by Marlon West (FB: marlon.west1 Threads: @stlmarlonwest IG: stlmarlonwest Spotify: marlonwest) Thanks to our Editor-In-Chief, Lori Lakin Hutcherson, for reminding me that it April is Jazz Appreciation…
by Marlon West (FB: marlon.west1 Twitter: @marlonw IG: stlmarlonwest Spotify: marlonwest) I’m back with another batch of tracks. “AfroBowie” is a collection devoted to David Bowie, who,…
According to Forbes.com, statistics from a publicly-available U.S. Department of Education database reveal that six-year graduation rates (a commonly-used metric in higher education) for Black…
This week, Apple announced its Racial Equity and Justice Initiative (REJI), a long-term global effort to advance equity and expand opportunities for Black, Hispanic/Latinx, and Indigenous…
by Marlon West (FB: marlon.west1 Twitter: @marlonw IG: stlmarlonwest Spotify: marlonwest) Happy Music Monday, you all. This collection celebrates another recently departed great, Wayne Shorter. He was a…
by Lori Lakin Hutcherson, GBN founder and Editor-in-Chief Well, here we are, once again. Forty seven years after February was officially recognized by the U.S.…
Love is definitely in need of love today, and one of its most staunch and steadfast purveyors, legendary and visionary artist Stevie Wonder, is going on the road once again to offer just that.
Wonder announced today he will be playing select dates in October across 10 cities in a call for “joy over anger, kindness over recrimination, peace over war” during this most contentious election season in the United States.
As a special thank you to those in communities who are already working tirelessly to fix our nation’s broken heart, Wonder will be offering a designated amount of complimentary tickets to them.
This mini-tour, titled “Sing Your Song! As We Fix Our Nation’s Broken Heart,” is produced by Wonder Productions and promoted by AEG Presents in partnership with Free Lunch.
The tour kicks off Tuesday, October 8 at PPG Paints Arena in Pittsburgh, PA, with stops in New York City, Philadelphia, Baltimore, Greensboro, Atlanta, Detroit, Milwaukee, and Minneapolis before concluding Wednesday, October 30 at the Van Andel Arena in Grand Rapids, MI.
Being your groove chauffeur at GBN is the closest I’ll ever come to having a blog or column. In the years I’ve pecked write-ups for these Music Monday playlists, I have often discovered new tracks and artists in an attempt to be comprehensive in my collections.
I have more than once received wonderful additions and suggestions to my playlists. I’ve taken them all, too. I have also advocated for the broader appreciation of various artists here.
With the announcement of his passing I was struck by how little I knew about that talented artist. I had never seen or read an interview with Frankie Beverly. Never seen a tabloid headline about his drug use, trashing hotels, affairs, or his violent temper. I’d never seen him glad-handing on a late-night or daytime talk show.
Frankie Beverly, in my experience, spoke through his music only. For all I knew, Frankie Beverly could have been a benevolent celestial being who came to Earth to commune with a people in need of his message of joy, passion, and hope. He could have been an ebony immortal, like those of Tananarive Due’s books, who shared his insight of the human heart and soul gained through the centuries he had walked the earth.
That is how warm and enigmatic our dear brotha, Frankie Beverly, was to me. The native of Philadelphia and California transplant never gained the crossover success of Marvin Gaye, Al Green or Maurice White. Though as Essence magazine declared back in 2017: “There isn’t a cookout, not a wedding or family reunion in Black America where you won’t hear” him and Maze.
Frankie Beverly (via Flickr)
That has been true for nearly 50 years. It was Marvin Gaye that suggested to Beverly that he change the name of his band from Raw Soul to Maze. He helped get them signed too, which led to nine albums that all were certified gold.
Here is what I’ll offer as a quintessential collection of Maze Featuring Frankie Beverly. Please enjoy. Dig what New York Times writer, Ben Ratliff, had to say about the voice of Beverly:
“His voice was half-scorched, and some of the usual traces of Donny Hathaway and Sam Cooke weren’t coming through. But he managed by keeping it in the middle register and by adding small vocal gestures to the rhythm cycles — percussive uh-uhs and dibba-dibbas, gospel grunts.”
Frankie Beverly spent a lifetime singing about joy and desire. Though he dealt in reality, as well as the perils of hurting those around him. See you all next month.
And as always, stay safe, sane, and kind.
Marlon West (photo courtesy Marlon West)
Editor’s Note: Marlon’s piece on the late, great Frankie Beverly was lovingly crafted by him days ago and scheduled to post today. Last night’s untimely passing of musical legend Tito Jackson and the legacy he left behind will be addressed by GBN in the very near future.
Immature/ImX singer and actor Marques Houston (You Got Served, House Party 3, Sister, Sister) just released the lead single “Cowgirl” from his forthcoming LP, The Best Worst Year Ever.
“Cowgirl” incorporates elements from Bobby Brown‘s 1988 hit “Rock Wit’cha” and touches of 1993 smash “Freak Me” by Silk from 1993 into a modern mid-tempo bop that’s already racked up close to 2 million YouTube views:
Jumping on the western wear trend and aesthetic Beyoncé reclaimed earlier this year via Cowboy Carter, in the Chris Stokes-directed video, Houston is dripped in a variety of swaggy boots, hats, vests and jeans, and lays out a line dance that is gaining momentum on TikTok via the #Cowgirldancechallenge.
Fans can look forward to the release of Houston’s new album, The Best Worst Year Ever, which debuts on August 30th.
The album is said to reflect a transformative year for Houston, filled with personal and professional highs and lows. It is set to be a landmark in his career.
Check out two of “Cowgirl”‘s throwback inspirations below:
Happy Music Monday, you all! Once again it’s your friend and selector, Marlon West, with another collection for listening and, this time, voting pleasure.
That is unless you are the kind of voter more inclined towards the guy that inspires a playlist featuring Kid Rock and Ted Nugent. Though if you were, I doubt you would be here on GOOD BLACK NEWS.
So, if you are like me, Vice President Kamala Harris’ and Minnesota Gov. Tim Walz’s campaign and the excitement around it is welcome good news.
While some dismiss these heady days as a “sugar rush” and “media honeymoon”, Senior Editor and Correspondent for NPR News, Ron Elving, likened it to what Wall Street brokers call a “relief rally”.
This is coming after months of democrats being in the throes of ill-ease after President Biden’s debate performance. Weeks of record-breaking fundraising and huge rallies, has made for a decidedly more hopeful mood. One that I hope is here to stay.
To that end, here is a collection of tracks inspired by these more heady days to take us through the election season. Some of these songs are taken from the playlist for Harris/Walz rallies, like Mary J. Blige’s “Work That”, Leon Bridges’ “Smooth Sailing’ and, of course, Beyoncé‘s “Freedom”.
While others just seem quite timely again, including Billy Paul’s “Am I Black Enough For You”, The Staple Singers “If You’re Ready (Come Go With Me)”, and Funkadelic’s “One Nation Under A Groove”.
With Governor Walz dedicating a highway to “The Purple One”, there are more than a few Prince tracks thrown in as well.
After President Joe Biden‘s graceful exit yesterday morning from the race for re-election as the Democratic Presidential nominee, he quickly endorsed Vice President Kamala Harris as his pick for the top of the ticket.
Yesterday evening, over 44,000 Black women and allies joined a Zoom hosted by winwithblackwomen.org founder and organizer Jotaka Eaddy and raised over $1.5 million for Harris’ newly-minted campaign to secure the nomination.
It took several tries for the majority of participants from all over the U.S. and overseas to join as the Zoom webinar was initially capped at 1,000. Eaddy and other #wwbw organizers made a point to thank Zoom COO Aparna Bawa for stepping in to increase the participant capacity from 1K to over 40K in real time as the overwhelming desire to join this word-of-mouth call to action quickly spread.
Speakers scheduled to appear were Rep. Joyce Beatty (OH), Rep. Jasmine Crockett (TX) and political strategist Donna Brazile. Others who spoke included former Spelman College President Dr. Johnnetta Cole, journalist and commentator Star Jones, author and influencer Luvvie Ajayi along with reps for HBCUS & the Divine Nine Black sororities and fraternities.
Appreciation for the accomplishments of President Biden during his term (e.g. the $35 price limit on insulin; Ketanji Jackson‘s appointment to the U.S. Supreme Court, protection and expansion of the Affordable Care Act) was voiced, along with forward-looking strategies for coalitions (Ana Navarro offered energetic support as a Latina ally), fundraising, and turning out the vote.
Within 3 hours #winwithblackwomen raised over $1.5M for the Presidential candidacy of @kamalaharris via a special link shared in the chat that tracked donations generated via this grassroots community.
Happy Music Monday, you all. It’s your friend and selector back again with another collection for listening, and this time rump shaking, pleasure.
While Detroit is known as “Hitsville U.S.A.” thanks to Motown, and Memphis is known as the epicenter of “Southern Soul” thanks to Stax Records. Dayton, however, is known as “The Funk Capital of the World.”
When Lakeside dubbed it “The Land of Funk” in its swashbuckling 1980 hit “Fantastic Voyage”, Dayton’s west side was already the birthplace of several of the funkiest groups on the planet.
My lifelong pal, Duane Myers, was the first to hip me to this fact a few years back. He pointed out that Ohio Players, Slave, Faze-O, Heatwave, Lakeside, Shirley Murdock, Zapp, Roger, and others are all from Dayton, Ohio.
This collection features a stable of funk bands whose influence can still be heard in hip-hop, house and other musical forms today.
The Ohio Players, who kicked open the door for them all, have had their tracks sampled or remade by Salt-N-Pepa, Soundgarden, Snoop Dogg, and the Red Hot Chili Peppers to name a few.
They are not alone. 1970s and ‘80s funk is being sampled and provides inspiration for many bands and artists. Please enjoy this playlist for classic funk music from the “Gem City”.
Happy Music Monday, y’all. If you haven’t already, please dig Jamila Wignot’s new documentary “Stax: Soulsville U.S.A.”, currently streaming on Max.
The four-part film tells the story of Stax Records, the iconic R&B label, from its late-1950s beginnings to its 1975 demise.
In its prime the label featured stars like Rufus Thomas and Carla Thomas, Sam and Dave, and Otis Redding, as well as the ace house band of Booker T. and the MGs.
Stax was a colorblind oasis of racial harmony in an otherwise fiercely segregated South. Stax has been eclipsed by Motown, with many of their hits mistakenly thought to be output from that Detroit Mecca, even though the comparative grittier Memphis studio had a sound all its own.
Look no further than Carla Thomas and Otis Redding’s “Tramp” to hear just how much their most popular artist was unapologetically “straight from the Georgia woods.”
Stax Records is critical to American music history as one of the most popular music record labels of all time.
In 15 years, Stax put more than 160 songs in the Top 100 on the pop charts and a staggering 243 hits in the Top 100 R&B charts. Please enjoy this 4 hours of essential Stax music featuring Redding, Isaac Hayes, The Bar-Kays,Johnnie Taylor, Shirley Brown, The Staple Singers and so many more.
Here at Good Black News, we’ve decided to have some fun and make up a new holiday.
With Patti LaBelle (born May 24th) and her good friend and Gemini sister Gladys Knight (born May 28th) both turning 80 over this long weekend, we’re thinking the perfect date is May 26th.
In much the same way that George Washington and Abraham Lincoln’s birthdays were lumped together to create President’s Day in February, we’re launching… Legendary Divas Day!
Certainly, Divas need their own day.
May 26th splits the difference between Patti’s and Gladys’ birthdates and gives us a perfect reason to share a great diva playlist every Memorial Day weekend (future Legendary Diva Days can be celebrated the Sunday of Memorial Day weekend).
LaBelle and Knight are two iconic singers who hold a special place in our collective hearts – they have provided the soundtracks to the lives of multiple generations of fans, with bodies of work to prove it.
But for our world today, they are more than just singers – they are an entire community’s beloved aunties and grandmas. They keep it fun and current by going on shows like “Dancing with the Stars” and “The Masked Singer” (Gladys was robbed on that first season, I tell you), and with cookbooks and Wal-Mart pies. They take care of us just through their being.
To honor their birthdays this weekend, GBN has put together a playlist comprising not 80 songs, but 180 songs that bounce back and forth between Gladys and Patti!
We journey through their 60+ year recording careers with the hits, the duets, the deep cuts, the standards and the spirit.
To be completely transparent, we took the bones of this playlist from a prior one we shared around the time of Gladys’ and Patti’s Verzuz song battle program during the pandemic – and we’ve dramatically expanded it to its new form.
While Reggae is a true import from Jamaica, it really gained a global footing in England. It and Punk both arose out of the economic depression and social inequality in the late 1960’s and 1970’s.
Many Reggae songs of the time like Bob Marley’s “Punky Reggae Party” and “Concrete Jungle” were overt commentary on life in London, while many Punk artists adopted some of these traits and spreading a message of rebellion against the Establishment.
He was not the only one to see that punks and Rastas shared a same idea of freedom and of rebellion against social norms and the setting of said norms.
Hope you enjoy this free-wheeling collection of songs celebrating the intersection of Reggae and Punk. As always, stay, safe, sane, and kind.
I’ve included tracks for the “Second Wave” of ska where bands like The Specials, English Beat, and Selector combined traditional ska song and grooves with a sped-up rhythms of punk music, introducing ska to new generations.
I’ve also included tracks from “Rocket To Kingston” credited to Bobby Ramone. It is a melding of the isolated vocal tracks from Bob Marley dropped over edited Ramones backing tracks. It shouldn’t work, but it does.
I’m starting off straight up corny by saying I’ve been a “transparent soul” with anyone who’d listen to me about my anticipation of WILLOW’s sixth and latest solo LP, which finally dropped May 3rd.
My owning of my corniness, turns out, totally vibes with the messages about the freedom to express & accept your feelings, warts and all, coursing throughout the #greatalbum “empathogen” (2024).
Not only do I absolutely love how WILLOW wrestles lyrically (and musically) with Big Ideas such as existence, ego, anxiety, pain, self-sabotage, fear and love, she does so in such soul-felt, sophisticated & surprising ways, I have to compliment the precise production by WILLOW and her fellow producers Chris Greatti, Eddie Benjamin and Jon Batiste.
There are myriad sounds, echo effects and vocal arrangements involved in each track, even the stripped down ones, but none ever feel overdone — just purposeful and fresh. It’s as if WILLOW threw her hands into the cosmic river of music, tapped into its source, and allowed it to flow freely through her.
There’s a lot going on technically in the music I can’t speak on with any authority (e.g. the multiple time signatures, turnarounds, uncommon verse/chorus structures) but what I can talk about is how it hits the ears and how it feels — free, unexpected, relatable, or, in one word — embracing.
WILLOW is clearly a student of music and draws on varied influences (her IG post of her working her voice out to Ella Fitzgerald’s legendary scat on “How High The Moon” blew my mind a few months ago and still lives rent free in what’s left of my head), but right now she’s reminding me most of the great Esperanza Spalding, particularly during her “Emily’s D+Evolution” (2016) jazz/pop/rock era.
WILLOW’s own pop/rock/punk/soul explorations from the past few years also inform her current jazz/funk/fusion present (and hopefully future).
The singles released from the LP, “symptom of life” and “bigfeelings”, are the best ambassadors for this tight 12-song offering which literally begins with what sounds like an off-mic Jon Batiste screeching, as if being born, “I love everything!”
(BTW, could Batiste be on more of a roll? He also co-produces and co-writes “Ameriican Requiem”, the opening track on COWBOY CARTER. If I’m an artist, I’m thinkin get this man to help kick off my LP, stat, cuz greatness will surely follow!)
After Batiste, we hear steady rimshots underneath WILLOW’s “ah oo ah ah” breaths until she sings “I live my life” — and I didn’t conjure my previous cosmic music river metaphor out of nowhere as WILLOW then sings “I trust this river to carry me / home” in this mystifyingly captivating LP opener titled “home”.
