When artists and record labels are in need of a hit song, one of the people they call to deliver the feat is the Chattanooga, Tennessee born Adonis “A.D. The Phenom” Shropshire. A member of Sean “Diddy” Combs’ production and songwriting team “The Hitmen,” and writing partner of Brian-Michael Cox and Kendrick Dean, Adonis has emerged as a top-notch talent known for his impressive resume of chart topping singles for many of today’s popular R&B/Pop artists: Usher & Alicia Keys (“My Boo”); Beyonce featuring Diddy and Ghostface Killah (“Summertime”); Ciara (“And I”); Diddy (“I Need A Girl” Part 1 & 2); Chris Brown (“Say Goodbye”); Danity Kane (“Ride For You”). With over 50 million records sold and a few Grammy awards under his belt, including “Album of the Year” honors for his credits on Mariah Carey’s “The Emancipation of Mimi,” the illustrious songsmith spoke candidly with A&R Department about the elements of writing a smash record, how to earn song placements, and the role of management. 

What would you say are the fundamental elements of songwriting?  

Melody, lyric, concept of the song, and simplicity of the song. I think all four of those things play an impactful part into making a hit record. Like, you can have a song that…remember when SWV had “Weak” out, a lot of girls didn’t know what the hook was saying, they just knew the melody: “I get so…[sings melody]. So the melody won that battle. As long as two of those four things work—it will always work.

So would you say that consists of, let’s say—a formula? 

Different writers have different formulas. I think whatever works best for the results that you get. I know some writers like to write with the music playing the whole time—they just keep looping the music. I can’t write like that. That’ll make me keep starting over…‘cause once the music has got past the part that I wrote—then it’ll keep going; and then once it goes back—then I’ll have to start over again, so I feel like that stagnates the writing process for me. So I don’t write with the music on at all. And some writers like to use paper and write everything down. I can’t. I feel like that slows me down, so I just go in the booth and go off the top of my head. So there’s different processes people use, you know. 

What would you say is the most important aspect of getting a song placed?

Presentation. How fully complete the song sounds. How well you prepare the song for playing. Vocals shouldn’t be all loud and you can barely hear the beat or vice-versa—there shouldn’t be loud music and you can barely hear the vocals. You should really take time and make sure that your record is presented the right way so that the label or the artist—whoever’s listening—can feel like…you respected their craft enough to come with your stuff ready to listen to.

You should really take time and make sure that your record is presented the right way so that the label or the artist—whoever’s listening—can feel like … you respected their craft enough to come with your stuff ready to listen to.

How important is management? 

Extremely important. Management can be the sole thing that causes you to be a superstar or the thing that causes you to be a nobody—no matter how talented you are. Management is supposed to be the person that gets your talent to the masses. So, it don’t matter if you can rap better than Jay-Z. If your management can’t put you in front of somebody who can recognize that, then you’ll always just be the hottest n—a on the block. 

In terms of creating songs, when you’re collaborating, how does each contributor’s personality factor into the creation of a song?

It’s hard sometimes to write records with people when you have different processes. So what you do is…you both abandon your processes—separately—and try to find a common ground. For instance…like I said, I don’t like to write with paper and I don’t like to write with the music on. But if I work with somebody who likes to do both of those then what we would do is, I would go in the booth and get behind the mic, they would sit in the control room, and whatever I say they’ll write it down and then we’ll record it immediately. So then that way we both feel comfortable about the way that we’re working. I don’t feel like I’m having to write lyrics down and slow up, and they don’t feel like they’re having to move too fast. You just find a common ground that works for the song, because the important thing is the song—it’s not the people. Any two people can write a song. The important thing is the song. You never want to lose that that’s the reason why you’re there. 

What should songwriters do to ensure they’re financially compensated appropriately for their contribution to a song? 

That comes from your management. It’s crazy ‘cause labels and management of other artists would do whatever they need to do to make sure that their client’s career goes as well as possible. And the object of labels is to spend as little money as possible and make as much as possible. So if they can get you to do something for them for free, they’re gonna do it. They’re gonna ask for little to no money. They’re gonna ask that because…especially the state of the industry right now, they not trying to spend no paper that they don’t have to spend—like no excess paper. So, you have to make sure that your management is in pocket and that they demand certain things from you, and if the label really wants to work with you or wants work from you, they’ll do whatever they feel like they need to do to make sure that you’re taken care of so that they can get what they need from you.

How has the landscape changed for songwriters now that everything is going digital? Does that change anything?

Nah, nah. Media is media. The only thing that changes is the way we make money. Not necessarily how much money we make, just the way that we make money. I think good music will always prevail—whether they’re making CDs or whether they’re making digital iPods or whether they’re making…whatever, you know…phonographic ends. Good music will always prevail. We’ve gotten so…to where we think “ah man, the industry’s messed up. Records ain’t selling like they used to.” Yeah, ‘cause records ain’t good like they used to be! We had classic joints back in the day like “Diary of a Mad Band,” Boy II Men’s “II.” Them joints came out in like the same year, almost. You know what I’m sayin’. How you got two classic albums like that come out in the same spot by rival groups? ‘Cause they were taking their time making records. Like, we [music industry] weren’t just trying to hurry up and get a song on the radio—and trying to get ringtones. I believe that’s what messed us up. We started thinking all this fast money is quick. But then we lost track…we lost sight of the long money and that’s why we’re suffering.

 Adonis is currently in the studio working with his new girl group “Melrose,” and has already received records from A-list producers Danjahandz, Rodney Jerkins, Swizz Beats, and Brian-Michael Cox.

Traditionally, recording artists have been the principal recipients of public praise and admiration for their creative offerings, and are generally recognized as the face of the music industry. But with the success of highly acclaimed producers such as Timbaland, Pharrell Williams, Kanye West and Swizz Beatz, notoriety has shifted from being exclusive to artists, as the composers behind the hits are now starting to garner equal attention in the spotlight.

Capitalizing from the rise of popularity in musical production is the service company, iStandard Producers. Started in 2005 by founders Don Di Napoli and Jason “J. Hatch” Hadshian, iStandard Producers connects promising beatmakers with the recording industry at-large. A hallmark of the company is the monthly globetrotting iStandard Producers showcase, which offers fledgling producers the forum to display their production skills in a formal beat battle. The event mobilizes members of the music community to assemble, network, collaborate and promote their artistic efforts in a sonic-friendly environment.

“The main purpose is to provide opportunities for up-and-coming producers to get seen and heard by the industry that they try so hard to get in front of. We break down the barriers and share our relationships with the producers. It’s also a great atmosphere for artists and producers to build and create music from the underground level up,” states J. Hatch.

In addition to executive duties, J. Hatch functions as the host of the event, setting the mood for the aspiring producers to confidently tout their material by employing the mantra that “every contestant is a superstar.” Since the iStandard Producers showcase is a competition, a myriad of music professionals (A&Rs, publishers, producers, etc.) are commissioned to judge the talent and offer their critiques of the producers’ respective tracks (sometimes to the contestants dismay). 

Although the panelists serve as arbiters of the music, they are also there to assess the producers’ potential for future opportunities and projects. In fact, a few iStandard Producer showcase participants have placed beats with some of urban music’s biggest names. “Producers that have been in our showcase have had placements with the likes of 50 Cent, Fabolous, Jill Scott, The Clipse, Snoop Dogg, and many more. We never promise anyone that they will be guaranteed a placement from our shows, you just get the connects and from there it’s on you,” says Don Di Naopli.

While New York City and Philadelphia have been the primary locations for the contests, iStandard Producers has extended the brand to include other cities such as Atlanta, Chicago, Los Angeles, Las Vegas, Phoenix (this past March, the company packaged its format and participated in Sha Money XL’s 2008 “One Stop Shop Producers Conference”), and Miami, where they are hosting a “Beats on the Beach” showcase in October. (Plans are also in development to venture into Boston, Houston and Virginia.)

Even though iStandard Producers is an event that helps producers hone the technical aspects of their craft and provides new talent with a gateway to enter the music industry, it is also a valuable medium for novices to learn and educate themselves about the business of music production. And while receiving advice from industry insiders is normally difficult to obtain, the perks the showcase offers new producers is invaluable. “To gain knowledge from some of the most influential in music is priceless,” concludes J. Hatch. 

To learn more information about iStandard Producers, visit their website at istandardproducers.com.

    

Imagine if you were a new recording artist trying to establish a career in music and suddenly one day you find yourself performing at the home of a musical genius; an American icon. Well, this was the case for R&B singer James “Jaiden” Roston. The Long Island, NY native had the prestigious honor of showcasing his talent at the residence of the man that brought the world “Thriller”—none other than the venerable Quincy Jones. Following his performance, the legend and newcomer engaged in conversation, in which the famed producer stated that “real music is the cure for the industry,” hence Jaiden’s nickname as “The Cure,” which he’s been dubbed.

Although Jaiden is a newcomer in the eyes of the public, he certainly isn’t a newbie to the music industry. Formerly signed to Rich Harrison (producer for Beyonce’s “Crazy In Love” and many other hits) and his Richcraft/Atlantic imprint, the talented singer/songwriter/musician gained hands-on experience working in the shadows on a number of high-profiled projects: he sung background vocals for John Legend (“I Can Change” featuring Snoop); toured as a background vocalist for Jay-Z (“American Gangster” tour) and Puff Daddy (“Press Play” tour); and written records for Case, Carl Thomas, the popular Japanese R&B group Full of Harmony, Jeannie Ortega (Hollywood Records) and a few others.

After accumulating a wealth of knowledge behind the scenes, Jaiden is now stepping out to establish his own recording career, providing the world with his rendition of good R&B music. A tireless live performer, Jaiden has built a reputable name on the independent music scene for his rapturous vocals and exhausting stage show, connecting with fans and garnering a legion of loyal supporters in the process. And his hardworking efforts aren’t going unnoticed either, as music entities are beginning to show an interest in becoming active participants in the growth of his career.

With Jaiden’s fan base steadily increasing, a number of songs have been circulated to satisfy the rising demand for his music. The material he currently has in the marketplace is a contemporary version of classic R&B, where lyrics and subject matter are paramount. A few of the tracks making the rounds are the amorously seductive “Breakfast” and the memory evoking “Flashbacks.”

One of Jaiden’s more popular songs being serviced at various music outlets is the infectious and provocative “Paradise,” which expresses the mental stress caused by some of life’s ills and his yearning of escaping to a place free of such strain. On the song, Jaiden touches on a number of social issues, including racial profiling, as he sings: “Damn I look back in the rearview/fifth time this week stopped by the blue crew/aint no herb in the truck and I sure wasn’t speeding (they still gonna take me down to the precinct). Grew up in the ‘burbs with the same hood problems/single parent home, discrimination constant/ain’t no criminal but they still don’t see/what’s beyond my fitted and my fresh white tee.”

In these economically depressed times when consumers are being more selective about the music they purchase and record labels continue to grapple with the restructuring of the industry, a mature and experienced talent such as Jaiden is a valued commodity worth serious consideration. Despite the proliferation of manufactured artists entering the music business to obtain celebrity, financial security and other benefits, Jaiden pursues a career in music due to his unyielding enthusiasm for the art form. “There’s other things that I’m good at, but there’s nothing that I’m more passionate about,” says Jaiden. If the music industry intends to restore the faith of the buying public, then music companies need to put a premium on the quality of content being released by investing in talent with a commitment to artistry and longevity, and Jaiden is certainly an artist that meets both of those standards.

   

When most people think of Chicago, they probably associate the city with Michael Jordan, the Chicago Cubs, Oprah Winfrey, Taste of Chicago, or the Sears Tower. But much like the two larger U.S. cities⎯New York and Los Angeles⎯Chicago is identified as much for its crime as it is for its commercial activities. (Chicago is a city with a rich history of high-profiled gangsters: Al Capone, Sam Giancana, Jeff Fort, Larry Hoover, et. al.; and gangs: Vice Lords, Gangster Disciples, Latin Kings, et. al.) While fans of urban music have marginally come to know Chicago through the musical efforts of R. Kelly, Kanye West and Common, a diminutive rapper with boyish features intends to provide audiences with a more comprehensive portrait of “the Chi.”

Ralph “Marvo” (short for Marvelous) Metcalf grew up in Harvey, Illinois, and was raised in the streets of Chicago. Living in an environment where gang culture is very prevalent and pretty much customary, Marvo found himself at a young age engrossed in the lifestyle so accustomed to his neighborhood. After being shot and realizing the route he was traveling would eventually lead to a tragic end, he chose to seek salvation in his pen, turning his penchant for creative writing into songwriting.

The song clearly displaying Marvo’s promise in the rap game is the cleverly written “Dreamz of Kidnapping an Industry Exec.” Composed in the tongue-in-cheek style of The Notorious B.I.G.’s “Dreams” and 50 Cent’s “How to Rob,” the Chicagoan’s opus expresses his frustration with the unscrupulous investors he’s encountered throughout his quest for a record deal, and the music industry’s lack of recognition for his talent. The concept of the song describes Marvo’s cunning plot to kidnap Jay-Z (the track was recorded during the rapper’s tenure as President of Island Def Jam), just to get the former label executive to hear his demands as to why signing him would be a wise investment. Upon completing the song’s final verse, Marvo boldly emphasizes his worth by craftily tagging it with the audio of “Hov’s” dialogue from the movie “Backstage,” where Jay-Z mentions: “it’s a n—a right now somewhere, he at the table with a bowl of Apple Jacks, and he’s reading the back of the cereal, and in between eating the Apple Jacks, he’s writing some s—t, and he want my spot.”

While “Dreamz” highlights Marvo’s aptness as an MC, the introspective and pensive “Just Breathe” showcases ‘Vo’s depth, as he reflects on the psychological and internal struggles of trying to escape the pitfalls of life in the slums, rhyming: “puffin’ sticky for stress/only to find out I was better off if I start smoking less.” What distinguishes Marvo as more than a “rapper from the ‘hood” is his keen perspective and ability to articulate the rampant socio-economic problems occurring within his native Chitown. The track “Step Into the Bad Side” offers listeners a detailed account about life in the street of the Windy City via his vivid rhymes and poignant commentary.

Marvo’s “supreme money maker” mentality and distinct understanding of both his value and purpose as an artist set him apart from many of his fellow unsigned contemporaries, as he states: “my main goal is to go down in the books—go down in history as one of the best MCs ever.” Despite being a new artist on the come-up, Marvo possesses the poise and confidence generally associated with veterans, and has an ability to compose songs with the clarity and insight usually exemplified in the material of great artists. If Marvo partner’s with the right producer(s) to streamline his sound, serving as the Puff to his B.I.G., Dre to his Snoop and Eminem, or the Preemo, Just Blaze and Pharrell to his Jay-Z, then he too can be remembered as one of the legends that he so desires to be, enabling music executives to breathe a sigh of relief from the thought of being abducted.