epic.

What song do you think speaks the most to you in your journey so far? 
There's different things. "Never Letting Go" is definitely one of my favorites because I feel like that; I found a heart that I believe in. I found a heart that I was needed, and I never want to let it go. That's a beauty that I long to feel again. And sometimes you have to speak it before it happens. "Still" is one of the songs that [shows] I love the Lord. Those moments when I feel disconnected or I feel like I move away from Him because he's always there; God still loves you, Jesus still loves you, the angels still watch over you. When I don't make it to church, I put that song on after my prayer. And another song, "Save Me", it's an up-tempo song, like I want to dance, I want to boogie. Sometimes you meet a woman and feel like she's got enough new life in her that you feel born again. It's like a whole clean slate.

What song may have been the most challenging as far as putting on wax? 
None of these songs were hard. I don't mind being vulnerable on my music. It's what I do, just being open and honest.

What about "Walk In My Shoes"?
It wasn't hard. It might make me feel teary here and there, but it wasn't hard. It pretty much came out because it was my truth. I think it may be harder for me to sing a lie because I don't believe it. But all that stuff on the album, I believe it, so it's not hard for me.

Looking at this track list, you don't seem to have any features. Is that intentional in the sense that you wanted this album to be focused on your journey and you don't feel like any feature was needed other than the musicians? 
It was actually the scheduling. Brittany Howard from the Alabama Shakes, she was touring a lot, and then when it came closer and closer to the deadline, it was kind of hard. I was able to get songs that were supposed to be on the album, I did get Nas. That may pop up or may be on the soundtrack. The thing about features, is they sound good and it's great and creative, but when you're touring if you got seven songs on the album and they're all features, it's kind of hard to tour properly. And I want to sound like the record.

You've worked with a ton of people already, but who would you like to work with in the future? 
I was just in the studio with Young Thug and doing some creative stuff with him. He's incredible. I'm really excited about what he's about to do to the music industry. I'm about to go and do a song with BJ the Chicago Kid, and there's a song I'm about to do with Fabolous. I'm open to good music, no matter where it comes from—signed, unsigned. And I have a song with Shirley Caesar and Jess Glynne.

In regards to your trap covers, along with the HamilTones, whom you also worked with on the album, how do you guys pick the songs? 
Most of the time it's J.B. or TuWi. These guys are very creative and they're always on social media. They listen to a lot of music and search the web, so they come up with these ideas and start to play around with [these songs]. And next thing you know, we all get together and put a harmony to it and sing it like a church record. And most of the time, it's the songs that are the hottest. It's an effortless thing that we do all day, goofing around, playing, and singing. It started out with P.O.P, "Mama Hold It Down." That was the first one that really took off and we turned that one into a record.

What's the next song for your trap covers? 
I'm going to get back to the drawing boards and start rehearsing for the tour. That's when a lot of stuff comes about, in rehearsal and on the tour. I'm excited about it.

You tweeted about Phife Dawg in the light of his death. Are there any favorite memories you have of him and/or A Tribe Called Quest? 
When they first came out, my friend Aisha Mackey had gone away to school I think to Central or somewhere. She came back and we were like, "What is that?" By the end of the week, we were jamming to "I Left My Wallet In El Segundo," and the whole album. From there, we were big fans of A Tribe Called Quest. Phife was just dope. He was a great lyricist. He had his own style, his own approach and delivery.  He was clever. And I met him; he was a good guy, fun guy.

What do you think about the state of R&B and the discussion on whether it's still alive? 
It's still living. It's still going strong. It's been around forever, whether it's on a rap record or just an R&B song. There's different cats with different approaches to R&B. There's more of a pop sensibility to Chris Brown and those guys, which started with Usher. Now, it's elevated to a more futuristic sound because of video games and sonically, things change. It's 2016, things have to change, and sonically, things change. True music has been around for years. There's Aretha Franklin, then there's Beyonce. There's August Alsina, Chris Brown, then there's Anthony Hamilton and Maxwell. We've all been here. I've been here twenty years, and I don't think it will ever die because too many people love it.

From the Web

More on Vibe

Melyssa Ford

Melyssa Ford: 'My Mother Died During This Pandemic And I Have Nowhere To Put My Grief'

Editor's Note: In a heartwarming tribute, former model now TV/radio host, Melyssa Ford details the final days she shared with her beloved mother, Oksana Barbara Raisa Ford (10/12/1950 - 5/19/2020). Understanding that we have all been connected to COVID-19's tragic reach, this essay explains the plight of one person's experience that represents the pain so many are dealing with in these times around the world.

-

COVID-effing-19. This pandemic has been a moment of reckoning for a great many of us. How many of you have been confronted with the hard truth that we took EVERYTHING about our lives and freedoms for granted? The freedom to call up a few friends and go for Happy Hour drinks after a long day at work? The freedom to start our day by going to the gym; the freedom to temporarily vacate our lives by getting on a plane and heading off to some tropical destination? Or the freedom to gather at a burial or memorial service to pay love and respect to a loved one who has passed, as a means of helping to process our own grief? 

My mother died last week. Not from COVID-19, but from colon cancer. But COVID-19 and its endless complications directly affected my family’s lives and, ultimately, my mother's death. 

It was less than a year from diagnosis to her last days. She lived in Toronto (my hometown) and I currently live in Los Angeles. Traveling during this pandemic presented some incredible challenges. Quarantine and shelter in place rules. Closed international borders. Fear and uncertainty. I was terrified that I wouldn’t get to her side in time, since Canada mandates that anyone getting off a plane has to self-quarantine for 14 days (threats of fines and jail time were there to incentivize you to adhere to the new rules). And I knew my mother had very little precious time. 

Months before, when there was still some hope that surgery and chemo would prolong her life, she decided to sell the house I grew up in. I was furious. I looked at this as her giving up; resigning herself to the control of this insidious disease called cancer. But my mother, the truest form of a pragmatist, was preparing for the inevitable and getting her affairs in order. She wanted to leave me with nothing to do except mourn her without the burden of packing up a home with all of her belongings in it after her death. She knows me so well, she knew I’d NEVER pack it up, that I’d have left everything the way it was as a shrine to her and, therefore, never really moving through my grief in a purposeful and healthy manner. 

Cancer ravaged my mother's body but left her brain fully intact. And it was with full cognition, pragmatism and a whole lot of gumption, that she decided to end things on her terms by scheduling her passing with a doctor's assistance via MAID (Medical Assistance in Dying) — a legal policy in Canada that allows a terminally ill patient in palliative care to choose the days or weeks remaining in their lives. 

She didn’t want to spend her last months laying confined to a bed, immobile, unable to even take herself to the bathroom. The most basic form of human dignity had been stolen from her and replaced with a catheter and a colostomy bag that my aunt had to drain several times a day. I watched as her skin turned yellow from jaundice, signaling her liver was failing. I watched as her urine went from a dark yellow to crimson, a signal that her kidneys were no longer functional. My mother, the strongest person I had ever known, both physically and mentally, was now frail and seemingly melting into the bed, her skin sagging from her skeletal arms and legs. Her face was gaunt, her head bald, her breastplate visible and bony...in her last days, she was an empty shell of the 5’10” beautiful Viking she had been. With her long blond hair, green eyes, and imposing physical stature, I used to joke that if you gave her a hat with horns, a shield, and a sword, you could send her out to battle. 

The day I arrived in Toronto from L.A., I approached my mother’s bedside after going through a rigorous disinfectant routine. My mother had been discharged from the hospital as there was nothing left to do for her medically except keep her as comfortable as possible. She was sent home to my aunt’s house for the remainder of her days. My aunt’s home was a place of comfort and joy for me, as I’ve spent a great many holidays and family occasions here; this was the best place for my mother to be. With a mask and gloves on, I sat down next to her bedside and tried with all my might not to cry. My Mom had passed on that British “stiff upper lip” mentality to me; it’s rare you will see me expose my emotions. But as of late, I’ve been pretty transparent about it, in an attempt to sort through my competing feelings of grief and guilt. Guilt of not having been the perfect daughter. Grief of being her only child with no one to share the burden of immeasurable sadness with. Guilt of not working on our relationship or attempting to understand her as a person until it was close to the end. Guilt and grief kept coming in waves, threatening to drown me. 

On that first evening, I sat with her for a few hours and we talked more frankly than we ever had about things I had always been scared to ask. Topics such as her tumultuous marriage to my father and why she stayed in such misery. What was HER mother like, who died when my mother was only 15 years old? Was she proud of me and the choices I had made in my life, one of them being never having children?

Eventually, I had to let her sleep. I went upstairs to her bedroom (she was now in a bedroom on the main floor of my aunt’s house since she could no longer walk). Once in her room, I found a journal titled 2019 and began to read. What I read, in between all of the activities she enjoyed such as Aquafit and her book club, was her documenting her disease before she even knew she had it, describing the symptoms that began as uncomfortable that would soon become excruciatingly painful. 

It broke my heart to read this, being on the other side of understanding where this story would end. I found myself wanting to move through the dimension of time and yell, “Go to the hospital!” Reading this only made me wonder if she had caught it during the early days of symptoms, would the outcome be different? Excuse me as I add more guilt and more grief to the already unbearable weight upon my shoulders. 

Our final day was spent much like the last six days I had with my mother, laying beside each other in bed, massaging her, and either watching movies or talking. We would go from walking down memory lane as I showed her old pictures to discussing last-minute details about the Business of Death: the transfer of everything into my name, where certain sentimental pieces of jewelry could be found, who she wanted to receive small tokens of remembrance of her. As sad as I was for myself, my heart broke for my mother. She’s losing EVERYTHING AND EVERYONE. She expressed to me that she was shocked at how quickly her cancer spread throughout her body. It didn’t give her a chance. No amount of holistic remedies or prayers would have changed this (thanks to all my friends who suggested a plant-based diet with sea moss, soursop, and bladderwrack but her colon, GI tract, and bowels had been decimated). 

The few days leading up to her doctor-assisted euthanasia, I found my heart racing in a panic as the end was creeping closer and closer. I don’t know what’s worse, a loved one's death being a surprise or knowing when it’s going to happen with the hours counting down. I know both intimately. My father went the first way, my mother the second. I still can’t tell you the answer.

With plans in place for the funeral home to come and take my mother's body in order to cremate her, I’m left with a feeling of such remorse and sadness. Because of COVID-19, my mother’s friends and I are being robbed of the opportunity to congregate at a memorial service to properly mourn and pay homage and respect to the woman we all loved and admired. My mother deserved that.

I’m so angry. I’m angry at cancer. I’m angry at, as a society, our collective circumstances. I’m angry at the thought that this pandemic could have been controlled if our government officials had reacted swiftly. I’m angry that there are so many people who are experiencing the same thing I am—the death of loved ones, and the inability to gather together for a ceremony that celebrates their lives and sends them off properly.

Trauma changes you. Less than two years ago, I almost died when a truck hit my jeep on a California highway. I spent almost a year recovering. I’m a different person than I was moments before the impact of that crash. And now I’ve got to sort out who I am without my mother on this earth. People report a feeling of disconnectedness after the death of their parent(s); like what kept you tethered to the earth is gone and you are now hurtling through time and space, searching for something to grab onto.

I lost my father many years ago and now my mom is gone. I’m praying that I find something soon to ground me; but for the time being, the search to make sense and meaning of my mother's life and, ultimately her death, shall continue for me, like a room with endless doors or a road that disappears into the horizon. 

-

A native of Toronto, Canada and now residing in Beverly Hills, California, Melyssa Ford is a syndicated radio show host on Hollywood Unlocked via iHeart Media's stations nationwide and also hosts her own podcast, I'm Here For The Food (available on all streaming platforms).

Continue Reading
Beenie Man (L) and Bounty Killer (R) in 1995.
David Corio/Redferns

A Look At Beenie Man And Bounty Killer's 'Verzuz' Battle Scorecard

Why was this night different from all other Verzuz battles? Streamed live from Kingston, Jamaica, the Memorial Day “Soundclash Edition” of Swizz Beatz and Timbaland’s flagship IG Live series was easily the most exciting and entertaining yet, as well as the first to delve into dancehall reggae.

Considering the fact that Jamaican sound systems pioneered the sort of “beat battles” have made Verzuz a social media sensation well over half a century ago, the creative decision was more than fitting. By pitting two icons of the genre, Bounty Killer and Beenie Man, in head-to-head competition, this Verzuz battle did not just showcase two of its most respected lyricists ever to hold a microphone, it also tapped into an epic rivalry that stretches back more than a quarter of a century.

At that time the youth born Moses Davis in the Waterhouse section of downtown Kingston was already on the second leg of his career -- having released his first album a decade earlier at the age of ten. Young Rodney Price, formerly known as Bounty Hunter, had just started to make noise under his new artist name Bounty Killer, recording hardcore hits for the legendary Waterhouse-based producer Lloyd “King Jammy” James.

Like all young aspiring artists, Killer had looked up to Beenie as an inspirational figure -- until he felt that the artist had borrowed his style. Beenie and Bounty’s face-to-face clashes, especially their Boxing Day battles at the storied Jamaican stage show Sting in 1993 and 1995, are the stuff of dancehall legend. Despite whatever differences may have existed between them, both artists channeled all that energy into great records -- many of which were played in the heat of the Verzuz battle.

Arguably the most exciting and spontaneous edition of Verzuz yet, the Beenie and Bounty battle was not a “clash” in the traditional Jamaican sense, but it was hardly a conventional beat battle either. Predictions that the island’s WiFi might not be able to handle the strain were soon dismissed -- in keeping with Jamaica’s long tradition of raising the bar when it comes to using technology to create next-level musical entertainment, this was the best-produced beat battle of them all. On the other hand, this was also the first time a Verzuz competitor has had to take a break in the action to negotiate with police officers.

This was surely also the first Verzuz battle to be live-tweeted by a prime minister: PM Andrew Holness took to his official Twitter to declare “Jamaica’s culture is global” and share a screenshot of the action. In keeping with the national pride, the battle opened with a rousing rendition of the Jamaican National Anthem.

When Beenie and Bounty came through VIBE’s IG Live one day before performance, they both declared that they would not be preparing for the battle as the art of war should be spontaneous. This has had people on tender hooks as no one really knows what would happen on the night. But of course all celebrities were out in full force for this highly anticipated battle, as everyone from Diddy to Swizz to Rihanna came through to catch the vibes. It was the only place to be if you were on IG, with more than 400K people checking in at the event's peak.

Here’s Billboard's tune-for-tune breakdown from the top to the very last drop.

ROUND 1: Beenie Man's “Matie” vs. Special Ed feat. Bounty Killer's “Just a Killa”

Beenie kicked things off with his first No. 1 hit (on the Jamaican charts) in honor of the late great Bobby Digital, the legendary producer of this song and countless more, who passed away May 21. Bounty opted to open on an international note, leading with his first hip hop collaboration, a 1995 single by Brooklyn rapper Special Ed featuring a guest verse from young Bounty.

WINNER: Beenie

ROUND 2: Beenie Man's “Memories” vs. Bounty Killer's “Suspense”

Sticking with the hardcore dancehall, Beenie reached for one of his fan favorites, a mid-’90s banger on the “Hot Wax” riddim that was recorded during the height of his great lyrical war with Bounty Killer (and sampled by Drake on the album version of “Controlla”). Killer responded in kind with a track on the same hard-hitting riddim, making this round feel like a flashback mid-'90s dancehall session.

WINNER: Beenie

ROUND 3: Beenie Man's “Slam” vs. Bounty Killer's “Living Dangerously”

Shifting into another gear, Beenie drew for his first Billboard hit, a tribute to the sexual prowess of “ghetto girls” recorded on Dave Kelly’s irresistible “Arab Attack” riddim. Bounty responded with one of his most popular songs for the ladies, a collaboration with reggae vocalist par excellence Barrington Levy. Counteracting a classic with another classic, this round was too close to call.

WINNER: Tie

ROUND 4: Beenie Man feat. Chevelle Franklin's “Dancehall Queen” vs. Diana King feat. Bounty Killer's “Summer Breezin’”

Keeping the energy high, Beenie unleashed this soundtrack cut from the movie Dancehall Queen (in which he also appeared). Bounty responded with a relatively obscure guest verse on a record by Jamaican pop hitmaker Diana King.

WINNER: Beenie

ROUND 5: Beenie Man feat. Lil Kim's “Fresh From Yard” vs. Bounty Killer ft. Jeru the Damaja's “Suicide or Murder”

For his first international selection, Beenie chose a DJ Clue production featuring the Queen Bee in her best Brooklyn Jamaican patois mode. Killer kept it BK with a grimy Jeru collab produced by New York’s own Massive B productions.

WINNER: Beenie

ROUND 6: T.I. feat. Beenie Man's “I’m Serious” vs. Bounty Killer ft. Mobb Deep's “Deadly Zone”

Sticking with the hip hop collabs, Beenie dropped T.I.’s first major-label single featuring a hard-as-nails Neptunes beat and a street-certified Beenie Man hook. But he should have known that badman business is the Killer’s wheelhouse. Bounty clapped back with a grimy Mobb Deep collab off his My Xperience album and took the round.

WINNER: Bounty

ROUND 7: Guerilla Black feat. Beenie Man's “Compton” vs. Bounty Killer feat. The Fugees' "Hip-Hopera”

Beenie dropped his third straight hip hop crossover track, this one a guest verse for Biggie soundalike Guerilla Black over a bouncy Stalag Riddim. Bounty brought out the big guns, returning fire with a Fugees collab. As the Warlord would say, “People dead!”

WINNER: Bounty

ROUND 8: Beenie Man's “Romie” vs. Bounty Killer's “Worthless Bwoy”

Returning to straight-up dancehall, Beenie served up one of his worldwide club classics, a song about a girl named “Romie” set to Shocking Vibes’s hard-driving version of the Punany Riddim. Killer replied with a Dave Kelly banger burning out the guys who lack the stamina to satisfy their significant others.

WINNER: Beenie

ROUND 9: Beenie Man “Old Dog” vs. Bounty Killer “Stucky”

Beenie Man has plenty of classic dancehall joints, and this Dave Kelly sure shot is one of the most ubiquitous. “Old Dog” recounts his exploits with the opposite sex, shouting out female dancehall stars Patra and Lady Saw along the way. Bounty replied in kind with his own kind of “gyal tune,” more rough than sweet, just the way Killer likes it.

WINNER: Beenie

ROUND 10: Beenie Man feat. Mya “Girls Them Sugar” vs. Bounty Killer ft. Nona Hendryx & Cocoa Brovaz “It’s a Party”

Beenie closed out the first half of the battle on a strong note with one of his most beautiful records, a Neptunes remake of one of his immortal dancehall classics adorned with a sweet hook sung by Mya. Bounty’s response was strong, but the Wyclef-produced party joint (with a hook by the former member of Labelle and bars from Boot Camp MCs) fell just short of Beenie’s selection.

WINNER: Beenie

ROUND 11: Beenie Man feat. Wyclef Jean's “Love Me Now” vs. Bounty Killer feat. Swizz Beatz' “Guilty”

Flipping catchy lyrics over Naughty By Nature's classic “O.P.P.” beat, Beenie sounded strong on this Wyclef collab, but Bounty countered with a hard-hitting Swizz Beatz track featuring a blazing guest verse from the Killer.

WINNER: Bounty

ROUND 12: Beenie Man feat. Barrington Levy's “Murderation” vs. Bounty Killer's “Look”

The vibes were sweet right up until the moment when officers of the Jamaican Constabulary Force interrupted the action. Beenie took care of the situation, informing the police that there were hundreds of thousands of people watching internationally. He then asked his DJ to run one of the hardest tracks in his catalog, a song about the abuse of authority in the ghetto streets. It was such a perfect segue the whole thing almost seemed planned. Killer had no choice but to counter with one of the most powerful songs in his catalogue, another Dave Kelly masterpiece, just barely winning what was arguably the strongest round of the entire battle.

WINNER: Bounty

ROUND 13: Beenie Man's [Showtime Juggling] vs. Bounty Killer's “Fed Up”

Still charged up by the unexpected visit from the police, Beenie felt a vibe and decided to perform his next song live. Starting out with “Hypocrite,” a blistering broadside against haters on Dave Kelly’s “Showtime” riddim, Beenie’s performance inspired Bounty to join in for what became a multi-song medley that included snippets of Killer’s “Eagle & The Hawk” and “Bullet Proof Skin” as well as Beenie Man’s “Done Have We Things,” “Badman Medley,” “Bury Yuh Dead,” and “Fire Burn.”

After they wrapped up their explosive tag-team performance, Beenie calmly stated “My song dat,” indicating that he wanted the whole extended set to count as one song. Bounty retaliated with “Fed Up,” one of his signature reality tunes that cemented his reputation as Jamaica’s “Poor People Governor.” Another close round, and highly unorthodox. Advantage Killa.

WINNER: Bounty

ROUND 14: Beenie Man's “World Dance” vs. Bounty Killer's “Gal” 

Beenie Man took it back with one of his biggest early hits, a “buss the dance” selection on Shocking Vibes’ Cordy Roy Riddim. Killer’s response was another hardcore tune for the girls, explosively energetic and lyrically intricate.

WINNER: Beenie

ROUND 15: Beenie Man's “Modeling” vs. Bounty Killer's “Model”

Taking it back to the early days of his career, Beenie served up a song designed to inspire all the “bashment girls” in the dance to show off their freshest outfits and dance moves. Killer responded in kind with a similar type of song, every bit as lyrically precise as Beenie’s was melodic, making this round a dead heat.

WINNER: Tie

ROUND 16: Beenie Man's “Oyster & Conch” vs. Bounty Killer's “Benz & Bimma”

Sticking with the “gyal” segment, dancehall’s “Doctor” prescribed a musical aphrodisiac, stressing the importance of seafood in your diet. Killer responded with a dancehall smash likening his appreciation of the female physique to his fondness for expensive European automobiles.

WINNER: Bounty

ROUND 17: Beenie Man's “Dude” vs. Bounty Killer's “Greatest”

Beenie delivered yet another Dave Kelly sureshot, this time on the festive Fiesta Riddim. Killer responded with a little-known 2003 track on the “Hydro” radio, basically conceding this round.

WINNER: Beenie

ROUND 18: Beenie Man's “Mm-Hmm” vs. Bounty Killer feat. Cham's “Another Level”

As the battle neared its final rounds, Beenie played this hard-hitting Tony Kelly production and grabbed the mic to chat his lyrics live and direct, showing that dancehall artists of a certain age are still in top form lyrically. Bounty replied with a musical killshot on Dave Kelly’s Clone Riddim, joining forces with Cham to take things to “Another Level.” Feeling the spirit, Beenie grabbed the mic and spit a verse over Bounty’s record.

WINNER: Bounty

ROUND 19: Beenie Man “Nuff Gal” vs. Bounty Killer “Cry For Die For”

Beenie changed up the pace with a jazzy tune for the ladies featuring a swinging horn section. This 1996 Jamaican single could have been a bigger hit for Beenie if it had the right promotion, and still sounds great all these years later. Bounty Killer responded in similarly eclectic mode with a jaunty track on a Riddim based on The Champs' 1950s rock chart-topper “Tequila.”

WINNER: Beenie

ROUND 20: Beenie Man's “I’m Drinkin’ (Rum and Red Bull)” vs. Bounty Killer's “Smoke the Herb”

Beenie closed out his regulation 20 rounds with one of his biggest crossover hits, a collaboration with Fambo that somebody at Red Bull should probably sign up for an endorsement deal. Bounty Killer responded with perhaps his greatest ganja anthems. This one was too close to call. Pick your poison.

WINNER: Tie

EXTRA TUNES

After running a couple of exclusive dubplate specials -- “War Uno Want” by Bounty Killer and a Buju Banton and Beenie Man collab on the M.P.L.A Riddim -- Beenie and Bounty served one final tune. ”Why Beenie saved one of his signature songs, 2004's "King of the Dancehall," for the 21st round is anybody’s guess. Bounty’s response ("Nuh Fren Fish") was something for the hardcore fans only.

Winner: Beenie

BONUS ROUNDS

Wider Catalogue: Beenie Man

While both artists did a good job displaying the breadth of their respective repertoires, blending hardcore dancehall hits with international collaborations, Beenie Man showed off his versatility with a mixture of old and new dancehall hits as well as mixing moods and tempos.

Biggest Snub: Beenie Man (Point to Bounty Killer)

Beenie Man opted not to play “Who Am I” (aka “Sim Simma,”) perhaps his best known international hit. Not to be outdone, Bounty Killer also neglected to play “Hey Baby,” his high-profile collaboration with No Doubt from their Grammy-winning 2001 album Rock Steady. Still Beenie’s oversight was the more inexplicable of the two.

Best Banter: Beenie Man

When police stopped by in the middle of the session and Beenie Man somehow kept his cool telling them “Officer, the whole world is watching… do we have to do this right now? Do you really wanna be that guy?”

Biggest KO: Bounty Killer

Not long after the police stopped by, Beenie and Bounty joined in on an eight song freestyle, venting their frustration at the police. But Bounty’s response, “Poor People Fed Up,” trumped an extended live performance, demonstrating just how much of a punch that song still packs.

People's Champ: Bounty Killer

While Beenie proved the more strategic selector, Bounty Killer’s off-the-cuff adlibs an manic energy -- especially when he noticed Rihanna in the IG audience -- kept the mood up. Even when he played unexpected selections, the Warlord’s respect levels were on 11.

FINAL SCORE: 13-10-3, Beenie Man

-

This article originally appeared on Billboard.

Continue Reading
Jonathan Mannion

Iconic Photographer, Jonathan Mannion, Details Shooting Eminem's 'Marshall Mathers LP' 20 Years Later

This story, in its entirety, is posted on Billboard.com and is written by Carl Lamarre.

------------------------------

Saturday (May 23) marks the 20th anniversary of Eminem's third album, The Marshall Mathers LP. His magnum opus not only shattered records on the Billboard 200 (debuted at No. 1 with a whopping 1.78 million copies its opening week) but highlighted his abilities as a raw and gifted storyteller. With Em looking to shed light on his real-life persona of Marshall Mathers, he hired famed photographer Jonathan Mannion to help capture his vision.

Mannion, who previously shot legendary album covers such as Jay-Z's 1996 Reasonable Doubt and DMX's 1998 Flesh of My Flesh, Blood of My Blood, relished the task of teaming up with one of rap's polarizing acts because of their commonalities. Like Eminem, Mannion was a young, hungry creative from the Midwest, whose affinity for hip-hop ran deep, dating back to DJ Quik's debut single, "Born and Raised in Compton." 

Em and Mannion's tag-team expanded to over two continents. Not only did they shoot photos for MMLP in Amsterdam but also Detroit. From the pizza shop that Eminem used to work at to even his old childhood home where he sat on the steps for the album's classic cover art, nothing was off-limits.

READ MORE 20 Years of 'The Marshall Mathers LP': Ranking Every Song From Eminem's Third Album"

It was great," recalls Mannion of the shoot in from of Em's old house. "It was him in his element and delivering his journey. You know, the humble nature of him and his process of getting to be this megastar, which is rooted so clearly in talent. His talent and his relentless drive was it.

"Mannion spoke to Billboard about the 20th anniversary of The Marshall Mathers LP, where the album cover ranks in his collection and Em's dedication to delivering the best shots. 

What does the number 20 mean for you having been involved in the Marshall Mathers LP?

It's really hard to put into words how important this album is for the world, for Eminem (and) for me. There's an endless amount of stories. We shot in Amsterdam and Detroit. Originally, this album was meant to be called Amsterdam. I was like, "We have to go to Amsterdam. We have to all get on a plane and go there. That's the only way we're doing this album." He happened to be performing out there and said, "This is going to sync up perfectly.

"We did a phenomenal session out there -- really poured out hearts into it. Then, I think there was a realization that he wanted to present this trifecta of who he was: Slim Shady, Marshall Mathers and Eminem. This is how genius this guy is. He's thinking farther down the road to be able to craft these versions of himself. Slim Shady was the gimmick to get everyone's attention, which was still rooted in something phenomenal.

Then, he was like, "Let me tell you about my journey. Let me allow myself to be vulnerable within the space and deliver 'me' and how I really got here [with] my struggles, my pain," and I think that's when everybody really connected with him on a different level. It wasn't just this pop phenomenon that he was rooted in reverence for the culture. He obviously felt like he had to prove himself probably more than the next MC just because he was from Detroit and a white boy. He had something to prove and he was clinical on the album, delivering masterpiece after masterpiece.

READ MORE20 Years of 'Stan': How Eminem’s Epic 2000 Hit Relates to the Fan Culture It Inspired

When it was time to dig into who Marshall Mathers was, we had to do another session in Detroit. So we flew to Detroit to kind of continue [the shoot]. It kind of became this nice balance of Amsterdam and all of these lax drugs laws and all of these experimental moments that he was pursuing at that time to kind of ground himself. We shot outside the pizza shop that he used to work at with people that he still knew from there.

I remember you said in a past interview that you shot him in his boxers and trench coat in the freezing cold towards the end of the shoot.

It's dedication. I was with him entirely, pushing and wanting more, but he one-upped me in this session. We did that and I was like, "OK. He's going to be tired." He's in boxer shorts, combat boots and a trench coat being the fullness of the character that he was presenting as this Amsterdam version of Em. He pushed it and I was like, "Man, this is incredible. What we achieved out here was beyond comprehension. I can't wait for when we get back to see the session and go through it."He was like, "Man, I was thinking I want to do one more shot. Can we go back to the hotel? I want to be in my hotel room writing to my daughter." Usually, I'm the one begging rappers to go a little bit farther because I want to give them the world, but it flipped on me. It wasn't begrudgingly that I went there to that place. I was like, "I'm with this. Thank you." It made another really phenomenal image that we got to share with the world because of that effort.

Continue reading the original article by Carl Lamarre at Billboard here.

 

View this post on Instagram

 

THE MARSHALL MATHERS LP. Congratulations to @eminem on an absolutely brilliant project that celebrates 20 YEARS today. There were 2 sessions that yielded the campaign around this album, one in Detroit and the other in Amsterdam. It is one of my top 3 covers of all time. Art direction & Photography, @jonathanmannion. Designed with the masterful @morningbreathinc’s own Jason Noto.

A post shared by Jonathan Mannion (@jonathanmannion) on May 23, 2020 at 11:20am PDT

--------------------------------------------------

To get a feel of Mannion's deep love of hip-hop, check out his Spotify playlist of the many legendary artists and their music from the album covers he's shot. "I did a playlist on Spotify based on a random sampling of 65 of my favorite album covers. Pulled 90 tunes that were bonafide bangers and complied a little vibe," Mannion details. Enjoy the vibes!

Continue Reading

Top Stories