meta-scriptOlamidé On The Ascent Of Afrobeats, Supporting Newer Artists & His Subdued New Album 'UY Scuti' | GRAMMY.com
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Olamidé

Soyombo Emmanuel

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Olamidé On The Ascent Of Afrobeats, Supporting Newer Artists & His Subdued New Album 'UY Scuti'

For his latest album, 'UY Scuti,' Nigerian singer/songwriter Olamidé mellowed out and sought to make music for healing—just as his Afrobeats star power is swelling

GRAMMYs/Jul 20, 2021 - 12:11 am

UY Scuti is a hypergiant star so jaw-droppingly massive that if it were our sun, its photosphere would reach the orbit of Saturn. But paradoxically, the album Olamidé named after it is his most subdued to date. 

During a recent interview in a Manhattan hotel, as the Hennessy flows through his entourage, he speaks at a near-whisper. But when one of his associates snaps an Instagram photo of the conversation, scores of Nigerian followers are just about beside themselves in response. True stars are self-evident; they don't have to proclaim what they are.

The Afrobeats giant's last album, 2020's boisterous Carpe Diem, would have been worthy of such an astronomical title. These days, though, Olamidé is seeking something soothing, something therapeutic. "I just want people to listen to rich music," the Nigerian singer, songwriter and rapper says. "Beautiful, healing to the soul. Appealing to the ears. This is my music for relaxing and chilling. Life is good."

That sense of self-containment is exactly what UY Scuti exudes. On tracks like "Jailer," "Rough Up" and "Want"—which contain contributions from rising artists Jaywillz, Layydoe and Fave, respectively—Olamidé exhibits a quiet command of his craft true to his influences, like John Legend and Celeste. And with Afrobeats getting bigger by the year, he just might ascend to the level of American pop stars soon.

GRAMMY.com caught up with Olamidé in said hotel lobby to discuss the making of UY Scuti, why he made music for healing and what compelled him to extend a hand to underground artists.

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This interview has been edited and condensed for clarity.

How would you describe your musical community in Lagos?

It's very entertaining. Very chilled, very lovely. The vibe out there is just so happy. Everyone just wants to be happy. There are a few people who sing stuff that's not about being happy, but most of the time, everybody just wants to be happy, make good music, make love in the club, nightlife and all that. Going to shows together and hanging out like brothers. We've all known each other from birth, you know? That's the coolest thing about it.

Sounds like a party atmosphere.

Yeah. We like to have a good time, man.

How about the Afrobeats community, specifically? Is that just a tag Americans pin on this music?

Yeah, I think, to an extent! Globally, the way people perceive the pop music that comes out of Africa is Afrobeats, so it's understandable.

I mix a lot with people from different sides of Africa, different countries in Africa. From my limited knowledge, I think Afrobeats is on the global stage right now. We are getting lots of love from all over the world. Everyone is praising Afrobeats right now. The artists and record label owners and everyone around Afrobeats culture, they're putting out their place to make sure that Afrobeats lives longer and longer.

Read More: Davido On Elevating Nigerian Culture, New Music & What He'll Teach His Son About Being Black In America

It seems like Afrobeats is having a moment right now. What do you think precipitated that? I believe Drake played a role in its modern rise.

Honestly, I feel like a lot of sacrifices [were made on the part of] lots of people who started the Afrobeats movement—the likes of 2Face Idibia. There's been some groundwork—the foundation that got us to the level of the Wizkids, the Davidos, the Olamidés, the Burnas. Everybody came, then Drake came and there was lots of work done by lots of people.

Awilo [Longomba], you know. He was massive. Awilo was tearing up stadiums and all that. African music has always been big, massive, explosive and all that, but we're happy with the fact that right now, the global market is paying attention and praising our sound and all that.

Yet, to an extent, I can agree with you that the influence of someone like Drake tapping into that sound really did a lot. People like Beyoncé and all that.

You raise an interesting point. While Drake and other mainstream American artists may have pushed it over the edge...

Way before Drake, Jigga already sampled Fela a couple of times. The one I remember right now is "Roc Boys." There's always been that.

Right. The point being, that mainstream acceptance could only happen due to the sacrifices of African artists.

Yeah, yeah.

I feel like many people solely associate Afrobeat with Fela Kuti. Which other key players should they know about?

So many key players. The likes of King Sunny Ade, the likes of Majek Fashek. So many of them.

Out of that whole pantheon, who inspired the tunes on UY Scuti? I think of writing songs as a buffet, where you can pick and choose what—or who—is on your plate.

In most cases, when I'm working on a project, it's not really about my favorite artists or the ones I'm really cool with. If I think it's going to be easy for us to make something great out of where my head is right now—what I'm thinking about right now, the sound I want to make and all that—if you're in that lane, I'll holler at you. If you make good music.

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Where was your head at for this record?

I was basically thinking about doing a timeless project that isn't about having club bangers or street acting. I just wanted to make beautiful, chill music. While working on the project, I listened to a lot of Lauryn Hill. I think her music was my major influence on this project.

What do you appreciate the most about Lauryn?

Her versatility. She's not going to hop on any random stuff. What I hear in Lauryn Hill is music that after 10, 20 years, you listen to it again and you say "Whoa. That's a bop." [Laughs.]

UY Scuti has a therapeutic quality, but it also has pop appeal. What techniques did you use to bring out both qualities?

My producer [P.Priime] has a church background. He's also a choirmaster and plays almost every instrument, from piano to bass guitar to trumpet—you name it.

In most cases, I don't know the right words for all the things in my head. [Guffaws.] I have good ears for music. I didn't join music school. I didn't join the choir. I don't know nothing about that. I'm just a street dude that fell in love with music, so all I do, when I sit down, is try to explain that. "This is how I'm feeling. This is what I want to hear."

What can you tell me about some of these guests and collaborators and your relationships with them?

Apart from Phyno—we've been cool Gs from way back, over nine years now. We've always been cool, doing collabos almost every year. But the other guys on the project are very new on the market. That's something I do on almost every project. I always try to scout for guys that are very talented but don't have the platform, people supporting them and all that. I was underground. I went through that stage, and I know how it feels.

How do you find these artists? Are they mostly in Nigeria?

Yeah, in Nigeria. One of them, my wife introduced me to her sound. That's Fave. I stumbled on Layydoe's freestyle on IG. Jaywillz, same thing. I saw one of his records playing on the Explore page and clicked it. It was dope! I clicked on the link in his bio to check out his whole EP and it was sounding good. I was like, "How come this dude is not popping yet?"

Since you record at home and do some production yourself, what did you learn from this recording process?

It was my major [foray] into Logic. I started production because sometimes I don't know how to explain to everyone, apart from a few people, how I'm feeling. 

But most times, I'm not always at home. I'm out on the road and I don't have the luxury of doing the producer's life. So I have to always make sure I record my ideas and tell my guys to teach me one or two things. I'll make something tiny and skeletal, just put down the idea.

What have you learned so far in your adventures with Logic?

For me, I just vibe. I just do whatever, man. If I'm having difficulties with anything, I go on Google [or YouTube] and search. I don't pay a lot of attention to the tricks and all that. I just want to do my thing and get out.

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What emotions do you hope to impart to listeners with UY Scuti?

I just want people to listen to rich music.

Rich in what way?

Beautiful, healing to the soul. Appealing to the ears. This is my music for relaxing and chilling. Life is good.

Have you tried to be harder-edged in the past?

I used to be like that, for like a decade! I outgrew it.

What are you listening to lately? What have you been checking out?

I've been listening to a lot of Justin Bieber lately. Celeste. Sebastian Mikael. John Legend.

Listening earlier, I noticed that you're switching between languages.

Yeah. Some pidgin, a little patois, some English, a tiny bit of Yoruba.

Is there anything else you want to express about this record?

Majorly, I just want people to take their time. Some people are probably listening to me for the first time, but you should give it a shot. It's a lovely and wonderful experience. You're going to love it!

Meet The First-Time GRAMMY Nominee: Antibalas Talk 'Fu Chronicles,' Kung Fu And Their Mission To Spread Afrobeat

Mdou Moctar
Mdou Moctar

Photo: Nelson Espinal

list

15 Essential Afrorock Songs: From The Funkees To Mdou Moctar

Explore the vibrant history of Afrorock, featuring artists BLO, War-Head Constriction, The Lijadu Sisters, and more that trace Africa's rich musical evolution from the '60s to today.

GRAMMYs/Jun 11, 2024 - 01:21 pm

Music is a cosmopolitan darling. In a world that speaks the language of travel and tourism, generations of sounds meet, influencing each other in a continuous exchange.

When seventeen African countries gained independence from colonial forces in 1960, the culture and entertainment landscape transformed significantly over the next four decades. Genres like highlife, jùjú, ethio-jazz, Raï, Congolese rumba, marabi, and fuji — which reigned before the '60s — gave way to hybrids such as Afrobeat and Afrorock in the late '60s and early '70s. These new styles blended American funk, jazz, rock and psychedelic elements into distinctly African creations.

In Zambia, Zamrock exploded on the music scene in the early '70s as a political statement, influenced by the heavy rock of Jimi Hendrix and smooth funk of James Brown. Bands like WITCH and Paul Ngozi embraced Western sounds while staying true to their roots by singing in Bemba and Nyanja accordingly.

In Nigeria, rock cults like the Fractions, War-Head Constriction, The Hykkers, Ofo and the Black Company, Ofege, The Lijadu Sisters, and BLO emerged in the wee hours of the Nigerian Civil War, swinging their electric guitars and mixing indigenous material with their newfound sounds. When the Nigeria-Biafran War became full-blown, some of these bands were employed to perform by the army, while some laid low in hotels, singing to anyone who cared to listen.

But while Afrobeat, pioneered by multi-instrumentalist Fela Kuti, has gained global recognition and acclaim over the decades as the continent's signature sound, Afrorock has not enjoyed the same achievement. In celebration of the diverse music coming from Africa, here are some classic songs that have defined the Afrorock style over the years.

Monomono — "Kenimania" (1972)

Monomono (Yoruba for "lightning") was one of the first Afrorock bands to emerge from Nigeria. Led by Joni Haastrup on vocals and keyboard, Babá Ken Okulolo on bass and Danjuma "Jimi Lee'' Adamu on the guitars, the group was influenced largely by British rock and Fela Kuti (the album cover literally offers "thanks to brother Fela, for the little hint that did a good job.") 

"Kenimania" appeared as a pure instrumental on their popular 1972 LP Give The Beggar A Chance, and vibrates with polyrhythmic drums, and a strained sax riff over a recurring "Hey!" on the track. 

BLO — "Chant to Mother Earth" (1973)

The Nigerian trio BLO, short for Berkeley Ike Jones, Laolu Akins Akintobi and Odumosu Gbenga Mike, is often hailed as "the first psych-rock band" from Africa and creators of Nigeria's inaugural psychedelic rock record. What sets BLO apart is their unique sound,  which combines a Hendrix-esque rock style with a sleepy, nostalgic texture. 

One of their standout tracks, "Chant to Mother Earth" from their 1973 album Chapter One, encapsulates this blend. It's a spiritual and earthy ballad that serves both as a song and an invocation, and it remains one of the trio's enduring hits.

Edzayawa — "Darkness" (1973)

The Ghanaian band Edzawaya developed a distinctive sound rooted in a 6/8 rhythm and heavily influenced by the music of the Ewe people from southeastern Ghana and western Togo, according to Soundway Records. Their only album, Projection One — delivered in 1973 — features "Darkness," a track that blends funk rock with deep percussive elements, part of their unique style. After recording this album under the guidance of Nigerian music legend Fela Kuti and producer Odium Iruoje in Lagos, the band quickly rose to prominence before disbanding in 1975.  

War-Head Constriction — "Graceful Bird" (1973)

"Graceful Bird" is a powerful single by the Nigerian band War-Head Constriction, featuring members Etim Bassey, Femi Lasode, and Martin Amenechi. Formed during the Nigerian Civil War, their music captures the intense period of their emergence. 

Released under Afrodisia as a single, the track is known for its heavy metal influences, characterized by "long, snarling guitar solos and piles of distortion" according to Pitchfork. The lyrics are a testimony to the harsh turmoil of war and loss. "You just laughed when you saw us cry / Coming to do the slaying / Women fall from grace to grass / Now it's your turn to fade / No, no, no, no, no, no, no, no, no."

The Funkees — "Breakthrough" (1974)

If BLO pioneered Afrorock, The Funkees evolved it, embedding the spirit of their era in their lyrics. Their upbeat music, particularly popular among the rebellious Biafran youth during the Nigerian Civil War, broke through national borders and resonated with the diaspora. "Breakthrough" from their 1974 album Slipping Into Darkness, is a lyrical exploration of mental liberation. The song's influence continues to echo in modern music, with samples by Kendrick Lamar in "Worldwide Steppers" (2022) and Madlib in "Brothers and Sisters" (2010) cementing its status as a significant work.

Akofa Akoussah — "La Lem" (1976)

In 1966, Julie Akofa Akoussah gained significant exposure on the Togolese music scene when she shared the stage with her compatriot Bella Bellow at the first Negro Arts Festival in Dakar, Senegal.

A decade later, her 1976 eponymous album, Akofa Akoussah, transcended both musical genres and national boundaries. Her music captivated audiences in Ghana and Benin and caught the attention of renowned artists such as Miriam Makeba, Manu Dibango, and Aycha Koné. "La Lem", a standout track from the album, features a haunting guitar intro that persists throughout the song, complementing its deeply soulful lyrics. 

The Lijadu Sisters — "Life's Gone Down Low" (1976)

Growing up in Ibadan, Nigeria in the '50s, Taiwo and Kehinde Lijadu listened to a lot of records from Elvis Presley, The Beatles, Cliff Richard and Ella Fitzgerald. Far from limiting themselves to a particular style, the duo also drew influences from western jazz, rock, funk and soul, crafting a diverse and experimental sound. 

"Life's Gone Down Low" from their Danger album, is a testament to this eclectic style. The song, which gained popular recognition due to an uncredited sample by the rapper Nas on "Life's Gone Low", features an insistent electric guitar hovering over the chorus "Life's gone down / Down / Down / Down / Down."

Amanaz — "Khala My Friend" (1975)

Amanaz, an acronym for Ask Me About Nice Artistes In Zambia, were a force to reckon with in the Zamrock scene of Zambia. Formed in Kitwe in 1973, the five-piece band featured the compelling vocals of lead singer Keith Kabwe and the acid guitars of John Kanyepa and Isaac Mpofu. 

The track "Khala My Friend," from the 1975 album Africa, remains a staple in bars and outdoor events across Zambia today. A fusion of rock, funk, and traditional Zambian music, the song is an expression of camaraderie and longing. It has not only become a definitive record of the Zamrock subgenre, but has also gained worldwide acclaim from music critics and enthusiasts alike.

Fadoul — "Bsslama Hbibti" ('70s)

Fadoul, a Moroccan three-piece band, gained notoriety when "Bsslama Hbibti'' was  featured in the first compilation by German record label Habibi Funk, which showcased funk, soul and jazz tracks from the 1970s across Sudan, Libya, Morocco and Egypt. While the exact year this gem was recorded is debatable, "Bsslama Hbibti'' is a vibrant mix of funk with some shiny elements of rock that features raw drum beats, fierce guitar riffs, and Fadoul's intense, impassioned lyrics. 

Tinariwen — "Matadjem Yinmixan" (2007)

Malian band Tinariwen has become a cornerstone of desert rock, earning a GRAMMY for Best World Music in 2012 and influencing bands including Kel Assouf and Imarhan. Becoming the Fela Kuti of their genre, their music resonates with a distinctive, gritty essence.  

"Matadjem Yinmixan" ("Why All This Hate Between You?") from their 2007 album Cler Achel, offers pointed criticism of the terrorist groups in the Sahara region which have even captured the band's own members. On the track, the electric chomp of the guitar intertwines with a buoyant beat as a chorus of voices heightens the lyrical tension.

Vaudou Game feat. Roger Damawuzan — "Pas Contente" (2014)

Vaudou Game is the collaboration of Togolese singer and guitarist Peter Solo and a quintet of instrumentalists from Lyon, France. Their well-known hit "Pas Contente" ("I'm Not Happy") has been touted as a funk ballad, it stands out for its dreamy psychedelic rock guitar echoing throughout the track.

Baba Commandant and The Mandingo Band — "Wasso" (2015)

From Burkina Faso, Baba Commandant and The Mandingo Band is led by Mamadou Sanou, an activist that bridges traditional Manding music with modern Burkinabe funk.

Influenced by the diverse style of Fela Kuti, King Sunny Ade, and Moussa Doumba, the band recorded "Wasso" at the renowned Ouaga Jungle Studios in 2015. The track exemplifies the band's raw and unrefined sound, blending Mandingue guitar, the native harp donso n'goni, dub, and afrobeat into a cohesive funk rock texture. 

Imarhan — "Tahabort" (2016)

The desert rock sextet Imarhan is one of the promising avant-garde bands to come out of Northern Africa. Not only do they combine influences as diverse as Algerian Rai music, American jazz, Burkinabe funk, and global pop, they also find solace in ancestral Tamashek poetry.

Off their eponymous album, "Taharbot" stands out as a fast-paced number that skillfully weaves together restless elements of raï and funk. There is a combination of a robust bass, reverb guitar loops, complex polyrhythms, and a sweet spot in the riveting riff. 

BCUC — "The Journey with Mr. Van Der Merwe" (2016)

Bantu Continua Uhuru Consciousness (BCUC), formed in Soweto in 2003, uniquely integrates all of South Africa's official languages into their music.  The seven-piece act draws from indigenous and modern music, combining ritual songs, fireside chants, church hymns, and rap with a rock and roll spirit. 

"The Journey with Mr. Van Der Merwe" from their 2016 The Healing album, is a long spell of different sounds anchored by the presence of a strong electric bass guitar. The song serves as a critique of the exploitation of South Africa's rural poor by the urban elite, and incorporates a traditional South African call-and-response that develops into a dub style mid-song.

Mdou Moctar — "Chismiten" (2021)

From their 2021 album Afrique Victime, "Chismiten" rises amid the politically charged and anti-colonial themes of Mdou Moctar's recent work. 

Produced by Michael "Mikey" Coltun, "Chismiten" earned the Tuareg musician and his band attention for challenging conventional definitions of rock music. With its upbeat and danceable sound and strained guitar riffs, Mdou Moctar sings about tişmiten, a Tamasheq word for jealousy. "The song is about how people in a relationship lose their sense of self, they become jealous and envious of others," Mdou explained on Remove.  

Three New Categories Added For The 2024 GRAMMYs: Best African Music Performance, Best Alternative Jazz Album & Best Pop Dance Recording

Tems Press Photo 2024
Tems

Photo: Adrienne Raquel

interview

Tems On How 'Born In The Wild' Represents Her Story Of "Survival" & Embracing Every Part Of Herself

As Tems celebrates the release of her debut album, the Nigerian songstress details what 'Born In The Wild' means to her, and how the process helped her "be the person that I'm meant to be."

GRAMMYs/Jun 7, 2024 - 04:24 pm

In 2018, Tems quit her corporate job to focus solely on what she calls her life's purpose: making music. And in the six years since, she's certainly proven that it's what she was born to do. 

The Nigerian artist's appeal was initially apparent in her home country after she released a string of singles in 2018 and 2019, but it quickly became clear that Tems was poised for global stardom. Just after the arrival of her debut EP, 2020's For Broken Ears, she teamed up with Wizkid for the Afrobeats smash "Essence," which showcased her signature ethereal melodies and introspective storytelling. She soon became a sought-after collaborator, being recruited for Drake's Certified Lover Boy, Beyoncé's Renaissance, and Future's I Never Liked You — the latter of which, a collaboration alongside Drake titled "Wait For U," won Tems her first GRAMMY in 2023.  

Along the way, Tems continued to shine as a star in her own right. After earning a record deal with RCA in 2021, she released her second EP, If Orange Was a Place, and notched hits on Billboard's Hot R&B Songs with "Free Mind" and "Not an Angel." And now, she's ready to continue her winning streak with her debut album, Born in the Wild.

There's a running theme that speaks to Tems' desire for success and meeting the moment across the album's 18 tracks, as evidenced by songs like "Wickedest," "Burning," "Ready," and the titular track. Elsewhere, "Me & U" speaks to inner peace and self-perception, while her latest single "Love Me JeJe" represents her Nigerian roots by interpolating Seyi Sodimu's 1997 hit of the same name. 

As a Lagos-born artist, Tems naturally leans into Afrobeats. But much like her previous EPs, Born in the Wild sees her melding a lot of genres like R&B and soul ("You in My Face") and even rap ("T-Unit"); she also welcomes a more stripped-down approach on standout tracks "Unfortunate" and "Boy O Boy." The album doesn't just show her versatility — it hints at an exciting career that's only getting started.

Ahead of Born in the Wild's release, Tems sat down with GRAMMY.com to discuss the inspiration behind her debut album, what she learned about herself during the creative process, and existing outside of the Afrobeats genre.

This interview has been condensed and edited for clarity.

Debut albums set the tone for an artist's entire career. What do you want to convey with Born in the Wild?

As humans, we are multidimensional beings. Born in the Wild is about embracing all of oneself. Thinking about when I decided to go into music up until this point, I had to figure out the best way to tell that story of the Nigerian girl that became this person called Tems. And that person was born in the wilderness. Yes, I was born in Africa, but the wilderness is more about the difficulties that I faced mentally and the jump from working a 9 to 5 to trying to sing when nobody believes in you and everybody laughs at you.

Born in the Wild is about survival; I was born in a survival state and raised to survive. Coming from that to now being someone who has the ability to dominate, the ability to overcome and to conquer — that's the story. That's my story.

Born in the Wild speaks to success and taking advantage of every opportunity that is presented to you. It sounds like you're documenting your journey in real time. Can you speak more to that?

I'm someone who doesn't like attention. Like, I could be in my room making my music for months, and I would not even fathom sharing my music. I'm such an introvert like that. I love my alone time. I do everything I can to make sure I can just go back into my cave.

"Ready" is about the moment that I decided I will no longer hide, I will no longer be in my comfort zone, I will no longer be silent. I recognize that what I need to do is bigger than me. It's not about what I like or what's comfortable for me. It's what needs to be done, you know? I cannot make art and just be enjoying my own art like that. 

I'm willing to overcome myself so that I can be the person that I'm meant to be, and I'm ready now to face whatever difficulty, whatever obstacle comes my way. Even if it makes me cry, even if it makes me angry, even if it makes me sad, I'm ready. I'll do it crying. I'll do it angry. I'm going to continue going forward. That's a decision I've made, and I haven't turned back since.

Do you feel like you're still in survival mode, or are you slowly coming out of that and now being able to somewhat relish in the success you've had?

I don't think after survival comes relish. I think after survival comes learning and unlearning. I think now I'm in a place where I can actually thrive. I can flourish and grow and blossom more into the person that I'm meant to be. I can take things and I can receive love easier. I can understand things better, because I'm not too busy trying to survive that I forget to actually learn the lessons that are meant to help me overcome the things that come my way. Life is always gonna be life, but then you develop a different type of strength when you're not in survival mode.

When did you know Born in the Wild was going to be a full-length album and not another EP? In a 2023 interview, you said you weren't sure which way it was going to go amid some of those early recording sessions.

I don't know the particular moment; I just woke up and realized that the things I've been working on are all seemingly coming together. I definitely was more intricate with each of the songs, more critical of the songs. I had to remove myself from them as if I wasn't making them. That way, I could see them objectively for what they were. 

In terms of the process of actually creating the music, it has not changed. I still kind of approach it like, I'm going to make music today. I don't know what's gonna happen today, but I hope it's something great.

Was there anything about the creative process that surprised you?

I've changed a lot from the person that started writing, like from the earliest song that was written until now. I literally learned how to trust the process. I used to say that all the time, but in my mind, I was like, I trust the process, I guess. I don't know what that is, but cool. I tried to rush it, but it just doesn't work out when you do, no matter what. 

So, I just did my best showing up every single day, taking it step by step, day by day. And that will frustrate you, but then I started learning to observe myself in frustration, like, Wow, okay. Why is this happening? Just allowing yourself to be is also part of trusting the process.

As Afrobeats continues to reach new heights, how can consumers and the industry do better at supporting African artists so they don't feel pigeonholed or confined to solely Afrobeats?

Every artist has the power and ability to define themselves. Every artist is in charge of how they view themselves. Some people call me R&B, some people call me alternative, some people call me Afrobeats. When I'm making music, I am not thinking, Oh, because I released 'Free Mind,' all my songs must sound like "Free Mind" or Because I did "Try Me Now," I have to stay there. Otherwise, who is going to consume my music?

I just kind of do my thing, which I feel every artist should do as well. They should go hard and stand for themselves, and define who they are for themselves, because the world can't define who you are in any sector. Nobody outside of you can define you. You define yourself, and the world acts accordingly. They respond to your definition.

What did winning your first GRAMMY in 2023 mean to you? And what do you hope that 2024 unlocks for you?

Winning a GRAMMY for me feels like, Wow, I'm being seen. I feel seen, and I feel acknowledged. I also feel hopeful for other African artists.

For 2024, I want to do my very best to present my art in the best way possible as I see the vision in my head. I'm not really thinking about what's gonna come from that, but I just know I want to really do something different with Born in the Wild. I'm really focused on doing that and having fun while I do that. It's gonna be incredible. I can't wait.

With Her Debut Album, Tyla Is Ready To Make Her Official Introduction: "It's Me In Music Form"

Michael Sticka, President/CEO of the GRAMMY Museum, Lauryn Hill, and Jimmy Jam
(L-R): Michael Sticka, President/CEO of the GRAMMY Museum, Lauryn Hill, and Jimmy Jam

Photo: Sarah Morris/Getty Images for The Recording Academy

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6 Key Highlights From The Inaugural GRAMMY Hall of Fame Gala Honoring Lauryn Hill, Donna Summer, Atlantic Records & Many More

The Recording Academy and GRAMMY Museum celebrated music's legacy with tributes to Charley Pride, Wanda Jackson, Buena Vista Social Club, and more, featuring performances by Andra Day, The War and Treaty, and other musical greats.

GRAMMYs/May 23, 2024 - 12:34 am

Many years ago, veteran CBS journalist Anthony Mason lost his entire record collection when it disappeared in transit as he moved from one place to another. Mason was inconsolable, and you could still hear a tinge of sadness in his voice when he recounted this painful story at the inaugural GRAMMY Hall of Fame Gala, held on May 21 at the Novo Theater in Los Angeles. The evening’s eloquent and entertaining host, Mason was making a point with his personal anecdote of lost records: music is priceless, one of our most treasured possessions — both as individuals and as a community. Preserving its legacy is essential.

It’s been over 50 years since the GRAMMY Hall of Fame was established by the Recording Academy's National Trustees to honor records of deep historical significance that are at least 25 years old. This year, the Recording Academy and the GRAMMY Museum paid tribute to 10 newly inducted recordings (four albums and six singles) by artists including De La Soul, Lauryn Hill, Buena Vista Social Club, Donna Summer, Guns 'N Roses, Charley Pride, Kid Ory’s Creole Orchestra, the Doobie Brothers, William Bell, Wanda Jackson, and Atlantic Records, the annual Gala's inaugural label honoree. 

The first Hall of Fame Gala was a dazzling event presented by City National Bank, complete with guest speakers and performances by Andra Day, The War and Treaty, William Bell, Elle King, and HANSON covering some of the inducted works. The event underscored the sumptuous variety that continues to define popular music, spanning the sounds of hip-hop, rock, country, R&B, disco, and even the venerable Cuban dance music of decades past.

Here are six takeaway points from an evening marked by celebration and transcendent musical memories.

Donna Summer’s “I Feel Love” Has Lost None Of Its Edge

Studious music fans are well aware that “I Feel Love” — written by Donna Summer with visionary Italian producer Giorgio Moroder and British songwriter Pete Bellotte — is a shimmering disco gem, a futuristic precursor to the entire EDM genre. What was stunning about the Gala performance of the track by singer and actress Andra Day is how edgy and fresh the 1977 track still sounds today. Day’s ethereal reading was appropriately hypnotic, with live drums, nebulous synth textures and glorious, three-part vocal harmonies.

The Future Of American Music Is In Good Hands With The War and Treaty

Formed by husband and wife Michael Trotter Jr. and Tanya Trotter, The War and Treaty were rightfully nominated for Best New Artist at the 2024 GRAMMYs earlier this year. The duo’s electrifying combination of Americana, gospel, and rock is especially effective on a live stage, and the pair delivered a memorable rendition of Charley Pride's inducted Hall Of Fame country hit, “Kiss an Angel Good Mornin’,” recorded in 1971. The War and Treaty also received a standing ovation later in the evening for their performance of Ray Charles' classic, "What'd I Say," released in 1959.

26 Years Later, The Miseducation of Lauryn Hill Is Still Ahead Of Its Time

Released in August 1998, The Miseducation of Lauryn Hill sold more than 10 million copies in the U.S. alone, and became the first hip-hop artist to win Album Of The Year at the 1999 GRAMMYs. At the Gala, Andra Day delighted the audience — including Lauryn Hill and her family — with a soulful version of hidden track “Can’t Take My Eyes Off You,” originally a Frankie Valli hit from 1967. Day's performance was marked by brassy accents and funky bass lines, creating an unapologetically lush rendition that mirrored the sonic richness of Hill's original take.

Read more: Revisiting 'The Miseducation Of Lauryn Hill': Why The Multiple GRAMMY-Winning Record Is Still Everything 25 Years Later

Atlantic Records Transformed The Face Of Global Culture

Celebrating 75 years of inaugural label honoree Atlantic Records in the span of a few minutes loomed like an impossible task, but the Gala producers paid tribute to the legacy label well. Beginning with a short video, the event segment highlighted the miraculous roster assembled by Ahmet Ertegun and Herb Abramson that included Ray Charles, Aretha Franklin, Led Zeppelin, ABBA, Phil Collins, and Bruno Mars — to name just a few. But it was the actual performances that highlighted the label’s hold on pop culture: Ravyn Lenae’s breathy take on Roberta Flack’s “Killing Me Softly With His Song” made a case for considering the 1973 hit as one of the most vulnerable recordings of all time. On the other side of the dynamic spectrum, the epic rendition of Led Zeppelin’s “Stairway to Heaven” by alt-rock quartet Shinedown was appropriately intense.

The Wondrous Legacy Of Stax Records Should Not Be Underestimated

The home of such legendary artists as Otis Redding, The Staple Singers and Carla Thomas, Memphis-based Stax Records developed a rich, ragged sound with gospel, blues, R&B and luminous pop as its foundational pillars. Currently the subject of an HBO documentary series, "Stax: Soulsville USA," the record label defined American music during the ‘60s and ‘70s. Memphis singer/songwriter William Bell was one of its most prolific artists, and he regaled guests with a performance of his Hall of Fame inducted debut 1961 single, “You Don’t Miss Your Water.” At 84 years of age — and the winner of a Best Americana Album at the 2017 GRAMMYs — Bell was in rare form, and the band backed him up seamlessly, reproducing the sinuous organ lines of the original.

Read more: 1968: A Year Of Change For The World, Memphis & Stax Records

Future Editions Of The Gala Will Continue To Surprise And Delight

The inaugural GRAMMY Hall of Fame Gala set a high standard for future celebrations of iconic recordings. The event proved to be fertile ground for the creation of indelible music moments, showcasing the beauty and authority of music across genres and generations. Other honored Hall of Fame inducted recordings including De La Soul’s 3 Feet High And Rising, Guns’N’Roses Appetite For Destruction, the Buena Vista Social Club’s debut, Wanda Jackson’s “Let’s Have A Party,” Kid Ory’s Creole Orchestra’s “Ory’s Creole Trombone” and The Doobie Brothers’ “What A Fool Believes.”  

As we look ahead, the excitement for future Galas grows, with each event promising to honor more historic recordings, and uphold the tradition of celebrating excellence in music's rich legacy.

Explore The 2024 GRAMMY Hall Of Fame Inducted Recordings: Lauryn Hill, Guns N' Roses, De La Soul, Donna Summer & Many More

Explore The 2024 GRAMMY Hall Of Fame Inductees

The Recording Academy revealed the 2024 inducted recordings to the distinguished GRAMMY Hall Of Fame on its 50th anniversary. Graphic shows all of the 10 recordings newly inducted into the GRAMMY Hall of Fame.
The GRAMMY Museum's inaugural GRAMMY Hall Of Fame Gala and concert presented by City National Bank on May 21, 2024 at the NOVO Theater in Los Angeles.

Image courtesy of the GRAMMY Museum

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Explore The 2024 GRAMMY Hall Of Fame Inducted Recordings: Lauryn Hill, Guns N' Roses, De La Soul, Donna Summer & Many More

Learn more about the 2024 GRAMMY Hall of Fame inducted recordings, including iconic works by Buena Vista Social Club, Charley Pride, Wanda Jackson, and more. The inaugural GRAMMY Hall of Fame Gala takes place May 21 at the Novo Theater in Los Angeles.

GRAMMYs/May 21, 2024 - 12:46 am

As the GRAMMY Hall of Fame celebrates its 50th anniversary, the Recording Academy and GRAMMY Museum are proud to honor the 2024 inductees with the inaugural GRAMMY Hall of Fame Gala, presented by City National Bank, taking place Tuesday, May 21, at the Novo Theater in Los Angeles. This year, the GRAMMY Hall of Fame will induct 10 recordings: four albums and six singles.

This year's class of inductees highlights the diversity and historical significance of recordings that have shaped the musical landscape. From Lauryn Hill's groundbreaking album The Miseducation of Lauryn Hill to the electrifying Appetite For Destruction by Guns N' Roses, the selected recordings span genres and eras and showcase the lasting impact of these timeless works. Other notable inductees include De La Soul's 3 Feet High and Rising, Buena Vista Social Club's self-titled album, and singles by Donna Summer, Charley Pride, Wanda Jackson, Kid Ory's Creole Orchestra, the Doobie Brothers, and William Bell.

The GRAMMY Hall Of Fame Gala promises an unforgettable night, featuring performances that pay tribute to the newly inducted recordings. Artists such as Andra Day, William Bell, Elle King, and HANSON will bring these iconic songs to life while celebrating the rich heritage of the music honored this year. Hosted by veteran CBS journalist Anthony Mason, the evening will also recognize the contributions of Atlantic Records and feature an online auction benefiting the GRAMMY Museum.

The GRAMMY Hall Of Fame was established by the Recording Academy's National Trustees in 1973 to honor recordings of lasting qualitative or historical significance that are at least 25 years old. The inducted recordings are selected annually by a special member committee of eminent and knowledgeable professionals from all branches of the recording arts with final ratification by the Recording Academy's National Board of Trustees. There are currently 1,152 inducted recordings in the GRAMMY Hall Of Fame. Explore the full list of all the GRAMMY Hall Of Fame inducted recordings.

Join us as we honor the 2024 GRAMMY Hall of Fame inductees and celebrate the recordings that continue to resonate with listeners around the world by exploring the newly inducted works in depth below.

Tickets for the inaugural GRAMMY Hall of Fame Gala are available now.

Explore The 2024 GRAMMY Hall Of Fame Inductees

De La Soul, 3 Feet High And Rising

Tommy Boy Records, 1989

Celebrating its 35th anniversary in 2024, 3 Feet High and Rising is the debut studio album from Long Island, New York-born hip-hop trio De La Soul. Released on Tommy Boy Records in 1989 — considered one of the years during hip-hop’s "Golden Age" — and produced by legendary DJ and hip-hop producer Prince Paul, the album was a critical and commercial success. Featuring samples that draw on a vast array of genres — from doo-wop and psychedelic rock to children’s music — the album was unlike any hip-hop album that came before it. Melding inventive production with clever and humorous wordplay and samples from artists as diverse as Johnny Cash (the title of the album is derived from the Cash song "Five Feet High and Rising"), Hall & Oates, Steely Dan, and the Turtles, 3 Feet High And Rising is often considered the beginning of 1990s alternative hip-hop. De La Soul’s use of skits/comedy sketches as interludes also had a huge influence on future generations of rappers. In a review of the album for The Village Voice in 1989, music critic Robert Christgau wrote, "An inevitable development in the class history of rap, [De La Soul is] new wave to Public Enemy’s punk."

Featuring the singles "The Magic Number," "Buddy," "Eye Know," and the GRAMMY-nominated "Me Myself and I," 3 Feet High and Rising spent five weeks at No. 1 on the Billboard Top R&B/Hip-Hop Albums chart. "Buddy" is one of the album’s hallmark songs and features cameos from Q-Tip, Phife Dawg, Jungle Brothers, Queen Latifah, and Monie Love — who are collectively known as the Native Tongues (along with Black Sheep, the Beatnuts and Chi Ali). 

The platinum-certified record consistently places on lists of the greatest albums of all time, including in 2023 when Paste magazine featured it at No. 4 on their list of the Greatest Debut Albums of the 1980s. In 2010 it was selected by the Library of Congress for preservation in the National Recording Registry. 3 Feet High and Rising has influenced countless artists, from the Roots and Yasiin Bey to OutKast and Common. With the album's undeniably trailblazing release, Posdnuos, Trugoy the Dove and Pasemaster Mase of De La Soul have cemented themselves as one of the best rap groups of all time. 



Kelvin "Posdnuos" Mercer – Artist/Songwriter

David "Trugoy the Dove" Jolicoeur – Artist/Songwriter

Vincent "Maseo" Mason – Artist/Songwriter

"Prince Paul" Huston – Producer/Engineer/Songwriter

Alan Watts – Engineer/Mixer


Guns N’ Roses, Appetite For Destruction

Geffen, 1987

Guns N’ Roses’ Appetite For Destruction LP will go down in history as one of the most iconic and influential rock albums ever made. But when it was released in the summer of 1987, Appetite didn’t initially garner much mainstream attention. Once the band hit the road in support of the album, singles "Welcome to the Jungle", "Paradise City" and "Sweet Child O' Mine" started getting significant airplay. By the summer of 1988, the band found themselves with a No. 1 album on the Billboard 200. Appetite For Destruction became the best-selling album of all time in the U.S. and the best-selling debut album. In a review for Pitchfork, Maura Johnston said, "The debut from Guns N' Roses was a watershed moment in '80s rock that chronicled every vice of Los Angeles led by the lye-voiced Axl Rose and a legendary, switchblade-sharp band."


Produced by Mike Clink, Appetite for Destruction is widely considered a near perfect album where the deep cuts are just as good as the hits. From the opening roar of "Welcome to the Jungle" and the iconic "Sweet Child O’ Mine," to "It's So Easy," "Nightrain," "You're Crazy," and "Mr. Brownstone," the album is an artistic triumph in sound, songwriting and production, earning its place at No. 62 on Rolling Stone’s list of the 500 Greatest Albums of All Time. In many ways, the album changed the world. In a 2018 article for Revolver, Dan Epstein noted that Appetite ushered in a new wave of bands like the Black Crowes with its "blues-based music played by an unflashy yet hard-swinging rhythm section, a rock-solid rhythm guitarist, a flashy-but-soulful lead player and a charismatic vocalist who exuded danger and decadence." It also paved the way for Nirvana and the arrival of grunge as rock fans’ "ears were primed for more raw, real and rebellious hard rock." Now, nearly 40 years since its release, Appetite for Destruction has sold over 30 million copies worldwide and is without a doubt one of the most successful debut albums of all time.

Axl Rose – Artist/Songwriter

Slash – Artist/Songwriter

Duff McKagan – Artist/Songwriter

Steven Adler – Artist/Songwriter

Izzy Stradlin – Artist/Songwriter

Mike Clink – Engineer/Producer

Steve Thompson – Mixer


Buena Vista Social Club, Buena Vista Social Club

World Circuit/Nonesuch, 1997 

In 1996, a group of veteran Cuban musicians was assembled to record an album that would pay tribute to Cuba’s "musical golden age" of the 1930s to 1950s. Showcasing styles of music that were popular at the time, such as son, bolero and danzón, the group became known as the Buena Vista Social Club, named after a 1940s-era members-only music club that was located in the Buenavista quarter of Havana. Organized by British music producer and executive Nick Gold and produced by GRAMMY-winning American guitarist Ry Cooder and Cuban director Juan de Marcos Gonzalez, Buena Vista Social Club recorded their eponymous 14-track debut album in just six days. Released in September 1997, the album featured 20 of Cuba’s most prominent musicians, including vocalist Ibrahim Ferrer (1927–2005), pianist Rubén González (1919–2003), and vocalist/guitarist Compay Segundo (1907–2003). Buena Vista Social Club was an instant hit with tracks such as the four-chord song "Chan Chan," written by Segundo, and a rendition of the romantic criolla "La Bayamesa." Everything fell into place at the right time for this album — from the chemistry between the musicians to the rich music history of Havana — to create one of the moments that can only be described as pure musical magic. Buena Vista Social Club sold more than 1 million copies, earned a spot on the Billboard 200, and won the GRAMMY Award for Best Tropical Latin Performance. 

In 1998 the ensemble held performances in Amsterdam and New York that were captured on film by German director Wim Wenders. Along with interviews with musicians that were conducted in Havana, a documentary, titled Buena Vista Social Club, was released in 1999 and earned an Oscar nomination for Best Documentary (Feature). In 2003, Buena Vista Social Club was named on Rolling Stone’s list of the 500 Greatest Albums of All Time, and in 2022, it was selected by the Library of Congress for preservation in the National Recording Registry. Further cementing its place in the music history books, Buena Vista Social Club was recognized by Guinness World Records as the best-selling album of world music with more than 8 million copies sold worldwide.

Ry Cooder – Leader/Producer

Juan Demarcos Gonzalez – Director

Larry Hirsch – Engineer

Jerry Boys – Engineer/Mixer


Donna Summer, "I Feel Love"

Casablanca, 1977

When the Queen of Disco, Donna Summer, released her hit single "I Feel Love" in 1977, it propelled Brian Eno (who was in the studio with David Bowie at the time) to rush in and declare, "This single is going to change the sound of club music for the next 15 years." Now, more than 40 years after its release, "I Feel Love" definitely changed something – it changed pop music forever. Recorded with producers Giorgio Moroder and Pete Bellotte, the goal was to create a song that signified the future — and it did. "I Feel Love" was the first song to pair repetitive synthesizer loops with four-on the-floor bass drum and an off-beat hi-hat, helping to forge the path for synth pop, New Romantics, Italo disco, Hi-NRG, electro, house, techno, and more. Along the way, the global smash influenced countless artists, including Blondie, who became one of the first punk-associated groups to embrace disco, releasing "Heart of Glass" the following year.

Upon its release, "I Feel Love" reached No. 1 in several countries, including the UK, and peaked in the Top 10 on the Billboard 200. In 2012, the Library of Congress selected it for preservation in the National Recording Registry. Many of today’s biggest artists have paid tribute to Summer’s groundbreaking track with covers or samples, including Madonna, Red Hot Chili Peppers, Bronski Beat, and Beyoncé, the latter of whom samples "I Feel Love" on "Summer Renaissance," the closing track on her 2022 GRAMMY-winning album Renaissance. To this day, "I Feel Love" is considered the No. 1 greatest dance song of all time (Rolling Stone).

The song's impact on the LGBTQ+ community is equally as great as its impact on the dance community. GRAMMY-winning artist Sam Smith, who released a cover of "I Feel Love" in 2019, wrote on X: "As a queer person, ‘I Feel Love’ has followed me to every dance floor in every queer space from the minute I started clubbing. This song, to me, is an anthem of our community." In 2023, Pride Life Global ranked the track as one of the best gay anthems. 

Donna Summer – Artist/Songwriter

Giorgio Moroder – Producer/Songwriter

Pete Bellotte – Producer/Songwriter

Jürgen Koppers – Artist/Songwriter


Charley Pride, "Kiss An Angel Good Mornin'"

RCA Victor, 1971

"Kiss An Angel Good Mornin’" is GRAMMY winner Charley Pride’s biggest hit of his career. Released in 1971 as the first single from his GRAMMY-winning album Charley Pride Sings Heart Songs, the song peaked at No. 21 on the Billboard Hot 100, his only single to break the Top 40. Considered one of Pride’s signature songs, the track marked his eighth single to top the Billboard Hot Country Songs chart and became one of the biggest country hits of the decade. "Kiss An Angel Good Mornin’" was produced by Cowboy Jack Clement (Waylon Jennings, Willie Nelson, Dolly Parton) and written by Ben Peters, who got the inspiration for the song after he and his wife Jackie welcomed their daughter Angela. It’s a song purely about love and a slight departure from Pride’s other hits, such as "I’m Just Me" and "I’d Rather Love You." In a 2021 article for CMT, Marcus K. Dowling writes, "The achievement of conveying life's simple joys with a magnificent voice over complex countrypolitan rhythms and melodies — instead of discussing complex emotions over those same types of tracks — is the greatest victory of Pride's signature song." The single also earned Pride a GRAMMY nomination for Best Country Vocal Performance, Male. Since its release, "Kiss An Angel Good Mornin’" has been covered by countless artists, including George Jones, Conway Twitty, Gene Stuart, and Roy Clark — all of whom released the song in 1972 — along with Percy Sledge, Alan Jackson and Heather Myles. 

When he signed with RCA in 1964, Pride became the first Black country music singer to get a major record label deal. He went on to have 29 No. 1 hits on the Billboard Hot Country Songs chart, selling more than 70 million records. When it comes to sales for RCA, he is second only to Elvis Presley. Though he passed away in December 2020, Pride’s impact on country music, especially Black country music artists, remains. His influence can be heard in the music of up-and-coming artists such as Brittney Spencer, Mickey Guyton and Shy Carter. As country music’s first Black superstar, Pride and his warm baritone captivated audiences, broke racial and cultural barriers, and earned him an induction into the Grand Ole Opry in 1993.

Charley Pride – Artist

Jack Clement – Producer

Ben Peters – Songwriter

Ray Butts – Artist

Mike Shockley – Producer


Wanda Jackson, "Let's Have A Party"

Capitol, 1960

Originally recorded by Elvis Presley for the 1957 musical/romance film Loving You, "Let’s Have a Party" was recorded by Wanda Jackson and released on her eponymous debut album in 1958. After Jackson’s version of "Let’s Have a Party" was discovered by an Iowa disc jockey and received an increase in interest from radio listeners, Capitol Records encouraged Jackson to release the song as a single two years later in 1960. The song became a hit, making the Top 40 in the U.S. and topping the chart in the U.K. The success of "Let’s Have a Party" inspired Jackson to rename her band the Party Timers and Capitol subsequently released the compilation album, Rockin’ With Wanda that same year. As one of the first women to have a career in rock and roll, Jackson recorded a series of singles in the 1950s that helped earn her the nickname of The Queen of Rockabilly. It was Elvis, with whom she toured with in 1955, who encouraged her to record in the rockabilly style. 

 In 2005, Jackson received the Fellowship Award from the National Endowment for the Arts, becoming the first female country and rock artist to receive the honor. In 2009, after several artists advocated on her behalf — including Elvis Costello, Bruce Springsteen and Cyndi Lauper — Jackson was inducted into the Rock and Roll Hall of Fame. Lauper has cited Jackson as one of her earliest influences, recording a cover of "Funnel of Love" for her 2016 album Detour. Other artists who have listed Jackson as an influence include Adele and Elle King. 

 Lauper told Rolling Stone in 2016: "I think for country you look at Patsy Cline or Loretta Lynn who played a guitar, or sang the songs she wrote, and Dolly Parton. But Wanda Jackson was a rocker, and so, of course, I was going to listen and learn from her because I was a rocker and that's what we did."

Jackson is also a member of the Rockabilly Hall of Fame, the Iowa Rock and Roll Hall of Fame, the Oklahoma Hall of Fame, and the Oklahoma Country Music Hall of Fame. In 2010, she was the recipient of the Lifetime Achievement Award from the Americana Music Honors. 



Wanda Jackson – Artist

Ken Nelson – Producer/Engineer

Jesse Mae Robinson – Songwriter


Kid Ory’s Creole Orchestra (As Spike’s Seven Pods Of Pepper Orchestra), "Ory's Creole Trombone"

Nordskog, 1922 

Louisiana-born composer, trombonist and bandleader Edward "Kid" Ory put New Orleans jazz on the map. Kid Ory’s 1922 hit "Ory’s Creole Trombone" was the first recording of Black/Creole New Orleans jazz. Recorded in Los Angeles, the single features Ory on trombone, along with Thomas "Papa Mutt" Carey on cornet, Oliver "Dink" Johnson on clarinet, Fred Washington on piano, Ed "Montudie" Garland on bass, and Ben Borders on drums. Upon release, the entire first pressing of 5,000 records sold out, leading to gigs for Ory and his band down the California coast in San Diego and Tijuana.

Born on Christmas Day in LaPlace, Louisiana, Ory led a band early on in his career in New Orleans that featured music legends such as Joe "King" Oliver, Johnny Dodds, Johnny St. Cyr and, later, Louis Armstrong. Ory relocated to Los Angeles after the prohibition of alcohol in 1919 changed the landscape for jazz musicians performing in New Orleans nightclubs. Many of the musicians who played on his L.A. sessions had also recently relocated from New Orleans. After moving to Chicago in 1925, where jazz was just starting to gain traction, Ory worked and recorded with artists such as Armstrong, Jelly Roll Morton, Bessie Smith, Ma Rainey, and many others. He was an original member of Louis Armstrong and His Hot Five, with whom he would later re-record "Ory’s Creole Trombone" in 1927. As demonstrated on "Ory's Creole Trombone," Ory was an early adapter of the glissando technique, now a central element of New Orleans jazz. While he might not have been the first to play a glissando on a trombone, he was certainly the most influential.

In 2005, "Ory’s Creole Trombone" was selected by the Library of Congress for preservation in the National Recording Registry. In an essay written upon the recording's selection by the Library of Congress, GRAMMY-nominated musician and jazz historian David Sager wrote, "‘Ory’s Creole Trombone’ offers a rare glimpse into the origins of New Orleans jazz and a remarkable insight to this music’s durability and universal appeal." A pioneering record and one of the most essential jazz recordings, "Ory’s Creole Trombone" helped define the New Orleans style of jazz and served as the prototype for future musicians of that genre.

Edward "Kid" Ory – Artist/Songwriter


Lauryn Hill, The Miseducation Of Lauryn Hill

Ruffhouse Records / Columbia Records, 1998 

Widely considered one of the greatest albums of all time, The Miseducation of Lauryn Hill is the debut album and only solo studio set released by GRAMMY-winning singer and rapper Lauryn Hill. The album debuted at No. 1 on the Billboard 200 and sold more than 422,000 copies in its first week, breaking the record for first-week sales by a female artist. Credited for bringing hip-hop and neo-soul to the forefront of popular music, the album earned Hill 10 GRAMMY nominations, which now has her tied with Beyoncé for the Guinness World Record for most GRAMMY nominations in a single year for a female artist. Hill turned half of those nominations into wins, taking home the awards for Album Of The Year, Best New Artist, Best R&B Album, and Best Rhythm & Blues Song and Best Female R&B Vocal Performance for "Doo Wop (That Thing)." With lyrics that present arguably the most poignant of female perspectives on life, love and relationships, while also touching on the turmoil within her former group the Fugees, three of the album’s singles — "Everything Is Everything, "Ex-Factor" and "Doo Wop (That Thing)" — peaked in the Top 40 on the Billboard 200, with the latter claiming the top spot. 

The Miseducation of Lauryn Hill was partially recorded at Bob Marley’s studio Tuff Gong Studios in Kingston, Jamaica, while Hill was pregnant with her first son, Zion. Speaking about that time, Hill told Rolling Stone, "When some women are pregnant, their hair and their nails grow, but for me it was my mind and ability to create. I had the desire to write in a capacity that I hadn't done in a while. I don't know if it's a hormonal or emotional thing ... I was very in touch with my feelings at the time." The album’s track "To Zion," which features Carlos Santana on guitar, is a song about her son. 

In 1999, Hill became the first hip-hop artist to appear on the cover of TIME magazine. Now, more than 25 years since its release and with more than 20 million copies sold, The Miseducation of Lauryn Hill continues to be one of the most influential albums ever made. 

Lauryn Hill – Artist/Producer/Songwriter

Gordon "Commissioner Gordon" Williams – Engineer

Tony Prendatt – Engineer


The Doobie Brothers, "What A Fool Believes"

Warner Bros. Records, 1978

One of the few non-disco songs to hit No. 1 on the Billboard Hot 100 in 1979, the Doobie Brothers’ "What a Fool Believes" is featured on their 1978 eighth studio album, the Album Of The Year-nominated Minute by Minute. Co-written by Michael McDonald and Kenny Loggins, "What a Fool Believes" won the Doobie Brothers two GRAMMY Awards, including Record Of The Year. Stylistically speaking, the song is unlike anything the Doobie Brothers had done before.

 

"What a Fool Believes" started off as a piano piece idea McDonald had. Producer Ted Templeman heard what he was working on and encouraged him to put some lyrics down with a co-writer. It turns out that McDonald and Loggins had talked about working together for some time. When they got together at McDonald’s house in Los Angeles to write, Loggins had already come up with the song’s hook — "she had a place in his life." Telling the story of a man who attempts to rekindle a romantic relationship, "What a Fool Believes" is about the lies we sometimes tell ourselves about past romances. When the protagonist in the song attempts to reconnect with an old love, he realizes that he barely registers in the woman’s mind. The Doobie Brothers and Templeman recorded numerous takes of its rhythm track over five or six days, but they couldn’t land on a version they all liked. Templeman eventually decided to cut up the master tape of a recording into sections. "In those days when you cut the tape, you’re over – that’s the master of your recording," recalled Templeman in an interview with The Guardian in 2022. "But we got lucky and I put it together on the spot." McDonald completed the rest of the arrangement, adding keyboards, vocals and strings. Before it was released by the Doobie Brothers, Loggins released his own jazzier and experimental version of the song on his 1978 album Nightwatch. 

"What a Fool Believes" was rated as the Doobie Brothers’ all-time greatest song by Ultimate Classic Rock critic Michael Gallucci and listed on Rolling Stone’s Top 500 Greatest Songs of All Time list. Today, "What a Fool Believes" is considered a "foundational yacht rock classic," as Tom Breihan wrote in a review for Stereogum in 2020.

Jeff "Skunk" Baxter – Artist

John Hartman – Artist

Keith Knudsen – Artist

Michael McDonald – Artist/Songwriter

Tiran Porter – Artist

Patrick Simmons – Artist

Ted Templeman – Producer

Kenny Loggins – Songwriter

Donn Lander – Engineer


William Bell, "You Don’t Miss Your Water"

Stax Records, 1961

As the first male solo act signed to the legendary Stax Records, Memphis-born GRAMMY-winning singer/songwriter William Bell released his solo debut with the melancholy "You Don’t Miss Your Water" in 1961. Recorded as a demo with members of the Mar-Keys and MG’s, "You Don’t Miss Your Water" was originally released as a B-side of his single "Formula of Love" and gained steam after DJs flipped the record over and started playing "You Don’t Miss Your Water." The song became the first hit for Stax Records, charting on the Billboard Hot 100 in 1962. It was later released on Bell’s 1967 album The Soul of a Bell and remains his best-known recording to this day.

 "The message is universal: appreciate what you have," said Bell in a 2022 interview with Uncut magazine. "Back then I didn’t realize what I was writing, but after I got a little older, I realized that although the world changes physically, every generation has the same wishes, desires and aspirations. If you just write truthfully about life and write things you think will help people, it will resonate."

And indeed, the song did resonate. More than six decades since its release, "You Don’t Miss Your Water" has gone on to become a Southern classic. Countless artists have recorded covers of it, including Otis Redding, Percy Sledge, Taj Mahal, Jerry Lee Lewis, the Black Crowes, Sturgill Simpson, Peter Tosh & the Wailers, Brian Eno, and, most notably, the Byrds, on their seminal 1968 country-rock album Sweetheart of the Rodeo.

In 2013, Bell performed "You Don’t Miss Your Water" before President Barack Obama during "In Performance at the White House: Memphis Soul." The following year, Bell was featured in the documentary Take Me to the River, reflecting upon American music's soul. He was inducted into the Memphis Music Hall of Fame in 2016. In 2020, the National Endowment for the Arts celebrated him as a Heritage Fellow. Bell was instrumental in ushering in the Southern soul music genre, which is now known as the globally influential "Memphis Sound."

William Bell – Artist/Songwriter

Chips Moman – Producer

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