“I try to write melodies off the same chords. “I play the few chords that I know,” she says. She co-wrote most of the songs on the album, usually composing on guitar, her choice of instrument. Working with producers David Lichens, Jon Levine, Howard Benson and Bob Ezrin on Joy, Dobson lives up to the portraits of her heroes she first hung during the recording of her first album-Kurt Cobain, Judy Garland, Coldplay, the Vines and Jeff Buckley. Otherwise, I would never have been able to make this album.” Luckily, I was allowed to do it on my own, without any interference. “I had to go and find myself musically,” she says about the break between releases, crediting manager Chris Smith’s confidence in her ability for the breakthrough. In the interim, several of her songs were covered, including “Start All Over,” a song which was recorded for Sunday Love, but never made the album, by Miley Cyrus, “Don’t Let It Go to Your Head,” the first single, by American Idol winner Jordin Sparks, and “As a Blonde,” which was covered by Selena Gomez.įour years later, Fefe is back, with an album that is a clear indication that she will be doing things her way, or not at all. Joy reflects that passion, both musical and personal, with Fefe’s sensuality oozing out of songs like the speeded-up punk of “Watch Me Move” (“I’m a firecracker/Better tell your mother… W-w-w-w-watch me move”), the Pretenders-like ballad “Shame” and the pure ecstasy of the title track (“I got joy in the bedroom/When it’s just you and I/I got joy when you satisfy me”).ĭobson bust onto the music scene as a precocious 18-year-old, releasing her debut album in 2003, which spawned four singles, including “Bye Bye Boyfriend,” “Take Me Away,” “Everything” and “Don’t Go (Girls and Boys).” She appeared as Tina Turner in the NBC series, American Dreams, opened for Justin Timberlake’s European tour, and was featured in a Tommy Hilfiger commercial that included “Don’t Go (Girls and Boys).” The album also earned her two Juno Award nominations for Pop Album of the Year and New Artist of the Year.īy 2006, Dobson returned to the studio to work on her never-released album, Sunday Love, which featured collaborations with such artists as Billy Steinberg, Matthew Wilder, Cyndi Lauper, Courtney Love, Joan Jett, Nina Gordon and Rancid’s Tim Armstrong. I listened to a lot of old records, like Stevie Nicks, the Doors and Led Zeppelin, real dramatic, emotional music.”
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I tried to isolate myself from the radio and TV while I was making it. “I like that combination, especially when I heard Janet’s ‘Black Cat,’ with its rock guitar riff. “I grew up with Michael and Janet Jackson, but my older sister was listening to Guns N’ Roses and Nirvana, so I was right in the middle of it,” says Dobson, a native of Scarborough, Ontario, a suburb of Toronto, where she was brought up by a single mom, a mix of native Canadian and English, with a Jamaican father she just recently reconnected with. For her second Island Def Jam album, the aptly named Joy, the young, 24-year-old industry veteran Felicia “Fefe” Dobson is finally embracing her roots, with a no-holds-barred collection of full-throttle rock & roll that spotlights her skills as a singer, songwriter and performer.įrom the cheeky, nursery rhyme playground anthem and first single, “I Want You,” the tribal percussion of “Can’t Breathe,” produced by rock legend Bob Ezrin (KISS, Pink Floyd’s The Wall, Lou Reed), and the sassy retort of “You Bitch,” produced by Howard Benson (All-American Rejects, My Chemical Romance, Daughtry, Hawthorne Heights, Gavin DeGraw, Papa Roach), to the dance-floor thump of the tongue-in-chic “Paranoia” and the arena, flick-your-Bic torch song, “In Your Touch,” Fefe has finally found the sweet spot in her mix of rock and club beats.
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