Album liner notes… and all those names that were scattered around the artwork. That’s where the fascination began. Paul noticed that those same songwriters, producers, and arrangers appeared on so many of his favorite recordings, and that’s where he wanted to be — in the liner notes.

 

In the early 1990s, after obtaining a degree in music, Paul moved to NYC and quickly became involved with the dance music scene. He began writing and producing dance and R&B songs, releasing a handful of singles. After a chance encounter with Phyllis Hyman, he placed one of his songs with the singer for her next album. And with that, Paul was offered a publishing deal with Polygram Music. Those opportunities sadly never developed due to the tragic passing of the singer and an untimely exit of his A&R representative at Polygram.

 

Paul continued his music work, and by the end of the 90’s he had written songs for documentaries and produced remixes for Dolly Parton, Gloria Estefan, and Robyn, among other artists. This period of his career culminated in his doing remix and production work directly for Phil Ramone.

 

After a break from the industry, Paul reemerged in 2012 as an independent remixer/producer, taking advantage of new platforms that delivered music directly to listeners. Now, his musical direction was about reinventing songs instead of remixing them. He quickly gained accolades from many of the original artists and producers. Paul also continued to work on commercial releases, remixing for established artists like Basia, Wang Chung, and Madonna. It was Madonna’s approval of his non-dance remix of “Ghosttown” that Paul took as a sign to continue on his uninhibited musical path.

 

The next step in his musical evolution was to record his own music and move from the album liner notes… to the album cover.