Mailbag

October 5, 2026:

Live Southern Soul...No Bands?

To Daddy Nice---

I'm from Wisconsin and spent part of the summer in Monroe Louisiana. I always liked the blues but never really knew about southern soul until I went to a couple of concerts one in Vicksburg with my partner. They were great--lots of fun--but thing that surprised me was no live bands, at least at the events we went to which were not huge. In Wisconsin we do have some blues believe it or not but even the startups have live instruments. Is this a common thing in the South?

Trayana

Daddy B. Nice replies:

Yes it is. When I lived in New York City people would form bands and create stage acts with full live bands, publicists and press in what seemed like a couple of minutes. So much money at their disposal. In the South it's not like that. The people who form bands are almost always blue-collar, and the fans who attend concerts can't afford a lot. In fact, one of the recurring complaints this year was the high cost of tickets. The stars of southern soul are making a lot of money and they do tour with live bands. But if concert promoters want to bring in some of the top acts without having to charge a lot at the gate, they'll often ask the performers if they're willing to sing at a discount backed by recorded instrumental tracks. Often they do, allowing cash-squeezed fans the opportunity to see their favorite acts. It's a win-win for everybody and keeps southern soul music alive and relevant.

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September 11, 2026:

(See Daddy B. Nice's "Latimore: The Truth Of 'Let's Straighten It Out'".)

RE: Latimore

A few quotes from various interviews and conversations I had with Lat over the years...

Dear Daddy B. Nice,

Latimore was one of the sweetest, kindest, most deep-hearted men it’s ever been my honor to know. “Let’s Straighten It Out” was more than a genre-defining hit; it epitomized the soul of the man. We’ll miss that soul even more than we’ll miss the music.

This is probably too long for you to use, but these are just a few quotes from various interviews and conversations I had with Lat over the years. Feel free to edit and pick-and-choose as you wish:

[On the inspiration behind “Let’s Straighten It Out”]:

I was always under the impression that until you sit down and talk about [something], nothing's gonna get done. You can't solve anything without sitting down and talking about it, and you gotta straighten it out. As long as it's crooked and going back and forth, back and forth, it ain't going anywhere. So just the whole idea, if you're having any kind of a relationship with another person, whether that's with a spouse, a girlfriend or boyfriend, a friend, or employer/employee, whatever – there's gonna be times when you're going to have some wrinkles and some ups and downs, and they have to be straightened out, or that particular relationship ain't going anywhere.”

[Describing the extended musical intro to the album version of “Let’s Straighten it Out”]:

"The whole idea is that he sees something is wrong. She's not really sayin' nothin' about it, you know, but she's givin' off all kinds of vibes. . . . there's a part in there where you think that I'm gonna start to sing, and I don't. He's gettin' ready, now, here's these two people, sittin' around, lookin' at each other, and then one starts to – but then they don't, ‘cause they don't know whether I should say it, or what."

[On being described as “Old School”]:

“See, some of the younger people think that all of us are ‘old school’. I say, well, let me tell you something: There’s nothing wrong with the ‘Old School’ if you get an education from that ‘Old School’. And you never really graduate from the ‘Old School’ – I got my advanced degree, and now I’m working on my doctorate! You can’t go and learn everything on Google. See, when I was coming up, you listened to older people, and you learned from them. They were able to talk about their experiences, ‘cause many things go ‘round and ‘round, but it’s never the same when it goes around. It’s more like a spiral; it goes around and around, but it moves up as it goes. And if you listen to older people, you can learn.”

[On the durability of blues and southern soul]:

“I think this music is going to live on. It’s going to live on, regardless of how people sometimes laugh about it. It’s going to keep going despite all the other little things that people add to it and take away from it, ‘cause it’s real. Oh, they coat it over with some things, [but] it’s like real gold as opposed to gold-plated. Gold-plated, that’ll rub off. But the real thing? You throw it in a pile of dirt, you get it up and rinse it off, it’s still the same thing. It’s real. What we do is real, and that’s the reason why it lives on; the whole concept is real. We came up when we talked about real feelings, real experiences [in our music] – things that people feel every day, feel in their hearts. And when we talk about that and sing about it and write about it, people can’t help but have some appreciation for it.”

[On the durability of "Let's Straighten It Out”]:

“I close my shows all the time with “Let’s Straighten It Out. That’s the main thing, like my trademark. And I don’t mind that trademark. This has kept me going, and other people have recorded it, it’s been in movies; so doing it, performing it, that and some other songs, it’s like when you’re doing a stage play. I traveled with a play almost twenty years ago. It’s called Real Men Pray. I was on for about half a year, touring with that. And it’s like, you do the same thing every night. Every performance. But every night, it’s new. It’s like you’re doing it the first time. And that’s how you have to approach it. If you start conveying boredom to the people, they can pick up on that. They can pick up on when you don’t care about what you’re doing. Because that’s what I was saying about he spirituality of it, that feeling – they won’t feel if it you don’t feel it. There’s some things you can’t fake.”

[On hanging out at home]:

“When I get home, I’m not that guy, Latimore. I’m Benny. I’m Yvonne’s husband and Bianca’s daddy. I can take show business off like I take off a pair of pants; throw it over in the corner. Then I’m the guy that lives right there on that cul-de-sac [in Riverview, Florida, about ten miles southeast of Tampa] – Hang out with my neighbor, kick back, watch a little TV, some popcorn or something, have some people over, some friends of ours, the same friends I've had for years. Just relax. Sometimes when an artist comes in town that I know, I’ll go see ‘em, but we don’t go out to bars or anything like that. I’ve played in enough bars in my life! I don’t have to be ‘where it’s at,’ you know? When I’m home and doing what other people consider ordinary mundane stuff, it’s a pleasure to me. It gives me a good feeling. It recharges my batteries.”

[On being stereotyped as a "blues" guy or a "country" guy]:

“I don't like being stereotyped. “Sometimes people think of a ‘blues’ guy as like an older guy who is basically rural and [has] very little sophistication. People love to put you in a category; most of the time people are a little bit too lazy to deal with individuals – this guy’s a musician, this one’s a preacher, or he’s a blues musician, or he’s a jazz musician, so therefore he must be so and so and so and so; they feel that they can predict what you’re going to do and what you can do and what you’re able to do . That’s a false premise for logic, because people are too complex for you to be able to just judge them by categories. It’s very hard to categorize me; I can come from a lot of different directions. There’s a lot of things that I can do that some people probably wouldn’t ever see, because they don’t know even what to look for. They feel that they can predict what you're going to do, and what you can do, and what you're able to do. There's very few stereotypes that a person can really put me into. I can come from a lot of different directions. I live out in the country, about a hundred and twenty miles from Miami. I enjoy not having a lot of traffic, and not having to stand in line for everything, and it's inspirational, too. I can sit down by my pond and write songs; come home, don't have a schedule. I just want to get up and enjoy the day.”

[On following your dreams]:

“It’s like I used to tell my mama – I always told my mama, ‘I think I belong to the world; I think I’m gonna belong to the world. I gotta go from this little town; I gotta go out there and explore.’ Explore the world, you know? She said, ‘No, you just got all these dreams in your head.’ I said, ‘Well, you have to dream; if you can pursue it, it might not be out of reach. Those who don’t dream are doomed to stay right where they are.’”

David Whiteis

Daddy B. Nice replies:

Many thanks, David. These clips form a wonderful portrait of Latimore and I'm delighted to archive them!

Daddy B. Nice notes:

David Whiteis is the author of Always the Queen: The Denise LaSalle Story. To read the complete list of David's quotations from Latimore, go to Daddy B. Nice's Forerunners Artist Guide to Latimore and scroll down to the Tidbits section, number 5.

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daddybnice@southernsoulrnb.com

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September 3, 2026:

K. Morris Objects to Daddy B. Nice's Characterization Suggesting She Was Disloyal In Leaving The Jay Morris Group

See the #2-ranked single in Daddy B. Nice's Top 10 "BREAKING" Southern Soul Singles For. . .August 2026.

Hello,

I’m contacting you regarding the write-up featuring “Do My Thang” by Myia B featuring K. Morris.

While I appreciate the song being recognized, I am extremely disappointed by the statement claiming that I “left” my brother’s Jay Morris Group during a “period of doubt.” That is not what happened, and no one contacted me to verify this information before publishing it.

While I was still a member of the Jay Morris Group, I was told that the group would be ending and was instructed to begin releasing my own music before it ended. I was informed that the groups last show would be Jan. 5th. I later learned that the group was not ending and would continue without me. I was removed from the group—I did not choose to leave or abandon my brothers during a difficult period.

The language currently published misrepresents my actions, my character, and the circumstances surrounding the beginning of my solo career. It is especially troubling because it suggests disloyalty on my part when the decision was not mine.

I would like for this to be corrected.

Please confirm when this correction has been made. I have attached a screenshot showing the inaccurate statement for reference.

Thank you,

K. Morris
K. Monique Morris

Screenshot

2. "Do My Thang"-----Myia B feat. K. Morris

Two of the most distinctive voices currently working in southern soul music, these talented ladies bring out the best in one another. Myia---the outlier whose grit and talent transformed her into an insider and headliner. K. Monique---who left her brother's Jay Morris Group in its period of doubt to begin a solo career as K. Morris. Together, they combine to make "Do My Thang" one of the finest collaborations of 2026. It's also time to single out Flowe Beatz, the ubiquitous yet taken-for-granted producer behind not only "Do My Thang" but so many southern soul hit singles of the last few years. Flowe Beatz is the pseudonym of Dietrick Flowers, based in Brundidge, Alabama (the Pike County/Dothan area), who frequently works out of regional spaces like Atmosphere Recording Studios in Montgomery.

Daddy B. Nice replies:

Dear Ms. Morris,

I never anticipated that small phrase "who left her brother's Jay Morris Group in its period of doubt to begin a solo career" would make you uncomfortable. I never used the word "disloyal," nor would I ever have imagined anyone would leap to the conclusion you were disloyal. I merely wanted to give you your "props" for being a member of one of the most distinguished groups in contemporary southern soul.

What I said was true. You did leave the group. And it was during a "period of doubt" amongst the group members, as you so clearly describe in your third paragraph:

"While I was still a member of the Jay Morris Group, I was told that the group would be ending and was instructed to begin releasing my own music before it ended. I was informed that the groups last show would be Jan. 5th. I later learned that the group was not ending and would continue without me. I was removed from the group—I did not choose to leave or abandon my brothers during a difficult period."

I don't know how I could have reported it any more respectfully, and it was certainly written with that intention. Of course, I didn't have the time and space to go into it the way you do. On the other hand, I completely understand your sensitivity about what is undeniably a delicate situation. Naturally, I'll "correct it" for posterity.

The easiest remedy is to eliminate the line dealing with yours and Myia's particulars entirely. Specifically...

Myia---the outlier whose grit and talent transformed her into an insider and headliner. K. Monique---who left her brother's Jay Morris Group in its period of doubt to begin a solo career as K. Morris.

Not only that. I'll try to remember to refer to you only as "formerly of the Jay Morris Group" in any future entries. That shouldn't be too difficult. You can check the correction by going to...

See the #2-ranked single in Daddy B. Nice's Top 10 "BREAKING" Southern Soul Singles For. . .August 2026.

K. Morris replies:

Thank you for making the correction. I appreciate it.

K. Morris

Comments, information or questions for Daddy B. Nice?
Write to: daddybnice@southernsoulrnb.com

August 10, 2026: THANK YOU LETTER

Pictures on the phone!!!!!!!!!!!!!!

HEY DADDY!!!!!!!!!!

Wow man im speechless thanks for the great review!

I even like the idea of pictures on the phone Hopefully the song will catch on and change birds career for the better It just feels good to be able to help some of the newer artists on their journey had a lot of fun writing and producing this one THANKS FOR THE LOVE!!!!!!!!!!!!!!!

GOD BLESS
BIGG ROBB

Daddy B. Nice notes:

See Bird Williams' #1 August Single, "Trying To Get Right (Pictures On The Phone)" written and produced by Bigg Robb, at Daddy B. Nice's Top 10 Singles August '26.

See Daddy B. Nice's New Generation Artist Guide to Bigg Robb, the third and newest of three Bigg Robb Artist Guides on the site.



Comments, information or questions for Daddy B. Nice?
Write to: daddybnice@southernsoulrnb.com

July 26, 2026:

What do I have to do to get a Daddy B Nice drawing?

Hey Daddy B

What do I have to do to get a Daddy B Nice drawing?

Name withheld

Daddy B. Nice replies:

Outside of being a legendary southern soul artist with 10, 20, 30 years of recording to your credit (in which case you'd probably already have one), you'd either have to score a number-one single (see Daddy B. Nice's Top 10 Singles) or release a really great southern soul album I've reviewed (see Daddy B. Nice's New Album Reviews). In the latter two cases I would be obliged to do a caricature of you to post with the commentary.

Name Withheld replies:

Actually, that's better than I thought, there is a way. Haha!


daddybnice@southernsoulrnb.com

July 18, 2026:

A Question about West Coast Southern Soul

Daddy B. Nice,

I hope you’re doing well. First, thank you for everything you’ve done to preserve, promote, and champion Southern Soul. Your passion for the music and your honest opinions have earned the respect of artists and fans throughout the genre.

We recently launched our four-week advertising campaign on your website, and we’re honored to support someone who has contributed so much to Southern Soul. I wanted to ask you something that’s been on my mind.

On April 27, 2026, Tamron entered the Urban Influencer chart at #29. As of July 13, she had climbed to #5, spending four consecutive weeks in the Top 10, while also receiving recognition from Radio Airplay Experts. We’re humbled and grateful for every step of that journey.

Our vision at Soultown Icon Records has always been bigger than one song. We believe Southern Soul belongs to everyone who loves and respects it. Our goal is to help build a bridge between the South and the West Coast, where generations of Southern families carried their music, culture, and traditions during the Great Migration and faithfully passed that heritage on. That brings me to my question.

After all the years you’ve spent listening to, supporting, and writing about Southern Soul, what do you believe West Coast Southern Soul needs to do to truly earn the respect of longtime Southern Soul fans while honoring the genre’s Southern roots?

I’d genuinely value your perspective. Your experience and insight mean a great deal because you’ve helped shape conversations about this music for so many years.

Thank you again for everything you continue to do for Southern Soul. I appreciate your time and wish you continued success.

Much respect,
Troy Mason Sr
Founder & Producer
Soultown Icon Records

Daddy B. Nice replies:

Hi Troy,

I’m going to put off some things I should be doing to answer your letter because I’d like to post both the letter (with the requisite deletions on your part for privacy, according to your wishes) and my response in Daddy B. Nice’s Mailbag, if you’re willing. I think it would be of great interest and a help to many others in your situation.

First, to answer your basic question: What do you believe West Coast Southern Soul needs to do to truly earn the respect of longtime Southern Soul fans while honoring the genre’s Southern roots?

This part is simple. Just produce good southern soul music. It doesn’t matter where you’re from. The legendary Peggy Scott-Adams recorded her classic hits in Van Nuys a quarter century ago and Lina Loi, whose ad preceded yours just this month, is also based in LA. (And might be a good singer for you to connect with.)

People create southern soul in California, in Ohio, in Chicago, in St. Louis, in Kansas, Michigan and Maryland, not just in the Deep South. My good friend Dylann DeAnna (Blues Critic) produced music for his record label CDS in southern California. There’s just one thing. It has to be good, really good. Southern soul is a highly competitive market. And if you’re not steeped in the culture of the black South, it’s often difficult to do. But the bottom line (and I can’t stress this enough) is that good southern soul music will rise to the top, no matter where it’s conceived and produced. So take a deep breath and let that sink in.

Now for the other side of the coin. I did visit your website and what it told me was that you have one artist (your “flagship artist”), Tamron, and she has one single out, “These Eyes On You,” which has amassed 148 views in three months on YouTube. You’re just starting out. If you were playing Monopoly, you’d just be on Atlantic Avenue.

The YouTube response is a paltry amount and under ordinary circumstances should be a sign and a wake-up call to you that it might be a good idea to go back to the drawing board and work up some more product. However, in the meantime the tune has charted on The Urban Influencer and has been rising like a bullet, raising your expectations despite the poor response of YouTube fans who scroll endlessly for the next big thing. Who to believe?

I think this Urban Influencer (which began appearing a year or so ago and purports to cover all “urban” genres) charting is both a good thing and a bad thing for you. On the one hand, it’s good because it’s given you and Tamron hope and excitement and a push to capitalize upon what seems to be some initial success. But I think it’s a bad thing if it delays you getting back in the studio and creating more music, better music (or at least that’s the hope, right?). The fact that Radio Airplay has seconded the praise is without much weight because it’s always appeared to me to be a professional partner with Urban Influencer. And my final thought is if you pin your hopes and expectations on this charting to the detriment of your work ethic and realistic judgments about your work, you may be setting yourself up for failure. As someone with a proven “ear” for southern soul, and who really takes a lot of time playing, re-playing, and still re-playing music before putting it into my charts, I’d rate “These Eyes On You” as neither as good as Urban Influencer says it is nor as bad as YouTube says it is.

Hope this helps!

Troy Mason Sr replies:

Hi Daddy B. Nice,

First, thank you for taking the time to write such a thoughtful and detailed response. I truly appreciate it. I know your time is valuable, so the fact that you visited our website, listened to the music, and shared your honest perspective means more to me than you know. One statement you made really stayed with me: “Good Southern Soul music will rise to the top, no matter where it’s conceived and produced.” I read that several times because that’s exactly what we’re striving for. Our mission has never been to compete with the South, but to honor the roots and traditions of Southern Soul while bringing an authentic West Coast contribution to the genre.

I also appreciate your honesty about where we are. You’re right-—we’re still at the beginning of this journey, and we have a lot to prove. Your comments don’t discourage me; they motivate me to work even harder. If I may, I’d like to offer one small clarification that may not have been obvious from our website. Tamron does have additional music in her catalog. “These Eyes On You,” is simply the first release we’ve promoted through the Southern Soul community and the first time we’ve worked with platforms like Urban Influencer and SouthernSoulRnB.com. For us, this isn’t the beginning of her career-—it marks the beginning of our focused Southern Soul campaign. The chart success has encouraged us, but it certainly hasn’t made us comfortable. If anything, it’s challenged us to work even harder. Our goal isn’t to chase one chart position or celebrate one song. Our goal is to build a respected catalog of Southern Soul music that earns its place over time.

I would be honored for you to share my letter and your response in your Mailbag. If our conversation encourages other independent artists to stay focused on making great music, remaining patient, and continuing to grow, then I believe that’s a positive outcome for everyone. Thank you again for your honesty, your encouragement, and for everything you’ve done over the years to support and preserve Southern Soul music. I look forward to the day when I can send you another release that reflects the lessons you’ve shared and shows our growth as a label. I hope that, one release at a time, we’ll earn the respect of you and the Southern Soul audience you know so well.

With much respect,
Troy Mason Sr.
Founder & Producer Soultown Icon Records

Comments, information or questions for Daddy B. Nice?
Write to:
daddybnice@southernsoulrnb.com

July 10, 2026:

Thank You Letter

Knowledge / Learning

Mr.Nice:

I’ve learned more about soul blues from your columns than anywhere else. You have answers to questions I’ve wondered about for years. Your superb writing skills reveal how astute and sensitive you are to the changing dynamics and trends of all this wonderful music. Keep up the good work!

Best,
Kevin Nutt
djcasequarter
Host of Sinner’s Crossroads on WFMU

Daddy B. Nice replies:

Awwwww...Kevin. You make me feel like a big old dawg on his back getting his belly rubbed. Thank you!

Oh, one thing that made me cringe. Don't call it "soul blues"! It's southern soul, my brother, southern soul all the way.


daddybnice@southernsoulrnb.com

July 3, 2026:

LOOKING FOR A SONG LETTER

RE: Tye prince ft Sir Charles Jones song called Water

Hi mate
I'm just wondering if you have the Single track Called Water from Tye prince ( Chocolit tye ) ft Sir Charles Jones available for me to purchase or any download site or streaming site I can purchase please

I'm from Australia and just cannot find it anywhere and no one can help me , that's why I'm emailing you can you please help
David

Daddy B. Nice replies:

Hi David from Australia,

Sorry for the delay in getting back to you. By the way, I just saw a nail-biting, mountain-climbing thriller set in Australia called "Apex" starring Charlize Theron. I didn't even know Australia had mountains, although if "Mad Max: Fury Road" (also starring Charlize) was filmed in Australia I should have.

Tye aka Chocalit Tye Prince of Southern Soul...That's a tough one. His career decision-making is a mess (in my opinion). "Water," the song you're seeking, charted in August of '22, where I criticized it for copying The Staple Singers' "Let's Do It Again". Still, that was an extremely complimentary and high chart position. Nonetheless, Tye subsequently removed the YouTube video which I linked to in the commentary. Nor has he posted the tune on Apple or any other retail outlet I know of.

As a last resort you can listen to it on DJ VJ Bubba Yae’s Sunday Matinee @ The Grown Folks Spot 6/19/22. That's the best I can do.



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daddybnice@southernsoulrnb.com

June 11, 2026: Pictured: King Willonius

A-I And Southern Soul

Daddy B. Nice:

I've pretty much made peace with synthesized tracks in studio production as an art form that can create innovative new sounds and textures, when they're done right. But, as Latimore once told me, technology can be a good servant, but a terrible master -- "Too many people think they can go in the studio, ‘Oh, I can do this, I got Pro Tools. Oh yeah! Pro Tools!’ These guys go in there, and it sounds like they did it in their kitchen or something. I [use] the new technology, but we're all musicians; we don't try to just turn the machine on and let it play a drum track, and this or that. We play it with that; we play our stuff. In other words we let [technology] do the heavy lifting. It's our servant."

I think, actually, the truly creative use of the technology right now is happening in hip-hop and contemporary R&B. That being said, though, my heart is still with organic instruments, and I greatly admire artists (like alto saxophonist Lakecia Benjamin) who deliver spoken-word, rapped verses over "live" instrumental backing. At their best, they're truly innovative -- basically harking all the way back to the tradition of using the human voice as a rhythm instrument, as well as a means of storytelling (James Brown might be the most well known example, but of course it goes all the way back to Africanist tradition). I still think that humanness makes a difference. A drum is a heartbeat, not a metronome, and a lot is lost when we no longer have that. Too many southern soul releases sound almost the same, as if one backing track were programmed and then used and reused over and over again (which, in fact, might well be the case in some instances).

AI, though, is a new thing entirely. Even at their most vapid and anonymous, programmed tracks are still programmed by a human being, even if they often don't sound like it. As a teacher, as well as a music lover, my deepest and most insomnia-inducing concern about AI isn't "just" the issue of how to catch students taking the easy way out on essay assignments, or being savvy enough to tell whether a piece of music came from a human being or a bot, or whether that "long-lost film clip of Elvis or Jackie Wilson is actually an AI fake -- it has to do with whether actual human-to-human communication (or maybe even human expression itself) will continue to be seen as having intrinsic value, and what our role as music writers, critics, educators, etc. can be to try to ensure that it does.

In a remarkable piece for the New York Times Magazine last week, theater/film critic Taffy Brodesser-Akner described her disconcerting experience "interviewing" the A.I.-generated "actress" called Tilly Norwood. What haunted her most about the episode, Brodesser-Akner wrote, was not the question of whether a virtual figure like "Tilly' might soon develop the ability to act as convincingly as a human — it was what will happen when/if that ceases to even matter, when we've reached "a moment when we’ve all given up, when it doesn’t much matter who or what is playing the character that may or may not have been written by A.I., but what do I care? I’m on my phone anyway. Is she good? It’s the wrong question. She will be. We know what it will mean to the industry. What will it mean to us?"

She continued: "When people see something that touches them, they want to understand where it came from. They want to know who exactly it was that recognized their human wounds, who recognized them and made them feel less alone. That is what great art inspires in people. That is why I wrote all these profiles [of actors], and why people even read them. To understand the person who made the art, which is just as essential as the art itself."

In a way, "Tilly" is already late to the party. It is definitely possible with AI to generate a piece of music with no human participation whatsoever — regardless of genre, style, or instrumentation -- that's so indistinguishable from the real thing that even an experienced producer, studio engineer, or musician, let alone an everyday listener, can hardly tell the difference. So the juggernaut is already on the loose.

My reaction to AI "music" isn't all that different from Ms. Brodesser-Akner's reaction to "Tilly" or my own reaction to AI-generated student essays, actual published articles, books, etc. When I write something, I'm giving "a piece of my heart" (as the old song says) to a reader somewhere, and, by implication, to the world. That's what we do when we communicate, whether through spoken words, in gestures (e.g., ASL), in writing, or in music or some other form of art. We're sharing our heart — and then, when we read or hear something written, played, or performed by someone else, we're enriched by knowing that they're sharing their heart with us.

If we get to the point where we no longer care about this — what's left?

In other words, we're not just defending the "Humanities" here. We're staking a claim to defend what it means to be human.

DGW

Daddy B. Nice notes:

David Whiteis is the co-author of the award-winning Always the Queen: The Denise LaSalle Story (Music in American Life).

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Comments, information or questions for Daddy B. Nice?
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daddybnice@southernsoulrnb.com

*************



Comments, information or questions for Daddy B. Nice?
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daddybnice@southernsoulrnb.com

UNDER CONSTRUCTION!!!................

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Comments, information or questions for Daddy B. Nice?
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