Angie Stone’s voice was always more than a sound — it was an emotion, a truth-teller, a vessel for love, pain, and survival. She sang with the wisdom of someone who had lived, who had seen and felt it all, and who, through her music, was determined to help others feel less alone. Hers was a voice that carried the weight of Black womanhood — its joys, its burdens, its victories — wrapped in melodies that resonated deep in the marrow of the soul.

On Saturday, the world lost more than just a singer in a tragic car crash. We lost a cornerstone of modern soul music, a woman whose legacy stretches across decades, genres and generations. Angie Stone was the bridge — between hip-hop and soul, between past and future, between the raw and the refined. Her impact on music is immeasurable, her influence undeniable.

The birth of a pioneer: The Sequence and hip-hop’s earliest days

Before she became a soul icon, Angie Stone was a hip-hop pioneer. Long before the world knew her sultry alto, she was spitting rhymes as a member of The Sequence, one of the first female rap groups in history. Their 1979 hit “Funk You Up” wasn’t just a song — it was a statement. The Sequence helped carve out space for women in hip-hop before the genre even knew what it could be. Without The Sequence, there’s no Salt-N-Pepa, no Queen Latifah, no Nicki Minaj.

Even then, Stone’s artistry was ahead of its time. She was a visionary, blending rhythm and poetry in ways that would later become standard in neo-soul. Her ability to move seamlessly between rapping and singing would set the foundation for her future career — one that would redefine soul music at the turn of the millennium.

The soul revival: Vertical Hold and the birth of a sound

In the early ’90s, Stone stepped into the world of contemporary R&B with Vertical Hold, a group that saw her transition from hip-hop to the layered, groove-heavy sound that would later define her solo career. Their hit “Seems You’re Just Too Busy” showcased Stone’s knack for storytelling, her ability to make the everyday feel profound.

But Stone wasn’t meant to be confined to a group. Her voice, her pen, her essence — they all needed a stage of their own. And when she stepped out as a solo artist, the game changed.

‘Black Diamond’: A new dawn for soul music

In 1999, ‘Black Diamond’ arrived like a revelation. At a time when mainstream R&B was chasing glossy, radio-friendly hits, Stone brought back depth, texture and raw emotion. The album was a masterclass in storytelling, with Stone’s honeyed vocals pouring over warm, live instrumentation, giving us a new language for love and longing.

Her breakout hit, “No More Rain (In This Cloud),” was a masterpiece of resilience, flipping a sample of Gladys Knight’s “Neither One of Us” into a declaration of emotional survival. This wasn’t just heartbreak music — it was healing music.

Her sound, her aesthetic, her approach to music would later be grouped under the neo-soul banner, a movement led by artists like D’Angelo, Erykah Badu, Jill Scott and Maxwell. But make no mistake — Angie Stone was one of its architects.

‘Mahogany Soul’: An undeniable legacy

If ‘Black Diamond’ announced her arrival, 2001’s ‘Mahogany Soul’ cemented her status as a force in contemporary soul music. With songs like “Brotha” — an unapologetic ode to Black men — and “Wish I Didn’t Miss You,” which turned a Rolling Stones sample into one of the most gut-wrenching heartbreak anthems of the 2000s, Stone proved that her music was both timeless and timely.

‘Mahogany Soul’ was a statement of identity, a love letter to Black love, Black struggle, Black endurance. This was music that healed, that affirmed, that reminded its listeners of their inherent beauty and worth.

A songwriter’s Hall of Fame career

Beyond her own music, Stone’s pen was legendary. She had a hand in shaping some of R&B’s most defining moments, writing for artists across the spectrum, from D’Angelo (yes, she played a role in Brown Sugar’s magic) to Mary J. Blige, Raphael Saadiq and Lenny Kravitz.

Her ability to craft lyrics that cut straight to the soul eventually earned her a place in the Songwriters Hall of Fame — a long-overdue recognition for an artist whose pen was just as powerful as her voice.

‘Stone Love,’ ‘The Art of Love & War,’ and the 2000s soul renaissance

Through the 2000s, Stone continued delivering music that spoke to the full spectrum of love and life.

• 2004’s ‘Stone Love’ saw her lean into sensuality and groove, blending classic influences with contemporary production.
• 2007’s ‘The Art of Love & War’ earned her a No. 1 album on the Billboard R&B charts, proving that even as the industry evolved, Stone’s voice remained essential.
• 2012’s ‘Rich Girl’ and 2015’s ‘Dream’ saw her expanding her sound while staying true to the warmth and depth that made her music a refuge for so many.

Beyond music: Advocacy and impact

Stone’s impact wasn’t limited to the studio. She was a fierce advocate for diabetes awareness, speaking openly about her own struggles with the disease and working to educate the Black community about health and wellness.

She also mentored younger artists, offering wisdom that only someone who had seen every side of the industry could provide. She had a deep knowledge of the music business, understanding that music was bigger than record sales — it was about telling truth and touching lives.

A final bow, a lasting echo

Stone’s music was like a well-worn book — pages full of wisdom, love and survival that we turned to time and time again. She sang our stories, the ones we lived and the ones we were still learning to navigate. Her voice carried the weight of experience, yet it wrapped itself around us like an old friend, always knowing exactly what to say.

But storytellers like her don’t fade away. Their words, their melodies, their spirit settle into the cultural mosaic of our lives, playing on long after they’re gone. Stone’s music will always be there — on late-night drives, on Sunday mornings, in the quiet moments when we need it most.

So when “Wish I Didn’t Miss You” comes on, let it be more than a song — let it be a reminder that she’s still here, in every note, in every lyric, in every heart she ever touched.

Rest well, Angie. Your song will never stop playing.

When we talk about the architects of soul— the visionaries who sculpted the very essence of R&B, funk, and quiet storm— the conversation too often recycles the same revered names. Marvin. Stevie. Prince. But let’s be clear: If we are to have an honest discussion about the bedrock of modern soul music, then we must carve out space and demand a seat at that hallowed table for the late, great Chris Jasper.

The keyboard wizard. The sonic visionary. The man whose fingers danced across the keys and, in the process, laid the foundation for some of the most enduring music at the height of the soul music era of the 1970s. Jasper, who passed away Monday at the age of 72, was the musical heartbeat of the Isley Brothers during the most celebrated run of their era-defining sound.

From Cincinnati to Juilliard: The making of a maestro

Born Christopher H. Jasper on December 30, 1951 in Cincinnati, Ohio, he was a prodigy from the start. Raised in a musically rich household, Jasper found his calling early, mastering classical piano and absorbing the intricacies of jazz and gospel. That foundation set him apart, giving him a depth of harmonic and compositional knowledge that would later revolutionize the sound of the Isley Brothers.

Jasper’s path was intertwined with the Isley family from a young age. He grew up playing music with Ernie and Marvin Isley, bonding over their shared passion for rhythm, blues, and experimentation. Their chemistry was undeniable, and as they came of age, it was only a matter of time before they’d become part of something much bigger than themselves.

Before he would change the course of R&B history, Jasper sharpened his skills at two of the world’s most prestigious institutions: the Cincinnati Conservatory of Music and Juilliard School in New York. That formal training, combined with the soul of the church and the grit of the streets, gave him a sound that was equal parts refined and raw— sophisticated, yet deeply funky.

The genius behind the groove

In 1973, the Isley Brothers expanded from a trio to a full-fledged band, bringing in the younger generation—Ernie Isley on lead guitar, Marvin Isley on bass, and Chris Jasper on keyboards. This shift didn’t just add players; it transformed their entire musical identity.

On keys, Jasper orchestrated a new sonic era, bringing in jazz-inspired chord progressions, classically influenced arrangements, and a futuristic approach to synthesizers that would define the Isley Brothers’ golden years.

Listen to “For the Love of You”, and you’ll hear Jasper’s celestial keyboard washes turning a simple love song into a spiritual experience. “Between the Sheets”? That’s his synth-laden magic, his mastery of atmosphere and sensuality defining what a slow jam could be. And don’t even get me started on “Footsteps in the Dark”—a record so hauntingly beautiful that hip-hop had no choice but to immortalize it when Ice Cube flipped it into “It Was a Good Day”.

Jasper was a composer, a songwriter, an arranger and the driving force behind classics like “Harvest for the World”, “Groove with You”, “Let’s Fall in Love”, and “The Highways of My Life”. These tunes were more than just songs. They were statements, blending social consciousness with lush musicality, making the Isley Brothers one of the most versatile groups of their time.

Beyond the Isleys: A legacy of excellence

When Jasper, along with Ernie and Marvin Isley, parted ways with the original trio in 1984, they formed Isley-Jasper-Isley. The result? “Caravan of Love”—a song that became a generational anthem, later covered by the Housemartins and used as a rallying cry for unity and hope.

Jasper’s solo career was just as prolific. His commitment to real musicianship never wavered, and he continued to produce and release music under his own name for decades. His albums carried the same meticulous craftsmanship and deep spirituality that defined his work with the Isleys.

Unlike many of his contemporaries, Jasper never chased trends nor was he concerned about grabbing any mainstream spotlight. He stayed true to the essence of what made his music resonate: sophisticated compositions, rich harmonies, and a relentless pursuit of sonic excellence.

The sound that will never die

Greatness is measured by impact, and Chris Jasper’s impact on music is beyond dispute. His contributions are embedded in the DNA of R&B, in the samples that fuel hip-hop classics, and in the textures that still define contemporary neo-soul.

And when you listen to an Isley Brothers record from the Jasper era—it lingers in your spirit and reminds you of a time when music wasn’t just about selling records, but about elevating consciousness. About moving people. About crafting something that would outlive the moment.

That was Chris Jasper’s gift. As long as love needs a melody and groove still demands a heartbeat, then the spirit of Chris Jasper will never fade. Rest easy, maestro.

Noted soul music icon Roberta Flack has transitioned at age 88, leaving behind a legacy of music that defined the human condition and defied time and genre. 

For many kids like me who grew up in the 1970s, Roberta Flack’s voice felt like a secret. Not the kind whispered in the dark, but the kind that stays with you long after the moment has passed — settling into your bones, shaping the way you remember love, loss and longing. She didn’t chase the spotlight, didn’t rely on spectacle. Instead, she let her voice do what only the greatest artists can: slow time, turn a lyric into lived experience and make the quiet parts of life feel just as powerful as the loud ones.

Her music arrived at a moment when soul was reaching for the rafters — big voices, bold deliveries, everything at full tilt. And yet, here was Flack, sitting at a piano, unspooling melodies with the patience of someone who knew that real feeling can’t be rushed. 

One of her first big hits, “The First Time Ever I Saw Your Face,” climbed the charts and wrapped itself around the hearts of anyone who had ever been stopped in their tracks by love. “Killing Me Softly with His Song” was more than a hit — it was a testament to the way music itself can reach into you, pull you under and hold you there. This was the gift she gave the world, and today, as we mourn her passing, we also celebrate the way her music continues to hold us still.

A classical foundation, a soulful legacy

Flack’s journey began in Black Mountain, N.C. in 1937, and by 15, she was already breaking barriers. Accepted to Howard University on a full music scholarship, she studied classical piano with dreams of becoming a concert pianist. But the world had different plans. That classical training — years of disciplined study, of learning the emotional weight of every note — infused her approach to soul, jazz and pop. She played the piano not as an accompaniment, but as an extension of her storytelling, crafting songs with the precision of a composer and the depth of a poet.

Her debut album, First Take, introduced a different kind of soul — one rooted in patience, in the tension between sound and silence. When Clint Eastwood used “The First Time Ever I Saw Your Face” in ‘Play Misty for Me,’ it wasn’t just background music. It was the emotional core, a song that was so subtly nuanced that it commanded your attention. That was Flack’s brilliance — she didn’t need to shout for you to feel her.

The Donny Hathaway connection

No conversation about Flack is complete without Donny Hathaway. Their duets — “Where Is the Love?,” “The Closer I Get to You,” “Back Together Again” — weren’t just collaborations, they were conversations. Two voices, locked in a slow dance, giving us a masterclass in what musical chemistry should sound like.

Hathaway was her creative soulmate, his voice a perfect counterpart to hers — rich, warm, endlessly expressive. But his struggle with mental illness was a weight he couldn’t escape. When he died in 1979, it was more than a personal loss for Flack. It was the loss of a sound, a partnership that felt predestined. She carried on, but you could hear the ache of his absence in the music that followed.

Timeless songs, timeless influence

Flack never followed trends, yet her music never felt dated. She gave us “Feel Like Makin’ Love,” a song so effortlessly sensual it became a blueprint for R&B ballads that followed. She brought elegance to pop with “Tonight, I Celebrate My Love” alongside Peabo Bryson. And with “Killing Me Softly with His Song,” she created an anthem that would resonate across generations, later reimagined by Lauryn Hill and the Fugees — a testament to the enduring weight of her artistry.

Her sound was jazz, was folk, was gospel, was classical. It was everything, all at once, but always unmistakably hers.

A voice silenced, a legacy that endures

In 2022, ALS — amyotrophic lateral sclerosis — took away the instrument that had defined her life. ALS is a ruthless disease, stripping away muscle control, robbing the body of its ability to move, to speak, to sing. It forced Flack into retirement, but it could never take away what she had already given us.

Her music remains. The intimacy she created, the moments she soundtracked, the quiet fire she ignited in every note — those things don’t fade. She showed us that soul isn’t always about volume, that love songs don’t need excess, that true artistry is about knowing exactly when to let the music breathe.

The soundtrack of love and life

There are voices that shake the room, and then there are voices that change the air in the room itself. Roberta Flack was the latter. Her songs were never just heard; they were felt, stitched into the fabric of love stories, heartbreaks, stolen moments and slow dances.

She may be gone, but her voice? Her impact? That lingers, like the final note of a song that refuses to fade. Put on “The First Time Ever I Saw Your Face” tonight. Let it remind you that some voices never truly leave us.

This week’s pick is a tribute to timeless artistry.

Dean Beanz, a Detroit producer, musician, and artist, has been a creative force and cornerstone of the city’s music scene for decades. Known as a renaissance man with an eclectic perspective, Beanz has shaped and influenced generations of Detroit music with his unique blend of styles and relentless creativity.

His latest track, “Play (Like We Used To),” is a nostalgic ride back to the golden age of hip-hop — a time when beats were lush, grooves were undeniable, and storytelling reigned supreme. This throwback gem is more than just a song; it’s a love letter to an era that shaped the sound of a movement. With soulful production and impeccable storytelling, Beanz reminds us why that era remains iconic and why his influence continues to ripple through the Detroit music scene.

Let’s vibe out to “Play (Like We Used To)” — my Pick of the Week.

That was Dean Beanz with “Play (Like We Used To)” — a track that blends nostalgia with mastery, taking us back to a time when hip-hop was raw, real and resonant.

If you’re into progressive, eclectic hip-hop sounds like this, make sure you tune in to The Progressive Underground every Saturday at 6 p.m. on 101.9 WDET. From future soul to nu-jazz, b-sides to rare grooves, we’ve got your musical journey covered.

For The Progressive Underground, I’m Chris Campbell. Until next time, keep the beats timeless, the vibes fresh, and your soul tuned to the music that moves you.

Read more from The Progressive Underground:

• Pick of the Week (Feb. 17): ‘Treat Me Right’ by Carl Bias feat. Miyan Bryant
• Pick of the Week (Feb. 10): ‘Aurora’s Light’ by Kathy Kosins
• Exploring the evolution of maestro Zo! in 5 tracks

This week’s pick is a powerhouse connection of Chicago’s legendary producer Carl Bias and Detroit’s own electronic songbird, Miyan Bryant. These two icons of electronic music have teamed up to create a track that’s pure magic. Released on AO Records, “Treat Me Right” brings together the best of Chicago’s deep house grooves and Detroit’s soulful electronic vibes—a collision of two iconic scenes that’s nothing short of electrifying.

Let’s get into it. Here’s “Treat Me Right”—my Pick of the Week.

That was Carl Bias featuring Miyan Bryant with “Treat Me Right”— a masterclass in deep house perfection.

If tracks like this get your pulse racing, make sure to lock in to The Progressive Underground every Saturday at 6 p.m. on 101.9 WDET. From techno and deep house to future soul and rare grooves, we’re the soundtrack to your weekend.

For The Progressive Underground, I’m Chris Campbell. Until next time, stay tuned, stay soulful, and keep your vibe elevated.

Read more from The Progressive Underground:

• Pick of the Week (Feb. 10): ‘Aurora’s Light’ by Kathy Kosins
• Exploring the evolution of maestro Zo! in 5 tracks
• Pick of the Week (Feb. 3): ‘Silence’ by Angelina Cara

This week’s pick comes from an absolute legend in the game — Kathy Kosins.

An internationally renowned songstress with a career that spans genres and decades, Kathy has worked with icons like Was (Not Was), Slingshot, and Michael Henderson. Whether she’s fronting Detroit Centrix alongside bassist Paul Randolph or carving her path as a celebrated jazz vocalist, Kosins always delivers something extraordinary.

Her latest single, “Aurora’s Light,” is a masterclass in nu-jazz elegance. This track finds Kosins leaning deep into her jazz roots while infusing her signature soulful touch. The result? A mesmerizing soundscape that radiates warmth and sophistication. Let’s dive in and soak up the brilliance.

If smooth, boundary-pushing nu-jazz like this hits your sweet spot, be sure to tune in to The Progressive Underground every Saturday at 6 p.m. on 101.9 WDET. We’re your destination for the best in future soul, nu-jazz, b-sides, and rare grooves.

For The Progressive Underground, I’m Chris Campbell. See you next time, where the beats always stay fresh, and the vibes never stop.

Read more from The Progressive Underground:

• Exploring the evolution of maestro Zo! in 5 tracks
• The Progressive Underground Pick of the Week (Feb. 3): ‘Silence’ by Angelina Cara
• The mystique and mastery of D’Angelo’s ‘Voodoo’

This week on The Progressive Underground, we spotlight a metro Detroit gem: Angelina Cara.

She’s an independent singer, songwriter, and visual artist who has carved a reputation for seamlessly blending folk, jazz, R&B, and electronica into lush, immersive soundscapes. Her music paints vivid sonic textures, full of rich harmonies and soaring melodies that defy genre boundaries.

Her latest single, “Silence,” showcases her intricate electronic craftsmanship and artistic versatility. It’s a captivating piece highlighting why she’s becoming a standout voice in Detroit’s vibrant music scene. So without further ado, let’s dive into “Silence,” my Pick of the Week.

If you’re into silky, genre-fluid electronica like this, don’t miss The Progressive Underground every Saturday at 6 p.m. on 101.9 WDET. We bring you the best in electronica, future soul, b-sides, and rare grooves. For The Progressive Underground, I’m Chris Campbell. See you next time.

Read more from The Progressive Underground:

• The Progressive Underground Pick of the Week (Jan. 25): ‘I Don’t Know Why’ by Paul Hill & Mike ‘Agent X’ Clark
• The mystique and mastery of D’Angelo’s ‘Voodoo’
• The sonic odyssey of Ideeyah

Zo! is a Detroit-born, now DC-based multi-instrumentalist, producer, and composer who has helped to reshape modern soul, R&B, and jazz with his innovative approach.

Heavily influenced by the sonic adventures of music producers like the Mizell Brothers, Zo! excelled at music during his formative years while balancing his love of baseball and drive to pursue an education. Zo! began his recording career with the album “Ablyss”, the first in a series of instrumental releases. He would soon become an in-demand producer and beatmaker, collaborating with artists such as Little Brother, Slum Village and Platinum Pied Pipers while earning a Master’s Degree in Special Education.

Zo!’s breakthrough would come through his association with the group The Foreign Exchange. He regularly collaborated with the group’s founders, Nicolay Rook and Phonte Coleman, and he would eventually become a part of the collective, serving as TFE’s musical director while signed to the Foreign Exchange’s record label.

5 Essential Tracks by Zo!

1. “Flight of the Blackbyrd” – Zo!

With lush keyboard layers, tight rhythm sections and vibrant melodies, Zo!’s 2010 album “Sunstorm” reflected his deep admiration for the Mizell Brothers, known for their groundbreaking work with Donald Byrd, another native Detroiter who made waves in the music industry decades before.

Zo!’s ability to reinterpret jazz funk with a contemporary flair is evident in the next track. It’s taken from his 2013 release “ManMade” which saw him cementing his place in jazz fusion and progressive soul music while earning critical acclaim. The track features the vocals of Georgia native, now Los Angeles-based soul chanteuse Gwen Bunn along with Phonte Coleman.

2. “Count to Five” – Zo! (feat. Gwen Bunn, Phonte)

Featuring collaborations with artists like Jeanne Jolly and Eric Roberson, “ManMade” demonstrated Zo!’s range as a producer, and his tracks melded hypnotic rhythms with intricate productions that drew on various funk and electronic influences.

Sticking with this same album, we’ll explore a high-energy collaboration with Eric Roberson and Phonte. This track captures the feel-good essence of Zo!’s music, driven by dynamic horn arrangements, a tight rhythm section, and lyrics that celebrate joy and forward momentum. It remains a highlight in his live performances, connecting audiences through its infectious spirit.

3. “We Are on the Move” – Zo! (feat. Eric Roberson, Phonte)

By the time “We Are On the Move” was released, Zo! was known as one of the most versatile producers in the industry and a leading voice in modern soul, following in the footsteps of various other multi-instrumentalist music innovators like Leon Sylvers III, and the Mizells.

Our next track comes from Zo!’s 2016 album release “Skybreak,” a stunning exploration of themes of love and resilience as he takes listeners on an immersive and introspective sonic journey into matters of the heart.

4. “Lifelines” – Zo! (feat. Dornik)

Zo!’s penchant for cinematic music productions and excellent storytelling have garnered him production credits and/or co-writing music production credits on various film projects and soundtracks such as the IFC network’s “Sherman’s Showcase” and the wildly popular animated series “Black Dynamite”. He most recently has enjoyed another noted collaboration with Terrell Wallace, aka Tall Black Guy, as they released the 2021 work “Abstractions,” which also featured appearances from the usual roster of Foreign Exchange members and associates. Zo! and Tall Black Guy have extensively toured together  alongside Washington DC-based songbird Deborah Bond, garnering universally positive reviews.

From his beginnings as a Metro Detroit-based instrumentalist to becoming a vital member of The Foreign Exchange collective to his collaborative work as a multi-faceted music producer/artist, Zo! has continually helped to redefine the landscape of soul, R&B, and jazz through his blend of timeless musicianship with a progressive edge, reaffirming his standing as one of this era’s most versatile musical craftsmen.

We’ll conclude this segment with “On the Four,” which features the vocals of noted Dallas-based songstress and The Foreign Exchange associate Carmen Rodgers.

5. “On the Four” – Zo! (feat. Carmen Rodgers)

We hope you enjoyed getting to know Zo! in 5 songs. For more musical journeys like this, tune into The Progressive Underground every Saturday at 6 on 101.9 WDET or stream online at wdet.org. You’ll thank us later for the soulful music discoveries that we dig up just for you.

More from The Progressive Underground:

• The Progressive Underground Pick of the Week (Jan. 25): ‘I Don’t Know Why’ by Paul Hill & Mike ‘Agent X’ Clark
• The sonic odyssey of Ideeyah
• The mystique and master of D’Angelo’s ‘Voodoo’

Today, we’re shining a spotlight on two of Detroit’s most underrated musical innovators — Paul Hill and Mike ‘Agent X’ Clark. 

Hill, a member of the legendary Parliament-Funkadelic collective and a collaborator with Mahogani Music, is renowned in funk and soul circles for his dynamic vocal artistry. Meanwhile, Clark has been a cornerstone of Detroit’s underground electronic music scene, celebrated for his masterful production and deep connection to the city’s house and techno heritage.

Together, they’ve fused their unique talents to create a track that’s pure magic. “I Don’t Know Why” seamlessly combines Clark’s atmospheric, syncopated four-on-the-floor beats with Hill’s soulful and emotive vocal hooks. The result? A deep, soulful house anthem that’s guaranteed to fill dance floors and move your spirit.

If soulful house grooves like this speak to you, make sure to lock in with The Progressive Underground every Saturday at 6 p.m., right here on 101.9 WDET and streaming worldwide at wdet.org. We explore a world of electronica, future soul, deep house, nu-jazz, b-sides, and rare grooves you won’t hear anywhere else.

For The Progressive Underground, I’m Chris Campbell. Until next time, stay soulful, stay curious, and keep vibing.

Read more from The Progressive Underground:

• The mystique and mastery of D’Angelo’s ‘Voodoo’
• The sonic odyssey of Ideeyah
• The Progressive Underground Pick of the Week (Jan. 20): ‘Why (The King of Love is Dead)’ by Nina Simone

This week on Liner Notes, we’re journeying into the soulful, seductive and spellbinding world of D’Angelo’s magnum opus, Voodoo.

Released on Jan. 25, 2000, it was a cultural shift, a line drawn in the sand between commercialized R&B and a deeper, more organic expression of Black music. D’Angelo, the neo-soul savant from Richmond, Virginia, took nearly five years to craft this masterpiece, a project birthed from the sweat-drenched sessions at the legendary Electric Lady Studios, under the spiritual guidance of the Soulquarians collective.

At its core, Voodoo is a groove-based exploration of Black musical traditions. D’Angelo reached back to the spirits of Marvin Gaye, Jimi Hendrix, Sly Stone and James Brown. It was a nod to the past while firmly planting its flag in the future.

Let’s dive into the opening track, “Playa Playa”.

Track: “Playa Playa”

This song sets the tone for what’s to come — a stripped-down funk groove with layered, church-like harmonies that speak of confidence and swagger, baptizing listeners in a sea of soul. The rhythm section, courtesy of Questlove on drums and Pino Palladino on bass, is tight — yet breathes with a jazz-like freedom. 

Recorded at Electric Lady Studios, “Voodoo“ was created in a unique communal environment. This was the era of the Soulquarians, a collective that included Questlove, Erykah Badu, Common, and J Dilla, among others. It was a Renaissance for Black music, with each artist feeding off the other’s energy. And no track exemplifies that better than “Devil’s Pie.” 

Track: “Devil’s Pie”

Produced by DJ Premier, “Devil’s Pie” was initially slated for the soundtrack of Belly, but D’Angelo saw it as more a fit for his solo work, the perfect vehicle to critique the greed and materialism saturating hip hop at the time. Over a minimalist beat, he spits lines about the cost of selling one’s soul for success over a stripped-down funk canvas with eerie organ hits.

Up next, we have “Left & Right,” featuring Method Man and Redman. This track is pure funk-fueled fun, blending hip-hop’s grit with D’Angelo’s sultry grooves. While the song stirred some controversy for its explicit lyrics, it showcased D’Angelo’s ability to bridge the gap between hip-hop and soul, proving he could seamlessly weave both worlds together. Let’s check it out.

Track: “Left & Right (feat. Method Man & Redman)”

Now, let’s talk about “The Line.” This is where we see D’Angelo the poet, the preacher, the prophet. The song was written after Tupac and Biggie’s deaths and is a plea for survival in an unforgiving world. With lyrics like “I’m gonna put my finger on the trigger,” D’Angelo lays bare the existential dread of Black men in America. Yet, there’s resilience here, a testament to the enduring spirit that refuses to be broken. Here’s D’Angelo with “The Line.”

Track: “The Line”

There is so much texture and nuance in Voodoo as the next track is a beautifully crafted ode to love and faith. Co-written with soul singer Angie Stone, the song blends lush harmonies with jazz-influenced trumpets courtesy of Roy Hargrove. Here, D’Angelo’s falsetto is smooth and velvety, reminding us of the spiritual connection that his music creates. Let’s take a listen to “Send It On.” 

Track: “Send It On”

Our next song gets into some pure, uncut funk and is a nod to the classic grooves of James Brown and Sly Stone. The term “Chicken Grease,” which was borrowed from Prince, refers to a specific guitar technique, making this track a nod to both the past and the future. So, here’s D’Angelo with “Chicken Grease.” 

Track: “Chicken Grease”

Now let’s take it down a notch with “One Mo’gin,” a bittersweet ballad about longing for a lost love. The slow burn of the guitar licks, combined with Questlove’s steady drumming, creates a space where heartbreak feels like a dance. Let’s check it!

Track: “One Mo’ Gin”

The next track is a haunting exploration of betrayal and redemption. It features Charlie Hunter’s masterful work on the eight-string guitar, playing both bass and melody simultaneously. The interplay of instruments here is nothing short of magical. Here’s D’Angelo with “The Root.”

Track: “The Root”

We next shift gears to an energetic, Latin jazz-infused tune that showcases D’Angelo’s range as both a composer and a musician. The rhythms are fast-paced, the horns are fiery and it’s one of the most danceable tracks on the album. Let’s get lost in the sounds of “Spanish Joint.”

Track: “Spanish Joint”

We next slide into a remake and sultry reinterpretation of a Roberta Flack classic. Here, D’Angelo strips the track down to its essence, turning it into an intimate conversation between lovers, where every note feels like a caress. Here’s “Feel Like Makin’ Love.”

Track: Feel Like Makin’ Love

Next up is “Greatdayndamornin’/Booty”, a two-part track that juxtaposes the joy of waking up to a new day with the raw funk of the second half. It’s playful, sensual and embodies the loose, live feel that defines Voodoo. 

Track: “Greatdayndamornin’/Booty”

The beauty of Voodoo lies in its ability to mix the sensual with the spiritual. Nowhere is this more evident than in the album’s crown jewel, “Untitled (How Does It Feel).” Co-written with Raphael Saadiq, this track isn’t just baby-making music. It’s an homage to the Purple One himself, Prince, right down to the guitar licks that scream of the Controversy era. The song became infamous for its video, which turned D’Angelo into an overnight sex symbol, much to his discomfort. Let’s dive into that timeless slow burn.

Track: “Untitled (How Does It Feel)”

Voodoo is a genre-bending masterpiece that speaks to the soul — raw, unfiltered and unapologetically Black. More than two decades later, it remains a towering achievement in modern music. It continues to resonate with audiences for its unparalleled musicianship, emotional depth and cultural relevance. Whether dissected in academic discussions, sampled by today’s artists or revisited by fans who grew up with its grooves, it stands as a testament to the enduring power of music that dares to be honest, vulnerable and visionary. 

We’ll end this segment with a track that is a heartfelt ode to D’Angelo’s roots and to his son, Michael. It’s a meditative piece that reflects on heritage, legacy and spiritual grounding. The song’s shimmering chimes and layered harmonies evoke a deep sense of ancestral pride. The song isn’t just a love letter to his son, but to an entire lineage that came before — a reminder that while we are shaped by our past, we are not bound by it. Here’s D’Angelo bringing a spiritual conclusion to an album that refuses to be boxed into a single category with “Africa.”

Track: “Africa”

If you love exploring the depths of music like this, tune into The Progressive Underground every Saturday evening at 6 p.m. on WDET 101.9 FM, where we journey through the genres of future soul, progressive hip-hop, nu-jazz, deep house and beyond.

For The Progressive Underground, I’m Chris Campbell — stay soulful, stay connected and see you next time.

Ideeyah is a Detroit-based singer, songwriter, and powerhouse performer whose eclectic style fuses funk, electronic, and R&B. 

Born and raised in Detroit’s rich musical tapestry and influenced by its house, soul and funk scenes, Ideeyah started her musical journey working on her craft from the age of 6. Influenced by such acts as Alice Coltrane, Grace Jones, Zap Mama, she would define her style as “electronic soul.” 

She would go on to co-found the group Collective Peace, an ensemble made up of some of Detroit’s top emerging musicians and release an album that would place them as a major player in the city’s musical ecosystem.   

5 essential tracks by Ideeyah

1. “Let The Music Play” – Collective Peace

“Let The Music Play,” from the album “Introducing Collective Peace,” was the group’s signature cut featuring Ideeyah on lead vocals. Always meant as a launching pad for its artists, Collective Peace would eventually transition as its members moved onto various solo careers and/or played with other groups. 

Ideeyah would redirect her focus to her solo career and drop a track celebrating one of her heroes, Grace Jones, reimagining one of her classics “Pull Up To The Bumper.”  

2. “Bumpah” – Ideeyah

Ideeyah would go on to release her acclaimed debut album “Brave,” which features our next track.  

Produced by renowned Detroit-based artist Dean Beanz for his record label imprint Evry Music, the album would bring Ideeyah’s musical evolution full circle — providing a bold statement of self-confidence and empowerment. 

3. “Bait” – Ideeyah

Over the years, Ideeyah has also been a go-to artist in various studio collaborations.  This next cut highlights Ideeyah’s collaboration on an album work from noted Detroit artist and producer, Waajeed.

On the Strength EP, Ideeyah makes the most of her cameo appearance as her voice soars over Waajeed’s deeply textured electronic production. 

4. “Strength” – Waajeed, Ideeyah (Jon Dixon Remix)

In the continuum of Detroit’s music scene and beyond, Ideeyah isn’t just a vocalist —she’s a storyteller, a musical chameleon and a force for collaboration. Her work, whether as a solo artist or a featured performer, carries the unmistakable essence of Detroit’s creative spirit: fearless, innovative and deeply rooted in community. 

Her artistry lies in her ability to create music that pulses with life as she delivers themes that continue to challenge, inspire and motivate. We’ll end this segment with another track from her album “Brave” as we sample one of her signature works. 

5. “Static” – Ideeyah

For more musical journeys like this, tune into The Progressive Underground every Saturday at 6 p.m. on 101.9 WDET or stream online at wdet.org.

More from The Progressive Underground:

• The Progressive Underground Pick of the Week (Jan. 20): ‘Why? (The King of Love is Dead)’ by Nina Simone
• Erykah Badu’s ‘Mama’s Gun’ is a soulful shot heard around the world
• The Progressive Underground Pick of the Week (Jan. 11): ‘Listen’ by Brainstory

As we honor the legacy of Dr. Martin Luther King Jr. today, there’s no better track to highlight than Nina Simone’s poignant and soul-stirring tribute, “Why? (The King of Love is Dead).”

Recorded just days after Dr. King’s assassination in April 1968, this powerful piece is not just a song but a raw and emotional snapshot of a nation grappling with loss and injustice. 

Simone first performed “Why?” live at the Westbury Music Fair in New York. Written by her bassist Gene Taylor, the song captures the anguish, confusion, and resilience of a movement mourning its leader. Simone’s haunting vocal delivery, paired with the somber and heartfelt instrumentation, turns this performance into a timeless cry for justice and equality. 

With lyrics that ask: “Will the murders never cease? Are they men or are they beasts?” the song pulls no punches. Simone channels the collective grief of the civil rights movement, while also challenging her audience to continue the fight for equality and love. 

As we reflect on Dr. King’s enduring legacy today, let’s remember the power of art and music to not only document history but inspire change. 

If thought-provoking, soul-stirring music like this resonates with you, make sure to tune into The Progressive Underground. Catch me every Saturday at 6 p.m. on 101.9 WDET or stream us worldwide at wdet.org. Together, we’ll explore the rich soundscapes of progressive soul, nu-jazz, deep house, and rare grooves that elevate the spirit and move the soul. 

For The Progressive Underground, I’m Chris Campbell. Stay inspired, stay united, and let’s keep Dr. King’s dream alive. 

Read more from The Progressive Underground:

• The Progressive Underground Pick of the Week (Jan. 11): ‘Listen’ by Brainstory
• Erykah Badu’s ‘Mama’s Gun’ is a soulful shot heard around the world
• Pick of the Week (Jan. 4): ‘You Make Me Feel (Mighty Real)’ by Moses Sumney

What up doe, Detroit? This week, we’re diving into the mesmerizing sounds of Brainstory, an indie band from Rialto, California, whose music is as intriguing as their name.

Their latest album, “Sounds Good,” is a 12-track journey that blends genres effortlessly, showcasing their unique sound — a lush fusion of funky bass grooves, crisp drums, and nostalgic retro vibes, all anchored by their velvety, emotive vocals.

The standout track, “Listen,” captures everything that makes Brainstory special. It’s a soulful meditation wrapped in groove-laden rhythms, weaving a tapestry of sound that feels both vintage and modern. This track exudes an organic warmth, conjuring images of hazy afternoons and reflective moments while diving into existential musings, posing questions about life’s purpose while wrapping those queries in a soundscape so smooth you’ll find yourself lost in it. So here’s Brainstory with “Listen” — my Pick of the Week.

If soulful, genre-bending tracks like this speak to your spirit, make sure to tune into The Progressive Underground every Saturday at 6 p.m. on 101.9 WDET or stream us online at wdet.org. We dig deep to bring you the finest in throwback and future soul, electronica, nu-jazz, b-sides, and rare grooves.

For The Progressive Underground, I’m Chris Campbell. Until next time, stay soulful, stay curious, and keep vibing.

Read more from The Progressive Underground:

• Erykah Badu’s ‘Mama’s Gun’ is a soulful shot heard around the world
• Pick of the Week (Jan. 6): ‘You Make Me Feel (Mighty Real)’ by Moses Sumney
• The Roots’ ‘Phrenology’ is a masterclass in evolution, experimentation

In the latest edition of Liner Notes, we dive into “Mama’s Gun,” the 2000 release from the high priestess of soul, Erykah Badu.

Let’s rewind a bit. Badu burst onto the scene in 1997 with her debut album “Baduizm,” a record that captivated the world with its blend of soul and hip-hop. The success was meteoric — No. 1 on the R&B charts, comparisons to Billie Holiday, and a new title for Badu: the “Queen of Neo-Soul.” With her headwraps, ankhs, and earthy elegance, she became a symbol of authenticity in an era that craved it.

Fast forward a few years. Life had evolved for Badu — her relationship with André 3000 of OutKast had transitioned, and she was raising their son, Seven. Enter “Mama’s Gun.” Recorded at Electric Lady Studios, the sacred ground of the late Jimi Hendrix, this album saw Badu strip away the mysticism to reveal her rawest self. Collaborating with the Soulquarians — a collective of musical titans like Questlove, J Dilla, James Poyser, D’Angelo, Common, Pino Palladino and various others — “Mama’s Gun” became a symphony of live instrumentation and hip-hop innovation.

These weren’t just jam sessions; they were alchemical rituals, blending live music production with the sonic experimentation of hip-hop beats.

Questlove held the heartbeat, J Dilla spun rhythmic magic, Pino Palladino’s bass lines gave the music its soul, and James Poyser’s keyboards tied it all together. And at the center of it all was Badu, crafting what would become her magnum opus.

Let’s set the tone with the album’s opening salvo, “Penitentiary Philosophy.”

Track: “Penitentiary Philosophy”

A gritty explosion of guitars and funk-infused chaos, “Penitentiary Philosophy” challenged societal oppression and mental imprisonment, announcing that this was not Baduizm. The track is a fiery introduction to “Mama’s Gun.”

Track: “Didn’t Cha Know”

“Didn’t Cha Know” showcased the late, great J Dilla’s genius as he totally flipped Tarika Blue’s 1977 “Dreamflower” into a lush, transcendent soul anthem, thus adding to the mystique of the album. The track is a quintessential example of Dilla’s transformative touch.

Moving on, we spotlight a self-love anthem.

Track: “Cleva”

With Pino Palladino’s slinky bass line and Badu’s honest lyrics, it celebrates imperfections with an effortlessly cool, sultry groove — which feels like a Sunday morning in musical form.

Now, we turn to one of the album’s most poignant moments, a track dedicated to Amadou Diallo, a 23-year-old unarmed man who was shot 19 times by four New York City Police Department officers.

Track: “A.D. 2000”

The officers involved in Diallo’s fatal shooting were charged with second degree murder but later acquitted at trial, prompting national outrage. Badu wrote this haunting ballad in mournful protest, her voice carrying the weight of grief and resilience. 

Next, we highlight the celestial beauty of “Orange Moon,” a poetic love song that radiates warmth and transcendence.

Track: “Orange Moon”

On “Orange Moon,” Badu’s vocals soar as the instrumentation feels like a gentle embrace, painting an ethereal soundscape that is a moment of transcendent audio elegance. 

Up next is the album’s lead single, a track written by Badu and the late Isaac Hayes.

Track: “Bag Lady”

“Bag Lady” is an emotional anthem of liberation, as it portrays a woman who is trying to begin a new relationship but has too much emotional baggage, preventing her from getting close to anyone. The song’s message? Pack light and have hope for the future. The track also includes a nod to Dr. Dre’s “Xplosive.”

The album rounds out with “Sugah,” the raw emotion of “I’m In Love With You,” featuring Stephen Marley, the biting satire of “Booty,” and the sultry jazziness of “Kiss Me On My Neck (Hesi),” and the sprawling, epic three-part suite “Green Eyes.”

The legacy of “Mama’s Gun” is undeniable. It redefined soul music, stood as a crown jewel of the neo-soul era, and showcased the brilliance of collaboration with the Soulquarians. More than that, it solidified Badu as a cultural icon — a prophet, a storyteller, and a beacon of authenticity.

Over two decades later, “Mama’s Gun” stands as a timeless classic, its themes of love, pain, and liberation as resonant as ever. It’s a spiritual experience put to wax, a testament to the enduring power of music to heal, inspire, and transform and a shining example of what happens when artistry and authenticity collide.

We’ll close with the optimistic and vibrant “Time’s A Wastin’,” a call to action and a testament to the album’s enduring power.

Track: “Time’s A Wastin’”

Listen to The Progressive Underground with host Chris Campbell every Saturday from 6-8 p.m. ET on Detroit Public Radio 101.9 WDET.

This week’s pick comes from the renowned Red Hot Organization, a nonprofit that procures music and media dedicated to social change. They’ve been putting out music compilations dedicated to raising awareness about diversity and equity, and their latest series titled ‘TRANSA’ (stylized TRA​И​Ƨ​A) celebrates gender expression.

For this particular tune, the services of Moses Sumney, Sam Smith and Lyra Pramuk were contracted to remake the iconic and powerful classic dance tune “You Make Me Feel (Mighty Real),” which offers a new take on the original classic by Sylvester. The song is experimental and soulful, perfectly combining the voices of the three artists into a harmonious, blended and note-perfect delivery.

So let’s check it out. Here’s Moses Sumney, Sam Smith and Lyra Pramuk with “You Make Me Feel (Mighty Real),” and it’s my Pick of the Week.

If you dig transcendent dance tracks like this, be sure to lock into The Progressive Underground every Saturday evening at 6 p.m. on 101.9 WDET FM and wdet.org, where we play a melodic combination of deep dance, electronica, B-sides and rare grooves.

For The Progressive Underground, I’m Chris Campbell. Until next time, stay soulful, stay curious and keep vibing.

Today, we’re turning the spotlight on one of Detroit’s most dynamic musical acts: Laura Rain & The Caesars.

A force to be reckoned with on the music scene, Laura Rain & The Caesars have carved out a space where the golden era of Motown collides with contemporary soul, funk and jazz. Influenced by the timeless artistry of legends like Aretha Franklin, Stevie Wonder, Marvin Gaye, and Parliament-Funkadelic, they’ve mastered a sound that pays homage to the past while firmly planting itself in the present.

At the heart of the band is Rain herself, a powerhouse vocalist whose commanding presence and raw emotion evoke the energy of Detroit’s musical legacy. Her voice is bold and bluesy, with just the right amount of grit to make you feel every note. Rain’s dynamic range and interpretive style are perfectly complemented by the band’s tight, funk-laden grooves and jazzy flourishes.

Led by guitarist and co-songwriter George Friend, the band crafts intricate, groove-driven compositions that feel both fresh and familiar. Together, they create an electrifying synergy that has earned them a reputation as one of the city’s must-see live acts.

Their latest single, “Feel So Right,” is a soulful, groove-heavy gem, and my Pick of the Week.

If you dig that retro soul sound with a modern twist, Laura Rain & The Caesars are an act you’ll want to keep on your radar.

Be sure to lock in with The Progressive Underground every Saturday evening at 6 p.m. on 101.9 WDET FM or stream worldwide at wdet.org. Together, we’ll explore the rich soundscapes of progressive soul, nu-jazz, deep house, and rare grooves you won’t find anywhere else.

For The Progressive Underground, I’m Chris Campbell. Until next time, stay soulful, stay curious, and keep vibing.

In this edition of Liner Notes, we dive into “Phrenology,” The Roots’ groundbreaking 2002 release. 

The Roots were no strangers to pushing boundaries. By the time “Phrenology” dropped, they had already solidified their status as hip-hop’s premier live band, transcending the genre’s traditional trappings with their celebrated albums “Do You Want More?!!!??!” and “Things Fall Apart.” But “Phrenology” was different.

It wasn’t just an album, but a seismic shift in sound, scope and ambition. 

This album represented a crossroads. Recorded between June 2000 and September 2002 at the legendary Electric Lady Studios in New York, “Phrenology” was born out of a period of creative restlessness. The title itself references the discredited pseudoscience of phrenology, which claimed to determine a person’s intelligence and character by studying the shape of their skull — ironically nodding to the absurdity of boxing in human potential, much like The Roots refused to be confined by hip-hop’s conventional borders. 

This was the early 2000s — a transitional moment in hip-hop when the underground scene began colliding with mainstream sensibilities. Artists like The Roots, part of the Soulquarians collective, are redefining what hip-hop could be by infusing it with jazz, soul, rock, and avant-garde experimentation. Let’s start with the opening track, “Rock You.” 

Track 1: “Rock You” 

“Rock You” makes a bold statement, opening the album with a visceral punch. The track’s raw energy reflected The Roots’ decision to lean into a heavier, grittier sound, inspired in part by their desire to replicate the raw intensity of their live performances.

Questlove’s hard-hitting drums and Black Thought’s ferocious flow set the tone, announcing that this album isn’t here to play it safe. 

Track 2: “Sacrifice” (feat. Nelly Furtado) 

The track “Sacrifice” features the ethereal Nelly Furtado. This collaboration wasn’t a random pairing. At the time, Furtado was an emerging artist whose blend of folk and pop sensibilities intrigued The Roots. Her delicate yet commanding voice juxtaposed beautifully with Black Thought’s introspection. The lyrics dive into the emotional costs of ambition, a theme that resonated deeply with The Roots as they balanced commercial success with artistic integrity.   

Next, we have a tune featuring Talib Kweli, a track that underscores The Roots’ commitment to showcasing lyrical craftsmanship. 

Track 3: “Rolling with Heat” (feat. Talib Kweli) 

Talib Kweli was more than a collaborator — he was a kindred spirit. The Brooklyn emcee has long been a champion of socially conscious rap, being one half of the group Black Star with Mos Def and a Soulquarians collective member. This made him a natural fit for this track. The chemistry between Black Thought and Kweli is palpable, as they exchange bars over a beat that feels both urgent and menacing.    

Track 4: “Thought @ Work”

In “Thought @ Work,” Black Thought proves why he’s one of the all time greatest lyricists in hip-hop. This track draws inspiration from the Bomb Squad’s chaotic production style, with Questlove layering drum breaks and samples to create a sense of controlled chaos. Black Thought’s rapid-fire delivery makes this one of the album’s standout moments, a showcase of technical mastery that leaves listeners in awe.

Next, we transition into one of the most iconic tracks in The Roots catalog. 

Track 5: “The Seed (2.0)” (feat. Cody ChesnuTT) 

“The Seed (2.0)” was done in collaboration with indie rock artist Cody ChesnuTT, who had recorded the original version of “The Seed” as part of his lo-fi debut album. When The Roots heard it, they saw its potential and invited ChesnuTT to reimagine the track with them. The result is a genre-blurring anthem that fuses rock, funk, and hip hop into something utterly unique. 

Track 6: “Break You Off” (feat. Musiq Soulchild) 

As an album, “Phrenelogy” was one of the most sonically diverse in The Roots catalog.  “Break You Off” brings the album a smooth, seductive vibe. The song features fellow Philly artist Musiq Soulchild, whose soulful crooning adds a layer of vulnerability to this exploration of love and temptation.

Recorded late at night during jam sessions at Electric Lady Studios, this track captures the intimacy of those sessions, with The Roots leaning heavily into their neo-soul influences.

We next dive into a track that explores themes of addiction and recovery, which provides a daring experiment, one that solidifies “Phrenology” as an album unafraid to take risks.  

Track 7: “Water”

Clocking in at over 10 minutes, the sprawling, experimental epic “Water” finds Black Thought delivering some of his most introspective verses. 

The eclecticism of the album is rounded out by interlude tracks “Phrentrow” and “WAOK (Ay) Rollcall,” both featuring noted Philadelphia artist and poet Ursula Rucker; straight-up spoken word vibes on the jazzy, avant-garde instrumentation of “Something in the Way of Things (In Town)” featuring legendary poet Amiri Baraka; along with funky and intricate groove-heavy tunes like “Quills,” “Pussy Galore,” “Rhymes & Ammo” and “Thirsty,” that explored even more provocative and sonic terrain that tackles complex themes without losing their musical edge. 

Breaking musical barriers

As a full album work, “Phrenology” broadened the scope of what hip-hop could sound like while positioning The Roots as both traditionalists and futurists. By maintaining their identity as a live band in a genre dominated by producers and drum machines, The Roots showcased the richness of organic instrumentation in hip-hop, inspiring artists like Anderson .Paak and Kendrick Lamar to incorporate live musicianship into their work. They proved that hip-hop could be cerebral, boundary-pushing, and unafraid of experimentation without losing its soul.

This ethos influenced future experimental hip-hop projects, from Kanye West’s “808s & Heartbreak” to OutKast’s “Speakerboxxx/The Love Below.” It was a critical link between the boom-bap era of the 1990s and the genre-blurring hip-hop that defined the 2010s and became a touchstone for artists looking to challenge norms while staying rooted in the culture’s foundations.

At its core, “Phrenology” is a triumph of artistry and audacity because it was an album that dared to ask questions — about the limits of genre, the nature of identity, and the role of music in shaping culture. The Roots delivered a sonic experience and a statement of purpose, solidifying their place as one of hip-hop’s most innovative and enduring acts.

Two decades later, its impact still echoes as a major triumph in The Roots discography and in the evolution of hip-hop as an art form. We’ll conclude this segment with a track that that is fittingly named as it features Jill Scott delivering warm, yet ebullient and expressive vocals as the perfect counterpoint to Black Thought’s cerebral rhymes. The song’s title reflects its intricate layers, both lyrically and musically as it navigates the nuances of human connection.

 “Complexity” featuring Jill Scott

This album cemented The Roots as not just a hip-hop band, but a cultural institution — leaders of the Soulquarians movement and pioneers of progressive rap. It’s an album that challenges, inspires, and endures. 

Listen to The Progressive Underground with host Chris Campbell every Saturday from 6-8 p.m. ET on Detroit Public Radio 101.9 WDET.

This week, we’re diving into a track by the inimitable Michael Kiwanuka that is as soul-stirring as it is sonically rich. It comes off his latest release, “Small Changes,” that seamlessly blends his brand of folk, soul and rock into a sound that is uniquely his own.

In “The Rest of Me,” Kiwanuka pens a musical letter to vulnerability and connection. It’s a slow burner that brims with emotive delivery and delicate interplay with acoustic guitars, understated strings and a steady percussive heartbeat that creates an atmosphere that is both intimate and expansive.

If you’re drawn to music that moves the heart and stirs the spirit, make sure to lock in with The Progressive Underground every Saturday evening at 6 p.m. on 101.9 WDET FM or stream worldwide at wdet.org as we explore the rich soundscapes of progressive soul, nu-jazz, deep house, and rare grooves you won’t hear anywhere else.

For The Progressive Underground, I’m Chris Campbell and we’ll see you next time.

This week’s Pick of the Week comes from Eddie Chacon, who was one half of the ’90s duo Charles & Eddie. He’s reemerged in recent years as a pioneer of atmospheric, understated R&B. Teaming up with producer John Carrol Kirby, Chacon crafts a track that feels like an emotional excavation.

Chacon has been busy at work on his upcoming album release, Lay Low, so we will check out one of its lead singles, “Empire.”

If you’re drawn to music that whispers to the soul and challenges you to feel deeply, make sure to lock in with The Progressive Underground. Join me every Saturday at 6 p.m. on 101.9 WDET or stream worldwide at wdet.org, where we explore the vast soundscapes of progressive soul, nu-jazz, deep house and rare grooves you won’t hear anywhere else. Until next time — stay soulful, stay curious and keep vibing.