For years, musical powerhouse Divine Brown (formerly Divine Earth Essence) has been quietly carving out her own history on the Canadian R&B and soul circuit. A kid who used to mimic the greats (Chaka! Aretha!) she heard on scratchy vinyl and filtered through radio waves, Divine paid her dues on the exhausting Toronto club circuit before she was old enough to legally hang out in bars, then honed her skills as a live performer with stints on the musical theatre stage, busting moves and belting her heart out as a cast member of shows like Ain’t Misbehavin’ and Rent.
Despite the fact that she didn’t have a proper recording on store shelves, Divine’s effervescent energy and formidable stage presence – not to mention her mind-blowing vocal range – made her a star before she finally released her much-anticipated self-titled debut in 2005. That album, bolstered by the strength of its gorgeous retro single ‘Old-School Love’ – a swooning return to a time of slow dancing and doo-wop choruses – cemented Divine’s reputation as one of the country’s strongest urban talents.
Three years later, Divine has returned with a tour-de-force album, a virtual trip through both the last half-century of soul music and the roller-coaster ride of love dubbed – appropriately – The Love Chronicles.
The Love Chronicles spans everything from bop-shoo-bop secret crush confessions (lead single ‘Lay It On The Line’) to sassy surf ‘n’ soul kiss-offs (‘Bebe’) to sultry late-night neo-soul (‘Next Best Thing’), all held together by Divine’s magnificent, shape-shifting voice. And thanks to expert assistance by a killer band and a team of producers (Bryan Joseph, Colin Munroe, James Bryan, David Williams and Divine herself), it’s an album that should catapult her to the stratospheric heights of her heroes.
What was the initial spark behind The Love Chronicles?
“The Love Chronicles was germinating in my head for a good two and a half years. There were songs I started writing just as the first record was tapering off. And the funny thing is that the first song I wrote ended up being the first single, ‘Lay It On The Line.’ I don’t know how or what the inspiration was at the time it hit me, but I know that that was the start of something. The fact that it happened and I was like, ‘Wow, this is kinda cool,’ and then I think that song spawned the idea in my head that I really wanted to put something together that’d be a trip through different periods of soul music.
“Soul encompasses so many different things and styles and themes, from rhythm and blues to rock ‘n’ roll to gospel and blues. It’s pretty interesting how it all sorta melded. I’m thinking about, y’know, the 60s when Ike and Tina were doing their thing, and that was such a rock ‘n’ roll driven energy. It was so soulful because of the output of what she was doing vocally, and it had soul elements too, but it just had this driving energy about it. It wasn’t necessarily so much a thought so much as the feeling I had listening to all these different styles of music growing up. I remember what I felt like when I heard the Manhattans’ ‘Shining Star’ for the first time, and how I felt the same way from different angles every single time I heard it. It still hit my gut. Or the first time I heard Tina Turner and thought, ‘My god, wow, what a powerhouse! How do you sing like that?’ And she’s still doin’ it! You my idol, Tina! Or, like, Chaka Khan. I remember hearing her and thinking, man, how amazing to be so strong. I love that light and airy stuff too, whether it’s Minnie Ripperton light and airy or Deniece Williams.
“I’m glad I took the time to incorporate all those influences in my own way, to develop my voice into what it is now. I like being able to weave in and out of different styles.”
You’ve talked in the past about being a kid crouching by your radio, listening to Chaka Khan, but can you remember the first time you heard a song that walloped you?
“‘Help Me’ was one of the first ones, by Joni Mitchell. I remember going to bed, and there was a radio by the headboard in my bedroom. And ‘Help Me’ came on, and I was mesmerized by that song. There was something about the way the guitar licks tapped in, and then there was something about Joni Mitchell’s voice… There was something about… just her vibe. It was unexplainable. There was no way I could’ve put it into words at the time. I was young, probably four or five years old or something like that, but it was very impactful. And I remember later on, hearing it on the radio again and being reminded of that memory. I remember thinking, ‘At some point in my life, I wanna make sure I cover that song.’ And I got to do that with my first record, a few years ago.
“Other songs? ‘Shining Star,’ by the Manhattans. I was in New Jersey visiting family, and my cousin Karen said, ‘Let’s go for a drive.’ She was much older – she must’ve been, like, 16, 17 at the time. She took the car and we went driving around. It was the coolest feeling – that song came on the radio, and she turned it up. We were just singing at the top of our lungs whenever the chorus came around. It was really cool. That was a pretty intense memory, for sure.”
What appealed to you about those songs that you’ve brought into your own songwriting process?
“When I had the opportunity to pick up Court and Spark, and just get to know it – it was the first Joni Mitchell CD I ever bought, and it has ‘Help Me’ on it… She’s got a way of writing that’s so vivid. It really puts a picture in your head. And that’s something I took with me, I think, because I really enjoy songwriters who have that ability. It can be really simple, or in a complex way. I think she’s so descriptive as a songwriter because she is a painter as well, so it’s almost as though she writes the way she paints, and I really appreciate that about her. I don’t paint, but I listen, and I enjoy the pictures that come in my head, so I enjoy songwriters like that. In my own simple way, I think I try to incorporate elements of that.”
When you were figuring out what to visit on this journey through soul, were there certain periods or certain representative tracks or artists that you knew had to be included?
“It didn’t come to me that way. It had everything to do with what I felt when I heard certain artists. When I heard Chaka Khan, I remember what it felt like when I was pumping her and trying to sing her notes when I was 18. It was the feeling I got when my dad would put on, say, a Dennis Brown record, or a Gregory Isaacs record, or Bob Marley – the reggae I heard a lot of growing up. Or what it was like hearing Al Green. I was more able to figure out the influences after I was done writing each song.
“If I said I wanted to write something that had, say, a 50s style to it… my dad used to listen to a lot of Skeeter Davis: ‘You got me where you want me!’ Or ‘Why do the birds go on singing?’ I remember the feeling that I got when I listened to that stuff, so I’d try to write based on the emotion of what I’d felt. I didn’t have the Skeeter Davis records on hand to work from. So it was feeling, and then writing based on the feeling, not referencing something.”
Walk me through some of the tracks on the album and tell me where they’re coming from.
“The basis of ‘Lay It On The Line’ is being in a situation where you’ve been friends with someone for a really long time, and you have those secret emotions you don’t necessarily talk about. And you see them go through this trail of relationships that just basically suck. And every time you see that person in the next one, you know it’s gonna be a trainwreck before it even starts, but you don’t have the heart to say anything. And it’s not really your place, and you always hope you’re wrong. But it’s mostly about the hidden feelings that you have for somebody and working up enough nerve to actually tell them. You know, ‘Do you think I’m hot?”
Is it based on a real-life experience?
“Yes.”
Did it work out well?
“Ha! I mean, I don’t think it was one of those things that, y’know, was meant to be. It didn’t go as far as it could’ve, and secretly, I think I’ll always have those emotions. But whether or not they’re gonna know about it…”
Let’s talk about ‘One More Chance.’ Where did that come from?
“By the time I got well into the concept of the record, of wanting to take people on a trip through different periods of soul music, I knew that I really needed to have a song that was reminiscent of the feeling I got listening to Whitney Houston and Mariah Carey, when she first came out. But in terms of the inspiration of the song, where it came from… That was just real life, real talk. And that was probably the hardest song to do in the studio. I did about thirteen takes of that song, and I cried nine times. It was real.”
What’s the story behind ‘Sweet Surrender.’?
“That hit me out of nowhere. I think I wrote it right around late 2005, early 2006 – somewhere around there. It was just something that came through that channel. And it was really nice, after the fact, to look at it and say, ‘Wow, this has a real 50s feel to it.’ This age of videos, it kind of ruins what you might hear or see in your head. With ‘Sweet Surrender,’ I think of a high school dance, with the ball turning… Or, like the Lawrence Welk Show, with all those bubbles? I really wanted to keep it as traditional as possible.
“In terms of subject matter, I’m talking about those times when you remember that love in your life that was so influential. You think about him, and you’re like, ‘Wow, I totally remember what it was like when you were by my side.’ I think of ‘Old-School Love’ in that way too. It captures that sense of missing that love that you had that was so great. You could be in something else, you could be by yourself, but you still have those moments of being like, ‘I know I can’t turn back the hands of time, but the memory is still there. It feels like you’re still here in my mind.’”
How did becoming a mom change your relationship to music?
“That’s a part of my experience in a big way. The toughest time for me, as a vocalist, was the first six months after having my daughter, because I couldn’t sing. Or I could sing, but everything was all weird. I couldn’t hit any high notes. Everything was all wonky. It was rough. I was depressed about it for awhile. I thought I’d lost something in my voice, but no. Because once everything really healed up, that experience of having a child and really feeling connected to the earth as a result of it just added to my power. The earth brings things into life and sustains life on a regular basis, and that’s something you get to share, as a woman. It’s your responsibility to sustain it as a woman and as a parent. And that experience definitely did something to my voice in terms of growth and depth.
“I don’t know how to describe it, but being a channel for life to be brought into existence, knowing that I had to push this little thing out of me. And being like, ‘Oh my god, did that thing come out of me?’ Every mother says the same thing.What an achievement! There’s nothing like that feeling, nothing like that experience. I can try to describe it, but not unless you’ve been there.
“I think what hit me the most is that having my daughter really kicked my drive and determination to a completely different level because it was no longer about me all the time. I’ve got this little person who is relying on me to take care of her and nurture her, and that’s deep. I’ve gotta work really hard and make some sacrifices. She spent some time in Jamaica so I could get my stuff together, and that was tough, being away from her. But that, man… I tell you, I think that having her is what got me going. It kept me going and made something else happen to me on another level. The drive and determination I had before just went into 50 percent more, 100 percent more. It’s fire. I’ve gotta do what I’ve gotta do to make this happen.”
Despite the fact that she didn’t have a proper recording on store shelves, Divine’s effervescent energy and formidable stage presence – not to mention her mind-blowing vocal range – made her a star before she finally released her much-anticipated self-titled debut in 2005. That album, bolstered by the strength of its gorgeous retro single ‘Old-School Love’ – a swooning return to a time of slow dancing and doo-wop choruses – cemented Divine’s reputation as one of the country’s strongest urban talents.
Three years later, Divine has returned with a tour-de-force album, a virtual trip through both the last half-century of soul music and the roller-coaster ride of love dubbed – appropriately – The Love Chronicles.
The Love Chronicles spans everything from bop-shoo-bop secret crush confessions (lead single ‘Lay It On The Line’) to sassy surf ‘n’ soul kiss-offs (‘Bebe’) to sultry late-night neo-soul (‘Next Best Thing’), all held together by Divine’s magnificent, shape-shifting voice. And thanks to expert assistance by a killer band and a team of producers (Bryan Joseph, Colin Munroe, James Bryan, David Williams and Divine herself), it’s an album that should catapult her to the stratospheric heights of her heroes.
What was the initial spark behind The Love Chronicles?
“The Love Chronicles was germinating in my head for a good two and a half years. There were songs I started writing just as the first record was tapering off. And the funny thing is that the first song I wrote ended up being the first single, ‘Lay It On The Line.’ I don’t know how or what the inspiration was at the time it hit me, but I know that that was the start of something. The fact that it happened and I was like, ‘Wow, this is kinda cool,’ and then I think that song spawned the idea in my head that I really wanted to put something together that’d be a trip through different periods of soul music.
“Soul encompasses so many different things and styles and themes, from rhythm and blues to rock ‘n’ roll to gospel and blues. It’s pretty interesting how it all sorta melded. I’m thinking about, y’know, the 60s when Ike and Tina were doing their thing, and that was such a rock ‘n’ roll driven energy. It was so soulful because of the output of what she was doing vocally, and it had soul elements too, but it just had this driving energy about it. It wasn’t necessarily so much a thought so much as the feeling I had listening to all these different styles of music growing up. I remember what I felt like when I heard the Manhattans’ ‘Shining Star’ for the first time, and how I felt the same way from different angles every single time I heard it. It still hit my gut. Or the first time I heard Tina Turner and thought, ‘My god, wow, what a powerhouse! How do you sing like that?’ And she’s still doin’ it! You my idol, Tina! Or, like, Chaka Khan. I remember hearing her and thinking, man, how amazing to be so strong. I love that light and airy stuff too, whether it’s Minnie Ripperton light and airy or Deniece Williams.
“I’m glad I took the time to incorporate all those influences in my own way, to develop my voice into what it is now. I like being able to weave in and out of different styles.”
You’ve talked in the past about being a kid crouching by your radio, listening to Chaka Khan, but can you remember the first time you heard a song that walloped you?
“‘Help Me’ was one of the first ones, by Joni Mitchell. I remember going to bed, and there was a radio by the headboard in my bedroom. And ‘Help Me’ came on, and I was mesmerized by that song. There was something about the way the guitar licks tapped in, and then there was something about Joni Mitchell’s voice… There was something about… just her vibe. It was unexplainable. There was no way I could’ve put it into words at the time. I was young, probably four or five years old or something like that, but it was very impactful. And I remember later on, hearing it on the radio again and being reminded of that memory. I remember thinking, ‘At some point in my life, I wanna make sure I cover that song.’ And I got to do that with my first record, a few years ago.
“Other songs? ‘Shining Star,’ by the Manhattans. I was in New Jersey visiting family, and my cousin Karen said, ‘Let’s go for a drive.’ She was much older – she must’ve been, like, 16, 17 at the time. She took the car and we went driving around. It was the coolest feeling – that song came on the radio, and she turned it up. We were just singing at the top of our lungs whenever the chorus came around. It was really cool. That was a pretty intense memory, for sure.”
What appealed to you about those songs that you’ve brought into your own songwriting process?
“When I had the opportunity to pick up Court and Spark, and just get to know it – it was the first Joni Mitchell CD I ever bought, and it has ‘Help Me’ on it… She’s got a way of writing that’s so vivid. It really puts a picture in your head. And that’s something I took with me, I think, because I really enjoy songwriters who have that ability. It can be really simple, or in a complex way. I think she’s so descriptive as a songwriter because she is a painter as well, so it’s almost as though she writes the way she paints, and I really appreciate that about her. I don’t paint, but I listen, and I enjoy the pictures that come in my head, so I enjoy songwriters like that. In my own simple way, I think I try to incorporate elements of that.”
When you were figuring out what to visit on this journey through soul, were there certain periods or certain representative tracks or artists that you knew had to be included?
“It didn’t come to me that way. It had everything to do with what I felt when I heard certain artists. When I heard Chaka Khan, I remember what it felt like when I was pumping her and trying to sing her notes when I was 18. It was the feeling I got when my dad would put on, say, a Dennis Brown record, or a Gregory Isaacs record, or Bob Marley – the reggae I heard a lot of growing up. Or what it was like hearing Al Green. I was more able to figure out the influences after I was done writing each song.
“If I said I wanted to write something that had, say, a 50s style to it… my dad used to listen to a lot of Skeeter Davis: ‘You got me where you want me!’ Or ‘Why do the birds go on singing?’ I remember the feeling that I got when I listened to that stuff, so I’d try to write based on the emotion of what I’d felt. I didn’t have the Skeeter Davis records on hand to work from. So it was feeling, and then writing based on the feeling, not referencing something.”
Walk me through some of the tracks on the album and tell me where they’re coming from.
“The basis of ‘Lay It On The Line’ is being in a situation where you’ve been friends with someone for a really long time, and you have those secret emotions you don’t necessarily talk about. And you see them go through this trail of relationships that just basically suck. And every time you see that person in the next one, you know it’s gonna be a trainwreck before it even starts, but you don’t have the heart to say anything. And it’s not really your place, and you always hope you’re wrong. But it’s mostly about the hidden feelings that you have for somebody and working up enough nerve to actually tell them. You know, ‘Do you think I’m hot?”
Is it based on a real-life experience?
“Yes.”
Did it work out well?
“Ha! I mean, I don’t think it was one of those things that, y’know, was meant to be. It didn’t go as far as it could’ve, and secretly, I think I’ll always have those emotions. But whether or not they’re gonna know about it…”
Let’s talk about ‘One More Chance.’ Where did that come from?
“By the time I got well into the concept of the record, of wanting to take people on a trip through different periods of soul music, I knew that I really needed to have a song that was reminiscent of the feeling I got listening to Whitney Houston and Mariah Carey, when she first came out. But in terms of the inspiration of the song, where it came from… That was just real life, real talk. And that was probably the hardest song to do in the studio. I did about thirteen takes of that song, and I cried nine times. It was real.”
What’s the story behind ‘Sweet Surrender.’?
“That hit me out of nowhere. I think I wrote it right around late 2005, early 2006 – somewhere around there. It was just something that came through that channel. And it was really nice, after the fact, to look at it and say, ‘Wow, this has a real 50s feel to it.’ This age of videos, it kind of ruins what you might hear or see in your head. With ‘Sweet Surrender,’ I think of a high school dance, with the ball turning… Or, like the Lawrence Welk Show, with all those bubbles? I really wanted to keep it as traditional as possible.
“In terms of subject matter, I’m talking about those times when you remember that love in your life that was so influential. You think about him, and you’re like, ‘Wow, I totally remember what it was like when you were by my side.’ I think of ‘Old-School Love’ in that way too. It captures that sense of missing that love that you had that was so great. You could be in something else, you could be by yourself, but you still have those moments of being like, ‘I know I can’t turn back the hands of time, but the memory is still there. It feels like you’re still here in my mind.’”
How did becoming a mom change your relationship to music?
“That’s a part of my experience in a big way. The toughest time for me, as a vocalist, was the first six months after having my daughter, because I couldn’t sing. Or I could sing, but everything was all weird. I couldn’t hit any high notes. Everything was all wonky. It was rough. I was depressed about it for awhile. I thought I’d lost something in my voice, but no. Because once everything really healed up, that experience of having a child and really feeling connected to the earth as a result of it just added to my power. The earth brings things into life and sustains life on a regular basis, and that’s something you get to share, as a woman. It’s your responsibility to sustain it as a woman and as a parent. And that experience definitely did something to my voice in terms of growth and depth.
“I don’t know how to describe it, but being a channel for life to be brought into existence, knowing that I had to push this little thing out of me. And being like, ‘Oh my god, did that thing come out of me?’ Every mother says the same thing.What an achievement! There’s nothing like that feeling, nothing like that experience. I can try to describe it, but not unless you’ve been there.
“I think what hit me the most is that having my daughter really kicked my drive and determination to a completely different level because it was no longer about me all the time. I’ve got this little person who is relying on me to take care of her and nurture her, and that’s deep. I’ve gotta work really hard and make some sacrifices. She spent some time in Jamaica so I could get my stuff together, and that was tough, being away from her. But that, man… I tell you, I think that having her is what got me going. It kept me going and made something else happen to me on another level. The drive and determination I had before just went into 50 percent more, 100 percent more. It’s fire. I’ve gotta do what I’ve gotta do to make this happen.”
Visit the Divine Brown store to purchase The Love Chronicles CD and t-shirts.
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(514) 529-3229
CKMM Hot 103 - Winnipeg
(204)780-WINS
chris@hot103live.com
CKOI CKOI - Montreal
www.ckoi.com/contact.php
CJAY CJAY - Calgary
403-249-CJ92
sixpack@cjay92.com
CFBR The Bear - Edmonton
780-451-8666
park@bear.fm
CFRQ Q104 - Halifax
902-451-1043
anna@Q104.ca
CJXY Y108 - Hamilton
905.645.1079
CIKR K-Rock - Kingston
613-549-1057
feedback@krock1057.ca
CFPL FM 96 - London
519.643.9696
CKQB The Bear - Ottawa
(613) 750-1069
bearrequests@thebear.fm
CKWF The Wolf - Peterborough
705-740-9653
allrequest@thewolf.ca
CFWF The Wolf - Regina
306-936-9653
trapper@thewolfrocks.com
CHTZ HTZ FM - St. Catherines
(905) 688-9797
pmorris@sri.ca
CFNY Edge 102.1 - Toronto
416-872-3343
CFOX The Fox - Vancouver
604-280-2369
requests@cfox.com
CJKR Power 97 - Winnipeg
204-780-7625
CFLY Fly FM - Kingston
(613) 650-9800
CFMG EZ Rock - Edmonton
(780) 435-1049
CFQM Magic 104 - Moncton
506-858-1040
CHAY CHAY 93.1 - Barrie
877-CHAY-931
CHFI CHFI - Toronto
416-872-CHFI
requests@chfi.com
CHFM Lite 96 - Calgary
403-245-LITE
CHMX Lite 92 - Regina
306-936-0092
CHQM QM FM - Vancouver
604-871-9000
CHRE EZ Rock - St. Catherines
905-685-1057
CHYM CHYM FM - Kitchener
519-743-2611
info@chymfm.com
CIHR Heart FM - London
519-537-1047
CILK Silk FM - Kelowna
250-860-0101
info@silk.fm
CIOC The Ocean - Victoria
(250) 385-0985
CIQM EZ Rock - London
(519) 643-0975
CITE Rock Détente - Montreal
(514) 845-2483
musique@rockdetente.astral.com
CITF Rock Détente - Quebec City
(418) 527-3232
musique@rockdetente.astral.com
CJEZ EZ Rock - Toronto
(416) 870-0973
md@ezrock.com
CJMJ Majic 100 - Ottawa
(613) 750-1100
music@majic100.fm
CJMK Magic 98 - Saskatoon
306-938-9800
magic@magic983.fm
CJMX EZ Rock - Sudbury
(705) 566-1053
CKCL Clear FM - Vancouver
604-877-6357
CKIZ Kiss FM - Vernon
250-545-7551
CKLH K-Lite - Hamilton
(905) 645-LITE
CKY Clear FM - Winnipeg
204-780-1023
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Management:
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