Stephen “Static” Garrett is more than a Blackground artist – he’s the label’s long-time secret weapon. Having helped create hits for seminal singers like Ginuwine, Brandy and the late Aaliyah, this multi-faceted talent has also lent fortune to newcomers like Pretty Ricky and pop sensation JoJo. In 2008, Static returns to his roots as a performer (with the former group Playa) and introduces “Static/Major,” the alter ego behind his as-yet-untitled solo debut, to be released via OG Music/ Blackground Records.
The Louisville, Kentucky native grew up singing solos in his church choir, of which his mother was the director and his sister played piano. He continued to sing throughout high school, eventually teaming with local talent “Smoky” and “Black” to form Playa. The trio caught the ear of Devante Swing, a member of New Jack Swing phenomenon Jodeci, who helped Static hone his skills as songwriter. It was Devante who insisted Static submit the track that would later launch his songwriting career. “Pony,” the debut single from then-up-and-coming Sony artist Ginuwine, reached number one on the Billboard Hot R&B/Hip-Hop Singles track and number-six on the Hot 100.
Playa was subsequently singed to Def Jam, which released their first and only disc, Cheers to You, in 1997. After putting out the title track and the single “Don’t Stop the Music,” Playa disbanded due to creative differences with the label. Static, however, forged ahead. “Pony” lead to a relationship with Grammy Award-winning producer and artist Timbaland, as well as Blackground founder, Barry Hankerson, and President, Jomo Hankerson. Throughout the dawn of the new millennium, Static continued to pen hits like “Say My Name” (Destiny’s Child), the Dr. Dre-helmed “So Addictive” (Truth Hurts) and for Aaliyah, the chart-toppers “Are You That Somebody,” and “Try Again,” as well as “More Than a Woman” and “Rock the Boat.” With three number-one’s under his belt, he also made his presence known in hip-hop, crafting Nas’s “You Owe Me” and Jay-Z’s “Change the Game.”
On his solo effort, Static introduces Major, whom he describes as somewhat of a suppressed figure. “Major’s tired of being behind the scenes. He’s ridden Static’s back his whole career, watching everybody else do their thing…he’s got something to prove.” The collection of incomparable tracks that draw from every possible music genre speak to the musician’s unique ear and penchant for balancing topical familiarity with melodic reinvention. “My album ranges from songs that you play in the ‘hood to the big radio records that I’m known for.”
While his sound can be described as futuristic or left, Static’s creative approach is old school. “Back in the day, the producer was the guy who put it all together – he decided what beat to build on, who was gonna play the drums, what guitar to use. Nowadays producers [will] just do a beat. They’re just instrumentals to me. Every instrumental’s got something it’s trying to say and it’s up to the songwriter to translate it.” When it comes to making music, Static operates strictly outside of the box. “I don’t even listen to R&B music. I actually come from the streets and I hang in the streets. I stay in the streets. That’s where I draw my inspiration. If it can’t be played in the ‘hood, then it just doesn’t work for me. And nobody can hold me on harmony. My whole aura is not your typical R&B aura.”
Static describes the lead single, “I Got My,” as a “cocky joint” on which he’s “poking my chest out and I’m letting the world know, ‘I’m straight. I got this, I got that.’ I wanted to come with a song that had a wide range [of topics] and try to show them, all the spectrums I can go through in four minutes.”
Other tracks include “Coffee in the Morning,” which he likens to the lyrical structure of ‘Pony.’ On “Miracles,” he opines, “I got $20 in my pocket/a quarter tank of gas,” reasoning, “the ‘hood draws to [the subject matter] because in the ‘hood they believe in miracles every day. The light bill’s getting ready to go out and the something happens and – boom! – they can pay the light bill.” On “Bus-Stop Breezy,” Static relates the joy of spotting that rare dime-piece at the bus stop. “She may have just got off work, she may be on her way somewhere, she’s like a diamond in the ruff – you wouldn’t expect to find a girl so pretty at the bus stop.” Tracks like “Easy Come Easy Go” offer Major’s thoughts on love and relationships, of which he says, “You could be madly in love one day but tomorrow, I might not be feeling you any more. So let’s make the best out of it while we’re together right now because tomorrow you might feel differently about me.” As of late, the project includes collaborations with O-G artist Goodfella and producer Brian Michael Cox, who contributes the ballad “For a Long Time.”
Having already made his mark from behind the scenes, Static is prepped to step up to the mic and into the spotlight in a Major way.
sup static. its static j. i kno u n heaven lookin down on me. anyways i heard from wikipedia dat da album comin september 9th. ima cop dat. i been letn everybody kno who u r. im kno alot about u and ur family.rip man and i kno louiseville pissd off. dont worry uts goin b ight. yall forgive wayne.
we miss u baby u kept my speakers bumpin wit that hot sh*t i kno u're n a better place continue to shine ur love down on us and ima buy 5 copies of ur cd wen it drop
I just wanted to stop by and thank you for all the inspiration that you have givein me in a louisville music artist and one day when i start getting that money ill repay you with more than words. god bless you and your family big homie. R.i.p static we miss you.
