#which r brazilian song genres

[louifrangos]

happy birthday formidable!!! u will always be famous

[mariamariquinha]

I saw a post on Instagram, well before the Superbowl, that involved Beyoncé and Kendrick Lamar's positions in the music industry. Furthermore, it was said that their activism was biased, since they profited a lot from these statements (or manifestos).

I'm a big fan of Beyoncé; even though I'm not 100% into the world of rap, Kendrick is one of my favourites. Maybe what I reflect here comes a little from an opinion built based on my personal taste, but I understand that beyond whether we like their music or not, they have an impact, and that's what I wanted to say.

Two things happened in these two weeks: Beyoncé won the first AOTY of her career with Cowboy Carter and Kendrick Lamar performed at the Superbowl. Let's start with Beyoncé.

Beyoncé has had COUNTLESS valid AOTY albums (ESPECIALLY Lemonade, sorry Adele), and she is the BIGGEST Grammy WINNER IN HISTORY. Like it or hate it, she is THE INDUSTRY. She made it. And she deserves it.

I saw people saying that she didn't deserve it because Billie Eilish deserved more. This always happens, but when people justify this discontent, you hear things like 'lyricism' or 'impact on the charts', which are valid arguments, but when we're talking about Album of the Year, shouldn't we also think about the social impact that this work has? Guys, I loved Billie's album, but it wasn't AOTY material with Cowboy Carter on the way.

CMAs

In 2016, in the midst of promoting Lemonade, she performed with the Dixies at the CMAs. Do you know what happened? In addition to her being boycotted (with her performance excluded from the awards platforms), SEVERAL country artists were visibly uncomfortable with her presence there, singing an AUTHORAL country song, with the, so to speak, 'personas non gratas' of the country industry.

This influenced the acts she is currently doing. Beyoncé, with all the influence she has, could come with the speech of white people who deny the existence of racism or opine on how black people should react to racism with indifference, but she decided to show how people of color have been carrying entertainment and art on their shoulders, and how the boycott at the CMAs only reinforced that 'veiled' r*cist artists were bothered by people of color who claim authorship of their own culture; then, they are a threat.

She made a country album. In references, Linda Martell, Chuck Berry, Willie Nelson, Dolly Parton, Sister Rosetta Tharpe and, among other people, black country artists who are new to the scene. Do you know the social impact of this? Do you understand that, no matter how many years pass, Beyoncé will also be remembered for using her influence to raise an issue that she might otherwise have been indifferent about (because she has money, success and people love her), and winning a Grammy for a mostly white and biased genre?

I think my point is clear. I love Billie and I think she's a great artist, but in the current context, in the middle of 2025, there was someone putting uncomfortable things in the light, and that person was Beyoncé.

Now, let's go over Kendrick.

2024 was a year in which he was on the top, among other things, for his beef with Drake. Look, I'm not even going to get into the merits of the diss, I never liked Drake (Brazilians in particular have some problems with him) and I've always really admired Kendrick as an artist, so I don't especially want to talk about how he just massacred Drake's reputation and career: everyone knows that.

Again, he could focus the entire intention of that Superbowl on the fight, and gain more prominence beyond the Grammys he won in relation to it. He did that too. Heavens, it was divine. But he (and his team) looked at the guest list in the VIP area, and focused on the type of person on one of the teams competing in that championship (I don't know a thing about that sport, but imagine my lack of surprise when I discovered the character of certain… names from that institution), and said "we should address that".

Some of the biggest, most talented and successful black artists in the US was there. With what justification, full of discrimination, can people on the other side turn around and say that Kendrick is irrelevant? Or that Samuel L. Jackson isn't important? Or that, fuck, Serena Williams isn't just badass? Of course her presence at the performance had more to do with Drake, but she was there, and she embraced the message.

Kendrick looked at the face of the country, at the largest audience in America, and said: why don't you all go fuck yourselves while I rub it in your face that we made this happen? I don't use middle ground when it comes to this, and we know that fire is met with fire.

What do I mean by all this?

Distractions from our culture are welcome and help us keep going, but this is a time of revolution, and this time the right people have the right platforms. At a time of uncertainty, explicit discrimination and the rebirth of a very specific movement, having powerful voices that enhance the people's speeches is more than a nod to the struggles of the lower classes, but a poke at the higher classes.

It's about shouting out what's wrong. It's about saying 'you're an idiot who thinks you're going to win'. It's about saying that you don't hit someone thinking that they won't hit you back. It's about reinforcing how dumb, insignificant and politically limited they are, who rely on conspiracy theories versus a community that has facts and history on its side.

But more than that, we are clearly reinforced that, regardless of anything, they cannot win.

And if you still have any doubts:

[granvarones]

As Pride Month winds down and all of the corporate rainbow “support” goes into hibernation, here are 9 songs by LGBTQ+ artists to add to your playlists to jam to for the rest of the year.

This multi-genre list a celebration of the growing visibility and reach of LGBTQ+ artists. Something that only 10 years ago seemed unimaginable. But look at us now!

Shae Couleé “Divine” (Initial Talk Remix)

Season 5 champion of Rupaul’s Drag Race All Stars continues their bop streak with the jubilant and 80’s feeling “Divine,” remixed by the brilliant Initial Talk.

Pet Shop Boys “Dancing Star”

Pioneering synth-pop dup, Pet Shop Boys re-enter the Latin Freestyle genre with “Dancing Star.” The song is inspired by the life of ballet dancer Rudolf Nureyev, who defected from the Soviet Union and became a global star.

Thiago Pantaleão “O Que Eu Ganho”

Up-and-coming LGBTQ+ Brazilian musician Thiago Pantaleaõ has been making waves internationally and proves the hype is well deserved with this gem.

Jamar Rogers “Sweeten My Body”

American Idol and The Voice alum Jamar Rogers, with featured vocalist Òlah Bliss, has released one of the most magical singles of 2024 with the introspective “Sweeten My Body.”

Tokischa + Sexyy Red “Daddy”

Queer Dominican Sensation Tokischa and emerging Hip-Hop provocateur Sexyy Red team up for the ass-shaking “Daddy.” Produced by Yeti Beats and El Guincho, “Daddy” is a pulsating fusion of reggaeton, dance and Hip-Hop.

Kevin Abstract + Lil Nas X

The lyrics and accompanying music video for Kevin Abtract’s “Tennessee” is a sentimental nod to gay love. Featuring fellow out rapper Lil Nas X, “Tennessee” follows Abstract’s critically acclaimed 2023 album “Blanket.”

Monifah “Testify”

Monifah emerged in the mid-1990s with a string of R&B hits including “I Miss You (Come Back Home)” and the monstrous pop hit “Touch It.” Monifah returns with the rousing House/Gospel anthem, “Testify.”

Jamie XX + Honey Dijon “Baddy On The Floor”

After teasing “Baddy On The Floor” in 2001, and playing it as part of his DJ set at this year’s Coachella, the Jamie XX track featuring Honey Dijon was finally released in April and has been setting dance floors on fire ever since.

Kehlani “8”

Kehlani is on a roll with the just released album “Crash” which features song-of-the-summer contender “After Hours.” She ups the ante with the Kwame & The New Beginning’s 1990 hit “Ownlee Eue” sampled clever ode to fellatio.

jeremy o’brian + Sideeq “deviant”

Mississippi born and Brooklyn-based award-winning playwright, songwriter and vocalist jeremy o’brian beautifully evokes all of the sensuality found on a dark room dance floor with this throbbing track featuring the multi-hyphenated Sideeq.

[randomvarious]

Today's mix:

Fuse Presents Hell by Hell 2000 House / Techno / Deep House / Electro / New Wave

Goddamn, man, I'm not gonna say outright that this mix in particular is the greatest shit in the world—although it's pretty close!—but the ethos behind it certainly represents what has ultimately led to some of the most astonishing sets that we've ever had the pleasure of witnessing as a species. There's this late 70s-and-80s-rooted spirit that's equal parts unpredictable and eclectic, in which the overall route of the set doesn't feel pre-planned at all, because the DJ takes risks by linking tracks together that you yourself would never expect to hear in succession. The overall journey from point A to point B that you get taken on is one that's long and winding and full of surprises, and the DJ themselves doesn't really have any particular destination in mind to begin with either, because the perpetual question that's always most immediately on their mind is, "hmm, what banger do I want to play next? 🤔"

And I feel like this flying-by-the-seat-of-its-pants approach to DJing has largely faded from the limelight and has gradually been replaced by either the DJ who specializes in one specific dance subgenre that's in one specific range of BPMs for a whole set, or the DJ who just plays mindless EDM claptrap from a pre-loaded USB stick 😒. All of it's so safe and hermetically sealed shut. Where's the danger, the fun, and variety of it all?

See, what you really have to understand here is that there was no place on the planet that was more sonically diverse than your typical late 70s and 80s dancefloor. House, freestyle, synthpop, disco, hi-NRG, pop, post-disco, art punk, art rock, art pop, electro, hip hop, funk, boogie, post-punk, new wave, dance-pop, dancehall, two-tone ska, glam rock, sophisti-pop, soul, alternative dance, R&B, etc., etc., etc., all had the potential to be played at any given moment during a set, and the ultimate job of the DJ was to craft a breathtaking sonic collage out of any of it.

And that's exactly what Germany's DJ Hell channeled here with this commercial mix from 2000 for the second ever installment in Belgian club Fuse's own series. But what's more is that while Hell was deriving his inspiration from an attitude of a bygone era, he also happened to have about an extra decade of music at his disposal that his spiritual predecessors didn't. And the 90s ended up seeing a mega-expansion on the frontiers of electronic and dance music entirely, so while Hell certainly picks out his classics from super popular acts like Donna Summer and Frankie Goes to Hollywood, on here you're also gonna find stuff from contemporary dance legends like Todd Terry and Carl Craig, different flavors of rock from Tuxedomoon, Sparks, and the Flying Lizards, Brazilian-sampled techno from Andrew McLauchlan, and deep house from Bougie Soliterre. In reality, almost none of this track list makes any lick of sense on paper, but that's the inherent beauty of the whole thing, folks! Once you put it on and get a taste of Orange Lemon's (Todd Terry's) "Extended Club Mix" of "The Texican," you really start to get a feel for the vision that's been laid out here, and it's one that's mindbendingly motley, and more in the vein of how a lot of old DJ sets used to be!

The best DJs to me are the ones who appear to be doing it purely off the dome and are just living right in the moment while barely thinking ahead. They know how to wow a crowd with a memorable blend of classics, a contemporary hit, and obscurities from any decade, place, or genre, but they make adjustments if and when they feel the need to as well. And above all else, they possess an uncanny ability to play songs that you don't see coming—or that you never even knew existed in the first place—while also convincing you that the choice they made is one that's both thrilling and logically sound. It's a tough act to balance, like a halftime gimmick who rides a unicycle and spins plates on a long rod that sits on their chin while also juggling bowling pins, but DJ Hell is someone who clearly has the knack for it and puts it on full display here.

The world could always use more of this kind of DJing in it, especially when so many of us now have access to more music than we know what to do with that's all sitting right at our fingertips.

And by the way, I didn't really get into specific tracks with this post here, but "Desire," by 69, which is just a nice alias that was used by Carl Craig, is one of the most stunning combinations of string synth and drum break that I think I've ever heard in my life. Good lord, what a tune that is! 🤯

Listen to the full mix here.

Highlights:

Speedy J - "Evolution" Ché - "The Incident (Wet Dream Mix)" Orange Lemon - "The Texican (Extended Club Mix)" Liaisons Dangereuses - "Avant-Après Mars" Tuxedomoon - "What Use" 69 - "Desire" Mitsu - "Shylight" Donna Summer - "I Feel Love (Patrick Cowley Megamix)" Sparks - "Beat the Clock" Phuture - "Rise From Your Grave (Wake Side)" Foremost Poets - "Pressin On" Bougie Soliterre - "Superficial (Main Vocal Mix)" G Strings - "The Land of Dreams" Frankie Goes to Hollywood - "Two Tribes (Annihilator Mix)" Dopplereffekt - "Rocket Scientist" Andrew Mc Laughlan - "Love Story" Filippo "Naughty" Moscatello - "Disco Volante" The Flying Lizards - "Steam Away"

[iheartbathroom]

examples of each category ↓ below ↓ IGNORE year discrepancies im basing it off of the year the artist originally recorded the song. ok

new orleans jazz: king oliver's creole jazz band - dippermouth blues (1923) (this is the original jazz style & is also referred to as "early jazz" although its still extremely popular among new orleans musicians. go to the french quarter and you WILL hear this style of music. this song features a young louis armstrong as seen in the photo)

foxtrot: eva taylor - if i could be with you (1927) (this subgenre was intended for couple dancing and was the most universally popular type of jazz during the jazz age)

swing/big band: duke ellington - take the "a" train (1939) (prevailing jazz style from the mid 1930s.. until the end of time)

bebop: thelonious monk - evidence (1948) (swing but make it crazayyyyyyy. not to brag but this song was based on a song my great grandfather composed..so..)

latin jazz: joão gilberto - desafinado (1959) (jazz w flavorings of one of the various latin music genres. this song is a bossa nova which is a brazilian style that uses samba elements. it later became popular to arrange bossa nova for big bands)

tito puente - el cayuco (1957) (this one is a mambo which is a style that originated from cuba & popularity spread among latino artists, this specific artist being puerto rican-american. posting a second example for this category because its so varied and also as propaganda bc its my favorite)

lounge/elevator/muzak: les baxter - pyramid of the sun (1960) (that chill 1960s film score type shit.. vibraphone my beloved)

jazz fusion: herbie hancock - chameleon (1973) (jazz with usual elements of funk, rock, and r&b. this song is categorized as jazz-funk specifically. WATCH OUT the preview starts loud)

smooth jazz: grover washington jr - in the name of love (1980) (chill r&b oriented jazz. makes me feel like im watching a sitcom intro)

acid jazz: the brand new heavies - never stop (1991) (acid jazz originated as essentially acid house + jazz. like jazz fusion, tends to contain elements of house, disco, funk, soul, and hiphop)

nu jazz: stereolab - fuses (1999) (another fusion genre but this one tends to have a more experimental electronic approach.. no one is surprised i shoved stereolab in here)

electroswing: tape five - tango for a spy (2006) (genre known for using jazz samples with modern dance music styles. electroswing is largely a misnomer for a lot of the music that falls under it bc a lot of it samples jazz that predates swing. but thats just my semantic thing)

[animusiem]

Billboard USA Exclusion Zone Episode 21 (01/13/2024)

Now that all the Christmas stuff is gone, what do we have to replace all of the Christmas songs? Well seems like we are still stuck with what 2023 had to offered. Regional Mexican, J-Pop, old songs that went viral on TikTok, and some legacy songs just debuted. And yet looking at the chart reset I think showed a bigger picture that I will get to on my blog, stay tuned. Enough stalling let's get into these meaty lists of new arrival

--------------------------------------------------------

49. "Goat" by Number_I

You know the year hasn't even started yet and we might have a contender for the worst song of the year. Like imagine if Fleeting Lullaby by Ado was remixed by a B-tier boyband and the productions sounded like the backwash of Gen 3 boyband group sound...you get this.

51. "Rompe La Dompe" by Peso Pluma, Junior H, Oscar Maydon

This is probably the most well produced Peso Pluma song in corridos scene. I love how chill the song is. Definitely needed after...that car crash the size of opening lap of Belgian GP in 1998 proportion.

64. "Wherever u r" by UMI ft. V from BTS

Seems like V beside making solid RnB album, also want to platform small RnB artist as well. And it's a great song to boot as well. I'm instantly hooked by UMI's voice with the melodic guitar, spacious production, and just immaculate atmosphere which is perfect for the sort of cut about long distance longing. I do think the percussion is a bit loud. But hey it's still a high recommendation

114. "Poco A Poco" by Xavi ft. Los Dareyes de La Sierra

Seems like the train of regional Mexican sound is still rolling because we have a newcomer by the name of Xavi. He's not Spanish by the way he's from Arizona. But, he has been going up on the chart with La Diabla which is a good song. And this one might be better due to the fact that there's a slap bass in it.

132. "Maria Mariah" by Silva MC, DJ F7, C NO BEAT & MC Meno Dani

10/10 would Brazilian funk again.

154. "Modo DND" by Xavi & Tony Aguirre

I feel like the reason why I've been positive with Xavi because in terms of corridos tumbados, his sounds are very full and competently produced for once. I love the horn lines here the most because it's kinda like all over the place.

161. "Murder On The Dancefloor" by Sophie Ellis-Bextor

TikTok strikes again and this time it might be their best find yet. Coming from the Saltburn ending where Barry Keoghan "dancing" to this song, we have quite possible the reason why Future Nostalgia existed in the first place. I'm glad that Americans are listening to this two decades later. The lush nu-disco production that didn't aged a day with the liquid guitar, tight bass, and the strings. Every seconds of this song is just tight and controlled which could be attributed to Gregg Alexander aka the bald guy with the bucket hat from New Radicals. The guitar solo is just an icing on the cake on otherwise fantastic tune.

162. "Husn" by Anuv Jain

Never thought I would hear a song from India like this to be honest. But hey it's a nice surprised to hear this type of sounds in other languages that I am not familiar with.

170. "Overdrive" by Ofenbach ft. Norma Jean Martine

It's kinda cool how dance genre has probably its stronger year in 2023. This is the first one I'm listening to this year and yeah the streak keep on going here. Never have I heard more beautiful piano house since...shit probably Hold My Hand.

172. "Alucin" by Eugenio Esquivel X Grupo Marca Registrada X Sebastian Esquivel

This is probably the best "Edm mixed with regional mexican" song I've heard. Though when your competition is a song by Fuerza Regida featuring Marshmello...yeah

186. "Let Me Love You" by DJ Snake ft. Justin Bieber

Not gonna lie, the sound of DJ Snake just didn't hold up so well with time. This song in 2024 sounds so empty and devoid of anything interesting.

190. "Have You Ever Seen The Rain" by Creedence Clearwater Revival

Meanwhile this song is timeless and could be played at any time where you are feeling down or just sick of the bullshit get thrown at you.

191. "Livin On A Prayer" by Bon Jovi

Just listening to this one song and you will get why hair metal was at one point the biggest genre in the world in the mid 80s.

193. "Poker Face" by Lady Gaga

Meanwhile just listened to this song and you'll get why Lady Gaga is an icon and deserved her acolades.

197. "Be A Flower" by Ryokuoushoku Shakai

Wait so this is the song that became an opening for an anime about ancient China? Why does this bang so hard????

199. "One Dance" by Drake ft. Wizkid & Nyla

One Dance is a good song but this song marked the exact point where Drake stopped trying most of the times because his status as #1 hit makers has been sealed.

200. "Lean On" by Major Lazer ft. DJ Snake & MO

It's a good even great EDM song but it's pale in comparison to its competition at that time.

I highly recommend everyone listening to these songs

[joaoaraujo1]

Teacher: Shirlya

Alunos:

João Araújo, Samuel Melo e Nayara dos Santos

Tema: música gospel.

gospel music:

Gospel music (from English gospel; in Portuguese, "gospel")[1] is a type of music composed to express belief, individual or community, predominantly Christian.

Gospel music is written and performed for many reasons with a religious or even ceremonial motive, or as an entertainment product for the commercial market. However, the obligatory theme addressed in gospel music is praise, worship or thanks to God.

history:

Gospel is black Christian music in the United States of America. Perhaps one of the old styles of black music that really came close to gospel was the negro spiritual. The focus of this brief history is the music that flowed from the Afro-American church gave rise to various musical styles such as blues that influenced country music that constitute contemporary folk, rhythm and blues known as R&B, jazz, soul, which gave rise to rock and roll to hip hop, which gave rise to pop music, and inspired a cornucopia of modern choirs, artists from the contemporary R&B market and the current contemporary gospel (contemporary Christian music), in addition to other musical styles of the genre.

origin:

Thomas A. Dorsey (1899-1993), a successful songwriter like There Will Be Peace in the Valley, is considered by many to be the Father of Gospel Music. Early in his career he was a leading blues pianist, known alias Georgia Tom. He began writing gospel after he heard Charles A. Tindley (1851-1933) at a musicians' convention in Philadelphia, and later, abandoning the more aggressive of other songs, did not abandon, however, the jazz rhythm so similar to Tindley's. The Church initially disliked Dorsey's style and did not think it was appropriate for the sanctuary at the time. In 1994, after his death, the North American magazine, Score, published an article with the title: The Father of gospel music (in Portuguese, "O Pai da Música gospel"); in this article the magazine states that when Dorsey realized early in his gospel career that many people were fighting gospel music, he was "determined to carry the flag" for gospel, of course. So he did. He invested in 500 copies of his song, If you See My Savior (in Portuguese, "Se Você Ver o meu Salvador") and sent it to several churches in the country. It took almost three years for him to get more requests for the song and he almost returned to playing the blues. But Dorsey didn't give up and with help from other good musicians he went ahead.

Gospel music in the 90's (Brazil)

Old evangelical hymns 1990s. In that decade, several artists of the gospel genre emerged and great evangelical hymns marked the time. Remember songs like “Oferta de amor "Renova-me”, “Alto preço”, “Reina Senhor”, “Jesus em tua presença”, “Medley da vitória ”, “Deus cuida de mim” and many others.

gospel singers in the 90s ( Brazil):

Kleber Lucas

Cassiane

Aline Barros 

among others...

another group was very successful in the late nineties (1997) the group "Diante do trono"

Diante do Trono (also known as DT) is a Brazilian musical group of contemporary Christian and congregational music formed in 1997 at Lagoinha Baptist Church, in the city of Belo Horizonte. It is led by singer, songwriter and pastor Ana Paula Valadão.[citation needed] The group has become popular in Brazil since the release of its first album in 1998: Diante do Trono. However, it was from the albums Águas Purificadoras and Quero de Ti, from 2000 and 2001, respectively, that it acquired international relevance, becoming the largest worship ministry in Latin America and one of the largest ministries of praise, worship and missions in the world. .[1] It was also considered one of the most successful bands in Brazilian music.[

Playlist:

[frankbedbroken]

frankcore july 2024 update !

we're already in the middle of the month lmfao i'm very not consistent with this. this month's batch is just straight up anything really. fair bit of electronic though not in the most frequently seen veins on these roundups, a bunch of Guitar Music, a couple of pop and r&b tracks here and there. you know the drill

in regards to the electronic section: there's two recognizable sections of the playlist this month, one for drum and bass tracks right at the end which is not precisely uncommon for me but there usually isn't this much, and another one for idm, which isn't the most common sight here as far as i remember. the first one happened because of me going through a rym list of liquid dnb tracks and i picked two of my favourites from that batch, both coming out on brazilian label innerground, one from its founder dj marky alongside xrs, and another from the relatively obscure producer (to me at least) pennygiles, but there were a lot of highlights outside of those, check it out here if you're interested. the two other tracks here fall into crossovers with pop and r&b, which is a genre intersection i'm always keeping track of; one curiously enough being influenced by bossa nova, by korean pop power duo sumin & slom, and the other merging minimal dnb, dancehall and r&b from akriila, an artist whose recent output has made me very excited to hear her soon-to-be-released debut album.

as for the idm side, you have the absolute legends boards of canada with an expectably mistfiying track from their watershed album music has the right to children, a track from caribou before he started using that moniker that fits neatly into the whole idm-downtempo hybrid sound of acts like the aforementioned boc, and a haunting yet enchanting track from emer and ugne uma that blends clinical, spacious idm production with ambient pop idioms.

the rest of the electronic picks of this month are mostly crossovers with pop and r&b. some of them are not (one of the new singles for sophie's upcoming posthumous album reads more as a straight four-to-the-floor tech tool, and axolotl by doon kanda is a now-nostalgic piece of witch house that also feels very dancefloor heavy surprisingly) but most of it absolutely does: the witch house infused trap grooves of today by tirzah, the art / ambient pop influenced by late 80s electronic and new age stylings of susumu hirasawa, smerz working within the parameters of deep house to deliver a disorienting, hazy and glitchy r&b track, yawning portal giving a carly rae jepsen deep cut (i wasn't familiar with it, at least) the ambient trance treatment and creating a heavenly and ethereal vibe, nick león and erika de casier delivering a surprising mix of dreamy r&b with trance idioms as well as brazilian funk and raptor house (!) rhythms, promising j-pop group f5ve making their best track to date with a track influenced by 90s hardcore and ddr soundtracks, and last but not least, no me molestes mas by holy girl! i debated whether i should've shouted this one out when she dropped the track on youtube but i ended up not doing so and waiting for it to finally be posted onto dsps, and thank god it did, easily one of my favourite tracks of the year and probably my favourite track released by an uruguayan artist altogether so far this year, a lovely piece of indietronica (reminded me personally of some of the work by max tundra, but i don't think that's really the inspiration behind it) with slightly snarky yet charming and earnest lyricism, just a very wholesome and comforting song imo.

speaking of uruguayan artists, though, and moving onto the Guitar Music section of the playlist, obelisco dropped what is likely to be the best uruguayan album of the year, i picked the balladesque midwest emo single plan perfecto for the list, but i could've also gone with the more classic hardcore sounds of their other single mundo paralelo, or the many heavy and aggressive post-hardcore showings like ojos or eco, or the other emo showing of the project in the form of the song fuego (any of those would've probably been better for the flow of the playlist also, but i'm stubborn lol), it is seriously a stellar record, exactly as impressive as i expected it to be, it's varied yet quite short so i feel like there's definitely a lot of replay value to be had with it, definitely recommend it.

other picks in this category include: fucking Steely Dan of all bands (i swear, this has been the year of me actually enjoying the stuff i've been dunking on for no reason and subsequently making a fool out of myself, woe is me!), very charming folk pop from big thief, which is an act that i haven't really paid much attention to because i feel like i wouldn't connect much with them but i guess i'll have to change that at some point, a continuation of the hardcore and emo patterns with a track from refused's seminal the shape of punk to come album as well as a cut from jimmy eat world's most lauded (deservedly so) album, and finally, a 12 minute ethereal post-rock / dream pop / baggy piece from mica levi which feels very enveloping and entrancing throughout.

and to wrap up, the tracks i haven't mentioned yet: beautiful, enchanting ambient pop / r&b from TWEAKS; a classic track from janet's classic album the velvet rope which i finally ended up getting to listen to in full and it's as good as i expected it to be; and the only hip hop related thing on the playlist this month, a cut from jawnino's very solid mixtape 40 from earlier on this year, which pays homage to classic grime production with more eccentric mc-ing as well as a welcome guest appearance from james massiah aka babyfather's dj escrow.

tube it!

[hoshuha]

ENTRY 10: MY AUDIENCE

Research and Comparison

Understanding my audience is significant; it will help me with marketing as I will know my target demographic- therefore incorporating production and creation techniques from relatable artists will hopefully resonate with them. So how do I find my target audience?

Honestly, knowing my specific target audience is borderline impossible, however researching artists who perform music in similar genres to myself or of whom have inspired my playing over the years will help to narrow it down.

That being said, I believe Melanie Faye and Kazuki Isogai are two artists that have inspired me with my playing techniques and perform music within the Neo Soul/R&B genre (A genre I would associate my music with). Kazuki Isogai is a guitarist/composer from Japan, whilst Melanie Faye is a guitarist, singer/songwriter from America. They both started gaining traction on social media sites such as Instagram, TikTok and YouTube playing original covers and songs. Melanie Faye has collaborated and toured with artists like: Willow Smith, Noname, Maggie Rogers, Hayley Williams, Jamila Woods, Masego, and Mac DeMarco. (Melanie Faye, n.d.). Kazuki Isogai is the guitarist for Kaela Kimura, Def Tech and has collaborated/toured with Nao Yoshioka, edbl and Kaela Kimura to name a few (Stereofox Records, n.d.). As artists, they heavily utilize elements of jazz- incorporating extended chords embellishments, melodic minor (and the modes) and hybrid/fingerstyle picking techniques (All of which are techniques I try to utilize as well).

According to ‘viberate’ analytics, Melanie Faye has a total Audience Size of 647K people, 70% of them coming from YouTube and Instagram (Viberate.com, 2023b). On the other hand, Kazuki Isogai has a total audience size of 454.1k people, 93% of them coming from YouTube and Instagram (Viberate.com, 2023a). As someone who wishes to pursue a similar career path, featuring predominantly on these platforms, this data highlights the overwhelming support that can be garnished. Additionally, it reinforces how popularity on social media can open new doors for future collaborations with more established artists within the field. Both artists regularly post snippets of performances/practices on both of these platforms (more frequently on Instagram)- therefore, the data shows how their respective audiences don’t just enjoy listening to their full songs, but also how they created their work. Personally, like with Melanie and Kazuki, I enjoy the idea of uploading licks/musical ideas in the form of short videos as it keeps your audience engaged.

Overall, I believe my audience could be similar to that of Melanie and Kazuki due to the similarities in musical style. However, with Melanie, there is a chance that some of her fans may be more interested in her voice; she also sings. On the other hand, both artists (myself included) create primarily instrumental music, thus removing any language barrier which may limit the target audience- This is evidenced in the viberate analytics as it shows that most of their audience is American, despite Kazuki not speaking English.  Moreover, 8% of Melanie’s fans are Brazilian, even though she doesn’t speak Portuguese. To improve, I could take advice from these artists and upload more frequently to social media channels- allowing me to communicate not just full songs, but also musical ideas. Additionally, responding to comments and perhaps uploading non-musical content would help project my personality across, leading to a deeper connection with potential fans.

[nwdsc]

(Cruiserweight | The Jack Movesから)

Cruiserweight by The Jack Moves

Across their self-titled debut effort, Newark, NJ based duo The Jack Moves captured the duality of the city’s existence, from the crummy and rude glory hole bandits of Penn Station to cherry blossom park lovers north of the city. The seaside soul meets skate-punk funk narrative was artfully carried forward on the band's sophomore offering Free Money, which was named one of 2018's best albums of the year by KCRW. Once again it’s on… after a stint stuck in solitude, The Jack Moves are back in the ring. Still in love, but not falling. This time, they’re the prize. This go-round, they’re coming out swinging, not too cute for a scuffle. Still cruising, but now it's for a bruising. Legendary producer/arranger Paul Kyser dubbed The Jack Moves “the baddest band in New York City," and they sound every bit of it on their third full length LP Cruiserweight. Since that last outing, which included two cross-country road tours in 2019, Zee Desmondes and Teddy Powell have collected the experiences from their previous travels, and brought them back to home soil, where they would inevitably get deeper into their Jersey roots. To examine what distinguishes a city like Newark and a state like New Jersey from any other. How it’s become like an alternate dimension, somewhat stuck in the past, but simultaneously far off into the future. To further connect with an unusual cast of characters, and translate their passion and mysticism into song. Still dripping with hard soul, but not quite as obvious to categorize… With Cruiserweight, The Jack Moves take a cinematic approach to song making. Each tune is a vignette, where the fellas get deep into character, to deliver essential parts of the story. As the plot thins and thickens, we’re treated to the sound we’ve come to love, along with a few new card tricks brought to the table. With its infectious, ebullient hook and jaunty flute, lead single “Somebody's Watching You” might seem like a sweet paean to longing, to desire—but it's also an ode to looking in its many forms, to the interplay of gazes online and in real life, to observing, being observed, and performing for the eyes of others. Follow up single "Seabra" is a breezy and romantic, mid-tempo ballad, calling back to Philly soul acts like Teddy Pendergrass or Harold Melvin & The Blue Notes, but infused with a sweet Brazilian samba rhythm, à la Astrud Gilberto and Antonio Carlos Jobim. The Jack Moves enable disparate elements to coexist within sweet soul/R&B, much like the Brazilian community in their home-base of Newark has become an intrinsic part of the city's character. “Lionel Richie” is a hard soul banger, complete with throbbing bassline, menacing drums, luscious string and horn arrangements and cocky vocals. The song is reminiscent of The Ohio Players and Rick James funk, or INXS dance-rock if spun at one of David Mancuso's infamous ‘70s parties at The Loft. It's a distinctly east coast R&B sound, but able to sit comfortably alongside a contemporary outer-regional song like "Am I Wrong" by Anderson .Paak & the Free Nationals, or joints by artists like Bakar and Frank Ocean. Imagine a steaming subway commute through the bowels of the city, to emerge into the powder keg that is NYC… ‘Lionel Richie' is that energy. Perfect for modern and nostalgic soul, funk, boogie, rare groove, and disco playlists. Overall, Cruiserweight is a potent dose of everything we've come to know and love from The Jack Moves, from the sweet soul of "When You're In Love" to the rock & roll tinged "Gatti vs Ward," but with a noticeably more dynamic range. With this record, The Jack Moves promise to strengthen their foothold within the current musical landscape, occupying greater space across genres, and taking significant steps forward into this next chapter. In 2022 The Jack Moves have toured with Thee Sacred Souls, Ghostfunk Orchestra and Weapons of Mass Creation. They’ve been sampled on songs featuring Ghostface Killah and Conway the Machine, and have performed at Brixton Academy, Red Rocks and Billboard Live in Tokyo. Their singles “Somebody’s Watching You” and “Seabra” can be heard on Morning Becomes Eclectic. For those who may have contemplated betting against The Jack Moves… you might be stupid, but don’t be crazy! Cruiserweight will be available October 14th 2022 on Digital and CD with the 1st vinyl pressing due August 2023 クレジット2022年10月14日リリース Produced by The Jack Moves Engineered by Z. Desmondes Strings/Brass/Wind/Harp Engineered by Chris Gilroy Mixed by Chris Gilroy Assisted by: Angelo De Filippis, Matt Huncke, Jacob T. Kiely-Song At Douglass Recording, Brooklyn, NY Mastered by Alex DeTurk at Bunker Mastering Recorded at Arranged by Paul Kyser Published by Indpependent Champion Artwork by Alehsi Lambo (p) & (c) 2022 Everloving, Inc. 2658 Griffith Park Blvd. #115 Los Angeles, Ca. 90039 All rights reserved

[verosewrld]

[ 𝐃𝐄𝐀𝐃 𝐆𝐈𝐑𝐋𝐒 𝐖𝐀𝐋𝐊𝐈𝐍𝐆 ] (stylized as d3ad g1rlz w4lking) is an four membered western girl group based in america. the group debuted in may of 2016 originally under Blind Mice Records, but after a dispute between the artist and the label, the group filed a lawsuit to break contract. in 2019, the group left blind mice and joined SIREN Records, frye creative’s american branch.

dead girls walking is consisted of members; monica, amber-lynn, richie, and clare. there was originally a fifth member, carly, who left the group a month before they debuted. 

┈ basic information ``

✸ ── origin. los angles, california

✸ ── genres. pop • dance-pop • r&b

✸ ── years active. 2016–present

✸ ── labels. blind mice • siren

✸ ── members. monica + amber-lynn + richie + clare

✸ ── official fandom. zombies

┈ members ``

MONICA.

── name. kim hyorin

── english name. monica kim

── stage name. monica

── birthday. august 12, 1995

── birth place. san deigo, california

── ethnicity. korean

── nationality. american

── face. hwasa

AMBER-LYNN.

── name. amber-lynn lindström

── stage name. amber-lynn

── birthday. december 13, 1995

── birth place. lund, sweden

── ethnicity. swedish

── nationality. sweden

── face. amanda khamkaew

RICHIE.

── name. richie salazar

── stage name. richie

── birthday. july 7, 1996

── birth place. houston, texas

── ethnicity. american-brazilian

── nationality. american

── face. barbie ferreira

CLARE.

── name. clare hamilton

── stage name. clare

── birthday. september 1, 1996

── birth place. newport, rhode island

── ethnicity. black-white

── nationality. american

── face. snitchery :: eleanor barnes

┈ music ``

✸ ── NO :: debut single :: 2016

✸ ── BEAST :: single :: 2017

✸ ── STUPID BOY :: mini album :: 2017

✸ ── DEAD TO ME :: album :: 2018

✸ ── THE RETURN :: album :: 2020

✸ ── BOSS BITCH :: single :: 2021

┈ tours & concerts ``

✸ ── GIRL APOCALYPSE :: north america tour :: 2018 

✸ ── DEAD GIRLS RISE :: world tour :: cancelled 

✸ ── THE VIRTUAL DEAD :: online concert :: 2020

┈ trivia ``

✸ ── there’s actually a leaked version of their debut song no which has carly’s vocals in it.

✸ ── the group went on a one year hiatus even after they signed with siren six months after their contract with blind mice was terminated.

✸ ── originally amber-lynn was suppose to be the leader of the group, but her and the other two members voted for monica.

✸ ── all the girls were contestants on either x-factor or american idol which was how they got scouted. amber-lynn; however, wasn’t on the american x-factor, but the british one.

✸ ── their music videos and albums all have an ongoing theme of zombies.

✸ ── along with little mix, dead girls walking are often praised for their teamwork as to not overshadow each other.

[soundrooms]

Soundrs: Sowfi

Hello, my name is Sofia Natália Ritter, I release my songs under the name Sowfi. I’m a brazilian beatmaker and I’m only one year truly involved with music creation (despite the fact that I play piano since nine). So even though I’ve already been involved in some projects, I have a long way to go to finally call myself a “producer.” I started getting involved with lo-fi, but lately I have been producing trap, R&B, and have started studying future bass.

What are your inspiration sources?

It is hard to think of a specific inspiration because since I was a child I always considered myself very eclectic. Sometimes I also get inspirations when I walk alone in the streets. I end up absorbing a good vibe, when I see BOOM a melody pops into my mind. But lately I’ve been listening to Vintage Culture, Clairo, Doja Cat, Heize, Epik High and Millic.

Tell us something about your workflow.

Usually a melody comes to my mind and I transfer it to my classic keyboard (very old I have to say), trying to fix some things before moving on to MIDI and building the whole thing. Also, before starting, I try to listen to songs of the genre that I intend to work to already fit the mood.

How would creative rituals benefit your workflow?

They help inspire me and relax because I sometimes get stressed because I can’t “bring my idea to life.”

How do you get in the zone?

I try to start listening to some songs, a quick meditation or try to have fun with the keyboard because sometimes a cool idea comes up.

“summer breeze” lofi hip hop chill mix by sowfi

How do you start a track?

I once read in an interview that any good melody should be possible to summarize on a simple keyboard or guitar. That’s why I don’t always start directly in MIDI. Sometimes I play my instruments (keyboard or guitar) until I can establish the main melody I want. Then I move to MIDI and try to find some cool sound to build everything else.

Do you have a special template?

I usually like to start with a simple melody (sometimes melancholic hahah), with a soft piano, bells or flutes and always guaranteed a good bass. However, every project I try to try something new.

What do you put on the master channel?

EQ: Not always, but sometimes I like to emphasize a few specific frequencies a little.

Compressor: Nothing too crazy, just to make it all sound cool and interesting together. Also, make the dynamic range more consistent.

How do you arrange and finish a track?

Make sure all the instruments are sounding cool together, structure the project depending on the genre or artist preference I am working on and ensure the effects will start on time.

How do you deal with unfinished projects?

I usually take a break and go to work on other projects, because I think when it’s not working out, if you push too hard it will end up giving a bad and forced result. There were times when I went back to work on a song (which I didn’t even remember anymore) and suddenly I thought “OMG I know now what I can do in this song!” So it takes time to get inspiration.

How do you store and organize your projects?

I have a big file where I organize all my plans, ideas, work (it’s like an online studio) and there I have a folder with projects separated by genres and collaborations. And I keep notes for every song I do with key scale and BPM information for example.

How do you take care of studio ergonomics?

I always try to keep the studio as clean as possible, but lately I am undergoing reform and I need to buy more updated equipment so I think I still can not send a photo (sorry ;-; ).

Tell us something about your daily routine, how is your day structured, how do you make room for creativity?

I’ve been decorating my room lately. If I am not making music I am probably studying about it, listening to or seeking inspiration from the outdoors. And I try to meditate to heal the mind before a new challenge.

Share a quick producing tip.

Many may already know this, but when mixing the kick and the 808s try to make sure they are not fighting for space (cuz sometimes they share certain frequency ranges and this can cause some noise). Separate them by accentuating each other’s frequency in a different range (use EQ) to avoid strange sounds coming from the low frequencies.

Share a link to an interesting website (doesn’t have to be music related).

➜ Webtoons (I’ve been reading a lot lately lol).

List ten sounds you are hearing right this moment : )

Cars, the wind hitting the trees, children crying, white noise, my mom opening the door, Millic album called “VIDA” in the background, keyboard typing, buzina, a random dog, nothing more ~sad.

➜ Sowfi’s Soundcloud 

➜ Sowfi’s Twitter

Thanks Sowfi! Who wants to get featured next? Send a message here on tumblr or email soundrooms@icloud.com.

[mi-news]

Arts-Music .. an A to Z

A Brainstorm Chat Dedicated Essentially For Giving Humble Insights and Joy to Kill the Loneliness you May Notice On this Period and Quench your Reading and Singing's Thirst Using Virtues of soothingWords like a Xylophone than can make You sleep Zzzzz…

A capella:

A cappella is a phrase used in vocal music indicating that a song or part of a song, in one or more voices. It is also the name of a chant performed without instrumental accompaniment. It is a pure, authentic and a rudimentary yet very soothing type of chant.

Blues:

The blues is a musical, vocal and instrumental genre derived from the working songs of the African-American populations undergoing racial segregation in the United States. The blues first appeared in the southern United States during the 19th century. It is a style where the singer expresses his sadness and his disappointments.

Country music:

Country music is a mixture of traditional music developed mainly in the southeast of the United States and in the maritime provinces of Canada, but also in Europe as in Ireland or in the north of the Netherlands. Country music evolved rapidly in the 1920s and remains very popular today. Different gender variations have also emerged in other countries such as Australia.

Dada:

The Dada movement is an intellectual, literary and artistic movement from the beginning of the 20th century, which is characterized by a questioning of all ideological, aesthetic and political conventions and constraints.

Existentialism:

Existentialism is a philosophical and literary current which considers that the human being forms the essence of his life by his own actions, these not being predetermined by theological, philosophical or moral doctrines.

 Funk:

Funk is characterized by the predominance of the rhythm section (guitar, bass, drums) which plays syncopated patterns, the frequent presence of brass or saxophones on rhythmic punctuations (riffs) or solos and, in general, by the great place given to instruments. It has emerged from a mix of soul and jazz music.

Gnawa:

Gnawa music is a body of Moroccan and other North African Islamic religious songs and rhythms. Its well-preserved heritage combines ritual poetry with traditional music and dancing. The music is performed at "lila", communal nights of celebration dedicated to prayer and healing guided by the Gnawa maalem, or master musician, and their group of musicians and dancers.

Humanism:

Humanism is an idealist and optimistic current of thought which places Man at the center of the world, and honors human values. It has shaped many facets of the contemporary world.

Impressionism:

This pictorial movement is mainly characterized by small paintings, visible brush strokes, open composition, the use of unusual viewing angles, a tendency to note fleeting impressions, the mobility of climatic and light phenomena, rather that the stable and conceptual aspect of things, and to transfer them directly to the canvas. Claude Monet and Paul Cézanne are notorious members and founders of the impressionist movement

Jazz:

Jazz is a music genre that originated in the African-American communities of New Orleans, United States. It originated in the late 19th and early 20th centuries, and developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music".

Karaoke

Karaoke (カ ラ オ ケ, karaoke) Is an entertaining way to sing, usually by following the lyrics on a screen.

Liberalism

Liberalism is based on freedom and recognition of the individual, its initial purpose is to rationalize and order social relations.

Metal

Heavy metal (or Metal) is characterized by the dominance of the guitar and the drums, as well as a powerful rhythm. It draws its influences from rock, classical music and the blues.

Naturalism

Naturalism is a literary movement which, in the last decades of the 19th century, sought to introduce into the novels the method of the human and social sciences, applied to medicine by Claude Bernard. Émile Zola is the main representative of this literary school in France. The movement will spread throughout Europe to America.

Opera

An opera is a musical and theatrical work for an orchestra and singers, built on a libretto which depicts characters and their history, where the roles are sung. Opera is one of the lyrical forms of Western musical theater.

Pop

Pop music (or simply pop) is a musical genre that appeared in the 1960s in the United Kingdom and the United States. These songs usually talk about love or relationships between women and men.

Qajar Art

Kadjar art (or qadjar) is an art form that developed in Kadjar Iran, which lasted from 1794 to 1925. The period during which the Kadjar dynasty reigned experienced a strong development of the arts, made possible by a period of relative stability in the country's history, allowing artistic development especially under the reigns of Fath Ali Chah Qadjar.

 Rock

It has its roots in rock 'n' roll of the 1940s and 1950s, itself greatly influenced by rhythm and blues and country. Rock has also incorporated elements from other genres including folk, blues, jazz and classical music.

Symbolism

For the symbolists, the world cannot be limited to a concrete appearance that can be reduced to rational knowledge. There is a mystery to be deciphered in the correspondences which strike inanity the partitioning of the senses: sounds, colors, visions participate in the same intuition which makes the Poet a kind of mage

Techno

Techno is a genre of electronic music that emerged in the United States in the mid-1980s. Most often composed in home studio and reinterpreted by disc jockeys during festive practices, techno is above all dance music, in essence repetitive

Ukiyo-e Ukiyo-e (浮世 絵?, Japanese term meaning “image of the floating world”) is a Japanese artistic movement from the Edo period (1603-1868) comprising not only an original popular and narrative painting, but also and above all Japanese woodcut prints.

Vocal Jazz

Vocal jazz is a sub-genre of jazz, where the voice predominates within the composition. It is thus frequently opposed to instrumental jazz, where the playing of musicians predominates.

Waila

Chicken scratch (also known as waila music) is a kind of dance music developed by the Tohono O'odham people. The genre evolved out of acoustic fiddle bands in southern Arizona, in the Sonoran desert. These bands began playing European and Mexican tunes, in styles that include the polka, schottisch and mazurka

Xote

Xote – is a Brazilian music genre and dance for pairs or groups of four.

YéYé

Yé-yé was a style of pop music that emerged from Southern Europe in the early 1960s. The term "yé-yé" was derived from the English term "yeah! yeah!"

Zadjal

Zadjal adapts well to music. It reached its peak with Ibn Quzman, Andalusian poet adapted from Cordoba, who used it for his panegyrics, but also to sing nature, wine and especially love.

Aymane Moataz, El Mehdi El Bachiri.

[usgunn]

September 1, 2019

CLICK HERE for the September 1, 2019 playlist

1.    Furniture - “Transatlantic Cable” (1983)

I stumbled across this band for the first time this week.  Led by Jim Irvin, who went on to be a British music journalist and also has a co-write credit on a Lana Del Rey song?  Only one EP is on Spotify, but I was so smitten with it I had to lead off with something from it this week.  I’m getting a David Sylvian-vibe.

2.    The Late Bronze Age - “King Greed” (1980)

Spotify credits this song to Col. Bruce Hampton and the Late Bronze Age, but when this record, Outside Looking Out, first came out, they were just the Late Bronze Age.  No offense to my hippie pals out there, but due to his frequent visits to the Georgia Theater back when it was a jam-band haunt I always assumed I would never want to have anything to do with Col. Bruce.  But nobody told me he was in a jazzy new wave band in the early 80′s that sounded like what I always wished Pere Ubu sounded like.

3.    Tesco Bombers - “Break The Ice at Parties” (1982)

London band with but one release, the 7″ from which this song comes, on Y Records, which also put out killer music from Maximum Joy and Shriekback.  I only know this from a compilation,  Cease & Desist: DIY!, put together by JD Twitch of Optimo, the legendary Glaswegian DJ team.

4.    Social Climbers - “Palm Springs” (1981)

NYC-band (by way of Bloomington, IN) who made one self-titled record and disappeared as far as I know, later reissued through the combined power of Drag City and Yoga Records.  Now you know as much as I do.  A lot of the album is more vocal-driven, but this track felt right to kick off a run of instrumental tracks coming up.

5.    Fernando Falcão - “Ladeira dos Inocentes” (1981)

Back to Optimo - they also run a label, Optimo Music, which has picked up a sub-label, Selva Discos, that is putting out some fantastic and forgotten Brazilian music--and that label has just reissued two private-press Fernando Falcão albums.  I first heard Fernando Falcão on the great Outro Tempo compilation a couple of years ago of avant-garde Brazilian music from the 80′s (the Os Mulheres Negras track from a few weeks back came from that compilation).  I don’t know what you call this music.  I like it when you don’t know what to call it.

6.    Ennio Morricone - “Seguita” (1971)

I’m not gonna pretend to know much about Morricone beyond what everyone knows (Italian film composer, did several Sergio Leone movies).  But I always love hearing his music, and I’ve always really liked the Crime and Dissonance compilation (from which this song is taken) of some of his lesser-known work put together by Alan Bishop of Sun City Girls and released on Mike Patton of Faith No More’s Ipecac Records.  This menacing jazz tune is from the movie Gli Occhi Freddi Della Paura, if knowing that sort of thing is important to you.

7.    Sons of Kemet - “My Queen is Harriet Tubman” (2018)

One of several projects of Shabaka Hutchings, a British saxophonist and restless collaborator.  Seems to exist somewhere between jazz and afrobeat, with two drummers pounding out frenetic rhythms.  The album this comes from, Your Queen is a Reptile, was The Wire magazine’s #1 album of 2018.

8.    75 Dollar Bill - “Tetuzi Akiyama” (2019)

75 Dollar Bill started as a guitar and drums duo but have expanded to something much different, playing music that seems steeped in the traditions of some mythical country.  This song is like the blues on acid.

9.    5ive Style - “Pledge Drive” (1999)

5ive Style was a Chicago supergroup (if a supergroup can consist of people no-one has ever heard of): John Herndon (Tortoise, Poster Children) on drums, Leroy Bach (Chicago man-about-town, later in Wilco) on bass, Jeremy Jacobson (one-man-band The Lonesome Organist) on keys, and the inestimable Billy Dolan (later of Heroic Doses) on guitar.  Dolan is one of THE great unsung guitar players of the last, I don’t know, 40 years, and you get a taste of that here.

10.   Orange Juice - “Two Hearts Together (10″ Version)” (1982)

Whether you like this song will determine whether we can be friends.  Not really, but I will die on the Orange Juice hill.  Orange Juice was a Glasgow indie-pop band that most people only care about for their early singles and first-draft of their first album, when they were a scrappy, lo-fi band on Glasgow indie-lable Postcard Records.  But I prefer Orange Juice after they signed to Polydor and became an over-produced also-ran.  This Caribbean-inflected non-album single came between their first and second albums on Polydor, when the band had shed its original guitarist and drummer and added Malcolm Ross on guitar (from Edinburgh’s Josef K) and Zeke Manyika on drums, a Zimbabwe-born multi-talented musician who later recorded with The The and The Style Council, and who in my opinion was a catalyst for the best phase of Orange Juice’s career (but who otherwise seems to be a footnote in most people’s Orange Juice histories--to the extent other people have Orange Juice histories). 

11.    Archer Prewitt - “Gifts of Love” (2002)

Archer Prewitt is best known as the lead guitar player for The Sea and Cake, but made several solo albums of his own in the late 90′s/early 2000′s.  No one would ever accuse The Sea and Cake’s bossa-nova inflected, jazzy post-rock of being “hard,” but Archer’s albums really veered into 70′s soft rock territory, in the best way possible.  There’s a lot to like about this song, but the string-laden outro may be the best part, so good that I’m always disappointed when it fades out so soon.

12.    The Clientele - “Bookshop Casanova” (2007)

The Clientele are a long-time Merge Records band that’s never really caught fire like some others, likely due to their spurts of inactivity and seeming reluctance to tour the U.S. in any meaningful way.  Their catalog is deep at this point, full of poignant moments of beauty and deceptively complex arrangements that invite repeat listens.  This song, though, is probably the closest they ever got at translating what they do into something that might catch a casual listener’s ear at first blush.  

13.    Howard Ivans - “Red Face Boy” (2013)

Howard Ivans is the alter-ego of Ivan Howard, co-leader of another Merge Records band, The Rosebuds.  While The Rosebuds always rooted their genre-experiments in the world of indie-rock, the Howard Ivans persona allows Howard to go full R&B, with wonderful results.  This was one of the first singles put out by Matthew E. White’s Spacebomb Records, and they went all out, with horns arranged by White and strings arranged by Trey Pollard, all cut to tape in Richmond, VA.

14.   BADBADNOTGOOD & Ghostface Killah (ft. MF Doom) - “Ray Gun” (2015)

BADBADNOTGOOD is, as far as I can tell, a bunch of nerds from Canada who play really inventine funk, soul and jazz music, and they made a whole record, Sour Soul, backing Ghostface Killa from Wu-Tang Clan.  I haven’t dived in too deep yet, but really like this song featuring the legendary MF Doom.  Doom and Ghostface have been teasing a collaborative album for years under the name DOOMSTARKS, but so far, nothing.

15.    Baby Huey - “Hard Times” (1971)

Larger than life at 400 lbs. and dead at 26 due to heroin, Baby Huey was not around long enough to make much of a mark.  But he did manage to record one full-length, produced by Curtis Mayfield, from which this song comes (the song was also penned by Mayfield).  There’s an amazing, nearly 10-minute performance of “A Change is Going to Come” on there too, but there wasn’t room this week (I reserve the right to put 10-minute long songs on this playlist, though).

16.    Craig Finn - “Something to Hope For” (2019)

I was never much of a Hold Steady fan -- I appreciated them more than I liked them.  But I feel like frontman Craig Finn is really coming into his own on the solo side of things, and the album he put out this year, I Need a New War, has some great moments, including this earnest, soul-inflected tune.

[morningsound15]

How do you think Beca would handle her fame in perdition? We know all the gossip magazines like to make up stuff about celebrity couples and that talk show hosts and interviewers like to prod, do you reckon Beca would be open about her relationship with Chloe bc that’s something she’s wanted for so long, and therefore would scream from the rooftops that she’s in love with Chloe Beale and that she’s hers?

i know this wasn’t your intention anon but congratulations you got a drabble i just wrote in like 3 hours:

(P.S. If you love Stevie as much as I do, PLEASE watch this video of her singing “Wild Heart” while getting her makeup done for a Rolling Stone photo session. It will change your life.)

[COVER STORY]: Beca Mitchell on Her Newest Album, Coming Out & Finding Love. “I’m bisexual, and I’m proud of it.”By Sydney Havershaw

**

You probably wouldn’t recognize Beca Mitchell if she walked past you on the street. Her personal style is more ‘early-20’s grunge rock enthusiast’ than ‘Grammy Award-winning musician.’ She’s dressed comfortably for our interview — in a pair of skinny jeans, combat boots, and an oversized flannel shirt. Mitchell seems perpetually youthful, and among the crowd of college students around us, she fits right in. At 5’2”, she is also certainly an unassuming figure on the street. “I’m basically a hobbit,” she jokes early in our interview, when situation demands we perch on a set of barstools while we wait for our lunch table. Mitchell’s feet dang comically off the floor, and she swings them absent-mindedly while we get to know each other.

The restaurant where we meet is a tiny hole-in-the-wall Italian bistro — the space is so small it can barely fit 6 tables and the mini-bar it confusingly insists on forcing into the already-crowded room — but it’s a favorite of Mitchell’s (who made me adamantly swear to reveal neither the name nor location of her personal haunt). The little building is charming and rustic and somehow both out-of-place and perfectly nestled within its surroundings. The atmosphere is exquisite. I find myself nearly anxious to grab my pen and begin scribbling down notes.

There’s something easy about being around Mitchell. She has this awkward energy that makes her seem jumpy but also strangely endearing. She’s quick to crack jokes and put herself down for the benefit of the group dynamic. Though her proclivity to make fun of herself is startling at first, her wit and sincerity ultimately triumph, becoming the adjectives which immediately come to mind whenever her name is mentioned in my presence thereafter. Before we even order our food she’s had me in stitches twice, both times with stories about some of her more raucous adventures with her all-female college acapella group, The Barden Bellas (more on them later). She’s an excellent storyteller, if not excellently verbose, and I cannot wait to see what she might have in store for our interview.

It’s a bright afternoon in early March, with clear skies and only the barest hint of a chill in the air. It’s beautiful, and the subtle feeling of spring is beginning to emerge in outfit choices, store inventory, and menu changes. But while most people tend to feel energized and rejuvenated with the promise of new beginnings, Mitchell is still practically reeling from the relative whirlwind of the previous month. She won a Grammy, came out, and started a new relationship — and that was all just in one day!

“I feel like everything changed overnight. I went from being, like, a club DJ to now, I’m at the point where people literally stop me on the street for pictures.” She laughs and shakes her head, like she can’t quite believe it. “It’s been completely nuts.”

For those who may be unaware: after a very public Grammys acceptance speech earlier this year, Mitchell was caught locking-lips with her date, Chloe. [Note: While their relationship is not a secret, and the identity of Mitchell’s partner can be easily found, Mitchell requested we leave Chloe’s last name out of this article for the sake of her privacy.]

Almost immediately, Mitchell’s name-recognition sky-rocketed. The image of the kiss circulated countless gossip websites, made headlines in newspapers around the country, and became a trending topic on Twitter. Videos of the night played on nearly every morning talk show. Mitchell’s social media following almost tripled overnight. Suddenly, and without warning, Mitchell has found herself at the center of a media blitz caused by her very public — and incredibly adorable (link) — public coming out. Seriously, if you haven’t seen the video of her acceptance speech yet (have you been living under a rock?) go watch it right now. You’ll cry, you’ll laugh, you’ll squeal, you’ll fall in love.

**

[image]

Pictured: Beca Mitchell [left] and partner kissing on the red carpet.

**

Since we both know where this interview is eventually headed (it would be impossible not to talk about it at some point), I figure I should ask: does she want to talk about her relationship first?

She shrugs, her leg bouncing under the table. “I don’t know. No? The… I always think of myself as an artist, first. And my personal life is my personal life. But, you guys are, like… the gay magazine. I can’t imagine it won’t come up.”

Her confidence from earlier has all-but vanished. Perhaps because her music carries with it the easy, confident maturity of an artist with twice her experience, it’s easy to forget she’s still new at this. In order to put her at ease, I start off with a few softball questions, things to get her excited and make her more comfortable with where our interview is going.

Her favorite musician growing up? She smiles, looking much less anxious. “I think this probably is gonna hurt my rep, but I gotta go with Stevie.”

“Nicks?” I ask. This is surprising to me, though perhaps it shouldn’t be. While Mitchell’s music is pretty reliably ‘Pop’, it also shows evidence of clear influence from eclectic styles of music, including jazz and alternative.

“Absolutely. She was my childhood crush. And like, she’s totally everything that I want to be, as a musician. First time I listened to the album Rumours I thought, ‘God, that’s just about the most tragic thing I’ve ever heard.’ It’s the story of a relationship falling apart, the dissolution of a marriage, about cheating and heartbreak and mistrust. But it’s also about optimism, and joy. And… well, to me, it’s also about love. And I used to sit there and listen to that album and think, ‘That’s what I want. If I can produce a piece of music even half as emotional, half as complete, I’ll be happy.’ My entire life, all I’ve ever wanted is just one great love story to tell.”

She’s passionate when talking about her music. She seems energized and excited, like she’s thrilled that anyone at all is interested in her music in any capacity. Because it seems like her preferred topic of discussion, I keep asking her questions about her most recent work. Her favorite song on the album? “Oh, that one’s easy,” she says. “Gotta be ‘Saudade’.”

Saudade is a Portuguese word that roughly translates to a feeling of longing, melancholy, or nostalgia. It is a word closely associated with Brazilian music and Brazilian culture. Its most famous usage in pop culture comes from the famous Antônio Carlos Jobim Bossa Nova song “Chega de Saudade” (the published English version is titled “No More Blues”). Mitchell uses the chord changes of Jobim’s chart as the basis for her own melody. This is a common musical practice amongst jazz composers (similar to what ’sampling’ is to Hip Hop and R&B artists), but much less prevalent in Mitchell’s more Pop-dominated genre.

“Saudade” is an early stand-out on Mitchell’s album. It’s a melancholy affair, with a Latin/Bossa drum feel that immediately conjures images of warm summer nights. And to round out the nostalgia of the instrumentals, the song’s lyrics are almost as haunting as the vocal work. Cynthia-Rose Adams, one of the album’s main featured artists, manages to evoke a quiet, unendurable kind of heartbreak while still keeping her performance subtle and subdued. The piece is more than a little impressive. It truly is a masterclass in sad, mournful, longing ballads, and puts more popular efforts by artists like Adele completely to shame. If it isn’t on every teenage girl’s “breakup playlist” by the end of the year, I would be shocked.

But when asked about her preference for that song, Mitchell’s response is less-confident than the quickness of her earlier answer would imply. “I work with a lot of really incredible musicians. My friend, Cynthia-Rose [Adams], who actually provides vocals for that track, she’s a trained jazz vocalist. She’s listed as a co-writer for that song because it’s really all because of her that it has any kind of melody. I showed her a bunch of lyrics really early on, back when I was still work-shopping, and she was in the room with me when I was writing the first draft. But, God, it was terrible.” She laughs again (always willing to joke at her own expense). “No, for real, it was… horrible. So cliché and dumb. But Cynthia just kind of on a whim suggested we try to craft a love ballad using the chord changes of Chega, and I listened to it one time and then it’s like I couldn’t stop writing. It all just poured out of me. The music tied to the lyrics and back again. It’s like the song always existed, and I just was the first person to hear it and write it down.” She pauses, as if she’s only just realizing how long she’s been speaking. “But really,” she says quickly, “without the performance Cynthia puts out on that track, it just… I couldn’t have done it with any other singer. I’m so grateful for her.”

This is a common feature of our interview. Mitchell is almost reluctant to take sole credit for her own music. At every turn she’s thanking her vocalists, her sound engineers, and her co-producers. It belies the incredible amount of time and energy and dedication she put into crafting this album. Anyone who works with Mitchell will also be sure to note both her work ethic and her unyielding attention to detail. Talking to her, you might think a great many things about her character, but ‘immodest’ would certainly not be one of them.

When I ask how she met her collaborators — specifically Adams and Emily Junk, the album’s other featured vocalist — Mitchell grins wider than she has all afternoon. The ease immediately returns to her body. She relaxes in her chair, lounging back with her legs crossed over the knee. She seems like any other 20-something again. You never would guess that, a few short weeks ago, she was a trending topic on Twitter.

“I met Cynthia and Emily in college. They were in the same acapella group I was in.” She’s talking about the Barden Bellas, the nationally-ranked all-female acapella group out of Barden University, a small liberal arts college just outside Atlanta, Georgia. Mitchell was the captain of the group for 3 years, and led the Bellas to two national championships and one world title. “We were really just a bunch of misfits,” she says when I prod her for more information. “And, y’know, being a group of only women, it’s actually pretty hard to make a name for yourself in the acapella world. The best groups are either mixed or all-male. And we’re a very diverse group, and most of us don’t necessarily fit with conventional beauty standards. So I’m just really proud we were able to break through, make an impact, and show people what a group of badass, powerful ladies can do.”

Does she keep in contact with her old group? “Oh, of course, we talk on the daily. I mean, the Bellas gave me everything. They’re my family. I truly don’t know where I’d be without them.”

But now, it’s time to address the elephant in the room. I almost want to apologize to her, though I know it’s completely unnecessary. She has made it apparent that she is comfortable answering personal questions, and has previously specified to me that she is open and completely willing to talk about her own coming out experience. But even though I know she’s agreed to this line of questioning, that’s still just the kind of person she is: she makes you want to look out for her, to keep her safe. She’s so shockingly sincere, so non-malicious, that to do anything to harm her in any way seems tantamount to blasphemy.

Almost like she can sense a shift in the air between us, Mitchell sets her shoulders. I ask her if she’s nervous about coming out. “Not at all,” she answers quickly. “I’ve been ‘out’ for pretty much my whole life. Sexuality has never been a problem for me. I’ve never talked about it before because, honestly — and I know this sounds cheesy and cliché, but I really do mean it — it’s just never come up. It’s been such a non-issue for so long. And I guess I figured it would become common knowledge sooner or later. I just never anticipated, the, um…”

“Going viral?”

She flushes. “Yeah. Never saw that one coming.”

Becoming an overnight sensation by going public with a relationship is an experience that is difficult to replicate or understand, if you haven’t been through it. I ask Beca how she feels about the sudden influx and attention she’s been receiving.

“I don’t mind the attention,” she says honestly. “It can get pretty scary sometimes, but it’s not like I have paparazzi lurking around my apartment or anything, so I feel like I got off pretty easy. I mean I don’t like the attention, but, y’know… sales have gone up, at least,” she jokes, somewhat half-heartedly.

And about her new internet celebrity status (there are dozens and dozens of Tumblr pages devoted to her alone) as an out, queer female musician?

“I mean, I hope we’re moving into a time when, like, it doesn’t matter who anybody dates?” she says, somewhat uncertainly. “I’m like, yeah, technically a celebrity, but it still shouldn’t really matter who I’m with. Man or woman. Like, shouldn’t we be past this, now? If I had kissed a guy that night, I wouldn’t have made the front page. There’s just something different about a queer artist, a woman kissing another woman publicly, I guess. And I mean I do get why. When I was a young, baby bi, I didn’t really have any musicians I could look to, to see myself represented. I know how important it is to see people be out and open about who they are and who they love. I don’t mean to imply that I’m taking that for granted. I am so thankful to every person who’s told me that they’ve connected with my story. And to the people who say I’ve helped them in any way, like… truly, that is such an honor.” She pauses, chewing on her lower lip nervously. “But at the same time, I don’t know if I like that we still live in a world where it’s, like, headline news if a low-level celebrity like me just happens to be dating someone of the same gender.” She laughs lightly. “Guess that’s not something I should say to a magazine that focuses on LGBTQ issues, huh?”

I shrug it off. Mitchell’s point is, after all, a valid one. In this modern political climate, there does seem to be something strangely antiquated (if the early-2000s can be considered ‘antiquated’, that is) about a celebrity needing to give a ‘coming out’ interview. But, despite the merits of her argument, I still have a job to do.

I ask her about her burgeoning role as an icon for other young queer women hoping to enter the industry. “I don’t know if I’m the best role model,” she says with her signature self-deprecating manner. “But I am queer. My music is based off of my life, and I am in a same-sex relationship at the moment. My last album was about a woman. And none of that’s a secret. I’m just going to continue to make the music that I want to make, and my sexuality and my current relationship are definitely a big part of my art. I’m not going to apologize for that. I’m just gonna live my life the best I can, and if people want to see me as a role model for that… yeah, I’d be proud of that.”

I wonder how Chloe feels about her sudden thrust into the limelight. Her life as an inauspicious, unknown civilian must be all-but over (at least, for the time being).

Beca is careful with her response. It takes her many long moments to weigh her words. “We both really value our privacy. And with regards to our relationship, well… I don’t want to speak for her. But I do know that she’d prefer it if she didn’t have any of the fame or the attention. Because of that, we’re really doing our best to keep a low media profile, for our families and also for our personal lives.”

**

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Pictured: Beca Mitchell, wearing an Angela Chen Jacket, Skoot Apparel Sneakers, Gap Socks, Stylist’s own tank top, and her own jeans.

**

“But I… we really do want to keep out of the media, as much as possible. But I don’t want people to… A lot of people have contacted me recently, like… way more people than I expected. I get Instagram and Twitter messages every day from young fans; people approach me in the street and tell me that they’ve been impacted by my story; I get letters from people saying that it’s meant a lot to them to see a prominent queer female artist, and… I do feel such a responsibility, now. I understand how much it blows to feel alone and… misunderstood. So, while Chloe and I are trying to keep our private lives private, I don’t want people to think that I’m ashamed of who I am or who I choose to date. That’s not the reason we’ve been keeping a low profile. I’m not ashamed of who I am. So I want to be open about my life. I want people to know that I’m bisexual, and I’m proud of it. And I’m proud of my significant other. But I also want people to respect me, and what I choose to share. I’m sort of a public figure, now, and I signed on for it willingly; like I knew this was coming for me. But Chloe doesn’t really want that life, so… if people could respect my privacy, that would be amazing. I’m not going to stop being who I am and loving who I love proudly and vocally, but I want people to understand that the parts of my life I share are the parts of my life I’m willing to share. Because sometimes — and I think we forget this a lot because of how everyone’s always gotta be documenting their lives on social media and everything — sometimes I think there are some things that should just be for you.”

She shakes her head ruefully. “My publicist is gonna kick my ass. That answer was so preachy and long-winded.” She startles. “Oh shit, can I say ‘ass’?” When I nod in the affirmative, she seems more than a little relieved.

I tell her I understand her desire for privacy. I want to respect her wishes as much as possible, but I’m still dying to know something.

Does she think she’s found her one great love story?

“Chloe’s my best friend,” Mitchell says calmly, with a serene sort of smile on her face. “And she makes me happier than anyone in the world. So if you’re wondering whether I’m ‘finding love’?” She smiles coyly, and looks off to the side. The street outside our café is bustling with activity. A young couple walks by with limbs intertwined, their free hands each balancing an ice cream cone. On a nearby bench, an old man reads the newspaper to his bent-over wife. It think maybe it’s just me, noticing all the sweet signs of romance filtering through the air. (Spring, like I said, makes me think of new starts and new beginnings.)

But Mitchell finally turns back to me. Her smile never wavers. “I would say that it definitely looks promising.”

[blackkudos]

George Duke

George Duke (January 12, 1946 – August 5, 2013) was an American musician, known as a keyboard pioneer, composer, singer and producer in both jazz and popular mainstream musical genres. He worked with numerous artists as arranger, music director, writer and co-writer, record producer and as a professor of music. He first made a name for himself with the album 

The Jean-Luc Ponty Experience with the George Duke Trio

. He was known primarily for thirty-odd solo albums, of which 'A Brazilian Love Affair' from 1980 was his most popular, as well as for his collaborations with other musicians, particularly Frank Zappa.

Biography

Early life

George Duke was born in San Rafael, California. He was raised in Marin City. It was at the young age of 4 that Duke first became interested in the piano. His mother took him to see Duke Ellington in concert and subsequently told him about this experience. "I don't remember it too well," says George, "but my mother told me I went crazy. I ran around saying 'Get me a piano, get me a piano!'" He began his formal piano studies at the age of 7, at his local Baptist church. It was those early years that influenced his musical approach and feel, as well as his understanding of how music elicits emotion.

Duke attended Tamalpais High School in Mill Valley before earning a bachelor's degree in trombone and composition with a minor in contrabass, from the San Francisco Conservatory in 1967. Playing initially with friends from garages to local clubs, Duke quickly eased his way into session work, which refined his abilities and expanded his approach to music. He later earned his master's degree in composition from San Francisco State University. He also taught a course on Jazz And American Culture at Merritt College in Oakland.

Career

Beginning in 1967 Duke experimented further with jazz fusion, playing and recording with violinist Jean-Luc Ponty, as well as performing with the Don Ellis Orchestra, and Cannonball Adderley's band, while he acquainted himself with Frank Zappa. Duke appeared on a number of Frank Zappa's albums through the 1970s.

Frank Zappa played guitar solos on Duke's 1974 album, Feel - the instrumental "Old Slippers", and "Love" - credited as Obdewl'l X, possibly due to contractual reasons.

Duke covered two Zappa-composed songs on his 1975 album, The Aura Will Prevail, - "Uncle Remus" (co-written with Duke) and "Echidna's Arf" - that he had played on while a member of The Mothers on Zappa's albums.

A further Zappa connection occurred on Duke's other album from 1975, I Love the Blues She Heard Me Cry - which utilized Ruth Underwood, Tom Fowler, and Bruce Fowler from Zappa's Overnite Sensation band that Duke was a part of, along with Zappa-associate Johnny "Guitar" Watson and jazz guitarist Lee Ritenour.

Duke served as a record producer and composer on two instrumental tracks on Miles Davis albums: "Backyard Ritual" (from Tutu, 1986) and "Cobra" (from Amandla, 1989). He has also worked with a number of Brazilian musicians, including singer Milton Nascimento, percussionist Airto Moreira and singer Flora Purim. Lynn Davis and Sheila E appeared on Duke's late-1970s solo albumsDon't Let Go and Master of the Game.

Duke was prominent in the R&B genre, releasing funk-based songs like "Reach for It" and "Dukey Stick". In 1979 he traveled to Rio de Janeiro, where he recorded the album A Brazilian Love Affair, on which he employed singers Flora Purim and Milton Nascimento and percussionist Airto Moreira. The album contained music in a wide assortment of genres, including some Latin jazz and jazz-influenced material. From a jazz standpoint, the album's most noteworthy songs include Nascimento's "Cravo e Canela", "Love Reborn", and "Up from the Sea It Arose and Ate Rio in One Swift Bite". The track "Brazilian Sugar" was featured on the 2006 video game Dead or Alive Xtreme 2. Meanwhile, Nascimento's vocal on the ballad "Ao Que Vai Nascer" is an example of Brazilian pop at its most sensuous. The 1992 film Leap of Faith featured gospel songs and choir produced by George Duke and choir master Edwin Hawkins.

Duke worked as musical director at numerous large-scale musical events, including the Nelson Mandela tribute concert at Wembley Stadium, London in 1988. In 1989, he temporarily replaced Marcus Miller as musical director of NBC's late-night music performance program Sunday Night during its first season. Duke was also a judge for the second annual Independent Music Awards to support independent artists' careers.

Duke worked with Jill Scott on her third studio album, The Real Thing: Words and Sounds Vol. 3; guesting on the track, "Whenever You're Around". In the summer of 2011, he put together a trio with David Sanborn and Marcus Miller for a tour across the US of more than 20 sold out shows.

Legacy and influence

Duke died August 5, 2013 in Los Angeles from chronic lymphocytic leukemia. He was 67 and was survived by his sons, Rashid and John. He was laid to rest at Forest Lawn Memorial Park (Hollywood Hills), following a memorial service. Attendees included notable friends Chaka Khan, Lynn Davis, Sheila E., Malcolm Jamal Warner, Stanley Clarke, Al Jarreau, Dianne Reeves, Jeffrey Osborne, Stevie Wonder, Marcus Miller, and Doug E. Fresh.

Duke's songs have been used by a wide variety of contemporary musicians in a wide array of genres. These include: "I Love You More", sampled by house music-act Daft Punk for their hit "Digital Love"; "Guilty", sampled by electronica music artist Mylo in his song "Guilty of Love" on Destroy Rock & Roll. "For Love", sampled by underground hip hop artist MF Doom on his track "I Hear Voices"; "Someday", sampled by hip hop artist/producer Kanye West for Common in "Break My Heart" on his "Finding Forever" album; "You and Me", sampled and used by soul/rhythm and blues influenced hip hop-producer 9th Wonder on the track "Spirit Of '94" on the album Spirit Of '94: Version 9.0 which he made with Kaze; and "Reach for It", sampled by Ice Cube in "True to the Game" on his Death Certificate album and Spice 1 in "In My Neighborhood" on his self-titled debut album, and sampled by W.C. & The Maad Circle (featuring Mack 10 & Ice Cube) in "West Up" on their "Curb Servin'" album. Madlib utilized Duke's "My Soul" on the track "Mingus" from his "Madlib Medicine Show #8: Advanced Jazz" album.

Duke was nominated for a Grammy as Best Contemporary Jazz Performance for After Hours in 1999. By popular vote, Duke was inducted into The SoulMusic Hall Of Fame at SoulMusic.com in December 2012.

On August 5, 2014, exactly one year after Duke’s death, Al Jarreau, Duke’s long-time friend, released an album titled, “My Old Friend: Celebrating George Duke”, as a tribute to his music. The album featured 10 songs, all written by Duke. Jarreau enlisted Gerald Albright, Stanley Clarke, Dr. John, Lalah Hathaway, Boney James, Marcus Miller, Jeffrey Osborne, Kelly Price, Dianne Reeves, Patrice Rushen and many others to help create this tribute to Duke’s music. The album was released on Concord Records and it garnered the 2015 NAACP Image Award for Outstanding Jazz Album.

Wikipedia