|Oh Heart||Think Tank|| |
|Rollercoasters||Think Tank|| |
|Instructions on Being||Think Tank|| |
|Rhythm of Life||Rhythm of Life|| |
|Eggs over Easy||Think Tank|| |
|Hands||Think Tank|| |
|Human||Think Tank|| |
|Boxes and Squares||Think Tank|| |
|Themeparks||Think Tank|| |
|Interlude (God Push Me)||Think Tank|| |
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.
“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.”
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 Common, Erykah Badu, Jay-Z, Beyoncé, Guru, J Dilla, Robert Glasper, The Roots, and many more.
from his 2009 mainstream album, Unspoken.
His musical efforts have been known to blend a smorgasbord of styles, including pop, r&b, jazz, soul, funk, hip hop, rock, latin, electro, punk and trance, and has created a distinct sound and eclectic style of music.
When the annals of the past cross with the endeavors of the future, the many situations and occurrences have a chance to mingle and compare themselves to each other either to determine co-relativity or simply which lessons have been learned. This fellowship usually brings about an other-worldly and yet grounded
reaction. Today, we'll call this cataclysmic result: B. Slade.
A reclusive extrovert, B. Slade has gone through this very same pseudo-scientific formula. He's examined the wiles of his past and analyzed, over-analyzed, and ultra-analyzed how his future would and would not benefit from them. On a musical level, his genius has always remained in tact through the years, but the
confines of the music industry have always stifled his genius from showing its true form, hence the reclusive extroversion.
Having slaved in this musical sweat-shop for years, the enigma developed a new creation in the form of B. Slade; a brash, limber, extravagant, sexy, ultra-ego who's as apologetic as a justified middle-line-backer. His inspiration comes from life, art, sex, and the expressions of each, giving viewers and listeners much more
than their eyes and ears bargained for. Once a timid Dr. Jekyll, B. Slade effortlessly slides into the role of Mr. Hyde with a swerve of the hips, a flip of the hair, and a squall that only an eagle would rival.
Many skeptics were at first unsure of this new image. The doubts were immediately assauged during the first appearance of B. Slade in June 2010, where he was unleashed upon the anxious audience at GreenHouse in New York City. B. Slade's first agenda of the night was to lure the crowd in with a rousing
performance, then make love to their eyes and ears, and finally give them a night cap in the form of The Parking Lot.
The masses were shocked, pleased, and pleasured. There is speculation, however, as to what exactly makes up this concoction known as B. Slade. Is it simply freedom of expression or freedom in oppression? Is he here to lead us or is he simply here to help us lead ourselves? The mystery surrounding his purpose and motive is unclear, but the results are deafening...and
defining. What is to come from B. Slade is unknown, but those who follow have their clues.
On June 9, 2010, he released what would be his final mixtape under Ton3x, the iTunes only release "The Parking Lot". The mixtape was also distributed in NYC that night after what would be his final performance.
Taking on his new persona "B. Slade", he released a brand new mixtape of original material, "A Brilliant Catastrophe" (a sequel to his jazz album, "The London Letters"), which was released on October 1st, 2010, his late father's birthday as a free download.
B. SLADE's appearance has included extremely conservative suits with close cropped hair, outlandish, flamboyant garb with feather boas, fur coats, punk-inspired multi-colored hairstyles, Sanjaya-like headpieces, Stevie Wonder-style dreadlocks and also platform shoes, that brought to mind the "glam" rock
bands of the 1970s and 1980s.
On September 30, 2010, now referred to as B. SLADE, he debuted the song and video "Get Over You" on Youtube. Billed as a "Sylvester Screen Test", the song and video is reminiscent of the late 70's/ early 80's dance and club music scene.
TV & MOVIE SOUNDTRACKS
B.SLADE produced the opening song for the hit PARAMOUNT TV Show "One on One", "Off We Go" on Sony Pictures J-LO/Ben Affleck film "Gigli", HBO Films "Prison Song" starring Q-Tip and Mary J. Blige, and produced a song for BET Films original movie "The Walk". The track "The Good Song 2005", a remake of
the song "The Good Song" off of his mainstream debut album Pronounced Toe-Nay, was included on the soundtrack of the movie XXX: State Of The Union starring Ice Cube; he has also been a cast as a member for the upcoming motion picture "Player's School" (www.Myspace.Com/PlayersSchool &
www.PlayersSchoolMovie.Com), which is slated to co star: Tom Green; Michael Colyar; Paul Wall, Buckeey,Serious,Smiley & Pumpkin (Flavor of Love/Charm School); Kurtis Blow & D.L. Hughley & Bobby Lee. The movie is being Produced & Directed by Benjamin Jimerson-Phillips.
B.SLADE(TM) has been seen on various BET programs, CNN, INSIDER, ENTERTAINMENT TONIGHT, TBN, NBC, CBS, ABC, Motown Live, Hollywood Access, Soul Train, TV One, and Showtime at the Apollo. Additionally, he has appeared in publications such as Billboard, USA Today, San Diego Tribune, Swerve Magazine, Krave Magazine, Ebony Magazine, Jet Magazine, Right On Magazine, Vibe, Sister 2 Sister,
Upscale, Essence, VesselVibe, Entertainment Weekly, and BlackBeat Magazine.
12th Patte' Award For Theatre Excellence
2008 Outstanding Performance in "Dreamgirls" as James 'Thunder' Early San Diego Musical Theatre
San Diego Critics Circle Craig Noel Award
2008 Outstanding Featured Performance In A Musical "Dreamgirls" and the World Premiere of "Princess &
the Black Eyed Pea"
San Diego Repertory Theatre