The Song Machine: How to Make a Hit

In a 2006 New Yorker article, “The Formula,” McCready told Malcolm Gladwell, “We take a new CD far in advance of its release date. We analyze all twelve tracks.

A second single, “Quit Playing Games (With My Heart),” was selected from the batch that had been recorded back in June 1995 at Cheiron.

“Jimmy always says it’s all about the connection between the artist and the fans,” he says. “This whole business, it’s just about that connection. And, clearly, people feel that connection with the girls.”

Rythm [sic] Syndicate.

“When we’re writing for her, we sit down and talk to her and find out what’s going on in her life, and try to find out the kernel of truth. I want her to sing about something she cares about, so we talk about her life and what she’s going through, and try to weave it into something powerful and visual.”

What an artist really needs is a champion, not a numbers guy who in another year is going to leave.”

“Back Stabbers” and “Love Train” for the O’Jays, and “Me and Mrs. Jones” for Billy Paul—all from 1972—and followed by “You Make Me Feel Brand New” (1973) for the Stylistics and “The Love I Lost” (1973) for Harold Melvin and the Blue Notes, there was no stopping Gamble and Huff until “Ain’t No Stoppin’ Us Now” (1979)

“Rude Boy”

She was cast as the understudy to the star, Laura Bell Bundy, in the off-Broadway musical Ruthless!