|Oh Heart||Think Tank|| |
|Rollercoasters||Think Tank|| |
|Boxes and Squares||Think Tank|| |
|Instructions on Being||Think Tank|| |
|Rhythm of Life||Rhythm of Life|| |
|Hands||Think Tank|| |
|Human||Think Tank|| |
|Rollercoasters (Live)||The Big Bang Theory: Live at Gasa Gasa|| |
|Boxes & Squares (Live)||The Big Bang Theory: Live at Gasa Gasa|| |
|Crazy (Live)||The Big Bang Theory: Live at Gasa Gasa|| |
She released Revenge of the Smart Chicks in 2008 and Revenge of the Smart Chicks II in 2009. Both albums reveal the inner workings of Smart Chicks which Carolyn Malachi defines as “decidedly authentic women.” Her 2010 release, the “Lions, Fires & Squares” EP, earned a 2011 Best Urban / Alternative Performance GRAMMY Award nomination for the single, “Orion.” The artist’s next album will debut in 2013.
“Sunshine”, a childhood sobriquet, seeds the artist’s philosophy: “My aunt often says, ‘Sunshine, remember your power’", the power of the mind to give life to infinite possibilities.
Microsoft featured Carolyn Malachi’s motivational “Beautiful Dreamer” video on Windows Media Guide. She joined forces with Fiat and SIRIUS XM station HUR Voices to encourage safe, text-free driving. BET presented her at its 2012 Leading Women Defined Summit. Malachi also serves on the Recording Academy’s DC Chapter Board of Governors and is working with the U.S. Chamber of Commerce’s Business Civic Leadership Center to promote corporate social responsibility through her partnership with The School Fund, a global education nonprofit.
Says the Huffington Post of Carolyn Malachi’s ‘Onward and Upward’ approach to music, “She’s not waiting for some moment in the future.”
In March 2014, he was a featured artist on the Amazon Digital showcase at SXSW.
Raised by two preachers, as a young boy Timothy was only allowed to listen to gospel music. One day he ran away to the car and turned on the radio and the first song he heard was "Lay Lady Lay" by Bob Dylan and this influenced his decision to become a secular music.
In December 2010, Barthe released Sincerely Yours, Stacy Barthe, her debut extended play. In November 2011, "Silent Night" by Brandy Norwood, featuring Stacy Barthe, was leaked online.
Bilal is noted for his wide vocal range, his work across multiple genres, and his live performances. He has been well received, both nationally and internationally, with an extensive list of collaborations including Kendrick Lamar, Common, Erykah Badu, Jay-Z, Beyoncé, Guru, J Dilla, Robert Glasper, The Roots, and many more.
“I’m really excited about this record,” Hunt says. “I love the way it sounds. I’m nervous about the way it’ll be received, even by big Van Hunt fans, and I think that’s good. I want the record to be disruptive.”
Hunt first fell in thrall to the power of music from an early age, taking inspiration from a remarkable range of musicians and composers, spanning J.S. Bach to David Bowie, Thelonious Monk to Curtis Mayfield, Iggy Pop to The Isley Brothers. The Dayton, Ohio-born musician soon made his way to Atlanta, where he drew acclaim for his creative production efforts and crafty songwriting, featured on recordings by such diverse artists as Dionne Farris, Joi, Rahsaan Patterson, and Cree Summer.
His own self-titled debut album arrived in 2004, instantly establishing Hunt as a distinctive and original talent with its idiosyncratic amalgamation of R&B, neo-soul, funk, pop, and rock ‘n’ roll (not to mention earning him a 2005 “Best Urban/Alternative Performance” Grammy nomination for his breakthrough hit single, “Dust”). The equally inventive On The Jungle Floor followed two years later, highlighted by the single, “Character.”
In 2007, Hunt received a Grammy Award for “Best R&B Performance By A Duo Or Group With Vocals,” honoring “Family Affair,” a collaboration with John Legend and Joss Stone found on the 2006 Sly & The Family Stone tribute album, Different Strokes For Different Folks. Hunt’s third album, Popular, was slated for the following year but the decision was made to delay the album’s release in order to “set the record up properly.” Hunt was concerned, but agreed to wait. He put together a band of talented young players – including keyboardist/programmer Peter Dyer and drummer Ruthie Price – and hit the road. However, upon his return, the label balked and opted to pull Popular from its schedule.
“It set me back a year,” Hunt says. “To be honest, I was kind of numb to the whole thing as it happened.”
Thanks to the wonderful world of online music sharing, Popular has since become somewhat of an underground sensation, a certifiable lost classic hailed by LA Weekly as “a left-field stunner” for its “trippy fusion of funk grooves, punk guitar and soul vocals.”
“They did such a disservice to themselves and their company, to me and my work, and ultimately to the people who would’ve enjoyed my music,” Hunt says. “If they had just allowed me to grow into my own thing, everything would’ve been fine.”
Hunt – who had relocated in 2007, leaving his Atlanta homebase for Los Angeles – found himself at a true crossroads. Separated from his family and without a record deal, he was a musical rōnin unsure of his next creative path. Hunt spent countless hours driving the streets of L.A., seeking out some kind of inspiration. He immersed himself in photography, taking photo after photo, first of the city’s countless abandoned couches and later of L.A.’s rapidly increasing homeless population. A friend noticed a theme to Hunt’s work, suggesting a subconscious attraction to “discarded objects.”
Further stimuli came from Legs McNeil & Gillian McCain’s indispensible Please Kill Me: The Uncensored Oral History of Punk. No stranger to punk – a surprising cover of Iggy Pop & James Williamson’s Kill City classic, “No Sense Of Crime” is among the high points of On The Jungle Floor – Hunt saw himself in the book’s chronicle of artistic frustration and rebellious spirit.
“These folks, it didn’t matter if they were good musicians or not, because they brought this kind of intelligence along with the rawness,” Hunt says. “It was really bold. They just didn’t give a shit. I was like, that’s the attitude that I’m feeling right now.”
Encouraged by friends, Hunt was at long last ready to make music once more. He dove into the project with his customary fervor, writing the bulk of the material in late summer 2010 before heading into Los Angeles’ Santa Fe Tracking Station to record. Hunt both produced and played, with former drummer Ruthie Price his only accompaniment. Together they constructed a series of tracks radiating raw power and vivid color, later enlisting keyboardist/programmer Peter Dyer to “build a landscape of sound around the songs.” Hunt declares the record’s minimalist approach to be “musically adept but also stringently unique. People might describe it as futuristic.”
Hunt’s low-key line of attack only serves to further amplify his audacious songwriting, his lyrical eye for detail as sharp and quick as his camera. Songs like the meaty beaty “North Hollywood” or the beguiling title track crackle with all the dissonance and tension of modern life in the golden west.
“All of these elements are coming together to create this combustion,” Hunt says. “My experience of trying to live here and survive myself is really where this record was born.”
A charismatic and engaging live performer, Hunt is unabashedly looking forward to bringing his unbridled new sound to as many people as humanly possible. Having already toured both as headliner as well as alongside such diverse acts as Kanye West, The Roots, Coldplay, Mary J. Blige, and Dave Matthews Band, he plans to hit the road hard to herald the new album’s release.
“We’re gonna play until we either make a lot of money or run out of it,” Hunt says.
Hunt has returned to action invigorated and re-energized, his time in the wilderness spurring on his already ambitious sound and vision. What Were You Hoping For? marks a genuine milestone for Van Hunt, the moment in which this sonic adventurer lit out for territories all his own.
“I feel like I’ve finally shed the music that I grew up with,” he says. “I made a record that doesn’t sound like anything I’ve heard before.”