“I wanted the music I loved to matter.” – Quentin Harrison, 2016
Quentin Harrison’s journey into pop music commentary started off innocently enough. Harrison joined the ranks of the Dayton City Paper in late 2006; he remained there until April 2010 as a staffed music writer with a review range that was voracious.
During his second year at the Dayton City Paper, Harrison began his trek into the realm of online music writing with The QH Blend. Those initial years were noted more for their enthusiasm than form, but Harrison was a fast study in honing his editing skills.
Said skills sharpened his Internet presence, drawing the attention of Big Break Records in late 2011―a subsidiary of the Cherry Red Records imprint. Harrison’s career phase as a liner notes essayist had begun. He completed four projects for the label: Thelma Jones (1), Lisa Lisa & Cult Jam w/ Full Force (1) & André Cymone (2). Additional reissue assignments through the now defunct Gold Legion Records (2012) and Soul Music Records (2013) followed. This year, Harrison joined the pop reissue label Vibe On Records to pen notes for their highly anticipated remasters of Cher’s I Paralyze (1982) and the Miami Sound Machine’s Primitive Love (1986).
In 2013, preceding his relocation from Dayton, Ohio to Atlanta, Georgia, Harrison relaunched The QH Blend on the WordPress platform. His profile increased considerably through the relaunch and allowed him professional access to PopMatters and Blogcritics in 2014. Harrison transitions into a monthly columnist position for Blogcritics in January 2017 after serving as a regular contributor for three years. Harrison has also recently been staffed by Albumism.
Harrison has retired The QH Blend, its archives are available for reading and research.
Additionally, Harrison is pursuing his higher education goals and has published his first book, “Record Redux: Spice Girls”, in July 2016. It is one of a 14 part discography reference guide series; his second book, “Record Redux: Carly Simon” is available April 2017.
Throughout his 10 years of pop critique, Quentin Harrison has maintained his commitment to equalizing the commentary field for music in need of critical dissemination.
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Harrison accepts inquiries for reviewing independent music or doing contract work. Please reach out to the first email address above for more information.