[ads] : Songwriter Producer Singer Ivan Armatias
Judul Iklan*: Songwriter Producer Singer Ivan Armatias
Kategori Iklan*: musics
Isi Iklan*: Ivan Armatias isn't your average singer/songwriter. Born and
raised in Brooklyn, NY. Ivan is one of the top songwriters in the game!
Responsible for some of the biggest R&B hits and album favorites in the 90s
and 2000s. Ivan got his start in the business dancing for artists and later
performing background vocals. He signed his first publishing deal with
Warner Chappell at age 18. Ivan and his good friend, recording artist &
songwriter Andrea Martin began writing hits together in the 90s, they met
while attending Fame the school of the performing arts. The dynamic duo
would go on to write hits for such artists as SWV, En Vogue, Queen Latifah,
Changing Faces, Immature, Angie Stone, Tracie Spencer and the list goes on.
As a recording artist Ivan has recorded and released such singles "So Good
(to come home to)," written by the incredible Diane Warren & "Messing
Around" which appeared on the Mod Squad soundtrack. Ivan also appeared
with Changing Faces on the track "Do Little Things" from the Dr.
Dolittle soundtrack. As an artist he's had 4 major record deals (Atlantic,
London/Polygram, Arista & Elektra) and lived in London four years while he
was signed to Arista (he can sing in six different languages). Winner of 7
ASCAP awards, a Soul Train Award winner and nominated for a Grammy, American
Music Award and Billboard Award Nominee.
Ivan is easily one of the most talented & creative artist in the business.
In 2002 Ivan created and managed Caushun "The Gay Rapper" which was an
internationally acclaimed parody rapper that was featured on MTV, BET, VH1,
NY Times and Hot 97 to name a few.
Aries from UrbanBridgez.com recently had the opportunity to speak with Ivan
for our Industry Talk feature and got even more than what we expected from
the interview as Ivan opened up to UB about various topics. Including his
amazing discography, being a recording artist, Caushun "The Gay Rapper,"
his favorite artists he's worked with and alot more. On the flip, Ivan
opened up to us about some of his crazy experiences including working with
En Vogue while they were in the process of breaking up, his thoughts on
racial tension and sex & nepotism in the industry. Ivan even recalls and
speaks on being cheated out of producing credits earlier in his career,
breaking up an argument with singers Brandy & Adina Howard and even details
his own argument with Keri Lewis, ex husband of Toni Braxton regarding
"Better Man" a song Ivan wrote for Toni's "More Than A Woman"
album.
If you're in the industry, a fan of the industry or want to be in the
industry, this is an interview you don't want to miss! You won't come
away from it not learning anything and in the process you will also realize
how many other talented amazing arrangers/songwriters are behind the scenes
outside of the mainstream ones you hear about.
The industry as a whole is a machine and Ivan has been one of the most
important parts since the 90s!
———————————————-
UrbanBridgez.com: How did you get your start in the industry?
Ivan Armatias: When I was about 13, my sister was dating rapper Doctor Ice,
who'd been a member of UTFO; best known for their hip hop classic
"Roxanne, Roxanne"'. At that time he was working on his solo album. He
was signed to Full Force through Jive Records. He heard me sing & said he
had to get me on some hooks. He took me to the studio for the first time & I
sang on a few hooks. I remember a few members of Full Force coming in &
looking at me like WTF is this kid doing in here? Once they heard me sing,
it was all good. Shortly after that, I got my first of 4 recording deals
with Atlantic Records in a group called 3D. We had the manager from hell &
that album was never released. I'd say my start was a combination of
meeting the right people by chance & luck. While I was in high school I also
choreographed & did extra work in videos as well as singing back up for many
artists. I would sneak into clubs where there were talent scouts or industry
types & crash video shoots. Visibility & social politic-ing skills were key
for me.
UrbanBridgez.com: You're a Brooklyn kid, how do you think growing up there
prepared you for a career in entertainment?
Ivan Armatias: Brooklyn has it all. It's a melting pot of styles &
influences. It has a creative undercurrent that cannot be denied. As a kid,
I lived in Coney Island. My mom had a very global & adventurous spirit &
taste. Her record collection was crazy diverse! Whitney Houston, Regina
Bell, Diana Ross, Kenny Rogers, Lionel Richie, Elvis , Dolly Parton,
Sugerhill Gang, Julio Iglesias to soundtracks like Grease & Billy Joel,
Patti Austin, KISS, James Ingram & Chic.I had a well rounded musical
upbringing. She always introduced different cultures into our home through
music, food & decor. It made me want to experience other aspects of those
genres & cultures. Many assume that Brooklyn or "the hood" is 1
dimensional. On my block we had Hispanic, Black, Russian, African, Chinese,
Middle Eastern, Jewish, Irish, Indian, Caribbean… I've been fortunate to
have traveled all over the world. Most places have specific or regional
types of people & things relegated to a specific area. Brooklyn, NY is one
of the few places on the planet where within a 4 block radius; you can have
a global experience. I thinks it's in the drinking water. The creativity &
swagger of a Brooklyn is distinctive, eclectic & contagious.
UrbanBridgez.com: You and Andrea Martin wrote some major hits together, I
think Tracie's "Still In My Heart" may be my absolute favorite that
you guys did. Alot of people don't know you were actually managing her as
well. How did you guys develop your relationship?
Ivan Armatias: Thanks! Andrea & I went to high school together. The
"Fame" school of performing arts which birthed many entertainers from
Liza Minnelli, Nicki Minaj, Kelis, Azealia Banks to Laurence Fishburne.
Robert De Niro, Sarah Michelle Gellar & Vanessa A. Williams. During my 4
years there, we had, Marlon Wayans, Omar Epps, Jennifer Aniston, Chaz Bono,
Monifah, Changing Faces, & Donald Faison to name a few. Shortly after H.S.
I'd switched labels twice. Arista Records became my third label home by
19. My management was from London & moved me there to record my Arista
Album. First avenue managed me as a recording artist but I managed my own
songwriting career. I got a publishing deal with Warner Chappell between my
1st & 2nd record deal as they saw my economic potential & sought to lock
down my publishing early. About a year into working on my project, Andrea
had just been signed to her first Publishing deal. Her publisher called me
to see if I wanted to collaborate with this new girl he'd signed & was
trying to get some song placements on. When I showed up to the meeting &
Andrea walked in, we were both shocked. We went into the studio that day &
became partners instantly. We went on to write together for over 10 years.
It was easy for us because we'd studied music together & knew each others
style very well. Although we weren't besties in H.S. our musical
foundation & roots in Brooklyn bonded us. I was managing myself & kind of
fell into the roll of managing both of us as we were partners. Management
entailed a "good cop, bad cop" system. Andrea would say yes to
everything & I'd have to go in & negotiate the business. She was the
emotion & I was the business. Sometimes we switched rolls but both parts
were very necessary.There were days when I didn't want to go to the studio
or hated a song we were working on & vice versa.We took turns motivating
each other. We'd originally written "Don't Let Go" for Aerosmith &
we thought we'd be responsible for ruining En Vogue when Elektra President
Sylvia Rhone loved it & hired us to record it on the quartet. Sylvia heard
something we couldn't. Andrea ordered me to get into that studio & cut
those vocals anyway — while she went to get her nails done (laughs). It
was then that we employed the "you like it, we love it" outlook. I
remember when we did "You're The One" (SWV), Andrea hated the song &
refused to sing the reference. I had to go to London & kept calling &
harassing her until she finally laid that demo down. I loved that raunchy
little song! (laughs). I actually had to beg & bribe her to catch another
plane from Atlanta the day we wrote "Still In My Heart (Tracie
Spencer)." She was having "one of those days" & wanted to go home but
only half the song was demoed. She really made me work that day. I was good
for giving her hell also. Like most partners, we've had some monumental,
classic battles both; creatively & personal. Andrea really wanted to be an
artist & although I was a signed artist, it wasn't my passion. I
understood that she couldn't look like the "bad guy" as an artist so I
didn't mind assuming the part. My lawyer was Lauren Davis, daughter of
Clive Davis. I introduced Lauren to Andrea and she got signed to Arista
Records. Andrea is one of the most underrated vocalists out. Her style is
seasoned & mature which makes it difficult to place her voice in a modern
context. Her vocal style isn't trendy, it's classic soul & pop like her
writing which is why she's one of the greatest female writers of our
generation.
UrbanBridgez.com: You have to tell us about Caushun "The Gay Rapper"
that you basically created as a joke for Funkmaster Flex and ended up
blowing this guy up! Where did the idea come from and remind people how big
it actually got?
Ivan Armatias: (laughs) Ever since Frank Ocean's "proclamation" people
have been contacting me relating to this project. The idea? A few prankster
friends, a few drinks, some Kush & boredom. We were sitting around & the old
cliché urban conversation about who is gay in Hip Hop came up because Lil
Zane was on air with Flex & had been rumored to be "DL". A publicist
friend suggested we call the station's direct line & give Funkmaster Flex
& Zane a hard time. We did & the rest is history. It was all the buzz so,
over the next few days we pranked Angie Martinez & Star & Bukwild's then
morning show. People started calling the station looking for Caushun. Star
began to feature Caushun regularly on the morning show over the phone &
before we knew it MTV as calling. I called up my childhood friend Jason &
asked if he wanted to pick up the roll of Caushun publicly as it was growing
out of control. Caushun was featured several times on MTV, VH1, BET, FOX,
NBC, The cover of the NY Times on Easter Sunday, Vibe,The Source, Newsweek
as well as several documentaries & international publications. I even had
Bill O'reilly, Howard Stern & Jimmy Kimmel hunting him down to feature
him. He was "co-signed" publicly by Russell Simmons & Kimora Lee who was
a client and close friend as well as several notables in the urban Hip Hop
community. Jason & I fell out during the project. The project was going
great until Kimora came into the picture. I had several conversations with
Russell about starting a Baby Phat label to distribute the record.
Unfortunately, Kimora & her team didn't understand the music industry &
had a plate filled with other issues which made it impossible to proceed.
Jason & I are cool again. He is very successful as a hairstylist to the
stars & has some loyal high profile clients that he works with.
UrbanBridgez.com: Your discography as a songwriter is sick, like you really
have some impressive credits, what would you say are your top three favorite
and why?
Ivan Armatias: Thanks! 1: Working with Aaliyah was great. She was a good
friend & one of the few genuine, unaffected people I've come across in the
industry. We partied from NY to LA at industry events, chilled at her house,
shopping, crashed each others hotels & sang each others tunes. I would sing
"Are You That Somebody" from the Doctor Dolittle soundtrack & she'd
sing "Dolittle Things" my duet with Changing Faces. She used to say it
was one of her mother's favorite songs on the soundtrack. She was very
close with her younger brother Rashad who is much like her in terms of cool,
laid back personality & was often with her when we'd link up. They remind
me of my older sister & I. She used to lecture me about smoking & ruining my
voice early on. We recorded a song that was never released & that's how we
met. People don't give her credit for being a great vocalist because she
made it sound easy. Her vocal style was sick! I love an artist with a
distinctive style that can take my song to another level with their own
interpretation or change the attitude of the song for the better. Aaliyah
was hands down my favorite artist/person in the industry that I've had the
pleasure of knowing. I remember walking into the "Romeo Must Die"
private screening to meet a friend. Aaliyah was in the back of the theater
with brother Rashad & a few friends. Everyone else was seated toward the
front of the theater. I heard someone calling me from the back. It was baby
girl Aaliyah. She called me over & insisted I sit by her & Jay-Z. That's
the type of person she was. That's how Hollywood Aaliyah wasn't! I've
known many artists early in their career. They will walk past you like they
don't know you years later. She wasn't that way. Aaliyah was the same
person the first day we met that she was the last time we hung out.
2: Blu Cantrell "Breathe". I was already a fan but Blu. She on a stool
(which a singer should never do unless you're super dope) a sing her face
off. She needed no direction. I have a version that was never released where
she sang the devil outta that song. The label made us re-record some of the
vocals to "dumb down" her vocal to make it more accessible. She was a
character.
3: Coko of SWV. I was already an SWV fan. Coko's voice does it for me. She
was very pregnant & sat on a stool also. She was effortlessly pushing those
notes out & all I could see was hearts floating around her when she opened
her mouth. She could do no wrong in my eyes. I would try to show her part of
the melody in my raggedy falsetto & she would giggle & sing the melody back
exactly as I meant to do it. Her musical choices & instinct are impeccable.
UrbanBridgez.com: Tell us the story of En Vogue and how you recorded the
last song before they broke up?
Ivan Armatias: Wow! Those girls were at a stressful point in their
career.The group was signed to East/West through a production deal with
Foster & Mcelroy. They felt they weren't seeing the money they deserved
given their success. There was talk that Dawn was promised the opportunity
to do a solo album but that option was snatched off the table due to the
mediocre response to Terry's solo album that had just been released. Label
execs opted to expand the groups sound & put together a new En Vogue LP
instead. Label was waiting on Dawn to agree to new recording terms. As she
stalled; the label wasn't sure what she would do. No one wanted her to
sing the lead on "Don't Let Go" because they feared what inevitably
happened. It took several days to record vocals while going back & fourth
with record company. Unsure of the quartet's fate; the label rushed the
song out on the "Set It Off" soundtrack. It blew up but so did tension
in the group. We began to record 5 songs for the En Vogue album but Dawn
wasn't at recording sessions initially. Dawn stated she was at a spiritual
retreat deciding what she was going to do but others said she was secretly
recording songs for her solo project during the first few weeks of
recording. I love Dawn's voice & was leaving leads unrecorded, taking my
time with the recording of the backgrounds, stalling & getting heat from
everyone hoping she would show to record the leads that no one wanted her
on.She finally returned but tensions did not cease as we recorded her leads
& backgrounds on songs. There was a HUGE blow up in the studio which led to
Dawn leaving & never returning. We had to re-record all of her leads &
background parts. The details of their history are most def "Unsung" or
"Behind The Music" material! It's difficult when you have 4 very
strong, talented & very different personalities. It's a shame because I
think if those girls got back together; they could actually have a major
comeback. They'd have a clear run because female groups are scarce.
UrbanBridgez.com: You've written some incredible songs, how do you start
the process of writing a song, does something have to happen, can someone
just give you a subject or what?
Ivan Armatias: There is no specific formula. Sometimes the melody comes
first, sometimes a lyric, title or concept. What makes my approach different
is I rarely write from personal experience. I like to get into other
people's head and imagine their perspective. I write a lot of songs for
female singers. I find that females can go further & be more expressive &
experimental with lyrics. Besides, I just like female voices better. Often
times, someone will give me a subject or topic & I'll write to it. I like
songs to sound realistic, genuine & relatable to both the singer & the
listener.
UrbanBridgez.com: Alright now let's get into some of the juice of the
industry, being the outspoken person you are I have to ask you about some of
this stuff….You believe there is an unspoken racism & racial tension
between ethnic groups in the industry, explain what you mean by that?
Ivan Armatias: I've been told that my ability to have success in urban
music is limited by my ethnicity. Literally told that to my face by an
executive of color. Most urban or ethnic people know about unspoken rivalry
between the races. Everyone has that relative that doesn't believe in
interracial relationships whether they are vocal about it or believe it
secretly. Urban, ethnic cultures are so closely intertwined; in most major
cities. Ask yourself, with the Hispanic market being so huge, why has there
not been a successful Hispanic urban artist? One might point out JLo but she
is marketed dance/pop. JLo is successful as a brand because many understand
the value of the Hispanic market & she is a great tool & spokesperson in
that regard however she does not necessarily represent the range of talent &
ability within the Hispanic community. What happens in the world is
generally reflected in the industry except when it comes to certain races.
Hip Hop is major in Asian markets yet, there are no Asian Hip Hop stars.
I've had people's face drop when I walk into a session followed by a
comment with built in condescension like "I had no idea you were Latino
from your songs" like I'm supposed to write with an accent or "damn
you got soul to be Hispanic". I used to get offended but I've realized
people can only be as socially evolved as their exposure level allows. It
was one of the unspoken understandings that Andrea & I had in business. If
we sense that someone had an issue with one of us because of race, color or
sex; the other would take the lead. Believe it or not; she would sometimes
be discriminated against because of her complexion or appearance. I remember
early on almost slamming a well known producer into a studio console for
comfortably making a distasteful remark about her complexion & appearance.
That was before I understood that ignorance can be found in every tax
bracket.
UrbanBridgez.com: You also believe that sex & nepotism is a major tool used
in the making & closing of deals in today's industry, how so?
Ivan Armatias: Look at Stevie J & Jocelyn Hernandez of Love and Hip Hop ATL.
Blatantly playing out on television with braggadocious pride. Found her at
"de streep cloob" & walked her onto a hit VH1 show, meetings with
Antonio Reid & Vincent Herbert. So he's willing to do for Stevie's jump
what he won't do for his wife? Karlie who demonstrated that whatever
talent she does have is reserved & shared only with those who can
"sponsor" or advance her career. She struggles between "feeling"
Benzino but not knowing if she can have a relationship with a man who
can't aid her career aspirations. There is always a producer, manager or
executive or A&R trying to get a hit song or vocal training for his jump of
the week.There is a successful urban music exec that was married & screwing
one of the female A&R's he'd hired. She was married also. She was just
as pretty as she was useless. He was feeling himself to the point where he
believed he could "groom" her ear & give her a successful career. She
tried to get slick with the mouth & I went in on her. After years of working
together, this executive refused to work with me because his side chick got
her feelings hurt. She told me she was going to throw that pelvis double
time to ensure a successful block was thrown. He was eventually fired and so
was she. Her husband left her & she's now riding Hollywood d-list penis
trying to become an actress. He has re emerged at another label but we no
longer communicate. Ladies are not excluded. There are many powerful women
in the industry that use their power in lieu of good looks to get laid. It
happens everywhere from McDonalds to Wall Street. The music industry has
every vice known to man 10 fold. Many of these people work long hours
together & are human with sexual needs. Often times the lines get blurred
when power, influence & money are in play. Many undesirables in the industry
try to "date up" & bag someone they normally couldn't but for the
success, money, contacts & access. Many aspiring industry types figure
they've slept with the wrong person their entire life for free so;
sleeping with someone for possible advancement has a purpose. Many execs &
industry employees are people with no prior experience who have a powerful
friend, lover or family member who made a call. It's a big contributor to
the lack of critical thinking & creativity that is lacking on the
administrative/executive level in entertainment.
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Posted By admin1 to ads at 9/17/2012 10:48:00 AM
Kategori Iklan*: musics
Isi Iklan*: Ivan Armatias isn't your average singer/songwriter. Born and
raised in Brooklyn, NY. Ivan is one of the top songwriters in the game!
Responsible for some of the biggest R&B hits and album favorites in the 90s
and 2000s. Ivan got his start in the business dancing for artists and later
performing background vocals. He signed his first publishing deal with
Warner Chappell at age 18. Ivan and his good friend, recording artist &
songwriter Andrea Martin began writing hits together in the 90s, they met
while attending Fame the school of the performing arts. The dynamic duo
would go on to write hits for such artists as SWV, En Vogue, Queen Latifah,
Changing Faces, Immature, Angie Stone, Tracie Spencer and the list goes on.
As a recording artist Ivan has recorded and released such singles "So Good
(to come home to)," written by the incredible Diane Warren & "Messing
Around" which appeared on the Mod Squad soundtrack. Ivan also appeared
with Changing Faces on the track "Do Little Things" from the Dr.
Dolittle soundtrack. As an artist he's had 4 major record deals (Atlantic,
London/Polygram, Arista & Elektra) and lived in London four years while he
was signed to Arista (he can sing in six different languages). Winner of 7
ASCAP awards, a Soul Train Award winner and nominated for a Grammy, American
Music Award and Billboard Award Nominee.
Ivan is easily one of the most talented & creative artist in the business.
In 2002 Ivan created and managed Caushun "The Gay Rapper" which was an
internationally acclaimed parody rapper that was featured on MTV, BET, VH1,
NY Times and Hot 97 to name a few.
Aries from UrbanBridgez.com recently had the opportunity to speak with Ivan
for our Industry Talk feature and got even more than what we expected from
the interview as Ivan opened up to UB about various topics. Including his
amazing discography, being a recording artist, Caushun "The Gay Rapper,"
his favorite artists he's worked with and alot more. On the flip, Ivan
opened up to us about some of his crazy experiences including working with
En Vogue while they were in the process of breaking up, his thoughts on
racial tension and sex & nepotism in the industry. Ivan even recalls and
speaks on being cheated out of producing credits earlier in his career,
breaking up an argument with singers Brandy & Adina Howard and even details
his own argument with Keri Lewis, ex husband of Toni Braxton regarding
"Better Man" a song Ivan wrote for Toni's "More Than A Woman"
album.
If you're in the industry, a fan of the industry or want to be in the
industry, this is an interview you don't want to miss! You won't come
away from it not learning anything and in the process you will also realize
how many other talented amazing arrangers/songwriters are behind the scenes
outside of the mainstream ones you hear about.
The industry as a whole is a machine and Ivan has been one of the most
important parts since the 90s!
———————————————-
UrbanBridgez.com: How did you get your start in the industry?
Ivan Armatias: When I was about 13, my sister was dating rapper Doctor Ice,
who'd been a member of UTFO; best known for their hip hop classic
"Roxanne, Roxanne"'. At that time he was working on his solo album. He
was signed to Full Force through Jive Records. He heard me sing & said he
had to get me on some hooks. He took me to the studio for the first time & I
sang on a few hooks. I remember a few members of Full Force coming in &
looking at me like WTF is this kid doing in here? Once they heard me sing,
it was all good. Shortly after that, I got my first of 4 recording deals
with Atlantic Records in a group called 3D. We had the manager from hell &
that album was never released. I'd say my start was a combination of
meeting the right people by chance & luck. While I was in high school I also
choreographed & did extra work in videos as well as singing back up for many
artists. I would sneak into clubs where there were talent scouts or industry
types & crash video shoots. Visibility & social politic-ing skills were key
for me.
UrbanBridgez.com: You're a Brooklyn kid, how do you think growing up there
prepared you for a career in entertainment?
Ivan Armatias: Brooklyn has it all. It's a melting pot of styles &
influences. It has a creative undercurrent that cannot be denied. As a kid,
I lived in Coney Island. My mom had a very global & adventurous spirit &
taste. Her record collection was crazy diverse! Whitney Houston, Regina
Bell, Diana Ross, Kenny Rogers, Lionel Richie, Elvis , Dolly Parton,
Sugerhill Gang, Julio Iglesias to soundtracks like Grease & Billy Joel,
Patti Austin, KISS, James Ingram & Chic.I had a well rounded musical
upbringing. She always introduced different cultures into our home through
music, food & decor. It made me want to experience other aspects of those
genres & cultures. Many assume that Brooklyn or "the hood" is 1
dimensional. On my block we had Hispanic, Black, Russian, African, Chinese,
Middle Eastern, Jewish, Irish, Indian, Caribbean… I've been fortunate to
have traveled all over the world. Most places have specific or regional
types of people & things relegated to a specific area. Brooklyn, NY is one
of the few places on the planet where within a 4 block radius; you can have
a global experience. I thinks it's in the drinking water. The creativity &
swagger of a Brooklyn is distinctive, eclectic & contagious.
UrbanBridgez.com: You and Andrea Martin wrote some major hits together, I
think Tracie's "Still In My Heart" may be my absolute favorite that
you guys did. Alot of people don't know you were actually managing her as
well. How did you guys develop your relationship?
Ivan Armatias: Thanks! Andrea & I went to high school together. The
"Fame" school of performing arts which birthed many entertainers from
Liza Minnelli, Nicki Minaj, Kelis, Azealia Banks to Laurence Fishburne.
Robert De Niro, Sarah Michelle Gellar & Vanessa A. Williams. During my 4
years there, we had, Marlon Wayans, Omar Epps, Jennifer Aniston, Chaz Bono,
Monifah, Changing Faces, & Donald Faison to name a few. Shortly after H.S.
I'd switched labels twice. Arista Records became my third label home by
19. My management was from London & moved me there to record my Arista
Album. First avenue managed me as a recording artist but I managed my own
songwriting career. I got a publishing deal with Warner Chappell between my
1st & 2nd record deal as they saw my economic potential & sought to lock
down my publishing early. About a year into working on my project, Andrea
had just been signed to her first Publishing deal. Her publisher called me
to see if I wanted to collaborate with this new girl he'd signed & was
trying to get some song placements on. When I showed up to the meeting &
Andrea walked in, we were both shocked. We went into the studio that day &
became partners instantly. We went on to write together for over 10 years.
It was easy for us because we'd studied music together & knew each others
style very well. Although we weren't besties in H.S. our musical
foundation & roots in Brooklyn bonded us. I was managing myself & kind of
fell into the roll of managing both of us as we were partners. Management
entailed a "good cop, bad cop" system. Andrea would say yes to
everything & I'd have to go in & negotiate the business. She was the
emotion & I was the business. Sometimes we switched rolls but both parts
were very necessary.There were days when I didn't want to go to the studio
or hated a song we were working on & vice versa.We took turns motivating
each other. We'd originally written "Don't Let Go" for Aerosmith &
we thought we'd be responsible for ruining En Vogue when Elektra President
Sylvia Rhone loved it & hired us to record it on the quartet. Sylvia heard
something we couldn't. Andrea ordered me to get into that studio & cut
those vocals anyway — while she went to get her nails done (laughs). It
was then that we employed the "you like it, we love it" outlook. I
remember when we did "You're The One" (SWV), Andrea hated the song &
refused to sing the reference. I had to go to London & kept calling &
harassing her until she finally laid that demo down. I loved that raunchy
little song! (laughs). I actually had to beg & bribe her to catch another
plane from Atlanta the day we wrote "Still In My Heart (Tracie
Spencer)." She was having "one of those days" & wanted to go home but
only half the song was demoed. She really made me work that day. I was good
for giving her hell also. Like most partners, we've had some monumental,
classic battles both; creatively & personal. Andrea really wanted to be an
artist & although I was a signed artist, it wasn't my passion. I
understood that she couldn't look like the "bad guy" as an artist so I
didn't mind assuming the part. My lawyer was Lauren Davis, daughter of
Clive Davis. I introduced Lauren to Andrea and she got signed to Arista
Records. Andrea is one of the most underrated vocalists out. Her style is
seasoned & mature which makes it difficult to place her voice in a modern
context. Her vocal style isn't trendy, it's classic soul & pop like her
writing which is why she's one of the greatest female writers of our
generation.
UrbanBridgez.com: You have to tell us about Caushun "The Gay Rapper"
that you basically created as a joke for Funkmaster Flex and ended up
blowing this guy up! Where did the idea come from and remind people how big
it actually got?
Ivan Armatias: (laughs) Ever since Frank Ocean's "proclamation" people
have been contacting me relating to this project. The idea? A few prankster
friends, a few drinks, some Kush & boredom. We were sitting around & the old
cliché urban conversation about who is gay in Hip Hop came up because Lil
Zane was on air with Flex & had been rumored to be "DL". A publicist
friend suggested we call the station's direct line & give Funkmaster Flex
& Zane a hard time. We did & the rest is history. It was all the buzz so,
over the next few days we pranked Angie Martinez & Star & Bukwild's then
morning show. People started calling the station looking for Caushun. Star
began to feature Caushun regularly on the morning show over the phone &
before we knew it MTV as calling. I called up my childhood friend Jason &
asked if he wanted to pick up the roll of Caushun publicly as it was growing
out of control. Caushun was featured several times on MTV, VH1, BET, FOX,
NBC, The cover of the NY Times on Easter Sunday, Vibe,The Source, Newsweek
as well as several documentaries & international publications. I even had
Bill O'reilly, Howard Stern & Jimmy Kimmel hunting him down to feature
him. He was "co-signed" publicly by Russell Simmons & Kimora Lee who was
a client and close friend as well as several notables in the urban Hip Hop
community. Jason & I fell out during the project. The project was going
great until Kimora came into the picture. I had several conversations with
Russell about starting a Baby Phat label to distribute the record.
Unfortunately, Kimora & her team didn't understand the music industry &
had a plate filled with other issues which made it impossible to proceed.
Jason & I are cool again. He is very successful as a hairstylist to the
stars & has some loyal high profile clients that he works with.
UrbanBridgez.com: Your discography as a songwriter is sick, like you really
have some impressive credits, what would you say are your top three favorite
and why?
Ivan Armatias: Thanks! 1: Working with Aaliyah was great. She was a good
friend & one of the few genuine, unaffected people I've come across in the
industry. We partied from NY to LA at industry events, chilled at her house,
shopping, crashed each others hotels & sang each others tunes. I would sing
"Are You That Somebody" from the Doctor Dolittle soundtrack & she'd
sing "Dolittle Things" my duet with Changing Faces. She used to say it
was one of her mother's favorite songs on the soundtrack. She was very
close with her younger brother Rashad who is much like her in terms of cool,
laid back personality & was often with her when we'd link up. They remind
me of my older sister & I. She used to lecture me about smoking & ruining my
voice early on. We recorded a song that was never released & that's how we
met. People don't give her credit for being a great vocalist because she
made it sound easy. Her vocal style was sick! I love an artist with a
distinctive style that can take my song to another level with their own
interpretation or change the attitude of the song for the better. Aaliyah
was hands down my favorite artist/person in the industry that I've had the
pleasure of knowing. I remember walking into the "Romeo Must Die"
private screening to meet a friend. Aaliyah was in the back of the theater
with brother Rashad & a few friends. Everyone else was seated toward the
front of the theater. I heard someone calling me from the back. It was baby
girl Aaliyah. She called me over & insisted I sit by her & Jay-Z. That's
the type of person she was. That's how Hollywood Aaliyah wasn't! I've
known many artists early in their career. They will walk past you like they
don't know you years later. She wasn't that way. Aaliyah was the same
person the first day we met that she was the last time we hung out.
2: Blu Cantrell "Breathe". I was already a fan but Blu. She on a stool
(which a singer should never do unless you're super dope) a sing her face
off. She needed no direction. I have a version that was never released where
she sang the devil outta that song. The label made us re-record some of the
vocals to "dumb down" her vocal to make it more accessible. She was a
character.
3: Coko of SWV. I was already an SWV fan. Coko's voice does it for me. She
was very pregnant & sat on a stool also. She was effortlessly pushing those
notes out & all I could see was hearts floating around her when she opened
her mouth. She could do no wrong in my eyes. I would try to show her part of
the melody in my raggedy falsetto & she would giggle & sing the melody back
exactly as I meant to do it. Her musical choices & instinct are impeccable.
UrbanBridgez.com: Tell us the story of En Vogue and how you recorded the
last song before they broke up?
Ivan Armatias: Wow! Those girls were at a stressful point in their
career.The group was signed to East/West through a production deal with
Foster & Mcelroy. They felt they weren't seeing the money they deserved
given their success. There was talk that Dawn was promised the opportunity
to do a solo album but that option was snatched off the table due to the
mediocre response to Terry's solo album that had just been released. Label
execs opted to expand the groups sound & put together a new En Vogue LP
instead. Label was waiting on Dawn to agree to new recording terms. As she
stalled; the label wasn't sure what she would do. No one wanted her to
sing the lead on "Don't Let Go" because they feared what inevitably
happened. It took several days to record vocals while going back & fourth
with record company. Unsure of the quartet's fate; the label rushed the
song out on the "Set It Off" soundtrack. It blew up but so did tension
in the group. We began to record 5 songs for the En Vogue album but Dawn
wasn't at recording sessions initially. Dawn stated she was at a spiritual
retreat deciding what she was going to do but others said she was secretly
recording songs for her solo project during the first few weeks of
recording. I love Dawn's voice & was leaving leads unrecorded, taking my
time with the recording of the backgrounds, stalling & getting heat from
everyone hoping she would show to record the leads that no one wanted her
on.She finally returned but tensions did not cease as we recorded her leads
& backgrounds on songs. There was a HUGE blow up in the studio which led to
Dawn leaving & never returning. We had to re-record all of her leads &
background parts. The details of their history are most def "Unsung" or
"Behind The Music" material! It's difficult when you have 4 very
strong, talented & very different personalities. It's a shame because I
think if those girls got back together; they could actually have a major
comeback. They'd have a clear run because female groups are scarce.
UrbanBridgez.com: You've written some incredible songs, how do you start
the process of writing a song, does something have to happen, can someone
just give you a subject or what?
Ivan Armatias: There is no specific formula. Sometimes the melody comes
first, sometimes a lyric, title or concept. What makes my approach different
is I rarely write from personal experience. I like to get into other
people's head and imagine their perspective. I write a lot of songs for
female singers. I find that females can go further & be more expressive &
experimental with lyrics. Besides, I just like female voices better. Often
times, someone will give me a subject or topic & I'll write to it. I like
songs to sound realistic, genuine & relatable to both the singer & the
listener.
UrbanBridgez.com: Alright now let's get into some of the juice of the
industry, being the outspoken person you are I have to ask you about some of
this stuff….You believe there is an unspoken racism & racial tension
between ethnic groups in the industry, explain what you mean by that?
Ivan Armatias: I've been told that my ability to have success in urban
music is limited by my ethnicity. Literally told that to my face by an
executive of color. Most urban or ethnic people know about unspoken rivalry
between the races. Everyone has that relative that doesn't believe in
interracial relationships whether they are vocal about it or believe it
secretly. Urban, ethnic cultures are so closely intertwined; in most major
cities. Ask yourself, with the Hispanic market being so huge, why has there
not been a successful Hispanic urban artist? One might point out JLo but she
is marketed dance/pop. JLo is successful as a brand because many understand
the value of the Hispanic market & she is a great tool & spokesperson in
that regard however she does not necessarily represent the range of talent &
ability within the Hispanic community. What happens in the world is
generally reflected in the industry except when it comes to certain races.
Hip Hop is major in Asian markets yet, there are no Asian Hip Hop stars.
I've had people's face drop when I walk into a session followed by a
comment with built in condescension like "I had no idea you were Latino
from your songs" like I'm supposed to write with an accent or "damn
you got soul to be Hispanic". I used to get offended but I've realized
people can only be as socially evolved as their exposure level allows. It
was one of the unspoken understandings that Andrea & I had in business. If
we sense that someone had an issue with one of us because of race, color or
sex; the other would take the lead. Believe it or not; she would sometimes
be discriminated against because of her complexion or appearance. I remember
early on almost slamming a well known producer into a studio console for
comfortably making a distasteful remark about her complexion & appearance.
That was before I understood that ignorance can be found in every tax
bracket.
UrbanBridgez.com: You also believe that sex & nepotism is a major tool used
in the making & closing of deals in today's industry, how so?
Ivan Armatias: Look at Stevie J & Jocelyn Hernandez of Love and Hip Hop ATL.
Blatantly playing out on television with braggadocious pride. Found her at
"de streep cloob" & walked her onto a hit VH1 show, meetings with
Antonio Reid & Vincent Herbert. So he's willing to do for Stevie's jump
what he won't do for his wife? Karlie who demonstrated that whatever
talent she does have is reserved & shared only with those who can
"sponsor" or advance her career. She struggles between "feeling"
Benzino but not knowing if she can have a relationship with a man who
can't aid her career aspirations. There is always a producer, manager or
executive or A&R trying to get a hit song or vocal training for his jump of
the week.There is a successful urban music exec that was married & screwing
one of the female A&R's he'd hired. She was married also. She was just
as pretty as she was useless. He was feeling himself to the point where he
believed he could "groom" her ear & give her a successful career. She
tried to get slick with the mouth & I went in on her. After years of working
together, this executive refused to work with me because his side chick got
her feelings hurt. She told me she was going to throw that pelvis double
time to ensure a successful block was thrown. He was eventually fired and so
was she. Her husband left her & she's now riding Hollywood d-list penis
trying to become an actress. He has re emerged at another label but we no
longer communicate. Ladies are not excluded. There are many powerful women
in the industry that use their power in lieu of good looks to get laid. It
happens everywhere from McDonalds to Wall Street. The music industry has
every vice known to man 10 fold. Many of these people work long hours
together & are human with sexual needs. Often times the lines get blurred
when power, influence & money are in play. Many undesirables in the industry
try to "date up" & bag someone they normally couldn't but for the
success, money, contacts & access. Many aspiring industry types figure
they've slept with the wrong person their entire life for free so;
sleeping with someone for possible advancement has a purpose. Many execs &
industry employees are people with no prior experience who have a powerful
friend, lover or family member who made a call. It's a big contributor to
the lack of critical thinking & creativity that is lacking on the
administrative/executive level in entertainment.
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