American music is inextricable from African-American artists. In the 20th century especially, what the masses accepted as “popular music” was white musicians’ repackaging of African-Americans pioneering their craft.
There’s Elvis and Sister Rosetta Tharpe. There’s Eric Clapton and Bob Marley. And there’s Led Zeppelin and Willie Dixon.
“What you’re listening to today, it may feel new, but it’s not new,” U.C. Berkeley historian Rickey Vincent told the school’s news outlet.
As we celebrate Juneteenth, a holiday commemorating the emancipation of slaves in 1865, we’re fortunate to have so many wonderful musical gifts from talented African-American vocalists, instrumentalists, producers, lyricists, and performers. To honor those legacies, KHOL put together a short, yet diverse blend of African-American music as a nod to the past, present and future.
Stevie Wonder – “For Once in My Life” – For Once in My Life – 1968
A true once-in-a-generation mix of soul, innovation, and musical genius, Stevie Wonder is more than likely one of your favorite artist’s biggest inspirations. A prodigious talent, Wonder’s quiver of instrumental mastery sets him apart from his Motown contemporaries. “For Once in My Life” is a triumphant celebration of self-worth and just an appetizer for the songwriting chops he fully unleashed in the 1970s. While not as groundbreaking as Wonder’s later albums Innervisions or Songs in the Key of Life, it’s a vital stepping stone in his artistic evolution.
Labi Siffre – “My Song” – Crying, Laughing, Loving, Lying – 1972
Perhaps one of the lesser known folk singers of the seventies, Labi Siffre’s prowess as a songwriter cannot be understated. His elegant, vulnerable lyrics are deeply human, and feel timeless with their simplicity and emotional honesty. Siffre’s warm voice is one of the album’s major strengths, conveying a kaleidoscope of different emotions and seemingly fragile enough to crack at any moment. In a time where LGBTQ+ representation was far from mainstream, Siffre’s love songs contain gender neutral affection, and carried a sense of quiet defiance with every turn of phrase. Crying, Laughing, Loving, Lying achieved commercial success only after some of hip-hop’s biggest names sampled its tracks in the early 2000s. A delicate and soft approach to classic 70s folk songwriting, it’s the kind of record that sneaks up on you, revealing new depths with each listen.
Earth, Wind & Fire – “In the Stone” – I Am – 1979
There’s something magical about a full section of brass and woodwinds playing together: harmonizing, trading melodies, and overall surrendering to the groove. “In the Stone” is a dramatic opener that sets the tone for Earth Wind & Fire’s ambitious sound. Produced by bandleader Maurice White with meticulous care, the horn arrangements are lush, the production slick, the bass lines crisp and funky and the overall vibe uplifting. I Am is a masterclass in genre blending while still sounding cohesive and intentional.
Esperanza Spalding – “I Know You Know” – Esperanza – 2008
Esperanza Spalding doesn’t just have a beautiful voice, she’s also one of the most inventive jazz bassists of her generation. Her natural ability to sing complex vocal melodies while simultaneously playing colorful jazz bass lines is rare and remarkable. Combining elements of bossa nova, samba, and soul with pop-inflected refrains (often switching between English, Spanish and Portuguese), Spalding’s sound feels borderless. While some jazz albums can feel intimidating and inaccessible, Esperanza invites listeners into a world of jazz that’s both respectful of tradition and boldly modern.
Kendrick Lamar – “Alright” – To Pimp a Butterfly – 2015
To Pimp a Butterfly forever changed hip-hop after its release, just over a decade ago, becoming an essential listen in the genre. The 16 tracks are a bold sonic mix of jazz, funk and soul creating an avant-garde take on modern rap music. Lamar’s social commentary holds relevance with themes of racism in America, mental health, and toxicity of fame still ringing eerily true. Featuring a wide range of collaborators like Thundercat, Kamasi Washington, George Clinton and Flying Lotus, TPAB builds a vivid sonic landscape uncommon in today’s rap music. More common is Lamar’s approach: making music for the culture, not the charts, while still producing a critically adored and commercially successful album.
Listen below for KHOL’s full Music We Like: Celebrating Juneteenth playlist.
