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Deborah Cox Lyrics

Deborah Cox - Biography

One Wish, Deborah Cox's long-awaited second album, continues the
incredible success this talented artist has achieved from the start
of her career...

She recently recalled the excitement of her first meeting with Clive
Davis back in 1993. He would become her Executive Producer the
following year, but the memory of that first meeting still has a
special place in her heart. "He played our demo and told us
[Deborah and her writing partner, Lascelles Stephens] what he
thought about our songs. Then he began to give us very specific
pointers - 'There's got to be some kind of strong hook within the
lyric,' for example, 'more than just a catchy melody.' He spoke
about winning song structure, where the chorus ends the song to the
fade, little things like that. Big things! We were very, very open
to criticism, and this was good criticism. It was the first time
someone had taken the time, and we felt honored."

As a result, not only did "Where Do We Go From Here" from
that original demo make it onto Deborah's self-titled Arista debut
album, but she and Lascelles also contributed three more tunes of
their own. That's a pretty fair rookie batting average on a disc
dominated by compositions from such major league writers and
producers as Babyface, Daryl Simmons, Dallas Austin and others.

The result was a string of R&B-pop crossovers -
"Sentimental," "Who Do U Love," "Where Do
We Go From Here" and "The Sound Of My Tears" - that
kept her on the charts (and on the road, doing concerts with the
likes of Keith Sweat) from late-Summer '95 until early '97. Her
album was certified Gold by the RIAA. Deborah's hit chart run
extended even further when Arista issued her single "Things
Just Ain't The Same" (produced by Atlanta's Mass Avenue team),
from the Gold "Money Talks" movie soundtrack.

Jump ahead a couple of years and the first track to be recorded for
One Wish was "One Day You Will," written by Diane Warren
and produced by David Foster. Then there's "Nobody's Supposed
To Be Here," a song co-written by Montell Jordan and his
musical director Shep Crawford. Its gospel flavor and Crawford's
"straight outta church piano" gave it a live feel,
"like it was recorded in concert," Deborah says.

"Nobody's Supposed To Be Here" was the perfect fit. Not
only was it chosen as the first single release from One Wish, but
its remixed version, courtesy of New York DJ Hex Hector, took on a
life of its own. In no time, it was a certified Platinum smash and
soon after became the

longest running R&B #1 in Billboard history.

The second track that Deborah cut with Montell was Crawford's
"We Can't Be Friends," a duet with R.L. from Next which
she describes as "a beautiful ballad with an 'Endless Love'
feeling. It's an R&B ballad that's reminiscent of the classic
duets from back in the day." And it was another success for
Deborah, quickly going Gold.

Deborah also stepped into hip hop with "September," a song
she wrote with New York producer Stevie J (of Bad Boy) and Gordon
Chambers. Similarly, "It's Over Now" was written and
produced by Kay-Gee of Naughty By Nature, his first production
outside of Next. "It's a real different element," Deborah
states. "People aren't even gonna believe that it's me."

The title track of the album, "One Wish," was produced by
DJ Quik and Deborah describes the track as "a party
joint." Quik also raps on the track. Rodney Jerkins wrote and
produced two tracks in Los Angeles, "I Never Knew" and
"Just When I Think I'm Over You," which Deborah calls
"a great uptempo record." Also crossing international
lines is "I Won't Give Up" which Deborah and Lascelles
wrote with Trina Powell (a Columbia artist). It takes Deborah back
to her jazz roots, and was produced by Lascelles Stephens.

One Wish comes full circle with another Diane Warren song,
"Couldn't We," produced in Atlanta and New York by Daryl
Simmons; and Hex Hector's club remix of "Things Just Ain't the
Same." Another #1 for Deborah, it stayed on New York radio for
over a year, becoming "one of those rediscovered records that
DJs started playing in the clubs and it just built up this
buzz," Deborah says. "Now it's one of the hottest dance
records around."

Deborah was born in Canada to Guyanese parents with strong musical
roots. An extremely shy youngster, she credits mom with her musical
awakening. "I was six or seven when I heard Gladys Knight's
"Help Me Make It Through the Night." My mother used to
play that record all the time. Lou Rawls, Joe Tex, Al Green, those
were the records my mom used to play. Also Bob Marley and Billie
Holiday - but when I heard Gladys, that's what sparked interest for

Reared in a conservative Catholic school atmosphere, Deborah was
interested in track and field, journalism and writing poetry, but
music was her secret desire. After winning a local tv talent
showcase at age 11, she began singing commercial jingles. This led
to work with local bands and by age 15, she often found herself
playing at gigs until 1:00 a.m. She was learning first-hand about
management, promotion and the business. During the day at Claude
Watson School for the Performing Arts, she was studying classical
music and broadening her knowledge of jazz, moving from Billie
Holiday to Sarah Vaughan, Dinah Washington, Brook Benton and

Then in 1989, Deborah hooked up with her high school friend, bassist
and songwriter Lascelles Stephens. The partnership yielded the
4-song demo that he began pitching to record labels. Deborah was
hired to sing backup with Celine Dion, but once Clive Davis and
Arista came into view, Deborah left the tour to focus on her album.
By mid-'95, sessions were completed in Los Angeles, Nashville, New
York and Atlanta.

The whirlwind of touring and promotion took Deborah throughout North
America, playing such prestigious venues as the Fox Theater in
Detroit, the Apollo in Harlem and the Universal Amphitheatre in Los
Angles. She was nominated for Best New R&B Vocalist at the
American Music Awards in 1997, and won back-to-back JUNO awards in
Canada as Best R&B Female Artist for her self-titled debut album
(in '96) and for "Things Just Ain't The Same" (in '97).
There have been multiple promotion trips to Australia (where
"Who Do U Love" was a Platinum seller) and Japan; as well
as repeated trips to England, Germany and Holland.

"I couldn't ask for anything more," Deborah says.
"It's been nothing but great blessings. One Wish marked a
tremendous growth from the first album, I feel a lot more
comfortable in my skin. People see that I have my own voice, my own
opinion, my own likes. The album really reflects that."

Deborah recently put her voice together with another artist in a
very special performance. "Same Script, Different Cast,"
is her incredible duet with Whitney Houston from Whitney  The
Greatest Hits. With their voices sounding so good together, it
wasn't long before it became a #1 Urban AC smash. Looks like
Deborah's string of successes just keeps getting longer.
All lyrics are property and copyright of their owners. All lyrics provided for educational purposes only.

Lyra v.1z 0.00618005/1 US

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