Premiere: R.LUM.R Releases Intimate Visual From 'ALTERIMAGE' EP

'ALTERIMAGE' drops March 9.

Burgeoning R&B star R.LUM.R dropped his latest simplistic visual for “Learn (altered)" off of his upcoming live EP, ALTERIMAGE, via PRMD.

The video features the native Floridian in an azure room, surrounded by nothing but a microphone and an intimate orchestra. His buttery vocals seize the lyrics—which deal with taking another chance at love—in a heart-wrenching, yet captivated way.

ALTERIMAGE features alternate versions of the songs featured on his debut EP AFTERIMAGE, which was released in Summer 2017 to critical-acclaim. Since then, he’s performed on Jimmy Kimmel Live!, and has drawn accolades from various outlets such as Rolling Stone, NPR and The New York Times.

A Nashville transplant, the classically-trained guitarist has been steadily racking up listens on streaming platforms for his intoxicatingly smooth tracks, such as “Tell Me,” “Bleed Into The Water,” and the hit track “Frustrated,” which has over 30 million listens. Due to his undeniable appeal, he was featured on “The Newness” playlist on Spotify, and was the streaming platform’s face of their “Alt R&B” playlist for six months.

There seems to be no stopping R.LUM.R, who just ended a short nationwide tour of his own. This spring, you can catch him at SXSW (March 9-18), Bonnaroo (June 7-10) and Hangout (May 18-20) festivals, and we’re sure more performance surprises will abound along the way.

VIBE caught up with the talented singer to discuss the greater meaning behind the visuals to “Learn,” as well as the nerve-wracking feelings behind recording a one-take, live musical project.

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VIBE: You're from Florida, and moved to Nashville. Nashville is the home of the country music scene. So, coming to Nashville, was it a little difficult, at first, to get ears to your type of music?
R.LUM.R: I mean, it was, but I think that was to be expected. I was there to try and do something different. Going to L.A. or Chicago or New York or Atlanta, there's already, kind of, a lane built in. So, I wanted to go to Nashville for two reasons: one, [Nashville] houses the tradition of the lyric and the song, and I think that's really important. Two, there is nobody there like me, so, what better of a place to go to try and really create your own lane?

That's a smart way to get in the door.
Yeah, and actually get real responses from people.

How would you say the video for "Learn (altered)" stands out from the rest of the videos you made for this new EP?
"Learn" is the song that's really, really tender, on the EP [AFTERIMAGE] and on this version. That was the song that kind of inspired this whole process, this whole ALTERIMAGE. That one is really special to me. I knew there was more I could do with it, I knew I could do it in more of an intimate, sensitive way, especially because people were asking for it on Facebook and Twitter and whatnot. 'We'd love to hear these in a very stripped, personal-to-you kind of way. I thought about doing it with just me and a piano, and then I thought, 'I can make this something rapturous.' So, we started there and sort of built up.

Were the concepts or moods for each video meant to be cohesive, or are they generally distinct from one another?
Absolutely made to be cohesive. AFTERIMAGE was made in line with the CMYK color series, and each of those different colors. Once you combine them all in the CMYK series, add up C, M, and Y, you get K, which is black. I am a black individual. So all of these colors make up me and who we are, at least who I am. You'll see that each of the songs on ALTERIMAGE are corresponding colors, a different version of those colors, from AFTERIMAGE. That's why they're altered, because everybody has sides and colors, but even within those. You can be neutral-positive, neutral-negative, those kind of things.

Very well-thought out. What do you think the viewers can gain from seeing the videos?
I think it's the different sides of the music. One of my favorite things is...coming up in music, I used to do tons of covers in bars, that's, like, how I got my start, really.  One of my favorite things, like I said about the tradition of song, is to take a lyric and just do it a different way and turn it into something really different.

For instance, listening to Ray LaMontagne do [Gnarls Barkley’s] "Crazy," with his painful, road-worn voice, really makes the content...he's not changing the lyrics, he's just changing the delivery. So, he's trying something completely different. That's just one example, I'll mention that over and over and over. I think it was cool to just take my own material and be like, 'how can I make you feel something different?'

I think the live instrumentation definitely gave a new feeling to the actual music. It was really cool.
I'm glad you felt that! [Laughs]

And, being that you're a classically-trained guitarist, how important was the instrumentation to this particular project?
I can see where that connection would be immediately made, but I wouldn't wanna seem like I think strings and things "classed it up" or something, like the music on its own wasn't elegant in its own way. That's part of my background and that's where I come from, so it wasn't a stretch to be like, 'I can totally hear these melodies in a violin.'

The piano melodies weren’t a stretch for me to see them in a different way, so I don't think it was, like, "I'm smart, I'm good at music." I wasn't trying to prove anything, you know? It was just a very cool and different way of doing this, which was in my realm of experience. I just thought it was cool! And plus, the fans were asking for it. The fans were asking for it, I can do it, let's do it.

And it worked. So, the album was recorded live in one take. Did that add any extra pressure to you and the other musicians involved?
Pressure, but more excitement. It's the same sort of excitement… it's right in between the excitement of recording and just doing it for a live show. I think live is where most of my experience is, so that's where I tend to shine if I have to choose anywhere. It sat right in the middle of that- I could control the environment, and give everything a theme and give everybody direction and whatnot. But, it was also like 'okay, we gotta nail this.' It's cool! It's the reason I really love this stuff.

In terms of the response to the initial studio EP, how did it feel to have such favorable feedback?
[Laughs] It's awesome! I mean, from all the way back to VIBE's showcase back at South By to now, things are very different. I don't know, it's really cool that these are thoughts that are often privately held, and held for a long time because you don't think people are gonna give a sh*t, or people aren't gonna relate to them, or maybe they're invalid or something.

You're told your whole life that when you look like me, that what you say doesn't matter. Just to go across the country and sell out shows in places I've never been to, a year ago, that would be like, 'okay, quit it, because that's not true.' But it's true, and it's real. I think I'm a person who will definitely be quick to deny or self-deprecate, but I mean, when you see numbers, you can't argue with those. When you see physical people in a room singing the lyrics back to you, you can't deny that. That experience becomes bigger than you.

Correct me if I'm wrong, but your last night of your tour is tonight (Feb. 22)?
Yes.

And then you're also performing at Bonnaroo, and Hangout Fest and South By?
Yes! We are out here!

So what's your favorite thing about being able to do what you do?
Oh man, you're asking me to pick one good piece of candy in the whole candy store! [Laughs] I just think it's cool, like, I know when I would go to shows when I was young, it meant a lot to me and also kind of felt otherworldly to see the music, and especially the vocals, come out of a person, and come out of a person you've seen on television and YouTube.

I remember the first time I went to a Bright Eyes concert—my first concert ever was Coheed & Cambria and Russian Circles in St. Petersburg [Florida] at Jannus Landing. Just seeing the words come out of Claudio [Sanchez of Coheed & Cambria]'s mouth, and they're playing the guitar, it's just like 'I've listened to this music so much for so long...' and it feels so familiar to me, it’s just this wild, hard to describe feeling. You see them rip the solo and you hear them actually 'do the thing,' you know what I mean? [Laughs] The thing you spend so much time with that seems so personal to you, and all these people here are enjoying it with you. It's cool.

That's been a very cherished experience for me, going to shows and stuff, especially because you know, we were thinking I would never do that stuff and never go to these shows. But now, I'm on the stage, and now we're creating moments for people who might very well feel the same way I did.

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Then & Now: Common Details How He And J Dilla Collaborated On The "Thelonious" Track With Slum Village

J Dilla and Common had a really tight creative bond and, at one point, lived together in L.A. So you know that Common got dibs on all of his hot beats first. They were hip-hop brethren just trying to work together and of all of their collaborations, living and posthumous, the track “Thelonius,” is the sharpest intersection of the two legendary artists' careers.

A singular song fit for two albums, the cut was placed on Common’s fourth studio album Like Water for Chocolate and Fantastic Vol. II, Slum Village's classic sophomore album. “Thelonius” as we know it was in a way an accident...a soulful snafu that we get to enjoy forever. In this excerpt of VIBE's Then & Now video franchise, Common shares how the song manifested unplanned, willed into existence by Dilla’s uncompromising creative compass.

The story is brought to life with artwork by visual artist supreme, Dan Lish (@DanLish1), the man behind Raekwon’s The Wild album artwork. The illustrations you see in this video are a small fraction of what you can find in his upcoming book: Egostrip Vol 1 – The Essential Hip Hop Art Book, a psychedelic visual history of hip-hop to be enjoyed by the genre’s oldest and youngest fans alike. 

Today is the last day to support Lish's Kickstarter for the incredible project. Click the following link for a copy of your own: https://www.kickstarter.com/projects/dan-lish/egostrip-book-1 

“I picked up on what inspired me about the artists, whether it be a certain lyric from a classic song or my perception of what may be going through their mind at the moment of creation,” says Lish.

There is much more to be said about all of these artists. For more stories on Common’s catalog, including several more Dilla cuts, stay tuned for the upcoming episode of Then & Now, where we dig deeper into notable tracks in the career of one Lonnie Rashid "Common" Lynn, Jr.

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Courtesy of Biz 3 / FCF

Quavo Is Introducing 'Fan Controlled Football' To The Culture

From their penchant for popping tags and name-dropping designer brands in their rhymes to the obsession with diamond-encrusted neckwear, the Migos are the modern-day poster-children for decadence and opulence. But when it comes to balling, group member Quavo is a seasoned veteran, literally and figuratively. Notorious for his appearances in NBA all-star celebrity games, where he routinely dominates the competition, Huncho has built a rep as one of the athletically gifted hit-makers in music today.

Although he's known for his skills on the hardwood, football is definitely among his passions. His newest endeavor, an ownership stake in Fan Controlled Football (FCF), the first professional sports league to put the viewer in the coach's seat and the general manager's office, in live time, finds him putting his focus back on the gridiron. Having inked an exclusive, multi-year streaming broadcast partnership with Twitch, the FCF will be the first professional sports league to be fully integrated with the streaming platform with the potential to explode in the digital age, where user interest and participation is the main recipe for success.

Having tossed the pigskin around as a Georgia high school football star, to Quavo, it was a no-brainer to get involved with the innovative league on the ground level. “We are building a brand and something different in our league – with the fans. They are in control and get to pick the team names, colors, logos, and more,” said Quavo said in a press release. “I’m really excited because FCF is fast-paced, high-scoring 7v7 football and you are in control. You go from sitting on the couch watching TV and pressing buttons on the remote to actually pressing the buttons on the plays.”

Played on "a 35-yard x 50-yard field with 10-yard end zones,” the Fan Controlled Football league will kick off in February 2021, with a four-week regular season, one week of playoffs, and a Championship week. The league will consist of former elite D-1 athletes, the CFL, XFL, and the Indoor Football League. Broadcasted live from the FCF’s state-of-the-art facility in Atlanta, each game will be 60 minutes in length and will allow the viewers to play a hand in the final outcome on Twitch.

Aside from sports, Quavo has been relatively lowkey on the musical tip as of late, with two years having passed since a solo release or a Migos album. However, according to him, this delay can be considered the calm before the storm, as he assures him and his brethren are primed for one of their biggest years yet. VIBE hopped on the line with Quavo to talk Fan Controlled Football, what he's got cooking in the studio, and his foray into TV and film.

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You're the newest team owner at Fan Controlled Football (FCF). What about the league piqued your interest and made you wanna get involved?

It's just showing my interest in the game of football and just trying to put a twist to where it's fan-controlled, fan-involved. A lot of times we watch the game, you watch the game, you just have some concerns. Sometimes you feel you can make the plays or call the play, [with FCF], you can sit on the couch and make the play. I just think we came together to make something crazy like that. I feel like it's something hard, it's something new, it's something fresh. It's a new beginning to something, like giving ni**as a chance. Giving D-1 players who couldn't make it to the league a chance, giving ex-NFL ni**as a chance if they still got it, [and] to go with the fans. When we saw the Falcons lose the Superbowl LI, we [fans] just knew what plays to call, we knew to run the ball. We were up 28-3. All we had to do was hold the ball, but we wanted to air it out and we made a mistake and lost to Tom Brady. Just like when Marshawn could've won a Superbowl. If they'd have given him the ball on the two-yard line. We knew that Marshawn Lynch was supposed to get the ball, [but] they wanted Russell Wilson to win it and the New England Patriots caught an interception. So that's how we're trying to shape it, we're trying to make something new.

The FCF will be live-streamed exclusively on Twitch, which has become one of the leading platforms for eSports live-streaming and will kick off in February 2021. Do you feel the FCF has the opportunity to fill that NFL void during the spring, particularly given the fan engagement that FCF enables?

Most definitely, cause after the Super Bowl, it just feels like you just want another game. You feel like you want one more game. and coming from something [where it's] eleven on eleven players to seven on seven, I feel [there’s] still a difference. After coming from watching the game and the regular politics, the regular structure of the game, now you're getting to be involved in a game that you can control. You can pick the jersey, you can pick the helmets, you can pick the jerseys, you can pick the coaches, you can pick the plays. I just feel there are two different dynamics [between the NFL and FCF). You come from sitting on the couch and pressing the remote to actually pressing the button on the plays."

Speaking of fan engagement, the FCF is the only professional sports league that enables fans to call the plays in real-time and puts the viewer in control of a game’s outcome like never before. Have you ever had that experience, as far as fantasy football?

Nah, but I'm into Madden. You can sit at home and pick your plays [with FCF], it's just like the lifestyle of Madden. It's like a reality of Madden. You're playing with people at home, with these unique athletes, and it's seven-on-seven.

As an Atlanta native, how significant was the FCF’s state-of-the-art facility being in your hometown in your decision to come on board as an owner?

It's very important. We got top-tier talent here, so it's opening up opportunities for a lot of guys. We're just glad it's in the south, it's like a hub. Everybody loves Atlanta and everybody wanna be here. Everybody wanna play and the weather is good.

NFL Super Bowl Champions Richard Sherman and Marshawn Lynch, boxing legend Mike Tyson, and YouTuber and podcaster empire Greg Miller are among the FCF's team owners. How does it feel to be competing against some of the most accomplished athletes and entertainers in the world? Have you had the opportunity to meet with any of them?

Most definitely. I have a good relationship with Mike Tyson. I've met Marshawn Lynch, it's a blessing. I feel like we're not competing right now, I feel like we're building a brand. I feel like we're building a league. I feel like we're trying to make the world understand what we're bringing to the table and what type of game we bring to the table, you feel me? I feel we're trying to create something different. Once we get the ball rolling, it's all together and moving into a real FCF league, then we'll get to compete. Of course, we all wanna win, but right now, we're just trying to get the foundation and the basics going and letting the strength of the owners and the relationships show on the field.

Being that you'll all be working with your respective fan bases in shaping your team’s personality and identity, any thoughts about what the team’s name will be? 

Man, I wish I did, but it's so straight strictly fans that you never know. Just like with music, can have an idea that is a smash, and then the fans don't think it is. You gotta strictly listen to the fans on this one. You gotta listen strictly to how they want it because it's the point of the game, that's the point of the league. We gotta let them control this game and then we the players and we the people that's listening to the people, the culture. FCF stands for culture, too, you feel what I'm saying? We listen to the culture, we're letting the culture run the field.

How involved will you be in the drafting and scouting process for your squad?

The fans make the draft, fans get to see everything. Open books, everything. It's an open thing, it ain't nothing to hide over here. The fans control it all.

In addition to sports, you've also been delving into acting, with cameos in shows like Atlanta, Star, Black-ish, and Ballers. Earlier this year, you appeared as yourself in Narcos: Mexico. How did that opportunity come about? 

Narcos reached out. We [Migos] had this song called “Narcos” on the [Culture II] album and we went and shot [the video] in Miami and everybody thought it was a Narcos movie scene and it ended up being Madonna's house. So we just shot that there and then they reached out to us. I think Offset had a performance somewhere and Takeoff had to do something and I just ended up being free that day and I went and shot it in New Mexico. I had fun, I loved it.

Do you have plans to pursue any supporting or leading roles in film or television?

Hell yeah, most definitely. I've been sitting down and having real great meetings with directors and people that got some movies in the works for 2021. I feel like I’ve got some good spots. I don't wanna tell it cause they’re gonna make some announcements. It's coming soon.

It's been two years since you've released a solo project or one with the Migos. Can fans expect any new music from you anytime soon and what are your next plans on that front?

Most definitely, hell yeah, we're shooting videos right now. We’re vaulting up a whole lot of videos so we can give you music and visuals at the same time. “Need It," the song came first and then the video. Right now, we wanna get a lot of videos and a lot records in the vault and smash [them] all at once 'cause it's been two years.

Pop Smoke's passing was one of the more tragic events in rap in recent memory, but his debut album, which you appeared on throughout, has been one of the most successful and acclaimed projects of 2020. How has it been seeing how the album’s been received, especially after you and him developed such a bond in a short time?

I'm happy. I'm proud of him, that was my partner. We did a lot of records, we spent a lot of time together and I feel like the album would've did even more with him being alive. A lot of people's album just go crazy when they die, I feel like his sh*t would've still went crazy. He had the momentum, he had the buzz. He was having fun. He was hot, he was fresh, he had everything ready.

This interview has been edited for length and clarity.

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Toots Hibbert performing at Hammersmith Palais, London in 1983.
Photo by David Corio/Redferns

Remembering Toots Hibbert

The best singers don’t need too many words to make their point. Otis Redding could let loose with a sad sad song like “Fa-fa-fa-fa-fa-fa-fa-fa-fa” and get you all in your feelings. Bob Marley got pulses pounding with his “Whoi-yoooo” rebel yell. Gregory Isaacs melted hearts with nothing more than a gentle sigh. Toots Hibbert, who died last Friday at the age of 77, could sing just about anything and make it sound good. One of the world's greatest vocalists in any genre, Toots paired his powerful voice with the understated harmonies of Raleigh Gordon and Jerry Mathias to form The Maytals, a vocal trinity that never followed fashion and remained relevant throughout the evolution of Jamaican music—from the ska era to rock steady straight through to reggae, a genre named after The Maytals' 1968 classic “Do The Reggay.”

Whether they were singing a sufferer’s selection (“Time Tough”), a churchical chant (“Hallelujah”), or the tender tale of a country wedding (“Sweet and Dandy”), The Maytals blew like a tropical storm raining sweat and tears. The lyrics to Six and Seven Books,” one of The Maytals' earliest hits, are pretty much just Toots listing the books of the Bible. “You have Genesis and Exodus,” he declares over a Studio One ska beat, “Leviticus and Numbers, Deuteronomy and Joshua, Judges and Ruth...” Having grown up singing in his parents' Seventh Day Adventist Church in the rural Jamaican town of May Pen, Toots knew the Good Book well.

The Maytals broke out worldwide in 1966 thanks to the song “Bam Bam,” which won Jamaica's first-ever Independence Festival Song Competition, held during the first week of August as the island nation celebrated both independence from Great Britain in 1862 and emancipation in 1834. They would go on to win the coveted title two more times, but “Bam Bam” was a singular song with a message every bit as powerful as Toots' voice. “I want you to know that I am the man," Toots sang. He was young and strong, ready to "fight for the right, not for the wrong." The trajectory of "Bam Bam" would not only transform Toots' life but make waves throughout popular music worldwide.

"Festival in Jamaica is very important to all Jamaicans," the veteran singer stated in a video interview this past summer while promoting his latest entry into the annual competition. "I must tell you that I won three festivals in Jamaica already, which is “Bam Bam,” “Sweet & Dandy” and “Pomp & Pride.” Toots described that first festival competition as a joyous occasion. "Everybody just want to hear a good song that their children can sing," he recalled. "Is like every artist could be a star."

In 2016, on the 50th anniversary of "Bam Bam" winning first place, Toots looked back over the legacy of the tune that made him a star. "I didn’t know what it means but it was a big deal," he told Boomshots. "You in the music business and you want to be on top and you write a good song and you go on this competition and if they like it then it becomes #1." After The Maytals won, the group was in demand not just all over the island, but all over the world. "We start fly out like a bird," he says with a laugh. "Fly over to London."

"Bam Bam" went on to inspire numerous cover versions, starting with Sister Nancy, Yellowman, and Pliers. It would also be sampled in numerous hip hop classics, and interpolated into Lauryn Hill's "Lost Ones." But according to Toots, he did not benefit financially from these endless cover versions. "People keep on singing it over and over and over, and they don’t even pay me a compliment," he told Boomshots. "I haven’t been collecting no money from that song all now."

 

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“This man don’t trouble no one... but if you trouble this man it will bring a Bam Bam” Original Maytals Classic @tootsmaytalsofficial 🎶 All them a talk, them nuh bad like Niya Fiya Ball ☄️🔥💥 via @tonyspreadlove . 💥💣🔫#Boomshots

A post shared by Word Sound & Power (@boomshots) on Sep 12, 2020 at 8:19am PDT

When Toots began singing in his parents' church, music was not seen as a career prospect, and the profits were slim for Jamaican recording artists in the 1960s. "Those days we get 14 cents for the record to play on the radio," Toots said. "I get three shillings and five shillings for a number one record, which I had 31 number one record in Jamaica... It’s not about money for me. It’s about the quality that Jamaicans need to go back in the festival jamboree... You gotta talk to the children."

On the poignant “54-46 (Was My Number),” Toots recalls the dehumanization of his arrest and 18-month imprisonment at Jamaica's Richmond Farm Correctional Center for what he always insisted was a trumped-up ganja charge just as his music career was taking off. The song's crescendo comes two minutes in when Toots breaks into a scat solo that cannot be translated into any language known to man, delivered with palpable passion that made his message universal. During Toots' ecstatic stage performances he would follow this riff by commanding his band to “Give it to me... one time!” Then the 'd make 'em say Uh!  (Way before Master P!) “Give it to me... two times!” Uh! Uh! And so on and so forth until Toots worked the place into a frenzy.

The Maytals' live show was so explosive that Toots began touring all over the world, opening for rock megastars like The Rolling Stones and The Who. While Bob Marley richly deserved the title King of Reggae, his friend Toots was performing internationally before The Wailers, and remained a force to be reckoned with throughout his life, blazing a trail for generations of reggae artists to follow in his footsteps.

On his Grammy-winning 2004 album True Love, Toots recorded some of his greatest hits with a host of legendary artists, many of whom were also good friends, including Willie Nelson, Mick Jagger, Keith Richards, Bonnie Raitt, Sheryl Crow, and Eric Clapton. His 2006 cover of Radiohead's "Let Down" was a favorite of the band's, who used to play it on their tour bus. Radiohead guitarist Jonny Greenwood called Toots’ version “truly astounding,” according to Easy Star Records Michael Goldwasser.

Toots supported himself and his family by touring all over the world. During a 2013 show in Richmond, Virginia he was singing John Denver's "Take Me Home Country Roads" when a teenager in the crowd threw a vodka bottle at the stage and hit him on the head. He suffered a concussion and had to stop touring for several years. As his first album in a decade, Got To Be Tough was highly anticipated when it was released on Trojan Jamaica label August 28. On the cover the former boxer and lifelong fighter can be seen throwing a punch. Just a day after the album dropped, Toots came down with symptoms similar to COVID 19. Within a few days he was hospitalized where doctors placed him into a medically induced coma from which he never recovered. As his Tidal obituary pointed out, he passed away exactly 33 years after his old friend Peter Tosh died by gunfire.

Songs like "Just Brutal" from the hit different now, with Toots pleading for more love in a world gone wrong. "We were brought here," Toots sings. "Sold out. Victimized brutally. Every time I keep remembering what my grandfather said before he died."

“I’m feeling alright,” Toots said the last time we spoke, while he was still sidelined with stress issues due to the bottle-throwing incident. "I’m feeling alright. I’m feeling alright. I’m feeling just cool because is Jah works. You seet?" I asked him if the song "Bam Bam," was about him—a peaceful man who should not be provoked—or else. "Nooo don't trouble him," Toots said with a laugh. "It’s gonna be double trouble, triple trouble. A lot of trouble."

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