In the world of contemporary R&B, Lyfe Jennings is the prototype for what hip-hop heads would consider a “street disciple.” Like Nasir Jones, his musical cousin of another genre, Jennings has been vocal in tackling taboo issues that are ever-present in the social milieu. But even thugs need love, too, and his catalog boasts tracks that spotlight the joys of life, love and the never-ending pursuit of happiness.
By straddling (and blurring) the lines of hip-hop and R&B, Lyfe Jennings has become one of the music industry’s most unique stars. And in spite of the mass media attention has been focused on his past, as an incarcerated felon, he has defied every stereotypical characterization that has come his way. Accordingly, in 2008, the New York Times heralded Jennings as “a socially minded R&B singer.”
To date, Lyfe Jennings has recorded three critically-acclaimed albums: Lyfe 268-192 (2004), The Phoenix (2006) and Lyfe Change (2008). In anticipation of his fourth and final studio effort, Mr. Jennings managed to squeeze some time out of his busy schedule and settle down for an interview with Clayton Perry—reflecting on the provocative “S.E.X.,” the early influence of Erykah Badu, and life as a father in the public spotlight.
During the early stage of your career, I was intrigued by a story that revolved around your chance encounter with Erykah Badu’s Baduizm. According to legend, her album ended up in your cell back in '97 and it changed your perspective on music. At that particular moment in time, why do you think Baduizm had such a tremendous influence on your career?
I was at a point in time that I was doing a lot of reading and I couldn't figure out a way to connect what I was reading to the music. Because up until then, it had never really been done. And then when I heard about Baduizm, I said, “Wow! This is all you're going to hear when she drop the knowledge within the stones.” You know what I'm saying? She was still doing the music, but she did it her way. And I said, “That's what I want to do.”
What song spoke to you the most?
My favorite track off Baduizm is “On & On.” That was just very crazy, you know?
Once you were released from jail, there was a brief moment — a month or so of freedom — before you landed on stage at the Apollo Theatre. What was that transition period like? Did you find it hard to get back on your feet?
Well, the transition period wasn't really a transition period because when I was incarcerated, every day I was working on the music. And I didn't want to get out and then go on to study – you know, try to give back and connect to people, and all of that, man. I just really wanted to skip straight to the music thing, straight to the schedule that I had in prison. If I worked at the time, that's the time my work's cut out. And that's pretty much what I did up until the Apollo.
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