Sir Lucian Grainge's 2018 Artist Showcase Presented By American Airlines And Citi On January 27, 2018 In New York City
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Luis Fonsi On Coaching ‘La Voz’ Competition And Long-Anticipated Album

The "Despacito" singer speaks on the making of Vida, what fans can look forward to on La Voz, and the abundance of young Latinx musical talent.

With his international knockout "Despacito," Puerto Rican singer-songwriter Luis Fonsi had an explosive 2017. Multiple chart-toppers, like "Échame la Culpa," "Calypso," and his more recent success, "Imposible," helped him follow up with another overwhelmingly strong musical calendar last year. And if this month’s any indication, 2019 also belongs to the Latinx pop hitmaker.

After delivering back-to-back global hits over the last two years, Fonsi is ready to share some new-new with his fans. The 40-year-old singer is kicking off the año nuevo with Vida, his long-anticipated ninth studio album. A blend of the heart-tugging guitar ballads that started his career and the energetic pop jams that made him an international superstar, Vida, his first full-length project in five years, will show his worldwide fans exactly who Fonsi is.

“I think people will get to know, really, who I am,” the Grammy award-winning artist told VIBE VIVA during a phone interview. “I have that pop uptempo side but also this soft romantic side as well.”

Vida, which Fonsi teases is slated to release “very soon,” isn’t the only way fans will further acquaint themselves with the luminary in 2019. The seven-time Guinness World Records-holder is also a coach on Telemundo’s forthcoming La Voz. The Spanish-language version of the successful music competition reality TV show (The Voice), which premieres Jan. 13, will bring Fonsi and megastars Alejandra Guzmán, Wisin and Carlos Vives together to find and nurture the most promising Latinx vocalists in the nation, tasks he’s already undertaken as a coach on the show’s offshoots across Latin America and Spain.

Carving out some time from his excitingly busy new year, Fonsi discusses the making of Vida, what fans can look forward to on La Voz, the abundance of young Latin musical talent and key lessons on persistence that every creative dreamer can gain from.

VIBE VIVA: The Voice is one of the most successful singing competitions in the country. Why do you think a Spanish-language version of this show was needed here?

Luis Fonsi: There’s so many ways of answering this question. First of all, because we are part of the music culture, because we’re part of the music equation because our talent level is incredible. Latinos, we breathe music, we speak with rhythm, we dance when we walk. Music is in our blood, so it was absolutely needed.

There are so many young kids who have either recently moved to the U.S. or maybe have been born here and are of Latinx descent and want to be able to share their talent with the world, so to have that opportunity to sing, whether in English or Spanish, because the show, while it’s called La Voz and is on Telemundo, we’re going to have plenty of people out there who will sing in English, is great. And we’ve seen in the NBC version of the show how many Latin contestants have gone the distance, and some have sung in Spanish.

It’s part of the equation, so to be able to make it more formal and celebrate the differences between our Latin culture, by having someone from Mexico sing una ranchera, have someone from Puerto Rico sing something more Caribbean, have someone from Colombia sing something more vallenato. This format gives us the space and those parameters to be able to do that.

La Voz has been successfully exported to multiple Latin American countries including Mexico, Colombia, Argentina, Chile, Brazil, Peru, and Spain. How will this U.S.-based show be different from those?

I’ve been a coach in many of these different formats, in almost all of them. Right now, for example, I’m doing simultaneously La Voz Spain. The biggest and most obvious difference is when a contestant is done singing in Spain, I ask, “Where are you from,” and they tell me the city, “Madrid, Seville.” Here it’s like, “Hey, where are you from,” and they can be from a completely different country.

They could be from New York and their parents are from Mexico and moved here 40 years ago or you can be from the south of Argentina. Culturally, although we are speaking the same language and although we’re in the States, culturally we’re so dramatically different versus being from the same country and just a different city. So that in itself already gives it something different; the accents, the styles, it gives it such a different vibe.

You were the first one to join the show as a coach. Why were you eager to participate in the U.S. version of La Voz?

I love the format. I truly believe in the format. I’m one of those guys that I’m grateful. I remember where I come from, who opened the door for me and also who closed it. But I’m very grateful for the people who have gotten me to where I am today. When I entered this industry 20 years ago, there weren’t any reality shows like this. And if I would have had that opportunity, I would have probably auditioned for one, because very early in my life I knew that I wanted to be a singer. I actually went to college and got a music degree, that’s how serious I was about music.

It wasn’t about being famous; it was about being a musician, to me. I always think that reality singing shows are good. They’re good for everybody. It’s good for music. It’s good for the judges, or, in this case, the coaches. And I have to say sincerely, by far, my favorite format is The Voice. It’s a positive, family show. It’s all about giving constructive criticism.

It’s not about putting them down but rather about lifting them up, even if they don’t get through the first round. Everybody leaves with their head up and wanting to keep learning, keep singing, and to keep experiencing life, and that’s something that is much needed.

Latin music, in no small part due to your own megahits, has taken over the globe with new talent and viral songs appearing almost every day. Why do you think it’s enticing a universal audience?

You’re right! Right now, Latinx music is in a really good place. Latinx music is global. We’ve seen how so many — and I’m not talking about my songs, I’m talking in general, I’m looking at it with a way bigger spectrum — we’ve seen how many Latinx songs and how many Latinx artists have had success worldwide singing in Spanish. I really do believe that the world is coming together and that this was long overdue.

As a judge, what are you looking for in contestants? What's going to make you turn your chair?

Magic, that wow moment, that feeling you get when you get excited that you don’t know how to describe it. When the hair on the back of your neck stands up. You’ll see it. You’ll see me. I can’t stop moving when I hear that voice, and all of a sudden I’m like, “What is this?” I get antsy. I get up from my chair. Sometimes, I hit that button without my brain processing it, it’s like my hand just moves. It’s just like an instinct, a reflex. And it’s not about perfection or a specific genre.

It’s not about a specific country or whether you’re young or old, male or female. It’s about that “wow moment,” that thing that you get when a voice moves you. I’ve pressed my button for contestants who haven’t had perfect auditions, but they had something I connected with. And it’s the same the other way around.

We’ve had contestants that have not made it to the next phase and have had a solid, amazing audition, but for some reason, there was something there that didn’t connect with us coaches. And that’s the toughest because it’s tough to explain to them that, “Hey, you did amazing, you have an amazing voice, it was a perfect audition, you didn’t screw up, but we didn’t turn our chairs.”

It’s horrible, but at the end of the day, it’s life, and that’s what music is all about. Sometimes you can be in your car driving and you hear a song and it’s an amazing voice, but there’s something about that performance that you just don’t connect with it and you don’t identify yourself with it, and that’s exactly how it is to be a coach. It’s fun, and I think people are really going to enjoy it.

 

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As a coach, what do you hope to offer mentees?

Just a little piece of me, what I’ve learned as a professional singer in a 20-year career, the mistakes that I’ve made, the goods and the bads, all of them. I’m going to put it out there in hopes that they could use it toward their journey. What I’ve learned as a musician. I’ve been studying music since I was eight years old. I’ve been studying guitar and piano. I have a degree in vocal performance, a formal classical degree. So I can speak to them as a musician, not just as a recording artist. And you know what, sometimes it’s not even about the technical part.

It’s about having a conversation with them and making them feel comfortable, choosing the right song. Every contestant is different. Sometimes you have to get really technical with them, and sometimes it’s a little bit more about the psychology behind it. The talent is there, but you have to make them believe in themselves.

That actually leads right into my next question. For non-Spanish-speaking folks, you came into the scene in 2017 with "Despacito," but the truth is you've been putting in work for years, from your boy band as a high school student in Orlando, to touring with Britney Spears to your own early megahits like "No Me Doy Por Vencido," "Llegaste Tu" and many more. Sometimes, when you've been putting in work for a long time and not seeing the results you hope for, it can be discouraging and debilitating. What do you think you can teach these contestants about persistence?

It’s about knowing where you want to get to and believing in your craft and knowing that to get to that point it’s not always going to be a straight shot. It’s not always going to be right there in front of you. You have to go out and get it. You’re going to fall, and you’re going to make mistakes. I have never heard an artist say, “Every song I’ve put out has been a hit. Every album I’ve made has gone platinum. I never made a mistake. I never had crappy performances.” It’s all part of the deal.

It’s like falling in love. We have to get dumped, make mistakes, we have to have a broken heart to appreciate our perfect person when they come along. That’s music. When I’m making an album, I write hundreds of songs, sometimes two songs a day. I wish I can say every song I’ve written has been recorded and has been a hit. Absolutely not! I had to write hundreds of songs to get to “Despacito,” to get to "No Me Doy Por Vencido," to get to "Aqui Estoy Yo," to get to “Échame La Culpa.” It’s an ongoing journey, and that’s what I tell them.

We talk a lot about this on the show. It’s cool to hear the other coaches’ stories because it’s something that you don’t hear every day. We see Carlos Vives and Alejandra, and to hear how many times people have completely shut the door on us, but you have to be resilient and have to believe in yourself. And we also have to be a little stubborn sometimes. You have to say, “I know I have it.” Be humble about it, but also believe in what you have to offer and keep fighting for it. That’s what it’s all about, having that hunger.

Talking about the coaches, this year the team includes you, Alejandra Guzmán, Wisin and Carlos Vives — all megastars. Describe the energy among you all on the show?

Wow! The dynamic between the coaches is incredible. We all love each other. We all make fun of each other. There’s so much honest respect. It’s crazy. You’ll see.

I want to switch gears to you and your own music. I know you are dropping an album this year, your first in five years. What can you tell us about this?

Wow. My last album was in 2014. So we’re talking about five years. A lot changes in five years, and when we talk about pop music, it has completely shifted in five years. The cool thing about this album is that by the time the album comes out, I have released five singles, four of them I can humbly say have been hits. “Imposible” is on its way; it’s already Top 10. And my first three singles have been No. 1 songs, “Despacito,” “Échame La Culpa” and “Calypso.”

To be able to drop an album already having this success on the charts is such a blessing because it’s usually like you release one single and then you put the album out there. People already really know the essence of the album, and it makes it that much more exciting to hear the other songs that are there, that tell so many stories, the ballads, for example.

I’m always happy to hear about ballads. With the major success of uptempo hits like "Despacito," "Échame La Culpa" and "Calypso," why return to ballads?

I’ve never abandoned it. I’m a pop artist. I love the dance tracks and the reggaeton-infused tracks, but I also love a guitar ballad. That, to me, is just as powerful. There's a song in there that I wrote for my son, similar to what I did for my daughter with “Llegaste Tu,” a song I did five years ago with Juan Luis Guerra. You can put a little bit of that personal touch in an album that you can’t just do with a single. You have more room to be able to tell stories and different stories. It’s cool. I think people will get to know, really, who I am.

And how would you describe yourself as an artist?

I’m bad at explaining who I am as an artist, because, again, I have that pop uptempo side but also this soft romantic side as well. That’s who I’ve been ever since I started my career in 1998. It’s not just now. I’ve never been that sort of clean-cut balladeer who wears a suit as they’re singing. I’ve never been that clean-cut crooner. And, again, nothing wrong with them. I love the Luis Miguels and the Michael Bublés. I’m a fan of those guys, but I’m too hyperactive to wear a suit for a full show. And I’ve never been a super crazy pop act that all I do is dance and dance. I have those two sides. I love to grab my guitar and just sing as well.

Hearing you speak about this album is very exciting. When can fans expect to listen to it?

I have a release date, but I can’t share it. What I can say is that it will be out very soon. I’m excited. I definitely think it’s going to be the most important album of my career. And I think people are going to be surprised. I hope people are going to be surprised.

Returning to La Voz, why should Latinxs tune into Telemundo to watch this program?

They should tune in because we’re celebrating who we are. I always say, Latinos, we have music running through our veins. We speak with rhythm. We dance as we walk. Music is such a huge part of us, so to be able to celebrate that with the most important music competition format in the world, when we finally bring it to the biggest stage in the world, the U.S., it’s time to celebrate who we are. For those who don’t know to see how much talent there is out there. And I’m going to tell you, they’re going to flip. They’re going to be so surprised to see how much talent there is out there. I’m really excited. I’m hoping that it’s going to be a very big show for Hispanic television.

La Voz premieres Sunday, January 13 at 9 p.m./8 c.t on Telemundo and its digital platforms.

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August Moon (@slutaugust)

Faze Clan, 100 Thieves, And How Hip-Hop And Video Games Collide With Esports

“I got game like Genesis.” – Lord Finesse, “Yes You May (Remix)” (1992)

Smugly sophisticated, succinct but vivid, Lord Finesse managed more in five words than this author ever could. Then there’s The Fresh Prince, who gave us, simply, “Ever since I was younger, I was into video games” on 1988’s “Human Video Game,” complete with Ready Rock C’s beatboxed rendition of the Donkey Kong theme. Of course, Biggie immortalized the poshness of a multiple console array on “Juicy,” a lyric inevitably recited at the mere mention.

Prescient though these men were, none could have predicted that Rockstar Games’ 2013 offering Grand Theft Auto V, itself emblematic of this marriage of worlds, would become the most profitable entertainment title in history. It raced to $1B in sales in just three days and has since surpassed $6B. Or that video games would out-earn all of Hollywood’s offerings and all record label projects, combined—now eight years and counting. Or that, according to the Wall Street Journal, more people watched other people play video games than they did the entirety of the 2017 NFL season.

The math is mind-bending. And few are as qualified to unlock it as Kevin Mitchell, who launched an esports program within the Sports Communications Department at Emerson College and also a pre-college initiative for high schoolers interested in esports careers. Last year, Mitchell founded the College Esports Expo (CEX), the first of its kind; year two saw 300% growth. CEX panels discussed ESPN’s first-ever Collegiate Esports Championship (CEC), a March Madness-esque national championship for gaming set to premiere this May; the fledgling Evergreen Conference, an esports league comprising the eight Ivy League schools; a Learfield IMG merger that Mitchell claims “will reshape the college esports landscape” by elevating merchandising, sponsorships and media rights to the level of D1 athletics. Meanwhile, more than 200 national institutions offer scholarships for varsity esports. And major schools like NYU, Syracuse, George Washington, and UC Irvine–“the Harvard of esports,” says Mitchell, with 400+ members in its esports club and an on-campus gaming arena–are diversifying their esports curricula.

Mitchell boasts not just game but guile and grit as a veteran of the music industry, hired by Bobbito Garcia at Def Jam and mentored by Lyor Cohen. Along the way, he earned several Grammy nominations and created a Washington, DC-based internship program that counted Young Guru, Delante Murphy, and Kevin Liles as participants. He also singlehandedly pressed up the white labels for ‘90s anthem “Déjà Vu (Uptown Baby)” by Lord Tariq and Peter Gunz. But it was his oversight of Shaquille O'Neal’s record label TWIsM that bore fruit.

“It was ’96. I was on set at a video shoot for ‘Man of Steel,’ off the Steel soundtrack, and I beat Shaq at Tekken in front of Ice Cube and B-Real,” Mitchell grins. “Shaq got pissed and joked that he didn’t want to pay me. That’s my earliest recollection of hip-hop and gaming—that and playing Madden with Snoop in the ‘G Thang’ era.”

Long removed from boyish bravado, Mitchell, who acknowledges that he’s “more of a practitioner than an academic,” serves as director of business development and strategic intelligence for theater company National Amusements—looking for opportunities between seemingly disparate worlds. When he first started placing songs into the Madden and NBA Live franchises on behalf of EA Sports, he knew he’d found his lane – it turns out that hip-hop and gaming aren't as different as they may seem.

“There’s a high level of authenticity required with gaming; it’s not anyone trying to be something they’re not. That was always a staple of hip-hop. Also, the power of both seemingly came out of nowhere, driven by a fringe component of society: Latinos and African Americans from the streets who didn’t have an outlet and gamers holed up in their basements with nobody paying attention to them," Mitchell explained. "...Now, both disciplines have become borderless and diverse, and they leverage the internet—streaming for gamers and SoundCloud for rappers. They also share management inefficiency. Think about all those regional record labels that emerged then imploded; a few people did well while a lot of the talent suffered. Esports is no different. ... Those in the gaming space are not equipped to lead others because they’re used to thriving independently.”

Speaking of thriving, one needn’t look much farther than Drake, Travis Scott, and gaming phenom Ninja, the most followed–and most profitable, cresting half a million dollars a month–user on all of streaming platform Twitch. Those three, plus gaming aficionado JuJu Smith-Schuster of the Pittsburgh Steelers, lifted the virtual roof off Twitch in March of 2018 when they teamed up for a game of Fortnite.

“That was the ‘man on the moon, shot-heard-round-the-world’ moment in esports,” attests Mitchell. “It’s akin to hip-hop’s moving from the uptown clubs to the downtown clubs. That day, hip-hop went to Union Square. I’d always anticipated that moment because of my exposure to hip-hop, but I couldn’t exactly predict how or when it would take place. If you could write a script of how these worlds would intersect, it would be that.”

The threesome would prove no one-night stand. Later in 2018, Drake would join Scooter Braun as co-owners of esports team 100 Thieves, along with Cleveland Cavaliers owner Dan Gilbert. And the NBA affiliation doesn’t stop there. Incredibly, there is a full-blown, sanctioned NBA 2K League: 21 NBA franchises drafted teams from among the world’s best NBA 2K players. It’s the first official esports league operated by an American professional sports association.

The synergy isn’t lost on the ballers. Says Andre Drummond of the Detroit Pistons, himself an avid gamer: “The overlap between hip-hop and esports is so dynamic because a lot of these artists are still in their teens and mid-twenties. So the crossover is easy to see: when they aren’t making music in the studio or performing in front of thousands of people, hip-hop artists are locked in playing a video game. And, from the other side, esports is a good way for gamers to meet their favorite artists or athletes; not only are they fans of our work, most of us know gamers by name and we are fans of their work as well!”

One such famous fan is Lil Yachty, now a member of the mighty FaZe Clan, far and away from the world’s most successful esports brand. FaZe is a fascinating case study, for it combines 24/7 pro gamers with online personalities dedicated to creating content. Consider the work of FaZe Blaze, who as a preteen created and uploaded Call of Duty montages and now, via his FaZe affiliation, speaks of how blessed he is to have played GTA with Mac Miller and to call Schoolboy Q a friend. Fittingly, Blaze is releasing a wholly self-produced and performed hip-hop album called Playing Games. Blaze’s words ring true to any artist: “My best friends today are people that I met playing online; we all have the same passion to create. All of us are open books; we understood from very young ages that, if we were going to do this YouTube thing, anything in our lives can and will be made public. And because we’re so open with our audience, they connect with us on a much deeper level. It’s the sort of connection you make with real friends, close friends, even siblings. On the other hand, critical feedback can be hard. You’re not going to make your best stuff every time. But somebody else’s opinions shouldn’t change what you do, how you do it, or, ultimately, who you are.”

Whatever FaZe Clan is doing, it’s working: FaZe tallies a combined social reach of 210M, 21 times larger than that of the aforementioned 100 Thieves. In fact, FaZe was ranked #2 on Bleacher Report’s 2018 Power 50 Shake it Up list—two spots ahead of Drake. And FaZe’s social engagement numbers trump the Kardashians’. Not convinced? Prior to his induction and totally unsolicited, Lil’ Yachty was habitually tweeting, “FaZe Clan or no clan.”

Yachty reflects on those no-clan days. “I got my first Xbox in kindergarten. I was 5 years old. Faze Clan is the best gaming group in the world, plus I had been a fan since high school. Who wouldn’t want to be a part of it? Esports is going to the top. Major. It’s getting much more respect and I’m all for it. And hip-hop and gaming will continue to intersect because artists are younger and younger these days. There’s always a need for games and music.”

Yachty and the aforementioned Smith-Schuster, who in the offseason actually lives in the FaZe house in the Hollywood Hills, are among the group’s more visible assets. So too is FaZe streamer Tfue, who boasts the most-watched Fortnite channel on Twitch and whose 6M+ monthly viewer hours actually outpace Ninja’s. But the machine behind FaZe is no less impressive. CEO Lee Trink once helmed Capitol Records and Virgin Records. And the director of business development is none other than Clinton Sparks, the Grammy-nominated producer, songwriter, and DJ. Known best for his forward-facing ventures–writing and producing for everyone to Lady Gaga to Pitbull, winning ASCAP Awards with DJ Snake–Clinton has long pushed the culture from a number of leverage points, e.g. his stint as director of marketing at Karmaloop. There, under the purview of founder and CEO Greg Selkoe, he helped turn Karmaloop into the biggest streetwear E-commerce website. So, when Selkoe sold out of the ‘loop and assumed presidency of FaZe, he insisted that Clinton leave his native Boston and bring his magic dust to La-La Land.

Indeed, if looks like the Planters Super Bowl commercial, brand deals with Nike, HTC, and Nissan and collabs with Supreme and Champion are aftershocks of FaZe’s clout, then the L.A. house marks its epicenter. “At any given time, you will find guys like Post Malone, Trippie Redd, Logic, and Roddy Ricch just hanging out at the FaZe house,” notes Clinton. “The FaZe house is a thing; the Hollywood house tours actually stop now and point it out.” The irony shouldn’t be lost on anyone. The home, once the sanctuary of the reclusive gamer, has become a tourist attraction.

Clinton, whose legendary Vegas parties brought worlds together, revels in the apparent dichotomy. “There's a really blurry line between what's cool and what's not cool anymore. You don’t necessarily have to run in rap circles to exist in each other’s lanes. But this move isn’t an accident; we strategically recruit and bring in people that make sense to the lifestyle that FaZe represents," he said. "It's not strictly ‘Can you game well?’ It's also ‘Do you understand culture? Maybe you're great at fashion? Maybe you're a model? Maybe you're an artist?’ So we seek out people with keen understandings of culture and lifestyle. Ultimately, my goal is to enhance and amplify the existing business and to make the FaZe brand bigger than any one player on the team, to the point of sustainability—not just in esports, but in music, fashion, business development, and new products. And I want to familiarize people not otherwise familiar with esports and get them involved.”

Clinton has stayed busy assembling what he calls a “hip-hop syndicate.” He’s currently in talks with everyone from French Montana to DJ Paul to Trey Smith to Travis Scott. On the content and business development levels, he’s dialoguing with Mark Wahlberg and Apple Music Head of Content Larry Jackson. And he’s secured investments from music executive Troy Carter–formerly of Spotify–and Yo Gotti.

“My experience with esports has been with Faze because they are in touch with the culture,” Gotti states emphatically. “My kids are big fans. The youth cares about music, fashion, and gaming and they’re all connected. I see what they are doing business-wise and I wanted to be involved. I know what it is to build a brand and FaZe not just a team; it’s a brand and a lifestyle. I’m all in!”

Indeed, the monetary aspect speaks to another unique parallel between the rap and gaming worlds—the hustle. Says FaZe Blaze: “The beautiful thing about our world today is that we have the resources not just to create, but to create revenue. We can literally generate cash, while living at home, through the internet.” The corner has been replaced with a gaming chair and a LAN line; the product, once physical, is now virtual. The end result is the same.

“Gamers are the new rock stars,” Clinton Sparks attests. “They're the new leading actor. They're the new leader of the band. They're the new major DJ. And it's only going to get better. To consider yourself cool but not see where esports is going is to be the guy who didn’t see what the internet was going to be when it was first introduced.”

Others are jumping onto the trend as well. Meek Mill announced in February that he was founding an esports team, and personality DJ Akademiks now hosts a Complex show called On The Sticks where he plays video games with celebrities (guests so far have included artists like Yachty and A Boogie, comedian Chris Redd, and baller Iman Shumpert) while speaking to them about music, gaming and more.

“Esports is Vegas when it was still a desert,” concludes Kevin Mitchell. “I see esports having the same appeal that owning a basketball team had in the Rucker Park or Above the Rim era. I see Floyd Mayweather’s team facing LeBron’s team and bets being placed on mobile phones. I see esports leagues being as prevalent as Little League and AAU. And I want to help athletes create a new model, similar to a ‘Déjà Vu’—make that impact that the industry really needs without getting permission. Just kicking in the door.”

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Then & Now: The O'Jays Highlight Their Rich Discography, Trump And New Album 'The Last Word'

Soul legends The O'Jays have seen a lot throughout their time in the game and displayed the state of the world through 31 albums. Their latest and final album The Last Word is no different as the trio dedicates tracks like "Above the Law" towards social injustice and callings of a love movement on "Enjoy Yourself."

For this session of VIBE's Then & Now series, group co-founders Gerald Levert and Walter Williams take a trip down memory lane with their biggest hits. It wasn't easy as the group has a slew of Top 20 Billboard hits like "Love Train," "Used Ta Be My Girl" and the stirring "Backstabbers," but the duo made sure to share how the tracks were made with spiritual undertones thanks to Philadelphia songwriting icons Kenny Gamble and Leon Huff.

"That song had a big fat message of love, the bible speaks of love throughout it," Williams says about their 1974 hit "Love Train." "It was an idea when we went in the studio. They had the track and we recorded the background but no verses. But [Kenny] Gamble wrote the first and second verses and we went in the studio and tried it out and went on to do the adlibs. Because of the lyrical content, you can feel where it was going."

The two also showed love for those who have sampled their work like Angie Stone and Drake. The rapper cleverly interpolated 1972's "Backstabbers" in his 2016 hit, "Fake Love" while Stone lifted the track for her 2002 single "Wish I Didn't Miss You."

"I like him, I like his message and I liked his delivery," Levert said about Drake's approach to the sample. "I like where he's going in his music. There's not a lot of profanity and cursing and saying a lot of negative words. There's a message in his music."

Often praised for their political undertones, Williams and Levert say their ability to stay consistent allowed them to make some of the most timeless music in R&B.

"It's tough to get around but you have to be persistent," Williams said. "You have to go after what you want today. You have to stay relentless and then you get action."

Levert notes that today's artists are holding back when it comes to speaking up against the political machine. "I think the younger artists are too afraid to hurt their fanbase by taking a stand," he said. "They're too afraid to offend or think, 'It's not my fight. Things have changed, we don't need to address that.' Things are not gonna change as long as you don't speak out on it. If you just keep letting things go on and you never have anything to say, they will continue to go that way."

Watch Then & Now with The O'Jays up top.

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Scott Harrison

Music Sermon: The Divinity Of Luther Vandross

“There are voices in this world and once they sing, it’s a stamp on everybody.” Bravo producer and personality Andy Cohen was asking Patti Labelle about her dear friend Luther Vandross on talk show Watch What Happens Live. “Luther’s done that.”

Luther Ronzoni Vandross, Jr. was the preeminent urban pop singer; the essence of ‘80s quiet storm R&B. He was called “the velvet voice” and “the Black Pavarotti,” but there’s not really a male predecessor he compares to because he didn’t pattern himself after the soul men like Sam Cooke, Marvin Gaye, or Teddy Pendergrass. He studied the divas. Aretha Franklin, Diana Ross and Patti Labelle were the voices that fascinated and inspired a young Luther. Seeing Dionne Warwick live at the Brooklyn Fox Theater made him realize he wanted to sing. “She came on stage and just killed me; the music was more serious, the song value was more serious. 'Anyone Who Has a Heart' was a masterpiece,” he told The Washington Post. “I decided at that point that I wanted to do something in music."

The difference informs the distinction between him and most other men of R&B. Luther sang from a softer space, topically and tonally. He usually sang from a gentle, easy place. Not urgent. Not aggressive. Never suggestive. His first greatest hits compilation was titled The Best of Luther, The Best of Love because his entire catalog was love. Romantic and devoted love, not sex or lust. Adoration. And while his voice is appreciated–he’s featured on every greatest vocalist list of note–the full range and depth of Luther’s vocal craftsmanship are not. He was a writer, producer, and one of the greatest vocal manipulators in the game, as well-known and sought-after from early in his career for his vocal arrangements as his singing. The New York Times once described Luther as having an “obsession with the human voice, bordering on clinical.” Some people’s gifts are leagues beyond the old talent-plus-preparation-equals-opportunity equation. Some are truly called, anointed even. Luther was divinely appointed.

The world was officially introduced to Luther in 1981, but he was already an established singer’s singer on the professional circuit. In the late ‘60s and early ‘70s, teenaged Luther was part of youth performing arts group sponsored by the Apollo Theater called Listen My Brother. Their music was largely social commentary, and they performed in and around New York, including on the very first episode of Sesame Street.

In 1974, Luther accidentally landed a gig as a background singer and arranger for David Bowie. He visiting a friend in Bowie’s band at the studio, and talking about an idea to improve the hook for “Young Americans,” unaware that the singer was standing within earshot. Bowie loved the idea, hired Luther, and quickly became a champion for the young singer’s budding career. Luther handled vocal arrangements for the entire Young Americans album, and additionally wrote the album cut “Infatuation.” He also performed a 45-minute opening set of his own material each night on tour, at Bowie’s insistence.

Luther’s singing here on the far left.

Bowie then introduced the crooner to Bette Midler, who took him on tour, and Luther’s career as an in-demand background singer and arranger was underway. His study of great female vocalists helped him develop an ear that set him apart. “One of the contexts you have to understand was that the background singing has always been a female-dominated area,” Luther explained in an early interview. “I was bringing stuff on my own to the sessions that was kind of unique in terms of how to do background vocals. And later I learned never to give away anything you can sell, so I started charging for this extra bit of approach, which was fine, because by this time everyone wanted it so bad that they were willing to pay for it.”

Over the years, Luther sang with Carley Simon, Chic (“Everybody Dance”), Average White Band, Chaka Khan, and Roberta Flack, who chided him for getting too comfortable as a background singer and encouraged him to finally put a demo together. Due to his own intimate relationship with excellence in backing vocals, Luther was famously known to always use the top talent in the business for his albums. A read through the personnel of his catalogue will reveal names including Cissy Houston, James Ingram, Darlene Love, Tawatha Agee (lead singer of Mtume), premiere professional backing vocalists like Fonzi Thornton, and Lisa Fischer, who Luther pushed to get out of her comfort zone and record as Flack did with him.

During a recording session for Quincy Jones, Luther was introduced to a commercial producer, who then helped him break into the jingle-writing business. He’s always been credited with his ability to write an infectious hook–that talent was honed with jingles.

Before Luther took the solo leap, he tried the group route. He briefly had a deal as part of a group called, appropriately, Luther. They recorded two albums, but neither made any noise. Then, he joined disco group Change as their frontman and had two hits, including one of my favorite mood-boosting, make everything right anthems.

Luther had a little money in his pocket from commercials and background singing, and from writing and producing a song for the Broadway musical-turned-major motion picture The Wiz.

Oh, you didn’t know Luther wrote “A Brand New Day (Everybody Rejoice)”?

He had the means to record and produce his demo himself, and assembled what became his career dream team. While in the group Listen My Brother, Luther met pianist Nat Adderly, Jr., son of jazz trumpeter Nat Adderley and nephew of saxophonist Julian “Cannonball” Adderley. As a session singer, he met bassist Marcus Miller and recommended him to Gladys Knight, and the two bonded while on tour. He recruited them both to put together the songs that eventually became Never Too Much, and they were key contributing architects to Luther’s signature sound.

Miller is responsible for those slappin’ basslines that were prevalent in Luther’s early work, and for most of Luther’s uptempo cuts. “I never had any official responsibilities with Luther because we used to just work,“ Marcus shared in an interview, “but I felt like one of my (unspoken) responsibilities was to make sure Luther had tracks on his album that could be played on the radio during the day time.”

Adderley’s genius came through in Luther’s trademark covers. In Luther’s case, “remake” is a more apt description than “cover,” because he and Nat would take the original songs apart, stretch them out, invert them, slow parts down, add sections, reverse some sh*t… it was a whole different composition when they were done. The lush string and woodwind arrangements in Luther ballads are Nat’s handiwork. Incredible piano flourishes and solos, also Nat.

When both Miller and Adderley worked on the track, magic ensued, starting with Luther’s forever-a-bop solo debut “Never Too Much.” Coming out of the funk band driven ‘70s landscape, labels were doubtful of Luther’s smooth solo style. Epic finally took a chance, and it hit just as popular urban music went through its next evolution, which happened to be right in Luther’s sonic pocket.

“Luther, Marcus Miller and I had a real musical connection,” Nat has said. “We saw stuff the same way. We thought of things in the same way. When we came together, we really learned about each other and fed off of each other.”

Luther knew who he was as a singer and an artist. He wrote and produced the majority of his early material, and continued to co-write and co-produce through most of his career. He was clear on what worked for him both vocally and formulaically. Marcus Miller shared, “One of the things I used to hear him say was ‘I don’t need to compete with any other singers. Other singers sing hard, high, and with a lot of riffs. That’s not me. That’s not my thing. I’m just going to style these people to death.’” And he styled us to death, honey. Luther was the king of melisma and dramatic effect, but without oversinging. Where most vocalists would build towards a climax in the song, Luther’s structure was often reversed. He’d start easy, build during the middle, and come back to a soft, light, but emotional close.

This careful, deliberate singing was part of his genius. There’s a reason Black folks yell “Take your time,” to soloists when they’re in their bag–mastery isn’t rushed.

As I mentioned before, Luther was also a transformative cover artist. Would straight Deebo your song – that was his song, now. And artists didn’t even mind, because he elevated it so incredibly. Some of Luther’s biggest hits are covers: “Superstar/Until You Come Back to Me” (The Carpenters and Aretha Franklin), “Anyone Who Had a Heart” (Dionne Warwick), “Since I Lost My Baby” (The Temptations), “Bad Boy/Having a Party” (an interpolation of Sam Cooke’s “Having a Party”), “If Only for One Night” (Brenda Russell), “Creepin’” (Stevie Wonder). He was a repeat offender with Dionne Warwick’s material from Burt Bacharach and Hal David, jacking not just “Anyone Who Had a Heart,” the song that blew him away at a young age, but also “A House is Not a Home”–on the same album. And she didn’t even care, look at her.

Luther’s capabilities as Mr. Steal-Your-Song also translated to his strength as a duet partner. He knew how to blend voices so perfectly, he was outstanding when paired with another strong vocalist. Luther produced Cheryl Lynn’s 1982 album Instant Love, and took the opportunity to use a Tammi and Marvin classic to showcase the singer’s strength beyond uptempo dance hits.

One of my favorite Luther duets and covers is an album cut with the tragically uncelebrated Martha Wash. Their version of the torch song standard “I Who Have Nothing,” is a little heavy on production in some places, especially the early ‘90s R&B sax, but their voices are perfect together. And the breakdown at the end? Whew. All the feels. All of them.

But Luther could also do very sweet and simple arrangements, like his duet with Gregory Hines. This song always makes me wish Gregory had done more professional singing after he left musical theater.

Don’t get it twisted, though, Luther specialized in controlled vocals, but he could act a fool when he wanted to. Especially when playing off the energy of another singer, like his dear friend and my favorite Auntie, queen of extra just because she can, Patti Labelle.

Jenifer Holliday and Luther messed around and pushed poor Paul Simon out of his own damn song.

Luther was a balladeer of elite caliber, but he’ll also get an uptempo jumpin’, literally. When Aretha’s career was in a lengthy lull and facing the challenges of a new musical era, Clive Davis called Luther to write and produce for her. Luther, who once called himself an "Arethacologist," was thrilled to work with one of his biggest idols and inspirations. But Luther was a very exacting producer; he would tell vocalists specifically what and how to sing. Auntie Re wasn’t playing that at first, and even stormed out of the studio at one point, but the end result was her biggest hit in seven years.

Luther himself has several cookout and red cup party classics. Tunes that me, you, your mama and your cousin can dance to. That’s part of the beauty in Luther’s music; there’s no content too mature–or too immature–for anyone. While recalling Luther, Marcus Miller remarked, “There is no greater feeling in the world than walking down the street in New York City and hearing a Luther song blasting in the street.” I can personally confirm, as someone who’s heard Luther blasting while in these New York City streets.

What I don’t believe is acknowledged enough is Luther’s longevity. A 20-year career is a rare feat for any artist, but especially for a core R&B singer who started in the ‘80s. Luther did have pop hits–“Here and Now” was one of the biggest wedding songs of the ‘90s–but he was always a core R&B artist, and always stayed on brand and on topic. He was somewhat inactive in the latter ‘90s after ending his contract with Epic Records; he released one album with Virgin records in 1996, but it’s not usually included in his definitive material. Whispers and speculation about his health began, as he’d spent much of the ‘90s going up and down dramatically with his weight. But he made a fierce return in the early aughts. His final two albums, with Clive Davis’ J. Records, were two of the biggest in his career, with material that was relevant and contemporary without sounding contrived.

This song makes me want to put on some white linen and go on somebody’s boat ride.

As secure as Luther had always been in his artistry, he still felt overlooked as a writer and producer and longed for critical recognition beyond R&B. Out of 33 career Grammy nominations with eight wins, only two were in the Pop category. It wasn’t until his final album, 2003’s Dance With my Father, that Luther earned the elusive Song of the Year nomination and subsequent win he’d been longing for, for the album’s title track. But he also suffered a debilitating stroke in April 2003, before the project’s release. Since he was unable to shoot a video, artists who loved him stepped in with their children or parents as a tribute. Warning: this video may cause severe allergy flareups.

I have no doubt that barring health issues, Luther would at minimum still be touring. He was one of the most thorough live performers I’ve ever seen, with production simple enough to keep the vocals as the centerpiece, but extra enough so you were visually entertained as well (lots of sequins). Luther was touring in 2003 until his stroke (do yourself a favor and listen to his Live at Radio City Music Hall album, his last live appearance), and was scheduled to perform at Essence Festival that year. Can you imagine Luther at Essence Fest?

When news of Luther’s death broke, my mother and I–both huge fans–were driving to a family reunion, and we played and sang along to his music for about four states. I still play Luther when I need a boost, or when I want to burrow deep down into my feelings. When I want to go into chill mode, or when I want to dance around the house. Luther is all-purpose. He is all-emotion. He is everything. He was a gift.

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#MusicSermon is a weekly series by Naima Cochrane that highlights the under-acknowledged and under-appreciated urban artists and sub-genres from the '90s and earlier. The series seeks to tell unknown and/or forgotten stories that connect the dots between current music, culture and the foundations of the past.

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