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Teyana Taylor |

Teyana Taylor's third musical project, simply titled The Album, is a

sprawling work of 23 tracks that sends a clear message: She's done

compromising her creative vision. Daniel Sannwald/Courtesy of the

artist hide caption

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Daniel Sannwald/Courtesy of the artist

Teyana Taylor's third musical project, simply titled The Album, is a

sprawling work of 23 tracks that sends a clear message: She's done

compromising her creative vision.

Daniel Sannwald/Courtesy of the artist

For most artists, choreographing a Beyoncé music video might be a

career peak. But for Teyana Taylor, who did it when she was just 15

years old, it was only the beginning. She was signed to Pharrell's

label, Star Trak Entertainment, around that same time and since then,

Taylor's grown up in the entertainment business, acting in movies,

modeling, starring in reality TV shows, directing and dancing in music


Now, Taylor's out with her third record, simply called The Album. It

features guest appearances from a slew of big names like Lauryn Hill,

Missy Elliott and Erykah Badu and she chose an important day for the

album's release: Juneteenth. It's a day for observing the end of

slavery in Texas, the last state to free its slaves.

"I personally felt like it was only right," Taylor says, "because it's

a celebration for my culture and my people, to show that no matter

what we go through, we always pull through."

But we started our conversation where the album starts, with the birth

of her first child. Taylor didn't have time to get to the hospital,

and she uses the recording of the 911 call in which her husband, NBA

star Iman Shumpert, is learning how to help deliver their baby.

"Everything happened so fast," Taylor recalls. "I pushed one time, she

came out. It felt like a movie."

Taylor says she wanted to have that 911 call on her last album,

K.T.S.E., which was produced by Kanye West. She's been public about

being really unhappy with her lack of creative control on that

project. She says this new album is quite different.

"When people hear the album, they will understand what my frustration

was with K.T.S.E.," she says. "Trying to put a lot of emotions through

seven songs is tough. So now to have a full album, 23 songs, you get

to literally express yourself and every single part of you."

NPR's Ailsa Chang talks to Teyana Taylor about her long road to a

place where she gets to call the shots, standing for black power and

the emotional Instagram post she wrote to her husband in the

announcement for her video "Wake Up Love." Listen to the full

interview in the audio player abov


Ella Mai (album) - Wikipedia › wiki › Ella_Mai_(album)

Ella Mai is the debut studio album by English singer and songwriter

Ella Mai, released on 12 ... Retrieved 16 June 2020. ^ "Top Selling

Albums of 2019". ... Retrieved 16 June 2020. ^ "New Zealand album

certifications – Ella Mai – Ella Mai".

Released: 12 October 2018

Recorded: 2017–18

Genre: R&B

Label: 10 Summers; Interscope

Verified Purchase

I am older and not into a lot of these younger artist but I saw Ella

Mai online visiting a radio show talking about her debut full CD. She

was so humble and down to earth. Later that day I was ordering a CD

from an established artist and I took a chance and ordered hers. I

have not been disappointed. Every song could be a single hit on its

own. Sauce is my favorite but I love so many others. I don't believe

in buying EPs so I won't go buy any of those of hers but I will

purchase any full CD she puts out. It has been a while since I

purchased a female artist CD that I loved every song. She chose really

well when she chose collaborators. If she did an entire CD with Chris

Brown I would definitely buy it. Her singles are not the best songs on

the CD so that should tell you something.

31 people found this helpful

Love ELLA!!!

Reviewed in the United States on December 1, 2018

Verified Purchase

This is a great CD. I fell in love with her voice when I first heard

10,000 hours. She is such a delight to listen to. Her sound reminds me

of the 90s from Brandy, Aaliyah and Monica. I 'm glad that she put out

a full length album. She has great EP albums but unfortunately , they

are not in CD format. Her lyrics are soothing and very relatable. My

favorite tracks are Trip, Boo'd up, Good Bad,Everything and Gut

Feeling. This is worth every penny. A new star is on the rise!!

15 people found this helpful

Reviewed in the United States on June 5, 2019

Verified Purchase

Amazing Album! Just started collecting vinyls and had to make this my

first purchase. It’s a super soulful album and I would definitely

recommend to anyone!

Reviewed in the United States on November 6, 2018

Verified Purchase

This album is Awesome! I absolutely loved it! It's very modern and

soulful. A cross between Erika Badu & India irie but more hip &


9 people found this helpful

Reviewed in the United States on February 8, 2019

Verified Purchase

Ella Mai is a truly talented young lady who can sing! She doesn't need

exotic outfits, backup dancers. or have to shake her butt to

entertain. All she has to do is SANG!!!

My favorite CD at the moment that's on repeat inside my vehicle. I

love this artist, Ella Mai so much that she's banging inside the car

and streaming on my phone at the gym during cooldown mode. I highly

recommend this CD if you don't have satellite or bluetooth radio

services inside your vehicle.

2 people found this helpful

Reviewed in the United Kingdom on November 7, 2018

Verified Purchase

I couldn't wait to get hold of this album and I'm so pleased to say

that it doesn't disappoint. I've had it on constant repeat since I've

had it. This album is R n B at its finest. There isn't a single song

on the album that I don't like. Every so often an as album comes out

that speaks volumes and just hits your soul. This album is more than

'Grammy' worthy and I do hope it's recognised for its lyrical genius

content and music that moves you. Ella's voice is more than silky

smooth........ Ella Mai, "This album is UK Music at it's FINEST"....

Kehlani Official Website | It Was Good Until It Wasn't Out


It Was Good Until It Wasn't - Wikipedia › wiki › It_Was_Good_Until_It_Wasn't

It Was Good Until It Wasn't is the second studio album by American

singer and songwriter Kehlani. It was released on May 8, 2020, by

Atlantic Records. It is her first project since her 2019 mixtape While

We Wait and first full-length record since her 2017 debut studio album


Background · Release and promotion · Promotional singles · Critical reception

Released: May 8, 2020

Length: 39:30


cross her solo releases, Oakland, California artist Kehlani has

channelled a nostalgic kind of poppy R&B. That the former America’s

Got Talent star’s debut album was called SweetSexySavage in a nod to

TLC’s CrazySexyCool is telling of the kind of slinky, exuberant sounds

she’s best known for putting out. This second album is more pared down

and feels more of its time, as much indebted to SZA as it is SWV. Some

of the lyricism is a little clumsy (“We fuck and make-up like it’s

Maybelline”), and the Megan Thee Stallion feature is an all-too-brief

skit, but overall Kehlani sounds assured and impressive here, offering

sensuality and intimacy in her candour.

Beyond the sultry, raw afterglow of balmy tracks about sex and love,

she interrogates her life as entertainment news on Everybody Business

(“So if you hear that rah-rah-rah about me [...] I beg you don’t

listen, I beg you believe me”), while on Grieving, a duet with James

Blake, she ruminates on the end of a relationship over silken beats.

Sonically, it can blend a little into one, but the closing feature

from the late rapper Lexii, a friend and collaborator of Kehlani’s, is

a rousing, poignant end to a largely accomplished set.

Kehlani - "Everybody Business" (Quarantine Style) Official Video

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John Legend

John Roger Stephens, better known by his stage name John Legend, is an

American singer, songwriter, producer, actor, and philanthropist.

Prior to the release of Legend's debut album, Get Lifted, he had

collaborated with already established artists.

This album is stock John Legend - his throw-back silky voice and

impeccable falsetto always end up sounding epic and enduring. He

always has several songs on each album that could have longevity as

part of a movie soundtrack, in commercials, etc. Although this album

has more than its fair share of what I call "sexy time music" he makes

lyrics that might feel lewd coming out of someone else's mouth feel

lofty, elegant...aspirational even. A someone who is a fan of doo-wop

and R&B, one of my surprise favorites from the album is "Wild" ft.

Gary Clark Jr. It has a distinct country rock sound that I ended up

enjoying a whole lot. Overall, I love this effort and it will be in

rotation for quite some time.

After Hours | T H E W E E K N D › music › after-hours-0

After Hours

Studio album by The Weeknd

After Hours is the fourth studio album by Canadian singer The Weeknd.

The album was released on March 20, 2020, by XO and Republic Records.


Artist: The Weeknd

Release date: March 20, 2020

Recorded: 2018–2020

Length: 56:19

I really enjoyed this album very much, I noticed less curse words and

less ego in The Weeknd’s songs on this album. Very emotional songs, I

can feel his emotions through his music. You will probably have to

listen to this album one more time before you fall in love with it and

that is because it’s different from what his other songs sound like.

It’s got that 70s & 80s vibe, beats got that stranger things vibe. I

did notice all the songs sound similar and talk and the same thing but

give this a chance I think this album will grow on you. My favorite

songs are alone again and snowchild.

Reviewed in the United States on March 20, 2020

Thriller. Purple Rain. After Hours? Yes, yes, and yes. All of these

albums are defining moments in pop music history that will live many

decades or more into the future. Sure, there are dozens of other

albums that could be mentioned, but my point is that this album is

something special, especially in a time when silly gimmick albums that

require almost zero talent seem to top the charts (and unfortunately

many of the awards shows). I am thrilled that the album doesn't

"feature" anyone ... it is just straight up The Weekend with an album

made the way music should be made.

After Hours absolutely harkens back to the time of poppy 80s music,

when powerful synth-driven melodies ruled, with complex chord

progressions hooking in listeners whether they realized it or not. But

it certainly feels as modern as anything out there, and has a soulful

sheen that comes through brightly and ultimately I believe will pull

in listeners from a wide variety of tastes. This album crosses genres,

crosses cultural boundaries, and dare I say magically eliminates a

generational age barrier that exists for me (as an older Gen X guy).

Blinding Lights has been getting lots of press, and it deserves every

positive snippet. It is just a brilliant pop song and is executed

perfectly. You are lucky enough to live in 2020 and I promise you will

hear this song a gazillion times (assuming we can ever leave our

homes), and in 2050 you will still be hearing it. And you will say in

2050: "God they don't make music like this any more."

The other tracks have enough variety that the album slows down but

always keeps momentum, and has the right peaks and valleys for an

end-to-end listening experience. Just like or old vinyl records or

cassettes. This music is meant to be listed to; sure, put Blinding

Lights on repeat a few days, but settle in for a musical feast when

you open your ears to the entire album.

This one gets the strongest 5 stars possible - buy it, listen to it, and enjoy!


Studio album by Justin Bieber

Changes is the fifth studio album by Canadian singer Justin Bieber. It

was released on February 14, 2020, by Def Jam Recordings and RBMG

serving as the follow-up to Purpose. Wikipedia

Artist: Justin Bieber

Release date: February 14, 2020

Genre: Pop

Label: RBMG/Def Jam


onnoisseurs of documentaries that reveal the full horror of becoming

famous – particularly at a young age – are currently spoilt for

choice. Over on Netflix, there’s Taylor Swift’s Miss Americana, a film

that makes 21st-century celebrity look like something you’d mete out

as a last-ditch punishment: a lonely, exhausting world of constant

scrutiny, unending bullshit and dealings with people ostensibly on

your side whose commitment to your best interests looks shaky to say

the least. Meanwhile, on YouTube, there’s Justin Bieber’s Seasons.

The latter isn’t intended as a cautionary tale. Quite the opposite.

It’s a 10-part puff piece, the ruthlessly clear-eyed, non-partisan

tone of which can be gleaned from the titles of its episodes: Making

Magic, Bieber’s Back. It’s designed to assure all and sundry that its

star is recovered from mental and physical illness, and years of drug

use that apparently began when he was 13. But an ineffable unease

oozes from the screen. If Bieber appears better than he was during the

tour for his 2015 album Purpose – during the London shows, he stood

miserably on stage, unable to muster the enthusiasm even to mime to a

backing track – he still seems fragile and troubled, talking with his

head in his hands about the effort it takes him to get out of bed in

the morning, explaining how the oxygen chamber he keeps in the studio

“decreases anxiety”. “Being human,” he says at one point, “is

challenging”.<div class="player-unavailable"><h1 class="message">An

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For all the onscreen captions giving viewers details of how to contact

mental health and substance abuse helplines, the documentaries are

patently not a philanthropic exercise: they’ve been made to promote

Bieber’s new album. It arrived heralded by the single Yummy, which if

nothing else, offered a stark indicator of the point pop music has

reached in 2020. It was apparently designed with the intention of

becoming a sensation on TikTok, the vastly popular social network

where kids post short video clips. The chorus – “you’ve got that yummy

yum” – was meme-able nonsense, the rest went in one ear and out the

other. That was the point. On its own terms, it worked a treat –

TikTok ubiquity followed – although the question of whether pop music

might be better off setting its artistic sights a fraction higher than

coming up with a memorable 10-second jingle, a tricked-out

21st-century equivalent of “For mash, get Smash”, or “Washing machines

live longer with Calgon”, hung rather heavily over the enterprise.

Justin Bieber: Changes

If Yummy seemed cynical – bolstered by instructions to fans on how to

game the streaming services and get it to No 1 – then at least that’s

not an accusation you can level at the rest of Changes. Indeed,

listening to it after watching the first few episodes of Seasons, you

find yourself wondering if the man behind it really wants to be as

successful as he was. The kind of big-name songwriters and producers

whose efforts boosted Purpose to multi-platinum success – BloodPop, Ed

Sheeran, Benny Blanco – are noticeable by their absence. Justin

Tranter and Julia Michaels, who co-wrote the squillion-selling Sorry,

were last spotted writing for the ex-girlfriend who inspired it,

Selena Gomez. Also absent are sure-fire smash hits.

Instead, it deals largely in low-key, short, floaty paeans to Bieber’s

wife, Hailey Baldwin – “it’s a blessing that you’re in my life”, “you

make sure I’m comfortable”, “what are our kids going to be like?”, etc

– and to his faith. The title track is over almost before it begins,

unexpectedly grinding to a halt with a spoken-word section: “People

change, circumstances change, but God always stays the same.”

It feels subdued and unassuming, which are curious things for

mainstream pop to be

You get an occasional whiff of mumble rap in the vocal delivery of

Forever, which comes with a guest appearance from Post Malone, and a

hint of R&B grind on Take It Out On Me, but its primary sounds are

pillowy electronics and acoustic ballads. It isn’t entirely devoid of

hooks – the chorus of Running Over sticks fast – and nor is it badly

done: the dense mesh of synths on Second Emotion is suitably heady,

the effects-laden guitar on closer At Least For Now has an

intriguingly psychedelic tint. And Bieber sings it all beautifully

enough to make you wish they’d dispensed with the liberal slathering

of Auto-Tune that has the side-effect of rendering evidently heartfelt

sentiments and performances distant and faintly robotic.

It just feels subdued and unassuming, which are curious things for

mainstream pop to be. It’s a tentative, rather than all-guns-blazing,

return, with a by-any-means-necessary bubblegum single dutifully

tacked on to throw his record label a bone. In fact, it feels exactly

like the kind of album that the clearly damaged man at the centre of

the Seasons documentary would make. And, like the Seasons documentary,

it makes you wonder what the future holds for Justin Bieber.