Sharon Brown
Harlem-born soul vocalist Sharon Brown grew up admiring the sounds of '50s vocal groups such as the Teenagers and the Bobbettes. The latter -- a quintet from Brown's hometown who scored a number one R&B and number six pop hit with the seminal girl group classic "Mr. Lee" -- inspired the youngster to pursue music as her profession of choice, but only after another career exploration. At merely 13, she moved to Alabama to study theology at Oakley College and work toward becoming a preacher. Eventually, Brown returned to her love of music, studying at the New England Conservatory. Her love was nurtured by her father, drummer William Brown, who played with the likes of the Isley Brothers and Cannonball Adderley, and connected his daughter with many of his musician friends. She was, in fact, planning to record with Adderley before his sudden death in 1975. During this period, Motown's Gwen Gordy was a mentor to the aspiring singer/songwriter, who now had the chance to collaborate with producers Norman Whitfield and Hank Cosby. She also penned and arranged songs for Blood, Sweat, & Tears and Ronnie Dyson -- serving as the latter's musical conductor. Session work with a diverse palette including Aretha Franklin, Todd Rundgren, and Michael Kamen followed suit. Brown's uncle, Phil Medley, was a heavyweight in songwriting during the '60s -- co-penning "Twist and Shout" for the Isley Brothers (and later the Beatles) as well as tunes for the Mamas & the Papas, Barbara Lewis, and Donny Osmond. The knowledge she gained from his experiences encouraged her writing even more, and, ultimately, she started her own publishing company, Tshaym. In addition to her growing songwriting tasks, she continued to arrange, produce, and conduct -- albeit not without much resistance from a male-dominated industry somewhat threatened by an unknown, black female who did it all. Simultaneously, she recorded one of her own compositions, "The Family Tree," which has been officially unreleased to this day but remains an underground favorite on the U.K. soul scene. In 1981, Brown finally gained widespread recognition as an artist in her own right. Reluctantly answering a management company's ad seeking a tall, thin, black female with a willowy voice, she won a contract with then-thriving dance label Profile. Her first release, "I Specialize in Love," reached number two on the dance charts in May 1982, crossed over to R&B, and even won the singer a 1983 Rhythm & Blues Award for Best Single. Despite the quick success, the business side of her label association quickly turned sour. She had no money when she went to Las Vegas to accept her awards, and had to hitchhike a ride from the airport to the ceremony. Unbeknown to her, an unfinished demo she had recorded called "Love Don't Hurt People" was released by Profile in 1982 to follow-up the first hit. Unable to attain an album deal despite the international sales and airplay she had achieved, she recorded "You Got Me Where I Want to Be" (1983) and "Programmed Heart" (with Craig Peyton, 1984) to fulfill her contract. Relocating to Boston, where she had spent some in her earlier childhood, she released the self-penned "I'll Make You Feel Like the First Time" on her own TAZ Records in 1986. With an unexpected pregnancy after the record was pressed, however, she wasn't fully able to promote the record. During the '90s, Brown continued to record, as well as further explore her love of theology. In 2001, she collaborated with the U.K.-based Easy Rollers on several songs she wrote. "You Never Know" appears on the group's Moving Shadow release. Deeply affected by gun and gang violence on a personal level, she aims to spread positive messages through her writings and recordings and also through prison ministry. She continues to perform live regularly in the New York area, as well as playing small roles in major motion pictures.