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Timothy Daniel Bloom (born October 14, 1980) is an American musician, singer, songwriter and producer. A two-time Grammy award winner, Bloom has written for contemporary artists Chris Brown and Ne-Yo and collaborated with Motown legend Smokey Robinson, among other artists. Bloom released his first EP: The Budding Rose in 2011 and is set to release his self-titled studio album on January 7, 2014.

Born in El Paso, TX to a. The middle child of five siblings, Bloom was the self-proclaimed "rebel" of the family. R&B crooner Timothy Bloom sat down with ARTISTdirect.com to chat about his EP, The Budding Rose, which features the super sexy song "'Til the End of Time, " which is rich like silk, smoother than butter and as romantic as a glass of champagne by a bearskin rug! He certainly writes “getting busy” music, but it’s also got warmth, depth, heat and heart.

In this exclusive video interview, Bloom really opens up and lays his emotional cards face up on the table. He talks about how his influences come together to form his unique fusion style. He mixes R&B, soul and alternative with his love for The Beatles and the result is a beautiful blend of heartfelt R&B and intimate soul.

He also tells us about how he cried in the studio when he wrote "This May Be” and revealed that "'Til the End of Time" was written in just 15 minutes, since he was at a very vulnerable moment when he wrote the record and wanted to express all of his emotions while capturing the moment. Swoon. Bloom signed to Interscope records in 20XX under the management of Zone 4/Mosley, a label managed by famed produced Polow da Don. For many musicians, songwriting is a way to lay the soul bare and expose one's deepest, darkest emotions. So, logic should follow that if a singer bares his soul in a song, he should bare even more of himself in its music video.

Timothy Bloom does exactly that in the music video for "Til The End of Time," a song about reaffirming love in the face of death. In the clip, the up-and-coming crooner and singer V. Bozeman stand naked on a spinning platform and perform the sensual ballad entwined in each other's arms.

"It was like breaking free," he says. "It was like being reborn again in the music industry. I felt like I got another chance at life to express myself fully, to take the risk. That was the biggest risk I've ever taken in my life. Hopefully it worked out."

At 29, Bloom is a veteran songwriter and producer. He's worked with Chris Brown, won a Grammy in 2008 for his work on Ne-Yo's "Say It" and co-wrote two songs with Smokey Robinson for the Motown legend's "My World: The Definitive Collection" album. When a mutual friend played his music for producers Polow da Don and Timbaland last year, they signed him to their respective Zone 4 and Mosley Music Group labels and his focus shifted to a solo career.

Lately, there's been a lot of chatter in the press that R&B music has fallen in to a staid, digitized pop rut, devoid of the musical innovation, sexual tension and soul it was synonymous with in the 1990s. Both Polow da Don and Timbaland are banking on Bloom's heartfelt acoustic balladry to broaden the genre's musical scope and spark fans' interest.

"I think there is a void in our industry. I'm not gonna say that I'm gonna be the one to change it," he says. "But music doesn't touch your soul like it used to do. To see people being touched by my music is really, really cool."

Part of Bloom's appeal is his diverse musical interests. He describes his sound as "alternative soul," an infusion of his diverse musical influences, from hip-hop to the folk-soul of Bill Withers to alt troubadour Jeff Buckley and soul icon Marvin Gaye.

Earlier this year he released the four-song EP "The Budding Rose" that includes "Til The End of Time," written last year in response to a dark period in his life. It's a song partially about looking for a new purpose in the face of negative energy. Although music has always been a part of his life, it wasn't until last year that he knew it could be his primary purpose in life.

"When dealing with music there's always ups and downs," he says. "There's always the risk factor. At that time I was raising two kids and financially music wasn't going to do it for me. It wasn't going to cut it. I didn't know the impact that it would take for this year to come about."

A native of Fayetteville, North Carolina, Bloom's first exposure to music was through his dad's church. His parents mostly listened to country and gospel but in his teens he became switched on to the forbidden secular sounds of Bob Dylan. He didn't have the money to study music formally in school so he's entirely self-taught and plays the drums, guitar, piano and bass. When he showed his God-fearing parents his nude turn in "Til The End of Time" on Thanksgiving last year, they took it in stride. "When my dad saw the video for the first time he goes, 'That's a lot of ass!" he says with a laugh.

"I been on my own since I was 17 years old and they've just seen me blossom into this man. They respect my level of maturity and growth -- just as a businessman. They knew something was going to happen very extreme and I think, for them, that was their extreme. That was their wild moment."

His big break came in 2005 at age 22 when an acquaintance played his music for Smokey Robison. The Motown crooner liked what he heard and invited the young Bloom into the studio where they recorded two songs in 45 minutes for his greatest hits compilation.

"I got to learn from one of the most incredible songwriters of our time and I was able to write a song for him," he says. "I would say 'Smokey you're a little flat on the sharp' and I'd have to catch myself like, 'Wait! Did I just tell Smokey he sounded bad?' Like, wow!"

Often when other musicians come to him and ask him to write songs, they want to incorporate his sound and his perspective into their work, he says. "They want to hear different qualities. They want to hear different tones," he says. "I wasn't writing for them, I was really writing for myself and I just gave them my sound."

His newly released debut album, "In Full Bloom," will be almost exclusively self-produced in order to stay true to that sound. "I want it to be a progressive state," he says. "If the producers of a record aren't in tune then it's just gonna become an album with a bunch of stuff on it. I think that's what Timbaland and Polow like about me: my sound is very consistent even though there are a variety of sounds from different familiarities. It fits as one." For many musicians, songwriting is a way to lay the soul bare and expose one's deepest, darkest emotions. So, logic should follow that if a singer bares his soul in a song, he should bare even more of himself in its music video.

Timothy Bloom does exactly that in the music video for "Til The End of Time," a song about reaffirming love in the face of death. In the clip, the up-and-coming crooner and singer V. Bozeman stand naked on a spinning platform and perform the sensual ballad entwined in each other's arms.

"It was like breaking free," he says. "It was like being reborn again in the music industry. I felt like I got another chance at life to express myself fully, to take the risk. That was the biggest risk I've ever taken in my life. Hopefully it worked out."

At 29, Bloom is a veteran songwriter and producer. He's worked with Chris Brown, won a Grammy in 2008 for his work on Ne-Yo's "Say It" and co-wrote two songs with Smokey Robinson for the Motown legend's "My World: The Definitive Collection" album. When a mutual friend played his music for producers Polow da Don and Timbaland last year, they signed him to their respective Zone 4 and Mosley Music Group labels and his focus shifted to a solo career.

Lately, there's been a lot of chatter in the press that R&B music has fallen in to a staid, digitized pop rut, devoid of the musical innovation, sexual tension and soul it was synonymous with in the 1990s. Both Polow da Don and Timbaland are banking on Bloom's heartfelt acoustic balladry to broaden the genre's musical scope and spark fans' interest.

"I think there is a void in our industry. I'm not gonna say that I'm gonna be the one to change it," he says. "But music doesn't touch your soul like it used to do. To see people being touched by my music is really, really cool."

Part of Bloom's appeal is his diverse musical interests. He describes his sound as "alternative soul," an infusion of his diverse musical influences, from hip-hop to the folk-soul of Bill Withers to alt troubadour Jeff Buckley and soul icon Marvin Gaye.

Earlier this year he released the four-song EP "The Budding Rose" that includes "Til The End of Time," written last year in response to a dark period in his life. It's a song partially about looking for a new purpose in the face of negative energy. Although music has always been a part of his life, it wasn't until last year that he knew it could be his primary purpose in life.

"When dealing with music there's always ups and downs," he says. "There's always the risk factor. At that time I was raising two kids and financially music wasn't going to do it for me. It wasn't going to cut it. I didn't know the impact that it would take for this year to come about."

A native of Fayetteville, North Carolina, Bloom's first exposure to music was through his dad's church. His parents mostly listened to country and gospel but in his teens he became switched on to the forbidden secular sounds of Bob Dylan. He didn't have the money to study music formally in school so he's entirely self-taught and plays the drums, guitar, piano and bass. When he showed his God-fearing parents his nude turn in "Til The End of Time" on Thanksgiving last year, they took it in stride. "When my dad saw the video for the first time he goes, 'That's a lot of ass!" he says with a laugh.

"I been on my own since I was 17 years old and they've just seen me blossom into this man. They respect my level of maturity and growth -- just as a businessman. They knew something was going to happen very extreme and I think, for them, that was their extreme. That was their wild moment."

His big break came in 2005 at age 22 when an acquaintance played his music for Smokey Robison. The Motown crooner liked what he heard and invited the young Bloom into the studio where they recorded two songs in 45 minutes for his greatest hits compilation.

"I got to learn from one of the most incredible songwriters of our time and I was able to write a song for him," he says. "I would say 'Smokey you're a little flat on the sharp' and I'd have to catch myself like, 'Wait! Did I just tell Smokey he sounded bad?' Like, wow!"

Often when other musicians come to him and ask him to write songs, they want to incorporate his sound and his perspective into their work, he says. "They want to hear different qualities. They want to hear different tones," he says. "I wasn't writing for them, I was really writing for myself and I just gave them my sound."

His newly released debut album, "In Full Bloom," will be almost exclusively self-produced in order to stay true to that sound. "I want it to be a progressive state," he says. "If the producers of a record aren't in tune then it's just gonna become an album with a bunch of stuff on it. I think that's what Timbaland and Polow like about me: my sound is very consistent even though there are a variety of sounds from different familiarities. It fits as one."