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Soul, love, and Inspiration is what you get when listening to Nicci Canada Tags: attraction video underground urban music network nicci canada word life production

Refreshing sound has hit the music scene and it is none other than jazz, soul singer Nicci Canada. Since the release of her debut album "Twenty Twelve", Available NOW on all digital media and select stores, you literally cannot get enough of the jazzy scatting and soulful Singing that comes from the heart of this songstress. Within The first few months of her album release, the project landed on the UK Soul Chart's Top 30 for 10 straight weeks and continues to embrace listeners throughout the world.

“I love to create and express who I am through music." Says Nicci. I'm a walking melody and it’s a gift that I want to present to the world.” Nicci’s messages of love, passion and worship create the musical canvases on which she paints her voice. Through various genres – Jazz, Soul, R&B and Gospel – she communicates with listeners in a way that can only be described as magical.

Nicci was born into a family of vocalists in Charleston, West Virginia, and she has been surrounded by music since birth. In 2001 Nicci decided to make music a career after moving to Charlotte, NC. Realizing the possibilities of pursuing her passion professionally, she worked with Paul Whitley to release a three-song demo in 2005. In 2009, Nicci teamed up with business mogul Mitch Vaugn, and founded Jevenity Music Entertainment, LLC.


Through her warm, sultry vocals, the influence of Billie Holiday, Jill Scott and Nina Simone is clear, but Nicci Canada’s amazing sound is all her own.

Nicci Canada has done it again with this excellent video, “Attraction”. The song is the second single released from album Twenty Twelve. This is a must hear album. If you have not picked up a copy yet, please visit her website at: http://www.niccicanadamusic.com for more detailed information.

Nicci Canada has done it again with this excellent video, “Attraction”. The song is the second single released from album Twenty Twelve. This is a must hear album. If you have not picked up a copy yet, please visit her website at:
http://www.niccicanadamusic.com for more detailed information.




Jodeci was definitely a huge part of the Golden Era
Category: The Golden Era
Tags: jodeci golden era word life production online network support 90's music

Artist Biography by Steve Huey

If Boyz II Men are portrayed as a clean-cut, wholesome R&B vocal group, then Jodeci's wild, sexual, bad-boy image represents the other side of the coin. Made up of two sets of brothers, the group's name is a consolidation of three members' aliases: "JoJo" Hailey, Donald "DeVante Swing" DeGrate, and Cedric "K-Ci" Hailey; the group also includes Dalvin DeGrate. Natives of Charlotte, NC, all four members toured the South as young boys singing gospel music, even recording albums; both families belonged to the Pentecostal church, and the DeGrates' father was a minister. The boys were able to hear each other's gospel songs played on the radio, and eventually were introduced through girlfriends as teenagers. However, when they did meet, K-Ci was with a girl Dalvin had been dating, and a fight nearly broke out. The Hailey brothers and DeVante started hanging out together, partying and talking about making R&B records together, coming up with the name Jodeci at this time.

 At age 16, DeVante ran away to Minneapolis to get a job in Prince's organization, but was refused. He returned to Charlotte, where he wrote a song and recorded JoJo singing it. The two planned on going to New York to shop the demo around by themselves, but both K-Ci and Dalvin decided to tag along at the last minute. By the time they got to New York, they had demo recordings of 29 songs, which they brought to the offices of Uptown Entertainment. They were almost rejected, but rapper Heavy D overheard the tape and talked Uptown president Andre Harrell into hearing the group. Harrell was impressed, and just like that, Jodeci signed a recording contract. In 1991, they recorded Forever My Lady, which featured the gold single "Come and Talk to Me" and went on to sell over three million copies. A minor feud resulted over the band's follow-up album, Diary of a Mad Band; Jodeci, unhappy with their treatment by Uptown, flirted with the idea of leaving for Dr. Dre's Death Row Records, which resulted in almost zero promotion for their new album. It didn't matter much, as Diary went platinum. The group's troubles got worse in 1993; DeVante and K-Ci were involved in an incident with a woman K-Ci met at a club and brought back to DeVante's apartment. The woman filed charges against the two, saying that K-Ci had threatened her and fondled her breast, while DeVante pointed a gun at her. Both pleaded guilty, but that wasn't all; shortly afterwards, DeVante's house was robbed of over 160,000 dollars in jewelry and clothes as the singer was held with guns in his mouth and at the back of his head.

 Jodeci's third album, The Show, the After Party, the Hotel, was released in the summer of 1995. DeVante also was afforded the opportunity to work with Al Green, one of his idols, writing and producing the song "Could This Be the Love."


Bee Gees Tags: music hall fame bee gees word live production online network

 In a career that lasted more than four decades, the Bee Gees sold over 200 million records worldwide. Barry, Maurice, and Robin Gibb experienced commercial dry spells, and critics frequently dismissed them. But their songs have stuck in the public consciousness — especially the phenomenal disco crossover success of their Saturday Night Fever era and modern romantic standards they'd created earlier, like "To Love Somebody," to "How Can You Mend a Broken Heart" — and the Bee Gees versatility and knack for creating hits have earned them a belated critical respect.

The three Gibb brothers (Barry and fraternal twins Robin and Maurice), sons of English bandleader Hugh Gibb, started performing in 1955. They moved with their parents to Brisbane in 1958 and worked talent shows and other amateur outlets, singing sets of Everly Brothers songs and an occasional Barry Gibb composition, by this time calling themselves the Bee Gees. They signed with Australia's Festival Records in 1962 and released a dozen singles and two albums in the next five years. The Gibbs wrote their own material, and close high harmonies were their trademark, and.

Though they hosted a weekly Australian TV show, their records went unnoticed until 1967, when "Spicks and Specks" hit Number One after the Bee Gees had relocated to England. There they expanded to a quintet with drummer Colin Peterson and Vince Melouney (both Australians) and found themselves a new manager, Robert Stigwood, then employed by the Beatles' NEMS Enterprises. Their first Northern Hemisphere single, "New York Mining Disaster 1941," was a hit in both the U.K. and the U.S. (Number Four, 1967), and was followed by a string of equally popular ballads: "To Love Somebody" (Number 17, 1967), "Holiday" (Number 16, 1967), "Massachusetts" (Number 11, 1967), "Words" (Number 15, 1968), "I've Got to Get a Message to You" (Number 8, 1968), and "I Started a Joke" (Number 6, 1969). Their clean-cut neo-Edwardian image and English-accented three-part harmonies were a variation on the Beatles' approach, although the Bee Gees leaned toward ornate orchestration and sentimentality as opposed to American-style straight-ahead rock.

Cracks in their facade began to show in 1969, when the nonfamily members left the group and reports of excessive lifestyles and fighting among the brothers surfaced. From mid-1969 to late 1970 Robin tried a solo career and had a Number Two U.K. hit, "Saved by the Bell." Meanwhile, Barry and Maurice (then married to singer Lulu) recorded Cucumber Castle as a duo and cut some singles individually. The trio reunited for two more hit ballads — the gold "Lonely Days" (Number Three, 1970) and "How Can You Mend a Broken Heart" (Number One, 1971) —before bottoming out with a string of flops between 1971 and 1975. Stigwood effected a turnabout by recruiting producer Arif Mardin, who steered them to the funk-plus-falsetto combination that brought them their third round of hits. Main Course (Number 14, 1976), which included "Jive Talkin'" (Number One, 1975) and "Nights on Broadway" (Number 7, 1975), caught disco on its earliest upswing and gave the Bee Gees their first platinum album.

In 1976 Stigwood's RSO label broke away from its parent company, Atlantic, rendering Mardin unavailable to the Bee Gees. Engineer Karl Richardson and arranger Albhy Galuten took over as producers, and the group continued to record with Miami rhythm sections for hits such as "You Should Be Dancing" (Number One, 1976) and a ballad, "Love So Right" (Number Three, 1976), which suggested a Philly-Motown influence. By this point, the brothers had relocated to Miami. Stigwood, meanwhile, had produced the film versions of Jesus Christ Superstar and Tommy, and asked the Bee Gees for four or five songs he could use in the soundtrack of a John Travolta vehicle about the mid-1970s Brooklyn disco scene, Saturday Night Fever. The soundtrack album, a virtual disco genre best-of, included Bee Gees chart-toppers "Stayin' Alive," "Night Fever," and "How Deep Is Your Love," hit Number 1, stayed on the album chart for over two years, and eventually sold 30 million copies worldwide. Barry, with Galutan and Richardson, also wrote and produced hits for Yvonne Elliman, Samantha Sang, Tavares, Frankie Valli, and younger brother Andy Gibb [see entry] as well as the title tune for the film version of the Broadway hit Grease.

In 1978, with Saturday Night Fever still high on the charts, the Bee Gees started Music for UNICEF, donating the royalties from a new song and recruiting other hitmakers to do the same. They also appeared in Stigwood's movie fiasco Sgt. Pepper's Lonely Hearts Club Band and continued to record. After Saturday Night Fever, even the platinum Spirits Having Flown (Number 1, 1979) with three Number 1 hits — "Too Much Heaven," "Tragedy," and "Love You Inside Out" — seemed anticlimactic. As of 1979, the Bee Gees had released five platinum albums and more than 20 hit singles.

Along with such phenomenal commercial success came a backlash. While the intense antidisco sentiment certainly played a role, the fact that one almost literally could not turn on a radio without hearing a Bee Gees track did not help. Their career then entered another dry season. In October 1980 the Bee Gees filed a $200 million suit against Stigwood, claiming mismanagement. Meanwhile, Barry produced and sang duets with Barbra Streisand on Guilty (1980). The lawsuit was settled out of court, with mutual public apologies, in May 1981. Living Eyes (Number 41, 1981) was the Bee Gees' last album for RSO. They composed the soundtrack to Saturday Night Fever's dismal sequel, Stayin' Alive; the soundtrack went to Number 6, achieved platinum status, and included "Woman in You" (Number 24, 1983). Barry also wrote and produced an album for Dionne Warwick, Heartbreaker. With his brothers he cowrote Diana Ross' "Chain Reaction" and the chart-topping Kenny Rogers–Dolly Parton hit "Islands in the Stream."

In 1987 the Brothers Gibb again joined forces and refired their singing career with E-S-P, which included "You Win Again" (Number 75, 1987). While these records appeared commercial disappointments in comparison to previous chart showings, in fact this was the case only in the U.S. E-S-P went to Number One in Germany and the Top Five in the U.K. Thus began another phase of the Bee Gees' history, in which their singles and albums would top the charts practically everywhere but the U.S.

In March 1988, their younger brother Andy Gibb died of myocarditis, a heart condition, at age 30. He had a long history of addiction to drugs and alcohol, and his surviving brothers were devastated by the loss. They retired for a time, and Maurice suffered a brief relapse of his own alcoholism. They returned with One (German Top Five, U.K. Top Thirty) featuring the trio's highest-charting single of the Eighties in its title track (Number Seven, 1989), followed by High Civilization (1991), which did not even chart in the U.S. but hit Number 2 in Germany and the U.K. Top 30.

In 1997 the Bee Gees were inducted into the Rock and Roll Hall of Fame. They also released Still Waters (Number 11, 1997), which produced the minor hits "Alone" (Number 28, 1997) and "Still Waters (Run Deep)" (Number 57, 1997). The live concert soundtrack One Night Only (Number 72, 1998), Tomorrow the World, and This Is Where I Came In (Number 33, 2001) followed. The group has twice received Britain's Ivor Novello Trust for Outstanding Contribution to British Music (1988, 1997) and the BRIT Award (1997), all in recognition of their outstanding contribution to British music. In 1994 they were inducted into the Songwriters' Hall of Fame.

The Bee Gees continued to tour occasionally until January 2003, when Maurice Gibb died of cardiac arrest while receiving treatment for an intestinal blockage. Barry and Robin have reunited on stage and on TV a few times since, and have discussed possibly touring at some point in the future.

Portions of this biography appeared in The Rolling Stone Encyclopedia of Rock & Roll (Simon & Schuster, 2001). Chuck Eddy contributed to this article.

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Inobe's music is a rootsy blend of southern soul and acoustic R&B Tags: Inobe soul artists word life production online television network feature

"I sped down Robertson, my Inobe CD playing as loud as I could stand and as soulful as I wanted to become." - Eric Jerome Dickey, from the NY Times Best Seller Naughty Or Nice

Inobe has a soul-shifting voice and sings with a transparent honesty that engages listeners in intimate dialogue. Crafting a soulful blend of acoustic and electric funk/jazz, her songs and performances convey an understanding of life's situations that makes you feel she's singing directly to you.

Inobe has performed 5 USO tours to lift spirits and entertain American troops around the world. She has played her music in 17 countries across North and Central America, Europe, Greenland, the Middle East, Africa, Asia, the Pacific Rim and the Caribbean. Her world travel experiences have added a heightened consciousness to her songs that were already rich with hope and compassion for others.

She has drawn audiences at many premier music venues including the Viper Room; King King Hollywood; Temple Bar; Hard Rock Café Atlanta; Cotton Club; Café Fais Do Do; Blue Café; EarthLink Live, Room 5 Lounge and Apache Café. She appeared before an audience of 400,000 viewers on Fox 5 Good Day Atlanta.

Inobe has been a featured performer at several regional festivals and conferences including Atlanta's Music Midtown, National Black Arts Festival, Heritage Arts Festival, African Festival of the Arts and Atlantis Music Conference.

Her music and persona have received larger-than-life attention. The real-life entertainer and her music inspire the lead characters in the New York Times best sellers “Naughty or Nice” (2003) and “Chasing Destiny” (2006) by Eric Jerome Dickey.

“I write about things God has brought me through, but I also write to others’ pain,” says Inobe. “People like your music if they can stretch to identify with it, but they don’t fully appreciate it unless your music stretches to identify with them first.”

© ® 2013 Inobe



Jarrard Anthony is Ready to Live Tags: jarrard anthony album ready to live richmond virginia word life production online television network

To evolve, elevate, enrich, edify, encourage—these signifying words pepper singer/songwriter/producer and multi-instrumentalist Jarrard Anthony’s conversation whenever he describes his goals as a seeker, teacher, student, husband, father and artist.

After a stint with R&B group, Personal Preference, at age 19, Anthony went solo, releasing the Central Virginia hit single “So D-vine.” His #2 UK charting, indie EP debut, The Dream (Thermite/Stonegroove), soon followed. Anthony’s early recording success overseas opened the doors for relationships with famed producers Nate Smith, Bob Baldwin, Nolan Doran, and Joe McMinn, who worked with Anthony on the 2004 critically acclaimed LP, Don’t Sleep…Just Dream. An international “Don’t Sleep…Just Dream” tour followed, taking Anthony on global stages and rejecting several major label deals, earning him the moniker, “Mr. Independent.” Over the next five years, Mr. Independent launched a label (JAP Music & Entertainment Group), landed distribution with Bungalo/Universal, appeared in numerous magazines (VIBE, Black Beat, Blues & Soul), and shared stages with Silk, Monica, Cam’ron, Amerie, The O’Jays, L.L. Cool J, Howard Hewitt, Lyfe Jennings, Anthony Hamilton, The Gap Band and Pieces of A Dream, among others—artists as varied in their genres and approach as Anthony was becoming in his own. Genre-hopping and hybrid-blending jazz, classic soul, urban R&B, electro- and acoustic soul, Anthony released the Urban Music Award nominated S.ynergistic E.nergy X.change (The Movement), the acoustic Diary of a Messenger, and concluded an 11-year run with a 2009 Decade of Dreams compilation, garnering a minor radio hit with “Damn Sista” and a 2009 SoulTracks Readers’ Choice Awards nomination for Male Vocalist of the Year. That same year, Anthony retired from the industry to focus on family, marriage, and spiritual development.

Still, unable to resist the call to express the glowing energies surrounding his life and love in his season, Anthony begin to put pen to paper over the next two years, hugging his guitar’s familiar body once more in preparation for new birth, for Ready to Live.

Soon Anthony’s first album’s producer, composer and drummer Nate Smith (Michael Jackson, Teddy Riley), was back behind the boards co-creating the doo wop harmonies of “Something Like Love,” the stepper’s R&B of “Cloud 10”, and the true-to-life hip hop of “Never See Her Again.” Indie star, Darien joined Anthony in a rare male duet over a bossa nova groove for his tropical ode to love, “All Around the World.” Enter talented Virginia newcomer Patrice Covington and jazz legend Lonnie Liston Smith on Anthony’s flirty, woodwind laden “I Love U,” a tribute to fellow Virginian Weldon Irvine. Together, Smith and Anthony travel over a wide terrain of stories and layered musical genres—from house to jazz to ‘70s soul—without ever losing Anthony’s trademark smooth soul vibe. Its harmonious results reflect the joy and balance Anthony finally achieved in spirit, love and life, ready to share again, Ready to Live.

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