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Determination is one thing. Determination paired with natural talent and passion is something else altogether. Emerging songstress Shonie possesses that “something else”.

Shonie, (pronounced Shaw-nee), is the newest member of Slip-N-Slide Records, whose roster includes rap stalwarts Rick Ross, Plies, Trick Daddy and Trina. But Shonie chronicles a new chapter in Slip-N-Slide’s storied history: the Miami-based songstress signals the label’s foray into R&B.

Driven by a determination and passion dating back to childhood, Shonie possesses a unique vocal and lyrical skill set that stunningly reflects the left-of-center edginess that is Slip-N-Slide’s hallmark. This singer/songwriter delivers her own striking definition of edgy R&B.

The singer is currently generating nationwide buzz with first single “Can’t Let Go.” Featuring rapper Fabolous, the bouncy club jam showcases exactly who Shonie is: a fresh face with a fresh sound sharing unvarnished truths about life, love and female empowerment. Pumping up the track’s head-nodding groove are Shonie’s strong, sassy vocals and frank lyrics about trying to end a wayward love affair:

“Girls keep telling me off / They say now girl, you’re too soft / They say he’s tearing you up / You’re giving him all your stuff / But I don’t care no more.”

The infectious beat of “Can’t Let Go” is just one of the many illuminating surprises on Shonie’s Slip-N-Slide debut album, the aptly titled “Passionate Pieces of Me.” It runs the gamut from pulsating club jams and mid-tempo charmers to heat-seeking ballads. Among the slate of hit-making producers helping Shonie craft her “Passionate” experiences are J.R. Rotem (Britney Spears), Jim Jonsin (T.I.) and the GhostWriters (Keyshia Cole).

Whether singing about relationships or wanting a better lifeâ€"as she does to arresting effect on another track, “Lights, Camera, Action”â€"Shonie says the concept behind “Passionate Pieces of Me” is simple and straightforward. “I’m a very blunt person who says what I feel, and music is my way of expressing that. I write and sing about things people are afraid to say. That’s my truth.”

Shonie’s musical talent began commanding attention after her Bahamian family relocated from South Bronx, NY to Miami. The nine-year-old initially entertained notions of being a rapper. Upon hearing Shonie sing, however, her mother steered the youngster into the church choir while exposing her to the artistry of such signature chanteuses as Billie Holiday and Lena Horne.

But it wasn’t until Shonie performed her first show a couple of years later that everything began to click. “I was 11 or 12,” recalls the singer, baby sister to three older brothers. “Performing before an audience alone for the first time was nerve-wracking, but the reaction was amazing. And that’s when it hit me: this is something I could do for the rest of my life.”

A self-taught drummer whose influences include Aaliyah, Missy Elliott, Lauryn Hill, Beyoncé and veteran soulster Betty Wright, a home-schooled Shonie began spending every day in the studio. Resulting demos spotlighting the then-17-year-old’s vocal and lyrical chops led to a deal with Miami-based indie South Beat Records.

The deal later soured. But that didn’t stop manager James Jackson from spearheading a mixtape to build momentum behind the unsigned artist. Jackson teamed Shonie with chart topping Miami producer Jim Jonsin (“Whatever You Like”, “Lollipop”) for the project. Hosted by DJ Khaled, “Street Heat, Vol. 1” caught the attention of Slip-N-Slide CEO Ted Lucas.

Shonie has since racked up an enviable list of credits. She has been featured on tracks by Trina (“Wish I Never Met You”), Flo Rida (“Slow It Down”), and Trick Daddy (“Change”) Current writing gigs include the chorus (sung by Ashanti) for the smash hit by Plies, “Want It Need It" and upcoming projects by Trina ("Keep It On The Hush")

Down the road, Shonie wants to try her hand at acting. Also on her to-do list: the eventual launch of a perfume line. Acting and entrepreneurial urges aside, however, the recording studio remains Shonie’s comfort zone.

“When I’m no longer an artist singing onstage, I want to be respected as a writer,” she says. “If God allows me to continue on, I’ll still be in music when I’m 65 or 95. My life revolves around music.”