Jimmy Jam and Terry Lewis were actively writing and producing for their musical alter ego, The Secret, in 1986 when a demo they'd just completed caught the attention of an A&M Records executive. That minimal dance-pop track went on to become Janet Jackson's first Top Five hit, "What Have You Done For Me Lately," and put Jam and Lewis' personal recording careers on the backburner for awhile, their hit-making production and songwriting skills suddenly and incessantly in-demand.

The GRAMMY-winning Minneapolis natives' induction into the Songwriters Hall of Fame in 2017 encouraged them to revisit their dream to make their own albums. The prolific twosome is finally releasing their debut full-length project, Jam & Lewis Volume One, today, July 9, via BMG in collaboration with their revamped label, Perspective Records. At approximately 50 minutes, the Oscar and Emmy nominees' 10-track effort features The Sounds of Blackness, Toni Braxton, Mary J. Blige, Mariah Carey, Babyface, Boyz II Men, Usher, Charlie Wilson, The Roots, Heather Headley, Morris Day, and Jerome Benton.

"We would love it if people listened to the record from start to finish," Jam said. "The thought process for all of the artists on the album is if you say the artist name and mention it's a new song by them, what would you want that song to sound like?  We use the word 'newstalgia,' which is the discovery moment of hearing something new but that comforting moment of familiarity."

Jam and Lewis originally pivoted and morphed into accomplished songwriters and producers after departing from the Prince-produced funk outfit The Time in 1983. The fedora and sunglass-wearing pair's knack for tailor-making tunes regardless of genres under their imprint, Flyte Tyme Productions, resulted in timeless classics for Klymaxx, Cheryl Lynn, The Human League, The S.O.S. Band, Alexander O'Neal, Cherelle, Herb Alpert, Force MDs, Robert Palmer, George Michael, New Edition, Michael Jackson, Yolanda Adams, TLC, Vanessa Williams, Patti Labelle, Barry White, Elton John, and Gwen Stefani.

The multi-instrumentalists, who originally met as teenagers at a college readiness program, have placed 41 songs in the top ten of the Billboard Hot 100; earned more number one singles (16!) than any other songwriter and producer in history, and received over 100 gold and platinum plaques. The winner of five GRAMMYs, Jam and Lewis earned 11 career Producer Of The Year nominations, more than any other in the history of the Recording Academy. In 2007, Jam became the Recording Academy's first Black chair of the board.

GRAMMY.com recently caught up with Jam and Lewis to hear details about making their first full-length album, their Midas touch, and their groundbreaking involvement with the Recording Academy.

What's that like coming full circle as sought-after producers and artists?

Jam: Being outfront feels interesting. We really are the assist guys; we set the artists up to score, so it's a little different being the scorers this time. We're prepared for it because we started out as artists with The Time 40 years ago, but our artistry is all really based on just making everybody look really good. So with all of the artists involved, they're the inspiration for what we do. The difference [on this album] is our name is in big letters instead of little letters, but we pretty much do the same thing.

Lewis: We're used to being Nostradamus for everyone. All of the artists that we work with, we're fans of those people: their art and of them as humans. The hang factor is always high there. This project is a reflection of that; we got to hang with the people that we love and make music.

The long story is after the music stops being created and you let it part from your hands, then the other things begin. That's the part I'm still trying to get used to because I'm used to it for someone else. People love the songs, but now they're asking about videos, who's doing the artwork for the album cover, or who's the stylist. I hadn't thought about that. We can see everyone else from a 360-degree cycle, so we have to incorporate other people to help us see the vision for what we can't see. That's a little strange because we've never had management or too much of the other fluff things that make successful artists. Being an artist is no joke; it's no day at the beach.

How did you decide on which artists to collaborate with for your debut project?

Jam: We made a wishlist, which is ever-evolving, of people that we wanted to work with. Terry always calls it "hang factories:" the people we enjoy just being around whether we're making music or just hanging out. Then subject to their availability or other factors that go into it, that's how we determined the ten we thought were good enough to have. We also thought we wanted to have something that was long enough.

It was a combination of people we've worked with before and really loved working with, a few people that we've never had the chance to work with before, so it was a good opportunity to do that. There's a volume two already in the works and hopefully a volume three and four. One of our goals overall is we want to leave music in a better place than we found it; we can do that by creating music with great artists. It elevates everything, especially Black music.

Did your track record with Janet Jackson influence this album in any way?

Jam: The Control album days that we worked on with Janet helped us realize the palette we had to work with was endless. It wasn't that we had to say we couldn't do uptempo or downtempo, in this key, a rock song or a sensual love song. Everything was open, and we got a sense of trust with each other right away. That's been the key.

[Her] albums up to All For You and later Unbreakable, we did the whole album. Not only were we able to do the songs on the album, but we were able to arrange them in the order with the little interludes in between, so it was almost like telling a story or reading a book. That's how great records were done.

What's Going On by Marvin Gaye is probably our favorite albums of all-time because of the way the songs are sequenced and how they flow together with continuous thought. That, to me, was always the brilliance of making albums. That's what we love about doing this Jam & Lewis album; it's an actual album. There's something that's very special about that.

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Is there a story that you're telling with the album sequencing?

Jam: The Sounds of Blackness was our musical foundation. It's very good for us to see our label logo for Perspective Records also. When we started Perspective 30 years ago this year, our idea was to give people the music that they needed, not necessarily what they wanted. The first foray into that was signing The Sounds of Blackness and the song, "Optimistic," which to this day is our favorite song that we've ever been involved with.

Our theory was if you're gonna build a nice tall building for success, the first thing to do is dig that foundation deep. Thirty years later as we come back to that Perspective label, it was that same idea. Let's dig that foundation deep. The Sounds of Blackness start our record with "Til' I Found You," which is appropriate to start off anything that you're doing. That was really important to us to try to do as the first thing you hear sonically. It sets the tone.

Lewis: It bookends. "Babylove" with Morris Day and Jerome Benton [who were also in The Time] as the last record is the beginning of our beginning. We have the beginning and the beginning at both ends of the record. That was very special to us and important to have that inclusive nature. Sounds of Blackness was the beginning of our record label 30 years ago, and [Morris Day and] The Time was the beginning of our artistry 40 years ago.

"When we started Perspective [Records] 30 years ago this year, our idea was to give people the music that they needed, not necessarily what they wanted. The first foray into that was signing The Sounds of Blackness and the song, 'Optimistic,' which to this day is our favorite song that we've ever been involved with." Jimmy Jam

How did the coronavirus pandemic and social climate affect plans for the album release?

Lewis: The last year was a little inconvenient. I used the last year to learn about things and to do things that I never had time to do. When people started talking about getting back to normal, I always say normal was overrated. Normal was not having enough time to spend with your family, running from here to there, being in meetings about meetings. I'm just not that guy.

There's always been racial unrest; it's magnified now because everybody slowed down enough to visualize it. The world is paying attention at the same time. When does that happen with the way the world works now? People had time off from work, so they had time to march. If those things happen six months from now, I don't know if the same results will come. How we handle that is we stay diligent and get over people's preferences. If you can't want for someone else the same things that you want for you and your family, then you don't deserve it. I want everybody to have the same opportunities that I have. If you got the goods, bring it on. It's enough for everybody.

Jam: Ditto. What he said.

What's your relationship like with the Recording Academy?

Jam: When we got involved with the GRAMMYs probably around '86, we were told if we joined the Academy, then we could vote for ourselves. We got nominated for Producer Of The Year [in 1987], voted for ourselves, and won. It was great, and it set us on a path where we have to live up to that.

Someone asked me about being on the board. I'd always thought of the organization as a one-night-a-year awards show. I didn't realize that year-round work was going into advocacy, music education, fundraising for schools and instruments, and MusiCares. When I got involved, I felt the music community was my community. I ran and ended up becoming vice chair, took that experience and ended up becoming chair. I ran uncontested. It was great, and it ushered in the 50th anniversary of the GRAMMYs.

I was the first African American chair of the GRAMMYs. One thing on my agenda was always diversity; membership was important because we're a member organization. There's nothing like receiving an award from your peers. What was cool was after becoming chairman, Harvey Mason jr, the new CEO, said the 50th anniversary when I was honored planted the seed in him. He knew someday he'd like to get involved and do something.

To have that inspiration for people is really the best thing that came out of it: for people to see me and know they can make a difference and get involved. I love the organization, but we're only as good as our members, and we have great members. That's the beauty of the Recording Academy. We're more relevant now than we've ever been. We're on a great path with great leadership, and I couldn't be more proud to be involved with the organization.

"It's great to be a part of the fabric of something great, and music is that great thing... As Jam said, it's a connector and what connects us all. To be a part of that is one of the most awesome feelings in the world, to think that we've added something to the world that no one can ever subtract. I know we've added some good music to the world because that was our passion; that's the gift that God gave us." Terry Lewis

What crosses your mind anytime people call you legends or icons?

Lewis: With music being the soundtrack of life, it's just great to be a part of people's lives. It's great to be a part of the fabric of something great, and music is that great thing. I really don't understand for the life of me why people don't wanna buy music anymore, but so be it. We just gotta figure out a new paradigm. Music is part of the fabric of who we are. We would live in a terrible world if we didn't have music. If we didn't have melody or just couldn't hear it, that would be tragic.

As Jam said, it's a connector and what connects us all. To be a part of that is one of the most awesome feelings in the world, to think that we've added something to the world that no one can ever subtract. I know we've added some good music to the world because that was our passion; that's the gift that God gave us. It feels really really awesome.

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The Recording Academy has partnered with leading online learning platform Coursera on GRAMMY GO, a new online initiative to offer classes tailored for music creators and industry professionals.

This partnership empowers the next generation of the music community with practical, up-to-the moment digital content that provides wisdom for both emerging and established members of the industry. Continuing the Academy’s ongoing mission to serve all music people, courses cover a variety of specializations tailored to creative and professional growth. 

GRAMMY GO on Coursera includes courses taught by Recording Academy members, featuring GRAMMY winners and nominees and offers real-life lessons learners can put to work right away.

Starting today, enrollment is open for GRAMMY GO’s first Coursera specialization, "Building Your Audience for Music Professionals," taught by Joey Harris, international music/marketing executive and CEO of Joey Harris Inc. The course features Rock & Roll Hall of Fame inductee and five-time GRAMMY winner Jimmy Jam, 10-time GRAMMY nominee Janelle Monáe and three-time GRAMMY winner and the 2024 GRAMMYs Best New Artist Victoria Monét. This foundational specialization will help participants gain the skills, knowledge and confidence to build a strong brand presence and cultivate a devoted audience within the ever-changing music industry. 

The partnership’s second course, launching later this summer, aims to strengthen the technological and audio skills of a music producer. "Music Production: Crafting An Award-Worthy Song" will be taught by Carolyn Malachi, Howard University professor and GRAMMY nominee, and will include appearances by GRAMMY winner CIRKUT, three-time GRAMMY winner Hit-Boy, artist and celebrity vocal coach Stevie Mackey, five-time GRAMMY nominee and Recording Academy CEO Harvey Mason jr., and 15-time GRAMMY winner Judith Sherman. Pre-enrollment for "Music Production: Crafting An Award-Worthy Song" opens today.

"Whether it be through a GRAMMY Museum program, GRAMMY Camp or GRAMMY U, the GRAMMY organization is committed to helping music creators flourish, and the Recording Academy is proud to introduce our newest learning platform, GRAMMY GO, in partnership with Coursera," said Panos A. Panay, President of the Recording Academy. "A creator’s growth path is ongoing and these courses have been crafted to provide learners with the essential tools to grow in their professional and creative journeys."

"We are honored to welcome GRAMMY GO, our first entertainment partner, to the Coursera community," said Marni Baker Stein, Chief Content Officer at Coursera. "With these self-paced online specializations, aspiring music professionals all over the world have an incredible opportunity to learn directly from iconic artists and industry experts. Together with GRAMMY GO, we can empower tomorrow's pioneers of the music industry to explore their passion today."

GRAMMY GO also serves as the music community’s newest digital hub for career pathways and editorial content that provides industry insights for members of the industry; visit go.grammy.com for more. For information and enrollment, please visit the landing pages for "Building Your Audience for Music Professionals" and "Music Production: Crafting An Award-Worthy Song."

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On "Dear Life," R&B singer Genia pens a farewell letter to her lover — while simultaneously reflecting on how the intense saga crumbled her.

"I can't take anymore/ Put my pride aside, thought you could save me," she cries in the first verse. "These days, I don't know what I need/ You destroy me from the inside out/ If I go off the deep end/ You'll be sure not to bring me back."

In this episode of Press Play, watch Genia deliver a stripped-down performance of the vulnerable track alongside her guitarist.

The California native released "Dear Life" on Nov. 10, via Def Jam Recordings. She has also dropped three more singles — "Like That," "Know!," and "Let Me Wander" — leading up to her sophomore mixtape, 4 AM In The Ville, on April 19. 4 AM is a sequel to her debut, 4 PM In The Ville; both projects are inspired by Genia's experience of growing up in Victorville, California.

""[The songs] explore the different stages of grief in a relationship," she revealed in an interview with Urban Magazine. "The second tape is really me touching on falling in love, betrayal, anger, and rape."

Watch the video above to hear Genia's acoustic performance of "Dear Life," and check back to GRAMMY.com for more new episodes of Press Play.

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The celebration isn't over after the 2024 GRAMMYs. In recognition of Black History Month, the GRAMMY Museum proudly honors the indelible impact of Black music on America and the fabric of global pop culture. 

This programming is a testament to the rich heritage and profound influence of Black artists, whose creativity and resilience have shaped the foundation of American music. Through a series of thoughtfully curated events — including educational workshops, family programs, special screenings, and intimate conversations — the Museum aims to illuminate the vibrant legacy and ongoing evolution of Black music. 

From a workshop on the rhythmic storytelling of hip-hop following its 50th anniversary and the soulful echoes of Bill Withers' classics, to the groundbreaking contributions of James Brown and the visionary reimagination of "The Wiz," these GRAMMY Museum programs encapsulate the enduring legacy and dynamic future of Black music.

The GRAMMY Museum invites audiences to delve into the stories, sounds, and souls that have woven Black music into the tapestry of our shared human experience. Through this journey, the Museum and the Recording Academy honor the artists, visionaries, and pioneers whose talents have forever altered the landscape of music and culture. 

Read on for additional information on the GRAMMY Museum's month-long tribute that explores, appreciates and celebrates the invaluable contributions of Black music to our world.

Thurs., Feb. 8

History of Hip-Hop Education Workshop

WHAT: In celebration of the 50 years of hip-hop, this workshop examines the unique evolution of Hip Hop from its origin to where the genre is today. Highlighting the golden age of Hip Hop, this lesson will provide students with a greater understanding of the struggles and triumphs of the genre.

WHEN: 11 a.m. – 12:00 p.m. 

REGISTER: Click here.

Sat., Feb. 10

Family Time: Grandma’s Hands

WHAT: Join us for a very special family program celebrating the recently released children’s book Grandma’s Hands based on one of Bill Withers’ most beloved songs. Bill’s wife, Marcia, and daughter, Kori, will participate in a book reading, conversation, audience Q&A, and performance, followed by a book signing. The program is free (4 tickets per household.)

WHEN: 11 a.m. – 12:30 p.m. 

REGISTER: Click here.

Mon., Feb. 12

Celebrating James Brown: Say It Loud

WHAT: The GRAMMY Museum hosts a special evening on the life and music of the late "Godfather of Soul" James Brown. The program features exclusive clips from A&E's forthcoming documentary James Brown: Say It Loud, produced in association with Polygram Entertainment, Mick Jagger’s Jagged Films and Ahmir “Questlove” Thompson’s Two One Five Entertainment, followed by a conversation with Director Deborah Riley Draper, superstar Producer Jimmy Jam, and some surprises.

WHEN: 7:30 p.m. – 9:00 p.m.  

REGISTER: Click here.

Sat., Feb. 17

Backstage Pass: "The Wiz"

WHAT: Presented in partnership with the African American Film Critics Association, join us for an afternoon spotlighting the famed Broadway Musical, "The Wiz," with the producers and creative team responsible for the Broadway bound reboot. The program will feature a lively conversation, followed by an audience Q&A in the Museum’s Clive Davis Theater, and will be hosted by AAFCA President, Gil Robertson, and GRAMMY Museum Education & Community Engagement Manager, Schyler O’Neal. The program is free (four tickets per household).

WHEN: 1 p.m.

REGISTER: Click here.

Thurs., Feb. 22

History of Hip-Hop Education Workshop

WHAT: In celebration of the 50 years of hip-hop, this workshop examines the unique evolution of Hip Hop from its origin to where the genre is today. Highlighting the golden age of Hip Hop, this lesson will provide students with a greater understanding of the struggles and triumphs of the genre.

WHEN: 11 a.m. – 12:00 p.m. 

REGISTER: Click here.

Reel To Reel: A Hip Hop Story

WHAT: In conjunction with the GRAMMY Museum's exhibit, Hip-Hop America: The Mixtape Exhibit, the GRAMMY Museum is thrilled to host a special screening of A Hip Hop Story with a post-screening conversation featuring Affion Crockett to follow.

WHEN: 7:00 p.m. – 9:00 p.m.  

REGISTER: Click here.

Sun., Feb. 25

Lunar New Year Celebration

WHAT: Join us for a special program celebrating Lunar New Year as we usher in the Year of the Dragon with a performance by the South Coast Chinese Orchestra. The orchestra is from Orange County and uses both traditional Chinese instruments and western string instruments. It is led by Music Director, Jiangli Yu, Conductor, Bin He, and Executive Director, Yulan Chung. The program will take place in the Clive Davis Theater. This program is made possible by the generous support of Preferred Bank. The program is free (four tickets per household).

WHEN: 1:30 p.m.

REGISTER: Click here.

Tues., Feb. 27

A Conversation With Nicole Avant

WHAT: The GRAMMY Museum is thrilled to welcome best-selling author, award-winning film producer, entrepreneur and philanthropist, Ambassador Nicole Avant to the museum’s intimate 200-seat Clive Davis Theater for a conversation moderated by Jimmy Jam about her new memoir Think You’ll Be Happy – Moving Through Grief with Grit, Grace and Gratitude. All ticket buyers will receive a signed copy of the book.

WHEN: 7:30 p.m. – 9:00 p.m.  

REGISTER: Click here.

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The GRAMMY Museum Foundation has received a $2 million donation from the Ray Charles Foundation. To celebrate this gift and honor Ray Charles’ lasting legacy as one of the most iconic and celebrated artists of all time, the GRAMMY Museum will rename their rooftop terrace The Ray Charles Terrace at the GRAMMY Museum.

Funds from this gift will go towards the Museum’s Campaign For Music Education, which launched in Oct. 2022 and aims to expand access to the Museum’s education programs, including GRAMMY In The Schools programming.

An official GRAMMY Week event honoring the terrace renaming will take place the evening of Mon, Jan. 29, ahead of the 2024 GRAMMYs. The ribbon-cutting celebration, hosted by GRAMMY-winning producer Jimmy Jam, will feature a red carpet, cocktail reception, and music curation by GRAMMY-winning DJ Khalil — as well as a performance by GRAMMY nominee Aloe Blacc, who will perform some of Ray Charles’ biggest hits. 

The GRAMMY Museum’s rooftop terrace serves as an incredible resource for the museum and the community, boasting phenomenal 180-degree views of downtown Los Angeles and the Hollywood Sign, and hosting more than 150 events each year, making it one of the most sought-after venues in downtown Los Angeles.

“The GRAMMY Museum embodies the spirit of our mission to empower young people through education,” says Valerie Ervin, President of The Ray Charles Foundation. “We are thrilled to be able to continue our partnership with the Museum and help them achieve their goal of expanding music education and fostering a love of music in our next generation.” 

“As the GRAMMY Museum celebrates our 15th anniversary, more than ever we are leaning into expanding music education and access to our renowned programs,” said Michael Sticka, President/CEO of the GRAMMY Museum. “We are incredibly grateful to our partners, the Ray Charles Foundation, for their generosity and investment towards the Museum’s Campaign for Music Education, which will help us further our educational mission. It’s an honor to deepen our longstanding relationship.”

The GRAMMY Museum’s Campaign For Music Education launched in Oct. 2022 with the goal of raising money for their educational endowment and programs. The funds raised will expand access to their music education programs across the country. The campaign is co-chaired by some of the biggest names in music, including Billie Eilish, Dua Lipa, Bruno Mars, Shawn Mendes, and Rosalía. The GRAMMY Museum’s objective is to eliminate the financial burden to access music education and foster the next generation of music’s creators and leaders. The campaign is a call to action for the music industry, with labels, publishers, artists, promoters, and more coming together to ensure that music education is accessible, sustainable and available for any and all who want it. 

GRAMMY In The Schools is the “umbrella” name for all GRAMMY Museum Foundation education activities, which fund school music programs, provide valuable career guidance, and honor teachers and students nationwide. Some of these programs include GRAMMY Camp, GRAMMY In The Schools Fest, GRAMMY In The Schools Sessions, GRAMMY Museum Student Showcase, and GRAMMY In The Schools Workshops. Additionally, the Music Educator Award presented by the GRAMMY Museum and the Recording Academy, honors outstanding music educators. Lastly, we expanded our online presence with the GRAMMY In The Schools Learning Hub, which is an online resource allowing educators, students, parents, music professionals, and music lovers to gain valuable insights and strategies on anything involving music. 

The GRAMMY Museum, currently celebrating its 15th anniversary, is a nonprofit organization dedicated to celebrating and exploring music from yesterday and today to inspire the music of tomorrow through exhibits, education, grants, preservation initiatives, and public programming. Paying tribute to our collective musical heritage, the Museum values and celebrates the dynamic connection in people’s diverse backgrounds and music’s many genres, telling stories that inspire us, and creative expression that leads change in our industry. 

The Ray Charles Foundation is dedicated to providing support in the area of hearing disorders and the empowerment of young people through education by offering support to educational institutions and non-profit education programs. Ray Charles said, “The inability to hear is a handicap; not the inability to see.” The vision of The Ray Charles Foundation is to instill in the youth of America that “there is no challenge too great one cannot overcome.” 

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