#THE ONLY BAND IN HISTORY TO HAVE THEIR FIRST 3 ALBUMS DEBUT NUMBER ONE BEING MADE UP???

[ghost-of-you]

I can't explain the way this made me feel so I'm sharing. I'm just -_-

[batxcastlesociety]

Malice Mizer (stylized as MALICE MIZER) was a Japanese visual kei rock band active from 1992 to 2001. The band was notable for their music and their live shows, featuring lavish historical costumes and stage sets, short silent theater pieces preluding various songs.

Formed by guitarists Mana and Közi, throughout their history, the band has gone through several different lineups and three drastic image changes. Their earlier music and themes were characterized by their strong French and classical influences, later moving away from deliberate French romanticism and incorporating Gothic aspects after several difficulties befell the band.

At their peak with singer Gackt, they were considered one of "the big four of visual kei" alongside La'cryma Christi, Fanatic Crisis and Shazna.[2] Their third and most successful studio album Merveilles (1998) was included in 2021 by Kerrang! on a list of 13 essential Japanese rock and metal albums.[3] However, their success was short-lived, and in late 2001 it was announced that Malice Mizer would go on an indefinite hiatus. Mana, Közi and bassist Yu~ki have performed together several times since 2010.

1992–1994: Tetsu era

After leaving Matenrou, guitarists Mana and Közi formed Malice Mizer in August 1992 with Tetsu on vocals, Yu~ki on bass and Gaz on drums. The band's name is a coined word for "Malice and Misery", extracted from "Nothing but a being of malice and tragedy." — their reply to the question "What is a human being?"[1] From the outset, the band established their trademark "twin guitar"' sound, whereby two guitars play different melodies creating polyphony. Malice Mizer's sound during the Tetsu era was a mixture of early 1980s gothic rock, progressive rock and strong classical influences. Their first official release was the song "Speed of Desperate" on the 1993 compilation Brain Trash.[1] Before this, they had released a demo tape called "Sans Logique" (a nod to French pop singer Mylène Farmer's hit song "Sans Logique") which contained no vocals. Shortly after the release of Brain Trash, Gaz left the band to join Kneuklid Romance, while Kneuklid Romance's drummer Kami in turn joined Malice Mizer. In 1994, after a couple more demos, the band released their debut album Memoire on Mana's newly founded independent record label Midi:Nette. It was re-released at the end of the year with an additional bonus track, "Baroque", under the title Memoire DX. Only days later, singer and lyricist Tetsu left the band after his last gig on December 27, 1994. While the exact reasons are unknown, Tetsu went on to take a different direction in his work. The band's continued use of his lyrics in songs they continued to perform with later vocalists suggest an amicable split.[1]

1995–1999: Gackt era

After almost a year of inactivity, Malice Mizer recruited Gackt as their new vocalist and released the single "Uruwashiki Kamen no Shoutaijou" on December 10, 1995. It was with this single that Malice Mizer started to actively differentiate themselves from other bands; when the song was performed live, Mana and Közi put down their guitars and instead performed a dance routine.[4] With a new concept, the band's music became more art rock and synthpop, incorporating even stronger classical and electronic elements. Visually, the band abandoned their 1980s goth look for colorful historical costumes with a gothic feel.[1]

Malice Mizer released their second album, Voyage Sans Retour, in 1996,[1] and their first home video in 1997; Sans Retour Voyage "Derniere" (Encore Une Fois), a concert video recorded at Shibuya Public Hall featuring an elaborate stage and dance routines.[4] The band became increasingly popular and signed with major record label Nippon Columbia that same year,[1] where they released a number of successful singles and a short film, Bel Air (Kuuhaku no Toki no Naka de) de L'image. Their major label debut album, Merveilles, was released in 1998.[1] The band had their own radio show around this time and played a two-day live at the Nippon Budokan,[1] which involved a large building as a stage prop and elaborate theatrics; each member performing a skit with another member on their own (including [on "Le Ciel"] the aforementioned skit in which Gackt fell to the stage [to sing the song] and returned to "Heaven" by song's end). It was a massive success and was released on video as Merveilles (Shuuen to kisuu) l'espace. In July 1998, the Yokohama Arena's stage would be the last for Gackt as in January 1999, at the height of Malice Mizer's success, he would suddenly leave the band. According to his autobiography, the members' differences, the sudden income of money, and his isolation from the band led to his departure.[5] Malice Mizer left Nippon Columbia shortly after and returned to Midi:Nette (established as Midi:Nette M.†.M).

A few months after Gackt's departure, drummer Kami died of a subarachnoid hemorrhage on June 21, 1999.[6] (Rest in peace. 🕊) He left behind a handful of songs, which the band eventually released as part of the EP/video boxset Shinwa, which consists of two songs composed by him and the short track "Saikai" written by the band.[1] Kami was never officially replaced; from that point on, Malice Mizer would only use support drummers (namely ex-Aion member Shu, who is not shown in the band's later promotional material, nor credited) and Kami would be credited as "eternal blood relative" on all their future releases. Possibly due to Kami's death and other factors, the band shifted to a "darker" image and sound.

2000–2001: Klaha era

In the second half of 1999 and the beginning of 2000, Malice Mizer, still without an official vocalist, released a number of singles and began to work on a new album. Eventually, they recruited Klaha (vocalist of dark wave band Pride of Mind), officially inducted into the band as a full member in January. By then the band had abandoned the lighter pop music sound of the Gackt era for a dramatic mixture of classical music, dark wave, with slight heavy metal elements, and adopted an elaborate funerary elegant gothic look. In the summer of 2000, they released what would be their last album, Bara no Seidou. On August 31 and September 1, they gave a theatrical two-day live at the Nippon Budokan, featuring pyrotechnics, a choir of veiled nuns and a scaled-down cathedral as a stage prop. In 2001, Malice Mizer starred in a feature-length vampire movie (Bara no Konrei (Mayonaka ni Kawashita Yakusoku)), and released three more singles: "Gardenia", "Beast of Blood" and "Garnet ~Kindan no Sono e~"; "Gardenia" and "Garnet" being of a considerably lighter tone than their previous album, suggesting another new era for the band.[1] However, the band members decided to go their own separate ways in 2001, leaving messages on their official website. The split was spoken of as a "hiatus",[1] so as not to exclude the possibility of a future reformation.

Post projects

After his departure in 1994, Tetsu released one solo album, and has subsequently taken part in a series of bands such as Zigzo, Mega 8 Ball, Nil; his most recent being The JuneJulyAugust.

After his departure in early 1999, Gackt started a solo career a year later which has been enormously successful; he is one of Japan's top musicians and TV personalities.[7]

Klaha started a solo career as well in December 2002, but in the middle of 2004 it was announced that his fan club would be closing down, and after that there have been long periods of silence, only broken by rare updates on his site. In 2007 he stated on his site that he would resume musical activity that year. But this did not happen and no information has been announced since.

Yu~ki has not been active on the music scene since 2004 when he wrote the song "Memento", about Kami, for Közi's solo project. In an informal conversation with Klaha, he said he would like to return to the music scene.

Közi formed the industrial duo Eve of Destiny with Haruhiko Ash (ex:The Zolge) and also started a solo career. From 2008 to 2022, he was part of the band Dalle. Around June 2010, Közi started to perform with a band called My Horror Revue. He has also formed the band XA-VAT, who held their first performance on November 16, 2010 and released their first single on December 2.[8] In 2012, he formed the band ZIZ with the musicians who supported him with his solo career.

Mana has formed his own solo project Moi dix Mois, which has performed live concerts across Europe. In addition to the successful solo project, Mana is a designer for his fashion label Moi-même-Moitié (started in 1999), which focuses on the styles Elegant Gothic Aristocrat and Elegant Gothic Lolita. He also continues to run his indie record label Midi:Nette, and has produced for artists such as Schwarz Stein and Kanon Wakeshima.

Malice Mizer's song "Gekka no Yasōkyoku" was covered by D on the compilation Crush! -90's V-Rock Best Hit Cover Songs-, which was released on January 26, 2011 and features modern visual kei bands covering songs from bands that were important to the '90s visual kei movement.[9] Their song "Illuminati" was covered by Moran on its sequel, Crush! 2 -90's V-Rock Best Hit Cover Songs-, that was released on November 23, 2011.[10]

Original drummer Gaz died on December 22, 2017, due to illness.[11] (Rest in peace. 🕊)

Deep Sanctuary reunions

Since 2008, Mana's band Moi dix Mois has held a special event, most taking place every two years, which has had some sort of connection to Malice Mizer.[4] The first was Dis Inferno Vol.VI: Last Year Party on December 27, 2008, where Malice Mizer's "Speed of Desperate" was played in a session by Mana on drums, Közi on guitar and Mana's cousin Katsuo U.K (カツヲU.K) on vocals.[4] Közi said that this was the first time he and Mana had met since 2001.[4] In 2009, Moi dix Mois and Közi went on a short two-date tour called Deep Sanctuary, on July 17 in Osaka and the 19th in Tokyo.

A year later in July 2010, Közi once again went on a tour with Moi dix Mois, titled Deep Sanctuary II. This tour had six shows, but the gig at Akasaka Blitz on the 17th was special, as Yu~ki was a special guest.[4][12] was the first time in 9 years that the three original members of Malice Mizer played together, and they were supported by Hayato (Moi dix Mois) on drums. They played "Saikai no Chi to Bara" and "Beast of Blood", as well as a cover of Rob Zombie's "What Lurks on Channel X?". In 2012, the three played together twice more for Deep Sanctuary III;[13] once on September 12 at Akasaka Blitz and again on November 14, 2012 at Osaka Muse Hall.

In 2014, another reunion of the three original members happened for Deep Sanctuary IV at Akasaka Blitz on October 11. This marked the first time they performed under the Malice Mizer name since 2001. It was followed by Deep Sanctuary V at Akasaka Blitz on August 7, 2016. On September 8 and 9, 2018, Mana, Közi, and Yu~ki reunited as Malice Mizer to perform two shows for the band's 25th anniversary special at Tokyo Toyosu Pit.[4] Titled Deep Sanctuary VI, Moi dix Mois and ZIZ also performed. They were supported on drums by Sakura, who was Kami's drum mentor, and who used Kami's original drum kit for the show.[4] Mana tried reaching out to Tetsu, Gackt and Klaha regarding their participation, but the first two declined and he was unable to reach the third.[4] Instead, the band's former roadies Shuji (Cali Gari), Kamijo, and Hitomi filled in as guest vocalists.[4][14] A Blu-ray of the concert was released on June 21, 2019.

Deep Sanctuary VII was scheduled to take place at Mynavi Blitz Akasaka on June 7, 2020, but was cancelled due to the COVID-19 pandemic in Japan.

( i would have put the other, final citations and links in but tumblr said no. (´༎ຶ ۝ ༎ຶ) )

To test tumblr’s reading comprehension…

you can do ANYTHING to this post, reblog, add polls, start a fuckin roleplay in the notes, like it, I don’t give a shit.

BUT

you can’t add tags

[cyarskaren52]

Every Rage Against The Machine album ranked from worst to best

When Rage Against The Machine's incendiary debut album was unleashed in the winter of 1992, it felt like an atomic bomb being set off at the heart of the metal scene. Matching the snarling bars of talented rapper Zack de la Rocha with the earth-shaking riffs and experimental eccentricities of guitarist Tom Morello, anchored by the powerhouse, groove-driven rhythm section of bassist Tim Commerford and drummer Brad Wilk, it was unlike anything else in alternative music at the time.

By the end of the decade and following three more studio albums, Rage Against The Machine's time as a creative output was already done, the band split up and with three quarters of its members soon to team up with Soundgarden's Chris Cornell under the banner of Audioslave. Nonetheless, in a recording career even shorter than The Beatles', Rage Against The Machine changed heavy music forever, and their influence is felt as keenly now as it was thirty years ago.

Here is the band's explosive back catalogue, ranked from worst to best.

Every Metallica album ranked from worst to best

Every Megadeth album ranked from worst to best

Every Korn album ranked from worst to best

Every Tool album ranked from worst to best

4. Rage Against The Machine – Renegades (2000)

Covers albums can be hit and miss affairs, but fair play to Rage Against The Machine, Renegades hits the target way more than it misses. The lead single was a fattened-up groove through Afrika Bambaataa’s classic Renegades Of Funk, but whether they’re going gangsta rap on Cypress Hill’s How I Could Just Kill A Man, hardcore punk on Minor Threat’s In My Eyes or garage rock on The Stooges Down On The Street, Rage prove they can adapt without losing any of their own identity. The true highlight though is their brilliant re-imagining of Bob Dylan’s counterculture war cry Maggie's Farm, which brings some musical muscle to fit those seething lyrics.

3. Rage Against The Machine – The Battle Of Los Angeles (1999)

Coming in 1999, three years after the release of Evil Empire, it was a new musical climate that RATM found themselves returning to. The blueprint of rap and hard rock that they had perfected had been co-opted by the hugely popular nu metal bands of the time, but Rage still stayed ahead of the game. The Battle Of Los Angeles is maybe not quite as consistent as the first couple of albums, but it remains a brilliantly powerful piece of work all the same, with the swirling march of Testify, the rhythmically dexterous Calm Like A Bomb and the bouncing, crushing Sleep Now In The Fire (complete with its iconic video where Rage shut down the Stock Exchange) all becoming definitive moments in the band's career.

2. Rage Against The Machine – Evil Empire (1996)

Seen as a bit of a dip at the time of release in 1996, it’s good to see that RATM’s sophomore album now gets the dues that it richly deserves. It’s really only due to the fact that it followed one of the greatest albums ever made that it has to take the silver medal here, and even then, it is only by the very smallest of margins. Evil Empire is a phenomenal record, spawning mega hits like Bulls On Parade and People Of The Sun, but it’s when you dig a little deeper that you can really get the genius of this record. Songs like the psychedelic punk of Revolver or the scattergun jazz of Down Rodeo are as good and as experimental as anything Rage have ever written. It might be number two here, but this is still a ten out of ten album.

1. Rage Against The Machine – Rage Against The Machine (1992)

One of the most revolutionary albums in the history of music, the 1992 debut album by Rage Against The Machine remains legitimately groundbreaking and utterly perfect. By the early 90s, rap and rock had started to become closely linked, but no one could have seen the amalgam of the two styles being so perfectly realised as it is here. It’s really no exaggeration to say that almost every track on Rage Against The Machine has gone on to become an anthem of the era which still stands up today; Know Your Enemy, Bullet In The Head, Freedom, Bombtrack and, of course, Killing In The Name, there are plenty of bands who have released greatest hits albums that couldn’t hold a candle to the track listing here. Morello’s unique guitar style, the perfectly synched, tightly wound rhythm section and De La Rocha’s furious and intelligent raps...you’d not change a single second of this record, an all-time great.

Since blagging his way onto the Hammer team a decade ago, Stephen has written countless features and reviews for the magazine, usually specialising in punk, hardcore and 90s metal, and still holds out the faint hope of one day getting his beloved U2 into the pages of the mag. He also regularly spouts his opinions on the Metal Hammer Podcast.

With contributions from

Merlin AldersladeExecutive Editor, Louder

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Sent from my iPhone

[luckyowl21]

Okay seriously keep talking about Gorillaz albums and blaseball eras. Is their self titled first album pre-history? Do you have specific song examples for each era?

DGDKHDD THANK YOU KOSMO FOR ENABLING ME

The TLDR version is:

Gorillaz (debut album) is BETA Season 1 (and technically Pre-History)

Demon Days is BETA Seasons 2-5 (Early Discipline Era)

Plastic Beach is BETA Seasons 6-10 (Late Discipline Era)

The Fall is BETA Seasons 11-12 (Early Expansion Era)

Humanz is BETA Seasons 13-19 (Mid Expansion Era)

The Now Now is BETA Seasons 20-24 (Late Expansion Era)

Cracker Island is GAMMA Seasons 1-2 (Coronation Era)

BONUS: Song Machine: Season 1 (Strange Timez) is Short Circuits

Gonna put my reasoning and highlight songs for this under the Read More cut because this is gonna be obscenely long (I'm having my Cynda moment /affectionate). Also yadda yadda "this is from my perspective and flavoured with my experience with Blaseball" you're welcome to disagree just don't eat me for my thoughts:

PRE-HISTORY + BETA SEASON 1 = GORILLAZ

Yes, their self-titled debut album “Gorillaz” fits Pre-History, but I’d argue that it follows the Beta Season 1 to a T. Bombastic, eclectic in its style, blending the familiar with the new (Baseball but Absurdist Horror | Alt. Rock but not by “real musicians”), it’s fresh look and feel was what drew people in and caught their eyes on this funny little band. The very nature of Gorillaz is that of satire; I mean, a British virtual band that's made up of drawings as their members with cartoonishly outrageous personalities? That's peak MTV right there! How could you NOT make fun at that vapid vision of commercial art? Blaseball's nature is very similar to that; a fake baseball league that are really just a bunch of names and teams "playing" against each other with just the fans here to bet. Management are unknown massive forces that we laypeople could Never comprehend, be it a massive corporation with vetted interests or a Forbidden Book.

Highlight songs include “Clint Eastwood” and “Tomorrow Comes Today” for The Book opening and what little we understood of Pre-History (namely Parker, old teams remixed/returned, and weather) being brought back in a “brand new way” respectively.

EARLY DISCIPLINE ERA = DEMON DAYS

“Demon Days” Is the Disciple Era, more specifically Beta Seasons 2-5. The stage is set, the stakes have been raised about what Blaseball-Gorillaz are about in their respective worlds, and by gods they Will Deliver on those stakes! “Demon Days” has a special place in my heart, not only because that was the album that made me fall in love with Gorillaz as a band and as an art form, but also one of the very first fanart of Blaseball I ever made was the Temperate Sea Monkeys (Ziwa, Mooney, Hobbes, and Richmond) album as a parody of Demon Days! Not to mention the overall apocalyptic vibe the whole album has and the way it speaks to the horrors of war and violence in such a smooth mysterious way really captures how hectic early DE was. This early era was also most likely what got people interested in Blaseball to begin with, which is why it pairs with this album so well.

While the highlight songs are "El Mañana" and "Every Planet We Reach is Dead" for mourning the players we've lost in these early stages (especially Jaylen Hotdogfingers) and the general horror and angst, I have a few songs to highlight each season from this album: ‘O Green World’ and ‘November has Come’ are very Season 2 with the feeling of trying to comprehend the enormity of what opening the Forbidden Book entails and acknowledging there's no going back, ‘Dirty Harry’ and ‘Fire Coming Out Of The Monkey’s Head’ fits the horror of realizing that anyone could die and all you have is a giant peanut demanding you follow it's whims (in a narrative sense) for Season 3. Either ‘DARE’ or ‘All Alone’ is Season 4 with their plucky dance numbers via Feedback’s sudden shifts in humorous ("Thomas Dracaena hits a ground out to Edric Tosser") and often times painful ways.

And of course I'd put "Feel Good Inc" for Season 5, it's not only one of my favourite tracks of the album that's the season I joined Blaseball lol. Okay in all seriousness, Season 5 is peak "Demon Days" and "Feel Good Inc.", because by now the fans have a "handle" on what Blaseball is about and have been able to come together to root for their teams and to lift other teams up. It's the community that really what makes Blaseball what it was, and "Feel Good Inc." especially champions these connections while "Demon Days" adds the edge of trying to break bread while still adhering to the natural "rivalries" formed in sports games.

LATE DISCIPLINE ERA = PLASTIC BEACH

Ahh Plastic Beach, by far the biggest album Gorillaz ever released (not counting future albums). With so many iconic bangers and collabs, the cohesive theme of environmentalism, the intensity from their music videos, the very fact they had a whole-ass interactive website chock-full of Gorillaz lore, Plastic Beach is a Behemoth that you just Had To Be There to really Get It (side note: I highly recommend this video by Lady Emily if you wanna learn more). And with the power of hindsight, that's the exact vibe that Late Discipline Era holds over Blaseball. From iconic moments like the Necromancy, the Idol Board, Ruby Tuesday, Day X and the Death of the Shelled One, like how Plastic Beach's music videos brought about massive changes to the band members' lives so to did the Late Discipline Era to Blaseball as a whole.

It's difficult to limit songs into seasons in this case, because of how cohesive this album is, so for this list I shall go over iconic moments and have their highlight songs.

Season 6's Idol Board and subsequent Third Strike is giving "Sweepstakes" and "To Binge" for somewhat obvious reasons (To Binge especially for it's direct reference to how the Idol Board was ultimately used to generate more coins for votes. An economy if you will). The Necromancy of Jaylen is "Empire Ants", especially in light of hubris and on how Jaylen ultimately had to Keep Playing even if it hurt everyone in the league.

Season 7's Ruby Tuesday is "Rhinestone Eyes" especially for the allusion to the Rouge Umps' eyes glowing before the slaughter. Snackrifice and the Moist One Monitor's appearances is "Superfast Jellyfish" for their connections to food as well as how the Monitor has a special fascination towards "tiny eggs".

Season 8's emergence of the Receivers is "Welcome to the World of the Plastic Beach" for notably Snoop Dogg's verses, while Jaylen's debt fits either "White Flag" or "Broken" ("White Flag" mirroring how Flickering sends players to different teams with little-to-no warning, and "Broken" for the angst of being an idolized dead player with a complicated relationship with the fans).

Season 9's Day X is "Stylo" for it's bombastic yet fearful edge that colours the experience of witnessing the Shoe Thieves get into a literal boss fight against the PODS.

Rounding it off with the fall of the Shelled One and freeing the PODS being "On Melancholy Hill" for the juxtaposition of The Biggest Boss Fight (of the time) being met with the cool confidence of the Hall Stars!

And of course, Workman Gloom (my beloved)'s iconic incineration and later revival as one of the Hall Stars is to the tune of "Glitter Freeze", an intense and shining number highlighting Gloom's badass exit as a living Talker and his iconic hommer in Day X as a Hall Star.

EARLY EXPANSION ERA + COFFEE CUP = THE FALL

So Expansion Era, especially Coffee Cup is kind of a weird moment in Blaseball, much like The Fall's release. On one hand, it was following the end of Discipline Era, we killed a god and have new larger figures, hubris and excitement we at an all-time high! But on the other hand... there's a certain flavour to the Forbidden Book as we chewed on it's pages, something that hinted towards a shift. The mini-hiatus between Eras really solidify that sense of trepidation, as well as the concept that something else is cooking behind the scenes. The Fall very much fits that post-intense rush that still felt fresh but... was it really Gorillaz if its just Damon Albarn? Is it really Blaseball when there's really low stakes?

There's not a lot of songs that I can really say are standouts from this album, but "Revolving Doors" seems like a close enough to count as the highlight for this particularly short instance. How it feels like it's something familiar but with the seemingly never-ending cycle of more upgrades, more expectations, more more more...

MID-EXPANSION ERA = HUMANZ

After 7 long years of no Gorillaz due to Albarn and Hewitt's fall out, Finally they came back together to continue Gorillaz, ushering a brand new era of Gorillaz music with the highly anticipated album "Humanz"! And it was..... controversial let's say. Don't get me wrong, it was a powerful and genuinely fun album, coming right off the heels of the 2016 American election, with the style and charisma that Gorillaz is eponymous for, but there was just SO MUCH going on that it's hard to truly nail down the vibes. It was emotional, it was a huge force of return, it was paraoxically overt in it's political leanings despite doing it's damnest to avoid any direct links, it was Enhanced Party Time. Ask any Gorillaz fan what they think about Humanz and you'll get a different answer each time. Mid-Expansion Era is the epitome of Humanz, for better and for worse. It leaned into the theme of Expanding with it's plethora of new mechanics and the abundance of Blaseball shenanigans (Sutton Bishop's Necromancy, Player Redactions, The Library, and the Replicas to name a few), but fans could now see there's too much going on to hold onto team spirit. When I was a Talkers rep, I remember witnessing team squabbles over Wills, and felt that the community was larger and more fractured than ever. And yet, there was always a through-line of hope and yearning for freedom within this era, one of the most Human(z) experiences one could ever encounter in a game like Blaseball.

The overall highlight song of this era is definitively "Hallelujah Money"; it's haunting melody and sombre lyrics heralding the pitfalls of late-stage capitalism, tinged with this era's overwhelming presence of The Boss, the warnings of history being repeated through the Reader and Lootcrates, and how this particular vision of Blaseball saw more hunger for coins through AYCE and the snacks bar.

I could go into how each song in Humanz fits each season, but that genuinely would take up all my brain-power, so if anyone's curious, send an ask over to get those details.

I WILL SAY HOWEVER THAT THE TALKERS WINNING THE CHAMPIONSHIP WITH 100% CLOWN RATE??? "CARNIVAL", AND I WILL NOT ELABORATE.

LATE EXPANSION ERA = THE NOW NOW

Okay, you've read this far along so I gotta confess something here; I initially chose The Now Now to be for BETA Season 20, solely for the joke of how it was referred to as "Win(Win)". But upon relistening to the album, it actually suits Late Expansion Era better than I expected! The Now Now was introspective, cynical of what it has witnessed in the heights of fame yet it treasures what it has experienced. It rouses one to reflect on what has happened, what we can learn, and how to finally find one's self from the miasma of the past. Late Expansion Era of Blaseball had a certain drive to break out, to honour the previous arcs and usher in a new era that would hopefully bring forth stability. Much like how in Gorillaz lore during this album, where the rest of the band and 2-D especially finally explore what it's like to breathe without Murdoch, the League opens up to the concept of ridding the Expansions and hold onto the core of Blaseball; just teams playing blall.

The overarching highlight song is "Humility", but highlight songs for specific events include: "Idaho" for when Jesús finally set off on his journey with the Fifth Base, "Tranz" for just... all of the painful revelations about Parker McMillains' connections to Pre-History and to the game as a whole, "Sorcererz" is for the leadup and subsequent Semi-Centennial game, "One Percent" fitting Parker standing up for himself and the League and addressing the multiple planes of existence to rally against the Boss, the death of the Boss is "Fireflies", and rounding out the era with Blaseball being swallowed up in the BlackHole(BlackHole) is "Souk Eye". A solid ending track for a solid conclusion to Blaseball! We will always think of it... but who is to say Blaseball has truly ended?

SHORT CIRCUITS = SONG MACHINE (STRANGE TIMEZ)

Song Machine Season One (Strange Timez) is a weird album for me; not for it's lack of charm, oh no it had Plenty. It's weird because honestly I see it more like a side-project that the Gorillaz band had done just for funsies rather than a studio album, despite it being classified as such. Most of the tracks had a music video accompanying it, feeding us lore on what the band's been up to post-Humanz; truly it was like bringing back the old-school Gorillaz without being old hat. Short Circuits fits that weird niche of bringing back old Blaseball in terms of speed and shenanigans, but with a MUCH faster pace. I'm still not sure how I feel about Short Circuits, much like my feelings for Strange Timez.

I genuinely can't really pick a highlight song for this era, but I highly recommend giving the album a listen! For what it's worth, my favourite track in the album is "Désolé", it just hits different to me.

CORONATION ERA = CRACKER ISLAND

I think I speak for a fair number of Blaseball fans that we were Not expecting it to come back after Expansion Era. I mean, it was a solid ending! Sure there's a bunch of open questions left behind, especially after the Short Circuits, but it was still a good place to end! It's been months since the last update! Where could we even go from here? But there was still whispers in the street; why let go of something that was so good? Why let go of such a powerful phenomena that has a passionate fan-base? *You could make a religion out of this*

Okay, silly monologue aside, Blaseball really did take the internet by storm during the pandemic; so many people from the most unlikely corners of the globe found this silly website through either word of mouth or through sheer boredom, took a chance on it, joined the Main Discord, and then proceeded to be immersed in a community so large and talented that it spawned art challenges, whole-ass bands with albums (I still miss you Temperate Sea Monkeys), collaborative zines, a volunteer-run unofficial merch store that (BB)Cared, podcasts, countless fics and fanart in countless mediums and even made it to national news in Canada! There was so much potential to run towards, but that doesn't mean it was without it's drawbacks and criticisms, which for the purposes of this post I don't wanna get into. Coronation Era was poised to fill in the massive shoes that Expansion Era and Disciple Era left behind... and we will never know how would it fill it, as the era was cut short as it was no longer sustainable to continue.

So why would Cracker Island fit this era? The album was a rousing success! Besides, it had a critical view on social media, and that's not what Coronation Era could focus on! It fits because well... it fits in Blaseball's tenuous grasp on its audience, and it's desperation for funding in order to go all out in its marketing. Unlike previous albums that had plenty of funds to really push the idea of the Gorillaz being a "real" band despite being cartoon characters through it's blending of projections in live tours in Demon Days and through interactive websites like Plastic Beach and even an AR app for Humanz (to name a few)… Cracker Island just had a few short videos and 3 main music videos. I may sound a bit ungrateful here, but in contrast to previous albums' bombastic marketing and ease of accessibility to their characters' stories, this album had very little to go off of.

You'd have to have been an ardent die-hard Gorillaz connoisseur to keep up, and ngl I wasn't able to. I was moving on with life, listening to other music. Much like how I was slowly drifting away from Blaseball through the long hiatuses, barely acknowledging the updates while I hung out with the friends I made with the Talkers and reconnected with irl friends old and new. So when the album released and when the Coronation Era began, naturally I rushed to welcome it, but by then I have changed. I held them differently the way I had a mere few years ago. Maybe it's a sign of growing up and changing with the times. Maybe it was the long hours of trying to keep up finally catching up. I'm not sure what it was... but it felt like an overdue farewell. A gentle nudge reassuring that the future is still there to embrace, and that the people you've met and have been inspired by will still be there, even if the thing that brought you all together isn't there anymore. The band will keep playing. It's okay to let go.

Highlight songs are: "The Tired Influencer" for it's emotional lyrics that really fits the long waits and slow cold realization that Blaseball may not come back inbetween seasons and stubbornly hoping that it's not true despite the UI issues and website crashes; and "Baby Queen", for how much of an impact Blaseball had on me and on so many other Fans over the years. How it helped us grow as creatives and as people. We are all love Blaseball... and I think some corner of our hearts will still love Blaseball for years to come.

[starf]

StarF’s Top Ten Albums of 2020

Another year, another list. Let’s not even bother with the preamble this time around, you get what it is.

10. I DON'T KNOW HOW BUT THEY FOUND ME - RAZZMATAZZ

Let me tell you right now, I struggled with this tenth spot. There were about four albums that were pretty much tied once I narrowed it down this far because it was a jam-packed year. Ultimately though I had to give it to iDKHOW for their smooth brand of piano rock-pop. This is their debut album and it brought the heat. While it didn't dazzle me immediately, with every subsequent listen I feel a little more of that promised razzmatazz from the title. I also absolutely love the ballad "Nobody Likes The Opening Band," which will certainly be a fun song to hear them perform some day whether they're the opener or not.

9. The Front Bottoms - In Sickness & In Flames

The last offering from The Front Bottoms, Going Gray, left me feeling a little lukewarm. In Sickness & In Flames, however, is a much stronger return to form for the band in my opinion. Some people say all of The Front Bottoms' albums sound the same, and maybe that's a little bit true. But maybe 2020 is the year that we needed to hear some new Front Bottoms material. It was a strange time for all of us, and in these times this kind of album just hits different. From the optimistic opening of "everyone blooms" to the infectious singalong moments of "Fairbanks, Alaska," this album is a good time all around.

8. The Used - Heartwork

Did you know The Used is still around? Not only still around, but apaprently they never went away! When I saw that they had released a new album early in the year I assumed it was a comeback, but I was wrong! For me there was a 12 year gap since I had personally listened to a new Used album, and this one blew me away in a big way. They're still going big, going hard, and rocking their signature sound - but updated for the modern age. This is a band that has managed to hold on to their roots while successfully adapting and progressing into the future.

7. Oliver Tree - Ugly Is Beautiful

Where do you even start with an artist like Oliver Tree? An absolute master of internet marketing, the release of this album was a tortured and dragged out experience, like a person chasing a 20 dollar bill on a string and having it constantly pulled away over and over again. By the time it came out it was a little disheartening that an entire half of the album had already been released via single, but overall it is undeniably a powerhouse of a pop album and a strong showing from Oliver Tree. A strange character, but an impossibly catchy album with earworm after earworm.

6. The World/Inferno Friendship Society - All Borders Are Porous To Cats

I pretty much always enjoy any offering from this band, but to varying degrees. Their last few albums have certainly been good to my ears, but for whatever reason just didn't resonate enough with me to earn a spot in my top ten. This album is clearly different though, and keeps me enthralled the entire way. With their unique brand of punk-jazz-cabaret, All Borders Are Porous To Cats tells the story of one Mr. Cat In The Hat, and it's a wild ride that you're going to want to hear.

5. Run The Jewels - RTJ4

One of the most biting and necessary releases of the year, RTJ4 dropped right when we needed to hear it most, and for free no less. It's my personal opinion that Run The Jewels continue to get better with every release they put out, and their fourth showing is easily my favorite so far. El-P and Killer Mike come through with some of their sharpest bars and heaviest beats yet. It's just a shame that for how much history repeats we as society still haven't learned some of the lessons that an album like this continues to attempt to teach us.

4. Aesop Rock - Spirit World Field Guide

Spirit World Field Guide is not a typical Aesop Rock album, but then again what is? Back in 2016 I fell in love with the album The Impossible Kid, an accessible (by Aes standards) album that hooked me in immediately. Spirit World is a different beast that took me off guard the first time I heard it, and left me a little bit lost - but that almost seems to be the intent. An absolute monster of an album coming in at 21 tracks and over an hour, this thing wasn't necessarily meant to be ingested all at once, or even in the order presented. The more I revisit it the more I put the pieces together and enjoy it more and more.

3. Poppy - I Disagree

Let's take a journey all the way back to January before the world entirely fell apart. I discovered Poppy for the first time through this album and was quickly intrigued. Going back through her older music, and then her YouTube, and slowly unraveling the mystery that is Poppy was perhaps some of the most fun I've had experiencing an artist's work in years - all topped off with seeing her perform live that month, the last large live music show I've been to. I Disagree is an eclectic blend of pop, metal, and strange curiosity. It starts off right away with the oddball banger Concrete and promises to weed out those who aren't prepared to take the mental trip through this album right away. It's not for everyone, but it's definitely for me.

2. Jeff Rosenstock - N O  D R E A M

Well here we are! The number one spot! You guessed it, it's Jeff Rose- what? This isn't number one? Well that can't be right, hold on. Nope, I guess that's correct. The new Jeff Rosenstock album, N O  D R E A M comes in at number two this year, a fact that will probably shock and confuse anyone who knows me. This is the proof that Jeff doesn't automatically get my number one spot if he releases an album, but with all of that out of the way, let's talk about the album.

In a Post-Post- world we see Jeff returning to a more traditional take on putting together an album, rather than simply rushing through it to get the feelings out of his head (both perfectly valid approaches). N O  D R E A M continues to explore themes of being lost and confused in such a soul-crushing and increasingly overwhelming world - all while attempting to find the silver linings and be optimistic about where we're headed. Whether it's the world at large or a personal journey, this album is an anthem to a year that saw most people holding their head in their hands and saying "please, just, let's all get through this, okay?"

1. Will Wood - The Normal Album

Wow. Just wow. Okay, where to begin? I was listening to a random Spotify radio when it started playing a song by Will Wood & The Tapeworms called "Hand Me My Shovel, I'm Going In!" Intrigued by the style of the song, as well as the title, I clicked through and listened to their most recent album which was 2016's "Self-Ish." I thought it was really good! I enjoyed it a lot and continued to listen to it for about a week. At that point when I started digging further into the band I learned that there was actually an even newer album entitled The Normal Album, categorized on Spotify under just Will Wood, which is why I hadn't previously found it.

I enjoyed Self-Ish, but hearing The Normal Album took it to an entirely new album and blew me away in a way that I haven't experienced in years. This wasn't just a great album, this was one of those musical discoveries where you think "oh wow, this is something I can't live without going forward." Will Wood is exactly what I needed in the back half of 2020 to keep my sanity, and even now I still listen to this album usually at least once a day. It's perfectly crafted in every sense of the world. Not a single second is wasted or out of place. The technical skill is in full display without muddling the pure enjoyment of the melodies or taking away from the overall vibe of the songs. The writing is some of the sharpest and dense I've ever seen, without being undecipherable or inaccessible. This is an album that truly does it all.

The feeling I have when I listen to this album and attempt to get people to listen to it is identical to how I felt about Jeff Rosenstock in the late 2000's, back before he had sort of blown up. Will Wood certainly has a following, but his music is definitely niche at the moment and somewhat obscure. Much in the same way that eventually people listened to me about Jeff, I hope they will find out about Will. Everyone should hear this album. It's breath-takingly perfect.

[anothersievefistedfind]

Photo © by Michael Koenig

Fugazi, 40 Watt, Athens, GA USA 12/18/1999 (FLS #0959)

This recording documents the last out of eight times Fugazi performed in Athens, Georgia, which played out at the 40 Watt Club as it did every single time since their first show in Athens on June 3, 1988.

As per Ian, “until recently, I think there were two cities in the country that we had played like numerous shows but always at the same place, one was in Austin, Texas at the Liberty Lunch, and the other one is right here at the 40 Watt, and we’ve gotten word that the Liberty Lunch has been shut down or it’s all over […] but the 40 Watt is still here so, here’s one, I guess we just wanna say thanks to the 40 Watt for having us some many times over the years.”

Clocking in at 1 hour and 55 minutes, this recording surely preserves one of the longest, perhaps even the longest performance in the live history of the band.

During the introductory remarks, Ian addresses someone in the crowd, asking if he is “the guy that played the 3 hours of Fugazi today”, adding: “Well, thanks. I am surprised you’re here actually, I’d think you’d be fucking sick of us by now…” while towards the end of the show, Ian reiterates that “it just occurred to me, if you played Fugazi songs for 3 hours today, you’re working on your fifth fucking hour of us��� and grants him a request by way of “reward” which results in Great Cop. It appears that the “DJ” in question is John Farrar, current co-host of the Live On 4 Legs podcast which pays tribute to the Pearl Jam live repertoire.

While the recording sounds excellent overall, as noted (see submission below), I find that a good part of the set is a bit of a hodgepodge and it is not until Break that it really starts grabbing my attention. But those last nine songs are pretty much perfect and elevate the overall performance.

It certainly offers really good live versions of a number of songs, yet absolute highlights in my book include KYEO, a song “particularly appropriate given the fact that people in Seattle try to make us think about a somewhat dubious World Trade Organization, so-called civilized American police force shot them with rubber bullets, and a so-called truthful American media portrayed it as a bunch of fucking thugs breaking windows but the thugs are on the other side of the badge, so just when you though it was safe… the troops are quiet tonight, but it’s not alright cause they are planning something…”, as well as an early live rendering of Ex-Spectator in instrumental form and a standout performance of Sweet and Low which features various nice additional yet subtle touches and embellishments on guitars and drums (accentuated by sound-man Nick Pellicciotto) and unusually ends with some drawn-out guitar feedback.

While the set list draws from all available work at the time (or even the Argument album and Furniture EP unreleased at the time), note that it includes just one song off of Margin Walker EP and 7 Songs debut EP each, as well as just two songs off of Repeater.

(Words below submitted by Antti Väärälä)

“I gotta say, this is definitely one of the best sounding FLS offerings I've had the pleasure to listen to so far. There's some mix settling going on during Number 5, but after that it's a breeze. So I would easily rate this as ‘excellent’. The mix breathes, the stereo field is fully utilized and every instrument and vocal is clear. The drum sound is as good as it gets. The added effects are not over-used, but instead add some very nice color and atmosphere.

Be prepared that there is some minimal digital crackling here and there. It didn't really bother me though, as it's only a few times.

The band start off with some amusingly casual chatting. A pretty classic show structure follows at first in the form of flowing rockers with Place Position being a personal highlight. As a sidenote, I'm pretty sure you can hear Brendan yelling in delight behind the kit on a lot of songs which is a lot of fun.

Stacks is a perfect addition to the set and after that it's all a highlight for me, as the band practically flies through awesome performances one after another. A psychedelic Floating Boy merging seamlessly into a superbly dynamic Argument is just pure Fugazi bliss for me. Another really cool seamless merge is from Oh to Closed Captioned. More of these merges follow but I don't want to spoil them all.

The band play a really long set, representing basically their whole repertoire. A lot of tight rockers are balanced with some sweet moments. The final encore shows this especially well with punk fury, rocking wit and tenderness all thrown into play. Ex-Spectator is starting to be very confident albeit still instrumental here. Sweet And Low is definitely one of the coolest versions I've ever heard.

I gotta give a special mention to how amazingly Fugazi utilize dynamics in their performance at this point. A recording of this caliber really shows that off.

A highly recommended mammoth of a show!”

The set list:

1. Intro 2. Number 5 3. Cassavetes 4. And The Same 5. Place Position 6. Styrofoam 7. Public Witness Program 8. Interlude 1 9. Stacks 10. Recap Modotti 11. FD 12. Furniture 13. Floating Boy 14. Argument 15. Give Me The Cure 16. Song #1 17. Arpeggiator 18. Oh 19. Closed Captioned 20. Runaway Return 21. Interlude 2 22. Five Corporations 23. Interlude 3 24. Turnover 25. Bed For The Scraping 26. Caustic Acrostic 27. Break 28. Forensic Scene 29. Pink Frosty 30. Target 31. Interlude 4 32. KYEO 33. Encore 34. Ex-Spectator Instrumental 35. Interlude 6 36. Great Cop 37. Do You Like Me 38. Sweet and Low

[altair-native]

My Top 10 Albums of 2020

Now that the longest and craziest year in history is finally over, I figured now would be a good time to reflect and look back at some positive things from 2020. Despite concerts and tours being cancelled, and many bands and artists postponing albums due to not being able to promote them, there was a lot of really fantastic music released this year. Here are some of my favorites!

Honorable Mention: Money Money 2020 Part II by The Network

Green Day members Billie Joe Armstrong, Mike Dirnt, and Tré Cool (plus some friends) brought back an old side project from 2003 this year called The Network. This album is a follow up to their debut album Money Money 2020, and was a huge surprise. I wasn’t sure where to put it on my top 10 list, but I still wanted to talk about it because it ended up being much better than the actual Green Day record we got this year. They experiment with lots of different sounds on this album, and while some of them are definitely meant to be satire, there are some seriously great songs on here that give me hope that future Green Day albums could be much better.

Favorite Song: Fentanyl

Now, on to the top 10:

#10 Last Room by waveform*

The first of many surprise additions to the list, Last Room is a really great album stocked full of songs that are all pretty short, but each stands out on its own. waveform* is really good at making songs that capture the listener’s attention. This is definitely a band that I want to hear more of, and I’m excited to dive deeper into their discography this year! 

Favorite Song: Miner’s Lullaby

   #9 Petals For Armor by Hayley Williams

After years of being in Paramore, Hayley Williams has finally released her first solo album! Paramore’s 2017 album After Laughter experimented with lots of different sounds, and was also a very personal record lyrically, so it’s no surprise that Hayley took a similar approach here. These songs are a way for her to open up about her life and branch out more and she succeeds on this record. Even if you’re not a fan of Paramore I highly recommend checking this one out.

Favorite Song: Why We Ever

   #8 Some Still Morning by Handsome Ghost

I’ve already talked a bit about this album (it was even my first review on this blog!) but I feel like the more I’ve listened to it, the more I’ve started to love the songs that first stuck out to me. I still feel like some of the songs sound a bit too similar, but when the duo branch out and try new things on this record, it’s some of their best work.

Favorite Song: Christmas In Jersey

   #7 Healer by Grouplove

Something that has always been true about Grouplove’s music is that it is insanely catchy, and this holds true with their newest record Healer. I’ve liked a lot of their music before, but for some reason this album connected with me on a way that their other music hasn’t. I feel like this album came out at the perfect time for me, because it has a lot of themes about growing up and dealing with the crazy world we live in. If you’ve never listened to Grouplove and want to check them out, I think that Healer is definitely a good starting place.

Favorite Song: Hail to the Queen

   #6 Folklore by Taylor Swift 

I’ve had a history of really disliking Taylor Swift’s music, especially her earlier albums. I guess for those it was due to overexposure, but with some of her more recent albums (especially 2013′s Red) I actually found there were certain songs I actually liked. Her albums as a whole, however, have always felt bogged down by their singles which often don’t sound like they fit with the rest of the album. When I heard she had announced an album coming out that night, I was very curious. After listening to it, Folklore fixed every issue I’ve had with her previous albums, and I love how she’s shifted her lyrics to focus on telling stories. I didn’t expect a Taylor Swift album to end up on my top 10 list for any year, but 2020 was definitely full of surprises!

Favorite Song: Seven

  #5 Possession by Joywave

I had discovered Joywave one day on YouTube by accident, and immediately wanted to hear more from them. Their songs are always so unique and creative, and after seeing them open up for Bastille in October 2019, I got really excited for their third album. They have incredible energy on stage, and that energy is reflected perfectly in their music, especially on this album. It was one of my most anticipated records of 2020, and it seriously lived up to the hype.

Favorite Song: Half Your Age

   #4 Figure by Into It. Over It

Yet another accidental discovery, Figure blew me away the first time I listened to it. I was immediately drawn in from the first track, and each song delivers something truly special. I had to listen to this album all the way through multiple times to really take it all in. I planned on doing a full review of it here, but felt I needed to look into the lyrics and the meanings behind the songs a little more to fully understand it. Now, Into It. Over It has been on repeat for a good chunk of the past couple months.  Evan Thomas Weiss is an incredible songwriter and really talented musician, and I seriously recommend checking out his music.

Favorite Song: Brushstrokes

   #3 Leave What’s Lost Behind by Colony House

Colony House are a band that I discovered a few years ago, and their first two albums quickly became favorites of mine.Their intriguing instrumentals along with Caleb Chapman’s powerful vocals make their music really fun to listen to, and like Joywave they put on a fantastic show even when they’re just the opening act. I had been looking forward to the follow up to 2017′s Only The Lonely, and this record definitely lived up to my expectations, even if I prefer the latter album a little more. There are definitely some incredible songs here, a few of which are among the best in Colony House’s discography.

Favorite Song: The Hope Inside

#2 Zeros by Declan McKenna

For whatever reason, I didn’t listen to this album when it first came out, but when I did eventually get around to listening to it I fell in love. Declan McKenna has always been a really great songwriter, but this album in particular shows just how talented the 22 year old singer is. Blending sounds from different eras of rock along with some more modern production, Zeros is an absolute masterpiece of an album.

Favorite Song: Twice Your Size

   #1 Dreamland by COIN

Even though Zeros got really close to taking the number one spot, my personal favorite of the year is still COIN’s third album Dreamland (not to be confused with the Glass Animals album of the same name also from 2020). COIN is a band that just keeps on getting better, and even after losing a member back in 2018, they’ve still managed to grow and improve their sound. Dreamland takes everything I’ve loved about COIN’s music and adds to it. If you haven’t listened to this album and are a fan of indie pop bands like Flor, Smallpools and Young the Giant, then you should definitely give this album a listen!

Favorite Song: Nobody’s Baby

   Thank you for checking out my list of my favorite albums from this past year! I’d love to know what you guys think and if we have any of the same albums on our list :)

[howaminotinthestrokesyet]

Wherever They May Roam: Dave Mustaine

Dave Mustaine was born on September 13, 1961 in La Mesa, California. His heritage is that of German, Jewish, Irish, Finnish, and Scottish. His family also were practicing Jehovah’s Witnesses. His childhood growing up emerged as a very difficult one as his father embodied a violent alcoholic. His father and mother would divorce when he was only four years old. Mustaine had two sisters that were so much older than him that he thought of his siblings more as aunts. In high school, Mustaine began to use hard drugs very early, eventually working as a drug dealer. Through his customers, he began to learn about British metal bands like Judas Priest. He even had one client that would pay for his drugs with record albums. His first band emerged with Panic in the very early 1980’s. This was a very short lived group as the drummer and one of their sound techs died on the night of their second show. The band slowly started to disintegrate with the final straw being that the rhythm guitarist also died within a year. They never made any official recordings, nor a demo.

In 1981, Mustaine responded to an ad posted in a local newspaper The Recycler from Lars Ulrich seeking a lead guitarist for a new band. The guitarist recalls his first meeting with Ulrich and James Hetfield. "I was in the room warming up and I walked out and asked, 'Well, am I gonna audition or what?', and they said, 'No, you've got the job.' I couldn't believe how easy it had been and suggested that we get some beer to celebrate." They began to record their first album Kill ‘Em All in 1983, but problems had immediately come to the surface related to Mustaine’s membership in the band. Brian Slagel of Metal Blade Records recalls the recording of that album. “Dave was an incredibly talented guy but he also had an incredibly large problem with alcohol and drugs. He'd get wasted and become a real crazy person, a raging megalomaniac, and the other guys just couldn't deal with that after a while. I mean, they all drank of course, but Dave drank more… much more. I could see they were beginning to get fed up of seeing Dave drunk out of his mind all the time." The first time he was fired from the band came after he brought a dog to a recording. The dog jumped on the car of bassist Ron McGovney causing the paint job to be damaged. James Hetfield upon seeing this kicked the dog in a fit of anger, which led to a huge altercation with Mustaine. After the initial termination, he begged the other members to let him back into the group. They did grant him this request, so his firing was canceled. Another incident occurred when Mustaine poured beer into McGovney’s bass guitar, who was unaware when he began to plug it in. He then received a tremendous electric shock leading to him kicking both Mustaine and James Hetfield out of his house. The bass player would leave Metallica shortly after that. In April 1983, the group traveled to New York to record their debut album, but upon arrival they decided to officially fire Dave Mustaine from the group. They cited the reasons of alcohol and drug abuse, aggressive behavior, too many altercations. The band drove him to the Port Authority bus terminal and put the former Metalica guitarist on one back to California. The amount of collaboration Mustaine had with the band in those early days has always been a debate between the current Metalica and him. He would co-write four songs on Kill ‘Em All, as well as two more songs from Ride the Lightning. The songwriter has unsuccessfully contended that he also helped with “Leper Messiah” from Master of Puppets. Upon returning to San Francisco, he worked very briefly as a telemarketer, would leave this job upon earning enough money to get an apartment in Los Angeles. Mustaine would start a very short lived group called Fallen Angels with two of his coworkers from that telemarketing job. The group never played a live show or recorded anything as Mustaine later commented on the group. “We lacked the chemistry, the energy, the spark—or whatever you want to call it—that gives a band life in its infancy."

The guitarist would soon befriend a neighbor living a floor below his apartment that first began as a confrontation. His name was Dave Ellefson, who would soon join Mustaine‘s new lineup for what would become Megadeth. Originally, he was still utilizing the name from his previous effort, Fallen Angels. He had wanted any group that he played with now to present more thought provoking lyrics and a more precise, intense brand of metal music. A drummer Lee Rausch and guitarist Kerry King would join this initial lineup only to be replaced by Gar Samuelson and Chris Polish respectively. In the case of King, he went back to his original group, Slayer. Megadeth's debut album would be released in 1985 on Combat Records entitled Killing Is My Business. The group received a great amount of buzz that by the time they recorded the second album the band had signed to a major label, Capitol Records. The second album, Peace Sells, But Who’s Buying would go on to become a thrash metal classic earning gold record status. Throughout the 1980’s and early 1990’s, the only two members to be a constant with the band were Mustaine and Dave Ellefson. Other members of the group consistently changed from album to album as Mustaine’s addictions to drugs and alcohol only got worse. He would finally quit drugs and alcohol in the late 1990’s permanently. The amazing thing was despite these addictions, the band led by Mustaine in writing all the songs made mostly quality albums like 1992's Countdown to Extinction, 1994's Youthanasia, and 1997's Cryptic Writings. The only one that was really perceived as a mediocre effort came in 1988 with So Far So Good So What. This would be followed by Rust in Peace, which represented a record that made people think that Mustaine was finally clean and sober. Unfortunately, he would use the rest of the decade to struggle with those demons.

In 2002, the guitarist briefly disbanded Megadeth after a serious arm injury caused him to rethink how he would even be able to play in the future. He was able to successfully rehab from this injury, so the band went on, but with an entirely new lineup. This meant that long time collaborator Dave Ellefson was asked to leave the group. He would not return to Megadeth until 2010. Dave’s reasoning at the time was that he asked too much for his own songs to be played. “I hated being around these guys so when the arm injury happened, it was a welcome relief and an indication that I had to stop." In 2003, Mustaine also turned to Christianity. He began to look at other areas besides the beliefs held by Jehovah’s Witnesses. His description of this transformation was described in a way only Mustaine could possibly describe. “Looking up at the cross, I said six simple words, 'What have I got to lose?' Afterwards my whole life has changed. It's been hard, but I wouldn't change it for anything. Rather go my whole life believing that there is a God and find out there isn't than live my whole life thinking there isn't a God and then find out, when I die, that there is." As had always been the case with the band, Megadeth would release a new album every 2 to 3 years almost like clockwork. In 2010, Mustaine would release his autobiography entitled A Life in Metal. By this time, the war with former bandmates in Metallica began to thaw a bit. He would play five songs with the band at their 30th anniversary concert. A year later they would all tour together as part of the Big Four tour including Anthrax and Slayer as well. Surprisingly, the guitarist has been happily married since 1991 with a son and a daughter. More recently, health issues have come to the forefront including spinal stenosis which he claims was from years of headbanging. In 2019, Mustaine was diagnosed with throat cancer, but he says now that he is cancer free. One thing overall that has always concerned Mustaine is his legacy and place in the history of heavy metal guitarists. He has always been supremely confident in his ability as he noted in this interview. “To be the No. 1 rated guitar player in the world is a gift from God and I'm stoked about it…” In 2009, he gave an interview to Classic Rock Magazine that revealed this telling insight into the man. Mustaine was talking about learning he had been named the number one heavy metal guitarist ever in a book by Joel McIver. “It was especially sweet when I found out that Joel has written books on Metallica. Every page I turned, I became more excited. I get to Number 5 and it's Kirk Hammett, and I thought, 'Thank you, God'. At that point it didn't matter [which position I was]. To be better than both of them [James Hetfield and Hammett] meant so much – it's been one of the pet peeves of my career and I've never known how to deal with it. All I thought was – I win!" Upon reading this statement, one could partially see why Lars Ulrich and James Hetfield did not want him in the group.

[patrickjonesblog]

Top Albums of 2020 - #5 to #1

Hey! Thanks for clicking thru to the top 5, if you’re reading this first, what on earth have you done, how did you get here? You’ve missed my pre-amble and numbers 10-6. Click here to read that first.

5 - Deep Down Happy - Sports Team

The best new British band I’ve heard this year. The only other debut in my top 10, it’s these cheeky chappies. They take me back to peak Britpop era, early Blur, Shed Seven. Really smart, funny lyrics with a sound you don’t really hear much anymore. There’s so many tunes on the album, a real achievement for a debut.

4 - Quickies - The Magnetic Fields

Billions laughed and no one cried, the day the politicians died. Leave it to Stephen Merritt to write a song that encapsulates how most people feel right now about the people who lead the world. Quickies is another concept album from The Magnetic Fields, this time all the songs are short and snappy, the longest song coming in at 2:34 and the shortest 18 seconds. You wont feel short changed though as there’s 28 little vignettes here, which showcase TMF at their sharpest.

3 - Song Machine, Vol 1 - Gorillaz

It’s staggering that Gorillaz have been going 22 years and yet are still relevant, let alone churning out some of their best work to date. Albarn continues to work with artists that continue to innovate and make the band fresher with every album. The man is a solid gold treasure. Song machine was born in lockdown, announcing collaborations as singles with a different artist for each song. The Genius of Gorillaz is they bring together artists and genres into one concept that shouldn’t sit together, yet somehow they do (Elton John, Peter Hook, Robert Smith) sit alongside indie stalwarts (St Vincent, Joan as Police Woman, Beck) add into that the usual eclectic mix of Hip Hop MC’s and what you have is a truly astounding album. But its Albarns songwriting at the heart that makes these 17 tracks the best Gorillaz album in their 22 year history.

2 - Serpentine Prison - Matt Berninger

I haven’t seen this in many top 10 lists this year, and I get it, it’s nothing earth shattering. But there’s something about Matt Berninger’s voice that comforts me, and this is the most distilled Berninger you can get. His first solo album, he put Booker T Jones on production duties as it was originally intended to be a covers album of soul tunes, but through the process he kept writing and the soul tunes recorded were shoved to a bonus LP and what you get is a soul-tinged, accoustic solo album, which is so smooth and beautiful, its the perfect tonic for a horrible year. 

1 - The New Abnormal - The Strokes

In truth, any of the top 4 could be my number 1 this year, they’re all so strong. But I like the romanticism of The Strokes comeback the most. You could kinda tell they’ve been doing Strokes-by-the-numbers the past couple of albums and I’d all but written them off. But out comes Bad Decisions and it felt more urgent, Julian sounded like a man who had his mojo back and was enjoying being with the band again. The album cemented that, its 9 tracks and I’m glad they didnt try to round it up to 10. Its tight af. They stretch their muscles a bit in tracks like Eternal Summer and Ode to the Mets which are less obvious musically to what you’d expect but still at the core The Strokes. For a short period in the early 2000′s they were the best band in the world, The New Abnormal proves that they can be again.

Honorable Mentions

There were some critically acclaimed albums like Sault, Phoebe Bridgers, Taylor Swift that I really enjoyed as well this year but wanted to call out some of the lesser heard albums that just missed out on the top 10.

Caribou - Suddenly - ARGH I forgot this, it should be in the top 10, but I cant squeeze it in. God this is hard. Go listen to this beautiful dance record, its amazing. Let’s call it the joint 10th best album of 2020. FML.

Haiku Hands - bonkers, hilarious, indie-dance debut. Definitely check out Manbitch, Not About You and I See You Baby. Listening again now and.... ok its the joint 10th best album of 2020. FMLFML.

Sylvan Esso - Free Love - Contains my fave track of the year in Ferris Wheel, its a great album that would have made the top 10 on a normal year.

Say Hi - Diamonds and Donuts - One of the first albums I listened to in 2020 thanks to a cracking track called Happy as a Clam. Lo-fi synth pop.

Other mentions go to Everything Everything, Car Seat Headrest, Will Butler and Jessie Ware, if I had more time and wasn’t listening to the above I may have enjoyed them more.

What a year though!

LISTEN

Best of 2020 - Songs

Best of 2020 - Albums

Like what you heard in 2020? Follow my 2021 playlist as I add my fave tracks to it throughout the year.

[onestowatch]

Lollapalooza 2021: 15 Ones to Catch (Who Aren’t Headlining)

Lollapalooza is officially one week away, and wow does that feel good to say. As one of the first music festivals to welcome us back to festival season after a far too long hibernation, the annual festival, hosted at Grant Park in Chicago, Illinois, is set to bring the musical stylings of Tyler, the Creator, Miley Cyrus, Foo Fighters, Megan Thee Stallion, and plenty more. But, unless you’ve been living under a rock, chances are that you’re already more than familiar with the artists set to headline. So why not figure out who to see while you’re waiting to scream along to Call Me If You Get Lost.

From collectives who are moving beyond the need for genres to music that is just as likely to make you cry as it is laugh, these are 15 ones to catch (who aren’t headlining) at Lollapalooza 2021.

Peach Tree Rascals

When & Where: Sunday, 2 p.m. at Bud Light Seltzer Stage

Peach Tree Rascals’ Lollapalooza set has been a very, very long time coming. The Bay Area–bred collective has been steadily making waves with their genre-bending approach to indie-pop that calls to mind a more idyllic, lovesick BROCKHAMPTON (an act you should most definitely catch as well). And despite emerging a growing fan-favorite in the last couple years, the aforementioned rascals have yet to play a show, ever. With a headline tour that was canceled due to COVID, Lollapalooza will officially be making history as the first-ever Peach Tree Rascals set.

Tate McRae

When & Where: Saturday, 5:15 p.m. at Grubhub Stage

Tate McRae’s rise through the pop stratosphere has felt meteoric. First gaining fame at the young age of 13 for being the first Canadian finalist on So You Think You Can Dance, McRae has certainly come a long way to stand as one of the most promising voices in pop. With a vocal range more than powerful enough to deliver haunting dark pop ballads like “you broke me first” one moment and stand side-by-side with Khalid on the summer bop “working” the next, there are no two ways about it. McRae is a pop star in the making and this is your chance to catch her before her inevitable headliner status.  

Marc Rebillet

When & Where: Saturday, 9:00 p.m. at Grubhub Stage

Part-time meme and full-time artist, Marc Rebillet creates music with an unmatched comedic timing. It’s a comedic genius that has led to him getting a 24-hour ban on Twitch—for taking his shirt off in the middle of a stream, an act which I’m guessing Lollapalooza will be more than forgiving of giving his penchant for performing in a bathrobe. The self-described improvisational artist creates all his songs from scratch, resulting in an experience where no two live shows are quite the same. Come for the comedy, stay for the absolute dancefloor bangers.

Dayglow

When & Where: Thursday, 3:45 p.m. at Lake Shore Stage

Dayglow is sure to bring a smile to your face and put a pep in your step. Apologies if I sounded like my grandparents there, but there’s no denying the sonic sunshine that is Dayglow’s rapturous brand of indie-pop. Paying homage to the dance-inducing melancholy of ‘80s pop duets, it’s difficult not to get swept up in the Austin, Texas–bred artist’s hypnotic vision. It’s the sort of euphoric music that feels almost tailor-made for the return of festival season—drenched in sunny rays and brimming with infectious sincerity.

Giveon

When & Where: Friday, 4:45 p.m. at T-Mobile Stage

Before his breakout moment on Justin Bieber’s “Peaches,” Giveon was already charting his path for R&B domination. With an angelic and haunting baritone, each R&B rumination carries with it a palpable weight—an emotional turmoil that is only elevated by the minimalistic soundscapes which allow the proper space for his transfixing voice to fully shine. For a crash course on Giveon, check out a compilation of his two standout EPs, When It’s All Said and Done… Take Time. Or better yet, experience the magic of Giveon live.

Ashe

When & Where: Thursday, 6:30 p.m. at Grubhub Stage

Ashe creates effortlessly timeless music, blurring the line between the nostalgic songwriting of Fleetwood Mac and a modern-day folk-pop star. The sentiment is best expressed in her critically-acclaimed debut album, Ashlyn, which demonstrates the Los Angeles artist’s peerless songwriting acumen, toeing the line between rapturous euphoria one moment and deeply affecting storytelling the next. If you need a good laugh or cry, do not miss out on Ashe.

Sir Chloe

When & Where: Sunday, 12:45 p.m. at T-Mobile Stage

Fronted by Dana Foote and comprised of Teddy O’mara on guitar, Palmer Foote on drums, and Austin Holmes on bass, Sir Chloe’s music exists in the nebulous void of haunting dark pop and heart-rending alternative garage rock. The New York–based indie rock band originally started as a college project, birthed in the music halls of Bennington College, and now they’re set to take Lollapalooza by storm. With an impressive debut album, 2020’s Party Favors, under their belt, this set feels only the beginning for the bewitching indie outfit. 

jxdn

When & Where: Sunday, 3 p.m. at Bud Light Seltzer Stage

jxdn is the latest artist to make good on pop-punk’s continued resurgence. The first signing to Travis Barker’s DTA Records, the breakout singer-songwriter has found a fan in not only the blink-182 star but in Machine Gun Kelly, who jxdn is set to tour with this fall and makes an appearance on his debut album, Tell Me About Tomorrow. With an acclaimed debut album in the books and some of pop-punk’s biggest stars behind him, jxdn is sure to deliver a Lollapalooza debut for the ages. 

AG Club

When & Where: Friday, 7:45 p.m. at Grubhub Stage

AG Club, an abbreviation of avant-garde club, is a genre-less music collective that shares a lot in common with fellow Lollapalooza must-see act, Peach Tree Rascals, including a collaborative single. But don’t get things twisted, this Bay Area collective has their own vision in store for you. With a brash, in-your-face attitude, AG Club is likely to draw comparisons to the Saturation era of BROCKHAMPTON and glory days of ASAP Mob, but with their introspective, omnivorous approach, they deftly manage to emerge as an act all their own. If you want to go where the party is, don’t miss AG Club.

Tai Verdes

When & Where: Friday, 1:45 p.m. at Bud Light Seltzer Stage

Where would we be without TikTok? I, for one, would be without my preferred form of short-form entertainment and the world be without the infectious pop-R&B stylings of one Tai Verdes. Originally working at Verizon before his breakout single, “Stuck in the Middle,” became a viral hit on TikTok, Verdes is now one of the most promising and rapidly rising acts in music today. And with his debut album, TV, the viral star proved himself no one-hit-wonder, delivering a collection of tracks that span a range of emotions and genres that we cannot wait to experience live.

Dominic Fike

When & Where: Thursday, 7:45 p.m. at Grubhub Stage

Dominic Fike is a musical chameleon. First breaking out with his unassuming radio hit “3 Nights,” to only jump into the absolute vibe that is the Kenny Beats–assisted “Phone Numbers,” and culminate it all with the genre-spanning debut album, What Could Possibly Go Wrong, Fike is an artist whose limitations seem limitless. It’s a notion that plays out in his breathtaking live show, reworking his hits with an insatiable appetite until they’re songs that exist only in that singular moment. Fike’s is set you will not want to miss.

Oliver Tree

When & Where: Thursday, 9 p.m. at Grubhub Stage

Alternative auteur Oliver Tree is nothing if not unpredictable. Flaunting his signature JNCO jeans and an impressive professional razor scooter pedigree, the inimitable artist delivers on an infectious blend of alternative, electronic, hip-hop, and pop that defies any simplistic classification. And with his debut album, Ugly Is Beautiful, now out in the wild after a much-hyped cancellation and subsequent surprise release, Tree has more than his fair share of music to pull from. Plus, given his penchant for going in and out of retirement like he’s trying to break a record only known to him, it’s probably best not to miss this set.   

RMR

When & Where: Sunday, 2:45 p.m. at Tito’s Handmade Vodka Stage

RMR originally made headlines with his breakout single, “RASCAL,” a transfixing country trap ballad that saw the rapper donning a black balaclava and Saint Laurent bulletproof vest while rapping over an interpolation of Rascal Flatts’ “Bless The Broken Road.” Since then, the anonymous rapper has been spotted hitting the town with Sharon Stone and embracing his penchant for melodic trap in the Westside Gunn, Future, Lil Baby, and Young Thung–loaded Drug Dealing Is a Lost Art. Existing at the fusion of trap country and melodic rap, RMR’s Lolla set is one you’re not likely to forget anytime soon.

Chiiild

When & Where: Sunday, 12:00 p.m. at Lake Shore Stage

Nostalgic and novel, Chiiild’s self-described brand of “synthetic soul” is nothing short of intoxicating. Setting its own sauntering pace, Chiiild’s unique take on R&B and soul takes on a cosmic energy, as if floating through a wormhole with nothing but a single cassette deck on hand. It’s a testament to the Canadian band’s all-encompassing approach that draws upon not just R&B and soul but psychedelia, jazz, indie, and pop to craft a sound that is all their own. Take a trip on Sunday, and meet us at Chiiild.

All Time Low

When & Where: Thursday, 6 p.m. at Tito’s Handmade Vodka Stage

Because teenage you wasn’t old enough to convince your parents to let you see All Time Low the first time “Dear Maria, Count Me In” was trending.

[weekendwarriorblog]

The Weekend Warrior 5/7/21: WRATH OF MAN, HERE TODAY, THE UNTHINKABLE, MONSTER, THE WATER MAN and More

It’s a new month, and I guess going by previous years pre-COVID, this weekend would normally be the start of summer. This year, we’re instead getting a summer with a lot of movies that would normally be dumped into April or February or some other uneventful month. That doesn’t mean that there aren’t or won’t be any good movies, but really, there’s nothing that feels like a summer movie until A Quiet Place Part II and Disney’s Cruella open on Memorial Day weekend.

There’s been lots of great developments, though, including the Alamo Drafthouse in Brooklyn reopening this Friday and then in a few short weeks, theaters may be allowed to be open with no capacity rules although social distancing and masks will probably still be in place. Believe me, it’s been a confusing week as the city that got used to being on the backburner when it comes to reopenings, especially with movie theaters, is now dealing with arguing politicians competing to see who could throw open the then most doors fastest. It’s actually pretty embarrassing.

That aside, this week’s The Weekend Warrior column is brought to you by the new album “Coral Island” from Liverpool band The Coral, which I’ve decided to listen to on loop until I finish this column, because it’s taking me so long to get through it. (Eventually, I switched to Teenage Fanclub’s “Endless Arcade,” since I hadn’t had a chance to listen to it yet…. And to an old standby, Royal Blood, with their own excellent new album, “Typhoons.” At least the record business seems to know it’s the summer!)

Before we get to this week’s new movies, a couple tidbits. First of all, I’m thrilled that my friends Larissa Lam and Baldwin Chiu’s documentary FAR EAST DEEP SOUTH can finally be seen by the entire world, or at least the United States. It debuted on PBS World Channel on Tuesday night as part of the “America ReFramed” series, but for the entire month of May until June 3, you can watch it On Demand HERE, and that is huge! (There will be other ways to see it that you can read about here.)

This is an amazing MUST-SEE doc that looks into the little-known Chinese communities that took root in Mississippi in the early 20th Century and how they became such a huge part of that area with their markets, also bonding with the African-American communities that were similarly dealing with racism from the typically white post-Civil War South. It’s not just a history lesson, and it’s an incredibly moving story about a family trying to find its roots in the most unexpected places. There was a good reason why the couple’s short “Finding Cleveland” won the Oxford Film Festival while I was on the jury that year, and Far East Deep South similarly won an award there last year after its World Premiere at Cinequest was almost scuppered by COVID. It’s amazing how much more relevant and important this film has become since I first saw it last year, since both Asians and African-Americans are dealing with serious racial issues, and this movie shows that more than anything, they should be working to boost each other rather than fighting. Do check it out On Demand this month if you get a chance!

Another musician making movies is Mr. Dave Grohl of the Foo Fighters. I mentioned his documentary WHAT DRIVES US last week, but I actually only got to watch it on Thursday, and like his previous film Studio City and HBO mini-series, Sonic Highways, it’s a fantastic look at the music biz, this time through a variety of artists who began their careers by piling into vans and driving around the country. That is, except Lars Ulrich from Metallica, who mentions that the band was never so small or indie that they didn’t have a bus. But Grohl has used his vast connections to bring in a lot of great musicians including The Edge from U2, Flea from the Red Hot Chili Peppers, and more, making this a very entertaining movie both for fans of the various bands but also live music fans in general. I gotta admit that as much as I loved What Drives Us, it did bring me down a bit since it’s been almost 14 months since I’ve seen any live music, and I really miss it. This is now streaming on The Coda Collection, which you can subscribe to through Amazon Prime Video.

Guy Ritchie is back with his latest movie, WRATH OF MAN (Miramax/MGM), which reunites him with Jason Statham for the first time since 2007’s Revolver, I believe. Statham plays the enigmatic Paul “H” Hill who works at cash truck company Fortico, responsible for moving hundreds of million dollars around Los Angeles each week. Fortico has recently been hit by a lethal robbery, and H’s team soon learn that there’s a lot more to their new coworker, who happens to be looking for revenge against the man who murdered his son.

(Unfortunately, reviews for the movie are embargoed until Thursday at 6pm, so I can’t tell you whether it’s any good or not. Until Thursday night. Sorry!)

But I will talk about the movie’s box office prospects, because why not? Ritchie’s last movie, The Gentlemen, opened in January 2020, during the “before times,” with $10.6 million, but that was more of a classic Ritchie ensemble crime-comedy. Wrath of Man is more of the type of movie Statham has been making over the past few years, a cross between a revenge thriller and a heist flick. In fact, Statham has done a pretty good job creating his own brand through a variety of action-thrillers as well as a number of franchises including “The Transporter” movies, “The Expendables,” and eventually joining the “Fast and the Furious” franchise as Deckard Shaw with Furious 7 in 2017. Statham then went off to make Hobbs and Shaw with Dwayne Johnson, which didn’t do bad with $174 million. Before that, Statham starred in The Meg, a summer shark attack movie that grossed $145 million. Statham going back to help his old mate i.e. the director that gave Statham his start is pretty huge.

But as I said earlier, those were all in the “before times” and with the box office the way it is, it’s hard to imagine that the exciting reunion of Statham and Ritchie can open with more than $10 million but maybe closer to $8 million, because MGM/UA just doesn’t have the marketing clout of a Warner Bros. or Universal. Even so, that should be enough to be #1 this weekend as both Mortal Kombat and Demon Slayer continue to fall away. Unfortunately, if the movie *is* any good -- and I can’t tell you one way or another -- then by the time reviews hit, people will already have other plans for the weekend than to go see the movie. So yeah, that’s pretty dumb on the part of MGM, huh?

UPDATE: MGM is putting the movie into 2,876 theaters and maybe I'm being overly optimistic, because, as you'll read below, the movie IS pretty good and reviews have remained positive with the American reviews rolling in last night, still at 70% Fresh at this writing. Maybe that'll help the movie do a little better, maybe as much as $9 million, although I'll probably owe MGM an apology if it cracks $10 million, and I don't think it will.

Mini-Review: If you’ve seen the trailer for Wrath of Man, you might go into Guy Ritchie’s latest thinking you know what to expect, because it’s sure being sold as another typical Jason Statham revenge thriller. Don’t be fooled by the marketing, the movie really is Ritchie’s chance to make his own version of Heat, an L.A. heist movie that owes as much to Rashomon as another movie being released this week.

Wrath of Man begins with the heist of an armored truck that turns deadly with the wanton murder of a couple guards. From there, you might think we know where things are going when Statham’s “H” company whose truck was hit, and on his first day, he stops a similar heist by killing the truck’s attackers. H is immediately the hero of the company, although he still has quite a few suspicious coworkers and the feeling is quite mutual. Ritchie’s film then slips into the second episodic chapter which goes back five months to that initial heist where we learn that Statham’s son was killed by being in the wrong place at the wrong time.

I don’t want to go too much deeper into how the movie and story play out, because like The Gentlemen and some of Ritchie’s more intricate films, there’s a lot that purposefully isn’t made very apparent at the beginning. To many, this movie will be seen as even more macho than most of Ritchie's films, to the point where even the only woman guard, Dana, being just as macho as the men. As the movie begins, there’s a lot of joke-cracking and crotch-grabbing, all while Statham’s character silently observes and only acts when necessary.

The film’s shift to more of a classic Ritchie ensemble does slowly take place, but by the third chapter, it shifts to the group perpetrating the cash truck heists with an “inside person,” taking the movie to yet another place that makes it more obvious that this is Ritchie’s attempt at delving into the L.A. heist genre that other filmmakers have done so well.

Oddly, Statham doesn’t have too many lines, acting almost like a Terminator in his determination to right wrongs, but as always, Ritchie puts together a fantastic ensemble cast including a number of great American character actors who we rarely get to see in such great roles. I was particularly impressed with Jeffrey Donovan, who has appeared in a number of otherwise forgettable crime films this past year. The same can be said for Holt McCallany as H’s truck driver “Bullet,” but Ritchie also cast the likes of Josh Hartnett and Scott Eastwood in smaller yet still significant supporting roles, all of whom become more interesting as you start figuring out who all the players are.

Like I said, the movie is fairly macho and the few women play very small roles, but it’s how things are set-up in the first few acts to then change course and build to an absolutely amazing third act that will undoubtedly bear comparisons to Heat. And yet Wrath of Man (which is actually based on a little-seen French crime-thriller) does branch away from some of Ritchie’s standards, first of all by being far darker and even more violent with any of the wisecracking humor that pervades a lot of Ritchie’s work to counterbalance such violence disappearing once the flashbacks begin. It’s all punctuated by a fantastically tense score by Christopher Benstead, which seems a bit much at first but eventually settles into the perfect pace and tone for the action.

Despite disappearing for a good chunk of the movie, Statham is still great, basically killing everyone as his characters are wont to do, but watching how all of the different ideas come together leads to such a satisfying conclusion that one hopes those who might be put off, thinking they know where it's going due to the somewhat pathetic and obvious marketing will give it a chance to see how Ritchie has changed gears as effortlessly as he did with Aladdin a few years back.

Rating: 7.5/10

After even a longer time since he directed a movie, Billy Crystal once again takes the helm for HERE TODAY (Sony/Stage6), a movie in which he plays comedy writer Charlie Burns, whose chance encounter with Tiffany Haddish’s lounge singer, Emma Payge, leads to an unlikely friendship, as he struggles with early stage dementia.

I’ve known about this movie for over a year now, and I was pretty excited to finally get to see it, since I was such a fan of the other movies Crystal has directed, 1992’s Mr. Saturday Night and 1995’s Forget Paris, and it’s just amazing to me that he hasn’t directed a movie since.

At first, it seems like it’s the type of meet-cute we’ve seen so much in Crystal’s past filmography, but his pairing with Haddish isn’t something that might work on paper, but in fact, their comic styles mesh so perfectly together that it’s amazing that no one thought of putting them together before.

Crystal wrote the film with comic Alan Zweibel, who adapted it from his own short story “The Prize,” which refers to Haddish’s character winning Charlie in an auction for a lunch. Actually, her ex won the lunch, and she decided to use it because… free lunch! It’s a pretty simple set-up but one that allows the filmmakers to explore some of the odder things that happen in life.

Much of the movie’s humor plays upon the differences between the two characters, and how unexpected their friendship is. I can totally relate, because I have a lot of good long-time friends who most people might never expect us to be friends, but Crystal, Zweibel and Haddish pick up on that and create a movie that’s very funny but has enough other characters around the duo toa allow their characters to show how they’re just really nice people. We see that with how Charlie takes a young writer at his late night show under his wing or how Emma livens up the bat mitzvah of Charlie’s granddaughter. Oh yeah, and Haddish sings. She actually has a number of great performances in the movie, and seriously, anyone who watches this movie is gonna wanna see a smart filmmaker put Haddish in a musical immediately.

The film also acts as a truly touching tribute to Crystal’s friend, the late Robin WIlliams, who was diagnosed with the exact same type of dementia after his suicide death, and knowing that fact, makes the film even more poignant. More importantly, it doesn’t use Charlie’s condition for laughs, and for that alone, I feel like this is ten times better than that overrated Oscar winner The Father.

Here Today’s biggest problems come in the third act when it feels like the movie is starting to over-extend its welcome, even going into somewhat expected places, but it recovers from that rough third act to land a really nice ending. Crystal has always proven himself to be a really strong mainstream filmmaker (ala Rob Reiner and others) who makes crowd-pleasing movies, and it’s so nice seeing him going behind the camera for a movie that’s obviously very personal but also highly relatable.

As far as box office, I certainly have high hopes that Crystal still has an older audience of fans who might want to see him on the big screen again. I’m just not sure if this will be in more than 1,000 theaters, and though I’ve seen quite a bit of marketing, I just haven’t seen Crystal or Haddish do nearly as much in terms of getting out there that would be necessary to reach an audience that might want to venture out into movie theaters to see the movie vs. waiting until it’s on cable/streaming. There’s also Tiffany Haddish’ fanbase, and there could be some benefit for the movie coming out the same week as her new CBS show “Kids Say the Darndest Things.”

I’d love to be optimistic with this making $4 to 5 million but it’s probably more likely to be closer to $3 million especially with capacity limits still in place for most theaters and the audience generally being older.

UPDATE: Maybe I was a little too optimistic, because I enjoyed the movie so much and it will probably be closer to $1 or 1.5 million since other reviews aren't as great.

Next, we have two movies finally being released many years after their festival premieres…

The Swedish apocalyptic thriller THE UNTHINKABLE (Magnet), directed by Victor Danell, is finally being released after playing genre fests in 2018 and 2019. It stars Christoffer Nordenrot as Alex, a young piano virtuoso who ran away from home due to his abusive father Bjorn (Jesper Barkselius). Years later, he returns home for his mother’s funeral after she’s killed in a terrorist attack on Sweden. At the same, there’s a virus that’s erasing people’s memories, but Alex is still in love with Anna (Lisa Henni), the girl he had a crush on when he left, and the three of them will have to help each other face all the horrible things hitting their home at the same time.

As I was watching this movie, a lot of it felt eerily familiar to me, but I couldn’t figure out why. The more I watched it, the more I realized that I actually HAD seen the movie before. Sure enough, I saw this movie over two years ago at the “What the Fest?!” in New York two years ago, and I honestly don’t remember loving it. Still, I decided to give it a fresh look, hoping to get more out of it on second viewing.

Some of the same things bothered me on this second viewing, because it’s really hard to figure out exactly what is going on and whether the horrific events are natural, man-made or a combination of both. For some time, we get so mired into Alex’s lame relationship with Anna, and when he returns home, his conspiracy theory-driven father is busy protecting a bunker that’s being invaded by foreign military troops he thinks are Russians. We cut between these two disparate scenarios while sometimes returning to the capital of Sweden and throwing in a few big set pieces. It’s so disjointed that you feel like you’re watching a lot of random unrelated events, maybe a bit like last week’s About Endlessness -- maybe it’s a Swedish thing?

There are aspects of The Unthinkable that are quite commendable, particularly those action moments and how the mystery about what is happening develops as the film goes along. Eventually, the film does find a more consistent pace, and things start becoming a little clearer, which makes the final act better than much of what we’ve watched earlier. Even so, it’s still quite annoying how long it takes to figure out what’s going on, even on a second viewing, and for most people, that may already be far too frustrating to get through it.

Hitting Netflix on Friday over THREE years after it premiered at Sundance is music video director Anthony Mandler’s directorial debut, MONSTER (Netflix), based on the novel by Walter Dean Myers. It stars Kelvin Harrison Jr. (Waves) as Steve Harmon, a 17-year-old film student put in jail, accused of murder in a bodega robbery. His defense lawyer (Jennifer Ehle) is trying to help him be released, but he’s fighting against the odds of a judicial system that sees him as a “monster” because he was in the wrong place at the wrong time.

I have to be honest that I did go to see this at Sundance the week it premiered, and for whatever reason, I just wasn’t feeling it, so I only really caught about twenty minutes of it. Watching it now with more time and a little less weary than I usually am towards the end of Sundance, I was able to appreciate Monster more for what it is. On the surface, it’s just about Steve’s case and how what really happened unfolds before our eyes and we learn more about those around Steve and how their influence may have pulled a smart and studious young man into the criminal world that now has him in prison with much more violent life-long criminals.

We already knew that Harrison was a great actor, but Monster shows us that he was already on his way to greatness with this movie that for whatever reason got buried even as it dealt with issues that have been in the headlines almost every day since this debuted.

Mandler takes an interesting approach, both non-linear and also with blatant nods to Kurosawa’s Rashomon, which is even cited by Steve’s teacher, played by Tim Blake Nelson. Jeffrey Wright and Jennifer Hudson are decent as Steve’s parents, but they’re generally smaller and non-showy roles compared to the moments between Harrison and Ehle. Much of the film takes place in the courtroom with flashbacks showing what happened through the viewpoint of whomever is on the stand, which eventually includes Steve himself.

The way Mandler handles the material may lean more on the artiness rather than something more mainstream -- Michael B. Jordan’s Just Mercy comes to mind -- but it’s just as powerful in showing how someone like Steve can be othered by society into being a criminal. Sure, there have been other handlings of this sort of material that I thought were better films, but if you know anyone who has ever had dealings with the “justice” system and know how unfair and horrible it can be even to the innocent, then Monster will certainly strike a chord.

Also hitting Netflix this week is the new series based on Mark Millar and Frank Quitely‘s comic books, JUPITER’S LEGACY (Netflix), another kind of twist on the superhero genre ala Amazon Prime Video’s series based on Warren Ellis and Darick Robertson’s The Boys. I love the comics, and I can’t wait to finally get around to seeing Netflix’s first adaptation of a Millarworld property.

David Oyelowo makes his directorial debut with THE WATER MAN (RLJEfilms), a movie about a young boy named Gunner Boon (Lonnie Chavis), whose mother (Rosario Dawson) is battling leukemia. In an effort to cure her, Guner goes off on a journey along with a teenage girl named Jo (Amiah Miller) to find the mythical Water Man, who can provide them with a magic token that might save Gunner’s mother’s life.

I’ve interviewed Oyelowo a few times before, and I really like him a lot, so I had really high hopes for him as a director since I feel he’s just a terrific actor. Unfortunately, the material here is just not strong enough that I think even a far more experienced filmmaker could make something out of it.

Set in PIne Hills, we meet Gunner, a bright kid who loves drawing comic books, but he has trouble connecting with his father (Oyelowo), so when he has an idea that might help his sick mother, he goes off with a head-strong teen named Jo, in search of the Water Man, a summertime adventure permeated by a lot of very bad low-budget visual effects.

Honestly, I’m not even sure where to begin with where The Water Man falters, because Oyelowo has such a great cast, including Alfred Molina and Maria Bello in tiny parts. The story is a problem, as is the writing, which is just so bland and dull, that there’s really nothing in Oyelowo’s direction or any of the performances that really can salvage it. Neither of the child actors have much charisma or personality, and even Dawson’s performance, which would normally be a showstopper is repeatedly lessened by the constant cutting back to the kids. (And as someone who beat leukemia myself, I’m never a fan when cancer is depicted in movies as a death sentence rather than just another hurdle in life that needs to be overcome.)

Oyelowo himself may be one of his generation’s best actors, but he brings so little to the role of Gunner’s father, maybe to not take away from his younger star, but it hurts that he doesn’t do more to create a stronger conflict by making the character more horrible to drive Gunner away. The actual Water Man doesn’t improve things when he finally shows up, essentially talking like a pirate but not even remotely paying off.

Honestly, The Water Man seems like such a misguided venture -- Exec. Produced by Oprah, no less -- and it might have been totally forgettable if the characters didn’t keep saying the title of the movie every five minutes.

Hitting theaters Friday after a festival run is Tran Quoc Bao’s action-comedy THE PAPER TIGERS (WELL GO USA), starring ALain Uy, Ron Yuan and Mikel Shannon Jenkins as martial artists once known as “the three tigers but now middle-aged men must set aside old grudges and dad duties to avenge the murder of their teacher. I’ve had a screener of this since last summer when it played at Fantasia Festival in Montreal, and I just never got around to watching it, but if I’m able to squeeze it in before the weekend, check back here for my review.

Streaming on Shudder this Friday is Ryan Kruger's South African comedy-thriller FRIED BARRY (Shudder), starring Gary Green as Barry, a violent street junkie who is abducted by aliens who take over his body in order to… well, actually… they do a lot of drugs, have a lot of sex and other craziness. It’s a pretty strange and bizarre movie that reminds me a little of movies like a lower-fi Under the Skin or Beyond the Black Rainbow, and much of it is driven by the insane and unique performance by Green and the odd characters he encounters that I think will find its fans for sure, but it will definitely be for a very select audience of genre festival fans, as this is by no means a mainstream genre film.

Speaking of which, another movie out this week which I wasn’t allowed to see in advance is Gia Coppola’s MAINSTREAM (IFC Films), starring Maya Hawke as a young woman seeking internet stardom by making YouTube videos with a charismatic stranger, played by Andrew Garfield, until “the dark side of viral celebrity threatens to ruin them both.” Yup, it’s one of THOSE movies. It also stars Nat Wolff, Jason Schwartzman and Johnny Knoxville, but I haven’t heard anything good about it, and I’m not sure my curiosity is piqued enough to spend any of my own personal money to check it out.

Hitting Amazon on Friday is the doc THE BOY FROM MEDELLIN (Amazon) from Matthew Heineman (City of Ghosts, Cartel Land), a portrait of musical superstar J. Balvin, as he prepares for a massive sold-out stadium show in his hometown of Medellin, Colombia, which is hindered by the growing civil unrest in the area.

Lots of other movies this week, but a few that i just wasn’t able to get to this week, including:

ABOVE SUSPICION (Lionsgate) INITIATION (Saban Films) ENFANT TERRIBLE (Dark Star Pictures) QUEEN MARIE (Samuel Goldwyn Films) SILO (Oscilloscope) CITIZEN PENN (Discovery+)

That’s it for this week. Next week, Chris Rock and Samuel L. Jackson star in SPIRAL: FROM THE BOOK OF SAW (Lionsgate) and Angelina Jolie returns for the thriller THOSE WHO WISH ME DEAD (New Line) and Timur Bekmambetov’s thriller, PROFILE (Focus Features). That’s right. This will be the first weekend in over a year where we’ll have three or maybe even four new wide releases.

[brokenbuttonsmusic]

Howard Tate: A Philadelphia Soul Resurrection

This post is a near- transcript of the Broken Buttons: Buried Treasure Music podcast (episode 1, side B). Here you’ll find the narration from the segment featuring the great Philadelphia soul singer Howard Tate, along with links, videos, photos and references for the episode.

Listen to the full episode on Spotify, Anchor or Mixcloud.

Music history is packed with bands and artists that had the talent, the songs and even the fully realized recordings to make it big, only to be passed over. Some miss their window, or worse, some get their big break, but somehow  self-destruct or fail to capitalize on it. It’s the reason why I decided to do this show. There is so much overlooked and under appreciated music out there to be found and enjoyed.

This next artist doesn’t quite hit any of those scenarios exactly though. Howard Tate got his break and made it happen. Howard Tate hit big and he hit fast. Tate said he came home from work one day and a big limousine was sitting in front of his door. 

“You gotta get in here right away. You gotta get a suit. You’re playing with Marvin Gaye tomorrow night.”

Between 1966 and 1970 Howard Tate had six top 40 R&B singles. And then he disappeared. Plunging into obscurity, almost as quickly as he soared within sight of the summit. Tate never completely crossed over. While he regularly appeared on the R&B charts, the highest he ever placed on the Pop charts was #63. 

Let’s start our dive into Tate, by hearing his highest charting single. One of three top 20 R&B hits in his catalog. This is Ain’t Nobody Home by Howard Tate. 

Ain’t Nobody Home by Howard Tate.

Here’s what the Rough Guide to Soul & R&B has to say about that recording and the chemistry of the whole crew who made it happen.

“With a groove laid down by keyboardist Richard Tee, guitarist Cornell Dupree, bassist Chuck Rainey and drummer Herb Lovell, the production of Ain’t Nobody Home by Jerry Ragovoy both borrowed from and influenced the music coming from Memphis and Muscle Shoals, and set the precedent for Atlantic’s first recordings with Aretha Franklin. While the music was great, however, it was Tate’s vocals that made the record. Sounding like a less overwrought Percy Sledge, Tate’s simultaneously Northern and Southern phrasing was impeccable, and economical use of his falsetto made it all the more effective.”

Tate had the voice, which many compared to Sam Cooke and Marvin Gaye. He also had a distinctive gospel-blues delivery that sticks with you for days. But the tunes came from somewhere else.

Before his quick ascent, Tate was singing in a group with Garnet Mimms. Mimms was the original singer of the Janis Joplin hit,  Cry Baby. He also introduced Howard to record producer Jerry Ragovoy, who co-wrote Cry Baby. Ragovoy is known for writing Time is On My Side for the Rolling Stones and another Joplin hit, Piece of My Heart. Clearly Janis liked the songwriting of Jerry Ragovoy. In fact, she also performed this Ragovoy composition that you’ve probably come across at one time or another.

That’s Janis Joplin singing Get It While You Can from her massive second album Pearl in 1971. What you might not know is that Get it While you Can was originally performed by Howard Tate, five years earlier in 1966.

Ragovoy was taken with Tate’s voice and began recording him as a solo artist for Verve Records. Ragovoy’s memorable, punchy Northern soul production paired with Tate’s soulful blues phrasing was a perfect match.

Here’s Howard Tate’s version, the original version, of the Jerry Ragovoy penned Get It While You Can.

That was Howard Tate with Get It While You Can from the 1966 album of the same name.

American rock critic Robert Christgau had this to say about Tate and his collaboration with Jerry Ragovoy.

“Tate is a blues-drenched Macon native who had the desire to head north and sounds it every time he gooses a lament with one of the trademark keens that signify the escape he never achieved. He brought out the best in soul pro Jerry Ragovoy, who made Tate's records jump instead of arranging them into submission, and gave him lyrics with some wit to them besides. In return, Ragovoy brought out the best in Tate.”

Despite the magical team up on early singles and a debut album, Tate recorded his second album without Ragovoy, instead working with Lloyd Price and Johnny Nash. Released in 1969, Howard Tate’s Reaction is more uptown soul than the grittier southern soul of its predecessor, but it’s another recognition worthy collection of performances.

Ragovoy and Tate reunited for 1972’s eponymous Howard Tate. This time an Atlantic release. Critics knock this album as being a notch below Ragovoy’s best songwriting, but I think it’s a worthy piece of Tate’s catalog. Tate sounds great, as always, and there are a couple of really explosive, interesting covers. The Band’s Jemima Surrender and this one.

Bob Dylan’s Girl From the North Country. Listen to this voice.

Howard Tate covering Bob Dylan’s Girl From the North County from 1972.

After recording a handful of additional songs—one single for Epic and a few for his own label—Tate retired from the music business. Frustrated with his lack of crossover, but downright bitter about how little he was paid for his successes, which again, included 3 top 20 R&B hits—he quit. Disappeared, really.

But not everyone was ready to forget. And while his name would fade from memories over the coming decades, Howard Tate’s impact was undeniable.

One of Tate’s heroes, BB King, covered Ain’t Nobody Home. So did Bonnie Raitt.

Ry Cooder and Grand Funk covered Look At Granny Run Run

Jimi Hendrix covered Stop

Foghat covered Eight Days on the Road and so did the one and only queen if soul.

And not everyone forgot. Tate’s old partner, record producer and chief songwriter Jerry Ragovoy made many attempts to track down his old friend over the years. He contacted old business associates and got them in on the search. They all came up empty.

A New Jersey DJ named Phil Casden had developed somewhat of an obsession with Tate’s whereabouts. Casden hosted a weekly radio show, spinning soul, blues and R&B and had taken to asking his listeners for any information about the missing (by this time) cult soul legend.

Even Verve, Tate’s old record company, had given up trying to track down the long retired crooner. The 1995 CD reissue of Tate’s Verve sessions included liner notes that flat out said: Howard Tate is probably dead.

''It wasn't sufficient to leave a story like that open-ended,'' Mr. Casden said. ''I had to find out: 'Is the guy alive? Is he dead?' There had to be something more than, 'He just rode off into the sunset.' ''

In 2001 the mystery was solved. Ron Kennedy, singer of Harold Melvin and the Blue Notes recognized Tate at a grocery store and the old pals played catch up after nearly 30 years. They exchanged numbers. Kennedy put the New Jersey DJ, Casden, in touch with Tate. Casden enthusiastically announced the good news to his listeners and the soul fanatics across the internet. Howard Tate was alive! He even put Tate in touch with a lawyer to help him recoup past royalties from his reissues.

Apparently Tate had quite a loyal following overseas. Eventually, a British journalist reached out to Tate’s old partner-producer Jerry Ragovoy for a reaction. The only problem was, Ragovoy didn’t have a reaction to give because he didn’t know Tate had been found. Ragovoy was elated at the news. After reconnecting with his long lost friend and confirming he was doing well, the next thing on his mind: could Howard Tate still sing?

Before we answer that, let’s answer this: where had Tate been all those years after walking away from the music?

After becoming resentful and disheartened by his missing paydays, Tate decided to go missing himself. He didn’t intentionally go into hiding, he just bailed on the industry that he felt wronged had him.

He worked as a securities dealer with Prudential for a while and then darkness hit. He lost his 13-year-old daughter in a house fire. In 1981, after 20 years, his marriage fell apart. Soon after, Tate unraveled too. He tumbled into drug addiction and lost everything. He lived on the streets for years, struggling to get by and feed his habit. Finally, in the mid 90s, he started to climb out of the hole. He cleaned up and found god. He became a minister and dedicated his life to helping the poor and homeless.

And that brings us up to the moment of his big reunion with Jerry Ragovoy and loyal fans awareness that Howard Tate was alive and well after all those years. But now more than your die hard R&B/soul enthusiasts were interested.

But did he still have that voice? Could Howard still sing?

Uh, yeah. Jerry Ragovoy was stunned at how strong Tate sounded after decades of being out of the game. And he was REALLY out of the game. Howard claims he never sang a note all those years. Not until Jerry approached him about recording a comeback album and got him into the studio. Tate also says he had no clue that Janis, B.B., Jimi, Ry or any of the others had ever covered his songs or took an interest in his music.

Howard and Jerry recorded a new album in 2003. It’s called Rediscovered. And remember that Elvis Costello quote from the intro to this episode? Elvis called Tate the missing link between Jackie Wilson and Al Green. Tate asked Costello to write a song for his new album and he agreed. 

Let’s here that now. From his comeback album, Rediscovered, more than 3 decades in the making, here’s Howard Tate with Either Side of the Same Town, written by Elvis Costello.

That was Either Side of the Same Town from Howard Tate’s first album after 30 hears away from the music business. But not his last.

Tate had quite the victory lap. He made numerous tv, radio and festival appearances in the ten years after his reemergence. He recorded two more studio full lengths and a live album. On December 2nd, 2011, Tate passed away of complications of multiple myeloma and leukemia.

With a superb first act and a spectacular resurrection that led to the near doubling of his recorded output, there’s plenty of Tate music to check out and enjoy.

Other sources for this segment are listed below.

I referenced several NPR features in this episode, including the obituary they did for Tate. 

Deep Southern Soul - This blog did a great post on Howard Tate. Lots of other good stuff here, but they recently announced they are closing up.

Gadfly Online - Another nice write up on Tate and his back story.

New Jersey new feature - The clip of Howard talking is from this segment. They did a feature on Tate’s rediscovery.

Trunkworthy - Post about Tate and his comeback. This site digs into music, movies and TV you might have missed. They also did a post about the Elvis Costello song featured in this episode. Elvis’ version is on The Delivery Man album. 

New York Times Obituary for Howard Tate

The Guardian Obituary for Howard Tate

Billboard Magazine, July 26, 2003 - Article about Howard’s return after 30 years.

[skottydawgblog]

Top 25 Albums of All Time

Scott Welsch

Criteria:

Every song on the album must be attractive for listening. No “skippers” on the album. No, “Eh, that song kinda sucks” on the album. *Greatest Hits albums ARE NOT acceptable for this list. (This rule devastates me, as it disqualifies Foo Fighters)

2. The album/music/lyrics should still be relevant (and listenable) today.

3. The artist can’t just be for a specific crowd or followers (e.g. Jimmy Buffet, Grateful Dead, Moody Blues, etc.).

4. There is no need for the album to have won any awards or previous recognition.

5. I could have easily made this a “Top 100”, but I have a life.

TOP TWENTY FIVE ALBUMS OF ALL TIME:

#25 Billy Joel — Glass Houses

I played this album at bedtime growing up. I listened to side one, flipped the album, then listened to side two until the needle lulled me to sleep by making the “click click” noise at the end of the record. The album features Billy Joel’s first song to reach #1 status on Billboard (Still Rock and Roll To Me).

#24 Guns n Roses — Appetite For Destruction

My best friend in the 80s said to me, “Have you heard of this new band?” and handed me a cassette tape (in 1987). I listened to the entire cassette from start to finish the first time, and thought to myself, “Oh, man. These guys are gonna be huge.” Sure enough, Guns n Roses became one of the best-known names in modern rock. Their debut album (Appetite) has a buffet of glorious songs to listen to. Repeatedly.

#23 Elton John — Goodbye Yellow Brick Road

Elton John released this album as a two-disc set because he ended up writing and recording more songs than required by his recording company for the release. His creativity had kicked in full force (and then some). He recorded it in Jamaica (the country, not the neighborhood in Queens, NY).

#22 Red Hot Chili Peppers — Blood Sugar Sex Magik

The Chili Peppers’ fifth studio album, BSSM pushed them into mainstream. Prior to this album, the closest they had gotten was with a Stevie Wonder cover of Higher Ground on the Mother’s Milk album. No one has ever duplicated the variety of melodic undertones created by the combination of acid-rock, soul-funk, early alt-rock, and blues style on BSSM.

#21 Billy Idol — Billy Idol

Billy Idol’s debut album, released in 1982, was an absolute success after his breakup with the band Generation X. The song Dancing With Myself (track 11 on the 1983 reissue of the album) was actually a song originally recorded BY Generation X (with Billy Idol on lead vocals). It was a retail failure when released with Generation X, but when Billy Idol re-recorded and re-released it as a solo artist, it went mainstream.

#20 The Police — Zenyatta Mondotta

This was the last album The Police recorded by combining their reggae and punk music style before they switched to a more “popular” music style. Songs like Canary In A Coal Mine and Bombs Away had innuendos of political undertones, while Don’t Stand So Close To Me and De Do Do Do De Da Da Da were more lackadaisical and humorous.

#19 Van Halen — Van Halen

This album is an anomaly. Van Halen is a very well known band. They produced twelve albums. Yet, this is their debut album and has their legacy songs. The album has reached Diamond status by selling over ten million copies. It has one of the best-known guitar instrumental songs in history (eruption).

#18 Nirvana — Nevermind

This is my nod to the Foo Fighters, since they are not eligible for the list. Nevermind was the cork that popped and brought alternative rock (as a whole) into the mainstream. It basically created a whole new genre of both musicians and fans.

#17 Lynyrd Skynyrd — (Pronounced Lĕh-’nérd ‘Skin-’nérd)

Well…Free Bird, of course. I don’t need to write any about this album more than that.

#16 Pink Floyd — The Wall

I used to just listen to this album and watch the movie because it was the cool thing to do. Then, once I picked apart the meaning behind both (the music and the screenplay), it was totally eye opening. Pink Floyd was successful at concept before concept was cool.

#15 The Doors — The Doors

The Doors recorded this album in less than a month, yet it will inspire musicians for centuries. Critics often rate it the best album of all time.

#14 Rainmakers — Rainmakers

The Rainmakers self-titled album epitomizes my “100%” criterion. Every well written song tells a story, either historically or humorously. Also, The Rainmakers made rockabilly cool when no one knew what rockabilly was.

#13 Rush — Moving Pictures

With so many amazing Rush albums to choose from, it was difficult to pick just one. However, the rules of my list narrowed it down to Moving Pictures. I have spent countless nights in my life listening to this album from start to finish. Although Side B has no songs that ever received radio play, they are still AMAZING songs.

#12 Linkin Park — Hybrid Theory

This debut album launched Linkin Park into their river of greatness. Linkin Park was initially rejected by 42 recording agents before recording Hybrid Theory and becoming one of the all-time greatest alt rock bands.

#11 Beastie Boys — Licensed To Ill

Licensed To Ill is one of the fastest selling debut albums in history. It gained Diamond status (over 10 million copies). Some claim that Licensed To Ill is the best punk rap album ever released.

#10 Van Halen–5150

5150 was Van Halen’s debut album with Sammy Hagar as lead singer. Each song has crisp, clear instrumentals and incredibly well written music. Although the album received negative reviews from critics, each song creates different feelings and scenarios with the tempos and feelings. I know, I know. Van Halen is already on this list. However, as stated: this album is with Sammy Hagar as lead singer. The previous one was David Lee Roth.

#9 Violent Femmes — Violent Femmes

This was Violent Femmes debut album. It was the party album of the eighties. Every partygoer knew every lyric to every song. The Femmes had one of the most distinctive sounds of the times and remains an enduring classic. The minimalism and simplicity of their music created the attractiveness, and their lyrics are a drug.

#8 New Order — Substance

This is a compilation (2 disc) album. NOT a greatest hits album. It contains a ton of great New Order music. The only reason I made the exception (of “Greatest Hits”) is because it has a “B” sides disc included with many unreleased, 12-inch, and dub versions of the original songs. For New Order fans, this is a gold mine.

#7 The Who — Who’s Next

There are so many great tracks on here. The primary reason this one made the list is Baba O’Riley. This song (often mislabeled as Teenage Wasteland) was originally 30 minutes long. I would have had no problem with the song being that long.

#6 Prince — Purple Rain

Purple Rain had innovation that was unheard of in the early ’80s. For example, When Doves Cry does not have a bass line. The consolidation of R&B with rock was a new concept. Lastly, Prince’s guitar playing on this album was out of this world.

#5 U2 — Joshua Tree

Bono’s “great romance” and fascination with the United States served as the inspirations for The Joshua Tree. I wonder if Bono would have found today’s United States as inspirational? One of the BEST songs on this album- Running To Stand Still.

#4 AC/DC — Back In Black

This is one of the best-selling albums in history. It is AC/DC’s leanest, meanest album of all-time. It will always sound timeless and simple, yet savagely crafted.

#3 Led Zeppelin — IV

This album defined not only Led Zeppelin but the sound and style of 70s hard rock. It encompassed heavy metal, folk, pure rock-and-roll, and blues. This album not only served as a cornerstone but also a turning point for the future of music. Just don’t ask a guitar player to play Stairway (or Freebird).

#2 Nine Inch Nails — Downward Spiral

It’s no surprise that Trent Reznor collaborated with Jane’s Addiction drummer Stephen Perkins on this album. The instrumentation throughout the album is amazing. Every song leads into the next (it should, as it’s a concept album). Just don’t listen to the lyrics too closely. It could prove very, very depressing!

#1 Pearl Jam — Ten

Ten was the debut album from Pearl Jam in August 1991. Although most consider Pearl Jam a “Grunge” band, the album is more classic rock music. Most of the songs on the album began as simple instrumental band jam sessions that Eddie Vedder then wrote lyrics to go along with. The songs on Ten, despite their deep, dark lyrics, will remain on playlists for generations to come. Ten is powerful, insightful, deep, dark, thought provoking, and brilliant. “Why is the album named ‘Ten’?” you ask, when there are eleven tracks on it? Jeff Ament’s (the band’s bass player) love for NBA point guard Mookie Blaylock provided the inspiration. Blaylock’s involvement in a tragic car accident hit Pearl Jam like an injury to a family member. Blaylock’s jersey number was — you guessed it — Ten.

HONORABLE MENTION:

Steve Miller Band — Book of Dreams

This album has a few legendary songs on it: Jet Airliner, Swingtown, Jungle Love, and True Fine Love. The only reason it did not meet the cut is because it has some “eh” songs on it. However, a host can play this album straight through at a party or a get together, and no one will complain.

The Cars — The Cars

This is an amazing album. Clean, crisp guitar. Ric Ocasek’s vocals and lyrics are powerful. However, two songs (I’m In Touch With Your World and Dontcha Stop) prevent this album from meeting the “100%” criterion.

[popmusicu]

Most important Boybands in history for me

Boy bands have been an important part of pop culture for several decades, each generation has had its Boyband, these vocal groups formed by teenage boys, who sing and dance (there are exceptions), wear matching clothes and drive the girls crazy.

That's why I present some of the most important Boybands in history (some of my favorites and others that even though I'm not a fan I know several songs):

The jackson 5: Considered by many the first Boyband in history, this band formed by the African-American brothers from Gary,Indiana: Jackie, Tito, Jermaine, Marlon and Michael (from oldest to youngest) started in the mid 60s, driven by their father Joseph Jackson, playing in small bars and events in their town, until they were discovered by Motown Records where they began a successful career with Berry Gordy (owner of Motown) and Diana Ross, reaching the top of the U.S. charts with singles like "I Want You Back", "ABC", "The Love You Save" and "I'll Be There", without a doubt they were one of the most influential groups of the time, years later when they went to Epic Records they changed their name to "The Jacksons".

Well, last but not least, in the late 70's Michael Jackson started his solo career, which would lead him to become the most important artist in history and be known as the King of Pop.

Without a doubt, the Jackson Five are one of my favorites and I think most people know at least one of their songs.

J5 medley: https://youtu.be/-4QWtflqqoU

New Kids on the block: This group formed in 1984 by the brothers Jonathan Knight and Jordan Knight, Joey McIntyre, Donnie Wahlberg and Danny Wood from Boston, were a symbol for the boy bands that later in the 90s would succeed them.

They released their first album in 1986, but they jumped to the fame in 1988 with their album "Hangin' Tough" and even more with the release of "Step by step" in 1990 with which they became number 1 in the United States, but it didn't pass much time until in 1994 with the exit of Jonathan Knight, the group ended up separating.

After years in 2008 they announced that the group reunited, which made new tours and later between 2010 and 2012 with the Backstreet Boy made the NKOTBSB tour where they shared the stage singing the hits of both Boy bands, today they continue making music.

The NKOTBSB tour with 2 or more generations!

The Right Stuff: https://www.youtube.com/watch?v=tbIEwIwYz-c

Backstreet boys: It is the most successful Boyband of all time (we must admit that everyone knows at least a couple of their songs), composed of AJ McLean, Howie Dorough, Brian Littrell, Nick Carter and Kevin Richardson, since 1993 when it was formed and after releasing its first album of the same name in 1996, has been a symbol of pop and one of the groups with more record sales in the history of music.

Regarding their music, they obtained their first success in Europe with "We've Got It Goin' On", and from there their popularity began to grow , until with "Quit Playing Games (With My Heart)" they managed to conquer the United States. By the end of the decade of the 90s they release what was their most successful album "Millenium" which debuted in the position n° 1 of Billboard 200 that includes their most successful song "I want it that way" (we all know it's song), then they continue with their album "Black and Blue", which they promoted by traveling the 5 continents in 100 hours, with which they obtained a Guinness record.

After several agitated years, the band decides to take a rest in 2002, although after 3 years they return with a new sound and new tour, but in 2006 Kevin decides to leave the band, reason why Nick, AJ, Brian and Howie decide to continue them 4 with BSB, after several years and new albums, the project NKOTBSB arises where they unite to the New Kids ON The Block to make a tour, in which they announce the return of Kevin to the quintet. Currently, they are still very active after releasing their album "DNA" , whose world tour was interrupted by the covid-19.

My favorite boyband by far, their way of being, their messages in their songs, their iconic choreographies and the power to deal with difficult situations that have been presented to them make me admire them and love each of their songs.

All I have to give: https://www.youtube.com/watch?v=pj6FCKm8dhM

N´ Sync: Considered in the 90s the rivals of the Backstreet Boys, this band composed by Chris Kirkpatrick, Joey Fatone, Lance Bass, JC Chasez and Justin Timberlake who until today continues with his successful solo career; it was created in 1995 by Lou Pearlman, had great success at the end of the 90s until his separation in 2002.

In addition to their great successes with songs like "Bye bye bye", "I want you back" or "Pop", they had the opportunity to work with important music celebrities like MJ, Aerosmith, Celine Dion, Elthon John among others, there is even a chapter of The Simpsons dedicated to them. One of the strongest features of N' Sync was the dance and its complex choreography.

For me, Justin was always the most outstanding of the group, that's why he continues to be an important artist to this day.

Bye bye bye: https://www.youtube.com/watch?v=Eo-KmOd3i7s

One Direction: British Boyband was born in 2010 after Harry Styles, Liam Payne, Zayn Malik, Niall Horan and Louis Tomlinson, participated in Factor X, where Simon Cowell joined them and created one of the most successful bands of the decade of 2010, debuted with "What Makes You Beautiful" and since then were a phenomenon, filled stadiums, world tours, etc.  In 2013 they released "Midnight Memories", which was the best selling album of that year, which contained songs like "Best Song Ever", "Story of My Life" which are some of the most heard songs of the band.

until 2015 when Zayn announced that he was leaving the band, so 1D was left with only 4 members, who in 2016 each began their solo projects, leaving the group on pause until today.

What this band was missing to call my attention, I think was that they didn't dance!

Best Song Ever: https://www.youtube.com/watch?v=o_v9MY_FMcw

BTS: Although this band was formed in 2010 in South Korea and their debut was in 2013 is not until 2017 with the rise of K-pop that have become the most important group of this genre worldwide, formed by Jin, Suga, J-Hope, RM, Jimin, V and Jungkook have remained within the Billboard 200 for a long time with different songs like "DNA" or his EP "Love Yourself: Her", in addition to receiving several awards.

Even Time magazine recognized them as "Next Generation Leaders ", and they were included in the list of the most influential people in the world in 2019.

While this genre of pop is not my favorite, one of my favorite songs is Dynamite at first I was struck by its rhythm, but when I saw the video and all the references to MJ I loved a more.

Dynamite: https://www.youtube.com/watch?v=gdZLi9oWNZg

Michelle Silva H.

[blackkudos]

Darius Rucker

Darius Carlos Rucker (born May 13, 1966) is an American singer and songwriter. He first gained fame as the lead vocalist and rhythm guitarist of rock band Hootie & the Blowfish, which he founded in 1986 at the University of South Carolina along with Mark Bryan, Jim "Soni" Sonefeld, and Dean Felber. The band released five studio albums with him as a member and charted six top 40 hits on the Billboard Hot 100. Rucker co-wrote most of the songs with the other members.

He released a solo R&B album, Back to Then in 2002 on Hidden Beach Recordings but no singles from it charted. Six years later, Rucker signed to Capitol Nashville as a country music singer, releasing the album, Learn to Live that year. Its first single, "Don't Think I Don't Think About It", made him the first black artist to reach number one on the Hot Country Songs charts since Charley Pride in 1983. (Ray Charles hit number one in March 1985 in a duet with Willie Nelson with "Seven Spanish Angels".) It was followed by two more number one singles, "It Won't Be Like This for Long" and "Alright" and the number three hit "History in the Making". In 2009, he became the first black American to win the New Artist Award from the Country Music Association, and the second black person to win any award from the association. A second album, Charleston, SC 1966, was released on October 12, 2010. The album includes the number one singles, "Come Back Song" and "This".

Early life

Rucker was born and raised in Charleston, South Carolina, where his family history goes back generations. He lives in Charleston with his wife and three children. His single mother, Carolyn, a nurse at Medical University of South Carolina, raised him with his three sisters and two brothers. According to Rucker, his father was never around, and Rucker saw him only before church on Sundays. His father was in a gospel band called The Traveling Echoes. Rucker has said that he had a typical Southern African-American upbringing. His family attended church every Sunday and was economically poor, and at one point, his mother, her two sisters, his grandmother and 14 children were all living in a three-bedroom house. But he says that he looks back on his childhood with very fond memories. His sister, L'Corine, recalled that singing was always his dream.

Hootie & the Blowfish

Darius Rucker has been the lead singer of Hootie & the Blowfish since its formation in 1986. He met fellow band members Mark Bryan, Jim "Soni" Sonefeld, and Dean Felber while attending the University of South Carolina. Bryan first heard Rucker singing in the shower, and the two became a duo, playing R.E.M. covers at a local venue. They later recruited Felber and finally Sonefeld joined in 1989. As a member of Hootie & the Blowfish, Rucker has recorded six studio albums: Cracked Rear View – 1994, Fairweather Johnson – 1996, Musical Chairs – 1998, Scattered, Smothered & Covered – 2000, Hootie & the Blowfish and Looking for Lucky – 2005, also charting within the top 40 of the Billboard Hot 100 six times. All six albums feature songs that Rucker, Bryan and Felber wrote. As the frontman, Rucker began to be called simply "Hootie" by fans, though the band title combines the nicknames of his college friends. Before his rise to fame, he lived in the basement of the Sigma Phi Epsilon house at the University of South Carolina, attempting to launch his career through the college bar scene.

Rucker's signature contribution to the band is his baritone voice, which Rolling Stone has called "ingratiating," TIME has called "low, gruff, [and] charismatic," and Entertainment Weekly has characterized as a "barrelhouse growl." Rucker said they "flipped" the formula of the all black band with a white frontman, like Frank Sinatra performing with Count Basie. Musically, he has sometimes been criticized or spoofed for not being "black enough". Saturday Night Live ran a sketch of Tim Meadows playing Rucker leading beer-drinking, white fraternity members in a counter-march to Louis Farrakhan's Million Man March. He also received death threats for singing the Hootie song "Drowning," a protest song against the flying of the Confederate flag above the South Carolina statehouse.

Shortly after gaining a measure of fame, Felber and Rucker (who consider themselves best friends) moved into an apartment in Columbia, South Carolina. With Rucker's recognition as the frontman of a successful band came increased opportunities. In October 1995, he was asked to sing the national anthem at the World Series. Frank Sinatra invited him to sing at his 80th birthday party; he sang "The Lady Is a Tramp." That same week, he made a voice cameo in an episode of the sitcom Friends. He also joined Nanci Griffith on the song "Gulf Coast Highway" for her 1997 album Blue Roses from the Moons, and sang backing vocals on Radney Foster's 1999 album See What You Want to See. He encouraged Atlantic Records to agree to a deal with Edwin McCain and made a guest appearance on McCain's debut album, Honor Among Thieves.

In regard to the future of Hootie & the Blowfish, Rucker was quoted by CBS news as stating in late 2011, "I don't think we'll ever break up totally. We're Hootie & the Blowfish. ... We'll make another record and do another tour someday. I don't know when, but it will happen. There's one more in us." After a ten-year hiatus, Rucker and the band announced that they will be touring with Barenaked Ladies in 2019 while releasing a new album the same year.

Their sixth studio album Imperfect Circle was released on November 1, 2019.

Solo career

In 2001, he made his solo R&B debut album, The Return of Mongo Slade, for Atlantic Records. Because of contractual changes, it was never released by the label. Hidden Beach Recordings, an independent label, acquired the masters from Atlantic and released the album as Back to Then in July 2002. The album included work from the production team of Jill Scott, and she made an appearance on the track "Hold On." The single "This Is My World" was featured in the 2001 comedy film Shallow Hal. In regards to the album, "That was just a minute in my life," he later told The Arizona Republic about the record. "I was listening to a lot of Notorious B.I.G. and Lauryn Hill at that time, and I wanted to make a neo soul record." He also said in the article that he doesn't anticipate recording an R&B-styled disc again. "Country music is my day job now. I'll probably do this till it's all over, but that album was a lot of fun."

Rucker appeared on a pop-star edition of the quiz show Who Wants to Be a Millionaire? in July 2001. He also portrayed a singing cowboy in a television commercial for the fast-food company Burger King, promoting its TenderCrisp Bacon Cheddar Ranch sandwich in 2005. In the commercial, he sang a jingle set to the tune of "Big Rock Candy Mountain." In 2006 Rucker lent his voice to the track "God's Reasons" written by Dean Dinning and Joel A. Miller for the film The Still Life.

Country music2008–2009: Learn to Live

In early 2008, Rucker signed to Capitol Records Nashville as the beginning of a career in country music. His first solo single, "Don't Think I Don't Think About It" (which he co-wrote with Clay Mills) debuted at No. 51 on the Billboard Hot Country Songs charts for the week of May 3, 2008. It is the first single from his second album, Learn to Live. For this album, Rucker worked with Frank Rogers, a record producer who has also produced for Brad Paisley and Trace Adkins. Rucker also made his Grand Ole Opry debut in July 2008. The single reached number one in September, making Rucker the first solo, African-American artist to chart a number one country hit since Charley Pride's "Night Games" in 1983.

Learn to Live was certified gold by the Recording Industry Association of America (RIAA) on February 6, 2009, and received a platinum certification on August 7, 2009. The album's second single, "It Won't Be Like This for Long", spent three weeks at the top of the country chart in mid-2009. Its follow-up, "Alright", became Rucker's third straight No. 1 hit, making him the first singer to have his first three country singles reach No. 1 since Wynonna in 1992. The album's fourth single, "History in the Making" was released in September and peaked at No. 3. The singles also crossed over to the Billboard Hot 100, peaking at 35, 36, 30 and 61.

Billboard magazine said that "there's a sense of purpose that makes Rucker feel like a member of the country family, rather than calculating interloper." Rucker made visits to various country stations around the United States, explaining that he was aware that he was the "new kid on the block." Mike Culotta, the program director of Tampa, Florida, radio station WQYK-FM expected that Rucker would be "somebody who would have entitlement," but instead said that "Darius engaged everybody." When Rucker found that "Don't Think I Don't Think About It" went to number one, he cried. On November 11, 2009, Rucker won the Country Music Association New Artist of the Year award (formerly known as the Horizon Award), making him the first African American to do so since the award was introduced in 1981. Only one other African American has won at the CMAs: Charley Pride, who won entertainer of the year in 1971 and male vocalist in 1971 and 1972.

2010–2011: Charleston, SC 1966

Rucker released his second country album, Charleston, SC 1966, on October 12, 2010. The title is inspired by Radney Foster's solo debut album, Del Rio, TX 1959. Its first single was "Come Back Song," which Rucker wrote with Chris Stapleton and Casey Beathard. It was his fourth country number one as well as a NO. 37 hit on the Hot 100. The album's second single was "This", which was released to radio in November 2010 and also reached No. 1 in the country chart. Rucker wrote it with Rogers and Kara DioGuardi. "I Got Nothin'" was the album's third single, peaking at No. 18. Also included on the album is a duet with Brad Paisley titled "I Don't Care". Charleston, SC 1966 received a gold certification.

2012–2014: True Believers

On May 20, 2011, Rucker delivered the commencement address to the graduating class of the Medical University of South Carolina.

On December 14, 2011, CBSnews.com reported that Rucker was working on a third country album with recording set to begin January 2012 followed by the release of the album early in the year. The album's lead-off single, "True Believers," made its chart debut in September. On October 12, 2012, Rucker told Broadway's Electric Barnyard that his album would also be titled True Believers. "True Believers" peaked at No. 18. Its second single is a cover of Bob Dylan and Ketch Secor's "Wagon Wheel" (previously made famous by Old Crow Medicine Show), featuring backing vocals from Lady Antebellum. "Wagon Wheel" reached No. 1 on the Country Airplay chart in May 2013. True Believers was released on May 21, 2013. The album's third single, "Radio", was released to country radio on July 22, 2013. The album's fourth single, "Miss You", was released to country radio on February 3, 2014.

On October 2, 2012, Rucker was invited to join the Grand Ole Opry. Halfway through his set at the Opry that night he answered questions from the audience which included a question from Brad Paisley. Paisley said: "I have two questions. One, are you still the worst poker player in the world? And two, would you like to become the newest member of the Grand Ole Opry?" Rucker accepted, and it became official on October 16.

Rucker was a featured performer at the C2C: Country to Country festival in London on March 17, 2013, which was headlined by Carrie Underwood.

On News Year's Day 2013. he sang the national anthem at the Outback Bowl in Tampa, Florida.

On May 11, 2013, Rucker was the speaker at the commencement ceremony for the University of South Carolina in Columbia. Before his speech, he received an honorary doctorate of music.

Rucker also sang the national anthem at the NBA finals on June 16, 2013.

On December 6, 2013, it was announced that Rucker's version of "Wagon Wheel" had earned him a nomination for Best Country Solo Performance for the 56th Annual Grammy Awards. At the awards ceremony on January 26, 2014, Rucker won, becoming only the third African American recording act (the first being Charley Pride, the second being The Pointer Sisters) to win a vocal performance Grammy Award in a country music category.

2014–2015: Southern Style and Home for the Holidays

On August 25, 2014, Rucker released a new single titled "Homegrown Honey" to country radio and to digital retailers. It served as the lead single to his fourth country studio album, Southern Style, released on March 31, 2015. It reached No. 2 on the Country Airplay chart in April 2015. The album's second single, the title track, released to country radio on May 4, 2015.

On September 15, 2014, it was announced that Rucker had completed his first Christmas album and that it would be released on October 27, 2014. Included is a collaboration with Sheryl Crow on "Baby, It's Cold Outside".May 30, 2015 Rucker headlined Philadelphia's famous XTU 31st Anniversary Show at the Susquehanna Bank Center. Christopher Bousquet named President of the Hootie fan club

Rucker makes an appearance on Sister Hazel's new album, Lighter in the Dark.

2016–present: When Was the Last Time

On January 6, 2016, Rucker announced that he was working on his fifth country album. The album's lead single, "If I Told You" was released to country radio on July 5, 2016. It reached number one in the Country Airplay chart nearly a year later, and peaked at number four on the Hot Country Chart. Rucker also returned to the C2C: Country to Country festival in the UK in March 2017, where he was second on the bill to Reba McEntire.

On May 29, 2016, Rucker performed the national anthem prior to the 100th running of the Indianapolis 500. Rucker also performed the national anthem for a game between the Buffalo Bills and the New York Jets on September 15. Rucker agreed to perform the song at the behest of personal friend and former Bills player Bruce Smith, whose jersey was being retired that night. He sang the national anthem again ahead of the Saints-Dolphins game held at London's Wembley Stadium in October 2017, as part of the NFL International Series.

Rucker was selected as one of 30 artists to perform on "Forever Country", a mash-up track of "Take Me Home, Country Roads", "On the Road Again" and "I Will Always Love You", which celebrates 50 years of the CMA Awards. On July 24, 2017, Rucker released the second single from his upcoming album, titled "For the First Time." On July 26, 2017, he shared details of his fifth country album, titled When Was the Last Time and it was released on October 20, 2017.

Rucker appeared as a mentor on seventeenth season of The Voice for Team Blake.

Personal life

Rucker is an ardent South Carolina Gamecocks fan as well as a Miami Dolphins and Cincinnati Reds fan. He also likes the film Stir Crazy, which he has seen more than 100 times.To show his loyalty to his University, he gave a free concert which was held at the Colonial Life Arena after the football team was able to win 6 games following a pair of losing seasons after joining the Southeastern Conference.

Rucker's mother died in November 1992 of a heart attack. His grief inspired two Hootie & the Blowfish songs: "I'm Goin' Home" and "Not Even the Trees." On April 21, 1995, his girlfriend (Elizabeth Ann Phillips) gave birth to Rucker's first child, Carolyn Pearl Phillips. His second daughter, Daniella Rose, was born to his wife, Beth, on May 16, 2001. They had a son, Jack, in 2005. The Hootie song "Where Were You" is about Rucker's strained relationship with his father, and was released only in Europe, where Rucker thought that his father would be unlikely to hear it. His country single "Alright" was inspired by his marriage.

Rucker is a friend of the golfer Tiger Woods, whom he met in a bar when Woods was 18. Rucker sang at the golfer's wedding with Hootie & the Blowfish and at his father's funeral. His interest in golf goes well beyond his relationship with Woods; he was a VIP guest of Team USA at the 2016 Ryder Cup, and he attended Arnold Palmer's funeral shortly before the Cup.

On November 7, 2016, Rucker told ESPN that he had become a partner in MGC Sports, a sports agency that currently represents golfers (among them Steve Stricker and Kenny Perry), football players, and coaches. He added that he was planning to reduce his performance commitments from 100 dates per year to about 30, and that he thought that his experience in the entertainment business would be an asset to potential clients. Rucker will be able to work without restrictions for golfers, but because he is not registered with the NFL players' union, he initially will only be able to meet with NFL players under very limited circumstances.

For the Undercover Boss series episode "Celebrity Undercover Boss: Darius Rucker" which premiered May 12, 2017, Rucker disguised himself as a 62 year old music teacher, ran an open mic night and worked as a roadie.

Philanthropy and impact

Rucker has regularly worked with charities that support sick and underprivileged children, via benefit concerts, volunteering, the PGA The First Tee Program, and the Hootie & The Blowfish Foundation which has raised nearly $4.5 million to provide funding to public education systems throughout South Carolina.

He serves as a board member of the MUSC Children's Hospital in Charleston, SC. where his mother worked for over 30 years from the time Rucker was a child, and has helped fundraise millions of dollars to help build a new hospital.

He also made a commitment to support St. Jude Children's Research Hospital after touring the facility in 2008. Since then, Rucker has spearheaded an annual event focused on amazing music, memorable collaborations and heartfelt stories resulting in over $1.6M raised for St. Jude's to date.

[howaminotinthestrokesyet]

Whatever Happened To...Guns N’ Roses Edition

Stephanie Seymour

The former Sports Illustrated and Vogue model was in a relationship with Axl Rose in the early 1990’s. She had been featured as the female in the music videos for “Don’t Cry” and “November Rain.” She was slated to star in “Estranged,” but the couple went through a very ugly breakup. In 1993, Rose sued her for assault, while she in turn countersued claiming self defense. Seymour was no stranger to controversy in her personal life. At 16, the model had a very well known public affair with John Casablancas of Elite Model Management. The one thing..he still was married to Jeanette Christiansen, and yes their son was in fact Julian Casablancas of the Strokes. Since 1993, Seymour has continued to model and endorse products in fashion including becoming an international spokesperson for Ester Lauder in 2014. Immediately following her relationship with Rose, Seymour began dating art collector Peter Brant. They would marry and have 5 children together, but get divorced in 2009. They would reconcile one year later.

Erin Everly

Before dating Stephanie Seymour, Axl Rose had a volatile relationship with Erin Everly. The two would actually marry in Las Vegas in 1990 only to have Rose seek to get it annulled 48 hours later, while they would actually divorce 10 months later. She was the daughter of Don Everly of the musical group, The Everly Brothers. The lyrics to the song “Sweet Child O’ Mine” actually represented a love letter by Rose to Everly. Their breakup largely came about just after she had a miscarriage. Axl Rose would later comment on the downfall of their relationship. “Erin and I treated each other like crap… Sometimes we treated each other great, because the children in us were best friends. But then there were other times when we just messed up each other’s lives completely.” In 1994, she would sue Rose for emotional and physical abuse, which would later be settled out of court. This came a year after Stephanie Seymour had sued the singer, while Everly was actually subpoenaed in that case to testify about Axl’s history of abuse. After their relationship, she would go on to date other celebrities like David Arquette, Anthony Kiedis, Donovan Jerome Leitch, the son of the singer Donovan, Matthew Nelson, and Matthew Klyn. In 1997, she married Jack Portman, moved to Atlanta, and had 3 children, but they would get divorced in 2006. In 2010, Everly would be arrested for attacking ex-boyfriend Matthew Klyn with a knife. In 2013, Rolling Stone reported that she put up for auction several items related to her relationship with Rose including a marriage certificate.

Paul Tobias

Some Guns N’ Roses fans have referred to Tobias, former rhythm guitarist for Guns N’ Roses from 1997 until 2002, as a Yoko Ono like figure. They see the musician as someone who interfered with the relationship between Rose and Slash. His reason for leaving the band in 2002 was that Tobias did not like to tour at all, so he was replaced by a guitarist from the Psychedelic Furs. Although he was no longer touring with the group, Tobias still contributed as a guitarist on 10 tracks for Chinese Democracy. He did have another band called Mank Rage, who planned to release an album around 2002. Four years later a Myspace account was opened for the band posting three demos of possible tracks for that album. Nothing else came of this as Tobias has stayed completely under the radar in recent years. The only other news came in 2013 when he contributed to an album produced by former GNR producer Brain called Eclectic Cinema.

Gilby Clarke

Upon Clarke’s ouster from Guns N’ Roses, he already had other projects lined up. The guitarist had recorded with Slash in 1993 on a series of demos that would be released as an album in 1995. Slash’s Snake Pit as the band was called even toured in support of the new record. Yet, Slash disbanded the group as commitments for Guns N’ Roses soon sprang up. At that time, Clarke went and recorded a second solo album released in 1997 entitled, The Hangover. He had previously released a debut solo album in 1994 called Pawnshop Guitars by Virgin Records. The guitarist would go on to release two more studio albums, as well as a live one. Clarke also kept busy as a producer with his most notable work being the 2000 to LA Guns title, Shrinking Violet. In 2006, he joined with drummer Tommy Lee and former Metallica bassist Jason Newstead to create the band Supernova. They decided to use the television show Rock Star to find the lead singer. Eventually they chose Lukas Rossi, but the band really never got off the ground because another band called Supernova claimed they had legal right to the name. They filed an injunction against Clarke and company from doing anything related to the band, which a judge upheld in court. Finally, they renamed the group Rock Star Supernova. In 2012, Clarke joined Duff McKagan, Slash, Matt Sorum, and others to perform at the Guns N’ Roses Rock and Roll Hall of Fame induction. Axl Rose and Izzy Stradlin were not present, while it must be noted that Clarke was not inducted into the Hall of Fame at that time.

Tracii Guns

Guns was actually an original cofounder of Guns N’ Roses. His LA Guns band had decided to merge with Hollywood Rose featuring Axl Rose and Izzy Stradlin. The LA Guns portion of the new group went their separate ways fairly quickly as Tracii got into an argument with Axl Rose. This led to Slash joining the group to replace him. LA Guns would go onto reach moderate success on the charts, but never the kind of success that Guns N’ Roses had with their career. LA Guns, in their second stint, would last from 1985-2002. They had first formed in 1983, but the group would disband for a few weeks as they tried to join up with Axl Rose on two different occasions. In 2002, Guns joined supergroup Brides of Destruction, who went on to release an album in 2004 that charted at number 94. The band had been started by Nikki Sixx of Motley Crue as his band went on hiatus. The band was broken up in 2005 as Sixx returned to Motley Crue. At that time, Guns was planning to continue the band without Sixx, but that never happened. He even offered his services to Axl Rose to join GNR, but he was rejected. The guitarist then returned to another stint with LA Guns until 2013. They would also have a reunion in 2016 of the classic lineup from the mid-1980s. He also started a blues group in 2012 called League of Gentlemen. Guns has also been a member of some other well-known bands for a very short time including Poison in 2000 and Quiet Riot in 2005.