Gordon Chambers: Sincere - He says even men have cried during his live performances.

After amassing an impressive collection of prestigious awards and penning hit songs for some of R&B’s most iconic legends such as Anita Baker, Beyonce, Usher, Brownstone, Whitney Houston, Aretha Franklin, Yolanda Adams, Patti Labelle, and The Isley Brothers, esteemed Grammy award-winning singer-songwriter Gordon Chambers is on the precipice of yet another exciting milestone in his career as a recording artist with the release of his third solo album, Sincere. Featuring production by The BeatBanggahz (Kenny Lattimore, Trey Songz, J. Holiday); A. Jermaine Mobley (Music Soulchild, Lalah Hathaway, Carl Thomas, Eric Roberson), and Chambers himself—alongside flavorful newcomers Darien Dorsey, Blake Melodius and Mike Severson, Sincere effortlessly melds a pop/ R&B sound with a classic soul aesthetic that is certain to surprise and delight contemporary R&B fans and soul enthusiasts alike.

--Tom Estey Publicity and Promotion

Cocoa Cure: Which is more fulfilling, writing or performing?

Gordon Chambers: I love them both. Ultimately, I see myself as a visionary and a storyteller. I get joy in being a messenger with a message. Sometimes, I'm the singer for that message. Sometimes another artist is the best messenger. But it's all about the message and the story for me.

CC: Overall, do you like the music that’s being played on the radio? And what part will Sincere play in the musical landscape?

GC: To be honest, I find myself listening more to my Ipod mixes of my old music, and satellite stations that play classics more than the current commercial music. But I'm not a "radio-hater." Anything that's popular is so for a reason. And it's wise to understanding why it's popping that to sit on the sidelines and criticize it. So I hit the clubs sometimes and get my dance on to the latest Rihanna, Usher and Gaga hits to feel the energy just like everyone else. Sincere is very classic but also my most current-sounding album production-wise. Because the producers like Darien Dorsey and The Beatbanggahz are younger than the producers I worked with on my first two solo albums so the feel of this album has some "edge." It was Darien's idea that I do "In The Light" which is totally a club-uptempo--yet a song with a lot of substance lyrically. This album was a wonderful "remix" for me of sorts.

CC: Which artists inspire you?

GC: Stevie Wonder, Prince, Aretha Franklin, Miles Davis, Smokey Robinson, Joni Mitchell, Babyface, Ne-Yo, Michael Jackson, Bob Marley, Usher, Beyonce, Anita Baker, Mary J., Whitney Houston, Rufus, Chaka Khan, Donny Hathaway, Roberta Flack. Artists who've touched the culture, and have been role models both musically and in their personal lives and artistic choices. Artists are unique in their sound and know who they are. I'm also inspired by lots of the independent soul artists who are friends of mine like Eric Roberson, Ledisi, Lalah Hathaway, Sy Smith (who's featured in my "I Can't Love You (If You Don't Love You)" video) and Anthony David. I feel that they are carrying forth the torch of soul music into another generation.

CC: As a male performer, how challenging is it for you to make love songs without isolating your male audience?

GC: Not at all. I have lots of male and female fans. I try to speak "for" the men, and "to" the women. My fans are true music lovers who want the "real thing". They tell me sometimes that I remind me them of Luther which is a huuuuuge compliment for me.

CC: You’ve been described for having a trademark songwriting style. Please identify some of the records that you’ve contributed to and how they contribute to your style.

GC: People often can tell my songs by the big harmonies, the vocal arrangements, and the words I choose. I was an English major, so I love a well-written sentence, and incorporate that in my writing. I also cross-reference other songs. For instance, in Brownstone's "If You Love Me", I love the metaphor that begins the song "I Don't Wanna Rain In This Parade/But I'm Starting To Question The Love That Was Made". That harkens back to a song called "Don’t Rain On My Parade." I quote Duke Ellington's title "Come Rain Or Come Shine" in the bridge of Anita Baker's "I Apologize" with "Come Rain Or Come Shine, I'm Gonna Do Right This Time, I Apologize."

CC: You’ve worked with a variety of artists who cover various music genres. How do you write a song for another artist and make it sound unique for that artist? What is your songwriting process for other artists?

GC: I listen to many genres so it's been easy to write in many styles of music. I've had songs on pop, R&B, jazz, dance and even country projects! In terms of writing for others, getting to know the artist is ideal but not mandatory. I just go within. If it's my emotional truth, chances are it maybe someone else's as well, so I trust my instincts and make the melody one that I think a myriad of singers can follow. If it's an "assignment" for a specific singer, I incorporate their vocal stylings into the melody, and even imitate them slightly when singing the demo. Flattery has gotten me many placements!

CC: You describe Sincere as being your most personal album to date. Why do you think many artists, including yourself, wait until later in the career to show more vulnerability? Is that a business or personal decision?
GC: I can only speak for myself, but I know that the older I get, is the more I feel compelled to tell the truth, the emotional truth, and touch lives with honesty. I want people to use my music as a way to "get real, deal, feel and heal." So I'm not afraid to cry lyrically. My listeners can handle it. They yearn to be moved. Just [as] I do by the artists I listen to.

CC: Which record on Sincere do you think is the most sincere, and why?

GC: “Lead Me (The Ocean)” by far. I'm talking to God out loud, telling him that people may think I'm all that, but I, too, am vulnerable and a request for your guidance and strength. People--even men--are crying to that one in my live shows.

CC: You’ve said that you love ‘70s soul music the most. What is it about that period that moves you?

GC: The live instrumentation, the unique voices. Gladys sounded totally different than Patti as did Aretha from Chaka from Roberta and Mavis and Diana, etc. Nowadays, so many singers sound alike. The songwriting in this period was also stellar. And artists of different genres collaborated and covered each other's songs. The music had depth and feeling!

CC: Gotta ask (smile) – are you single, dating…? What’s your relationship status?

GC: I am single, dating, and married to making this album a smash!