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      An Unearthed Johnny Cash Recording, and 11 More New Songs

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      Hear tracks by Normani, Nilüfer Yanya, Thom Yorke and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Johnny Cash, ‘Well Alright’Johnny Cash wasn’t always the stoic Man in Black. He also had a droll side, as revealed in this song reconstituted from demos he recorded in 1993; a latter-day band, including Marty Stuart on guitar, now fills out the original tracks. In “Well Alright,” previewing “Songwriter,” an album due June 28, Cash is deadpan and droll, singing about a liaison that starts at a laundromat. Even the Man in Black had clothes to wash. JON PARELESNilüfer Yanya, ‘Like I Say (I Runaway)’“I run away, ’cause I’m on precious time,” the British musician Nilüfer Yanya sings on the first single she’s released since her excellent 2022 album “Painless.” In classic Yanya fashion, “Like I Say (I Runaway)” has an almost collagelike feel, reveling in contrasting textures and suddenly erupting into a blaze of guitar distortion on the chorus. “The minute I’m not in control, I’m tearing up inside,” Yanya sings, as her own sonic universe bends to her will. LINDSAY ZOLADZNormani featuring Gunna, ‘1:59’We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Cher, Dave Matthews Band and A Tribe Called Quest Join Rock Hall of Fame

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      Mary J. Blige and Ozzy Osbourne were also voted in, but Sinead O’Connor, who died last year at 56, did not make the cut.Cher, Ozzy Osbourne, Peter Frampton and Mary J. Blige are part of the Rock & Roll Hall of Fame’s class of 2024, along with Dave Matthews Band, Kool & the Gang, Foreigner and A Tribe Called Quest, the hall announced on Sunday.The latest crop of stars will officially join the pantheon in a ceremony on Oct. 19 at Rocket Mortgage Fieldhouse in Cleveland, where the hall’s affiliated museum is also located.The 39th annual group of inductees matches the hall’s genre and demographic spread of recent years, with a pop diva (Cher), a metal idol (Osbourne), a top funk band of 1970s and ’80s vintage (Kool & the Gang), a couple of ’90s hip-hop and R&B heroes (Blige, Tribe) and rock mainstays from the boomer (Frampton, Foreigner) and Gen X (Matthews) eras.Of those artists, four were elevated to the hall on their first nomination: Cher, Foreigner, Frampton and Kool & the Gang. Osbourne was nominated for the first time as a solo act, though he had joined the hall as part of Black Sabbath in 2006. The Rock Hall has come under increasing pressure in recent years to diversify its ranks with more women and artists of color, and has made progress in that regard, though some critics say it is not enough.“Rock ’n’ roll is an ever-evolving amalgam of sounds that impacts culture and moves generations,” John Sykes, chairman of the Rock & Roll Hall of Fame Foundation, said in a statement. “This diverse group of inductees each broke down musical barriers and influenced countless artists that followed in their footsteps.”Seven acts that were nominated in February did not make the cut: Mariah Carey, Jane’s Addiction, Oasis, Sade, Eric B. & Rakim, Lenny Kravitz and, perhaps most surprisingly, Sinead O’Connor, whose death last year, at age 56, elicited a global outpouring of grief and a reconsideration of her place in rock history.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Rico Wade and Organized Noize’s 10 Essential Songs

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      The producer helped shape and boost the sound of Atlanta rap starting in the mid-1990s. His death at 52 was announced last Saturday.The Atlanta producer Rico Wade was the de facto leader of the Dungeon Family, the loose collective of rappers and musicians that coalesced around his mother’s smoke-filled Georgia basement — a.k.a. the Dungeon — in the mid-90s. Wade’s open doors and nurturing vision became the engine of Atlanta’s creative explosion, tilting the spotlight away from New York and Los Angeles and toward the homegrown sounds of artists like Outkast, Goodie Mob, Killer Mike, Janelle Monáe and eventually Wade’s younger cousin Future. Wade’s death at 52 was announced on social media last Saturday.Beyond his roles as conceptualist and deal maker, Wade served as one-third of the adventurous production team Organized Noize. The crew’s red-clay-scuffed sound was steeped in vintage ’70s soul, cutting-edge electronica, murky noise, slurping hi-hats and the warmth of live instruments. Working alongside the melodic sensibilities of Sleepy Brown and the beatmaking prowess of Ray Murray, Wade was “the mouthpiece,” Outkast’s Big Boi said in the 2016 documentary “The Art of Organized Noize.” “He was the inspiration guy; he could sell it.”Here are 10 essential productions from Rico Wade and Organized Noize, who brought the “dirty South” to the world. (Listen on Spotify and Apple Music.)Outkast, “Player’s Ball” (1993)The slow-rolling breakout moment for the Atlanta sound emerged after the LaFace Records co-founder L.A. Reid tapped the teenage duo Outkast to fill the final spot on the R&B-heavy album “A LaFace Family Christmas.” Though initially reluctant to make a Christmas record, Outkast decided to focus on lived reality instead of holiday cheer. “Just talk about how we kick it on Christmas at the Dungeon, man,” Big Boi recalled for GQ. “There ain’t no chimneys in the ghetto. We won’t be hanging no socks on no chimneys.” A slightly less Christmas-themed version was released as the group’s debut single, and the Puff Daddy-directed video was filmed in Wade’s house. (Wade convinced André 3000 to wear an Atlanta Braves jersey for the clip.) “I remember the day they played it on the radio — everybody quit they job,” Goodie Mob’s Big Gipp said in “The Art of Organized Noize,” thinking, “‘If one of us’ll get in, all of us’ll get in.’”TLC, “Waterfalls” (1994)This indelible pop smash emerged from a moment of studio serendipity. The songwriter Marqueze Ethridge sang the hook to Wade in the middle of an Outkast session. Murray played a stuttering beat on the SP-1200 and LaMarquis Jefferson improvised some slippery bass licks. They called TLC’s T-Boz to come in and do a demo and a No. 1 hit was born. “The horns in the song was live,” Wade told Complex. “As you can tell, the horns were very pop. But we were at that point in our career where we wanted to bring everything back that was analog.”We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Clarence Henry, New Orleans R&B Star Known as the Frogman, Dies at 87

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      A local hero in his hometown, he was best known for his hit “Ain’t Got No Home,” which showcased the vocal versatility that earned him his nickname.Clarence Henry, the New Orleans rhythm-and-blues mainstay who was known as Frogman — and best known for boasting in his durable 1956 hit, “Ain’t Got No Home,” that “I sing like a girl/ And I sing like a frog” — died on Sunday. He was 87.The New Orleans Jazz & Heritage Festival, where Mr. Henry had been scheduled to perform this month, announced his death. The Times-Picayune/New Orleans Advocate reported that he died in New Orleans of complications following back surgery.“Ain’t Got No Home,” which reached No. 30 on the Billboard Hot 100, became Mr. Henry’s signature hit and definitively captured his humor and his vocal high jinks. Written by Mr. Henry and released when he was a teenager, the song brought him his nickname and went on to become a perennial favorite on movie soundtracks, heard in “Forrest Gump,” “Diner,” “Casino” and other films. The Band opened “Moondog Matinee,” its 1973 album of rock ’n’ roll oldies, with “Ain’t Got No Home.”The song was also used regularly in the 1990s by the right-wing radio host Rush Limbaugh, who played it while mocking homeless people. Mr. Henry was grateful for the royalties.Mr. Henry in a publicity photo from 1960, shortly before his recording of “(I Don’t Know Why) But I Do” became his biggest hit. James J. Kriegsmann, via Gilles Petard/Redferns — Getty ImagesHis next hit — and his biggest one — arrived in 1961, when “(I Don’t Know Why) But I Do,” a song written by Bobby Charles and arranged by Allen Toussaint, reached No. 4. Later that year Mr. Henry had a No. 12 hit with his version of the standard “You Always Hurt the One You Love.” In 1964, the Beatles chose him as one of their opening acts for 18 shows on their American tour.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Casey Benjamin, Free-Spirited Saxophonist, Dies at 45

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      A musical voyager who wouldn’t be limited by genre, style or even instrument, he brought exuberance to the Robert Glasper Experiment and other groups.Casey Benjamin, who brought colorfully expansive saxophone flourishes to the Grammy-winning Robert Glasper Experiment and added rich layers of texture to recordings by Solange, A Tribe Called Quest and many others, died on March 30 in Maryland. He was 45.The cause was pulmonary thromboembolism, his brother, Kevin Benjamin, said. He did not say where in Maryland Mr. Benjamin died.Known for his willingness to experiment, his exuberant stage persona and his trademark swirl of locs, often streaked with teal or red, Mr. Benjamin was a founding member of the pianist Robert Glasper’s combo, which, the critic Nate Chinen wrote in The New York Times in 2012, “specializes in deep, immersive grooves, nourished as much by hip-hop and R&B as any known species of jazz.”“Black Radio,” the band’s fourth album on the venerable Blue Note label, featured guest appearances by the neo-soul singer Erykah Badu, the rappers Lupe Fiasco and Yasiin Bey (formerly Mos Def) and others. It won the 2012 Grammy Award for best R&B album and rose to No. 15 on the Billboard album chart. Mr. Benjamin shared another Grammy with the band in 2015 when “Jesus Children,” a Stevie Wonder cover, won for best traditional R&B performance.Whether collaborating with Mr. Glasper or the critically acclaimed vibraphonist Stefon Harris in the band Blackout, Mr. Benjamin showed off his distinctive voice on his primary instrument, alto saxophone. In an obituary, the jazz bible DownBeat wrote that he “possessed a fluid, round sound on the alto saxophone and a unique sense of phrasing.”But he never let himself be limited by genre, style or even instrument; he created a rainbow of sounds using not only reeds and woodwinds but also a vocal synthesizer manipulated with a keytar (a keyboard instrument worn with a strap around the neck), along with other synthesizers and effects pedals.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Beyoncé’s ‘Cowboy Carter’ Is a Vivid Mission Statement. Let’s Discuss.

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      The pop superstar teased a move to country, then tackled so much more. Three critics and a reporter explore her new album’s inspirations, sounds and stakes.BEN SISARIO I don’t usually say this about news releases, but since Beyoncé says so little about the making of her art, the “Cowboy Carter” announcement was intriguing for noting that “each song is its own version of a reimagined Western film,” and that Beyoncé screened movies while she recorded, including “Urban Cowboy,” “The Hateful Eight,” even “Space Cowboys” (?!).My first reaction to hearing the album was surprised gawking at its range of genre and sound, after she head faked us all into perhaps more limited expectations of “country.” (Of course we should have known better.) Viewed only as a genre-hopping exercise, “Cowboy Carter” might be a confusing jumble. But the film frame puts narrative and character at the center of her message, and with that everything came into clearer focus for me.As a heroine, Beyoncé makes a big, bold statement of her quest in “Ameriican Requiem,” taking on nothing less than American history. She finds villains in Jolene and (ahem) the Grammys. Songs like “II Most Wanted” and “Levii’s Jeans” could be plot-break montages while our conquering cowgirl hangs with some sidekicks she meets along the way. By the final reel she’s recapitulating her complaints and declaring herself the victorious leader of a grand resistance (“We’ll be the ones to purify our fathers’ sins”).SALAMISHAH TILLET I’ve listened to the album so many times now — on a plane, in a spin class, and, as I think she intended, while I drove on the highway (sadly, 280, not the 405). Yes, Ben, she has gone big here! But, instead of longing for some lost past, she is taking on “History” — musical and American — with, as we say in academia, a big “H,” or those big narratives about identity, belonging and discrimination.I almost missed those lyrics, “Whole lotta red in that white and blue, ha/History can’t be erased, oh-oh/You lookin’ for a new America” because I was too busy Proud Marying, jerking and twerking to “Ya Ya.” I think that might be the point — it is as if she saying, “The times are so desperate, I am going to use all the vocal gifts and genres at my disposal to bring the country together and show you how good I am at doing them (again)!”Beyoncé onstage with the Chicks performing “Daddy Lessons” at the 2016 Country Music Association Awards.Image Group LA/ABC, via Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      A Guide to Beyoncé’s Guests on ‘Cowboy Carter’: Linda Martell, Shaboozey and More

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      A guide to key guests and behind-the-scenes figures on the star’s eighth studio album.A new Beyoncé release isn’t just an album — it’s a sprawling collective effort where the supporting cast and behind the scenes crew can reveal a lot about the scope of the star’s vision. For “Cowboy Carter,” in addition to household names like Willie Nelson, Dolly Parton, Miley Cyrus and Post Malone (and a brief cameo from her daughter Rumi), she’s looped in a slew of collaborators new and old. Here’s a guide to some of the most significant figures you’ll see in the credits.Rhiannon Giddens in London last year. The musician and scholar contributes banjo, viola and gravitas to “Cowboy Carter.”Serena Brown for The New York TimesRhiannon GiddensRihannon Giddens plays on the “Cowboy Carter” single “Texas Hold ’Em,” but beyond the banjo and viola she contributed to the track, she lends the whole project a special kind of historical weight. During the past two decades, Giddens has led a new wave of folk artists helping to shed light on the foundational role that Black musicians played in the creation of American roots music. A scholar of the banjo as much as a practitioner, she’s made it her mission to educate audiences about its history as an African-descended instrument that was once, as she put it in 2017 when she won a MacArthur Genius Grant, “an absolute emblem of the African American in the South.”Trained as an opera singer, Giddens rose to prominence in the early 2000s as a member of the Carolina Chocolate Drops — with Dom Flemons, Justin Robinson and Sule Greg Wilson — a Grammy-winning group that celebrated and updated the legacy of Black string bands with help from an older mentor, the fiddler Joe Thompson. In 2023, she released “You’re the One,” her first album of all original material. Last year, Giddens also won a Pulitzer Prize for “Omar,” an opera she co-wrote with the composer Michael Abels based on the life of a West African Muslim scholar who was captured and sold as a slave in America.Raphael SaadiqRaphael Saadiq’s name has been a mark of quality in R&B for more than 30 years. Saadiq, who wrote, produced and played various instruments on Beyoncé’s latest, first found fame in the late ’80s with the trio Tony! Toni! Toné! and went on to score a Top 20 solo hit with “Ask of You” in 1995. He became an in-demand producer and worked with a wide array of artists including D’Angelo — whose two biggest hits, “Lady” and “Untitled (How Does It Feel)” are Saadiq co-writes — as well as Whitney Houston, Erykah Badu and Bilal. He’s been in Beyoncé’s orbit for years, having produced her team-up with Stevie Wonder on a 2005 Luther Vandross tribute album, helped produce her sister Solange’s acclaimed 2016 effort “A Seat at the Table,” and appeared on “Renaissance” as a producer, writer and performer.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Tyla Avoids a Bad Romance, and 9 More New Songs

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      Hear tracks by Olivia Rodrigo, Gary Clark Jr. featuring Stevie Wonder, Four Tet and others.Every Friday, pop critics for The New York Times weigh in on the week’s most notable new tracks. Listen to the Playlist on Spotify here (or find our profile: nytimes) and at Apple Music here, and sign up for The Amplifier, a twice-weekly guide to new and old songs.Tyla, ‘Safer’Following her worldwide 2023 hit “Water,” the South African songwriter Tyla has now released her self-titled debut album, merging African rhythms with English lyrics and R&B delivery. The album’s songs toggle between approach — like “Water” — and avoidance. In “Safer,” Tyla pulls away from temptation. The song harnesses the log-drum beat and sparse, subterranean bass lines of South African amapiano as Tyla worries that “This feels too good to be true” and decides, “As bad as I want you, I know that it’s danger.” Choral call-and-response vocals carry South African tradition into the electronic wilderness of 21st-century romance. JON PARELESOlivia Rodrigo, ‘So American’Olivia Rodrigo knows all too well how susceptible a young woman can be to physical attraction and a good line. With the speedy, pumping new wave rock and breathless vocals of “So American” — from the extended version of her 2023 album, “Guts (Spilled)” — she sums up a guy with “hands that make hell seem cold” who “laughs at all my jokes and says I’m so American.” For three frantic minutes, self-consciousness is no match for pheromones. PARELESRemi Wolf, ‘Cinderella’We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More