“I got a text from a friend in the music industry; it was actually a video of John singing,” says producer Chris Liggio. “I responded right away, basically saying ‘Who the f--- is that?! I want to meet him.’” And so was borne Lipstick Gypsy—a sparkling, stirring nu-funk/ soul duo that calls New York City home. The John in question is John Thomas, a singer/ songwriter originally hailing from Martha’s Vineyard. Yes, that Martha’s Vineyard—the idyllic coastal hamlet and musical hotbed. Not.
“I think I’m the first major label signee from M.V.,” John chuckles. “There was no music scene. None. And whatever my friends were listening to, it definitely wasn’t what I was into: Boyz II Men, 112, Stevie Wonder, Brian McKnight. Needless to say, I spent a lot of time alone.”
John sought other outlets for his influences and found one that was, well, downright divine: “I started singing gospel music in church,” he recalls. “I just fell in love with that raw feeling, the stuff that gives you goosebumps. That’s the kind of emotion Chris and I are looking to bring to pop music.” As far as goosebumps go, John was giving as much as he was getting: his friends had warmed to his pursuits and would cajole him into serenading the girls in class and at the local Boys and Girls Club. His local star on the rise, John left island life for Connecticut so as to be closer to the Big Apple. The move paid off since his performance at an NYC fashion event spurred the serendipitous video clip.
Chris Liggio, meanwhile, had been busy building his own buzz: crafting tracks for Jay-Z, Mary J. Blige, and Big Sean among others and DJing high-profile gigs for the likes of Lenny Kravitz and Madonna. Liggio, too, had grown up with music—fiddling around in the studio of his father, likewise a multi-instrumentalist and songwriter. But to listen to the guys, each felt his career didn’t truly begin until he met the other. From John: “I’ve never met anyone who loved the same kind of music I did but also could create it at such a high level. I knew it was special and that it would take my career to another level even before we decided to be a group.” And from Chris: “I put aside everything else I was doing at the time to work on this. I believed in John as an artist –before we became a group– just like he believed in me.”
Indeed, the two had initially been paired to produce John’s solo record, but both realized there was more brewing than a standalone project. The two became fast friends, which has since morphed into brotherhood—and Lipstick Gypsy. “It’s not easy finding someone with world-class talent, similar influences, a firm vision, but also the flexibility to be steered into new places and directions,” Chris affirms. “John is all of that.”
The synergy is more than mere lip service. The pair actually penned their second single, “The Cure,” in their first writing session. “The Cure” is already earning listens on radio and online via its accompanying video, which follows the guys as they amble the streets and perch on the rooftops of NYC—often accompanied by the fairer sex. “‘The Cure’ is about how messed up the world is right now,” John professes. “That’s why the first line is ‘The world’s grown cold / no heart, no soul.’ It talks about people’s shady intentions and how love isn’t in style anymore.’” Peppered with vintage MJ breathiness, “The Cure” manages to put a happy spin on the maudlin with its hook: “I think your love might be the cure.”
“Infatuation”, their 1st single steps out as unmistakably yummy Fender Rhodes settles into an impossibly sexy groove. John’s high-octave stylings dance with a sultry bassline and dawdling drums. The song is an unadulterated freak-fest that would make Rick James proud. It’s also making noise, having been premiered on BET.com and featured on iTunes. One listen and the irrepressible hook is impossible to shake.
Another highlight of Lipstick Gypsy’s forthcoming EP is “Kiss Me,” a breathtakingly tender ballad inspired by a painful, protracted breakup Chris endured. “I rarely write down my thoughts, but this was so heavy that I had to,” Chris recalls. “I felt things changing, felt us drifting apart. And I came up with this chord progression for a song. I played it for John, and he was able to turn that skeleton –and channel all that feeling– into a wonderful song. The intention was to play it for her, but I never got the chance.” On the surface, “Kiss Me” is scaled back, stripped-down piano ballad. But the emotion is palpable, dripping with rawness, with recency. Tears well up with lines like “After you, I never could ever love again / We go back, back to the time that you were my best friend” and “Do you know how bad it hurts to love and not be loved back?” The song culminates with the chorus: “So kiss me, kiss me, kiss me like we’re still in love.” John’s vocals are equal parts soaring and delicate, determined and plaintive. Think the heart and soul of Motown with the purity and power of George Michael.