Multi-platinum rapper BIA has released a new remix of “ROLLIN,” featuring DJ Snake, Stunna Sandy and Bay Swag. The track originally appeared on the deluxe edition of BIA’s acclaimed debut album, BIANCA, which arrived in October 2025 before receiving an expanded deluxe release in June. The remix adds fresh energy to the standout record, with NYC rappers Stunna Sandy and Bay Swagg joining DJ Snake. Swag, known as a co-architect of Cash Cobain's hit single “Fisherr,” brings additional momentum to the collaboration.

Grammy-award winning R&B duo Blaq Tuxedo have released the official video for “CRASH OUT,” featuring R&B icon Trey Songz. Directed by Moriah King and filmed entirely on an iPhone 17 Pro, the visual captures the trio enjoying Miami nightlife, performing in a packed club and highlighting viral crash-out moments. Released earlier this summer, the remix adds Trey Songz’s signature vocals and brings fresh energy to the track, showcasing the trio’s undeniable chemistry.

Larry June and Jhené Aiko have seemingly put months of dating rumors to rest by confirming their relationship in the music video for “California Dream,” featured on June’s album Who Coppin’. Released this past Tuesday, the visual showcases the California natives sharing several intimate and romantic moments, including kisses and affectionate scenes. The collaboration gives fans a closer look at the pair’s chemistry while marking a notable moment in their personal and musical relationship.

Ayra Starr cements her place among Afropop’s most inventive talents with StarrGirl, her bold third studio album released August 14. Following 2024’s The Year I Turned 21, the Nigerian superstar delivers a confident and narratively rich project that blends Afro-pop with House, Congolese bouyon and other influences. Across the album, Starr explores identity, love, fame, pressure and self-possession through her distinctive voice, conversational delivery, persuasive falsetto and vivid storytelling. Tracks such as “Amazing” featuring Kwn and “Pressure” featuring Leon Thomas showcase her versatility, while the project’s polished sound and fearless experimentation make StarrGirl an energetic and compelling portrait of contemporary African pop. 

For this week’s Throwback Thursday, we take a trip back to 1989 with Quincy Jones’ “The Secret Garden (Sweet Seduction Suite),” one of the smoothest slow jams ever assembled. Featured on Jones’ legendary Back on the Block album, the song brought together four distinctive R&B voices (Al B. Sure!, James Ingram, El DeBarge and Barry White) for a performance that feels more like a carefully directed scene than a traditional collaboration. The record went on to top the Billboard Black Singles chart for one week in 1990, while also reaching No. 31 on the Hot 100, No. 26 on the Adult Contemporary chart and No. 67 in the U.K. What makes “The Secret Garden” so special is how perfectly each singer fits into Quincy Jones’ musical vision. Barry White opens with that unmistakable deep, commanding baritone, immediately establishing the song’s mature sensuality. Al B. Sure! follows with his silky vocals and youthful New Jack Swing swagger, while James Ingram brings warmth, romance and effortless emotion. El DeBarge then adds his signature tenderness and vulnerability before Barry returns to close things out with those legendary deep vocals. Nobody oversings, nobody competes for the spotlight, and everybody understands the assignment. Jones essentially directed the record like a filmmaker, using each vocalist to represent a different shade of romance and seduction. “The Secret Garden” was written by Jones, Rod Temperton, Siedah Garrett and El DeBarge and produced by Jones as part of Back on the Block, an album that famously brought together jazz, soul, R&B, hip-hop and New Jack Swing. The song remains a quintessential Quiet Storm classic, the kind of record that felt perfectly suited for late-night radio, dim lights and intimate moments. Grown folks definitely remember when this song came on after 10 p.m. It wasn't club music; it was music for setting a mood. More than three decades later, “The Secret Garden” still sounds like a masterclass in vocal chemistry, production and sensual storytelling and a reminder that nobody quite put a record together like Quincy Jones.

Faith Evans has suffered a legal setback in a dispute involving the company created to manage the legacy and intellectual property of her late husband, The Notorious B.I.G.. On August 7, a Delaware Court of Chancery judge ruled in favor of Wayne Barrow, acting as trustee of the Voletta Wallace Revocable Trust, in his case against Evans and Notorious B.I.G., LLC. The court granted Barrow summary judgment, recognizing the trust's membership and rights to distributions from the company. Evans and Biggie's mother, Voletta Wallace, formed the Delaware LLC in 2007 to oversee Christopher Wallace's intellectual property. Under a 2023 operating agreement, Evans and Voletta each held half of the company's membership units, while portions of their distribution interests were assigned to Biggie's children, Ty'anna Wallace and Christopher Jordan “CJ” Wallace. Before Voletta's death in February 2025, she amended her trust to remove CJ and another successor trustee, leaving Barrow as the sole successor trustee. After Voletta's death, Evans became the LLC's sole manager and stopped making distributions to the trust. The court rejected Evans' argument that the amended trust no longer qualified as a member of the LLC, ruling that the trust remained a permitted transferee under the operating agreement. Barrow's attorney, Jay W. Freiberg, said the decision vindicated his client, while Evans' representatives had not publicly responded at the time of the report. The ruling does not resolve all disputes surrounding Voletta's estate, as CJ has a separate Pennsylvania case challenging the changes that made Barrow sole trustee and executor.

Lionel Richie appeared to take a pointed jab at Chris Brown while performing alongside Earth, Wind & Fire during a recent concert. In a viral video circulating online, Richie addressed Brown and Usher’s current joint tour while comparing their collaboration to R&B tours from earlier generations. Referencing his own history with The Commodores and Earth, Wind & Fire, Richie suggested that the pairing of two major R&B stars is not entirely unprecedented. “Only difference is, between then and now, we didn’t go to jail!” he told the audience before appearing to apologize with a smile and continuing his performance. Richie’s comment appeared to reference Brown’s history of legal troubles, including his 2009 felony assault case involving Rihanna. Brown pleaded guilty in that case and received probation and community service. More recently, the singer pleaded guilty to assaulting music producer Abraham Diaw at a London nightclub, adding another legal matter to his history. While Richie did not directly identify Brown when making the remark, the timing of his comments and his discussion of the current Brown-Usher tour led many viewers to interpret the statement as a reference to the singer’s past. The ongoing tour has generated significant attention, with Brown and Usher bringing together two generations of R&B stardom and delivering performances that have sparked widespread discussion online. Their concerts have also drawn headlines for provocative dance routines and interactions with fans. Despite the controversy surrounding Richie’s remarks, the collaboration highlights the enduring influence of both Brown and Usher in contemporary R&B. Richie, who rose to fame as a member of The Commodores before launching a successful solo career, appeared to use his own touring history as the backdrop for a joke that ultimately shifted the spotlight toward Brown’s complicated legal past.

Singer Truth Hurts (born Shari Watson), says she remains $1.7 million in debt to her former record label, Aftermath Records, more than two decades after her hit single “Addictive” became entangled in a major copyright dispute. Watson, 54, discussed the financial fallout during a recent appearance on J. Valentine’s R&B Money Podcast. The Grammy-nominated artist rose to prominence with “Addictive,” which became a Top 10 hit in 2002 and helped establish her as one of R&B’s rising stars. The song, produced by DJ Quik, featured a sample taken from a recording by legendary Indian singer Lata Mangeshkar from the 1981 film Jyoti. Watson explained that the sample had not been properly cleared before the song was released. After “Addictive” became a commercial success, Saregama India Ltd., which controlled the rights to the sampled material, filed a $500 million copyright lawsuit against Aftermath and its parent company, Universal Music Group. Watson said she became concerned that the legal battle could damage her career and ultimately asked Aftermath executives Dr. Dre and Jimmy Iovine to release her from her recording contract. The $500 million lawsuit was eventually dismissed after the court determined that the Indian chorus used in “Addictive” did not qualify as a religious or spiritual tradition. However, the copyright holders were granted songwriting credits on the track. Watson said she was left with significant financial obligations to Aftermath despite being released from the label. “Addictive” also incorporated cleared material from B.T. Express’ “Do It (‘Til You’re Satisfied)” and the opening line from Rakim’s 1987 classic “Paid in Full.” Although DJ Quik was initially credited as the producer, it was later reported that Dr. Dre was actually responsible for producing the track.

Rising Dallas R&B singer-songwriter and pianist M’Lynn ushers in summer with her new single “Feel It". Written and produced alongside Emile Ghantous, the warm, sun-soaked track captures M’Lynn entering a new chapter and allowing herself to embrace joy. Built around an easy groove, hand claps and soulful vocals, “Feel It” finds the artist letting go of hesitation, opening her heart and finally trusting her feelings.