Kickmag

Terri Lyne Carrington and Social Science share "Identity Song," featuring vocalist Michael Mayo, rapper Nappy Nina, and harpist Brandee Younger. The single serves as a mantra for living on one's own terms. Together they create a carefree sonic space that supports varied gender expression and sexuality. The groove is a bubbling heartbeat stacked with Mayo and Nina's words as Younger adds sweet string plucks.

Carrington’s inspiration for the track stems directly from her work in academia as a mentor to the next generation of creative minds.

“As a teacher, I encounter a lot of young people who are choosing not to stay within the binary when it comes to gender identity,” shares Carrington, who balances her career as a multi-GRAMMY Award-winning drummer with her role as the founder and artistic director of the Berklee Institute of Jazz and Gender Justice. “We are living in a new time where this topic is part of the cultural, social, and political conversations of the day, and while there are many people who are rejecting this, it is real and people’s struggles are real. People are being discriminated against, and people are dying for being themselves, due to others’ discomfort.”

"There’s something playful about the track," Younger notes, reflecting on the song's layered production. "The production is layered and quirky, with a very serious sense of groove, making you want to dance while also making you listen very closely. The lyrics create a space for people to exist fully as themselves without judgment. It celebrates whoever you are, whoever you love, and however you identify."

Younger points to this balance as a testament to Carrington's unique vision: "She has this incredible ability to create music that is sophisticated and thought-provoking while still feeling very human and honest. The music and the lyrics are both achieving the same thing. The song reminds us that individuality and connection can exist simultaneously and that embracing our differences is where the magic happens."

"Identity Song" arrives on time for Pride Month and is included on Carrington's next album, Trip the Night Fantastic, due for release on July 31st via Candid Records.

Flying Lotus dons his Captain Murphy alter ego for "Mudhole." The song is included on the soundtrack to the Lionsgate film, The Furious. Little Snake produced the brooding track that has Flying Lotus sounding like a villain. The music is a fitting companion to the story about revenge enacted with martial arts. The Furious will be in theaters on June 12th, and Flying Lotus, who just released the Big Mama EP, is getting ready for residencies at the Blue Note on both coasts. 

Flying Lotus Blue Note Jazz Residency

July 8th — Blue Note Jazz Club, New York City, NY *

July 9th — Blue Note Jazz Club, New York City, NY *

July 11th — Blue Note Jazz Club, Los Angeles, CA *

July 12th — Blue Note Jazz Club, Los Angeles, CA *

*two shows per evening

Regina Belle, who recorded four duets with Peabo Bryson, including "Without You," the love theme from the 1987 comedy film, Leonard Part 6; “I Can’t Imagine” on Peabo’s 1991 album, Can You Stop the Rain; “A Whole New World" from the 1992 Aladdin soundtrack; and Richard Smallwood’s “Total Praise," a gospel anthem recorded on the Songs 4 Worship Soul album (2009), shares her feelings about Bryson's passing.

REGINA BELLE STATEMENT REGARDING THE PASSING

OF HER FRIEND, TWO-TIME ACADEMY AWARD WINNER AND TWO-TIME GRAMMY AWARD WINNER

PEABO BRYSON

It is with profound grief and sadness that I share the loss of one of my dearest and closest friends yesterday, Tuesday, June 2, 2026. Peabo Bryson was like a brother to me. We shared a special musical and spiritual bond developed through our love of music, family, and community.

I initially met Peabo during my college days at Rutgers University in New Jersey more than thirty years ago, before I signed my recording contract with Columbia Records.

A few days after his stroke on Sunday, May 31, I went to the hospital to spend some time with him and his family. During my quiet time with Peabo, I held his hand and sang in a whisper, “A Whole New World” and “Total Praise,” our version of the song that Peabo and I recorded.

The hardest part of this moment is knowing that I will never be able to sing again with the person who helped me create such magic. Peabo was far more than a legendary artist; he was my friend, my trusted collaborator, and someone whose talent, kindness, and generosity left an indelible mark on my life and career.

From the moment I first heard his music as a young girl, I was captivated by the beauty, warmth, and power of his voice. Years later, I had the extraordinary privilege of not only sharing the stage and recording studio with him but also sharing a friendship built on mutual respect, trust, and genuine affection.

Peabo had a remarkable gift for making everyone around him feel comfortable. Whether we were performing before thousands or creating music together in the studio, he always made the experience special. He welcomed me into his world, shared his wisdom, and trusted me with pieces of himself beyond the spotlight. Those moments are gifts I will cherish for the rest of my life.

I considered Peabo my official duet partner. His virtuosity as a world-class vocalist was second to none. As musicians, we had similar musical taste. I was fortunate to collaborate with him on four projects.

Winning Grammy Awards and an Academy Award together remains one of the greatest honors of my career, which also cemented our musical partnership, but the awards are only part of the story. What I treasure most are the memories, the laughter, the conversations, and the privilege of creating timeless music alongside one of the greatest vocalists of all time.

While my heart is broken by this loss, I find comfort in knowing that the music we created together will live on. Those songs, those performances, and those memories can never be taken away. They are forever woven into both of our legacies.

Even when I am gone, a part of me will continue to live through the music we made together, just as a part of Peabo will continue to live in the hearts of everyone he touched through his extraordinary gift.

Rest peacefully, my friend. Thank you for the music, the memories, and the magic.

Singer, songwriter, producer, and musician Robert Peapo "Peabo" Bryson died on June 2nd at age 75 after suffering a stroke. Bryson's soaring tenor is one of the most recognized of the past five decades. He started his career when he was just 14 years old, working as a backup singer for Al Freeman and the Upsetters in his native Greenville, South Carolina; it was Freeman’s difficulty pronouncing "Peapo" that led to the lifelong stage name "Peabo."

He launched his solo career in 1976 and had regional success with his first album, Peabo. Capitol Records signed him to a deal in 1977, and he started having major hits with "Feel The Fire." Over the next two decades, he became one of the premier male vocalists of his time thanks to solo soul staples like "Reaching for the Sky," "Crosswinds," "I'm So Into You," "Let the Feeling Flow," and his 1991 R&B chart-topper "Can You Stop the Rain."

Bryson reached another level of success when he crossed over to the pop charts in 1984 with "If Ever You're In My Arms Again," which was his first Top Ten pop hit. It was during the '80s when he recorded the duet album, Born To Love, with Roberta Flack, spawning the iconic love anthem "Tonight, I Celebrate My Love."

The 1992 recording of "A Whole New World" with Regina Belle from Disney's film Aladdin turned him into an absolute household name. He won two Grammys for his Disney ballad work: one in 1993 for his smash duet with Celine Dion on "Beauty and the Beast" and a second in 1994 for his duet with Belle.

Producer, songwriter, and arranger Dexter Wansel died May 31st at the age of 75. Wansel was one of the creators of the storied Philly Soul sound during the '70s. He was a keyboard player for groups MFSB, Instant Funk, and Yellow Sunshine before he signed with Philadelphia International Records as an in-house producer/arranger/songwriter. As a solo artist, his Life On Mars album is a cosmic masterpiece that helped innovate the jazz-fusion sound and laid the groundwork for the sophisticated R&B that followed.

Wansel formed a songwriting partnership with Cynthia Biggs, and together with Kenneth Gamble, they wrote a collection of R&B hits, including "If Only You Knew" for Patti LaBelle, "Nights Over Egypt" for The Jones Girls, "Living All Alone" for Phyllis Hyman, and more. UK R&B group Loose Ends made his "Sweetest Pain" composition popular. The Jacksons, Jean Carne, and Lou Rawls were some of the many legendary artists Wansel produced, and The Story of the Flight Crew to Mars, released in 2021, was his last album.

Syd is returning with her first solo album in four years with Beard. "Callin'" featuring Blu June is the first single, and it's a punchy tune despite the caller's frustration. Syd co-produced the single with production duo Nova Wav, and Raphael Saadiq plays the bass. The video directed by Naleye J goes historical with the appearance of a phone booth, which no longer exists. Van Hunt, Rodney Jerkins, James Fauntleroy, Jordan Ward, and Big Sean are some of the guests on Beard. Syd attributes the album's title to defying societal expectations and embracing the peach fuzz on her upper lip and her unique place in the music industry. Beard is scheduled for release on July 17, 2026.

Tank and the Bangas' music video for "Ain't That Deep" is a vibrant, visual love letter to their hometown of New Orleans. Serving as a fun, raw showcase of local residents from all walks of life, the track is a standout single from their new album, The Last Balloon, released on May 22 via Verve Forecast.

Musically, "Ain't That Deep" highlights the band's signature, euphoric blend of soul, R&B, and hip-hop. The project itself carries massive weight for the group, as The Last Balloon officially concludes a color-themed album trilogy that began with Green Balloon (2019) and continued through Red Balloon (2022).

Patti LaBelle's "Yo Mister" is on her 1989 album, Be Yourself. The album is her ninth solo project and second one for MCA Records. Prince produced and wrote "Yo Mister," sang backing vocals, and played bass, lead guitar, and synthesizers on the song about a strict father who abandons his daughter during her battle with addiction.

"Yo Mister" had been sitting around since the time of LaBelle's "New Attitude," but Prince didn't feel comfortable approaching her with the song until she invited him to collaborate on Be Yourself. LaBelle recorded her vocals at Paisley Park in 1988, but Prince had already completed his instrumental parts and vocals at Sunset Sound in Hollywood in 1986. Margie Cox, a frequent Prince collaborator from Minneapolis, provides uncredited background vocals on the track.

Timmy Regisford, the NYC club DJ legend and A&R executive, remixed the single for the album version. "Yo Mister" went on to become a Top Ten R&B hit for LaBelle, and it was not Prince's only contribution to Be Yourself, as he also co-wrote "Love '89" with Sheena Easton. More recently, Patti LaBelle joined forces with fellow icons Chaka Khan, Gladys Knight, and Stephanie Mills for the historic "The Queens! 4 Legends. 1 Stage." co-headlining tour.

It's my 15 year anniversary on Tumblr 🥳

Sentury has released a video for their single, "Don't Mind." The Houston quartet expresses the same kind of intensity that made "Only Human" and "Forever" romantic classics. Group member Leo describes "Don't Mind" as the next part of the love story they initiated on their previous songs. He says it is "a follow-up to the love story in 'Forever.'" The couple is planning their wedding and life together.” The video does show a couple circling a date on the calendar while the group performs on a rooftop at night. CJ, AJ, Rico, and Leo are completely invested in bringing their vintage sound to the present and delivering something that Ai music will never be able to replicate. "Don't Mind" is about building real intimacy that grows on its own schedule from the heart. 

KINGH is flexing her ambition on "Dare To Dream," produced by jungle legend Shy FX. The Leeds native, now based in London, sings over Mtume's "Juicy Fruit" about her goals and vision for the future. The single is included on her forthcoming debut EP, also titled Dare To Dream. She explained what the song is about in a press statement.

"Dare To Dream" is about vision, ambition, courage, and giving yourself permission to want more. It represents confidence, faith, and mindset. Sometimes the hardest thing is allowing yourself to believe what is possible. This song is about stepping into that belief. I want people to hear it and feel uplifted, like they’ve been reminded to think bigger, dream boldly, and move towards what they truly want. My approach with Dare To Dream was to create something that felt uplifting and expansive while still carrying weight and soul.”

"Dare To Dream" follows "La Prima," which is also on the EP that is exclusively produced by Shy FX. KINGH's upbringing between Lake Como and Milan included listening to music by Funkadelic, Lenny Kravitz, David Bowie, Omella Vanoni, and Erykah Badu, all of whom she cites as influences on her creativity. Dare To Dream comes out June 26th on Shy FX's Digital Soundboy label. 

What will happen to Harlem's Cotton Club? 

Ravyn Lenae reveals the release date for her third album, Blue Island, and presents the rock single, "Handle." The sound is a different direction from her usual R&B sound, and the song is actually about growing as an artist. She adds another new part to her artistry with a choreographed video organized by movement director Akira Uchida. The choreography is something she wants to add to her live shows, which will commence in June. Blue Island is executive produced by her Bird's Eye collaborator, Grammy-winning producer Dahi. Lenae's presence became significantly more noticeable in the past year because of her Top Ten hit, "Love Me Not." A year later and Lenae is expanding her sonic choices and refusing to lock herself into a uniform. She has no investment in the boxes Black women artists are usually expected to fit, and the influences of Janet Jackson, Tracy Chapman, and Santigold have kept her inspired. The idea of a pigeonholed artist is something she made a statement about in a press release. 

“‘Blue Island’ is a point of arrival, and feeling set in my ways and in who I am, and feeling free of any of those preconceived notions about Blackness or what I had to be in the past. So I think now it’s fun to challenge the idea of what R&B is supposed to sound like, what pop is supposed to sound like… and really say ‘fuck all of that’ and do my own thing.” 

Blue Island comes out on August 7th, and Lenae has shows in June at the Primavera Sound Festival in Barcelona and the Governor's Ball in New York City. 

Tour Dates

6/4 - Barcelona, ES @ Primavera Sound 

6/6 - New York, NY @ Governors Ball 

8/13 - Copenhagen, DK @ Syd for Solen 

8/14 - Gothenburg, SE @ Way Out West 

8/15 - Oslo, NO @ Oya Festival 

8/20 - St. Poelten, AT @ Frequency Festival 

8/22 - Biddinghuizen, NL @ Lowlands Festival 

8/23 - Hasselt, BE @ Pukkelpop Festival 

8/25 - Lausanne, CH @ Headline 

8/26 - Paris, FR @ Rock en Seine 

8/28 - London, UK @ All Points East 

8/29 - Lisbon, PT @ Kalorma 

8/30 - County Laois, IE @ Electric Picnic

Wax Poetics has officially announced a monumental, multi-part archival release curated directly from the personal vault of five-time Grammy Award-winning producer and engineer Jimmy Douglass AKA "The Senator." Douglass has spent over half a century behind the boards. From engineering rock and soul royalty at Atlantic Records (Led Zeppelin, AC/DC, and Aretha Franklin) to architecting the futuristic sound of modern pop, hip-hop, and R&B alongside Timbaland (Missy Elliott, Jay-Z, Aaliyah, and Justin Timberlake), Douglass is one of the most influential sonic architects in music history. 

The Jimmy Douglass Hip-Hop and Jazz Archive offers an unprecedented, behind-the-scenes look at the blueprint of modern music. The collection features rare studio artifacts, original master reels, handwritten lyrics, and unreleased recordings from Douglass’s legendary career at Atlantic Records and his era-defining partnership with Timbaland.

Vault Highlights

The archive bridges the gap between classic soul and the golden eras of hip-hop and R&B, featuring physical artifacts from the moments history was made:

The Aretha Franklin Microphone: The actual Telefunken U47 studio microphone used by Aretha Franklin during her Young, Gifted, and Black sessions and her iconic recording of “I Say a Little Prayer.”

The Timbaland/Aaliyah/Jay-Z Era Master Reels: Original studio reels for Jay-Z’s “Big Pimpin’,” Justin Timberlake’s “Cry Me A River,” and Aaliyah’s “Try Again” (originally labeled under its working title, “Dust Yourself Off”).

Dr. Dre Vocal Tapes: The original, raw vocal reel for Dr. Dre’s “Forgot About Dre.”

Destiny’s Child & Missy Elliott Rarities: The digital master for Destiny's Child’s “Say My Name” and handwritten lyrics from Missy Elliott.

The Nas Vault: Master and slave reels for Nas’s “You Owe Me Something” (feat. Ginuwine), complete with Douglass's handwritten chorus lyrics from the 1999 session.

Two-Part Release Schedule

The archive will launch throughout June 2026 via a series of exclusive drops on the Wax Poetics platform:

Drop Phase Launch Date Focus & Core Highlights Drop 1: Jazz, Funk, & Soul

Live Now Anchored by Aretha Franklin’s Telefunken U47 mic, plus unreleased demo cassettes and recordings from Dr. John, King Curtis, and Ann Peebles (“Somebody’s On Your Case”). Drop 2: Hip-Hop & R&B June 8th @ 3 PM ET Focuses on the late '90s and early 2000s boom. Includes original vocal tapes, master reels, and digital stems from Dr. Dre, Aaliyah, Jay-Z, Nas, and Justin Timberlake.

Many of the physical tapes retain their original studio labeling, production markings, and handwritten engineer notes, preserving the exact creative energy of the rooms where they were born.

From Inside the Control Room

"Discovering Jimmy’s archive has been an incredible privilege," says Alex Bruh, co-owner and CEO of Wax Poetics. "Jimmy helped shape the sound of multiple generations and genres. Some of these items are truly historic artifacts of American culture."

"I’m excited to give people access to my history through these items," says Jimmy Douglass. "Some of them are tied to the biggest pieces of work in my life, and I’m looking forward to them finding a new home with people who love the music."

Alongside the marketplace drops, Wax Poetics will roll out exclusive editorial features and documentary video content detailing the stories behind the artifacts. This release marks the next chapter in Wax Poetics’ evolution as the premier music collectibles marketplace, following their record-breaking Mariah Carey demo tape auction.

Chuck D and John Densmore are one of the most unexpected musical duos to ever exist. The Public Enemy front man and drummer from '60s psychedelic band The Doors met at a Record Store Day event at Amoeba Records in 2014. A back-and-forth exchange of lyrics and ideas resulted in doPE ten years later. Do+pe= no country for old men is a collection of poetry that finds both men reflecting on getting older, legacy, and politics. Densmore's friendship with the late Pulitzer nominee and Black Arts movement poet Etheridge Knight comes up when he recites "The Bones Of My Father." Knight's words are used to describe the continuity that exists from one generation to the next as they learn from each other. Densmore explains this idea in a press release. 

"There’s a sacred connection between old people and young. The elderly are not supposed to be hiding behind walls in old people’s homes. They're supposed to be mentors, teachers because of the knowledge they’ve gathered from living a long life. My friend, the late, great Pulitzer nominee poet Etheridge Knight, addresses this issue with “The Bones of My Father.” Their debut single, "every tick tick tick," which was named Record Store Day's 2026 Song of the Year, is a brisk meditation on the fleeting nature of time and the vital importance of grabbing hold of every single second. Meanwhile, the ghost of Densmore's former bandmate, '60s icon Jim Morrison, heavily influences "Doomsday," a track born from Densmore reminiscing about Morrison’s haunting lyrics referencing the H-bomb.

California poetry legend Kamau Daáoo's words are also lifted up on "Dajali II," which is a dedication to another poetry ancestor, Bob Kaufman. Public Enemy producer C-Doc created an atmosphere that caters to Densmore's folk aesthetic and Chuck D's booming baritone that's used to rapping over hard beats. By trading the relentless assault of The Bomb Squad's audio artillery for sparse, thrumming grooves, the production allows the gravity of their poetry to do the heavy lifting. Ultimately, do+pe= no country for old men stands as a masterclass in creative longevity and the embracing of cool veteranhood. Their graceful acceptance of aging comes through the hardest when Densmore says, "Everybody gets older, but not everybody gets elder," and Chuck D says, "I've been your age before, but you've never been mine." Two figures who started out as counterculture heroes and became recognized cornerstones of their art look back and share the blueprint for aging without assimilation.