Eddie Rockerz VibeZ

  And we were grown on the same round little blue dot Although the answers will take their time and the spinning won’t stop So could it be that the nightmare is upon us And heavy hearts can’t decide when they’ve had enough So they’re burning out cold? Ooh, it’s a steady fall from the pinnacle to the bedrock And so we set out to bring back that miracle love I said I’d never do you harm but I was wrong It’s so hard to believe but I barely can see where we came from We got carried away All the love that I was blind to And I made my mistakes And I laid them all beside you We got carried away So much love that I was blind to And I made my mistakes And you put them all behind you Can we bring back that miracle love? Can we bring back that miracle love? Ooh and I would guess that we’re losing sight of the right way Another ending is in my mind I doubt talking’s gonna do much for it Ooh, and someday, someday A long time from now We’ll be remembered as the ones who c...

Eighteen tracks from a New Orleans singer who lost on a television talent show and then went away and made one of the best R&B albums of the decade. Interview: Lucky Daye doesn’t want to fit in Lucky Daye David Brown has the most unusual backstory in contemporary R&B. He was raised in a household where secular music was forbidden, competed on American Idol as a teenager and did not win, spent years writing for other artists, and finally emerged in his thirties under the name Lucky Daye with a fully formed sound and a Grammy shortly after. The music is a deliberate throwback in its values rather than its surfaces. The production is contemporary, but the songwriting is built on real chord movement, the arrangements use live players, and the singing is unashamedly virtuosic at a moment when most of his peers were mixing their vocals down and hoping for atmosphere. The other thing to know is that he is funny and specific. These are songs about actual situations,...

Thirty-seven tracks drawn from four continents, assembled at the point when soul music stopped having a single geographic centre. Chilled Soul Vol. 13: Underground Journeys The most interesting thing about this volume is how casually international it is. British, Nigerian, South African, American, Swedish and Japanese-adjacent records sit next to each other without any framing device, and the sequencing never pauses to explain the transitions. That was a genuinely new condition around 2018. Streaming had removed the distribution advantage that kept American R&B at the centre, and a set like this is the result: the best records, from wherever they happened to be made. What to listen for Masego's "Lady Lady" is the title track of his debut and the most joyful thing here — a saxophone-playing singer who invented his own genre name and mostly lives up to it. Brent Faiyaz's "First World Problemz / Nobody Carez" is the two-part track that shows...

Twenty tracks spanning fifteen years, from teenage pop singles to one of the most formally adventurous albums anyone released in the 2010s. Solange Solange Knowles spent the first decade of her career being described in relation to her sister, and the second making that impossible. The transformation was not a reinvention so much as a refusal: she stopped making records designed to be liked and started making records designed to be exactly what she wanted. A Seat at the Table (2016) is where the general public caught up, but the shift begins earlier, on True (2012) with Dev Hynes , and continues further on When I Get Home (2019), which is the most difficult and most interesting record she has made. Her method by then was closer to that of a composer or an installation artist than a pop singer: repeated phrases rather than choruses, arrangements that circle instead of building, and a great deal of deliberate space. What to listen for "Cranes in the Sky" is...