By: Troy Taylor TTU

Grammy Award winning producer Troy Taylor is bringing back authentic R&B in a major way. Having recently worked on Jacquees‘ new King Of R&B album, and Elijah Blake’s Holiday Love EP, this hitmaker is imprinting his original sound on the careers of some of music’s brightest rising stars. In February of 2020, he will celebrate being in the music business for 30 years, as he continues to elevate his career for new heights.

I had the pleasure of catching up with Troy Taylor for a candid interview below to see what life is like as a hitmaker. As he openly discusses reviving REAL R&B, having a friendship with Aretha Franklin and finding longevity in the music business, it becomes clear that his passion for creating music will never die. Check it out below.

Troy Taylor Interview 

Respect: As you were signed to Motown Records as an artist when you first started off in the industry, what prompted your transition to focusing more on the production/writing side of music?

Troy Taylor: While I was working on my album for Motown, I started working with these kids who were ages 15 to 17, I was around 22. When I started working with them to make a long story short, a year later they come out and blew up all the way up around the world. I started thinking do I really want to be an artist because I really enjoyed the success that these kids had and I knew I didn’t want to be super political and feed into the politics of being an artist. I am too real for that. When I say real, I mean if you want me to be politically correct I am not that guy. I am not going to do all that shucking and jiving and all of the stuff it takes to be an artist and I knew that.

So I went to the A&R Timmy Regisford and Jheryl Busby the president and I told them I didn’t want to be an artist anymore and that I wanted to be a producer and writer. I had done some work with their artists, but these kids went on to be Boyz II Men so after that I was done. I was like I would rather be behind the scenes because I could still sing, I could still write and I could still do all of the things I love without doing the front stuff. So that is why I decided not to become an artist.

Respect: What does it mean to be a Grammy Award winning hitmaker having won grammy awards for your work with Aretha Franklin and Boyz II Men?

Troy Taylor: Of course you know a Grammy award is the most major award you can win as a musician, arranger, producer, writer and artist, so for me it was really surreal to be part of that academy. It also makes me feel like I need to do more. Some people may be satisfied but not me because I can do more and have too. I can’t get comfortable. It kind of pushed me at the same time, as well as being happy and excited for it it. It truly  made me feel like I have to go harder.

Respect: What sparked you founding your Songbook Ent production company?

Troy Taylor: When I first started off in the industry, my first 12 years of my career I was apart of a production collective. I decided to leave in 2002 and that is when I created Songbook. The concept is coming from Talking Book which is one of Stevie Wonder’s albums. I feel like it displays songs and production all in one.

Respect: How did you go about signing Trey Songz and how did that change your life/career?

Troy Taylor: Ironically Trey was with this collective first and when I left, he had to stay with them even though I wasn’t there. That is until he got kicked out. He got kicked out of the company and he was excited because that meant that he could work more with me and that’s what he did. Trey Songz became more so the artist I never ended up being in the sense of great R&B music. That is what I wanted, simply to create great R&B music. It is one thing to make hits for people, but it is another story to create a star from scratch. It is not easy at all.

Respect: As you have worked with many legends such as Patti Labelle, Whitney Houston and The Isley Brothers, what are some of your fondest memories from working with the greats?

Troy Taylor: With Aretha Franklin since she has such big personality and known to be very diva, I think what made us work well together is the fact that I studied her career and her music. I knew that she was a musician, a dope writer and dope singer. So it was like I knew she had an idea of what she wanted to do, so I would set it up to let her do what she does and then I would go in after that. Most producers try to produce her when you cannot do that. You simply have to just let her do what she does.

Then you critique it, fix it, and do everything that needs to be done. She liked the fact that I did that with her. Upon doing 1 song it ended up being 3, and for the first time I asked her to listen to Trey Songz’ album because he was about to come out soon and I asked her for her advice on the music. The founder of Atlantic Records who signed her blessed Trey and told him that he was a star early. He then told Aretha Franklin, which helped her to listen to Trey’s music. When she listened to him I asked her if she could give him some advice. At the beginning of his album you can hear her giving Trey some advice and that was huge.

But that showed how cool Aretha and I were. Every now and then she would call me running ideas that she had in mind. It was really shocking because Its like is Aretha Franklin really calling me like what? I had no idea. I didn’t even want to work with Aretha Franklin because some people are so big I just like to let them be them and stay a fan. So working with her was amazing. I have one particular interview that she did in 2003 and she mentioned me. I didn’t even know about it. Years later someone said I like the interview when Aretha Franklin mentioned your name. I was like what interview?? They sent it to me and I was like wow. The queen Aretha Franklin has spoken, you all can’t tell me nothing.

Respect: How have you been able to find longevity in this music business?

Troy Taylor: God. It is always good to remember the giver more so than the gift. People focus so much on the gift that they forget the giver. Me, I always remember the giver and why he gave me the gift. It has never been about me. It has always been about other people and me helping other people to understand their gift. I help them learn how to work their gift and use their gift musically. I have been blessed to be able to continue to go no matter how hard, wicked, deceitful, or evil this industry can be. I have always been able to maintain and focus my energy mentally and not get caught up in the other stuff.

Thinking about before social media and now with social media, you can really get lost in why you want to do it or why you are doing it. I never got wrapped up in that. I stayed with the love of music and never let anybody, anything, any situation or hard time make me not love it anymore. Really I was able to stay on it and in it and going, just from the love of why I wanted to do it in the first place. I cannot let anyone change that thought you know what I mean.

Respect: As you have been in the game for 20 years, what do you find my rewarding about the line of work that you do?

Troy Taylor: It will be 30 years on February 11th 2020

Respect: As you have co-executive produced  Elijah Blake’s new Holiday Love album, what in the nature. Of you all relationship?

I met him when he was 14 going on 15. We are both Geminis and just clicked really well. But talent is one thing and learning how to use it is another thing. He came to visit me in Atlanta after I had moved there from Texas, and that is when I was able to figure him out and see what his need was and where he needed to be. At that time he was Red Styles he wasn’t Elijah Blake yet. He was an artist that wrote and knew how to record himself, which is one of the requirements at TTU.

You have to know how to record yourself. He knew how to record himself, write, arrange and do harmonies so upon him graduating and moving to LA, we just kept in touch. He is a great person outside of being a great artist. His personality and my personality work really well together, so we always stayed close no matter what he was doing.

He always knew he had my support and would get me whenever. This project was an honor to do because he came to Atlanta and stayed at the house. We actually worked on it in 2017. He didn’t put it out then and I tried to get him to put it out in 18, and he wouldn’t put it out. Now we finally have it out! It is really dope to have a body of work attached to our relationship.

Respect: What was it like working with Jacquees on his latest R&b album King Of R&B?

Troy Taylor: My goal for Troy Taylor as the 0G in the music game, is to get myself into the new era of R&B. That way I am able to change it, without standing on the outside and talking and being bitter. I knew I had to get up with the young up and coming R&B artists and insert my OGism. With Jacquees being the most active consistent young R&B artist, I knew I had to get to him. Once I got to him, I knew I could do the R&B those kids grew up on, if I had someone young doing it. I knew that if I could get that same music on Jacquees it would spark a whole new generate to R&B again. And since not to many of the producers that are out can actually do real R&B, it would put me back on top so to speak.

Respect: What are you currently working on/what is up for next?

Troy Taylor: I am currently working on music with Trey Songz for his forthcoming Trey Songz album. We have some really amazing music on the way. I am also working with a group called Next Town Down and in that group is one of my proteges Trevon Waters. Some of the songs I did for Trey, he co-wrote along with Daniel Breland. Breland (@thepenpointguard) does a lot of the things that I am doing now. He also co-wrote Jacquees songs “Fact Or Fiction” and “Good Lovin” and worked on YK Osiris latest project.

I also did some work on K. Michelle upcoming R&B album and executive produced my little brother Johnta Austin’s album Love, Sex and Religion. His most recent material is the definition of true R&B as it has been in the making for 10 years. He has finally released a body of work as recording artist, making this release his most impressive material to date. This move has allowing me to be fresh, up to date and current while at the same time fixing and bringing back the essence of Real R&B.

Stay up to date with this living legend by following him on social media @troytaylorttu.

The post Grammy Award Winning Producer Troy Taylor: Talks Reviving Real R&B, Friendship With Aretha Franklin & Finding Longevity In The Music Business appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Many became acquainted with BJ the Chicago Kid from his feature on Schoolboy Q’s hit single “Studio.” Following a series of mixtapes, and his 2012 indie album Pineapple Now-Laters the Chicago native presents his Motown Records debut In My Mind.

BJ captured listeners with the LP’s leading single, which has a subtle feature from Chance The Rapper & Buddy. On “Church” he sings about carnal temptation of the opposite sex, “She said she wanna drink/do drugs and have sex tonight/but I got church in the morning.”

On In My Mind you can hear the musical influences of James Brown on his answer song “Woman’s World,” while the groovy “Turnin’ Me Up” sounds like a page out of D’Angelo’s songbook with a hint of Marvin Gaye, his Motown label-mate.

He wants reciprocation of the love experience, not just physical, but from within on the sexy yet gentle “Love Inside” before it eases into the sultry bedroom track “The Resume,” Persuading the intended “hiring manager” that he’s more than qualified for the job. He sings “here’s my resume I wanna work for you so bad/and you hiring me will make all them others mad/one touch it’s going down/I wanna work that body like it’s a 9 to 5.” The six-minute track is very reminiscent of Jodeci’s (De’Vante Swing) early work. Trailing is “Shine” one of the only ballads on the album along with “Falling On My Face.”

BJ becomes quite the storyteller on “Wait Til the Morning” where he pleads his girlfriend’s best friend to remain quiet about their liaison until he thinks everything through. The track slides into another song that appears to be part two, but it seems we’ll have to wait for the next album to hear it. He follows with tale “Heart Crush” when love just isn’t enough to mend the demising of the relationship and staying will only cause heartache. With “The New Cupid” the Kendrick Lamar assisted track, he examines today’s generation of dating, relationships and love. “Cupid’s too busy in the club/at the bar rolling up.” He also brings awareness to today’s state of R&B and his responsibility since most R&B singers have veered from the genre.

BJ was brilliant with the blending of new age and traditional R&B. Clearly he studied artists before him and followed the R&B recipe of heartache, love lost, and the influence of church. He reminds you of his church upbringing and gives us a bible story of Jeremiah the prophet on “Jeremiah/World Needs More…” Aside from you hearing the love he has for his hometown Chicago, he effortlessly switches back and forth between R&B eras. BJ perfectly illustrated where the church and the streets of Chicago meet, as he allowed the world into his mind.

The post BJ the Chicago Kid “In My Mind” Album Review appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

BJ The Chicago Kid recently delivered the visual for his track “Church” featuring Chance The Rapper and Buddy. The first line of the track is, “She say she wanna drink, do drugs, and have sex tonight. But I have church in the morning.” Watch the video below to see if BJ gives in to his temptress.

The post New Video: BJ the Chicago Kid – “Church” ft. Buddy & Chance The Rapper appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

In a transient, media driven world it’s nice to take time and reflect. On this day, April 2, 76 years ago, the birth of Marvin Gaye would forever change the face of music for generations to come. Gaye’s gift includes some of Motown’s greatest hits like “How Sweet It Is,” “Let’s Get It On,” “I heard It Through The Grapevine” etc. and while Gaye (and the music world as a whole) was dealt an untimely departure, his legacy will remain and thrive though not just his words, but as an inspiration to some of the greats and newcomers alike. With his timeless work echoing through the halls of places like the Rock and Roll Hall of Fame, Marvin Gaye has truly been a musical innovator and his rhythmic contribution is something that will last for eternity. R.I.P Marvin.

The post Remembering Marvin Gaye (April 2, 1939 – April 1, 1984) appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Over the years Chrisette Michele has made several memorable guest appearances alongside some of hip-hop’s biggest and brightest stars, lending her distinctive voice to songs like Jay-Z’s “Lost One,” Nas’ “Can’t Forget About You,” Ghostface Killah’s “Slow Down” and Rick Ross’ “Aston Martin Music,” to name a few. Three years have passed since the release of her last album, Let Freedom Reign and now she’s back with every intention of being Better. The 20 song album (deluxe edition) may seem a bit daunting and overwhelming, but a further examination reveals that four of the tracks are short interludes that keep the album moving and hold everything together. And actually listening to the album is even more rewarding.

The album opens with the declarative and upbeat “Be In Love,” which features Chrisette reminding herself that she’s capable of falling in love again despite the troubles that she’s had in the past. “A Couple Of Forevers,” the second track, is a mellow plea that borrows some elements from the classic O’Jays tune “Stairway To Heaven.”  The airy “Rich Hipster” and “Love Won’t Leave Me Out” precede the album’s first interlude, with the former featuring a verse from Wale and the latter insisting that there’s love out there for anyone everyone who is open to receiving it — even the most pessimistic, broken and bruised of individuals.

The album’s title track finds Chrisette Michele relinquishing her freedom to Cupid’s whims, which Chrisette is okay with as long she winds up being, you guessed it, Better. Surrendering herself to his will, Michele finds comfort in believing that she’s right where she needs to be even if she’s not at her best at the present moment. Her vocals really sell this song; her characteristic soulful rasp really elevates. On “Charades,” lush chords, echoing vocals and a strangely effective 2 Chainz verse accentuate the confessions of a guarded and cold woman who has been hurt and burned in the past. It’s unclear whether Chrisette is referring to herself or if she’s just the vessel for a moving story, but that’s the beauty of her delivery. A song doesn’t have to be about her for it to feel like it’s about her: her voice is just that evocative.

There are plenty of anthems out there that celebrate the multiple capabilities of the modern-day superwoman, but with “Supa,” Chrisette explores the other side of that coin, stating her desire to sometimes feel like a little girl and just be rocked to sleep in the most innocent of ways. It’s impossible to be on level ten at all times and Michele is willing to admit that she needs to be loved even when she doesn’t feel pretty or look her best. It’s a very tender confession. In one of Better’s interludes, Chrisette reveals that although she has these huge glass windows in her bedroom, she’s afraid of the dark and revels in being able to hold and be held by someone during the night. Sleeping alone troubles her, but as long as she can “Get Through The Night,” everything will be alright. It is easy to dismiss these somewhat sad confessions as a lack of maturity, but Chrisette’s point seems to be that it takes maturity to confess in the first place.

Overall, Better has something for just about everyone. The topics are relatable and longtime Chrisette Michele fans should find themselves quite satisfied. The multiple producers brought in to handle the project were quite successful at creating soundscapes that work best with what could be called “the trademark Chrisette Michele sound.”  It’s good music for the summertime and beyond. Give it a spin and you just might be Better afterward as well.

The post Album Review: Chrisette Michele — Better appeared first on RESPECT. | The Photo Journal of Hip-Hop Culture.

Photo by Billy Fischer

Few musicians can brag that their first concert occurred on a yacht. In fact, even fewer could brag that their first performance opened for soulful songstress Chrisette Michele. New Jersey singer and rapper Stori has those bragging rights, but she’s probably not going to be too boastful. Humility incarnate, she sat down with us after her first concert to discuss her journey, movies, feminism and her upcoming mixtape, among other things. Her story truly is interesting, pun intended.

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RESPECT: How do you feel after that performance? Do you feel like you were received well?

Stori: I felt great. It went by dumb quick. But I felt great about it and it did feel like after I finished it was well-received.

What about after you started?

When I started, I was just kind of in my own world and I didn’t really notice much, but once the set started to progress I was like, “Okay, they’re feeling it, they’re feeling it.” But in the beginning I was just in another world.

So I read that you’re a movie buff –

– I am!

And you have a mixtape coming up. What movie would your mixtape be the soundtrack to?

Damn! That is like the illest question of all time. Probably like Tank Girl or Set it Off. It’s just really like female empowerment. The mixtape is called Bad Ass Dame. It’s just a bunch of female empowerment. I call some women bitches, but it’s because they deserve and if you’re a bitch, you know you’re a bitch and you’re not gonna take offense. That’s just how it is. But if you’re a lady, you could be a bitch too, (laughs)…I don’t know. That’s just the illest question anyone has ever asked. Good job, Steve. Respect to RESPECT. Magazine…

So I guess it would be any movie about chicks being dope and badass, taking names, not really giving a fuck.

So would you consider yourself a feminist?

I might teeter-totter, but I’m definitely not a feminist.

Definitely not?

Definitely not. I’m not like the picketer or the “hey you can’t do that because women can’t do everything” type. I’m not that girl. But I do want to see women in power. I do want to see women succeed. And I do want to see women stand up for themselves and do things that might be for “guys only.” We can do that shit too! I was on a stage rocking sneakers. ‘Cause I want to! It’s about being yourself and doing what you want to do.

I think that makes you a feminist.

Does it? A little, bit, right?

No, I think all the way. Feminists that are really catty and who are always saying who is and who isn’t a feminist are getting away from the heart of it. The heart of it is just making things equal for everybody, especially women. *

So what would I be? Like a modern 2000’s feminist with a bad mouth? A disrespectful feminist? (laughs)

Sure!

So traditionally, rappers who weren’t black, male and “from the streets” have typically been received with a little hostility. I don’t know about where you grew up, but as a rapper who is white and female, how do you respond to that hostility? If you haven’t felt it yet, how do you plan to respond to it?

Well you know what, I’m sure it’s out there, but I haven’t really felt that specific hostility yet. But I think it’s just extra hard because obviously I’m white. And obviously I’m a girl, so it’s like a double thing, you know? I’ve just gotta go extra hard. But I think the music really speaks for itself. I’m not robbing people. I’m not speaking about how you need to hide your kids and hide your wives because I’m about to take everything up in here. (laughs). The stories are in the music. Just because I ain’t been to jail or I don’t have balls, people can connect to the music. So as long as people can find something to connect to, they can hate you if they want to, but they’re still going to talk about it. I just don’t pay attention to that.

What aspects of your music do you want people to pay attention to the most?

 The raw emotion of it and the content. Pun intended, my name is Stori, so each song is an individual story, so regardless of what anybody’s been through, I feel like if there’s just half a verse or a few bars that they can connect to, I think I’ve done my job.

So you’re here to open for a fellow Motown artist. And the Motown of today is clearly not the Motown of the 1960’s, but it still has that aura. When you think of that Motown aura, what do you think you’re contributing to that legacy?

Well now it sounds like I’m tooting my own horn…but now they’re calling it the New Motown. And Motown itself is just such an iconic name and an iconic place. I just want to bring that raw talent and showmanship that you knew it for. With acts like Stevie Wonder and Marvin Gaye, it was really about the feeling of it and not a whole bunch of smoke and mirrors. So I just feel like getting back to feel good music is where I’m trying to take it.

So your song Bloodclot has this dancehall, ragga vibe to it?

Word? Does it? Alright, let me explain to you what happened with that. So back when I was a little kid, he did “What the Bloodclot” and basically I was just freestyling and redid that. And we just threw it out and it got a crazy buzz overnight. We really didn’t expect it to do that. But we weren’t really going for any dancehall type feel. We were just trying to pay homage. Plus, I love throwbacks. I love that whole feel.

I see. Speaking of throwbacks, your song “Just Another Day” comes from a Queen Latifah song. Alongside Method Man and Queen Latifah, what other artists would you say you’re influenced by?

Lauryn Hill.

Of course: singing and rapping.

Yeah!But then again I also just have a really eclectic sense of taste. Growing up I loved Mariah Carey. I loved Whitney. I loved Prince. I loved the Beatles! It’s a hodgepodge – Biggie, Nas, Jay-Z. It’s all that along with the movies. It’s a whole bunch of shit.

So some of your older songs were hard to find on the internet? Why are those things hard to find? What is the difference between the Stori on “Jealousy” and the Stori on “Bloodclot?”

There is no difference, really. They’re all just kind of autobiographical. On “Jealousy” I talk about a group of chicks in high school that weren’t really feeling me. And I’m like you know what, I roll with dope bitches and you’re going to be screaming from the checkout line in a few years. And “Bloodclot” was like going for an old school feeling, back when shit was wild and crazy. “Jealousy” and things like “Rude Boy” and those older songs, we took all that off because none of that is going on the mixtape, and we’re about to put the mixtape out. We’re also working on an album, so we just wanted to create a little mystery and keep y’all waiting a little bit.

But do you think you’ve developed since those older songs?

Yeah, I’ve been writing my whole life and I think there’s always a progression and a learning process. Since “Jealousy” and “Stori Time,” I think the main thing is that I’ve gotten more confident. But I don’t think that too much has changed.

But confidence is a big thing though –

Yeah, but I don’t think it’s a noticeable thing, from that time to this time. But those were good times too. (laughs)

So there’s not that many people who have been able to successfully sing and rap. I don’t mean that in terms of records sales, but in terms of maintaining the persona of a singer and a rapper without becoming schizophrenic or heavily leaning towards one. What do you do to make those two different skills and personas complement each other? Does it take effort?

I just stay kind of schizophrenic. I think that’s the only way to keep both worlds alive. People ask me all the time, “Which do you really like better?” I’ve been singing my whole life so I feel like its more natural, but I love them both equally. I’m split down the middle. So I couldn’t choose one. I just like living on the border of both worlds. I don’t find it difficult to go between them.

Do you feel that one or the other has certain benefits? If you wanted to be aggressive, wouldn’t you definitely choose rap? Or if you wanted to be more melodic, would you definitely choose singing? What are the pros and cons of each in your mind?

I think there are more pros than cons because if you hear a track that you don’t see any melody for, you could throw a 16 on and by the time you’re done writing your 16, you might have heard something and can now throw some melody in there. But I think that a con in hip-hop is that people are always looking for who you’re beefing with. I’m not even about that shit. I just want to put out good music. So whether it’s with singing or rapping, it’s just got to feel good.

I guess that goes back to your earlier comments on Motown. You just want to make feel good music.

Exactly.

You were featured on Funkmaster Flex’x mixtape. Was that a milestone for you?

Hell yeah! Especially being from New Jersey. Hot 97 ran my life growing up (laughs). I was always listening to Flex so when we got the word that he was going to throw it on his mixtape, I was like oh shit, that’s kind of dope! From that I actually had someone recognize me in Atlanta. I introduced myself as Stori and they were like, “You’re Stori?!” and I stopped and was like, “Do you seriously know who I am?” It was a funny moment, but it was a new experience. This is a crazy ass journey that I’m on right now, man.

What are some other big moments in your journey so far?

Well this (opening for Chrisette Michele) is definitely one of them! Just last week I did the summer lookbook campaign with Karmaloop so that was another big thing. The mixtape finally has a date and it’s coming out. We’ve got the video for “Pocketbook” coming soon. It’s really  a lot of stuff happening and I just want to sit back and watch because it’s going so fast. I’m so excited for everything because every little thing just feels like a big moment, especially tonight.

 My last question is: what’s your favorite movie?

I go through phases with movies, but for right now, I’m going to go with Vanilla Sky. It’s official. I love those cerebral, crazy movies. It changes, but for now I’m going to go with Vanilla Sky.

*Editor’s note: This is not to imply that all criticisms by feminists are unwarranted or that feminists are the only activists who deal with divisive internal conflicts.

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