We loved it so much that we had to include one of the stand-outs (the deeply moving Wasted Man) on our Best of 2011 show for soulandjazz.com. Hit the player below to take a listen to the show that also takes in Betty Wright, Reel People, Electric Empire, Cleveland Jones, Ahmed Sirour, Diggs Duke and a few other beauties. The show’s also available to download via soulandjazz.com.

The tail-end of 2011 saw the boys take in European dates through the Netherlands, Spain, Germany, Greece and Croatia. 2012 sees Smoove & Turrell continuing their mission to spread the gospel of home-grown soul and funk via a few dates in the UK. They have upcoming dates in Leamington Spa, Gateshead and London. SoulCuts will be bouncing on down to catch the chaps in London at Floridita on the 9th February for what promises to be a stonking night. For the London types, Floridita (formerly Mezzo) in Soho has recently changed its music policy to encompass Jazz, Funk and Soul. Amen to that! And with upcoming gigs from other SoulCuts faves such as Los Charley’s Orchestra and Drizabone Soul Family, the venue certainly shows promise. Click here to book tickets for the upcoming Smoove & Turrell show.

And, of course, Smoove & Turrell‘s album, Eccentric Audio is still out and about for your purchasing pleasure. It may have been one of our fave 2011 albums, but it still sounds wonderful, and yes, funky, in 2012!

GB and production partner Nathan Wacey (collectively know as The Paragons of Goodness) meld Bomb Squad and Dre influenced vibes with a healthy dose of their own homemade funky aesthetic on Best Interests, the harder of the two new cuts. GB lays down a multi-layered vocal that successfully walks the treacherously wobbly line between rapping and singing, led by a chanted P-Funkafied chorus. The cut is a resolute British banger, charged for neck-snapping. However, it’s far from one-dimensional, laden with all sorts of squelchy noises, cracking beats and funky twiddles, not to mention a refreshing lyrical take on the old phrase, ‘Don’t let the bastards get you down’. Take a listen via the player below:

I Come On Back is an altogether mellower affair, although in the words of T.G.G Sheriff and MC Rob B, ‘It Ain’t a Love Song’!!!! It’s a skanking, rewindable, organ-led, chunky groove that further confirms GB’s rightful place as one of the UK’s shiniest hip-hop / soul lights. Goodness gracious! Take a listen via the player below:

And now for those all important links. You can purchase both singles right here.

But it’s not all bad news, as thanks to the growing strength of the independent movement, music fans with the wherewithal to seek out substantive artists continue to find themselves in possession of an embarrassment of riches. 2011 saw fantastic releases from a whole host of genuine artists concerned with releasing music deeper than the latest hit. Just trawl through this site, and then hop on over to proper sites like BamaLovesSoul, SoulTracks, SoulBounce and soulandjazz.com and you’ll get to read about and hear some of the best music of our lives.

All this chatter about the successes of the independent movement and the virtual death of R&B brings me to rising R&B/Soul artist, Winston Warrior. Winston’s debut album, Lifeology 101 was released in 2011 and created a little buzz which has subsequently become sonorous, resulting in a number of Soul Tracks awards nominations and January’s Album of the Month over at their lovely website. I was initially passed the album to review for another site (the fabulous soulinterviews.com), but passed on it. Over the following months, however, I found myself being drawn back to the album’s opener, Keep Movin’ (the new single), an addictive mid-tempo R&B soul groover, and before I knew it, I began to the love the whole album; it’s grooves, themes and substance unravelling themselves over time, just like albums did back in the day. So when the chance came to catch up with Winston for an interview, I jumped at it.

Winston had originally attempted to realize his long-held dream of a music career back in the 90s with R&B group, Lo’ Profile. Despite opening for hugely popular artists such as Mary J. Blige, Queen Latifah, Dru Hill, Soul 4 Real, and Bone Thugs N Harmony, the group became a victim of the sometimes nefarious music industry, shattering Winston’s dream in the process. I asked Winston how and why he had now decided to give a recording career another shot.

I was a marketing executive in business for a Fortune 500 in the States and there was a tragic incident that happened to a friend of mine. She was the tennis manager of the facility that I play tennis at. She was a healthy woman in her early forties, healthy one day and then two days later she was gone. It really affected me. I just couldn’t believe it. And then a lot of people heard that I could sing and wanted me to sing at the memorial service but then all those negative thoughts and insecurities popped up and I was like, I don’t want to ruin it. But then one of my really good friends pulled me aside and said, “Winston, if not now, then when? When are you going to use this talent, this gift?” And so I went and did it and it felt very much like she was the one that was pushing me through it and four years later, here I am. You know, I’ve always sung since I was a young boy, and then at the University of Miami and with the group. Singing has always been a part of me but after the failed attempt at the recording career, which was devastating, I just didn’t sing that much any more. So, I’m so grateful for this second chance.

I think most of us can relate to the experience of having a dream unfulfilled. Many of us carry the burden of living a life we didn’t imagine for ourselves, with external pressures pushing us to narrow our outlook. I asked Winston if, following Lo’ Profile’s demise, he was under pressure to get a proper job and put the pipe dream’s to one side.

Being the valedictorian and drum major from high school and doing so well at the University of Miami, it was expected that I would be one of those people that would succeed, and when the rumours got back to Atlanta that I was doing music and that I was in a group, I felt the pressure, particularly when that attempt at a recording career was unsuccessful. There was a huge pressure for me to be something. And then to get so close to your dream and have it snatched away so quickly when I was in the group, that pushed me to be serious about life and focus in on a career and be the person that I was supposed to be. I tried the music and it didn’t work and so I buried it as pipe dream, you know I did all those things you do to talk yourself out of your dreams. And then that’s why I was so frightened to get back in to the music and let that floodgate open again, because it’s my passion, but you juxtapose that with trying to make money, be a success and reach a certain status in life.

I was intrigued to hear more about Winston’s experience when the group fell apart. Not because I wanted to dwell on the negative aspects of his story (I’m anything but a journalist!), but to try and understand how the landscape has shifted for artists between then and now, particularly given the growth of the indie scene.

I don’t really like to talk about what happened with the group too much, as it was so painful. The business part of it was not together. It fell through. A regular story in the industry. It was devastating, moving from a private showcase in New York for a major record company to not owning the name, masters or anything. But now, I’m so grateful to have this second chance. So many people have been through the same experiences in this music thing, and are very talented, but for one reason or another they’re unable to make it to the second chance. And here I am being interviewed in the UK, having success in the States, it’s surreal, so everyday I’m like, am I dreaming?
I’m really fortunate that the indie scene has grown the way it has. You know, the universe has a way of making things happen when they’re supposed to happen. If this opportunity (to sing) had happened a few years ago, it would not have been successful, because the industry was much more controlled by the major labels and people didn’t have the ability to find talented independent artists as much. I would have been too old, I’m not 13 any more. In their business model, I wouldn’t have been the right fit. The independent movement definitely has helped it happen for me.

While the changes in the music industry have provided greater opportunities for a larger number of talented artists to release music on their own terms, the successful independent artist can’t just rely on his artistic talents. While distance from major record companies allows creative freedom, artists need to be business savvy enough to surround themselves with the right people and fully engage with the business of marketing, selling and generally running themselves as artists

Not only am I independent, but I’m also self-funded and it takes a lot of funding to do it all, but on the flipside, it gives you all the creative freedom to do what you want to do. If somebody else had been holding the purse strings they wouldn’t have picked the songs that I recorded. Somebody would have pushed for a more instant hit, or would have been against the album cover. I’ve had so many people with so many different opinions on what I should do, or sound like…but I make the decisions and an independent artist on my own label and thank god, I’ve been right so far, most of the time…the bad thing is that if you don’t sell records, you can’t pay the bills and you don’t eat. Fortunately, I am very goal and plan orientated and I do have a business plan and use the knowledge gained from my MBA all the time, but I’m learning to balance that also with my strong faith, knowing that it’s my time and I will make it happen. I get those small wins where God is saying to me, keep going, Winston. It’s difficult though. I mean, you can control so many things, but I can’t control what people like. I can only promote myself, put the music out there and do my best, but it’s up to the people if they like the music and want to click to download it. That is out of my control and it is scary. You have to have that faith to keep striving.

I asked Winston if he had considered developing a more commercial sound to help with the business side of being an independent artist in today’s market.

I wouldn’t be human if I said I hadn’t thought about it. But I don’t want to do what everyone else is doing, and I’m now seen as doing my own thing, hopefully with more substance. It’s funny though, people are coming to me saying, how are you doing this? People are sending me encouraging notes and thanking me for bringing R&B back. So I’ve got to be doing something right. And as an independent soul artist, if you go after the big hit, you may not hit with the masses and you run the risk of alienating the discriminate listeners.

As much as I love to champion the independent soul and R&B scene, I am concerned at the lack of younger independent artists creating substantive soulful music. As opposed to the youth-fixated charts, the indie-scene seems rather skewed towards to those in their thirties and beyond. As an advocate for soulful music, I want everybody to love our music and ensure it has life beyond its years.

I never thought about it that way, but you know, the younger folks are perhaps more concerned with the instant hit. With soul music, you can’t have that outlook. You really need to put that grind in. Some of the younger folks can’t comprehend the work that has to go into it, they want the hit and the ringtone and BANG! And a lot of us are a little older and have been through the failed experiences which has helped to push us and put the work in for ourselves. But I would also like to see younger artists coming through. That’s why I started my own label. Eventually, I would like to have younger folks on the label and help to mentor those that have a desire to sing soul music. I want to ensure that soul music lives. But at the moment, the focus is on me. You can’t help others be successful unless first you are. It’s been a great year. I got four Soul Tracks nominations, and was recognized by the editors for an honorable mention and was on the Grammy ballot, in addition to the chart with Bad4U. And I can’t wait for 2012, Keep Movin’, we’ve got a big push for that cut in 2012.

Keep Movin’ is a wholly positive, somewhat anthemic cut that has grown in stature over time chez SoulCuts, much like the whole album. And it’s often those albums that take a moment to get into that over time become your favorites. I asked Winston whether this slow burn, or unravelling of layers over time, was intended.

I think it just happens. But I’m definitely an advocate of good writing and trying to get a good song as opposed to a ‘hit’. I think the album does sneak up on you. It does have a slow burn, which is great. I don’t know if you followed Whitney Houston in her prime, but she could work the same album for a couple of years, and I wanted to have a project that would resonate with the listener whatever their mood, where tracks might hit more in a certain season. I wanted to have a project that could stand the test of time. There was a little bit of thought behind creating that, but overall I just wanted to create music that people could enjoy, smile and have fun.

Winston’s influences are definitely not worn on his sleeve. But behind the modern production and contemporary sensibilities it’s apparent that Winston looks to the old school for inspiration.

My influences are the one-name-wonders, Teddy, Donnie, Stevie, Marvin, Michael, Luther. But I take it as a compliment when people say they can’t hear the influences in my voice, because what I do is try to take a bit of everything and then come up with my own sound and I think I’ve been successful in coming up with a sound that is ‘me’. But those artists influenced me in the way that they told a story, they conjured things up in your imagination and it wasn’t so abrasive, up-front and blunt like a lot of folks like to sing now. As for a favorite, you know, they’ve been playing Luther a lot on the radio recently, particularly music from his Christmas album and its made me realize how much I miss Luther Vandross. He was great. He was effortless. The way he died, and how tragic it was, it just makes me sigh, man. He didn’t do all the running, he just sang the song. But then I’ve got to give it up to MJ and Marvin too. Those are my three greatest influences, or favorite artists.

Winston acquits himself equally well on the a variety of tempos and styles contained in Lifeology 101, but he seems most at home on the downtempo material. It’s a difficult task to make romantic or sexy music without coming across as cheesy, or sleazy, nowadays.

I am more of a balladeer. I love love songs. But I wanted to have a balance on the record. But, you know there’s something about a love song and communicating that energy, it’s just something I love to do and resonates most with me. And I have been told I have the sexy thing going on (laughs), but I try not to play it up too much. You won’t always see me ripping my shirt off every time I’m on stage (laughs). Truly, I’m a romantic at heart. When I sing, I want to paint a picture the way that Teddy and Marvin did when it comes to ballads. I think that’s being truly authentic. And those guys had a sexy thing, but they weren’t talking about breaking the headboard because they’ve been doing it all night (laughs).

Before we finished our conversation, I had to ask Winston about that name. It’s pretty memorable: Winston Warrior. Surely it wasn’t his actual name.

No, it’s mine. People are like, what does that name mean? People say to me that I must have changed my name, but I say, just go and look at my Facebook page and you’ll see a whole host of warriors. My parents gave it to me and now I’m using it to the best that I can.

With a memorable name, substantial music and an affable and focused demeanor, here’s to Winston’s continued ascension. As the man himself says, “The Phoenix is Rising.”

Learn more about Winston at his website, www.winstonwarrior.com. You can purchase his album from the aforementioned site and all the usual download places.

I’m sure you’re already familiar with the official single from Black Radio, the Musiq and Chrisette Michelle assisted, Ah Yeah. If not, here’s the promo vid for it. It’s another nice cut in a similar vein to the aforementioned King freeload. Interestingly, Robert’s website describes Black Radio as an album that draws on “jazz, hip hop, rock and R&B, but refuses to be pinned down by any one tag.” While I’m impressed by the two lead cuts, they are somewhat similar in style. Perhaps I’ll have to wait for the album to fully appreciate its elusive genre twisting. Mind you, I wouldn’t care all that much if the man delivered a 12-tracker fully in the vein of the two tracks featured here. Either way, SoulCuts looks forward to listening to some more Black Radio!

It did, but I feel like I’m at the beginning of the beginning. I’m at the top of my game and looking forward to the next twenty years. I’m reinvigorated for the next twenty years. You know, the album speaks of my love for music, my origins, where I came from, my parents.

It seems an odd time to be talking about this now being the ‘start’ of your career. You’ve reached a stage where many artists would be quick to assert their industry veteran status.

Yeah, it is a little crazy. It’s a blessing to feel like I at the beginning of my career after twenty years.

So next 20 years?

Who knows where we can go. This is all part of my renaissance. You know, when I was 17, I dreamed that I’d play Wembley Stadium, Carnegie Hall, all these places. Then the reality of the business stuck in. And I got disheartened by it all. But then Prince asked me to open up for him and it inspired me to move on. This was something I had also dreamed about. As an artist and a fan it was mind-blowing to work with him. I mean, it’s Prince! The whole thing was pretty surreal. Like I say, it’s Prince and he’s definitely an enigma. You know, there I am at the soundcheck and he rolls on stage with his guitar and I’m like, it’s Prince. It was a dream.

Did it genuinely feel like a dream in reality?

Well, he is extremely otherworldly. Of course, he’s had thirty years of conditioning. But he’s definitely one of the few people living that I would find myself in awe of.

So, you mentioned that you put your career and dreams on hold for sometime. Was this due to frustrations with the record industry?

Not necessarily frustrated. Everyone wants to make a billion dollars but reality has a way of adjusting your dreams and kicking you in the butt. But then I found myself opening for Prince at these huge, amazing places, actually realizing my dreams and it reignited my passion to move forward.

I’ve not read one bad review of the new album. I scoured the Internet, but it seems to have been universally well received.

I feel so blessed by the reactions. People do seem to be mostly happy with the record this time around. I’ve read a few reviews where people voiced that they didn’t get the uptempo tracks. But I don’t look too much to the critics. Art is very much in the eye of the beholder. People will have their own interpretations of it, but they’re just opinions, no critic is God. I know that it’s great because I go into it with the intention for it to be great.

I suppose it’s expected that some may not get the more uptempo, or poppier material, given that you’re more renowned for mellower, laidback grooves.

Well, I am more known for my ballads. But, and I always say this, when I was younger you’d have Chaka Khan with standards on her albums arranged by Arif Mardin (although I didn’t know they were standards at the time) and Beatles songs, but throughout the thread of the record was Chaka, her voice and her stamp as an artist. And this is exactly what I try to do, I have broad tastes and like to cover a number of different styles on a record.

I’d say it’s got a broader commercial appeal. Is this intentional?

Well, that remains to be seen whether it has a wider commercial appeal. I do think this record does have a broader appeal and this is deliberate. I want to get my music across to as many people as possible. That’s the whole point of doing this. You know, it’s hard to be a soul artist in today’s industry. We don’t have the same opportunity to push our music out to the market like some other genres. At this stage, being a soul artist and a black woman, it’s harder to get out there. You can’t just rock up to MTV and say, What y’all think about playing my new video? I want to make both great art and money. You know, I don’t have a house by the sea, or a Bentley (laughs).

While R&B and commercial hip-hop artists peddle lowest common denominator stuff, soul music doesn’t have that many (if any) high profile contemporary superstars. Lalah certainly wants to achieve the same level of success as those artist feted by MTV. Although, I get the feeling that it’s not about prestige, or money, necessarily, but, rather, it’s the logical extension of her position in the industry as a soul ambassador.

When people listen to my music I want them to feel the depth and know that they’re coming to a brand that stands for excellence. The Hathaway brand, one that has provided quality for forty years, from my dad through to me.

Artists will often describe themselves as a conduit through which the music flows. I got the sense that Lalah, albeit fully engaged in the creative process, subscribes to this approach. She views herself as upholding a tradition of musical excellence and integrity via ‘The Hathaway Brand’, and while her music may not necessarily be an obvious stylistic continuation of her father’s, it upholds many of the same qualities. People often forget Donny’s genre hopping, preferring to focus on his more resolutely soul sides, but if you examine Extensions of a Man, for example, that’s as diverse a ‘soul’ album as there is.

The album cover takes in a number of your father’s album covers. After I saw it, I was convinced that the album would have a more traditionally ‘old school’ feel.

It’s interesting. I’ve had a lot of different reactions to the the cover. I think it reflects who I am as an artist. The music is old school, because that’s who I am, but it also reflects the other things that I do, music with a greater pop, or radio, influence. And you know, we do have real musicians on this album too. You know, the ones that actually play instruments. We even recorded some sessions at the old Capital Records with my band.

Tell me what you know about this guy on YouTube that reviewed your album? He’s amazing!

Oh, that’s Aaron. That just came out of nowhere. He comes from some place in upstate New York, I think. I love the fact that he took the time to review it. I don’t think that he would have reviewed the record if he had known my past. But it’s great to have people saying all these lovely things about you. And it’s great to know that the music is reaching a younger audience and all types of people.

I just love how effusive he is about it. And while you can’t doubt his love for Lalah, some may suggest that it’s not a deeply informed, structured critique, but that doesn’t devalue his opinion one jot. Furthermore, Lalah is much more concerned with how her fans react to her music, rather than critics.

I don’t really look for critics at all. I look for how the fans react. That’s the most important audience to me. It’s nice that there are critics out there responding positively to the record, but the success resonates when the fans embrace it. For me, it’s about putting a line out there and having a conversation with the audience.

Talking of audiences, when are you coming to the UK?

Soon, I hope. I need to get over there. The last time I performed in the UK was with Marcus Miller. I’ve never been there just doing my own thing. That’s awful.

At least we have a fantastic new album to satisfy our craving for all things Lalah. Here’s hoping 2012 sees her performing in the UK. I’m going to start a petition!

In the meantime, Lalah has launched a remix competition for her excellent song, My Everything. Check out a couple of my favourite submissions from SoulCuts faves Neil Tomo and Ahmed Sirour.

And if you need to take it with you, here’s the download link!
Ahmed Sirour – Funky Keyboardist
Tomson & Benedict – Blind
Donn T – Grass is Greener – (Matthew Bandy’s Good Green Mix)
Electric Empire – Baby Your Lovin’ (Smoove & Turrell Remix)
Winston Warrior – Keep Movin’
Princess Freesia – Daedelus (Soulpersona Sunset Remix)
Cleveland Jones – Things That You Do
Scrimshire – Home
fDeluxe – Lover
Malice & Mario Sweet – Date Nite (TBG Remix)
The Revelations Featuring Tre Williams – How Could You Walk Away
Joseph Junior & MAQman – I Don’t See Love
Soul Talk – Is It Me You’re Thinking Of

Things That You Do will appeal to the legion of soul fans that lapped up his previous single, the much celebrated Sensitive. It’s a haunting track (with a breathtaking vocal arrangement) on which Cleveland lays down his aspirations for a future, as yet unseen, love. Cleveland‘s vocals move from direct to ethereal, without ever failing to communicate the story to the listener. It’s this rare combination of stunning vocals and rich storytelling that separates Cleveland Jones from his contemporaries.

Things That You Do – Cleveland Jones

Free Yard Sale takes a grittier route, with Cleveland tipping his hat to a more old school soul sound. However, it’s certainly no tired, retro cut. Free Yard Sale further illustrates Cleveland‘s exceptional story-telling skills, taking an amusing concept (the ‘Free Yard Sale‘ of an ex-love’s possessions) and working the metaphor beautifully to deliver an emotional tale of heartbreak and hope. Cleveland‘s Free Yard Sale is, of course, about more than simply peddling material bric-a-brac, it’s the divestment of all the love and passion put in a broken relationship. ‘You just might find your treasure in there,’ sings Cleveland, suggesting that he’s still open to love, despite the hurt it has caused him. It’s as honest a ‘break-up’ song as I’ve heard in a very long time and, once again, shows how hard Cleveland has worked at his craft. This is not facile, one-dimensional ‘do me baby’ music. Free Yard Sale distills the essence of great soul storytelling, rewarding the listener that truly engages with the music and lyrics.

Free Yard Sale – Cleveland Jones

It’s Over gets even grittier with Cleveland showing off a much raspier tone than the one with which we’re familiar. Each track I hear from Cleveland reveals another unforeseen side to his artistry. Like soul’s most celebrated artists, Cleveland channels personal experience into universal tales that easily resonate with the listener. It’s Over plays like a song that I’ve been listening to my entire life. It’s a timeless cut, with deep soul, roots that arrests the listener’s attention from start to finish. Further demonstrating his generosity, It’s Over is now available as a free download via the player below.

It’s Over – Cleveland Jones

Cleveland wrote and produced all the tunes featured here, and performed all backing vocals. There’s little doubt that the man means business. He even flew across to the UK to get Free Yard Sale and It’s Over mastered at the legendary Abbey Road studios. Now, there’s dedication for you!

With Back For The First Time scheduled for release in Spring 2012, the soulful outlook for the new year is bright. Cleveland Jones is, undoubtedly, on the rise!

Find out more about Cleveland via his website, clevelandpjones.com

I’ve been a fan of Ola‘s work for around fifteen years and it’s been a fascinating journey, watching him improve with each and every release. I’ve heard a number of cuts off the new album and can attest that it’s up there with the man’s greatest work, once again raising the bar for independent soul. The album is called Seven Shades Darker and is now available for pre-order via his Bandcamp site. We’ll definitely be featuring the album again on SoulCuts closer to its official release on 1st December.

To tempt you to pre-order, Ola is offering Be A Man as a free download. He didn’t need to twist my arm. He already had me at ‘Ola‘! Sorry, that’s a truly awful joke, unlike the man’s music, which is the real deal. Head on over to his Bandcamp site and do the right thing!

You can find out more about Ola at his website, www.ola-onabule.co.uk/.

Standouts abound on this sophomore effort, but I’m most taken with the gorgeous ballad, How Could You Walk Away on which Tre recounts the engaging tale of a man losing his love after confusing material provisions with love and affection. Lyrically and musically, How Could You Walk Away effectively sums up The Revelations Featuring Tre Williams’ whole ethos; the Southern Soul troubadours strive to create substantive, meaningful soul music, rather than bleating out flavour-of-the-month styled transitory and unfulfilling popular, and financially rewarding, ‘R&B’ (or should that be 90s Europop, as seems to be its current guise).

I may write a full review of Concrete Blues later down the line, but I’m unsure whether I’ll progress much past this point: JUST BUY IT!