State Champ Radio

by DJ Frosty

Current track

Title

Artist

Current show
blank

Lunch Time Rewind

12:00 pm 1:00 pm

Current show
blank

Lunch Time Rewind

12:00 pm 1:00 pm


R&B/Hip-Hop

Page: 43

Lil Baby and Gunna may never make music together again.
While sitting down with Charlamagne tha God and his Out of Context interview series, the media personality asked Baby about his relationship with Gunna and if they’ll ever make music again. However, the Atlanta rapper isn’t optimistic about giving fans a follow up to their critically acclaimed mixtape Drip Harder from 2018. “We ain’t got no relationship,” he said before Charlamagne asked about fans on the Internet claiming Lil Baby “can’t make hits without Gunna.”

“The internet will say anything,” he then answered. “You know how many hits I got? So, that don’t even make sense.” Charlamagne then followed up by asking, “I know Thug says what Wham! says goes, but Thug says, ‘Hey, I’mma get in the studio, I’m gonna make some music with Gunna, Baby I want you to participate.’ Would you?”

Explore

See latest videos, charts and news

See latest videos, charts and news

“I don’t see that happening,” Baby replied before elaborating that he meant he doesn’t expect Young Thug to ever make that kind of request. “Nah, I’m just saying, like, ‘I want you to participate.’ I don’t know what nobody else will do. But as far as me, know what I’m saying?”

Trending on Billboard

Charlamagne then brought up his “350” record from 2023 where Baby rapped, “Ain’t never say nothin’ ’bout it, nigga, you know you a rat” on the song’s first verse, but he brushed the controversy surrounding that line off. “That’s just the Internet, what they gonna create,” he answered. “I talk about rats in every song I had since I started rappin’.” Adding, “They just be creating a narrative and I don’t even be talkin’ about a nigga. It’s whoever’s a rat.”

The drama surrounding the former duo dates back to December of 2023 when Lil Baby told his DJ to turn off “Drip Too Hard” during a performance, saying, “F—k the rats, turn this sh—t off.” Since then there’s been conflicting feelings coming out of Thug’s YSL camp such as Thug tweeting, “whateva wham say goes,” in June and his father coming to Gunna’s defense publicly on multiple occasions.

The interesting tidbit in all this is that Thug had to get permission from the judge to be able to record songs with Gunna as a condition of his release.

Lil Baby’s fourth solo album WHAM (Who Hard as Me) is due out Jan. 3, 2025.

Lil Baby loves gambling. Whether that be on betting on himself in his career, cards or rolling dice, the Atlanta rapper is always down to play the odds.
Baby hopped on Lil Yachty’s A Safe Place podcast where he admitted that losing a fortune in less than two days forced him to get his gambling habit under control.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

“$8 million,” he said when asked what’s the most he’s lost. “Like one day, probably like 40 hours straight, I lost like $8 million, $9 million. I made myself stop gambling.”

Trending on Billboard

Baby continued: “I had Mike Rubin write a letter to every casino and ban me from the casino. I just do s–t. I don’t gamble no more.”

Don’t expect to see Lil Baby in the casinos anymore, but he’s still making it rain in other ways. The 4PF rapper and Fanatics CEO Michael Rubin have become close friends over the years as they’ve aligned on REFORM Alliance ventures and business dealings such as Mitchell & Ness and Fanatics.

Rubin and Lil Baby have been the subject of plenty of memes and social media fodder with photos from his famed “white parties” on July 4. Elsewhere talking to Yachty, Baby revealed the memes actually bother him.

“I don’t play with n—-s, period on no funny, weird s–t. I’m dapping Kuzma up and Mike’s happy to see me he run up on me. I got 10 other pictures,” Baby said. “We play like that. They white so they don’t really understand how I understand. Even when the picture came out before it went viral I told Mike, ‘I can’t have pictures like that.’”

He continued: “When that picture came out, I literally made Mike Rubin go to the security camera in his house and go to the footage the whole time. I ain’t even gonna post that s–t… Certain s–t, all that type s–t like that really bother me. How I grew up, certain s–t can’t be on your name.”

The 30-year-old called Michael Rubin a “super great influence” on his life. “We have the best conversations ever,” Baby added. “He damn near fascinated with the way I live, and I’m fascinated with the way he lives so we live in the middle.”

Lil Baby is looking to kick off 2025 on a high note as he readies a pair of albums, the first of which is set to arrive on Jan. 3 with WHAM (Who Hard As Me).

Tres Generaciones Tequila, a 50 year old brand introduced by the family that elevated tequila to a symbol of Mexican pride, and Billboard are partnering together for a year-long celebration of music’s transformative power to unveil the top songs that have energized, uplifted and excited six select cities, known as the ‘Get Up Anthems.’ These playlists are curated through a mix of editorial insight and data analytics, and honor the songs that define each city’s history and culture. 

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

___

Trending on Billboard

We’re at the last stop of the six city Get Up Anthem’s tour: Los Angeles—quintessential for the city of dreams. Inside a Glendale studio, adorned with moodiness and odes to the city’s star quality, hip-hop heavyweights The Game and D Smoke sat alongside Billboard editor Carl Lamarre. Hosted by Rocsi Diaz, the roundtable celebrated LA’s storied musical legacy, with “It Was a Good Day” serving as the focal point. Over glasses of Tres Generaciones Tequila, the group delved into the song’s enduring impact, debating its place within the pantheon of West Coast classics and its role in shaping the cultural identity of Los Angeles.

Ice Cube’s “It Was a Good Day” distills the essence of West Coast hip-hop into a singularly iconic track. Released in 1993 on The Predator, its smooth production, vivid storytelling, and cultural resonance immortalize it as a cornerstone of Los Angeles’ musical legacy. Over a soulful, nostalgic beat, Ice Cube captures a rare day of peace and joy amidst the turbulence of South Central LA, embodying the broader West Coast aesthetic of the era.

The track’s production, helmed by DJ Pooh, achieves emotional depth through masterful simplicity. Built around a sample from The Isley Brothers’ “Footsteps in the Dark, Pts. 1 & 2,” the beat reimagines its dreamy guitar riffs in a hip-hop framework, exuding nostalgia and serenity. Understated elements—a mellow bassline, restrained drum programming, and sparse melodic keys—amplify Cube’s narrative, letting his words drive the track. The relaxed tempo and sunlit vibe epitomize G-funk’s laid-back yet resonant sound, placing it firmly in the lineage of West Coast greats like Dr. Dre while maintaining Ice Cube’s unique identity.

More than a song, “It Was a Good Day” offers a snapshot of early ’90s Los Angeles, blending realism and escapism. Ice Cube’s lyrics chronicle a dreamlike day—basketball games, favorite fast food, cruising the streets—untainted by violence or adversity. The specificity of his imagery, from local radio shoutouts to South Central landmarks, grounds the track in LA’s cultural fabric, rendering it both personal and universal. This fusion of optimistic storytelling and authentic detail makes the song a heartfelt ode to the city.

The cruising imagery and relaxed beat capture LA’s sun-soaked, car-driven ethos, cementing the track as a sonic emblem of West Coast life. It contrasts sharply with gangsta rap’s grittier portrayals, providing a moment of respite that resonated deeply with audiences and expanded the emotional scope of hip-hop.

Decades later, “It Was a Good Day” remains a benchmark for storytelling and production in hip-hop, inspiring countless artists. Its iconic status has led to numerous samples and references, from Beyoncé’s “Partition” to Kendrick Lamar’s “DUCKWORTH.,” which mirrors its narrative focus on transformative moments. Beyond direct interpolations, the track’s introspective yet celebratory tone continues to influence music across genres, solidifying its place as a timeless masterpiece.

The song’s genius lies in its balance of realism and aspiration. Ice Cube’s vivid storytelling invites listeners into a world where, for one day, everything aligns perfectly. Its production—a perfect marriage of G-funk’s smoothness and hip-hop’s grit—encapsulates Los Angeles’ essence. As both a personal narrative and cultural artifact, “It Was a Good Day” stands as a testament to hip-hop’s power to encapsulate time, place, and emotion, securing its legacy as a cornerstone of West Coast music and one of the most beloved tracks in Ice Cube’s storied career.

Some songs have the rare ability to define eras, celebrated for their infectious beats, groundbreaking production, vivid storytelling, and timeless appeal, earning them the status of true classics. In partnership with Tres Generaciones Tequila, a brand that champions the journey and not just the destination, we continue our exploration to round up the top Get Up Anthems over this next year from six iconic cities: Houston, Atlanta, New York, Chicago, Los Angeles, and Miami. Guided by curated panels, we dive deep into each city’s vibrant sonic history, highlighting tracks that embody resilience, authenticity, and innovation while celebrating the power of music to inspire listeners to rise and chase their passions.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

Los Angeles’ music scene is the heartbeat of West Coast hip-hop, defined by G-funk grooves, cinematic storytelling, and a celebration of street culture, freedom, and pride. From the smooth funk-infused beats of “It Was a Good Day” and “Nuthin’ But a G Thang” to the anthemic energy of “California Love” and “Still D.R.E.,” these songs capture the soul of LA—a city where ambition meets artistry, and struggle gives rise to triumph. LA’s playlist reflects a rich legacy of innovation and influence, blending the grit of South Central with the sunny vibes of the West Coast.

Trending on Billboard

The Top 10 Get Up Anthems from Los Angeles were crafted through a blend of editorial expertise, data-driven analytics, social impact, and personal sentiment to create a ranked list of songs that have inspired, captivated, and energized the City of Angels. Spanning decades from 1992 to the present day, LA’s playlist [click HERE to play] features tracks that represent the city’s vibrant cultural history and unmistakable sound, hand-selected by local icons The Game and D Smoke, Billboard editors Carl Lamarre, and moderated by Rocsi Diaz.

Did they get it right? Or were they off the mark?

Check out the Top 10 Get Up Anthems from Los Angeles:

10. “BPT” – YG (2014)

“BPT” from YG’s debut album My Krazy Life is a raw, unapologetic tribute to his roots in Bompton (a nickname for Compton). Produced by DJ Mustard, the track features a minimalist, hard-hitting beat driven by claps and menacing synths. YG’s aggressive delivery and vivid storytelling capture the reality of gang life and his rise in the rap game. The song’s unfiltered depiction of LA street culture resonated deeply within Compton and other parts of Los Angeles, while commercially, it helped establish YG as one of the leading voices of West Coast hip-hop’s new generation.

9. “Regulate” – Warren G feat. Nate Dogg (1994)

“Regulate” is a storytelling masterpiece that combines Warren G’s vivid narrative with Nate Dogg’s melodic hooks. Produced by Warren G, the track samples Michael McDonald’s “I Keep Forgettin’ (Every Time You’re Near),” giving it a smooth, soulful feel. The lyrics recount a night of danger and triumph on the streets of Long Beach, showcasing the duo’s chemistry. Released on the Above the Rim soundtrack, the song became a massive commercial hit and a defining moment for G-funk. Locally, it solidified Warren G and Nate Dogg as pillars of the West Coast sound, while globally, it introduced a broader audience to the genre’s laid-back yet gritty appeal.

8. “We Can Freak It” – Kurupt (1998)

Kurupt’s “We Can Freak It” is a smooth West Coast anthem that blends G-funk with soulful production by Battlecat. The track features atmospheric synths, a hypnotic bassline, and Kurupt’s laid-back delivery, creating a vibe-perfect for cruising through LA. Lyrically, it explores themes of nightlife, relationships, and escapism, capturing the essence of West Coast living. Though not as commercially successful as other G-funk hits, it resonated deeply within LA, becoming a staple in local hip-hop circles. Its mellow yet infectious sound remains a favorite among fans of ’90s West Coast rap.

7. “Nuthin’ But a G Thang” – Dr. Dre feat. Snoop Dogg (1992)

“Nuthin’ But a G Thang” is a definitive G-funk anthem that introduced the world to the chemistry between Dr. Dre and Snoop Dogg. Built around a sample of Leon Haywood’s “I Want’a Do Something Freaky to You,” the production features lush synths, a funky bassline, and a laid-back groove. Snoop’s effortless flow and Dre’s polished delivery made the track an instant classic. Released as the lead single from The Chronic, it became a commercial juggernaut, bringing West Coast hip-hop to mainstream audiences. Locally, it encapsulated the essence of LA’s party culture and street life, while globally, it redefined the sound of hip-hop in the early ’90s.

6. “Last Time That I Checc’d” – Nipsey Hussle feat. YG (2018)

“Last Time That I Checc’d,” from Nipsey Hussle’s Grammy-nominated album Victory Lap, is a celebration of independence and success. Produced by Mike & Keys, the track features an infectious, hard-hitting beat that complements Nipsey’s assertive delivery and YG’s fiery guest verse. The lyrics emphasize self-made success and maintaining authenticity, a recurring theme in Nipsey’s music. The song resonated deeply within Los Angeles, highlighting the city’s entrepreneurial spirit and gang unity, as Nipsey and YG represented rival factions coming together. Commercially, it solidified Nipsey’s rise as a major force in hip-hop, while locally, it became an anthem of empowerment and pride for the streets of LA.

5. “Not Like Us” – Nipsey Hussle feat. YG (2018)

“Not Like Us,” one of Nipsey Hussle’s reflective tracks, exemplifies his dedication to empowerment and authenticity. Produced by Mike & Keys, the beat features soulful undertones and crisp percussion, allowing Nipsey’s motivational lyrics to take center stage. Released during a pivotal moment in his career, the track underscores his focus on self-reliance, entrepreneurship, and community upliftment. While it didn’t achieve widespread commercial acclaim, its message resonated deeply within Los Angeles, particularly in South Central, where Nipsey was a hometown hero. The song’s themes reflect Nipsey’s broader cultural impact, inspiring a generation of artists and entrepreneurs to prioritize legacy over fame.

4. “Still D.R.E.” – Dr. Dre feat. Snoop Dogg (1999)

“Still D.R.E.” marked Dr. Dre’s triumphant return to the forefront of hip-hop after a brief hiatus. Produced by Dre and Scott Storch, the track’s minimalist piano riff and crisp drum pattern became instantly recognizable. Snoop Dogg’s laid-back hook complements Dre’s confident verses, reasserting his dominance in the rap game. Released as the lead single from 2001, the song was both a critical and commercial success, signaling the resurgence of West Coast hip-hop at the turn of the millennium. Locally, it reinforced Dre’s status as an LA legend and pioneer of G-funk, while its sleek production and enduring appeal cemented it as a global hip-hop classic.

3. “California Love” – 2Pac feat. Dr. Dre and Roger Troutman (1995)

“California Love” is an iconic West Coast anthem that captured the grandeur and diversity of California’s culture. Produced by Dr. Dre, the track samples Joe Cocker’s “Woman to Woman” and features Zapp frontman Roger Troutman on the talkbox, adding a funk-driven, futuristic flair. Lyrically, the song celebrates the vibrant lifestyle of California, from the streets of LA to the Bay Area, with 2Pac’s fiery verses contrasting Dre’s cool, confident delivery. Released as 2Pac’s comeback single after his release from prison, it became an instant commercial hit and an enduring cultural staple. Locally, it was a rallying cry for West Coast pride during the height of the East Coast-West Coast rivalry, while globally, it solidified California’s place as a central hub for hip-hop culture.

2. “Gin and Juice” – Snoop Dogg (1993)

Snoop Dogg’s “Gin and Juice,” produced by Dr. Dre, is a cornerstone of West Coast G-funk. Its funky bassline, lush synths, and signature high-pitched whines, combined with Snoop’s smooth, laid-back delivery, create a quintessential party anthem. The lyrics reflect a carefree lifestyle centered around drinking, smoking, and enjoying life with friends—a sharp contrast to the gangsta rap narratives dominating the scene at the time. Released as the second single from Doggystyle, the track was both a commercial success and a cultural phenomenon. Locally, it represented the quintessential LA party vibe, from house parties in Compton to BBQs in Long Beach, while nationally, it introduced mainstream audiences to G-funk’s irresistible groove and Snoop’s effortless charisma, marking a new chapter in hip-hop.

1. “It Was a Good Day” – Ice Cube (1992)

“It Was a Good Day” is a quintessential track that perfectly encapsulates the relaxed yet gritty essence of Los Angeles in the early ’90s. Produced by DJ Pooh, the smooth, soulful sample of The Isley Brothers’ “Footsteps in the Dark” provides a mellow, nostalgic backdrop for Ice Cube’s reflective lyrics. The track’s narrative vividly describes a rare, violence-free day in South Central LA, showcasing the stark contrast between everyday struggles and moments of peace. Its debut on the The Predator album resonated deeply with audiences, both commercially and culturally, offering a rare positive perspective amidst the turmoil of the post-Rodney King riots era. Locally, it became an anthem for LA residents, a celebration of fleeting joys in a city plagued by systemic challenges, while nationally, it solidified Ice Cube’s status as a master storyteller.

Well, 2024 is quickly drawing to a close. And what an eventful year it was in R&B/hip-hop and African music. 

No doubt still uppermost in the minds of many is the epic feud between Drake and Kendrick Lamar that exploded in March. Captivating the music industry and fans alike, the beef laid bare a rocky relationship dating back to 2013. However, it simultaneously injected a needed jolt of creative energy into a genre whose mainstream success had rendered it formulaic and uninspiring in the minds of fans and cultural pundits alike. With Lamar set to headline the global stage, which is the 2025 Super Bowl halftime show, hip-hop’s impactful presence can’t be denied.

Also in March, Beyoncé sparked a different debate with the release of the No. 1-debuting Cowboy Carter. Her full-length foray into country drew critical praise — and also its share of negative dismissals. But the album shined a deserving spotlight on Black country pioneers like Linda Martell (the first Black woman to play the Grand Ole Opry) and newcomers working to wedge their boots in the door, such as Shaboozey. The latter is up for a best new artist Grammy after a historic 19-week run at No. 1 on the Hot 100 with “A Bar Song (Tipsy),” tying Lil Nas X’s “Old Town Road” featuring Billy Ray Cyrus. Not to mention, Cowboy Carter scored 11 Grammy nominations for Queen Bey herself. 

On both the chart and touring fronts, the women of hip-hop — Nicki Minaj, Megan Thee Stallion, GloRilla and Doechii, among them — made major breakthroughs this year. As did female African music artists like Tyla and Tems. And in the R&B realm, current three-time Grammy nominee Chris Brown added several more career milestones to his account, including tying with Lil Wayne for the second-most No. 1 on the Mainstream R&B/Hip-Hop Airplay chart and first RIAA diamond certification for “No Guidance” featuring Drake. Meanwhile, Muni Long notched back-to-back No. 1s on the Adult R&B Airplay chart with “Make Me Forget” and “Ruined Me” from her Grammy-nominated album, Revenge. 

It’s also been a year marked by several high-profile legal cases involving hip-hop artists. Those include Young Thug’s recently settled YSL RICO trial, Drake’s surprise legal petition filed against Universal Music Group and Spotify, Sean “Diddy” Combs set to go on trial for sex trafficking and racketeering and, most recently, Lil Durk’s indictment — along with several members of his Only the Family crew — on a federal murder-for-hire charge for allegedly trying to kill rapper Quando Rondo. 

All the while, the music industry continued to shrink — kicking off the year with Universal Music Group’s restructuring into East Coast and West Coast operations and Warner Music Group’s reorganization of Atlantic Music Group. The ensuing layoffs included the departures of 300 Entertainment chairman/CEO Kevin Liles and Atlantic Records’ president of Black music Michael Kyser; layoffs at iHeartMedia and other radio chains plus SiriusXM and other companies further stoked talk about the industry’s growing lack of diversity and equity in the wake of George Floyd and #TheShowMustBePaused. 

And speaking of losses, R&B/hip-hop paid homage to the legacies of Quincy Jones, Frankie Beverly and other revered members of the Black music community who passed away this year. Now, before R&B/hip-hop and African music close the door on 2024, here’s a look at this year’s top 10 stories. 

Kendrick Lamar: Man of the Hour 

They say time heals all wounds. Once upon a time, Snoop Dogg wasn’t messing with Eazy-E’s “Real Muthaphuckkin G’s” diss track against him and Dr. Dre, but now it’s part of his weekly routine.

Explore

See latest videos, charts and news

See latest videos, charts and news

Snoop hopped on The Bootleg Kev Podcast earlier this week, where he admitted that “Real Muthaphuckkin G’s” gets plenty of spins over at his Cadillacc Music radio station studio.

“We was busting them upside the head, but when they dropped that motherf–ker, we felt that one,” Snoop said. “Like, the other s–t, we didn’t — but that motherf–ker right there — Eazy was going in on a n—a.”

Trending on Billboard

He continued to hearing it today: “And that s–t be knocking and you hear me singing it. Motherf–k Dre, motherf–k Snoop, motherf–k Death Row.”

Alongside B.G. Knocc Out and Dresta, Eazy unleashed “Real Muthaphucckin G’s” in 1993, attacking Dre and Snoop for the repeated disses throughout The Chronic and mainly the explosive “F–k Wit Dre Day.”

Snoop admitted “that s–t is so hard,” but he was initially in denial of the record’s status. “F–k them n—-s,” he said of his initial mentality when hearing it.

Unfortunately, Eazy-E would end up dying less than two years later in March 1995 due to HIV/AIDS, one month following his diagnosis.

As for Snoop’s 2024, it’s a busy close-out to the year for the Death Row legend, who reunited with Dr. Dre for their first full-length project since 1993’s Doggystyle, as Missionary arrived Dec. 13. The joint album features a star-studded cast of 50 Cent, Eminem, Sting, Jelly Roll and more.

Listen to the full interview below.

Earlier this week, Billboard revealed its year-end Boxscore charts, ranking the top tours, venues and promoters of 2024. We’re breaking it down further, looking at the biggest live acts, genre by genre. Today, we continue with R&B. First, the bad news: Grosses for the top 10 R&B tours are down in 2024. Last year’s crop […]

Season 12 of The Masked Singer announced its winner on Wednesday night (Dec. 18), revealing the trio of buffaloes was R&B luminaries Boyz II Men. Coming in second place was Mario as The Wasp, who, in recent weeks, didn’t show his hand and played it coy when asked if he was the artist behind the mask. In an exclusive interview with Billboard, Mario speaks about his time on the show and how he enjoyed the role of The Wasp.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

“So many great things came out of that for me,” reveals the “Let Me Love You” singer. “I have a wild imagination, so using my imagination just to imagine how The Wasp would move or even if when I was standing still, creating this character was really fun. I enjoy challenging myself [by] singing different songs like Aretha Franklin. It was a lot of fun.”

Mario divulges his tedious preparation and explains how he sang in the mask to get a feel for the outfit before going out on stage. “You could breathe, but it’s five times harder breathing and delivering. Even if you go back and watch my performances, you can hear the muffles, but that’s what made it real. Once the costume is done, you have to commit to it. So, I was committed.”

December has been an active month for Mario, who released his new album, Glad You Came, on Dec. 13. Executive produced by songwriter extraordinaire James Fauntleroy, Mario etched together his first project in six years and his first with Epic Records, completing his grand return to the R&B circuit.

“I really absorbed how he takes his time to process the music and not rush the storytelling,” Mario says of Fauntleroy’s work ethic. “I like to work like that too, where I like to get my melodies down first. I’ll lock in my melodies, have intention behind it, and be free in the thought process behind it.”

With records such as “Space” and “Glad You Came,” Mario aims to show growth and evolution since entering the music industry in 2002. Next year, he’ll accompany Mary J. Blige and Ne-Yo on tour, and hopes to show off his flashy performance prowess after pitstops on Dancing With the Stars in season six and now, The Masked Singer.

“It looks like a lot of rock n’ roll,” says a gushing Mario when speaking about the forthcoming tour. “It looks like sex, love, partying, crying and everything you would want to feel at a show. All of the human emotions are going to be onstage that night. It’s going to be beautiful.”

Watch Mario’s full interview with Billboard News above as he speaks about “Let Move Love You” turning 20, teaming up with Nas on King Disease 3 and replacing Usher for his first-ever hit “Just a Friend.”

It’s the season of giving, and GloRilla is doing her part. Big Glo returned home to her alma mater Melrose High School in Memphis on Wednesday (Dec. 17), where she surprised students and faculty members with a $25,000 check. Explore Explore See latest videos, charts and news See latest videos, charts and news The CMG […]

Thursday (Dec. 19) would have marked Earth, Wind & Fire founder Maurice White’s 83rd birthday. To honor his big brother, EWF co-founder Verdine White has released a new single titled “Superman.” The release — available on all music platforms through DistroKid — also marks the first time that the group’s renowned bassist is singing solo.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

“Would you believe this is my first time,” a laughing White tells Billboard. “I was nervous, but it turned out beautifully. Now that the pressure is off, I think I’ll do more.”

“Superman” was brought to White’s attention by Motown Records lyricist Janie Bradford (Barrett Strong’s “Money [That’s What I Want]”) a little over a year ago. Completed by Bradford and White in collaboration with Carnell Harrell, the loving tribute was produced by Shelly Clark White, co-founder of the late ‘60s R&B/soul girl group Honey Cone (“Want Ads”) and Verdine’s wife. Featured along with Clark on backing vocals are fellow current Honey Cone members Kathy Merrick and Wendy Smith-Bruné.

Trending on Billboard

Verdine White and Maurice White of Earth, Wind & Fire

Verdine White Archives

With its vibrant fusion of R&B, soul and pop, “Superman” is immediately reminiscent of EWF’s legendary zeitgeist. And its heartfelt lyrics evoke all that Maurice means to baby brother Verdine. As the latter expresses in a pleasing tenor on the song’s chorus, “More than any other/ He would always understand/ He called me his little brother / I called him Superman.” (Check out the song and its video on YouTube, which also features photos and clips of Maurice.)

“Maurice is the icon,” says White of his brother, who passed away from Parkinson’s disease in 2016. “A great leader, great big brother, great mentor. And he did a magnificent job in putting together Earth, Wind & Fire. We miss him dearly.”

Still going strong 55 years after it 1969 inception, EWF — whose bastion of hits includes “Shining Star,” “That’s the Way of the World,” “September” and “Can’t Hide Love” — hit the road this year for a string of solo shows in addition to joint shows with Lionel Richie and Chicago. And the group is already set to play the Hollywood Bowl next year on July 2, 3 and 4. Also in the works: an EWF documentary directed by Questlove.

Asked how Maurice would react to “Superman,” White says, “I think he’d chuckle and say, ‘Man, I didn’t know you could sing like that.’”