3d na tee the regime album download Album: Raheem DeVaughn & Apollo Brown – Lovesick. American record producer from Detroit, Michigan, United States, Erik Vincent Stephens, better known professionally as Apollo Brown & American singer and songwriter, Raheem DeVaughn set to share a new Project “Lovesick” by June 4, 2021. The upcoming collaborative project with producer Apollo Brown with the release of 12 new song was said to be available on all streaming plartform on 4th of June, 2021. Brown adds about creating the backdrop to the song: I was all about just creating a beautiful vibe that Raheem can glide across. He did just that and then some. Something a little different from the other joints on the album, but just as appealing and worthy of the same closed-eye head nods. Great track with equally great content.” Also included on the project “Lovesick” are the previously released songs “When a Man” and “Zaddy”. Stay tuned for when it drops next month. Raheem DeVaughn debut album, The Love Experience, reached No. 46 on the US Billboard 200 album chart. It featured the singles “Guess Who Loves You More” and “You”. His second album Love Behind the Melody was released in January 2008. 3D Na'Tee and elitist pop black feminism, an ode to the nasty black woman. I have to say that I am rather disappointed in black feminism right now. While the black intelligentsia we're pulling up a seat at the table for some lemonade with the trendy Knowles clique, they completely ignored one of the most unapologetically black, bold, sex-positive and ingenious albums to drop in 2016 from one of our most revolutionary female artists—3D Na’Tee’s, The Regime . Don’t get me wrong, A Seat at the Table is the every bit the cultural masterpiece that it’s touted to be but I just need my unapologetic blackness to come with way more teeth. The Regime is an album that empowers those of us who’ve had to process our feelings of anger, frustration and self-doubt without a strong healthy support group, resources for proper mental health care, space for self-care or enough ends to remove ourselves and decompress. A brief intro to 3D Na’tee for the uninitiated: she will eat your favorite rapper’s fucking lunch. Hypothetically, if a younger, less composed Na’tee had it on her mind to touch Jigga up in an elevator, she wouldn’t have just annoyed him. She would’ve given him flashbacks to his Jazzy days. just sayin’. The foremost pundits of black culture have consistently looked over Na’Tee’s prolific contribution to the diverse narrative of the black female experience. This, probably due to her plain yet viciously lyrical and visceral language but Solange is endlessly praised for being just erudite enough to appeal to a " certain class of Negro" . The struggle isn’t always beautiful. Sometimes it’s nasty as fuck. Na’tee released her debut album on August 29, just shy over a month before Solange’s A Seat at the Table on September 30. Na’tee, with ruthlessly keen and elemental precision, attacks the intersectionality of being poor, black and female in male-dominated spaces while bucking the implicit mandate of respectability that black female creatives are often saddled with. She’s intellectual but without any traces of pomposity. While I was dismayed by the lack of uproar from prominent black feminists, I cannot say that I was surprised—Na’tee has existed in the blind spot of elitist, new wave of cool kids for as long as she’s been spittin’. Na’tee debuted the video for the revealing, emotionally raw and cathartic “Dear Father” in 2010 to no applause from the black feminist culture mob that seemed to be quite fixated on women of color creatively sharing stories of trauma. She premiered the video to her expertly written and gritty epic of black girlhood torn asunder, “Lil Kim” in July 0f 2012 without a peep from any one of our MANY forward-thinking black feminist notables. In March of 2013, she went up against Kendrick Lamar on Sways Universe. She BROUGHT THEM N*GGAS TO HIP-HOP CHURCH when Sway had the nerve to condescendingly suggest that Lamar offer her backstage passes based on her looks and not her undeniable talent. There was no critical breakdown of the way curvaceous black women aren’t taken seriously by our professional peers because of our sexuality. She dropped “Dear Mr. Zimmerman” days after the Trayvon Martin trial decision. Y'all woke mutha fuckas were still sleep. She dropped the powerful and moving “Who Can We Run To” in December of 2014 and the super literate, progressive, intellectual #BlackLivesMatter clique didn’t say SHIT (but “To Pimp a Butterfly” was “everything” though). Just a few months ago my girl went on the BET Hip Hop Awards cypher as the underdog and A T E—nothing substantial to be heard from our black feminist culture authorities. Even Young MA, who also participated in the most recent BET Cypher as the only other female artist, is getting some decent public attention right now, but I believe that is mostly due to MA's pet appeal to black feminist culture as a queer WOC. Track six of The Regime ,“Bad Bxtch with Good Intent” ALONE puts Solange’s seat at the kids table but not one critical analysis of the album was rendered. (Seriously… a word was delivered on that cut.) Did I fail to mention that Na’Tee produces much of her own content in-house? Na’Tee is a proudly independent artist who often remarks on the fact that she “took the harder route” by not letting labels take advantage of her talent, image or intellectual property. She controls not just her voice but also her sexuality . This is remarkable in itself considering the way that a.) the music industry, especially true in the hip-hop genre, tends to want to put a patriarchal stranglehold on representations of black female bodies and b.) she celebrates her nauseatingly ( naturally ) curvy figure on her own terms. Come through, ownership and agency. She’s an anomaly to everything we’ve come to expect from women who rhyme. The Diva isn’t a noob either; the pursuit of hip-hop notoriety has been a lifelong effort for the New Orleans native. Despite her tenacity and work ethic however, she didn’t have an in-road to the music business. She didn’t have a family name to precede her. She wasn’t encouraged to have a voice. She comes from the population of black women who were meant to be left behind. Instead, Na’Tee worked tirelessly to change her own fate against the odds of being wholly disenfranchised in the same cold, snow white America that Solange has had the benefit of a leg up in through her burgeoning family legacy. Not to suggest that the Knowles family had it “easy” but they CERTAINLY enjoyed advantages that Na’Tee did not. After pouring over Internet search results, I have yet to find even one piece that even addresses the overtly feminist themes layered into Na’Tee’s lyrics OR how her own rise to fame against the meanest of odds is a testament to the irrefutability of #BlackGirlMagic. VICE ran a wonderfully enlightening piece on Na’Tee’s hip-hop ambitions and her pioneering Jazz Festival hip-hop showcase, highlighting her impact and success as a black female rap artist, but the feminist implications weren’t addressed. (I respect that though as the writer probably knew he wasn’t necessarily equipped to tackle such an intricacy as black feminism in hip-hop.) To be fair, maybe part of the reason why no one ever thought to tackle the strikingly womanist overtones of Na’Tee’s work is due to the fact that in hip-hop, a notoriously black male dominated arena unremorsefully prevalent with misogynoir, public declarations of feminist sensibilities are still something of a stigma for its female artists. I’ve never heard Na’tee say out of her own mouth that she’s feminist, womanist or any other “-ist” other than a lyricist and it’s my belief that doing so would only bring controversial (or worse divisive) attention to her brand. She’s already something of a black sheep due to her VERY vocal anti-industry, anti-establishment stance, so let me say outright that I do not intend to attribute a label of feminism on to Na’tee or her work. I’m merely interpreting her work through my own womanist lens as it resonates with me in such a social, political and cultural way. But let me get back to my overarching statement—new wave black feminism has failed 3D Na’Tee and the women who identify with her. “Black women scholars and professionals cannot afford to ignore the straits of our sisters who are acquainted with the immediacies of oppression in a way that many of us are not.” – Angela Y. Davis, Women, Culture and Politics. Nowadays, I hear so much talk of intersectionality and respectability politics and the toxic privilege of mainstream white feminism but the experiences of America’s broke, working class, non-degreed black woman still exist in the blind spot of even our own culture-forward movements. We’re consistently ignored by the people who claim to be our champions but much of that can be remedied by us taking up the banner for ourselves. We who don’t fit into the trendy, new mold of black womanhood have to declare ourselves more loudly. We need to more boldly elbow our way into the conversation without being intimidated by its perceived intellectual, social exclusivity. Although I am a comedian and quite the literary nerd, I was raised in south Louisiana among women who never openly displayed any revolutionary pro-black or feminist leanings. My world view wasn’t carefully constructed with a foundation of Nina and Angela and Nikki and Zora. I was led to them by my own radically womanist sensibilities and have been self-taught in their ways. I didn’t finish college. I don’t lead a particularly bohemian lifestyle in the fashionable sense. I don’t exist in within the confines of what is now the more stylish, en vogue, metropolitan representation of black feminism and neither does Na’Tee. She doesn’t stress the importance of black female self-care in any academic terms. She doesn’t advocate for black youth in a politically correct, agreeable way. She doesn’t share first-hand accounts of trauma, mental health issues or extreme poverty with any artsy flourishes. She’s direct, blatant and unyielding. Na’Tee is the voice of the “nasty” black woman that repulses and terrifies society and sadly the kind of woman contemporary black feminism patronizes, jeers at and overlooks. But we still here, though. Epilogue: And while we’re all here, let’s address the Knowles girls’ frequent subculture jacking for a minute. (Yes, Hive we are taking it there TUH-DAY.) I’m getting tired of the way those two are claiming Louisiana so hard lately just because their people are from The Boot (a good 2 hours away from N.O. at that). Solange, who has taken it upon herself to adopt New Orleans culture as her own, conspicuously (and, in my humble opinion, in the same pretentious tradition as her sister’s “Formation”) peppered her album with soundbites from Master P. who hails from the same ‘hood as (Guess who, bitch?) 3D Na’tee. Here is one of his more powerful statements that was used on A Seat at the Table: “Now, we come here as slaves, but we’re going out as royalty, and able to show that we are truly the chosen ones.” No one woman making music right now embodies this statement (or black feminism for that matter) more than Na’Tee. In fact, she’s had a royalty theme woven into most of her recent works from Heavy Lies the Head that Wears the Crown to The Coronation to her latest, The Regime . She has long asserted that very same regality P alluded to. Furthermore, Na’tee knows all too well what being black and underprivileged in the city means. She can’t take it off and put it on when it suits her like a fashion statement. Na’tee IS New Orleans (and, baby, she reps HARD). Album. Featuring collaborations with Jhene Aiko, August Alsina and more this project can be best described as Reasonable Doubt meets The MisEducation , meets Hardcore , meets All Eyez On Me all created from southern perspective. MORE DETAILS. View Locations. Louisiana. Nuthin But Fire Records • 1840 North Claiborne Avenue • New Orleans, LA 70116. Tracklist & Album Credits. 01 • The Return • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by Mathius “Blasian Beats” Herman • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 02 • Still • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by Ricardo “RichLifeStyle” Morfin • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 03 • No Luck • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Grindkid” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 04 • John From Tennessee • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “The Trendsetterz” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 05 • Maria • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Bass Heavy” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 06 • Bad Bxtch with Good Intent f/ Sonyae Elise • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) & Sonyae Elise • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Nedo” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 07 • Pimpin • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Bishop” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 08 • You Don’t Know What Love Is • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by Carl “Casa Di” Dixon • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 09 • Deserve Me f/ T.Cherrelle • Written by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Performed by Samantha “3D Na’Tee” James and Tawain “T.Cherrelle” • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Agony The Beat Maker” and “Dizee” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 10 • Big Dawg • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by Brian “Yung Ladd” Pickens • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 11 • Too Easy • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “FlashBeats” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 12 • Rebel With A Cause • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Strong Symphony” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 13 • Back 4 The Win • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Dizzee” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 14 • The Best • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Digital Beatz” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. BONUS TRACK • No Pressure f/ Jhene Aiko • Written by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) and Taalib “Music Soulchild” Johnson • Performed by Samantha “3D Na’Tee” James and Jhené “Jhené Aiko” Efuru Chilombo • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “JGramm” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 15 • Worth It • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by Brian “Yung Ladd” Pickens • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. BONUS TRACK • Role Play f/ August Alsina • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by Eddie “Eddie Lee” Hill • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 16 • Young America • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “T.Lynch of The BeatBoyz” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 17 • Rich Dad Poor Dad • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Serious Beats” and “Custom” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 18 • Industry Negus • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Epik Da Dawn” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 19 • I Go In • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Rob Ruckus” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 20 • Running Away (Taboo) • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Agony The Beatmaker” and “Ced L. Young • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 21 • Authentic • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Scott Stylez” • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 22 • The Miseducation of 3D Na’Tee • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by “Serious Beats”• Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. 23 • The Regime • Written & Performed by Samantha “3D Na’Tee” James (JSBSJ Publishing/ASCAP) • Recorded by Samantha “3D Na’Tee” James at 3D11 Studios • Produced by Kevin “KE on The Track” Erondu • Mixed by Reginald “ReggieNic” Nicholas Jr at Nic of Time Studios • Mastered by Wayne “Sizz” Smith at Moon Rize Studios. Special Thanks. THANK YOU TO THE MOST HIGH FOR MY GROWTH & FOR THE WISDOM TO REALIZE THAT THE ONLY ONE THAT HAS STOPPED ME IN THE PAST, OR THAT CAN STOP ME IN THE FUTURE, IS ME. SINCE BIRTH, l’VE SEEN SO MUCH & I AM GRATEFUL THAT I POSSESS THE TALENT TO SHARE WHAT l’VE SEEN, LIVED, & LOVED IN THESE LYRICS THAT I WRITE. THOUGH INTROVERTED, THROUGH MUSIC, l’VE BEEN ABLE TO EXPRESS MYSELF IN WAYS THAT I CAN’T DO THROUGH MERE CONVERSATION. BRINGING A BIT OF UNDERSTANDING TO THIS YOUNG BLACK GIRL THAT GREW UP MISUNDERSTOOD IN UPTOWN, NEW ORLEANS. THROUGHOUT THE YEARS l’VE GAINED THINGS THAT I REALIZED I NEVER NEEDED & l’VE LOST THINGS THAT I THOUGHT I COULDN’T LIVE WITHOUT. l’VE HAD FRIENDS BECOME FOES & THOSE THAT USE TO SHXT ON MY GOALS BECOME SOME OF MY BIGGEST CHEERLEADERS. THINGS CHANGE, I GUESS. HOWEVER, THE LOVE & SUPPDRT THAT l’VE GDTIEN FROM A FEW PEOPLE NAMED IN THIS SECTION HAS REMAINED THE SAME. THANKS TO MY BROTHERS JOSH & JOHN FOR ALWAY BEING THERE. YOU KNOW IN OUR FAMILY IT SEEMS THAT WE DON’T REALLY EXPRESS OUR LOVE & ADMIRATION FOR EACH OTHER UNTIL ITS TOO LATE & I REALLY WANT Y’ALL TO KNOW THAT YOUR SISTER LOVES YOU BOTH DEARLY. TO CY, THANK YOU FOR BEING EVERYTHING THAT I NEEDED & DESERVED. I LOVE YOU SO MUCH. LIKE I SAID BEFORE, SHXT IS ALWAYS CHANGING BUT THAT Will NEVER CHANGE. MOMMA, I GET MY DETERMINATION & MY HUSTLE FROM VDU. I KNOW A FEW PEOPLE THAT CAN’T THINK THEIR WAY OUT DF A WET PAPER BAG YET YOU TAUGHT ME HOW TO NOT ONLY THINK MY WAY OUT OF IT BUT ALSO GAVE ME THE GIFT OF GAB TO BE ABLE TO SELL THAT SAME PAPER BAG TO ANOTHER MUTHAPHXCKER AS IF IT WAS BRAND NEW. SOMETIMES THAT SAME GIFT IS A CURSE BUT I LOVE YOU MA. DADDY, FROM YOUR SHORT TIME HERE ON EARTH, l’VE LEARNED SO MUCH. THERE WERE MANY LESSONS THAT I AM GRATEFUL FDR & A FEW THAT I WISH TO UNLEARN BUT I MISS YOU. TO YANK, BRUH, YOU’VE RODE WITH ME EVERY SINCE DAY ONE. AT 12 YEARS OLD, I REMEMBER RAPPING FOR YOU IN THE STUDIO FDR THE FIRST TIME. YOU TOLD ME THAT ONE DAY I WOULD CHANGE THE GAME & ON THIS JOURNEY TO DO JUST THAT, YOU’VE BEEN LIKE THE BIG BROTHER THAT l’VE NEVER HAD. I LOVE YOU. TO MY COUSIN KHA, THERE WERE TIMES THAT YOU BELIEVED IN ME MORE THAN I BELIEVED IN MYSELF. THANK YOU FOR ALWAYS BEING SO SELFLESS. LOVE YOU CUZZO. AUNTIES CYNTHIA & SANDRA, THANK Y’ALL FOR YOUR SUPPORT & ADVICE. YOU’VE NEVER STEERED ME WRONG. TO G-TEKK, TIFF, STEPHANIE, KIVI, & All MY OTHER COUSINS & LOVED ONES THANK YOU FOR KEEPING ME SANE & KEEPING ME LAUGHING. 3D Na’Tee – “Maria” [Video] They say they miss storytelling in Hip-Hop, I’ll give them storytelling Hip-Hop. NOLA diva, 3D Na’Tee releases the heartbreaking visual “Maria” about a friendship going through changes after the introduction of a man, success, and drugs. The song can be found on her debut The Regime . Enjoy and be on the lookout for her follow-up this year, The Songs That Didn’t Make The Tape Vol. 1 at the end of March. From The Artist: “Maria”, one of my favorite pieces from my latest album The Regime , details the friendship of two fatherless girls whose lives are drastically affected by the quest for love in all the wrong places. Be careful who you turn your back on. MP3: Raheem DeVaughn & Apollo Brown feat. 3D Na’Tee – Zaddy. Soul is more than a sound. It is a timeless idea and an immortal condition. It can’t be borrowed or traded, bequeathed or imitated (no matter how much they try). Soul isn’t the blues, but the best blues has soul. Hip-Hop isn’t soul, but it’s the most fundamental component of its DNA. R&B is the genre, but soul is the yearning, the lust, the regret. Without soul, love is merely sex. With it, you get something like ‘Lovesick’. ‘Lovesick’ is a collaboration between the 3x Grammy-nominated singer Raheem DeVaughn and the hip-hop producer, Apollo Brown , best known for making hip-hop so grimy that it permanently lodges in your lungs and underneath your fingernails. It is a work of startling beauty, a blend of modern R&B, classic soul, and guttural funk that recalls Smokey Robinson, Al Green, and Marvin Gaye. Yet it doesn’t sound out of step alongside DeVaughn’s peers The-Dream, Anderson .Paak, and Miguel. It is an album that bears the echoes of Jodeci and James Brown, but it is ultimately the clarion vision of two masters of their respective forms. Released on Mello Music, ‘Lovesick’ is a stylistic departure from Apollo Brown’s cold-blooded 21st century boom-bap, but it shouldn’t come as a shock considering his historical skill at soulful sample chopping. Still, it’s testament to the Michigan native’s versatility and emotional depth; he has turned a sonic left turn into an eternal groove — an expansion that feels reminiscent of DJ Premier producing for D’Angelo, Salaam Remi collaborating with Amy Winehouse, J Dilla’s bible material with Erykah Badu, or more recently, Knxwledge’s NxWorries project with .Paak. Credit DeVaughn for making the extraordinary feel effortless. In ‘Lovesick’, the Love King has built a vessel to transport you to a different, better time. It is a tribute to the artists who came before him: all those aforementioned names, plus Parliament and Prince. Listening to the lead single, “When A Man”, you intuit the sweat and soulful anguish of the hardest working man in show business, but also float from Apollo’s head nod to A Tribe Called Quest’s “Luck Of Lucien”. The post-modern commentary seductively fused into a warm-hearted nostalgia. After announcing the album with “When A Man”, Raheem and Apollo return with the project’s second-single “Zaddy” featuring 3D Na’Tee . “ This is another soulful RNB release that makes it clear that the ‘Lovesick’ album will be a summer of love classic ” Raheem DeVaughn confidently asserted. “ The lyrical conversation on ‘Zaddy’ between me and New Orleans sensation 3D Na’Tee is tastefully sensual .” “ ‘Zaddy’ is undeniably one of my favorite joints on the album, and one of the earlier songs we worked on that set the tone for the sound of the project ” Apollo Brown added. “ As always, Raheem displayed his throne on the song, and it was an absolute honor to be blessed by 3D Na’Tee’s greatness. Beautiful music !” For the legendary DeVaughn, ‘Lovesick’ further cements his stature as one of the finest crooners of his generation. The DMV-raised singer has sold hundreds of thousands of records, won BET Awards and been nominated for three Grammys, but this stands among his finest work. He has conjured the perfect record for the Sunday backyard BBQ and for riding in the car with the object of your affections, the ideal nocturnal soundtrack for when it’s time to lower the lights. For Brown, this is a panoramic expansion that shows the full range of his gifts. It is the home cooked meal, the perfectly rolled joint, soft lighting, a pledge to love and fidelity, and all the struggles with temptation. It is soul, as smooth and supernatural as it gets. ‘Lovesick’ will be released on 6.4.2021 and also features collaborations with Shady Records recording artist Westside Boogie, Skyzoo, and 3D Na’Tee. ‘ Lovesick ‘ Tracklisting: If You’re The One featuring Skyzoo One Time featuring Becky Cane If I Made Love To You Just Fall In Love featuring Westside Boogie Broken Pieces I Still Love You Honey Zaddy featuring 3D’NaTee Rick James On Top Everything Baby. ***All tracks produced by Apollo Brown*** You can now pre-order, add, and favorite Raheem DeVaughn & Apollo Brown’s ‘Lovesick’ collabo album at your preferred DSP.