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CAAALEB's 'Do You Feel It' album, a Projectile of an Icon

Writer's picture: Tadhi CoulterTadhi Coulter

Updated: Dec 8, 2024

Caaaleb in flight, Photo by Skyler Wagoner
CAAALEB in flight. Photo by Skyler Wagoner

Introduction


Perhaps, just perhaps, with this interview, or some fortunate turn of events, CAAALEB will be managed with public relations by WPMG. I discovered him singing background vocals alongside Ashly of June's Diary and Naärai Jacobs for Erica Campbell's performance of Trust and Obey during her 2023 I Love You album release party and concert.




Trust and Obey, composed by WPMG artist Gromyko Collins, written by him and Fannie "Belle" Johnson, and produced by Grammy-winning producer and virtuoso Warryn Campbell, is the 11th track on Erica Campbell's I Love You album, with nearly 200K streams on Spotify alone since its September 2023 release.


Tadhi Coulter (TC): Let me just say, I've fallen in love with your solo performances and the album in general. I understand you worked with a phenomenal team of writers, including yourself, Calvin Lockett, Darris Sneed, and Tyler Redman, who also produced the album entitled Do You Feel It. Tell us about the album and its process.


CAAALEB: For a while I've wanted to release music, but I just felt like the timing wasn't right. For one thing, I needed a producer who could work with me—to just figure out my sound, you know. You can release any song and it'll sound good, but I was more interested and invested in what would make me stand out as an artist. I don't just want to release stuff that sounds the same, engulfed in the sea of songs released on any given day. We started at the beginning of the year just writing and figuring some stuff out. Yea, we started like in February. The songs were done: written, demos out by May, mixed and mastered by July. So that's the logistical process.

TC: Did collaborating with a single producer (LEVÉ MUSIC) rather than several create a sense of unity for you? Even though it's just three songs, there's a noticeable uniformity and continuity in its sound. Was that something you and your team were aiming for?


CAAALEB: Absolutely, that was one thing I wanted because, you know, a lot of people work with... a new kind of way where people work with multiple producers on a project—not bad at all—but as for me I like continuity, like you were saying. Like the storytelling and sonics, you know, and sounds were important to me. Just finding someone who understands who I was as a person—then creating a relationship and building from there—was an important consideration. I feel like me and Tyler had a good connection and we created something really cool.


TC: How did Unspecial come about? You captioned one of your Instagram posts with a message about the song's inspiration. Tell us a little about that.


CAAALEB: We had already written the other two songs together—me, Tyler, Calvin, and Darris. Then there was a day when I was talking to Tyler, and I was like, 'We can dig even deeper.' Basically, one day he asked: "What bothers you?" We're friends and we have this relationship, but he wanted to know what was deeper beyond the surface. He wanted to know what bothers me... what makes me tick, so that's where the source or heart of Unspecial came from.


I already had the idea—like I have a lot of different ideas that I'll write in my notes. I knew Unspecial was a title I was really attracted to, that I had written down. But there were just different instances throughout my life—friendships, relationships, business relationships, etc... where I spotted that people wanted to use me in a way I knew wasn't aligned with who I was, you know: they wanted to manipulate my gifts, time, or money just for their benefit. I'm a pretty aware person, and I'm aware of my gifts. I'm aware of who I am, what I carry, and what I bring to the table whenever I walk into a room. 'That money doesn't align with what I'm bringing or the way you're treating me doesn't align with what I'm bringing, etc... etc...' I'd question. I know I'm very SPECIAL but you're trying to make me feel like I'm Unspecial. Things are not adding up, you know! So I thought it was just a very cool concept, so me and Tyler were able to dig a little deeper with the Unspecial—just pulling from a lot of different things, even my journey of moving out here to Los Angeles from Cincinnati.


 
 

TC: From where do you esteem or attribute that level of love and passion in the song? And how might you say you translate it into your most authentic self and performances?


CAAALEB: If I trust you, then I trust you, you know, and God'll make sure that it's the real type of trust and the real type of faith. Unspecial was different because it also showed a more vulnerable side of me. Especially as a Black man, too, you don't always see that in music, and I felt like I wanted to set a precedent and the expectation that this is something that you can expect from me—you can expect honesty, and you can expect vulnerability. These are feelings that I felt, like 'You were playing me!' I didn't like how that felt. You know!


One of the lyrics... I almost wrote it as a tweet... actually that was so funny... the lyric "Why does being misunderstood feel the same as being betrayed" I almost wrote as a tweet. Then when I wrote it—typing it out I said, 'Yeah, that's a good lyric!' I literally wrote that like two days before me and Tyler had the session to write Unspecial. And like when we got into the session to write it, I was like: "I just wrote this down the other day, and it just ties so well into what we're talking about."


TC: The song has such theatrical appeal. I can totally hear and see it placed as the theme song in a blockbuster love story or film that definitely touches upon some of the things you're saying. So, was that one of your and the producer's goals with the song, getting it synced into a film or television series?


CAAALEB: Yea, yea, yea! That was definitely a goal too, especially Unspecial, to get a sync placement for television or anything, you know. Yea, yea! I think it's going to come about. It's just timing. I believe that everything is just timing. It's definitely going to come about.


TC: How has the process of singing background vocals for A-list artists like Beyoncé, including her Grammy® Award-Winning "Best Dance/Electronic Album" Renaissance and "Best Dance/Electronic Recording Break My Soul recording prepared you as a solo artist? Congratulations, on your two Grammy® certifications as well.


CAAALEB: It's prepared me a lot—being prepared with excellence is so important. You know I walk into a lot of different situations. I'm a very observant person, so I observe how different teams handle their artists and what they do, so I learn what I like and don't like. I take what I like and discard what I don't like, you know. Just meeting a lot of different creatives who push me on a day-to-day basis. There are a lot of talented people here in L.A. It's actually very inspiring for me to see people operate in their gifts and purpose—seeing them be great definitely pushes and motivates me.


TC: What was that moment like when you realized you wanted to pursue a solo career?


CAAALEB: I've always wanted to pursue solo artistry. I'm definitely a person where if I do something I want it to be done right, you know. I believe first impressions are everything. I feel like people are always watching, and I always want to leave a good impression, like 'OK, this was good! This was excellent! This was quality!' So, I felt like this project was a stepping stone in that direction. Background singing has always been a stepping stone in that direction because I knew that I could learn and grow while still growing in my gifts. I wouldn't say it's a hierarchical relationship or anything. They're definitely closely related—singing background and solo. I love background singing. It's very fun, and depending on the artist it's low-impact.


Some backgrounds are a little more invested and it's a lot of intricate parts and stuff, and then sometimes the look and the vibe... It just depends on the artist you're working for. I love backgrounds. Whether I'm singing solo or not, I go into every opportunity with the same mindset of bringing my best because I think that everything is an audition. I think everybody's always watching, so you never know who'll be in the room. And I don't ever want to be caught slacking, or walk out of a room thinking: 'I could've done that better.' Instead, I like to walk out of a room like: 'I did my best! That was great!'


While I don't think either type of performance takes on a greater or less than comparison, being a solo artist does take a lot more because it's like your baby, you know. So, there's definitely a different level of investment. I might not have to be as invested emotionally or mentally in different artists, but I'm definitely still prepared to the same level. I still care and want to respect the art just the same—just how I would want somebody to respect my art if I were hiring background singers to sing on my stuff. I wouldn't want them to come into a rehearsal for me less prepared or anything.


TC: What does "elevation" look like for you when it comes to your music and performances?

 

CAAALEB: Yea, in my mind when I say "Elevate," I think I'm just really referring to my reach expanding, and just me being able to create a life just off of my art. So, it's not like I have to be a 'Michael Jackson or something, you know. Just being able to live a life off of my art, creating money off my art being able to provide for myself, off my art. Singing and touching people all over the world off my songs. I believe that that is what's going to happen. New heights... a bigger reach [and exposure] to just impact people.

 

TC: What about studio versus live performance singing? Do you prefer one over the other?


CAAALEB: They require different skills. I love both though. I like the studio stuff because it's very intricate because it's on a recording that'll live forever, so you have to be on your "A" game and on your "Ps and Qs." You have to be adaptable and flexible, responsive and intuitive. You have to be able to retain things quickly, regurgitate and stylize them in the way the artist and their team wants. So, I love the skill of studio singing. That's a lot of fun, especially if you're involved in the creative process.


But I also love the LIVE aspect because it's a different thing. You have to have the energy and the look, and the feel, and you have to have that stage presence, which you might not necessarily have to have in the studio. Then again, you have to bring the studio alive on stage... bring those recordings to life on stage. Not all session or studio singers are live performance singers and vice versa. If I had to give myself an "A" or an "A+" grade as a session or live performance singer, I would have to be honest and give myself an A+ in the studio. There are a lot of different things that I still want to do LIVE as a solo artist that I haven't gotten the opportunity to do yet and that I need to grow into, especially in terms of my style as an artist.


Caaaleb in denim jacket and blue signature cap. Photo by Skyler Wagoner
Cover art image of CAAALEB wearing a blue denim jacket with orange trim and signature-blue baseball cap Photo by Skyler Wagoner

TC: You've talked about preparation. How do you take care of your voice, and have you ever struggled with maintaining and managing it?

CAAALEB: I studied vocal performance at Capital University. The voice is an instrument inside of my body and it's not detached from it like a saxophone, piano, or guitar. Literally, my daily life and habits affect how I sing, and I take all of that into consideration. Actually, in 2019, I had vocal surgery to remove a polyp on my right vocal chord. I had to rehabilitate and go through that process before I moved to L.A. because I knew once I moved out here I would want to be able to present a consistent package, and that was one thing I struggled with before the surgery. Like I would try to warm up and it would take forever, and just a whole bunch of inconsistency with my voice... more of a liability. But after the surgery, I was able to rely on and trust my voice a lot.


It just helped everything because the voice so psychological... and singing is such a psychological thing. 'How you think about yourself?' How you feel about your voice affects how you sing. It can make you more timid. It can make you more shy, more apprehensive. And you don't want to be like an apprehensive singer or performer because people can feel that. So, I was able to grow from that. I was super glad I got that surgery in 2019. I did vocal therapy and stuff. You can ask anybody on any gig, I take my vocal health very seriously. You're going to find me doing trills, blowing in a straw, doing warmups, doing scales just because I see myself as an athlete. You don't see Lebron James walking onto the court cold without warming up, stretching, shooting shots, you know. And he's great. And I believe that I'm great too. I want to be, and I want to be even greater. I take that seriously.

TC: Speaking of your mental health as a singer, how do you take care of that aspect of yourself? Do you give it much thought?


CAAALEB: Gratitude is so important! I remain grateful for everything, like for real. I try to have a good perspective about life, where I am, and what I'm doing, and just giving myself grace. I'm human, and I'm not going to get it perfect all the time, but I feel like gratitude cancels out a lot of negativity.


It's like: 'I could always talk about what I don't have. But look at what I do have.' I have a place; I have a roof over my head. I'm in good health. I'm not in the hospital all the time. I'm not sick all the time. That's something to be grateful for. There are people in the hospital who'd love to be in the position I'm in right now. Even having gratitude in the jobs I get is important to me. You know, I don't look at what the next person has or what I don't have. I'm grateful for what I do have, and I'm grateful for where I am—for what God has given me. I just try to remain present because I believe that everything I'm doing is preparing me for the NEXT! Even like what you were saying earlier as far as being prepared for different types of jobs—background versus solo performances and recordings—like the answer is 'No!' [the relationship isn't hierarchical] because I feel like the background stuff is preparing me for my solo performances. I take all things and put them into my tool bag. I'm grateful for every opportunity.


For my mental health, I'm a peaceful person. The only way to last through long days is to joke and have fun. Things always go wrong. I protect my space. I don't allow everyone around me or in my space. I take myself seriously. I take my hands off and I pray. There have been many instances since I've moved out here where the things I thought I wanted I did not get. Then in hindsight, I'm like 'I'm grateful I didn't get that!' not knowing what was behind that door. Even the things I think I want, I pray and it's like: 'God, I think I want this but if I'm not supposed to have it, please don't make it work out. You feel me, especially in our Western world of "More, More, More!"


Just because you can get something doesn't mean you're supposed to have it. When is "enough" enough; there's always going to be another opportunity to make more money or move into a bigger house? Like bigger is not always better, you know. Just making sure you have the right perspective of where you are supposed to be in life is important, so that's what I try to check my thoughts and filter my emotions through... my life through, of where I am right now, and where I'm trying to go and work towards. Just taking everything step by step, and not getting hasty or ahead of myself. You feel me!

TC: The relationship between fashion and music is closely aligned and collaborative. Was there anything about any of the three recordings that spoke from a fashion perspective or element that you considered or were conscious of executing in some way?


CAAALEB: It's funny because actually the song Solar Mood metaphorical and an abstract kind of song but the idea from it kind of stems from just like my observation of culture now, in which fashion plays an integral part... from how people love these days and how they display their love. Sometimes it just seems kind of shallow to me, just in regards to some women, for example—which I don't think is bad necessarily—might expect a guy to buy a [luxury] bag for them to show his love. It's like: 'Can I show my love in a different way?' It's not to say that I won't show my love in that way [getting her the bag] but just the expectation... and the exploitation of materialism. It's like 'Dang, you know....' That's kind of where that song stems from, which ties to fashion in a way, probably most out of the three songs on the album [Do You Feel It] because it's like I don't wanna love in this low place, this shallow type of love. I want a higher type of love. I feel like love should be mature. I feel like love breaks boundaries and it breaks rules. And, if I really love you, I'll do things I said I'd never do, you know... like there are no rules when it comes to love, and I feel like just the materialism is very limiting where we are in this current day and age.


 

TC: If you had the opportunity to collaborate with any designers, who would you choose? Are there any specific ones you have in mind, particularly for your live performances?


CAAALEB: Some brands I've come to like in recent years is Bottega. I like their silhouettes... they're very fun and their color palettes, especially the green tones, are very attractive, especially on stage. The presentation has to be there. So, I definitely can't wait to collab with different designers, stylists, and fashion editors who can dress me in different brands. I love Loewe's clean designs and styles, too. So, I also like a lot of clean things—clean lines that give off a more mature feel. I also like a lot of streetwear stuff, like Chrome Hearts. I like how bold and gaudy they are. Just mixing all of that and making the clothes make sense to whatever song or theme the producers and I are going for would be cool.

 

TC: Do you have an affinity towards fashion? For me, when I was about 13 or 14 years old it's the vintage button-down, reddish-pink short-sleeved shirt with a single button at each end to hold the tie in place or just to make the shirt look really nice, clean and sporty by itself. I found that shirt in my grandfather's closet one day, and I've never been able to put it down since.


CAAALEB: Yea, I definitely love fashion just because, it's another form of expression, you know. Today, I just came from the gym, so 'I'm gonna throw on this beanie'—I'm feeling comfortable. Like even when I'm in the studio recording, I like to feel comfortable, but I still like to feel good just because like we were saying earlier, the mental and the psychological aspect of singing comes across in your voice just because your voice is literally connected to your body, you know. So I want to feel confident and comfortable when I'm recording and in the studio.


On stage, you've got to take it to the next level, but you still want to feel confident and comfortable, too. It's another form of expression and I'll leave it there. I feel like if you know how to dress, you can make almost anything look good and you don't require a brand name because it speaks to the overall confidence of the artist. It's: 'I don't really care about what you're saying; it's for me, you know. That's the mindset I have. I try not to make many decisions for other people. If I like 'this!' I'm going to wear it. Or if I like how something else looks, I'm going to put it on. I move with that rather than doing things for other people because when they don't like it, I don't want that to affect my mood.

 

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Caaaleb with mic in hand in a solo performance on stage
CAAALEB in a solo performance

Check out CAAALEB's latest project, Do You Feel It, drawing upon the genres and styles of gospel, Jazz, R&B, Pop, and Musical Theater, His commitment to and pursuit of excellence in every area of his life, including its ethical core, makes him a WPMG icon.


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CAAALEB, an icon in the purest sense!

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