On the latest edition of The Progressive Underground‘s Liner Notes, we explore “Abstractions,” a collaboration between two of the most revered producers in modern soul, funk, and hip-hop: Zo! and Tall Black Guy.

Metro Detroit-born Lorenzo “Zo!” Ferguson and Tall Black Guy, aka Terrel Wallace, took different paths to arrive at their shared groove-centric vision. Zo!, a multi-instrumentalist, came up playing jazz and classical before transitioning into the vibrant world of progressive soul and funk, producing for The Foreign Exchange and spearheading several solo projects. Tall Black Guy, known for his masterful beat-making, honed his skills through crate-digging and sampling, becoming a staple in the underground hip-hop and soul circuit.

Though they had admired each other’s work from afar, their creative paths finally converged through the Foreign Exchange Music family, an independent label founded by Phonte and Nicolay. Their shared love for deeply rooted soul, lush arrangements, and head-nodding rhythms made their collaboration inevitable.

“Abstractions,” released in 2021, is the product of this synergy — a sonic journey through jazz, R&B, and hip-hop, infused with their mutual respect for craftsmanship and storytelling. Let’s explore the album track by track.

Track: “Talkin’ To Myself” feat. BeMyFiasco

The album opens with a warm, contemplative groove featuring BeMyFiasco, the rising singer-songwriter from Dallas. With dreamy chords and a hypnotic rhythm, “Talkin’ To Myself” captures the feeling of self-reflection and inner dialogue. BeMyFiasco’s ethereal vocals glide effortlessly over Zo! and Tall Black Guy’s plush instrumentation, setting the tone for the album’s deeply introspective yet groove-heavy vibe.

Track: “Sightseeing” feat. Diviniti & Pirahnahead

We next step into a short but mesmerizing interlude featuring Detroit’s own Diviniti and producer Pirahnahead. The track showcases the duo’s ability to paint vivid sonic landscapes with minimal elements. It’s jazz-infused, dreamy, and transports the listener into a meditative headspace. 

Track: “The Ride” feat. Sy Smith, Black Milk & Elzhi

“The Ride” features vocals from longtime Zo! collaborator Sy Smith, who delivers silky, jazz-inflected vocals, while Black Milk and Elzhi drop in to spout razor-sharp verses over an intoxicatingly rich instrumental. This track is a testament to the album’s seamless fusion of live instrumentation and hip-hop aesthetics. 

Track: “Blackout”

“Blackout” is short instrumental interlude that acts as a sonic reset, which finds Zo! and Tall Black Guy leaning into their experimental side. Layers of synthesizers and deep bass tones create an otherworldly atmosphere, demonstrating their knack for crafting interludes that feel just as essential as full-length tracks. Throughout their career both have cultivated relationships with artists of varying iconographies. 

Track: “I Love The Way” feat. Omar

On this cut, British soul legend Omar graces the mic, on a breezy, feel-good anthem that exudes warmth and sophistication. With Omar’s unmistakable voice riding over a buttery-smooth bassline, this track recalls classic ‘90s acid jazz while remaining firmly in the present. Zo! and Tall Black Guy’s production shines here, highlighting their ability to craft infectious grooves that feel both timeless and forward-thinking. 

Track: “Hold My Hand” feat. Darien Brockington, Muhsinah & Phonte

“Hold my Hand” features an all-star lineup of Darien Brockington, Muhsinah, and Phonte, where the harmonies are lush, the instrumentation pristine and the chemistry between the vocalists undeniable. The whole arrangement feels like a Foreign Exchange family reunion with its spotlight of TFE artists and affiliated/adjacent artists on the track. This tune exemplifies the power of collaboration, as each artist brings their unique touch while staying true to the album’s cohesive sonic palette. 

Track: “Northland” feat. DJ Dez

With their strong Detroit musical roots, Zo! And Tall Black Guy continue to rep their hometown. Representing the heartbeat of Detroit, “Northland” features turntablist DJ Dez, a legend in the Motor City’s hip-hop and funk scenes. The track blends chopped jazz samples with raw, dusty drums, evoking the spirit of crate-digging culture. It’s a reminder of the album’s deep roots in hip-hop’s production techniques, seamlessly merged with live musicianship. 

Abstractions is more than just an album; it’s a masterclass in modern soul production. Zo! and Tall Black Guy, both virtuosos in their own right, have crafted a project that transcends genre boundaries while maintaining a deeply personal touch. With its seamless blend of jazz, soul, hip-hop, and electronic elements, the album embodies the spirit of collaboration and artistic evolution.

This record also highlights the importance of independent artistry in today’s music landscape. As key members of The Foreign Exchange Music stable, Zo! and Tall Black Guy have built a movement that champions authenticity, musicality, and innovation. Their work on “Abstractions” reinforces their reputation as architects of a new wave of soul music—one that respects tradition while fearlessly pushing forward.

We’ll close with a track that highlights the album’s versatility, and features some house music vibes from music luminary Josh Milan, who drifts into soulful house territory, radiating warmth and positive vibrations. Milan’s unmistakable vocals soar over an intricately woven backdrop of lush keys, subtle percussion, and hypnotic bass. It’s a track that feels equally at home on a dancefloor as it does during a late-night drive. Let’s check out “Connected.”

Track: “Connected” feat. Josh Milan

That was “Connected” from Zo! & Tall Black Guy’s “Abstractions”, an album that stands as a shining example of what happens when two visionary producers come together with a shared purpose.

If you love deep musical dives, tune in to The Progressive Underground every Saturday evening at 6p.m. on 101.9 WDET. This has been Liner Notes, and I’m Chris Campbell. See you next time!

Today on The Progressive Underground‘s Liner Notes we dive into “Control” — the groundbreaking 1986 album from Janet Jackson that was more than a musical statement; it was a personal revolution.

Let’s rewind. Before “Control,” Jackson was known as a child actress, the youngest of the Jackson dynasty, with two lackluster albums under her belt —projects dictated by family expectations rather than artistic passion. But by 1985, at age 19, she had enough. She fired her father as her manager, annulled a brief and tumultuous marriage to James DeBarge, and took control — literally.

Enter Jimmy Jam and Terry Lewis, two producers fresh off their tenure with Prince and The Time. Their Minneapolis-based Flyte Tyme Studios became the war room where “Control” was crafted, far from the shadows of her family’s influence. It was here that Jackson found her voice — not just as a singer, but as a songwriter, a producer, and a force in pop culture.

Let’s kick it off with the title track — a bold, declarative mission statement that set the tone for everything that followed.

Track: “Control”

That was “Control,” the album opener and the thesis statement of Jackson’s new era. Over a bed of industrial-strength beats, punchy synths, and sharp stabs of funk, Jackson asserts her independence with the kind of conviction that turns a pop star into an icon.

Up next, the track that introduced Jackson’s “nasty” alter ego — born out of a real-life encounter with street harassment in Minneapolis. The song’s clattering percussion and aggressive funk arrangement were built on Jimmy Jam’s signature triplet swing beat, a precursor to New Jack Swing. It was brash, confrontational, and packed a feminist punch.

Track: “Nasty”

Jackson’s anti-catcalling anthem and its infectious “nasty boys” hook became a cultural touchstone, but beyond the groove, it was a battle cry. And speaking of battle cries, up next is the song that served as Jackson’s official break-up notice — not just to DeBarge, but to anyone who doubted her autonomy.

“What Have You Done for Me Lately” was originally a Jam and Lewis track for their own project, but once Jackson stepped in, she reshaped it into a no-nonsense declaration of self-worth. The punchy synth bassline, slinky groove, and icy-cool delivery made it an instant classic. Press play on this and feel the energy on this one.

Track: “What Have You Done for Me Lately”

“What Have You Done for Me Lately” reintroduced Jackson to the world —confident, independent, and with a new sonic identity.

Now, let’s switch gears. Amidst all the declarations of independence and fierce autonomy, “Control” also gave us “The Pleasure Principle.” Unlike the album’s other hits, this wasn’t a Jam and Lewis production — it was helmed by Monte Moir, another Minneapolis sound architect. The result is a sparse yet powerful track that showcased Jackson’s ability to command a song without needing a wall of production behind her.

And let’s not forget the music video — directed by Dominic Sena — where Jackson delivered an iconic solo dance performance, cementing her as one of the era’s premier visual artists. 

Track: “The Pleasure Principle”

“The Pleasure Principle” was an exercise in minimalism that still managed to hit like a sledgehammer.

Now, let’s step into something warmer, something more playful. “When I Think of You” was Control’s most carefree moment, and it became Janet’s first-ever No. 1 hit on the Billboard Hot 100. The track pulsed with an irresistible groove, blending R&B and pop into something light, joyful and infectious. 

Track: “When I Think of You”

“When I Think of You” offers a reminder that even in the midst of a creative and personal reinvention, Jackson still knew how to craft a perfect pop song. The album then takes a quick detour with “He Doesn’t Know I’m Alive,” an underrated gem penned by Spencer Bernard, another Minneapolis collaborator. It’s a snapshot of youthful infatuation, serving as a brief moment of softness.

Track: “He Doesn’t Know I’m Alive”

The next track finds Jackson at her most introspective. In an era where music was becoming more sexually explicit, she took a different approach urging patience, emotional depth and genuine connection. The track’s lush arrangement, warm synths, and hushed vocal delivery made it one of the most celebrated ballads of the decade.

Track: “Let’s Wait Awhile”

“Let’s Wait Awhile” resonated deeply with audiences and solidified Janet’s ability to balance power with vulnerability.

Looking back, “Control” wasn’t just an album — it was a cultural reset. It changed the way we saw Janet Jackson, catapulting her from a Jackson sibling to a generational voice. It established Jam and Terry as the most in-demand producers of their time, influencing everyone from New Edition to Boyz II Men to Beyoncé.

The album’s impact on MTV and music video culture was seismic. With the help of a then-unknown Paula Abdul, Jackson revolutionized pop choreography, setting the template for every artist who followed — Britney, Aaliyah, and Ciara.

Commercially, “Control” spent 65 consecutive weeks on the Billboard Hot 100 — a record-breaking run. It spawned five Top 5 singles, earned Jackson her first Grammy nominations, and ultimately sold over 10 million copies worldwide.

Most importantly, it gave a new generation of Black women in music a blueprint for self-determination. Artists like Missy Elliott, TLC, Beyoncé, and Rihanna all stand on the foundation “Control” built. So, nearly four decades later, what’s the takeaway?

“Control” was more than Jackson’s breakthrough — it was a revolutionary act of self-creation. It was proof that taking the reins of your own destiny isn’t just empowering — it’s unstoppable. We close with the album’s most delicate moments and most atmospheric track. Unlike anything else on the release, this song was pure mood — a smoky, jazz-infused lullaby that hinted at the deeper sensuality Jackson would explore in later albums. 

Track: “Funny How Time Flies (When You’re Having Fun)”

That was “Funny How Time Flies (When You’re Having Fun),” a dreamy, intimate closure to one of the most game-changing albums in pop and R&B history.

If you love deep dives into music that changed the game, be sure to tune into The Progressive Underground every Saturday at 6 p.m. on 101.9 WDET. This has been your edition of Liner Notes. For the Progressive Underground, I’m Chris Campbell. We’ll see you next time.