August 19, 2008 sees the release Alchemy: G.S.T. Reloaded double-CD/download. It is the follow-up-and perfect companion album-to her critically acclaimed 2007 album, Grime, Silk & Thunder.
Disc 1 is a set of spanking new-as well as previously unreleased-mixes from her “Grime, Silk & Thunder” album by a posse of the world’s top remixers, among them Bimbo Jones, Kenny Dope, Quentin Harris, Morgan Page, Craig C., Mood II Swing, DJ Spen, TIkaro and DFA. The first single, just released, is the “Automatic 2008 Remixes,” released due to popular demand by DJs and fans alike. The next single/video is new promo favorite, “Twisted.”
Disc 2, marks Ultra’s first ever commercially released DJ mix compilation-“The Sugar Sessions 01”-a sah-lamming set of additional remixes from the “G.S.T.” album, mixed by DJ Ultra Naté herself.
Here follows the original, updated, Grime, Silk & Thunder bio.
Grime, Silk & Thunder may serve as the ideal, if intriguing, title of Ultra Naté’s new disc, but something along the lines of Resilience, Regal and Real could best describe her well-established position in pop and dance music.
Ever since Ultra released the internationally renowned deep house classic, “It’s Over Now” with the esteemed Basement Boys in 1989, which led to her equally eminent debut album, Blue Notes in the Basement (Warner Bros., 1991), Ultra has been a perennial force in dance music, regardless of idiomatic styles. Considering the ephemeral nature of dance/electronica music (e.g. Hot today, gone tomorrow), Naté’s endurance attests to her musical acumen. She attributes solid songwriting and being a true artist, as opposed to an anonymous voice, to her longevity. “I’m a songwriter. I’ve written about 95 percent of my material,” Naté explains. “In that music, there’s a very specific personality that comes across, which really transcends the dance-floor moment and becomes a part of people’s lives.”
Ultra’s music not only “transcends the dance-floor moment,” it traverses various styles. Next to her instantly recognizable husky voice, her sheer versatility serves as a high trump card. On Grime, Silk & Thunder, she covers the waterfront of pop, club and DJ culture, ranging from glittery, anthemic, crystal ball swirling gems like “Give It All You Got,” “Star,” and a revisited Naté classic “Scandal” to the technosoul of the Pointer Sisters cover “Automatic” and the bouncy, electro pop ode to her new son, Izaya with” Falling” to seductive, R&B-inflected midtempo joints like “Feel Love,” “This House” and an inspired makeover of her breakthrough single, “It’s Over Now.” Ultra admirably channels early-’80s club reggae (think Sly & Robbie’s work with Grace Jones and Gwen Guthrie) on “Love’s the Only Drug” (which simultaneously alludes to the legendary Giorgio Moroder and Pete Bellotte), “Lethal Shot” and “Slow Grind” then effortlessly channels vintage Philadelphia International soul with the Teddy Pendergrass’ inspired “Getaway.”
With all its stylistic variety, Grime, Silk & Thunder proceeds like a bona fide album versus a collection ofunrelated singles. Naté and longtime manager and co-producer Bill Coleman also made a conscientious decision to ensure that each song showcased Ultra’s distinct and varied personalities but were state of the dancefloor. “I definitely wanted it to be a DJ-oriented record, because people are really checking for the DJ-ready songs. There’s a possibility to play every track on the album in various club atmospheres or on the radio,” she says.
Naté and Coleman also recruited an international cadre of A-list producers alongside some very talented newcomers. The 14-song collection features contributions from the likes of Eric Kupper, Quentin Harris, Dajae, Andre Levin (Yerba Buena), Mood II Swing, N’Dea Davenport (Brand New Heavies), MorganPage, 2007 Grammy nominees GoodandEvil (Naty Botero), The Muthafunkas, Double Deuce, Funky Junction, Chris Willis (David Guetta) and Jens Bergmark. The legendary StoneBridge not only produced the infectious international club and Top 10 pop hit “Freak On” but also mixed the entire album. As statedbefore, Naté is no mere ingénue singer; she was hands-on in the production of all of the tracks, particularly the studio wizardry of her voice. “As an artist, you really want to grow. I know my musical abilities and I’m trying to expand upon them. All of these songs went through many stages of evolution,” Naté.
When asked about the new disc’s provocative title, Ultra again illustrates her enormous musical swath by mentioning the heroic ’90s grunge band Nirvana. “The idea came from a Rolling Stone magazine article about Nirvana,” she says. “They said Nevermind was a great mix of grime, silk and thunder. That’s a real cool concept of what a record should really be about. In relationship to me, it had an elemental feeling, kind of like earth, wind and fire but in an edgier form.”
Naté’s edgy artistry at once recalls the fierceness of Grace Jones, the sensuality of Donna Summer and the riot girl soulfulness of Nona Hendryx. Adding more ammunition to Ultra, the singer, songwriter and producer, is being a DJ and record producer.
Rocking the decks for over five years at Deep Sugar (at the Paradox every 2nd Saturday) Ultra has secured gigs in Australia, Montreal, Brazil, the UK (at Ministry Of Sound, no less) and France, where she drops a regular radio mix on the respected dance station, Radio FG. [More: Read the “10 Q&As With DJ Ultra Naté” on penetrationinc.com.]
On the production tip, Ultra owns Blufire (on which she releases her own records via Tommy Boy) and the Deep Sugar Music label, an imprint which is released under the Strictly Rhythm umbrella that is affiliated with her Sugar party. Releases are scheduled for singles by R&B /Dance diva Sybil (“Shining Star”) and two new artists: Jada (“Beatutiful”) and Lisa Mack.
The residency at Club is very close to Ultra, because Baltimore is her hometown, where she first came in contact with the club scene. While in college, she intended on pursuing a career in medicine. But one life-alternating night at Baltimore’s O’Dells changed that. “I had never really been exposed to nightclub life until I went to this club. The energy was so powerful and incredible! It was just a completely overwhelming experience. I was immediately addicted,” she recalls.
At O’Dells, Naté met producer Thomas Davis (who reunites here with Ultra on the song “Falling”), formerly of the Basement Boys, who were in search of various singers to accompany their house tracks. The first song Ultra recorded with them was “It’s Over Now,” which first spread throughout the underground deep house scene, from Baltimore to Tony Humphries in New Jersey and New York City to across the Atlantic with Norman Jay in London. The song became a global phenomenon that led to Ultra being signed to Warner Bros. in the U.K.
1991’s Blue Notes in the Basement kicked off Naté’s career as an artist who could deliver albums as opposed to a string of singles. Songs like “Deeper Love” and “Rejoicing” became instant DJ staples. Her follow-up Warner Bros. album, One Woman’s Insanity (1994) also garnered critical praise, thanks to its club smashes, “How Long” “Joy” and “Show Me.” Ultra’s following two albums, Situation Critical (1998)and Stranger Than Fiction (2001) were released on the venerable Strictly Rhythm label, both of which solidified her reputation as an enduring songstress and a platinum selling artist with radio, video and club favorites such as, the now-classic “Free,” “Found A Cure”, “Desire”, “Twisted” and “Divine Love.” Contributions to films such as the cult mainstay “Party Girl” (Ultra wrote and performed its title theme) and Ô54’ (Ultra along with Amber and Jocelyn Enriquez ushered in the soundtrack’s hit single “If You Could Read My Mind”) continue to endear fans around the globe.
Over the last 16 years, Ultra has had the fortune of working with an array of acclaimed and varied producers / collaborators and visual artists including such luminaries as Nellee Hooper, Masters At Work, David Lachapelle, Lenny Kravitz, Deee-lite, Murlyn Music, Blaze, Eric Johnson, Armand Van Helden, Charles Stone, Soulshock, Cutfather and Karlin, Nona Hendryx, Dah-Len, the Berman Brothers, 4 Hero, Bart Everly, Attica Blues, D-Influence, Brooklyn Funk Essentials, World Of Wonder and Robert Clivilles.
The sparkling Grime, Silk & Thunder, Naté’s fifth album and now Alchemy, her sixth amount to another benchmark in that its released, in partnership with Tommy Boy Records, on her own boutique imprint, Blufire. In an era of 15-minute divas, the album is an apt and passionate portrait of a remarkable, versatile singer, songwriter, producer, who’s survived the cutthroat music business by being resilient, regal and real.
In mid-2009 it was announced that U.S. R&B songstress Michelle Williams, previously of Destiny's Child has collaborated on a song with Ultra called "I'm Waiting On You", for use on both of their next studio albums.[3] In 2010 Ultra has released a Bob Sinclar remix of her classic hit "Free" on Strictly Rhythm. "Give It 2 U" in collaboration with Quentin Harris for his album "Sacrifice" which is considered a preview of an upcoming duet project between Ultra and Quentin called "Black Stereo Faith". She also released "Destination" in collaboration with Tony Moran which peaked at #10 on the Billboard Dance Play chart. "Destination" was the second single off Tony's album, Mix Magic Music.
In 2010 she released an EP titled "Things Happen At Night" featuring Ultra's pop and soul melodies and vocal stylings over manic percussive club beats done by Unruly productions. In September 2011 she submitted a song to represent Switzerland in the Eurovision Song Contest 2012, to be held in Azerbaijan.
January 2011 is slated for the release of Ultra's new single with Strictly Rhythm on her Deep Sugar label imprint called "Turn It Up" with a music video directed by Leo Herrara. "Turn It Up" is the first single to be released from her sixth studio album to be titled "Hero Worship" released on July 23, 2013.
Official site: www.ultranate.com.
Dear John
Ultra Naté Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Didn't think much of what it might say
Maybe another bill to ruin his perfect day
Before the love of his life was to arrive
Thought he'd read it and then toss it to the side
But instead there was only pain
As he read these lines
It said: "Dear John,
Our love just can't go on
When you read this, I'll be gone
I'll miss you so."
"Dear John,
I know it won't be long
You'll find another love
Sincerely, yours"
As he felt his heart start to beat again
All his hopes in tomorrow began to fade
Didn't know he could stand to live another day
(Just can't take it)
What happened to the promises?
The white castle and the bed of roses?
How could everything he loved just end
With a stroke of her pen?
It said: "Dear John,
Our love just can't go on
When you read this, I'll be gone
I'll miss you so."
"Dear John,
I know it won't be long
You'll find another love
Sincerely, yours"
It only takes one good time
For someone to tear your heart to pieces
It'll send you reeling, running out the door
Your mind screaming
You know it's not the end
Because tomorrow is another day
The memories will slowly fade away
One day someone's gonna love you
One day someone's gonna love you
One day someone's gonna love you
"Dear John,
Our love just can't go on
When you read this, I'll be gone
I'll miss you so."
"Dear John,
I know it won't be long
You'll find another love
Sincerely, yours"
Never fall in love again
Never fall in love again
Never fall in love again
Never fall in love again
One day someone's gonna love you
One day someone's gonna love you
Never fall in love again
Never fall in love again
Never fall in love again
Never fall in love again
One day someone's gonna love you
One day someone's gonna love you
Never fall in love again
Never fall in love again
Never fall in love again
Never fall in love again
Do ever feel like you never want to love again?
The song "Dear John" by Ultra Naté tells the story of a man who receives a letter in the mail that completely shatters his world. He didn't think much of it at first, assuming it was just another bill or piece of junk mail that would ruin his perfect day. However, upon opening the letter, he finds that it's actually a goodbye letter from the love of his life.
The man is devastated as he reads the lines of the letter, realizing that his relationship has come to an end with only a stroke of her pen. He can't fathom how everything he loved could just end so abruptly. The chorus of the song repeats the lines "Dear John, our love just can't go on, when you read this I'll be gone, I'll miss you so" and "Dear John, I know it won't be long, you'll find another love, sincerely yours" emphasizing the sadness and melancholy of the song.
The bridge of the song offers some hope for the man, with the reminder that it only takes one good time for someone to tear your heart to pieces, but the wounds will eventually heal, and someone else will love you again. The song is a powerful reminder that love can be both beautiful and tragic, but life goes on.
Line by Line Meaning
He got a letter in the post today
He received a letter in the mail today
Didn't think much of what it might say
He didn't anticipate much from the letter
Maybe another bill to ruin his perfect day
He thought that it could be another bill that would ruin his day
Before the love of his life was to arrive
Before the love of his life was supposed to come
Thought he'd read it and then toss it to the side
He thought that he would read it and throw it away
But instead there was only pain
Instead, there was only pain
As he read these lines
When he read these lines
"Dear John,
Our love just can't go on
When you read this, I'll be gone
I'll miss you so."
The letter said that their love cannot continue and she will miss him when he reads her letter
"Dear John,
I know it won't be long
You'll find another love
Sincerely, yours"
She wrote that she knows he'll find someone else and signed it "Sincerely, yours"
As he felt his heart start to beat again
As he felt his heart come alive again
All his hopes in tomorrow began to fade
All his optimism about tomorrow diminished
Didn't know he could stand to live another day
(Just can't take it)
He wasn't sure if he could bear to live another day and couldn't tolerate it
What happened to the promises?
He wondered what happened to their commitments
The white castle and the bed of roses?
He remembered the promises of a fancy and pleasant life together
How could everything he loved just end
With a stroke of her pen?
He couldn't understand how everything they shared could come to an end with just a letter
It only takes one good time
For someone to tear your heart to pieces
It only takes one instance to destroy someone emotionally
It'll send you reeling, running out the door
Your mind screaming
It will make one feel dizzy, causing them to run out the door while yelling internal emotional pain
You know it's not the end
Because tomorrow is another day
The memories will slowly fade away
He realized that it wasn't over because there is a tomorrow - and the memories will fade with time
One day someone's gonna love you
One day someone's gonna love you
One day someone's gonna love you
Someone will love and appreciate him one day, repeat
Never fall in love again
Never fall in love again
Never fall in love again
Never fall in love again
He exhorted himself not to fall in love again
Do ever feel like you never want to love again?
He asks if anyone ever feels like they never want to love again
Contributed by Eva K. Suggest a correction in the comments below.