Following are additional albums released during August 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Title: Good Time
Artist: Ranky Tanky
Label: Resilience Music
Formats: CD, Digital
Release date: July 12, 2019
Ranky Tanky‘s Good Time is a beautiful project that honors the Gullah culture while also celebrating African and African American culture and music. Their music represents the African concept of music, life and religion as a unified entity. Because of this “oneness,” many of Ranky Tanky’s songs such as “Freedom” and “Stand By Me” are intertwined with social and political messages, conveying issues in contemporary Black life while also using religious overtones. These sacred overtones are heard throughout the song “Good Time,” which “takes you straight to church” as they say in the vernacular. Ranky Tanky also revisit the storytelling folk tradition of their Gullah heritage to convey the messages found in each song. Continue reading
Following are additional albums released during July 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during May 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Title: there is no Other
Artist: Rhiannon Giddens
Label: Nonesuch Records
Formats: CD, Digital
Release Date: May 3, 2019
there is no Other is the third solo studio album from former Carolina Chocolate Drops member, Rhiannon Giddens, following Tomorrow is My Turn (2015) and Freedom Highway (2017). This new release is also her first formal collaboration with Italian multi-instrumentalist Francesco Turrisi. Both Giddens and Turrisi share similar musical passions rooted in a desire to unearth hidden or underexplored roots of certain styles of music. For Rhiannon, her interests lie with African American influences on folk or Americana music, while Turrisi focuses on the Mediterranean (Middle Eastern and North African) influences on the music of Southern Europe. Continue reading
Following are additional albums released during April 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during March 2019—some will be reviewed in future issues of Black Grooves. Continue reading
“It is only in his music…that the Negro in America has been able to tell his story. It is a story which otherwise has yet to be told and which no American is prepared to hear.” James Baldwin wrote these words in his 1955 collection of essays, Notes of a Native Son. These are the words that inspired the title for the collaborative project between four African American female folk musicians. Coming together under the name Our Native Daughters, Rhiannon Giddens, Amythyst Kiah, Leyla McCalla, and Allison Russell have combined their unique talents, distinct voices, and shared mission to shed light on the oft unknown influence of African Americans on Americana music to produce the much anticipated album, Songs of Our Native Daughters. Continue reading
Following are additional albums released during February 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during January 2019—some will be reviewed in future issues of Black Grooves. Continue reading
Following are additional albums released during December 2018—some will be reviewed in future issues of Black Grooves. Continue reading
Title: Love in Wartime
Artist: Birds of Chicago
Label: Signature Sounds
Formats: CD, LP, Digital
Release date: May 4, 2018
Americana duo Birds of Chicago is a marriage, literally, of singer-songwriters JT Nero and Allison Russell. Formed in 2012, the group has developed a loyal following through their relentless touring schedule. Since their last full-length project, Real Midnight (2016), the Birds have flown from Chicago to Nashville, where they now reside. Their new album, Love in Wartime, co-produced by Luther Dickenson, reflects the sounds of both hometowns as the duo artfully intertwines elements of country, folk, blues and rock.
While Russell’s voice has been prominent on previous albums, Love in Wartime is perhaps more evenly divided between the duo, contrasting Russell’s silky, soulful soprano against Nero’s grittier baritone. Opening with the intro “Now/Sunlight,” Russell hums a whimsical, folksy tune over plucked banjo chords, then segues into the uptempo roots rock song, “Never Go Back,” with Nero on lead vocals. On the title track, twangy guitars come to the fore as Nero recounts the realities of longterm relationships and parenthood, “we sat there and tried to remember our dreams, no such luck, no such luck.” Life on the road is the subject of the poignant “Travelers,” as Russell sings “there’s no home in this world, got no home in this world.” One of the most effective duets on the album is “Try,” with Russell and Nero trading verses before coming together on the chorus, “Try a little harder, give a little more.”
Other highlights include the uplifting bluesy song “Roll Away” which encourages folks to “roll away the heavy stones, roll away the heavy hours, roll on in the summer moon,” and the banjo accompanied ballad “Superlover.”
Love in Wartime is jam-packed with carefully crafted songs and inspirational lyrics that celebrate life and love despite troubled times and the daily grind.
Reviewed by Brenda Nelson-Strauss
Title: 5 Miles From Town
Artist: The Ebony Hillbillies
Label: EH Music
Formats: CD, MP3
Release date: September 15, 2017
After four successful albums and TV appearances on the BBC and ABC’s “Good Morning America,” The Ebony Hillbillies are back with their latest album, 5 Miles From Town. The group, which hails from the streets of New York City, is keeping African American string band traditions alive for new generations. Their fifth album features 12 tracks that seamlessly combine pop, folk, bluegrass, and jazz to create The Ebony Hillbillies’ trademark sound.
In addition to reviving string band music through tracks such as “Hog Eyed Man,” a classic 19th century American fiddle tune from the Upper South, the group also offers new songs with strong social commentary. The gritty “Another Man Done Gone (Hands Up Don’t Shoot)” explores the issue of police brutality, while the similarly-themed “I’m On My Way To Brooklyn” ends with the ominous sound of gunshots.
Other songs, like “Fork in the Road,” are more lighthearted and highlight the beauty of the fiddle and banjo, as performed by group leader Henrique Prince and Norris Bennett, respectively. Additional performers include Gloria Thomas Gassaway, Allanah Salter and Iris T. Olden (vocals, bones, shaker), William “Salty Bill” Salter (acoustic bass), Newman Taylor Baker (washboard percussion), and A.R. (aka Ali Rahman, cowboy percussion).
The album concludes with the title track, “Five Miles From Town,” a very lively rendition of the old-timey classic that’s punctuated with plenty of whoopin’ and hollerin’ before fading out on an extended percussive improv section with hints of jazz.
Almost 15 years after the release of their first album, The Ebony Hillbillies continue their mission to educate and inspire, fusing the sonic textures of the past with contemporary music elements and socially-relevant lyrics. 5 Miles From Town lives up to the legacy created by the Manhattan-based band and offers a fresh take on the sound that listeners love.
Reviewed by Chloe McCormick
Artist: Nona Hendryx & Gary Lucas
Title: The World of Captain Beefheart
Label: Knitting Factory
Formats: CD, MP3
Release Date: November 10, 2017
If there are artists worthy enough for a Captain Beefheart tribute collaboration, it is the artistic duo of Nona Hendryx and Gary Lucas. The pair first beefed it up in 2013 with The Metropole Orchestra at Amsterdam’s Paradiso during an event produced by Dutch journalist and radio presenter Co de Kloet. Four years and multiple hours of creativity later, The World of Captain Beefheart makes its way towards a triplicate fan base for all three musicians—Don Van Vliet, Gary Lucas and Nona Hendryx.
Don Van Vliet, aka Captain Beefheart, first grabbed the public’s attention with his cover of Bo Diddley’s “Diddy Wah Diddy,” capitulating his gritty blues style to an interview on American Bandstand in 1966 and an appearance on ABC’s “Where the Action Is”. Soon after, Captain Beefheart and the “Magic Band”—whose members differed throughout the years but most notably of musicians Gary Lucas, Jeff Cotton, Bruce Fowler and Victor Hayden—released their first album, Safe as Milk, in 1967.
While many envisioned him as the next blues frontman, Van Vliet had other ideas. His strong interest in experimental, avant-garde sounds—fostered alongside his longtime friend Frank Zappa—would lead him to worldwide notoriety as one of the most singular voices and uncompromising composers in popular music, a trail-blazing maverick who single-handedly changed the face of popular music as we know it. His music combined Delta blues, free-jazz, and proto-punk rock with surrealist imagery, ecological obsession, and ironic humor.
During his 30+ year career, Van Vliet explored musical and lyrical territory never before charted in the confines of a traditional electric band line-up. His was a unique and unforgettable sound which proved highly influential on the first wave of punk and new-wave pioneers including John “Rotten” Lydon, Joe Strummer of the Clash , and Talking Heads’ David Byrne, as well as seminal artists such as David Lynch, Laurie Anderson, Ed Ruscha, Julian Schnabel, and Matt Groening. Captain Beefheart/Van Vliet retired from the music scene in 1982 to concentrate on his painting career before passing away from complications of MS in 2010.
Gary Lucas first made his mark as a visionary guitar player on the final last two Beefheart albums, Doc at the Radar Station (1980) and Ice Cream for Crow (1982). A world-renowned instrumentalist and Grammy-nominated songwriter and composer, Lucas has released over 30 acclaimed albums in a variety of genres. Gary also collaborated most significantly with the late Jeff Buckley, co-writing “Grace” and “Mojo Pin”, the first two songs on Jeff’s 2-million selling “Grace” album.
Nona Hendryx is a longtime fierce admirer of Don Van Vliet’s music, and possesses the huge voice and the commanding stage presence necessary to do full justice to repertoire that originally featured Beefheart’s unforgettable multi-octave voice. Although she’s best known as a funk/soul great thanks to her long tenure with international hitmakers Labelle (as well as the group’s antecedent, Patti Labelle and the Bluebelles) in addition to her own excellent R&B solo outings, she is no stranger to experimental rock territory, having been featured as guest vocalist with cutting-edge ensembles including the Talking Heads, Bill Laswell’s Material, and Jerry Harrison’s Casual Gods.
The World of Captain Beefheart is an album that truly speaks for itself. “Sun Zoom Spark” opens the tribute, proving that in the Beefheart world, Hendryx has vocals worthy of the Captain’s raspy legacy. Other classics such as “When It Blows Its Stacks” and a moving rendition of “My Head Is My Only House Unless It Rains” cement the pair’s project worthiness. Ably supporting Lucas and Hendryx are expert practitioners of Beefheartian music: bass player Jesse Krakow and drummer Richard Dworkin. Both are veterans of Fast ‘N Bulbous, Lucas’ free-jazz instrumental outfit that specializes in repertoire from the Van Vliet canon. Completing the lineup is keyboardist Jordan Shapiro, who has played with Lucas in his long-running avant-rock crew, Gods and Monsters.
A visionary and lyricist with unrelenting perseverance, artist Don Van Vliet is deserving of every expertly offered chordal riff Lucas and Hendryx have to give us. Through their dedication and respect to his craft, Captain Beefheart will live on in the hearts and souls of his fans forever, both long-standing and contemporary alike.
Reviewed by Amy Aiyegbusi
Title: Song of Lament
Artist: Naomi Wachira
Label: Doreli Music
Formats: CD, MP3
Release date: June 2, 2017
Between civil wars, natural disasters, environmental crisis, and refugees fighting for their lives across the globe, it is easy to feel surrounded by despair and violence. Seattle-based, Kenya-born artist Naomi Wachira certainly feels this way. On her sophomore release Song of Lament, she sings out looking for a connection by means of our mutual destruction: “I am the only one who thinks we’re gonna go up in flames?” (“Up In Flames”). Wachira, who grew up singing in gospel choirs, tries to reconcile faith and hope with insurmountable suffering on Song of Lament, which comes out June 2 on Doreli Music.
Wachira says that she was inspired to write Song of Lament when she read about 700 men, women, and children who drowned in the Mediterranean Sea while trying to reach a better life: “I felt so helpless watching people die needlessly, and I wanted to do something that would bring to light these issues.” The Afro-folk singer songwriter weaves empathy and a common thread of humanity through all the despair, whether questioning how people can use god to justify violence (“Where Is God?”) or urging those who feel life crashing in on them to continue fighting (“Run, Run, Run”).
Backed by acoustic guitar and bare bones percussion, for the most part Wachira’s effortless voice is in control here. A few songs have more involved instrumentation, such as “Beautifully Human,” which has an upbeat reggae beat as Wachira calls for seeing all life as sacred, tired of questions about who deserves to live:
“Don’t make me prove why I should be, why I belong, why I deserve to be here.”
“Up in Flames” also employs horns and drumset that add to the urgency and power of Wachira’s voice and desperation to find any spark of hope: “Where is kindness? Where is love?”
Though most of the tracks deal uniquely with global pain and suffering, Wachira still sees reason to seek light in the darkness. The opening and closing tracks, “Our Days Are Numbered” and “Think Twice,” are songs that beg for hope, as Wachira calls for a renewed responsibility to be kind, respect others, and show love before hate. As she says on her website, “while the sun does not discriminate between the good and the bad, fulfillment is found when we spend our days practicing kindness and wisdom.” In the end, Song of Lament is a cautionary message: evil will triumph over good if we let ourselves grow numb to the pain and suffering. Wachira wants the listener to turn into the despair instead of away from it, saying only through shared empathy will people find the energy to take action.
Reviewed by Anna Polovick
Title: Freedom Highway
Artist: Rhiannon Giddens
Label: Nonesuch Records
Formats: CD, LP, MP3
Release Date: February 24, 2017
Rhiannon Giddens maintains a heightened level of excellence as a musician and activist songwriter throughout Freedom Highway, her second full album since Tomorrow Is My Turn (2015). Co-produced by Dirk Powell, Giddens presents nine original songs and three reimagined arrangements of civil-rights era and traditional music featuring guest performances by Bhi Bhiman, Lalenja Harrington and Leyla McCalla.
Giddens opens the album with “At the Purchaser’s Option,” sung in the first person about a woman facing the physical, mental, and spiritual magnitude of enslavement:
The album creatively and poetically addresses historical and contemporary forms of racial oppression in the United States. In “Julie,” Giddens sings a fearful ballad about the imminent separation between a maid and her white mistress by Union soldiers. The story reveals complex emotions as the maid reminds the mistress of how she sold away the maid’s children in order to produce the money the mistress re-gifts to her. The slow and sweet duet “Baby Boy” is a both somber lullaby and loving tribute to mothers who raise and protect the future “saviors” and leaders of mankind:
Baby Boy, young man, beloved
Don’t you weep, I will watch over you, I will stand by you
You will be, You will be, a savior
But until then
Go to sleep
From the darker themes of the electrically blue “Come Love Come,” to the funky precision of “The Love We Almost Had,” Giddens exhibits her eclectic and perfectionist talent down to the fine detail as a vocalist, banjo player, and bandleader. In “Better Get It Right the First Time,” she sings a soulful chorus of multi-harmonies as her band mate, Justin Harrington, performs a rap verse enhancing the traditional American roots music style. “Hey Bébé” differs significantly midway during the album, drawing on Cajun rhythmic and instrumental patterns.
“Birmingham Sunday” may perhaps be the most emotionally compelling song on the album. Originally written by Richard Fariña and performed by Joan Baez on a fingerpicked acoustic guitar, Giddens suitably infuses the ballad of the Birmingham bombing of 1963 with a gospel style. She concludes with an instrumental banjo and bones duet on “Following the North Star” that leads into “Freedom Highway,” a soulful celebration of the fight for civil rights reminiscent of Aretha Franklin’s 1968 “Think.”
Rhiannon Giddens’ expertly produced Freedom Highway traverses the historical roots of racial unrest in the United States. Her work possesses an unwavering determination as she strives for accuracy connecting musical traditions with related contemporary genres to illustrate the deeply embedded patterns of racial oppression and resilience.
Reviewed by Jennie Williams
Title: The Order of Time
Artist: Valerie June
Label: Concord Records
Formats: CD, LP, MP3
Release Date: March 10, 2017
“Long Lovely Road” opens Valerie June’s atmospheric new album, The Order of Time, with a calming melody beckoning the listener to sing along with the chorus. Based out of Brooklyn, June collaborated with producer Matt Marinelli to create this second full album following her 2014 release, Pushin’ Against a Stone. On “Love Once Made,” June’s distinctive voice stands out as it beautifully breaks into her upper register on the chorus. The energy carries straight into “Shake Down,” an exciting call and response electric blues song supported by back-up vocals from June’s father and brothers:
The soothing drone of “If And” and the sustained ambient tones of “The Front Door” inspire a hopeful meditative response to the hard times everyone will inevitably encounter in life. “Man Done Wrong” draws on the lyrical repetition tradition found in blues music with a very minimalistic instrumental section and a prominent beat. “Astral Plane,” perhaps the most iconic song on this album, contemplates a spiritual purpose within the greater cosmic theme:
Dancing on the astral plane
In holy water cleansing rain
Floating through the stratosphere
Blind, but yet you see so clear
June remains front and center throughout this album, though she collaborated with keyboardist Pete Remm and vocalist Norah Jones. The deep electric guitar reverb introducing the orchestra of strings in “Just In Time,” the only song produced by Richard Swift, refocuses attention on the timely unity of humanity. Partnered well with “Two Hearts,” June sweetly blends her voice on “With You” with a fingerpicking guitar pattern, building into a more instrumentally complex arrangement. The album concludes with “Slip Slide on By” and “Got Soul,” two party songs with a brass band, soulful keys, and the potential to continue playing on repeat!
Reviewed by Jennie Williams
Title: Real Midnight
Artist: Birds of Chicago
Label: Five Head Entertainment
Formats: CD, MP3
Release date: February 19, 2016
Birds of Chicago defines its style of music as rock and roll poetry or even as a kind of “secular gospel.” Led by vocalist Allison Russell and her husband, songwriter JT Nero, the group’s folk and country roots are readily apparent. Produced by Joe Henry (who has worked with Solomon Burke, Bettye Lavette, and Emmylou Harris), Birds of Chicago’s second album Real Midnight explores the transformative power of music and the inevitability of death.
The title track ebbs and flows as full, harmonious choruses intermingle as twanging guitar and soft percussion fill in gaps in the vocal lines. The lyrics speak of how limited time is, asking “now what you gonna do with your days left in the sun?” The song is a combination of country and soul, fueled by Russell’s smooth voice and the rasp of backing vocalist Michelle McGrath during the chorus:
“Sparrow” is both haunting and sorrowful, a sparse song about mortality led by minimalistic banjo. “Color of Love” continues these reflective themes, taking listeners on an emotional journey that retrospectively looks back at life’s important moments. “Dim Star of the Palisades” is a reminder to hold on to what’s important through the hard times in life: “Storm’s coming through, top’s gonna blow. Hold on tight, don’t let your baby go.”
Though most the material is introspective, “Estrella Goodbye” is a fun, upbeat track with a harmonious chorus full of “na na na”s reminiscent of indie folk bands such as The Lumineers and Edward Sharpe and the Magnetic Zeros. Nero takes the lead in the verses with his bright vocals, and Rhiannon Giddens (of the Carolina Chocolate Drops) guest stars in the chorus.
“Pelican” is a beautiful duet between Nero and Russell with acoustic guitar and simple percussion – knocks on the guitar and a few piano notes in the chorus. It approaches the theme of mortality with a gentle hand, singing “you’re not too far gone,” a meditation on the power of love and redemption. This is where Birds of Chicago’s “secular gospel” is most evident. Despite the song’s references God, Nero has said the band does not believe in any one religion but rather in how “words and music together heal and transform like nothing else in this life.”
Reviewed by Anna Polovick
Title: White Lies for Dark Times
Artist: Ben Harper and Relentless7
Catalog Number: 5099 2 64786 2 3
Release Date: May 5, 2009
With a title like White Lies for Dark Times, I have to admit I was expecting this to be an overtly political album, hopefully containing some hard-hitting tell-it-like-it-is commentary on race relations, poverty, class, and the economy. You won’t find any of that here. What you will find is a gritty, passionate, and eminently solid blues-rock album that chooses its battles but never pulls its punches. The “dark times” here aren’t the external forces of politics, but the inner struggles of the heart and soul, both internally and within intimate relationships.
Leaving his usual backing band, the Innocent Criminals, Ben Harper has teamed up with the Austin-based trio Relentless7 for this recording. Together, they create an unabashed rock album, but one that wears it heritage of blues, soul, and funk on its sleeve. The effect is something that would sound at home in a southern roadhouse, a Chicago blues club, or an outdoor rock festival. At times, Harper and Relentless7 seem to be channeling the spirit of Jimi Hendrix (or at least Lenny Kravitz), but they never come off as blindly imitative or derivative. Harder-hitting songs such as “Number with No Name,” “Lay There & Hate Me,” and “Why Must You Always Dress in Black” explode with wailing guitars, churning bass, and thumping drums. The album’s slow acoustic ballads, notably the understated “Skin Thin” and the softly hopeful closing track “Faithfully Remain,” are remarkably tender and delicate, while still grounded in the rock texture. The mid-tempo “Up to You Now” has the roughness of the faster tracks, but the lead guitar and Harper’s soul-laced tenor wail (somehow reminiscent here of Curtis Mayfield) both ring out sharply over the drums and bass like neon lights flashing in the dark. Following is the official video for the single “Shimmer and Shine” from the album:
Most of the songs take a bitter and wearied look at faded relationships and personal despair. In “Up to You Now,” Harper sings “You wrote a list / with all of your demands / and you nailed it to both of my hands.” He expands on the theme of an entrapping, soured relationship in “Lay There & Hate Me”:
You gave me an eight-page letter
Front and back
Written in your favorite colors
Blood and black
Choose your words so careful
As you’d choose your own grave stone
Lay there and hate me
Better than being alone
Harper has a way with lyrics, however, and a sense of black humor that forces its way out even in such dark times. “Why Must You Always Dress in Black” opens with the quip “You may be a cheap date / but my therapy’s expensive as hell,” while “Keep It Together (So I Can Fall Apart)” finds Harper musing, “I’m not sure what worries me more / the fact that I’m talking to a wall / or that the wall keeps answering me.”
Lyrically, this is pretty bleak stuff, and if the lyrics were the driving force of this album, I don’t know that I could make it through the whole thing more than twice. But as deft and cathartic as the lyrics are, it’s the driving rock and roll energy of the music that carries the work and gives it a sense of exuberance in the face of its dark topical themes. Harper and Relentless7 have put together an album that sounds cohesive and classic from the first listen, without any filler or loss of momentum, and the overall effect is powerful. If these are white lies, don’t bother giving me the truth.
Reviewed by Ann Shaffer
Tom Morello. The Fabled City (Red Ink, September 2008)
Morello, best known as a heavy metal guitarist and former member of Audioslave and Rage Against the Machine, now has another claim to fame as the “other half-Kenyan Harvard graduate from Illinois.” His latest solo album also reflects another side, which is decidedly folksy, but with a definite political edge. Morello is no stranger to politics- his father was Kenya’s first black delegate to the United Nations and his parents met during Kenya’s struggle for independance. Here, in his alter ego as Nightwatchman, he tackles a number of issues ranging from post-Katrina New Orleans to war. His distinctive songwriting along with his acoustic vocal-guitar arrangements have already led many to brand him as something of a modern day Dylan.
Richie Havens. Nobody Left to Crown (Verve Forecast, March 2008)
Noted ’60s folk singer Richie Havens recently released his first studio album in four years, singing covers of Pete Townshend (“Won’t Get Fooled Again”), Peter, Paul & Mary (“The Great Mandala-The Wheel of Life”) and Jackson Browne (“Lives in the Balance”). The majority of the album, however, features new material composed largely by Havens, including the title track which lambasts political leaders and “Fates,” his ode against capitalism.
Estelle. Shine (Atlantic, April 2008)
British R&B songstress Estelle has hit it big with her sophomore release, which has garnered significant attention including placement on many “Best of 2008” lists. Kanye West, John Legend, and Cee-lo make guest appearances, ensuring success on this side of the pond, while Wyclef Jean and Will.i.am lend a hand on production. A major selling point is the album’s diversity. By incorporating elements of dance-hall, hip hop, R&B, soul and ska, every track offers up something distinctly new and fresh.
Conya Doss. Still (Conya Doss Songs,April 2008)
Neo-soul singer/songwriter Conya Doss is a native of Cleveland who has been developing a considerable following, especially in Europe, since her debut album was released in 2002. Despite this fact, she still doesn’t have the backing of a major label and continues to self-release her projects, while earning a living as a teacher in the Cleveland public schools. Still features 14 tracks with a predominant focus on love and relationships that never become overly sentimental, and she keeps up the pace by alternating between up-tempo numbers and ballads.
Hil St. Soul. Black Rose (Shanachie, April 2008)
Hil St. Soul is a duo featuring Zambian-born, London-raised neo-soul singer/songwriter Hilary Mwelwa and Victor Redwood Sawyerr, an instrumentalist and producer, who also shares songwriting credits. Like Doss, Hil St. Soul’s music largely appeals to the over-30 crowd and thus has been ignored by the major labels. Case in point, the song “Sweetest Days” reminisces about the time when “There was no Nintendo or computer games but a natural interaction with your friends.” But if you fall into this demographic and enjoy original soul with a dose of jazz, R&B, funk, and hip hop, you might want to check out this album.
Raheem DeVaughn. Love Behind the Melody (Jive, January 2008)
There are any number of young R&B singers we could have added to the list, but we have to give credit to Raheem Devaughn for keeping the soul alive, and keeping it fresh with healthy doses of hip hop. In an effort not to be constrained or classified, Devaughn claims to be a “R&B-hippie-neosoul-rock star.” His music almost achieves this level of diversity. He frequently references classic R&B, such as when “Friday (Shut the Club Down)” playfully evolves into “My Girl,” and “Butterflies” is somewhat reminiscent of British-invasion era rock. What most impresses, besides his incredible vocal technique, is his ability to reach a wide audience without selling out.