A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Hip hop music
Hip hop music called hip-hop or rap music, is a music genre developed in the United States by inner-city African Americans in the late 1970s which consists of a stylized rhythmic music that accompanies rapping, a rhythmic and rhyming speech, chanted. It developed as part of hip hop culture, a subculture defined by four key stylistic elements: MCing/rapping, DJing/scratching with turntables, break dancing, graffiti writing. Other elements include sampling beats or bass lines from records, rhythmic beatboxing. While used to refer to rapping, "hip hop" more properly denotes the practice of the entire subculture; the term hip hop music is sometimes used synonymously with the term rap music, though rapping is not a required component of hip hop music. Hip hop as both a musical genre and a culture was formed during the 1970s when block parties became popular in New York City among African-American youth residing in the Bronx; however hip-hop music did not get recorded for the radio or television to play until 1979 due to poverty during hip-hop's birth and lack of acceptance outside ghetto neighborhoods.
At block parties DJs played percussive breaks of popular songs using two turntables and a DJ mixer to be able to play breaks from two copies of the same record, alternating from one to the other and extending the "break". Hip hop's early evolution occurred as sampling technology and drum machines became available and affordable. Turntablist techniques such as scratching and beatmatching developed along with the breaks and Jamaican toasting, a chanting vocal style, was used over the beats. Rapping developed as a vocal style in which the artist speaks or chants along rhythmically with an instrumental or synthesized beat. Notable artists at this time include DJ Kool Herc, Grandmaster Flash and The Furious Five, Fab Five Freddy, Marley Marl, Afrika Bambaataa, Kool Moe Dee, Kurtis Blow, Doug E. Fresh, Warp 9, The Fat Boys, Spoonie Gee; the Sugarhill Gang's 1979 song "Rapper's Delight" is regarded to be the first hip hop record to gain widespread popularity in the mainstream. The 1980s marked the diversification of hip hop.
Prior to the 1980s, hip hop music was confined within the United States. However, during the 1980s, it began to spread to music scenes in dozens of countries, many of which mixed hip hop with local styles to create new subgenres. New school hip hop was the second wave of hip hop music, originating in 1983–84 with the early records of Run-D. M. C. and LL Cool J. The Golden age hip hop period was an innovative period between the early 1990s. Notable artists from this era include the Juice Crew, Public Enemy, Eric B. & Rakim, Boogie Down Productions and KRS-One, EPMD, Slick Rick, Beastie Boys, Kool G Rap, Big Daddy Kane, Ultramagnetic MCs, De La Soul, A Tribe Called Quest. Gangsta rap is a subgenre of hip hop that focuses on the violent lifestyles and impoverished conditions of inner-city African-American youth. Schoolly D, N. W. A, Ice-T, Ice Cube, the Geto Boys are key founding artists, known for mixing the political and social commentary of political rap with the criminal elements and crime stories found in gangsta rap.
In the West Coast hip hop style, G-funk dominated mainstream hip hop for several years during the 1990s with artists such as Dr. Dre and Snoop Dogg. East Coast hip hop in the early to mid 1990s was dominated by the Afrocentric jazz rap and alternative hip hop of the Native Tongues posse as well as the hardcore rap of artists such as Mobb Deep, Wu-Tang Clan, Onyx. East Coast hip hop had gangsta rap musicians such as Kool G Rap and the Notorious B. I. G.. In the 1990s, hip hop began to diversify with other regional styles emerging, such as Southern rap and Atlanta hip hop. At the same time, hip hop continued to be assimilated into other genres of popular music, examples being neo soul and nu metal. Hip hop became a best-selling genre in the mid-1990s and the top selling music genre by 1999; the popularity of hip hop music continued through the 2000s, with hip hop influences increasingly finding their way into mainstream pop. The United States saw the success of regional styles such as crunk, a Southern genre that emphasized the beats and music more than the lyrics.
Starting in 2005, sales of hip hop music in the United States began to wane. During the mid-2000s, alternative hip hop secured a place in the mainstream, due in part to the crossover success of artists such as OutKast and Kanye West. During the late 2000s and early 2010s, rappers such as Lil Wayne, Soulja Boy, B.o. B were the most popular rappers. During the 2010s, rappers such as Drake, Nicki Minaj, J. Cole, Kendrick Lamar all have been popular. Trap, a subgenre of hip hop has been popular during the 2010s with hip hop artists and hip hop music groups such as Migos, Travis Scott, Kodak Black; the creation of the term hip hop is credited to Keith Cowboy, rapper with Grandmaster Flash and the Furious Five. However, Lovebug Starski, Keith Cowboy, DJ Hollywood used the term when the music was still known as disco rap, it is believed that Cowboy created the term while teasing a friend who had just joined the U. S. Army, by scat singing the words "hip/hop/hip/hop" in a way that mimicked the rhythmic cadence of soldiers marching.
Cowboy worked the "hip hop" cadence into a part of his stage performance, used by other artists such as The Sugarhi
Melanie Ruth Blatt is an English singer-songwriter and actress. She rose to fame in 1997 as a member of the girl group All Saints; the group have gained five number one singles, two multi-platinum albums, two BRIT Awards and have sold over 10 million records worldwide making them one of the best-selling girl groups of all time, the second best-selling girl group in the UK. Blatt began recording a solo album in 2003, working with numerous producers including Xenomania and released her debut solo single "Do Me Wrong" in 2003. Blatt was dropped by her record label, her solo album was cancelled. In 2005, she made a return to music with her single "See Me", began recording another album independently, shelved and cancelled in favour of the All Saints reunion. In 2013 and 2015, she was a judge on the television series The X Factor NZ. Blatt was born at University College Hospital in the London Borough of Camden and is named after Melanie Safka, she has a French mother and a British father, David Blatt, whose ancestors were from Poland and Russia and a younger sister named Jasmine.
She was brought up in both the France. In 1986, Blatt was diagnosed as having scoliosis. Since her parents were not satisfied with the treatment for the condition in the United Kingdom they decided to move to France, where a specialist inserted three metal rods in her back. Blatt went to Fitzjohn's Primary School where her musical talent was noticed by the music teacher David Joyner, who encouraged her parents to send her to a stage school. In 1986, she attended the Sylvia Young Theatre School; the two girls became best friends. During this period, Blatt played young Eponine in Les Misérables for six months, was the understudy for Cosette together with fellow Sylvia Young student Denise van Outen. In 1993, Blatt sang under the name Melanie Guillaume in the band Drive with Julienne Davis, they released one single, "Curfew", together. She did backing vocals for Dreadzone with Denise van Outen; that year, Blatt met Shaznay Lewis at the Metamorphosis recording studio in All Saints Road, London. Together, with Simone Rainford, they formed the group All Saints 220.127.116.11, renamed to All Saints when Rainford left and Nicole and Natalie Appleton joined Blatt and Lewis.
In 1997 All Saints released their debut single "I Know Where It's At", peaked at number 4 in the UK. The same year the group released a second single "Never Ever, which introduced the group to international success after topping the charts in the UK and Australia, reaching the top ten across Europe and the United States; the single sold over 1.2 million copies in the United Kingdom and was certified double platinum by the British Phonographic Industry. The same year the group released their debut album All Saints, it reached number two in the United Kingdom and was certified platinum five times for sales of 1.5 million. The group gained a further two number one singles the following year: "Under the Bridge / Lady Marmalade" and "Bootie Call". In 2000 the group released new single "Pure Shores", used in the film The Beach and reached number one in the UK; the single was certified platinum for sales over 600,000 copies. The single was followed by their fifth number one single "Black Coffee", their second album Saints & Sinners was released shortly after and topped the chart in the United Kingdom.
The album was certified double platinum by the BPI for sales over 600,000. In early 2001, following the release of their single "All Hooked Up", the group split and reasons for this were explained by Shaznay Lewis, who revealed details of tensions between the group. In 2000, Blatt appeared in the film Honest directed by Dave Stewart opposite Nicole and Natalie Appleton and in 2001 she played a small role in the independent British film Dog Eat Dog. Blatt's solo releases were of variable success. Melanie began recording on her debut solo album in 2002, working with numerous producers including Sony Music production team Xenomania. In late 2003 she released her debut single "Do Me Wrong", it reached number 18 in the UK and led to Blatt being dropped by her label due to its low charting; the album she was working on was scrapped, therefore the release of her upcoming single "Blue" was cancelled, but included on British singer Amelia Lily's debut album Be a Fighter, on which she worked with Xenomania.
In 2005 Blatt made a return to music with new single "See Me", used in the Robots movie. She began working on a new album with independent label Sowlen Ankle Ltd written with, recorded by, Matt Hales from Aqualung. During 2005, Blatt played small venues in the UK which featured songs from the album she was working on at the time and included unreleased songs like "In Your Arms," "I Don't Mind," "Now You're Gone," "No Lullaby" and "Love Sweet Love." Blatt's solo record was shelved in favour of the All Saints reunion. On 24 January 2006, it was announced that the band had reformed and signed a record deal with Parlophone, they subsequently began work on their third studio album, Studio 1. The first single, "Rock Steady", reached number three on the UK Singles Chart. Studio 1 entered the albums chart at number forty and sold 60,000 copies according to the BPI, being certified silver. A second single, "Chick Fit" failed to reach the top 200. Blatt discussed the reunion's failure in an interview with i-D magazine in 2012: "I don't think it was done for the right reasons...
I know. We got signed before we had made music again, it wasn't like we
Tricia Marie "Shaznay" Lewis is an English singer and member of girl group All Saints. Lewis has co-written most of the group's songs, including number one singles: "Bootie Call", "Pure Shores" and international smash hit single "Never Ever". Lewis launched a short solo career in 2004 with her debut solo album and singles "Never Felt Like This Before" and "You", she has written for other artists such as Stooshe, co-writing their hit single "Black Heart" and co-writing for Mutya Keisha Siobhan. At a party, Lewis was introduced to Ben Volpeliere-Pierrot of Curiosity Killed the Cat by her friends who took her to the Metamorphisis recording studios on All Saints Road and started doing backing vocals, it was at the Metamorphosis recording studios where she met Melanie Blatt in 1993 and they proceeded to record together. Together with Simone Rainford they formed the group All Saints 18.104.22.168. Which was renamed All Saints. Soon after Rainford left the group and Nicole and Natalie Appleton joined. In 1997, All Saints experienced international success with BRIT Award-winning single "Never Ever", co-written by Lewis and topped the charts in the United Kingdom and Australia.
The single sold over 1.2 million copies in the United Kingdom, being certified double platinum by the British Phonographic Industry. The same year the group released their debut album All Saints, most of the songs were co-written by Shaznay and the album reached number two in the United Kingdom, it was certified platinum five times for sales of 1.5 million copies sold. In 2000 the group released their fourth number one single "Pure Shores", written by Lewis and William Orbit the single was certified platinum by the BPI for sales of 600,000 copies sold; the group released their fifth number one single "Black Coffee", was certified silver for sales of 200,000 copies sold. In early 2001 All Saints broke up, Lewis explained that the catalyst for the break-up was a disagreement over who would wear a certain jacket for a photoshoot: "I would never in a million years have put money on the group ending over a jacket incident, but when that incident happened, it fired up so strong, it had to be over.
And the way I was the state we'd got into there was no way she was getting that stupid jacket." The same year she won the Ivor Novello Award for best songwriting. In 2004, it was reported that Lewis would release her debut solo single "Never Felt Like This Before" on 5 July, which would precede her untitled debut solo album on which she'd worked with numerous writers and producers including: Basement Jaxx, Biz Markie, K-Gee and Quarmby and Trevor Jackson; the single reached no. 8 in the United Kingdom. On 19 July she released her debut album Open, it reached no. 22 in the United Kingdom. That year she released new single "You", which peaked at no. 56 in the United Kingdom. Lewis has appeared in several films. In Bend It Like Beckham she played Mel, she played a role in Hideous Man. On 14 November 2004 Shaznay was involved in the Band Aid 20 re-recording of "Do They Know It's Christmas". On 24 January 2006, it was announced that All Saints had reformed with a new recording contract and would release a new album, Studio 1 on 13 November 2006.
She performed with All Saints on live television for the first time since reforming on the British light entertainment program Ant & Dec's Saturday Night Takeaway on 21 October 2006. All Saints' comeback began well, with their single, "Rock Steady", reaching no. 3 in the UK Singles Chart. They followed this with the release of their comeback album Studio 1, it peaked at no. 40 in the UK Albums Chart. Parlophone Records released their second single "Chick Fit", but this failed to reach the chart. All Saints parted company with their record label. In January 2008, Lewis featured on the Wideboys track, "Daddy-O"; the single was released on 5 May 2008 and peaked at No. 32 in the UK. As a songwriter, Lewis is credited in Westlife's track "Reach Out", featured on their 2009 album Where We Are, the CocknBullKid track "Distractions" from her 2011 album Adulthood and the Stooshe single "Black Heart", released as a single in 2012. In August 2012, it was reported Lewis was in the studio with original Sugababes line-up Mutya Keisha Siobhan, writing new material for their debut album.
In 2014, All Saints reformed to support the Backstreet Boys for five dates across the UK and Ireland in 2014. On 27 January 2016, it was confirmed that All Saints will release their fourth studio album Red Flag on 8 April 2016; the lead single from the album, "One Strike", preceded the album on 26 February 2016. Lewis was born in Islington to a Jamaican mother. Lewis made three appearances for Arsenal L. F. C; when she was a teenager. On 21 August 2004, Lewis married dancer Christian "Storm" Horsfall, they had their first child, a son named Tyler-Xaine, in February 2006. In November 2009, Lewis and her husband had a daughter named Tigerlily. Open Shaznay Lewis on IMDb