genre rb
Page: 13
Victoria Monét checked a mommy-daughter moment off her parenting bucket list this week when she brought her baby girl, Hazel Monét, to her first concert as Beyoncé kicked off her Cowboy Carter Tour on Monday night. The “On My Mama” singer posted a carousel of clips and photos from the heartwarming evening with friends and […]
Prymax Media & Technology Group has acquired all the remaining masters from the estate of music industry pioneer Stan Lewis, founder of the legendary labels Jewel Records, Paula Records and Ronn Records. While Prymax Media declined to reveal the purchase price, Billboard can exclusively report that the New York-based private investment firm’s acquisition encompasses more than 1,600 songs. Those include recordings by Aretha Franklin, Gladys Knight & the Pips, Willie Nelson, Ike & Tina Turner, Albertina Walker and Lightnin’ Hopkins, among other iconic artists representing America’s golden era of blues, R&B, soul, rock & roll, gospel and country.
Prior to co-founding Prymax Media in 2020, Tyrone Holmes worked primarily as a music and film producer who collaborated with Grammy-winning artist Faith Evans and late Stellar Award-winning artist LaShun Pace, among others. In a statement announcing his firm’s acquisition, Holmes said, “This is about more than just reclaiming music. It’s about preserving cultural heritage and sharing stories that have long been silenced. With the release of this vault, we’re not only honoring the legacy of the artists involved but also opening the door for new interpretations and collaborations in the future. These recordings were hidden treasures, and now we can introduce them to the world.”
Trending on Billboard
Added Beverly Paige, a member of the Prymax team, “This isn’t just an acquisition it’s the recovery of a cultural legacy. We look forward to seeing how this music resonates with lifelong fans as well as invite newcomers to discover the rich legacy of music that has shaped the industry. We’re also excited for the conversations it will spark around the significance and impact of gospel music in our lives.”
In addition to the aforementioned Albertina Walker — aka “The Queen of Gospel Music”— Prymax’s acquisition features released and unreleased recordings by fellow gospel artists Shirley Caesar and Dorothy Norwood, Jimmy Reed, Bobby Rush, John Lee Hooker and Malcolm X. Among the song titles now under new ownership are “Judy in Disguise,” the 1967 No. 1 hit by John Fred and His Playboy Band, “I Feel Good” by John Lee Hooker, “Knock on Wood” by Ike & Tina Turner and “A Message for You” by Curtis Mayfield.
Beyond fully finished tracks, the catalog cache includes rare studio sessions and alternate takes.
Lewis’ industry career began with the opening of Stan’s Record Shop in Shreveport, Louisiana in 1948 (a frequent customer was the yet-unknown Elvis Presley) from money earned selling newspapers. From there at age 20, he established what became the South’s largest independent record distribution network. In addition to Chess Records, where he also worked for a time, Lewis represented several other independent labels such as Atlantic, Checker and Specialty. Moving back to Shreveport after his Chess stint in Chicago, Lewis founded Jewel Records in 1963. Its roster and catalog holdings included Big Joe Turner, John Lee Hooker, Ike & Tina Turner, Aretha Frankline, B.B. King and Fats Domino. Prior to establishing Jewel, he had begun producing music artists while also co-writing with Dale Hawkins the 1957 rock & roll classic “Susie Q.”
Lewis later bought the masters of Chicago blues label Cobra Records in the late ‘60s (home to Buddy Guy). Then came the founding of the Paula (named after his wife Pauline) and Ronn imprints. The former sported a roster headed by The Uniques (led by Joe Stampley), Toussaint McCall, John Fred and His Playboy Band and others.
It was Garland Jones, owner of record store Garland Super Sounds and a longtime Lewis mentee, who helped the latter’s son Lenny outline all the music assets in Lewis’ vault before his death in 2018.
“After a decade-long legal battle, I finally obtained the rights to Stan Lewis’s succession and successfully sold this extraordinary, once forgotten collection of music to Prymax Media,” said Jones. “This partnership now can resonate with and inspire a new generation. The collection also includes the complete unreleased vault from the legendary Q Records and Gramercy Records.”
Attorney Jeffrey D. Garfin oversaw the transaction for Prymax Media. “The material derived from the estate of Stan ‘The Record Man’ Lewis represents a literal time capsule containing hundreds of unknown recordings from incredibly well-known artists,” commented Garfin. “Many of these iconic performers are no longer with us. So to be able to hear alternate takes on their hits and even new material is just fantastic. I’m honored to be shepherding these recordings into the 21st century.”
Seems like Tyla is gearing up for her sophomore album by teasing a new single titled “Bliss” on Tuesday (April 29). “Take me out of my mind/ Oh-oh-oh, oh, oh-oh/ Take me out of my mind/ Oh-oh-oh, oh, oh-oh/ You take me to bliss,” she’s heard crooning in a video shared to her social media […]
“We’re going to scream our faces off!” So declared two cowboy-garbed fans even before Beyoncé stepped onstage to kick off the first show of her Cowboy Carter Tour last night (April 28). Multiply those two sets of screams by the thousands of others screaming, cheering and dancing inside Inglewood, Calif.’s SoFi Stadium throughout the 35–time […]
SZA crowns both the latest Billboard 200 albums chart and the Billboard Hot 100 songs chart dated May 3. While it’s customary for star acts to lead both lists simultaneously, SZA does so differently than the way that the feat is usually achieved.
As previously reported, SZA’s album SOS rebounds for a 13th week at No. 1 on the Billboard 200. Concurrently, Kendrick Lamar and SZA’s “Luther,” from Lamar’s album GNX – not SOS – logs a milestone 10th week at No. 1 on the Hot 100.
Since the beginning of the 2020s, only three acts have led the charts simultaneously but with a Hot 100-topping song not from the album at No. 1 on the Billboard 200. The two prior to SZA: GNX headed up the Billboard 200 as Lamar’s stand-alone single “Not Like Us” led the Hot 100 for a week in February and Taylor Swift’s 1989 (Taylor’s Version) was No. 1 on the Billboard 200 as the then-four-year-old “Cruel Summer” ruled the Hot 100 for a week in November 2023.
Comparatively, in a hefty 50 weeks this decade, and continuing coordination common since the ‘60s, acts have doubled up atop the Billboard 200 and Hot 100 with albums and songs from those sets. Most recently, Lamar did so twice via GNX: the LP was No. 1 on the Billboard 200 as “Luther” (March 15) and “Squabble Up” (Dec. 7, 2024) topped the Hot 100. Leading the way since 2020, Morgan Wallen’s One Thing at a Time and its smash “Last Night” spent 11 weeks atop the Billboard 200 and Hot 100 side-by-side. (The set and song reigned for 19 and 16 total weeks, respectively.)
Prior to SZA, Lamar and Swift earning such commands, no act had scored such a divergent double-up since August 1997, when Diddy (then Puff Daddy) was No. 1 on the Billboard 200 with No Way Out (with The Family) while being featured with Mase on The Notorious B.I.G.’s Hot 100 leader “Mo Money Mo Problems.” Among artists in lead roles, none had earned the honor before SZA, Lamar and Swift since 1975, when, for two weeks that January, Elton John’s Greatest Hits led the Billboard 200 as his cover of The Beatles’ “Lucy in the Sky With Diamonds,” not on the collection, topped the Hot 100.
The recent relative uptick in the feat suggests that songs’ success can be less tied to album campaigns than in the past. In the case of the acts above, the reign of “Luther” aligns with the recent reissue of SOS; “Not Like Us” was re-diss-covered after Lamar performed it at the Super Bowl LIX halftime show and it won five Grammy Awards, all within an eight-day span in early February; and “Cruel Summer” was revived from Swift’s 2019 album Lover, partly from fan fervor as she performed it early in the run of her The Eras Tour.
Meanwhile, in a digital era, artists can more easily release single tracks than before, while the likes of TikTok and media synchs can more randomly spark popularity for songs not on albums that acts are simultaneously promoting.
Further tying Lamar and SZA together, GNX is No. 2 on the Billboard 200, while the stars kicked off their co-headlining Grand National Tour April 19.
Beyoncé launched her Cowboy Carter and the Rodeo Chitlin Circuit world tour on Monday night (April 28) with the first of five shows at SoFi Stadium in L.A. And, as usual, it was a high-energy, high-fashion feast for the eyes and ears that lasted nearly three-hours. After opening with the Cowboy Carter track “Ameriican Requiem” […]
“Five Nights of Beyoncé!” That was the tagline trumpeted across television and radio throughout Los Angeles ahead of the Monday (April 28) night kickoff for the 35-time Grammy winner’s highly anticipated Cowboy Carter Tour at SoFi Stadium in neighboring Inglewood, Calif. The 32-market stadium tour — across nine cities in the U.S. and Europe — […]
Coco Jones has released her debut album Why Not More?, and the R&B singer shares how sampling Britney Spears’ “Toxic” for “Taste” came to life, her experience working with an “in love” Future, how she’s defining R&B in her own way, and more! What did you think of Coco Jones’ new album? Let us know […]
Sinners and saints dominated the news last week, following the passing of the late Pope Francis and the continued box office domination of Ryan Coogler’s acclaimed, Michael B. Jordan-led vampire-musical-period drama Sinners.
Sinners once again topped the box office, earning the smallest second-week decline for a R-rated horror title in history. Accompanied by a soundtrack featuring the cast, contemporary hip-hop stars Rod Wave and Don Toliver and blues legend Buddy Guy, Sinners stands as the first true cultural phenomenon of the year.
Coogler’s blues-informed film also gave way to a weekend of formal debuts from the latest generation of rhythm and blues artists. Coco Jones (Why Not More?) and Destin Conrad (Love On Digital), two of Gen Z’s preeminent R&B stars both unleashed their debut studio albums over the weekend, while seasoned R&B greats like Ledisi (The Crown) and Smokey Robinson (What the World Needs Now) dropped their own new sets.
Trending on Billboard
Over on the hip-hop side, Young Thug reiterated his allegiance to Drake and dropped his first single since his release from jail in October 2024; Flo Milli welcomed her first child; and Kendrick Lamar scored 10 nominations at the 2025 American Music Awards, more than any other artist.
With Fresh Picks, Billboard aims to highlight some of the best and most interesting new sounds across R&B and hip-hop — from Jade Novah’s ode to the ’90s to Aaron Page’s new Domani-assisted joint. Be sure to check out this week’s Fresh Picks in our Spotify playlist below.
Durand Jones & The Indications & Aaron Frazer, “Flower Moon”
After opening for select dates on Lenny Kravitz’s Blue Electric Light Tour, Durand Jones & The Indications have shared the latest single from their forthcoming Flowers LP. Built on sugary three-part harmonies, mellow guitar, and overall framework ripped from the early ’70s soul playbook, “Flower Moon” is the perfect wind-down tune.
Aaron Frazer handles lead vocals on this cut, his buttery tone adding some beautiful color to picturesque lyrics like, “Well you see, lovers livin’ light like a feather/ Keep it hot in warm summer weather nights/ And the music pours like drinks from the corner/ You can post up too if you want some fun.” The ’70s have had a small moment in popular music ever since the turn of the decade, and “Flower Moon” is one of the rare offerings that rises above the pitfalls of pastiche. — KYLE DENIS
Ray Vaughn feat. Jay Rock, “Klown Dance”
Leading TDE’s next generation alongside Doechii, Ray Vaughn looks to leave an indelible mark on the rap game in 2025 with his The Good The Bad The Dollar Menu mixtape, which he’s compared to his version of Kendrick Lamar’s Good kid, m.A.A.d city. “Klown Dance” finds Vaughn clashing with labelmate Jay Rock, as the pair of shrewd wordsmiths go bar-for-bar over a smooth VanJess sample. The Long Beach native narrates his gritty come-up. “The hood never had a place for doubts/ Look at me wearin’ s–t that I can’t pronounce/ Remember Shaq’s was out/ Couldn’t afford the Jordans/ They roasted a n—a in a Carmelitos,” he raps. — MICHAEL SAPONARA
BunnaB, “Bunna Summa”
Produced by Kristof, BunnaB’s “Bunna Summa” should be played a lot as the weather starts to get warmer. The track, and her Ice Cream Summer EP that she dropped earlier this month, have a throwback sound, as the Atlanta rapper tries to recapture that mid-2000s Southern rap energy. Her music sounds like crisp white tees on a summer day. — ANGEL DIAZ
Flo Milli feat. T-Pain, “Gripper”
After welcoming her new baby boy a few days ago, Flo Milli is back with her new single “Gripper,” which samples T-Pain’s 2005 hit “I’m N Luv (Wit A Stripper).” Flo reimagines the track from the female POV and creates a high-energy anthem that celebrates sexual confidence and not settling for anything less than luxury. She’s in control, calling out a lover who’s hooked on her but reminding him she’s not easily impressed: “Better go buy me a AP.” She balances humor and empowerment, talking about wealth (“I had money before you came”) and independence, while playfully threatening anyone who steps out of line. There’s a lot of flexing, but it’s layered with clever wordplay and a refusal to be undervalued. “Gripper” is a sexy, self-assured banger about knowing your worth, setting the pace in relationships, and embracing your allure. — CHRISTOPHER CLAXTON
Sahsa Keable, “Act Right”
Beyoncé-approved British-Colombian singer-songwriter Sasha Keable is back with her first solo single of the year. Produced by Etienne, “Act Right” finds Keable taking a disappointment of an ex-lover to task over wistful piano chords and plaintive percussion. Perusing both her robust chest voice, raspy falsetto and the full strength of her vibrato, Keable delivers some classic R&B vocal showboating, which the subtle background horns complement perfectly. “‘Cause if you loved me/ You would never hurt me/ That’s to put it simply,” she proclaims in the pre-chorus, as she simultaneously internalizes the truth and holds her torturers accountable. After teasing this track for almost two months, Keable’s full joint meets the lofty expectations. — K.D.
Belly Gang Kushington, “Sorry Mama”
Whether it’s selling $100 white tees or stopping traffic for his From The Streets Performance, Belly Gang Kushington hasn’t wasted any time in 2025 making his presence felt as one of Atlanta’s newcomers, as BGK released his The Streets Is Yours project on Friday (April 25) to capitalize on his momentum. With a penchant for 2000s rap, Kushington calls back to Eminem’s “Cleanin’ Out My Closet” for his cathartic open letter coming clean to his mother on “Sorry Mama,” whom he’s only met a couple of times after she left him as a baby. — M.S.
Bruiser Wolf & Nicholas Craven, “Beat the Charge”
Detroit’s Bruiser Wolf sounds like if Suga Free did spoken-word music about selling drugs instead of the trials and tribulations of a pimp. When you mix that approach with Montreal producer Nicholas Craven’s soulful loops, you get something totally unique. Big Wolf is always good for a great quotable, and there’s really nothing like this out right now, making for a fun, fascinating listen. — A.D.
Aaron Page feat. Domani, “Sympathy”
Houston and Atlanta linked up, and the result is one of the best tracks to drop this week. “Sympathy” finds Aaron Page and Domani opening up about vulnerability, regret and longing for emotional connection. The duo admits they’ve been caught up in the streets — a place that’s offered them no real comfort — and that they’ve been outside for too long, disconnected from love and stability. The “streets” here symbolize the harshness of the world they’re stuck in, making them crave something more nurturing. Produced by B100, Musik Major X and Squat Beats, “Sympathy” is about a man wrestling with his lifestyle and emotions, admitting that he misses the love and peace he once had with someone special. — C.C.
Jade Novah, “90’s Fine”
Modern R&B’s fixation on the ’90s can veer on exhausting, but Jade Novah manages to make that obsession feel fresh with her new “’90s Fine” single. Produced by husband Devin Johnson, “’90s Fine” finds Novah floating over a soulful, percussive mid-tempo landscape accented by subtle synths and delicate strings. It’s a meticulous ode to the song’s namesake era, but the contemporary sheen of Novah’s lyricism brings the track into the 2020s. “Give me your love with no filter / Tell me the truth with no filler / Give me a love that won’t change up,” she croons in the chorus. — K.D.
The Bonfyre, “No Sleep”
The Bonfyre has made her highly anticipated return with her cathartic single, “No Sleep.” The Massachusetts native poignantly opens up about her trials and tribulations along the way, dealing with numbing heartbreak and being the victim of domestic abuse. “My heart is mine to control, l and you don’t know what you’re looking for,” she sings. Putting the pain of her journey into music has reinvigorated Bonfyre creatively, and she’s got plenty more in store for the rest of 2025. — M.S.
Tiwa Savage, “You4Me”
On her new single, Tiwa Savage samples Tamia’s 1998 classic “So Into You” to craft a smooth, heartfelt love song about deep emotional and physical connection. She expresses complete devotion to a partner who stands out from everyone else, celebrating the security, stability and undeniable chemistry between them. “You4Me” is about feeling seen, and swept up in a love that’s equal parts passion and partnership. Tiwa’s smooth vocals and playful lyrics balance flirtation with sincerity, making this track feel sweet, sexy and real. — C.C.
Kaytranada isn’t the biggest fan of how audiences choose to enjoy live shows in the age of smartphones and social media. Over the weekend, the Montreal-based producer responded to a fan on X who apologized on behalf of “real fans” who dance at his shows as opposed to “standing still” in order to capture content […]