Wednesday, March 4, 2026

Bob Power, the Studio Genius Behind the Native Tongues and Soulquarians Movements, Dies at 73

Legendary audio engineer and producer Bob Power sits at a mixing console in a recording studio. Power, whose technical mastery shaped the sound of golden-era hip-hop and neo-soul for iconic artists like A Tribe Called Quest, Erykah Badu, and D'Angelo, died on March 1 at the age of 73.
The music industry has lost the meticulous ear behind its most flawless-sounding masterpieces. Bob Power, the legendary audio engineer and producer whose technical wizardry defined the sound of the Native Tongues movement and the birth of neo-soul, died on March 1 at the age of 73.

A funeral listing in Maryland confirmed the passing of the sonic pioneer, noting that his family requested donations be made to NPR in lieu of floral tributes. No official cause of death was immediately provided.


For purists of 90s hip-hop and R&B, Power's name in the liner notes was a guarantee of sonic excellence. Born in Chicago in 1952, he was a classically trained musician who studied at Webster College before earning a master's degree in jazz from Lone Mountain College in San Francisco. Before completely altering the sound of rap, he spent the 1970s and early 1980s composing music for PBS television shows and major commercial campaigns for brands like Coca-Cola and Intel.

Power relocated to New York City in 1982, famously taking gigs playing mafia weddings in Bensonhurst to pay the bills before landing a pivotal role as a fill-in engineer at Calliope Studios. It was there that he engineered his first major hip-hop project: Stetsasonic's 1986 debut album, "On Fire".

That session made Power the indispensable sonic translator for the emerging Native Tongues collective. He engineered and mixed foundational texts for A Tribe Called Quest, De La Soul, and the Jungle Brothers. Prior to Power's touch, hip-hop struggled to balance heavy bass lines with crisp, sample-heavy melodies without muddying the track.


"Bob was the KING of the Low End," The Roots' frontman Questlove wrote in a social media tribute. "Drums Crispy & Loud... but the BASS is FULL... before him? Hip Hop was chaotic & muddy... Bob was our training wheels for how to present music".

Beyond his alternative hip-hop foundation, Power was equally responsible for engineering the R&B revolution of the mid-1990s as a trusted engineer for the Soulquarians collective. He mixed the blueprints of the neo-soul movement, including D'Angelo's "Brown Sugar," Erykah Badu's "Baduizm," and Common's "Like Water for Chocolate".

Following the news of his death, Badu openly mourned her mentor online. "What a great loss for the music community today," Badu shared, noting his immense influence on her sound. "'Baduizm' is thee most bass heavy singing album in history. You mixed like a TRIBE album!".


Legendary producer DJ Premier also paid his respects, writing, "R.I.P. to one of the iLLest Engineers of all time... Thank you for your various pointers in recording from D'Angelo to ATCQ'S 'Low End Theory,' Erykah Badu's 'Baduizm' and so on!".

Later in life, Power became an Arts Professor at New York University's Clive Davis Institute of Recorded Music, ensuring his technical mastery and philosophy would be passed down to the next generation of audio engineers.

In an era where producers and MCs rightfully received the lion's share of the glory, Bob Power remained the quiet genius behind the boards. He did not invent the culture, but he built the acoustic architecture that allowed it to stand the test of time.

‘All Eyez on Me’ To ‘Atliens’: Inside the 30th Anniversary of Hip-Hop’s Golden Year

If you want to measure the passage of time for a golden-era hip-hop purist, just point to the calendar: The Class of 1996 is officially 30 years old.

As 2026 unfolds, the culture is bracing for a relentless wave of retrospectives honoring a 12-month span widely considered the genre's zenith. The sheer volume of watershed albums released in 1996 remains a staggering anomaly, their sonic architecture still firmly woven into the fabric of contemporary music.


The anniversary marathon commenced with a massive milestone in February. On Feb. 13, 1996, record store shelves absorbed two culture-shifting releases simultaneously: The Fugees' inescapable global juggernaut "The Score" and 2Pac's sprawling, diamond-certified double album "All Eyez on Me." Both projects pulverized the commercial ceiling for rap, proving the art form could dominate pop radio and command global attention without compromising its street-level authenticity.


As the summer approaches, the historical gravity only intensifies. June marks three decades of Jay-Z's mafioso-rap blueprint "Reasonable Doubt," followed swiftly by Nas' cinematic sophomore effort, "It Was Written," in July. That summer proved existential for New York hip-hop, reaffirming the East Coast's lyrical supremacy and commercial viability amid heavily publicized regional rivalries.

Down South, the celebratory wave will crash over Atlanta in August when OutKast's atmospheric masterwork "ATLiens" turns 30. Fulfilling Andre 3000's prophetic 1995 Source Awards declaration that the South had something to say, the album offered undeniable proof. It anchored the region's place in the hip-hop pantheon, submerging listeners in the futuristic, funk-laden soundscapes of Organized Noize.


Concurrently, R&B experienced a permanent metamorphosis. The genre's topography shifted unequivocally with the August release of Aaliyah's "One in a Million." Galvanized by the erratic, syncopated production of Timbaland and the sharp penmanship of Missy Elliott, the album decisively closed the curtain on the new jack swing era, laying a futuristic foundation for the new millennium. Months prior, Maxwell’s April debut, "Maxwell's Urban Hang Suite," executed a similar pivot, helping to birth the neo-soul movement.


Three decades removed, the Class of 1996 defies categorization as mere nostalgic trivia. Contemporary vocalists continue to borrow these cadences, producers still scavenge for the analog warmth of these drum breaks, and ascending MCs perpetually dissect these flows. Nineteen ninety-six wasn't just a prolific calendar year; it was the seismic event that permanently realigned the tectonic plates of Black music, pouring the concrete foundation upon which the entire modern industry is built.

Upcoming 1996 30th Anniversaries to Watch

Busta Rhymes"The Coming"
March
Maxwell"Maxwell's Urban Hang Suite"
April
Jay-Z"Reasonable Doubt"
June
Nas"It Was Written"
July
Aaliyah"One in a Million"
August
OutKast"ATLiens"
August
Ghostface Killah"Ironman"
October
Lil' Kim"Hard Core"
November

Honorable Mentions: The Underground & Cult Classics of '96

De La Soul"Stakes Is High"
July

A crucial, boom-bap rejection of the era's growing commercialism.

The Roots"Illadelph Halflife"
September

The live-band pioneers establishing their heavier, uncompromised sound.

Makaveli"The Don Killuminati: The 7 Day Theory"
November

2Pac's posthumous, darkly prophetic masterpiece.

Mobb Deep"Hell on Earth"
November

The grimy, cinematic follow-up that cemented Queensbridge royalty.

Redman"Muddy Waters"
December

A masterclass in funk-sampled, blunt-fueled lyricism.

Tuesday, March 3, 2026

Watch: De la Soul’s Triumphant, Bittersweet Tiny Desk Concert Tribute to Trugoy the Dove

Kelvin "Posdnuos" Mercer, center left, and Vincent "Maseo" Mason, center right, of the pioneering hip-hop group De La Soul perform during their NPR Tiny Desk Concert in Washington on Tuesday, March 3. Backed by a nine-piece live band featuring drummer Daru Jones, back left, the duo celebrated their newly independent catalog and paid tribute to late co-founder David "Trugoy the Dove" Jolicoeur. Jolicoeur's memory was honored throughout the set, including a "Dave" nameplate resting on the desk. (Screensgrab via NPR Music)
"Ladies and gentlemen, we're a new group called De La Soul."

When DJ Maseo delivered that deadpan introduction to the crowd gathered at the NPR offices on Tuesday it drew a laugh. Humor has always been the foundational glue of the legendary Long Island trio. But behind the turntable, the joke carried a heavy, undeniable truth: the duties have been reassessed, the focus has shifted, and the architects of the D.A.I.S.Y. Age are navigating a new reality.

The highly anticipated NPR Tiny Desk concert premiered on what fans officially recognize as De La Soul Day. It was billed as a celebration of milestones, primarily marking year three of the group's classic catalog finally returning to their control and hitting streaming services after a decades-long legal battle. It also served as a showcase for their 2025 music album, "Cabin in the Sky."

But hovering above the soaring live instrumentation was the profound absence of David Jolicoeur  —known to the culture as Trugoy the Dove, or Plug Two — who passed away in February 2023 just weeks before the group's masters were finally liberated.

According to NPR's Bobby Carter, surviving members Kelvin "Posdnuos" Mercer and Vincent "Maseo" Mason were highly intentional during the planning process, openly discussing what their late brother would and would not approve of creatively. The result was a setlist that masterfully balanced raucous joy with open grief.

"Cindy said if y'all stop, then Dave stopped, and that wouldn't be the show," Posdnuos rapped early in the set, making it clear that their continued forward motion is the ultimate tribute to Jolicoeur's legacy. Throughout the room, the mantra was simple and repeated: "Dave always."

Backed by a sprawling, nine-piece live band directed by powerhouse drummer Daru Jones, the newly minted duo completely reimagined their sample-heavy catalog. With the addition of a horn section, a viola, and phenomenal background vocalists Yummy Bingham and Gina Loring, the group breathed expansive new life into 90s foundational texts.

The crowd was fully engaged during a towering rendition of "Stakes Is High," with Posdnuos leading the room in a call-and-response, urging the audience to shout "vibration" against the track's iconic, thumping beat. Later, Loring took center stage for a transcendent vocal performance on "Different World," cementing the live band's incredible chemistry.

Yet, amid the massive musical arrangements, the group still found time for the intimate, off-the-cuff humor that made them famous. Before launching into a heartfelt new track titled "A Quick 16 for Mama," Maseo and Pos joked about their current side hustles, with Maseo claiming he was driving Uber XL and Pos quipping that he was doing DoorDash. "Got to get it how you live," Pos laughed, before the band settled into a smooth, nostalgic groove that Maseo noted reminded him of the beats his mother used to play.

The emotional climax of the set arrived during the closing performance of their 1989 breakout hit, "Me Myself and I." As the familiar, infectious bassline rolled through the NPR offices, the lyrics took on a poignant new weight. The group demanded the audience sing along, eventually stripping the beat away to let the room chant the chorus a cappella.

Before the final notes rang out, Maseo took to the microphone to issue one last, simple instruction to the room: "Let me hear you say thank you, Dave."

Watch the full De La Soul Tiny Desk performance below.  

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