Hush Sound In the Big City

Hush Productions is a group of talented artists who defined the tone of ‘80s Black contemporary music.

When you hear the term “Hush Sound,” you might picture big cities, skyscrapers, and bedrooms. From the 1980s to the early 1990s, the Hush sound—an R&B style rooted in New York—provided the soundtrack for Black city life and served as the background music that nurtured romance. Its signature artists included Freddie Jackson and Meli’sa Morgan. Hush’s music expressed the essential qualities of soul—smooth grooves and beautiful melodies—enhanced by the latest technology of the time. It is often spoken of as being almost synonymous with “Black music.” Although it was not as revolutionary as hip-hop or New Jack Swing, the refined soul produced by creators with fresh sensibilities gained more supporters as FM radio surged in popularity.

Hush is not the name of a label or a genre but a production company managing various aspects of the music business, including artist management, music production, publishing, and even film production. It was operated by the Huggins brothers, Charles and Beau. According to an interview with Zak Vaz, who served as production coordinator at Hush and also did mixing and mastering, the company began in 1973 as Melba Moore’s management company. At the time, Charles—Melba’s husband—was a successful businessman who ran several clubs in the Bronx and Harlem. While Charles handled the business side, Beau oversaw the creative side. Their music publishing company was called Bush Burnin’ Music, and it is said that “Hush” was named by combining the brothers’ surname, Huggins, and “Bush” from their publishing company’s name.

The company primarily focused on management for a while, but gradually, it became involved in music production. In the 1980s, Hush received a production contract offer from Capitol. The Huggins brothers brought in Kashif and Paul Lawrence, who had worked with Mighty M Productions as producers and songwriters. They produced Melba Moore’s What a Woman Needs (1981) alongside McFadden & Whitehead, who were already associated with Hush and were entrusted with the main songs on Melba’s The Other Side of the Rainbow (1982). At this time, Rani Harris (Rani Song), who had just started joining Dayton, was also involved in production and became part of the Hush collective.

While working as producers, Kashif and Paul Lawrence each embarked on their own solo projects. Kashif made his solo debut with Arista in 1983 and pursued his own path, collaborating with artists like Whitney Houston and Kenny G. Meanwhile, Paul debuted with Capitol in 1985. Freddie Jackson, a friend of Paul’s, had been working as a backing vocalist for Melba Moore and Lilo Thomas, who were also signed to Hush. Around this time, Hush established a new structure under Orpheus Productions, and Freddie signed with Orpheus as their first artist. In 1985, he made his solo debut with the album Rock Me Tonight on Capitol.

Barry Eastmond served as the main producer of Freddie’s debut album. A keyboardist recognized by Melba Moore and known for his work with Billy Ocean—and later Anita Baker—he became a key R&B craftsman of Quiet Storm. Barry and the others mentioned above formed the core of the so-called Hush sound. Other talented contributors included former Change member Timmy Allen, Royal Bayan from Kool & the Gang, Wayne Braithwaite, Billy Nichols, and Fareed. Their approach involved using state-of-the-art equipment, such as the TR-808 drum machine and the DX7 synthesizer, blending digital sounds with live instruments to achieve high-fidelity sound quality. The texture of this production style can be understood by imagining the sounds Toshinobu Kubota reproduced during that era and those Bruno Mars would later create on 24K Magic. While inheriting Philly soul’s elegance and funk’s dynamism, this style incorporated Najee’s saxophone, offering a classy fusion of soul and smooth jazz. In this environment, singers who followed the legacy of deep soul vocalists, such as Beau Williams and Willie Collins, added refined nuances to the sound.

Most of the artists affiliated with Hush/Orpheus released their albums through a partner label, Capitol. However, Hush also forged production deals with other companies, with John White and Vanity Fair releasing albums through Geffen and Ray Goodman & Brown through EMI. This illustrates that Hush did not function as a traditional label at the time, allowing for a diverse range of outlets. Consequently, many artists are grouped under the Hush umbrella—some were only managed by Hush (including Isaac Hayes and the Force MDs), while others had their projects produced by external collaborators (such as the Controllers and James Robinson).

Although Hush did not own a label for a long period, in the late ’80s, they founded Orpheus Records. Alongside original Hush-affiliated artists, the roster included a wide variety of talent, such as Eric Gable and Compton’s Most Wanted. In 1992, they launched the sister label THG Music under Polygram, and in 1996, they converted Hush Entertainment into a label. Still, their golden age is often considered the period when they did not operate their own imprint.

In the ’90s, the Hush sound was deemed outdated because it represented the recent past. A resurgence of the raw ’70s sound often overshadowed it. However, even if it is not frequently mentioned today, it is clear that the Hush sound was a treasure trove of rich, urban R&B and exerted a subtle yet significant influence on what is now recognized as city pop.

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The masterpieces left by Hush during their golden age and the masterpieces that colored their contemporaries.

Freddie Jackson, Rock Me Tonight

Freddie Jackson began as a backing vocalist for Melba Moore and went on to lead the golden age of hash. The standout song “Rock Me Tonight (For Old Times Sake),” produced by Paul Lawrence and evolving from the programmed style of Marvin Gaye’s “Sexual Healing,” became one of the pinnacles of 1980s Black rock, inspiring many followers. “Love Is Just a Touch Away,” written by Barry Eastmond—who worked on most of the album—is also a masterpiece.

Meli’sa Morgan, Do Me Baby

Meli’sa Morgan joined Hush after working with bands such as High Fashion. His passionate, sweet voice and the urban sound created by Lysette Wilson and others are a perfect match. The title track (a Prince cover) by Paul Lawrence topped the R&B charts. This album is a masterpiece with just the right assortment of great songs, including “Fools Paradise,” which was later sampled by JAY-Z and consequently re-evaluated.

Kashif, Send Me Your Love

Kashif helped solidify the foundation of the Hush sound and expanded it in many directions. With backing vocals from Lilo Thomas and Meli’sa Morgan, he delivers lively, upbeat songs and romantic love ballads—the latter exemplifying the core of the Hush style. He also invited Whitney Houston, Kenny G, and LaLa, who would later be involved in producing the album, as guests.

Melba Moore, A Lot of Love

The Empress of Hush. During her Capitol era, two songs—“A Little Bit More” and “Falling,” written by her old friend Gene McFadden—reached number one on the R&B charts. The former was a collaboration with Freddie Jackson, but this album also includes a duet with Kashif, “Love the One I’m With (A Lot of Love).” This is a monumental work in which the entire Hush crew supports the main artist’s gorgeous singing voice.

The Controllers, Stay

Stay is The Controller’s second release by a vocal group from Alabama, once part of the T.K. family in the 1970s, after moving to MCA. Although they were not signed to Hush Productions, this urban album is infused with the Hush manor sound, thanks to Bo Huggins as executive producer and Barry Eastmond as the main producer. The title track is a slow groove using the TR-808, and Jeffrey Smith contributed. The uptempo tracks show Kashif’s influence.

Paul Laurence, Haven’t You Heard

A master of Hush. On this solo debut album, Paul Laurence performs aggressive funk and pop ballads with a delicate and emotional voice, sprinkling in the essence of the Hush sound. “She’s Not a Sleaze,” which features his younger brothers Freddie Jackson and Lilo Thomas, who debuted the same year, is a mid-tempo track that helped establish Hush Productions as a music production powerhouse.

Ray, Goodman & Brown, Take It to the Limit

Released by the group formerly known as The Moments, Take It to the Limit represents Sweet Soul after they moved to EMI with the support of Hush Productions. The doo-wop-style title track, produced by Rani Song and featuring Najee’s saxophone, reached number 8 on the R&B charts and drew considerable attention. William Reinhart and Gene McFadden revive the group’s sweetness with a distinctly Hush-flavored 1980s flair.

Beau Williams, No More Tears

A talented singer who attracted The Temptations’s attention and performed on Norman Connors’s works, Beau Williams released his fourth album with the support of Hush Productions. New and veteran Hush members—William Reinhart, Royal Bayern, and McFadden & Whitehead—create solid close-ups and romantic slow songs that enhance the main singer’s soulful vocal style. Vanise Thomas also participates in the chorus.

John White, Night People

I bet none of you remember John White. This is the only album by a singer from Pennsylvania who signed with Hush Productions in his teens. It is a masterpiece that combines his energetic, gospel-informed vocals with songs produced by Rani Song. He shows off a powerful singing voice on par with Glenn Jones on moody ballads such as “Forbidden Love” and “Mood for Love.” Najee’s saxophone is also featured.

Howard Johnson, Keepin’ Love New

Born in Miami, Howard Johnson made a name for himself with his well-known single, “So Fine.” This is the solo debut of a singer who was active in Niteflyte. Kashif and Paul Lawrence, both previously involved with Hush, were selected as producers, creating a stylish “skyscraper soul” that blends 1970s disco/funk with 1980s synthesizer design. Still, in his early career, Freddie Jackson participated in the backing vocals and co-writing. This can be considered an essential album on the eve of Hush’s golden age.

Dayton, Feel the Music

Dayton released one of the masterpieces as an Ohio funk band formed by former members of Sun. Rani Song (Rani Harris), who would later become a major behind-the-scenes figure for Hush, joins as a new member and showcases his production skills. The album also features “Love You Anyway” by their fellow Ohio native Roger and is filled with great tracks, including the sophisticated 1980s-style “The Sound of Music.” The rock-influenced “Eyes” also reflects the spirit of the era.

James Robinson, Guilty

Here’s James Robinson. It’s the only solo album by a singer who left Change to join Taboo. Produced by guitarist Farid (Najee’s brother), who was involved in many Hush recordings, the album highlights a richly resonant, masculine voice across a range of styles—from the romantic title track to the danceable “Just What I’ve Been Missing.” The slow “Can We Do It Again,” which recalls “Rock Me Tonight,” is particularly impressive.

Garry Glenn, Feel Good to Feel Good

A singer/songwriter from Detroit, Gary Glenn is best known for writing Anita Baker’s classic “Caught Up In the Rapture.” He was a talented figure in the Hush heyday, producing “I Can’t Let You Go” on Freddie Jackson’s Just Like the First Time (1986). On this solo album released by Motown, he weaves a gentle world of his compositions and performances. He passed away suddenly in 1991.

Oran “Juice” Jones, Juice

“I saw you…. And him… Walking in the raaaaaaaaiiiiiiiiinnnnnnnnn.” This is the debut album by a falsetto R&B singer who, along with Tishan, was one of the leading early Def Jam artists. The album is well-known for the melancholic pop ballad “The Rain,” which incorporates an electro sound and is filled with a sweet soul atmosphere. It also includes a cover of the Miracles’ “Here I Go Again.” “Love Will Find a Way” is a great mid-tempo groove reminiscent of Hush’s style.

Miles Jaye, Miles

This is the debut album of Miles Jaye, who was signed to Teddy Pendergrass’s production company. His rough, baritone voice is similar to Teddy’s, and the slow jam “I’ve Been a Fool for You,” produced with Dexter Wansel, foreshadows the style of By All Means, who appeared the following year on the same Island label. It shares a similar mood with Hush, including songs produced by Hubert Eaves III, who also featured Roy Ayers.

Chuck Stanley, The Finer Things In Life

Due to one executive’s love of soul music, Chuck Stanley was among the singers who emerged from the early days of Def Jam. This only album includes a selection of refined favorites, such as the title track with its stylish “Rock Me Tonight”-style programmed sound. “Make You Mine Tonight,” a duet with Allison Williams—one of the leading female singers of the 1980s—and “Day By Day,” a cover of The Continental Four, are also featured.

Peabo Bryson, All My Love

Peabo Bryson solidified his crossover status in the 1990s with romantic Disney songs, but this album marked a turning point, bridging the 1980s Quiet Storm style and the contemporary sound of the following decade. Naturally, it shares many common elements with the contemporary Hush style, and his cover of Al Wilson’s “Show and Tell,” adorned with stylish drum machines, topped the R&B charts.