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Faith Evans

Photo: Dan MacMedan/WireImage.com

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Something About Faith Evans

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In an exclusive interview, GRAMMY-winning artist discusses her new reality TV series "R&B Divas" and the healing power of music
Tim McPhate
GRAMMYs
Dec 2, 2014 - 4:06 pm

A GRAMMY-winning artist in her own right, R&B singer/songwriter Faith Evans has recently stepped out of one studio and into another as the co-executive producer of new reality TV series "R&B Divas." Premiering Aug. 20 on TV One, the series will follow the lives of Evans and artists Monifa Carter, Nicci Gilbert, Syleena Johnson, and Keke Wyatt, offering a glimpse into their private lives and careers. In an exclusive interview with GRAMMY.com, Evans discussed filming "R&B Divas," discovering her talent and the healing power of music, among other topics. 

"It's all about inspiring people through our stories of triumph," said Evans regarding the series. "I wanted to use the platform that I had of people wanting me to be in the reality TV business, to encourage these ladies to share their stories."

The former wife of the late Notorious B.I.G., Evans earned her first GRAMMY for Best Rap Performance By A Duo Or Group for appearing on Sean "Diddy" Combs' "I'll Be Missing You" with Sean "Diddy" Combs. Evans' most recent album, 2010's Something About Faith, peaked at No. 15 and spawned a GRAMMY nomination for Best Female R&B Vocal Performance for "Gone Already."

Over eight episodes, "R&B Divas" will follow deep friendship shared by five multitalented R&B stars, revealing their efforts to deal with major life transitions such as divorce and parenting issues, and showcasing their efforts to produce a charity album in honor of the late Whitney Houston.

Starting Aug. 20, the series will air Mondays at 10 p.m. ET/7 p.m. PT on TV One. 

producer Chucky Thompson poses joyfully with his tongue out

Chucky Thompson

Photo: Russell Webster

News
Remembering Chucky Thompson In 10 Songs remembering-chucky-thompson-10-songs-bad-boy-hits-go-go-jams

Remembering Chucky Thompson In 10 Songs: From Bad Boy Hits To Go-Go Jams

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With a penchant for marrying rugged, percussive beats with classic soul samples, Chucky Thompson's ear and passion came to define '90s R&B and hip-hop—hear 10 of his iconic tracks here
Christopher A. Daniel
GRAMMYs
Aug 13, 2021 - 1:18 pm

Carl E. "Chucky" Thompson originally wanted to manage artists, but his passion for rugged beats, soul samples, and maintaining loyalty to his collaborators led to his ear changing the face of '90s R&B and hip-hop. A self-taught musician, the Washington, D.C. native cut his teeth playing percussion for go-go music legend Chuck Brown's band, The Soul Searchers, before joining Sean "Diddy" Combs' in-house production team at Bad Boy Entertainment, The Hitmen, following the success of Mary J. Blige's My Life album in 1994.

"Certain things are just life and God," Thompson said during a recent GRAMMY.com interview, "that situation came from me being in the right place at the right time."

News of his untimely passing shook up the music industry, but the GRAMMY nominee left us timeless music as an architect of hip-hop soul. Here are 10 hits and album cuts that the beloved Chucky Thompson produced for several immensely talented artists--spanning genres--that meant the world to him.

"Be With You," Mary J. Blige

Mary J. Blige had been crowned the Queen of Hip-Hop Soul following the triple platinum success of her 1992 debut LP, What's the 411? but was in search of material for her 1994 sophomore effort, My Life.

Frustrated by the demos not immediately grabbing her attention, along with her collaborators from the first album raising their prices, Thompson took some siren-sounding keys reminiscent of West Coast G-funk for the intro and slowed down the tempo with some hollow go-go music drumming to make the hairs on Blige's neck stand up. It set the tone for Blige to make her classic, most personal album to-date and for Thompson to take on a lion's share of My Life's production.

"Big Poppa," The Notorious B.I.G.

The Notorious B.I.G. unabashedly made a quintessential playa's anthem for the ages courtesy of Thompson's ear and console control in the winter of 1994. "Big Poppa," with its recognizable Isley Brothers "Between the Sheets" sample coupled with a looped bar that Biggie let out on Super Cat's "Dolly My Baby" remix, convinced listeners and pop radio that the rotund, Brooklyn-born emcee could charm the panties off the ladies and turn that charisma into platinum plaques.

"Think of You," Usher

Usher might be making a splash on the Vegas strip right now, but in 1994, he was just a teenage newcomer still trying to find his musical identity. Thompson was brought into the fold by Diddy to help give the future megastar some edge, so he flipped "Tidal Wave" by Ronnie Laws, a sample he recognized on Black Moon's classic banger "Who Got Da Props," to rub some of that new jack flavor off onto Usher.

That "Think of You" session is also when Thompson first met its songwriters, Faith Evans and Donell Jones: leading to him executive producing Faith's debut LP the following year. Featuring choreography by TLC member T-Boz and an appearance by singer/actress Taral Hicks in the music video, "Think of You" stalled at #58 on the Billboard Hot 100 but remains a favorite for Usher fans.

"CrazySexyCool - Interlude" & "Can I Get a Witness - Interlude," TLC

There wasn't a more successful (or doper) female group than Atlanta trio TLC in 1994. Their sophomore album, CrazySexyCool, was a chart-topping smash that spawned hits like "Creep," "Waterfalls" and "Red Light Special," but Thompson knew the power of making music short but sweet, too.

Playing guitar, keys and drums, Thompson split the playalicious funk groove into two snippets: one featuring T-Boz vamping, the other with Busta Rhymes breaking down the album title and lamenting on the essential qualities of fly chicks while Left Eye ad-libs under his scruffy vocals. 

"Can't You See," Total ft. The Notorious B.I.G.

A few scales pulsate before it lays into its groove, thanks to the driving drums and bass riff on James Brown's well-sampled "The Payback." Bad Boy Entertainment's breakout female trio Total was joined by The Notorious B.I.G.'s suave, hot 16 bars to make their debut single first included on 1995's New Jersey Drive soundtrack before it landed onto the trio's debut self-titled project.

Thompson joined his fellow Hitmen producers Diddy, Herb Middleton and Rashad "Tumblin' Dice" Smith to give Total a sonic shoulder to cry on for a lover they can't seem to shake; arguably becoming one of Bad Boy's signature singles.

"You Don't Have to Worry," New Edition

New Edition reunited in full (all six members) for 1996's Home Again. Thompson, along with Hitmen cohorts Stevie J. and Diddy, dug in the crates, found James Brown's "Your Love," and gave the elder R&B boy band some street heat: so much that Michael Bivins and Ronnie DeVoe turn their charm into spittin' a few bars. The album version totally satisfies the palette until the song's Trackmasters remix ups the ante, featuring a pre-superstar Missy "Misdemeanor" Elliot.

"Soon As I Get Home," Faith Evans

Thompson really wasn't up to doing this song because he was heading to catch a flight back to D.C. A loyal person who always put the music first, he was convinced by Diddy per a plea from Faith to dust off a piano melody he wrote when he was just 16 years old. He expertly nestled it under the GRAMMY-winning singer/songwriter's breathy, seductive vocals that she had recorded on her answering machine. Backed by some snapping snares, Faith's plea to an isolated significant other became the second single from her platinum 1995 self-titled debut project and one of her most recognizable ballads.

"One Mic," Nas

Nas is largely considered to be one of the greatest emcees in hip-hop, but in 2001, Thompson knew Escobar needed an anthem for an encore at his performances. The height of the JAY-Z/Nas beef was brewing between "Takeover" and "Ether," but the producer knew to take Phil Collins' "In the Air Tonight" to give Nas the space to show just how iconic he is. DMX was set to appear as a feature, but Nas wanted that moment all to himself.

"Woman," Raheem DeVaughn

Thompson loved and respected plus-size Black women, so for Raheem DeVaughn's 2008 LP Love Behind the Melody, he convinced his fellow D.C. native to make a song that strictly celebrates the curvy sistas. Inspired by keyboards that he heard on JAY-Z and Chrisette Michele's duet produced by Dr. Dre, "Lost Ones," Thompson helped DeVaughn walk his way towards a GRAMMY nomination for Best Male R&B Vocal Performance for "Woman."

"Hit the Floor," Rare Essence ft. Snoop Dogg

In 2020, Snoop Dogg wanted to show love to the go-go scene. The rapper/entertainer teamed up with go-go music legends Rare Essence, Thompson's favorite band, to make a joint that could uplift those sheltering-in-place. The rhythms meshed together the West Coast synths over the D.C. metro's signature tattering percussion to celebrate the insular grooves popularized by bands like E.U., Trouble Funk, Junkyard Band, and Chuck Brown and the Soul Searchers.

Isaiah Rashad On His New Album 'The House Is Burning,' Sobriety & Returning to His Southern Roots

Whitney Houston

Whitney Houston

Photo: Georges De Keerle/Getty Images

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For The Record: 'Waiting To Exhale' Soundtrack record-revisiting-historic-waiting-exhale-soundtrack

For The Record: Revisiting The Historic 'Waiting To Exhale' Soundtrack

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At the 1997 GRAMMYs, the soundtrack received 11 GRAMMY nominations—including Album Of The Year—and won Best R&B Song for the Whitney Houston-sung lead single, "Exhale (Shoop Shoop)"
Ana Monroy Yglesias
GRAMMYs
Nov 11, 2020 - 6:42 pm

For the latest episode of For The Record (watch below), GRAMMY.com explores the first all-female soundtrack for the 1995 Black-female-led film Waiting to Exhale. The Babyface-produced album featured original music from one of the movie's stars, Whitney Houston, along with fellow R&B/pop greats Aretha Franklin, Brandy, Toni Braxton, TLC and more.

For The Record: 'Waiting to Exhale' Soundtrack

Related: How 1995 Became A Blockbuster Year For Movie Soundtracks

At the 1997 GRAMMYs, the soundtrack received 11 GRAMMY nominations—including Album Of The Year—and won Best R&B Song for the Houston-sung lead single, "Exhale (Shoop Shoop)."

Houston and superproducer Babyface made the intentional decision to create the first all-female soundtrack to match the all-female lead cast. Now that's star power!

GRAMMY Rewind: Watch Whitney Houston Sing "Greatest Love of All" At The 1987 GRAMMYs

Andre Harrell attends the Recording Academy/Clive Davis Pre-GRAMMY Gala in 2019

Andre Harrell attends the Recording Academy/Clive Davis Pre-GRAMMY Gala in 2019

Photo: Jeff Kravitz/FilmMagic

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Andre Harrell, Uptown Records Founder, Dies At 59 andre-harrell-uptown-records-founder-and-role-model-sean-diddy-combs-dies-59

Andre Harrell, Uptown Records Founder And Role Model To Sean "Diddy" Combs, Dies At 59

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The New York-born record executive and his influential label were pivotal in mainstreaming hip-hop and R&B music and culture in the mid-1980s while bridging both genres closer together
John Ochoa
GRAMMYs
May 9, 2020 - 2:08 pm

Influential music executive Andre Harrell, the founder of the pioneering hip-hop and R&B label Uptown Records who's credited with giving Sean "Diddy" Combs his first career opportunity in the record industry, died Thursday (May 7) in his Los Angeles home. He was 59.

The New York Times reports that Harrell, who suffered from heart problems, died of heart failure, as confirmed by his ex-wife, Wendy Credle. 

A former rapper himself—he released original music as a founding member of the hip-hop duo Dr. Jeckyll & Mr. Hyde, alongside his high school friend, Alonzo Brown, across the '80s—Harrell brought the artist perspective and highlighted the artistry of rap during his various executive roles throughout his career. This firsthand know-how would prove pivotal to his success and long-standing career as an executive: When rap was just beginning to establish a major commercial foothold within the U.S. music industry in the mid- to late-'80s, Harrell capitalized on the then-burgeoning hip-hop genre and culture, using his insider experience to champion the sound and bolster both an artist community and committed listener audience through his trailblazing Uptown Records. 

Harvey Mason jr., Chair and Interim President/CEO of the Recording Academy, shared a touching message about Harrell's passing on behalf of the organization.

"Andre Harrell was a pioneer who defined culture and created an indelible legacy in music," Mason jr. said. "His influence and impact transcends time and Andre's contributions will continue to inspire generations of musicians for years to come."

https://www.instagram.com/p/B_-6jagpztO

GRAMMYs

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Born in the Bronx, New York, in 1960, Harrell first broke into the music scene as an artist. His hip-hop duo, Dr. Jeckyll & Mr. Hyde, released several successful singles in the early '80s, The New York Times writes, including "Genius Rap" (1981), "The Challenge" (1982), "A.M./P.M." (1984) and "Fast Life" (1984). The group released its debut album, The Champagne Of Rap, its sole full-length, in 1985 before disbanding in 1987. 

Following stints at two NYC radio stations, Harrell began working with Russell Simmons' Rush Management in the early '80s, where the former worked with the company's marquee acts, including Run-DMC and LL Cool J, among others. Simmons, himself a legendary record executive, was also co-founder of the iconic rap label Def Jam Recordings; Harrell quickly rose to become Def Jam's vice president and GM, according to Variety. (Simmons would become one of the first patriarchal figures in a long line of black hip-hop executives that connected Harrell and Sean "Diddy" Combs and opened doors for today's generation of leaders, like Top Dawg Entertainment's (TDE) Anthony "Top Dawg" Tiffith and Quality Control's Kevin "Coach K" Lee and Pierre "Pee" Thomas.)

Harrell launched his own record label, Uptown Records, in 1986; within two years, in 1988, the imprint entered a partnership with the major label, MCA.

Like his mentor Simmons and Def Jam, Harrell's imprint saw the potential of hip-hop's growing fan base, particularly black audiences, and cultural reach before others could even understand the music itself.  As The New York Times points out, Harrell "understood his target audience intimately," digging into his deep understanding, rooted from his own rapping days, of both the music and its surrounding culture. 

"Andre thought he could deliver entertainment to the black audience in a full and total way," Al Teller, former chairman of MCA Music Entertainment Group, told Vanity Fair in 1993. "He had tremendously clever insights into the audience and how to connect the dots. He was talking like an advertising executive who knew everything about music."

Uptown became a breeding ground for artists who blurred the line between hip-hop and R&B, with acts like Mary J. Blige, Jodeci, Al B. Sure! and Guy leading the label's roster. With the help and musical innovation of Teddy Riley, the label was pivotal in the formation and popularization of New Jack Swing, a hybrid genre mixing hip-hop production with R&B influences, which dominated the U.S. charts throughout the  mid-'80s and early '90s.

The label was also influential in mainstreaming crossover hip-hop music via artists like Heavy D & The Boyz and Father MC, Variety notes. Blige, who Harrell signed to Uptown in the late '80s when she was a teenager, would go on to embody the hip-hop-meets-R&B formula: Her 1992 debut album, What's the 411?, for Uptown/MCA earned her the moniker, "Queen Of Hip-Hop Soul."

During his tenure at Uptown, Harrell also discovered a then-young Sean Combs, who joined the label as an intern before rising to become the imprint's talent director and A&R man. (For his part, Combs would continue Harrell and Uptown's hip-hop/R&B hybrid sound through the former's own influential Bad Boy Records via acts like Faith Evans, 112 and Lil' Kim.) 

While Harrell ultimately fired Combs from Uptown due to a power dynamic in 1993, according to The New York Times, the two reconciled and remained close throughout the years. Harrell served as president of Bad Boy as well as Vice Chairman of Revolt, the music-oriented multi-platform TV and digital network Combs launched in 2013. 

During his speech at this year's Pre-GRAMMY Gala and GRAMMY Salute To Industry Icons event honoring him, Combs paid tribute to Harrell at length. 

"I want to take the time to thank Andre for being a big brother, for believing in me ... I'm only standing up here because you gave me the chance, you gave me the opportunity," Combs said. "But most importantly … as a black man, you took me underneath your wing ... You taught me what it was to be a record man."

"Even to today," he continued, "you still teach me. And I call you my big brother, but tonight I got to tell you the truth. I told you my father died when I was 2-and-a-half. Andre, you've been my father for the last 30 years."

In 1992, Harrell secured a multi-million-dollar, multimedia deal with MCA. The contract helped the executive span into film and TV—he executive-produced the hit FOX TV show "New York Undercover" and produced the 1991 comedy Strictly Business—with Harrell subsequently rebranding the company as Uptown Enterprises

In 1995, he became the CEO of Motown Records, where he worked for two years.

Later in his career, he remained active in R&B circles. He was pivotal in developing the career of a then-young Robin Thicke in the 2000s, according to Billboard. Harrell later launched his own Harrell Records in the early 2010s.

The legacy of both Harrell and his Uptown Records will see new life via a three-part scripted miniseries, called Uptown, set to debut on BET this year.

Harrell is survived by his son, Gianni Credle-Harrell, his brother, Greg, and his father, The New York Times reports.

2020 GRAMMYs: Clive Davis And The Recording Academy Celebrate Sean "Diddy" Combs With Industry Icon Honor At Star-Studded Pre-GRAMMY Gala

Jill Scott

Jill Scott

Photo: Josh Brasted/FilmMagic/Getty Images

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Summer Block Party Returns With Jill Scott & More summer-block-party-returns-jill-scott-jazmine-sullivan-boyz-ii-men-more

Summer Block Party Returns With Jill Scott, Jazmine Sullivan, Boyz II Men & More

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GRAMMY winner Scott will headline all four shows for the fifth annual summer concert series
Ana Monroy Yglesias
GRAMMYs
Apr 1, 2019 - 5:01 pm

Live Nation Urban has shared the lineup and details for its fifth annual Summer Block Party concert series, which will feature GRAMMY-winning R&B songstress Jill Scott as the headliner for all four dates.

https://twitter.com/FLOSSMagazine/status/1112832091002212352

Live Nation Announces its R&B Summer Block Party Festival ft. Jill Scott, Anthony Hamilton ,  MA$E & Others https://t.co/XToGr9mtsQ pic.twitter.com/DLWtKp54NM

— FLOSS (@FLOSSMagazine) April 1, 2019

The concert series will kick off on June 29 in Philadelphia, followed by a July 5 show in Dallas, its first time in that city. The Block Party will return to Houston on July 6 and close out on July 13 in Chicago.

A star-studded list of R&B, soul and hip-hop greats will join Scott as special guests across the dates: GRAMMY-nominated R&B artists and Philly natives Jazmine Sullivan and Musiq Soulchild join their hometown show, which will also feature DJ D-Nice and GRAMMY-nominated rapper Mase, the latter whom will also join the Chicago show. GRAMMY-winning soul singer Anthony Hamilton will help close things out in Chi-town, along with GRAMMY nominee Carl Thomas.

Tweet and GRAMMY winner Faith Evans will perform at the Dallas show, with Evans also joining the other Texas show. GRAMMY-winning '90s R&B group Boyz II Men, along with R&B newcomer Lucky Daye, will round out the Houston show.

Tickets go on sale this Friday, April 5 at 10 a.m. local time; more info here.

Jill Scott, Leon Bridges & More To Headline Afropunk Brooklyn 2019

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Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy and its Affiliates. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy and its Affiliates lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy and its Affiliates.