Prolific singer-songwriter Lamont Dozier penned hits for the Marvelettes, the Supremes, [Marvin Gaye](Marvin Gaye), Martha and the Vandellas, the Four Tops, the Isley Brothers and many more over his decades-long career. Dozier helped define the signature sound of Motown Records — one which has been covered, sampled, interpolated and used in soundtracks for generations.

Through his musical collaboration with brothers Brian and Eddie Holland, Dozier co-wrote, arranged and produced a string of classic hits in the 1960s. Among his extensive canon are songs like "You Keep Me Hangin' On," "Heat Wave," "I Can't Help Myself," and "Nowhere to Run." Without Dozier's ability to craft catchy hooks and grooves, Motown may have never become the powerhouse label that changed the course of music history. 

Dozier's creative offerings inspired artists across many genres, so when his publicist announced news of his passing at the age of 81, social media was flooded with heartfelt tributes from notable collaborators and admirers of his work, including Brian Wilson, Mitch Hucknall of Simply Red, Paul Stanley of KISS, and singer-songwriter Carole King.

Diana Ross — who first met Dozier in the '60s when he co-wrote 10 No. 1 singles for the Supremes, including "Baby Love" and "Come See About Me" — paid tribute to the late songwriter on Twitter: "He will always be remembered through all the beautiful songs that he wrote for me and the Supremes, and so many other beautiful songs."

Motown Records founder Berry Gordy played a major role in getting Dozier's career off the ground. "Lamont was a brilliant arranger and producer who balanced the talents of the great Eddie and Brian Holland, helping to pull it all together," Gordy said in a statement. "H-D-H, as we called them, gave the Supremes not only their first No. 1 record, ‘Where Did Our Love Go,' but they followed that with multiple No. 1s over the next three years. Unheard of…In the 1960s, their sound became synonymous with the 'Motown Sound.'"

 (L-R) Diana Ross, Lamont Dozier (at piano), Mary Wilson, Eddie Holland, Florence Ballard (seated) and Brian Holland in the Motown studio circa 1965. | Photo by Michael Ochs Archives/Getty Images

Dozier's journey to the top of the charts began in Detroit, where he was born and raised in the Black Bottom district. Raised by a single mother who worked hard to provide for him and his siblings, Dozier was a creative, ambitious kid and a bit of a romantic — he was known as "the love doctor" at his junior high where he sold love letters to classmates. He knew he wanted to make music, so he began writing songs as he figured out his next moves.

In high school, Dozier took a major step toward achieving his music dreams when his interracial doo-wop group, the Romeos, stumbled into a recording contract with a newly formed independent label. The group's single "Fine, Fine Baby" soon caught the attention of Atlantic Records, which bought the song from them. Dozier viewed the sale as a sign of good things to come and promptly dropped out of high school to devote all of his time to making music, much to the dismay of his mother. But the Romeos' success was short-lived — Dozier overplayed his hand during negotiations with Atlantic, abruptly ending the group's collaboration with the label. They disbanded shortly thereafter.  

 After the group split, Dozier set out to earn a living as a solo artist. In 1960, Dozier recorded his first solo project with Anna Records, a label co-founded by Gordy's sister Gwen. He recorded two tracks for the label, a midtempo ballad and a funky B-side called "Popeye." A young Marvin Gaye played drums on "Popeye," which became a regional hit before the label was forced to pull the record because of its references to the trademarked spinach-loving cartoon character.

When Gwen and her husband sold Anna Records to Motown and in 1962, Gordy came a-knockin.' After years of circling each other, Dozier agreed to join Motown as a songwriter/performer and partnered with songwriter Brian Holland to pen tracks for the Contours and the Marvelettes. They soon recruited Holland's brother Eddie, and each H-D-H member had a critical role: Eddie would be the lyricist; Dozier, the idea man who created the lyrical concepts, and Brian would write the music. 

According to the Songwriters Hall of Fame, H-D-H composed over 400 songs, 70 top 10 singles, and 40 No. 1 hits for Motown before leaving due to contract disputes in 1972. (The trio has since been inducted into the Songwriters Hall of Fame and the Rock and Roll Hall of Fame.)

Though the trio continued working together infrequently under a different moniker, Dozier's focus was on his burgeoning solo career, during which he released 12 albums. While he could not replicate H-D-H's success with his own pursuits, the hitmaker earned accolades for his solo efforts and other collaborations, including an Academy Award nomination and a GRAMMY win for his work on Phil Collins' 1988 song "Two Hearts." 

Alongside his creative pursuits, Dozier was heavily involved in music education throughout his career. The veteran songwriter helped develop the Pop Music Program at USC Thornton School of Music and worked closely with emerging young artists as the school's Artist-in-Residence. "I discovered that I draw a lot of energy and inspiration from working with students who love music and are hungry to learn the craft," he wrote in his 2019 memoir, How Sweet It Is. 

When he wasn't composing, teaching, or spending time with his family, Dozier held multiple leadership positions within the Recording Academy and left an indelible impression on those who crossed paths with him. "Lamont poured his heart and soul into his craft, shaping the sound of Motown and eternally influencing the art of songwriting," wrote Recording Academy CEO Harvey Mason Jr.  "We will remember his natural ability to pen legendary music that connected people across the world." 

"Lamont was a national treasure and wrote some of the most iconic songs of any generation. He was kind, humble and a leader in the Recording Academy family," adds Susan Stewart, Managing Director of the Songwriters & Composers Wing. "Most recently, he served as an Honorary Chair for the Songwriters & Composers Wing, a role that honored his love and respect for his fellow writers. He will be so deeply missed by all of us."

Over his six-decade career, Lamont Dozier helped craft a unique blend of R&B, gospel and pop music that not only defined the Motown Sound but took flight for artists beyond Motor City f. Here are some essential tracks produced, co-written and arranged by the prolific hitmaker.

"How Sweet It Is" - Marvin Gaye

Released in 1964, "How Sweet It Is (to be Loved by you)" was an instant hit for Marvin Gaye, who recorded the song in one take. The love song hit No. 6 on the singles charts and became Gaye's most successful song to date.

The single's success was bittersweet for Dozier, who had intended to record the song for his solo career. "Once Marvin had his hit with [‘How Sweet It Is'], I accepted that an artist career just wasn't in the cards for me," Dozier wrote. "I still wanted it, but I was constantly bombarded with demand for more songs, and more productions for [Motown's] growing roster of artists."

After penning countless tracks for other artists, Dozier was eventually able to make his dream come true — he released a dozen solo albums throughout his career.

"Where Did Our Love Go?" - The Supremes

The Supremes' first No. 1 hit charted for 14 weeks, but without Dozier's persistence, the group may have never recorded it. H-D-H had originally penned the track for the Marvelettes, who rejected it, which led Dozier to bring it to Diana Ross and The Supremes, who were also not fans of the sound.

The songwriter was caught between a rock and a hard place: if he couldn't sell the single, the label would make H-D-H absorb the production costs, so giving up was not an option. Luckily for H-D-H,  the Supremes had yet to score a hit single, so they were in no position to pass on the song. Thanks to Dozier's tenacity and Berry Gordy's stamp of approval, the trio gave in and agreed to release the star-making hit that would launch them into the mainstream.

"You Keep Me Hangin' On" - The Supremes

A sound effect from a radio news bulletin inspired the attention-grabbing foundation of this hit song. "I remembered that staccato effect that preceded the news," Dozier wrote. So he employed a guitarist to recreate the news alert on the track. "I thought that would be a cool way for us to sonically say, ‘Hey, pay attention.'" And the world did.

The song topped the charts and inspired new iterations from artists across various genres and generations including Vanilla Fudge, Kim Wilde, Rod Stewart and Reba McEntire.

"I think that's probably one of my favorite songs in our catalog because of the way it has continued to resonate with different people through different versions for different generations over all these years," Dozier wrote.

"Baby I Need Your Loving" - The Four Tops 

What came first: the music or the lyrics? In the case of "Baby, I Need Your Loving," the music came three years before the lyrics.

Dozier and Brian Holland arranged and composed the music for this hit song during a three-hour creative session, but Dozier wouldn't crack the lyrical concept until a year later when the muse deposited a couple of lines into his creative bank: "Baby, I need your love. Got to have all your love." The two iconic lines helped introduce the Four Tops to a wider audience, garnering them their first Top 20 hit. (The song peaked at No. 11.)

"Stop! In the Name of Love" - The Supremes

This classic track was inspired by an argument that Dozier had with a woman he was seeing. "I was trying to defuse the argument, and it came out, ‘Stop in the name of love,'" Dozier told Rolling Stone.

"I was trying to be facetious, but the girl didn't think it was that funny. But then I thought about it, and there was a cash register ringing. The next day I brought it into the guys, and Brian was playing this thing that seemed to fit it, and we had it right off the bat."

"Two Hearts" - Phil Collins

"Phil Collins and I became friends and admirers of one another from the first time we met," Dozier wrote. The songwriting vet partnered with the drummer-turned-solo superstar to produce this track for the 1988 motion picture "Buster," which earned the duo a GRAMMY Award, a Golden Globe, and an Academy Award nomination.

This wasn't the first collaboration between Collins and Dozier — the duo had worked on tracks for Eric Clapton's "August" — and it wouldn't be the last. Both Collins and Clapton made guest appearances on Dozier's "Inside Seduction" album. 

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Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

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He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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During times of significant cultural and political change, people often turn to music to process complicated feelings, briefly escape discomfort, or feel less alone. Sometimes, the music directly addresses social issues. Other times, it simply captures the spirit of the moment. Such was the case with the Supremes’ 1964 breakout single, “Where Did Our Love Go.” Released in 1964, two weeks before Lyndon B. Johnson signed the landmark Civil Rights Act into law, the single helped define the sound of young America, and more specifically, the sound of young Black America.

“America was changing, and we were at the top of that change with ‘Where Did Our Love Go,’” Wilson said in a 2018 interview. “Martin Luther King was speaking about love, and so were we. It was a time when peace was needed; the civil rights movement was happening. The song … had a peaceful, soothing message, and it fit the times.”

But becoming the first all-female group to reach the top of the Billboard charts was only the beginning for Florence Ballard, Diana Ross and Mary Wilson of the Supremes — a trio who created the blueprint for future pop-R&B girl groups such as the Pointer Sisters, En Vogue, TLC, SWV, Destiny’s Child, and more.

A few years after signing with Motown Records in 1961, label chief Berry Gordy, the Supremes, and their songwriting/production team of Brian and Eddie Holland and Lamont Dozier — had developed a nearly foolproof recipe for success that would shepherd the trio into the mainstream during a very divisive time: captivating three-part harmonies, glamorous styling, infectious melodies, and relatable, catchy lyrics.

As segregation nominally ended in 1964, the group began one of the most historic runs in pop-music history, releasing five consecutive No. 1 records from 1964–65: “Where Did Our Love Go,” “Baby Love,” “Come See About Me,” “Stop! In the Name of Love,” and “Back in My Arms Again.”

The Supremes attracted listeners of all races with their simple message, catchy tunes, accessible choreography, and mesmerizing elegance, often playing to integrated audiences. Helping to unify a deeply divided America in the 1960s was a massive accomplishment in its own right, but their mere existence as a hitmaking trio of glamorous and talented Black female entertainers gave hope to a generation of young Black girls and women.

Today, you can hear the Supremes’ historic run of hits, including 12 total No. 1s, everywhere — streaming services, TV commercials, movies and beyond — nearly 60 years later. The group’s impact is undeniable — their enchanting performances and melodic hits gave hope to the women of their time and paved the way for future generations of female entertainers in the

industry. While the world has changed since “Where Did Our Love Go” was released in July 1962, Ballard, Ross and Wilson’s enduring message of hope continues to resonate as the fight for equality wages on.

Amid the madness of GRAMMY Week, there was an air of tranquility surrounding the Wilshire Ebell Theatre on the afternoon of Feb. 4. The sunlit streets were nearly empty, the red carpet was discreetly hidden from public view. Inside the theater, music royalty, entertainment journalists and GRAMMY nominees congregated for one of the week's most emotionally charged events: the Special Merit Awards Ceremony.

Music teacher Pamela Dawson beamed as Recording Academy CEO Harvey Mason jr. handed her the 2023 GRAMMY Music Educator Award. Mama Dawson, as she is known among her students at DeSoto High School in Texas, is loved by all for her relentless positivity and encouragement. "I thank you God for giving me the gift of music," she said. "My mother believed in me even when I didn't. My heritage is a big loving heart that I can give to others."

In the Technical GRAMMY Award department, the Academy recognized the efforts of the Audio Engineering Society and Dr. Andy Hildebrand — inventor of the Auto-Tune software program.    

The Trustees Awards honorees were Henry Diltz, who photographed iconic album covers of the '60s and '70s; the late Ellis Marsalis, jazz pianist and educator; and the late Jim Stewart, founder of the mythical Stax Records.

"Dad had an open-door policy that helped create a utopian reality," said Stewart's daughter Lori, addressing the label's unusual-for-the-time policy of working with talented artists regardless of their racial or ethnic background. "More than a business, Stax was a family."

Then, it was time to salute the recipients of the Lifetime Achievement Award, and the gallery of selected artists painted a wondrous picture of popular music — from classic rock and grunge to soul, hip-hop, funk, jazz, and blues.

In his typical unconventional fashion, 10-time GRAMMY winner Bobby McFerrin accepted his award doing what he does best: singing. "I want to have some fun today," began the "Don't Worry Be Happy" hitmaker in his inimitable falsetto. Backed briefly on vocals by his three adult children, McFerrin smiled and improvised, surprised and delighted, crediting his late father — the first Black singer to be offered a contract at the Metropolitan Opera — as a major inspiration. "Have fun," he concluded. "Play. Don't think. Be good to yourself.'

Equally moving — but in a more grungy, Seattle kind of way — was seeing the surviving members of '90s pioneers Nirvana. "Kurt Cobain is never far away," said the band's bassist and founding member Krist Novoselic. "Just turn on the radio." He also thanked young people from all over the world for the many fan letters he continues to receive, as drummer Dave Grohl and guitarist Pat Smear stood by his side, nodding approvingly.

Legendary blues singer Ma Rainey (1886-1939) received a long-overdue induction to the Lifetime Achievement gallery. On hand to collect the award were her great nephew, Frank Nix, and great great niece Cassandra Behler. "Ma was an amazing performer and businesswoman," said Behler. "I can't imagine the sacrifices she made for her career and lifestyle."

Prolific beyond any reasonable expectation, guitarist and producer Nile Rodgers was visibly moved — almost lost for words. "I'm sorry to be so emotional," he told the crowd, which responded with an even bigger round of applause. "This journey was a series of steps." 

The founder of disco-funk collective CHIC, Rodgers is known for his unmistakable guitar sound — adding waves of funk to every single genre it touches — and sensitive production work. When he thanked the musicians that he worked with, the list was regal, including David Bowie, Diana Ross, Bryan Ferry, and Beyoncé — the latter of whom he would go on to win Best R&B Song with at the 2023 GRAMMYs (and accept on her behalf!).

"Do you like my coat?," asked English-American rapper and producer Slick Rick "The Ruler," showing off an elegant, light purple coat over his suit and matching tie. "Macy's women's section." Slick's speech was as witty as his rapping. He mentioned listening to Dionne Warwick's "Walk On By" as a kid, then outlined his love for the music of the Beatles, the Supremes, Jamaican dancehall and hip-hop — and his fateful move to the U.S. in 1976.

Fittingly, the Supremes were also honorees this year. During their induction, Florence Ballard's daughter Lisa Chapman explained that she couldn't share any personal anecdotes because her mother died when she was only 3 years old. "I thank [the late] Mary Wilson, because she never left my Mom's side," she said. "They're probably sipping on the finest champagne right now," added Wilson's daughter Turkessa Babich. "They are always with us."

The last artists to be honored were two immensely talented sisters, Ann & Nancy Wilson of Heart. The sibling duo changed the nature of the game for women in hard rock, and guitarist Nancy Wilson spoke of her beginnings in music. "I left college in 1974 to join the band," she recalled. "Our dream was to be the Beatles. Not to be their girlfriends, or marry one of them, but to be them — and we did it." 

Wilson was effusive in praising her sister, powerhouse singer Ann. "We survived the sheer insanity of a rock 'n' roll circus. We were two military brats, two badasses, and we stood up. We rocked our butts off, and we did all of it together."

Wilson's last words — bringing the event to its conclusion — were dedicated to the fans: "You were always the reason for us to catch dreams in our butterfly nets."

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It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

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