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Angela Morris

Kuk Harrell Tracks His Career Journey From The Golden Arches To The Grammys

The award-winning vocal producer dishes on how signing on for the fast food company’s “Where You Want To Be” campaign put into perspective the skills he attained from McDonald’s as it applies to his career today.

Thirty-five years ago, Kuk Harrell designed his foray into the music industry while taking orders at a Chicago-based McDonald’s. The Grammy-winning vocal producer once worked at the fast food conglomerate as a crew member, then a manager before he became the go-to voice captain for artists like Rihanna, Mary J. Blige, Celine Dion, Usher, and more singing heavyweights.

As his writing career began, Harrell wrote jingles for McDonald’s ad campaigns, helping to craft the melody around the fast food restaurant’s “ba-da-ba-ba-ba” tune. In a full-circle moment, Harrell added to his McDonald’s lineage (his mother and two sisters used to sing background for radio and television commercials in Chicago, including for the golden arches), by signing on for the franchise’s “Where You Want To Be” campaign. The initiative pairs a McDonald’s employee with an established person within whatever field the employee is interested in pursuing, allowing them to spend a day and learn the ins and outs of that business. Ayana Lea was selected to shadow Harrell, a moment that re-instilled a sense of passion within him.

“It was refreshing to be able to look back and she gave me a picture of where I was 35 years ago starting out,” Harrell says. “When you get in the music industry, and especially on my level, you’re moving around so much and you’re dealing with people so much every single day and the expectation is so great, you could lose that sense of excitement and freshness. The thing I really picked up from her was just the fresh passion that she has and she’s looking forward to where she can go.” For Harrell, that journey has landed him five Grammy Awards and a scroll of credits from Janet Jackson to The Whispers.

Harrell chats with VIBE on his mission to have the Grammy Awards recognize vocal producers, Rihanna’s ANTI album following its three-year anniversary (while he remained secretive on her upcoming project, Harrell shared that there’s growth from ANTI to her new album), and how his time at McDonald’s still impacts his career today.


VIBE: How did you know McDonald’s would be a springboard to the next level?
Kuk Harrell: For me, I’ve always been fortunate. People that have a passion for music, they’re always fortunate because that’s something that’s always there as opposed to not being sure. For me, I was really fortunate that that passion was always there. I was also fortunate because I was already committed to doing music so there was something in my mind that made me focus on it. I was able to see I need to do life while I pursue my passion, meaning I needed to get a job so that I can have a life and while I have this job I can still pursue my passion. Passion is music. A lot of times we’re very lucky if we get success doing music. The stereotype is you either just do music and you don’t work and you’re hoping that this could generate money. I was fortunate that my family really instilled in me that you have to work while you pursue it. That was a huge blessing for me.

When you’re working with an artist, are there skills from McDonald’s that come in handy?
Absolutely. The soft skills, responsibility, and teamwork. Those are extremely important in what I do right now because, especially with the clients that I have, it’s really important to communicate and to be a people person. I say this all the time, you can be extremely talented, you can have all the talent in the world and be the best songwriter, the best producer, the best keyboardist, but if your people skills are lacking you’re not going to go too far. After a while, people will realize it’s more of a nightmare being in the room with you as it is, so I credit my experience at McDonald’s. I appreciate it because when you’re standing at that register you’re interacting with people, person after person after person and you have to be like a blank canvas. You don’t know where these people are coming from, what’s going on in their minds and in their hearts, so I love the fact that you’re able to figure out right away how to respond. I learned that at the window. Then being a manager I learned that you have to be a great leader. A great leader is a person that really knows how to communicate with people based on where they are as opposed to a blanket personality like, “I need to speak to her this way” or “I need to speak him this way,” “motivate him that way” or “motivate her this way.” That’s all McDonald’s training for sure.

Looking at your Instagram recently of your Grammys, you said you’re in love with the journey. How did you reach that point where you love what you do?
My cousin [Tricky Stewart] and The-Dream, we wrote the song “Umbrella” for Rihanna and I realized once that song blew up and became what it was, I just sat back and was reflecting on the process of it, how it happened. I realized that everything up to that point was my desire. I was reaching for everything and trying to make everything happen, trying to make a career happen. But when “Umbrella” happened, that song was actually written...it kind of happened. There was no effort about it. Then it wound up on Rihanna, she cut it, it became a worldwide smash. Through that process I realized, “Wait a second, without any effort we were able to…” something was able to happen in my life that became life-changing for a lot of people. At that point, I realized I wasn’t worried about anything at that particular time other than just living life. I wasn’t searching for it and it happened. It really directed me back to, “Let me just make sure I always keep my mind on the journey, the life experiences, the most important thing in everything that I do every single day are the interactions with all the people that I meet.” How I can impact their lives and how they can impact my life. That’s the richness of life for me. Not how many Grammys I have, not how much money I can make. It’s the people along the way.


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I’m in love with the journey!! Go get it!!!

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Especially since your expertise goes back to the ‘90s, with R&B acts and pop stars, what has been the biggest shift in vocal production from then to now?
I would probably say the fact that there is a thing called a vocal producer because it really didn’t exist. I don’t say this to pat myself on the back at all, but I’m the pioneer of vocal production (Laughs), you know what I mean? I carved out the niche of a vocal producer, and even that makes me think about the journey because now I’m doing things every single day. I’m having conversations with labels, I’m having conversations with artists, I hope to have conversations with the Grammy board just letting them know this is a thing. People want to do this. Almost like I’m a union representative for people who are trying to do what I do. There are certain things that I have to fight for in order for it to continue to be legit like royalties and getting our points as opposed to just being in the studio with somebody doing all this work and we just got a check for it. Like no, this work lives on forever so we need to make sure we get paid for it.

What goes into vocal production?
The vocal producer is responsible for how the artist sounds on the record, not just sonically, but we carve out with the artist how they sound, how they approach the vocal, if one part of the song needs to be breathier, I’m hearing all of that. I’m going, “Sing it more breathier, sing it sexier, now sing it more edgy.” We’re carving out the emotion of the performance.

You’ve worked with Pentatonix and they solely rely on their voices to be the instruments. How do you help a singer, not necessarily in that format, use their voices as instruments?
I start from the foundation that they’re already a great singer and even if they’re not a great singer that they have vocal ability. At that point, it’s all about instilling confidence in them, getting them out of their head and just getting them to a place where they can just perform. That goes back to what I was saying about being a manager at McDonald’s: how do I lead? I noticed that this person has a shy demeanor but they’re a pop star, or they’re a pop singer, so how do I get the best out of them? It’s all about leadership, teamwork, and motivation.

Have you worked with an artist that you’ve noticed tremendous vocal growth?
Absolutely. I’m not going to say who it is, though. (Laughs)


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Now, down to business! #workflow #vocalproducer #vocalproduction #songwriter #purpose 📷 by: @angelamphoto

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Can you describe that growth process?
It’s confidence because a lot of times when an artist goes in the studio they’re in their head a lot. That’s the other thing the vocal producer does, he brings confidence to them and just lets them get to a place to where they’re not thinking about, “Am I doing it the right way?” They’re not thinking about anything other than, “I’m just here to do what I do and I’m going to be the best and I trust that that person has my back and will make sure I sound great.” When I hear records with artists that I started with or we start together and I don’t produce them anymore, when I hear their records now, I hear that confidence and that’s life-giving. That’s an extension of me, that’s an extension of my spirit that they’re continuing on in.

Vocal production can also apply to rappers, too. What was it like working with Cardi B on her Invasion of Privacy album?
It’s a great experience, they’re all great experiences. I get to work with the best of the best and it’s always exciting because I get to work with either a great vocalist or a great rapper. The thing that’s the same is it’s all based on either melody or rhythm. I’m initially a drummer so it’s all about rhythm and I can sing as well so it’s all about melody. With Cardi, just making sure the pocket is right. It’s exciting because I get to carve out audio pictures.

How much of that journey is your talent and the artist’s? I know you said you have to bring out certain things out of singers, but is it a give and take?
It’s 50/50 because that’s where the soft skills that I learned at McDonald’s come together. The person has to feel like it’s a partnership. They can’t feel like I’m a producer coming in trying to make them do what I want them to do. First of all, I have to realize that they’re the artist, not me. It’s their record, so I’m here to bring what I do to enhance what they do. As long as they feel like it’s 50/50, everything goes extremely smooth.

And it can also hit the listener in a different way. To reference Rihanna’s ANTI album, a lot of people herald that as her best project from top to bottom. I think she found a lane within that lower register pocket, and ANTI’s songs can fall into any genre. What was it like working with her on that album?
It’s always amazing and with that particular album because it was a groundbreaking album. It took us three years to make the album and that was hard because it was highly-anticipated. But it was great because we all learned so much in working on the album. That’s the other thing. I love how for me it always keeps going back to the people skill. We had a lot of different things we had to make sure that the album was as we were working on it. There were times it created tension within all of us that worked on the album, nothing crazy, but just creative tension. With that, for me, also puts me in a place where I have to ignite my people skills: “Okay wait a second, we’re doing this. Let’s all make sure that we’re connected as people so that the creativity can flow.”

Is there a song you had the most fun recording?
I would say “Higher” because we worked on that. Her vocals went to another level with that record. And the other one is “Work” because I never worked with Drake before. To see Drake walk in the room was like “Oh snap!”

On “Higher” as fans, we’ve never heard her vocals reach that raw of a level. What was it like getting her to that point? Was she reserved about it?
She’s not in a shell at all. It was just that record was great because it was a challenge for us. It was just a thing that goes back to what you were saying — growth. It was a record that caused us to go, “We can do this, we can nail that record,” and we did.

With the vocal DNA of an artist, let’s say with Rihanna, she works with a lot of big-time songwriters like Sia and Bibi Bourelly. When she sings their songs you can tell automatically that’s a Sia or a Bibi Bourelly song. How do you navigate the vocal DNA of an artist? Is it rooted in the songwriter in terms of how they craft the melody or is it rooted in the singer?
It’s rooted in the singer because they are the artist. As a vocal producer what I’m doing is making sure I keep the characteristic of their voice and their personality so that they don’t get lost. That’s why the consumer loves the artist that they love especially if there’s consistency there with that artist. We take the songs and just enhance the songs.

Do you think the Grammys will become less important to artists and hold more weight to those behind the boards?
I think so because if I’m understanding you correctly, there are more people that are speaking up and speaking out because we’re carving out more niches. Vocal producers, engineers, and it’s not they haven’t wanted to, it’s now things are changing even more and more. The industry is changing and it’s taking different people, even how records are made now it’s different. There wasn’t a vocal producer before, but now there is a vocal producer. Why is there a vocal producer? Because he is focusing on making sure that that artist sounds great. That’s all I worry about. I don’t worry about how the kick-drum sounds, I don’t worry about how the snare sounds, I don’t care about the keyboard. I do care about how that vocal is blended into the track. That performance is going to live forever so I think as we continue to speak up and make the Grammys aware of all that I think they will honor that for sure. And they have, they do it with Best Engineered Album, Best Artwork, and I think we’re getting more categories. I’m pushing for Best Vocal Producer. They already have Best Producer of the Year. If we do Best Vocal Production I’d be mad if I don’t get one of those. (Laughs)

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The Cast Of 'SHAFT' Talk Family Traditions, Power And The Film's Legacy

Back in 1971, Richard Roundtree became the face of the legendary crime/blaxploitation film SHAFT. His influence in the role paved the way for a new generation of black detectives filled with a gluttonous amount of swag, clever one-liners, and action-packed scenes. Samuel L. Jackson followed suit in the franchise’s 2000 installment as he took over the streets of Uptown Manhattan and Harlem filling in for Roundtree’s original character.

Fast forward to 2019, and SHAFT’s legacy has risen to higher heights, incorporating Roundtree and Jackson together with an extension of their detective prowess. Director Tim Story created a familial driven movie centered around three different generations of SHAFT men. Roundtree plays the grandfather; Jackson plays the dad—and Jessie T. Usher plays the son. All three embark on a mission that’s laced with dirty politics, Islamophobia, and highflying action in efforts to solve a seemingly homicidal death.

The dynamics between all three are hilarious and dotted with lessons learned from past paternal influences. On a recent sunny Friday afternoon at Harlem's Red Rooster, the trio shared some of the traditions and virtues the paternal figures in real life have taught them. Most of the influence passed down to them was centered on working hard.

“People say to me, ‘Why do you work so much?’” Jackson said. “Well, all the grown people went to work every day when I got up. I figured that’s what we’re supposed to be doing—get up, pay a bill, and take care of everything that’s supposed to be taken care of.”

“For my family, it was cleanliness and masculinity,” Usher added. “The guys in my family were always well put together, very responsible especially my dad.”

In spite of the SHAFT men's power, the film's story wouldn’t be what it is without Regina Hall and Alexandra Shipp’s characters. They both play strong women caught in the middle of the mayhem created by the men they care about. Both are conscious of the power they exhibit as black women off and on screen, yet are aware of the dichotomy of how that strength is perceived in the world.

“It’s very interesting because I think a lot of times as powerful black women we are seen as angry black women,” Shipp says. “So it’s hard to have that voice and that opinion because a lot of times when we voice it; it becomes a negative rather than a positive. In order to hold that power, it has to be poised. It has to be with grace, I think there is strength in a strong but graceful black woman.”

“People have an idea of what strength is and how you do it and sometimes it’s the subtleties,” Regina adds. “Sometimes our influence is so powerful and it doesn’t always have to be loud I think a lot of times how we navigate is with conviction and patience.”

VIBE chatted with the cast of SHAFT about holding power, their red flags when it comes to dating, and why the SHAFT legacy continues to live on. Watch the interviews below.

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Sony Music

Meet Zhavia, The Musician Who Refuses To Be Boxed In

If you haven’t heard of Zhavia before, that will likely change very, very soon.

The 18-year-old Columbia Records signee is readying her first major EP 17, which is scheduled for June 14. A native of the Golden State, Zhavia catapulted to national consciousness after making it to the top four of the inaugural season of FOX’s singing competition, The Four, which features Diddy and DJ Khaled as judges. Since then, she continues to rise and tantalize audiences with her powerful, chill-inducing vocals.

The singer-songwriter—who tells VIBE she’s hopeful that her forthcoming EP will be “inspiring” to her ever-growing fanbase—dropped the project’s latest single “17” on May 31. Produced by hip-hop hitmaker Hit-Boy and co-written by RØMANS, Zhavia explains that the retrospective song is more personal than her previously-released tracks, such as the trap-tickled “100 Ways” and “Candlelight,” the stand-out single that showcases the vocal prowess of the petite blonde ingenue.

"’17’ is a song that I wrote about my life story, and how I got to where I am right now,” she says. The track details hardships such as a lack of resources to thrive in her childhood home and staying in a motel in order to accomplish her musical goals. “I just wanted it to be something that [fans] can relate to, whatever it is that they're going through.”

“I saw it in my dreams, I knew that life would change for me,” she croons on the new single. “This is reality, look at me now.”

Zhavia’s humble beginnings start in Norwalk, Calif., as a daughter of two musicians who introduced her to numerous genres. In fact, her mother was a member of a metal band called Xenoterra, and Zhavia’s impressively-versatile vocal range could be attributed to this Chex Mix bag of sonic stylings.

“From doo-wop to punk to R&B, metal, rock...” she says, listing of the types of music she was brought up on, which helped her in honing a unique style. Her own tunes feature an R&B and hip-hop flair and sprinkles touches of other genres throughout, in order for her to remain true to her roots.

“I feel like for the most part, [my music will] always have that R&B feel to it, but I'm always gonna have a lot of different vibes for people to pick and choose what they like,” she explains.

Zhavia's urban-tinged musical affinity was palpable during her time on The Four, where she put her spin on hits such as French Montana and Swae Lee’s “Unforgettable” and Roberta Flack’s “Killing Me Softly.” Although she was unanimously selected by the show’s four celebrity judges to advance after a stellar first-round performance of Khalid’s “Location,” she admits she initially wasn’t planning to compete.

“When I was younger, I had wanted to go on a [singing] show, but I had made up my mind. ‘I'm gonna try to do it myself,’” she chuckles. “But, the people that were having auditions, they happened to be at the studio that I was recording at when I was making my own songs. My manager told me, 'Just go sing for them.'”

After showing off her impressive pipes, she was convinced to join the show, and was further influenced to compete after discovering that The Four appeared to focus on R&B and hip-hop-leaning artists.

“I was like, 'Okay, that sounds like me, they'll probably accept the style of music that I do,'” she continues. “I feel like on other singing shows, it's a little more pop, or towards the pop genre. Also, the panel that they had [DJ Khaled, Diddy, Meghan Trainor and Charlie Walk] seemed really relevant, and I could tell it was legit. I figured I'd just try it out, and it led me to where I am now.”

Since placing fourth on the show, Zhavia has proven that her star power was built to last longer than 15 minutes. Other than her forthcoming EP’s release, her gifts have found her among the company of some big names. She can be heard on the soundtrack for Deadpool 2 in the song “Welcome To The Party” with Diplo, French Montana and Lil Pump. Recently, moviegoers were treated to her rendition of the Disney classic “A Whole New World” with Zayn Malik, for the live-action version of Aladdin, which plays during the film’s end credits.

“I think it's been amazing, and it's definitely a lot of exposure that comes in a unique way,” she says of working on big projects with even bigger industry names. She continues by stating that she’s had a blast “putting her own twist” on songs she didn’t pen and doing material “totally different from what [she] would normally do.”

The pressures of Hollywood and the entertainment industry could be difficult on anyone, however, young stars under the U.S. legal age in the limelight may find themselves succumbing to various pressures, temptations and burnout. For Zhavia, she makes sure to keep a level head and a positive attitude in order to persevere in the industry as she matures.

“I feel like it's not that hard to stay focused, because I've wanted to do this my whole life,” she says affirmatively. “It's what I live for. For me, one of my number one priorities besides my family is music. I don't really go out, I don't party, I don't do none of that. I just work! [Laughs] I think for me, it's just focusing on myself and what I wanna do, and what I wanna get done.” She’s also hoping to keep surprising people throughout her career by coming up with genre-bending songs that show off her style, personality and abilities. Let her do her, and watch her as she goes.

“I'm not gonna be put in a box to do just one type of music or one style of song,” Zhavia affirms. “I don't want people to get used to one thing, you know? That's kind of a hard thing to express to the world. I feel like it comes with me coming up with more music, and to keep creating music for people to listen to and get to know me.”

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Mad Connects PR

Case Gets Candid About 'Therapy' Album And Revisits 'Personal Conversation' For Its 20th Anniversary

Today's R&B landscape may be dominated by street-wise crooners with a gritty background, but in the latter half of the '90s, Case was among the first to carry that flag. Hailing from Brooklyn, New York City, Case caught his big break after being discovered by Russell Simmons, inking a deal with Def Jam Records and releasing his self-titled 1996 debut album. Boasting the Foxy Brown and Mary J. Blige-assisted hit single "Touch Me, Tease Me,” Case established the singer as one of the promising new stars in R&B.

Continuing his success with his sophomore album Personal Conversation, and his 2001 effort Open Letter, Case would take a sabbatical from the industry before returning as an independent artist with his fourth album, The Rose Experience. With two additional solo albums under his belt (Here, My Love, and Heaven's Door), Case unveils Therapy, his first full-length project in three years. Featuring appearances from Teddy Riley, Tank, Slim of 112, Floacist, Misha Fair, Alexis Renee, and Teraye, Therapy finds Case addressing matters of the heart and delivering what may be the most transparent album of his career.

VIBE hopped on the phone with Case to get the scoop on his latest album, his thoughts on the “king of R&B” debate, and reminisce through memories of his sophomore album Personal Conversation, ahead of its 20th anniversary.

VIBE: How has the reception been to your seventh studio album, Therapy? Case: It's been good actually. I didn't know how it was gonna be because I wanted to do something different on this album. Since it's been out, it's been doing good. "Make Love" had a real good reception and now the second single, "You," is starting to get out there now, so I'm happy with it.

What was the inspiration behind the project’s title? For me, music is therapy. It's a way for me to get feelings out, talk about things. It's a form of therapy for me, so I think everybody needs that.

This has been praised as one of your more personal bodies of work thus far. What situations or moments in your life inspired the content on this album? Everything on the album is dealing with stuff that I’ve been dealing with, stuff that people that's close to me [have] been dealing with over the past couple of years. So I just wanted to talk about it.

Are they any moments you can pinpoint to or a breakup that provided any inspiration? It wasn't nothing like that. It was just stuff with me and my wife, situations that I had been dealing with. I actually talked about some of that stuff on [TV One] Unsung. It's not necessarily a breakup, it's just trying to get through things, work through things.

The album's lead-single "Make Love" features an appearance from Tank and Teddy Riley. How did that song come to life? For that song, I went to Teddy's house and he was talking and he was like, 'Yo, remember that conversation we had in the club a couple of years ago?' I had told him about wanting to make the sound that I wanted to go for. I had forgotten we had that conversation, but he remembered and he was like, "I made this song based off our conversation." And he started playing me the track and I was like, "That's pretty much exactly it." We recorded that and then when I was done, I was like, "Tank would be perfect for this." So I hit him up and we knocked it out.

Another song from the album that stands out is "You," which is a duet with Slim of 112. What sparked that collaboration? Me and Slim, we were supposed to do something a couple of times in the past and the song "You" was already done. Tevin Terry actually called me and told me that they put Slim on it. They were like, "Yo, listen to this and tell me what you think." My man Tevin Terry that produced it, and I were like, "Yeah, that's dope." He [Terry] was actually supposed to be putting Slim on another song for me and I guess he mixed up the conversation and he pretty much [sent "You"] instead of the other song, but it ended up working.

Have you had a chance to get out on the road and tour yet? Constantly. I'm on the road now actually, but when I first came out, I was on the Ronnie, Bobby, Ricky & Mike Tour. We did that for a few months. So yeah, just constantly on the road. Like I said, the single "You" is out, so we're pushing that right now.

What have those experiences been like? Well, the only one that I'm performing so far from the new album is "Make Love." I did "You" a couple of times and the response for that was really good, too, but I was doing "Make Love" on the Ronnie, Bobby, Ricky & Mike Tour and that got a great response like every time.

Other than the singles, what are three songs from Therapy that you're eager for the fans to hear? I'd probably say "Heaven," "This Could Be," "Strawberry." I performed "Strawberry" a couple of times too, the response to that was dope. "Treasure" is another one, that's one of my favorites.

Late last year, there was a big debate about who the modern day king of R&B is. What were your thoughts on that? There's ain't no king of R&B. There ain't no king of rock, there's no king of hip-hop. There's never been a king of any genre of music and never will be. It's too subjective, everybody has their opinion on who they like the best or what they like so that was my take on that whole debate. I think it's something for people to talk about.

Who are some of the younger R&B artists that you listen to or check for? My absolute favorite is Ty Dolla $ign. I mess with Ty, Miguel. I like Jacquees. I actually did a song with Jacquees for his new album so y'all should be hearing that later on this year.

How did the song with Jacquees come about? It actually was right before all of that “King of R&B” stuff started. He DMed me and said he wanted to work. He asked me if I had any records for him, I had the perfect song for him. I sent it to him and he loved it and we went into the studio; It was like literally two days after that whole king of R&B thing was going crazy all over the internet.

You mentioned Ty Dolla $ign as your favorite artist right now, what about his music or his style sets him apart? He just got so much soul. He got a lot of soul, so coming from my era, I'm into that.

The 20th anniversary of your sophomore album, Personal Conversation, is coming up in April. Was there any pressure going into that album, given the success of your debut? Nah, it was none. I didn't feel any. My biggest thing going into the second album was that people heard "Touch Me, Tease Me." They thought I couldn't sing because on "Touch Me, Tease Me," you don't really gotta sing, that's like talking. So the main thing for me was just, "Hold this." It wasn't any pressure, it was just trying to go all the way in.

"Happily Ever After," the album's lead single, was a big hit at that time. How did that song come together? When they sent me the song, it wasn't done yet, but it was a duet. I loved it, but I was like, "They sent me a duet." I was expecting the whole song. So I went in and rewrote it and changed up what I needed to do and finished writing the bridge. I wrote the bridge, and all that other stuff, then I knocked it out.

Over the years, that song has become a go-to selection at wedding receptions and remains a classic. How does it feel to have a song that's helped mark such a special occasion in people's lives? That's dope to me because my main goal when I started doing music was to make music that people would want to still listen to in 20-30 years. I didn't want to make stuff that people like now and then don't want to hear no more. That was my goal with everything I made. So that makes me feel good.

Another song from Personal Conversation that's considered one of your signature songs is "Faded Pictures," your collaboration with Joe. However, the song was originally released on the Rush Hour soundtrack. How did that opportunity come about? Well, Joe had the song and his manager was up at Def Jam. He was playing some music for Lyor Cohen at Def Jam and he said Joe wanted to do "Faded Pictures" as a duet, so I jumped on that. But the soundtrack, the only reason that that happened was because Def Jam had the soundtrack and they were looking for songs from all of us up there to put on all of these different soundtracks they were doing. And my first single was coming out the same time as the movie so we were like that's perfect. We put it on there for that reason.

Where do you feel Personal Conversation ranks in your discography as a whole? Oh, I don't know, I don't rank them. That's like which one's my favorite kid. I ain't have one.

With this recent album, what was the statement you were looking to make going into it and what do you hope fans get out of it? I don't think it was so much of a statement, it was moreso I just wanted to make...well, I always want to make quote-unquote "real" music. I always want to make that. I hope they get that from it. I don't think it's so much of a statement as it is that I just want to continue to try to make music that people can relate to and that people will want to hear down the road as well as now.

What's next for Case, personally and professionally? Right now I'm on the road promoting Therapy. The new single "You" can be requested on radio, fans should be hearing that quite a bit coming up in the next month or two. And then I actually started, maybe the last week, I think, ideas for the next album so you can look out for that.

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