In Conversation: Flying Dutchman’s Protest Soul with Billy Valentine and The Universal Truth

Written By: 
Phil Cho
Tags: 
Share:
  •  
Billy Valentine w/ Larry Goldings, Jeff Parker, Pino Palladino

The Revolution Will Not Be Televised. A Chance For Peace. Soul And Soledad. The Universal Truth.

Today marks the historic return of one of our all-time favorite independent jazz labels. Flying Dutchman, home to seminal albums by Gil Scott-Heron, Angela Davis, Gato Barbieri, Horace Tapscott, Leon Thomas, and Lonnie Liston Smith, has relaunched after nearly 40 years with a new album from veteran singer and songwriter Billy Valentine. The Universal Truth draws upon the soul-jazz legacy of the Flying Dutchman catalog, delivering modern renditions of iconic protest songs from Gil-Scott Heron, Leon Thomas, Marvin Gaye, Eddie Kendricks, Curtis Mayfield, Prince, War & Stevie Wonder.

Flying Dutchman’s storied history and musical output has always been informed by periods of deep cultural upheaval. Founded in 1969 by visionary producer Bob Thiele when counterculture and black power were in full swing, the label released some of the most forward-thinking music of the era, combining spiritual jazz and protest soul with experimentation and black politics. Notably, some of the earliest releases on the label were spoken word albums of political speeches by left-wing figures like Angela Davis and America’s first black leader of a major city, Cleveland mayor Carl Stokes.

Angela Davis Soul And Soledad Black Panthers political Americana Vinyl LP  1971 | eBay

The relaunched label’s first signing, Billy Valentine, recalls witnessing the civil rights protests through the Deep South in the United States, the Kent State University shootings in 1970, and the Vietnam War and its devastating aftermath. His earliest songs include the R&B hit “Money’s Too Tight (To Mention)” with his brother as the Valentine Brothers, which drew on the duo’s personal struggles with employment in the late ‘70s. The Universal Truth continues Valentine’s lifelong connection to protest songs. “The music on my album speaks to me,” Valentine says, “I think this is the most important music that I’ve done yet in my life.”




With Flying Dutchman’s return in 2023, producer Bob Thiele Jr. – the son of Flying Dutchman Records’ founder, Bob Thiele – writes that “our times bear more than a passing similarity” to the early years of the label with COVID, #BlackLivesMatter and systematic racism across the board. 

Billy Valentine and The Universal Truth features a stellar cast of musicians, including tenor saxophonist Immanuel Wilkins, trumpeter Theo Croker, bassist Linda May Han Oh, guitarist Jeff Parker, vibraphonist Joel Ross, percussionist Alex Acuña, pianist/keyboardist Larry Goldings, bassist Pino Palladino, and drummer James Gadson, among others.

In Sheep’s Clothing’s Phil Cho spoke with Billy Valentine to learn more about his musical background, developing as an artist, The Valentine Brothers, songwriting with Bob Thiele Jr., and more.

Hey Billy! To start... It seems music has been a part of your life since the very beginning. What are your earliest musical memories? Who were your early musical influences?

My older brother, Alvin Valentine, was who I remember first listening to. Growing up, I would  watch him perform and put his soul on the line. He played B3 Hammond Organ and sang. He had one of the most beautiful voices, so I didn’t have to look far for greatness. He was kind of a Ray Charles type of guy. He loved Ray Charles, and he turned me on to him. So Ray Charles became a big part of who I was as a youngster at 14 or 15 years old. I’m from a big family of 13 children – seven girls and six boys– and music was always around the house. There was always a piano around. I started singing on stage from as early as seven or eight when I did it in the school talent show. I can say that I found my passion early.

I’d love to know more about Club Faces, the club that your family ran. It sounds like a very unique way to grow up and experience the entertainment / music industry first hand.

We had our own club in Columbus, Ohio. My parents would greet you at the door, my sisters ran the bar, and my brothers and I ran the bandstand. It became very popular. We did very well. We were doing that, and then I went on the road for a little bit with a group called Young Holt Trio. Isaac “Redd” Holt and Eldee Young, they were two-thirds of the Ramsey Lewis Trio. Once I auditioned for them, they took me on and we became Young Holt Unlimited. It was “Redd” Holt, Eldee Young, Bobby Lyle and myself, Billy Valentine. That was a real learning period for me. During my teen years, when I was out of school, my brother would take me with him to New Jersey. So I got to see a lot of great performers when I was very young.

Leon's Cocktail Lounge and Bar, 204 Central Ave., Hackensack, N.J. -  Digital Commonwealth
Leon’s Cocktail Lounge and Bar, Hackensack, N.J.

Was this around the time when you performed at Leon’s Cocktail Lounge? I read you opened for people like Donny Hathaway and Roberta Flack.

Yes, Leon’s Cocktail Lounge was in Hackensack, New Jersey. A lot of the opening acts at the Apollo would come over to Leon’s and headline, and I would be the opening act for them. People like Judy Clay, Etta Jones, Willie Hightower. These were working entertainers. Judy Clay was one of the cousins of Dionne Warwick. She sang with the Sweet Inspirations and she was sort of like a Jennifer Holiday type. I got to witness all this at a very young age. At 15, I probably didn’t know but three or four songs, but I got to watch these people. I got to experience the spell they put on the audience and the way they touched an audience. It felt very church-like. I adopted that style of going out into the audience and actually touching my audience. It becomes that kind of thing as a performer. I’m sure James Brown did it. Everybody did it back in the day. That’s just how you gave your all and put it all on the line.

That was a fantastic learning period. That was like going to college. I was a sponge. I saw Willie Hightower, who was the spitting image of Sam Cooke. Sam had just been killed a year and a half before. I saw the spell Willie had on the audience and people were just falling out of their chairs the way he was laying it down. I said, “Wow, how can somebody have that kind of effect on somebody?”

I imagine you’re sort of building your repertoire at this point, and expanding on your skills as a singer and artist.

Absolutely. I wasn’t far from that anyway because I was studying Ray Charles. If you’re studying Ray Charles, you’re learning how to tap into your soul. You’re learning how to be an interpreter, you’re learning how to be a messenger. I remember seeing what Judy Clay would do to an audience. She was a big lady, looked like she was straight out of church. When she laid it down, she would cry, she would sweat. It was amazing to watch.

You mentioned their performances felt very church-like. Was church and gospel music a part of your early life growing up?

In my younger days, I was in the church quite a bit, but I never considered myself a gospel singer. I didn’t learn how to sing in the church. Quite frankly, I was scared out of the church from a lady who had had an epileptic fit. She made this siren sound and everybody got up and rushed out of the church. I was a little boy, and it just frightened me so much. I think I missed out on something by not being the gospel singer, but I made up for it in other ways.

Do you remember some of the songs that you were performing during this time?

“Drown In My Own Tears,” was one of Ray’s songs. I started singing “Georgia.” I was doing a lot of Otis Redding. “Try A Little Tenderness.” I was doing his up tempo stuff. I learned to be a soul singer from studying Otis. I was so into Otis, man. It just bummed me out so bad when Otis went down in the plane. I studied him very closely. “I Can’t Turn You Loose.” He bared his soul like no other.

You see the world for what it is, and you start to put those things together in your mind. It also opened up my mind that perhaps I’m a messenger and that is my gift in life.

Starting from the late ‘70s you and your brother John later released music as The Valentine Brothers. Many of those albums are now rare groove / Quiet Storm classics. How did that chapter of your story begin?

When I left Columbus to go to California, my brother came with me. That’s when we became the Valentine Brothers. We came to California in the ‘70s to make some records, but within three months, we got sidetracked and found ourselves in the Wiz, the musical with the national touring company. They hired us and we became the orchestra voices along with two ladies. So we’re out of town for three years, just traveling around the country. During this time, we were actually able to make a first album called The Sound of Music. We did the song “The Sound of Music” as a disco version. We were also able to include a couple of our own songs on there. “Let Me Be the One” was one of them. It wasn’t until after the Wiz stopped that we got seriously into our next album. When we got home, we found ourselves out of work. So my brother came up with this title for a song called “Money’s Too Tight (To Mention)” because we had just gotten laid off. He incorporated all of that into the song. Once we got back off the road and got focused on really making records here in the L.A. area, that’s when our writing started to come together.

I especially love the album 'First Take,' featuring co-production from Bobby Lyle. 

That record was on an independent label, Bridge Records. When we started off, it was John, Bobby Lyle, myself, and a drum machine. That’s how that album started. We just had these ideas that we’d taken over to Bobby’s and we found a little groove on them. Things just started to happen in the studio. It was a beautiful thing.

We used a DMX or something like that. Cool. We were over at Lion’s Share, which was owned by Kenny Rogers at the time. They had a great engineer, Reggie Dozier, who did a lot of the Marvin Gaye records, as well. It was the early ‘80s, so Reaganomics was in play. Everything was in play at that time. There were so many things happening. Cuts to welfare, cuts to everything… We were just writing about what we knew about.

“Money’s Too Tight (To Mention)” touches on some socio-political themes. Do you feel a connection to your work then to what you do now?

Yeah, we were growing up and starting to see the world for what it was. You can’t see it any plainer than when you’re at your lowest, when you’re toughing it out. You see the world for what it is, and you start to put those things together in your mind. It also opened up my mind that perhaps I’m a messenger and that is my gift in life – that I am delivering a message from a higher authority or something, I don’t know. But it’s carried over in my life. I felt like, okay, I can use my voice for something. As long as I’m using it for good, it’s for something. You know what I mean? I’ve written other songs, and they all have social connotations to them. I got one song called “I’ve Seen Enough to Know.” I can only write about what I know about.

How did you and Bob Thiele Jr. first meet and link up?

John and I started drifting. I was always looking to write with not just John, but also other people. I wanted to expand so that when John and I would do a follow up record we would have plenty of material to choose from. It didn’t have to all be our stuff. I wasn’t that confident, maybe, about our writing at the time. When we started drifting, I was introduced to Bob Thiele over at A&M, which is where John and I were assigned. Bob and I just started kicking around any kind of ideas we had and then we started writing. I started singing some of his songs that he would write with other people. Then he got a publishing deal at Warner Chappell, and I was singing not just our demos, but all of his demos, and then I began singing all of the other writers’ demos. So I became the guy over at Warner Chappell, Famous Music, and all these publishing houses. I’m a demo singer, basically, and that was a school. 

That was another schooling because you didn’t have a whole lot of time to go in there and find yourself in a song. You get to hear it a couple of times, and then you have to sing it. That was a good technique to learn, to be able to feel it on the spot, not just sing it, but bring it from down into your gut. Those were really helpful years for me because I sang songs that I never would have sung, pop songs, some from Bonnie Raitt, Michael Bolton, Al Green, and all these people were cutting. That was a great lesson for me.

Let me not forget that during that period, Bob and I were writing our own songs that were being recorded by the Neville Brothers, Pops and Mavis Staples, and others. Then my hero Ray Charles records one of our songs, “My World.” That’s when I thought, “Okay, there’s something here. I’m not just another passing thing. Something’s going on.” It was a glorious moment for me that Ray would record our song, and then it became the title of the album. That whole social commentary thing, I give Ray all the credit for that, showing me how to deliver a song.

Studio images from the inner label of Billy Valentine & The Universal Truth.

You’ve been collaborating with Bob for years now on songwriting projects. When did the idea to relaunch Flying Dutchman with a new album come together?

Bob wanted to do a record with me. I always kind of felt that. Then during COVID, the whole isolation process, George Floyd, Black Lives Matter and all the political things that were going on at the time, Bob came to me and said he wanted to relaunch his father’s label, Flying Dutchman, and that he wanted me to be the first artist on the label.

Well, I was honored that my friend of 40 years wanted me to be the first artist on his label. He also told me he wanted to do songs from the label, which were Gil Scott-Heron’s “Home Is Where the Hatred Is” and Leon Thomas’ “The Creator Has a Master Plan.” Those were the first two that he brought to me. I said, “Wow, this is heavy duty. Yeah, this is really something.” Then he came back with Curtis Mayfield’s “We People Who Are Darker Than Blue.” Well, at that point, I thought that this is not just a record. You got something to say. You really have something to say here… I got into it, man, because I’m in isolation and seeing all the shit that’s going down with George Floyd being killed on television right before your eyes, Black Lives Matter, and the president down in the streets inciting violence. It was a scary time. 

I guess it became the perfect storm because Bob brought in the right cats. Larry Golding, Pino Palladino, Jeff Parker, James Gadson… He brought in the whole crew, man. We went to the East West studio and it was the perfect time, the perfect storm. I was into the songs by that time. I had been studying the whole package of songs that we chose. When we got into the studio, I was emotionally ready for this. We started to come together as a family, the musicians and I, and it happened very quickly because Bob gave us the space. It was loose, and we could be as creative as we wanted to be without overindulging, for lack of a better word. But everybody was so cool, man. Everybody was so in tune with each other. Everybody’s ears were so huge. We were listening to each other and we were tripping off of each other.

It was a very cathartic thing for me because it was a dark period and the songs were dark. Once I was done, I really didn’t want to hear it for a while. I could not listen to it because that’s just who I am. I’m very hard on myself as a recording artist. I’m supposed to be really superb when it comes to the studio. I just feel like I’ve been at it a while, but I knew I was singing differently on this record than I have before. The weight I was able to express myself on this record was like never before. I was able to express myself with “Money’s Too Tight,” my need was right up front in that song as well. But I don’t know. All eight of these songs were very gut-wrenching. Once I really started listening to it,I was very surprised and happy with the result.

It was good to be with people on the same level, on the same wavelength. Boy, I was just able to be as open as I wanted to be and sing about this stuff because it was happening. It was the ‘60s all over again for me. It was the Vietnam War. It was Kent State all over again because that’s when I first heard these songs, back in the ‘60s.

It feels like you’ve found a new voice or new stage in your artistry with this project. 

That’s the reason why I said that this feels like my real debut. Quite frankly, it’s wonderful to be a part of the conversation of singers that can possibly make a mark on something. It’s hard to be a part of that conversation, but it’s so gratifying that at this time in my life I have a record on the radio. I haven’t been on the radio in a while. This makes it even much more of a perfect storm for me. I’m back there again and it was like this voice was supposed to be heard again. This is like being rebirthed.

Your album features new interpretations of iconic songs from Gil Scott-Heron, Curtis Mayfield, Prince, War, and others. They sound amazing and you've put your own touch on each of these versions. What was your process when approaching these classics?

On this record, the words, melodies, and songs just felt right. Sometimes it feels like the bed that you’ve been sleeping in. It’s just so comfortable. For example, “Home is Where the Hatred Is.” I felt like I’ve lived that experience. I’ve never been hooked on heroin or anything like that, but I’ve seen enough to know about that. I’ve known people who were hooked on heroin, and I was able to feel that pain. If you listen, you’ll feel my pain. You might even think I was on heroin. That’s the way I approach it, to completely put myself into that. 

Actors do it all the time. Become the song, to become it. Let it engulf you and see what you can bring out of that. What can you bring to that party? Yeah, I got to bring something to that party, man, because these songs were such huge statements by such huge people. Esther Phillips did that song, and she and Gil had both lived through heroin addiction. I can’t play around with that. I got to be able to put something on that.




I love your take on Leon Thomas and Pharoah Sanders' spiritual jazz classic “The Creator.” You do the Leon Thomas yodel in one part of that song… Was that a new technique for you?

It’s a new technique, but I didn’t have to practice that very much. I was paying homage to Leon and it just felt right. “The Creator,” for me, it’s a jazzier side of Billy Valentine. I had to hold some notes out and use my entire register. That’s what I love about Bob Thiele. He will not let you stay in your comfort zone. He’ll push you out of your comfort zone and make you stretch. I was able to do that, especially with “The Creator.” I was able to do that with “We People Who Are Darker Than Blue.” But “The Creator,” to me, that’s like legit singing. I mean, I don’t know if that’s the proper way of putting it. 

Your voice has an almost feather-like, kind of soaring quality to it on this track.

I’m glad you put it that way. That’s a great way of putting it. That’s exactly what it is. I had to take control of myself and kind of tame myself in order to allow that experience to happen. I knew I could sing, but can you sing this song here that says so much, and can you dramatize that in your voice? That became the challenge for me. I had to be a bit more disciplined and step outside of that soul thing. Step outside of that R&B thing a bit. It’s harder to hold a note than it is to run. You have to have control of your voice, your instrument. I learned a lot about my voice and my singing. I’m still growing. I’m still having fun.

What’s next for Billy Valentine & the Universal Truth?

Keep telling the truth. Continue to tell the truth. It’s really about being honest with yourself inside. I think there’s something else to be said. Not quite sure what yet, but there’s much more to be said, especially in our world today.

Related Articles

Sort By
12th Isle
2 Tone
2020
2022
2023
33rpm
45rpm
4AD
5 Selects
7"
99 Records
A&M
Abbey Lincoln
Aboriginal
Abstract
Ace Tone
Acid
Acid Archives
Acid Folk
Acid House
Acid Punk
Acid rock
Acoustic
Adrian Sherwood
Africa
African
Afro
Afro-Cuban
Afrobeat
Alan Ginsberg
Alan Greenberg
Alan Thicke
Albert Ayler
Album Cover
Alex Patterson
Alice Coltrane
All Genre
Altec
Amaro Freitas
Amazon Music
Ambient
Ambient Jazz
ambient techno
American Primitive
Amoeba Music
Amplifier
Analog
Anatolian Rock
Andrew Weatherall
Andy Warhol
Anenon
Animal
Animation
Anna Butterss
Antonio Zepeda
AOR
Aphex Twin
Aquarium Drunkard
Archie Shepp
Archival
Armenia
Art
Art & Design
Art Dudley
Art Film
Art Pop
Art Rock
Artform Radio
Arthur Russell
Article
Arvo Part
Ash Ra Temple
Asian Underground
Audiogon
Audiophile
Audiovisual
Austin Peralta
Australia
Autechre
avant
Avant-Garde
Avant-pop
Avant-Rock
Avent-Garde
Balearic
Bali
Ballad
Bargain Bin
Baroque
Baroque Pop
Basquiat
Bass
Bauhaus
Bayou Funk
BBC
BBC Radiophonic
Beat Scene
Beats
Beats in Space
Bebop
Belgium
Bennie Maupin
Berlin-school
Best of 2020
Beverly Glenn​-​Copeland
Bhutan Stamps
Big Band
Bill Laswell
Black Ark Studios
Black Jazz
Blaxsploitation
Blue Note
Blues
Blues Rock
Bob Marley
Bola Sete
Bollywood
Boogie
Book
books
Boredoms
Bossa
Bossa Nova
Brainfeeder
Brazil
Brazilian Folk
Breakbeat
Breezy
Brian Eno
Bruce Weber
Bruton Music
Buddhism
Budget Audiophiler
Cabaret
Calypso
Cambridge Audio
CAN
Candombe
Cannanes
Canterbury
Cape Jazz
Cape Verde
Caribbean
Carla Bley
Cartridges
Casio
Cassette
Cats
CD
Celluloid
Chamber Jazz
Chamber Music
Chan Marshall
Channel One Studios
Chanson
Charles Lloyd
Charles Mingus
Chee Shimizu
Chet Baker
Chicago
Chillout
Chiptune
Choral
Christmas
City Pop
Classic Album Sundays
Classical
Classics
Clothing
Club
Cocteau Twins
Coctueau Twins
Coffee
Coldwave
Colorfield
Comedy
Commercial
Community
Compass
Compass Point
Compilation
Concept Album
Condesa Electronics
Conlon Nancarrow
Conny Plank
Contemporary Jazz
Cool Jazz
Cornelius
Cosmic
Cosmic Disco
Cosmic Folk
cosmic jazz
Country
Country Pop
Country-Rock
Covers
Cult Classic
Cumbia
DAC
Dacne
Daft Punk
Dance
Dance Music
Dancehall
Daniel Aged
Dark
Dark Entries
David Behrman
David Bowie
David Byrne
Davida
Dedicated listening session
Deep Dive
Deep House
Deep Listen
Deep Listening
Delia Derbyshire
Demo
Dennis Bovell
Denon
Detroit
Devotional
DFA
Diasporic Disco
Dick Verdult
Diggin in the Mags
Digi-Reggae
Disco
Discogs
DIY
DIY / Amateur
DJ
DJ Shadow
Documentary
Dogs
Don Buchla
Don Cherry
Donald Byrd
Doom Metal
Downtempo
Dowtempo
Dr. John
Dream House
Dream Pop
Dreamy
Drone
Drum Break
Drum Machine
Drum n Bass
Drums
Dual
Dub
Dub Poetry
Dub Techno
dublab
Dubwise
Durutti Column
Düsseldorf School
Dust and Grooves
Eames
Earl King
Early Electronic
East African
Easy Listening
Eblen Macari
EBM
ECM
ecoustic
ecoustics
Electric Lady
Electro
Electronic
Electronic Jazz
Electronica
Elegant Pop
Elvin Jones
Emahoy Tsegué-Maryam
Enossified
Environmental Music
EOY
Eric Dolphy
ESG
Esoteric
ESP Institute
Essential Listen
Essential Listening
Essential Listenning
Ethereal
Ethiopian Jazz
Ethnic
Event
Events
Exotica
Experimental
Factory Records
Faye Wong
Feel Good All Over
Fela Kuti
Festival
Field recording
Films
Fingertracks
Fingetracks
Fishing with John
Fleetwood Sound Company
Floating
Floating Points
Folk
Folk Funk
Folk-Rock
Fonts
Footwork
Fourth World
France
Free Improvisation
Free Jazz
Friends of ISC
Frippertronics
Fundraiser
Funk
Fusion
G-Funk
G.S. Schray
Gal Costa
Gamelan
Garage Rock
Garrard
Gems from the Dollar Bin
George Martin
George Oban
German techno
Gifts
Gilberto Gil
Giorgio Moroder
Glam Rock
Glitch
Gogo
Gospel
Grado
Graphic Novel
Grateful Dead
Group Sounds
Growing Bin
Guide
Guitar
Gwo Ka
Gypsy
Habitat Ensemble
Haçienda Club
halloween
Hard Bop
Hard Rock
Harold Budd
Harp
Harry Nilsson
Haruomi Hosono
headphones
Heavy Metal
Henry Lewy
Herbie Hancock
hi-fi
hi-NRG
Hidden Gem
Highlife
Hip Hop
Hip-Hop
Hiroshi Yoshimura
history
Holger Czukay
Holiday
Hollywood
Holy Grail
Home Listening
House
Hypnotic
Iasos
Ibiza
IDM
Illbient
Illustration
Improvisation
Impulse!
In Conversation
In Stock
India
Indian
Indian Classical
Indie
Indie Rock
Industrial
Ingmar Bergman
Installation
Instrumental
International
Interview
ISC Classic
ISC Collection
isc guide
ISC NYC
ISC Record Store
ISC Selects
Island Records
Isolation
Italo Disco
Italo House
Italy
Jackie McLean
Jah Shaka
Jamaica
James Baldwin
Jangle Pop
Japan
Japananese
Japanese
Jazz
jazz funk
jazz kissa
Jazz-funk
Jazz-rock
JBL
John Coltrane
John Fahey
John Martyn
Jon Hassell
Joni Mitchell
Judee Sill
Jungle
K-pop
K. Leimer
Kankyo Ongaku
Keiji Haino
Keith Haring
Keith Jarrett
Kid-Friendly
Kim Yaffa
Kitty Records
Klaus Schulze
Klipsch
Kompakt
Kosmiche
Kosmische
KPM
Kraftwerk
Kranky
Krautrock
Kruatrock
kwaito
L.Shankar
La Monte Young
Labels We Love
Lafawndah
Lagniappe Sessions
Laraaji
Larry Levan
Last Resort
Laswell
Latin
Latin Jazz
Laurel Canyon
Laurie Spiegel
Leaving Records
Lebanese
Lee Scratch Perry
Left-field
Leftfield
Lena Horne
Les Baxter
Lester Bowie
Library
Library Music
Liquid Liquid
Listening
Listening bar
Listening Party
Listening Session
Live Performance
Live Recording
Loose Ends
Loren Mazzacane Connors
Los Angeles
Lost & Sound
lost and sound
Louisiana Blues
Lounge
Lounge Lizards
Love Songs
Lovefingers
Lovely Music Ltd.
Lovers Rock
Luaka Bop
Mad Professor
Magazine
Mandopop
Marantz
Marcel Duchamp
Marcella Cytrynowicz
Marcos Valle
Mark E. Smith
mbaqanga
McCoy Tyner
McIntosh
Meditation
Meditational
Meditative
Melancholic
Mellow
Melody As Truth
Meredith Monk
Metal
Mexico
Miami
Michael Franks
Microhouse
Mid-Century
Miles Davis
Milford Graves
Mills College
Minako Yoshida
Minimal
Minimal Techno
Minimal Wave
Minneapolis Sound
Mixes
Mixtape
Mizell Brothers
mo wax
Mobile Fidelity Sound Labs
Modal
Modern Classical
Modern Soul
Modular Synthesis
Moki Cherry
Mono
Mort Garson
Motown
MPB
MTV
Munich
Music Blog
Music from Memory
Music Interior
Music Therapy
Music Video
Musique Concrète
Mwandishi
Narrative
Neneh Cherry
Neo Soul
Neptunes
New Age
New Islands
New Jack Swing
New Music
New Orleans
New Wave
New York
News
Nico
Nightmares on Wax
Nina Simone
No Wave
Noise
Non-Profit
Northern Soul
Now Sound
NTS
Nubian Pop
Nubian Soul
Numero Group
NYC
OBI
Obscure
Obscure Sound
Occult
On Screen
On-U Sound
online radio
Opera
Organ
Organic
Organic Music
Ornette Coleman
Ortofon
Oswalds Mill Audio
Outsider Pop
Overtone Singing
Painting
Painting with John
Pandit Pran Nath
Paradise Garage
Pastoral
Patrick Cowley
Paul Horn
Paul McCartney
Pauline Oliveros
PBS
Penguin Cafe Orchestra
Pensive
Percussion
Pharoah Sanders
Phillip Glass
Philly Soul
Piano
Pioneer
Plantasia
Plants
Player Piano
playlist
Playlists
Plinth
Podcast
Poetry
Political
Polygonia
Pop
Pop Art
Pop not Slop
Pop Rock
Popp
Popul Vuh
Post Bop
Post Rock
Post-Punk
Post-Rock
Power Pop
Premiere
Prince
Private Press
Pro-Ject
Producer
Productions
Professor Longhair
Prog Rock
Progressive
Progressive Rock
Prophet-5
Proto-techno
Psych-folk
Psychedelic
Psychedelic Rock
Psychic Hotline
Psyhedelic
Punk
Qobuz
Quadraphonic
QUARK
Quiet Storm
R&B
Radio
Raga
Rare Groove
Ras G
rca victor
Receivers
Record Fair
Record Label
Record Store
Record Stores
Record Stories
Reggae
Reggaeton
Reissue
Reissues
Releases
Religious
Remix
Retrospective
Rock
Rocksteady
Roland
Roland Kirk
Rolando Chía
Roller Skate
Room Recordings
Room Treatment
Roots Reggae
Rotary Mixers
Rough Trade
Rudy Van Gelder
Russia
Ryuichi Sakamoto
Ryuichi Sakmoto
Sacred
Sade
Sam Gendel
Samba
Sample
Samples
San Francisco
Saxophone
Sci-fi
Séance Centre
Seefeel
Sensual
Shamisen
share
Shibuya-kei
Shoegaze
Silver Apples
Simeon Coxe
Singer-Songwriter
Sisters with Transistors
Ska
Sly & Robbie
Smooth Jazz
Soft Rock
Solid State
Songwriting
Sonia Pottinger
Sonny Sharrock
Soul
Soul-jazz
Sound Art
Sound Collage
Sound Installation
Soundsystems
Soundtrack
South Africa
South African
South America
Southern Soul
Space Rock
Spain
Speaker
speakers
Spiritual
Spiritual Jazz
Spoken Word
Squama Records
Staff Picks
Steely Dan
Stereolab
Stereophile
Steven Halpern
Stevie Wonder
Stoner Rock
stores we love
Stories
Streaming
Street Soul
Studio One
Substack
Sun Ra
Sunn O)))
Supergroup
Surround Sound
Susumu Yokota
Suzanne Cianni
Suzanne Kraft
Suzanne Langille
Swamp Rock
SYNG
Synth
Synth Pop
Synth-pop
Synthesizer
Synthwave
Taarab
Tadanori Yokoo
Takoma Records
Tangerine Dream
Tannoy
Tape
Tapes
TD-160
Technics
Techno
Techno Pop
Tel Aviv
Television
Terry Callier
Terry Riley
The Beatles
The Broad
The Fall
The Loft
The Meters
The Mizell Brothers
The Music Center
The Orb
The World Stage
Theater
Thelonious Monk
Third Side Music
Third Stream
This Mortal Coil
Thomas Fehlman
Thorens
Tim Sweeney
Time Capsule
Too Pure Records
Total Luxury Spa
Traditional
Tribal
Trip-hop
Tropical
Tropicalia
Tuareg
Tube
Turntable
Turntable Lab
TV
UK
UK Jazz
Ultramarine
Underground Resistance
Underrated
Val Wilmer
Vandersteen
Vangelis
Vanity Fair
Velvet Underground
Vice
Video
Video Art
Vince Guaraldi
Vintage
Vintage Audio
Vintage Gear
vinyl
Virginia Astley
Visible Cloaks
Visual Art
Vocal
Vocal Jazz
Vocoder
Wackies
Wah Wah Watson
Walearic
Wally Badarou
Warp
Water
Website
Wendy Carlos
Werner Herzog
West Africa
West African
Western Acoustics
Windham Hill
wiring
World
Wrecking Crew
Yacht Rock
Yamaha
Yann Tomita
Yasuaki Shimizu
Yellow Magic Orchestra
Yma Sumac
YouTube
Yukihiro Takahashi
Zamrock
Zither