Gerald LeVert
THE G SPOT
Vocal Powerhouse Gerald Levert Touches Some Nerves on G
It's fair to say that Gerald Levert was raised on R&B. Levert is the son of the legendary O'Jays' frontman Eddie Levert Sr., and his old R&B group, Levert, teamed him with his younger brother Sean. But it isn't always a family affair for the gifted vocalist, who has worked as a songwriter and producer with Patti LaBelle and Barry White, and who formed the super-group LSG with Keith Sweat and Johnny Gill. Since going solo with the release of PRIVATE LINE in 1991, Levert has honed a distinctive style that blends elements of classic soul with new jack swagger. On the heels of his groove-happy G, Levert took time to discuss his new sound, old school-chops, and a Vegas-filled future with bn.com's Martin Johnson.
BARNES&NOBLE.com: What was the transition from your last disc, LOVE AND CONSEQUENCES, to G?
Gerald Levert: During LOVE AND CONSEQUENCES, I was going through a breakup with my fianc´e. That album was a reflection of my being sad and hurt and going through changes. This album is about my celebrating life and looking for something new. I'm trying to decide what kinds of things I want out of life now, and I'm happier and more positive. I've been so sad and gloomy in the past, always the victim. I got tired of that. This recording reflects the lighter side of me. Musically, it's not a dance record, but it's a good listening record. It's a good record to make love to.
BN: You've worked with so many different great musicians. Are there still artists on your wish list?
GL: Not really. I love working with the greats that I grew up listening to like Patti LaBelle and Barry White. I just did Motown Live with the Four Tops, and those are the experiences that make my career come full circle. Then recording FATHER AND SON with my father was my dream. I'm sure that there are [more] things I could do that would make a major impact on my life, but doing a record with my Dad was the ultimate.
BN: What are your favorite memories of growing up around your Dad and the O'Jays?
GL: Just going to the concerts and seeing how competitive it was back then. When there were five or six acts on the same bill and that was just great. You'd have Patti LaBelle, George Clinton, The Spinners all on one show. Nowadays, people don't put that much into their live performances. They use DATs. You don't see the work ethic like it was back then. You don't see the competition you had back then. That's what I miss most in the music these days. The live performance is lacking.
BN: What are you listening to these days?
GL: D'Angelo, Sisqo, and I listen to a lot of old stuff. A lot of Marvin Gaye, Barry White, and Curtis Mayfield. That brings a warmth to me. That's what I grew up on.
BN: What changes have you seen in your work over the years, in both songwriting and production?
GL: As a songwriter, I've become deeper, a little more clever. After you go through a few things in life, you become deeper and you begin to interpret those experiences in song. Production-wise, I try to keep it simple and really focus on the vocals. The vocals are what really sell a song, and I like the music to be just an added little touch to what's already there.
BN: Where do you think you'll be five years from now?
GL: Hopefully I'll be in a position to retire. Not that I want to retire, but I want to be in a position where I can work when I want to. I'd love to work Vegas. A lot of young R&B acts don't think like that. I'd like to have a job like Bill Cosby, where they call me to perform at Caesar's Palace for like $300,000 a week. That's my goal. Maybe it won't happen. Also, I just want to write some great songs and to be known as one of those R&B singers that was respected and liked.
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