Tag Archives: R&B

Etta Bond – Make Me Cry

One of the most unique talents out of the UK, the beautiful singer/songwriter Etta Bond is one of the pioneers, a prominent talent who stood out early with her unconventional style. Similar to soulful acts like Cleo Sol and Bluey Robinson, the artistry found itself falling behind in what was a transitional period for the music industry, none the less her distinct tone and authenticity cut through and fast forward, as the natural talents rightfully progress, with the likes of Cleo, Jorja Smith and newcomer Kwn, Etta Bond is definitely one deserving to shine. Having teased fans with 2023’s A1, Lie To Me and the introspective (and a personal favourite) Zone, she returns with another two quality tracks, Let Me See Your Phone and the latest release, Make Me Cry

Let Me See Your Phone, is classic Etta, sultry, enchanting and captivating, with longtime producer Raf Riley, it’s a slow and soulful number, her vocals like an additional instrument, taking centre stage as she croons with a perfect balance of confidence and vulnerability. As great as her voice is, her lyricism is heavily underrated and this track emphasises that songwriting ability. Which brings us to the more uptempo offering, Make Me Cry

This is exactly why fans have been craving for an album from her, these contrasting sounds like ranges of feelings are what make artists special and she does this effortlessly. With it’s catchy drums, she’s able to match it’s infectiousness and deliver an emotionally strong and sexy effort. It definitely reminds me of a particular song from the past and though it must be from a while back as I can’t seem to remember, I’m thinking Justin Timberlake or Beyonce maybe, but that merely highlights the level of quality of this song. Credit to Raf Riley, once again creating a perfect canvas for Etta to vocally paint across and being able to delve into these real subjects so organically further champion why she’s so underrated to me.

Like Let Me See Your Phone, Make Me Cry is another step in the right direction for the songstress and hopefully will be part of a full length project in the near future, giving us a greater sample of her artistry, with her blend of innovative, relatable and honest music.

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Ye Ali – WYA? I’m Not Mad Anymore

Having cemented himself in the R&B realm, as an artist (including last year’s Ye Ali & Chill 4)and behind the scenes, writing and producing with newcomers and legends like Chris Brown, Ye Ali has been experimenting with genres, from displaying more raps to now releasing this new dance album, cleverly titled, WYA? I’m Not Mad Anymore.

There have been a few dance album attempts of late, Drake tried and it didn’t transition how he might have liked, Beyonce on the other hand, was able to cut through but more so as her discography has given glimpses, so initially, hearing this was a dance album, I might not have been as keen, preferring his R&B prowess, however, upon actually listening, I was surprised.

Seven tracks of upbeat soul (produced along with JVD) starting with Eyes Wide Shut, a perfect blend of his soulfulness with the club ambience, an insight into what this project is. No More Chances establishes the theme and is the more natural of the blends and maybe even my personal favourite. Party Just Peaked continues that vibe and is one of those classic picturesque songs that could have easily been a Chris Brown hit. Strangers In The Club musically is the more dance sounding, other than the harmonies in the back and he gets to rapping in what felt like a more British twang, it’s something that Pink Pankthress for example could deliver, which just highlights Ye Ali’s ability in constructing these tracks. Track 5, Secrets, the shortest track on the album is also one of the catchiest, though serves as an interlude, at this point I’m surprised that I’m enjoying a dance album as much as I am, nodding along to the uptempo drums. Echoes follows suit, similar style to the fourth track but doesn’t feel as experimental, before Who But Me? the smoother of the dance tracks, that not only is reminiscent to previous Ye Ali efforts, but also closes out the album nicely.

If you said he compiled some of the more upbeat R&B tracks in the vault into this concise project, I might have leaned towards it more, though the A&R part of me feels there are a few songs from this that might have stood out better amongst the more traditional releases, notably No More Chances and Party Just Peaked as the standouts, however, conceptually WYA? I’m Not Mad Anymore works well, as it isn’t too far left for his fanbase and will help him venture further in this direction as a creative.

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Ye Ali – Ye Ali & Chill 4

There’s no stopping the budding hitmaker, since last year’s Private Suite 5 release, he’s dropped the collaborative THJ Radio Vol.1, the explanatory titled Rap Sanga, even a dance project, WYA? I’m not mad any more and another R&B offering with the fourth instalment to his Ye Ali & Chill Series.

The grammy winner continues to elevate R&B with this 8 track project, leading with the catchy Leave The Party, where he blends his soulful prowess and ability to rap, into the harmonious Catch Feelings. As he continues to evolve as an artist, he’s definitely looking to glide through genres, displaying some more raps on Her Side, but like the singing, he’s able to effortlessly experiment with flows and cadences, as evident on Hopefully, a smooth merge of the two. Track 5, Concept, though feels like an interlude being the shorter of songs, with it’s uplifted chords and nostalgic synths, contrasts the sexy IV Way, a darker and more sultry sound in comparison to Track 7, (another fan favourite) Come Inside, though similar, it feels more weighted, and is another display of modern R&B with those old school elements. Further drawing on those elements, he closes out the project with the percolative outro Secret Oasis, concluding another solid offering with Ye Ali & Chill 4.

At this point, it’s too easy for him, but what’s pure about his artistry is that where most are focusing on their branding, his is being built of his attention to the music across the board, something that makes Ye Ali not just prominent but provides longevity.

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Tyrese – Beautiful Pain

The model with one of R&B’s most gifted voices, transitioning into an actor starring in cultural classics and blockbuster franchises, in the recent media climate tends to find himself spoken of more for the transparency of his personal life than his art itself. However, his recent series of events felt more calculated to me, from the viral national anthem rendition (which I think he knew people would assume was Marvin Gaye cosplay and give him the platform to speak on the Teddy Pendergrass movie), to the roll out that followed, and though it’s a shame that this is the time we’re in where an artist of his stature feels he has to do that, if you can deliver quality in the height of such interest then you can maximise interest.

Now, I don’t know if that campaign did maximise interest, but I do know that with Beautiful Pain, he’s delivered quality. It’s loosely themed around his recent divorce drama, being a very personal album and that emotion is the catalyst throughout, the bad and the good. I didn’t know what to expect entirely, but the intro set the mood, the cheers emphasised his status and the sexy saxophone solo with the falsetto said R&B. First couple listens the content may feel heavy but as it continues, the art takes over and as an expression, it’s executed to the highest level, the songwriting, structure and sequencing, it’s a solid offering, complete with the legendary features, there’s songs that will exist outside of the album, like Bedroom Bully and Unbelievable (ft. Kenny G & Eric Dawkins). This album is a success just off Tyrese’s ability to take a tumultuous experience and artistically vent through this, (again) the bad and the good. I believe he will reap the benefits from this project, with fans undoubtedly looking forward to more of this grown man music. Perfectly titled, through the ups and the downs, powered by love, he shares his Beautiful Pain.

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Ye Ali – Private Suite 5

As R&B wavers in and out the mainstream, not far off in the underground, foundations are being laid for the genre’s new age, with Ye Ali at the helm. Having orchestrated in the background for the forthcoming compilation project, he returns to the forefront with the 5th instalment to his Private Suite series.

No time wasted, it starts with Sex In Your Mind, serving as the intro, it sets the scene (the, “in your mind” aspect of this song is such a traditional spin), leading into Good Girls II, switching the tempo up a notch, it’s a similar sound to the current R&B/Drill mash emerging out of New York (and who better to flex in that realm), with it’s notable samples including the legend Joe. Now X3 (featuring 11:11, Zae France and Mizzy Lott) gives us a glimpse into that compilation project. Track 4, Deleting Apps, a great example of Ye Ali’s penmanship, as a lot of today’s R&B are attempts of the golden ages, he actually challenges the norm with his writing and musicality, which sounds current but feels like the classics. Further justified with Missed Birthdays, the sonically sexier of the songs, it’s actually one of the best tracks of recent, especially if you account the vulnerability to confidently deliver such toxicity. Next is the exotic Pree Di Ting (Hold Up), “I know she got a schedule, but I’m not scared to call..”, he opens with, over the warm afro-infused composition, showcasing the depth in his craft. The theme is maintained with Girls From Houston, acting as an interlude before another standout track, Open Late, R&B at it’s core, with the subtle samples, it’s a solid effort with fellow collaborator DCMBR & Benstar, before the actual interlude Pictures With The Opps, breaking the fourth wall whilst restoring the toxic balance (can’t believe she burnt the PS5). Concluding the project with the first and (previously reviewed) well-received single Good Girls.

For a few years now, Ye Ali has garnered a loyal audience and could well have just focused on his solo success, however, he’s always appeared to put the art before him and whilst evident in the quality of these releases, it’s certainly not gone unnoticed as he’s being touted as a successor in the genre to the likes of R&B maestro Tank. With the compilation album on the way and rumours of Traphouse Jodeci 3, the future of R&B is in safe hands.

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PartyNextDoor – P4

It’s no coincidence that the state of R&B was in question during Party’s recent hiatus, and as more of his offspring appear, despite no new music since 2020’s Partymobile, his influence remains, and as more low quality attempts continued, it was only a matter of time until the real returned to restore order, with the highly anticipated fourth instalment to his now classic self-titled series.

The demand for new PartyNextDoor music was always there, and late 2023 waters were tested with singles Her Old Friends and Resentment appearing before the official album announcement/roll out. Whilst fans jumped at new PND, it was evident that a project was needed, and when it was announced that it was ‘P4’, anticipation rocketed.

Couple festival appearances served as a reminder of his position as one of the premier musicians, also highlighting his intent to be back outside, reinvigorating the classics and revelling in the prolepsis.

The final single before the album’s release was Real Woman, and while the more potent of the singles, an artist of Party’s magnitude could’ve easily just dropped this album with no promo and I believe it wouldn’t have been any less successful. Then there’s the artwork unveiling, provocative, it did what was required of it, though initially dubious of the choice, you trust the artist’s reasoning and ultimately it signified grown and sexy, a sure reflection of the music to follow.

After almost a minute of firework infused ambience, he croons, “Take off your clothes..”, the opening line sets the tone, aligns the artwork and the movie begins. Off rip it’s quirky quotables delivered in innovative harmonies. Track 2, a previously teased snippet, didn’t fail, with it’s unorthodox DMX sample, Lose My Mind adds to a strong start. Stuck In My Ways, whilst slowing tempo, offers that vulnerability missing from today’s music, the personal outro/interludes provide that personal touch, encompassed throughout the journey of the album. Track 4, Cheers, naturally adds to an organic playlist of party vibes, and maintains his distinct penmanship, “Tamia, Tamia, officially missing me..”, it’s those cultural nuances that can’t be replicated. Complete with the interlude of his girl getting on his case, which perfectly segues into Make It To The Morning, another track that shouldn’t be as catchy as it is, well crafted, another solid example of the male accountability wrapped in charm that’s scarce of late. Track 6, “Ever since I copped you all that ice, you got no chill..”, No Chill, and the previous single, Her Old Friends, both showcase different skillsets in style and cadence despite being similar tempos, which, in addition to The Retreat interlude, perfectly sets up the secret summer smash he’s had in the tuck, For Certain. That entire transition took me by surprise and that’s what you ultimately expect from a PND project. For Certain, the afrobeats sound with the right level of bass and hi-hats to deliver a blend of raw yet clean sound, it’s a progressive step from the man responsible for some of the biggest hits from your favourites, and really might not have fulfilled it’s potential with a combination of behind the scenes industry manoeuvrings and a particular rap feud that shifted momentum. But back to what matters, the music, and Party doubles down on his antics with Sorry, But I’m Back Outside, the aptly titled slow jam sonically leans to the grown side of things, with more lines you can expect to belt out like, “I shouldn’t even be outside, I got somebody inside waiting on me..”. Credit again to the sequencing of this project, with the overwhelming outro, that introduces another single, Real Woman. The song was quality when it first appeared, however it’s amplified within the album, though not the last song, it does feel like the climax of the album, with the necessary A Mother’s Prayer (Interlude), the more personal Family, and the single Resentment serving as the curtain closer of what is, another quality body of music, even beyond R&B, the roll out makes sense as it’s another masterpiece in the discography, now etched in history, once again raising the bar and reinstating his position as one of the leading artists today.

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Ye Ali – Good Girls

Since my Introducing: Ye Ali article in 2018, he’s since gone on to establish himself as one of the forerunners of R&B, beyond an artist, he’s worked behind the scenes with not only the likes of Chris Brown, but a whole crop of up and coming R&B stars. With multiple instalments of his now classic projects (including the more recent mixtape Private Suite 4), Ye has developed his craft further, from production, songwriting and vocals, spreading his wave throughout the new rise of R&B through various production camps, his imprint is visible, and his latest release is a testament to that.

Good Girls, caters to his core, it’s soft melodic base, rests comfortably within the crisp hi-hat, allowing him to accentuate his vocals, accompanying ad-libs and glittery chimes provide the backdrop for him to push his lyricism to the forefront with classic R&B simplicity. It serves as a solo teaser, with his compilation project on the way, he’s definitely positioning himself towards the top of that new R&B lineage.

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R&B King Que

So yesterday morning, I saw a video from Jacquees, claiming he’s, “the King of R&B, right now, for this generation.”, I didn’t think much of it, and went on with my day, by the end of the night however, I logged back into the matrix, to find the shit trending, and everyone discussing who the King of R&B was, with the obvious names such as R. Kelly thrown in, plus the typical people desperate for validation, mentioning whichever names had not been said thus far, with Carl Thomas and Donell Jones amongst them.

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See this is exactly why I did not think much of the video when I saw it, because Jacquees, who is prepping for the follow up to his 4275 album, knew everyone would latch at the bait and they damn sure did. It reminded me of the time when T.I. jumped out the gate claiming to be, “King of the South”, and people were outraged, until the South basically confirmed it. If you’ve followed me for a while, you’ll know how highly I rate Que, while the majority may have only been introduced to him through the ‘Trip’ controversy, the young crooner has lead a resurgence of R&B today, amidst the Hip-Hop wave. While he may appear to be reaching, having only released his debut album this year, he’s not entirely wrong.

If he said Prince of R&B, nobody would have disagreed as much, unless you’re one of those people that just loves to argue anything. However, the miscommunication is when he says, “this generation”. (Aside of the controversy), R. Kelly is undoubtedly the King of R&B, many had heralded Trey Songz as the successor, as he stood alone in modern music, as someone that could actually sing. You also have Jeremih, or the phenom Chris Brown, who has the accolades to back it, but because they’ve been around for so long, they could be considered veterans, almost not of this generation, which brings us to the new crop.

In the past five years, Hip-Hop has continued it’s ascension (albeit backed by club anthems), while R&B has glimmered through rap’s melodic phase, with Drake leading charge, and while a case could be made for The Weeknd, he’s also transitioned into that popstar realm, which would see him out of the conversation. so then you have the likes of Ye Ali, TyUs, Brent Faiyaz, Daniel Caesar and Jacquees, while the first couple names are still relatively unknown on a mainstream level, just under Brent Faiyaz, the three have yet to make that commercial leap, where as Canada’s Daniel Caesar has had a great run of late, but has just been praised for his soulful music, beyond the genre, which leaves us with none other than, Jacquees.

I’ll even throw Tory Lanez in the mix, but he would be more so under that Drake umbrella of both Rapping and singing, unless he decides to challenge this and sing his way into contention, which by now, nobody would be surprised, because he is skilled in both sets, but it makes sense to consider sole R&B acts for this.

As much as I would like to cement that statement, especially with the unnecessary outrage, there are at least three other names who have really carried the torch for R&B in recent times, one being Miguel, who has given us consistent R&B with hints of experimentation and strong vocals. Ty Dolla $ign, who has provided soul throughout the charts, from production, songwriting, to even crooning adlibs for some of the biggest records of the year. Last but not least, PartyNextDoor. The latter can really be credited for the recent rise of R&B, from his contribution to Drake’s projects, his choice of samples, to penning the biggest hits for the biggest artists, but even through his own catalogue, it’s been modern day R&B with classic essences.

I’ve felt like PND was the new King of R&B, before I even heard Jacquees, and there is still some debate, with Jacquees being one of the more natural vocalists. If there was ever to be a sing off, Lamborghini Que would be a tough opponent, and with Party somewhat MIA at the moment, it would appear justified for Jacquees to feel like he is the King of R&B, right now, for this generation.

There is also room for the understanding that Jacquees is of a darker complexion to most of the recent ‘stars’, he isn’t the tallest and there are no other tricks or gimmicks (unless you count his statement as one) other than his ability to sing. You also have to consider the recent Soul Train awards, where you had the legendary Jon B and Donell Jones perform, yet Jacquees might have got the better reception for his performance. I enjoyed his album, and look forward to the next, but while he rides high off his recent success, the many talented and respected R&B acts who have struggled to make/maintain the impact he has had of late are unlikely to champion him, and so he most definitely has to deliver as such. Also a lot of the names being mentioned, like Donell Jones (who is on his album), have clearly passed the torch/encouraged him enough to feel this way.

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XX17 Spotify Playlist

With us closer to the end of the year, I’ve curated another playlist, this time a selection of some of the best and underrated Hip-Hop, Grime, Alternative and R&B tracks of the year, thus far. The playlist hosts American, British and French tracks, that varies in tempo and style, featuring the likes of Giggs, PartyNextDoor, Post Malone, Wale, Sampha, Toro Y Moi & many more..

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Aaliyah (Jan 16, 1979 – Aug 25, 2001)

Today makes it 8 years since the passing away of Aaliyah, despite new artists coming through, her loss is still just as evident, heres to someone who was truely beautiful, someone who will live on forever in our hearts and memories through her music. I remember the day I found out, as if it was yesterday, a little me was awake at night listening to Trevor Nelson’s R&B show, I had heard the ‘rumour’ earlier, but when Trevor Nelson confirmed it, I was shocked, I did not know her personally, yet the soul and emotion she poured into her music, her voice, her presence, you just could not help but to feel like you had some connection, Death is never a good thing, however it is a big part of life, so rather than morn her absence, we celebrate her life and legacy.

RIP Aaliyah, truely One in a Million…

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