Hi, there. This is Krystle speaking.
Musician, singer-songwriter, budding activist. The latter we'll get into some other time. For now, lets stick to the music end.
I was born in Kansas City Missouri. I have a mother who primarily raised me, an older sister and many, many aunts. I was introduced to music at an early age and fell in love with it instantly. I recall spending a great deal of time in the attic spinning my mother's vinyl on my Playskool record player, (many thanks to Aunt Mamie for that!), such albums as Bill Withers, "Menagerie"; Bobby Womack, "The Poet"; Stevie Wonder, "Hotter Than July"; The Emotions, "Flowers"... At family holidays, my aunt, Mamie, would have the family over and I'd always disappear soon after the meal to her basement, where I would find Marvin Gaye, The Temptations, Johnny Mathis...I could go on about my early musical "training" all day. Suffice to say, I had amazing teachers. The first time I recall being moved by a piece of music, was when I first heard Aretha Franklin's, "Ain't No Way"...
About five years ago (give or take), I made an album called, "Circles" with my band, The Faculty. Two years ago, it was unleashed! Russell Elevado produced it, I co-produced it and Ben Kane engineered it. We set up shop at Electric Lady Studios in the early days of summer and didn't leave 'til the leaves started to fall. A year or two later, (it's all relative), I ended up in L.A., looking over Jim Scott's shoulders while he and Kevin Dean did the final mixing. In the end, "Circles" was the end of a circle; a closing of a chapter, an opening of doors and a hopeful begining.
I made a new friend while on holiday in New York last summer, August 2010. She and her husband came to solo performance of mine in a most interesting dive. She spoke with my manager who had attended the show as well, and said, "What can I do to help Krystle?" I was a bit reluctant to investigate the weight of her question, but as time began to fly, I figured, 'Well...see if there's a chance. Yay or nay, life goes on.' So, I sent a note her way, and she responded quite soon after, enthusiastically! 'Great!' I said to myself, so happy that I hadn't offended. We set a phone date and I told her just as I'm about to tell you, about "Love Songs", and how I envisioned it. "Who'd produce?" she asked. "Me."
I had been tossing around where I wanted to take the album stylistically for a good while. I'd recently revisited "Dusty in Memphis" and was really keen on "In the Land Of Make Believe". "Still Bill" was also in heavy rotation, especilly, "I Don't Know". Paul Simon's album, "Still Crazy After All These Years", Colin Blunstone, "One Year"... A tune of mine called, "Climbing Out" started morphing in my head into "Baby, I Love You", based on the hit from Donny Hathaway and Roberta Flack. Likewise, a ten year old ditty of mine, "Forever Is A Long Time", originally a straight forward folk number, started playing as a long lost Phil Spector production. With those tunes in mind, I started looking though my back catalog, so to speak, to find out what else I could tweak. I knew that I wanted to make a double album, and I knew I wanted the theme to be love. While I still lived in San Franciso, (after New York, before Paris), I got together with Kane who was land locked in the world of D'Angelo. He had a three day weekend open and kindly invited me to record. We ended up knocking out a tune I wrote back in New York called, "Lonely", then, "Generations" and a (then) brand new hot off the press tune, "Farewell". Before we settled on those titles, Kane encouraged me to make a list of every tune I'd written and decide on what we wanted to do from there. I tore open a cigarette carton and scrawled all the song titles. I realized there and then that I had a hundred and fifty songs. Out of that hundred and fifty - excluding the fifteen or so we recorded during the sessions for "Circles" - I picked twenty-four for "Love Songs".
I'm getting ahead of myself. Back tracking...now:
So, the very kind and gracious investor gave me a budget and I set out almost immediately calling up the guns that would grace the album. Would you believe it? Everyone was in! Brad Cox, an amazing composer/arranger/human being who I first met in our hometown of KANSAS CITY, MISSOURI ten years ago, said he'd be happy to arrange some tunes for me. The Faculty fellas were excited to get back into the studio. All my horn playing buddies said, "Hell yeah!" - not literally, but to that effect. The backing vocalist consisted of some of my vocal heros... Pals of pals made up for the string quartet...so who'd be our engineer extraordinaire? Brian Bender, a lovely guy who I met whilst in the thick of my Electric Lady days. The record sounded classic and we hadn't even pressed the big red button.
In thirteen days we recorded twenty-five tunes, all live, no overdubs, no edits and all of which I am very proud...
I've been in the music business for awhile now. I see how it's changing and I believe that it's time for artists to seek control over their creative voice...so I did, and have. My very own label, aptly titled, Parlour Door Music, is up and running with the help of various distribution partners. It's first release, "Love Songs". Here we go!
Viva la revolucion! (With love),