Mayer Hawthorne grew up in Ann Arbor, Michigan, just outside of Detroit. He vividly remembers as a child driving with his father, and tuning the car radio in to the rich soul and jazz history the region provided. “Most of the best music ever made came out of Detroit,” claims the singer, producer, and multi-instrumentalist who count Isaac Hayes, Leroy Hutson, Mike Terry, and Barry White among his influences. However, he draws the most inspiration from the music of Smokey Robinson, Curtis Mayfield, the legendary songwriting and production trio of Lamont Dozier, Brian Holland, and Eddie Holland Jr.

The “retro” tag is added to almost any contemporary work that sounds like it was originally recorded between 1966 and 1974. Hawthorne, among the newest contributors to the genre, is aware of how trends come and go. After being introduced to Stones Throw label head Peanut Butter Wolf by mutual friend Noelle Scaggs of the Rebirth, even his current boss was skeptical. “He showed me two songs and I didn’t understand what I was listening to,” Wolf recalls. “I asked him if they were old songs that he did re-edits of – I couldn’t believe they were new songs and that he played all the instruments.”

And after meeting in person, it was even harder for Wolf to believe that Hawthorne was also the lead vocalist. Few expect such heartfelt sentiment to come from a 29-year-old white kid from Ann Arbor, but he has caught the ear of his family at Stones Throw, as well as BBC Radio 1 host Gilles Peterson and producer/DJ Mark Ronson. Expectations are high for the admitted vinyl junkie who never planned on taking his crooning public. Hawthorne’s hanging-by-a-string falsetto and breakbeat production on his first recorded effort, the tender “Just Ain’t Gonna Work Out,” are simultaneously Smokey and J Dilla – equal parts “The Tracks of My Tears” and “Fall in Love.” “It’s soul,” he explains, “But it’s new.”

Hawthorne has produced and played instruments for much of his life, but never intended to become a singer. He isn’t formally trained, and never sang in the church choir or in any of the bands he was in before founding the County (formerly the County Commissioners). But here he is, new school soul sensation, who has taken the Motown assembly-line production model and eliminated nearly every element, but himself and a few hired hands. “I think Mayer is the only artist in the history of the label that I’ve signed after hearing only two songs,” says Peanut Butter Wolf. “Sometimes, you just know it’s the right thing to do.”

And for those willing to believe anything is possible, be grateful to have Mayer Hawthorne on the scene. It’s not just throwback music anymore – this revival is all about progression.

By Ronnie Reese

Motown has molded the hearts and minds of music lovers all over the world. From Michael the Moonwalker to Dream Girl Mary Wilson, the House that Berry built has produced countless hit makers for the last 51 years. So how befitting that it is the recording refuge for Canadian songstress Melanie Fiona whose voice is as timeless as her personal elegance and style.

Her debut album, “The Bridge” was released in November of 2009 as the feverish follow-up to her 9 month old single “Give it To Me Right”, and ode to self pleasure when her love interest doesn’t quite measure up. Fiona’s freshman release is a cohesively clever composition of songs that speak to the minds and hearts of men and women who’ve experienced hard love, strong love, crazy love, and all points in between.

With model perfect looks, one would believe the talent of this gorgeous Guyanese goddess could simply hinge on having a marketable look and good studio production, the common anecdote for today’s most popular musicians. Yet Melanie is the antithesis of the “Pop” one hit wonder. Her throaty runs on heartbreak and misguided devotion are anthems to cure loss love with a simple whirl and twirl on the dance floor.

2010 will definitely be a break out year for this star, yet she remains humble. You can tune into her Vlog on Youtube where she chronicles her tour experiences and frequently extends to fans acapella renditions of some of her favorite songs from the Softones, Martha and the Vandellas, and the Zombies . A variety of the tracks on her album like “Monday Morning”, “Walk on By”, and “Teach Him” borrows from the soulful syncopations of yesterday to add a refreshing flair into the modern day matters of the heart we all face today.

The musings of Melanie Fiona will truly add some stank to your step as you channel your inner Naomi on your next trip down the catwalk. Far from the risqué rhetoric that clogs musical airwaves today, Melanie was made to soothe and serenade the lover in you!

Words by Raygon Fields

Philadelphia’s own, Phylle (pronounced Philly), is inspired by music that is therapy for the soul. “The One” represents real love from the beginning to the end.

As the sound and allure of once hard-edged and in-your-face Hip Hop morphs into more radio-friendly tunes with a pop crossover appeal, new artists such as Phylle (pronounced “Philly”) have suddenly appeared and begun to assume their position in the game. Larry “Phylle” Carter, whose stage persona represents his hometown’s (Philadelphia) nickname as well as a hybrid of his parents’ names, presents his debut project The One. The album features half-hustler lyrics and half-crooner style melodies for those willing to enter the psyche of a semi-schizophrenic entertainer’s two toned spectrum of ideas. As the founder/CEO of Real Talk Music, LLC and the first artist to be signed under the imprint, Phylle’s also developing his entrepreneurial hand as well as presenting the world with something to whet its appetite for the young artist’s slow-burning career.

Reminiscent of a few of the top-selling rappers and producers of the last decade who’ve taken on a happier, more sing-along style of lyricism (of course in an attempt to broaden their consumer fan base), on The One Phylle awkwardly straddles the fence between two vastly different fields of music. Boasting with the type of bravado evident in the male dominated world of Hip Hop, Phylle’s imperfect phrasing seems to fall short of inspiring and rides steadily into a less combative subgenre. Instead, his topics of discussion mostly dwell on overt sexual innuendo with records like the lead single “Making Love,” “Wet Dream” and “Digital Sex” – the latter of which climax with total runtimes that indicate interludes rather than potential radio singles. Each are attempts to suggest Phylle’s yearning for intimacy in song, but like the old saying, Phylle must remember that less truly is more.

When he’s not trying to grab your attention with a clever rhyme scheme, Phylle’s right hand is stuck in nostalgic R&B. Singing in an underdeveloped tenor’s tone, an often pitchy projection and that “mack daddy” attitude, Phylle may have a hard time persuading a global market of whether or not he’s an up-and-coming R&B vocalist from yesteryear (think Ginuwine and Bobby Valentino) versus the star rapper of tomorrow. Yes, the vocal arrangements and a few harmonies are indeed creative, but they lack the strength and continuity of past hits and the catchy compositions we’ve come to know and love from rappers/singers of this sort. One might even suggest Phllye choose which side of the game he prefers before the next offering. In fact, it seems Phylle hasn’t completely convinced himself whether he wants to make you two-step in the clubs by “singing over Hip Hop beats” or if audiences are expected to be enlightened by what he has to say.

Memorable tracks from the album include “Let Me Love You” for its blustering horn arrangement and the throwback “Oh Sheila” featuring guest rapper Al King. The most random part of the effort is Phylle’s “Santa Please” – a sampled request written and sung to Old St. Nick for the girl of Phylle’s dreams which really just seems out of place with the stuttering momentum of The One. Either way, whatever he decides to do, Phylle’s in a vulnerable place and might soon be forced to abandon Hip Hop altogether and increase his study of R&B in order to perfect the next project. In the meantime, listen to The One with open ears, but get ready to experience a mack down.

Connect with Phylle and check out more music by visiting www.phylle.com and www.twitter.com/phylle.

By Terron D. Austin

Terron D. Austin is a contributing editor and music writer currently residing in Cincinnati, Ohio.

Photography by Ryan G Photography

Newcomer Andy Allo hails from Cameroon, West Africa with her guitar as her companion and a charming sound she says has been influenced by real musical royalty such as Erykah Badu and Jill Scott, Hip-Hop’s spacey duo OutKast and even the late King of Pop himself – Michael Jackson. She’s quickly stepping into her own, however, with a brand new genre she affectionately calls “Alter.Hip.Soul” – a self-made concoction carrying the weight of alternative, Hip Hop and soul undertones, but for now, we’ll just call each of the 12 tracks found on UnFresh, Andy’s official debut purely feel good music.

Having been making music as well as performing live with her band for just under a year, Andy Allo is poised to become one of the industry’s breakthrough artists if she retains the momentum set forth by her debut offering. Released independently this past fall, UnFresh features a girl with grit, spunk and a style all her own. Though it hasn’t been long, the cool chemistry between Andy and her band plus their oscillating ode to Hip Hop’s golden children The Fugees among others (check out the breezy opening number “Fly Away” featuring The Tones to see what we mean) is what makes this group of musicians so unique. Taking that kind of daring musical approach and blending it with strong lyrical content draws first-time listeners in with ease. It’s not too far out there nor is it so familiar that you’re too comfortable and taking it for granted.

UnFresh lacks one thing though – that surefire hit many new artists need to make their mark. Filled with mostly lazy Sunday afternoon tunes or those sweet joints some of us like to ride to on those long vacations and car drives, UnFresh does boast a few must-haves. Check out the title cut (which falls halfway through the album’s full sequence) with its atmospheric string and funky vocal arrangements. Coupled with a few monotone bars by a guest emcee known as Flave and Andy’s swift transition between rhythm, rhyme and rhetoric, “UnFresh” is actually a clean take on the future of soul/Hip Hop fusion and is definitely a tune you’ll bob your head to all day long.  There’s also the stripped down “Knew You At All,” a brave acoustic tale about a former love and the symphonic samples strutting through the funky “Dreamland” (featuring guest artist Blu) like a Disney movie soundtrack. If you’re gearing up for something left field, you won’t find that pinch of alternative you might be looking for. Instead, UnFresh adds to the mix a few stellar choices to keep Andy out of the one-hit wonder category for quite some time.

All at once sincere, passionate, beautiful and liberating, Andy Allo’s subtle sound and writing skills on UnFresh are remarkably refreshing. It only adds to the mix that she’s undeniably striking with that captivating smile and unforgettable “girl next door” energy. Easily placing her in the league of guitar-strumming and soul-singing sisters Vivian Green, Corinne Bailey Rae, Laura Izibor and Alice Smith, this record launches the promising career of a new starlet whose full potential has yet to be fully introduced to the world.

To learn more about Andy Allo, visit www.andyallo.com. Twitter: www.twitter.com/andyallo

By Terron D. Austin

Terron D. Austin is a contributing editor and music writer currently residing in Cincinnati, Ohio.

Photography Jesse Vasquez | Makeup Artist Melody Mora

Rarely does an artist impact the music industry with a seemingly continuous stream of new music like singer/songwriter/producer prodigy Ryan Leslie has done. Nearly eight months following the release of his critically acclaimed self-titled debut, Ryan delivers his sophomore set Transition (released November 3^rd on Universal Motown), a sincere sonic saga detailing some of his most intimate musical recollections of the highs and lows of a summer love.

Emotionally charged, cleverly written, and precision produced are each of the 11 tracks (14 if you can get your hands on the special edition version) featured on Transition. Ryan again proves his musical genius by continuing to showcase the many gifts he possesses and sharing with the masses what we’ve come to know and love him for since the instantly classic first album which spawned radio hits “Diamond Girl” and “Addiction” – his music tells a story, it’s music we can feel. The self-taught pianist and multi-instrumentalist returns to the spotlight dressed in the best brand of soulful R&B-infused garb and trust us when we say he wears it well.

“This album is a collection of songs inspired by a summer of secret love,” Ryan stated just before the album’s release. The album transcribes messages within his heart and tells the story of Ryan’s struggles to make sense of his relationships with women. It celebrates the liberation found in living and loving freely. “In the end, I chose you and you chose the life that you had before me,” continues Ryan. “Nonetheless, the world will forever have this music and I will forever have the memories.”

Transition is powered by the lead single “You’re Not My Girl,” a guitar-laden funk/R&B jam that’s equally infectious as it is full of Ryan’s raspy vocals and his witty conversation starters. The tune tackles life with the kind of macho attitude and ego it takes for a guy to sweep a girl completely off her feet. Ryan also co-directed a documentary-style video called “The Making of Transition” which features interviews and footage from the creation of the new album and the experiences Ryan says inspired him to write the music. Furthermore, Transition is highlighted by the endearing ballad “I Choose You,” the mellow vibe of “All My Love,” and “To The Top” which showcases Ryan’s ability to soar through a song with his signature sound.

But if you’re recently catching onto the phenomenon known as Ryan Leslie, you must first get acquainted with the tenacious star’s business-savvy intellect. Currently traveling abroad and living between Harlem and Hollywood, the 1998 Harvard University graduate earned his degree in Government with a concentration in political science and macroeconomics before signing with Casablanca Records/Universal Motown in 2003. The world was then slowly but surely introduced to the distinct sound Ryan spent many a night during his college years perfecting. After a brief production internship with producer Younglord and a series of calculated movements, Ryan’s genius began impacting the airwaves with hits like sexy pop/R&B singer Cassie’s “Me & U,” which became the #1 R&B and #3 song on the Billboard Hot 100 in 2006 due in part to strategic online marketing campaigns and sharp viral promo through the use of YouTube, Myspace, Facebook and most recently, Twitter.

Today, Ryan is busy being a musical pioneer. He’s signing new acts to his music and multimedia company NextSelection Lifestyle Group all while touring, promoting, and churning out the hits for some of modern R&B’s biggest acts from Mary J. Blige, Keri Hilson, Jazmine Sullivan, Fabulous and Chris Brown. It seems like this R&B crooner’s real transition into the stratosphere of superstardom is just beginning.

www.twitter.com/Ryan_Leslie

By Terron D. Austin

Terron D. Austin is a freelance editor and contributing music writer currently residing in Cincinnati, Ohio.