Dave Hollister is a busy man.
After reaching monumental success with the platinum-selling R&B quartet, BLACKstreet, Hollister went solo in the late 1990s with his breakout album, Ghetto Hymns. Now, when he’s not preaching the gospel, Hollister is sanging across the globe to his fans while providing them with that classic ’90s R&B sound. Earlier this month he released his ninth studio album, The MANuscript, which holds the soulful, funky track “Geometry.”
He’s also trying out his acting talents in Love Jones: The Musical alongside R&B veterans, Chrisette Michele, Tony Grant, Marsha Ambrosius, Raheem DeVaughn, Musiq Soulchild and more.
And in the mix of it all, The Boombox spoke with Hollister about Love Jones: The Musical, his new album, a collaboration album with Angie Stone in the works and why he thinks Chris Brown could reach Michael Jackson levels. Get into it below.
The Boombox: So, I actually caught your performance on Love Jones: The Musical on Friday in Baltimore. It was great.
Dave Hollister: I actually wasn’t there.
You weren’t? I thought I saw you…
DH: No, I was actually in California. Everyone thinks he’s me.
Yeah, I did too. (laughs) I was fooled.
DH: I’m sorry, I had prior gigs. Before they booked the show, there was a few of them, had other gigs. We were trying to tell him, we actually were trying to tell him to move Baltimore, either to the end of the month or the beginning of the next season. I was like, ‘wow.’ But he went on with it anyway.
Gotcha. So, obviously you were with Blackstreet before and did classic ’90s R&B. Then you started doing gospel after being saved, so what can people expect from this new album, The MANuscript?
DH: People can expect from this album, wow. Old school. People kept saying that there was a void. We need real R&B. There’s a void, that whole type of thing. I said, okay, how do I go back and not reinvent myself, but bring me back to what I do without, how can I say this…I guess, without compromising. Without compromising who I am. Does that make sense to you?
Do you mean like compromising as far as your faith or the person you are in some other aspect?
DH: Yes. Yes. Because my first [album] was very gritty. I was upset. I was mad. The whole nine. I was just mad. Chicago ’85… [The Movie], I had an incident to where it brought everything back full circle for me. With my ex-wife, and I had … okay brother, you need to treat your woman this way, because if you don’t do this, this will happen. I wanted to bring that back and marry the two. I wanted to take Ghetto Hymns and Chicago ’85 and marry the two, and I think I did a pretty good job of doing that.
Definitely. I kind of saw that in the song, “Geometry” off of the album.
DH: “Geometry,” oh my god, was a record. This is just hilarious to me because “Geometry” was a record that was really the last record on the album. It was like the last record we recorded, and my manager, who was saying, “Man, we’re going to do this, we need a little tempo. Let’s do this record, because we need a little tempo.” And do you know, that is becoming one of the biggest, biggest records that everybody that listens to. It’s become one of the most liked records on the album.