Podcasts about best r

ICYMI: Hour Two of ‘Later, with Mo'Kelly' Presents – A look at who made the list of the “75 Best R&B Artists of All Time” (according to Billboard) … PLUS – Mark Rahner has a review of the new Danny Boyle/Alex Garland "auteur horror story” ‘28 Years Later' in The Rahner Report AND Mo' delves into the 50th anniversary of ‘Jaws' - on KFI AM 640…Live everywhere on the iHeartRadio app & YouTube @MrMoKelly

Of all time.

Romeo from Brooklyn-based twin duo EHIRE offers a raw and moving account of finding his voice in the music industry while navigating the complexities of being a Black queer artist. From growing up in a Haitian household filled with music to experiencing religious trauma and homelessness, Romeo shares how these challenges strengthened his bond with twin brother Cameo and fueled their artistic expression. With refreshing candour, he discusses the importance of queer Black visibility in media and the revolutionary act of Black male love. Despite facing rejection from family and church, EHIRE has emerged with music that resonates with hope and self-acceptance, offering listeners not just songs but affirmations of queer resilience and joy.Timestamped Key Takeaways00:00:56 - Introduction to Romeo and Cameo (EHIRE), twin brothers from Brooklyn who've been recording music since age nine, with features on 500+ playlists including Spotify's Fresh Finds R&B02:31 - Growing up in a Haitian household surrounded by music from Madonna, Anita Baker, and Whitney Houston, which deeply influenced their artistic development03:55 - Romeo discusses major musical influences including Prince, Michael Jackson, Madonna, and Lady Gaga04:41 - A thoughtful reflection on Prince's groundbreaking impact as a Black male artist who challenged gender norms through style, makeup, and flamboyance09:29 - The pivotal moment at age nine when seeing young R&B star Sammie on TV inspired Romeo and Cameo to pursue music creation10:59 - The significance of Lil Nas X as the first openly gay Black artist they've seen "pushing the envelope" fearlessly in their lifetime11:41 - The importance of queer visibility in media for mental health and preventing self-destructive behaviour among LGBTQ+ youth14:05 - Shocking account of experiencing an exorcism in his twenties when family members attempted to "cast out" his homosexuality20:12 - Discussion of the complex relationship with religion, faith, and the church after experiencing religious trauma21:35 - Reflection on the state of Black queer representation in America and the lack of Black queer male relationships portrayed in media24:51 - The unique bond with his twin brother Cameo, creating a "safe zone" where they never had to come out to each other and protected one another27:43 - Romeo's heartfelt advice to fellow queer artists about self-love, changing perspective, and living authentically32:07 - EHIRE's gateway song recommendation: "Let Go," a track about hope, love, and self-acceptanceGuest BioRomeo Records is one half of the R&B duo EHIRE alongside his twin brother Cameo (Arie). The Brooklyn-born Haitian-American artists have been creating music since age nine. Their debut EP garnered over 200,000 streams, with music featured on Spotify's Fresh Finds R&B and Billboard Pride's Queer Necessities playlists. They were nominated by Pop Smash Radio for Best R&B Song by a Duo or Group.Resource ListPrince - "When Doves Cry" - One of Prince's most iconic tracks mentioned as influentialRuPaul's Drag Race - Mentioned as important queer representation on televisionCall-to-ActionFind the podcast on Apple,

Astrogiirl is one of the most exciting voices coming out of Dallas right now. We sat down with her to talk about her upcoming single Parallel (dropping May 23), how she approaches songwriting, and what it's like being part of the Fronto Factory collective. She also spoke on winning Best New Artist and Best R&B Song at the Dallas Entertainment Awards, the artists she'd love to work with, and the track in her catalog that means the most to her.Stream “Parallel” on all platforms May 23Follow her on Instagram: @astrogiirl_

lordkez (real name Keziah Zoë Meyers) is a South African R&B and neo-soul artist known for her soulful voice, genre-blending sound, and poetic lyricism. Originally from Kimberley in the Northern Cape, she was introduced to music through the church—her grandfather was a priest and her mother played the organ. This spiritual and musical upbringing continues to influence her deeply introspective and emotive work. As a teenager, lordkez moved with her family to Abu Dhabi, where her passion for music was reignited through jam sessions with fellow South Africans. Upon returning to South Africa, she studied sound engineering at the SAE Institute in Cape Town. Her early music uploads on SoundCloud caught the attention of Stay Low, an independent label and management company, marking the beginning of her professional music journey. In 2023, she released her debut album Testament, a genre-defying body of work that blends R&B, hip-hop, and neo-soul, with themes of love, spirituality, and self-discovery. The album includes collaborations with artists like Shekhinah, Bas, Mars Baby, and Jelani Blackman. It was critically acclaimed and won a South African Music Award (SAMA) for Best R&B/Soul Album. Beyond music, lordkez is also a poet and visual artist. Her artistic expression is rooted in wellness and introspection—she journals daily, practices affirmations, and views her work as a healing process. Her authenticity and creative versatility have made her one of the most exciting voices in South Africa's alternative music scene, with growing international recognition.

Rising R&B/pop singer (and actress) Coco Jones goes deep on child stardom via Disney; her controversial Britney Spears sample; learning from Aretha, Mariah, and Whitney; the journey to her great debut album; and much more in an interview with host Brian Hiatt Learn more about your ad choices. Visit podcastchoices.com/adchoices

Nyheterna flödar denna vecka och det är tyskarna som är i fokus... tills Japan och Frankrike får säga sitt. BMW håller hårt i Touring, Mercedes CLA får sitt svenska pris, Toyota bz4X får aggresivt (?) pris och Citroën visar en helt ny bilmodell. April är slut och det verkar ha blivit lite förvirring i medier då siffrorna för Q1 i Europa samt siffrorna för april i Sverige kom ut samtidigt, vi försöker reda ut. Det närmar sig sommar och frågar är: hur laddar man billigast och/eller enklast i sommar? Hosted on Acast. See acast.com/privacy for more information.

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 22ú lá de mí Aibreán, liomsa Lauren Ní Loingsigh. I 1988 dhiúltaigh Taoiseach Charles Haughey ar margadh den aontachtaí/náisiúnaí comhroinnt agus iad ag reáchtáil Tuaisceart na hÉireann. I 2005 tháinig Michael Martin amach ag rá nár léigh sé treoir eolais agus na cáipéis ag rá go raibh roinnt de na hathruithe a rinne siad sna tí altranais mídhleathach. I 2003 tharla gabháil drugaí san Aonach Urmhumhan. Tharla sé nuair a stop na nGardaí carr sa bhaile agus gabhadh beirt fhear tar éis. I 2004 bhí a lán post nua I mBuiríos Ó Luigeach de bharr go raibh comhlacht nua ag teacht chuig an chontae. An chéad chéim eile a bhí ann ná gnó déantúsaíocht a bhogadh chuig Buiríos Ó Luigeach. Sin ABBA le Knowing Me Knowing You – an t-amhrán is mó ar an lá seo I 1977. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1989 shroich Madonna uimhir a haon I Meiriceá lena hamhrán Like A Prayer agus d'fhan sé ag uimhir a haon ar feadh 3 seachtain. Bhí sé a seachtú hamhrán a chuaigh chuig barr na cairteacha I Meiriceá agus sa Bhreatain. I 2001 chuaigh Destiny's Child chuig uimhir a haon sna cairteacha sa Bhreatain lena hamhrán Survivor. Bhí sé seo a dara hamhrán a chuaigh chuig uimhir a haon. Bhuaigh an ghrúpa Grammy don amhrán. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh aisteoir Amber Heard I Meiriceá I 1986 agus rugadh aisteoir Jack Nicholson I Meiriceá ar an lá seo I 1937 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 22nd of April, with me Lauren Ní Loingsigh 1988: Taoiseach charles haughey turned his back on a unionist/nationalist power sharing deal as a means of running northern ireland. 2005: Michael martin admitted yesterday that he didnt read a key briefing document which waas said some nursing home changes were illegal. 2003 One of the biggest drug hauls in the community were uncovered by Nenagh Gardai, it came after Gardai stopped a car in Nenagh town center. Two men were arrested about the find.   2004 - Borrisoleigh experienced a significant increase in job creation following the takeover of the Dublin-based Finches drinks brand. The next phase would be Moving the manufacturing operations to Borrisoleigh  That was ABBA with Knowing Me Knowing You – the biggest song on this day in 1977. Onto music news on this day In 1989 Madonna started a three week run at No.1 on the US singles chart with 'Like A Prayer', the singers seventh US No.1, also a No.1 in the UK. 2001 Destiny's Child went to No.1 on the UK singles chart with 'Survivor.' Their second chart topper, they were the first US female band to have more than one UK No.1. The song won the trio a Grammy Award for Best R&B Performance by a Group. And finally celebrity birthdays on this day – actress Amber Heard was born in America in 1986 and actor Jack Nicholson was born in America on this day in 1937 and this is some of the stuff he has done. I'll be back with you tomorrow with another edition of Ar An Lá Seo.

Listen to all my reddit storytime episodes in the background in this easy playlist: https://www.youtube.com/playlist?list=PL_wX8l9EBnOM303JyilY8TTSrLz2e2kRGWatch my videos in full on my YouTube channel (you even get to see my face!): https://www.youtube.com/Redditor This is the Redditor podcast! Here you will find all of Redditor's best Reddit stories from his YouTube channel. Hosted on Acast. See acast.com/privacy for more information.

"Rett på sak" med programleder Lise Sørensen – et bedre, skarpere og mer ærlig alternativ til morgenens nyhetssendinger.Document vokser kraftig, og vi er nå i tøff konkurranse med de største mediehusene i Norge. Derfor tar vi opp kampen og oppgraderer morgensendingene våre fra radio til direktesendt TV.Hver morgen, mandag til onsdag kl. 09.00, sender vi Rett på sak direkte. Vi går rett på de viktigste nyhetene, uten filter og uten omsvøp.Torsdag og fredag er det andre morgensendinger. Hver morgen vil du kl. 09.00 kunne få en sending om du klikker deg inn på Document.no.

Fáilte ar ais chuig eagrán nua de Ar An Lá Seo ar an 22ú lá de mí Aibreán, liomsa Lauren Ní Loingsigh. I 1988 dhiúltaigh Taoiseach Charles Haughey ar margadh den aontachtaí/náisiúnaí comhroinnt agus iad ag reáchtáil Tuaisceart na hÉireann. I 2005 tháinig Michael Martin amach ag rá nár léigh sé treoir eolais agus na cáipéis ag rá go raibh roinnt de na hathruithe a rinne siad sna tí altranais mídhleathach. I 1977 lainseáil feachtas fógraíochta I mBaile Átha Cliath ar an lá seo. Bhí sé cruthaithe ón iarthar den chontae agus an cumann turasóir. I 2005 bhí na saol d'othair sa chontae faoi riosca de bharr go raibh cleachtais dainséarach ag dul ar aghaidh agus nach raibh aon chomhairleoir ann. Sin ABBA le Knowing Me Knowing You – an t-amhrán is mó ar an lá seo I 1977. Ag lean ar aghaidh le nuacht cheoil ar an lá seo I 1989 shroich Madonna uimhir a haon I Meiriceá lena hamhrán Like A Prayer agus d'fhan sé ag uimhir a haon ar feadh 3 seachtain. Bhí sé a seachtú hamhrán a chuaigh chuig barr na cairteacha I Meiriceá agus sa Bhreatain. I 2001 chuaigh Destiny's Child chuig uimhir a haon sna cairteacha sa Bhreatain lena hamhrán Survivor. Bhí sé seo a dara hamhrán a chuaigh chuig uimhir a haon. Bhuaigh an ghrúpa Grammy don amhrán. Agus ar deireadh breithlá daoine cáiliúla ar an lá seo rugadh aisteoir Amber Heard I Meiriceá I 1986 agus rugadh aisteoir Jack Nicholson I Meiriceá ar an lá seo I 1937 agus seo chuid de na rudaí a rinne sé. Beidh mé ar ais libh amárach le heagrán nua de Ar An Lá Seo. Welcome back to another edition of Ar An Lá Seo on the 22nd of April, with me Lauren Ní Loingsigh 1988: Taoiseach charles haughey turned his back on a unionist/nationalist power sharing deal as a means of running northern ireland. 2005: Michael martin admitted yesterday that he didnt read a key briefing document which waas said some nursing home changes were illegal. 1977: A £4,000 promotion campaign, one of the biggest ever in the county, was launched in Dublin on this day, by the formed west clare tourist association. 2005: the lifes of clare patients were being put at risk due to seriously unsafe practices, along with a lack of consultants and modern medical equipment. That was ABBA with Knowing Me Knowing You – the biggest song on this day in 1977. Onto music news on this day In 1989 Madonna started a three week run at No.1 on the US singles chart with 'Like A Prayer', the singers seventh US No.1, also a No.1 in the UK. 2001 Destiny's Child went to No.1 on the UK singles chart with 'Survivor.' Their second chart topper, they were the first US female band to have more than one UK No.1. The song won the trio a Grammy Award for Best R&B Performance by a Group. And finally celebrity birthdays on this day – actress Amber Heard was born in America in 1986 and actor Jack Nicholson was born in America on this day in 1937 and this is some of the stuff he has done. I'll be back with you tomorrow with another edition of Ar An Lá Seo.

In this episode of the Halftime Chat R&B Podcast, we're diving deep into the groundbreaking debut album that changed R&B forever—What's the 411? by Mary J. Blige. Released on July 28, 1992, this album introduced the world to the Queen of Hip-Hop Soul, blending R&B with hip-hop influences in a way that was fresh, raw, and revolutionary.Produced by Sean "Diddy" Combs (then known as Puff Daddy) and featuring hitmakers like Dave Hall and DeVante Swing, What's the 411? became an instant classic, selling over 3 million copies in the U.S. and earning triple platinum certification from the RIAA. The album set the tone for Mary's legendary career and won her the Best R&B Album award at the 1993 Billboard Music Awards.Join us as we review the album, break down its cultural impact, and count down our top 10 favorite tracks! From the smooth "Reminisce" to the anthemic "Real Love", we're celebrating the songs that made Mary J. Blige an icon.Notable Tracks from What's the 411?Real Love – A top 10 Billboard hit and one of Mary's signature songs.You Remind Me – The debut single that introduced her to the world.Love No Limit – A sultry groove that showcases her vocal finesse.Sweet Thing – A heartfelt cover of the Rufus & Chaka Khan classic.I Don't Want to Do Anything – A passionate duet with K-Ci Hailey.Tune in as we take a trip down memory lane and celebrate one of the most influential albums in R&B history. What's your favorite track from What's the 411?? Let us know in the comments

Kristne slaktes i Syria, mens islamister feirer i Skandinavia. En syrisk kvinne med norsk pass jubler over massakrene og mener likene av kristne og alawitter bør fôres til hunder. Hun er utdannet i Norge, jobber i Sverige – og får fortsette som før.For noen får aldri konsekvenser. Anniken Huitfeldt måtte gå etter aksjeskandalen, men landet mykt som Norges ambassadør til USA. Under State of the Union satte hun seg blant Demokratene, til tross for at det er Trump-administrasjonen som styrer landet. Hvordan skal hun representere norske interesser når hun velger side med opposisjonen?Også Grønland har vendt seg bort fra den gamle makten. Venstresiden er vraket, og to høyrepartier har tatt over. Veien mot selvstendighet er blitt kortere, og USA følger nøye med, mens Danmark ser ut til å miste grepet.Men det handler ikke bare om nåtiden – også fortiden må justeres. Erna Solberg hevder fortsatt at Norge var «i verdensklasse» under pandemien. Lockdowns, besøksforbud og økonomiske tap er glemt – nå skylder hun på «long covid» for rekordhøye uføretall. Når sannheten ikke passer, er det fortellingen som må skrives om.Velkommen til Dagsorden med Lise Sørensen og Merete Skar.Vi er helt avhengig av abonnenter og støtte for å kunne lage sendinger, gjøre spennende intervjuer og gi deg dyptpløyende reportasjer. Støtt oss med å bli abonnent eller vipps på 638941.

Berno Vidén Hosted on Acast. See acast.com/privacy for more information.

Lojsan berättar ej sjuk historia och Hanna inser att hon är the one bringing the drama to the table, och kommer fram till att 1. Man kan inte lita på killar och 2. Typ halva stockholm består av killar som hon har dumpat. Är det kanske dags att vara lite mer selektiv med dejtandet?Följ oss på instagram och Tiktok @mandagsvibe, gå med i facebookgruppen "Måndagsvibbare" och skicka frågor, dilemman, am I the asshole och fuckboy or not till mandagsvibepodd@gmail.com. Hadeee!

⭐️ GÅ MED I JOHANNAS MASTERCLASS 4-6 MARS HÄR ⭐️ Johanna Halldén var en av de mest uppskattade delarna av förra årets Miljonshow och hon kommer såklart vara med oss igen den 24 oktober! Hon kommer otroligt snabbt till kärnan i människors transformation och det är precis det vi pratar om i detta avsnitt. Hur kan man snabbt omprogrammera sitt undermedvetna och istället skapa ett "Miljonmindset" för att lyckas? -- Tack för att du lyssnar! Om du gillar Miljonpodden får du gärna följa oss och ge ditt betyg på Spotify

The results are in, and the winner is... =)!00:00 Intro02:01 Album of the Year04:48 Record of the Year05:29 Song of the Year06:50 Best New Artist07:23 Best Pop Solo Performance07:45 Best Country Solo08:01 Best Country Album08:34 Best R&B Album12:35 Best R&B Song13:23 Best R&B Performance13:51 Best Rap Performance14:01 Best Melodic Rap Song14:21 Best Rap Album18:00 Best Rap Song18:38 And the winner is... =)#Grammy2025 #predictions #reviewsEmail questions to lexcsolo@gmail.com CashApp: $LexCATLPayPal: lexcsolo@gmail.comVenmo: @lexcatlZelle: 404-552-5514Please support me by becoming a Patron on my Patreon at https://www.patreon.com/lexcatl. As a Patron, you'll get to see all my content AS SOON AS I POST, not when I schedule stuff to post, which is only once each week right now. If you want to see your requested videos IMMEDIATELY, sign up to become a Patron for just $5 each month!WORK WITH LEXChttps://www.lexcatl.com/shop/work-with-lexcLexC eBook: http://bit.ly/lexcebookMUSICAmazon - http://bit.ly/lexconamazonApple Music - http://bit.ly/lexconappleCD Baby - http://bit.ly/lexconcdbabySpotify - http://bit.ly/lexconspotifyTidal - http://bit.ly/lexcontidal_________________________________________________________________ Follow me: https://www.lexcatl.com/ https://www.instagram.com/lexcatl/ https://twitter.com/lexcatl https://www.facebook.com/lexcatl https://anchor.fm/lexcatlhttps://www.patreon.com/lexcatl

Angel Reese paid off her mom's mortgage so she can retire for her Birthday. Kanye West's wife Bianca Censori really pulled up to the Grammys in her birthday suit LeBron told this fan to look more presentable Had him take his hoodie and headphones off I'm on episode 3 of Harlem and it's p**sing me off. Like, why is Camille pregnant with this man's child? Why does she think keeping it is a good idea? Why is Ian planning another pregnancy with his new girl?? Beyoncé just announced The Cowboy Carter Tour!! LiAngelo Ball Claims He Raps "Colder" Than Cam'ron Amidst Feuds A whole bunch of Black women educators created Hillman Tok University on TikTok, and they are teaching whole courses. Rico Recklezz revealed that he had been shooting his shot in Summer Walker's DMs for 8 years straight before she finally gave him a chance, only pausing when he kept going to jail!! Kendrick Lamar wins Best Music Video for "Not Like Us" at the Kendrick Lamar's "Not Like Us" wins Best Rap Performance at the "Saturn" by SZA wins best R&B song at the 11:11 (Deluxe) by Chris Brown wins the Grammy for Best R&B album Best R&B Performance Winner: Made for Me (Live On BET) by Muni Long Larry June, 2 Chainz and the Alchemist join forces on the first single for their collab album, and it makes good on its potential. Massive anti-illegal immigrant deportation protests have broken out across several cities in the USA. Rod Wave has been cancelling shows left and right, and now the rapper is letting fans in on why with a lengthy Instagram rant. Latto & Playboi Carti - "Blick Sum (Remix)"Netflix's W.A.G.s to Riches reached a boiling point in its third episode as social media influencer YesJulz and former agent Kenea Danair, Papoose made sure his new girlfriend Clareesa Shield's timberlands were tired right before her weigh-in. Kevin Durant responds to a fan with a reference to Latto's song "Brokey" Two women are suing Top Dawg Entertainment and several of its employees and executives for alleged sexual harassment and assault. Kanye West posts apology to Kamala Harris after saying he wanted to sleep with her The Dallas Mavericks are trading Luka Doncic, Maxi Kleber and Markieff Morris to the Los Angeles Lakers for Anthony Davis, Max Christie and a 2029 first-round pick Deiondra Sanders Drops THIS Response After Being Questioned About Her Absence from Jacquees & Dej Loaf's Pics A man arrived at a Popeyes in Philadelphia at 10 AM for their Don Julio collaboration, and almost everyone in there was drinking Don Julio with their chicken sandwich and chicken A Small Plane Crashed in Northeast Philadelphia, Causing an Explosion, Fires, and Multiple casualties. Will Smith To Present at the Grammys, His First Major Awards Show Appearance Since the Chris Rock Slap Juelz Santana recently voiced strong opinions on drug-related crimes, calling for harsher penalties for those who lace drugs with fentanyl YFN Lucci embraced his kids, family, and friends for the first time in years as a free man Lizzo has revealed that she's reached a new weight loss goal and that this is the lightest she's been since 2014.

The Podcast Crew got together to share our joy about Chris Brown's recent accolades, especially winning the Grammy for Best R&B Album.   FRESH START Music by Joakim Karud  https://www.youtube.com/joakimkarud

‘Saturn' by SZA won a Grammy award for Best R&B Song, which means that Irishman Cian Ducrot won his first Grammy as co-writer of the song!Cian joins Kieran from Los Angeles to discuss the achievement.

Husker du hvem du var som fjortis? Hvordan står musikken vi elsket som tenåringer seg i dag? Frode og Lars tar et nostalgisk dypdykk i ungdomstidens soundtrack og reflekterer over hvordan musikkopplevelser modnes – eller ikke – med alderen. Fra ungdomsforelskelser i glam rock og hiphop til dagens litt mer nyanserte lyttevaner, byr denne episoden på humoristiske tilbakeblikk, ærlige vurderinger og refleksjoner over hvorfor noen låter mister magien, mens andre blir stående som tidløse klassikere.Bli med på en reise full av kontraster, overraskelser og innrømmelser som balanserer mellom nostalgi og ettertanke – med en god dose latter på veien.——Vi tar en liten juleferie nå, men er tilbake 19. januar med «Årets album 2024»-episoden! Takk til alle som har hørt på oss i 2024 og gitt oss rekorder som inspirerer oss til å fortsette med dette. God jul og godt nyttår, hilsen Lars og Frode. PS! Spillelistene til musikken det snakkes om ligger lenger ned i beskrivelsen.

Welcome Back to Talent Talk! this episode we Celebrate the engagment of your favorite Co host! Talk about hte grammy nominations, and some new music and diamond certifications 00:00 - Engagement Recap 10:11 - Grammy nominations  22:57 - Best R&B album 25:47 - Bes RAP Album 33:03 - Capella Grey new EP 36:28 - No Guidance Goes DIAMOND 44:33 - Chromokopia 55:15 - J Cole Vs Tyler The Creator 58:32 - Last Thoughts

Linktree: https://linktr.ee/AnalyticJoin Analytic Dreamz for an in-depth exploration of the 2025 Grammy nominations in this segment of Notorious Mass Effect. We'll delve into the top categories, highlighting key achievements and providing statistical insights that define this year's musical landscape. Grammy Overview: Discover the date for the 67th Grammy Awards set for February 2, 2025, and learn about the expansive 94 categories recognized by the Recording Academy.Women in Music: Analytic Dreamz will shine a spotlight on the exceptional year for female artists, dominating in categories like Record of the Year, Album of the Year, and beyond. Key Highlights:Beyoncé's Dominance: Explore how Beyoncé's 11 nominations bring her close to 100 career nominations, discussing her potential to break even more records.Taylor Swift's Milestone: Examine Taylor Swift's historic fourth consecutive Album of the Year nomination with her latest work, "The Tortured Poets Department."Major Categories:Record of the Year: Discuss the iconic return of The Beatles with "Now and Then," and how AI played a role in its production.Album of the Year: Analyze the diversity in nominations from André 3000's experimental sounds to Beyoncé's genre-blending "Cowboy Carter."Song of the Year: Delve into the narratives behind the nominated songs, from Kendrick Lamar's impactful lyrics to Beyoncé's cultural anthem.Behind the Music:Producer of the Year: Highlight the work of top producers like Dernst “D'Mile” Emile II and their influence on the nominated tracks.Best New Artist: Introduce listeners to emerging talents like Sabrina Carpenter and RAYE, exploring their contributions to music.Genre Insights:Rock and Country: From Pearl Jam to Beyoncé's venture into country with "16 Carriages," we'll discuss how artists are pushing genre boundaries.R&B and Visual Media: Look at the nominations in Best R&B Album and how songs from films like "Twisters: The Album" are impacting the music scene.This segment promises to offer not just a recap but a critical analysis of what these nominations signify for the music industry's direction in 2025. Whether you're a music aficionado or simply curious about the trends shaping today's soundscape, Analytic Dreamz provides the insights you need to understand the Grammy's pivotal role in music culture. Listen now for a comprehensive breakdown of the nominations, celebrating the artists, their craft, and the evolving narrative of music.Support this podcast at — https://redcircle.com/analytic-dreamz-notorious-mass-effect/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Når det danske kvindelandshold i november skal til EM i håndbold, bliver det uden flere af holdets store stjerner. Den tidligere anfører Sandra Toft blev ikke en af Jesper Jensens udvalgte, og af hensyn til spillernes mentale velbefindende har landstræneren nemlig valgt ikke at udtage reserver. Inden de bedste europæiske fodboldhold begyndte på det nye Champions League-format i år, var der skeptiske røster overalt. Nu er vi halvvejs i gruppespillet, og det er tid til at gøre status. Fungerer det? Holger Runes sæson på ATP-touren er slut. Det blev ikke til nogen turneringssejr, han er rykket ned på verdensranglisten, og i to ud af fire Grand Slams røg han tidligt ud. Vi evaluerer hans rodede sæson og udstikker en ny retning for ham til næste år. Vært: Emil Schiønning Medvært: Tina Müller Gæster: Jesper Jensen, Andreas Kraul og Kresten Mosbæk

Skolehverdagen består av 3 ting, forteller lærer og podcastvert Martin Johannessen i denne episoden av Oppdrift.Relasjon, relasjon og relasjon

Back to the 90's.. The Best R&B, Pop and some Alternative

Who on KVJ has the best list for Best R & B Artists? Learn more about your ad choices. Visit podcastchoices.com/adchoicesSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Who on KVJ has the best list for Best R & B Artists? Learn more about your ad choices. Visit podcastchoices.com/adchoices

Episode 537: Adam Banks talks about the following topics in this episode:1. The 2024 Democratic National Convention Wrapped up in Chicago 2. The Best R&B and Pop Duets of all time 3. Todays National Holiday - National Lemmon Juice Day4. Wrestling Legend, Psycho Sid Dies at Age 63 Years old. Follow OFF THE CUFF WITH ADAM BANKS:FB: @offthecuffwithadambanksIG:@offthecuffwithadambanksTwitter:@theadambanksIG:@theadambanksSubscribe on Apple Podcasts, Spotify, YouTube!**and all other major podcasting platforms**http://linktr.ee/offthecuffwithadambanks

This week we're talking about the best R&B concerts we've been to, Victoria Monét's new track with Usher, Maxwell's Tiny Desk Concert, Kehlani's new track with Lucky Daye, and more.

Welcome back to "I Only Listen to 90s Music," where this episode is packed with engaging discussions and nostalgic throwbacks. We kick things off with a lively debate about the Olympics, touching on everything from Sha'Carri Richardson's anticipated races to the impact of hosting the Olympics on various cities. The conversation takes intriguing turns as we discuss the iconic figures like Usain Bolt and Simone Biles, and even delve into the upcoming inclusion of flag football in the 2028 Olympics. We then shift gears to the vibrant and sometimes controversial world of music. From Chris Brown's latest headlines to the fascinating story of Luther Vandross' tour with En Vogue, no stone is left unturned. The episode also explores potential reboots of classic TV shows like "A Different World" and "Facts of Life," pondering which characters and storylines could make a triumphant return. In a special segment, we revisit Warren G's seminal album "Regulate... G Funk Era," reflecting on its impact and timeless tracks. The episode wraps up with an engaging listener email that sparks a debate on the best debut R&B albums of all time, featuring heavyweights like Tony Braxton, D'Angelo, and Mariah Carey. 1:10 The Paris Olympics Are Super Black 14:09 Eightball and MJG movie "Comin Out Hard" 22:15 Chris Brown Fighting Again? Is It Him or does trouble just follow him? 41:44 Michael Jackson did that Pepsi deal for his brothers 55:49 Whitney Houston Mother Conspiracy 59:38 Facts of Life Reboot called off and what would a Different World Reboot look like 1:19:34 Luther Vandross treatment of En Vogue on Tour 1:36:11 Best R&B Debut albums of all time 1:57:04 Revisiting Warren G's G Funk Era album Join the I Only Listen to 90s Music Facebook Group http://bit.ly/3k0UEDe        Follow I Only Listen to 90s Music on IG https://bit.ly/3sbCphv       Follow SOLC Network online Instagram: https://bit.ly/39VL542                          Twitter: https://bit.ly/39aL395                          Facebook: https://bit.ly/3sQn7je                To Listen to the podcast Podbean https://bit.ly/3t7SDJH                      YouTube http://bit.ly/3ouZqJU                      Spotify http://spoti.fi/3pwZZnJ                     Apple http://apple.co/39rwjD1   

Listeners of the podcast call in to share their thoughts on the list Forbes released with who they claim to be the top 25 artists of R&B. They shared that they selected are a “mere snapshot of the vast talent pool that exists across the genre and across generations.” See omnystudio.com/listener for privacy information.

She is a talented solo singer-songwriter who debuted in 2006 with her first full-length album . 선우정아 has written, composed, and produced songs for many artists, including IVE and 2NE1, making her a true all-rounder artist.As a jazz vocalist, she has participated in various performances and albums, showing her limitless musical talent. Her unique voice and singing style, often combining low and high notes, have earned her much love.She has been recognized for her musical talent, winning two awards at the Korean Music Awards for her second album in 2013, and Best R&B & Soul Album for her third album in 2020.선우정아 also shines as a judge on audition programs and actively works in both the music and broadcasting industries. She even showcases her diverse musicality in various kinds of stages such as  musical theater and film musicNow, let's dive into the music of this musician's musician, 선우정아!Today's playlist1. 별사탕(STAR CANDY)2. 봄처녀(SPRINGIRLS)3. BUFFALO (Feat. 다미 of 드림캐쳐, 송은이, 유승우, 윤지영, 정세운, 15인의 소띠들)4. 도망가자(Run With Me)5. 구애(I want to be loved) - Nive's Pick6. 고양이(Cat) (feat. 아이유) - AIVAN's Pick

Jovy E. and Tiara Monique discuss their favorite R&B drops of 2024 (Tems, Bryston Tiller, NxWorries, Kaytranada, & more), their most anticipated R&B projects, (Snoh Aalegra, TGT, Miguel, Orion Sun), artists they hope make a comeback soon (Mario, Kelly Rowland, Jazmine Sullivan), The Braxtons reality show revival (with Toni, Tamar, Trina, & more), Ciara's ESPYS performance, & more!

Episode 43 - Ant Clemons is a GRAMMY winning songwriter, producer and artist. Known for his work with Kanye West, H.E.R, Justin Timberlake, Mary J Blige, Beyoncé, Ty Dolla $ign, Chance The Rapper, Camila Cabello, and for his artist project which received a GRAMMY nomination for Best R&B Album. Ant has reached a high level of success all while keeping his signature smile and that red hat! We dive deep on how he got started in music, the benefits and challenges of being a songwriter, his relationship with God, working with artists, getting collabs, and much more. ‘Go with Elmo Lovano' is a weekly podcast where Elmo interviews creatives and entrepreneurs in music on HOW they push forward every day, got where they are in their careers, manage their personal lives, and share lessons learned and their most important insights. Please SUBSCRIBE / FOLLOW this podcast to catch new episodes as soon as they drop! Your likes, comments and shares are much appreciated! Listen to the audio form of this podcast wherever you get your podcasts: https://rss.com/podcasts/gowithelmoFollow Ant Clemons:https://www.instagram.com/antclemons/Follow Elmo Lovano:https://Instagram.com/elmolovanohttps://Twitter.com/elmolovanoFollow Go With Elmo: https://Instagram.com/gowithelmohttps://twitter.com/gowithelmopodGo With Elmo Lovano on YouTube: https://youtube.com/@gowithelmoFollow Jammcard:https://Instagram.com/Jammcardhttps://TikTok.com/Jammcardhttps://Twitter.com/JammcardJammcard is the Music Professionals Network - https://jammcard.comThe Jammcard app is an invite only social network for vetted music professionals. You can apply to join at https://jammcard.typeform.com/to/g58t0g

For those who haven't heard the announcement I posted , songs from this point on will sometimes be split among multiple episodes, so this is the first part of a two-episode look at the song “I Heard it Through the Grapevine”. This week we take a short look at the song’s writers, Norman Whitfield and Barrett Strong, and the first released version by Gladys Knight and the Pips. In two weeks time we’ll take a longer look at the sixties career of the song’s most famous performer, Marvin Gaye. This episode is quite a light one. That one… won’t be. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a half-hour bonus episode, on “Bend Me Shape Me” by Amen Corner. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources Mixcloud will be up with the next episode. For Motown-related information in this and other Motown episodes, I've used the following resources: Where Did Our Love Go? The Rise and Fall of the Motown Sound by Nelson George is an excellent popular history of the various companies that became Motown. To Be Loved by Berry Gordy is Gordy's own, understandably one-sided, but relatively well-written, autobiography. Women of Motown: An Oral History by Susan Whitall is a collection of interviews with women involved in Motown. I Hear a Symphony: Motown and Crossover R&B by J. Andrew Flory is an academic look at Motown. The Motown Encyclopaedia by Graham Betts is an exhaustive look at the people and records involved in Motown's thirty-year history. Motown: The Golden Years is another Motown encyclopaedia. And Motown Junkies is an infrequently-updated blog looking at (so far) the first 693 tracks released on Motown singles. For information on Marvin Gaye, and his relationship with Norman Whitfield, I relied on Divided Soul: The Life of Marvin Gaye by David Ritz. I’ve also used information on Whitfield in  Ain't Too Proud to Beg: The Troubled Lives and Enduring Soul of the Temptations by Mark Ribowsky, I’ve also referred to interviews with Whitfield and Strong archived at rocksbackpages.com , notably “The Norman Whitfield interview”, John Abbey, Blues & Soul, 1 February 1977 For information about Gladys Knight, I’ve used her autobiography. The best collection of Gladys Knight and the Pips’ music is this 3-CD set, but the best way to hear Motown hits is in the context of other Motown hits. This five-CD box set contains the first five in the Motown Chartbusters series of British compilations. The Pips’ version of “I Heard it Through the Grapevine” is on disc 2, while Marvin Gaye’s is on disc 3, which is famously generally considered one of the best single-disc various artists compilations ever. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I start, a brief note — this episode contains some brief mentions of miscarriage and drug abuse. The history of modern music would be immeasurably different had it not been for one car breakdown. Norman Whitfield spent the first fifteen years of his life in New York, never leaving the city, until his grandmother died. She’d lived in LA, and that was where the funeral was held, and so the Whitfield family got into a car and drove right across the whole continent — two thousand five hundred miles — to attend the old lady’s funeral. And then after the funeral, they turned round and started to drive home again. But they only got as far as Detroit when the car, understandably, gave up the ghost.  Luckily, like many Black families, they had family in Detroit, and Norman’s aunt was not only willing to put the family up for a while, but her husband was able to give Norman’s father a job in his drug store while he saved up enough money to pay for the car to be fixed. But as it happened, the family liked Detroit, and they never did get around to driving back home to New York. Young Norman in particular took to the city’s nightlife, and soon as well as going to school he was working an evening job at a petrol station — but that was only to supplement the money he made as a pool hustler. Young Norman Whitfield was never going to be the kind of person who took a day job, and so along with his pool he started hanging out with musicians — in particular with Popcorn and the Mohawks, a band led by Popcorn Wylie. [Excerpt: Popcorn and the Mohawks, “Shimmy Gully”] Popcorn and the Mohawks were a band of serious jazz musicians, many of whom, including Wylie himself, went on to be members of the Funk Brothers, the team of session players that played on Motown’s hits — though Wylie would depart Motown fairly early after a falling out with Berry Gordy. They were some of the best musicians in Detroit at the time, and Whitfield would tag along with the group and play tambourine, and sometimes other hand percussion instruments. He wasn’t a serious musician at that point, just hanging out with a bunch of people who were, who were a year or two older than him. But he was learning — one thing that everyone says about Norman Whitfield in his youth is that he was someone who would stand on the periphery of every situation, not getting involved, but soaking in everything that the people around him were doing, and learning from them. And soon, he was playing percussion on sessions. At first, this wasn’t for Motown, but everything in the Detroit music scene connected back to the Gordy family in one way or another. In this case, the label was Thelma Records, which was formed by Berry Gordy’s ex-mother-in-law and named after Gordy’s first wife, who he had recently divorced. Of all the great Motown songwriters and producers, Whitfield’s life is the least-documented, to the extent that the chronology of his early career is very vague and contradictory, and Thelma was such a small label there even seems to be some dispute about when it existed — different sources give different dates, and while Whitfield always said he worked for Thelma records, he might have actually been employed by another label owned by the same people, Ge Ge, which might have operated earlier — but by most accounts Whitfield quickly progressed from session tambourine player to songwriter. According to an article on Whitfield from 1977, the first record of one of his songs was “Alone” by Tommy Storm on Thelma Records, but that record seems not to exist — however, some people on a soul message board, discussing this a few years ago, found an interview with a member of a group called The Fabulous Peps which also featured Storm, saying that their record on Ge Ge Records, “This Love I Have For You”, is a rewrite of that song by Don Davis, Thelma’s head of A&R, though the credit on the label for that is just to Davis and Ron Abner, another member of the group: [Excerpt: The Fabulous Peps, “This Love I Have For You”] So that might, or might not, be the first Norman Whitfield song ever to be released. The other song often credited as Whitfield’s first released song is “Answer Me” by Richard Street and the Distants — Street was another member of the Fabulous Peps, but we’ve encountered him and the Distants before when talking about the Temptations — the Distants were the group that Otis Williams, Melvin Franklin, and Al Bryant had been in before forming the Temptations — and indeed Street would much later rejoin his old bandmates in the Temptations, when Whitfield was producing for them. Unlike the Fabulous Peps track, this one was clearly credited to N. Whitfield, so whatever happened with the Storm track, this is almost certainly Whitfield’s first official credit as a songwriter: [Excerpt: Richard Street and the Distants, “Answer Me”] He was soon writing songs for a lot of small labels — most of which appear to have been recorded by the Thelma team and then licensed out — like “I’ve Gotten Over You” by the Sonnettes: [Excerpt: The Sonnettes, “I’ve Gotten Over You”] That was on KO Records, distributed by Scepter, and was a minor local hit — enough to finally bring Whitfield to the attention of Berry Gordy. According to many sources, Whitfield had been hanging around Hitsville for months trying to get a job with the label, but as he told the story in 1977 “Berry Gordy had sent Mickey Stevenson over to see me about signing with the company as an exclusive in-house writer and producer. The first act I was assigned to was Marvin Gaye and he had just started to become popular.” That’s not quite how the story went. According to everyone else, he was constantly hanging around Hitsville, getting himself into sessions and just watching them, and pestering people to let him get involved. Rather than being employed as a writer and producer, he was actually given a job in Motown’s quality control department for fifteen dollars a week, listening to potential records and seeing which ones he thought were hits, and rating them before they went to the regular department meetings for feedback from the truly important people. But he was also allowed to write songs. His first songwriting credit on a Motown record wasn’t Marvin Gaye, as Whitfield would later tell the story, but was in fact for the far less prestigious Mickey Woods — possibly the single least-known artist of Motown’s early years. Woods was a white teenager, the first white male solo artist signed to Motown, who released two novelty teen-pop singles. Whitfield’s first Motown song was the B-side to Woods’ second single, a knock-off of Sam Cooke’s “Cupid” called “They Call Me Cupid”, co-written with Berry Gordy and Brian Holland: [Excerpt: Mickey Woods, “They Call Me Cupid”] Unsurprisingly that didn’t set the world on fire, and Whitfield didn’t get another Motown label credit for thirteen months (though some of his songs for Thelma may have come out in this period). When he did, it was as co-writer with Mickey Stevenson — and, for the first time, sole producer — of the first single for a new singer, Kim Weston: [Excerpt: Kim Weston, “It Should Have Been Me”] As it turned out, that wasn’t a hit, but the flip-side, “Love Me All The Way”, co-written by Stevenson (who was also Weston’s husband) and Barney Ales, did become a minor hit, making the R&B top thirty. After that, Whitfield was on his way. It was only a month later that he wrote his first song for the Temptations, a B-side, “The Further You Look, The Less You See”: [Excerpt: The Temptations, “The Further You Look, The Less You See”] That was co-written with Smokey Robinson, and as we heard in the episode on “My Girl”, both Robinson and Whitfield vied with each other for the job of Temptations writer and producer. As we also heard in that episode, Robinson got the majority of the group’s singles for the next couple of years, but Whitfield would eventually take over from him. Whitfield’s work with the Temptations is probably his most important work as a writer and producer, and the Temptations story is intertwined deeply with this one, but for the most part I’m going to save discussion of Whitfield’s work with the group until we get to 1972, so bear with me if I seem to skim over that — and if I repeat myself in a couple of years when we get there. Whitfield’s first major success, though, was also the first top ten hit for Marvin Gaye, “Pride and Joy”: [Excerpt: Marvin Gaye, “Pride and Joy”] “Pride and Joy” had actually been written and recorded before the Kim Weston and Temptations tracks, and was intended as album filler — it was written during a session by Whitfield, Gaye, and Mickey Stevenson who was also the producer of the track, and recorded in the same session as it was written, with Martha and the Vandellas on backing vocals. The intended hit from the session, “Hitch-Hike”, we covered in the previous episode on Gaye, but that was successful enough that an album, That Stubborn Kinda Fellow, was released, with “Pride and Joy” on it. A few months later Gaye recut his lead vocal, over the same backing track, and the record was released as a single, reaching number ten on the pop charts and number two R&B: [Excerpt: Marvin Gaye, “Pride and Joy”] Whitfield had other successes as well, often as B-sides. “The Girl’s Alright With Me”, the B-side to Smokey Robinson’s hit for the Temptations “I’ll Be In Trouble”, went to number forty on the R&B chart in its own right: [Excerpt: The Temptations, “The Girl’s Alright With Me”] That was co-written with Eddie Holland, and Holland and Whitfield had a minor songwriting partnership at this time, with Holland writing lyrics and Whitfield the music. Eddie Holland even released a Holland and Whitfield collaboration himself during his brief attempt at a singing career — “I Couldn’t Cry if I Wanted To” was a song they wrote for the Temptations, who recorded it but then left it on the shelf for four years, so Holland put out his own version, again as a B-side: [Excerpt: Eddie Holland, “I Couldn’t Cry if I Wanted To”] Whitfield was very much a B-side kind of songwriter and producer at this point — but this could be to his advantage. In January 1963, around the same time as all these other tracks, he cut a filler track with the “no-hit Supremes”, “He Means the World to Me”, which was left on the shelf until they needed a B-side eighteen months later and pulled it out and released it: [Excerpt: The Supremes, “He Means the World to Me”] But the track that that was a B-side to was “Where Did Our Love Go?”, and at the time you could make a lot of money from writing the B-side to a hit that big. Indeed, at first, Whitfield made more money from “Where Did Our Love Go?” than Holland, Dozier, or Holland, because he got a hundred percent of the songwriters’ share for his side of the record, while they had to split their share three ways. Slowly Whitfield moved from being a B-side writer to being an A-side writer. With Eddie Holland he was given a chance at a Temptations A-side for the first time, with “Girl, (Why You Wanna Make Me Blue)”: [Excerpt: The Temptations, “Girl (Why You Wanna Make Me Blue)”] He also wrote for Jimmy Ruffin, but in 1964 it was with girl groups that Whitfield was doing his best work. With Mickey Stevenson he wrote “Needle in a Haystack” for the Velvettes: [Excerpt: The Velvettes, “Needle in a Haystack”] He wrote their classic followup “He Was Really Sayin' Somethin’” with Stevenson and Eddie Holland, and with Holland he also wrote “Too Many Fish in the Sea” for the Marvelettes: [Excerpt: The Marvelettes, “Too Many Fish In The Sea”] By late 1964, Whitfield wasn’t quite in the first rank of Motown songwriter-producers with Holland-Dozier-Holland and Smokey Robinson, but he was in the upper part of the second tier with Mickey Stevenson and Clarence Paul. And by early 1966, as we saw in the episode on “My Girl”, he had achieved what he’d wanted for four years, and become the Temptations’ primary writer and producer. As I said, we’re going to look at Whitfield’s time working with the Temptations later, but in 1966 and 67 they were the act he was most associated with, and in particular, he collaborated with Eddie Holland on three top ten hits for the group in 1966. But as we discussed in the episode on “I Can’t Help Myself”, Holland’s collaborations with Whitfield eventually caused problems for Holland with his other collaborators, when he won the BMI award for writing the most hit songs, depriving his brother and Lamont Dozier of their share of the award because his outside collaborations put him ahead of them. While Whitfield *could* write songs by himself, and had in the past, he was at his best as a collaborator — as well as his writing partnership with Eddie Holland he’d written with Mickey Stevenson, Marvin Gaye, and Janie Bradford. And so when Holland told him he was no longer able to work together, Whitfield started looking for someone else who could write lyrics for him, and he soon found someone: [Excerpt: Barrett Strong, “Money”] Barrett Strong had, of course, been the very first Motown act to have a major national hit, with “Money”, but as we discussed in the episode on that song he had been unable to have a follow-up hit, and had actually gone back to working on an assembly line for a while. But when you’ve had a hit as big as “Money”, working on an assembly line loses what little lustre it has, and Strong soon took himself off to New York and started hanging around the Brill Building, where he hooked up with Doc Pomus and Mort Shuman, the writers of such hits as “Save the Last Dance for Me”, “Viva Las Vegas”, “Sweets for My Sweet”, and “A Teenager in Love”.  Pomus and Shuman, according to Strong, signed him to a management contract, and they got him signed to Atlantic’s subsidiary Atco, where he recorded one single, “Seven Sins”, written and produced by the team: [Excerpt: Barrett Strong, “Seven Sins”] That was a flop, and Strong was dropped by the label. He bounced around a few cities before ending up in Chicago, where he signed to VeeJay Records and put out one more single as a performer, “Make Up Your Mind”, which also went nowhere: [Excerpt: Barrett Strong, “Make Up Your Mind”] Strong had co-written that, and as his performing career was now definitively over, he decided to move into songwriting as his main job. He co-wrote “Stay in My Corner” for the Dells, which was a top thirty R&B hit for them on VeeJay in 1965 and in a remade version in 1968 became a number one R&B hit and top ten pop hit for them: [Excerpt: The Dells, “Stay in My Corner”] And on his own he wrote another top thirty R&B hit, “This Heart of Mine”, for the Artistics: [Excerpt: The Artistics, “This Heart of Mine”] He wrote several other songs that had some minor success in 1965 and 66, before moving back to Detroit and hooking up again with his old label, this time coming to them as a songwriter with a track record rather than a one-hit wonder singer. As Strong put it “They were doing my style of music then, they were doing something a little different when I left, but they were doing the more soulful, R&B-style stuff, so I thought I had a place there. So I had an idea I thought I could take back and see if they could do something with it.” That idea was the first song he wrote under his new contract, and it was co-written with Norman Whitfield. It’s difficult to know how Whitfield and Strong started writing together, or much about their writing partnership, even though it was one of the most successful songwriting teams of the era, because neither man was interviewed in any great depth, and there’s almost no long-form writing on either of them. What does seem to have been the case is that both men had been aware of each other in the late fifties, when Strong was a budding R&B star and Whitfield merely a teenager hanging round watching the cool kids. The two may even have written together before — in an example of how the chronology for both Whitfield and Strong seems to make no sense, Whitfield had cowritten a song with Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”, in 1962 — when Strong was supposedly away from Motown — and it had been included as an album track on the That Stubborn Kinda Fellow album: [Excerpt: Marvin Gaye, “Wherever I Lay My Hat, That’s My Home”] The writing on that was originally credited just to Whitfield and Gaye on the labels, but it is now credited to Whitfield, Gaye, and Strong, including with BMI. Similarly Gaye’s 1965 album track “Me and My Lonely Room” — recorded in 1963 but held back – was initially credited to Whitfield alone but is now credited to Whitfield and Strong, in a strange inverse of the way “Money” initially had Strong’s credit but it was later removed. But whether this was an administrative decision made later, or whether Strong had been moonlighting for Motown uncredited in 1962 and collaborated with Whitfield, they hadn’t been a formal writing team in the way Whitfield and Holland had been, and both later seemed to date their collaboration proper as starting in 1966 when Strong returned to Motown — and understandably. The two songs they’d written earlier – if indeed they had – had been album filler, but between 1967 when the first of their new collaborations came out and 1972 when they split up, they wrote twenty-three top forty hits together. Theirs seems to have been a purely business relationship — in the few interviews with Strong he talks about Whitfield as someone he was friendly with, but Whitfield’s comments on Strong seem always to be the kind of very careful comments one would make about someone for whom one has a great deal of professional respect, a great deal of personal dislike, but absolutely no wish to air the dirty laundry behind that dislike, or to burn bridges that don’t need burning. Either way, Whitfield was in need of a songwriting partner when Barrett Strong walked into a Motown rehearsal room, and recognised that Strong’s talents were complementary to his. So he told Strong, straight out, “I’ve had quite a few hit records already. If you write with me, I can guarantee you you’ll make at least a hundred thousand dollars a year” — though he went on to emphasise that that wasn’t a guarantee-guarantee, and would depend on Strong putting the work in. Strong agreed, and the first idea he brought in for his new team earned both of them more than that hundred thousand dollars by itself. Strong had been struck by the common phrase “I heard it through the grapevine”, and started singing that line over some Ray Charles style gospel chords. Norman Whitfield knew a hook when he heard one, and quickly started to build a full song around Strong’s line. Initially, by at least some accounts, they wanted to place the song with the Isley Brothers, who had just signed to Motown and had a hit with the Holland-Dozier-Holland song “This Old Heart of Mine”: [Excerpt: The Isley Brothers, “This Old Heart of Mine (Is Weak For You)”] For whatever reason, the Isley Brothers didn’t record the song, or if they did no copy of the recording has ever surfaced, though it does seem perfectly suited to their gospel-inflected style. The Isleys did, though, record another early Whitfield and Strong song, “That’s the Way Love Is”, which came out in 1967 as a flop single, but would later be covered more successfully by Marvin Gaye: [Excerpt: The Isley Brothers, “That’s the Way Love Is”] Instead, the song was first recorded by the Miracles. And here the story becomes somewhat murky. We have a recording by the Miracles, released on an album two years later, but some have suggested that that version isn’t the same recording they made in 1966 when Whitfield and Strong wrote the song originally: [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] It certainly sounds to my ears like that is probably the version of the song the group recorded in 66 — it sounds, frankly, like a demo for the later, more famous version. All the main elements are there — notably the main Ray Charles style hook played simultaneously on Hammond organ and electric piano, and the almost skanking rhythm guitar stabs — but Smokey Robinson’s vocal isn’t *quite* passionate enough, the tempo is slightly off, and the drums don’t have the same cavernous rack tom sound that they have in the more famous version. If you weren’t familiar with the eventual hit, it would sound like a classic Motown track, but as it is it’s missing something… [Excerpt: Smokey Robinson and the Miracles, “I Heard it Through the Grapevine”] According to at least some sources, that was presented to the quality control team — the team in which Whitfield had started his career, as a potential single, but they dismissed it. It wasn’t a hit, and Berry Gordy said it was one of the worst songs he’d ever heard. But Whitfield knew the song was a hit, and so he went back into the studio and cut a new backing track: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine (backing track only)”] (Incidentally, no official release of the instrumental backing track for “I Heard it Through the Grapevine” exists, and I had to put that one together myself by taking the isolated parts someone had uploaded to youtube and synching them back together in editing software, so if there are some microsecond-level discrepancies between the instruments there, that’s on me, not on the Funk Brothers.) That track was originally intended for the Temptations, with whom Whitfield was making a series of hits at the time, but they never recorded it at the time. Whitfield did produce a version for them as an album track a couple of years later though, so we have an idea how they might have taken the song vocally — though by then David Ruffin had been replaced in the group by Dennis Edwards: [Excerpt: The Temptations, “I Heard it Through the Grapevine”] But instead of giving the song to the Temptations, Whitfield kept it back for Marvin Gaye, the singer with whom he’d had his first big breakthrough hit and for whom his two previous collaborations with Strong – if collaborations they were – had been written. Gaye and Whitfield didn’t get on very well — indeed, it seems that Whitfield didn’t get on very well with *anyone* — and Gaye would later complain about the occasions when Whitfield produced his records, saying “Norman and I came within a fraction of an inch of fighting. He thought I was a prick because I wasn't about to be intimidated by him. We clashed. He made me sing in keys much higher than I was used to. He had me reaching for notes that caused my throat veins to bulge.” But Gaye sang the song fantastically, and Whitfield was absolutely certain they had a sure-fire hit: [Excerpt: Marvin Gaye, “I Heard it Through the Grapevine”] But once again the quality control department refused to release the track. Indeed, it was Berry Gordy personally who decided, against the wishes of most of the department by all accounts, that instead of “I Heard it Through the Grapevine” Gaye’s next single should be a Holland-Dozier-Holland track, “Your Unchanging Love”, a soundalike rewrite of their earlier hit for him, “How Sweet It Is”. “Your Unchanging Love” made the top thirty, but was hardly a massive success. Gordy has later claimed that he always liked “Grapevine” but just thought it was a bit too experimental for Gaye’s image at the time, but reports from others who were there say that what Gordy actually said was “it sucks”. So “I Heard it Through the Grapevine” was left on the shelf, and the first fruit of the new Whitfield/Strong team to actually get released was “Gonna Give Her All the Love I’ve Got”, written for Jimmy Ruffin, the brother of Temptations lead singer David, who had had one big hit, “What Becomes of the Brokenhearted” and one medium one, “I’ve Passed This Way Before”, in 1966. Released in 1967, “Gonna Give Her All the Love I’ve Got” became Ruffin’s third and final hit, making number 29: [Excerpt: Jimmy Ruffin, “Gonna Give Her All the Love I’ve Got”] But Whitfield was still certain that “Grapevine” could be a hit. And then in 1967, a few months after he’d shelved Gaye’s version, came the record that changed everything in soul: [Excerpt: Aretha Franklin, “Respect”] Whitfield was astounded by that record, but also became determined he was going to “out-funk Aretha”, and “I Heard it Through the Grapevine” was going to be the way to do it. And he knew someone who thought she could do just that. Gladys Knight never got on well with Aretha Franklin. According to Knight’s autobiography this was one-sided on Franklin’s part, and Knight was always friendly to Franklin, but it’s also notable that she says the same about several other of the great sixties female soul singers (though not all of them by any means), and there seems to be a general pattern among those singers that they felt threatened by each other and that their own position in the industry was precarious, in a way the male singers usually didn’t. But Knight claimed she always *wished* she got on well with Franklin, because the two had such similar lives. They’d both started out singing gospel as child performers before moving on to the chitlin circuit at an early age, though Knight started her singing career even younger than Franklin did. Knight was only four when she started performing solos in church, and by the age of eight she had won the two thousand dollar top prize on Ted Mack’s Amateur Hour by singing Brahms’ “Lullaby” and the Nat “King” Cole hit “Too Young”: [Excerpt: Nat “King” Cole, “Too Young”] That success inspired her, and she soon formed a vocal group with her brother Bubba, sister Brenda and their cousins William and Eleanor Guest. They named themselves the Pips in honour of a cousin whose nickname that was, and started performing at talent contests in Atlanta Chitlin’ Circuit venues. They soon got a regular gig at one of them, the Peacock, despite them all being pre-teens at the time. The Pips also started touring, and came to the attention of Maurice King, the musical director of the Flame nightclub in Detroit, who became a vocal coach for the group. King got the group signed to Brunswick records, where they released their first single, a song King had written called “Whistle My Love”: [Excerpt: The Pips, “Whistle My Love”] According to Knight that came out in 1955, when she was eleven, but most other sources have it coming out in 1958. The group’s first two singles flopped, and Brenda and Eleanor quit the group, being replaced by another cousin, Edward Patten, and an unrelated singer Langston George, leaving Knight as the only girl in the quintet. While the group weren’t successful on records, they were getting a reputation live and toured on package tours with Sam Cooke, Jackie Wilson, and others. Knight also did some solo performances with a jazz band led by her music teacher, and started dating that band’s sax player, Jimmy Newman. The group’s next recording was much more successful. They went into a makeshift studio owned by a local club owner, Fats Hunter, and recorded what they thought was a demo, a version of the Johnny Otis song “Every Beat of My Heart”: [Excerpt: The Pips, “Every Beat of My Heart (HunTom version)”] The first they knew that Hunter had released that on his own small label was when they heard it on the radio. The record was picked up by VeeJay records, and it ended up going to number one on the R&B charts and number six on the pop charts, but they never saw any royalties from it. It brought them to the attention of another small label, Fury Records, which got them to rerecord the song, and that version *also* made the R&B top twenty and got as high as number forty-five on the pop charts: [Excerpt: Gladys Knight and the Pips, “Every Beat of My Heart (Fury version)”] However, just because they had a contract with Fury didn’t mean they actually got any more money, and Knight has talked about the label’s ownership being involved with gangsters. That was the first recording to be released as by “Gladys Knight and the Pips”, rather than just The Pips, and they would release a few more singles on Fury, including a second top twenty pop hit, the Don Covay song “Letter Full of Tears”: [Excerpt: Gladys Knight and the Pips, “Letter Full of Tears”] But Knight had got married to Newman, who was by now the group’s musical director, after she fell pregnant when she was sixteen and he was twenty. However, that first pregnancy tragically ended in miscarriage, and when she became pregnant again she decided to get off the road to reduce the risk. She spent a couple of years at home, having two children, while the other Pips – minus George who left soon after – continued without her to little success. But her marriage was starting to deteriorate under pressure of Newman’s drug use — they wouldn’t officially divorce until 1972, but they were already feeling the pressure, and would split up sooner rather than later — and Knight  returned to the stage, initially as a solo artist or duetting with Jerry Butler, but soon rejoining the Pips, who by this time were based in New York and working with the choreographer Cholly Atkins to improve their stagecraft. For the next few years the Pips drifted from label to label, scoring one more top forty hit in 1964 with Van McCoy’s “Giving Up”, but generally just getting by like so many other acts on the circuit. Eventually the group ended up moving to Detroit, and hooking up with Motown, where mentors like Cholly Atkins and Maurice King were already working. At first they thought they were taking a step up, but they soon found that they were a lower tier Motown act, considered on a par with the Spinners or the Contours rather than the big acts, and according to Knight they got pulled off an early Motown package tour because Diana Ross, with whom like Franklin Knight had something of a rivalry, thought they were too good on stage and were in danger of overshadowing her. Knight says in her autobiography that they “formed a little club of our own with some of the other malcontents” with Martha Reeves, Marvin Gaye, and someone she refers to as “Ivory Joe Hunter” but I presume she means Ivy Jo Hunter (one of the big problems when dealing with R&B musicians of this era is the number of people with similar names. Ivy Jo Hunter, Joe Hunter, and Ivory Joe Hunter were all R&B musicians for whom keyboard was their primary instrument, and both Ivy Jo and just plain Joe worked for Motown at different points, but Ivory Joe never did) Norman Whitfield was also part of that group of “malcontents”, and he was also the producer of the Pips’ first few singles for Motown, and so when he was looking for someone to outdo Aretha, someone with something to prove, he turned to them. He gave the group the demo tape, and they worked out a vocal arrangement for a radically different version of the song, one inspired by “Respect”: [Excerpt: Gladys Knight and the Pips, “I Heard it Through the Grapevine”] The third time was the charm, and quality control finally agreed to release “I Heard it Through the Grapevine” as a single. Gladys Knight always claimed it had no promotion, but Norman Whitfield’s persistence had paid off — the single went to number two on the pop charts (kept off the top by “Daydream Believer”), number one on the R&B charts, and became Motown’s biggest-selling single *ever* up until that point. It also got Knight a Grammy nomination for Best R&B Vocal Performance, Female — though the Grammy committee, at least, didn’t think she’d out-Aretha’d Aretha, as “Respect” won the award. And that, sadly, sort of summed up Gladys Knight and the Pips at Motown — they remained not quite the winners in everything. There’s no shame in being at number two behind a classic single like “Daydream Believer”, and certainly no shame in losing the Grammy to Aretha Franklin at her best, but until they left Motown in 1972 and started their run of hits on Buddah records, Gladys Knight and the Pips would always be in other people’s shadow. That even extended to “I Heard It Through the Grapevine” when, as we’ll hear in part two of this story, Norman Whitfield’s persistence paid off, Marvin Gaye’s version got released as a single, and *that* became the biggest-selling single on Motown ever, outselling the Pips version and making it forever his song, not theirs. And as a final coda to the story of Gladys Knight and the Pips at Motown, while they were touring off the back of “Grapevine’s” success, the Pips ran into someone they vaguely knew from his time as a musician in the fifties, who was promoting a group he was managing made up of his sons. Knight thought they had something, and got in touch with Motown several times trying to get them to sign the group, but she was ignored. After a few attempts, though, Bobby Taylor of another second-tier Motown group, the Vancouvers, also saw them and got in touch with Motown, and this time they got signed. But that story wasn’t good enough for Motown, and so neither Taylor nor Knight got the credit for discovering the group. Instead when Joe Jackson’s sons’ band made their first album, it was titled Diana Ross Presents the Jackson 5. But that, of course, is a story for another time…

(This episode originally aired November 2020) Today we meet the incredible jazz and classical pianist, Hazel Scott. Hazel was a musical prodigy as a child and started at The Juilliard School of Music when she was just 8 years old! By her teen years she was playing piano all over New York City and eventually found her way to film and television. Her skills and talents were undeniable but it's her bravery and willingness to stand up for what she believed in truly make her a Rebel Girl! About the Narrator Andra Day is from San Diego, California, where she studied singing at the School of Creative and Performing Arts. Cultivating soul, jazz, and R&B through her voice, she is able to tell her stories through captivating music and engaging performances. Andra has recently performed a number of performances, including a duet with Ellie Goulding at the 2016 Grammy's, showcasing her talent at the Bonnaroo's and Essence's festivals, as well as being nominated for: two Grammy's (Best R&B Album and Best R&B Performance for "Rise Up"), three BET Awards (Best New Artist, Best R&B/Pop Artist, and the Centric Award), and the NAACP Image Award for Outstanding New Artist.   Credits This podcast is a production of Rebel Girls and Boom Integrated, a division of John Marshall Media. It's based on the book series Good Night Stories for Rebel Girls. Our Executive Producers are Jes Wolfe and Katie Sprenger. This season was produced by John Marshall Cheary, Sarah Storm, and Robin Lai. Corinne Peterson is our Production Manager. This episode was written by Alexis Stratton and edited by Katie Sprenger. Proofread by Ariana Rosas. Elettra Bargiacchi created sound design, and composed and performed the original theme. Mattia Marcelli was the sound mixer.

Jovy E. and Tiara Monique sit down and discuss their favorite R&B Tiny Desk Concert performances, Beyoncé becoming the first black woman to top Billboard's Hot Country Songs chart with “Texas Hold 'Em”, Usher's “Coming Home (Expanded Edition)” album, SiR's twitter drama, and more!

L.A.-based multi GRAMMY nominee and multi-talented platinum-selling producer, songwriter, composer/arranger, educator, and instrumentalist. He co-produced and wrote “Good Kisser” for R&B singing sensation Usher, which climbed to No. 1 on the US R&B/Hip Hop charts and garnered his first nomination for Best R&B song at the 2015 Grammy Awards. His songwriting and arranging were also featured on the 2020 Grammy nominated Album of The Year, “Thank U, Next,” by Ariana Grande, and he is a voting member of the Recording Academy. He is a Los Angeles College of Music Songwriting and Music Business faculty member who has also worked with Lizzo and with H.E.R.

Whatever our reasons for tuning in or out this Super Bowl Sunday, as movie fans, there's no denying the impact the event has in terms of trailers and TV spots, with Paramount, Universal, and Disney all investing a record $7 million per 30-second Super Bowl spot. Paramount has three spots booked, featuring "Bob Marley: One Love," John Krasinski's "IF," and "A Quiet Place: Day One." Disney is expected to promote its Father's Day release "Inside Out 2" and the trailer for Marvel Studios' sole 2024 release "Deadpool 3,". Universal may feature spots for various films, including "Twisters," "Kung Fu Panda 4," "Monkeyman," and "The Fall Guy." Sony and Warner Bros are notably absent from Super Bowl spots this year, and there's no confirmation from Apple or Netflix about promoting their major projects during the event either. Despite rumors of its cancellation, Marvel Studios' Wonder Man series starring Yahya Abdul-Mateen II, is apparently back on track and actively in production according to leaked set photos and footage circulating the web. Production of the series, led by Shang Chi director Destin Daniel Cretton and producer Andrew Guest, began in April but was paused due to last year's WGA and SAG-AFTRA strikes. The images in question tease an in-universe film franchise depicting a marquee with the Wonder Man title card along with the character's logo and emblem. While we are lacking on official details, including a release date, the latest we've heard is that the series will fall under the new Marvel Spotlight banner and Sir Ben Kingsley is expected to reprise his role as Trevor Slattery. Unfortunately we learned today that a crew member who was a rigger has sadly died on set after falling from the rafters. The on-set accident did not occur during filming and we certainly share the condolences of the cast and crew. Although it debuted at the top of the box office, Matthew Vaughn's $200 million would be February blockbuster, Argylle, has not performed well, with an $18 million domestic and $35 million global start, coupled with a C+ CinemaScore. The star-studded ensemble cast failed to attract audiences as predicted by tracking. Despite Apple's substantial financial prowess, these big-budget films, such as Napoleon and Killers of the Flower Moon, are not proving profitable when considering the overall motion picture profit and loss sheet, lacking ancillaries like foreign TV, theme park tie-ins, or cruise ship exploitation, prompting questions about the streamers long-term viability. During the documentary "Grounded 2: Making The Last of Us Part 2," creative director Neil Druckmann hinted at the possibility of The Last of Us Part 3, revealing that he has a conceptual idea for another chapter in the story. Druckmann emphasized that while the first two games had clear concepts of parental love and the pursuit of justice, the potential third installment would be its own unique narrative. He clarified that a previously mentioned story about Joel's brother, Tommy, was not outlined for The Last of Us Part 3, but rather a separate project that was shelved temporarily due to other priorities at Naughty Dog. Elsewhere in the Last of Us franchise, Schitt's Creek star Catherine O'Hara has been cast in an undisclosed role for the HBO show's second season. 2024 Grammy Winners: o Best pop solo performance: Miley Cyrus, "Flowers" o Best música urbana album: Karol G, "Mañana Será Bonito" o Best country album: Lainey Wilson, "Bell Bottom Country" o Best R&B song: SZA, "Snooze" o Best pop vocal album: Taylor Swift, "Midnights" o Song of the year: "What Was I Made For?" Billie Eilish & Finneas o Best new artist: Victoria Monét o Record of the year: "Flowers" – Miley Cyrus

New Yorker Emily King explores heartache on her latest album Special Occasion, for which she's nominated for a Grammy at February's ceremony, in the category of Best R&B Album. She joins us for a Listening Party.

Wednesday's 9am hour of Mac & Cube started off with Andy Burcham, the Voice of the Auburn Tigers, saying what it was like calling that electric Iron Bowl & what to expect when Auburn takes on Virginia Tech; then, we continue to remind everyone that the SEC has a good chance of not having a team make the College Football Playoff; later, Cole points out how good some resumes are and how not great Oregon's is; and finally, a few Bad Box Scores of the Day concludes this great Wednesday!  "McElroy & Cubelic In The Morning" airs 7am-10am weekdays on WJOX-94.5!!See omnystudio.com/listener for privacy information.

The Podcast Crew talks about Chris Brown winning the  Best R&B award at the MTVEMA, album snippets and the upcoming 11:11 album.   Twitter: tb_vanguard FRESH START Music by Joakim Karud  https://www.youtube.com/joakimkarud

Ohio State football is the No. 1 team in the country as it enters the final month of the regular season while Ohio State basketball season begins next week.We talk about both sports on this week's episode of Real Pod Wednesdays, though our discussion mostly centers around the football Buckeyes, who earned the top spot in the initial College Football Playoff rankings on Tuesday night. We think that ranking is well-deserved, and we explain why – and why it does matter – on this week's show.Ohio State's defense led the way to that No. 1 ranking, and it led the Buckeyes to another win this past weekend at Wisconsin, where Ohio State earned its first double-digit victory in Madison since 2000 with a 24-10 win over the Badgers. We get into how the defense continued to impress us, how both TreVeyon Henderson and Marvin Harrison Jr. showed they're special players and the concerns we have about Kyle McCord from both an inconsistency and health standpoint.As the Buckeyes head to Rutgers this weekend to play another strong defensive team, we discuss the challenges the Scarlet Knights could present and make our predictions for a game that we don't expect to be the cakewalk games against Rutgers have typically been.We shift gears in the final segment of the show by conducting our annual draft of the Ohio State men's basketball team, with each of us picking seven-man lineups from Ohio State's 2023-24 roster in a snake-draft format for a hypothetical game of Buckeyes vs. Buckeyes.The full rundown for this week's show: 2:18: Ohio State hasn't yet looked like college football's best team, but it has the best résumé 7:05: No. 1 ranking doesn't change Ohio State's goal, but that doesn't mean it doesn't matter 12:13: It's hard to argue with any of the top five, but Oklahoma should be ahead of Texas 18:13: Defensive-driven theme continues in Wisconsin win 19:49: Jack Sawyer, Tommy Eichenberg, Jordan Hancock among defensive standouts in Madison 22:31: Sonny Styles could end up playing his best position by filling in for Lathan Ransom 27:02: TreVeyon Henderson shows how big a difference he can make for Ohio State's offense 29:49: Marvin Harrison Jr.'s Heisman candidacy is becoming increasingly real 33:22: Kyle McCord's plateauing performance, health both concerns entering November 39:34: Greg Schiano has turned Rutgers into a competitive team once again 41:24: Ball control, defense will be Rutgers' keys to keeping game close against Ohio State 45:36: Why we still expect Ohio State to cover despite Rutgers' improvement 47:30: Buckeyes' growing injury list headlined by Miyan Williams' season-ending surgery 51:00: Drafting head-to-head lineups from the 2023-24 Ohio State men's basketball roster

“Midnight Magic” and Pure Energy, the R&B/funk/dance group that brought it to life andwill release it September 8, have more in common than creator/creationLisa wrote the vocals and the melody. Curtis Hudson, lead guitarist and vocals, addedthe funk twist, brother Ray Hudson is the bass guitarist, and together they have putsome magic in “Midnight Magic.” The song is a hot, hopping, purely fun dance trackAnd the video tells visual stories of people waking to the magic of midnight, showcasesCurt and Ray in all their glorious funk, and if Lisa's magnificent, soaring vocals don'tlevitate you right off the floor, you might be dead.Pure Energy — Curtis, Lisa and Ray — are also looking for some magic at midnight.The song was written back in the early '80s, when the group was hot but the musicindustry was often geared more toward snuffing fire instead of sparking it.Pure Energy disbanded in 1984, at least as a performing, recording entity.Until this year.“We were always trying to put songs out on other artists,” said Ray. “We decided ‘Hey,we need to try to get some exposure for some of this material we have,' like Madonnaand other people we started working with. And we found that that was working for us.”Madonna and a song she made famous, “Holiday,” illustrate the point. Curtis and Lisawrote “Holiday,” regarded as the single that really launched Madonna's career.“We actually wrote that song for our group, Pure Energy,” said Lisa. “We presented it toour record company, and they said it wasn't a hit. And Madonna did it and, you know,the rest is history.”“We thought we could have done ‘Holiday,' but our record company didn't hear it forus,” said Ray. “That kind of helped us decide we need to go a different direction.”The group formed in the mid-'70s. Their first single, “Party On,” made it to No. 7 on theBillboard Dance Charts. Members of the group served as writers and producers forother artists, including Jean Carne, Maxine Singleton, Wranda Rawlins and LaurieceHudson. Curt wrote and produced “Body Work,” which became a hit for the group Hot Streak onits platinum soundtrack for the movie Breakin'. “Body Work” was also sampled by MissyElliot for her 2005 worldwide hit “Lose Control,” which was nominated for Best RapSong at the Grammys and won a Grammy for best short form music video.Curtis also co-wrote the song “Remember Us” for John Legend, which earned Legend aGrammy for Best R&B Artist in 2021. With his and Lisa's son, Eric Hudson, Curtis alsoco-wrote two songs on the Isley Brothers' new album, Make Me Say It Again Girl. Curtand Eric teamed up to produce “Midnight Magic.”Eric himself is a five-time Grammy winning producer who has written and produced forsuch artists as Whitney Houston, Kanye West, Mariah Carey, John Legend, Usher, andThe Weekend. Now, Lisa, Ray and Curtis are ending almost 40 years of temporary disbandment. They never stopped believing in Pure Energy. They never stopped performing, writing andcollaborating.

MTV's VMAs (Video Music Awards) will air 9/12, 8pm. Before then, I "announce" prediction winners from 9 of its categories: Best Pop, Best Hip-Hop, Best R&B, Best Rock, Best Alternative, Best Collaboration, Song of the Year, Artist of the Year, and Video of the Year. Hear my picks, and follow this podcast's social media pages to check how I'll score during and after the show!Music Notes with Jess' social media links:FacebookTwitterInstagram2023 VMAs categories: vmas.mtv.com/Linkin Park's "Lost" music video comparisions: https://www.youtube.com/watch?v=QlfrXbyTkpI&pp=ygUQbG9zdCBsaW5raW4gcGFyaw%3D%3DRelated Episodes:Ep. 41 - Nicki Minaj Top 10 HitsEp. 68 - Radio Disney (1996-2021)Ep. 94 - MTV's Music Impact - 40thEp. 141 - Class of 2007 PlaylistEp. 150 - VMAs 2022 PredictionsEp. 156 - Steve Lacy's "Bad Habit"Ep. 168 - Top 40 Songs of 2022 (Part 1)Ep. 169 - Top 40 Songs of 2022 (Part 2)Ep. 172 - Miley Cyrus' "Flowers" Ep. 176 - Linkin Park's "Lost"Ep. 181 - BET/VH1 History & MergersEp. 187 - Ed Sheeran Top 11Ep. 191 - 2023's Hot 100 #1s RecapEp. 196 - Olivia Rodrigo's "Vampire"Ep. 197 - Foo Fighters' "Rescued"Ep. 199 - Doja Cat's "Attention"Ep. 203 - Barbie: The Albums

B. Cox and Domo fondly recollect on Toni Braxton's classic self-titled debut album as it turns 30. The Maryland native, who started in an R&B group with her now famous sisters, made her name first known after her standout performances on the wildly popular Boomerang Original Soundtrack the previous year with her debut on "Love Shoulda Brought You Home" and "Give U My Heart" featuring Babyface. Signed to LaFace Records, she began recording her debut album under the tutelage of Babyface and Antonio "LA" Reid as well as a group of dedicated writer and producers in what would be the young label's biggest project yet.The anticipation over Braxton, her smooth contralto voice with dynamic range that brought her immediate comparisons to Anita Baker, her look and the anticipation over what her debut album was overwhelming. The album was released not long after her first single "Another Sad Love Song", which reached the Top 10 of the Billboard R&B and top 100 charts. The next single, the mega ballad, "Breathe Again" was an even bigger hit, charting in the top five of both charts as well. The next two years would see the R&B radio stations littered with her singles from this album as she became superstar within the genre.The album garnered Braxton three Grammys for Best New Artists (1993) and back to back wins for Best R&B Vocal Performance (1994, 1995). She also won two American Music Awards in 1994 and another in 1995. The album has been RIAA certified 6 times platinum and has sold 10 million copies worldwide and is credited with making Braxton a choice solo act in the R&B genre for the rest of the decade.Visit The Vault Classic Music Reviews Onlinewww.vaultclassicpod.comBuy Exclusive The Vault Podcast Merchandise!www.vaultclassicpod.com/storeSupport The Vault Classic Music Reviews on Buy Me A Coffeehttps://www.buymeacoffee.com/vaultclassicpodBuild Your Own Amazing Podcast Website In Less Than 5 Minutes!https://www.podpage.com/?via=ivecre8Show NotesAlbumism: Toni Braxton's Eponymous Debut Album 'Toni Braxton Turns 30 | Album Anniversaryhttps://albumism.com/features/toni-braxton-eponymous-debut-album-anniversaryBET: Five Reasons Why Toni Braxton's Debut Is Still A Classic 30 Years Later https://www.bet.com/article/n25br0/five-reasons-why-toni-braxtons-debut-album-is-still-a-classic-30-years-laterShondaland: Classic Rewind-30 Years of 'Toni Braxton'https://www.shondaland.com/inspire/a44477970/classic-rewind-30-years-of-toni-braxton/Toni Braxton's Debut Turns 25: Ranking All Of The Trackshttps://www.billboard.com/music/music-news/toni-braxton-debut-ranking-tracks-8465382/Support this podcast at — https://redcircle.com/the-vault-classic-music-reviews-podcast/donationsAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

LISTEN.SUBSCRIBE.SHAREpatreon: patreon.com/sidneysmithcre8tivThe few of a kind podcast, Now That's Debatable is back with another new episode. Each week, two black men step away from telling jokes on stage (a Conservative and Socialist) to discuss the world's current events. And with the help of their live audience, they debate comedians, movies, politics, sports, music, relationships and everything in between. Nothing is out of bounds. This week, buying gas with coins in center console, House Party vs Coming to America, The Brain vs Speedy Gonzalez and we debate our choices for the best R&B Group concert.LISTEN. SUBSCRIBE. SHARESupport the show and more, by joining the Patreon .https://www.patreon.com/sidneysmithcre8tivSupport the show and more, by joining the Patreon . https://www.patreon.com/sidneysmithcre8tiv

|| Movie Rankings/Streaming Database: MovieRankings.net || Subscribe to our YouTube channel: youtube.com/lightscamerabarstool || BUY LCB MERCH: store.barstoolsports.com/collections/lights-camera-barstool || Welcome to VOLUME 046 of THE BRACKET, a Lights Camera Barstool show. In this episode, we decide THE BEST R THING. KenJac is in as host and he's joined by KB, Nick, Owen, Tommy, Steven Cheah and special guest, Francis. Join us as we go from 16 R THINGS all the way down to 1! || Follow us on Instagram: instagram.com/lightscamerabarstool || Follow us on Twitter: twitter.com/LightsCameraPod || Follow us on TikTok: https://vm.tiktok.com/TTPdUh4sEV/ || Follow us on Facebook: https://www.facebook.com/LCBarstool