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.

Welcome to Liner Notes, where we dig into the stories and offer commentary behind the albums that resonate beyond the music. Today, we’re unpacking Candace Nicole, the self-titled album by Detroit-based pianist, composer, arranger and bandleader Candace Nicole. 

Nicole’s musical journey began at age 3. Inspired by her piano-playing mother and musically-inclined grandmother, she embraced a family tradition – taking piano lessons. Her classical training introduced her to the works of Beethoven, Bach, and Gershwin, while her Detroit roots infused her artistry with the rich sounds of Motown, jazz, and R&B. Over the years, Nicole would hone her craft performing at concerts and showcases, but her true passion lay in creating original music.   

Balancing family life and work, she composed her debut album during quiet late-night hours, the only time of day where she had the opportunity to create, and soon she had compiled a number of original works that would comprise the album.

Fashioning herself as a “neo-classical” artist who fuses the worlds of classical with jazz and R&B, she secured the services of noted percussionist and producer Jeff Canady (of the Don Was Pan Detroit Ensemble) as well as a cauldron of some of Detroit’s top-tier musician talent to play on the album, including Twon Green II (keys), Anthony Booker (guitar) and Terry Washington (bass/music direction) along with audio engineers Derrick Holmes and Greg Reilly to help bring the album to life.   

1. Latin

Let’s start with the opening track, “Latin,” a lively fusion of Latin and Afro-Caribbean rhythms. This tune channels the vibrant spirit of music legends like Joe Sample and Chick Corea, while adding Nicole’s improvisational jazz flair.  

2. Paradise to See

While the album spotlights Nicole’s piano mastery, it also features standout collaborations with talented vocalists. One such gem is “Paradise to See,” featuring the radiant Yolanda “Yo-Yo” Buckman.  This track evokes the breezy elegance of Natalie Cole’s “La Costa,” blending island-inspired grooves with a hopeful message. Buckman’s soulful delivery paired with Nicole’s lush arrangements creates a sonic escape amid uplifting sentiments of hope toward better times ahead.  

3. Time Goes On

Throughout the album, Nicole’s compositions reflect a variety of styles, and “Time Goes On” is a quiet storm ballad that explores enduring love and commitment and features a heartfelt duet featuring vocalists Kenyatta and Nate Smith, a.k.a. N.A.T.A. 

Nicole’s graceful chord progressions provide the perfect backdrop to the vocalists deftly swapping melodic verses, making this duet a gorgeous slow burn and portrait of unrequited love.

4. Alive!

All throughout the album, Nicole’s restrained gracefulness on the keys belies a dazzling yet rhythmic economy as she avoids the traps of so many jazz and R&B artists, who tend to overplay or drown a tune in bombastic soloing. Nicole blends subtlety and technical brilliance, which is clearly apparent on the track “Alive!” as she delivers a hauntingly beautiful composition that captures both strength and vulnerability. The tune features Kenyatta once again, who delivers soaring soprano vocals.  

5. Mi Mamasita

There are distinctive Latin influences peppered throughout the album, and Nicole’s versatile treatment of Salsa/Merengue/Bachata vibes make for a jubilant celebration of rhythm on “Mi Mamasita.” Again featuring Buckman’s warm, heartfelt vocals, Nicole wrote the tune in celebration of her mother. The song also serves as an homage to the nurturing influence of all motherly figures. 

6. Midnight

The breezy and organic chord structures of the track “Midnight” close out the album in grand fashion.

Across the continuum of this six-song opus, Candace Nicole is many things. First, she is a superb musician with a complete understanding of both a lyric and its relation to the melodic content of a track – her piano serving as an extension of her thoughts and your ears the filter for its distillation.

She is a tunesmith of the highest order who can seamlessly blend classical, jazz, Latin and R&B elements. Her music is deeply personal yet universally resonant, drawing listeners into an intimate, emotional journey.

The album is a debut of remarkable vision, maturity, control, professionalism and iridescence. It shows a riveting, classically-trained artist who can finesse a track from gentle whisper to searing crescendo and allow you the space to ruminate in between while you connect with the music.

But above all, it shows that Candace Nicole, the musician, makes music that is a reflection of you, the listener. She gives listeners something they can feel.

If you dig music like this, check out The Progressive Underground every Saturday evening at 6 p.m. on 101.9 WDET where the genres of future soul, progressive hip-hop, nu-jazz, deep house, techno and rare grooves are presented on a sonic palette just for you. See you next time! 

To learn more about Candace Nicole, visit candacenicolemusic.com.

For this week’s Pick of the Week, we’re turning back the clock 40 years to highlight a masterpiece from Jean-Luc Ponty’s 1984 album, Open Mind. Coming off the success of his 1983 release Individual Choice, Ponty sought to push the boundaries of his craft even further, blending his signature avant-garde jazz fusion with the cutting-edge sounds of synthesizers and sequencers.

The result? A groundbreaking project that merged meticulous rhythm programming and pulsating synths with Ponty’s virtuosic violin and Violectra, creating a soundscape that was both futuristic and timeless. Open Mind isn’t just an album — it’s an exploration, a journey into the possibilities of sound.

Adding to the album’s brilliance are cameo appearances from none other than jazz legends Chick Corea and George Benson. These collaborations elevate Open Mind to another level, infusing it with the gravitas and artistry that only such icons can deliver.

For this week’s pick, we’re spotlighting the track “Modern Times Blues,” an exquisite exchange of melodies between Ponty’s soaring violin and Benson’s unparalleled jazz guitar. The interplay between these two titans is nothing short of mesmerizing — a duel of strings that’s equal parts fiery and elegant, weaving a narrative without words but bursting with emotion.

If progressive, jazzy, genre-defying sounds like this are your vibe, then make sure to lock in with The Progressive Underground. Catch me every Saturday at 6 p.m. on 101.9 WDET, or stream the show worldwide at wdet.org. Together, we’ll journey through the rich soundscapes of progressive soul, nu-jazz, deep house and rare grooves you won’t find anywhere else.

Until next time, stay soulful, stay curious and keep vibing.

Welcome to Liner Notes, where we dive deep into the stories, sounds, and moments that define the albums we love. Today, we explore “Until We Meet Again,” the latest masterpiece from Sy Smith, the undisputed queen of independent soul.

With a five-octave range and a fearless approach to music-making, Smith has spent decades redefining the boundaries of soul, jazz, and R&B. A proud D.C. native and Howard University alum, Smith first captivated audiences as the lead singer of go-go band In Tyme before making her way to Los Angeles. There, she became an in-demand vocalist for legends like Whitney Houston, Brandy, and Usher. But while her work as a background singer showcased her vocal prowess, Sy was destined for center stage.

Frustrated by the constraints of major labels after releasing her debut album “Psykosoul” on Hollywood Records, Smith took matters into her own hands. Founding her own label, she released a string of critically acclaimed albums (“The Syberspace” “Social,” “Conflict,” “The Fast and the Curious,” and “Sometimes a Rose Will Grow in Concrete”) that solidified her status as a sonic pioneer. Now, with her first album on The Foreign Exchange Music imprint, “Until We Meet Again” delivers an opus that is as elegant as it is personal.

This is more than just an album. It’s a memoir told through song, with producers Zo! and Tall Black Guy crafting a lush Gamble and Huff-inspired sonic backdrop that elevates Smith’s artistry to new heights.

Track 1: “Flowers”

The opening track, “Flowers,” is a soulful prelude where Smith sets the tone for the entire album — a love letter to her audience and an acknowledgment of life’s fleeting beauty. This track blooms into the upbeat, introspective vibes of “Why Do You Keep Calling Me,” a song that captures the complexity of emotional entanglements with wit and warmth.

Track 2: “Why Do You Keep Calling Me”

The track “Why Do You Keep Calling Me” exemplifies Smith’s ability to balance playful storytelling with emotional depth. The production is expertly helmed by Zo and Tall Black Guy who seamlessly blend hypnotic grooves and intricate melodies that places her voice front and center.

Track 3: “Photograph”

Next up, we dive into “Photograph,” a poignant ode to the bittersweet nature of nostalgia and the memories we hold dear. The song echoes Smith’s journey as an artist who’s always been unafraid to revisit the past while forging ahead. This segueways us into the next track, which features a standout collaboration with Grammy-winning trumpeter Chris Botti.

Track 4: “Remember How to Fly” (feat. Chris Botti)

Smith first connected with Botti while touring as his featured vocalist, where their onstage chemistry became a show-stopping highlight. Audiences were always thrilled by Smith’s voice and Botti’s trumpet going note-for-note in playful competition on stage. On this track, their musical interplay belies a mesmerizing synergy, with Botti’s haunting trumpet lines soaring alongside Smith’s transcendent vocals. The song is a call to rediscovery — a theme that resonates deeply in Smith’s own journey in music and life. 

Track 5: “Always Pick Up for You”

By this time the album imbues many similarities to the golden era of 1970s soul music, reflecting a musicality that could easily fit into that era, but that is also timeless. In the  track, “Always Pick Up For You,” Smith slows things down and gives a nuanced vocal performance that conveys both strength and vulnerability while waxing poetic about the sacrifices and loyalty inherent in love.

The next song, “Slide,” puts Smith’s versatility on full display with hypnotic rhythms and sensual vibrations, with the track feeling like an intimate confession set to music. Here the production of Zo and Tall Black Guy really gets immersive with atmospheric textures that highlight their long-standing creative partnership and the trust and synergy that have been built over years of collaboration.

Track 6: “Slide”

Over Smith’s three decades in the music industry, she has cultivated numerous relationships that have developed into familial bonds. One such example is her relationship with the legendary Escovedo family out of Oakland, California. Smith began touring with Sheila E and the Escovedos in 2011 and they developed a deep bond, where Sheila’s family virtually adopted Smith and her actor husband Shawn Carter Peterson as one of their own. The next track features her close sister-friend, the legendary percussionist Sheila E and guitarist Leo Amuedo. The song is a showcase of virtuosity, with each artist bringing their unique flair to create a song that is as technically impressive as it is emotionally resonant.

Track 7: “Masterclass” (feat. Sheila E. & Leo Amuedo)

“Masterclass” lives up to its title featuring Shiela E’s fiery percussion and Leo Amuedo’s intricate guitar work, making it a song that is as technically impressive as it is emotionally resonant. 

Track 8: “Summer of ’93” (feat. Tracey Lee & Dontae Winslow)

The track “Summer of ’93,” featuring rapper Tracey Lee and trumpeter Dontae Winslow, is a nostalgic celebration of youthful freedom and introspection that show’s off Smith’s range as both a vocalist and storyteller.

Track 9: “All The Ways”

“All The Ways” is a minimalist masterpiece that really allows Smith’s voice to take center stage, showcasing her ability to convey deep emotion with subtlety and grace. Here she is accompanied by The Foreign Exchange’s Phonte Coleman who steps up to the mic to croon. It’s essentially a love letter set to music that leaves listeners hanging on every word.

The legacy of ‘Until We Meet Again’

By this point, it’s undeniable: “Until We Meet Again” isn’t just another album — it’s a defining moment in modern soul music. Smith has always been a trailblazer, but this record cements her legacy as one of the most important voices of her generation.

Drawing from the golden era of 1970s soul while infusing elements of jazz, R&B, and Brazilian music, “Until We Meet Again” bridges past and present. It’s a masterclass in storytelling, collaboration and musicianship. You hear shades of Denice Williams, Minnie Riperton, Jean Carne, Marlena Shaw, Phoebe Snow and many other trailblazers from that time period, in a masterwork that deftly translates those vibes into a contemporary context that is both natural, organic and seamless.

With every track, Smith embraces her musical regality, crafting songs that are deeply personal yet universally resonant. This is an album you don’t skip tracks on; it’s a fully immersive experience that carries listeners through a spectrum of emotions. If Smith’s artistry is a journey, then “Until We Meet Again” is the destination we didn’t know we needed.

Now, let’s conclude this journey with the album’s title track, a moving requiem that serves as both a farewell and a celebration of the enduring power of love.

Track 10: “Until We Meet Again”

This track is a poignant closer to an album that is an instant classic. To stay updated on happenings, releases and activities related to Sy Smith visit syberspace.shop.

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 of the Week is an eclectic journey — an ethereal trip through sound, emotion and artistry. Today, we shine a light on an emerging songbird whose music is as expansive as the cosmos itself: Detroit’s own Beverly Johnson, aka Bevlove, now based in Los Angeles but forever rooted in the creative soil of the Motor City.

Bevlove isn’t just an artist; she’s a force. A product of Detroit’s Cass Tech, she was guided by the Tony-winning Marilyn McCormick in the school’s storied theater department. That foundation gave her the poise, presence and artistry that would later define her as a live performer. But Bevlove didn’t stop at acting — she pivoted to music, and in doing so, created a lane all her own.

Her resume is nothing short of impressive. From critically acclaimed EPs like Talk That Ish and Letters to a string of singles that showcase her genre-defying sound, Bevlove has proven she’s more than a vocalist — she’s a curator of vibes. Her performances at Detroit’s Movement Festival and her appearances on bills with powerhouses like Lizzo, Danity Kane, Azealia Banks and most recently Tweet, underscore her versatility and magnetic presence.

Now, let’s talk about the elemental musical romp that is “Spacetime.” This isn’t just a song; it’s an atmosphere. It’s the kind of track that stops you in your tracks and commands your attention. The production is lush and otherworldly, pulling you into a dreamy soundscape where Bevlove’s multi-octave voice becomes your guide. It’s a song that feels like a conversation with the cosmos, as if Bevlove has tapped into the frequencies of the universe and is translating them into sound. It’s not just music — it’s a meditative experience, a moment to reflect, dream and get lost in the beauty of the unknown.

So here it is: Bevlove with “Spacetime,” my Pick of the Week.

That was Bevlove with “Spacetime,” a maxi-single release that takes you to another dimension. If you’re as captivated by soulful, progressive sounds as I am, then lock in with The Progressive Underground every Saturday evening at 6 p.m. on 101.9 WDET or streaming worldwide at wdet.org, where we traverse the soundscapes of progressive soul, nu-jazz, deep house and rare grooves you won’t hear anywhere else. Stay curious, stay soulful, and as always, keep digging deeper.

Marsha Ambrosius is a powerhouse vocalist, a lyrical genius, and a staple in the music industry — both as part of the groundbreaking duo Floetry and as a thriving solo artist.

She was born and raised in Liverpool, England, where she discovered her love for music early on. While her initial dream was to pursue a career in basketball, a knee injury changed her course, steering her towards music. Ambrosius’ journey began when she connected with Natalie Stewart, forming the iconic duo Floetry — a blend of spoken word and sultry soul that took the early 2000s by storm.

Floetry became a sensation with their signature blend of jazz, soul, and hip-hop influences. And it’s with that signature sound that we kick off this 5-on-5 with one of their most beloved tracks, which was written by Ambrosius.

5 essential tracks by Marsha Ambrosius

1. “Say Yes” – Floetry

“Say Yes” from Floetry’s 2002 album “Floetic” is a timeless slow jam that put Ambrosius and Stewart on the map. The song was an intimate invitation to unwind and connect, and Ambrosius’ silky, soulful vocals showcased her ability to blend vulnerability with strength, making her voice instantly recognizable. This track solidified Floetry’s reputation for pushing the boundaries of neo-soul.

2. “Butterflies” – Floetry

Ambrosius’ talents extend beyond just her voice — she’s also an acclaimed songwriter. And the track “Butterflies,” which she originally wrote for Michael Jackson, is a testament to her prowess behind the scenes. The King of Pop’s version became a hit on his 2001 album release “Invincible,” but the original by Floetry captures Ambrosius’ raw, heartfelt emotion. “Butterflies” became a symbol of her ability to craft songs that resonate deeply, whether she’s singing them herself or gifting them to other artists.

3. “Far Away” – Marsha Ambrosius 

As Floetry’s success soared, Ambrosius continued to develop as an artist, eventually stepping into the spotlight as a solo performer. Her solo debut, “Late Nights & Early Mornings,” was both a critical and commercial success, showcasing her growth as a storyteller. “Far Away” — a deeply personal song where Ambrosius explored heartbreak, mental health, and societal pressures — is one of the standout tracks from that album.

The music video made waves for its portrayal of LGBTQ+ relationships and the impact of bullying, a brave and poignant statement that showed Ambrosius wasn’t just here to sing — she was here to use her platform for change. This track solidified her status as a solo artist who’s unafraid to address real-life issues while maintaining that soulful sound we all love.

4. “You & I” – Marsha Ambrosius 

Ambrosius’ second album, “Friends & Lovers,” was another evolution in her sound, leaning into lush, intimate vibes that explore the complexities of love. “You & I” from that project perfectly captures the depth of her artistry and offers a great example of her ability to paint vivid emotional landscapes with her voice. The track is a soulful exploration of the highs and lows of a relationship, blending her smooth vocal delivery with a rich, textured production.

Over the years, Ambrosius has become one of the most sought-after collaborators in the industry, frequently lending her voice to tracks by artists like Dr. Dre, Kanye West, and Busta Rhymes. But even as she collaborates, she continues to evolve her own sound. 

5. “Music of My Mind” – Marsha Ambrosius

The album “Casablanco” marks a new chapter for Ambrosius, showcasing her growth as an artist who continually pushes boundaries, both sonically and lyrically.

Throughout the course of her musical journey, Ambrosius has proven to be more that just an artist; she’s a storyteller, a boundary-breaker, and a voice that continues to shape the future of R&B and soul. Whether she’s collaborating with icons or crafting deeply personal solo projects, Ambrosius challenges us to feel deeply, to connect, and to remember that music — at its best — is both timeless and transformative.

If you’re into deep, soulful vibes that push the envelope, make sure you’re tuned in to The Progressive Underground every Saturday from 6-8 p.m on 101.9 WDET-FM and wdet.org. 

This week, we shine the spotlight on the immensely talented Tamisha Waden, a North Carolina-based jazz and soul vocalist whose voice is as rich and compelling as the stories she tells through song.

A pivotal member of the Grammy-winning music collective The Foreign Exchange, Waden’s artistry seamlessly merges soul, funk and jazz into a soundscape that feels both classic and forward-thinking.

Waden’s honey-toned alto has made her a sought-after presence — whether in the studio or on the stage — sharing her gifts alongside legends like Mavis Staples, Roy Ayers, Marion Meadows and Bob Baldwin. Her ability to evoke the golden era of late ’70s to early ’80s R&B while infusing it with contemporary elegance makes her a standout in today’s music scene.

Her track “Good For Me” is a gem from The Foreign Exchange compilation album “Hide & Seek.” From the opening notes, this song envelops you in nostalgia, as live instrumentation dances effortlessly with Waden’s lush vocal harmonies. It’s a track that harkens back to a time when R&B reigned supreme —grounded in sincerity and uplifted by craftsmanship. The groove is undeniable, the emotion palpable, and the overall vibe? Pure magic.

So, here it is — Tamisha Waden with “Good For Me,” and it’s my Pick of the Week.

If soulful, progressive sounds like this resonate with you, make sure to tune in to The Progressive Underground every Saturday evening at 6 p.m. on 101.9 WDET FM or stream us at wdet.org. We journey through progressive soul, nu-jazz, deep house, and rare grooves that you won’t hear anywhere else.

To stay updated on Tamisha Waden’s music and upcoming tours, visit tamishawaden.com.

This week was a special The Foreign Exchange (TFE) tribute edition of The Progressive Underground as we celebrated the group founded by Phonte Coleman and Nicolay Rook back in 2004. We chronicled their rise from a groundbreaking duo to a game-changing music ensemble with a burgeoning record label and music movement redefining the sound of progressive soul and conscious hip-hop while providing a multifaceted platform for independent artists.

We played tunes from the TFE catalog as well as individual works of its members such as Phonte, Matthijs Nicolay Rook, Zo! aka Lorenzo Ferguson, Carmen Rodgers and Tamisha Waden, while also mining cuts from artists on the TFE record label like Sy Smith, Bemyfiasco and YahZarah St. James. Plus, some TFE-adjacent artists like Eric Roberson (the king of independent soul), Maurice Pirahnahead Herd & Tee Diviniti Smith, Tall Black Guy Productions and many more! We give TFE and their family tree their flowers and celebrate them for the musical movement that they are.

See the playlist below and listen to the episodes on-demand for two weeks after it airs using the media player above.

The Progressive Underground Playlist for Nov. 16, 2024:

• “Milk & Honey” – The Foreign Exchange
• “Brave New World” – The Foreign Exchange
• “Take Off The Blues (feat. Darien Brockington)” – The Foreign Exchange
• “Make Me Fool (feat. Jesse Boykins)” – The Foreign Exchange
• “Right After Midnight (feat. Sy Smith)” – The Foreign Exchange
• “So What If It Is” – The Foreign Exchange
• “We Are On The Move (feat. Eric Roberson)” – Zo!
• “Role Play (feat Bilal)” – Leron Thomas
• “We Can Fly” – Nicolay
• “Sweet Love (feat. Jeanne Jolly)” – The Foreign Exchange
• “The Answer” – The Foreign Exchange
• “If This Is Love (feat. YaZarah)” – The Foreign Exchange
• “Flight of the Blackbyrd (4Hero Remix) [feat. Phonte]” – Zo!
• “Love Come Save The Day” – YaZarah
• “Flowers” – Sy Smith
• “Close To You” – Art Nap
• “Pretty Little Love (feat. Lola Violet)” – BeMyFiasco
• “Saturday Night (feat. Carlitta Durand)” – Nicolay
• “Wonderluv” – Darien Brockington
• “Lifetime” – Bain
• “Follow (feat. Carlitta Durand)” – Phonte
• “The Beauty of Life (feat. Carmen Rodgers)” – Pirahnahead & Diviniti
• “Lifelines (feat. Dornik)” – Zo!
• “Body” – The Foreign Exchange
• “The Brightest Star (feat. Phonte & Carmen Rodgers)” – Nicolay
• “Why Do You Keep Calling Me?” – Sy Smith
• “Don’t Wanna Be Your Lover” – BeMyFiasco
• “Hold My Hand (feat. Phonte/Muhsinah & Darien Brockington)” – Zo! & Tall Black Guy
• “Funk in the Hole (Nicolay Remix)” – Roy Ayers
• “No More Waiting (feat. Creative Theory)” – Nicolay
• “Better” – The Foreign Exchange
• “Something” – Phonte & Eric Roberson
• “Count to Five” – Zo!
• “Asking for a Friend” – The Foreign Exchange
• “Sun Rings/Uprising” – Nicolay
• “All The Kisses (feat. Paris & Amber Strother of KING)” – The Foreign Exchange

I have a track for you that is steeped in soul, grit and the tenacity of hip-hop royalty. This week’s Pick of the Week comes from none other than Charyse Marshall, aka Mahogany Jones, a name that reverberates with authenticity, power and the kind of lyrical mastery that makes you sit up and take notice. She doesn’t just step onto the track; she commands it. And if you’ve been following her story, you know she’s been a force since her days on BET’s 106 & Park “Freestyle Fridays,” where she didn’t just compete — she became the first four-time undefeated champion, setting a high bar for freestyle.

From her early days in New York to her reign in Detroit, Jones has sculpted a career that transcends borders. As a cultural ambassador for American Music Abroad and the U.S. State Department’s Bureau of Educational and Cultural Affairs, she’s made hip-hop a global language, representing not just a genre but a movement. And now, Jones is back with her latest single, “Go,” featuring the sultry, soulful vocals of Detroit’s own Monica Blaire.

This track is whole a vibe, a layered experience that dips into the underground while embracing house and techno with a remix from Roberto “Ma$terPeace” Peace. The synergy between Jones and Blaire is electrifying, their voices effortlessly weaving through rhythm and melody. Jones’ lyrics are fierce, thoughtful and uplifting, a reminder of the resilience and beauty of Black womanhood, while Blaire’s hook is pure Detroit, grounding the track in a sonic landscape that’s as innovative as it is soulful. Check it out:

If deep grooves and underground energy move you, tune in every Saturday at 6 p.m., when The Progressive Underground takes you on a musical journey through future soul, techno, deep house, nu-jazz and those rare grooves that keep the spirit alive. See you next time, peace.

Stay up-to-date with Mahogany Jones at mahoganyjones.com.