Enter the realm of music, where every beat, every lyric, every note, tells a story—a story of passion, perseverance, and profound creativity. In this exclusive feature, we delve into the captivating life of producer Shalom “J Storm” Miller.
Born from a lineage of musical genius, Shalom’s journey into the world of music was not merely a choice but destiny. From the streets of Plainfield, New Jersey, to recording studios, his narrative unfolds as each chapter resonates with the echoes of his musical heritage.
Under the mentorship of Rashad Muhammad and the Soul Diggaz production team, Shalom honed his craft, drawing inspiration from a diverse array of genres and influences, weaving together elements of gospel harmonies, gritty hip-hop lyricism, and melodic R&B.Shalom’s ability to stay grounded and embrace collaboration is what truly sets him apart. In an industry often affected by self- driven agendas, he prefers to foster an environment where creativity flourishes and artistic collaboration thrives. But beyond the accolades and achievements lies a deeper commitment, mentorship, education, and the empowerment of future generations. Through initiatives like Power Move Education & Development Group, Shalom seeks to share wisdom from years of experience, nurturing the next wave of music innovators and industry leaders. His commitment to excellence, fueled by his belief in the power of music, resonates through strategic partnerships and educational initiatives.
In the words of Michelangelo, “to confide in one’s self, and become something of worth and value is the best and safest course.” Through his dedication to his craft, Shalom embodies this sentiment, creating a musical legacy that will last throughout time.
BSM: What inspired you to pursue a career in music?
Shalom Miller: “I come from a musical family, and I don’t just mean the immediate. Pretty much the majority of my family possesses a high level of musical talent. When I think back on it, I don’t think there was a particular moment when I consciously made the decision to pursue a career in music. I think the culmination of my upbringing and a series of events just led to it. I looked up one day, and I was getting paid to do something I had pretty much done since I was a baby. There were obviously some moments that I had to take more seriously than others, but overall I can genuinely say it’s something that I’ve always done.”
BSM: Can you tell us about your journey in the music industry and how you got started?
SM: “My journey into the music industry started almost immediately after I graduated high school. Me and my music partner at the time had been participating in a youth program in Plainfield, New Jersey, called Y.E.A. Youth Entertainment Academy. It was a faith-based program funded by the George W. Bush administration where they encouraged music education and had a fully functioning studio with a Triton keyboard.
Every day after school, we would go there to make beats. Some days we would actually cut school and either catch the bus and hang out at the Guitar Center on Route 22. We would take hard disks with us and make beats on their demo keyboards until one day they caught on to what we were doing and told us we couldn’t do that anymore; however, one of the managers was smart enough to see the potential and noticed how we were attracting attention.
He allowed us to come, and he would make sales off the attention we were getting. In exchange, he gave us some free memory cards for the Yamaha motif, which we fell in love with. One of the mentors at Y.E.A. took one of my Beat tapes to a colleague of his. This was a pivotal moment in my career because his colleague, Kenny Williams III (Akil), owned an independent record label called First Line Entertainment, and after hearing the beat tape he purchased one of the beats. It was my first beat sale for $100.
I still have that first contract as a memento. I ended up becoming the main in-house producer for the record label. Working with First Line really introduced me to producing artists, especially in hip-hop. We primarily worked at 4th-quarter studios in East Orange, New Jersey, with the owner Rashad Muhammad who was our head engineer. Rashad had credits ranging from Kool and the Gang to the Fugees and Lauryn Hill, and was very well-connected in the music industry; he saw a lot of potential in me as a producer and took me under his wing.
One day, Rashad told me he needed me to come to the studio to work on a project. When I got there, he told me he was having someone come to the studio who was working on some big projects. The guest turned out to be a producer from the production team called Soul Diggaz who had just signed a production deal with Missy Elliott. He was having some issues with a session and brought it to Rashad to work out the mix. After he dropped off the session and left, Rashad had me arrange and organize the session.
After playing one of the vocals in the session, my mind was blown. It contained vocals from rappers Free and MC Lyte, but the highlight was when I heard the vocals from a young Beyoncé, and to top it off, Missy Elliott. It was the title song from the movie “The Fighting Temptations”. It had always been my dream to work with Missy and Timbaland, and my sound was very much crafted by mimicking them. It was like an early Christmas present to be able to work on that session.
When the producer came back, Rashad had me play some of my beats in the background to catch his attention, and it worked. After being impressed by my tracks, specifically my drum production, he invited me to come to their studio and work on some tracks with them. I began to go to that studio pretty frequently to collaborate until one day he told me that he and his partner were interested in having me join the team officially.
After some deliberation, me and my partner accepted the offer and officially joined The Goldmind Inc. family. That was pretty much the beginning of my career in the music industry and opened a floodgate of opportunities for me.”
BSM: How do you navigate the balance between artistic expression and commercial success in your music?
SM: “One of the things that my mentor Rashad would tell me is “J, you have to learn how to do enough of what you have to do, so you can do what you want to do”. I take that mindset into every endeavor, which is one of the reasons why I’ve become obsessive about efficiency and organization.
Some days I feel creative and I just want to get right to working on music, but with as many hats as I wear, I have to manage my impulses and emotions and prioritize. Sometimes I’m working on projects that I’m not necessarily in love with, especially when you’re working in the sync and licensing world, and these projects can create a good source of income.
However, they don’t always lend themselves to creative expression and musical experimentation. Sometimes they just need something to make people want to buy arthritis medicine or headphones, or whatever. But that’s where being a professional musician comes in. And then at some point, you just gotta let yourself have it, and go into your zone for the day.”
BSM: Can you share some insights into your collaborative process with other artists?
SM: “I’m very confident in my ability to lead a project. One of the biggest killers of the creative and collaborative process is ego so I leave mine at the door. Ego was nothing but a defense mechanism so most times when I let mine down, it helps others feel more comfortable and at ease and allows them to be their true selves which is where the magic of the collaborative process lies.
I’ve done enough in my career to garner respect without having to reinforce my position with ego. At the end of the day music is my playground and I get to be a kid there. I don’t let anyone ruin that for me. There have been times when I cut a session short or just opt out of working with an artist altogether because after one meeting I can already tell that their ego is going to ruin that experience. If I absolutely have to work with people with bad attitudes, I have ways to circulate that energy around the room. But those are my inside secrets, LOL.”
BSM: Would you start a record label one day?
SM: “Well I did! After my contract ended with Missy Elliott, I partnered with the same person who I pretty much started with, Kenny Williams, and started my own record label called Flame On Entertainment. It was an interesting experience. We had some good successes including an imprint deal with Universal Music Group and some good failures as well.
Ultimately, with the impact of the 2008 recession, it became too much of a lift to continue to invest in the company so we dissolved it. I would not start a record label again under that same model because today there are so many other options and partnership opportunities that exist, and it just doesn’t make sense, at least to me, to take on the weight of running a full record label.”
BSM: Growing up, what artist or what type of music inspired you the most?
Different genres and artists inspired me in different ways, which is why my musical skill set is so diverse. For instance, one of the things artists value about working with me the most is my vocal production and background arrangements, which I get from gospel music. My father was the music director at our home church, and my mother was and still is an amazing singer, so I was at every choir rehearsal and learned vocal exercises and how to arrange tenor, soprano, and alto vocals to create very unique harmonies.
When it comes to my music production style, there are so many great producers who have influenced me, from Pete Rock, Teddy Riley, Ski Beatz, Raphael Saadiq, Timbaland, to The Neptunes, and many others. I was always more fond of very lyrical rappers and pulled influences from rappers like Big Pun, Jay Z, Notorious B.I.G, Nas, Eminem, and others.
BSM: How was it working with Beyoncé? Can you share any memorable moments or experiences, and what did you do on her project?
SM: “Through my affiliation with Soul Diggaz, I had already gotten the chance to be a part of several projects with Beyoncé, including the Fighting Temptations, Dangerously in Love, and Beyoncé Live at Wembley albums, before I actually got to meet her in person. We were working heavily on the upcoming Destiny Fulfilled album, and on one particular occasion, we went to Sony Music Studios in NYC to play some of the songs we had for Destiny’s Child.
Upon first impression, they were not like what I expected. For one, it was Kelly and Michelle who were the more outspoken ones, and surprisingly Beyoncé was very quiet and reserved. After introductions, I sat in the back of the studio while they listened to the tracks and songs. It was a huge boost of confidence when they would perk up when a track I produced came on, and K-Mack (one of the Soul Diggaz producers) would point at me, letting them know that was my work. That first meeting was quick but impactful.
We got a placement on the Destiny Fulfilled album Deluxe version, and I saw her again at a few events and parties. One time in particular was at a party Jay-Z had at the 40/40 club, but I did not get to work with her as in-depth as I would have liked, with me being a vocalist producer.”
BSM: How was it working with Missy Elliott? Can you share any memorable moments or experiences, and what did you actually do on her project?
SM: “Working with Missy was definitely a highlight in my career. Her pace is incredible, so I had to learn how to work at my highest level very quickly. She consumes tracks like you wouldn’t believe, so sometimes when we would go to her house to work on projects, we would already have a couple of beat CDs loaded, and we would act like we just cooked it up right there on the spot.
I think she liked to put that kind of pressure on us. I remember one time we were working at her home studio, and had given her a CD with like 20 beats right out of the gate. About an hour later, she came downstairs and was like, ‘y’all got some more Beats?’ We gave her another CD with like another 20, and she was like, ‘y’all didn’t just make all these damn beats stop lying.’”
Although she liked a lot of the tracks and even wrote to a bunch of them, I can understand why she liked for us to create on the spot. Her creative genius thrives on something fresh and new and different, and I think she needs and feels that energy from the beat she works on when it’s fresh out of the oven. A lot of the stuff I worked on with Missy was unreleased or released in other territories.
When we started working on the Cookbook album, by the end of it all, rumor has it that she recorded around 80 songs for the project. I had solely produced at least 10 to 15 records with her, not including the ones I collaborated on. When it was all said and done, the intro skit to the song ‘Joy’ that I co-wrote and mixed was the only one that made the project, although I had done auxiliary production on some of the other songs. It wasn’t a total loss because some of the other tracks ended up on other projects.”
BSM: How was it working with Gwen Stefani? Can you share any memorable moments or experiences, and what did you actually do on her project?
SM: “Working on the Gwen Stefani album was a lot of fun. This was a project that came through Missy. She reached out and said she needed a remix for a Gwen Stefani single that was about to come out. It was the single ‘Luxurious,’ and the label wanted to release different versions soon after the initial single drop and had commissioned Missy to feature.
As soon as I got the vocals, I headed over to my partner so we could get started. We worked for hours before we came up with something that we thought was worthy of this collaboration. By the end of the night, we ended up actually making two versions and sent them in. If I’m not mistaken, that same night Missy hit back, and her words were, “Now this is how you make a damn hit!” She wrote and recorded rap verses to both versions because she couldn’t decide which one she liked more.
She decided to go with the first version and stripped it down so much it broke my heart. But that’s just the producer in me loving every sound. I personally liked the second version best. Interscope ended up releasing it on an international version of the album but decided not to release it in the US, apparently because too many remixes had already been released. As far as I know to this day, it is the only collaboration between Missy and Gwen Stefani.”
BSM: What do you consider to be your most significant musical achievements or milestones so far?
SM: “Obviously, it’s nice to be awarded for the work I’ve done, and I definitely am proud to have those accomplishments under my belt. However, when I really think about it, the most significant achievement for me is when I think about the fact that everything I have achieved started from my desire, will, and ambition to do so. For me, that is the most encouraging achievement.
It lets me know that no matter what my goal is, all I have to do is place it firmly in my mind, believe it without doubt, put one foot in front of the other, and it will come into reality. Me and my partner, Matthew Major, used to walk to the Youth Entertainment Academy from school, and on the way, all we would talk about was how one day we would be working with Missy and Timbaland until one day we were in her home studio and the realization that it was real hit me, and from that moment, I understood the power of bringing my thoughts into reality.”
BSM: How do you stay creatively inspired and motivated throughout your career?
SM: “I believe the gift I’ve been given is not something I actually have a choice to be connected with. When I think hard about it, it’s possible that the gift is actually the thing itself that pulls me out of being uninspired and unmotivated. At my lowest moments and at the toughest points of my life, I remember that the thing that always brought me out of it and made me feel better was making music. I’m grateful now that I have two beautiful children who lend their love and energy to me, and that of course contributes to my inspiration and motivation. But for the most part, I just thank God for the gift I’ve been given, and I try my best to be responsible with it.”
BSM: What advice would you give to aspiring musicians looking to make it in the industry?
SM: “The artist Michelangelo has a famous quote that goes: ‘The promises of this world are, for the most part, vain phantoms; and to confide in one’s self, and become something of worth and value is the best and safest course.’ I would say take that for what it’s worth to you, but for me, this sums up everything that I needed to know when I was 19 years old entering into the music industry.”
BSM: What are some challenges you’ve faced in your career, and how have you overcome them?
SM: “The biggest challenges that I faced then are the same ones that I continue to face today, and simply put, they are the challenges that come with transitioning. I’ve gone from a 15-year-old aspiring rapper to a songwriter, to a music producer, to a record label owner, to a family man, to a student, to a corporate working man, to a manager, to a teacher, and now I’ve taken on the role of a director of my nonprofit organization.
I’m still making mistakes. I don’t think I’ve overcome anything except the previous thing, which I only overcame because I went through it. I like Ray Dalio a lot, and I study his business concepts, which he refers to as “principles,” and one of his principles is to make a lot of mistakes. You can’t avoid new mistakes because you don’t know what you don’t know, but you can avoid making the same ones by learning from the previous experiences.
If you’re fortunate enough to find good mentors and wise enough to listen to their counsel, that is the cheat code. I think I’m just fortunate enough to have had a bit of both. I had great mentors and Big Brother figures, and I lived a lot of life up to this point, so I have a lot of experiences that taught me. So although I’m sure I have a lot more mistakes to make, I’ve gotten good at avoiding the ones I’ve already made… for the most part.”
BSM: How do you see the future of music evolving, and what role do you hope to play in it?
SM: “As I mentioned previously, I believe the key to success is mentorship. Jay-Z spoke about this in an interview he did with Kevin Hart where he talked about his mentorship of Kanye West and Rihanna and how it helped them achieve their goals and success earlier than he did.
Even though I still feel like I have a lot to learn as technology and business models evolve, I believe coupling what I learn now with what I’ve already learned can prove to be invaluable to those who wish to follow in mine and my colleagues’ footsteps, which is why I’ve partnered with some organizations to form a team to create my nonprofit organization, Power Move Education & Development Group.
This branch of our organization focuses on education, mentorship, and development in the music industry, preparing the next generation of music industry hopefuls and shaping them for success.”
BSM: Can you tell us about any upcoming projects or collaborations you’re excited about?
SM: “Yeah, man, it’s been a roller coaster so far this year in a lot of ways, but it’s brought some great opportunities to collaborate, which is my favorite part about this business.
One of the artists I’ve been working with is a phenomenal up-and-coming pop and R&B artist, Georgia Starnes, who just released a really amazing R&B dance record that’s quickly picking up heat.
I’ve been working with the super talented 2′ Live Bre. We just shot the video for a song that we’re going to release next month called “2 The Head”. That song is going to go crazy!
I just got back from Memphis working with up-and-coming R&B sensation Carey Washington. She’s signed to NLE Choppa’s record label, and we’ve been working on some really big R&B records that take the sound back to when R&B was strong and just really fun and felt good, but at the same time, we’re adding something new. Trust me when I tell you this girl can SANG.
I’m also currently working on some international projects with Sony Music Group, as well as collaborations with Drumma Boy and who knows what else will come up lol.
In addition to music endeavors, I’ve been working in the music education sector with different companies, schools, and institutions such as BMI, SESAC, Berklee College of Music. I’m also a music educator ambassador with the MLC (Music Licensing Collective). Tomorrow, I’m honored to participate as a panelist for the 1st National HBCU commercial music conference at Tennessee State University, helping to celebrate the 25th anniversary of the school’s commercial music program.”
BSM: How do you think your cultural background influences your music and collaborations?
SM: “My music has strong East Coast cultural influences, and my upbringing in gospel adds a lot of musicality that comes through in my music. But also, working with such a diverse spectrum of artists has given my sound a more pop edge. My collaborators like the fact that my sound is very hard-hitting yet still melodious, and at the same time, very commercial.”
BSM: What legacy do you hope to leave behind in the music industry?
SM: “I desire to contribute positively to the music industry and educate future generations. I want to inspire positive rebellion. I want creatives to feel confident in knowing that they don’t have to dress, sound, or act like the majority just because it’s trending. I’m not anti-technology or anti-algorithm, but I am somewhat of a non-conformist when it comes to sacrificing value. I believe that everyone has something unique to offer the culture, especially when it comes to music, and I want the Next Generation of producers and artists to feel like it’s cool to tell their own unique story and express their ideas and vibes.”
BSM: If you could collaborate with any artist, living or deceased, who would it be and why?
SM: “Man, this is a tough one because I already got the chance to work with B.I.G. posthumously on the Biggie Duets album. I mean, the go-to would be the King of Pop, Michael Jackson, but that’s too easy. I think Rick Ross and I would come up with something crazy. He has a great ear for music, and his beat selection is impeccable. At the end of the day, I want to work with anyone who is talented and wants to work with me. I love exchanging energy and ideas, and as long as I get to do that, I’m happy. I’m still having so much fun with this.”
