J Moss


After several years of success as one of the most cutting-edge artists in contemporary gospel – including topping the Billboard Gospel Albums chart and going Top 20 R&B with his Grammy nominated 2007 album V2 - superstar singer/songwriter/producer J Moss made a personal decision to scale back the sonic fire and star power for which he is known to offer listeners a more intimate and introspective portrait of the artist – a stripped back production of repentance and praise he has chosen to title JUST JAMES.

“Every now and then a person gets to a point on their journey where they discover precisely what their trajectory is,” J testifies, “where you’re supposed to be or where you’re supposed to land. That’s what 2008 and 2009 has been for me. I’ve been through challenges that tested my faith, my merit, my credibility…even my will to live. There were times when I was at my human wit’s end and wanted to take myself out!  In the midst of all that brokenness - a shattered heart and a shattered life – God picked me up and dealt with me one on one. He said, ‘That emptiness you’re feeling…that’s exactly where you are supposed to be. So many others are feeling that same emptiness, but I need you to be my beacon to show them how to overcome it.’ It was a life changing epiphany for me.”

The utter purposefulness behind the new material also stems from what J saw firsthand as an absence of material that spoke to his specific circumstance in the marketplace. “When I was down, I tried listening to the radio, thumbing through iTunes and going to Best Buy, trying to find some lyric or artist that could get me through my pain. I’m not saying that other artists aren’t writing good music, but I couldn’t find anything about MY situation. That’s when The Lord said to me, ‘The reason you can’t find a song that speaks to you is because you’re the one who has to write that song. Those whose marriages and relationships are being tried, you are the messenger I want to use to deliver that message.’ All of us have our niche to speak to. Smokie Norful has his people with ‘I Need You Now.’ Marvin Sapp has his people with ‘Never Would Have Made It.’ Kirk Franklin has his people and I have mine. God has pointed me to the ministry of speaking to people in relationships.

Two of the most salient tracks birthed by this new awakening are “Restored,” one of the CDs first singles, and “Rebuild.”  “There was a period where I had really hit rock bottom,  I felt like I had failed my family, failed God, failed the people that looked up to me…I was very depressed.  When I finally pulled myself up off the floor – I just clung to the Word and dealt with what restoration was all about.  That is when God told me ‘I didn’t allow you to fall to kill you, but to break the outer shell and rebuild you again better and stronger – from the inside.  I allowed you to fall so that I could release you from all of the worldly fluff that had clamped onto your life and so I could rebuild you.’ That’s what I’m portraying in these songs.”

JUST JAMES also sparkles with the praise songs “Holy One” and “Sweet Jesus,” and includes the especially clever “God Happens.” “I wrote that one a while back as a spin-off on ‘something else’ that people are always saying,” J shares laughing. “I always try to counter negativity with positivity. Instead of just saying stuff happens - deal with it as it comes at you - say ‘God Happens.’ Because He does, we don’t have to deal with the short end of the stick. Man may turn his back on you, but God is always there for you.” 

A deeply soulful highlight of JUST JAMES is the jazz-based “Anointing.” “Nat ‘King’ Cole sits at the very top of my list of all-time favorite singers,” J reveals. “‘We Must Praise’ from my very first J Moss Project had that kind of feel in the verses and I’d eventually like to do an entire record of those kinds of songs. Every time I listen to the radio everything sounds the same… With this big ol’ God we serve and this big ol’ world we live in, I know there’s got to be something more we can kick it about! The song ‘Anointing’ just came to me and talks about no matter how much people try to deny, go against or cover up The Word of God, it’s always here, sturdy and strong.”

While JUST JAMES is generally more worship than past J Moss offerings, it still starts off rockin’ with the opener “I Gave it Up,” one of PAJAM’s patented funky grooves of uplift. “Me and ‘PDA’ are always looking for a hot opener that folks can do their morning run or workout to. Lyrically it’s about where my life is now. I know a lot of people are looking at me wondering if I’m remorseful, changed or the same dude. I’m not out here on some completely brand new tip, that’s not the case. I’m saying God just shifted some stuff around me. I gave up a lot of people, a lot of things, a lot of behavior and a lot of bad decisions. And I ain’t going back there no more.”


Born and raised in Detroit, where he still resides today, J. Moss hails from gospel music royalty as the nephew of Gospel’s legendary Dr. Mattie Moss Clark, the cousin of her daughters - the inimitable Clark Sisters - and the son of Bill Moss, Sr., founder of the ‘70s Gospel act Bill Moss & The Celestials. Singing since the age of four, at his father’s insistence, J grew up in an environment where music was the focal point of life itself. After J spent time as a part-time Celestial, his father paired him with his brother, Bill Jr., in a group called The Moss Brothers, which continued for the next seven years, recording two major label albums. J’s parents and brother were all gifted keyboardists, so he naturally picked up the piano, eventually taking several years of formal lessons. His father also constantly encouraged him to pursue his songwriting skills. Having written much of the Moss Brothers’ material, he had become a skilled songwriter by the time he headed for college.

J attended Michigan State University for two years until his musical calling became his primary preoccupation in life. Enlisted by his college roommate to co-produce a musical variety show at the university, J realized in the process that he had a strong talent and interest in the music world “behind the scenes.” This led to thoughts of a career in production as well as performance. J did two solo projects on an independent Detroit-based label in the early ‘80s that were invaluable learning experiences in his development as a writer, artist and producer. It was also during this time that he was introduced to Paul ‘PDA’ Allen and, later, Walter Kearney - the other two thirds of PAJAM.

In 1996, J and his cousin Karen Clark-Sheard were both singed to Island/Def Jam Records. Though his album languished while Karen’s flourished, her success in turn officially launched PAJAM Productions, which handled four of her album’s songs. Clark-Sheard’s album rode the Gospel charts for the better part of the next two years, during which time J and his partners in PAJAM saw their own star as a production team begin a rapid ascent, contributing to projects by both major Gospel and secular artists. Through all the years of developing the PAJAM company, its own roster of stars (including the Stellar-Award winning male group 21:03),  and what they call “PAJAM Insurance” (guaranteed quality music), they never lost sight of their goal to one day launch J Moss properly as the Gospel star they knew him to be.

Finally, in 2003, J and Paul wrote and recorded The J. Moss Project in a four-week outburst of inspiration. Soon after, J was embraced into the Gospo Centric Records fold where he also released the aforementioned Billboard Gospel Albums chart-topper V2: The Voice Returns in 2007.

In 2008, revelations concerning adultery rocked the life of J Moss. The scandal scarred J deeply, but made way for a more lasting healing that would change him forever” “You’ve heard the expression ‘play with fire you get burned?’ Well, in my case, that fire was an explosion... like a nuclear warhead going off! During that process, I hit rock bottom and was very depressed.   I’d been through weeks of not being able to function – cut my grass, pick up my kids from school or try to be a good husband. My wife had taken me back after a short period of separation, but I still couldn’t function because I felt so bad. Those weeks felt like a lifetime...but God put all my pieces back together.

 “My wife is the one who was really my support after she got over the initial shock of everything,” J continues to witness. “She’s the one who dealt with my pastor. After long prayer sessions, she came back to get me and said, ‘The Lord told me to stay and that there is a bigger calling for both of us.’ Ever since that day, we have been rolling. We have a better spiritual life, a better financial life, a better friendship and better as parents. My ministry is better and it’s been a wonderful change.”

Today, J Moss is touring the country opening for the legendary CeCe Winans on “The McDonald’s Inspiration Celebration Gospel Tour,” and has had divine visions of embarking upon his own “J Moss Restoration Tour” which he envisions incorporating preaching and a full blown concert. J is also a judge on the Gospel Music Channel’s “Gospel Dream” program. Most profoundly, J has been called to the preaching ministry and is currently under training. Since becoming transparent about his marital misstep, J has been experiencing many remarkable blessings by being a blessing to others. “It’s been crazy,” he says. “On the road with CeCe, there’s a segment of my show where I just speak what’s on my heart and I’ve found so many people are crying out to The Lord about their relationships. Men are walking up to me after the service talking to me about the test of my marriage because they see my wife standing with me on stage in front of everybody. Even though we struggled, they see in us the hope that you can come back from trouble stronger and better.” 

This newfound sense of humility is what makes JUST JAMES such a special recording in the ongoing canon of J Moss. Though he assures fans he will get back to the more electrifying side of his personality – he had to first settle down and get his life back on the right track. Regarding the simple yet revealing album and song title, J concludes, “PDA and I were on the phone and he teased me saying something like, ‘Wzup J Moss!’ I said, ‘Naw, man, I’m just James.’ Then, Paul got serious and said, yo man that would be a great album title.’ It represents a stripped down version of me – minus the bling, the hype, the phat beats, the cameos and the big budget recording I’m known for. We got back to the raw innocent experience that I started with and wanted people to feel again…the life according to J Moss as just being James.”


"Bitch Perfect" · RuPaul's Drag Race · TV Review Drag Race gets “Bitch Perfect” with a demanding performance challenge · TV Club · The A.V. Club pre bonded hairConfidence and commitment are the key elements to success on RuPaul’s Drag Race, and these two words that are repeated throughout “Bitch Perfect,” an episode that puts the queens through a performance gauntlet that tests how well they can stand out in a crowd. You don’t really get a solid idea of just how much these queens have to learn until you see the final “Bitch Perfect” product, an elaborate stage show that has the queens performing a significant amount of choreography while lip syncing to a cappella arrangements of RuPaul’s greatest hits, but most of the queens rise to the challenge. Drag Race is known for over-the-top writing, and the script for this episode is especially cartoonish thanks to the “Bitch Perfect” concept. From RuPaul’s initial descriptions of the two teams—The Lady Bitches are “the sweethearts of dragappella from the Lace Front Institute Of Technology,” The Shady Bitches are “bad girls from the Lake Titicaca Academy of Braids, Weaves, and Waffles”—to the voiceover narration and dialogue of the “Bitch Perfect” show, the writers have a ball using drag lingo to create hilarious dialogue. RuPaul is also clearly delighted with the challenge this week, and I especially love how she puts a twist on her catchphrases by playing with the pitch of her voice. The contestants’ performance skills are immediately tested with the minichallenge, which welcomes musician AB Soto to help Ru judge the queens’ dancing and lip of syncing his song “Cha Cha Bitch.” Cynthia Lee Fontaine and Chi Chi DeVayne are the stand-outs thanks to their fancy footwork and sharp sense of rhythm, but Acid Betty also does good work starting the challenge off with energy and Thorgy makes sure she’s noticed by spasming in time to the music, a move she returns to later in the episode. Derrick Berry is surprisingly lackluster given her experience as a Vegas showgirl, but she makes a wise decision not a wear a blonde wig, making her move away from the Britney Spears persona that defines her.

Bob isn’t much of a dancer, but she makes up for it with an evocative character choice, and she passes this knowledge along to Kim Chi later in the episode when Kim worries about her lack of dance skills. She’s easily the worst performer of the group, but after winning last week, this is the exact kind of narrative turn that will benefit Kim in the long run. At this point, she has the most dimensions of all the contestants this season, and the amount of time the show is dedicating to her backstory suggests she’ll be here for a while. After confessing last week that her mother doesn’t know she does drag, Kim reveals this week that she used to weigh 350 pounds and always felt like an outsider because she was the “weird fat art kid with a strong lisp and accent,” and while Acid Betty and Dax ExclamationPoint follow that up by showing pictures of themselves as overweight kids, their stories don’t have the emotional punch of Kim’s. I don’t know how aware Kim is of how well she’s playing the Drag Race game, but she absolutely kills it in this episode despite being one of the bottom queens. After surprising the group with her backstory, she shocks them further by revealing she’s still a virgin, which brings her lots of attention from the cameras, but also the rest of the queens, who rally behind her to show support and affection. Kim is also the only queen to take advantage of the new Shade Tree confessional room (at least in any sort of meaningful way that the show’s editors choose to include in the episode), and she shows a level of vulnerability in that scene that highlights the value of a confession room. Having a place for the queens to express their thoughts in the moment allows for more honest emotion than the talking heads that are filmed afterward, and Kim Chi uses the Shade Tree to bring even more depth to her story. She’s getting a lot of attention, and if Kim can continue to work the cameras while nailing the runway challenges (she looks incredible this week in her cherry blossom nymph drag), she may be able to avoid lip synching for her life, which would surely be her undoing. Split into two teams led by Cynthia (The Lady Bitches) and Chi Chi (The Shady Bitches), the contestants start to turn up the drama as they vie for screen time, with Acid Betty leading the charge by immediately undermining Chi Chi’s authority. Thorgy has known Betty for 10 years, and she’s very familiar with Betty’s attitude. “Because she’s so artistic, she gets away with being a fucking asshole,” Thorgy says, and surely enough, Betty is a fucking asshole for most of the episode. Betty’s behavior might be acceptable if Chi Chi wasn’t on the right track as a leader, but Chi Chi has a firm grip on being leader. Chi Chi has choreographed for the girls back home, and she knows her process works, but Betty wants to be in charge so she becomes aggressive and antagonistic very fast. remy hair extensionsBetty always needs to do what she wants to do while making the current agenda seem pointless, which makes her look selfish and needlessly rude. She wants to start doing choreography before Chi Chi and the rest of the group understand the basics of the performance, but Chi Chi is in the right here. It’s good to have some choreography, but it’s most important that they know what they’re doing before they jump into action or else it will be even sloppier. Betty continues to condescend when the group is talking about shoes and makes their concerns sound trivial, but when you’re going to perform in heels, you need to talk about the kinds of shoes that work best and will be the most comfortable. Chi Chi isn’t wasting time, she’s addressing the issues that a choreographer has to deal with because she’s done it before, and she knows that it’s not all about having dance steps planned out. They have a professional choreographer, Jamal Sims, who will help them put the dance together, and the rehearsal brings out even more of Betty’s bitchiness as she talks about how she’ll gladly throw Chi Chi under the bus if that’s what it comes to on the runway. She’s the opposite of a team player, which makes everyone surprised when Sims says he admires how much Betty cares about the group and making everyone look good. Betty turns it out on the runway, although I whole-heartedly agree with criticisms of the train and butt on her couture gown, but her nastiness makes it hard to root for her and it’s a relief when Chi Chi is named the winner of this challenge. Her runway look is a bit simple, but her performance in “Bitch Perfect” is stellar and she also has a compelling backstory in her gang member past, showing an intriguing new side of this season’s dim country queen. Thorgy and Naomi also have strong showings on the runway, with Thorgy grabbing the judges’ attention with a sequined jumpsuit and Naomi continuing to show that modeling is what she does best. As a performer, Naomi Smalls is still trying to figure out how to work her gangly body in motion, but at least she tries to be ambitious. She delivers one of the show’s most pitiful death drops during the minichallenge, but the effort is admirable and she steps it up during the main challenge, hitting all the choreography and playing a defined character. All of The Shady Bitches but Dax bring a strong personality to the stage, which makes her fade even further into the background. So much of what Dax says this week involves what she doesn’t do (not a gown queen, not a disco queen, not a classically trained dancer), and her lack of versatility combined with her lack of confidence makes her a completely forgettable queen. Laila McQueen is also fighting her forgetability, but she doesn’t know how to make herself memorable. She says she’s going to stand out when Ru visits the workroom, but Ru reminds her that there’s more strategy involved than just saying the words, and Laila isn’t a very good Drag Race strategist. She lets herself get cast as a character who is supposed to be a poor imitation of Derrick Berry, which puts her in a position where her role is working against her, and she’s not able to give that vague character a vivid personality. Laila needs to speak up during the assignment of roles and give herself a stronger character, but she stays silent and allows herself to be doomed.

Disappointing performances in “Bitch Perfect” and bland looks on the runway land Dax and Laila in the bottom two, and the judges’ expectations are very high for the queens’ lip syncs of Gloria Gaynor’s “I Will Survive,” the quintessential Gay Lip Sync Song. The editing builds up the lip sync by showing the judges talking about what a seminal track this is, and setting the expectations so high makes it all the more disastrous when both queens fail to impress. Dax looks bored for most of the number and has no connection to the emotional core of the song, and while Laila is putting a lot more energy into her performance, it’s not focused energy, giving her lip sync a frantic sense of desperation that only intensifies once she removes her shoes and dress. Laila doesn’t have the feminine body needed to sell stripping down to her underwear, and once she loses the dress, she stops looking like a drag queen and starts looking like a man in a wig. It’s also not an organic reveal, feeling like a planned last-ditch attempt to grab attention rather than a liberating moment that comes from a genuine emotional place. It’s a shameful lip sync, and RuPaul responds appropriately by eliminating both queens. perruques cheveux naturelsFor Dax, this outcome is the result of a string of excuses, and instead of shutting up and showing up when the judges need her, she gives them sorry reasons for why she’s not performing to their standard. Laila’s story is a bit more tragic, and while RuPaul recognizes that Laila has a fire inside her, it’s a campfire that can’t be seen through the burning buildings of this season’s huge personalities. This is a season full of confident queens that are fully committed to their characters, and tonight’s double elimination establishes that RuPaul has lost her patience with mediocre queens. The stakes have just been risen, and it will be exciting to see how the drama builds now that the queens are feeling even more pressure to be bigger and bolder. Stray observations Who’s Ru talking to on her phone? Maybe she’s inviting a queen from last season back to the competition? If it takes losing Laila and Dax to get Katya back, I’m fine with that. Robbie Turner didn’t impress me much last week with her sour attitude and underwhelming looks, but she’s much more endearing and engaging this week thanks to her strong personality during “Bitch Perfect” and the stunning strawberry red Vera Wang wedding dress she wears on the runway. She’s also not as bitchy, and I think her low showing last week has humbled her and forced her to look at the competition from another angle.

Like being able to sew a basic garment, being able to do basic dance steps is a skill these contestants should have before going on the show. Kim Chi should have taken a dance class (or 10) right after learning she was a Drag Race queen. I am all about the salt-and-pepper Lucian Piane. I’d let him arrange my a cappella covers any day. perruques cheveuxI would absolutely watch a short film about Chi Chi DeVayne’s weekend at an all-gay New England bed and breakfast. Ester Dean co-wrote “Firework,” “Super Bass,” and “S&M.” Dax and Laila would have performed better to any of those songs. “Take that, Donald Trump!” “Kim Chi has two left feet and vertigo.”

“That’s O.K. I wouldn’t want me either.” (Looks down sadly.) “Y’all look like flailing fishes.” “Kim Chi falls and just my heart drops out to my cucu.” lace front wigs“Once a year, two rival dragapella groups meet in the Boobs For Queens warehouse…” “Well look who’s here for an off-key kiki!” “I thought I smelled out of tune-a fishes.” “I’ve got great legs. I bought ‘em on eBay.”

“I know some bitch is gonna wanna buy it off me, but you know what: I sleep in this. This is my pajamas.” “I just want to smell you.” (Kim shows Jamal her back side.) cosplay wigsLucian: “I don’t really have anything negative to say about you.” Chi Chi: “Thank you.” “You can’t see this right now, but he’s got a fist full of Jergens lotion.” “She was doing her neck ghetto style, upside down, while twerking, and never losing a word. Honey, I’ll make a Louisiana purchase one mo’ time!” “I just hated the shoes! They looked like…ugly shoes!” “Thorgy is in an abusive relationship with her makeup.”