#when does jay release a rock album
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@hyper-dorphin I am so sorry, but tumblr ate your ask. When I hit ‘save draft’ it vanished into the void.
I didn’t take a screenshot of the exact wording, but the ask basically said he liked my posts about Jay from Star Wars Visions V1 ep2, headcanoned Luke as a fan of the Star Wavers, and thought of the idea of Jay writing an album about jedi culture that he released after the fall of the empire.
I am just happy to find another Jay fan! I honestly thought I was the only one to care about this minor character. He sparks so much joy in me, I am glad my posts were enjoyable to you too!
I am obsessed with the idea of Jay writing an album based on jedi culture. This is literally a galaxy brain idea. I can see it starting as a coping mechanism, a way of mourning and moving forward. He writes about everything that was lost, never really thinking he would be able to share it with anyone but his bandmates. But then the empire does fall, and all of a sudden he doesn’t need to hide his heritage anymore and he has the freedom to share his culture with the world, so he does. He puts it all out there so that the jedi can never be forgotten again.
I hadn’t even thought about Luke being a Star Waver fan, but you are so right. They are both from Tatooine so it totally makes sense. Imagine Luke saving up his allowance to buy their albums and merch, or sneaking out to go to concerts. What if Luke just felt so connected to this band in a way he can’t fully describe? And everyone is just like, ‘yeah, we get it you are a hyper fan,’ but no, their music really makes him feel something. He doesn’t figure out quite what till years later, but he knows they are connected somehow.
So, I made a post about how Jay could kind of end up helping the rebellion here.
This just makes me think though, imagine Luke, chilling, listing to his favorite band and Leia casually says, “Oh, I know them.” Luke thinks she meet the band at an event or something because she was a princess but no, she says she knew them through the rebellion. Imagine finding out your favorite band does undercover work to help overthrow the empire. That would be like discovering, say, Harry Styles, is a spy. Luke will never be the same after that revelation.
Ohhh and imagine Jay showing up at Luke’s new jedi temple. Weather he decides to become a jedi again or not (I like both versions) he would totally want to visit at least. From Luke’s POV though this would be like the Beyoncé meme. He is just trying to restart a school when a famous rock star shows up and compliments his work. Luke is like:
You can find my Jay tag here.
#star wars#star wars jay#jay star wars#luke skywalker#star wars visions#asks#my posts#my thoughts#my headcanons#jedi love#pro jedi#jedi appreciation#hyper-dorphin#minor character fan club#Jay is my funky little dude. i love that guy for reasons i can't explain. he compels me.#thank you for the ask! I am sorry it vanished!!#this made me realize that like almost the entire jay tag is my posts#I am like a one woman fan club#let me by known as the star wars blogger that really likes jay for some reason
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♡ them as speak now (tv) | enha ♡
ot7!enha headcanon: inspired by songs off of speak now (taylor's version)
♡ ot7 x gn!reader | wc. 1.6k ♡ genres/tropes: fluff! some make outs i dont make the rules 🤷🏻♀️ ♡ mentions of/warnings: none lmk if i missed anything ♡ a/n: little something for every member <3 jungwon’s first and the rest below the cut ^^ the header is so pretty purple on top fr i meant to do this when the album released by it never happened lol enjoy !! also lowercase intended <;33 ♡ masterlist ♡
✧・゚: * jungwon - long live
it’s loud when you grab his hand, the whole room cheering. for what, jungwon has forgotten the moment he felt your fingers against his. he can barely hear you as he reads your lips: “remember this moment.” and suddenly there’s a crown on his head and on yours and then–that force he can’t ever ignore, not with you. the red string of fate tied between the two of you that pulls you together, his hand to your cheek and your lips against his. there’s no more cheering, just the sound of jungwon’s heartbeat and his thoughts. he wonders if you feel the same, if your heart feels so full it might just pop with petals and confetti everywhere, just like his. and when he opens his eyes, jungwon wipes away your happy tears as you laugh into his arms. homecoming royalty–who would have thought? he remembers when he was too shy to talk to you, now he’s ready to stand by your side for as long as possible. jungwon leans in to kiss you again, his mind clear and happy as the camera flash pops and he feels your smile against his lips, and he knows. “promise me,” he whispers against your skin. “always remember?” your arms wrap around his torso, and jungwon wraps his around your shoulders. your always, he decides, is his new favorite sound.
✧・゚: * heeseung - i can see you
messy, he knows, but not sloppy. you two shouldn’t see each other, or so they say. campus rivals gunning for the same position in clubs, the same achievements and awards and accolades. they should hate each other, is what you hear. but heeseung knows he could never, ever hate you. not even if he tried. he can’t even hate how the two of you have to act like spies, covert and not getting caught, because he likes keeping you secret. it’s selfish, really, but he can’t help it. your touch makes him dizzy, even the slightest brush of your hand against his passing in the hall sends his mind into overdrive. the things he sees in his head, what he imagines when he sees you waiting down the hall for him, drives him as he kisses you against the wall with fever. his hands at your waist, yours in his hair. heeseung knows this can’t last forever, so he’s counting the days until you can be his all the time, not just in small stolen moments. when the competition won’t matter, when what’s done is done and he can hold your hand walking to class and give you kisses goodbye. when you can slip into his dorm or he into yours, and neither of you have to worry about being seen. when there’s no more notes, because you’re finally in sync with one another. that’s what heeseung is waiting for, working for.
���・゚: * jay - ours
it’s how, no matter how busy, the two of you always find time for each other. jay isn’t sure when you slipped the note into his lunch, but he’s happy you did. seeing your handwriting and a little smiley face and heart lifts his spirits. especially when people around him are always asking questions and throwing metaphorical rocks: “aren’t you a little too young to know what love is?” but jay does know. it’s how your hand always finds his if you’re standing beside each other. how you’ll talk to each other, debriefing each other about your days, tucked beneath the covers, nose to nose. how, when you can’t sleep, he knows to rub your back in soothing patterns. he shares riddles with you, his notes in your lunch, and patiently waits for you to text him guesses. it’s how, after a long day, you find yourselves draped over each other in a corner of the couch, savoring each other’s breathing and relishing the okay silence. he doesn’t have to talk to you, or you to him. holding each other at the end of the day, you’ve both discovered, is more than enough to recharge. with you in his lap, your head tucked against his chest and beneath his chin, jay can’t imagine anything better. this love, he decides, shines, and it's yours forever.
✧・゚: * jake - enchanted
you came to him like a light, jake remembers. some dumb college party feeling lonely because he knew no one, and everyone only talked to him in passing. then–you. a light at the far end of the room, something he was drawn to. when your eyes met, the spark of recognition filled jake–but he wasn’t sure if he’d ever met you before. then, jostled together by the crowd, he caught you before you fell, hands careful around your arms before letting go. and he remembers wondering if you felt the feeling as well. and no one warned jake about how you would be all he thought about–how his eyes would search for you everywhere, all over campus and elsewhere, because why wouldn’t he? left so wonderstruck he’s surprised he can get anything done. but then–that chance encounter in the stairwell, seeing you again, and jake swore to himself he wouldn’t let you go so easily this time. his first page, his chapter one, begins with will you go out with me? it’s followed by a coy smile and an i will. and now here, months later, as the sunlight streams in through the curtains on this early lazy morning. jake is careful not to move, you’re still asleep. the sunlight, he decides, reminds him of you. a light, full of wonderstruck. he plants a gentle kiss to the crown of your head, and smiles when the hand on his chest holds on that much tighter.
✧・゚: * sunghoon - sparks fly
pouring rain as silence falls over the two of you, and sunghoon waits with bated breath trying to determine what you’ll do next. he didn’t mean to confess like this, soaking wet and just out of arm’s reach at the end of an argument. he had been acting “weird” because he didn’t want to ruin this friendship you had–one that had gone on for so long, but then he said it. i’m so in love with you, and i have been. it feels like slow motion as he watches the raindrops hit your cheeks and you step close to him. sunghoon can’t help it, he laughs, one short hah with a smile on his face because, somehow, you’re still here. he shivers when your hands come up to comb his hair out of the way, and his hands come up to rest securely at your hips. lightning strikes somewhere else, a rumble of thunder coming your way. the harsh yellow street light illuminates your spot in the dark. your hands go around his neck, and now there’s barely a space between you. “you’re captivating,” you whisper, before closing the gap and pressing your lips to his. you’re sweet and everything sunghoon wished for, pulling apart with a gasp to laugh again, his joy uncontained, he pulls you close, and revels in how you nuzzle into his chest. he’ll miss your touch when you aren’t with him, but he knows you’ll feel the same. and that’s captivating.
✧・゚: * sunoo - when emma falls in love
there have been other’s before you, of course. some came and went, and some stayed longer than others. now: you. the guards he built up at first would never have allowed it, letting you in like this after everyone else. but even when sunoo was unusually cold, you stayed. bit by bit, sunoo felt it. love, the ooey gooey kind that sticks to everything and changes how you see things, even color. because it isn’t just a color anymore. it’s your favorite. or the one you look best in. or the one that matches your eyes. sunoo falls, and he knows others can see it, like how stars shine in the night. and before he confesses, and after a few dates, sunoo locks himself in, paces imaginary ruts into the floor. he tries to talk himself out of it, but his heart talks him back in. he used to always look for the rain, but with you? he finds out his heart fits in the palm of your hand, and as sunoo stares up at you, his head in your lap and your fingers combing through his hair, sunoo is okay to let you keep it. something tells sunoo, this is it. his shelter, his love. and he’s oh so okay with it. he pours out his love, words after words, actions after action, kisses after kisses. yes, there have been ones before you, but sunoo will be damned before letting anyone else come after.
✧・゚: * niki - mine
people tell him all the time he should “keep his options open.” but niki knew the moment you walked into the diner he worked at, you were the one. how could you not be? now, here you were, your first official date–one that didn’t include you coming around to see him at the diner. there’s too many feelings running through his body–fear and excitement and nervousness and–god, you’re just right there. inches from him. what should he do? the lakewater laps against the shore down far in front of you two. then it happens. niki turns to ask you something, and he’s forgotten now because you’ve done the same thing and somehow between you leaning and him ducking down–a kiss. your first kiss with each other. you stare at each other, lips askew and kissing each other’s corners. but then, like magic, you close your eyes and break apart just enough to kiss again, for real this time, and now niki’s emotions feel like they’re times ten. after who knows how long���not niki, he could stay here forever–you pull away again. his eyes flutter open, and he savors the redness of your cheeks, knowing his must be just the same. he reaches out to lace his fingers between yours. “be mine?” he asks, and you laugh, a joyous sound niki promises to keep around. you kiss him again. “of course, if you’ll be mine?”
#kdiarynet#kwritersworld#kflixnet#k-labels#enhypen fluff#enhypen headcanons#enhypen scenarioes#enhypen imagines#heeseung fluff#heeseung headcanons#heeseung scenarioes#heeseung imagines#jungwon fluff#jungwon headcanons#jungwon scenarioes#jungwon imagines#jake fluff#jake headcanons#jake scenarioes#jake imagines#sunghoon fluff#sunghoon headcanons#sunghoon scenarioes#sunghoon imagines#jay fluff#jay headcanons#jay scenarioes#jay imagines#sunoo fluff#sunoo headcanons
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Jason Derulo “It Girl” 8/9/2011
I've been looking under rocks and breaking locks
->”I dream of cracking locks” Guilty as sin
Just tryna find ya
I've been like a maniac, insomniac
->”Este’s been losing sleep”
Five steps behind ya
->”It’s like I’m taking 5 steps forward and 10 steps back”
Tell them other girls, they can hit the exit, check please
'Cause I finally found the girl of my dreams
->”I’m the girl of his American Dreams” Fresh Out the Slammer
Much more than a Grammy Award
->Eminem has 15 Grammy Awards, Taylor has 14 Grammys, and Beyoncé has the most Grammy awards in history with a total of 32. It’s crazy that she has more than her husband Jay Z who has 24 but has not yet been inducted to the Rock and Roll Hall of Fame. Why are we memorializing music when the artists careers are so close to being over? Why not celebrate them when they are in their prime, they would draw a better crowd and a younger demographic as well. Not to mention the rules of induction are stupid, the rules are in place so not everyone has a chance to succeed and that is just mean.
-> Eminem has recently teased the word Grandma in one of his tweets. The 2025 Grammy nominations just rolled out
-> Fall track 10 on his 10th studio album (this single was also released on9/4/2018, 4 days after the album released.)
“Revenge is the best medicine
Increase the dose, from least to most
Then tell the Grammys to go and fuck themselves”
****Better Than Revenge 10/25/2010 3rd album 10th track. ->played 1x on the Eras Tour show #60 N3/3 Buenos Aires 11/12/2023.
**310 area code is for Los Angeles County, California. Including Carson, Compton, Hawthorne, Inglewood, Redondo Beach, Santa Monica, Torrance, West Los Angeles, South Bay, and Santa Catalina Island. The 310 area code was created in 1992 when it was split from the 213 area code. In 1997, Eastern Los Angeles County and Long Beach were split from the 310 area code to form the 562 area code
That's how much you mean to me
You can be my it girl, baby, you the shit, girl
Loving you could be a crime
Crazy how we fit, girl, this is it, girl
Give me 25 to life
->”25 to life” Eminem track 12 on his 7th studio album.
I just wanna rock all night long
And put you in the middle of my spotlight
You could be my it girl, you're my biggest hit, girl
Let me play it loud, let me play it loud like
Can't seem to stop you from running, running
->The Bolter
Through my, through my mind, mind
Just keep it coming, coming
'Til I make you mine, mine
->”you are the best thing that has ever been mine”
You've got that something, something I wanna be with, girl (wanna be with, girl)
You're my greatest hit, girl (you're my greatest hit, girl)
->Eminems Greatest Hits album was Curtain Call: The Hits which was released on 12/6/2005, When I’m Gone was released as a single this day as well.
->Is Taylor about to drop a greatest hits album? I feel like with how she talked about All Too Well with how the lyrics kept pouring out was the start of what we know of Woodvale. But we are all waiting and being teased for Rep TV, what if it’s actually a combination between Taylor Swift and her Reputation, which is actually her Redemption. With all of her mashups and lyric changes throughout the duration of the Eras Tour she has enough “new” music to put out a couple albums of just her greatest hits mashed up and all rolled into one.
Another word for Redemption is Recovery. Eminems 7th studio album, while her 7th album was Lover. Track 12 on Lover was “Soon You’ll Get Better” ft the Chicks. She is essentially saying her lover will get better soon, but she is the one taking a miracle move on drug in Fortnight. I still stand by my opinion that thanK you aIMee is about America. Eminem’s 12th studio album was TDOSS, which is not the death of him. It the death of who you wanted him to be. He might be ready to be himself, but you don’t get a say in that, only he does.
*12/6 mirrored makes 621 which is the area code expected to be active starting January 23, 2025 (1..2..3) in Houston, Texas. The 621 area code will cover the same geographic area as the existing 281, 346, 713, and 832 area codes. This includes Houston and surrounding communities like Baytown, League City, Missouri City, Pasadena, Pearland, Sugar Land, and The Woodlands. The 621 area code was created to temporarily accommodate the growing population in the Houston area. The PUCT estimates that the existing area codes will run out of phone numbers by the end of 2025
Just say this is it, girl
Hey, baby
Don't you know you're mine, girl? (It girl)
->Clara Bow was also an It Girl.. Clara Bow # in the alphabet makes that 3..2.. and thats where exile ends right? And if above is the connection to TX.. well Arlington is 4 hr and 23 minutes to Houston via I-35E S and 1-45 S making it 269.9 miles.
*4/23/2023 was show #13 in Houston, TX. The SS were Begin Again (Red 4th album 16th track) and Cold As You (Taylor Swift 1st album 5th track) the first letter to the first word of each album title is BC which is 23 which is 32 backwards which is what the exile sea shell pocket watch said.. we never got the 1. Also the album titles first letters are RT. (1920 corresponding # to letter)
“But we were something, don't you think so?
Roaring 20s, tossing pennies in the pool
And if my wishes came true
It would've been you
In my defense, I have none
For never leaving well enough alone
But it would've been fun
If you would've been the one”
^ lyrics from “The 1”
*Killeen, TX is 3hr and 10 minutes to Houston (188.8 miles) vis St Highway 36 (9) N and US-290 (11) E There were 3 versions of her “10th” album.
***Killeen Lodge #1125 Bell County, District #48 (that is 12, hunger games reference? District 3 had the main industry as technology and people manufactured televisions, computers, and other electronics.. just like our world today. ) with meetings on 3rd Thurs, this year the 3rd Thursday is 11/21
*I was today years old when I found out that the Panem districts have “present day locations…” every part of this world is scripted, so the New Romantics are writing the B-Sides, the deep cuts that no one listens to, and writing the books that get banned for being “too out of the box” because it is dangerous to think that way. The goal isn’t to wake everyone up, it’s to wake enough up people that they can start the revolution.
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Sunday Records shopping list, 2018.
Sunday is the best day to go to a record store. Why have we opened this record store? For you. To see your smile when you look at the records. And, hear your story about how a song or album changed your life. The people who come into the store are happy to be here. We see glowing faces. We see people who are taking a moment out of their busy day to relive a memory that was special to them or discover a new song they never heard before. A very cool thing to witness and be a part of. See you on Sunday. Come in and flip through.
That’s what Sunday Records says on its page. No exclamation marks. No explosive excitement. It spoke to us in a kind pleasant way. They made a point that after a crazy work-week, there should be one day for everyone to enjoy themselves and spend the time relaxing. I’ll co-sign on that statement.
I learned of its existence from my former co-worker and friend Kryssy who made a video of it for journalism. Opened since November of last year, it’s named after the only day of the week it’s open. It seems odd because all businesses nationwide are open at least five days a week to stay alive and for its owners to maintain a living back home. Not Sunday Records who’s open for business for only a few hours per week. I wondered how? Brian is a city lawyer whose second passion was opening this store. He wins either way. It was the longest drive so far for music. Close to 28 miles driving out east to Riverhead, to be exact. Long stretches of road on the Long Island Expressway makes you have Brown Bunny moments where you’re in a zen-like state driving only 55 m.p.h., conjuring up all these mundane events during these trips like the weather, certain people, and anything else that comes to mind. There were plenty of police on the highways, one in an SUV parked on the side of the road with his lights flashing, mercilessly firing a speed-gun in our direction. The 7th precinct is right off the highway in Yaphank so that explains it.
Riverhead is a plain normal leisurely town with plain normal leisurely people. It does nothing to anyone. It’s right at the split of the east end of Long Island buried in trees and near the water. Sunday Records was almost straight-forward to get to with a round-a-bout to switch county roads. I walk in and there were no more than 10 people of all ages 17 and up. Some by themselves, some with boyfriends. There was a listening room behind its’ storefront window for visitors to sit and enjoy the music. All stores have genres, new releases behind the counter, staff picks, dollar-bins, and maybe four-for-a-quarter in all formats. Sunday Records has none of it. There are no bargain bins but titles are priced starting at $3.00 each for singles and $4.00 to $20.00 for most LPs. No CDs or cassettes, only vinyl. It’s the one store on the island to truly pull it off. No behind-the-counter new releases, no registers. Brian, the owner, was sitting behind the dee-jay booth playing tried-and-true classics.
“How are you? Have you ever been here before?” he asked in which I kindly answered “no”. “As you see, all of these records here are categorized by radio station. Over there: there’s WEHM for all the newer stuff, WBAB for classic rock, WLIR for the Eighties, new-wave, and pop hits. Other stuff we have, we have jazz and rockabilly at that back wall, and other music we have listed as ambient.”
That’s right. All albums are categorized by Long Island radio stations, not by genres. Either he worked in broadcast or just like thousands of Long Islanders and I, he loves his classic radio. I should know. I never seen any record store who organized themselves by call letters over genres. Then I realized, I’m now organizing my favorite jazz / fusion songs by channels I watched as a kid in Brooklyn, and my Omega projects are organized by seasons. Then we go back to Brian, whose own system was a first. Commercial radio has formats, so does Sunday Records. That’s the thing. WLIR’s credo was they “dared to be different” and it worked. It’s why there’s a newly-released documentary about it. Adult-alternative station WEHM operates in Manorville with both Billy Joel and ex-wife Christine Brinkley having minor stakes in it. WBAB is Long Island’s long-standing rock station which pioneered the album-oriented format (AOR). All three I never listened to as WEHM’s signal is too far east for me to reach (but there’s streaming, right?), and as an Eighties kid I always listened to Z100 and other stations forward. They’re still in alphabetical order and by artists, not all hope is lost. In fact, it’s in perfect alphabetical order. There’s almost no room for error where people pull things out and place them in the wrong bin. Brian has it down to a tee. All records sold are in plastic sleeves and labeled at the very top right-hand corner. It was easy for my eyes and fingers to scan through the 100 or so wooden 12” bins and 30 7” shelves. I zipped through the entire store in less than three hours. Sunday Records’ majority of stock were chart hits. Classic rock like The Who, Rolling Stones, Ted Nugent, Lynyrn Skynyrd, and so forth were classified under WBAB. They also carried a lot of No Age (which I picked up), Hot Chip, The XX, Sleater-Kinney, Arcade Fire, and other Pitchfork-approved artists mostly under the WEHM umbrella.
But if you’re a fan of new-wave, synthpop, and early industrial, then Sunday Records welcomes you with open arms. As it falls directly into Sunday’s format (WLIR), artists like General Public, Simple Minds, Yaz, Heaven 17, Lene Lovich, Art Of Noise, and Culture Club are featured. Tom Tom Club, Re-Flex, Modern English, Roxy Music, Spandau Ballet, Dead Or Alive, Freur, APB, Kissing The Pink, and so much more. They had plenty of Depeche Mode, Joy Division, and New Order, too. I was even surprised in seeing 12” singles from With Sympathy-era Ministry and Front 242. Less than half of these artists I just listed I never even thought received radio airplay and I totally missed it. It was the Eighties and synth-based dance music was huge, though it wasn’t the only genre they played. Whatever few records not classified under Sunday’s radio system is labeled as ambient, as I did find a few copies from Baby Ford, Aphex Twin, Groove Armada, and other electronic acts. But like radio, Sunday Records abides by format. If it doesn’t fit that format, then it’s not there. That meant no hardcore, underground punk, hip-hop or noise to be found. Not to say that’s bad thing, because if there’s a system, then it’s done right.
I was pleased to find what I did. Three Cabaret Voltaire records which made up giving them up earlier. There was Images In Vogue’s self-titled release whom cEvin Key of Skinny Puppy used to drum for. Nitzer Ebb’s As Is was all for the taking. Hello again, Strawberry Switchblade. My stay there shined with the purchase of many singles that I listened to during my Eighties gamer youth, singles from Dead Or Alive, Tony Basil, Suzanne Vega, J. Geils Band, and Utah Saints. More synth-pop goodness from Fad Gadget and Gary Numan, the first of each artist in my library. How about singles from Malcomb McLaren and Public Image Ltd.? Stray Cats and Madness were two from the turn-of-the-decade rockabilly and post-punk. Finally, there’s Todd Rundgren’s “Hello, It’s Me” and Siouxsie Sioux’s “Hong Kong Garden”, two singles that hit the spot during a essential springtime at Stony Brook.
Let’s not forget the full-size records. I was very relieved to find Steve Jones as everything he does is gold. Steely Dan’s Pretzel Logic was one of the few I was missing of theirs. Why not Patti Smith’s Easter just because? And if there’s only one Doors’ album to have, it’s their greatest hits containing all their songs from a friend’s mixtape given to me in junior year. The only jazz record I picked up was Ramsey Lewis’ Tequila Mockingbird which had “Skippin’”, once used for WABC’s late-night movie intro which has yet to surface.
Of all the visits during this run, here’s where I passed up the most records. There were two Aphex Twin records I gave up as I knew I had them already on disc. Kraftwerk’s glow-in-the-dark “Neon Lights” single caught my eye and yours, too, if you found it. At $40.00, I couldn’t even touch it. That was the second most expensive title Brian had. That honor went to a real metal tin copy of Public Image’s Ltd.’s Metal Box priced at a hefty $125.00. There was Johnny Lydon hiding behind it, looking at me with his sad face when I seen its’ First Issue. It was sadder to put it back on the shelf because $20.00 was too much for a release I may find for less later. The same went for a newly-pressed Velvet Underground non-peel version for $22.00. I also gave up two Parliament records, Mothership Connection and Motor Booty Affair on picture disc, both for at least $25.00. Parliament is one artist I can never seem to find at a low price.
Halfway through some intense searching, some weird dude came in all dressed up in a patterned polo, jeans, and a twee handlebar mustache. I’m not kidding. He was half a cowboy minus the ten-gallon hat. He’s minding his own business thumbing through the crates as I learned it was Caboose, former staffer of the Stony Brook Press. I gave him 20 minutes for him to turn around and notice me. That’s when I spotted him. Time’s up, Caboose. He sees me in “holy shit!” ecstasy. We haven’t seen each other since our time at Stony Brook. Knowing I been going across the island, he had to catch me at one of these ten stores. He had his ninth chance and found me here. Congratulations. It wasn’t until recently that he took up record collecting, which he didn’t have in him back then. He was still heavily into anime and had a few visits in the city lined up for the rare Japanese metal band coming to the states.
“Do you buy records because you really like them or just for the art?” Caboose came across as inconsiderate and snide, but this was a legitimate question as I myself made purchases based on record cover or artwork alone. Make no mistake I was familiar with all the artists I bought today. Not that it mattered. He then asked how many records I have. Let’s just say he almost died right in the store. We kept on catching up with each other. Both of us haven’t seen our fellow Press staffers in our paths since but one of our own, The People’s Republic Of James, was in the hospital for diabetic shock. As we’re talking, Frank Zappa’s “Catholic Girls” came on from Brian’s dee-jay booth and it was the most cringe-worthy thing I ever heard. It’s well-known that Zappa pushed the envelope for creative freedom and our right to enjoy blue comedy. I’m all for it, but it’s way below me now. There were perverse people in my life who still get a kick out of it, insignificants with drop-out mentalities who still operate on cheap one-track minds I want no part of. But a few minutes later, Brian offered us to play Public Image Ltd.’s Album, so all was back to normal. Caboose mentioned to Brian that I was from WUSB and a conversation struck up. Brian asked about my show and my experience at Sunday. I thought it was great that his store was set up for a specific nostalgia factor that truly hit home and personal. Towards the end of my search, more people entered saying positive things about Sunday Records. I couldn’t agree more. With a few more sacrifices, it’s time to pay up.
There was one more thing he wanted to show me as he added up my records. Some of them had stickers designating some copies as “screamer & screecher of the week” as per number and week, referring to WLIR’s special feature where its’ dee-jays nominated their favorites and listeners chose the winner by call-in vote. A feature that ran for 17 years of the station’s history, that, if someone were to see each entry (and Discogs has it posted, don’t worry), would see WLIR’s evolution over the years. Many people think Brian’s an eccentric only being open on Sundays and classifying records by radio station. I agree. But guess what? It’s a good eccentric. Here’s a guy who cares about the history of radio so much that he’s made a store of it. I swiped my card, signed off my purchase, shook his hand and said thank you.
Nine down, one to go. The experience at Sunday Records had me thinking of how different people classify things in their lives and how they make it work. It also had me thinking what was really out there decades ago and what else I could’ve picked up living as an Eighties kid. The only record store left to visit is now Innersleeve in Amangansett all the way inside Long Island’s south fork and right before Montauk (The End). I’m not going at it by myself. I’d like to enlist a few of my friends to chip in, and come with me to put the finish on a great record-store run.
Cabaret Voltaire The Arm Of The Lord
Nitzer Ebb As Is
Strawberry Switchblade Who Knows What Love Is?
Steve Jones Mercy
Patti Smith Easter
Ramsey Lewis Tequila Mockingbird
Doors, The Greatest Hits
Cabaret Voltaire Drinking Gasoline
Utah Saints “Something Good”
Image In Vogue self-titled EP
Steely Dan Pretzel Logic
No Age Losing Feeling
Dead Or Alive “Brand New Lover”
Cabaret Voltaire The Drain Train
Public Image Ltd. “Home”
Gary Numan “Cars” / “Metal”
Malcomb McLaren “Soweto” b/w “Zulu’s On A Time Bomb”
J. Geils Band “Centerfold” b/w “Rage In The Cage”
Fad Gadget “One Man’s Meat” b/w “Sleep”
Tony Basil “Mickey” b/w “Hangin’ Around”
Stray Cats “(She’s) Sexy + 17” b/w “Lookin’ Better Every Beer”
Madness “Our House” b/w “Cardiac Arrest”
Todd Rundgren “Hello It’s Me” b/w “Cold Morning Light”
No Age Eraser 7”
Suzanne Vega “Luca” b/w “Night Vision”
Siouxsie Sioux & The Banshees “Hong Kong Garden” b/w “Night Vision”
#omega#music#playlists#mixtapes#personal#Long Island#CD#cassettes#tapes#vinyl#records#industrial#new#wave#synthpop#gothg#punk#rock#jazz#fusion#hippie#techno#sythpop#garage#snythpop#new wave#goth
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Darryl “D.M.C.” Matthews McDaniels (born May 31, 1964) is one of the founding members of the first commercial rap group RUN-D.M.C. For over 40 years, he’s been rapping with his friend and bandmate Joseph “Run” Simmons.” He taught himself how to D.J. in his parent’s basement after his older brother gave him a turntable. He and Simmons hooked up Jam Master Jay and Run, and the three have been Run-D.M.C. since then. After a series of name changes, McDaniels stuck with D.M.C., which are his initials, and it suited him the three rocked parties with McDaniels and Simmons on the mics and Jam Master Jay on the turntables, which is the setup we’re all familiar with today. They released their first self-titled album in 1984, and Run-D.M.C. continued to be successful throughout the ’80s. They continued to perform throughout the ’90s and early 2000s. In 2006 they were inducted into The Rock and Roll Hall of Fame. They took time off after the death of Jam Masters Jay. McDaniels and Simmons have never parted ways; they would perform at special hip events.McDaniels has been a big fan of comic books since he was a child, so when he is not working on music, he works on his comic book series.McDaniels mentors youth and does speaking events. In 2006, he worked with VH1 in a moving documentary in search of his birth mother after learning he was adopted. He recently wrote a book about his career and struggles with depression. He will still perform some of the group’s classics at events. If you’re lucky, you might catch him at a comic book convention promoting his comic book. He has a diverse taste in music yet keeps hip-hop roots. He wants rappers today to watch social issues and still have fun.McDaniels is a down-to-earth guy and never has had any “beef” or fallout with Simmons. True hip-hop fans love and appreciate the group.
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Olivia Rodrigo's generational influence
Jay Caspian Kang writes an article for The New Yorker titled ‘Why Gen X Dads Can Appreciate Olivia Rodrigo’. He initially introduces the connection he has with his daughter, as they both are able to enjoy the new Teenage Mutant Ninja Turtles (TMNT) movie in a way that is relevant to both of their individual childhoods, despite their childhoods having taken place decades apart, due to what he would describe as ‘era-hopping’. By ‘era-hopping’ he’s referring to when media bounces between time periods, the TMNT franchise has continuously produced media since the release of the original 1987 series, therefore, remaining relevant to the younger generations of the past and present. Olivia Rodrigo achieves this same ‘era-hopping’, however, in a little bit of a different way, which I will outline throughout this text.
Kang makes this same link to Olivia Rodrigo’s music as her Sophomore Album ‘Guts’ has just released this past Friday (8th September 2023). He describes listening to the album as “the feeling of being sprayed with a nostalgia hose”, for those born between 1972 and 1985. Due to the album’s likeness to artists such as Wheezer, Bikini Kill, No Doubt, Green Day, and Blondie. Kang also addresses that fact that while other modern artists also draw inspiration from the past of music, Rodrigo does it in a way that makes you wonder if it was her intention or not. He also suggests, many artists are compared to a single other musician or band such a Greta Van Fleet who are constantly compared to Led Zeppelin. Whereas Rodrigo seems to draw inspiration from a plethora of artists, both across the entire album and within individual songs.
While Rodrigo has a talent for creating music that draws upon artists and music of the past, this is a double-edged sword for her career and credibility. Following the release of Rodrigo’s debut album Sour she later added additional writing credits onto the songs ‘Déjà vu’, ‘1 step forward, 3 steps back’, and ‘Good 4 u’. Taylor Swift and her co-writers (Jack Antonoff and St. Vincent) claimed that ‘Déjà vu’ shared similarities to Swift’s ‘Cruel Summer’ and the same for ‘1 step forward, 3 steps back’ and Swift’s ‘New Year’s Day’, which they were awarded writing credit for. Hayley William’s Paramore did the same for the song ‘Good 4 u’ claiming its similarity to ‘Misery Business’, which she too was awarded credits for (and Paramore ex-guitarist Josh Farro).
Contrastingly, upon accusations that Rodrigo included a guitar riff in her song ‘Brutal’ from Elvis Costello’s ‘Pump It Up’, Costello chose not to pursue claims. He stated on Twitter “This is fine by me” and “It’s how rock & roll works. You take the broken pieces of another thrill and make a brand-new toy”. Which is an opinion that many agreed with, particularly as people found the accusations made about Rodrigo’s music to be unfairly preying on the success of a young and upcoming artist. While credit should be given where it is due, I think there is a lot to debate about where the line should be drawn.
While Rodrigo’s music does not remind me of the music that was popularly on the radio throughout my childhood, it does remind me of the music my parents played as I was growing up. So, while I was not alive during the time periods that Rodrigo’s music references (nor was she), I am able to recognise the nostalgia that Kang references in his article. The article itself also pulls on my heart strings a little, as Kang discusses his experience listening as a father to a young girl, something that is bittersweet for me as I lost my father at a young age. Kang has allowed me to imagine that my dad and I would have been able to listen to the album Guts together, through the commonality we could find in her music’s sound and lyricism.
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Its been 1 year of Jack in the Box and I am not okay
Cannot believe its been a whole year since J-Hope released his official debut album Jack in the Box. I remember leading up to the release of the More mv I was telling my friend that I thought we were going to go through a Rocktan renaissance. And then Hobi gave us an album that just spoke grunge and old school hip hop. When I tell you those teaser images came out and I was like oh okay, this this is speaking to my angsty childhood.
I sadly didn’t get to appreciate this album as much as I wanted to because on July 11th we had to put down my cat of 15 yrs. But I tried to be tuned in for streaming and votes, and I was more with it by Hobipalooza.
So today we revisit J-Hope, sorry Jay’s, debut album 😂
First order of business, I’m glad that the promotion and release cycle went the way Hobi wanted it to. But I will forever be wanting a cd cover with that KAWS artwork, its just so good!
BTS Episode: Album Cover Shoot Sketch
Standout tracks from this album for me were:
More, = (Equal Sign), What If… and Safety Zone
The Singles
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The first introduction we had to Jack in the Box was through the release of the More mv on July 1, 2022. And the concept was definitely expressed. Hobi talked a lot throughout the promos about wanting to remove himself from the box of J-Hope, and see if he could still make music that would draw in people (paraphrasing), and for me he definitely succeeded.
BTS Episode: More MV Sketch
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The Arson mv released on July 15, 2022, along with the album. It was a good title track to choose because it really speaks to the old - school hip hop with the kick snare beat.
Both of the mvs for this album really invoked to me at least, mvs of the late 90s early 00s. Lots of muted dark colour palettes, close shots and enclosed spaces. For More specifically he’s always surrounded by stuff and contained within 4 walls, illustrating the claustrophobia of being contained. In More he’s still trapped in the box looking for more; whereas in Arson Jack has escaped and has burnt it all.
The choices for the two singles could not have been picked better. They bookend the album thematically and literally. Opening with More showcases the rock elements Hobi will be using, and ending with Arson calls back to his hip hop roots.
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Just recently for festa we were treated to an Arson rock version, and oh boy does it slap. It’s less kick snare, more drum fills and guitar riffs. So if you’re not super into hip hop but love rock definitely check it out!
Bangtan Bomb: JITB Listening Party
lol does anyone remember when we started seeing all the celeb stories about this party? what a time 😂
Hobipalooza
“You can call me Jay”
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J-Hope headlined Chicago’s Lollapalooza on Sunday, July 31, 2022. He made history as the first Korean artist to headline a major U.S. festival. He drew a crowd of 100k to his 70 minute set at Bud Light Seltzer stage. He was A M A Z I N G!
I tuned in on weverse to watch his set and from the moment he popped out of the box he owned that stage. I’ve rewatched it a couple times since and every time its just as good. Highly highly recommend.
BTS Episode: j-hope @ Lollapalooza
J - Hope in the Box
(Can be found on Disney+ for streaming or can be purchased on Weverse.)
I’ve always loved documentaries and behind the scenes looks at creation of art. Watching the inception of JITB and the triumphant conclusion with Lollaplooza, showcased how dedicated J - Hope is to his craft. The contrast between the quiet montage of Hobi staring at his computer in the studio to the boisterous prep meetings and rehearsals demonstrates how his art is not made in a vacuum. It may begin as introspection but it eventually has to be shared and he can not control the reception of others. I really loved the ending where there’s a final ITM of J - Hope in a park on a sunny day in Chicago, having finished his set the night before. He speaks on his thoughts about how JITB rollout went and how it felt to finally perform as a solo act. If you haven’t already seen it you should, BH has always been good at delivering behind the scenes content and the editing on this doc was some of their best.
For the first official solo debut of a BTS I couldn’t have asked for anything better. J - Hope gave us an album that demonstrated a new side to him as an artist. For those who already loved his music, you received more amazing music. And for those who were new to him, you were introduced to a musician who loves to try new things and push the boundaries of his talent when he is already at the top.
Here’s to 1 year of Jack in the Box, and here’s to J - Hope!
If you’re interested in behind the scenes production looks etc. I’ve also linked the relevant Bangtan Bombs/Episodes.
#jitb#happy 1 year anniversary of jitb!!#j-hope#jung hoseok#bts music discussions#when you're a 90s boy and just want to make a punk rock hip hop album#i mean how hard is it#Youtube#bts solo projects
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97: Rob // Rob
Rob Rob 1977, Essiebons (Bandcamp) My favourite Ivorian Robot Operating Buddy from Ghana, Rob’s first LP is what Jay-Z once called “Black superhero music.” Few of the songs develop a ton—what you’re hearing in the first 30 seconds is more or less what you’ll be hearing seven minutes later, but it must be said that there is not a moment of this record that does not feel like an appropriate soundtrack to history’s slickest motherfucker doing his thing. Rob is probably one of the better-known afro-funk reissues of recent years, an assessment I’ve made purely on the basis of knowing one guy who will understand what I’m referring to when I yell “FUNKY ROB WAY” at him. (Though another sign might be that two different reissue labels, Mr. Bongo and Analog Africa, appear to have re-released the album within a month of one another in 2019. The Analog Africa version seems to be a much more elaborate production, but my Mr. Bongo version sounds great and you don’t necessarily need to know Rob’s star sign or shoe size to enjoy the LP.)
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As a frontman, Rob is mostly just kinda there, muttering or yelling something every few bars while his band produces Pacific Northwest quantities of smoke. (Or as of 2023, Montreal quantities of smoke.) They really have an incredible sound, the funk equivalent to one of those collector-bait underground psych rock bands that turned some uncle money into a spectacular amateur studio and recorded one melted opus before selling their instruments and beginning a Christian ministry in Vanuatu. Though plenty of Ghanaian bands of the era could make people move, Rob’s band are just as impressive on the spacier numbers, like the warbling synth-spined “Forgive Us All” and “Your Kiss Stole Me Away,” which are basically FM radio for Black UFOs. The ensemble began life as a military band called Mag-2 under the stewardship of fanfic-ass-named guitarist Amponsha Rockson (would be like my parents naming me Hieronymus Suckdickson—how could they have known?). I gather that at the time joining the military wasn’t a bad deal for a musician, as the army would provide kickass western gear in exchange for entertaining their fellow troops. The Analog Africa liner notes (kindly provided on their Bandcamp) say the Mag-2 guys were still living in their barracks during the recording of this album, which suggests the Ghanaian Army must’ve been a pretty chill org. (Please send your links to the Ghanaian Army’s Wikipedia page subsection on ‘Atrocities’ to my email.) Can you imagine the US Army Herald Trumpets playing something as cool as the horn hits on “More”? (Please send your links to the US Army Herald Trumpets’ Wikipedia page subsection on ‘John Zorn Collaborations’ to my other email.)
In conclusion, a hearty “FUNKY ROB WAY” to you and yours, goodnight.
97/365
#vinyl record#music review#'70s music#afro funk#ghanaian music#west african music#ivorian music#funk#analog africa#mr. bongo#funky rob way#funky rob
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THE GRAMMY PROBLEM: MISREPRESENTATION
Any fan of hip-hop or rap who saw the most recent Grammy’s was likely pretty disappointed by the lineup of nominated albums. While commercially successful, Jack Harlow and DJ Khaled’s projects were critically lambasted for their vapid, generic sound, mostly lacking anything in terms of creative nuance or artistic purpose.
Despite this, these two albums took up two of the five total nominations, in place of a variety of (arguably) more interesting, creatively fulfilling projects from artists like Freddie Gibbs, Denzel Curry, JID, Black Thought and others.
People less familiar with the Grammy’s history may also wonder why incredibly popular artists like Drake and The Weeknd, actively decided to not submit their albums for consideration.
For many POC artists and those in the rap community, there has existed a sentiment of misrepresentation for decades now. Even after becoming the country’s most popular genre since a particular rise in 2016, only two rap albums have ever won album of the year --- Lauryn Hill’s “The Miseducation of Lauryn Hill”, and OutKast’s “Speakerboxxx/The Love Below”. The most recent of those two albums released in 2004.
Many rappers, including Eminem, have directly stated that regardless of quality it feels the award show continues to snub the genre as a whole from winning larger accolades.
“For whatever reason, they’re always pitching this hint that you might win album of the year, which used to be a big deal. I don’t think it’s a big deal now.” Eminem said in an interview with Sway Calloway.
Even within the category of rap, there has been continued misrepresentation. Cardi B in 2017 was the first solo female artist to win an award for Best Rap Album, despite artists like Nicki Minaj and others having critically and commercially successful albums in the past.
The institution has also been repeatedly criticized for misplacing non-rap music by POC artists in the rap category, placing Drake’s “Hotline Bling” as a Rap single, despite him essentially singing the entire time and the song feeling more pop-r&b if anything.
Tyler, The Creator, won Best Rap Album for Igor --- largely an R&B, alt-rock album that Tyler himself said was not rap.
Others received no nominations. The Weeknd received no nominations after an incredibly successful release of “After Hours” and the single “Blinding Lights”, which later ended up being performed at the Super Bowl.
Even one of the most grammy-celebrated artists, Jay-Z, has previously boycotted the award ceremony for not providing adequate representation.
The list extends decades from Will Smith in 1989 to Drake and the Weeknd last year. Almost every major hip-hop artist has boycotted the Grammy’s at one time, with a handful of examples being:
Rhianna, Frank Ocean, Rick Ross, Nas, Eminem, Chris Brown, Lil Wayne, Kanye West, Snoop Dogg --- just about every major name in the industry has expressed disdain or outright boycotted the awards at one instance.
This cyclically hurts the Grammy’s as well: as more artists feel underrepresented, more of them withdraw their albums for consideration (Drake and The Weeknd currently, Frank Ocean in 2017, etc.), causing the award ceremony to have to look elsewhere among the Billboard 100.
When it does that, Jack Harlow and DJ Khaled are pitted against some of the best of the year, like Kendrick’s “Mr. Morale and the Big Steppers.” Artists that have denounced the institution are still desperately awarded by the Grammy’s through features they provided on those out-there albums.
Drake won a Grammy this year despite not submitting any music. The same is true of The Weeknd’s feature on “Hurricane” by Kanye West last year.
To be able to award artists directly, and to regain trust with minority communities in general, something will have to be done about the Grammy’s selection and revision process.
While more information has been shed about the award ceremony’s selection process in recent years, for a long time it was largely secretive. Additionally, industry members like a former Recording Academy CEO have publicly alleged the award show pushes artists it has good relations with as an opportunity to have their nominated songs performed at the ceremony.
I think at this point in time it’s uncertain how much cultural relevance these traditional media award ceremonies will have in the coming years. While this year was technically an increase, the past three years have found the series in some of its lower viewership numbers ever, and anecdotally award ceremonies are beginning to feel more of a “parents’ watch” than my peers. Regardless of the status of the award industry at large, one thing is clear: the Grammy’s needs to seriously re-evaluate its selection process if it ever wants to go from laughing stock to lauded again.
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Ken Sharp – I’ll Remember the Laughter (Jet Fighter)
Back in the day, when an artist could not fit all the goodies they had stored up on a single slab of vinyl, they would release a two-record set. The latest collection by pop/rock anthropologist Ken Sharp is an embarrassment of riches. It wouldn’t even fit in a two-record set, at 50 tunes it’s more like a three-record set or a box set.
The album title I’ll Remember the Laughter is rather apt because laughter is not the only thing this brace of tunes will make you remember. It is a stylistic traipse through the history of 60s and 70s AM/FM radio (with a little 80s and beyond mixed in for good measure).
Sharp has grown a cult audience for his sharp pop songwriting skills and on-point understanding of popular (and also obscure) music of the past. Taking a sonic trip through I’ll Remember the Laughter is like coming across a transistor radio from the multiverse; an alt-history of songs that could have, should have and would have been hits in the glory days of Top 40 radio, only if they had just been recorded in time.
It is a place where Todd Rundgren rubs elbows with T. Rex, The Knack hangs out with Hall & Oates, and The Raspberries had the kind of career that merited inclusion in the Rock and Roll Hall of Fame.
The styles of I’ll Remember the Laughter are all over this place – and I mean that in the best possible way. From the bluesy shredding of “No More Silver Linings,” the strutting bubblegum pop/soul of “42nd Street” to the catchy prog of “Halyx Rising (Lora’s Song)” to the sunshine pop of “Dennis” to the soulful lament “Cracking This Heart of Stone,” the album is a primer of musical styles and feels.
“Lightning Crash” feels like an old lost Cheap Trick fave, while “Shut Out the Lights” rides on a Clapton-esque guitar line. “Ghetto Child” (not to be mixed up with the Spinners classic of the same name) does share that song’s Philly International soulful vibe, as does the sweet intro to “Are You a Lover or a Fighter?” which eventually moves into more of a blue-eyed soul feel. “Between the Lines” on the other hand, pulls from the paisley underground school of The Dream Syndicate and The Bangles.
Beyond Sharp’s sharp originals, I’ll Remember the Laughter also offers some adventurous and intriguing covers. There is a swinging version of The Who’s “The Kids are Alright” and two (count ‘em) covers of songs from a semi-obscure pre-superstardom album by 80s pop/rock icon Rick Springfield of “Jessie’s Girl” fame. (Springfield adds some tasty backing vocals to Sharp’s recordings of his songs.) However, possibly the greatest cover is a stunningly catchy version of “Girl,” which is remembered in pop culture as the song which Davy Jones performed in his guest appearance on The Brady Bunch.
So, if you miss the glory days of pop radio, where diverse styles rubbed shoulders in a mind-boggling array of music – with the only true through line being that most of it was one hell of an earworm – you can recreate that sensation with I’ll Remember the Laughter.
Jay S. Jacobs
Copyright ©2023 PopEntertainment.com. All rights reserved. Posted: February 6, 2023.
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Super Saiyan Jay's New Single: What's Behind "Can I"? Today we had the chance of having a chat with Super Saiyan Jay, he is one artist who speaks apart from others; his songs are like poems with the smooth flows and inspiring lyrics. Super Saiyan Jay is a new artist and his newest single "Can I", shows us the space where he plays music and talks about his feelings. "Can I" isn't only a rap tune; it actually an artist's way of breaking free from the bounds of genres. The fast syllable-based style of Super Saiyan Jay with which he rhymes like the old legends brings vigor into the track and captivates listeners from the beginning to the end. Not only does the rap mode make “Can I” stand out, but also the fact that every minute detail of the song is taken care of. From the stunning beat of those synth and bell pads to the enchanting tune that you just simply cannot ignore, no element of this song is left ignored. The music journey by Super Saiyan Jay is like an evolving process of self discovery. He has been on a search for his sound and message since the times when he released the "Staying In" songs to now when he has come out with a new album. "Can I" marks a mellow, laid-back beat with a dash of self-confidence that is absolutely refreshing. This helps the listeners move towards self-empowerment. So, what's the verdict on "Can I"? Well, it's a banger, plain and simple. Super Saiyan Jay has crafted a track that's equal parts chill and hype, with a vibe that's all his own. So, if you're looking for something fresh to add to your playlist, give "Can I" a spin. You won't be disappointed! Listen to Can I https://open.spotify.com/album/5e5CUn6z5aeWdlWJCSAVly Follow Super Saiyan Jay on Facebook Twitter Spotify Soundcloud Bandcamp Youtube Instagram What is your stage name My stage name is Super Saiyan Jay. Is there a story behind your name There's no specific story behind my rap name, but It's what I'm known for and what I'm rocking with. Where do you find inspiration I find inspiration from all forms within music. From the artist and the way they create, all the way down to the breakdown and structure of a beat. The science behind music gets really deep once you get into it. Are you from a musical or artistic family Music was instilled in me from my parents, to my grandparents at an early age. I can't think of a time when I wasn't involved with music. Absolutely. Everyone in my family has inspired me in many ways with their own musical influences. Who inspired you to be a part of the music industry I don't have a specific inspiration for who inspired me to be in the music industry. But the music I'm making feels right and it makes sense when I create. How did you learn to song/write/to play I just had a natural feel for writing my own music. As time goes by in life, you experience different things so that can spark plug the ideas that follow when it comes to writing music. What was the first concert you went to and who did you see perform The concert that I atleast remember going to first was a Snoop and Wiz concert back in 2016. The energy from those two legends was contagious and captivating. How would you describe your music My music is a variety of things. I'm inspired by the old school rap era. But I can fit into many different pockets of rap. If you like laid back and chill music, I can provide that. But if you want the bang your head and turn up to have a good time music, I for sure have that. Describe your creative process My process comes in many ways, I look for the beat and once my mind starts going I gotta write to it. I can write music for days. But I'm a firm believer of not forcing your pen. Let the music come naturally. What is your main inspiration My parents are my biggest inspiration, hard work doesn't come easy for no one. [caption id="attachment_54717" align="alignnone" width="2000"] My parents are my biggest inspiration,[/caption] What musician do you admire most and why I have too many inspirations from musicians. There are too many dope artists to choose just one.
Did your style evolve since the beginning of your career My style has grown a lot since the beginning. I've learned to not rush to release music when it gets finished. Focus and have a plan. Use preparation to the best of my ability to catapult my brand and music as a whole. Who do you see as your main competitor I'm my biggest competitor. I'm a huge perfectionist so if it's not to my liking, then I have to keep working on it until it's right. What are your interests outside of music I love to create cover art, make videos and edit. If you could change one thing in the music industry, what would it be I'd be behind the camera directing and producing. What is the biggest problem you have encountered in the journey of music? The biggest problem is finding a good reach to expand but that's all a part of the growth and the journey. If you could change one thing in the music industry, what would it be I'd change the way people got paid for making their music. The streaming doesn't make sense to the revenue that comes in return. https://open.spotify.com/artist/4ojdxqwTW9p8eNUCAyOsGy?si=RJP7fpL-TY2v_Wyh68EfhQ&dl_branch=1 Why did you choose this as the title of this project I choose the title because it makes the most sense. What are your plans for the coming months I have a lot of music coming out. I'm currently working on three projects at the moment. Do you have any artistic collaboration plans Most definitely, I got some music coming out with some real dope artists. What message would you like to give to your fans To my fans, thank you for rocking with me up until this point. I have a long way to go, so stay on this journey with me. I got a lot in store for y'all.
#Music#CanI#CanIbySuperSaiyanJay#CanIfromSuperSaiyanJay#CanISuperSaiyanJay#SuperSaiyanJay#SuperSaiyanJayCanI#SuperSaiyanJaydropsCanI#SuperSaiyanJayoutwithCanI#SuperSaiyanJayreleasesCanI#SuperSaiyanJaywithCanI
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The Ledge #600: Hudson's Best Of 2023
Choosing my favorite records of the year is always a double-edged sword. On the one hand, it's great fun for a music nerd like me to revisit the hundreds of releases I've checked out the last twelve months. But it's also frustrating trying to thin down those picks into a list that truly represents the past year. Many records that initially seemed a lock are suddenly eclipsed by new records that I simply can't ignore. Other albums that I had prematurely set aside have revealed themselves to be chock full of fabulous tunes that I can't imagine living without.
Overall, this is another great year for music. I'll never understand the mindset of people, especially those around my age, that complain how there's no great bands or records these days. Sure, the pop charts are primarily filled with garbage, and one does have to spend more time than ever finding new artists. But the search has always been a great part of the fun of being a collector, and my main reason I've now put together 600 episodes of this show is to share my findings with others. I'm always thrilled when I hear that someone has bought a record due to my recommendation. So please let me know your thoughts on this countdown of my picks for the 40 best records of the year!
39. Hotline TNT, Cartwheel/Dion Lunadon, Systems Edge. (tie) It’s only fitting that the list ends with the two most recent discoveries. Hotline TNT is the latest project of Weed leader Will Anderson, and it’s a prime example of the modern era’s version of what was described as shoegaze years ago. Dion Lunadon is a veteran rocker who got his start in The D4, which put out two albums on Flying Nun Records, and also spent time in A Place To Bury Strangers. His third solo album of glam-influenced rock and roll probably would have charted higher in this year’s list if I had heard it a few weeks earlier.
38. The Blips, Again. A few years ago, the leaders of four bands convened in an Atlanta studio and put together a great rootsy rock and roll album. These four songwriters have reconvened and their second album is as strong as their debut.
37. Dwarves, Concept Album. A happy Dwarves album? Is that possible? Well, sort of. The snark is still there from He Who Shall Not Be Named and the rest of these masked marvels.
36. Jagger Holly, Rivoltella. Forced with a second lockdown in his Austria home, Jagger Holly’s Jay Dee sat down and started writing…and writing more. As he states on his bandcamp, “If 1 record is nice....2 records has to be better right?” The result is indeed two records of what pop-punk should sound like instead of the whiny vocal styles that plague the records that generally are described as such.
35. Local Drags, Mess Of Everything. Let’s take a little bit of The Shoes, mix it with early Tom Petty along with Wilco at their poppiest, and you have this rock and roll gem.
34. The Smashing Times, This Sporting Life. We all need a little jangle in our lives, and we have The Smashing Times to give us this year’s shimmering guitars.
33. JJ & The Real Jerks, Rat Beach. Our friends at Rum Bar Records released a ton of great music this year, but the highlight is quite possibly by these grizzled rockers. Take a little bit of Ramones, more than a couple of pinches of Dead Boys, and quite a bit of any other “loud fast rules” bands, and you have these wonderful jerks.
32. The Men, New York City. After a few albums that saw this veteran band attempt to expand their sound, this record is a true back to basics that, to quote Pitchfork, “wears its analogue heart on flannel-clad sleeves”.
31. Country Westerns, Forgive the City. Great band, terrible name. But with great garage rock such as this I’ll forgive the sin.
30. Kevin Morby, More Photographs (A Continuum). Technically, this record is a set of leftovers from last year’s This Is a Photograph album, but these aren’t second rate rejects. Instead, these are songs that lyrically or sonically just didn’t fit that album but deserved to be released.
29. Waco Brothers, The Men That God Forgot. A personal note here. I created a yearlong theme for my podcast, The Ledge, where I’ve been playing a cover of The Undertones’ “Teenage Kicks” on each and every one of my shows this year. I was obviously thrilled when I first saw a tracklist of the latest by these veteran “Clash meets Cash’ rockers and “Teenage Kicks” was the lone cover on their first set of original songs since 2016.
28. Bory, Who’s a Good Boy. Bory is the project by Portland newcomer Brenden Ramirez, and is produced by power pop maestro Mo Troper. This was a late addition, and I can’t wait to fully immerse myself into multiple plays of this catchy record.
27. Iggy Pop, Every Loser. It certainly seems like 2023 was a year for legends to return to the spotlight. Pop set the tone with this album that came out the first Friday of this year. Like the Stones album, Pop was reenergized by young producer Andrew Watt, which resulted in quite possibly the most varied Iggy album in decades.
26. Brian Jonestown Massacre, The Future Is Your Past. Thirty years after their very first release, Anton Newcombe’s latest collection of songs is his 20th album to date. The latest is an extension of last year’s Fire Doesn’t Grow On Tree, where Anton set a goal to record one new song a day for 70 days. I guess we’ll have a few more records from these sessions in the next few years.
25. Guided By Voices, Nowhere To Go But Up. Another year, another three albums by Robert Pollard and friends. So which one do I pick for this list? Honestly, I’m going to go with recency bias and choose the most recent record. But all three feature the typical three minute blasts of pop/rock bliss that Pollard has completely perfected since he stabilized his most recent lineup a decade or so ago.
24. Night Beats, Rajan. It may not sound correct, but I can’t help but think this wild mix of psych and Western genres would make it the perfect soundtrack for a remake of a 60’s spaghetti western.
23. Yo La Tengo, This Stupid World. Shortly before COVID hit, Yo La Tengo began recording jam sessions in their practice space. They reconvened a few months later, and started experimenting with these tapes they had previously recorded. The result is one of the veteran band’s more interesting albums they have put out in their almost 40 year career.
22. Graham Parker & The Goldtops, Last Chance To Learn The Twist. It’s always a great year when we see a new Graham Parker album, and this year is no exception. His first in five years, Parker’s latest combines his usual snark with a wry sense of humor, along with his love of classic soul and barroom rock.
20. Lucinda Williams, Stories From a Rock N Roll Heart/Pretenders, Relentless. (tie) Two legendary rock and roll women who have nothing to prove return with some of their best music ever, and they do it on their own terms. Chrissie Hynde’s latest Pretenders album rocks as hard as her band’s greatest moments, but it’s not a retread of her first two albums. Williams, who recently recovered from a stroke, combines barroom rockers with her patented grizzled folky ballads.
19. Cut Worms, S/T. Max Clarke’s third album as Cut Worms is a weird fever dream where Brian Wilson in his 1966 prime suddenly records an Americana album that would fit right in with 1999-era Jayhawks, Wilco, or Whiskeytown. Does that make sense?
18. Frankie and the Witch Fingers, Data Doom. Let’s just let the bandcamp page describe this album, as it’s better than anything I could possibly write - “on…Data Doom the band hurtles the listener head first into the wood-chipper of technological dystopia, systemic rot, creeping fascism, the military-industrial profit mill, and a near-constant erosion of humanity that peels away the soul bit by bit. With a fuse lit by these modern-day monstrosities the band seeks to find salvation through a thousand watt wake-up of rock n’ roll exfoliation.” Are you as exhausted as me?
17. Osees, Intercepted Message. It’s insane to think that this is the 28th studio album by John Dwyer and Company, under quite possibly the tenth or so variation of their band name. What’s even more insane is that, with few exceptions, none of these albums sound the same. This record could be described as their “party record”, with synths leading the way. But that’s not saying this is an OMD album, as the garage-punk aggression is still present.
16. King Tuff, Smalltown Stardust. Kyle Thomas, aka King Tuff, has always mixed a wide range of influences into his records. On this record, Thomas adds quite a bit of 70’s singer/songwriter, along with a bit of early Wings, merged with the fuzzier sounds of Dinosaur Jr., Ty Segall, and many others.
15. The Rolling Stones, Hackney Diamonds. There’s absolutely no reason why a 2023 album by The Rolling Stones could be anything better than middling. A tour souvenir, maybe. Or something only for the devoted fan. Yet, this record works. The band sounds like they mean it, man. It may be prototypical Mick and Kieth, but there’s also a modern edge to it thanks to producer Andrew Watt.
14. Lydia Loveless, Nothing’s Gonna Stand in My Way. Lydia’s lyrics have always seemed like a direct path to her soul, and that’s never been more true than on this record. Yes, she’s been through a lot of heartbreak, but there’s also a feeling that she knows she’s going to make it and won’t let anybody get in her way.
13. The Exbats, Song Machine. Everyone’s favorite father/daughter band has now fleshed out their sound with the addition of two additional band members, and their new record is sort of a love note to the history of pop music. There’s some songs reminiscent of Phil Spector’s great girl groups of the 60’s. Other tunes seem to come straight from the Brill Building or whatever production team created the Partridge Family records of the 70s. Yet these syrupy tunes mix with the darker influences of bands like the Velvet Underground and the Ramones.
12. Sparklehorse, Bird Machine. As a rule, posthumous records don’t make my lists. But I can’t help but include this final Sparklehorse record. One year before he took his life, Mark Linkous spent a few weeks in the studio with producer Steve Albini, bashing out a bunch of simpler than usual tunes for a project that was never finished. Over a decade later, Linkous’ brother and his wife fleshed out these recordings, resulting in a fitting final chapter for a brilliant career that should have been bigger than it was.
11. Tommy Stinson’s Cowboys In the Campfire, Wronger. The former Replacements bassist has long promised this side project with buddy Chip Roberts, and it’s a wonderful departure from the great Bash and Pop album of a few years ago. This record is chock full of laid back Americana, and certainly showcases Stinson’s love of the likes of Johnny Cash, Dave Alvin, and John Doe (who makes a guest appearance).
10. Bar Italia, The Twits. This wonderful London trio released two records this year, but this second one was arguably the better of the pair. Their sound is chock full of many classic and contemporary bands - a bit of Sonic Youth, a midge of Dry Cleaning, among many others. What’s most interesting is that on most songs the three members each trade off on vocal lines, which journalist Skye Butchard says “(takes) songs in new directions, reveling in the tension where their individual ideas intersect"
9. Wreckless Eric, Leisureland. How does one describe a modern day Wreckless Eric album? It’s not easy. The melodic pop skills of his early days are still present, but he surrounds these tunes with landscapes of various sounds. This particular record flows best as one long piece of music. Well, two pieces, actually, if you’re listening via vinyl, as god intended.
8. Purling Hiss, Drag On Girard. Purling Hiss began as a one-man project of Philadelphia guitarist Mike Polizze. Now a full-fledged band, this is the record for fans of fuzzed up garage rock.
7. Wilco, Cousin. After last year’s somewhat overrated country-ish Cruel Country, it’s nice to see the band back to experimentation. For the first time ever, they even reached out to an outside producer, Cate Le Bon. The results are one of those “creeper” albums that takes a few spins to unveil its charms.
5. Brad Marino, Grin & Bear It/Geoff Palmer, An Otherwise Negative Situation. (tie) it may not be fair to either Marino or Palmer, but it’s hard for me to think of one without the other. They’re friends that regularly play on each other’s albums, and they both tend to put out records around the same time. They’re pretty much the power pop/punk/rock version of Rockpile’s Dave Edmonds and Nick Lowe.
4. Paint Fumes, Real Romancer. The veteran garage/punk rockers’ fourth album is quite possibly their best. Their bandcamp site states it’s for fans of the Nerves, Ramones, and Gun Club, and I can’t think of a better description.
3. Civic, Taken By Force. Asked to describe their second album, the Melbourne-based five piece responded with “1984 meets Endless Summer”. A head scratcher, to be sure, but yet it weirdly is apt. Noisy, explosive proto-punk guitars meets singalong choruses, aptly produced by Radio Birdman’s Rob Younger.
2. The Whiffs, Scratch ‘N’ Sniff. What I just wrote about Uni Boys also fits with this fabulous Kansas City band, which made their short tour together this year a dream lineup.
1. Uni Boys, Buy This Now! Power pop was back in a big way in 2023, but it’s an evolved form of the genre. “Power” is the key word. Yes, the pop melodies are full of the giant hooks we expect from these sorts of bands, but they’re intermixed with louder guitars and faster tempos. These bands are forging their own visions instead of simply following the past. This L.A. foursome grew up at Burger Records shows, and you can tell.
Tonight's show also sees the conclusion of a yearlong project that has been great fun - the "52 Weeks of Teenage Kicks" series. I had originally planned on just playing a demo version of The Undertones' original track, but I received a surprising email just a couple of days ago. "Hey it's Krusty, longtime caller first time listener", it read. "Procrastinated my way through almost the whole year on this one (its pretty easy when you suck at drums!). Usually I am playing with my band Fashionkill, but this is my first effort at playing everything involved! Like the metallica blecccchh album, this is definitely more studio tricks than actual musicianship! Drums on Thursday, Everything else on Monday. Mixed on Tuesday. Sent today. Keep up the good stuff!" Thank you, Krusty, and thanks to all of the others who participated in this series!
Here are the tracks I aired to represent all 40 selections (aired in reverse, "countdown" order, of course):
1. Uni Boys, Down To The City.
2. The Whiffs, It’s Not Over.
3. Civic, Blood Rushes.
4. Paint Fumes, Starting Over.
5. Brad Marino, Lucy.
6. Geoff Palmer, Surfin’ Nebraska.
7. Wilco, Cousin.
8. Purling Hiss, Something In My Basement.
9. Wreckless Eric, Standing Water.
10. Bar Italia, World’s Greatest Emoter.
11. Tommy Stinson’s Cowboys In the Campfire, Mr. Wrong.
12. Sparklehorse, I Fucked It Up.
13. The Exbats, Himbo.
14. Lydia Loveless, Poor Boy.
15. The Rolling Stones, Whole Wide World.
16. King Tuff, Smalltown Stardust.
17. Osees, Intercepted Message. 1
18. Frankie and the Witch Fingers, Syster System.
19. Cut Worms, Take It and Smile.
20. Lucinda Williams, Rock N Roll Heart.
21. Pretenders, Losing My Sense Of Taste.
22. Graham Parker & The Goldtops, The Music Of the Devil.
23. Yo La Tengo, Sinatra Drive Breakdown.
24. Night Beats, Motion Picture.
25. Guided By Voices, Puncher’s Parade.
26. The Brian Jonestown Massacre, Do Rainbows Have Ends.
27. Iggy Pop, Strung Out Johnny.
28. Bory, Feel the Burn.
29. The Waco brothers, Teenage Kicks.
30. Kevin Morby, This Is a Photograph II.
31. Country Westerns, Grapefruit.
32. The Men, God Bless the USA.
33. JJ & The Real Jerks, Girl I Want My Money Back.
34. The Smashing Times, Lets’ Be Nice With Johnny.
35. Local Drags, Heard About It.
36. Jagger Holly, Don’t Bore Us (Get to the Chorus).
37. The Dwarves, Feeling Great.
38. The Blips,, Who Took My Baby Away.
39. Hotline TNT, History Channel.
40. Dion Lunadon, Diamond Sea.
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2023/06/23 English
BGM: 佐野元春 - VISITORS
I worked late today. For enjoying this morning's reading, I started reading the rest of Karen Cheung's "The Impossible City". Indeed, I have not read it completely so can't say exact reviews about that. But I have been impressed by that book because it seems a really ambitious one. Through talking about the controversial place Hong Kong, She also tries to talk about her complicated life so sensitively. A great work... And I thought if I could write something like her (this is one of my bad habits. I tend to think about writing like this if I read something thrilling/interesting). Write like her. In short, writing MY memoir. For example, about this Shiso city, the Japanese subculture (Shibuya-Kei city pop, and the beginning of the magazine "Quick Japan"), the Aum scandalous incident, the campus life in Waseda university I had spent my youthful days... These pieces of ideas burst almost infinitely/randomly and flooded from my brain.. But of course, I can't say if I could write it actually as a great cluster of memoir.
Following that "The Impossible City"... Suddenly, I thought about Lloyd Cole's tunes I was enjoying at that time. About this music I remember this. When Kenji Ozawa released his first solo album "犬は吠えるがキャラバンは進む(The Dogs Bark, But The Caravan Goes On)", a writer wrote as "Ozawa will become like a great musician like Lloyd Cole". By reading that article, I decided to try to listen to... And also I can remember this. Once I had tried to be a journalist/freelance writer in a field of rock music critic. I had bought magazines like "Rockin' On" and "ele-king". I guess that talking about that kind of subculture would mean trying to talk about the "Portrait of a romantic" (this is the title of a long novel by Stephen Millhauser). Of course, this is just a readymade thought by me. It has no shape now. I might not be able to write it actually. But I believe it has a worth to write it step by step... I want to do that. Because I am getting becoming 48 years old. I am never young eternally. Soon 50s and 60s comes to me.
I remember the Beatles' song... "Words are flowing out like endless rain into a paper cup". Suddenly, I thought that I wanted to write that memoir of mine by using a subject "YOU". I can remember Jay McInerney's "Bright Lights, Big City" and Paul Auster's "Winter Journal". But for me, it is never from any certain tactics. It is from my instant idea, but I want to write that on tomorrow, next Saturday after today's work. I remember... I also want to write the encountering with Haruki Murakami's books, and the teenage glorious days I enjoyed Flipper's Guitar and Cornelius. Like... "You are thinking about how long your life will last from now. About the time when will that end... And you are also thinking what you have achieved in your life until now. What would you achieve from now, too. By that idea, you tend to think that it would be sweet to die as Pet Shop Boys' tune 'West End Girls'". How does this sound?
I started my work. Today was the day my job coach and I did a meeting at my workplace. So we talked about the content of my work. How has it been going on? And suddenly, I cried a little in front of that job coach because I remembered a lot in my life... If I didn't meet my job coach, then I couldn't live this pleasant/funny days. And also I couldn't learn how to enjoy this whole autistic life. Yes, it is a dreamlike life. Of course, it can't be "a perfect life". I am now suffering from the problem of money management. At workplace, sometimes I feel that I have been treated roughly. But anyway, everything is "tasty". 10 years ago, I could never imagine THIS state. It is really like a manga... After today's work, I went back to my group home. I slept soon so couldn't write MY memoir. I want to write it in my free time. Slowly, slowly. It would end as a waste of time and effort... But so what?
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Episode 165 : The Second Plug.
"Too old to rhyme? Too bad, too late."
- Dave
This month marks a huge loss for the Hip-Hop community, and the music world more widely, as Dave, aka Trugoy The Dove of De La Soul, passed away. As part of the group, he was a perfect match with Pos on the mic, and was one of those low-key people that no-one ever had anything but good to say about. De La's influence is hard to overstate; without them, we might have had no Tribe, no Pharcyde, no Souls of Mischief... They showed that you didn't have to follow the hypermasculine style of their time, and brought their own brand of humour and creativity. On top of that, they were frequent and much loved live performers, and Dave's presence as part of one of the best shows in the culture will be greatly missed. Of course, in tribute, we have several De La Soul tracks in this month's selection.
Before we get into the tracklist and notes; here's where you can donate to relief efforts in Turkey and Syria following the devastating earthquake they suffered this month.
Twitter : @airadam13
Twitch : @airadam13
Events : events.airadam.com
Playlist/Notes
De La Soul : Stakes Is High
Knowing that we were going to make several visits to the De La catalogue, I just had to open the episode with this one, the title track to their fourth album. The late J Dilla is on production, and there's a classic story of Posdnuous having to "Jedi mind trick" Q-Tip out of taking the beat for himself! To Pos' ears, the majesty of the beat perfectly fit the grand theme De La were going for with the lyrical theme, and he was bang on. The title actually came from Dave's late cousin Fudge, who told him "...you all better do something. The stakes is really high for you right now..." and his words live on through this work. De La take that title and use it to warn how high the stakes were for Hip-Hop at that time, with the jiggy and Mafioso era in full swing and raising real alarm for the direction of the culture.
Pete Rock : Play Yo Horn
The first instrumental of the month is a 2015 release, though whether it was actually recorded anywhere near that year, I couldn't be sure! For one, Pete Rock is a master at channeling vintage flavours, and secondly, he's been known to bring stuff out of the vaults that sounds great even today. I would love to hear MCs getting busy on this dense cut from "Petestrumentals 2".
Fat Joe and Big Pun : Best Behavior (Remix)
I love the dark, late night flavour of the original version, but Show does an equally good job on this remix (one of at least three to exist) - big horns, banging drums, and an overall stripped-back, boom-bap feel. You already know Big Pun is going to give you heavy bars, and Fat Joe holds it down on the mic too. I have this on a 12" backed by "My Life's On The Edge" by A-Bless, but I hear it's also on the 2005 "Street Talk" DITC compilation.
Big L : On The Mic
This vinyl had already been throught the wars when I got it, but I guess the surface noise lends a certain flavour! You might recognise the vocals from the track "Size 'em Up" from the posthumously-released "The Big Picture" album, but this raw Roc Raida-produced track is on the B-side of the "Flamboyant" 12" single - definitely one to pick up for the Big L fans. RIP Big L and Roc Raida.
D'Angelo : Devil's Pie
One of those happy accidents, the bassline of this track was created by DJ Premier for a track with Canibus. It didn't work out and D'Angelo happened to call the same day, and he asked to hear the unfinished product. He loved it, and they went back to the studio the next day to finish what became one of the standouts on his sophomore "Voodoo" LP!
Mad Skillz : It's Goin' Down
Arguably the first MC to really make some noise out of Virginia (hence the name of his debut LP, "From Where???"), Skillz may not have the record sales of some of the more famous MCs...but he may well have written their rhymes at some point! This track is an early J Dilla production (from when he was going by Jay Dee), and has a little of the Latin flavour that would make up a big part of one of his better known productions, "Runnin'" for The Pharcyde. Also - don't Skillz and Big L have a very similar vocal tone?
[Pete Rock] InI : Fakin' Jax (Instrumental)
You can't be mad at getting another Pete Rock instrumental! This one is vintage SP action, the instrumental for the lead track from the originally-unreleased InI LP "Center of Attention", and it's a real "if you know, you know" number.
De La Soul : U Can Do (Life)
I decided to lead this off with part of the album intro that immediately precedes it on "Art Official Intelligence : Mosaic Thump", just so you could hear where the podcast intro comes from! The LP came four years after "Stakes Is High", an eternity in Hip-Hop, and marked a departure from their norm in one way - a relatively large number of featured artists. This track, however, is the core group coming from the heart, over a chunky beat from Supa Dave West. Dave/Trugoy both opens and closes the track, with his last line being "live your live to the fullest". He did just that. 🕊
Libretto & Buscrates : Culture
With so much music being released on a daily basis nowadays, it's too easy for a killer track like this to slip through the cracks, but I've got it here for your enjoyment! Libretto is speaking on the rawness of the streets and how that ties into the Hip-Hop culture from his perspective, while Buscrates smashes it with a beat that feels part classic sample and part bass synth workout. And of course, he has the drums thumping through. An absolute jewel from the "Eternal Ridin'" LP.
Sparkz : Overload
Manchester's own Sparkz has featured on the podcast many times with his contributions to various groups, but here he is as a soloist on his first release after moving to the UK's well-respected High Focus records. This single will test your bass response, but while heavy, the beat provides plenty of space for Sparkz' to give you a full mic workout. Keep an eye out for new material from this man.
De La Soul & J Dilla : No More No Less
What a track - a reworking of "The Magic Number" concept, over an officially unreleased beat from J Dilla (which you might find online, entitled "Watching Smurfs On Shrooms"). We take this one from an EP that was originally a free release, and hopefully still findable now - "Smell The DA.I.S.Y" (Da Inner Soul of Yancey) - with even the title being a remix, a revisiting of the "D.A.I.S.Y. Age" idea from the beginnings of De La. The whole EP is made up along similar lines, with De La revisiting old themes over unreleased Dilla beats. The relationship between De La and Dilla was real, and there are few other crews with as much claim to put out a project like this.
Blackalicious : My Pen and Pad
That pen and pad were working overtime for this excellent lyrical display from the late Gift of Gab. Flow is as dope as you'd expect, and Chief Xcel holds down the beat as usual on a low-key funk vibe that changes up occasionally in the background without ever stealing the focus. You can find this on Blackalicious' third LP, "The Craft" - perfectly titled for such a dedicated crew.
Evil Needle & Misha : Cloud Zone
This new release is the kind of thing that will slip under most radars, but is the kind of quality I've been finding since plugging into the whole Chillhop Music movement. It's beautiful beatmaking, warm and bumping, and the vocoded quasi-background vocal additions take it over the top. The opener on the "chillhop beat tapes: Evil Needle x Misha" six-tracker, this beat is a perfect example of coming out of the gate strong when you're ordering tracks on a release.
Brelstaff ft. Fashawn : Cursive
This brand-new release is quite the trans-Atlantic combination, with Edinburgh's Brelstaff cooking up a laidback instrumental for Fashawn, representing Fresno in California. Only a very short one, but sometimes, as GZA once said, it makes for a stronger track to cut it off early.
Beanie Sigel : Look At Me Now
"Moms? Tryna lock me out. Cops? Tryna lock me in." Wow, that is some heavy business in the first verse of this quality come-up album cut, that ends happily, with Beanie looking out for the youngsters who struggle as he once did. You can find this tucked away towards the end of the 2005 LP "The B. Coming", with Buckwild providing the lush, string-laden production.
Joell Ortiz : In My Feelings
No hook, no filler, just raw - feelings, indeed. Joell speaks on the ups and downs of his career without interruption on an ill Heatmakerz beat, opening up the 2021 "Autograph" album on an intensely personal note.
Ozay Moore, Vursatyl, and Chip-Fu : Slingshot
Seattle stand up! Ozay Moore brings friends through on this selection from the "Taking L's" album. It's nice to hear Chip-Fu of the Fu-Schnickens again, and with the tempo being relatively low, you can hear every word in his signature flow as he slows it to match. 14K is on production, and the kick is kicking like the police want to come through the door, but sometime in the next couple of hours or so :) The beat is heavy, but the timing of the composition is nicely relaxed!
J-Zone : The Commandments (Instrumental)
Labelled as "The Commandments" on the "J-Zone Instrumental Box Set: The Headband Years (1999-2006)" collection, this is the instrumental of the cut styled as "The Commandment$" from the 2003 "Sick Of Bein' Rich" album. Can't believe it's been twenty years already! He may have fully moved from Hip-Hop production and MCing into drumming, but you can't front on his great catalogue of previous work.
De La Soul ft. MF DOOM : Rock Co. Cane Flow
I was shocked to find out that I hadn't played this monster from "The Grind Date" on the podcast before, though maybe that was because the (manually-done!) speed changes make it awkward to mix with. As a closer though? Perfection. Jake One's beat just smashes through like Godzilla, building to the kind of grandness and drama that would fit the climactic action sequence of a Marvel film, and all the MCs are on form for it. The late MF DOOM fits right in alongside Pos and Dave as a devastating three-mic unit, and fittingly, Dave closes the track, and this epidose, out. RIP.
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!
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Darryl “D.M.C.” Matthews McDaniels (born May 31, 1964) is one of the founding members of the first commercial rap group RUN-D.M.C. For over 40 years, he’s been rapping with his friend and bandmate Joseph “Run” Simmons.” He taught himself how to D.J. in his parent’s basement after his older brother gave him a turntable. He and Simmons hooked up Jam Master Jay and Run, and the three have been Run-D.M.C. since then. After a series of name changes, McDaniels stuck with D.M.C., which are his initials, and it suited him the three rocked parties with McDaniels and Simmons on the mics and Jam Master Jay on the turntables, which is the setup we’re all familiar with today. They released their successful first self-titled album in 1984, and Run-D.M.C. had continued success throughout the ’80s. They continued to perform throughout the ’90s and early 2000s. In 2006 they were inducted into The Rock and Roll Hall of Fame. They took time off after the death of Jam Masters Jay. McDaniels and Simmons have never parted ways; they would perform at special hip events.McDaniels has been a big fan of comic books since he was a child, so when he is not working on music works on his comic book series.McDaniels mentors youth and does speaking events. In 2006, he worked with VH1 in a moving documentary in search of his birth mother after learning he was adopted. He recently wrote a book about his career and struggles with depression. He still will perform some of the group’s classics at events. If you’re lucky, you might catch him at a comic book convention promoting his comic book. He has a diverse taste in music yet keeps hip-hop roots. He wants rappers today to keep an eye on social o social issues and still have fun.McDaniels is a down-to-earth guy and never has had any “beef” or fallout with Simmons. True hip-hop fans love and appreciate the group.
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DJ 웨건, 박재범 - 심해 DRIP (Feat. 펀치넬로&WOOGIE) DJ Wegun, Jay Park - Deep Sea DRIP [아지트 라이브 Azit Live #72]
#jay park#punchnello#woogie#aomg#dj wegun#h1ghrmusic#khh#khiphop#live performance#when does jay release a rock album
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