Hello, again! Here’s a collection of Black composers of film music. There are a few iconic songs from films included here, but the playlist is mainly devoted to scores.
As usual, this is a varied group of artists. They come from Jazz (Herbie Hancock and Duke Ellington), popular music (James Brown, RZA and Pharrell Williams), Rock (Barry Adamson), and of course, Classical ( Michael Abels and Kathryn Bostic).
Today Good Black News celebrates a milestone birthday for soul diva Melba Moore with a Spotify playlist entitled “This Is It! The Ultimate Melba Moore Playlist” that spans her 50+ year career from a rare mid-‘60s recording now popular on Britain’s Northern Soul scene to her latest song – a house music infused dance track from this past summer.
We’ve got all the necessary hits in-between as well, from Broadway showcases to her huge ‘70s disco singles to her mid ‘80s soul duets to her gospel turn in the new millennium. Here is the playlist:
In fact, for Melba’s 75th, we’ve got 75 great songs. And because some sources suggest a different birth year, we’ve actually thrown in some bonus tracks just in case – any excuse to include a few added songs, because in this case, the more Melba Moore, the merrier!
Born into a family of musicians, Melba’s mother was Gertrude Melba Smith, a singer who performed under the name Bonnie Davis – and actually hit #1 on the Harlem Hit Parade chart in 1943 with the song “Don’t Stop Now.” Her father was saxophonist Teddy Hill who had his own prominent big band. And Melba’s stepfather, Clem Moorman, whose last name she later adapted for her own stage name, was a pianist who ultimately performed with her mother.
This collection features early vanguards like Frankie Knuckles, Larry Levan, Ron Hardy, Jesse Saunders, Chip E., Steve “Silk” Hurley, Farley “Jackmaster” Funk, Larry Heard or Mr. Fingers, Marshall Jefferson, Phuture, and many others.
Do enjoy. And as always, stay safe, sane, and kind.
I know Halloween is all-but cancelled this year for so many of us. No trick or treating. No parties. No parades. Though Halloween is still a fine excuse for me to compile a free-wheeling seasonal playlist.
Here’s a nearly 9 hour “Afroclectic” collection of music featuring chills and horrors both real (“Strange Fruit” and “Goat Head’) and imagined (“Season Of The Witch” and “Wolf Like Me”).
From Michael Abels‘ “I Got 5 On It” remix from US to Blind Willie Johnson’s “Dark Was the Night, Cold Was the Ground” this is a wide ranging playlist of songs for this time of the year.
Blues, Soul, Jazz, Rock, Ska, Hip-Hop, and Reggae are all present here. In some cases the only thing that links some of these tracks to this spooky time of year is zombie, vampire, voodoo, monster, devil, ghost, or Dracula in the title.
Please enjoy this collection of spills and chills. Listen with the lights on. Or off, if you dare.
The world got a happy surprise when Stevie Wonder released two brand new songs earlier this week, his first new songs as lead artist in years.
Wonder held a virtual press conference Tuesday with reporters to reveal his latest news, in addition to the new tunes. Wonder, who turned 70 earlier this year, reported he “feels great” after a kidney transplant last December.
Most shockingly, nearly 60 years after he first signed with Motown at the age of 11, Wonder announced that he has left what had previously been his lifetime record label for his own What the Fuss Records, to be distributed through Republic Records (a sister label to Motown in the Universal Music Group family).
The label is named after the Prince-assisted single “So What the Fuss,” which was included on Wonder’s last full-length album, A Time to Love from 2005.
The new songs “Where Is Our Love Song” (featuring blues/rock guitar maestro Gary Clark Jr.) and “Can’t Put It In the Hands of Fate” (with Busta Rhymes, Rapsody, Cordae & Chika) are both based on musical elements Wonder had started composing years ago (the former song was started when Wonder was 18), but were completed this year with lyrics and messages inspired by Wonder’s take on the news of today.
Wonder indicated that both songs would be potentially included in an upcoming EP or full-length album. Proceeds from “Where Is Our Love Song” will be donated to the charity Feeding America.
Johnny Nash had no particular episode of personal hardship in mind when he composed “I Can See Clearly Now” in the early 1970s, though over the years it has struck a firm chord with generations who appreciate its feeling of new hope emerging from the despair: “I can see clearly now the rain has gone / I can see all obstacles in my way / Gone are the dark clouds that had me blind / It’s gonna be a bright, bright, sunshine-y day.”
He died last week at age 80.
Nash was American but spent time living in Jamaica in the mid-1960s, and the island’s influence on his music came to the fore in 1968, when his rock-steady compositions “You Got Soul” and “Hold Me Tight” were Top 10 hits in the UK, helping to kickstart a period of mainstream interest in reggae that remains to this day.
His reggae-fied version of Sam Cooke’s “Cupid” made it to No. 6 in the UK the following year, followed by “Stir it Up,” written for him, and later reclaimed, by his friend Bob Marley. That was a UK No. 13 in 1972, only months before the release of “I Can See Clearly Now.”
This playlist includes many of Johnny Nash’s recordings, songs by him, Bob Marley, and other early reggae artists, plus many of the cuts that dominated the radio in 1972 alongside Johhny Nash’s enduring song of hope.
Hope you enjoy this tribute collection. Next week I’ll be back with a more “seasonal” offering.
Until such time, stay safe sane, and kind… and vote!
Since the 1960s, especially when it came to emerging British rockers, the roots of Rock ’n Roll were a direct line to “authentic” Blues players. (Mainly men, but that’s the subject for another playlist.)
It’s mainly true, but it leaves out Country music, and in what Bullseye with Jesse Thorn host Jesse Thorn called “the race to find the most hard-scrabble weathered bluesman from the fields of Alabama or Mississippi or wherever” also ignores Jazz dance music.
Hugely popular in its day, it followed the big band era and was the springboard for Rhythm & Blues. Particularly the genre of “Jam Blues” and its trail-blazing, funny, and brash master of the game: Louis Jordan.
When it became too expensive for big bands to tour in the 1940s, Jordan led a revolution by cutting his band in half. The Tympany Five was a horn section, drums, guitar, bass, and piano. Jordan played saxophone and sang lead vocals himself, which was a rare move at the time.
The son of Ugandan immigrants to the U.K, Kiwanuka won this third time after having been nominated twice before for previous albums: Home Again (2012) and Love & Hate (2016).
“I’m over the moon, so so excited,” he said on receiving the prize. “This [prize] is for art, for music, for albums – it’s the only thing I’ve ever wanted to do, so to win a Mercury is a dream come true… It’s blown my mind.” He wins £25,000.
His album, released in November 2019, draws equally from folk and soul as the songwriter sings of freedom, love, and struggles both personal and collective; one track samples protests during the 1960s US civil rights movement. It was described in a Guardian review as a “bold, expansive, heartfelt, sublime album. He’s snuck in at the final whistle, but surely this is among the decade’s best.” It reached No 2 on release, and spent 18 weeks in the UK charts.
He thanked his producers, Inflo and Danger Mouse, “some of the best musicians, artists, creatives around, they’ve really helped me grow.” Asked why he given the album his name, he said he had experienced “imposter syndrome … it was taking things away from the experience of doing my dream job. So I made a decision when I was making this album that I wanted to be myself, enjoy it, and not hold back, and show myself as clear as I can be.”
Kiwanuka said an additional reason why his 2019 release title was eponymous was to honor his African heritage.
(Kevin Saunderson, Derrick May and Juan Atkins in Detroit / Photo credit: Unknown)
Techno has come to be associated with European club culture, but it was born from the Black community in Detroit. It was originally revolutionary protest music. Techno was born of African-American struggle.
Detroit DJs Robert Hood, Juan Atkins, Kevin Saunderson, and Derrick May are known as the originators of techno. They fused funk, disco, and gospel beyond recognition in the ‘80s.
To quote Robert Hood: “Techno is the struggle of black artists that came from nothing, had nothing—[I was] blessed to share this music.”
This collection celebrates the originators as well as current Black women and nonbinary DJs and producers, like Tati au Miel and Nonku Phiri, that have had to carve out space in the scene too.
To quote from 
