#awol one

[votava-records]

The Cloaks (Awol One & Gel Roc) - Hold Your Breath feat. Sir Beans

Raps by Awol One and Gel Roc Beats/production by Awkward Scratches by Sir Beans, Dj D-Styles, and Roach The Dj Featuring: Aceyalone, Brevi, Demrick, Dose One, Megabusive, Mestizo, Pawz1, Quaesar

[radiophd]

awol one and mike nardone ft. abstract rude -- eye am

[da-ill-spot]

New Music: 2Mex - Hang On Alex LP

Salute to the fam 2Mex for steadily putting out quality music through 2 plus decades. This brotha is one of the first artists I can remember seeing when I started attending shows. It was at either Elements or Unity around 97 or 98.

From there on I followed his career as a solo artist and with his crew, Visionaries. I have so many recordings of them from my days of being everywhere with a camcorder. By the way, peep the YouTube channel, and please subscribe if you have not already!

I am pleased to have gotten to know 2Mex over these years, as well as have him perform at multiple shows of mine, most recently our 13 year anniversary two years ago.

Alex is his real name, and by far is one of the most genuine people you will ever meet. 2Mex has dealt with major health issues in recent years, and I’m sure his music is just the therapy he needs to stay positive and motivated.

Please check out the new release, Hang On Alex. It’s one hell of an album, featuring Ozomatli, Will.i.am, Ceschi Ramos, Stacey Dee, Shapeshifters, Barfly, and The Visionaries.

2Mex executive produced the album himself and the artwork was done by AWOL One. The Will.I.am assisted “Los Angeles Underground” is my favorite track, and one of the best odes to where we come from that I have ever heard.

Stream the Hang On Alex above and support 2Mex with a purchase. You can also find it l on all DSPs!

[midnightsmonks]

Just got out of my night class and I hope I get stabbed in the parking lot

- AWOL

[liugeaux]

Greatest Songs Ever - Part 21 (Off the Rails)

Never has one of these been as off-the-rails as this one seems. I promise it’s not on purpose. With Part 20 being much more close to home, naturally, part 21 veers the opposite direction. 

Some of these you might not know, and I encourage you to check them out. here’s your link to the ongoing playlist. Let’s do this!

2011 “Lock Down (feat. Leo the Lion)” -  Adam Skinner & Dan Skinner

We kick it off with the bop of the century. Maybe that’s an overstatement, but “Lock Down” crept into my life through the Giant Bombcast. The duders over there stumbled on this track in AudioNetwork, a royalty-free subscription music service. They played it during live stream downtime and their community ate it up. It became somewhat of an inside joke, while simultaneously being a banger. It’s categorized as “new-soul,” but its got a funk and a groove to it that gets your feet moving. I know nothing about Adam or Dan Skinner, and even less about Leo the Lion, but accidentally stumbling on such a fun track is kind of what this list is all about.  

1983 “Sharp Dressed Man” - ZZ Top

ZZ Top is a mood. I always feel like ZZ Top songs only have words to make them more marketable. If they could get away with a career full of songs like “Tequila” by The Champs, then they would’ve probably done that. Alas Billy Gibbons had to use his singing voice to entice the masses. With a sound like sandpaper on bone, Gibbons gravelly delivery is the perfect compliment to the almost sludgy guitar riffs on “Sharp Dressed Man.” Given how grimey and raw everything about this song is, the title feels like tongue and cheek irony. It’s a song whose guitar lick is so good it doubles as a chorus. A chorus that slices you in half everytime it churns back to the speakers. I like a lot of tracks in the ZZ Top library, but “Sharp Dressed Man” has a swagger that’s universal.  

2009 “TiK ToK” - Kesha

When my grand kids ask me what the late aughts sounded like, my answer will be “Tik Tok” by Kesha. This song is 100% a product of the pop music culture surrounding it. While Kesha’s talents as a songwriter eclipse this track exponentially, “Tik Tok” captured an energy and moment in music that cannot be recreated. Sanitized club beats, auto-tune, party-girl vibes, a hint of female empowerment and an odd Mick Jagger reference “Tik Tok” is hella weird. Even at the time I got a collective feeling from music fans, like we were looking at each other and saying “are we really doing this?” “Take On Me” is to the 80s what “Ice Ice Baby” is to the 90s, and “Tik Tok” is to the 00s. I’ve flirted with putting later Kesha songs on this list, but to do so before this seminal classic is an insult to an entire generation of music.   

1969 “My Way” - Frank Sinatra

Southerners don’t listen to Sinatra. Growing up I understood Frank Sinatra was a big deal and even had movies referred to me, but I couldn’t name a single one of his songs. My childhood wasn’t filled with Sinatra tracks, crooner numbers or Rat Pack hits, it was Elvis, The Beatles, Classic Rock and country. I purposely reached for “My Way” to see what the big deal was. I���d heard an American Idol contestant or two sing snippets of it, but I wanted to know why the song is so revered. Upon first listen, I thought it sounded much older than it actually is. I would have pegged this song as a track from the 40s. The sound quality of the backing symphony is reminiscent of much older Hollywood scores like The Wizard of Oz, so to learn that its newer than most of The Beatles’ library was shocking. As a celebration of individuality, it’s message isn’t too dissimilar from that of the US as an idea, and the lyrics’ acknowledgement of his “way” being imperfect is subtly beautiful. “My Way” is an anthem for the proud, and sadly I feel the rigidity of its message has been used to justify rejecting compromise. As one man’s celebration of himself and as a booming showtune, the song is outstanding.  

2021 “Sunroof” - Nicky Youre

Whenever I pick super-recent songs I know I’m rolling the dice on how time will effect this list. I have no idea who Nicky Youre is, but he knows how to capture the energy of youth. From the initial drop of “I got my head out the sunroof...” this song drips of innocence fueled youth. The freedom of your first car, having no worries and being consumed by the energy of a potential partner, it’s the magical spark of youth. Even the “La da, la da da, la la la“ part is laced with an envious carefree attitude. We are all longing for the feeling “Sunroof” is advertising, and that’s why it works so well. It’s like freebasing the idea of potential, “Sunroof” is a drug we should all be addicted to.  

2001 "Rhythm” - Awol One & Daddy Kev

For an oh-so-brief moment in community college, I brushed against being cool enough to know someone who knew this song. My bud Austin, a worldly brain of a person who, to my knowledge has never been bad at anything, at least not anything he put legit effort into, turned me onto this track. He played a lot of music for me back then and not much of it stuck, but “Rhythm” burrowed in like a tick. The stand-out on the track is the flute in the loop. I’m gonna do my best to avoid making a flute-loops joke, but I promise nothing. I don’t know anything about the production of the track but it strikes me as a song birthed from the tightness of the loop. Once that was established, I’m sure everything else fell into place. The rapping isn’t stellar, but it knows what it is, and stays out of the way. Awol One’s drawn out delivery feeds the stoner vibe the track carries, while never feeling scummy. Laid-back, groovy, and raw enough to feel like the underground gem that it is. “Rhythm” was never at risk of being a radio hit, but that’s kind of a badge of honor here. If one more person hears this song because of this write up, I will have done my job.

1993 “Chattahoochee” (Extended Mix) -  Alan Jackson

Look at that, yet another 90s country song gets added to the list! “Chattahoochee” is a country fan’s country song. It’s as story-telly as the fans demand, and Jackson’s delivery is exactly what you would expect from a pillar of the genre. However when you dig deeper, the lyrics are much more universal fro the casual listener. Like “Sunroof” there’s something inherently youthful about “Chattahoochee.” Youth, as a concept, is ripe for creative mining and Jackson chose a hyper specific venue for his slice-of-life story. Because the innocence of youth is so universal, even if you didn’t grow up on a river, you just get it. Your Chattahoochee river might be a drive-in movie theater, or a Sonic parking lot, or the pool tables at the local bowling alley. Calling a song shallow is only an insult if it doesn’t have a wide appeal. “Chattahoochee” is as shallow as that river probably is, and that just means everyone can relate. As for the (Extended Mix), it doesn’t add too much, but it does make the song feel more like an event. It’s got an extra breakdown or two that probably work well in a live setting. It’s just a better paced version of the same song.   

1970 “War Pigs” - Black Sabbath

When you Google “Who invented heavy metal” you get a passage about historians believing it was Black Sabbath. I like to think all metal songs share DNA with tracks like “War Pigs.” Loud, brash and with something to say, the track alternates between an Ozzy show-piece and a Tony Iommi guitar rocker. Its quiet moments are as important as its loud guitar solos, a practice almost lost to time I modern metal. “War Pigs” may not be as relevant today as it was in 1970 (I’d like to think humans have learned a lot from past wars), but it serves as a creative benchmark for commentary on socio-political statements in art. Let’s not forget about the slimy and iconic guitar work here, traces of thrash can be heard in the solos and that wouldn’t rise to prominence until the 80s. Sabbath is WAAAAAAAY more important than most realize and “War Pigs” is their masterpiece.  

2018 “Responsible Ver. 2″ (feat. Stan Taylor) - DUX

I really don’t know what to say about this one. DUX is a DJ, Stan Taylor is a vocalist, and “Responsible” is one of their collaborations. Due to their relative obscurity, they are oddly hard to Google. DUX seems Brazilian, and Taylor looks to be from Cali, but I don’t know if any of that matters. “Responsible” hovers between soul, techno, funk, and jazz, pretty cleanly. What initially stood out was the absolutely chewy bassline. The bass however, only gets you through the door, Taylor’s big soulful delivery hooks you, and the horn-filled bridge finishes the job. A beautiful melding of several reliable pillars of American music makes this into an unexpected modern classic buried in obscurity. “Responsible Ver. 2″ (definitely better than Ver. 1) would play well anywhere from a local pub to the biggest sporting event. If you check out any of these songs individually, please let this one be one of them.   

1969 “Haute Couture” aka “Temptation Sensation” -  Das Orchester Heinz Kiessling

There is so much to unpack with this choice. Yes, it’s the Always Sunny in Philadelphia theme, yes, that seems cheap, and no, I don’t care. I’ve always loved the simplicity of the theme and found its whimsy quite-heartwarming. Prior to last year, I had not heard the original track, or knew anything about it. This song is by a German composer named Heinz Kiessling, and its taken two different names in its release history, “Haute Couture” and “Temptation Sensation.” For what its worth, I prefer the latter. The song itself is an orchestral mushroom trip. Somehow, like “My Way” it was released as recently as 1969. Nothing sounds more like a 1942 instrumental as much as this track does. To put this in perspective, it was released a year before the almost modern sounding “War Pigs”. Was Germany so far behind America in sound production that “Temptation Sensation” just felt super old, or was that on purpose? Who knows. The internet doesn’t say anything about him being a Nazi, so there’s more good news. The song itself is so full of whimsy, and fluff, that its hard to hear without feeling like a burden has been lifted from your shoulders. As the theme from It’s always Sunny, it works stupendously because of the thematic dichotomy.

That was an exceptionally weird list of songs, but I promise next time will be a bit more mainstream. That is, unless my plans change, then, anything is on the table. *Insert excited emoji*    

[mikonez]

the cold calculated demeanor of someone not to fuck with

(no text ver under the cut!)

[duckiemimi]

[ollierachnid]

danced myself into the tomb

[votava-records]

Ceschi - Same Old Love Song (feat. 2Mex & Awol One)

from the Same Old Love Song [single], 2009

http://www.fakefourinc.com

[radiophd]

awol one & daddy kev -- suck my brain

[da-ill-spot]

New Music: AWOL One & Kool Keith - Aponia LP

Ch-check it! The new collab LP by the legendary artists AWOL One and Kool Keith has arrived! Aponia is 9 tracks long, all produced by Kool Keith.

It includes features from Xzibit, Myka 9, Gel Roc, Pigeon John, Ceschi, Quangou, DJ Hoppa, and Nicnack.

The album is currently only available on Bandcamp and will release on all other platforms on February 14. Stream it now and support with a $10 purchase!

Act now to pre-order your copy of the limited edition picture disc vinyl!

[always-a-joyful-note]

what makes me absolutely inconsolable and insane about alien stage is that yeah sure maybe they didn't love each other in the way the other wanted them to but it's so clear that at least ivan, till, sua, and mizi all loved each other. maybe it was messy and complicated but maybe in the end they all loved each other and never wanted the other to die. maybe the love they received was not the kind they wanted but it mattered so much and now they're gone

[a-wisebear]

haunted by the narrative? haunted by the fact that he rarely shows up in the narrative, he kicks ass, he's cool, he's pretty, he's capable, he could solve a 5 episode arc in 1, everybody loves him, he changes everything with his little appearances, and yet we don't know anything about his fate?????

[johnnystorms]

When Peter was seven, Mrs Kanowski wrote in his report card that he always has something to say. Uncle Ben had found it quite funny. Aunt May had elbowed him in the side and murmured something about it not being a compliment, a word Peter didn’t quite grasp until a year later, when Gwen Stacy socked him in the shoulder then said, “I like your socks.” (They were covered in crossed swords and skulls wearing pirate hats, much to Aunt May’s dismay. Harry thought they were cool, though, and so did Peter, kind of, and now so did Gwen. So there.) “Thanks,” Peter had said, and that had been that. Not his first friend, but one of them.

He doesn’t know why he thinks about that now.

They’re on the roof of the Baxter Building. The sun is setting, spilling red and pink and orange all over Johnny, over his golden hair, the planes of his face, the brightness of his grin. The grin in question: the remnants of laughter, left over from Peter telling him about the time Harry keyed his dad’s car in a fit of six-year-old pique and Peter had tried to take the blame, only for Norman to dismiss the attempt with a brisk you’d have chosen more sensible places to do it, which had made Johnny absolutely howl with laughter.

“Really, Pete,” he says, still grinning, “what kind of six year old gets told they’d commit vandalism sensibly?” He snorts, shaking his head, looking out over the city.

Mrs Kanowski was wrong, it seems. Peter is tongue-tied, watching Johnny’s eyes crinkle in the corners, the slope of his nose as he looks out over towards the Chrysler Building. It swells in him, the way Johnny looks right now, the way he feels, loose-limbed and relaxed and happy. Peter likes Johnny a lot of ways, but this is maybe his favourite, when it’s just the two of them, and Johnny has that smile that looks like it put the stars in the sky, instead of the one he flashes at people in corridors, at the press when they get in too close, at ex-girlfriends and maybe-boyfriends – everyone who wants a piece of him.

It’s a nice smile, don’t get him wrong. Peter is mostly immune to Johnny’s charms, but that one still makes his chest feel a little warmer. It’s just got nothing on Johnny when he’s like this, bright and open and beautiful.

“I wonder what you’d have been like if you’d known me back then,” Johnny says, still not looking at Peter. His voice has gone thoughtful, smile fading until all that’s left is a soft tilt to his lips. “What I’d have been like.” He’s quiet for a second, and then: “I’m a little jealous, you know.”

Peter can’t work the words out of his mouth. His tongue feels too thick. Still, there must be something questioning enough in his gaze when Johnny glances back at him that it gets conveyed, because Johnny blinks, then smiles ruefully.

“That they knew you back then – Harry and Gwen and even Mary Jane, though I know she was a little later. They all got to know you so early… It kinda feels like I was missing out.” The way he says kinda is like an inside joke, the type where you’re the only one in on it, where you’re laughing at yourself. Peter’s heart aches.

Johnny’s smile goes crooked as he looks back at Peter again. “You’re my first real friend, Peter. You know that, right?”

And, like, maybe. Maybe Peter knew that, logically, if he ever really thought about it, but he didn’t – he doesn’t – because Johnny is bright and handsome and funny, charming and charismatic and wildly popular even though he has enough personality defects to fill a dictionary. Everyone likes Johnny, even some of his exes, and the ones who don’t usually have a grudge to pick with his brother-in-law, or they think Johnny is just like any vapid, handsome, rich, famous type. And it’s not that he’s not, but he’s also so much more than that. Sometimes Johnny is so much that Peter doesn’t have words to contain it.

But that’s a lonely thing too.

So maybe Peter knew, on some level, that this is what he is to Johnny, this is the space he occupies. But he’s never really thought it consciously, never really framed it that way, and certainly never heard it out loud before.

He swallows. Hard.

Johnny just blinks again, then grins. It’s not that crooked one, small and quiet and delicate enough to make Peter wish he could fit it in his pocket. It’s a sudden blitz against the sky, against Peter’s fucking mental stability, because it is so gorgeous that it is utterly devastating. Peter is devastated and Johnny is beautiful. Status quo.

Mrs Kanowski was definitely wrong, Peter thinks, as he slides a little closer to Johnny, nestles up against him so that their thighs are pressed close and their shoulders are knocking together. Because when Johnny looks at him like that, he can’t think of a single thing to say.

[sofrosine]

— OCS AS PATRON SAINTS

held at gunpoint by @lilywatt to drag some kids through the mud in this uquiz…

— PATRON SAINT OF BONES

patron saint of frameworks. of structures. of solidity. patron saint of things that break. patron saint of things that are left behind. the bones survive long after the body, the building: what is there left for them, when the rest has gone? what do bones do, with nothing to hold around them? who holds the bones?

— PATRON SAINT OF MARTYRS

the patron saint of those who died to be like you. maybe you died to be like them too: but at the end of it, you weren't like them. patron saint of tragedy. saint of saints. it's you who holds the hands of the holy dead, and you who has to answer: what do they do if they regretted it?

— PATRON SAINT OF HOUSES

but not of homes. only the shells of what keeps us enclosed. houses can be decorated or well-built or crumbling or haunted but only a home can truly be warm; you are the patron saint of that lack.

tagging: @d-esmond @risingsh0t @adelaidedrubman @firstaidspray @dragonaqe @queennymeria @florbelles @shallow-gravy @socially-awkward-skeleton @imogenkol @henbased @roofgeese @belorage @strangefable @unholymilf @loriane-elmuerto @shellibisshe @cptcassian @delicateweaponjpg @thedeadthree @inafieldofdaisies @chyrstis @cloudofbutterflies92 @confidentandgood

[ivelovedhimthroughworse]

Inktober 2023

Day 31 - 🔥 Fire

Simon Snow is still going to die kissing me.

Just not today.

Carry On, Chapter 61, Rainbow Rowell.

💜💜💜