Stevie may be big trouble working this chick. She is the music executive who tryied to get En Vogue to sign a new contract without seeing a lawyer first. She has a rep for being difficult.


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Signed. Sealed. Delivered?
Sylvia Rhone is betting Stevie Wonder can help revive legendary Motown Records. If only he'd play along.

By Johnnie L. Roberts
Newsweek


June 20 issue - It's a rainy April night in New York, and Sylvia Rhone, the new CEO of Motown Records, is lounging on an oversize bed and whispering coquettishly in the ear of her label's legendary star Stevie Wonder. They are at the chic nightclub b.e.d celebrating the birthday of his daughter Aisha Morris, whose arrival 30 years ago inspired his classic "Isn't She Lovely." But Rhone seems fixated instead on trying to charm Wonder into finally delivering "A Time to Love," his first studio album in a decade. She'd already managed to coax the first radio single from him, "So What the Fuss." Rhone had also begun negotiations for a television special and visited Wal-Mart and Best Buy headquarters to trumpet Wonder's return. She'd spent some $200,000 for billboards. Yet on May 3, when the record was slated to go on sale, Wonder was still refining it. Alas, the CD won't even reach stores for the rescheduled release this week on June 14. Oddly, Motown has released a second single, called "From the Bottom of My Heart,'' even before the CD comes out. Rhone is coolly masking any anxiety. "He is an iconic artist who always has something very pertinent to say," she said recently. "As music lovers, we are way past due to have Stevie back in our lives."

Wonder, discussing the album's delay in a rare interview, tells NEWSWEEK that he understands the pressure to turn over the album—to a point. Rhone is "a little frustrated, and maybe there's pressure she's facing," he says. "Obviously, they would have liked to have had it yesterday." But he has a busy life outside the studio as the father of seven, including a newborn. And the creative process is delicate, he adds: "The reason they haven't got it is I'm not ready to give it to them. However long it takes me, I'm giving the very best that I can ... I won't settle for less." Since the first missed deadline, Paul McCartney and jazz flutist Hubert Laws have joined Wonder for songs on the album.

For Rhone, who insists Wonder will hand it in to Motown this week, much more is riding on "A Time to Love" than ending the drought for his fans. In her eight months as Motown CEO, she's placed a huge bet that Wonder's comeback would help reinvigorate what once was the industry's most influential label, with its signature "Motown sound" and a roster that included Smokey Robinson, the Temptations and Marvin Gaye.

Though three Motown CEOs have fallen short in the last decade, Rhone, 53, has good reasons to believe she can succeed in reviving Motown. She has a knack for breaking new acts, and has the unqualified backing of Doug Morris, her longtime mentor and CEO of Universal Music Group—owner of Motown. "Sylvia is a rainmaker," he says.

If she can sprinkle Motown with hits—she already has one with the artist Kem—it will help wash away any doubts about her abilities after a rare setback last year. That's when Seagram scion Edgar Bronfman Jr. unceremoniously bounced her as CEO of Elektra after taking over its parent, Warner Music. Rhone first learned she'd be fired from a reporter who called while she was dining with her mother. "It wasn't pretty," she says. "I'm in a better place now." But it didn't end there. Late last year, Rhone and Bronfman were among a bevy of boldface names (Jay-Z, Beyonce, P. Diddy) in Anguilla for actor Denzel Washington's 50th-birthday party. Unaware of their history, boxing promoter Butch Lewis introduced the two. "I'm going to kick your a—,'' she told Bronfman, according to two revelers who asked not to be named to protect their personal ties to each. Bronfman says he doesn't recall the incident. Rhone recalls uttering only, "Butch, I know him. He's the guy who fired me."


At Motown, Rhone says, her goals are straightforward. "The mission is simply to sign great artists," she says. Among her additions: Yummy ("the next Mary J. Blige," Rhone says) and Q-Tip ("a very significant artist in hip-hop''). Rhone ingratiated herself with India.Arie, an artist she inherited, by embracing the singer's bid to branch into the broader urban mainstream, says Fernando Gibson, her manager. Yummy's producer, Rockwilder, adds: "Sylvia is not one of those executives you have to see in the office. She comes to the studio; we eat with her."

In the early 1970s, Rhone began her career as a banker, catering to blue bloods. The Wharton grad was herself a "black blue blood," as one friend put it. Born in New York's Harlem—her late father was an influential lawyer, her mother still teaches second grade—she grew up in the famed Sugar Hill section around neighbors like Duke Ellington and artist Romare Bearden. "A very rich black culture," says Rhone, a director of Harlem's Alvin Ailey Dance Theater.

But music, not banking, was her calling. "She grew up a little princess, but she's tough," says Richard Parsons, CEO of Time Warner, which used to own Warner Music, where Rhone soon landed. There she met her mentor, Morris. And he rewarded her flair for spotting talent with history-making promotions for a female, including CEO of Elektra in 1994. Early on, as head of East West Records, a Warner Music start-up label, she generated $100 million in sales the first year. One of Rhone's top acts at Warner Music was Missy Elliott. A songwriter and producer, Elliott had little desire to perform. But Rhone guessed that Elliott aspired to be a talent spotter. The upshot: as a lure for signing on as a recording artist, Rhone offered Elliott her own label, a gutsy move because Elliott hadn't yet proven herself as a solo act. Not only has Elliott the artist delivered hits, but she discovered Tweet, whose debut album was a smash.

Even as Rhone thrived, things didn't necessarily go smoothly. A rep for lavish spending on videos dogged her. The B word came up often. Elliott's manager, Mona Scott, who has clashed with Rhone, agrees that she could be tough. "When men acted that way, they were being aggressive, not bastards," says Scott. "This woman had a fire in her."

But Wonder has a fire, too, and it's keeping him from letting go of the album that Rhone wants to jump-start her turnaround. As more time passes, he has more ideas. "So much has happened in the last year," he says. "It caused me to think differently about how I would organize the record." Time is making the album better, he says, adding: "I can only apologize in that I did say it would be ready on this or that date."

Wonder signals he's aware of concerns at Universal Music that the focus on him may be draining resources from other artists. "My feeling is that this is my statement, my expression," he says. "Other artists—I have nothing to do with that." The choice of singles has been an issue, too. Wonder says the label always preferred the classically Wonder-esque "From the Bottom of My Heart" as the first single, not "So What the Fuss." "But I didn't want to do what one would typically expect," he says. "And I don't regret it." At this rate, the album may come out one song at a time. It may make sense in the age of 99-cent downloads. But certainly Rhone is hoping Wonder's long-anticipated return would make a bigger fuss than that.

© 2005 Newsweek, Inc.
© 2005 MSNBC.com

Oh....so Stevie is the one who is responsible for the constant delays.And all this time,we were blaming Motown,lol.


btw,the new single "From The Bottom Of My Heart" is great! I heard it on the radio as I was driving to work,and I love it.

It's funny that as great as Stevie was I never expected anything special from his newer music. For the first time ever I'm looking forward to a Stevie release (all of his great albums came out long before I could appreciate them).
[Edited 6/16/05 0:41am]

I've read that Sylvia Rhone is a VERY difficult person to work with. I read a funny story in SPIN when she was working with Motley Crue (1997) she didn't want to promote their reunion record. There was so much bad blood between them and her. At a concert, Nikki Sixx pulled out his cellphone and called her and blasted her onstage and made the whole audience yell "F#ck You Sylvia" over and over while she was on the phone(lol).

SPYZFAN1 said:

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That is one of many stories about this chick. Makes me wonder who is crazier the artist or the executives.

DavidEye said:

David, did you ever find that 'Uncut' article? He makes references to the creative process/album delays there.

And I still haven't heard 'From The Bottom Of My Heart' - just a sample. How lovely is that chorus??! Damn, I need a new album of joy-inducing Stevie tracks.
[Edited 6/16/05 8:52am]

DavidEye said:

StevieWonder said:

Stevie is gonna have the same problem jacko has. Keep hyping it up by putting it back and people will just get more pissed off and more dissapointed.

thesexofit said:

I agree with you, in some ways. The more this album gets hyped, people are gonna be frustrated and - possibly - disappointed with the end result. There's hype and then there's TOO much hype. It might have been better to never even mention the record until he knew it was coming out soon.

On the other hand, he hasn't really polarised his fan base in the same way MJ has. Even if some people think his 'genius' records are behind him, most people still hold Stevie in high regard. (And I'm not flaming MJ, there).

In the end, we have to respect Stevie's wishes - and I'd much rather wait for an album he's put his heart and soul into. Not just some contract-fulfilling garbage.

So this mean don't count on June 21st, next week?

onenitealone said:

I haven't found that 'Uncut' article yet.I'll look for it this weekend at Tower Records.

"From The Bottom Of My Heart" is classic Stevie.It's a beautiful midtempo jam.

DavidEye said:

Dave, also try Borders, if there's one near you--they had tons of copies of the magazine last week...nice cover story on Stevie....



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paligap said:

thanks for the heads-up!

CinisterCee said:

Ok, but who is setting the release dates, especially the very noitrious May 3rd one, which ended up running in all the ads that push the new release CDs (which is any store that has an ad and sells CDs).

VinnyM27 said:

good point.

probly Motown.

CinisterCee said:

Guess they learned their lesson. The June 21st date must have fell through as well since it's not in the ads. Also, there was an article about the new disc and the fact that Stevie is holding it up because he is a perfectionist and that Motown will get it when it's done....which will be? I really hope it's worth the wait!

VinnyM27 said:

I don't understand why we were teased with "What The Fuss" like that.

CinisterCee said:

I understand releasing a single very early to hype the album and even a follow up right before it comes out, but you would hope a release date is set before they do that!

by the time this album finally comes out,we would have already gotten three or four singles

perhaps this album is being released song-by-song?

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I think it's hilarious that it's called "A Time to Love" and nobody can schedule it....




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paligap said:

NEWSWEEK: After 10 years and two missed release dates since May, why doesn’t Motown yet have your new recording, “A Time to Love?”
Stevie Wonder: The reason they haven’t gotten it is, I’m not ready to give it to them. Certain [release] dates been set and changed. That’s because I decided to do a couple extra songs that I wasn’t going to do. If it were possible, I would have done a double CD. It’s just a matter of me deciding what I’m saying and the statement I want to make with “A Time to Love.” Obviously, things are a little different now than when I was working on “Songs in the Key of Life” [Wonder’s 1976 double album], and I had one child about to be born. Now that I have seven children, there are different things that take the time. The good thing about having the family and more children is there’s cause for even more to write about and sing about. However long it will take, I’m giving the very best I can. I have a vision, and I won’t settle for less … Probably the most important thing is if I’ve been working on songs for 10 years, what’s a couple more months?

The talk in Internet chat rooms suggest that your fans are becoming increasingly frustrated by the postponements. What’s your reaction?
I can understand that. But as much as it may cause frustration, hopefully the consequences will be they are going to be happier with the album they will get than the one they might have got sooner. If I had given the album two years ago, I wouldn’t have had my daughter singing on it. When it feels right is when I do it. I can only apologize in that I did say it was going to be out on this or that date. I’m not going to say anything [more about a release date.] But the moment it comes out I want them to make it No. 1.

Motown CEO Sylvia Rhone is counting on your record as the linchpin of her strategy for reinvigorating the label? Does your delay in turning in the recording put her in a difficult position?
I like Sylvia’s heart. We have developed good communications. She’s a little frustrated, and maybe there’s pressure she’s facing. I understand all that. Obviously, they would have liked to have had it yesterday. And I probably would liked to have had it day before yesterday. But I wouldn’t give less than God wanted me to give. I’ve had a chance to talk with her, and explain to her where I’m coming from and sharing with her that I understand dates and time far more than anyone on this planet. I just say that we have an issue where things are happening on time or in time. I say that in time God will give me what I need to do the album on time. In a perfect world, it would have been great to have the album and single [“So What the Fuss”] out at the same time. I’ve said Sylvia that when I’m done, I will bring it to them, and they can have a press conference with me giving it to them.

Apparently, there’s concern inside Universal Music Group that the emphasis on your project is diverting time and resources from other artists?
Again, this is my craft, my art form. My feeling is that is my statement, my expression. Other artists—I have nothing to do with that. It’s my life I’m giving.

“So What the Fuss,” the first single was put out in advance of the album, a typical strategy to herald a forthcoming release. Now, a second single, “From the Bottom of My Heart,” has been released, despite the fact that there’s not even a release date for the album. That seems odd. What’s the rationale?
There was a desire [by the record company] to put out the second single. From the very beginning, they wanted “From the Bottom of My Heart” as the first single. But I didn’t want to do what one would typically expect. And I don’t regret it. I’m excited that the response to “So What the Fuss” has been interesting. I would never limit what God has given me to one particular thing. For artists and songwriters, it’s a challenge to do different things.

© 2005 Newsweek, Inc.

paligap said:

eugnj420 said:

Stevie, stop fronting that this is going to be some sort of masterpiece, ok? Everyone knows it won't. We've been waiting 10 years for you to lay this egg, so GET TO IT.

VoicesCarry said:

That's harsh! However, he is setting expectations way too high and shold stop. Why in the hell did he release a video for "What The Fuss" without any idea when the album is coming out. Damn. We'll get a timeline for getting out of Iraq before we get one for "A Time To Love"!

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I still think the Earth Wind and Fire situation is worse. They released a single in september of last year, "Show Me The Way"...It was even nominated for a 2004 Grammy, everybody was asking about the new record....and the album, "Illumination", STILL hasn't dropped! last I heard, it was set for September, what d'you bet they're gonna miss that date, too...the single will have been out a year with no album to go with it....





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Well the reason i was told by a source that basically buys for a record chain and writes an article for Vibe. the reason this record is delayed is that MOTOWN is worried about making the money back that it has invested and they have invested alot, so they say. They have said that it all depends on that first week sales number, which honestly is sad that with an ARTIST like STEVIE we are even talking about how many units he will scan, WHO GIVES A SHIT, just put out music, this is why the whole industry is crashing and burning, its all bottom line and all the artists are SHIT. A rep for Motown told my source that they have to at least move 200,000 that first week to be close to breaking even. Well if thats what they shooting for, they aint gonna get it, there is no way that stevie will scan 200,000 units opening week, I love stevie, but the public just doesnt buy like that. Those are opening numbers for artists that "teens" buy.

eugnj420 said:

apparently,they must be referring to Prince.Org

lastdecember said:

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They can't be serious because they did a horrible job pre-marketing this CD.
Just look at the awful and cheap video for "What's The Fuss".

laurarichardson said:

I agree. Without the internet, I wouldn't have even had the chance to see or hear "So What The Fuss". That's not the kind of investment/marketing needed to do those numbers!