Aaron Hall Truth CD

Principally recorded at G.A. Recording Inc., Evanston, Illinois; Soundcastle and Post Complex, Los Angeles, California; Oasis Recording Studios, North Hollywood, California.

Former Guy lead singer Aaron Hall may provide the powerful vocals, smooth raps and most of the songwriting on THE TRUTH, but it is his collaborations with Vassal Benford that make up the core of Hall's first solo album. The songs co-written by Benford (who also produced, arranged and played most of the instruments on these tracks) are definitely the standouts on this contemporary R&B, hip-hop-styled release. The Vassal-produced opening cut, for instance, has a funky, punchy synth-bass groove, over which Hall wails and raps in fine form. "You Keep Me Crying" features some inventive production techniques by Benford, who uses a thundering bass to dramatically swoop down on an otherwise gentle ballad.

At it's sharpest, THE TRUTH shows off a hip-hop artist who knows his way around a musically smooth vocal style. In fact, Hall has a strong gospel influence in his delivery, even if most of the lyrics are quite secular. The songs are of a mostly sexual nature. Hall's troubles with, and desires toward his "girl," "baby," "honey," "lady" and "nasty girl," are the album's underlying themes.

Guy's brand of new jack swing can be recognized across all of THE TRUTH's beat-rich tracks. But Hall's church-reared, throa

Producers: Hank Shocklee, Gary G-Wiz, Laney Stewart, Vassal Benford, Gregory Cauthen.

Engineers include: Kevin Thomas, Jean-Marie Horvat, Dave Reitazas.

Composers: Gary G-Wiz; Gregory Cauthen; Hank Shocklee; Sean "Sep" Hall.

Lyricist: Aaron Hall.

Personnel: Aaron Hall (vocals, piano, keyboards, programming, background vocals); Tonya Harris, Paula Payden (vocals, background vocals); Reginald Woods, Gerald Albright (saxophone); Sean "Sep" Hall (keyboards, programming, drum programming); Chris "Tricky" Stewart, Laney Stewart, Vassal Benford (keyboards, programming); Chris Stewart, Don Wyatt, Randy Waldman (keyboards); Curt Bisquera (drums); Ronald Spearman (percussion); Gregory Cauthen, Kip Collins (programming); Aaron Arce (drum programming); Mark Olson (scratches); Joi Marshall, Cynthia Harrell-Vaughns, Jon Marshall, Herschel Boone, Dieyelle Reed, Cynthia Harrell, Sue Ann Carwell (background vocals).

Audio Mixers: David Betancourt; Craig Burbidge; Rolly Ladd; Kevin Thomas; Richard Horniblow; Jean-Marie Horvat; Louis Silas, Jr.; Raymond Silva; Vassal Benford; Victor Flores; Willie Will.

Audio Remixers: Chris "Tricky" Stewart; Sean "Sep" Hall.

Recording information: Aire L.A. Recording Studios, Glendale, CA; Aire L.A. Studios, Glendale, CA; Cherokee Recording Studios, Los Angeles, CA; G.A. Recording, Inc., Evanston, IL; GARecording, Inc., Evanston, IL; Larabee Studios, N. Hollywood, CA; Oasis Rdcording Studio, North Hollywood, CA; Oasis Recording Studios, N. Hollywood, CA; Ocean Way Recording Studios, Hollywood, CA; Ocean Way Studios, Hollywood, CA; Post Complex, Los Angeles, CA; Sound Castle Recording Studios, Los Angeles, CA; Soundcastle, Los Angeles, CA; Unique Recording Studio, New York, NY; Unique Recording, New York, NY.

Photographer: Todd Gray.

Unknown Contributor Role: Tonya Harris.

Arrangers: Gregory Cauthen; Jeremy Lubbock; Vassal Benford.

Personnel: Aaron Hall III (vocals, piano, keyboards, programming, sequencing); Vassal Benford, Hank Shocklee, Gary G-Wiz, Floyd F. Fisher (various instruments); Reginald Woods (saxophone); Laney Stewart, Sean "Sep" Hall (keyboards, programming, sequencing); Chris "Tricky" Stewart (keyboards, sequencing); Randy Waldman, Don Wyatt (keyboards); Freddie Washington (bass); Curtis Bisquera (drums); Ronald Spearman (percussion); Gregory Cauthen (programming, sequencing); Aaron Arce (programming); Mark "Triple" Olson (scratches); Hershel Boone, Sue Ann Carwell, Cynthia Harrell-Vaughns (background vocals).

Additional personnel: Paul Payden, Jade (vocals); Gerald Albright (saxophone); Kip Collins (programming).Vibe (10/93, p.108) - "...[Hall's] a love man all right--Freddie [Jackson] and Luther [Vandross] just don't have a chance...the rhythm section, tight and broad, gets funky when that's appropriate, and on the ballads, which make up a good part of the album, everything's silky and lush..."