It's shortly after 2 pm - I'm in Philadelphia and Omar is in New York rushing into a cab to promote his sixth album, ‘Sing (If You Want It),’ due out October 10th on Ether Records. Connecting on two mobile phones at the moment is just well...madness.

Being raised in a family with musical roots and with over 20 years dedicated to his love for music and more importantly, birthing quality sounds for people to feel, the British born soul singer, songwriter, classically trained musician and producer has earned his place among the upper echelon of artists who shaped the British soul scene. Omar isn't new to America having released ‘Best By Far’ here 2 years ago. Now he's back moonlighting in the city to bring us his re-introduction and contribution to the American soul genre. ‘Sing (If You Want It)’ is a 14-track album that mixes various styles of music while giving people an invite to hit the dance floor.

For this album, Omar dipped into his fan base of well established artists, which happens to include Angie Stone, Common, Estelle and the 8th wonder of the world, Stevie Wonder, who actually sought out Omar after gaining respect for his artistry over 10 years ago. For Omar, Stevie personally handcrafted, plays keys and sings the hook on the current single, “Feeling You,” which is burning up ears on both sides of the Atlantic. In addition to this star-studded line-up, Omar called on his Grammy award winning brother, Scratch Professor to incorporate the hip-hop influenced sound into this album. Don't be fooled however, by the list of talented names you see before you. Omar's voice shines bright on this 14-track album. His voice is distinctly mixed with character, grit, blues, all with a soul foundation. Amidst the insanity of the day, our technical communications decide to let us connect and have a candid conversation.

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GIANT STEP: Who or what are the main influences behind your new album, ‘Sing (If You Want It)?’

OMAR: No one in particular. I wanted to make music that can be played in the club. Me and my friend would go out and not hear anything. We wanted to hear a kick and a snare on the dance floor, so I based my album on that. That is why I pulled my younger brother in this project. He is a pedigree in Hip-Hop.

GS: What are some highlights from the album or tracks that might be closer to you than others?

OMAR: You are asking me to pick my favorite child? I can't do that! I am pleased with the whole album and obviously, very happy with the Stevie tune (“Feeling You”).

GS: The song is no doubt amazing, but I don't want to concentrate too much on that collaboration however, I read somewhere that Stevie had been interested in working with you since he heard your first album, ‘There's Nothing Like You’ in the early 90's – how was it for you? (As we begin this conversation, police cars drown out Omar, but it's appropriately fitting)

OMAR: Working with Stevie was manic just like these sirens! It was great. He is someone that I wanted to work with since I was a little boy. That just felt good.

GS: As a pioneer in the British soul scene and having worked with various artists in the American soul scene, what is a big difference, if any that you notice between the two?

OMAR: The influences are very different. British soul doesn't have as much gospel and American soul doesn't have as much reggae. The cultures are very different, so it creates a different sound.

GS: The music industry is becoming more accessible with the help of web sites like My Space. As “the founder of British Neo Soul,” how does it feel to know that there are so many artists appreciating this genre of music?

OMAR: It feels good. Most of it is music I like to hear since I'm a big fan of soul music. So many different artists are making good soul music, which I would rather hear than something generic. When you hear fucking up in a song, that is an element, a piece of being human – it’s 1, 2, 3 takes and either you got it or you don't. I would also like to see more complete bands.

GS: Along those same lines, since you have been involved in music for over 20 years, how have you seen it change?

OMAR: The industry has changed in terms of what you hear on the radio or on television. We also have the internet revolution. It's good the resources are there to put out music without the middleman and record labels, which can interfere and really get in the way of the music you are trying to bring from the heart. I hear some interesting stuff through the internet. There's the wack stuff, but sometimes I hear a gem.

GS: Are there any artists that you are currently feeling – artists that haven't left your stereo?

OMAR: Hmmm…There's a guy named Ty from England that has a wicked album out right now. I like the Grime scene with artists like Kano and Dizzee Rascal. Also Terry Walker and Estelle.

GS: While away you built your own studio. Why did you feel that was so important to do and what is the basic set up like?

OMAR: I wanted a place to record, a place without anyone else like record labels or other people paying the bills. I wanted the freedom to do what I wanted to do. I wanted to work on the sound of my music – it's organic. I had the studio architect come in and work with me to make it right. From the outside it looks like a piece of shit, but inside there is a live room to jam with percussion, brass, etc. There is also a section to mix down the music. Quite a few artists come through and record.

GS: Besides the all-stars featured on ‘Sing (If You Want It),’ you've collaborated with a number of well-established artists over the years including Erykah Badu and Bluey Maunick. Is there anyone you still aspire to work with?

OMAR: Bobby Womack, Bill Withers and Bill Lee (Jazz musician and father of filmmaker, Spike Lee) – I was actually supposed to work with him on this album, but didn't get a chance to.