#mike keyz

[chifelcake]

its so awesome when oak has like any role in any show i cant explain it they each deserve their own little appreciation groups lowk

also yahyah shhh i know cash lewis group would be uhm

but also just imagine!!! mulligan, lou, madison, dean, moebius, cash, mike, ronnie, van go…on and on of the same person getting the attention he deserves yayyyy and i could talk to others and YAYYYY BECAUSE THTAS KIND OF HOW IVE BEEN KEEPING MY FRIENDS IF THEH FW ME TALKINF ABOUT OAK FOR LILE 99% OF CONVOS😓

BASICALLY LIKE WHAT IF IT WASNT AN OAK FAN THINGIE AND EACH ROLE WAS BIG ENOUGH TO BE KNOWN THATD BE SO COOL TO LILE HAVE DIFFERENT OPINIONS AND STUFF ON HIS STUFF HE DOES BUT HAVE THE SAME OPINION OF HIM BEIN SILLY N STUFF YAYY

[shemakesmusic-uk]

New Zealand’s leading hip-hop boss JessB has dropped a new single, ‘FROM THA JUMP’, complete with a fearless music video. On the track and video, JessB – the moniker of Jess Bourke – said via a press release that ‘FROM THA JUMP’ is about staying true to yourself from your beginning. “Everyone changes as they grow and experience different parts of life,” JessB said.“The concept behind the song [and] the video by having ‘mini-mes’ was reflecting on how little Jess would feel about where we managed to get to so far in music. I think she would be pretty stoked.” Drifting cars, pyrotechnics and a slew of little JessBs provide the visual accompaniment to a song of slick beats and JessB’s distinct rap rhythms. Watch the Jodo Valley Productions clip below. [via NME]

Lex Amor seems to experience life on a very intimate level. An artist whose work is both intricate and direct, her creative dynamic fuses together disparate underground strands to find soulful expression. Debut project Government Tropicana dealt with identity through a very personal lens, exploring the experiences of working class London while celebrating different cultural norms. For her next chapter, Lex Amor is attempting to distill various currents that have touched our lives over the past two years. New single 'Rocks' is spartan but intense, the ominous Mike Keyz produced beat providing space for Lex Amor's poetic penmanship. The Tyrus-directed visual - shot in Lex Amor's trademark monochrome - seems to allow the framework of her lyricism to become ever more apparent. She comments... “With ‘Rocks’ we were essentially trying to illustrate the constant juxtaposition of our everyday. The reality of authority, dogma, societal pressure and our sometimes subconscious adherence to those norms; as well as our ability as humans and guardians of the earth to break out into our own dreams and freedoms. We are all living, breathing testaments of individual choice and freedom - there is a constant need - possibly now more than ever - to commit to our own personal freedoms and break out of structures that were not created for our souls to flourish - that’s why in the video there are moments of of almost demented adherence, and then breakouts - into hope, dreams and liberty.” [via Clash]

Yung Miami just went there. In her latest single, ‘RAP FREAKS,’ the Florida rapper and one-half of hit-making duo City Girls name-dropped fourteen celebs in less than two minutes. While capable of stirring up loads of drama, Miami says the tongue-in-cheek song is simply playful and not to be taken too seriously. "The song is showing love to all the rappers right now, it's nothing personal," she tells Billboard. "I [named] a bunch of the guys who are on top, that's hot, that's poppin'. Nothing is personal, nothing is literal, I'm just having fun." Miami, born Caresha Romeka Brownlee, says she was inspired to write ‘RAP FREAKS’ by a legacy of rappers such as Trina, Lil Kim, Biggie Smalls and Nicki Minaj releasing racy, name-dropping tracks. "I just felt like it was going to be a moment in hip-hop, so it was something that I went into the studio wanting to do," she says. If the track wasn't enough to get people talking, the emcee also released a jaw-dropping BDSM-inspired music video, laden with racy scenes involving whips, cages, lace and leather just in time for Halloween. The sensual red-and-black-themed visual flashes framed photos of some of the song's male subjects, including Diddy, Lil Baby, DaBaby, 50 Cent and Future, among others. [via Billboard]

Formerly known as Yung Baby Tate, the 25-year-old musician dropped the first word from her stage name as she enters a new era of her career. The rapper/singer/all-around talent issued ‘Pedi’ an upbeat song she has teased on social media throughout the month. The track boasts of the petty actions she’ll commit if a person dares to take it there. Directed by Norton, the visual highlights her personality and ability to deliver a full performance. In the colorful music video, Baby Tate showcases her dance skills with animated choreography as she interrupts various settings with mischievous, yet hilarious antics. In the song, Baby Tate is proud of her petty antics, declaring “Real a** bi**h and I might be crazy, but at least I’m authentic” after she warns of sending parents screenshots with no hesitation. [via Vibe]

South London rapper Mimi Mxnroe shares the bold ‘Want From Me’. Delivering each bar with convinction, her powerful lyricism leaves you wowed. Offering a real perspective of what’s wanted from a female rapper, ‘Want From Me’ questions the double standards of being a female in the genre. Mimi says, “’Want From Me’ is a song about women breaking the barriers that are enforced by their male counterparts! Being told they have to look, act and dress in a certain way to be successful is a thing of the past and everyday women from all walks of life are doing what they want and doing bigger and better than ever before! So don’t conform to the sexist ideologies of society – live in your true self!” [via LOCK]

Tantrum Records are delighted to announce the release of ‘Revolution/Retribution’ the third single from the Hen Hoose collective and a first-time collaboration from Jayda and Amandah Wilkinson. Jayda (they/them) is an exciting up and coming rapper based in Glasgow. Their style is influenced by multiple genres and they regularly host a show on EHFM (a community radio station). ‘Revolution/Retribution’ is a powerful, important and necessary song about the inequalities and alliances of People of Colour. In Jayda's words “’Revolution Retribution’ is mostly about my experience with injustice growing up in Edinburgh and how the community I know has always fought against it.” The empowering lyrics are captivating and enhanced by the energetic, strong production behind it.

Formidable Irish hip-hop artist YINYANG - aka Lauren Hannan - returns with her fierce new single ‘Skitz’, out now. Instantly packed with a punch, YINYANG once again bites back with cutting lyrics and fuzz-filled soundscapes in order to create a sound that is full of ferocity. Combining hip-hop sensibilities with a punk-infused ethos, ‘Skitz’ is delivered with an undeniable sense of self-assurance and sass. Talking about the single, Lauren explains, “’Skitz’ is referring to the sad clown paradox, to put it in a less decorative way it’s when you pretend you’re grand when you’re not. Painting on a happy face and using comedy to disguise the negative emotions you might actually feel. I’m terrible for it, I think we all are sometimes.”

‘Lose The Ugly’ is the highly anticipated follow-up single to Chyng Diamond's breakout ‘Get It Go.’ Both tracks will appear on her as-yet-to-be-titled debut EP due out in early 2022. Chyng says: “This track is about creating your own self-confidence and not being bothered by what others have to say. There’s always going to be someone that doesn’t like you or tries to bring you down because people love to hate. Weight can be lost but a bad spirit… that follows you forever.”

Ekelle has unveiled her new single and video ‘Come Back’. Ekelle is a multi-genre artist and songwriter from Toronto. She rhymes about what she knows best: her real life experience. We are in 2021 now but a lot of the wounds of 2020 haven’t been fully healed so Ekelle wants people to remember who they are, to seek supportive relationships and keep on pushing through. “I chose to call the song ‘Come Back’ because 2020 was a hard year for all of us. Some of us are still feeling the effects of what we went through that year today. The title ‘Come Back’ is a call to action. It invites you to get back on your feet and keep pushing forward as your authentic self.”

Alabama’s very own princess of rap, Flo Milli returns with her latest single ‘Ice Baby’ via RCA Records. The fiery track, produced by Brad!, brettonthebeat and Slade showcases Flo’s dexterous flow and bubbly bars.

"Spiritual superhero theme music'' is how Brooklyn, NY based hip-hop artist Nello Luchi describes her new release 'MAABA'. The K'riem Scott produced track depicts Nello as a messenger born to help deliver a powerful message to save the world. Nello is urging the listener to become more aligned with their ancestral past. 'MAABA' literally means "the soul that sees", as she believes she is one of few that sees the world is in spiritual warfare. The track is a class session in metaphysics in which Nello serves as your lyrical professor.

[kideightarchive]

Gucci Mane & Young Jeezy - Keyz to the City - United We Stand (2010) Bootleg

This one as kind of a copy of another cover that came out around the same time, Mike Rev was another designer that was out about the same time as me - far superior in my opinion but i’m told he took a lot longer than me, which is probably why i kept getting work. He did a cover with some kind of closed gated wall in he background and i copied it. Sorry Mike

[mwentrecords]

-INDEPENDENT DAILY-

“IT’S A MULAH WORLD”

-MWEnt Records-

This year of 2019, just has been a great upstart for International Artist “Trev Mulah”. As him and his producer “LegendaryKeyzz” have been working for the past 4 year. They’ve built a great catalog of content to an international level, not only getting recognition in the U.S. but also overseas. Working consistently in Brooklyn, New York, Trev has been connected with keyz and has released catchy singles in different genres. It proves that we have a dynamic duo, as “LegendaryKeyzz” brought his artist “Trev Mulah” to Manchester, U.K twice. Not only just being there, they’ve worked with various artist on collaborations.

Manchester, U.K. has a uprising producer named “LegendaryKeyzz” who has been smashing the scenes. As he produced for most of U.K’s artist such as “Tunde”, “K Don”, “Culps”, “Zeph”, “Paigey Cakey”, & more. Not alone U.K. but Keyzz also worked with various known U.S. artist such as “Rich The Kid”, “Soulja Boy”, “Jay Critch”, “Lil Jamez”, “Richie Wess”, “Yung Dred”, & more. Couple of his productions has well over 1 million and has more releases to come. The entire U.K. music scene has been starting to tune into his productions since his grind.

Both Trev and Keyzz released two music videos that were shot in Manchester on a major platform, “P110”. One track called “DAWGS” on collaboration with U.K. artist “Culps” and a single called “Had None”. Both songs giving them recognition in the Manchester scenes. Trev has worked with majority of Brooklyn’s hottest upcoming artists such as “Dee Savv”, “Mike Milly”, “Gino Mondana”, “Brad Piff”, “Flyboii Dada”, “Fivio Foriegn”, “Terry Nichols” & many more.

Stay tuned for “Trev Mulah” Hood Hottest On P110 coming very soon. He will be back in Manchester this August bringing more heat to the streets. Look out for more collabs, radio interviews, shows, and more this fall.

- “TREV MULAH” YOUTUBE CHANNEL

- “Trev Mulah” “SPOTIFY”

[igotthis1n7]

It’s funny because I’m talking to myself so no one else knows that I’m about to disappear! Getting the bag and getting behind the scenes! Stay Focused Stay Consistent!

[djicdre]

In the KEYZ with these clowns!! @lowe_lost_it @montecristo_cigars @crownroyal @invictawatch WHITE MIKE! #kankakee (at Kankakee, Illinois) https://www.instagram.com/p/CEpt_CCBnJb/?igshid=1qfm0gkdbqxms

[homagecollage]

Music Birthday: BJ The Chicago Kid 🔊🎉Today, November 23, 1984, BJ The Chicago Kid was born Byron James Sledge, in Chicago, Illinois. His second studio album peaked at no. 43 on the US Billboard 200. Album has production by greats such as Sean Cooper, Mike & Keyz, and Corn Austin.

[djivxxkeyz]

This Saturday October 26th - Get Your Freak On part 6 Which Is An “Annual” Halloween Boat Party That Goes Down Aboard The FULLY ENCLOSED “PIONEER QUEEN” 333 Lakeshore Blvd E. Toronto ON Boarding 7:30pm Returning Midnight Music Provided By: DJ Cali Papa Chunks Mike Stoan Jynx (Creamteam Sound) Playing: Hiphop | R&B | Top40s | Dancehall | Soca | Reggaeton | Afrobeats & More. Supported By: IVXX Keyz Blair Inc Cali $40 Advance Tickets More By Boat/Dockside Online Tickets : https://www.ticketgateway.com/event/view/getyourfreakon6 Prize For The Sexiest Costume There will be Giveaways & Prizes Through Out Boat Ride. For Information or Tickets contact (437)223-7073 #Toronto #Halloween #HalloweenParty #The6 #DowntownToronto #TorontoNightclubs #TorontoHarbour #CostumeParty #Masquerade #Scarborough #Eastyork #Northyork #Vaughan #Mississauga #Pickering #YongeSteet #Lakeshore https://www.instagram.com/p/B38FQHFldcl/?igshid=3plkqze8qj59

[reportingfrom20xx]

Happy Saturday, CLT Scene!! We're back in a swirl of sound, invading the Queen City in an attempt to swallow it up, & we're happen to be engulfed in the madness of it all 🎶😈 ~~~~~~~~~~ The docket tonight includes much, but the top of our radar indicates something powerful in the direction that we just left last night; The Milestone Club. True Lilith is coming into their own with a new EP Release tonight, and we're in it over in our headquarters. Tune into our Spotify Playlist tonight before the show to get a little taste, then check them out at one of the crown jewels in CLT Music, 8pm door time 🤘 😎 ~~~~~~~~~~ Without further ado, here's what else is going on in Charlotte tonight; ----------------------------------------------------------------------- 9/7 – Saturday The Evening Muse – Ari Hest w/ Sarah Siskind @ 7pm ——————————— – Jason Jet w/ Curt Keyz & Greg Cox @ 10pm The World-Famous Milestone – #LocalOnly Saturday w/ DJ Teddy & Mike Boyer (*FREE*) @ 4pm to 8pm ————————————– – True Lilith (EP Release Show) w/ Fortezza, The Walbournes & Jordyn Zaino @ 8pm Neighborhood Theatre – The Dirty Guv’nahs w/ Zander @ 8pm Visulite Theatre – 12th Annual Spasta! Greek Night @ 10pm Snug Harbor – Biggins w/ Jason Moss & The Hosses & Crenshaw Pentecostal @ 9pm Petra’s – Off the Wall: “The Cool of the Night” @ 9pm The Underground – Avatar Country: World Tour w/ ’68 & Like Machines @ 7pm Hattie’s Tap & Tavern – Julie Haven @ 10pm Amos’ Southend – The 2019 End of Summer Jam feat. City Lights Drive, Pushbutton Apocalypse, The Phantom Friends, Oak Wind & The Dirty Low Down @ 7pm Skylark Social Club – Old Moons w/ Horseburner & Indighost @ 7pm Tommy’s Pub – 7th Grade Girl Fight w/ Party Battleship and Sunset Cassette @ 8pm Smokey Joe’s – 9daytrip @ 10pm Spectrum Arena – Chris Brown: Indigoat Tour 2019 w/ Ty Dolla $ign, Joyner Lucas & YellaBeezy214 @ 6pm The Rabbit Hole – Pen15 & Aqualads: Mike Bradley’s big 5 – 0 @ 9pm (at Charlotte, North Carolina) https://www.instagram.com/p/B2IEm7VpL_G/?igshid=fd6nbmgs5aqt

[fbe7784-blog]

A Road Story; or, Satori in Wisconsin

Seven seven eighty-four. Thirty-five years on and it still rates as the momentous experience in my life. Certainly it never crossed my mind as we piled into Boisson’s Chevette to head for the Ticketron outlet that I’d still remember that day; it was a pretty astounding twenty-four hours, and I’ve probably been trying to figure out what exactly happened ever since.

In classic fashion, we (Mike, Kent, and myself) left without tickets, camping gear, sustenance, and, as it turned out, a bowl. At least we had money enough for lawn seats and doses. We made a quick stop to see if our friend Ben wanted to come along (which he did, leaving a note on the fridge: “Mom-- went to see the Dead. Be back later”), and then we were off to Southlake Mall for the tickets. Later on I would discover how easy we’d had it, walking in the day of the show and getting four tickets for $40 or so, but at that time it was just another errand. As I recall we stopped off at Hegewisch Records too, but we didn’t have enough cash for even the cheapest paraphernalia (why no papers? you ask; I have no idea). I recall the sun shining in a bright blue sky, tunes on the deck, and the summer air blowing through the windows as we made our way out of Indiana, around Chicago, through Illinois and into Wisconsin: a thoroughly uneventful trip to Alpine Valley. Along the way, we tried to work around our lack of an implement using the car’s cigarette lighter as a modified chillum with a decided lack of success. No matter though, it would all work out.

Arrival at the venue proved mind-boggling. From the instant we drove into the lot I felt a very real sense of dropping through a trap door into an alternate or parallel world, truly terra incognita. I mean, I’d seen a few longhairs and stereotypical potheads, but never this kind of display-- it was like stumbling onto some hidden alien hideout, with a mix of bikers and frat boys, Renn Faire extras and Computer Lab weirdoes, fools and fakirs, cowboys, grits, and hippies straight out of Central Casting. I distinctly remember gawking at one freak merrily bopping along the lane between parking areas and his extremely amused reaction to my open-mouthed staring: he shook his head with a grinning laugh and wagged his finger at me as he sing-song-ed “You don’t know what’s going to happen!” He had my number.

We finally parked and in the first bit of weirdness discovered that we were right next to friends of mine from Earlham College: Kevin, Marti, and oddly enough Matt, with whom I had done the “New Wave and Punk” radio program my freshman year. I think Blind Bob was with them too. A completely unplanned happening and a total surprise! Introductions all around, cold Wiedeman’s handed out, and attempts at orientation made. We had parked in the front lot, fairly close to the theater’s entrance, and it was a pretty lively scene; lots of vending and general hustle and bustle going on. I turned around and Mike handed me two hits of Red Saucer bought from a passer-by (“fresh dipped, three days outta’ Berkeley, man!”), some for K and B and we were set-- down the hatch and here we go!

The first waves started as I sat on the front bumper of my friends’ car, watching the continual flow of people headed to the show. I became aware of a non-stop susurrus as all the beautiful hippie women drifted by and then a slight echo or ebbing and flowing of white noise from the sounds of voices calling greetings or advertising wares; I felt illogical movements throughout my body like I was inflating and respiring in a rhythm that was picked up and repeated by everyone and everything I looked at. I found myself unable to speak and quick check of my traveling companions found them equally stymied in that capacity. My older/wiser college friends laughed their asses off as I tried to explain in some sort of lobotomized, molasses-covered mime language to a wandering sticker-saleswoman that, in fact, I had no money and would be unable to purchase her wares. She was considerably less amused.

The flow of people toward the gates had increased and it became almost synchronized, like some sort of huge Busby Berkeley number, or a Fleischer Brothers cartoon in vivid pulsing colors. I looked in the direction of the gates and was amazed to see a dome-like dark purple glow emanating from just beyond the fence, as if some huge extra-terrestrial craft had descended, pulling the earth towards its base, and now, as my more mobile friends assured me, it was time for us to enter that dome. A crush of bodies as we got nearer, a rush of babel and laughter and flashes and flickers of faces and feet, a whirring tempest of flesh and sweat and teeth, and still the inhalation and exhalation of all creation keeping pace with mine, increasing until they were indistinguishable and then suddenly we were through the turnstiles and onto the cool humid grass sloping down towards the stage.

There’s a definite feeling that’s unique to the lawn at Alpine. It’s hard to pin down with just words, but my memory of it is always the rustling paper buzz of cicadas, the stillness of the air as it darkens with twilight, heavy with midsummer moisture, and a permeating vapor of organics, the bubbling smells of mushrooms and bark and leaves. That great stretch of lawn, dotted with blankets and, yes, even picnic baskets and coolers, conversation volumes bouncing between raucous jubilation and whispering anticipation, and again the distant sound of little bells and bare feet whisking through the grass. There are fireflies in my memory but they probably didn’t come out until later. Lots of people didn’t like the venue for various reasons but I’ve got nothing but great memories of the place and the various shows I saw there. It really is a special place.

We finally sat down in a spot about halfway down the slope and now the first really big wave arrived. The angle of the hill seemed to increase dramatically, and the cheerfully echoing tintinnabulation morphed into the ceaseless brass clangor of a thousand temple gongs. Everything outside of a ten-foot radius began to smear slightly as friends and neighbors passed in and out of sight. The initial strangeness of the other attendees began to manifest in the occasional extra eyeball or an odd lizard-like tail. It was getting more and more difficult to keep standing and I distinctly remember a bug-eyed Ben crawling across the grass toward me asking the eternal acid question: “what... is... going... on?” I hadn’t really thought about that, and now it seemed like a fairly important thing to figure out. I glanced around and discovered we were surrounded by nothing but bikers and this fully and truly freaked-out my Sex Pistols t-shirt-wearing self so I had to lie down with my eyes closed to ride out what I was sure would be an inevitable stomping. The “Great A-Horr” as Keyz put it, I think. So, I rode it out. Full on, full-blown mind-manifesting trip through the internal galaxy, visiting a dozen past and future selves, discovering that they were actually the beings sitting next to me, the eternal connection to the infernal and divine all right there with me inside a glowing purple sphere spinning somewhere out on the very farthest shores of my own personal Big Bang. Eventually the maelstrom of psychic winds began to ease a bit and I felt considerably more relaxed, my spine unknotting itself a bit, fingers and toes uncurling. Breathing for what seemed like the first time in ages.

I opened my eyes and announced that I was now ready for the show to start. Near universal guffaws informed me that I’d missed the whole first set, and so, fairly unfazed by this I set off in search of the bathroom. That trek was wild and wooly (and a great tale in its own right) but was successfully completed and somehow I managed to make my way back to my friends to compare notes. Still not a lot of verbal skills among us but all seemed well and we relaxed, drew deep breaths, and plummeted into set two as the twilight turned to darkness.

Nothing particularly special on paper, the second set contained music I was familiar enough with as well as unfamiliar variations that opened door after door, revealing unimagined vistas and possibilities. Some pieces imprinted deeply and became part and parcel of how I understand myself, like the darkness and betrayal of ‘Cold Rain and Snow’ or the regrets and redemption of ‘Brokedown Palace.’ Other sequences simply tore away at my expectations for musical performance, vigorously demonstrating the deep value of opening oneself to what was happening at every moment, letting go and being fully ex stasis.

The combination of the blotters, the music (and christ on a crutch! can you ever forget how that sound system could move every tone through your whole body, vibrating the spaces between your cells), and the very real manifestation of the crowd’s energy all catalyzed in the great, green alembic of Alpine Valley. It seemed that we had truly left life behind in the gravel of the parking lot, that there would be no returning, so best now release your grip and to dive into the heart of the cauldron. I remember that Candace’s lights carved the pillars and trusses and roof of the pavilion into twisting Aztec temple walls filled with mystic flowers and then gaunt, electric caryatids of Gothic saints, then a full illuminated medieval bestiary of day-glo dragons and falcons, and a sudden molten eruption like Rodin’s Gates of Hell before flickering back into ordinary steel and wood as the music drove us further and further out of bounds.

At one point, it sounded as if the gears of the universe were being forcibly stopped, a deep, dangerous grinding and screeching that shook away what was left of the ground below us, gargantuan cable tethers thrumming with the strain. Then shuddering stars shot beams of light catching bits and pieces of the people surging around me, writhing and melting against each other, turning into literal waves washing back and forth, up and down the hill, crashing against the white hot engine on stage, rushing back again and again, a bubbling witches’ brew into which I dis-incorporated and then reformed over and over until with one last massive exhalation it all became Alpine Valley again-- still vibrating to be sure, the grass seething with garter snakes of energy, rippling quicksilver just escaping from the periphery of my vision-- but actually back on earth; speechless, agog, poleaxed by the enormity of the trip-- mama, mama, many worlds I’ve come since I first left home.

We slowly slogged and stumbled up the hill, still seeming impossibly steep, and eventually got back to the lot and our car. The air filled with the smell of gunpowder, beer, and cooking food, the high- pressure sodium lights giving everything an odd sheen. Fireworks arced and exploded randomly everywhere as we cooled off with beer and little watermelon. Kevin gave me a fraternal shoulder punch and asked: So whatcha’ think? All I could summon was a shaky “Wow.” I compared notes with Kent, but mostly we were kinda’ speechless still. The facility staff didn’t seem to have any intention of making anyone leave, and things carried on into the night as the lights were turned off and the hooting continued. It took a little doing but we managed to convince Mike that he should not attempt the drive home and we made do with what crashing space we could find in the car, waking with the dawn to figure out which way to go.

I had experienced all the parts of that day at separate times, or in partial combination, but none of it, nothing at all had prepared me for seeing the Elephant.  Haven’t quite figured out what he told me, but I’m working on it.

[moody-nature]

Reposted because Spotify only gives you a sample of the song apparently.. 

[pehtite]

Shine by Buddy

[wvlfepackmg]

Music Video: MIA Keyz x Gutta Mike x TrippGang Deezy - “ Gutta & Keyz “

Music Video: MIA Keyz x Gutta Mike x TrippGang Deezy – “ Gutta & Keyz “

[musiciansconnect]

Sunday Groove TV

Reach out to thousands of potential Gospel followers on social media and on various TV Channels; we are proudly associated with Musicians Connect

Promote your music on Sunday Groove TV show with your host, Kwesi Keyz.

Sunday Groove TV Show hosts live music performances of Gospel Artists as well as interviews. These are aired on our partner TV stations as well as on Social Media

The tall list of those who have been aired on our platform include:

Willie and mike

Selina boateng

Chemphe

Efe grace

Kwan pa

Paolo

Prince ofori

Charles folie

Auntie…

[findasongblog]

Find A Song about the importance of timing in a relationship

Gigi Moss - Issues

Rising singer/songwriter Gigi Moss has announced herself onto the scene with this impressive debut. ‘Issues’ sees the young North Londoner bear her soul over a late night Alt RnB beat courtesy of producer Mike Keyz - showcasing her jazzy, soulful tones alongside some captivating storytelling.

Coming from a highly musical upbringing and having been surrounded by music her whole life, it seems Gigi was destined to follow her family’s passion. Her natural flair for musical expression is undeniable and ‘Issues’ represents an artist bursting with ambitions potential. The track also comes equipped with a music video via SBTV.

Tackling the theme of timing (both good and bad in relationships), lyrically the song explores how timing will always be the determining factor in whether a relationship will grow or not. Gigi explains:

“’Issues’ spawned from a personal experience where I felt that I had connected with someone however we were in different places within our lives and our timings couldn’t have been more wrong”

Having co-produced the track with Mike Keyz (credits include Big Zuu, Kojey Radical and Bobii Lewis), Gigi explains how it came abou in the studio:

 “’Issues’ was the first song I wrote in the studio on the fly. I completely improvised the start of the song so we had the lyrics and melody before even starting on the beat” (press release)

via Musosoup