Rising R&B sensation October London has released his sophomore album, October Nights, via Death Row Records in partnership with gamma.
The 16-track offering includes the singles “She Keeps Calling” and “A Beautiful Woman.” It also features Death Row owner Snoop Dogg, Ledisi, Tyrese, and Boney James.
His collaboration with Tyrese (“Bedroom Bully”) also appears on the actor/singer’s Beautiful Pain album, and “All I Want is You” with James will also be featured on the jazz musician’s upcoming album, Slow Burn.
For the album’s production, October worked with his close collaborator Soopafly, plus Babyface, Jeff “Gitty” Gitelman, Poo Bear, Brandon “B.A.M.” Hodge, David Foster, Charlie Bereal, Boney James, and Jairus Mozee.
When asked what the title October Nights represents, he exclusively tells Rated R&B, “Just having fun. Nighttime is the best time for me. I go to the studio at night, but I’m always bringing a few people with me if I’m not working. I like to hang out at night with my friends and with family. I love having beautiful women around me all the time. October Nights represents having a good time in the nighttime and letting loose.”
October Nights is the follow-up to the South Bend, Indiana, native’s debut album, The Rebirth of Marvin, released Feb. 10, 2023. The retro soul album included his No. 1 hits “Back To Your Place” and “Mulholland Drive.” The former track dominated Billboard’s Adult R&B Airplay chart for 10 weeks, while “Mulholland Drive” spent two weeks atop the list.
Whereas The Rebirth of Marvin evoked the spirit of the Prince of Soul, Marvin Gaye, October Nights is a natural progression into a more expansive soundscape. It’s a creative declaration that October isn’t simply a soul revival artist. Sure, the soul is present on the album — in his voice and embedded in the music — but he has more to offer.
It’s no wonder why he released the electro-funk groove “She Keeps Calling” as the album’s lead single. “I wrote this song for all the times anyone has had a woman hit their line and eventually those calls build up and have you come back for more than you anticipated,” October explained previously.
The lovelorn “Missing You” recalls the sounds of late-’90s R&B, while “The Best Problem” hears October somewhat sing-rapping over a mellow production infused with trap drums and woozy synths. He doesn’t completely abandon the vintage soul sound as heard in songs like “Slander My Name,” “Don’t Waste Your Time,” and “Touch On Me,” among others.
October is currently on Maxwell’s The Serenade Tour, along with Jazmine Sullivan, which concludes Oct. 27.
Below, October London discusses making October Nights, his experience working with Babyface, expanding his sound, and more.
First off, congratulations on your success thus far. Have you had a moment to process everything that’s been happening?
I don’t think I’ve had time to take heed of what’s been going on because I’ve been working [and] on the road a lot. We jumped right into a whole other tour right after finishing up [The Rebirth of Marvin Tour]. Then, we have this other tour signed, sealed, and delivered. So, I haven’t really had time. I think at some point, maybe in November and in December, I’ll get a couple of weeks off.
Speaking of tours, you’re on the road with Maxwell and Jazmine Sulivan. How’s that experience been for you?
It’s been great. Maxwell is a great dude. Jazmine’s out there killing it. Me and him are getting closer [by] being on the road, talking, and him letting me know if I ever need anything, to let him know. And that crowd, all those people singing his songs [and] singing her songs. The craziest part is I’m thinking, “They’re not going to know any of my music,” because I haven’t grasped what’s been going on like that. I get in there, and they’re singing everything word for word. They love the new single, “She Keeps Calling.” It is mind-blowing to see.
What was your creative mindset when you started working on October Nights?
The intention was transitioning into more of me and less of Marvin on The Rebirth of Marvin. I wanted this album to not necessarily leave The Rebirth of Marvin sound and give them this whole other person that they’ll be like, “Wait, hold on. This is something different.” I want to make sure everybody grasps that I’m a multi-genre artist. Being an October London fan is all about this amazing rollercoaster ride.
This is a transitional album. It starts off in that Marvin realm, then it starts to vibe out in the middle, where you get records like “Kill Shot” and “3rd Shift,” [which] is one of my favorite records on the album. The album ends with a beautiful ballad that me and my best friend Mike Letter wrote called “Time.” Those last couple of songs kind of go into what could be the third album, which you’re going to hear more of. You’re going to get less Marvin. You’ll get more of me. It’s time for me to shine now.
“3rd Shift” is an immediate standout record that you did with Jeff “Gitty” Gitelman. What inspired that song?
For “3rd Shift,” I wanted to dive back into when I was working a 9 to 5 job and working the third shift at a factory in South Bend, Indiana. I wanted to go back into that realm — the average blue-collar American who is working third shift and can’t wait to get back to his amazing wife, girlfriend, or that person that he wants to come back home to after working this long shift, and putting love and a little bit of sexuality into it.
“Don’t Go,” yet another highlight, is a cover of the R&B group Dreamboy‘s 1983 song. How did it come about?
That one was a surprise to me because Snoop hit me up and was like, “I know we’re done with the album, but I got this record, and I think we should add it.” I’m like, “OK, we’re adding another one.” He sent the track over with vocals already on it, and I was like, “Who is this? This reminds me of something that would be in the movie The Wood or something.” It feels really good, like ‘90s love, slow-dancing music. I wanted to do that record as soon as I heard it. And I did it exactly how the original record was.
You worked with the legendary Babyface on the “Missing You.” How did that come about?
“Missing You,” going back to that ‘90s feel, it’s very Toni Braxton-ish if you hear some of the vocals on there because obviously Babyface wrote it. He wrote a lot of Toni’s hits. Babyface called and said, “Hey, man, I got a record if you’ve got still some room on the album.” I was like, “Absolutely. Of course.” For Babyface, I’m not going to say no.
I went to Babyface’s studio, and he played the beat. He didn’t have any lyrics to it. We just sat there, and he wrote the majority of it. As soon as he had me sing it, I was like, “This kind of sounds like a Toni Braxton record a little bit.” It’s something we would hear on the radio from Toni with just the inflections, not all of it, just how I’m saying certain things.
What was your experience in the studio with Babyface while working on “Missing You”?
Working with Babyface was good. It was a lot. I always talk about me doing songs really quickly. I even told him that. We’re sitting there recording, and he had me go over it one more time. I’d do it once, and he’d be like, “Let’s do it again.” I’d do the line over again. And he is like, “Let’s do it two more times.” So I do it two more times, and he is like, “All right, I think you got it down. Let’s record.” I’m like, “We weren’t recording this whole time?” (laughs). It was a little strenuous, but he was like, “Trust me, it’s going to sound great.” And it turned out great. I’m really pleased with how the track ended up sounding, how it was mixed and everything.
“Bedroom Bully” with Tyrese is also on his Beautiful Pain album. It’s such a grown and sexy record.
I love that record. It’s like a modern-day “Secret Garden” type of thing. When he sent me the track, he didn’t have all his vocals on it, but he did have the hook on there. As soon as I heard it, I was like, “I’ll call you back in a minute. Let me get it done.” I knocked it out. He put his verse, and it was a wrap from there. I was like, “I know this is going on your album, but I really need it on mine. This would be great for this album.” He was like, “For sure.”
You also have “All I Want Is You” with jazz saxophonist Boney James, which was released as the first single from his album Slow Burn.
That Boney James record turned out great. I’ve been listening to Boney James since I was a kid. My dad used to play him all the time, so I grew to love his style and how he plays. That [collaboration] was on my bucket list. I never said anything to anybody, which was crazy. I was like, “One day, hopefully, I’ll work with Boney.”
Next thing you know, his people are calling. They sent it to me, and I immediately went to the studio, wrote that record in an hour and sent it back. He was like, “I did have another single in mind, but never mind now. This is the single.” And I was like, “Cool!” All my boys loved it; they were like, “Yo, we got to see if we could put this on the album.” I was like, “OK, cool. We’ll do a deal to where he can put it on his, but I have to put this on mine as well.” His [version] is more saxophone-forward, and mine is more vocal-forward, so you’ll hear more vocals from me.
Which song on the album did you have the most fun creating?
“3rd Shift.” I was having fun with that one. That’s just my favorite. I did “3rd Shift” in 30 minutes because somebody [else] was coming to the studio. Snoop was like, “They’re coming in at 8:30, so if you could be done by 8:30, you could switch rooms and whatnot.” And I was like, “Cool. That’s fine. I really don’t want to switch rooms, and I want to end the day.” So I played that beat, and 30 minutes went by, and the record was written.
How would you compare making October Nights to your first album, The Rebirth of Marvin?
I did that whole Rebirth of Marvin album in a week. After doing a couple of songs that sounded like Marvin, I felt like I had to stay in that pocket. It was fun to make it, but I knew I had an agenda with October Nights. It was like, “OK, I know I have to transition from The Rebirth into this, but now I get to have a little more fun. Let me show you what else I can do. You like ballads? Here’s ‘Time.’ You like ‘90s R&B? Here’s ‘Missing You’ and ‘Don’t Go.’” October Nights was more fun to make because I was able to do extra stuff. In my mind, I’m like, “Let me give the listeners something else and see if they like it.” People have been saying they like it, so now I’m really excited. As soon as I get off tour, I might start working on the third album.
What do you want listeners to take away from October Nights?
I hope they take away that I finally can put the Marvin thing to rest. I’m happy that I’m compared to someone so great, but I hope they take away that I’m more than those inflections of Marvin. Let’s get somewhere else. Let’s take another trip. You’re on this rollercoaster ride. We did that first dip. Now, this is the twist and turn into something else.
