#i wanna do all their album and tour era looks eventually

[alexibeeart]

hey i found these little guys. silver one says they're called "Daft Punk" idk which is which, gold doesn't speak but i can hear rhythmic thumping within.. .. they've started mixing pretty sick beats from the oldies radio station

anyways keep an eye on them for me, will you?

🐝 A Bee 2024 [art tag] [website]

[xanticore]

could you do a fluff/smutty fic with james hetfield where he takes the readers v card pls <33 preferably an established relationship and set in the early 90s but you take the reigns !!

I hope you like this anon! I thought this au was so cute! <3

𝐋𝐎𝐂𝐊𝐄𝐃 𝐈𝐍

Genre: Fluff and Smut

Setting: early 90s ; black album era

Warnings: piv, slight choking, mentions of alcohol and drinking. drugs involved (just cigarettes), unprotected. (wrap up)

Summary: Metallica was just about done with their world tour. Their last stops being in the states, selling out arenas and some stadiums they had booked. They were currently on break until it was time to tour North and South America. You guys were at a celebration party, celebrating a successful abroad tour. Though, James wanna celebrate in a different way, of course you couldn't say no to that.

"CHEERS TO A SUCCESSFUL AND SAFE...BLACK ALBUM TOUR. I WANNA THANK EVERYONE ON OUR TEAM FOR MAKING ANOTHER TOUR HAPPEN!" Lars said as he shot his red cup in the air that was filled with some type of alcohol.

Everyone said their cheers and cheered before taking a sip of their drink. "Another tour..another successful album to be quite frank." James raised his brow. You chuckled at his comment. You both were sitting on the couch playing a game of cards with Kirk and his girlfriend. The two couple across from you and nodded. "Dare I say we deserve something for it." Kirk said.

The band wasn't too focused on getting trophies but they highly appreciated the recognition they rightly deserved. You supported James and been with him since Kill em All. You really watched the band grow and become experienced with their sound and instruments. The fact you were able to witness everything in real time just gave you goosebumps.

Not only that, you couldn't stop thinking about how you two were about to celebrate 10 years of being together. 'A decade already?' You thought. Time was sure going fast and as the saying goes, 'Time goes by fast when you're having fun.' Rightfully so. You sure as hell was having the best time while dating James. There was never a dull moment in the 10 years you've been with him. You guys aren't perfect but you both matched each other perfectly.

It was getting late so you guys decided to head on home. You entered your shared apartment and you two were quick to just flop on your soft bed after being out all day. You two were exhausted and just needed some rest for a moment. A moment to relax for a bit.

"Home! god i miss this bed!" James said as his face was muffled in the pillow. He let out a guttural sigh that couldn't help but make you laugh. He turned his head to look at you with a smile.

"What?" You said curiously.

"Nothing...I just, you know..wanna celebrate my tour in a different way~ a quick blow? pleasee?" He asked politely. He knew that you were still a virgin but of course, you two managed to please each other when it came down to any of you being horny, so you wasn't entirely inexperienced.

"Don't you want more?"

"More?"

"Yeah?"

James looked at you confused as he sat up. "More what? I don't want nothing else.."

"Oh so you don't wanna take my virginity then?"

You can see when his heart skipped a beat and had butterflies in his stomach. "Wait- I-"

You just nodded as James obviously didn't have no words to say.

"Are you sure?" He asked. He slowly moved closer towards you. "Mmhm..I'm sure. 100%. I love you so so much and I'm ready." After your words, he kissed your cheek then moved towards your lips pecking them. "I will go easy on you baby. Just let me know when it hurts or you want me to slow down- or even stop ok?" He whispered in between each peck. Eventually, you guys were in a much needed kiss.

His tongue going against yours; exploring your familiar mouth. James had you stripped down in mere seconds. He was taking his time on you and didn't wanna rush a moment like this. He kissed down your stomach and kissed the waistband of your panties. He slowly slid them off exposing your wet cunt.

He loves going down on you ever since the first time you guys did it back in 83. You could definitely tell the difference between 20 year old James with no experience and a 30 year old James, with experience and knows all your rights spots from memory.

He was now at your entrance. He first rummaged through the bed side drawers to take out an unopened box of condoms. James also had a box; just in case for moments like these when you were feeling up for it.

"No-" You said grabbing his wrist. "Don't put it on..." James was taken aback and looked at you for a moment indeed of reassurance. You nodded and he just put the box back. "Damn so i technically bought those for nothing?" He shook his head as you giggled. He was a pretty good size in length and girth. Your heart was pounding and it was way too late to back down now. He slowly pushed himself into, feeling your tight walls around him. "Fuck-" He cursed under his breath. You groaned at the slight pain and even winced a bit. The pain was sharp and uncomfortable and it had you breathing heavily.

"Calm down, breath. I don't want you to pass out." James said as he caressed his cheek. He was now fully inside of you. He kept this position for a minute until you were comfortable and ready. He began moving slowly, his thrust was manageable but it was still highly uncomfortable for you. You soon relaxed your body more and kept breathing. Eventually you got the hand of his movements and his size. The moment you felt comfortable is the moment your body wanted more. James being a gentleman that he is, he still kept going slow.

His low groans and grunts filled the room and it turned you on. "Go a little faster..." You told him in a whisper. "You sure baby doll?"

You nodded.

You didn't have to tell James twice. He increased his thrust speed to a medium. That unfamiliar uncomfortable feeling was finally long gone and out of your hair. You officially lost your virginity to the man you love and,, you didn't mind him using you like some toy.

Once you had a feel to him, James had you in all different positions. Different positions you never thought you could even do. He wasn't going soft and sweet but more rough and sloppy like he hadn't fucked in ages...technically he hasn't but he's willing to wait. You guys were both back to missionary and he moved his hand down to your throat, softly squeezing it; filling your choking kink you always had.

His eyes were dark and his voice was deep and raspy. "Gonna come now baby...fuck-" He moaned out. Your moans were the only sounds being heard throughout the room besides the harsh smacking of skin to skin contact. He was thrusting hard and deep in your cunt. "Yeah..i think- i feel it-" You whined. He subconsciously went even more faster and rougher. You thought he was gonna break the bed but you didn't care. In the heat of the moment you, just wanted to come; and you came.

He quickly pulled out, jerking himself off as he released himself onto your stomach, causing a sticky mess. "Fuck- fucck-" He huffed and took a deep breath. He looked down at you, your face was red and tired from the activity. He grabbed a few tissues and cleaned up your stomach. "Thats my girl...thats.my.girl." He said before landing two kisses on your cheeks. You smiled and watched him lay on his side of the bed catching his breath.

"You know were locked in now...like this." He said putting his crossed fingers. "Im happy to be your first, and I'm willing to be your first in anything else."

"My first husband??"

"Now don't spoil our future...but yeah...your first husband." He turned to wink at you causing your heart to skip a beat.

a/n: I hope you like this fic anon and and anyone else that read it.

dividers: cr to owners

[notebookmusical]

Hi! I know what voice you're talking about and it seems like it really sucks. I know when I can't talk..that means it's also pretty painful too. Which is once again so awful and I'm sorry for the horrible timing! Oh that seems fun but it sucks that you're not seeing a show, and it sounds like a nice tradition. If it makes you feel better, I don't have any plans to see any shows either. I mean I probably will see one eventually next year but there's nothing I'm excited for or looking forward to.

Maybe watching a bootleg can help, but I know it's not the same. I know i have said I haven't been very into or caught up on recent Broadway stuff and sometimes it does make me sad. I am planning to read the Starless Sea in January too I hope so I'll keep that in mind. I didn't think of the Pippin revival but that's also an example of a revival trying to do something a little different I think. And I actually did watch Schmicago and thought it was pretty good! They might've actually referenced Pippin with a narrator character. I think it was actually better than the first season actually and the references were a lot more clear, at least to me. I would recommend it but did make me miss Broadway. At least they have Broadway actors though. I need to get better at watching shows too..that might have actually been the last full show I watched and that was back in July lol but I think I'm just more of a movie person usually.

But mostly I'm a music person and I can recommend my favorites. Omg I didn't know that..I've seen a few clips of Fall Out Boy on tour and it seems awesome. I hope you have the best time! So I'm not as into Fall Out Boy..like I've never done a deep dive on old albums and I was more of a casual fan at first. But their new album is great and since you're seeing their tour, you can just focus on that for now. My favorites are Fakeout and Love from the other side. For Paramore, I would listen to their albums in order cuz it's cool to see their evolution as a band and they don't have that many. They also have some covers and unreleased songs too. But if you wanna start with their newest album, I think it has a good mix of all of their sounds too. It's my favorite album of this year. I can also just list some favorites of mine here kinda going in order by album,. Oh Star, I caught Myself, Brighter, My Heart, Misery Business, When it Rains, Crushcrush. Brick By Boring Brick, Turn it off, Playing God, Misguided Ghosts, and all I wanted. Daydreaming, Last Hope, Hate to see your Heart Break, one of those crazy girls. Rose colored Boy, Fake Happy, 26, Tell me How, Running out of time, Big Man, You First, Liar, Crave and Thick Skull. I know that's a lot..wow i'm even surprised. I debated cutting it down but in case you don't listen to the full albums, this is what I would recommend! For her solo music, I would just recommend hearing the albums. Anyway what other vinyls did you get?

I definitely prefer Folklore, because I love a lot of songs on the album and I just know what my favorites are. Compared to Evermore, where some of it is more like background music to me. Ive already told you what my least favorites are and I might have unpopular favorites. My favorites are Evermore, Coney Island, Dorothea, and Gold Rush and Long Story Short . I also like No Body No Crime, Cowboy Like Me, Ivy and Right where you Left me cuz sometimes it feels like a movie. Ya Evermore does feel more cohesive to me or like it all blends together but my favorite songs are definitely on Folklore. That's why I've never understood the whole Folklore is a better album but Evermore has better songs thing lol. Also now it's Taylors birthday today..yay! Are you planning to watch the eras tour movie? I think I will sometime this weekend probably. Then its your birthday too and if anything, I will send you a message wishing you happy birthday if I don't reply. I hope you have a great weekend and birthday!!!

guess what guess what my voice is a little more back today !!! so fingers crossed it'll be completely back by saturday!!!! i've decided to make bracelets for the hockey game, so i'm going to be doing that tonight/tomorrow i think!! it'll be a nice break from making taylor bracelets :") (although i need to make some so i can mail them out next week eep!) i think my next show will probably be the company tour ... unless i see a regional production of spring awakening (which i'm tempted to; just depends on the cast and stuff).

i almost watched TBOSAS last night! but then i put the kraken game on instead </3 (which i'm glad i did because it was a beautiful game! and we won!) and i originally was going to stream eras tonight (i have $20 digital credits expiring on the 15th) but i forgot i have a thing at 7, and by the time that's over i won't want to watch a 3 hour long movie — so something for another night! you'll have to let me know how it is watching it from home! i suspect it'll be so much nicer to watch it all cozy and all but i wonder if i'll miss the cinema vibe!

i listened to part of the first paramore album yesterday when i was getting my allergy shot! i liked what i heard, but will need to finish it and then do another listen through to figure out what my favorites are! i ordered from the dirty hit store, so i figured if i was paying for ridiculous shipping costs i might as well bundle up so i actually ordered more than i normally would: i got the japanese house's saw you in a dream & pools to bathe in, beabadoobee's loveworm + the way things go 7", finally preordered benjamin francis leftwich's some things break vinyl + ordered his to carry a whale vinyl and after the rain, and the 1975's 7" all i need to hear + i like america and america likes me (real world version) ! and i have sabrina carpenter's fruitcake ep coming in i think on friday! so definitely way too many vinyls coming in haha. i need to cool it! way too many vinyls! i still need to finish working on my little vinyl craft project too, but that might be a next week problem / after the game / after my bracelets are done! i have like 15 ? that i need to prioritize for mailing out but then i can chill out for a little bit!

have i asked you for an updated taylor discography ranking yet? i'm curious to know what your ranking is/if it's changed since we last talked about it, especially with 1989 tv! you can distinguish between stolen and taylor's version if you'd like too!

i hope you have a lovely weekend 🤍 and thank you for the birthday wishes! x

[jwowwsboobs]

so im just thinking abt my girlies. artery … i already kind of sort of talked abt how sexism in the metal scene impacted jack in relation 2 her drug and alcohol issues but i didnt go into how it impacted anyone else in the band which like im gonna be honest i think abt jack the most. i will admit im not above favoritism w my “blorbos” (feminine) but thats not the point the point is i totally wanna talk abt the rest of them too! n so im making this random ass post abt it bc i just lovvvvvvveeeeeeeee hearing myself talk. anyway i have no good transition 👍 hope someone out there enjoys this messy delusional ranting :) its like 1.4k words or something sorry not sorry n im not adding a read more. scroll fast or something idc

some background: artery was founded in 1981 by max(ine) kennedy (vox + rhythm guitar) n ronnie young (drums), who l8r enlisted gale barker (bass) n obviously jack walsh (lead guitar). their discography consists of “Dig Yr Grave” (demo, december’81), “Spitfire” (demo, june 82), No Mercy, No Peace (album, feb 83), Total Annihilation (album, jan 84), and Death (album, may 85).

also btw gale is black n ronnie is hispanic (potentially) im still trying 2 figure out if/how racism may fit/fits into the band’s eventual implosion which i will! but bear in mind this is all very much a work in progress n i dont have everything fleshed out n it may change over time etc etc etc. 

okay okay so max was never the most confident frontman (woman? person? whatever). most of her what she wore both on stage n off in the early days/pre- n during the no mercy no peace “era” was baggy band shirts n plain jeans, usually flared but not always (around 84 she sorta shifted 2 skinny/regular jeans onstage but wore flares offstage occasionally). gale prefered 2 be comfortable onstage n off, often wearing tank tops or a band shirt cut into a muscle tee with jeans or combat pants when onstage or pj pants, sweatpants, or other loose pants when offstage. jack wore the same venom shirt n straight leg jeans 4 probably her entire career. they smelled like shit btw but they burried her in it anyway cuz it was 4 sure what she would have wanted. ronnies personal style was a little more feminine than the other girls in the band, preferring halter tops and heels when off-duty and home in california while the other girls stuck with their tee shirts and sneakers, but wore jeans and tee shirts just like the rest of them cuz surprise surprise its so much easier n faster 2 throw on the closest shirt n jeans 2 u than 2 come up with a whole outfit while on tour in a shitty van with four other ppl. 

so ya in the early days when max trying 2 avoid attention 4 being a Girl In A Band(TM) she wore more basic, nondescript clothes. which didnt rlly do much cuz her voice is…idk mezzo-soprano or contralto i think more contralto but that is beside the point the point is she is a girl n when she sings you know its a girl singing. n this stressed her out cuz she didnt want the focus 2 be on the fact that they were an all female band making loud, fast music, she wanted the focus 2 be on the music.

ronnie was less concerned with being taken seriously as musicians than she was with sounding and looking good as a band. her preference was that they have a cohesive, consistent look, she didnt really care what it was as long as they stuck 2 it. 

so in the early days, artery agreed that they thought it would be best 2 keep their image in promotional materials shadowy n vague, often relying on images taken live where their hair mostly obscured their faces, they were in motion. or obscured by drums, in the case of ronnie. 

this didnt really fly when they moved over 2 a major label 4 their 2nd album. they, as a band, continued 2 insist on wearing what they normally wore (jeans, tee shirts, battle vest etc.) in interviews, in photo shoots, on stage, while the label tried 2 push them towards more sexually charged, “feminine” clothes and more glamorous, labor intensive hairstyling (especially 4 gale, who whould have had 2 straighten her hair regularly) and makeup.

nobody was happy with this. max was unhappy bc she felt pressured 2 be something she wasnt n didnt want 2 be, gale was unhappy bc she felt that presenting themselves in a more glamorous way was opposited 2 their sound n roots in punk rock and the image the label was attempting 2 push had racist, eurocentric undertones, jack was unhappy cuz she would have had 2 actually brush her hair and agreed w gale, n ronnie was unhappy cuz everyone else was. luckily the label did eventually give up on trying 2 push their image in a specific way, cuz of the band’s vehement n intensive pushback against changing their image. but while artery was fighting with the label, they were also fighting with interviewers asking them insufferably sexist questions. jack for example, was not allowed 2 be interviewed on her own cuz she would generally physically assault someone who asked her something stupid like “whats it like being a girl in a band?” or “how do u ladies all manage that time of the month?” n etc. just anything that wasnt related 2 the music, tour, album etc shed tend 2 get pissed abt. n while most of the bands they played shows w or went on tour were cool, there was still the occasional asshole in a band they were playing w, asshole fans on tour, asshole security, etc. ronnie once left some stuff in their van on the tour 4 total annihilation n went out 2 get it w/o her backstage pass, n when she tried 2 get back in, was refused entry bc there was a no groupie policy. ronnie spent probably 20 minutes trying 2 convince the dude that no, she was actually in one of the bands playing. eventually the tour manager came out 2 get her after jack (who had her pass but not ronnies) found her n tried 2 get her in (security would not let either of them in and mistook jack 4 a dude). occasionally drunk male fans would find their way 2 the hotel they were staying in n harass, or try 2 harass, the band. max was a particular focus of these fans, n often carried pepper spray when on tour, and became more n more paranoid about her safety as time went on. the band briefly took some self-defense martial arts classes together in late 84 as a part of jack’s first (n only) rehab stint, n 2 help max combat her paranoia n anxiety.

gale got some shit 4 being black n being in a metal band but not much as far as i know cuz she didnt exactly put herself out in the public “sphere” the way ronnie, jack n max did. yeah she played shredding 6, 7 minute bass solos live n chatted w fans n came 2 the parties w everyone else n did the interviews like everybody else (sans jack), but she didnt really want 2 be in the limelight off stage the way ronnie, w her immense love of being interviewed n saying outrageous things just cuz she could, did. max was in the limelight whether she liked it or not (she didn’t like it) which messed her up n was part if why, after artery disbanded early late 85/early 86, she disappeared off the face of the earth (<- exaggeration but kind of accurate.) i think one of the reasons jack jumped intensely into drugs n alcohol was bc she felt ignored off stage, n wanted 2 prove 2 the other ppl that the band was touring w that she was as badass as the rest of them, she could drink as much as/more than them etc etc etc i went over this in the tags of the other post. n also she was just insane w many mental issues 👍 i dunno much abt what in particular i just know she struggled n then od’d n died. max also struggled w alcohol, especially on artery’s tours bc she was trying 2 use it 2 be more relaxed n outgoing when performing. i believe ronnie tried coke during artery’s final tour. gale smoked weed recreationally n 2 this day is a big proponent of legalizing marijuana in the US.

i think i covered just abt every i wanted 2 cover! 🍻🍻 thanks 4 listening or whatever sorry if it makes no sense im not doing super well

[jjungkookislife]

it was one afternoon in may 2019, i was in charge of washing the dishes and i wanted to play music before doing so. and so, i searched "music videos" on our tv and when you do that, it will show you the music videos for that year right.

the first suggestion was "boy with luv by bts ft. halsey" and it made me so curious because i know what halsey's style is. i used to listen to her badlands album a lot and kpop at that time isn't new to me, it's been going on for so long... i know the name BTS because my friends mention it to me all the time (FR I HAVE A FRIEND WHO HAS BEEN A STAN SINCE THEIR DEBUT ERA) so i was like OOOH LET ME HAVE A LISTEN I'M CURIOUS and then 🤡

i didn't have a clue that i'll fall into the rabbit hole 🤧😂 well... BTS was a good destination to get lost into tho 😭

MY BIAS WAS JIMIN (i am saying was because now, i don't consider that i have a bias on BTS anymore i love them all so much 🥺) and it's bc of boy with luv too. He was the opening guy and I was like "OOOH THIS GUY I LOVE HOW HE DANCES" 👁👄👁 and as the mv progressed, I saw jin and immediately my mind went "OPPA!" bc he looks like the typical insanely handsome korean boyfriend you'll see on kdramas (i've been watching kdrama for a long time already, however, from my words of clownery i said 'hmm i'll watch kdrama but maybe i'll not be interested in kpop. it's just not me' AND WHERE THE FUCK AM I NOW HUH) and then the mv finished playing and i thought WOW I LOVE IT, i love the dancing (performances were new to me. i was a fangirl for a long time but the boy groups or "boy bands" that i stan don't do any of that shit hahaha) and i said "hmmm i want to see them dance to a different song, but i don't have any plans on being a fan tho! just gonna look at their dancing!!!" and so i watched Burning Up (Fire), I watched Not Today and then 30 minutes later I just realized I FUCKING FORGOT THE DISHES I WAS SUPPOSED TO WASH????? AND THE CLOWNEST THING IS I WAS WATCHING THE INTERVIEWS ALREADY?????? so where is the "dancing" there??? 👁👄👁 I CAUGHT MYSELF ON 4K 😭😭😭 when i realized that, that's when i knew 🤧🤧🤧

so jimin was kind of lich rally the reason why i became a fan but after just a few days of binge watching them, i eventually loved them equally 😭😭😭😭

most people becomes a fan during their comeback season, and if somebody influenced them, and so they "blame" them for being obsessed BUT IT WAS ME WHO MADE ME OBSESSED 🤧🤧🤧🤧 and it wasn't even a comeback week at that time 😭😭😭 if i'm not mistaken,,, they just finished the promotions for MOTS: PERSONA (if i'm not mistaken. and at that time once they finish their promo, the hype kinda dies down. THESE DAYS THO THEY JUST KEEP ON GETTING RECOGNITION AND WE LOVE TO SEE IT!!! IT'S WHAT THEY DESERVE 😭😭😭) and they are on the last bits of their speak yourself tour LICH RALLY I'M THE ONLY ONE TO BLAME FOR ALL OF THESE 😩😩😩

whooo! sorry if that was long... but yeah. that's my army story 🥺 also may you pls tag this with #jkp ?? so i can comeback on this ask on mobile when u reply 🥰

okay but the BWL era is so special 'cause it was my first comeback! it's so wild we knew people who stanned them from debut and we refused lol oh not the dishes lmao and going from dancing to interviews, that's how they get you and we can't forget "well i just wanna know their names" 'cause at that point you're gone! yes we have nobody to blame but our own curiosity lol and i do try to get others interested into bts and so far it hasn't worked too well lmao but my brother in law gave them a chance, he liked mic drop and i think waste it on me and the first poster i put up was the mots: persona one and its still up in my room lol

share your bts origin story and bias

[tisthenightofthewitch]

How Ghost became the face of the new generation of heavy metal

Pressure. Controversy. An army of haters. It seems like nothing can throw Ghost off-course. How Ghost's mastermind Tobias Forge took on the world… and won

Paris, tell me… did that make your asses wobble?” It sure as hell isn’t “Scream for me, Hammersmith!”  but somehow, inexplicably, this flirty, moustached, makeup-splattered dandy wiggling about in a tux and leather gloves has 9,000 people in the palm of his hand like he’s Bruce Dickinson in ’86. Hammer is at hallmark gig venue Le Zenith in France’s capital city, witnessing Ghost deliver their latest sermon.

The City Of Love might be frozen solid on this chilly February evening, but the unstoppable Swedes are heating things up in style – fire, steam cannons, confetti, a dazzling light show and enough costume changes to make Lady Gaga dizzy are just some of the ingredients reaffirming their status as one of metal’s premier attractions in 2019.

It all makes a two-hour set fly by in no time, guided masterfully by that  aforementioned, ’tache-donning Daddy. Cardinal Copia, Ghost’s Master Of Ceremonies, raised a few confused eyebrows when he was unveiled this time last year, breaking an eight-year streak of Papa Emerituses who’d fronted Ghost since its inception. But he’s since become the beating heart of a band that have continued to evolve, grow and adapt beyond all expectations.

He’s also a world away from the blue-eyed, slick-black-haired, quiet and thoughtful man we spent time with two hours earlier, dressed in jeans and a hoodie, decidedly sans-moustache and doing much less wiggling.

When Hammer last spoke to Tobias Forge, he’d recently (some may say forcefully) been outed as Ghost’s resident mastermind – its very own Wizard Of Oz, working behind the scenes and behind the mask to help orchestrate one of the most unlikely success stories of recent times.

We are creating a dynasty.

Soon after our last conversation, Ghost dropped their latest album, Prequelle – an instant classic stacked with playful menace and 80s-tinged pop-rock bangers – and have pretty much been on the road ever since.

“Hey, if you wanna rock, you gotta rock,” shrugs Tobias of his relentless schedule. “It takes a lot of effort, a lot of cogwheels spinning and turning, to make all this work.” He’s not kidding.

A weary roadie will later inform us that it takes almost four hours to pack up Ghost’s monstrous set each night – a towering, multi-platformed, chapel-esque set-up that recalls the kind of backdrops Maiden have made home for decades. “But, once you’ve got that whole machine rolling, you don’t wanna stop,” Tobias adds. “At some point, we will have to wind down a bit, but we’re not there yet.

If you wanna be comparative, look at all the big bands; even though they made it in a different time, statistically it takes five records, about 10 years, to go from nothing to something to something great.”

And that, right there, sums up Tobias Forge. The reason Ghost have been such a triumph isn’t because of great songs, a good live show and a savvy gimmick – metal history is littered with bands that never made it despite boasting all those things.

The difference is that Tobias is the man with the plan. He may not be the tortured artiste or swaggering hellraiser that rock’n’roll loves to stick on a pedestal, but he’s a leader: a brand ambassador with a calculating mind and a shrewd business acumen who knows exactly what needs to be done to immortalise Ghost’s legacy.

He’s playing the game, and he’s winning. And if you look hard enough, the seeds for it all were being sown right at the very start.

“You can find all the details in my record collection,” he says with a knowing smirk – and he’s not wrong. Before Cardinal Copia, there were Papa Emeritus I, II and III – a line of frontmen that not only enabled Ghost to set up a deep-running narrative, but change up the formula and the image for every album cycle. Sound familiar? It should – it’s what rock’n’roll superstars have been doing for decades.

"I’ve always been a big fan of Kiss,” he continues. “Most Kiss fans can tell the era [of the band] by the photo, what they’re wearing. You can say, ‘That is ’75, that is ’76, it’s in the spring, it’s in the fall, it’s Rock And Roll Over, it’s Destroyer.’ So I figured that in order for this band to age, we need to create dynasties.

"And that way, there’ll also be nostalgia. Because I come from a heavy metal background, I know how important nostalgia is, and the attention span nowadays is so short, so you need to create it quickly. You need people to be able to say, ‘I was there when this part happened.’ That’s why it was always Papa Emeritus I, right from the start.”

It’s a meticulous level of forward-thinking that has come up trumps, but amazingly, you’d have been hard-pushed to find anyone who’d have backed Tobias to carve such a path 10 years ago.

Before 2010, it was with respected Swedish death metallers Repugnant that the Linköping native had had his most ‘success’, his love of rock’s theatrical side flirted with via a splash of corpsepaint and a drop of fake blood here and there.

A spate of EPs and splits and one well-received album, 2006’s Epitome Of Darkness, ensured a small part in heavy metal folklore was guaranteed, but it was what happened next that changed everything.

Channelling his love of catchy NWOBHM mainstays like Angel Witch and Demon, Tobias wrote what would become Stand By Him – an irrepressible schlock-rock anthem a world away from the guttural noise of Epitome…

He called up former Repugnant bandmate Gustaf Lindström to help record it, and more songs quickly followed in the same, earwormy vein – “I’ve always liked the NWOBHM bands that had melody and pop sensibility,” he says today.

But there was still something missing. The songs Tobias was now writing were following a formula that had been laid down since the 70s. It needed something different. Something fun. Something… metal.

Deciding that this new project should carry an image that’d bring it a world away from its influences – a band that, in Tobias’s words, should “sound like Angel Witch but look like Death SS,” he began doodling some ideas. One scribble stuck – the image of a Pope-like character, plastered in ghoulish corpsepaint. Papa Emeritus was born.

I was 29 years old. I wasn't going to get another chance at this.

“And as soon as it was confirmed that he’s gonna be a Pope… well, when a Pope dies, you have a new one!” adds Tobias with a laugh. Soon after Papa I came the idea for the Nameless Ghouls – masked, anonymous backing musicians that’d add to the band’s hokey mystique.

By 2009, the project had an image, some songs and a name: Ghost. But it’d be a little while before things started to move forwards, and Tobias’s grand plan would take shape.

Between 2008 and 2009, there were maybe 20 people who knew about Ghost,” says Tobias, who ended up fronting the band through default after unsuccessfully offering the gig to a variety of names from around the metal scene.

“The guys in In Solitude, the guys in Tribulation, the guys in Watain… they were the only people who knew about it! But I knew at that point that it was gonna have the ability to turn heads, because it made everyone [excited].

"Repugnant were popular, but nothing I had ever done had had such an immediate impact on people. They were all like, ‘Ghost! I wanna hear more!’ I knew that there was gonna be some sort of buzz.”

A “buzz” is an understatement. When Ghost’s first songs were finally made public – on MySpace, no less – things began to move very, very quickly. Metal messageboards were set ablaze with excitement and offers came flooding in.

“I was quickly in touch with Will from Rise Above,” notes Tobias now, and he would eventually accept a deal with Lee Dorrian’s much-respected label. An album, Opus Eponymous, was recorded, and the metal underground waited with baited breath for its new favourite band to deliver on the hype. And yet, even at this stage, Tobias wasn’t totally certain just how far things would go.

“Originally, I thought that Ghost was gonna become more like a theatre/installation sort of band, like Sunn O))),” he reveals. “We would play Roadburn, arthouse concerts, five dates at the London Scala, that sort of thing.”

So a kind of ‘event’ band. You’d show up to play special shows and residencies.

“Exactly,” he confirms. “I never thought we would be the band that would play metal festivals, play in daylight, play with other bands.”

But then more offers started steaming in. Suddenly Ghost – with not so much as a gig to their name – were being asked to go on tours, play festivals and do interviews. For Tobias, there was a straight decision to be made: keep this project as a ‘cult attraction’, stay within the underground and become everyone’s favourite ‘Oh, you wouldn’t have heard of them’ reference point, or take a leap into the unknown and reach for greatness.

For a man that had spent years keeping a lid on his grand ambitions, now was the time to sink or swim. And, really, there was only ever going to be one option.

“I wasn’t gonna get another chance,” he states flatly. “I was already 29 years old at the time, so it was like, ‘This is the train and it’s leaving now.’ You can choose to stay, and sit there and fucking wonder all your life, or you can get on.”

Tobias got on the train, and it hasn’t stopped rolling. Opus Eponymous was released on October 18, 2010, and within three years intimate club shows became packed-out academy shows in front of 5,000 people, and soon after that the band could be seen supporting everyone from Metallica to Foo Fighters to Iron Maiden.

They won a Grammy for Cirice (and have been nominated for two more); they’ve been championed by everyone from James Hetfield to Phil Anselmo; their merch has become obscenely big business, t-shirts selling out in no time at gigs (including the show Hammer attends tonight) and the Ghost IP being plastered across everything from baubles to butt plugs to custom plague masks.

Tobias has manoeuvred that quick sketch of a spooky lad in a Pope hat into a machine Gene Simmons would be proud of, all underpinned by a storyline that has fans salivating as they wait for the next chapter to be revealed.

And if there was any doubt that this is still very much Tobias’s baby, you need only look at the casualty list littered with names that have crossed him. There are the disgruntled ex-bandmates who attempted to bring a lawsuit against Tobias in 2017 after claiming they were denied their rightful share of the Ghost pot.

The lawsuit was thrown out in October last year, his former colleagues ordered to pay Tobias’s legal costs (around $145,000, if you’re counting). There was also the Sister Imperator incident, where the elderly Ghost matriarch and star of their ongoing vignette series had to be swiftly recast after a mysterious falling out.

“All of a sudden, you’ve an actress who decides to start making fucking trouble and makes herself unemployable,” Tobias says. “Well, then you have to do what they do in any soap opera… a car accident.” That’s not allegorical, by the way.

Tobias literally had a new vignette made revealing that the Sister was in a car wreck and needed reconstructive surgery. The new actress was brought in so smoothly that many Ghost fans assumed it was the same person with a different haircut. How’s that for efficient?

“That’s how you solve things,” the frontman shrugs. “But that was not planned at first, because we’d been working with the same actress for three years, and then all of a sudden, things fell apart. But, you have to roll with the punch, you have to bite your finger, and come up with another plan… car accident. Boom.”

That Tobias won’t be moved on what actually happened between he and the original actress is understandable – after all, this is a man that spent years holding his cards close to his chest.

That this all managed to play out under the noses of one of modern metal’s most fanatical fanbases, however, is pretty damn impressive. Basically: don’t cross the boss.

While Tobias’s masterplan may seem iron-clad, he will at least admit that there is room for fine-tweaking along the way. He recently revealed that Cardinal Copia’s character could stick around for another five years and multiple albums – a first for Ghost, who have thus far changed up their protagonist for every record.

“That’s just because of the potential of him being a ‘Pope’ or a Papa Emeritus IV,” he explains, before adding: “If he becomes a Papa Emeritus.”

So there could be multiple endings planned for Cardi C?

“Absolutely. All of this is an organic movement, and that is one of the biggest paradoxes for me, as a control freak. To be part of this living world, I can’t control everything. I can control a lot, and I can influence a lot, but I can’t control it [all]. And coming to terms with those things and accepting that is a big struggle for me.”

He’ll also admit that being the mastermind behind a machine as big and ever-evolving as Ghost has had a serious impact on his personal life. Being a part of a successful band is one thing, but having that success rest almost entirely on your shoulders is something altogether different.

“It’s very hard to do this without any casualties,” he muses. “It takes a toll on your surroundings, your crew, your parents, your children… I have two kids, 10 years old. They were toddlers when this whole thing started. My family’s had to endure a lot for this to happen.”

He’s also had to face up to the reality that being in a big rock band means you’re going to attract the attention of

a fair few haters – and Ghost have an army of them. Check out Hammer’s Facebook page to see the dizzying levels of vitriol that a post about Ghost will attract. Recurring issues seem to be accusations of selling out, anger at Tobias’s treatment of his former bandmates and, most commonly, whether Ghost belong in our world at all (and to be fair, you’d be hard-pushed to describe Prequelle as a true heavy metal record by any standards).

“I’ve noticed it,” says Tobias. “I noticed it in the beginning. I think that it’s the same old discussion. ‘Is Ghost a metal band?’ ‘Are we a clone of Mercyful Fate?’ It’s the same old thing. But now these people are saying the new record is not as good because it’s not as much of a clone of Mercyful Fate! OK…”

Why do you think Ghost wind people up so much?

“Because we are ever-present, all the time. We are being shoved into people’s faces, and we’re rubbing it in. They wouldn’t talk about us had we not been successful. Does it worry me? Not really. If they’re talking shit about me, that’s one thing,  especially if it’s someone that I know. That can hurt me deeply. When you’re at the beginning of your career, especially nowadays, you spend a lot of time surveying what’s going on, because you need to feed off anything that’s happening to the band. So I noticed there was a lot of ‘controversy’, a lot of mixed opinions. It’s surprising they don’t understand that the more they talk about us, the more traffic there is about our band. More than we would have had had they not spoken!”

Once again, it’s there: the unnerving feeling that Tobias is metal’s modern-day puppet master, pulling the strings above a performance that we all continue to play our parts in. Whether it’s the media, his fans, his critics or the few who have attempted to foil him, everything only ever seems to play into his hands, and the Ghost train rolls on.

“A few months ago, based on metadata alone, a website made a list

of the biggest bands in metal,” Tobias reveals as a PR informs us our time together is up. “We were number four! Right up there. And that’s thanks to these people that keep on fucking hating. So I have nothing but great feelings for them.”

He makes to leave before adding: “That’s how all these bands made their careers. You think Lars would shy away every time people would talk shit about Metallica? Fuck. That.”

Hated, adored but never ignored. This summer, Ghost will play in front of stadium crowds with Metallica once again – something Tobias calls a “PR exercise” – before more global dates and, eventually, a new album that’ll reveal the next chapter of his grand plan. You can imagine that people will have plenty to say about it. And you can imagine that Tobias Forge is going to relish every second.

ALL RIGHTS OWNED BY METAL HAMMER

[cepingcipse1988-blog]

The same day on which Robert d'Estouteville took the place of Jacques de Villiers in the provostship of Paris, Master Jehan Dauvet replaced Messire Helye de Thorrettes in the first presidency of the Court of Parliament, Jehan Jouvenel des Ursins supplanted Pierre de Morvilliers in the office of chancellor of France, Regnault des Dormans ousted Pierre Puy from the charge of master of requests in ordinary of the king's household. Now, upon how many heads had the presidency, the chancellorship, the mastership passed since Robert d'Estouteville had held the provostship of Paris. It had been "granted to him for safekeeping," as the letters patent said; and certainly he kept it well. Another nice thing that I seen done in my area is people post laminated cards unobtrusively at gym locations. It has the name of the discord, a link to the shortcode invite, and invites you to join. They look nice (lamination helps with the weather), are easily noticed if you at the gym, but they small enough that if you didn play pokemon go you not give it a second thought.. In my experience, guys that say this will almost always just keep you limbo then eventually drop you for someone they can see themselves with in a relationship. Don settle. If you want a commitment, go after a guy that will give you one.. Mai este si chestia ca geografic multe din tarile vestice nu prea au avut cotropitori. Noi am fost la intersectia a 3 imperii cam in timpul intregii noastre existenta. De fiecare data cand tara progresa si cultura evolua, parte din progres era distrus de catre ultima cucerire si asta a dat nastere unei culturi si societati destul de tinere in care supravietuirea individului este pe primul loc din cauza neajunsurilor aduse de fiecare pas in spate. But I convinced he wasn doing it for some cause, which I sure he claim was his goal. He was doing it for attention, a book deal, a movie, whatever. He a narcissistic ass.. Ugh yes. And she likes to act like she is being held to a different standard on YouTube. Always referring to herself in third person (come on Jessica), trying to give thorough reviews that add nothing new. Tom watched the little lady a great deal, before he ventured on any overtures towards acquaintanceship. He knew an abundance of simple acts to propitiate and invite the approaches of the little people, 강진출장마사지 and he resolved to play his part right skilfully. He could cut cunning little baskets out of cherry stones, could make grotesque faces on hickory nuts, or odd jumping figures out of elder pith, and he was a very Pan in the manufacture of whistles of all sizes and sorts. Red Bull example is invalid because the Red Bull closes its DRS, which increases rear downforce and decreases the effect of weight transfer under braking. Even if this only happened in Ferrari, it is dependent on many factors including suspension and weight of the car. Also, there are people at Mercedes and Red Bull who specifically work to find these little things and report to FIA, so we, as armchair experts, can just speculate.. In June 2008, Patti Labelle, Nona Hendryx, and Sarah Dash, otherwise known as Labelle, reunited for an album of all new songs. It was produced by Lenny Kravitz and Gamble Huff. What fashion, shoe, and hair styles will they be wearing on tour in the 2000s as we approach the Space Tourist Age?. The end of Wanna One's group contract is nearing, which means members Park Woo Jin and Lee Dae Hwi may soon join the MXM duo to complete "Brand New Boys." Lim Young Min commented, "That's something we're looking forward to a lot as well. Since we were trainees who practiced together at first, I imagined a 강진출장마사지 lot what it would be like to work together. Although we're apart now, I think fans are already anticipating our activities together.".

[nuefiction]

Human Nature: A Love Letter to a Perfect Jam

by /n(y)o͞o 🦇

Human Nature by Michael Jackson is the 7th track on the 1982 album Thriller. It was released as a single in July of 1983. The legend of this record is that it could be one of the best and well known R&B jams in the last 35 years. Some writers have reviews the song as the song to set the blueprint for popular R&B that would take over the airwaves in the next ten years following. The song is sung by Jackson but writer by Toto’s Steve Porcaro. It was intended to be written for Toto until producer Quincy Jones heard Steve’s demo by accident in the studio and his ear caught the infectious melody “...why, why.....da-da-da-daaa...” it was inspired from a conversation that Porcaro had with his daughter after a hard day of school.

https://youtu.be/ITQPxZKm9dY

The rest is history. Jackson was able to execute the vocals with a smooth; silk delivery that is sandwiched between the melody cool instrumental. It fits almost too perfectly. The lyrics tell a story of man whom stalks the streets of NYC on a starry night and comes across a beautiful young woman that is seduced by his stare. The choroid echos the advice Porcaro have his daughter being “It’s just human nature”. The advice being edited to fit the final format of the song. Simple, but sometimes simplicity in music can be the recipe of greatness and longevity. The chorus weeps the famous lyrics “if they say why, why tell em that it’s human nature... why, why does he do me that way.” A melody so infectious you find yourself immersed in a vibe that’s almost inescapable. The song itself was ahead of its time. Released only in 1983, and the first of its kind. On the album it follows the hit “Billie Jean” and precedes the bouncy groove “PYT (Pretty Young Thing)” This would also become what i’d called one of Jackson’s famous sleepers, in regards of his catalog. He’d go on to perform the song on the final the Jackson’s Victory tour in 1984, his first solo tour; The Bad Tour in 1988, The Dangerous tour in 1993 and on select dates of his HIStory tour in 1997. Jackson intended to include the hit during his set list for his would have been final “This is it” concerts.

My personal history with song obviously came years after all of this. It was debuted to me thru film. I was around 6-8 years old when I was being baby sat my Aunt Doreen. In her living room she had “The Jackson’s: An American Dream” (1992) mini series was playing on cable. As a child I was easily amused by whatever anyone played on television. I didn’t know that this would plunge me into my own Jackson fandom and also find one of my personal favorite songs in life. The scene that plays on screen is a reenactment of a young Michael and Quincy recording “Human Nature.”

https://youtu.be/nP7_ayzoG0c

The scene fades to light on the screen and you seen in white text “1983” across the screen as late actor Wylie Draper portraying a Thriller era Jackson laying down vocals on said track.

“Looking out across the night time. The city wakes a sleepless eye....” Draper in character is wearing a medium red Hawaiian shirt, blue jeans and the iconic white socks and penny loafers. Depicting Jackson’s iconic style in that time. This would also influence some fashion choices for me later in life. Draper is also wearing dark large aviator shades while in the studio recoding. You can see his left hand holding that side of his headphones to his ear as he glides thru the song. I make time to tell you this because with every song I hear I usually have a picture in my head of what the song is portraying. The moment I first heard this song was so special this visual is the main portrait I have in my head when “Human Nature” plays every time. As I write this I realized this moment influence me immensely. I can honestly say I found a piece of myself when first learning of the song. I think that’s special and one of the many wonders of art. I was no older than eight at the time. My main music source was the soundtrack to the movies that babysat me and the themes songs that would sometimes lullabied me. In addition to the music my mother & older brother would play in their cars. At 8 years old I didn’t comprehend the lyrics of this song but the melody fulfilled my heart with its beautiful flavor. “why, why tell em that is human natureeee....why, why does he do me that way...if they say...” It stayed with me forever and that became one of my favorite movies/miniseries of that time. Whenever I caught the movie on tv I made sure I stuck around for the making of the “Human Nature” scene. My family caught on and would do me the solid of finding me and telling me “The Michael Jackson movie is on”. I would come running every time to catch my -at the time- my favorite melody.

At the age of fourteen I was able to get my hand on the “Thriller” album and learn the melody I’ve loved since a child. My family would support my love for music with every birthday, Christmas and occasional Easter basket. I accumulated a decent CD collection that I still hoard today. In 2001 I was lucky to be gifted Jackson’s would be last album “Invincible”. These were the days where going to the mall was something to the do when there was also nothing to do. One Saturday afternoon I go to an FYE to buy CDs to add to the collection. I came across the letter J in their alphabetical catalog and found classic Michael Jackson and Jackson 5 albums. FYE had this gadget where you could sample the music on a CD by swiping the barcode. I grabbed the “Thriller” album first. I’d like to add that at this moment I did not know the actual title to “Human Nature”. I always knew it as “why, why” the melody I was infatuated with since i was eight. I flipped the CD over to read the track-list and learned the legend of the “Thriller” album. ‘Wanna be startin something’ (Introduced to me from the video game Grand Theft Auto: Vice City (2002) that took place in 1986) ‘Billie Jean’, ‘Beat it’ ‘Thriller’ and of course ‘Human Nature’ sat at track 7 glowing with familiarity. I scan the CD and placed the large headphones on my ears. I sampled all those songs and got really excited but I was sold as soon as I heard those famous opening lyrics “Looking out across the nighttime, the city winks a sleepless eye”. I knew this was my song and the album was coming home with me. I also grabbed a Jackson 5 greatest hits album. I would go on and be gifted “Off the Wall” and “Bad” as Christmas and birthday gifts. Following buying the CD I might have played the song over a million times. To this day I have to hear it more than once to be satisfied.

What makes the song so addicting to me is every element the song contains has a purpose. The instrumental/music create a cool, seductive setting that dusk, night and sunrise can fit perfectly. Jackson compliments this with his vocals. Keeping his range at a medium to create a somber and seducing vibe. Every lyric hangs on his voice with his famous tremble. It almost sounds like he he’s holding back his infinite range to maintain the mood. Jackson does eventually stretch his voice and falsetto following the choruses. I can’t explain it any better. you have to hear it to understand. His falsetto soars along the higher notes of the song. Creating an angelic freedom while the music follows. It manages to give me goosebumps.

The legend of this song shows in its age. In the next decade of the 90s the song would be remixes and sampled. SWV sampled the song for their song “Right Here” on their debut 1992 album ‘It’s About Time’.

https://youtu.be/vHwXoY0LiQk

It was also sample for Nas’s “It Ain’t Hard to Tell” the closing track to his classic hip hop debut “Illmatic”(1994)

https://youtu.be/3hOZaTGnHU4

Chris Brown borrowed the melody for his hit song “She Ain’t You” off his 2011 album F.A.M.E.

https://youtu.be/7V2GzYcRK9E

Toto has continued to cover the song in their concerts providing their own flavor to the legendary track they help craft.

https://youtu.be/EfXK4jauJV4

Human Nature by Michael Jackson to me is his most famous sleeper. It’s every fans favorite flavor or transition songs that help glue together a great set list. It finds itself in a sweet spot on a classic album that’s only nine tracks long. The song for has helped spark my appreciation for music from before my time and Jackson’s expansive catalogue of musical greatness. If haven’t heard the song before reading this I encourage you to give it a listen. Hopefully it takes you to the places of inspiration and wonder that an eight year old boy once had the privilege of visiting.

/n(y)o͞o 🦇

[hiphopscriptures]

Fresh Artist Fridays: Brave Williams

Don't Tell Me No, is an unapologetic assertion of vulnerability. It gives you permission to not let your ego make decisions for your heart and a reason to say yes to love. "To me, my song Don't Tell Me No, has a timeless sound. It's Classic. I really wanted to channel that feeling in the video; so I decided to pay homage to an era that represents that to me, the jazz era," mentions Brave. "I wanted something simple, elegant, clean and classic. A beautiful black piano, a talented pianist (Johnnie "Smurf" Smith), and an old school mic," she adds.

The song was written by Brave Williams, Brittany Barber (John Legend, Ty Dolla), and Kristal Tytewriter Oliver (Diddy, Chrisette Michele) and produced by Ivan “Orthodox” Barias (Mary J Blige, Phony PPL, Chris Brown) and the classic visuals were directed by Zack David. "Don't Tell Me No" music video was globally premiered on Bossip.com and is available on all streaming and download platforms now.

Brave Williams Bio:

Call it her parents’ prophetically-ordained choice of first names for a baby girl or divinely inspired coincidence - as per textbook definitions which encompass everything from “a bit daring” and “ready to face and endure” to “without showing fear” – singer/songwriter/SAG-AFTRA actress BRAVE WILLIAMS has been nothing less than courageous, spirited, determined and dauntless in her whirlwind rise to notability within the worlds of music and entertainment over the course of the past few years. Having quickly and effectively established herself as that simultaneously “sultry and edgy while everyday relatable” songstress whose “Oooh Luv Ya” and “Road Trippin’” 2015 singles set off buzzworthy online presence and fast-growing download support, in definitively brave fashion, BRAVE WILLIAMS more than lives up to the meaning of her name as she precedes her audacious, anticipated self-titled full-length debut set (a Brave New World/SRG ILS/Universal Group release) with the recent release of her oh-so-sultry R&B beat-ballad latest single, “Don’t Tell Me No.”

With her now signature self-assurance paired with a heavy dose of vocal temptress; the lovelorn, “old-school-slow-grind-meets-slinky-paced-modern-R&B” flow of “Don’t Tell Me No” finds the vocalist noted for championing her girls actually addressing the fellas this go ‘round, all while examining relationship “goings-on” and vulnerabilities both genders can easily relate to. “It’s completely relationship-driven,” Brave explains, upon sharing the inspiration for the song, “based on conversations I’ve had with my sisters and best friends. Men always have this idea that they have to be strong and powerful with whatever it is that’s going on. And men are just as scared as women to fall in love. So to me, it was like a declaration to men like ‘I know you’ve been through some things that have your protective wall up, but don’t let that heartache or disappointment become your permanent identity. You can still be open to fall in love, but fear will keep that blessing from happening.’ Because there’s so much noise happening – like politics, the social climate and things on the news – I want people to be reminded that love can slice through all of that…and kill all the noise. I want that to be welcomed, and I want people to be invited to always go back to love despite everything’s that’ going on.” Though attitude-laced, ladies’ anthem-styled singles like 2017’s bouncy, head-boppin’ “U Tried it” and early 2020’s deep-bouncin’ “Options” may have empowered the ladies, she’s ultimately a fair and equal opportunity (musical) communicator. “I am so pro-women, like I am always here for my girls,” she ponders upon the mention of feminism, “but I never want anyone to think or take my interpretation that I’m anti-man, because I’m not anti-man. I love my men, which is why I wrote ‘Don’t Tell Me No,’ because I wanted to speak to my men like ‘I know you’re scared. I know that you can be feeling some type of way about love and relationships. But let’s do this together; don’t tell me no.’”

Largely produced by Ivan Barias (Musiq Soulchild/Mary J. Blige/Chris Brown) while Brave handled songwriting alongside co-writers Brittany Barber (John Legend/Ty Dolla/Love & Hip Hop Hollywood) and Kristal Tytewriter (Diddy/Chrisette Michele), multifaceted Brave’s anxiously-awaited Brave Williams full-length LP aims to make good on the promise and hoopla generated by the release of her Fearless EP (2015) and its breakthrough singles. “Ivan is part of my Philly team whom I’ve known for several years now,” she shares. “He actually produced a lot of my records on Fearless. Once we met through [our mutual manager] Michael we just clicked. So it’s actually Ivan and Tytewriter [I worked with]; she’s a Philly-based songwriter who’s worked with Diddy, Ledisi and Estelle…and she’s also an engineer. So she engineers all my sessions.”

Hence, beyond the independent woman-themed “Options” and the love introspection of “Don’t Tell Me No,” the BRAVE WILLIAMS contemporary hip-hop/R&B music listeners have come to know musically and melodically elaborates and narrates an everyday love journey with a debut set that manages to tell a full-fledged story. “This new album is me being totally transparent about relationships; so I’m taking you through the beginning, the middle and the end of relationships,” says the sassy siren of her Brave Williams debut. “Whatever those emotions are, it’s telling a complete story. So in the beginning, when you’re extremely happy and have that full love feeling, is something I wanted to capture with the uptempo songs. Or going in the middle when you realize ‘Ok wait a second; the person I met six months ago has left the building’ and it’s like “Who is this guy? Let’s not forget that I still need you to treat me like you treated me in the beginning.’ And it takes you all the way to the end, whatever the end might be; if you’re happy, there are happy songs on there. And if it’s a breakup or even some of my own trials and tribulations that’s I’ve experienced in relationships, I’ve definitely penned those songs. It’s kinda like a diary…..a relationship diary [which is a bit scary].”

As it turns out, the seeds for her talent and penchant for storytelling can be traced to her early Baltimore, Maryland-based childhood…more specifically in the back-seat of her Mom and Dad’s red Chevy, on a day she vividly recalls hearing legendary rapper Tupac’s “Keep Ya Head Up.” “I remember it like it was yesterday; I was mesmerized,” Brave recounts. “I know that I had heard hip-hop before that moment, but that was the first time that it really resonated with me and I started writing. I really just started writing poems. I had no idea I could sing because I started out rapping.” Always quick to showcase her rapping and spoken word skills at open mics, she confesses that she stumbled onto the notion that she could sing upon trying to turn one of the raps she’d written into a song. That epiphany spurred a newfound exploration and appreciation of the R&B of her generation (“I love Faith Evans, Jill Scott since her first album and ‘What’s the 411?’ by Mary J, because she was like the perfect marriage of hip-hop and R&B”), as well as more classic R&B from the likes of Stevie Wonder, Bobby Caldwell and one of her idols, 80s singer/songwriter/musician Patrice Rushen.

Armed with her newfound appreciation of soul/R&B and burgeoning songwriting talent while honing her singing chops, characteristically ballsy go-getter Brave ventured and dared to develop her craft partaking in countless local open mics, one of which permanently changed the direction of her life and fast-forming music career. “Someone in the crowd pulled me aside after I got off stage [one night] and said ‘I wanna introduce you to a producer in D.C. who’s looking for an artist,’” she recounts. “From that, I was introduced to [producer] Rich Harrison (Beyonce'/Amerie), I signed a solo deal with Columbia Records and I never let them know that I had just learned how to sing two weeks before.” Thus the spirited determination which defines her very name arose, in which case she admittedly “faked it. I was like ‘Yeah, I could sing’ and once I got in the studio they could tell I was undeveloped. So once ‘the cat was out the bag’ I knew I didn’t want to lose my deal, but I needed to put myself around singers so I could grow. So that’s how I came up with Richgirl.” Signed to Jive Records, though the female quartet (which also included fellow siren Sevyn Streeter) captured the attention of an immediately awestruck urban audience with their mad-tight Harrison-produced “He Ain’t Wit Me Now,” which fans concluded should have been huge and remains a multi-million-viewed VEVO music clip, the group never quite got off the ground.

However, when you’re the living and breathing synonym for the word “brave” – in fact, indomitable – you move one, following your creativity and passion where fate takes you. In the case of BRAVE WILLIAMS, that meant persistently pursuing her dreams, adeptly learning from her experiences and exposure and seizing opportunities presented until that eventual “right place, right time” scenario. “It was because of that experience [with the group] that I got the knowledge to start my own label,” admits Brave, “just to learn the administrative work a major label actually does. To learn the type of work that’s required of an artist…like the long hours and tour life. It gave me tools to really navigate and properly start my own label (Brave New World). That’s what I did after the group disbanded and then that’s when I put out my first song, ‘Ooh Luv Ya.’ Then I hired everyone I needed [like a street team], the PR and ‘this and that’ to get that song on radio. And so when that started playing on radio, that’s what got the attention of R&B Divas (TV-One reality show).” Like a fast-rolling, momentum-building snowball, Brave commenced to not only recording her Fearless EP with subsequent singles and landed noted acting roles in VH-1’s CrazySexyCool: The TLC Story biopic, BET’s Angrily Ever After, her first leading role in Netflix’s Love Dot Com and BET’s The Christmas Lottery (alongside Greenleaf’s Asia Epperson and Family Matters’ Reginald Vel Johnson), but embarked on her passion for philanthropy though hands-on work and involvement with Associated Black Charities, the Baltimore area’s St. Francis Mentorship Program and City Women’s Shelter, acting as Ambassador/lead lrainer for the Steve & Marjorie Harvey Girls Who Rule The World girls’ mentorship program (for 200 young girls from around the world); and advocating health, fitness training and wellness through her very own Brave Williams Fitness Club. The club’s specialization in weight loss, diet nutrition, personal training, tailored fitness plans and increasing muscle mass is a personal passion she takes quite seriously and a source of great pride given its results in her local community. “In the last two years I’ve transformed 3,200 bodies,” proudly shares ISSA-licensed (International Sports and Science) certified trainer, Brave, “from women who were morbidly obese and those who’ve suffered from diabetes, to heart palpitations and other illnesses. It’s always my goal to get them off the various medications and another thing that I’m really passionate about.”

In the meantime, music listeners can also rest assured that same exact level of creative passion was invested into every song that comprises her curiously-awaited Brave Williams debut collection. “I wanted to be transparent in my moment and that was the moment of writing this album and reflecting on everything. I want people to relate to it. I want to be able to inspire the people who hear the songs. And if they’re in that type of relationship at that time, they can use some of my records as navigation on how to handle what they’re feeling. My whole purpose is to inspire.” Sounds to me like the musical mission taken on by beautiful and multi-talented BRAVE WILLIAMS was much more than accomplished.

STAY CONNECTED WITH BRAVE WILLIAMS ON SOCIAL MEDIA:

Facebook - Instagram - Twitter - Spotify - Apple Music

STAY CONNECTED WITH HIP HOP SCRIPTURES ON SOCIAL MEDIA:

[drrubberfunk]

Earlier in the year I was asked to contribute to the excellent ‘Dusk Dubs’ mixtape series, and jumped at the chance. They have a nice format of asking guests to provide music that has a special place in their memories and in their souls - ‘...music that moves them, that invokes images of sunrises, sunsets, good times and good people’. 

I thought it’d be a nice way to compliment the other ‘My Life At 45′ themed mixes that I’ve done this year, with a selection of music you’d be likely to hear playing at my house over the last 30+ years, with tracks featured in full, mixed end to end, and a little story to go with each track. 

Here’s the full tracklisting, and photos of some of my well-loved vinyl that the tracks were recorded from - hope you enjoy this laid-back late summer stroll through my record collection, and My Life At 45!

1) Peddlers - ‘Whole Lot Of Sunlight’, from the 1970 Philips LP ‘Three For All’.

I picked this up in Avid Records in Oxford in the late nineties, I got a lot of good stuff from them around that time, picking up cheap classic soul, blues and jazz LPs, bargain priced late ‘80s / early ‘90s 12” singles that I’d missed the first time round and just taking a punt on interesting looking sleeves, or bands I’d heard about in sampling cirlces. ‘Suite London’ was the hot crate digger’s favourite from The Peddlers, but the production on ‘Three For All’ is right up my street, with wonderful hammond playing and a killer drum sound. It’s a great album from start to finish. I’ve used tracks on a few mixtapes in the past 20 years, but not this particular one, and with an apt title, it seemed like ‘Whole Lot Of Sunlight' was a nice way to kick off my late summer Dusk Dubs selection!

2) Joe McDuphrey Experience - ‘Solar Waves’, from the 2002 Stones Throw 12” ‘Experience EP’.

Madlib made a big impression on me when I first started producing with a sampler and a second hand Hohner Pianet. I really enjoyed this era when he was mixing live instrumentation with the straight up MPC sample business. ‘Solar Waves’ has it all - lolloping drums, wonky synths and tasty electric piano - a super laid-back groove, and is one I rediscovered in my collection recently. Plus, I’m a sucker for coming up with a bunch of aliases to cover all the roles you might play on a record - Madlib is the undisputed champ at that.

3) Paul Weller - ‘That Spiritual Feeling’ (New Mix) from the 1993 Go! Discs promo 12” GOXDJ 102.

My first proper music industry job in the mid nineties was as a radio plugger, and we shared an office building with Go!Discs - home at the time to Portishead, David Holmes, The Beautiful South and Paul Weller, amongst others. There was a little shared kitchen area with a photocopier, and I was busily copying press releases one afternoon on about my 3rd day in the job, when I heard someone making a drink behind me. Turning round I was confronted by Mr Paul Weller himself, impeccably dressed (with an AMAZING tan) stirring his cup of tea. ‘Hello’ he said, ‘I’m Paul - nice to meet you’.

I managed not to swoon or drop my photocopying and introduced myself as the new boy. I worked on radio promo with him across various album projects for the next 4 years, culminating with a week on a tour bus with Paul and his crew doing sessions at radio stations across the country. Story for another time maybe … Anyway - also in that little kitchen area at Go! Discs was their stock cupboard, which I rinsed for releases I’d missed in the years prior to my starting work there. ‘That Spiritual Feeling’ was originally on his first solo release ‘Into Tomorrow’ in 1991, but got remixed and added to this promo, as well as appearing on the ‘Sunflower’ 12” (taken from ‘Wildwood’) It’s got the instantly recognisable JBs on it, with a classic horn arrangement backing up a kinda hypnotic 2 chord groove that just rolls and rolls. I can listen to it for hours.

4). Rhianna - ‘Word Love’ (4 Hero Soul Mix) from the 2002 Sony Soho Square promo 7” XPR 3600.

4 Hero were killing it in the early ‘00s as their productions evolved from the breakbeat mastery of the ‘90s into the wonderfully orchestrated arrangements that saw them covering ‘Les Fleur’, and bringing their deft touch to an increasing number of quality remixes. I don’t think this version of British soul star Rhianna’s ‘Word Love’ - which I loved in it’s original form - ever made it to a commercial release, but it’s something I’ve played out a lot over the years, and it always gets great comments and a bunch of info requests from the crowd.

5) GangStarr - ‘Jazz Thing’ (Instrumental Mix) from the 1990 CBS promo 12” XPR 1571.

I saw Mo Better Blues at the cinema in Australia in November 1990 and bought the soundtrack on cassette the next day. Brandford Marsalis and Terence Blanchard have a superb dialogue across all the tracks, especially on the Canonball Adderley-esque title track. However, Gang Starr’s ‘Jazz Thing’ blew my tiny teenage mind, and I became a bit obsessed with it over the next few years, the samples, the cuts, the live loops - especially after my new college mate Pete made me a tape a year or so later with two extra versions from the 12”, including this, the Instrumental Mix. I finally tracked down my own copy of this import promo in the Soul & Dance Exchange in Notting Hill in the late nineties, and it’s lived in my record bag pretty much ever since.

6) John Mayall’s Bluesbreakers with Peter Green - ‘Greeny’, from the 1969 Decca LP ‘The World Of Blues Power’.

Everyone my sort of age with some records is bound to have one or two liberated from their parent’s collection, and this was an album I discovered in my folks collection in about 1987, not long after buying a drum kit. I’d been rinsing their Beatles albums since I was a kid - singing along to ‘Drive My Car’ and ‘Octopus’s Garden’, but the World Of Blues Power seem a bit of alien concept until I gave it a good listen as a teen. There’s some classic pyrotechnic stuff from rising Brit Blues stars like Eric Clapton and Paul Butterfield, alongside US veterans like Champion Jack Dupree and Eddie Boyd, who’d moved to Europe in the ‘60s.

Always understated, Peter Green’s playing on ‘Greeny’ is perfect; simple and catchy as hell, but with complete mastery of his instrument.

7) Stanley Clarke - ‘Blues For Mingus’, from the 1979 Nemperor LP ‘I Wanna Play For You’.

This was another ’90s bargain from Avid Records in Oxford, but I first heard it when babysitting in the late ‘80s. The couple who’s kids I was deemed suitably responsible enough to be left in charge of were very happy for me to listen to their small but perfectly formed record collection, and many happy evenings were spent with a pile of C90s taping all sorts of classic jazz and blues. Took me the best part of the next 20 years to find my own vinyl copies of them all mind you. The uptempo jazz rock that Stanley Clarke was known for in the ‘70s is featured throughout the part-live ‘I Wanna Play For You’ album, but this downtempo small group number perfectly encapsulated my idea of what a jazz club gig should sound like; dark, smoky and soulful.

8) Al Green - ‘Lay It Down’, from the 2008 Blue Note LP ‘Lay It Down’.

Is it controversial to call this my favourite Al Green album? I mean, you can’t deny the classic ‘60s and ‘70s hits, but for me, this Questlove produced LP is right up there in terms of songwriting and production. I could have happily featured any of the album tracks here, but went with the title track for the silky strings and restrained playing from Questlove. Something as a drumming producer myself I’m less good at ;)

9) Matt Deighton - ‘Hey, My Mind’, from the 1995 Focus LP ‘Villager’.

This whole album is stuffed full of timeless sounding songs, it's one I’ve listened to alot over the years and comes complete with alot of happy memories.

Just before I got the plugging job, I’d been working in promotions for (the original) Virgin Radio in London, driving a branded vehicle around town all day. Seems mad and pointless in 2020, but it was fun in 1995, I was young, it seemed to be sunny all the time, I had a free 4WD and it paid quite well. I used the station’s copy of ‘The White Book’ - an entertainment industry directory that cost a small fortune back then - to look up the addresses of my favourite record labels, and spent most days knocking on their doors in an attempt to blag some free records. One of these labels was Acid Jazz, and, having announced which station I worked for, I was rushed in to meet their head of marketing and plied with records and CDs, before someone eventually asked ‘so, what is it you actually do at Virgin again?’. I bluffed my way through the next 10 minutes and agreed to have a chat to the producer of the evening show about getting a session for Matt Deighton. Matt was the singer and guitarist with Mother Earth, of whom I was a big fan, and was currently promoting a new solo album ‘Villager’ - Mother Earth had been a guest on the Virgin show before, and so the producer said yes to a session. I’m sure she would have booked him anyway, but she graciously let me set it up with Acid Jazz, gaining me some vital industry kudos and connections in the process.

10) Money Mark - ‘All The People’, from the 1998 Mo Wax / A&M LP ‘Push The Button’.

Mo Wax were one of my favourite ‘90s labels, having been introduced to them by a college friend sometime in ’93, and I think I tried unsuccessfully blagging my way onto their mailing list in my Virgin days, but later on, after the A&M deal, I had better luck getting occasional freebies. ‘Mark’s Keyboard Repair’ was the record that the genre lo-fi was invented for, with the mix of bit-crushed samples and live vintage keys, but ‘Push The Button’ is a brilliantly rounded record, with some great pop songs. Session legend Jim Keltner is playing drums on this track, which I’d forgotten about until I was reading the sleevenotes while recording this mix - his playing with the likes of Delaney & Bonnie, BB King, Leon Russell, Bill Withers, Eric Clapton and all of the Beatles on their various solo projects has been a big influence on my drumming style over the years. Records I’ve never heard of but have bought just because Jim Keltner is on drums is an extensive section of my collection.

11) Bedouine - ‘Summer Cold’, from the 2017 Spacebomb Records LP ‘Bedouine’.

Spacebomb are one of my favourite contemporary labels, with a studio sound and ethos that I aspire to greatly as I enter my third decade as a producer, and I’ve been picking up their releases since hearing label owner, and talented artist, Matthew E. White interviewed on 6 Music back in 2015. LA Based Syrian born Bedouine put out one of my most listened to albums of 2017 (and since!), and I would have featured any of the tracks in this mix, but something about the found sounds at the end of ‘Summer Cold’ seemed to work very nicely with the start of the following song from Emily King. Bedouine’s vocal and guitar sound is wonderfully distintive, and beautifully enhanced by the sympathetic Spacebomb Horn and String arrangements - get yourself the LP!

12) Emily King - ‘Distance’, from the 2015 Making Music Records LP ‘The Switch’.

I didn’t listen to many new records while I was producing Izo FitzRoy’s debut (track coming next!) - I think I thought I’d find it distracting, I suspect that wouldn’t have been the case, but once Izo’s record was in the can, I gorged on releases I’d missed and found things that have become all time favourites. Most of them seem to be by women with a very different sound to Izo, but equally captivating writing and energy. Emily King is one of those artists, along with Bedouine, Jane Weaver and Aldous Harding amongst others. ‘Distance’ is such a great song, and I love Emily’s voice and guitar playing, plus the production and feel too - ticks all the boxes for me.

13) Izo FitzRoy - ‘Heads Held High’, from the 2017 Jalepeno Records LP ‘Skyline’.

This was one of my favourites from Izo’s debut that I produced and played on a few years ago. A great lyric and performance from Izo over a groove that we worked hard to sound like a mix of samples and live instruments, but was in fact all recorded and produced in my studio at home. Initially Izo and I were writing on some tracks that I’d already recorded with a view to them going on a Dr Rubberfunk album, but it was pretty clear after we’d written a few things together that she had so many great songs that the project needed to be an album for her. Even at a few years distance, I’m still really pleased with how the record turned out, with a ’studio sound’ I can call my own, and one that I’ve been able to carry over to my recent ‘My Life At 45’ LP - on which Izo turns in another couple of killer performances!

14) Urban Species - ‘Blanket’ featuring Imogen Heap, from the 1998 Talkin’ Loud LP ‘Blanket’.

Along with Acid Jazz and Mo Wax, Talkin’ Loud were another label I was madly collecting everything they released throughout the ‘90s and beyond. Having DJ’d in support of Urban Species at my college in 1994, I was already a fan, and their second album ‘Blanket’ is one of my all-time favourites by any artist. It features two great collaborations with Terry Callier, and two with Imogen Heap, including the title track featured here. Great writing and production, I was very influenced by this record as I started working with vocalists. Always love the guitar solo over the fade out too - if it exists, I’d love to get my hands on the full version without the fade!

15) Routes In Jazz - ‘Out In The Jungle’, from the 1992 Concious Records 12” CON 999.

Another sure shot from my days as a nascent DJ at Froebel College in West London in the early ‘90s. I was fortunate to have the support and encouragement of a couple of older students as I joined the Student Union and started organising events, and one of them - Lee - actually let me borrow his records a few times to play out with. Cheers Lee! This was one he used to play in warm up and bar sets, and I loved the double bass loop and ear worm horn sample (I never have worked out what it’s from), so had to get a copy. In some ways it’s a very 1992 record, but has stood the test of time in terms of production as far as I’m concerned.

16) DJ Krush - ‘Yeah’, from the 1994 Mo Wax LP ‘Strictly Turntablized’.

Early Mo Wax classic, from before all this sort of thing was considered ‘trip hop’, it was just killer instrumental hip hop as far as I was concerned, and DJ Krush, along with DJ Shadow, was right up there, leading the way. Another big influence on me when I eventually got a sampler - tough drums: check, swinging bass sample: check, jazzy horn and vocal samples: check. Love it.

17) Freak Power - ‘My Heart Sings’, from the 1994 ‘In Dub - The Fried Funk Food EP’, bonus album with some vinyl editions of the ‘Drive Thru Booty’ LP

They say never meet your heroes, but having meet and worked with both Norman Cook and Ashley Slater, the creators of the Freak Power project, I’d have to disagree. Naturally, if you’ve read through the tracklisting this far, you’ll have worked out there’s another showbiz story to go with this selection, and there is, but I’m saving it for another time, ‘cos it’s LONNNGGGG. Suffice it to say, ‘Turn On Tune In, Cop Out’ was a massive tune in ’93, and when the album dropped the following year I was straight down the record shop on release day. I wasn’t expecting a bonus ‘Dub EP’, much less one with almost unrecognisable remixes of the album tracks, but I was very happy to have it included. Some of the best downtempo beats Norman has made I think, and the drum programming on the second half of this track had me scratching my head in my pre-sampler owning days and wondering how the heck it was done. Fabulous sample choices, and nice and long too - handy for those DJ set comfort breaks.

18) John Martyn - ‘Sunshine’s Better’ (Talvin Singh Mix), from the 1996 Go! Discs promo 12” SSB1.

Talking of long tracks, here’s 10 minutes plus of John Martyn and the balearic classic ‘Sunshine’s Better’ reworked beautifully by Talvin Singh. John was another of the artists on Go! Discs when I was plugging for them, and I think it’s widely accepted he was a challenging character at that stage of his career. Still an amazing songwriter and performer though, and sounding as good as ever on the album ‘And’ from which ‘Sunshine’s Better’ is taken. Phil Collins on drums too.

19) Incognito - ‘Out Of The Storm’ (C’s Planet E Mix), from the 1996 Talkin’ Loud promo 12” TLDJ54.

If you were putting together a downtempo set in ’96, and you had ‘Sunshine’s Better’, you needed this Carl Craig mix of ‘Out Of The Storm’ for sure. Hip hop drum loops, swirling synth pads, a wobbly flute sample and some perfectly placed little bass guitar fills and turnarounds made this perfect in so many ways. I was VERY excited to get a promo copy, and definitely felt I had ‘arrived’ as a DJ when this came through the letterbox one morning. old DJ voice “Those were the days.” LOL.

20) Freddie King - ‘Gambling Woman Blues’, from the 1977 RSO LP ‘Freddie King (1934-1976)’.

In case you were worried I’d skipped over my love of the blues with just one track, here’s a less well known number from Freddie King, recorded during sessions with Eric Clapton and his band in the early ’70s, just a few years before King’s untimely death in 1976. I’ve got plenty of albums by the ‘Three Kings’ (Albert, B.B and Freddie) and they all had some very funky moments in the late sixties and early seventies. This posthumous compilation album was also in the collection of the family I used to babysit for, another tape that had pretty much worn out before I could track down my own vinyl copy, which, as you can hear, has been well played too. Again, a track that seems to fade just as it’s getting going, but fear not - there’s a 20+ minute version on some of the popular streaming services.

21) Donny Hathaway - ‘What’s Going On?’ from the 2014 ATCO Records LP ‘Live At The Bitter End 1971’.

I heard Gilles Peterson play tracks from this album on his 6 Music Show on Record Store Day in 2014. RSD often falls on my birthday weekend, so I thought I’d treat myself to this re-issue (with previously unissued tracks) of Donny Hathaway’s 1971 shows at the Bitter End on Bleecker Street in New York City. Although there aren’t many artists that can make a convincing go of covering Marvin Gaye, Donny is definitely one of them, and ‘What’s Going On?’ sounds just as relevant today as it ever did. I felt it was an appropriate choice, given the state of the world today, my love of black music and the fact that my whole music career is based on it. Once more, for the people at the back, BLACK LIVES MATTER.

22) Wes Montgomery - ‘Sun Down’, from the 1966 Verve Records LP ‘California Dreaming’.

3 quid from, you’ve guessed it, Avid Records. Bargain. I listened to an absolute ton of blues guitarists in my late teens, but it was a few years later that I started going sideways into jazz guitar, falling in love with the soul jazz / acid jazz sound of Grant Green and Ivan ‘Boogaloo Joe’ Jones, before finding the earlier generation - the likes of Barney Kessel, Kenny Burrell, Joe Pass and Wes Montgomery. Tricky to pick between them to be honest, but it seemed this upbeat and optimistic big band number from the 1966 ‘California Dreaming’ album by Wes Montogomery, a mixture of contemporary pop covers and jazz standards, with Herbie Hancock on piano, and engineered by Rudy Van Gelder - two more heroes of mine - was a good way to close out my Dusk Dubs choices.

[dasebasstian]

Years ago I was asked to interview one of the most unique and talented musicians around- The Reverend Horton Heat. Unfortunately the interview got lost in the editorial shuffle and never saw the light of day. Below is that lost interview.

Setting The Record Straight With The Reverend Horton Heat

Interviewed by D.A. Sebasstian

Jim “Reverend Horton Heat “ Heath has been tearin’ it up for over two decades now, with eleven albums, dozens of compilation appearances, songs in major motion pictures and even video games and cartoons! You might expect a man with that kind of success to slow down...just a little. Well sir- not on your life! The latest incarnation of Jim Heath’s band including The Reverend on guitar and vocals, Jimbo Wallace on upright bass and Paul Simmons on drums, is arguably one of the tightest and hardest working bands on the road today. I got the chance to talk with the Reverend by phone while they were in the midst of their 2009 tour...somewhere in the beautiful state of Colorado.

From what I’ve read on the internet you had it pretty rough as a teen growing up hustling the pool halls for cash- 

You read the wrong bio (laughs). Lemme tell you what happened. We had just signed to Sub Pop Records back in the ‘90’s and I get this call waking me up early in the morning. It was some girl from Sub Pop wanting to ask me all these questions. She had this monotone voice with questions like (speaking like a robot )  “Where did you grown up?” “What do you like to do?”  “What cigarettes do you smoke?” etc. So I told her that I was adopted, like to play pool and I smoke Merit Cigarettes. Later on Sub Pop gets this information and turns it into, “Reverend Horton Heat was an orphan who became a pool shark and smokes Lucky Strike Cigarettes.” (laughs). Complete B.S. I have hung out in pool halls, but growing up,I had a wonderful middle class family, a great extended family with cousins, aunts and uncles. You know Sub Pop had a history of that kind of thing. 

Does personal experience fuel your song writing? 

Yeah- personal experience definitely fuels my song writing...but then again sometimes you gotta stretch out beyond personal experience and use your imagination. You know, get a little phantasmagorical. 

Besides Jerry Lee Lewis, who are your biggest musical influences? 

I really love the Sun Records stuff like early Elvis and Carl Perkins. Non-Sun bands like Johnny Burnette and the Rock & Roll Trio, Gene Vincent and the Blue Cats, but ya know man...I really like music from the mid-twentieth century era. I really love Henry Mancini as well as the Blues, a lot of the Chess records stuff like Howlin’ Wolf, Buddy Guy and Muddy Waters. Its had a big influence on me. Then of course the Country Music of that era was just great too. 

As a band you guys are extremely tight live do you guys rehearse or just set and play out?

The only time we rehearse is during sound check. The way we really keep it going is that we play so much...we play so many gigs. We’ve cut it back from what we used to do- but we’re still one of the hardest working bands out there as far as our  tour schedule. I wish we could rehearse more but our new Drummer Paul lives in Nashville, so to schedule a rehearsal involves airline flights and motel rooms (laughs). It’s kinda crazy now. We got the new songs for the new album and we’re going to be getting together to actually rehearse it in Dallas in March. That’s really the only reason we need to rehearse, if we’re working up some new songs or going to rehash some older ones that fell by the wayside. 

I love your song Galaxie 500. Are you a Ford guy?

Well I like the design of Fords, I mean I think Fords design, you know alot of people get mad at me for this, but a I just think the way their cars look have always had something just a little bit better. I think Chevy came back into the picture with the ‘55 Chevy- and honestly I have a great appreciation for all American cars. A long time ago people were like “Ford Sucks” and “Chevy Sucks” but what's funny now is like- “What abut Toyota?”  “What about Hyundai?” All the sudden all that snobbery between Ford and Chevy people is out the window. It has to be or else we’re all gonna be driving Toyotas. We need to all stick together on this 

You are considered by many to be the King of Psychobilly is that a crown you would wanna wear?

No no man...the Kings of Psychobilly are European bands man. The Meteors, Guana Batz, Demented Are Go, Necromantix...those types of bands  We have a song called Psychobilly Freakout and when it came out alot of writers in the States didn’t really know what rockabilly was all about. So they heard the song title and were all “What is Psychobilly?” So that label got put on me. But in all honesty we do things that “Psychobilly Bands” don’t do. We’ll do a slow country song, we’ll do a slow blues song...ya know? Some of our stuff definitely fits in the Psychobilly mold but alot of it  really doesn’t.

How long have you been playing Gretch and what is your guitar rig live and in the studio?

Well I really haven’t played Gretch my whole career. I had an old Guild back in the mid-80’s with a Bigsby Tremolo that eventually led me to a Gibson  ES-175 with the 1954 P90 pickups. But with all the modern lights, dimmer packs and crazy electrical stuff they put in buildings for these light shows, those P90 pick ups would buzz so loud, almost as loud as the tone coming out of my amplifier. I dealt with it, I made it work, but once when I was on tour the 1/4 inch jake just broke into the guitar and at that time we were really at it- doing 275 shows a year. It was around the same time Gretch started doing their reissues.  I went into a Guitar Center, saw the Gretch and noticed it was about the same thickness as  the Gibson and had the Bigsby Tremolo. To me it had less of the older Gretch “nasal “ sound and more of a  Telecaster vibe. That was something that i really liked and that the Gibson definitely couldn’t get. Gibson's are great for Jazz and some Rockabilly, but they just don’t have that Tele Twang . The Gretch had all that plus the Telecaster  vibe, so I said, “That ‘s cool man.”  Not to mention it was functional (laughs), so I ran with it. Since then I’ve acquired a lot of nice old Gretch guitars, but I don’t take ‘em on the road with me. I do sometimes play  them in the studio along with my old Gibson 175 . Gretch started making the “Reverb Horton Heat”  model so I play that as well. 

What about Amplifiers?

I like the Silver Face Fender Super Reverb, I’ve got several mid seventies Silver Faces, but I have this one in particular that is unreal...it’s just the perfect amplifier. And so I’ve used that on every album I’ve ever done and in fact I’m gonna use it tonight. I spent more money keeping that amp in good repair...I mean it’s the most expensive amp in the world (laughs). We put one mic on that Silver Face and we’re good to go. It’s kinda funny I’m into my amps almost more than my guitars. 

Your last album was the brilliant Christmas record Three Kings? Why a Christmas album?

Well for one thing our record label wanted it and for the other alot of my heroes did Christmas albums. They all did them. It was almost like part of their contract. Three Kings was a fun project.  What was really interesting is I’ve got alot of record collector friends and as soon s they found out  I was doing a Christmas album they all started mailing me their favorite CDs of the weirdest, craziest, most obscure and obscene  Christmas Songs... like who put the Dick On Snowman. All this nasty, over the top, blue Christmas music. So at that point I was thinking, I am going to do a Christmas album and all the kids in my family...ya know I started thinking Christmas is for kids. Maybe I’ll do a Christmas album like that someday but in the mean time I’m just gonna do a straight up Frosty and Rudolph traditional album. 

I’m a big rivet head so I gotta ask- what was it like working with Al Jourgenson of Ministry on the Liquor in the Front album?

Well..that was a crazy trip into an area  I’d never really gone before. It was scary as hell. I mean I would leave the studio after being in there for eleven hours,  working on one song,  just bleary eyed and tired of working and I’d look over there and Al was about to die, the guy almost killed himself...several times. Not purposefully but  you know what I mean? Al's a trip man...Al's a real trip. I mean Al and I got a little cross ways on that album but he brought a lot of good stuff to the table and alot of interesting ideas. You know that album sold more than any of our other albums so I really can’t knock him too much...but man he’s pretty out there. It’s funny though one thing about him is he knows alot about country music and obscure rockabilly stuff . He’s not just an industrial guy.

How about working with Gibby Haynes of The Butthole Surfers?

Now doin’ the sessions with Gibby, we ate so much Barbecue it was crazy...I mean every night it was BBQ. In fact  we were going to this really famous place called Jim Neely's Interstate Bar-B-Que. We were buying so much every day...they had  this shopping cart that they used when they would cater events and they just let us have the shopping cart full of Barbecue to use. We’d just take it to the studio, lift it out of the back of the van and roll it inside. Everyday we were buying a gallon of Barbecue Sauce...it was crazy! Gibby made his own drinks and was mixing Vodka and BBQ Sauce ...it was really nasty (laughs).

What bands do you like touring with?

Well we like touring with Nashville Pussy they’re alot of fun, then there's the Legendary Sack Shakers and Throw Rag...we’ve done alot of great tours with them. Some of my favorite tours were goin’ out with great guitar players that were so over the top good it’s kinda scary you know.  Like Jr. Brown.  I didn’t get to talk to him much on tour, he keeps to himself,  but man what a great guitar player. I got to see him play every night. Deke Dickerson who's a monster player and Big Sandy and the Flyright Boys were always super inspiring because they are such great players and have such a great style.

Any new albums in the works?

Yeah it’s gonna be with Yep Roc, were gonna try to bang it out here as quickly as possible. Kinda on the cheap. We’re not gonna make too big a deal about it. Probably get Tim Alexander  to help us do a little production and musical arrangement as well as some piano and accordion on a coupla things. The plan is were gonna go in a   really old little studio in Dallas where Willie Nelson recorded “Red Headed Stranger” and “Blue Eyes Crying In The Rain.”  I’ll give you a scoop- though I haven’t talked about too much, our new album is gonna be country...

Really?

And its not like “Well we’re goin’ country now,” because I actually have a lotta great rockin songs in the works too, but this upcoming album is just leaning heavily on country stuff. A lot of our fans that like us and are not Country fans seem to really enjoy our country type songs. We’re one of the only bands that they listen to that do anything like country music. So the guys who might normally hate country might still might like our country stuff. Many of my country songs and most of this new album have a humorous thing goin’ on with it.  

I’ve always thought of your music reaching across genre borders- I have friends with record collections full of punk or metal or lounge music but they also have some Reverend Horton Heat CD’s in there too.

That was kinda the intention from the very beginning. At the time it was almost like shooting apples in a barrel. Back when we first started  there really we not that many Rockabilly bands in existence. You had the Stray Cats, Rockats and Paladins playin’ upright bass and then The Blasters. Without getting into listing all the bands that were around at the time, it was pretty weird. There just wasn’t that big of a Rockabilly scene. So here we come in, doin’ original music that was Rockabilly, but a little more amped up. It really was like shooting apples in a barrel. People were like- “Whoa this band is really different!”  “We never heard anything like this before!” (laughs) 

Yeah but you have to be good too- I mean you could be different but if your not good your not gonna get the fans. There's a real power with what you guys do.

Well thank you. Anything you do at some point it’s gotta be entertaining 

So you guys are writing the new album on the road? Yeah I’m writing as I go- yeah I’m gonna go in there and work on a new song today. So we're trying to get songs ready as we play on this tour,  because we aren’t together. You know? When we’re off tour Paul goes back to Nashville. This is our time together so we get to annoy all the opening bands and crew people by turning our sound check into a rehearsal (laughs) 

Do you believe in UFOs?

That's a cool question...and the answer is...no (laughter).  I love to watch the shows about UFOs on TV. Its very entertaining to think about but I don't believe in UFOs. I’m one of these very skeptical persons- so until I see it myself I won’t believe it. I’ve got this thing about  Government- I mean people get all bent out of shape that our Government keeps secrets from us. The simple fact of the matter is that they have too keep secrets from us or we would all die. I don’t think their keeping UFOs a secret.  I think what they keep secret is the military stuff that if it came out that we had it then eventually  our enemies would use it against us. 

 If you could rewrite the soundtrack to any older movie (say pre 1977) what film would it be?

Probably Thunder Road with Robert Mitchim. I’d keep the title song, “Thunder Road,” but that’d be a fun movie to do. When I was a kid, my Dad would take me to the car shows and the drag races and  then he’d set me down and say, “You got to watch this movie Thunder Road.”  After I saw it I was like, “Hey Dad what does that mean- all hopped up?” (laughs).

[alexswift13]

Taylor Swift is that rarest of pop phenomena: a superstar who managed to completely cross over from country to the mainstream. Other singers performed similar moves -- notably, Dolly Parton and Willie Nelson both became enduring mainstream icons based on their '70s work -- but Swift shed her country roots like they were a second skin; it was a necessary molting to reveal she was perhaps the sharpest, savviest populist singer/songwriter of her generation, one who could harness the Zeitgeist and turn it personal and, just as impressively, perform the reverse. These skills were evident on her earliest hits, especially the neo-tribute "Tim McGraw," but her second album, 2008's Fearless, showcased a songwriter discovering who she was and, in the process, finding a mass audience. Fearless wound up having considerable legs not only in the U.S., where it racked up six platinum singles on the strength of the Top Ten hits "Love Story" and "You Belong with Me," but throughout the world, performing particularly well in the U.K., Canada, and Australia. Speak Now, delivered almost two years later in the autumn of 2010, consolidated that success and Swift moved into the stratosphere of superstardom, with her popularity only increasing on 2012's Red and 2014's 1989, a pair of records that found her moving assuredly from country into a pop realm where she already belonged. This sense of confidence had been apparent in Taylor Swift since the beginning. The daughter of two bankers -- her father, Scott Kingsley Swift, worked at Merrill Lynch; her mother Andrea spent time as a mutual fund marketing executive -- Swift was born in Reading, Pennsylvania and raised in suburban Wyomissing. She began to show interest in music at the age of nine, and Shania Twain wound up as her biggest formative influence. Swift started to work regularly at local talent contests, eventually winning a chance to open for Charlie Daniels. Soon, she learned how to play guitar and began writing songs, signing a music management deal with Dan Dymtrow; her family relocated to Nashville with the intent of furthering her music career. She was just 14 years old but on the radar of the music industry, signing a development deal with RCA Records in 2004. Swift sharpened her skills with a variety of professional songwriters, forming the strongest connections with Liz Rose. Taylor's original songs earned her a deal with Sony/ATV Music Publishing, but not long after that 2004 deal she parted ways with Dymtrow and RCA, all with the intent of launching her recording career now, not later. Things started moving swiftly once Swift came to the attention of Scott Borchetta, a former DreamWorks Records exec about to launch Big Machine Records. Borchetta saw Swift perform at a songwriters showcase at the Bluebird Cafe and he signed her to Big Machine in 2005; shortly afterward, she started work on her debut with producer Nathan Chapman, who'd previously helmed demos for Taylor. Boasting original song credits on every one of the record's 11 songs (she penned three on her own), Taylor Swift appeared in October 2006 to strong reviews and Swift made sure to work the album hard, appearing at every radio or television event offered and marshaling a burgeoning fan base through use of MySpace. "Tim McGraw," the first song from the album, did well but "Teardrops on My Guitar" and "Our Song" did better on both the pop and country charts, where she racked up five consecutive Top Ten singles. Other successes followed in the wake of the debut -- a Grammy nomination for Best New Artist (she lost to Amy Winehouse), stopgap EPs of Christmas songs -- but Swift concentrated on delivering her sophomore set, Fearless. Appearing in November 2008, Fearless was certified gold by the RIAA in its first week of release, and the record gained momentum throughout 2009, earning several platinum certifications as "Love Story," "White Horse," "You Belong with Me," "Fifteen," and "Fearless" all scaled the upper reaches of the country charts while "You Belong with Me" nearly topped Billboard's Top 100. Along with the success came some headlines, first in the form of an infamous appearance at the 2009 MTV Video Music Awards where her acceptance speech was interrupted by Kanye West, who burst on-stage to declare that Swift's rival Beyoncé deserved the award more, but her romances also started gaining attention, notably a liaison with Twilight star Taylor Lautner, who appeared with the singer in the 2009 film Valentine's Day. Her flirtation with the silver screen proved brief, as she then poured herself into her third album, Speak Now. Released in October 2010, Speak Now was another massive first-week smash that refused to lose momentum. Hit singles like "Mine" and "Mean," which won two Grammys, played a big factor in its success not just on the country charts but on pop radio as well. Following a 2011 live album called World Tour Live: Speak Now, Swift turned toward following a pop path on her fourth album, hiring such mainstream musicians as Dan Wilson, Butch Walker, and Britney Spears producer Max Martin. This mainstream pulse was evident on "We Are Never Ever Getting Back Together," the first single from Red. Upon its October 2012 release, Red shattered expectations by selling over a million copies in its first week, a notable achievement that was doubly impressive in an era of declining sales. Once again, Swift's album had legs: it was certified platinum four times in the U.S. and its international sales outstripped those of Speak Now. She supported Red with an international tour in 2013 and more hits came, including "I Knew You Were Trouble" and "22." As Swift geared up for the release of her fifth album in 2014, she made it clear that 1989 was designed as her first "documented, official" pop album and that there would be no country marketing push for the record. "Shake It Off," an ebullient dance-pop throwback, hit number one upon its August 2014 release. When 1989 appeared in late October 2014, it once again shot to number one and became her third straight album to sell one million copies in its first week (a new record for any artist). Swift gathered many awards during the subsequent year, including Billboard's Woman of the Year, the Award for Excellence at the American Music Awards, and a special 50th Anniversary Milestone Award from the CMAs. Her 1989 World Tour crossed Asia, North America, and Europe during the last half of 2015, and she won three Grammy Awards at the 2016 ceremonies, including Album of the Year, Best Pop Vocal Album, and Best Music Video for "Bad Blood." At the end of 2016, she released "I Don't Wanna Live Forever," a duet with ZAYN from the soundtrack for Fifty Shades Darker. The single reached the Top Five across the world. Swift returned with her sixth album, Reputation, in November 2017, preceded by the August single "Look What You Made Me Do" and its September successor, "...Ready for It?"

Stephen Thomas Erlewine about @taylorswift on her iTunes page.

[blackkudos]

Jody Watley

Jody Vanessa Watley (born January 30, 1959) is an American singer, songwriter, record producer, and pioneering trendsetting artist in music, video and style whose music crosses genres including pop, R&B, jazz, dance and electronic soul. In 1987, she won the Grammy Award for "Best New Artist." Along with Janet Jackson and Madonna, she ranks as one of MTV Video Music Awards most nominated female artists ever, with six nominations for her ‘Real Love’ video.

In 2008, she was the recipient of a Lifetime Achievement Award from Billboard magazine, and was also prominently featured in the historic black issue of Vogue Italia in 2008. Her early music influences are Diana Ross, Marvin Gaye, Stevie Wonder, Michael Jackson, The Jackson 5, The Carpenters, Roberta Flack, Prince, Grace Jones and various jazz artists including Nancy Wilson.

In December 2016, Billboard magazine ranked her as the 21st most successful dance artists of all-time.

Early career

Soul Train and Shalamar (1977–1983)

Watley was born in Chicago, Illinois. Watley made her first stage appearance at 8 years old with family friend and godfather Jackie Wilson. She got her start on the TV dance show Soul Train at the age of 14. Documented by Ebony magazine in 1977 as a part of "The New Generation," Jody Watley was one of the most popular on the show and recognized as a trendsetter for her style and dance moves. As popular stand-outs on the television show, Watley and fellow Soul Train dancer Jeffrey Daniel were selected to join Gary Mumford and become original members of the R&B group Shalamar by show creator Don Cornelius. (Mumford was shortly replaced by Gerald Brown, and Brown himself was soon replaced by Howard Hewett as lead vocalist). The lineup of Hewett, Watley, and Daniel would be the most successful. Watley remained with the group from 1977 to 1983. The trio released several albums and scored several hits including the US Top 20 "Dead Giveaway", and the R&B hits "The Second Time Around", "For The Lover In You", and "A Night To Remember". Because of conflicts within the group, disagreements in direction of Shalamar with Dick Griffey and lack of payment from Solar Records, she eventually left the group in 1983 prior to release of "The Look" album.

Post-Shalamar, Watley moved to England, and while there she recorded a guest vocal with British Jamaican roots reggae group Musical Youth for their album Different Style. She also recorded with Gary Langan, Anne Dudley and J.J Jeczalik (who later became Art of Noise). She had a brief stint with Phonogram Records where two singles were released (in the UK, Europe & Australia – though crucially not America) under the moniker "Jody" (no second name), "Where the Boys Are" and "Girls Night Out". Also during this era, and after departing the group, she took part in Bob Geldof's Band Aid recording of "Do They Know It's Christmas", which included Bono, Boy George, Sting, George Michael, Phil Collins, Status Quo, Paul Weller, Bananarama and other prominent UK artists.

Solo career

Jody Watley (1987–88)

After two and a half years in England, Watley returned to America and secured a recording deal with MCA Records, eager to establish her own identity. Her album Jody Watley was released in March 1987, and she co-wrote six of the album's nine songs. In an interview with Rolling Stone Magazine, Watley would say that she wanted to showcase her voice against "really funky hard dance tracks." The album's lead single, "Looking for a New Love", became a hit and was certified gold. The album peaked at #10 on the US Billboard Top 200 Album Chart, number-one on the Billboard Hot R&B Albums Chart, and sold two million copies in the US, and a total of four million copies worldwide. It produced five uptempo dance and R&B singles that charted on the US Hot 100, with three peaking in the top ten: "Looking for a New Love" (US #2, #1 Dance, #1 R&B, UK #13); "Still a Thrill" (US #56, #3 R&B #1 Dance); "Don't You Want Me" (US #6 #1 Dance #3 R&B); "Some Kind of Lover" (US #10 #1 Dance #3 R&B); and "Most of All" (US #60, #11 R&B) Also included on her debut album Jody Watley was the duet with George Michael, "Learn To Say No", produced by Bernard Edwards.

At the 30th Annual Grammy Awards in 1988, Watley won the award for Best New Artist, and was nominated for Best Female R&B Vocal Performance. That same year, she also received nominations for four MTV Video Music Awards and three Soul Train Awards. After Shalamar she had two singles released under the name of 'Jody' without her second name even though adverts in UK Pop Magazine 'Smash Hits' [& elsewhere] mentioned that she was "Formerly of Shalamar". This 'technicality' [no second name] allowed her controversially to be considered a 'New Artist' at the Grammys, beating Breakfast Club, Cutting Crew,Terence Trent D'Arby, and Swing Out Sister. Shortly after winning the Grammy Award, Watley would be featured in Harper's Bazaar Magazine photographed by Francesco Scavullo.

Larger than Life (1989)

In the spring of 1989, Watley released her second album, Larger than Life, co-writing eleven of the album’s twelve songs. The album sold over four million copies worldwide, reaching #16 on the Billboard Top 200 Album Chart, and produced four singles: "Real Love" (US #2, #1 R&B, #2 Dance, UK #31), a US gold single and her first top 40 UK single since "Looking for a New Love"; "Friends" featuring Eric B. & Rakim, (US #9, #3 R&B, #7 Dance, UK #21); and "Everything" (US #4, #3 R&B), her first ballad release. The album's fourth and final single, "Precious Love", was a minor hit, peaking at #87 in the US. "Friends" is notable for being the first multi-format hit single to include the formula of a Pop/R&B singer featuring a guest rapper with the custom full 16-bar verses and bridge concept, and distinguishable from the rap "Intro" by Melle Mel on Chaka Khan's notable cover Prince single "I Feel For You". The successful "Friends" formula would become a mainstay formula in commercial pop music and was added as a category at The Grammy's under Grammy Award for Best Rap/Sung Collaboration in 2002.

During the summer of 1989, Watley’s "Real Love" video, directed by David Fincher, was nominated for seven MTV Video Music Awards including Breakthrough Video, Best Art Direction, Best Dance Video, and Best Female Video at the 1989 award show. That record was held until Michael Jackson and Janet Jackson's video "Scream" received 11 VMA nominations in 1995. The next year, she was nominated for two Soul Train Awards, an NAACP Image Award for Outstanding Female Artist, and a Narm Award for Best Selling R&B Female Album. While riding high on her Larger Than Life World Tour, a remix album, You Wanna Dance with Me?, was released in October 1989 and achieved gold status in America. 1989 also saw Watley featured in Harper’s Bazaar "Ten Most Beautiful Women" issue, photographed by Matthew Rolston. That same year Jody Watley appeared on the cover of the Japanese high fashion magazine SPUR for its debut issue. Jody Watley released the million selling "Dance To Fitness" a first for an African American woman and artist.

Affairs of the Heart (1991–92)

Watley would state that she was eager to change her musical range and image, and no longer wanted to be seen as just a dance diva. She was inspired toward a more introspective approach for ‘Affairs Of The Heart", wanting to address social concerns. In December 1991, Watley released her third album, Affairs of the Heart, described by Justin Kantor in Guide to Soul as an overlooked standout of her 1980s and 1990s output. The album peaked at #124 on the US chart, and #21 on the R&B/Hip-Hop Albums Chart.

The lead single, "I Want You," failed to crack the top 40, peaking at #61 on the Billboard Hot 100 chart, though peaking at #5 on the US R&B singles chart, and #17 Dance. The second single, "I'm The One You Need", reached #3 Dance and peaked at #19 on the US Hot 100. The final single was the ballad "It All Begins With You", her first single to miss the US Hot 100. Watley earned an invitation by President George H. W. Bush in 1992 to perform this song at the White House. Watley used the opportunity to encourage the government to provide more support and funding for public schools. Watley recorded "It's All There" for the movie "Switch" with legendary composer Henry Mancini.

Intimacy (1993–94)

Apparently undeterred by disappointing sales, Watley stated she was more concerned with broadening her creative boundaries than in having huge record sales. In November 1993, MCA released her fourth solo album, the introspective relationship themed Intimacy. Noting that the new jack swing was popular in R&B at the time, Amy Linden wrote in People Magazine that Intimacy continued the process of Watley’s move toward more refreshingly adult themes and that Watley was deserving of serious attention. Watley herself said that the songs she wrote were always personal statements.

Intimacy with its songs of "romance and angst" reached #164 on the US Top 200 Album Chart and #38 on the Top R&B/Hip-Hop Albums Chart. The first single was "Your Love Keeps Working On Me", barely scraped onto the Hot 100 at #100' and also peaked at #2 Dance and #26 R&B/Hip-Hop. Watley added video director to her resume for the next single, the spoken word tune "When a Man Loves a Woman". "When A Man Loves A Woman" reached #11 Hot R&B/Hip-Hop and US #8 Dance. Although not a pop hit in the US or UK as well, the BBG Remix of this song topped the Dance charts in the UK. The album also contained the song "Ecstasy", produced by David Morales, which became an underground hit and later appeared on her Greatest Hits collection. Like its predecessor, "Intimacy" would not be a strong seller, but would continue to give Watley better critical success.

Affection (1995)

Having parted ways with MCA Records, Watley took an independent path and started her own label, Avitone Records, and released her fifth solo album, Affection, in July 1995. The album was engineered and produced by the legendary Booker T. Jones and Angelo Earl. She aligned Avitone with the independent Bellmark Records for distribution. According to a review of the album "Affection" by Jose Promis of Allmusic, the release lacked the urgency and immediency of her dance-era hits, but was an engaging collection of slow burners, mid tempo and jazzy R&B. The album’s title track, "Affection", didn't crack the Hot 100 but became a moderate R&B hit, peaking at #28 on the Hot R&B/Hip-Hop Singles & Tracks chart

Greatest Hits (1996)

In 1996, Watley played Rizzo in the musical Grease on Broadway theater in New York City, the first African American woman to play the role. Watley was photographed by famous photographer, Victor Skrebneski, for the popular Saks Fifth Avenue Defining Style Fall Catalog, where she appeared in a 15 page high fashion layout. That fall, Watley appeared on the platinum-selling single "This Is For The Lover In You" by Babyface. The single also featured LL Cool J and Watley’s former Shalamar bandmates Howard Hewett and Jeffrey Daniel, essentially reforming the group for the single. It was a remake of Shalamar’s R&B hit "For The Lover In You". As the year wound to a close, Watley took a hiatus from her own Avitone label, and signed with Big Beat/Atlantic Records. The same year MCA Records released her Greatest Hits album with Watley’s recordings for MCA.

Flower (1997–98)

After spending most of 1997 in the recording studio crafting her sixth studio album, Flower, Watley was back in early 1998 with its lead singles "Off The Hook" and "If I'm Not In Love." "Off The Hook" peaked at #23 on the Billboard R&B Singles Chart and #73 Billboard Hot 100 but fared much better on Billboard’s Hot Dance Music/Club Play chart. Propelled by remixes from Masters At Work and Soul Solution(Dance act), the track reached #1 on the dance chart, making it her first #1 Hot Dance Music/Club Play hit in nine years. Later the same year, a single of "If I'm Not In Love" was released, with promo mixes by Sal Dano (credited as BK Dano), Lenny Bertoldo, and 95 North (Richard Payton and Doug Smith) and that song reached #2 on the Hot Dance Music/Club Play chart. Big Beat Records was absorbed into its parent label, Atlantic Records, which then shelved the album from a U.S. release, and left Watley in legal limbo for two years. Flower was, however, released in Canada, Great Britain, and Japan. The critically acclaimed release was championed by many UK magazines, including Blues and Soul and Echoes among others. A previously unreleased song featuring Watley with George Duke titled "Baby Love" was included as a bonus track on The Best of George Duke The Electra Years in 1997. "

The Saturday Night Experience (1999)

It was during the time she was unable to record, that Watley says she was inspired by 4Hero whose 1998 album Two Pages exposed her to the underground electronic dance music out side of the mainstream; she credits this inspiration for not retiring after the disappointment of how Flower was handled. The Saturday Night Experience Vol. 1, as Watley told music historian David Nathan.

In November 1999, Jody reactivated her independent label, Avitone, and released her seventh studio album via Universal Japan The Saturday Night Experience featuring Jody Watley Vol. 1, a collection of organic club music tracks, inspired by her newfound love of electronic music. It was released exclusively in Japan along with a single, "Another Chapter," with remixes by DJ Soma. Also included on the project was the drum and bass title song "Saturday Night Experience." As Watley told music historian David Nathan, "The Saturday Night Experience" was intended to be a concept album, aimed at people looking for something different. The Saturday Night Experience , as told to music historian David Nathan, Watley stated she had no desire to release the project in the U.S. The title song of the same name was licensed to Giant Step and included on their compilation "Giant Sessions, Volume 1 Mixed by Ron Trent". The following year, MCA released 20th Century Masters: The Millennium Collection: The Best of Jody Watley.

Midnight Lounge (2001–05)

In 2001, Jody released her eighth studio album, Midnight Lounge in Europe and Japan. In an interview with Billboard Magazine Watley would say, "An artist should always explore new frontiers." "Midnight Lounge" was a collection of tracks that combined a blend of soul, jazz, R&B, and electronic club music.

After achieving moderate success in its original release, Watley arranged for it to be released in the U.S. through her Avitone imprint in a short-term license deal with Shanachie Records on March 11, 2003. Midnight Lounge was Watley’s first studio album released in the U.S. in eight years, reaching Top 20 status on Billboard Top Electronic Albums chart. Roy Ayers appeared on the Masters At Work produced, "I Love to Love", Junior Vasquez and several other producers contributed remixes to the single release of "Whenever", bringing the track to #19 on the Billboard Hot Dance/Club Play Chart. One of the album’s other singles, "Photographs", became notable in the underground club scene with mixes by Phil Asher and East West Connection. The music and growth of Watley would achieve critical acclaim for the project and Watley, noting she had successfully updated her sound over the years and evolved successfully into a soulful chantese.

In 2005, Watley made history on the Billboard Hot Dance Music/Club Play Chart when she re-released her 1987 hit "Looking For a New Love." The 2005 remix reached #1 on the Billboard Dance/Club Play chart, making her the first artist ever to take the same song to #1 in two different decades. Jody Watley now has the distinction of being among the few artists who have been to #1 on Billboard’s Hot Dance Music/Club Play chart in all of the past three decades (the 1980s, 1990s, and 2000s). The same year, Watley was invited to participate in the Force of Nature Relief Concert to aid the victims of the 2004 Indian Ocean earthquake. During the trip Watley and others (including The Black Eyed Peas, Lauryn Hill, and Jackie Chan) were invited to the Royal Palace to meet The King and Queen of Malaysia for a special Tea reception in showing their gratitude for all involved with Force of Nature.

The Makeover (2006–14)

The Makeover would bring Watley together with 4Hero and King Britt among others in an electronic musical style. Understanding the shifting paradigms in the music industry and the changing business models, Watley’s Avitone Recordings arranged for The Makeover to be released exclusively to the Virgin Megastore chain in its first ever CD exclusive. It debuted at #1 for the retailer, and was accompanied by a Virgin mini-tour where she performed for customers and signed copies of the CD. The first single was a cover of Madonna's "Borderline". The single reached #2 on the Hot Dance Music/Club Play chart in January 2007. The second single, a cover of Chic's "I Want Your Love," reached #1 on the Hot Dance Music/Club Play in June 2007.

In 2007, Watley was listed as #5 in the Year End Billboard Dance Play Artists. Her single "I Want Your Love" was #15 and "Borderline" #19 according to Billboard Year End Chart Review for 2007. In January 2008, "I Want Your Love" topped the U.K. Dance Charts in January, giving her first U.K. mainstream dance hit in two decades. In 2008, she launched an online music store, while scoring another Top Five Billboard Dance Single, "A Beautiful Life," bringing the total of Top Five Singles for The Makeover to three. In May 2008, continuing over a decade of support for various charities dedicated to raising funds and awareness for HIV and AIDS, Watley performed at Life Ball, Europe's largest gala for the cause held in Vienna, Austria. In May 2009, Watley’s Avitone signed a distribution deal with London-based Alternative Distribution Alliance Global.

In October 2009, an "International" version of "The Makeover' was released in the U.K. to positive reviews. Pete Lewis from Blues & Soul noted her evolution as an artist and performer as being showcased on the album. Further stating Watley being hailed by some, as exemplifying the 21st century recording artist continuing to exercise her own creative path. Distinguishable from the original release, The Makeover "International Edition" featured new cover art and track listing. New inclusions featured the bossa-soul rendering of Bob Marley’s "Waiting in Vain", a sparsely arranged version of Carole King's 1960s ballad "Will You Still Love Me Tomorrow", Erasure's anthem "A Little Respect", and a reworking of the Diana Ross dance classic "Love Hangover". Replacing the downtempo ambient version found on the 2006 "The Makeover", Watley recorded the new arrangement originally suggested by songwriter Pam Sawyer, for Ross. Reg Dancy from Basic Soul would write that Watley was able to handpick songs and make them seem as if they had been written for her. Added to the line-up of producers which included King Britt, Mark de-Clive Lowe, 4Hero, DJ Spinna, and longtime co-collaborator Rodney Lee, are remixer/producers Marco Zappala from Brazil and Craig C. from the UK.

In February 2010 Jody Watley joined Jamie Foxx onstage at a post Grammy event for a duet performance of her signature hit "Looking For a New Love" and also appeared in the VH1 documentary "Soul Train: The Hippest Trip In America". On October 27, 2012, Watley starred in the one time international humanitarian musical event Loving the Silent Tears with performers from 16 countries and cultures, created by Al Kasha directed by Vincent Paterson and choreographed by Bonnie Story at The Shrine Auditorium in Los Angeles

Jody Watley recorded collaborations with the electro pop duo French Horn Rebellion on singles titled "Cold Enough" and "Dancing Out" also featuring Young Empires in December 2012 and June 2013. Watley added high-profile summer concerts including Grammy All-Stars in Chengdu, China at Chengdu Sports Centre and Essence Music Festival in July 2013.

Jody Watley released a new single "Nightlife", in 2013. The song, which marked a return to disco dance, was a Top 5 British Urban Single, Top 10 Commercial Pop Single Music Week and Billboard Hot Dance Club Play Top 20 Single in 2014.

Music and Fashion

In 1990, Watley would continue to be involved with fashion. On her second album, she was photographed by fashion photographer Steven Meisel, where she continued to make her own style statements. In the videos for "Real Love", Watley would introduce a higher fashion aesthetic blending vintage and custom designs. "Friends" mixed couture by Jean-Paul Gaultier, with an urban sensibility. She released a million-selling home video, Dance To Fitness. She was featured in the first celebrity ad campaign for Gap LA Eyeworks and in magazines such as Harper’s Bazaar, Vogue, Vogue Italia, Rolling Stone, Essence, and Vanity Fair. She was named one of the 50 Most Beautiful People of 1990 in People Magazine.

In the same year, she contributed a jazzy rendition of "After You, Who?" the compilation album "Red Hot + Blue", an AIDS-awareness charity recording of songs by Cole Porter produced by the Red Hot Organization. Watley was photographed by famous photographer, Victor Skrebneski, for the popular Saks Fifth Avenue Defining Style Fall Catalog, where she appeared in a 15 page high fashion layout in 1996. In 2006, Watley would walk the runway with designer Kevan Hall for LA Fashion Week. She is also noted as an influence on contemporary designer Malan Breton.

Paradise and Shalamar Reloaded

On July 28, 2014, the EP "Paradise" was released through Watley's longtime Avitone label, digital outlets, and limited edition CD exclusively through her official website the EP contains the single "Nightlife", along with 5 new songs and collaborations with Mark de Clive Lowe, string arranger and musician Miguel Atwood Ferguson and newcomers Count de Money (France), Luminodisco ( Italy) and Soulpersona (UK) Jody Watley collaborated with music new jack pop duo French Horn Rebellion.

Also in 2014, Watley, a well documented original member of Shalamar became the legal registered owner though not without challenge Watley would state that the term "Reloaded" was to make sure the public knew this was not a reunion with past members and that she found the challenge exciting to rebrand the group bringing it to a new generation while finally finding a way to bring both catalogues together for a dynamic concert experience. Watley launched a new online boutique devoted to Shalamar merchandise in tandem with her own longstanding Jody Watley Boutique founded in 1999 A string of new American Tour Dates in support of Paradise and introducing the newly reloaded Shalamar included, Oakland, Philadelphia, New York, Chicago, San Jose, Washington D.C. Sacramento, Atlantic City and more. media blitz to introduce the members that included television in major markets and concerts expanding in and outside of the United States and included Brazil, The Netherlands and the UK. The reloaded version of the group features renowned choreographer Rosero McCoy and newcomer Nate Allen Smith an Ohio native singer, dancer, choreographer The reloaded Shalamar released a promotional single titled "SlowDance" on July 17, 2015 through Watley's Avitone label. The single was subsequently picked up by independent label Spectra Music Group and released on October 20, 2015 along with a new video directed by Damien Sandoval. Jody Watley and the new trademarked Shalamar was also featured in a SIRIUSXM Special "In The Groove with B.K Kirkland which aired in July of 2015. The new Shalamar trio with Nate Smith and Rosero McCoy also made television appearances on Chicago's WGN Morning News debut performance and KTLA Morning New with Sam Rubin It was also announced that the ever eclectic Watley would be a guest vocalist on highly acclaimed funkster Dam-Funk's second album "Invite The Light" via Rolling Stone Magazine Jody Watley and the new Shalamar continue to add touring dates in the United States. They have also had festival appearances in the United Kingdom including Let's Rock London. Jody has also taken to Shalamar Reloaded to Japan, Brazil and Netherlands and added them to Superfreestyle arena dates in America as of 2015 and 2016 announcements. In 2016, Watley made the choice to redirect her efforts to the now formed Shalamar Reloaded, wanting a fresh start for her new group without the negativity and baggage. Shalamar Reloaded continue a quest to build a new base releasing their second single and video "O.R.I.G.IN.A.L" in May 2016 and continued adding a series of critically well received concerts.

Personal life and family

Watley has two children: a daughter Lauren with former fiancee music producer Leon Sylvers III and a son Arie with ex-husband Andre Cymone. She is the goddaughter of music legend Jackie Wilson and the younger sister of tour manager John Watley Jr.

Discography

Jody Watley (1987)

Larger Than Life (1989)

Affairs of the Heart (1991)

Intimacy (1993)

Affection (1995)

Flower (1998)

The Saturday Night Experience (1999)

Midnight Lounge (2001)

The Makeover (2006)

Paradise EP (2014)

Tours

Larger Than Life Tour (1989)

The Intimate Tour (1993)

Colors of Christmas (2002)

Superfreestyle Freestyle Explosion (2015/2016)

Various Tours ongoing

Wikipedia

[starlitghosts]

Oh look it's me again but okey BIGBANG & VIXX

u cant quit me i see c;this is long so:

Bigbang:My first bias: Top. I liked him instantly. The first time I saw him was The Fantastic Baby MV and it was like ??? bro what an aesthetic ???? THAT HAIR COLOR ?????????? AMAZING. His rapping is out of this world and I totally fell for that. Then learning more about his personality really solidified him as awesome in my book. I like that he has a lot of layers.Your current bias and why: Daesung. I still love Top and he’s a close second favorite, but it eventually kind of hit me how amazing Dae is. I love him for his amazing singing of course, but what set him apart for me is just the kind of person he is. The way he’s been through such tough things and came out still smiling and wanting to make other people happy is so… profound? He inspires me. His faith really speaks to me as well. He’s not as loud about it as Youngbae but reading how he talked about it when he had that period of struggle really did touch me.Favourite song: This is hard to answer… so I’ll give my top five? No order: Last Dance, If You, Fantastic Baby, Haru Haru, um… Tell Me Goodbye… Bang Bang Bang… that’s more than five… :)Favourite MV: I’m gonna sound stale if I say Fantastic Baby but… that what it is…OTP: I don’t do shipping stuff so I don’t have one, but I’m always happy when I see Dae with Top.Member you think has the best smile: K A N G  D A E S U N G. But they all have cute smiles.Favourite choreography: I KEEP SAYING FANTASTIC BABY TO EVERYTHING BUT I LOVE TO DO THAT DANCE IT’S SO FUN. If I can cheat I’ll say I like the choreo for Ringa Linga a lot.Favourite era: Alive era!Do you own any merchandise: Alive Top ver., some posters, photos, a shirt, a GD hat, and a cheap knockoff ring that looks like one Dae wore lol. I need more tbhhh. And I wanna get MADE but not being able to pick the cover I want is annoying. I want the blank one so I can do something cool with it. :cHave you seen them live: No. :( But I will someday! And I wanna go to Japan for a Dae solo concert too. I WISH I COULD GO TO HIS UPCOMING DOME TOUR. WAHHH.Favourite voice/singer:  K̜̙̞ͥ̿̊̐̓̚Á̖͕̀ͥ͐̉̋ͅN̩͇͎ͩ̒̏ͣG̤͛ͦ̄ͤ̐ͩ͑ͥ ̰̩͎̬̊̈́̍͋͂D͕̻̬͓ͧͨͣ͊͂̉A͙̩̞̖̰͓̩̫ͮ̔͒̾E̱̼̽S̞̪̮̱̩̙̫̲ͬ̍͑ͥ̽͂̒U͓̜̟͓̺̗͈̪͈ͫ̃ͭ́̒N͉̹̫̼̖̦͓̦̆ͪ͌̾̽͆G̯̮̓ͪ̔ Favourite dancer: Choom Top.Vixx:My first bias: Hongbin. My first Vixx MV was Error so that probably says it all lol. I really loved the story and his acting in it. I also tried to learn the choreo and I didn’t even realize I was following him at first – I PICKED HIM BECAUSE HE HAS A COOL SHIRT IN THE PRACTICE VIDEO THAT’S IT – but then I connected the dots and was like. Oh. WELL. YEAH I GUESS I LIKE THAT GUY.Your current bias and why: Keken aka Jaehwannie aka Jyani aka Kenjhumma aka DEOP. At first I didn’t notice him as much but once I started watching things besides MVs and stuff I came to love his personality. I’m always drawn to silly, funny ridiculous people so I couldn’t help it. I was in denial for a little bit though because I felt like I was betraying Binnie… BUT I JUST. HAD TO ACCEPT MY FATE. Honestly, he makes me smile and laugh a lot with all the goofy little things he does (+ his cute aegyo but that goes without saying) and every time he sings it blows me away. I JUST. LOVE HIM AND WANNA BE HIS FRIEND U FEEL.Favourite song: I answered these out of order and left this one for last because how?? does one?? simply?? choose??? ONE??? I’ll do the same thing I did for BB and put top five in no order: Voodoo Doll, Fantasy, GR8U, Love Letter, O T T O K A J I….. if I keep going I’m going to list all of them eventually. :CCCCCCFavourite MV: I gotta go with Fantasy. It came out VERY shortly after I became a fan (I’m outing myself for how short a time I’ve been on this ride but w/e), and it really solidified that I wanted to be a Starlight. It just has that kind of atmosphere and aesthetic that really draws me in. I had SO much fun with the stories in all of the Conception trilogy and Fantasy was my favorite part.OTP: I don’t ship, but my fave friendship in general is probably just N and everyone. N and everybody. His role as mom is hilarious but also really cute. Actually. FORGET IT, I JUST LOVE EVERYONE BEING WITH EVERYONE BECAUSE THEY’RE A PRECIOUS FAMILY.Member you think has the best smile: I don’t… know how to pick? I mean, obviously Hongbin’s smile is bright enough to sustain planet earth if the sun ever dies but I like to see them all smile. c:Favourite choreography: Love Equation is a contender since it’s so fun and has a lot of cute moments. Fantasy is amazing but we all know that. THEN THERE’S VOODOO DOLL. So. Idk. There’s my top three.Favourite era: Kratos/The Closer, because it’s the first one where I was able to be present for the whole thing and experience it with other Starlights which has been a blast.Do you own any merchandise: For all the shorter time I’ve been a fan… a lot lol. Their latest CD autographed by Binnie (I ordered two so I’d get two autographs but got him twice LMAO), Kratos autographed by Ken, Ker, Boys’ Record, the travel diary, official posters, some little fanmade goods (pins, polaroids, posters, stickers, a bracelet), some PCs and postcards, two shirts and a sweater. I think. That’s it. Waiting for the Seasons Greeting 2017 to arrive though~ And I gotta buy Ravi’s mini-album soon…Have you seen them live: NO BUT I WILL. I HAVE TO.Favourite voice/singer: Can I just, like, say all of them? They each have a unique quality to their voice that I love a lot. I can’t pick out a single one on their own because they make such a nice whole. Favourite dancer: HAKYEON HAKYEON HAKYEON HAKYEON. Sometimes he’s so graceful and I’m just like OOOOOO: 

… I talked sooo much. This is gross.

[airadam]

Episode 114 : Enter The Midnight

"...we fighting back - sorry Martin."

- Erick Sermon

This month marks twenty-five years (!) since the release of two monumental albums - "Midnight Marauders" by A Tribe Called Quest, and the Wu-Tang Clan's "Enter The Wu-Tang (36 Chambers)". I still remember going to buy each of these albums which have had a huge influence on me over the years, and I thought that this episode would be a good time to feature them both. We have a mix of original tracks, alternate versions, covers, and original samples, alongside plenty of other tunes to keep your head bobbing!

There are still a few tickets left for Schoolly D and DJ Code Money on December 15th in Manchester - but you might want to be quick!

The Mouse Outfit are playing an Xmas special at Band on the Wall on December 18th - a few advance tickets left for that one too.

See Children of Zeus on tour!

Twitter : @airadam13

Playlist/Notes

Minnie Riperton : Inside My Love

An excerpt of a soul classic from one of our departed greats. Minnie Riperton was well capable of singing well into the whistle register, and demonstrates that to spectacular effect at the end of this track from the essential "Adventures In Paradise" album, which I first encountered as part of "Lyrics To Go"...

A Tribe Called Quest : Lyrics To Go

This sample use was absolute genius. When I first heard this as a teenager I didn't have a clue that the high tone running through the whole track was actually a singer and not a keyboard, and it still stuns you the same way twenty-five years after release. Perfect production, together with Q-Tip and Phife (RIP) on the mic, make this album cut from "Midnight Marauders" every inch of a classic.

Funky DL : Midnight

London's Funky DL first came to popular notice as an MC, but clearly also has major skills as a producer, arranger, and keyboardist! His "Marauding At Midnight" album is a tribute to "Midnight Marauders", with instrumental versions of every track played with no sampled breaks/loops - just instrumentation, as well as backing vocals. "Midnight" was one of my low-key favourites on the original LP, so it's great to hear his take on it here. I couldn't resist the opportunity to cut a few samples over the top :)

Wu-Tang Clan : Clan In Da Front

On my first listen to "Enter The Wu-Tang", this was the track that made me know for sure that the album was a classic. The Wu members regularly battled to see who would get to be on any particular RZA beat, and you can hear for yourself how undeniable GZA was on this one - one of only two tracks on the album to feature just one MC.

The ARE : Clap Ya Hands

The "Manipulated Marauders" project is much older when I look at the release date (2007) than it feels, but still gets solid play from me on a regular basis. The ARE tears up the classic Bob James "Nautilus" sample amongst others to bring some freshness to the familiarity of the Tribe "Clap Ya Hands" track from "Midnight Marauders".

Rockwilder ft. Erick Sermon, Method Man, and Redman : Clutch Reloaded

I missed the original version of this track, but this remix is absolute fire! This might be the most aggro I've ever heard Erick Sermon, and I can't be the only one struck by the combination of "bunch a n****s walking down the block like it's Selma" and the lyric that gave us this month's epigraph. Following Erick, the match made in blunt smoke, Meth & Red, continues the lyrical assault, and Rockwilder's beat is a banger that reminds you of a classic sample atomised. A must-purchase!

Ice Cube : Arrest The President

The man who brought us "I Wanna Kill Sam" back in the 90s is back to burn and has absolutely no problem going in on Mango Mussolini! Atlanta's Shawn Ski provides a stomping, horn-laden beat while Cube calls out Agent Orange for being an asset of Russian intelligence, and his general devilish behaviour. This tune definitely puts you on notice for the upcoming "Everythang's Corrupt" album.

[DJ Quik] Nate Dogg ft. Eve : Get Up (Instrumental)

One of those singles I somehow picked up a couple of a while back and still barely play! The first single from Nate Dogg's third album, it's not crazy but does have that Quik flavour and the beat a good bridge between the bombast of the Cube track and something a little more subdued...

Public Enemy : See Something, Say Something

I was looking for something funky in this spot and this fit the bill perfectly. Chuck D is from the right kind of era to know what to do with a groove like this, and has the experience and intelligence to drop wisdom all over it. Gary G-Wiz is on production on this lyrically clever flip of the Department of Homeland Security slogan, an overlooked track from "How Do You Sell Soul To A Soulless People Who Lost Their Soul?"

El Michels Affair : C.R.E.A.M

Much harder to mix with than I thought, but that's often the case with live bands - tempos are much more likely to shift within the track than with electronically sequenced music! Anyway, this is just one of the many great Wu instrumental cover versions from El Michels Affair, who gave us this tribute to the 36 Chambers classic on "Enter The 37th Chamber". It's always interesting when a band is sampled by a Hip-Hop producer as part of a composition, and then another band interprets that new version.

A Tribe Called Quest & Busta Rhymes : God Lives Through

The original "God Lives Through" included the voice of Busta via a sample from Tribe's own "Oh My God" on the same album, but he wasn't actually on the track. As he says, he always wanted to rhyme on it and here he gets his chance! This version is from the Q-Tip and Busta mixtape "The Abstract and the Dragon", and here I've just gone with the Busta verse and then Phife's - which is the same as the original, hopefully you own it by now :)

Black Milk ft. Fat Ray and Elzhi : Sound Of The City

Detroit time! Black Milk covers the low end lovely with well-engineered kicks and bass driving this track along. The title track to his first solo LP is a worth headliner, and I always laugh at the shade thrown at Mike Jones at the end of the second verse!

Hall & Oates : Method Of Modern Love

A new one to me, but after reading recently that this was the song that inspired the hook to "Method Man", I took a listen and thought I'd play a snippet here. You hear the first eight bars looped up for a couple of minutes, then we let it go so you can hear the introduction of the chorus - then stop the track and merge into...

Wu-Tang Clan : Method Man (Home Grown Version)

...the tune that drew from it! This isn't even the version from "Enter The Wu-Tang", but an alternate version that was on the 12", and is even more raw and lo-fi than anything on the album. It sounds like it was recorded in a basement and probably was, and I'd bet that this was the original, later re-done for the LP. For the turntablist heads, this is the version Mista Sinista used for his killer juggle - solved a mystery for me!

Cypress Hill : How I Could Just Kill A Man

Classic Cypress! Back in the pre-internet days, some New Yorkers thought this crew were locals from the Cypress Hills housing project, but in fact they were from all the way over in Los Angeles. The first album is still my favourite after all these years, and this track was fierce - a hit without even an attempt to soften up for the radio. DJ Muggs layers up legendary breaks for the beat and even has a few bars on the mic at the start of the second verse, while B-Real spits memorable bars on the kill-or-be-killed lifestyle, and Sen Dog jumps in for the hook. Early 90s heat.

Slum Village (ft. Young RJ) : Nitro

Detroit in the mix again, with the 2009/10 lineup in full effect, along with family member Young RJ on the boards and rhyming as well. The beat actually has a lot of RZA feel to it, and I could easily have imagined this on one of the early Wu albums. No slacking on the mic either, everyone represents and make this a tune worth tracking down - I got it on the "Villa Manifesto" LP, but it's not on all versions so look out for that when buying.

Inspectah Deck : R.E.C. Room

I'd forgotten that it wasn't until six years after the release of "Enter The Wu-Tang" that we finally got a solo album from Inspectah Deck, but "Uncontrolled Substance" did eventually arrive - maybe it needed that incredible verse from the start of "Triumph" to create the momentum! I believe this was the lead single, a tribute to the rec room parties from the Wu's youthful days, with a characteristically Wu-Tang beat courtesy of True Master, who cooked up some great tracks over the years.

[DJ Premier] Gang Starr : Just To Get A Rep (Instrumental)

One of those tunes everyone either knows or really should! I think the 12" will have an instrumental on it, but this is taken from a white label instrumental version of the whole "Step In The Arena" LP.

Air Adam : 13th Chamber

I wondered if this was worth including, but if not now, then when? I recorded this maybe 10-15 years ago, and while some of the plain movie samples were just layered over the top from my DVD collection, everything else comes from the turntables! The bassline is a plain tone being modified with the 33/45 button and pitch slider, the drumming is all done with scratches, and then the kung-fu samples that were available on battle tool vinyl (no Serato back then!) were scratched over the top. This was my tribute to/version of Wu's "Wu-Tang : 7th Chamber - Part 2" from the first album, derived from a battle routine I once developed, and was on my "Sleight of Hand" mixtape - a few of you might still have it!

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

Check out this episode!

[ofoatd]

Tomlinson's TV talent, Panic! At The Disco's plight to high heights & Fall Out Boy's 'Thnks Fr Th Mmrs' Llama led rip off

Tomlinson's judging talent, Payne's premiering EP, One Direction's eight year 'History', Fall Out Boy's 'Thnks fr th Mmrs' lama led rip off and Panic! At The Disco's daredevil plight to high heights. One Fall Out At The Disco's fortuitous hiatus has halted, honing in on music happenings from Malik's sonically startling 'Sour Diesel' to Panic! At The Disco's pious 'Pray For The Wicked Tour’ trail. Coming back from a break like Twenty One Pilots' sabbatical suspension over One Direction's cry out for a comeback, One Fall Out At The Disco's reformed and restored, magnifying music most missed matters.

Louis Tomlinson the TV talent X Factor judge

Honing in on unblemished boyband harmonies to tearing up the table as a esteemed musical magistrate of the newly designed panel, Louis Tomlinson's lustrous leverage to the heritage of TV talent The X Factor, has been an burning notion put into motion years heretofore.

The 'Back To You' singer is going back to where his life full and long living career conspired into a spiral of One Direction domination, music mogul imprints, solo success and judging jobs upon cultured acquaintance of the panel position and being a ratings boosting figure boasted by philanthropist and public personality Simon Cowell, utilising the former boyband segments popularity purposefully to revive a dying British singing show which cultivated in collecting the worst ever final ratings in its 14 year stint, prioritising Tomlinson's tactile public marketability moreover that's the northerners notorious charismatic persona was a seamlessly shameful statement surrounding Cowell's integrity and intentions.

Whilst conference communications broke of the 26 year olds artist management role, speckles of scepticism surrounding Louis debut record release unofficially branded as LT1 fretted fans over his prioritisation of music over contest commitments with the solo singer suggesting the shows help not hindering covenant commenting "The album is still definitely my priority it doesn't change any release time me doing the show. Having come from the show it made sense to me to go on, I've always been interested in mentoring that's why I've done things in the past with my imprint label. It's something that has been on my mind".

Rolling up in a Mercedes-Benz company car stepping out from the suburbs of a renewed vintage esque Burberry check craze, the 'Just Like You' lead infiltrated into the SSE Arena Wembley situated adjacent to the worldwide wonder Wembley Stadium who hosted One Direction's three date term ‘Where We Are Tour’ in 2014. Sitting in the cushion stacked hot seat for the discovery arena auditions, cautiously crying over a returning contestant and being timidly confident within his critiques plus the stressful six chair challenge mentoring the boys bracket.

Tomlinson took time to spontaneously meet smiley faced fans fighting to stay in their seats subsequent to staff brutally blacklisting and barbarically banning fans from floor perspectives, reigniting former boyband memory flames and jettisoning James Grant Management Group and moving to Mark Gillespie and Matt Vines WMA Management after a two year time with the initial leading agency providers the Syco spin off label imprint individual is moving on, maximising his music mogul mind nostalgic to Plain White T's and Toms.

8 years of One Direction

Primary vanguards of 21st century boyband unprecedented hysteria, X Factor  graduates One Direction have been masters of pop culture craft for an existing 8 years. Sitting on stairs to selling out stadiums, singing saccharine sugar coated bubblegum pop bops apropos to endless promises of partying all night, making malcontent 'Midnight Memories' stomping upon the streets of centralised London and mulling over fornoon favourite a.m conversations to a cultivation of a dedicated demographic of assured adolescents, placid parents and benevolent boyfriends of fangirl girlfriends growing and grasping mainstream music eminence, eventually evolving as one of the highest earning boyband in history eternity.

"#8YearsOfOneDirection where has the time gone!? Thank you so much to every single person who’s ever supported us. Big love!" tweets Tomlinson the 1/4 of One Direction bio beholder, taking time  aside from audition allegiance alongside Liam Payne addressing the boyband as "Brothers" simultaneously splashing in the oceanic seas from the probably private yacht on Payne's sunny staycation, Niall Horan penning homage to "Amazing memories with the lads" and Harry Styles stating the fan support system saying "Thank you for all the love, thank you for all the support. Thank you for everything" signed off with his signature H dismissal.

Meanwhile the One Direction official outlet monotonously recalled lyricism from the 4 piece's repertoire, fan frenzy was a flurry when supposed superfan speculation sparked an outpouring in overwhelmed apocalypse of panic, pandemonium and perturb as dates for a post hiatus 2020 tour to represent and fly fifth album Made In A.M mellow ambience, the cliffhanger of an album left on the indefinite break of the 'Story Of My Life' singers surfaced upon ticketing sales service Ticketmaster's Australian December dates listings, deflecting the doubt of an unreleased 'Infinity' music video and playlists reputedly lead single 'Lucky' a potential promotional lead for a group reformation of raging proportions.

Fall Out Boy "Bishops Knife Trick" music video

A manic mayhem of memories of peculiar primates to a pity party of chaotic camelids. A lama tinged ode to 'Thnks Fr Th Mmrs' Fall Out Boy's brand new animated animal endeavour 'Bishops Knife Trick' is one of the top rock selling record of this year, its MANIA's answer to Infinity On High's Kim Kardashian cameo curation.  

Ticking off one less task on his comprehensively seventh studio album branded list, Pete Wentz writes off the music video of the Island Records/DCD2 recent record release penultimate track ahead of the Reading and Leeds Festival headline, homecoming Wrigley Field gig, mixing and mastering Lamamania plus renovating Folie à Deux's demo Lake Effect Kid extension, a symptomatic culmination to a MANIA era that has dished up a final frosty serving of demanding director Stump and unbeknownst animal oppression in 'Bishops Knife Trick'.

Trading in a monkey obstructed madhouse for a llama centric landscape, big boss Patrick Stump verbally browbeats working living organisms curious on curating a picture perfect Patrick paradise of fedora furry friend fashionistas and check mate chess games of a talentless wack llama ensemble. Overlaying a spat between the species, chillingly deep dark blues and animal like entrapment elevate writer Wentz' candidly confessional dealing, with dejected depression and evoked emotions of a mental mania battle of a disconnect of the ordinary world brought back to earth by the glow of the city of Chicago.

Getting a grip of reality and breaking out of the domesticated cage of a state of suppressed sadness, Stump soaringly sings subjected to sweeping sounds and climbing chimes of piano melodies amongst mid tempo strikes of the snare reinstall instrumental talent amongst a catalogue of crisis amid MANIA's repository recalling lyricism of "I got a feeling inside that I can't domesticate/It doesn't wanna live in a cage/A feeling that I can't housebreak" hones in on the entertainment exploitation of llamas laundering away over musical instruments, seeking the idealistic project of Patrick's "film school" wonders.

Liam Payne First Time EP

Stripped back sounds, sultry lyric lines and smoothly tamed tones. Liam Payne's album filler EP First Time steps in for the September suspension of an inaugural record and steps up as a tetralogy of tracks, transforming the remixing maestro into a solo singing virtuoso. Post dropping a successful string of singles, collaborating with a cultivation of reputable recording artists in the realms of Migos' Quavo and Columbian crooner J Balvin, for radio friendly feats ‘Strip That Down’ and the flamboyantly bilingual bop 'Familiar'. Surrounding the latter's release, Payne hotly hyped up the anticipation of his fully fledged step out into the solo spotlight LP momentarily dulled by the determined decision to push back the records release, following in the footsteps of Fall Out Boy's belief battle with MANIA a setback suggestive of re-defining songs that feel so differently distanced as false representations of artistry with the 'Bedroom Floor' singer stating "I looked at some of the songs on my album which were done a while ago and they felt from another age. I'm determined for my debut album to truly represent me. In the meantime, this EP is a collection of songs that I'm really proud of" launching into the era of the EP First Time.

Title track 'First Time' fuses fragments of a "Familiar" fiery and fun filled tones picturing a Payne on the prowl to follow his feelings for an elusive female fabricate themselves throughout the thrill of the chase chronicle, a typical songwriting style the 25 year old adheres to. Exploring the realms of relationships over friendships besides production work from Di Genius' repertoire with Latin esque R&B influences simmering their way slowly throughout the monotonous platforms of the lead single, spiked by a pick up of vocal hooks and lyrical lulls of Payne's palatable projections and artist come label institutor French Montanas musky melodies.

Sophomore song 'Home With You' hones in on Liam's leap into the Urban and R&B region of music considerately comparable to fellow former One Direction division Zayn Malik's mellow material, with the sophisticated sleekness of 2010's electronic pulsating drum machine moments and stylistic vocal arrangement introducing the track as a nonchalant number, none the wiser to its upbeat metronome ticking chorus and lyrically expressive 3 liner pre-chorus "Too many cooks in the kitchen/Too many fools here listening/Why don't we find somewhere quiet". Quintessentially embodying the entire archetypal narrative, where spending the night away from "Yelling to you over music" clubs in homely comforts with a newly significant other are free from the eavesdropping ears of unbeknown fools.

Musically minimalistic ballad 'Depend On It' dabbles with a tender provoking genre palette Payne sonically is a solo stranger to, amongst an array of danceable discography destined for the fm radio waves. Worlds apart from the clichéd addictiveness of pop boyband ballads, a pleasant place in unforgotten memories Liam is persistent in revitalising to the present, as the singer was pictured seizing a sentimental embodiment of One Direction artwork adorning the original ensemble apace with Up All Night and Take Me Home songwriter Savan Kotecha esteemed for penning popular pieces by Ariana Grande and Britney Spears. Perpetual piano instrumentation pays homage to 'Home With You' minor chords transformed into a pivoting arrangement of piano melody interludes, lonesome towards the climax of the third track cohesive with the upper register of Payne's vocal expansion, expressing the love hate state of a relationship dialogued rendering "I'm not ready yet, there's still a thread left/If I could just hold on onto unravelling hope/Give it one last go, I don't know why, just need us to try" compromising the succinctly short track, yet the upmost stand out of the upbeat outnumbered EP.

Conclusively 'Slow' signifies a contradicted balance between saddened lyricism and sprightful production with a negative tinged track telling the tale of a cracking and crumbling connection, purposefully moral uplifting via mediums of a selective sense for sniffing out sounds that make 'Slow' electro melodies the core carvings the 'Get Low' vocalist craves to create a chart hit wonder. Recorded in the confines of the West London located Wendy House Production Studio's a place of musical residence One Direction inhabited in their 6 year indefinitely suspended career Liam Payne, levitated by a venerated troup of songwriters including The Ordinary Boys frontman Preston and Sylvester Sivertsen who posted a behind the scenes picture of the pair in 2016. 'Slow' lyricism is the utmost suggestive and scandalous story of breakdowns and breakups throughout the EP's entire narrative elaborating on "Got me pretending' you ain't done with us/It got me runnin' round the obvious" closing simplistically on "Let me down, let me down slow" with First Time featuring a collaboration, conventional characteristics and collection of charmingly cool crusades that lulls the listener on a trip down Payne's publicly pronounced past relationship at the different stages of love, lust, spats and separation, enhancing catchy rhythmic arrangements and an aura of perspectives of Payne's personal anecdotes.

Panic! At The Disco Reading & Leeds Festival 2018

Glistening glows of luminosity embossed with a scintillating showman style, Panic! At The Disco's co-headlining call crafted the shimmer, shine and sophistication of an otherwise damp, drunken and devil-may-care merrymaking weekender. Stemmed from a Saturday of female pop frontiers 'Strangers' singer Sigrid and Brit beauty Dua Lipa, Panic! At The Disco dazzled deftly with a type of timeless sumptuous sentimentality.

"To the old, and to the new/We dedicate this song to you" allures the retro soul sample of 'Silver Lining' as glitzy garmented and gold microphoned Brendon Urie bouncily bursts onto main stage Reading, to the rebellious satisfaction of young adults supposition supported by the bands backing of shifted member swaps, loosing Dallon Weekes who took to The Pit/The Lock Up stage showcasing 80's unearthed endeavour I DON'T KNOW HOW BUT THEY FOUND ME and gaining bassist Nicole Row in March 2018 filling in for the female representation against a 14 year long male amassment.

Sounds of steampunk victorian picturesque imagery illuminated 'The Ballad Of Mona Lisa', with organically engineered vintage instrumentation of sinister patters of the piano and creeping pounds of the percussion, portray a dynamic duo of moral dilemmas in confident company with Urie's dark dingy lower register. Welcoming the colossal crowd to the land of Pretty Odd, a stellar song of festival festivities manifested itself in the fields of Richfield Reading chiming in with charming melodies, feeling so good with out of mind optimism side to side with spiritually earth endearing attitudes.

From the sprightly smiles of frontman Brendon Urie transitioning between latterly acquired additions "Dancing Is Not A Crime" and 'High Hopes' in which a faithful figure displays themselves amongst a sea of singing sinners to lasting setlist staples Queen's 1975 classic covering 'Bohemian Rhapsody' prescriptively performed for heritage act admiration. Transitionally taking on Too Weird Too Live, Too Rare Too Die's! triennial single 'Girls/Girls/Boys', pigmented pops of rainbow refractions, self proclaimed extravagant exclamation points and imposing iridescent sparkles lit the product ionised representation of the outright freedom of fondness for all orientations including + communities, a core creation for the efforts of the Highest Hopes Foundation set up in support for discriminated and disregarded segmentations of society.

Encore items illustrated a bouncing back and forth between the ever evolving dosages of conviction, carefree and ceremonious crusades from wickedly weekend worshipping 'Say Amen (Saturday Night)', sonically unambiguous crowd pleaser 'I Write Sins Not Tragedies' to the confidentially conquering 'Victorious' as Urie confesses his state of euphoria before launching into the high intensity hit, highlighting the brightly belting pulsating vibrato vocals of the 31 year olds articulating "I've never been happier in my life and that's all because of you. You are important, you have an impact” illustrating an important imprint for a Saturday night of the retrieval of reminiscence and the making of matchless memories.

Fall Out Boy Reading & Leeds Festival 2018

Glaring in the glory of double zero’s rock reminiscence Reading and Leeds long timers Fall Out Boy headlined the main stage, showcasing a spectacle of sets reinforcing pop-rocks reputation amongst an evolutionary shift of a festival blurring the genre identity boundaries. From a Friday fronted by American rappers Post Malone and Travis Scott to the publicly prophesied secret set of Bring Me The Horizon, Fall Out Boy waved the white flag in sheer satisfaction far from the symbolism of surrender to be sitting as sixth time servers to the British bank holiday bash.

Smashing through a stellar setlist subjected to an in with the old out with the new Folie à Deux dash down wistful album avenue in affair to the forth records decade duty to the quartets discography, of the madness mantras of messed up romantics in 'Disloyal Order Of Water Buffaloes' to the misery mindset of selfish meanness throughout 'I Don’t Care' flippant middle finger montage deceased video platform Vine would have been pleasantly pleased witnessing.

Upbeat anthems from the post hiatus period 'Centuries' and 'My Songs Know What You Did In The Dark (Light Em Up)' tinged the dark dusk skies in bursts and bangs of a 5th of November celebratory serenade succumbed to the pyro below of Wentz' fire blasting bass, betrayed by its toned down display of 2016's flame eating females, with Wentz wise words of wisdom reflecting penchants of pure honesty rendering to the adolescent audience "They tell you along the way that you need to fit into a certain mould, but be you, do you as loud as you can, stay dangerous!”.

With the dimming down of danger, poised piano ballads 'Save Rock And Roll' alongside MANIA's bright beacon of artistic hope levitated from a lacklustre LP 'The Last Of The Real Ones' shone Stumps soulfully sonic singing before storming into a powerfully propelling galactic gathering of rip roaring bass grooves and glistening electrical guitars.

Long gone the lectures of wolves and dunking the basketball and long live the king of pop culture covers and ones for the mosh pit, Fall Out Boy's headlining slot staged the rightful return of Reading champions and pensive mmrs of a marked musical legacy.

Panic! At The Disco 'High Hopes' music video

Stranger setbacks, scaling skyscrapers and rooftop recitals. Panic! At The Disco's extortionately elevated vast visionary for 'High Hopes' holds back on self sceptical hesitancy and hones in on obtaining a dream like optimistic outlook.

Recently revealing eminently awaited European and UK Spring 2019 dates for the capacious continuation of the 'Pray For The Wicked Tour' that triumphantly teemed with death walks and wayward Amazing Beebo's, the trials and tribulations of Panic! At The Disco touring members dropping have surfaced, after the axing of touring musician Kenneth Harris subsequent to supported allegations of inappropriate misconduct between the 37 year old with of age and underage female fans soared. With speedy removal of Harris post the 'I Write Sins Not Tragedies' songwriters high note hitting IHeartRadio Festival performance, a succinct 13 song set compromising of current core classics 'Say Amen (Saturday Night)' and 'High Hopes'.

Gazing up to the sky high structure situated amongst the neighbouring streets of Downtown Los Angeles, subsequent to a borderline civilian belabour painting battle to the trails, tribulations and setbacks Brendon Urie has unambiguously endeavoured under the Panic! At The Disco music moniker, the self confessed London west end wannabe supernormally sets upon scaling the side of a modernist American sky high complex congregating a confounded crowd on earths gravitational ground.

Pushing on with anew sense of captured power, purpose and perspective Brendon beckons down to the solid surface below, as a building bridge and prompting pre-chorus builds up to spur the singer on into "Stay up on that rise and never come down" simultaneously pushing the Panic! frontman on to prove the fallacious critics untrue chiming "They say it's all been done but they haven't seen the best of me/So I got one more run and it's gonna be a sight to see" speculating the singular ensemble spearheads longevity, concealed by the cohort Panic! At The Disco and comparatively not soloist Brendon Urie, with sixth studio album Pray For The Wicked being the band's "One more run" record.

After a fast flicker and fierce flashback of pedantic belief that Panic! has exhausted entire repertoires of musical material, a moment of dignified realisation of accomplishment, achievement and appreciation is alluded to from the expressions of 'High Hopes' own 'Hey Look Ma, I Made It" moment Brendon and backing band burst into a sonic celebration, categorically evoked out of emotions of opportunity, outlook and optimism.

Watch Panic! At The Disco and Fall Out Boy's Reading and Leeds Festival Sets including the music video for 'Bishops Knife Trick' and ‘High Hopes’ plus listen to First Time by Liam Payne on all major music platforms here:

Fall Out Boy Bishops Knife Trick Music Video - YouTube

Panic! At The Disco Reading and Leeds 2018 - BBC

Fall Out Boy Reading and Leeds 2018 - BBC 

Liam Payne First Time EP - Apple Music/iTunes

Liam Payne First Time EP - Spotify

Liam Payne First Time EP - Amazon

Liam Payne First Time EP - Google Play

Liam Payne First Time EP - Deezer

Liam Payne First Time EP - Tidal

Panic! At The Disc High Hopes Music Video - YouTube

(All photographic content curtesy of One Direction/Columbia Records/The X Factor (Instagram)/Capitol Records/Jake Chams/Panic! At The Disco/Elliott Ingham/Fall Out Boy)