#Purple-Groove Bernard

[bear-boi-5]

Shitpost #4

GET SPARKLED BITCH

[luckyluan]

CHAPTER 8.2: THE CHASE

“Well, un-hepta the lock, Max, and please hurry. We got two Slender skating on our four o’clock.” Antwan quipped. 

He took his husband’s instructions and jammed Bernard’s fingers against the lock four more times and the corresponding lids popped open. The sixth time, however, the keypad light did not change. 

“Try a combination!” Antwan growled. 

Maxim pressed Bernard’s middle and ring finger to the keypad, and it lit to a golden hue. He tapped the ring finger against the seventh lock and the touch, again, lay dormant. Maxim groaned. He fumbled to Bernard’s pinky and the final slid shot open. Maxim wasted no time. He sank his arm—to the elbow—into the depths of the case and his fingers connected with a weighty package. He pulled it out and turned under the noon day sun. The purple package was the size of a small tablet and violet paisley patterns shimmered across the matte violet exterior. Maxim tore it open, and the paisley patterns scattered like disturbed ants. 

He tipped the envelope into his hand and a cold sliver of metal made his palm heavy, but he saw nothing. Maxim pressed his fingers to its invisible sides and a series of grooves revealed themselves under his roving fingertips. He flipped it over and the metal card let loose a rainbow of colors. The late afternoon sunlight filtered through its tiny gashes and the invisible card cast a single word onto the tattered tan upholstery in the backseat. 

“Armistead.” recited Maxim. 

“There was a metallic thud and something heavy dropped onto the top of their ride. A deep crater formed in the roof and Antwan aimed his gun at the ceiling. The second Slender landed on the hood of their vehicle and Antwan let a copper bullet fly. 

“Drive!” Maxim ordered. 

Antwan wrenched the key over, and they thundered into traffic. Their gnarly hood ornament bared her silver fangs and Antwan mashed on the gas. Glass flew into the cab as her head created a jagged hole in the front window. 

The Bronco swerved down the two-lane street in a flurry of screeches and sparks. The slimy creature, lodged in the windshield, thrashed around violently. She hissed and Antwan pelted her temple with the butt of his gun. 

“Watch the road!” Maxim scolded. 

“Then shoot the bitch!” Antwan fussed. 

Maxim’s hands were mashed against the sinistre’s chin, and he pushed its head up toward the rearview mirror. Antwan’s thundering punches sent the slender’s eyes rolling into the back of its head; and he steered the car over the jagged Louisiana street like a pro. 

“Yup, we’re home.”  

Antwan spat his words through gritted teeth as the car dipped into a pothole. The car unleashed a giant shudder and Maxim’s stomach turned when a wicked shard from the windshield buried itself in the slender’s scaly neck. Its body went limp. 

“One down!” Antwan shouted. 

[ogremelodies]

since the founding of the city

A dpd Lorry says he's out for delivery Says you were out when he delivered A Pea from Steps stares At those AHA moments In the pear tree Foments a Cider you I ant seen since Princesses were grown ups Thinking we could manage The baggage handlers crowned Miscarriage o justice Of the piece? No, just us with baby teeth Self belief e steem Engine ur a paean Language to a tension Deficit bud, get quick to ur @mentions Blue light strikes A chord with the bored In the same place twice Better yet help the same vein sliced Like a scroll down the middle The ad trials you a fiddle Digital never physical And thus constantly replay able Sorry the groove says 'Resellable' But it ain't the capitalists Who brought George out the jungle Nor violence that caused The prison camps Of Bernard matthew The promise of the promised land Cancelled out like quadratic contraband That's right kids Alls that's left is The foundation of the genitive Who owns the sun that feeds The grass in your spliff Or the wind in the bowels Of your great great grand daughters Bloated Dead kids Maybe Its probably pretty fine Not to think that those Are the true colours of anyone you might know's time Floated in the river Like a witching stool Sample sir book a time For us to redeliver Nutrients you need em Like Islam needs Cat Stevens A grievance int a grievance If ya can't explain why ur flushing red Demons, as the blood colour deepens Surely not no ilkley moor?! As the Heather purple boils over sore The building of the pyramids Seen as the false slavers' crime rather than a triumph of cultural and natural rhyme In the arc of Bonaparte's target practice My real life lacks all this Wane on world and wax bloody obvious

Chorus chorus chorus chorus

[secretradiobrooklyn]

SECRET RADIO | 9.26.20

Secret Radio | 9.26.20 |  Hear it here.

“We don’t know where you are but we’re glad you’re here”

Liner notes by Evan, except * means Paige

1. Ayalew Mesfin - “Hasabe (My Worries)”

This track comes to us via Marc Hawthorne in San Francisco and is some hot Ethiopian stomp. Marc has been turning me on to crucial music for years, but I feel like both of our palates have expanded in unexpected directions lately. I love how foreign and how relatable this song sounds at once — “hasabe” really does sound like a guy singing about his worries, which makes it feel like he’s speaking the same language. 

2. Witch - “Introduction”

Such a commandingly hip voice announcing the band and getting us all in the groove. Witch is Zambian rock in a pretty unhinged style — apparently WITCH stands for “We Intend To Create Havoc,” which if true is basically the greatest band name ever. 

3. Erkin Koray - “Cemelim”

Every time I hear this track I think of Jefferson Airplane’s foreboding sense of dark anticipation. The added frills of shifting into Turkish bent-note vocals takes it up another level. This track is from 1974 but carries the whole psychedelic ‘60s wave forward in an unbroken wave. As we mentioned, the video is worth checking out not just because the singer/guitarist is mesmerizing or because the bassist is inherently hilarious but because their outfits are legendary. Our thanks to Brian and Mona for the heads up.

https://www.youtube.com/watch?v=F-k_Fr67bPQ

4. The Velvet Underground - “Coney Island Steeplechase”

“Lies and betrayals / fruit-covered nails” — naw, just kiddin, this song happens long before Pavement, or the Strokes for that matter. I never really understood what people meant when they said that the Strokes sound like VU, but listening to this song in headphones it kinda feels like the Julian Casablancas built an entire career off Lou’s vocal delivery on this song. And who could blame him? Lou wasn’t usin it anymore.

Hailu Mergia - “Sintayehu”

We got this record during the pandemic and it has been like a stress dissolver. There’s a tape that we got in Manhattan Kansas at a house show we played, a band called Casino Gardens, that I think of every time we hear this album. Not the same in particulars, but very much the same in spirit.

5. Divino Niño - “Melty Caramelo”

One of Sleepy Kitty’s first tours was with Divino Niño (thanks, Brandon!) just as they were assembling, and they have always been a band of fellows we enjoy as much as the music that they write. I did this set of dates with a broken bone in my swole-up, purple right hand, which I wouldn’t recommend to any drummers out there. I will say though that every single drummer in the bar that night told me that they had broken the same exact bone the same way. Not by drumming but by punching an inanimate object. 

6. Moodoïd - “Je suis la montagne”

I think this song is a benefit of Paige learning French for the last couple of years. Found it on a 3.5 hour French mix on Spotify.

https://www.youtube.com/watch?v=xCuthCn8zxs

7. Sleepy Kitty - “Dreaming of Waterfalls” demo *

There are like, 7 people who have heard this song until now. This song came pretty mysteriously to me after a completely transformative trip to Kauaʻi for the wedding of ace folks and dear friends Stewart and Trenton. People who have gone to Hawaiʻi have always told me how amazing Hawaiʻi is and how it’ll change your life and it’s the best place in the entire world, and I was always like, “ok, sure whatever” until we went and now I am forever changed. I won’t get too into it here, but it’s all totally true and as amazing as they say. I can’t remember if this song was literally in the dream I had in San Diego the night we returned to the contiguous 48, or if it somehow emerged out of thinking of that dream, but it basically just appeared and I thought about it and thought about it and kept it in my head the whole plane ride back to St. Louis and recorded it pretty much immediately when we got back. I played 2 songs at our friends’ wedding on uke (where I was relieved to get approval from the Hawaiian family, ha ha) and it’s still a very unfamiliar instrument to me but it was the only answer for this song.

This is also one of a few recordings I made shortly before the first of 2 vocal surgeries around that time. It was kind of a stressful time musically; I was still figuring out what was going on, knowing something was wrong, getting hoarse all the time but not knowing what was going on yet.  Learning the songs for the wedding, and this song and this recording are positive memories in what was a very uncertain period in Sleepy Kitty life. I can definitely remember the challenges and limitations of that time, but it’s great to have this beautiful little moment that came out of that time too. When I hear this now, I like it and I’m glad to have it. It transports me back to that magical place and I’m thankful to Stewart and Trenton for having us there to celebrate with them.

8. The Fall - “Arms Control Poseur” (Bonus Version) (whatever that means)

“What do you fear?”

“Being found out.”

“The why do you always give yourself away?”

After initially being repulsed by The Fall, I eventually had what felt like essentially a religious experience after falling asleep listening to them on repeat in the tour bus — somehow their perverse aesthetic had become grafted into my DNA. I became an avid proselytizer for the band, with few takers, for years. Eventually I kind of gave up, baffled both by how intensely I felt their music and how immune everyone else apparently was to it. 

Cut to years later in an apartment on North Ave in Chicago, watching Paige bike up the street towards the window where I stood. She apologized as she walked her bike up the stairs. Sorry I’m late, she said, I just got caught up in the Fall. I don’t know how to explain it. You don’t understand, The Fall is not like other bands.

I literally thought that she was teasing me, and that I must have talked her ear off about the band at some point. But NO — she’d had the exact sort of conversion experience as me. In her case it was to “Extricate,” which was one of my very favorite albums, being the second one I personally owned. 

Still, this record’s aesthetic is completely dominant in my life. I couldn’t even guess how many times I’ve listened to it, and it still fascinates me every time.

“I quite very very much enjoyed 

his jovial lies

lying”

9. T.P. Orchestre Poly-Rythmo - “Wodeka Kpoe”

The day I found this track I was completely distracted by it. It’s so muscular and lean and intense. I love everything about the almost metallic drum sound, the dry vocals, the guitar telling its own narrative, the sharp little shaker going the whole time. It’s the closest thing to punk in Beninese music that I’ve heard. I read recently that this was on a 1983 Albarika Records comp LP (the person referred to the as “legendary,” but I don’t know to whom, or when), and when I looked it up a lot of other tracks that we love from the Soundway comp were there. But as far as I know, it’s not on any of those 21st century collections. So good!

10. Orchestre Abass - “Haka Dunia”

The cover of this 6-song burner shows a guy with a guitar behind a keyboard called TIGER 61, with his foot up on… what? the keys bench? There’s a single pedal on the floor that leads up into the keyboard. The sounds that come from that board though! This is a tone I think of as completely desirable. I guess this is also punk, this one from Togo. I mean, I have no idea what he/they think they’re doing, but to me it feels like it has all the stuff that I love in punk music.

Hailu Mergia

11. T.P. Orchestre de Cotonou Benin - “Moulon Devia”

I just realized this track can be found elsewhere, but I found it on a record credited to T.P. Orchestre Poly-Rythmo de Cotonou Benin, with a great photo of Yehouessi Leopold and Zoundegnon Papillon Bernard on the cover looking like the coolest dudes in the world cos they are. There are some great stereo panning effects, no doubt done live, on the horns at the beginning and the keys solo in the middle, which really enriches the headphone experience. This keys solo uses a suite of sounds that I absolutely love from them — and which are apparently the work of Papillon himself! I knew he was the guitarist who builds sand castles in the air of T.P. songs, but I only just realized that he’s also the guy throwing down those supper trippy Farfisa sounds! Holy smokes, that’s just ridiculous. He and Yehouessi are probably my favorite rhythm combo ever. PLUS they’ve got Bentho Gustave on bass, whose T.P. album was the first one we bought abroad. I mean, this track is so epic.

12. Patrick Juvet - “Où sont les femmes”*

I have a new awesome French teacher, who sends me cabaret songs to check out and says things like “I’m an old queen! What am I to do!” He played this song over Zoom for some live hold music while I was printing something for a recent lesson. I’m excited to hopefully hear more French music from him and also to hear more of his stories of discotheques in the 80s.

Evan adds: The video is well worth your attention as well, especially if you like red sequins glinting disco diamonds beneath deeply feathered hair. 

https://www.youtube.com/watch?v=Zqc7mVZQNFo

13. Le Tigre - “Deceptacon”

This is one of the all-time top art school party songs as far as I know. And why the hell not? It’s pure Olympia, and all the hooks line up all the way down.

I video that someone made for school has essentially become the official video of the song because it’s totally awesome and fits like a pure expression of the song.

https://www.youtube.com/watch?v=-SyBR-M2YvU

14. Themne Song Track 1  

I don’t know who performed this track or what it’s called — it’s just identified as “Themne Song Track 1,” Themne being the name of a tribe in Sierra Leone. I think it might be a “comedian story teller” called Miranda T Denkenneh, but can’t tell.

I’ve been into Janka Nabay and the Bubu Gang for a couple of years now. Nabay is a Sierra Leonan musician who came to NYC and put together a band of hip NY musicians who make this rhythmically complex yet somehow austere dance music that I find totally fascinating. Reading up on them, he was described as translating the music he came from into a more electric style. Well, it turns out that is indeed the case, based on this track from Sierra Leone. This sounds like Janka Nabay but warm and large where his music is focused and tight. I totally see both how damn danceable this Themne 

One of my favorite things about discovering this song is: the notes on the YouTube track are exclusively from ex-pats loving music from home and the old days, calling out their tribe and checking in from wherever they are. One guy, Ibrahim Noah Koroma, writes from Senegal:

tears fall down in my eyes when I listing dis song missing u SL 🇸🇱🇸🇱💪💪💪 I'm proud of my tribe temne 💯💪💪💪

15. The Sugarcubes - “Regina”

The setup of this song is such an angular, proggy spiky comic thing, definitely cool in its own way, but man, when it hits the chorus, it’s absolutely the most gorgeous thing. The lyrics are truly bizarre, and they’re making me appreciate how this band impacted Bjork’s later work. One thing I don’t understand: does she pronounce “Regina” with a hard G because that’s how that word is pronounced in Icelandic? Or is that just something she does?

16. Gétatchèw Mèkurya - “Ambassèl”

The more we learn about Ethiopian jazz and popular music before and after their political strife, the more there is to learn. In fact, one thing I learned about Mèkurya is that he played with Dutch socialist punks The Ex, a band I have admired for a couple of decades now, though mostly because I’m stuck on their album “Scrabbling at the Lock.” They apparently toured together in the aughties… and all of a sudden I can hear how their very different sounds actually relate very aptly. Man. That’s enough to fall in love with music all over again.

Also, one fact that must be acknowledged: Gétatchèw is maybe the best first name ever.

17. Jacques Dutronc - “Et moi, et moi, et moi”

I just dropped these lyrics into Google translate and it turns out he’s got a very identifiable brand of humor — wry, confident, diffident. He always makes me think of Dylan with his delivery.

18. Meas Samon - “Jol Dondeung Kone Key (Going to Get Engaged)”

So much feel! Those key dives just to open the song, man, I don’t even know. And the vocals are spilling over with character — it’s like watching a movie unfold. This is Cambodian, from the late sixties or early seventies. Every time it gets to the keys solos I think about how much I want Dave Grelle to hear this track, like, right now. It’s between this and Abass for sickest keys distortion to be found.

19. T.P. Orchestre - “Senamin” *

What is up with this song? We came across it and kind of set it aside, and then it was just in my head all. the. time. At first I wasn’t sure about the 1996 movie version “I’d Be Surprisingly Good For You” style sax (my LEAST favorite song in Evita) But, even so this song is so...majestic! And mysterious! The haunting melodies dancing around together at the end really got me.  

20. Hallelujah Chicken Run Band - “Alikilula”

The constant interaction of 3s and 4s in Chicken Run songs never fails to delight me. The shapes of the songs are almost like Guided By Voices tracks — one good idea perfectly expressed, and then they’re outta there. 

21. Antoine Dougbé - “Nou Akuenon Hwlin Me Sin Koussio”

If I could pick one album for all of my friends to spin a few times in a row… that would not be easy. But lately, that record would be “Legends of Benin,” the totally headspinning comp put out by Analog Africa. Every track is a deep insight into what rock music can be. In the liner notes, Samy Ben Redjeb takes the listener on a whole record-buying expedition through the southern coast of west Africa, describing where he picked up particular LPs, falling into conversations with some of the musicians, and generally providing insights both romantic and invaluable. (His notes on Dougbé are worth the price of admission.) In one note he mentions talking to a friend about how Africa doesn’t seem to deal well in reggae, and he considers “Nou Akuenon” one of the best attempts on the continent. It hadn’t occurred to me to think of this as reggae… and I still don’t hear it that way. But I like thinking of the band reaching for reggae and making this instead. 

22. Francoise Hardy - “Les temps de l’amour”

23. Ros Sereysothea - Chnam oun Dop-Pram Muy “I’m 16”

I love how fully developed these Cambodian songs are. They’re not aping a particular song or building replicas of songs in English or French: they’re working in pop music just like anyone else. The arrangements are so tight and well structured, and everybody is adding in more than their share on their instruments. Though Ros’s voice steals the show, the backing vocals on this song are especially good as well.

24. Aerovons - “Say Georgia”

Man, one of the pleasures of living in St. Louis was learning the story of The Aerovons, a group of high school kids who got flown across the Atlantic to record at Abbey Road with all of the same gear and technicians who were busy putting together records for The Beatles… only to have the album go unreleased for decades. It’s truly a reminder to appreciate the experience itself and not just the results. These guys experienced the absolute pinnacle of the studio recording dream — there is none higher — but that’s it. None of the fame or the attendant glory, just the knowledge of what they’d been able to do together.

“Texas Thunder Soul 1968-1974”

25. Ravi Shankar - Jazzmine - “Mishrank (Finale)”

The whole “Jazzmine” album is a mindblower, and it’s almost a shame to cut right to the finale of an album that builds its case song by song, illustrating the paths that Shankar’s raga and jazz take toward each other, from “Melodic Moods” to the amazing tabla solos of “Taalank” to “Deshank (Folk Patterns)” to crest with “Mishrank,” where Zep meets jazz club meets Somalian backroom in an Indian realm. Every solo brings a ton of new information about whose voices are adding to this total experience. And more than anything, it sounds like fun.

One thing I dig about this recording is that, as far as I can tell, more than one performance of this song is spliced together into this single track. That seems like a big no-no among jazz folks, but I really don’t mind it one bit — if anything, that helps me hear the song relative to more jarring experimental tape manipulation bands. 

[fabulousfabstuff]

Discothèque

Rien de très intéressant par ici, juste la liste complète de la collection de synecdoques vinyles(299) qui envahissent mon appartement.

ARTISTTitle24 CARAT BLACKGhetto: Misfortune's WealthA TRIBE CALLED QUESTWe Got It From Here…thank You 4 Your ServiceABBEY LINCOLNThat's HimAL GREENLet's Stay TogetherAL GREENI'm Still In Love With YouAL GREENI Can't StopALAIN BASHUNGChattertonALAIN BASHUNGFantaisie MilitaireALAIN BASHUNGL'imprudenceAMY WINEHOUSEBack To BlackANDERSON .PAAKMalibuANDERSON .PAAKOxnardANDREYA TRIANALost Where I BelongANDREYA TRIANAGiantsARETHA FRANKLINAretha ArrivesARETHA FRANKLINLady SoulARNOHuman IncognitoART BLAKEY QUINTETA Night At Birdland, Vol.2ART BLAKEY QUINTETMoanin'ARTO LINDSAY / AMBITIOUS LOVERSEnvyAYOTicket To The WorldBANKSGoddessBARBARA LYNNHere Is Barbara LynnBENJAMIN CLEMENTINEAt Least For NowBENJAMIN CLEMENTINEI Tell A FlyBERNARD WRIGHTMr. WrightBETTY DAVISIs It Love Or DesireBETTY HARRISThe Lost Queen Of New Orleans SoulBETTYE LAVETTENearer To YouBILL EVANS TRIOSunday at The Village VanguardBILL WITHERSBill Withers' Greatest HitsBILLIE HOLIDAYLadyBILLIE HOLIDAYLover ManBILLY COBHAMCrosswindsBILLY COBHAMMagicBILLY COBHAMSpectrumBILLY COBHAMTotal EclipseBILLY OCEANTear Down These WallsBLACK SABBATHBlack SabbathBLOOD ORANGECoastal GroovesBLOOD ORANGECupid DeluxeBLOOD ORANGEFreetown SoundBLOOD ORANGENegro SwanBOBBY WOMACKThe Bravest Man In The UniverseBREAKBOTStill WatersBRIGITTE FONTAINE13 Chansons Décadentes Et FantasmagoriquesCARIBOUOur LoveCARIBOUSwimCHAKA KHANHello HappinessCHARLES BRADLEYChangesCHARLES BRADLEYVictim Of LoveCHARLES BRADLEYNo Time For DreamingCHARLOTTE GAINSBOURGRestCHET BAKERChetCHET BAKERChet Baker SingsCHET BAKERIt Could Happen To YouCHRISTIAN SCOTTStretch MusicCLAUDE LUTERClaude LuterCOMMONLike Water For ChocolateCOURTNEY PINEJourney To The Urge WithinCURTIS MAYFIELDSuperflyCURTIS MAYFIELDCurtisCYMANDECymandeD'ANGELOBrown SugarD'ANGELOVoodooD'ANGELOBlack MessiahDEPECHE MODEDelta MachineDEPECHE MODEExciterDEPECHE MODEPlaying The AngelDEPECHE MODESpiritDIANA ROSSDianaDOMINIQUE A.AuguriDOUNIAH & HIGH JOHNDream BabyEL COCODancing In ParadiseEL MICHELS AFFAIRReturn To The 37th ChamberEL MICHELS AFFAIRSounding Out The CityELLA FITZGERALDLive At The Deutschlandhalle In BerlinELLA FITZGERALD & LOUIS ARMSTRONGElla And LouisELLA MAIElla MaiERIK TRUFFAZMantisERIK TRUFFAZThe MaskERYKAH BADUBaduizmERYKAH BADUNew Amerykah: Part One (4th World War)ERYKAH BADUNew Amerykah Part Two: Return Of The AnkhERYKAH BADUWorldwide UndergroundESPERANZA SPALDINGChamber Music SocietyESPERANZA SPALDINGEmily's D+evolutionESPERANZA SPALDINGJunjoESPERANZA SPALDINGRadio Music SocietyESPERANZA SPALDING12 Little SpellsFATIMAAnd Yet It's All LoveFATIMAYellow MemoriesFEISTMetalsFEISTPleasureFEISTThe ReminderFREDDIE HUBBARDBreaking PointFUGEESThe ScoreGASPARD SOMMERAsking QuestionsGOTYEMaking MirrorsGRACE JONESIsland LifeGREGORY PORTERLiquid SpiritGREGORY PORTERTake Me To The AlleyGREGORY PORTERWaterGURUJazzmatazz, Vol.1HERBIE HANCOCKMaiden VoyageHI-TEKHi-teknologyIBEYIIbeyiIBEYIAshICE-TPowerIGGY POPPost Pop DepressionIGGY POPFreeJ DILLADonutsJACK WHITELazarettoJAINZanakaJAMES BROWNSlaughter's Big Rip-offJAMES BROWNThe PaybackJAMES BROWN & THE FAMOUS FLAMESPlease, Please, PleaseJAMES BROWN & THE J.B.'SGet Down With James Brown: Live At The Apollo Volume IVJANE BIRKINLolita Go HomeJANELLE MONÁEThe Electric LadyJAY-ZAmerican GangsterJAY-ZThe Blueprint² The Gift & The CurseJHENÉ AIKOSouled OutJIMI TENOROrder Of NothingnessJIMMY SMITHThe Sermon!JOE HENDERSONPage OneJOE SIMONGet DownJOHN COLTRANEBlue TrainJORJA SMITHLost & FoundJOSHUA REDMAN QUARTETMoodswingJOSÉ JAMESNo Beginning No EndJOSÉ JAMESWhile You Were SleepingJOSÉ JAMESYesterday I Had The Blues: The Music Of Billie HolidayJOY DIVISIONUnknown PleasuresJUSTIN TIMBERLAKEThe 20/20 ExperienceKANYE WESTMy Beautiful Dark Twisted FantasyKASHIFCondition Of The HeartKATE BUSHNever For EverKELISFoodKELLY FINNIGANThe Tales People TellKENNY DORHAM WITH CANNONBALL ADDERLEYBlue SpringKENNY DORHAM WITH SONNY ROLLINSJazz ContrastsLAURYN HILLThe Miseducation Of Lauryn HillLEE MORGANThe SidewinderLEE MORGANCornbreadLEE MOSESTime And PlaceLEON BRIDGESComing HomeLEON BRIDGESGood ThingLIANNE LA HAVASBloodLIANNE LA HAVASIs Your Love Big Enough?LYN COLLINSThink (About It)MACEO PARKERLife On Planet GrooveMADLIBShades Of Blue (Madlib Invades Blue Note)MADONNALike A VirginMADONNAThe First AlbumMADVILLAINMadvillainyMALIA, BORIS BLANKConvergenceMARLENA SHAWThe Spice Of LifeMARLENA SHAWWho Is This Bitch, Anyway?MARVA WHITNEYIt's My ThingMARVIN GAYEMidnight LoveMARVIN GAYETrouble ManMARVIN GAYEWhat's Going OnMARY WELLSBye Bye Baby, I Don't Want To Take A ChanceMARY WELLSMary Wells Sings My GuyMASSIVE ATTACKBlue LinesMASSIVE ATTACKProtectionME'SHELL NDEGÉOCELLOPour Une Âme Souveraine A Dedication To Nina SimoneMICHAEL KIWANUKAHome AgainMICHAEL KIWANUKALove & HateMICHAEL KIWANUKAOut Loud!MILES DAVISKind Of BlueMINNIE RIPERTONLes Fleurs The Minnie Riperton AnthologyMORCHEEBACharangoMORCHEEBAFragments Of FreedomMORPHINECure For PainMOUNT KIMBIELove What SurvivesMÉLISSA LAVEAUXCamphor & CopperMÉLISSA LAVEAUXDying Is A Wild NightMÉLISSA LAVEAUXRadyo SiwèlN*E*R*DNothingN.W.A.Straight Outta ComptonNASIllmaticNAS & DAMIAN MARLEYDistant RelativesNICK CAVE AND THE BAD SEEDSMurder BalladsNICK WATERHOUSENick WatherhouseNINA SIMONEPastel BluesNINE INCH NAILSHesitation MarksNIRVANANevermindNORAH JONESCome Away With MeNORAH JONESFeels Like HomeNU GUINEANuova NapoliOVERCOATSYoungOXMO PUCCINOL'arme De PaixOXMO PUCCINOLa Voix LactéeOXMO PUCCINORoi Sans CarrosseOXMO PUCCINOLa Nuit De RéveilPJ HARVEYLet England ShakePJ HARVEYTo Bring You My LovePJ HARVEYWhite ChalkPARCELSParcelsPEDERAnd He Just Pointed To The Sky...PINK FLOYDThe WallPORTISHEADPortisheadPRINCESign "O" The TimesPRINCELovesexyPRINCE1999PRINCEArt Official AgePRINCE & 3RDEYEGIRLPlectrumelectrumPUBLIC ENEMYApocalypse 91... The Enemy Strikes BlackPUBLIC ENEMYFear Of A Black PlanetR+R=NOWCollagically SpeakingRAPHAEL SAADIQThe Way I See ItRICK JAMESReflectionsRICK JAMESStreet SongsROBERT GLASPER EXPERIMENTBlack RadioROBERT GLASPER EXPERIMENTBlack Radio 2RODOLPHE BURGERGoodROLAND KIRKThe Inflated TearROY AYERSCoffyROY AYERS UBIQUITYA Tear To A SmileROY AYERS UBIQUITYEverybody Loves The SunshineRYO FUKUIMellow DreamRYO FUKUISceneryRYO FUKUIA Letter From SlowboatSADEDiamond LifeSADELove DeluxeSADELovers RockSADEPromiseSADESoldier Of LoveSADEStronger Than PrideSANTIGOLDMaster Of My Make BelieveSANTOGOLDSantogoldSERGE GAINSBOURGAux Armes Et CæteraSERGE GAINSBOURGBest Of - Gainsbourg - Comme Un BoomerangSERGE GAINSBOURGCouleur CafeSERGE GAINSBOURGL'étonnant Serge Gainsbourg (N°3)SERGE GAINSBOURGLa JavanaiseSERGE GAINSBOURGLe Poinçonneur Des LilasSERGE GAINSBOURGSerge GainsbourgSHADOWSweet Sweet DreamsSHANNONLet The Music PlaySHARON JONES & THE DAP-KINGS100 Days, 100 NightsSHARON JONES & THE DAP-KINGSDap-dippin' With...SHARON JONES & THE DAP-KINGSGive The People What They WantSHARON JONES & THE DAP-KINGSI Learned The Hard WaySHARON JONES & THE DAP-KINGSNaturallySHARON JONES & THE DAP-KINGSSoul Time!SOLANGEA Seat At The TableSOLANGEWhen I Get HomeSONNY ROLLINSVolume TwoST GERMAINTouristSTAN GETZ / JOÃO GILBERTO FEATURING ANTONIO CARLOS JOBIMGetz / GilbertoSTEVE WINWOODBack In The High LifeSTEVIE WONDERHotter Than JulySTUFF COMBEStuff Combe 5 + PercussionTAKUYA KURODARising SonTALKING HEADS77TEDDY PENDERGRASSWorkin' It BackTHE CUREPornographyTHE DAVE BRUBECK QUARTETTime Further Out (Miro Reflections)THE DAVE BRUBECK QUARTETTime OutTHE DAVE BRUBECK QUARTET FEATURING: PAUL DESMONDRecorded Live At Newport Jazz FestivalTHE DELIJazz CatTHE DOORSL.A. WomanTHE DOORSMorrison HotelTHE DOORSStrange DaysTHE DOORSThe DoorsTHE DOORSWaiting For The SunTHE ISLEY BROTHERSWinner Takes AllTHE PHARCYDEPlain RapTHE ROOTSHow I Got OverTHE S.O.S. BANDDiamonds In The RawTHE STOOGESRare PowerTHE STOOGESThe StoogesTHE YOUNG GODSData Mirage TangramTONY ALLENThe SourceTOWER OF POWERBump CityTROMBONE SHORTYFor TrueWAYNE SHORTERSpeak No EvilWENDY RENEAfter Laughter Comes Tears: Complete Stax & Volt Singles + Rarities 1964-1965WILLIE HUTCHThe MackWU-TANG CLANEnter The Wu-tang (36 Chambers)YELLOTouch YelloYOUN SUN NAHLentoOriginal Sound Track AlbumCLIFF MARTINEZ - DriveOriginal Sound Track AlbumHERBIE HANCOCK - Blow-upOriginal Sound Track AlbumISAAC HAYES - ShaftOriginal Sound Track AlbumJ.J. JOHNSON / JOE SIMON / MILLIE JACKSON - Cleopatra JonesOriginal Sound Track AlbumMILES DAVIS - Ascenseur Pour L'échafaud (Lift To The Scaffold)Original Sound Track Album Original Sound Track AlbumJackie BrownOriginal Sound Track AlbumPulp FictionOriginal Sound Track AlbumPRINCE AND THE REVOLUTION - Purple RainOriginal Sound Track AlbumVinyl: Music From The Hbo Original Series Volume 1VARIOUSThai Funk Volume OneVARIOUSWake Up You! The Rise And Fall Of Nigerian Rock 1972-1977 Vol. 2VARIOUSWe Out Here

[thesunlounge]

Reviews 279: Bad Hammer

No release this year has taken hold of me quite like Extended Play, an ethereal, atmospheric, and lush collection of shadow pop epics written, performed, and produced by Lisa Klinkhammer and Johannes Badzura, otherwise known as Bad Hammer. I was first clued into to duo by Doom Chakra Tapes, who released Extended Play on cassette at the end of March, and as I found out later, this release was paralleled by a vinyl version on Klinkhammer’s and Badzura’s own Italian Island imprint. Now having spent a lot of time with both versions, I am overwhelmed by how dreamlike and intoxicating it all is, with vaporous synthesis overlaying rhythmic sways, twilit bass ambulations, and baritone guitars awash in spy movie twang and surf rock verb. The vocals move between romantic coos, swooning choruses, paradise whispers, and anthemic chants as Klinkhammer evokes some of my favorite vocal warriors from across the decades, with names such as Grace Slick, Siouxsie Sioux, Julee Cruise, Victoria Legrand, and Ruth Radelet coming to mind across the EP’s five delirious tracks. As well, her voice is sometimes backed by Badzura’s subdued and sleepy-eyed harmonies, and during the epic closer “Lost and Won,” Badzura fully assumes the lead with his deep and sensual croon. Taken altogether, it’s the kind of music that immerses the soul…the sonic equivalent of being surrounded by the ambient blues, glowing pinks, and deep purples of the album cover…a sort of druggy hazy fever dream of entrancing pop and Badalementi-infused nightscape sorcery that I could float within forever.

Bad Hammer - Extended Play (Italian Island / Doom Chakra, 2019) “Patients” begins with soft-focus synthesis billowing like fog and bringing to mind the cinematic hues of Cliff Martinez. The drums glide in with double-time hats and a downer post-punk energy while toms and snares smash around the spectrum and eventually, guitar riffs generate moody tracers alongside brass and string orchestrations that seem to swirl into a paradise haze. A voice enchants…cool yet affecting…and as we move into a sort of chorus, Klinkhammer pleads “follow me to patients night / come with me to patients night” as sensual basslines begin moving through droning pulses and shadowland slides. Fuzz guitars arc across the sky while everything slowly builds, with the vocals growing ever more desperate and searching…calling out powerfully until fading into reverberated ether. And all the while, new age chimes intertwine with glossy melodies while hovering spheroids glow in hues of twilight. Then in “Ghost,” acoustic drums pop under layers of spring reverb while thick and fuzzy synthesizers swell in on waves of sunshine. Sliding six-string leads and golden guitar arps background Klinkhammer’s dreamy singing, which hovers softly in the verse, creating a dreamsway of pastoral pop psychedelia. Once the chorus hits, the song explodes into an all out anthem and it’s impossible not to shout “I SAW A GHOST” in support of Klinkhammer’s majestic croon, with her voice wavering softly through natural vibrato as synthesizers buzz and smolder, bass guitars pulse on the beat, and guitars sparkle and shine through layers of white noise. After a bridge of haunted western slide guitar and surfadelic twang…a moment of post-rock saloon magic leading to whispers and synthesized radiance…we explode once more into the chorus, which eventually climaxes with a brief yet gorgeous solo of desert guitar mesmerism. 

The downtempo disco rhythms of “Lovezone” flow like a fever dream while guitars glisten and palm-mute, snares decay, and cymbals swell into ether. It’s Bad Hammer outdoing Chromatics in atmospheric narco-pop perfection, with the dreamy vocals like wisps of light as the masculine and feminine unite in spiritual beauty. The mix is minimal and swathed in ethereality while progressively building towards a spectacular climax of moody baritone guitar perfection…a sort of spy flick theme moving through lands of purple vapor and infinite shadow and followed by Klinkhammer’s yearning voice….pleading into the darkness and nearly overtaking the mix through sheer diva power. Later, the duo execute a breathtaking transition and end up in a tribal stomp through realms of daydream heartache. Guitars swell through echo layers, cushiony bass synths float the soul, and vocals bubble into wordless magic, all childlike choirs and cooing comfort. And overhead, Klinkhammer’s lets loose an incredibly soulful and chilling performance…like an angel singing amidst a swirling storm of melancholy magic. In  “Forever,” kick drums, tambourines, shakers, and snares generate an angular sway while FM chords waver over a lowslung bass guitar growl. Guitars slither around the fretboard and work into wonky wailing psychedelia, with everything wavering beneath chorus pedals and flangers. The lyrics speak of a “wooden house near the sea” between apathetic chants of “forever I wait / for you” and the chorus sees six-string and voice ascending together into falsetto strangeness. Sometimes the singing grows operatic and the guitars devolve into mirage renderings and watercolor mutations, with layer after layer intertwining as Badzura and Kinlkhammer swoon together, singing “waiting for you” alongside synthesizers that transmute into feedback.

Overdriven riffs palm-mute above heartbeat drum pulses, rimshots, woodblocks, and layers of dream synthesis in “Lost and Won,” with everything building in strength. The guitar begins spiraling as new age chimes and synthesized orchestrations rain down and eventually, the six-string erupts into soft-focus screaming, with anthemic leads tracked by ethereal electronics. Further guitars enter, resulting in dueling harmonies, searing solos, and stadium bombast and all the while, the drums continue pulsing while sometimes morphing through dub delays. At some point, Badzura’s affecting voice enters…bleary eyed, stoned out, and evoking legendary frontmen such as Bernard Sumner and Billy Idol…as snares drop and give the beat a sense of new wave propulsion. Burning fuzz guitars subsume the mix with layers of atmospheric sludge and towering basslines support the earworm “lost and won” hook that seems to circle all around the mix. Klinkhammer’s voice hovers around the edge of the stereo field and adds touches of paradise magic while elsewhere, guitars solo like Major Star through overwhelming sub-bass pressure waves before exploding into a maximalist dreamscape of descending harmonic radiance. Though “Lost and Won” is officially the album closer, there’s a secret track that follows seeing bongos and congas pan around the spectrum while minimalistic idiophones conjure a fourth world jungle climate. Bass pulses and soft synth chords give the groove shape as cymbals and gongs crash, with everything evoking the work of D.K. And Klinkhammer sings in pure emotional wonderment, wavering in and our of key irresistibly…the effect like the fragility of a French chanteuse, only as if surrounded by vaporous synth progressions, moon-soaked guitar leads, expressive hand drumming, and swelling metal shimmer.

(images from my personal copy)

[chrisgoesrock]

Tranquility - Selftitled (Really Good Folk-Rock UK 1972)

In 1981, Australian singer Olivia Newton-John released her ninth LP, Physical, which became a brief sensation thanks to the slick title-track –a harmless dance anthem with a workout-themed music video featuring awkward flexing, cringe-worthy headbands, and Newton-John pumping up fat dudes to get in shape. The song went platinum, earned a Grammy nomination and burned that synth-backed hook into the pop culture consciousness. In retrospect, the success of "Physical" isn't unusual – its facile pleasures typify that neon era. But there's a strange detail hidden in the liner notes: "Physical" was co-written by British musician Terry Shaddick, a relatively unknown songwriter whose finest work – with psychedelic folk-rock outfit Tranquility – is his most obscure, relegated to random blog post remembrances and dollar-bin vinyl discoveries.

Shaddick founded Tranquility in 1971 with former Donovan manager Ashley Kozak and recruited a hodgepodge of early Seventies prog/psych journeymen for his backing band. Driven by Shaddick's expansive songwriting – a potpourri of influences, including Crobsy, Stills & Young, the Beatles, and early Genesis �� the group signed with CBS Records imprint Epic and hit London's Olympic Sound Studios to record their self-titled debut LP.

The fluid line-up included bassist Kevin McCarthy (formerly of Cressida), keyboardist Tony Lukyn, and lead guitarist Berkeley Wright, along with bassist Jim Leverton and drummer Eric Dillion, both formerly of Noel Redding's short-lived psychedelic act Fat Mattress. (The cast revolved so frequently that Tranquility's first three LP editions featured different back covers and membership credits.) The most famous contributor didn't even play an instrument: Engineer Keith Harwood went on to mix three Led Zeppelin albums (Houses of the Holy, Physical Graffiti, and Presence) and engineer the Rolling Stones (It's Only Rock 'n' Rolland Black and Blue) and David Bowie (Diamond Dogs).

You can learn much about Tranquilityjust by scanning its earthy, post-flower-power artwork – just as I did, when I randomly yanked the LP out of the "T" section as a record store in Asheville, North Carolina during a vacation music hunt. "This is so dated, but in the most perfect way possible," I thought, my brain squirming with excitement as I gazed upon its idyllic hillside scene: the band name emblazoned on a rainbow hovering over a river, a pinkish sky, a mother (wearing all white) and baby resting under a shade tree, a pair of hound dogs stretched out in the green grass. "Wait, is that a hippie version of Virgin Mary and newborn Jesus? Is this the 'Lady of the Lake' referenced in the tracklist?"

Anything was possible in 1972 rock. And the music reflects the creative freedom of that era, when psychedelia, folk and prog co-existed on the Billboard charts. Shaddick's songs combine those elements seamlessly, though at times overtly – like with the lush, chordal CSNY vocal harmonies that appear on almost every track. But Tranquility rise above their easy reference points by combining them in unique ways.

"Try Again" rides a breeze somewhere between Gram Parson's country-rock texture and CSNY's signature phrasings, building to a hypnotic electric guitar solo that recalls both It's a Beautiful Day and The White Album. Shaddick's unobtrusive lyrics ("Should we meet on the road up ahead / and laugh bout the times we spent together?") function only to support the melody, but the atmosphere is the entire point. Dreamy guitar epic "Where You Are (Where I Belong)" fires at a cross-section of mid-Sixties American psych-pop and early folk-prog – layering harmonized electric guitars, Fender Rhodes grooves, propulsive rhythm section shifts, and massive vocal harmonies into a dynamic band showcase.

The album's second side is more deliberately quirky, veering from funky rock tunes ("Walk Along the Road") to jaunty, Kinks-styled pop ("Black Currant Betty," with its music hall piano) to Beatles-esque piano balladry ("Thank You," the lone moment on Tranquilitythat passes by homage into pastiche). Closer "Saying Goodbye" ends the LP with a stirring statement of purpose, revving up from subdued guitar harmonics to a hard-rock chorus.

Despite the obvious appeal, hardly any information about Tranquility (or Tranquility) exists on the Internet, with the bulk of info stemming from a biography at the Vanity Fare website. Before the LP's release, the band opened two British dates for the Byrds before launching their own American tour – but with Tranquility's fan base growing at each gig, the label apparently rush-released their debut to satisfy that demand.

The band managed to record one more album, 1972's Silver, which expanded upon their debut with a heavier approach and higher production values. According to the Vanity Fare site, Epic had bigger expectations for the LP, booking them as tour-openers for acts like "Yes, The Eagles, David Bowie, J Geils Band, New Riders of the Purple Sage, Black Oak Arkansas, and Edgar Winter." After various single releases failed to spark public attention, the band's Epic contract lapsed; and after a last-gasp single on Island Records, Shaddick and company retreated into obscurity. Various members found second life in session work – including bassist Jim Leverton, now a longtime member of Canterbury prog act Caravan.

♦ Acoustic Guitar, Vocals – Kevin McCarthy (3) ♦ Bass Guitar – Bernard Hagley, Jim Leverton, John Perry (7) ♦ Drums, Percussion – Eric Dillon, Paul Francis (2) ♦ Lead Guitar, Vocals – Berkeley Wright, Terry Shaddick ♦ Vocals, Piano, Organ – Tony Lukyn

Recorded at Olympic Sound Studios in London.

01. Try Again 5:18 02. Ride Upon the Sun 4:27 03. Where You Are (Where I Belong) 6:20 04. Look at the Time It's Late 2:27 05. Lady of the Lake 3:21 06. Walk Along the Road 3:21 07. Thank You 3:53 08. Oyster Catcher 4:31 09. Blackcurrant Betty 2:48 10. Happy Is the Man 3:22 11. Saying Goodbye 5:40

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[thephotopitmagazine]

The best part about end of tour stops is the energy you feel from the bands performing. They’ve reached the end of a long journey after weeks of touring and always want to end at their very best, giving it all they have on the stage. And that’s exactly what was happening at House of Blues Orlando on November 1st. Headliners, Wage War, were closing their tour in the Orlando area as a “hometown” show. All of their friends and family were there and you felt this was going to be something extremely special to see. And it was.

Opening up the show was Dayseeker. The California hardcore band formed in 2012. The band signed with InVogue Records and released their first album What It Means to Be Defeated in 2013. The band toured extensively supporting the album before going back into the studio. Their second album Origin reached #20 on the U.S. Heatseeker Album charts. They signed with Spinefarm Records for their next album, Dreaming Is Sinking/Walking Is Rising that hit #11 on the U.S. Heatseeker Album charts. Dayseeker released their fourth album Sleeptalk on September 27, 2019, which peeked at #3 on the U.S. Heatseeker Album charts. Dayseeker is Rory Rodriguez (vocals), Gino Sgambelluri (guitar), Mike Karle (drums), and Ramone Valerio (bass).

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Dayseeker came out to a tremendous roar from the crowd. It may have been the loudest cheers I’ve heard for an opening band. It was packed elbow to elbow at the House of Blues Orlando and there were many Dayseeker fans. Rory looked emotional and surprised by the ovation they received when they got on stage. They opened up with “Drunk” from Sleeptalk. Rory‘s soft vocals were beautiful along with the musical accompaniment. Non-fans may have been confused by the soft opening, but it didn’t last long when Dayseeker let it rip mid-song, which ran chills up my arms. Rory was very grateful to the fans for their love and support during their set. I was beyond impressed with his vocal range. Gino moved around the stage playing hard and providing backup vocals. Ramone was in his groove, keeping a calm demeanor playing bass. Mike was hardcore behind the drums. The band had the crowd moshing during “Sleep in the Sea Pt. II”. Rory got the crowd engaged to light up the floor with their phones during their set. The band used a lot of blues and purple lighting throughout their set. It was a very impressive and solid performance by Dayseeker and the crowd cheered in agreement. You can find their music and merch HERE. Their setlist that night was:

Drunk

Vultures

Sleep in the Sea Pt. II

Burial Plot

Sleeptalk

Crooked Soul

Next up was the Australian metalcore band Polaris. The band from Syndey formed in 2012 and released their first EP Dichotomy independently in 2013. The went on to release their second EP The Guilt & The Grief independently in 2016. The band was signed by SharpTone Records and in 2017 released their debut album The Mortal Coil. The album received fantastic reviews and was nominated for an Australian Recording Industry Association (ARIA) music award in 2018. In the same year, Polaris made their first tour across North America part with Gideon and the other half with headliner fellow Australians Parkway Drive. Polaris is Jamie Hails (vocals), Ryan Siew (lead guitar), Rick Schneider (rhythm guitar), Jake Steinhauser (bass), and Daniel Furnari (drums).

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Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Unlike Dayseeker who started off soft, Polaris was all in from the start with “The Remedy” off The Mortal Coil. Jamie has beautiful transitions from screaming to clean vocals with true power behind them. Ryan and Rick moved around often while they played as did Jake. All three were caught up in the music and having fun. Daniel also played hard but seemed composed behind the drums. The band played with flashing lights, strobes, and backlighting providing us with silhouettes of the band at certain times. Jamie urged the crowd to mosh and crowd surf and the crowd surfers started to come over the barricade. Polaris provided an intense, mosh-worthy performance and the crowd cheered them on through their set and when they wrapped up. They were a true powerhouse on stage. You can find their merch and music HERE. Their setlist that night included:

The Remedy

Casualty

Crooked Path

Relapse

Consume

Lucid

Next to the stage was the Ohio metalcore band Like Moths to Flames. The band formed in 2010 and didn’t waste time in releasing music demos. They caught the attention of Rise Records who signed up to their label. Within the same year, the band released their first EP Sweet Talker. From there it was full steam ahead on touring and then back in the studio to release their first studio album in 2011 When We Don’t Exist. The band continued on releasing two more studio albums, an EP, and then their latest studio album, Dark Divine, in 2017. The band even released Dark Divine Reimagined EP in 2018, which was an acoustic version of some of their tracks from Dark Divine. The band left Rise Records and recently signed with UNFD releasing the singles “All That You Lost” and “Smoke and Mirrors”. Like Moths to Flames is Chris Roetter (vocals), Aaron Evans (bass), Jeremy Smith (lead guitar),and Zach Pishney (rhythm guitar).

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Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

When Like Moths to Flames took the stage the crowd went ballistic. The word I’d use to define their performance is intensity. The band was hardcore from the start of “GNF” through their entire set. Chris’ vocals were powerful screams that shredded you at every note. Aaron wailed on the bass, headbanging throughout the set in a frenzy. Jeremy and Zach were in perfect harmony throughout their performance, moving around the stage quickly. And the media photographers were dodging crowd surfers more than the first two bands. I truly enjoyed their performance of “Nowhere Left To Sink” from Dark Divine showing off their musical flexibility and Chris’ vocal range. Like Moths to Flames is a band you need to experience live to feel that energy they bring to the crowd. It was a phenomenal performance from them that night and the crowd absolutely appreciated it. You can find their music and merch HERE. Their setlist that night was:

GNF

I Solemnly Swear

Nowhere Left To Sink

 All That You Lost

You’ll Burn

The Worst in Me

Serpent Herders

You Won’t Be Missed

Bury Your Pain

Finally, it was time for the headliners Wage War. The metalcore band from Ocala, FL formed in 2010 under the name of Empires. In 2011 they released an EP titled The Fall of Kings. The band underwent a lineup change and renamed themselves Wage War. Years of hard work and performing got them signed to Fearless Records in 2015. The band released their first studio album the same year titled Blueprints. The album peaked at #9 on the Billboard U.S. Hard Rock Album chart. The band toured the following year to support the album including being part of the former Vans Warped Tour. In 2017 they released their second studio album Deadweight. The album peaked at #2 on the Billboard U.S. Hard Rock Album charts. Wage War released their third studio album Pressure on August 30, 2019. Wage War is Briton Bond (lead vocals), Cody Quistad (clean vocals, rhythm guitar), Seth Blake (lead guitar), Chris Gaylord (bass), and Stephen Kluesener (drums).

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Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

As the band came out on stage, the crowd became the loudest it was all night. They opened with “Who I Am” from Pressure and they fired off confetti from the stage into the crowd. It was an amazing sight! Besides being a stellar single, the band was all over the stage rocking and having fun performing for the crowd. The crowd surfers started early and came on faster than before trying to get closer to the band for a high five or acknowledgment. They followed up with “Prison” also from Pressure. Briton was smiling from ear to ear as he sang. Cody was behind the mic stand for most of the show singing and smiling. Seth had an intense look on his face as he played, absorbed in the music, while playing perfectly playing through songs. Chris engaged the crowd to get them amped up as he strummed. And Stephen banged away on the drums looking like he was having a blast. Wage War had the crowd in the palms of their hands and the crowd was perfectly OK with it.

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Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

Photo by Talon Kane Photography

The band went back to their older roots of Blueprints playing songs like “Hollow”, “Twenty One” and “Alive”. Wage War was full of energy, passion, and poured it all back to the crowd through their music. During one point Briton thanked his family for all their support and the support of the fans as well. Cody was very emotional stating how much he appreciated all his family’s support and how he couldn’t even look up to the balcony, where his family was watching, because he knew he’d start to cry. It was a truly heartful moment before the band continued on through the rest of the set. The band continued playing a great mix of songs from their three albums and wrapped up the night with “Stitch” from Deadweight. Wage War thanked the crowd again and walked off stage closing out the tour. You can find their merch and music HERE. Their setlist that night was:

Who I Am

Prison

Don’t Let Me Fade Away

Hollow

Twenty One

Alive

Witness

Grave

The River

Gravity

Ghost

Me Against Myself

Johnny Cash

Low

Hurt

Stitch

It was a perfect night from all four bands and a perfect night to end the tour. Wage War will be heading to Europe at the beginning of 2020 and I’m sure the fans over there will love them as much as the fans loved them here.

From The Pit To The Crowd: Wage War with Like Moths to Flames, Polaris, and Dayseeker – House of Blues Orlando – Lake Buena Vista FL – November 1, 2019 The best part about end of tour stops is the energy you feel from the bands performing.

[paulodebargelove]

The Sugarhill Gang - Rapper's Delight (Official Video) I said a hip hop Hippie to the hippie The hip, hip a hop, and you don't stop, a rock it out Bubba to the bang bang boogie, boobie to the boogie To the rhythm of the boogie the beatNow, what you hear is not a test I'm rappin' to the beat And me, the groove, and my friends are gonna try to move your feet See, I am Wonder Mike, and I'd like to say hello To the black, to the white, the red and the brown The purple and yellow, but first, I gottaBang bang, the boogie to the boogie Say up jump the boogie to the bang bang boogie Let's rock, you don't stop Rock the rhythm that'll make your body rock Well so far you've heard my voice but I brought two friends along And the next on the mic is my man Hank C'mon, Hank, sing that song, check it outWell, I'm Imp the Dimp, the ladies' pimp The women fight for my delight But I'm the grandmaster with the three MCs That shock the house for the young ladies And when you come inside, into the front You do the Freak, Spank, and do the Bump And when the sucker MC's try to prove a point We're Treacherous Trio, we're the serious jointA from sun to sun and day to day I sit down and write a brand new rhyme Because they say that miracles never cease I've created a devastating masterpiece I'm gonna rock the mic 'til you can't resist Everybody, I say it goes like this Well, I was coming home late one dark afternoon A reporter stopped me for an interview She said she's heard stories and she's heard fables That I'm vicious on the mic and the turntable This young reporter I did adore So I rocked some vicious rhymes like I never did before She said, "damn, fly guy, I'm in love with you The Casanova legend must have been true" I said, "by the way, baby, what's your name?" Said, "I go by name of Lois Lane""And you could be my boyfriend, you surely can Just let me quit my boyfriend called Superman" I said, "he's a fairy, I do suppose Flyin' through the air in pantyhose He may be very sexy, or even cute But he looks like a sucker in a blue and red suit" I said, "you need a man man who's got finesse And his whole name across his chest He may be able to fly all through the night But can he rock a party 'til the early light? He can't satisfy you with his little worm But I can bust you out with my super sperm!" I go do it, I go do it, I go do it, do it, do it An' I'm here an' I'm there, I'm Big Ban Hank, I'm everywhereJust throw your hands up in the air And party hardy like you just don't care Let's do it, don't stop, y'all, a tick tock, y'all, you don't stop! Go ho-tel, mo-tel, whatcha gonna do today? (say what?) I'm gonna get a fly girl, gonna get some spank, drive off in a def OJEverybody go, "ho-tel, mo-tel, Holiday Inn" You say if your girl starts actin' up, then you take her friend I say skip, dive, what can I say? I can't fit 'em all inside my OJ So I just take half, and bust 'em out I give the rest to Master Gee so he can shock the houseI said M-A-S, T-E-R, a G with a double E I said I go by the unforgettable name Of the man they call the Master Gee Well, my name is known all over the world By all the foxy ladies and the pretty girls I'm goin' down in history As the baddest rapper there ever could be Now I'm feelin' the highs and you're feelin' the lows The beat starts gettin' into your toes You start poppin' your fingers and stompin' your feet And movin' your body while while you're sitting in your seatAnd then damn! Ya start doin' the freak, I said Damn! Right outta your seat Then you throw your hands high in the air Ya rockin' to the rhythm, shake your derriere Ya rockin' to the beat without a care With the sureshot MCs for the affair Now, I'm not as tall as the rest of the gang But I rap to the beat just the sameI got a little face, and a pair of brown eyes All I'm here to do, ladies, is hypnotize Singin' on'n'n'on'n'on on'n'on The beat don't stop until the break of dawn Singin' on'n'n'on'n'on on'n'on Like a hot buttered pop da pop da pop dibbie dibbie Pop da pop pop, don't you dare stop Come alive y'all, gimme whatcha gotI guess by now you can take a hunch And find that I am the baby of the bunch But that's okay, I still keep in stride 'Cause all I'm here to do is just wiggle your behind Singin' on'n'n'on'n'on on'n'on The beat don't stop until the break of dawn Singin' on'n'n'on'n'on on'n'on Rock rock, y'all, throw it on the floorI'm gonna freak you here, I'm gona freak you there I'm gonna move you outta this atmosphere 'Cause I'm one of a kind and I'll shock your mind I'll put TNT in your behind. I said One, two, three, four, come on, girls, get on the floor A-come alive, y'all, a-gimme whatcha got 'Cause I'm guaranteed to make you rock I said one, two, three, four, tell me, Wonder Mike What are you waiting for?I said a hip hop The hippie to the hippie The hip hip a hop, and you don't stop, a rock it To the bang bang boogie, say up jump the boogie To the rhythm of the boogie, the beat A skiddleebebop, we rock, scooby doo And guess what, America, we love you'Cause you rocked and a rolled with so much soul You could rock 'til a hundred and one years old I don't mean to brag, I don't mean to boast But we like hot butter on our breakfast toast Rock it up, Baby Bubba! Baby Bubba to the boogie da bang bang da boogie To the beat, beat, it's unique Come on everybody and dance to the beat!Have you ever went over a friends house to eat And the food just ain't no good? I mean the macaroni's soggy, the peas are mushed And the chicken tastes like wood So you try to play it off like you think you can By saying that you're full And then your friend says, "mama, he's just being polite He ain't finished, uh-uh, that's bull!"So your heart starts pumpin' and you think of a lie And you say that you already ate And your friend says "man, there's plenty of food" So you pile some more on your plate While the stinky food's steamin', your mind starts to dreamin' Of the moment that it's time to leave And then you look at your plate and your chicken's slowly rottin' Into something that looks like cheeseOh so you say "that's it, I gotta leave this place I don't care what these people think I'm just sittin' here makin' myself nauseous With this ugly food that stinks" So you bust out the door while it's still closed Still sick from the food you ate And then you run to the store for quick relief From a bottle of Kaopectate And then you call your friend two weeks later To see how he has been And he says, "I understand about the food Baby Bubba, but we're still friends" With a hip hop the hippie to the hippie The hip hip a hop, a you don't stop the rockin' To the bang bang boogie Say up jump the boogie to the rhythm of the boogie the beatFonte: LyricFindCompositores: Nile Rodgers / Bernard Edwards

November 10, 1979 - 40 Years Ago Today: Sugarhill Gang debuted at No. 84 on the Billboard Hot 100 Chart with their single, "Rapper's Delight." This was the first rap single to chart on the Hot 100 and it was written by Bernard Edwards and Nile Rodgers of Chic fame. The self-titled album from which it came was produced by Sylvia Robinson, who owned Sugar Hill Records and had her own hit singles including "Love Is Strange" as one-half of Mickey & Sylvia and the 1973 smash hit, "Pillow Talk" which was considered controversial for its time. "Rapper's Delight" used the rhythm track from Chic's "Good Times" which had hit No. 1 three months prior to this debut. "Rapper's Delight" peaked at No. 36 on the Hot 100 on January 12, 1980, No. 4 on the Billboard R&B Chart and No. 14 on the Billboard Disco Top 100

[artsvark]

The Color Purple lyricists come to SA

The three legendary composer / lyricists of the musical The Color Purple come to South Africa.

Joburg Theatre and Bernard Jay are delighted to welcome legendary songwriters Brenda Russell, Allee Willis and Stephen Bray to Joburg on Thursday February 15. One year ago, they were together on the stage of the Staples Center in Los Angeles to receive their Grammy for The Color Purple as Best Musical Theatre Album at the 59th Annual Grammy Awards ceremony.

The Color Purple lyricists come to SA

The three composer / lyricists of the musical The Color Purple are travelling from the United States expressly to see performances of the highly acclaimed South African premiere production currently on The Nelson Mandela Theatre stage at Joburg Theatre.

“Their visit this week, alongside the letter of support already written to us by Oprah Winfrey, further endorses the worldwide interest and enthusiasm that is being shown in our South African production of this glorious musical,” says executive producer Bernard Jay. “We are honoured and excited to play host to such esteemed writers and musicians.”

Brenda Russell has a unique musical perspective, intimate voice and prolific treasure-trove of lyrics that prove that a truly glowing talent only deepens with time. Composer of the classics Get Here, If Only For One Night and the Grammy-nominated Piano In The Dark, Brenda’s songwriting prowess and chameleon-like ability to shift between musical genres and combine styles trumpeted ovations in 2005 with the opening of the Tony Award-winning hit Broadway musical The Color Purple.

Allee Willis is a one-woman creative think-tank. A multi-disciplinary artist and visionary thinker whose range of imagination and productivity knows no bounds, her success exuberantly defies categorization. Ms Willis is a Grammy-winning and Emmy- and Tony- nominated composer whose hit songs – including Earth, Wind & Fire’s September and Boogie Wonderland, The Pointer Sisters’ Neutron Dance, Pet Shop Boys with Dusty Springfield’s What Have I Done To Deserve This and The Rembrandts’ I’ll Be There For You (Theme From Friends) – have sold over 50 million records. In 2006, Willis’ songs were also featured in three of the top grossing films of the year; Happy Feet, Night at the Museum and Babel. Ms Willis was inducted into The Songwriters Hall of Fame just last week.

Stephen Bray. Working with Madonna, Stephen wrote and produced many of her top-ten recordings, including Angel, Into the Groove, Papa Don’t Preach, True Blue and Express Yourself. Performing with Breakfast Club, he earned a Grammy nomination for Best New Artist and a top-ten single. He has composed and produced for multiplatinum artists including The Jets, Gladys Knight and Kylie Minogue. His film and television projects include Beverly Hills Cop II, Who’s That Girl?, All About The Benjamins and the theme for PBS’s California Connected. Stephen is developing artists for his Soultone label. He made his Broadway debut with The Color Purple and looks forward to more musical theatre.

“I am so thrilled to come see The Color Purple in South Africa,” says singer-songwriter- keyboardist Brenda Russell. “This will be my third time to Joburg. I was delighted to find in my previous concerts in Joburg that I had lots of music fans here. It warmed my heart so much to hear the audiences sing along with me. They knew my songs and lyrics. At my last concert I brought my daughter, Lindsay Walker, who sang backup with me. I was overwhelmed with joy and love. She was amazing! Now to have The Color Purple performed with an all-South African cast is just fantastic on so many levels. Returning this time is the most special visit yet. I’m very proud that our show is being performed in South Africa. Motherland!”

The book for the musical The Color Purple is written by Marsha Norman, based upon the novel written by Alice Walker and the Warner Bros/Amblin Entertainment Motion Picture.

The Color Purple the musical is presented by Joburg Theatre and Bernard Jay on the stage of The Nelson Mandela Theatre at Joburg Theatre. The season continues until Sunday March 4. Tickets from R240 are available now: telephone 0861 670 670, go online at www.joburgtheatre.com or book in person at the Joburg Theatre box office. Theatre patrons can also book online and pay at selected Pick n Pay stores.

The Color Purple in South Africa is presented in association with M-Net, 702, Bona Magazine and RADA.

For more information and interviews please contact

Bronwen Hirshowitz

083 560 9678 / bronwen@bsharpentertainment.co.za

Artslink.co.za Account:

Nomsa Nsibande

nomsans@joburgtheatre.com

011 877 6800

Joburg Theatre

www.joburgtheatre.com

Web site:http://www.joburgtheatre.com

Related Venue:

Joburg Theatre Complex, Loveday Street Braamfontein Johannesburg Gauteng South Africa

The Color Purple lyricists come to SA was originally published on Artsvark

[bear-boi-5]

Well hello there little guy

I love drawing cross AU interactions so I decided to draw @the-grubdog 's Bernard meeting his absolutely giant Leafling counterpart 💅

[bear-boi-5]

One Hypnotic and Groovy Battle

I actually tried with the digital art this time around

I am so normal about him-

Close up

[bear-boi-5]

The final one

Here's the final one, Winged-Progg Pom 💃 Pom is a Winged Leafling + Smoky Progg.

One of the more dangerous ones in the sense she can accidentally kill things in one touch if she's not paying attention. She has a constant smoke emitting from her body so don't let her stay in an enclosed room for too long. The wings don't let her fly far or high, especially compared to Ice-Flake Collin, but she can hover for a period of time.

Sorry the drawing isn't the best, I kinda dumped it all into the Glow-Wraith Yonny drawing-

Anyways, here's them all together! I'm still accepting asks for them

[bear-boi-5]

Mauled

TW: pretty hefty gore + guts

A new series of drawings, their deaths

.-..-. .. .----. …- . / .- -. --- - …. . .-. / ..-. --- ..- -. -.. / --- -. . .-.-.- / .. - / .- .--. .--. . .- .-. … / …. . .----. … / -… . . -. / -- .- ..- .-.. . -.. / -… -.-- / - …. . / -.-. .-. . .- - ..- .-. . … .-.-.- / .--. --- --- .-. / --. ..- -.-- .-.-.- / .. .----. .-.. .-.. / …. .- …- . / - --- / --. . - / .-.. --- ..- .. . / - --- / …. . .-.. .--. / -- . / -… .-. .. -. --. / …. .. -- / -… .- -.-. -.- .-..-.

Close up:

[bear-boi-5]

oops all groovy bernard questions

how does other au bernard groovy or whatnot how does he dance like does he just crouch and stomp with all his arms and legs or does he just stand with his two feet

if he's a groovy long legs where does the weird dance powder come from from his body

also how big is he compared to a regular groovy long legs, is he as big, bigger, or smaller

does he emit music from his body as well (since that's what groovy long legs do)

I love the pun

He uses only his feet while dancing/stomping, but he might crawl like a spider during the red phase, he's capable on crawling on walls/the ceiling

The gas comes out of his mouth. He can either slowly excrete it making the room slowly get filled with it or he can blow/breathe it out in a puff but he can also hypnotize people/pikmin with his eyes to keep them dancing longer, since the gas doesn't affect the people due to the suits, he'll use his hypnotic eyes

As for size, I'm not exactly sure how big Groovy Long Legs is but judging by how small you are compared to it, either smaller or same size, he's 14ft anyways

The music plays overhead, like speakers. Same with the lights. They're like rave lights as seen in the boss battle drawing