The Reverend Shawn Amos Breaks It Down

Rev Shawn Amos
Title: The Reverend Shawn Amos Breaks It Down

Artist: The Reverend Shawn Amos

Label: Put Together

Format: CD, Digital

Release date: February 16, 2018

 

 

The Reverend Shawn Amos is back at it again, preaching his brand of blues on his latest, The Reverend Shawn Amos Breaks It Down. His sophomore album, The Reverend Shawn Amos Loves You, showed us that the Rev had our best interests at heart, and this trend of his continues on his latest offering. Son of Wally Amos, the first African American talent agent for William Morris in addition to being the creator of Famous Amos Chocolate Chip Cookies, Reverend Shawn Amos has been an ordained minister with the Universal Life Church, an A&R Executive at Rhino Entertainment and vice president of A&R at Shout! Factory.  He discovered blues while attending NYU film school, spending his summers tracing down the southern places in Peter Guralnick’s Feel Like Going Home trilogy from which Amos drew his initial blues inspiration.

The nine-song set includes five original songs, two inspired covers, and a three track “Freedom Suite” that rolls out like a Sunday Passion play. Amos was obviously inspired by the tremendous turmoil and social unrest around the world today in his songwriting, yet digging deeper into the lyrics reveals clues of admitted recent hardships in his home life. The result is an album that strikes a delicate balance between capturing personal challenges while capitalizing on the zeitgeist of this critical time in history.

 

The album opens with the early morning confessional “Moved,” followed by the first of his new freedom songs, “2017.”  This classic soul groove in the style of Curtis Mayfield and the Staple Singers was recorded at Royal Studios in Memphis. Amos is joined by Al Green’s backing band, the HI Rhythm Section, along with a string arrangement from Chris Anderson and vocals from the Masqueraders. The cornerstone lyric is a simple mandate: “hate and fear ain’t no vaccine, we’ve got to think about what our children’s eyes have seen in the year 2017.” The next song, “Hold Hands” is an Amos-led congregational plea for peace that features Hammond B3 from Peter Adams.

The Freedom Suite officially begins with track 5, which is an a cappella reading of Uncle Tom’s prayer. This pays homage to the Freedom Singers founder Cordell Hull Reagon, who first recorded the powerful civil rights song in the early 1960s. Amos then offers another side of his pulpit in “Does My Life Matter,” an expansion on Booker T. Washington’s words and intent. The fiery funk of “(We’ve Got To) Come Together” functions as an energetic admonishment, and the closing track, “(What’s So Funny ‘Bout) Peace, Love, and Understanding,” serves as a final alter call for the album and its audience.

The Reverend Shawn Amos Breaks It Down, as an album of timely songs, not only furthers Amos’ mission statement, but also stands as a landmark artistic achievement for his career as a bluesman of purpose.

Reviewed by Amy Aiyegbusi

 

AJ Ghent – The Neo Blues Project

aj

Title: The Neo Blues Project

Artist: AJ Ghent [J-Ent]

Label: Ropeadope

Formats: CD, Digital

Release date: March 16, 2018

 

 

AJ Ghent, hailing from Fort Pierce, Florida, has music literally running through his veins. His great uncle, Willie Eason, is the creator of the “sacred steel” tradition—a style of pedal-steel guitar playing that’s unique to certain African American Pentecostal churches—and his grandfather, Henry Nelson, is the founder of the “sacred steel” rhythmic guitar style. With role models like these, it’s no wonder Ghent wore out his father’s sacred steel CDs by the age of twelve. After high school, he and his wife, singer MarLa, packed up and moved to Atlanta, Georgia where soon after Ghent began a mentorship under the legendary Colonel Bruce Hampton, one of the original founders of Atlanta’s Hampton Grease Band. Gaining experience with Hampton’s band set the stage for Ghent’s subsequent career moves, including being “true to himself” as Hampton advised.

Ghent’s newest release, The Neo Blues Project, is a study in just that. The entire album is something different altogether—a musical fusion of blues, steel guitar, and rock that takes art and skill to master. But that’s something that Ghent has spent his whole life perfecting, along with his custom built 8-string lap steel hybrids. The offering weighs in at just six tracks, but don’t let its size fool you. This album packs a solid punch right where it’s necessary to keep the music in your head long after the last chord fades.

On his rock anthem “Power,” Ghent offers a track to fuel a revolution: “I’m gonna wait it out, ‘til my change comes / and I’m gonna pray, it won’t be long / ‘cause I’ve been tempted and I’ve been tried / and I’m a soldier ‘til I die / so you can bring it on, all your pain / you know why? ‘cause it’s a revolution comin’”

Combining his own style with elements of rock guitarists like Jimi Hendrix and Lenny Kravitz, Ghent part-wails and part-steels his way through each song. “Long List Friend,” co-written with his wife, is a blues ballad all of us can relate to in our search for “The One.”

But if you are celebrating the letting go of a former love, check out the final track, “Gonna Rock.” Its meaning and intent are completely celebratory, to say the least. “Wash Ya Hair” is a fun, catchy tune that really brings all of Ghent’s diverse talents of vocalization and guitar-playing to the forefront: “Shake ‘em off, wash your hair, let it shine, Everywhere.”

Ghent’s compact project completes its mission. The Neo Blues Project entertains the senses, introduces us to the full range of Ghent’s talents, and gives us a foot-tapping, air-slamming trip into the world of blues rock in legendary style. If this is Ghent being true to himself, I personally can’t wait for anything this talented artist has to offer us.

Reviewed by Amy Aiyegbusi

Reggie Young – Young Street

Young
Title: Young Street

Artist: Reggie Young

Label: RGY

Formats: CD, Digital

Release date: July 11, 2017

 

 

I must come clean—next to trumpet, the bass is my second favorite instrument. So I also must admit, I was unfamiliar with Reggie Young. When I think of bass players, I think of Jaco Pastorious, Stanley Clarke, Louis Johnson, Larry Graham, Victor Wooten, Will Lee, Sir Paul McCartney. Reggie Young, where have you been hiding, my man?

Hailing from New York, Young is a Grammy Award winning session bassist who has performed with the likes of Lenny Kravitz, Alicia Keys, Paul Shaffer, Stevie Wonder, Will.I.Am, and Reuben Studdard. His latest project, Young Street, is funk with a touch of jazz, rock, soul and even Bazilian bossa nova.

Young Street opens with the title cut featuring Young on bass, Garnett Walters on the B3, and Bill Hollerman on horns. I’m certain this track made the cut on urban jazz radio. I personally enjoy when an artist can step out of their comfort zone and throw a curve ball at you. The track “Naima” is just that—a composition by John Coltrane that would intimidate some. Not Reggie Young. He goes in on it, not to one up the great Trane, but more to show that he’s not a one trick pony. Speaking of which, you can find Young singing over his bass riffs on the funky “Alright With Me” and the lush strings on “Magic.”

Reggie Young has accomplished great deal even if he’s not a household name. No more hiding Reggie, I know where to find you now.

Reviewed by Eddie Bowman

Mud Morganfield – They Call Me Mud

Mud Morgenfield
Title: They Call Me Mud

Artist: Mud Morganfield

Label: Severn Records

Formats: CD, Digital

Release date: March 9, 2018

 

 

They Call Me Mud, the newest release from Mud Morganfield, is one of those albums on which a musician seems to truly come into his own. While the legacy of his father, Muddy Waters, shouldn’t—and very possibly can’t—be extracted from Morganfield’s blues MO, this album showcases his own unique style. Morganfield, after all, came of age in the ‘70s and ‘80s, when music had already evolved from his father’s era of jazz and blues into a world where R&B, soul and Motown ruled. Combine his bass experience with Chicago bands of those eras to his already existing blues foundation and you have Morganfield’s own style at work.

A well-established case of Chicago area musicians add some downhome blues touches to Morganfield’s recording, including Billy Flynn on guitar, Studebaker John on harmonica and backing vocals, Sumito Ariyo Ariyoshi on piano, E.G. McDaniel on bass and Melvin “Pookie Stix” Carlisle on drums. Special guests include Billy Branch on harmonica, Mike Wheeler on guitar and Mud’s daughter Lashunda Williams as a vocalist. There’s a horn section featured on several tunes, and Mud himself plays bass on three tracks.

 

The signature song, “They Call Me Mud,” is one of those songs that really allow the musicians to show what they love to do best, and in Morganfield’s case, that is his vocalized growl which commands immediate attention throughout. “Who’s Fooling Who?” features Studebacker John on harp and Mike Wheeler on guitar going toe-to-toe. Morganfield also pays tribute to his father on the slide guitar blues “Howlin’ Wolf” and the shuffle “Can’t Get No Grindin’,” where all artists take a solo turn at the wheel. Morganfield and his daughter Lashunda provide a moving duet on “Who Loves You,” a song where Morganfield’s R&B inspiration grooves right in. The final selection, “Mud’s Groove,” is a jazzy instrumental enhanced by Bill Branch’s talents on harp, and is a perfect finale.

“I think it’s some of the best work I’ve ever done yet” proclaims Morganfield. “I feel that with the variety of material I have on here, people will get a chance to hear the other sides of my music.” The collection completely lives up to Morganfield’s claim. Regardless of whether you are an R&B, jazz, soul or blues fan, They Call Me Mud has something special and unforgettable for everyone.

Reviewed by Amy Aiyegbusi

Stax Singles Vol. 4: Rarities & The Best of the Rest

stax

 

Title: Stax Singles Vol. 4 – Rarities & The Best of the Rest

Artist: Various

Label: Stax/Craft Recordings

Formats: 6-CD set, Digital

Release date: February 9, 2018

 

From the early days of the CD era, there has been a constant stream of reissues from the legendary Stax/Volt catalog. Three volumes (28 CDs total) of The Complete Stax/Volt Singles plus artist-specific box sets, plus a pile of compilation CDs and box sets. Not to mention the many individual album reissues, which often included extra singles and other tracks not on the original LPs. What is left in the vaults to compile into this new 6-CD box, issued in conjunction with Concord Music Group’s celebration of the 60th anniversary of Stax’s founding?

It turns out, not 6 discs worth of compelling music, but there are many interesting obscure gems lurking among a bunch of tunes that were forgotten for a reason. The set is also padded with familiar material such as Booker T. & The M.G.’s cuts already issued on the artists’ own box set, and slightly edited single versions of Big Star hits.

The set has a scattershot focus, which actually works to its benefit by offering interesting music to several audiences. Discs 1-3 are B sides of singles included in the first three massive “Complete Singles” boxes (which, it turns out, contain mostly A sides and not “complete” singles by the definition of both sides of a record). Compiled by Rob Bowman, author of Soulsville, U.S.A.: The Story of Stax Records and co-producer of the first three sets, these discs probably contain the fewest of what the casual listener might consider dull duds. For the deep-diver, some of the sides are obscure enough to be sourced from dubs of scratchy old 45’s, meaning the master tapes are missing.

To Concord’s credit, they offer a detailed listing of the set’s contents, so consumers can decide for themselves if there is enough interesting material to justify the purchase price. If the music compels you, the physical product is recommended because the 76-page booklet provides much detail and context, plus some nice artist photos from the old Stax promotional files.

Which brings us to the other half of the box. Discs 4-6 cover Stax’s attempts to diversify its catalog from its southern-soul target market. The material is mined from sub-labels: Enterprise (pop and country), Hip (pop and rock), Ardent (rock), and the gospel imprints Chalice and The Gospel Truth. The booklet offers very detailed information about these labels, which will be of interest to the deep-divers and completists. In general, these efforts were not financially successful for Stax, but some of the music (particularly the Ardent albums released by Big Star) turned out to be widely influential and critically acclaimed.

Stax’s pop and country releases were obviously a mixed bag. If the “best” is collected here, there was a lot of dreck in the catalog. The rock offerings are more interesting, including the more rock-ish and psychedelic pop songs. The Memphis music scene of the 1960s and ‘70s had a unique take on rock, with both soul flavorings and a “garage” feel. It’s exciting and doesn’t sound manufactured. Likewise with the best of Stax’s pop productions—they don’t sound as plastic and disposable as much of the competing material that was churned out of NYC, L.A. and Detroit.

The best of the back three discs is #6, covering the gospel labels. In general, the arrangements and performances hue toward Stax’s soul sound and feel, of great benefit to Sunday’s music. The gospel passion is turned up a notch in the caldron of backbeat soul, creating great impact. It might have been a better idea to peel off this material into a separate Stax gospel compilation.

For the hardcore Stax fans, and for listeners deeply into American soul music of the ‘60s and ‘70s, there will be enough material in this set, plus the booklet text, to justify its place in your collection. For others, the appeal will depend on your curiosity and willingness to wade through a wide variety of artists, styles and genres.

Reviewed by Tom Fine

Marie Knight – The Gospel Truth Live

Marie Knight
Title: The Gospel Truth Live

Artist: Marie Knight

Label: M.C. Records

Formats: CD, Digital

Release date: March 23, 2018

 

 

Those with at least a passing interest in gospel music are likely familiar with electric guitar- wielding evangelist Sister Rosetta Tharpe, who quite unintentionally became known as “the godmother of rock & roll.” In fact, she will be inducted into the Rock and Roll Hall of Fame this month in recognition of her wide ranging influence on rock music. Fewer, however, may be acquainted with the career of Marie Knight, aside from her brief partnership with Tharpe in the late 1940s which produced the hit songs “Up Above My Head” and “Didn’t It Rain.” Of course Knight’s career encompassed far more than her work with Tharpe. As a child she sang for COGIC congregations throughout the Northeast, went on to record with The Sunset Four, and enjoyed a successful solo career performing and recording gospel as well as R&B music.

Knight stopped singing professionally in 1980, but was lured back into the studio two decades later by Mark Carpentieri of M.C. Records, who asked her to record “Didn’t It Rain” for the Rosetta Tharpe tribute album, Shout, Sister, Shout (a companion to the book by Gayle Wald). She went on to record an album of Rev. Gary Davis songs for Carpentieri, who became her manager, and began touring once again. Regrettably, Knight’s newfound success was cut short in 2009 after suffering a stroke, and she died shortly thereafter.

The Gospel Truth Live is Carpentieri’s posthumous tribute to Knight. The album features gems culled from her performance at the Massachusetts College of Liberal Arts’ 2007 Gospel Fest, held at the Church Street Center in North Adams, MA. Knight was 87 at the time, one of the last living artists from the “Golden Age” of gospel.

After a lengthy standing ovation, Knight comes on stage and opens with Rev. Gary Davis’s 1935 classic “I Belong to the Band” with the audience enthusiastically clapping along. As the concert continues, Knight segues between the Rev. Davis classics she had recently recorded—“12 Gates to the City,” a rousing “I’ll Fly Away” that gets the audience fired up, and “I Am Light of This World”—and Rosetta Tharpe repertoire including “Beams of Heaven,” “Didn’t It Rain,” and “Up Above My Head.” Granted the latter, accompanied by pianist Dave Keyes, aren’t as lively as the original renditions recorded over 60 years earlier, but Knight still has a fine, powerful contralto voice, capable of leaping registers.

In between songs Knight offers a bit of storytelling and some powerful testifying, offering words of wisdom based on her lived experiences. It’s these short sermons and her engagement with the audience that makes The Gospel Truth Live so unique—that and the fact that it’s Knight’s last recorded performance. The gospel doesn’t live in songs alone, and the context provided by this live performance is most welcome indeed.

Reviewed by Brenda Nelson-Strauss

Various Artists – Memphis Rent Party

memphis

Title: Memphis Rent Party

Artist: Various

Label: Fat Possum

Formats: CD, LP, Digital

Release Date: March 9, 2018

 

 

Memphis is a city known for its barbecue, rich musical heritage, and pride in being one-of-a-kind. This unique Memphis spirit is captured by twelve distinctly different tracks on Memphis Rent Party. The collection serves as a soundtrack for Grammy-winner Robert Gordon’s sixth book of the same title, Memphis Rent Party: The Blues, Rock & Soul in Music’s Hometown.

From a punk rock cover of Jimmy Cliff’s “Johnny Too Bad” to a bluesy collaboration between Luther Dickinson and Sharde Thomas, the album includes a wide variety of tracks that embrace the individuality of the Memphis music scene. Half of the tracks are drawn from unreleased material and the rest are a mix of covers and originals. Included are songs from barrelhouse piano player Mose Vinson, rock pioneer Jerry Lee Lewis, and the rockabilly-punk band Tav Falco’s The Panther Burns.

From modern day covers to a 1960s recording by pre-war blues musician Furry Lewis, Memphis Rent Party is a truly varied compilation.  Robert Gordon’s book was published by Bloomsbury on March 6, 2018 and is a must-read for anyone interested in the history of Memphis’ entertainment scene—just be sure to listen along to the soundtrack as you read.

Reviewed by Chloe McCormick

New Book – Spirituals and the Birth of a Black Entertainment Industry

Spirituals
Title: Spirituals and the Birth of a Black Entertainment Industry

Author: Sandra Jean Graham

Publisher: University of Illinois Press

Series:  Music in American Life

Format: Book (hardcover, paperback, digital)

Release date: March 19, 2018

 

Ethnomusicologist Sandra Jean Graham, associate professor of music at Babson College, was introduced to spirituals and minstrelsy early in life, and throughout her career has published and presented extensively on the “multifaceted and extremely complex history of these genres.” Her new book, Spirituals and the Birth of a Black Entertainment Industry, is the culmination of her in-depth research and supplements previous articles and books on the topic, including Tim Brooks’ award winning Lost Sounds: Blacks and the Birth of the Recording Industry 1890-1919 (also part of the Music in American Life series).

Graham’s primary focus is on spirituals performed by jubilee troupes in post-Civil War America, “charting the spiritual’s journey from the private lives of slaves to the concert stage.” This includes the transition from folk spirituals (covered in chapter 1) to concert spirituals. Along the way, she unpacks issues of power and cultural authenticity in the white-controlled jubilee industry and within blackface minstrelsy performances, including Uncle Tom and plantation shows.

As Graham states in the conclusion (p. 263):

“To remember student jubilee singers [Fisk Jubilee Singers, etc.] at the expense of black minstrel performers and their parodies of camp meetings and spirituals, to valorize one and denigrate the other, imposes a hierarchy on the historical past that obscures the manifold contributions of black entertainers and reifies black folk culture as authentic to the black experience at the expense of fully engaging the diversity and complexity of that experience. Indeed, the very complexity that led black minstrels to engage with spirituals is at the crux of understanding the climate and conditions in which all performers of the era operated.”

Full disclosure: I received a copy of the book earlier this week and have only skimmed the surface, but very much look forward to delving deeper. Spirituals and the Birth of a Black Entertainment Industry will be crucial to anyone studying American music, especially those focused on the post-Civil War period through 1900, and of course anyone who studies African American music and history.

The freely available companion website contains links to 85 jubilee troupes with biographical information for each, lists of personnel and songs performed by selected groups, and excerpts from early recordings.

Reviewed by Brenda Nelson-Strauss

March 2018 Releases of Note

Following are additional albums released during March 2018—some will be reviewed in future issues of Black Grooves.

Blues, Folk, Country
Ben Harper & Charlie Musselwhite: No Mercy In This Land (Anti/Epitaph)
Cary Bell: Harpslinger: The 1988 Album Remastered (JSP)
Coffey Anderson: Cowboy Style (digital)
Leadbelly: Masterworks Volumes 1 & 2 (Sunset Blvd.)
Little Freddie King: Fried Rice & Chicken (Orleans)
Muddy Waters: Live At Rockpalast (Made in Germany)
Roosevelt Collie: Exit 16 (GroundUp)

Funk, Rock, Pop, Electronic
Detroit Rising: A Cosmic Jazz Funk Adventure (Downjazz)
Elaquent: Celebrate Life!
Lexsoul Dancemachine: Sunny Holiday In Lexico (Funk Embassy)
Matt Palmer: Get Lost (digital)
NoMBe: They Might’ve Even Loved Me (TH3RD BRAIN)
Oceans of Slumber: The Banished Heart (Century Media)
On High: Never Die
Young Fathers: Cocoa Sugar (Ninja Tune)
Zig Zag Power Trio: Woodstock Sessions Volume 9 (Woodstock Sessions)

Gospel, Christian Rap, CCM
Brian Courtney Wilson: A Great Work (Motown Gospel)
Jonathan McReynolds: Make Room (eOne)
Snoop Dog: Presents Bible of Love (RCA Inspiration)
Tamesha Pruett-Ray: Beautiful Savior (TPR Music Group)

Jazz
Adam Hawley: Double Vision (Kalimba Music)
Blue Lab Beats: Xover (All Points)
David Garfield: Jazz outside the Box (Creatchy)
David Liebman & John Stowell: Petite Fleur: The Music Of Sidney Bechet (Origin)
Greg Spero+Spirit Fingers: Spirit Fingers (Shanachie)
Hank Jones: in Copenhagen – Live at Jazzhaus Slukefter 1983 (Storyville)
Ivo Perelman & Matthew Shipp: Oneness (Leo)
Kurt Elling: The Questions (Okeh)
Lao Tizer Band: Songs from the Swinghouse (Lao Tizer Music)
Miles Davis & John Coltrane: The Final Tour: The Bootleg Series, Vol. 6 (Columbia)
Pendletons: Funk Forever (Bastard Jazz)
Salim Washington: Dogon Revisited (Passin’ Thru)
Spirit Fingers: S/T (Shanachie)
Sun Ra: Of Abstract Dreams (Strut)
Terry Pollard: A Detroit Jazz Legend (Fresh Sound)
Victor Gould: Earthlings (Criss Cross)

R&B, Soul
Adrian Daniel: Flawd (digital)
Ady Suleiman: Memories (Pemba)
Alexandra Burke: Truth Is (Decca)
August Greene (Common​, Robert Glasper, Karriem Riggins): S/T (digital)
Barrence Whitfield & The Savages: Dig Everything! – The Early Rounder Albums (Ace)
Barrence Whitfield & the Savages: Soul Flowers of Titan (Bloodshot)
Best of the Charles Wright & The Watts 103rd Street Rhythm Band (Varese Sarabande)
Bettye LaVette: Things Have Changed (Verve)
Bobby V: Electrik (Independent Label Services)
Deva Mahal: Run Deep (Motema)
En Vogue: Electric Café (eOne)
Gizelle Smith: Ruthless Day (Jalapeno)
Jayme Shaye: Detoxic
Larry Crockett & The Funky Cherokees: Drum Love (Chaos)
Leon’s Creation: This Is the Beginning (reissue) (Acid Jazz)
Phyllis Dillon: One Life to Live (Real Gone Music)
PJ Morton: Gumbo Unplugged (Live)
R.LUM.R: Alterimage (PRMD)
Robert Lee Coleman: What’s Left (Music Makers)
Ronnie Wright: a.k.a. Bespeak (digital)
Ruben Studdard: Ruben Sings Luther (Seg Music)
Sister Sledge: An Introduction (Atlantic)
The Vogs: A Change Is Coming (Qsounds Recording)
Various: Eccentric Soul: The Saru Label (Numero Group)
Wilson Meadows: The Facts of Life
Xscape: Here For It (RedZone Ent.)
Z. Hill: That’s It! – The Complete Kent Recordings 1964-1968 (Kent)

Rap, Hip Hop
Apollo Brown & Ghostface Killah: The Brown Tape (Mello Music)
Awate: Happiness (Quite Defiant)
Ball Greezy: Bae Day 2 (digital)
Bishop Nehru: Elevators: Act I & II (digital)
Black Milk: Fever (Mass Appeal)
Brian Fresco: Love Scars (Empire)
Camp Lo: On The Way Uptown & The Get Down Brothers (Vodka & Milk)
Chuck Strangers: Consumers Park (Nature Sounds)
Creek Boyz: 1-11 Mixtape
Don Trip: Christopher (digital)
First Degree The D. E.: Black Bane II, Underestimated Villain (Fahrenheit)
Flipp Dinero: GuaLa See GuaLa (digital)
Fredro Starr: Firestarr 2 (Mad Money)
Herbaliser: Bring Out the Sound (BBE)
Stalin: Avatar (Livewire)
Larry June: You’re Doing Good (digital) (Warner Bros.)
Lil Yachty: Lil Boat 2 (digital)
Lojii: Lofeye (Youngbloods)
Luniz: No Pressure (X-Ray)
Mozzy: Spiritual Conversations – EP (digital) (Empire)
Murs: A Strange Journey Into The Unimaginable (Strange Music)
Nessly: Wildflower (digital) (Republic)
Nym Lo: The Big Horse (digital)
Phonte: No New Is Good News (digital)
Prhyme (Royce 5 9+DJ Premier): PRhyme2 (digital)
Rich Homie Quan: Rich As In Spirit (digital) (Motown)
Rich the Kid: The World is Yours (digital) (Interscope)
Robb Bank$: Molly World (digital) (Empire)
Saint Jhn: Collection 1
Saweetie: High Maintenance (digital) (Warner Bros.)
Showbiz: A-Room Therapy (Ditc)
Sob X Rbe: Gangin (digital)
Sts & Khari Mateen: Better on a Sunday (Steel Wool /Obe)
Tech N9ne: Planet (Strange Music)
Thundercat: Drank (Brainfeeder)
Tory Lanez: Memories Don’t Die (Interscope)
Tra the Truth: Hometown Hero
Tyga: Kyoto (Last Kings Music)
U-God: Venom (Babygrande)
Various: Death Row Chronicles OST (Death Row)
Wale: It’s Complicated EP (MMG/Every Blue Moon)
Wiley: Godfather II
Wu-Lu: N.A.I.S. (Not As It Seems) (digital)
XXXTentacion: ? (Bad Vibes Forever)
YFN Lucci: Ray Ray from Summerhill (Warner Bros.)
Young Hu$tle: Bag Talk (X-Ray)
Yung Bans: Vol. 4 (digital)

Reggae
Army Gideon: Forsake Not (Uhuru Boys)
Etana: Reggae Forever (Tad’s Record Inc.)
I-Octane: Love & Life (Conquer the Globe)
Romain Virgo: Lovesick (VP)

World, Latin
Baloji: 137 Avenue Kaniama (Bella Union)
Busy Twist: Sunny Side EP (Busy Life)
Hailu Mergia: Lala Belu (Awesome Tapes From Africa)
Seun Kuti & Egypt 80: Black Times (Strut)
Sidi Toure: Toubalbero (Thrill Jockey)
Tanga: Reencarnacion (TrebleFive)
Various: Gumba Fire: Bubblegum Soul & Synth-Boogie in 1980s South Africa (Soundway)
Various: Death In Haiti: Funeral Brass Bands & Sounds from Port Au Prince (Discrepant)