On February 7th, Cue the Record hosted a listening session in partnership with the Brooklyn Museum held in the Brooklyn Museum's Seydou Keïta: A Tactile Lens exhibition.

From Howard to Total Praise; Richard Smallwood’s music carried the soul of a people and the precision of a maestro. This is a tribute to the sound, the standard, and the spiritual weight he gave the world.

Peeking into the Songs in the Key of Life era through vintage pressings and old paper archives feels like watching Stevie Wonder reshape the world in real time. The 1975–76 promos, regional pressings, Jet Magazine spreads, and newspaper clippings all trace the buildup to an album that was already being treated like a cultural milestone before it even hit shelves. Each piece—vinyl, headline, photograph—captures a different angle of Stevie at his most expansive, most experimental, and most visionary.

In our first year, Cue the Record became more than a series of listening sessions — it became a place where people found each other through music. And woven into that story is the steady presence of artist and longtime supporter Nate Collier. His illustrations have become a way of holding memory, capturing not just the albums we’ve celebrated but the feeling of being in the room together. For our first-ever physical drop, we sat down with Nate to talk about his art, his connection to CTR, and what it meant to translate a year of listening into a single piece.

In a rare rehearsal clip from the Voodoo era, D’Angelo joins Femi Kuti and his band to run through Fela Kuti’s “Water No Get Enemy.” It’s more than a practice session — it’s a moment where Black musical lineages fold into each other, collapsing borders, eras, and traditions into one collective track.