#70's boogie rock

[metalcultbrigade]

Bill Wyman - Monkey Grip 10/05/1974

[hurumhagelag]

Masterpost of playlists I've made. Arranging good songs or things with some shared nebulous personally meaningful quality into a new cohesive whole is a good thing.

bunch of tracks spanning classic early bossa nova up to 70s samba rock/funk/soul, possibly a few early 80s. appoaching 13 hrs all killer no filler

(what is balearic?) Balearic for me starts with trying to figure out the balearic section of the reviews pages in mixmag as a norwegian teenager in the late 90s. Not a genre, more of a feeling, and a history going back to the Balearic islands in the 80s. Anything with the right feeling could be balearic, but the evolution from early electronic dance/italo to newer house interacting with other types of mainly european music with a balearic feel is the concept here. Custom order.

This goes for the melodic vein found in late 60s to mid 70s giallo/genre Morricone soundtracks more often than not featuring Edda Dell'Orso singing. Morricone is legendary of course but somehow still feels underrated to me. Some compilations focus on this part of his music but this playlist does it better.

80s boogie mix. made for shuffling. playlist that had to be.

balearic virus. something going on with these songs. pop songs that don't pop. custom order.

Late 80s early 90s party rap music

Inner City Life by Goldie - the sound, the vibe and that point in time. The introduction of Goldie worldwide was pretty much "this is a new form of music". This playlist follows that train of thought for a little while.

Early 90's breakbeat rave. Think early Prodigy, Genaside II et.al. Too bad Spotify has so many holes with this kind of music.

short and sweet playlist with Tracey Thorn in various varied guises and collaborations.

Eurodance dominated the charts for a while in 90s Europe, where it was just "dance". Even if new manufactured "blonde female singer and black male rapper" duos seemingly popped up every other week from central Europe somewhere, the borders delineating it from more credible dance music weren't as rigid as it could seem.

[rabbitechoes]

wow!!! august was a pretty stacked month for new releases and it seems like september will be pretty busy too. there were quite a few great records this month - one being my current album of the year. also trying out a new format so these posts will be easier to navigate. i've started linking to the full reviews on my rym page instead of just pasting them over here. i figure it's much easier to get through that way!! to check out my thoughts on some of the songs that dropped this month click here!!! also feel free to follow me on rate your music and twitter <3

Imaginal Disk - Magdalena Bay

🥇 BEST ALBUM OF THE MONTH

◇ released: Aug. 23, 2024 ◇ genres: neo-psychedelia, synthpop, chillwave, dance-pop

to call it a triumph would be an understatement, the sophomore album from Magdalena Bay is a delicately detailed experience that doubles as an immensely enjoyable pop record. to put it simply, i'm feeling diskinserted 💿

my review of Imaginal Disk

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Sky Hundred - Parannoul

◇ released: Aug. 3, 2024 ◇ genres: shoegaze, noise pop, emo, indietronica

on his strongest album yet, Parannoul further refines his sound without sacrificing the scrappiness that made his music so endearing in the first place. my review of Sky Hundred

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NO NAME - Jack White

◇ released: July 19, 2024 / Aug. 2, 2024 ◇ genres: garage rock revival, hard rock, garage punk

Jack White has crafted a staggering garage rock record that perfectly soundtracks a world on fire. my review of NO NAME

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Wild God - Nick Cave & The Bad Seeds

◇ released: Aug. 30, 2024 ◇ genres: singer-songwriter, art rock, gospel, baroque pop

unlike the more meditative approach of 2019's Ghosteen, Nick Cave & The Bad Seeds return with a renewed sense of urgency and a striking crop of songs that are sure to make u feel something. my review of Wild God

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cheshire days - ashley ninelives

◇ released: Aug. 10, 2024 ◇ genres: glitch pop, neo-psychedelia, synthpop

the long-awaited new album from ashley ninelives is filled to the brim with exciting ideas and vibrant production that's easy to get lost in.

my review of cheshire days

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I LAY DOWN MY LIFE FOR YOU - JPEGMAFIA

◇ released: Aug. 1, 2024 ◇ genres: experimental hip hop, hardcore hip hop, rap rock

JPEGMAFIA is here to stay … whether u like it or not. my review of I LAY DOWN MY LIFE FOR YOU

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Romance - Fontaines D.C.

◇ released: Aug. 23, 2024 ◇ genres: indie rock, alternative rock, post-britpop

Fontaines D.C. shed their gothic veneer in favor of warmer sounds on their new record, while unfortunately stumbling into style over substance territory amidst a few incredible tunes.

my review of Romance

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Flight b741 - King Gizzard & The Lizard Wizard

◇ released: Aug. 9, 2024 ◇ genres: boogie rock, roots rock, blues rock

the refreshing collaborative spirit of this new King Gizzard & The Lizard Wizard record is its biggest strength, but not enough to make this an essential project in their vast discography. my review of Flight b741

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Paradise State of Mind - Foster the People

◇ released: Aug. 16, 2024 ◇ genres: synthpop, nu-disco, chillwave

the fourth album from Foster the People, my favorite band when i was in 6th grade, is an existential ode to synth funk and disco of the 70s/80s that sounds great, but doesn't leave much of a lasting impression.

my review of Paradise State of Mind

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Quantum Baby - Tinashe

◇ released: Aug. 16, 2024 ◇ genres: alternative r&b, trap soul, pop rap

the second installment in Tinashe's BB/ANG3L trilogy is a substantial step down from the first primarily due to its reliance on more mainstream pop/r&b sounds.

my review of Quantum Baby

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Cellophane Memories - Chrystabell & David Lynch

◇ released: Aug. 2, 2024 ◇ genres: ambient pop, ethereal wave, ambient, drone

David Lynch always has a strong vision for what he wants to convey in his art, but unfortunately, this new collaboration with Chrystabell isn't one of his most worthwhile endeavors. my review of Cellophane Memories

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Short n' Sweet - Sabrina Carpenter

◇ released: Aug. 23, 2024 ◇ genre: pop

Sabrina Carpenter's new album should be a bold statement priming her to be the next big thing, but instead it just falls into the same exhausted clichés we've all come to expect with big mainstream pop releases.

my review of Short n' Sweet

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Aghori mhori mei - Smashing Pumpkins

◇ released: Aug. 2, 2024 ◇ genre: alternative rock

Smashing Pumpkins' surprise new album isn't as horrible as their garish rock opera ATUM, but it's just as self-indulgent and outright boring as what we’ve come to expect from the band.

my review of Aghori mhori mei

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F-1 Trillion (Long Bed) - Post Malone

◇ released: Aug. 16, 2024 ◇ genres: contemporary country, country pop

Post Malone sticks out like a sore thumb in every genre he inhabits and that continues to be the case with his first full-length country album - his worst record thus far by a considerable margin.

my review of F-1 Trillion (Long Bed)

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Vultures 2 - Ye & Ty Dolla $ign

◇ released: Aug. 3, 2024 ◇ genres: pop rap, trap, alternative r&b

Ye and Ty Dolla Sign return with a disastrous album full of anthems for divorced dads who were most certainly in the wrong.

my review of Vultures 2

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Popular Monster - Falling in Reverse

◇ released: Aug. 16, 2024 ◇ genres: alternative metal, trap, rap metal

no.

my review of Popular Monster

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this section will be used on occasion to briefly discuss projects i didn't write full reviews for, but i still think are worth checking out. beginning with ...

Sophcore - Moses Sumney

A decent EP, but I would be lying if I said I was a little letdown. Still very pleasant on the ears, just lacking in substance. Sumney still has a very striking voice. Here's hoping the next project is a bit more substantial.

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Some Songs I Wish I Wrote Vol. 1 - This Is The Glasshouse

I didn't have high expectations for a covers EP, but this one really floored me. I really loved his album from last year, As Small As Ants, and it seems as though he's only getting better. He has a really good ear for layered instrumentation, it's certainly this EP's strongest aspect. The arrangements for his cover of Xiu Xiu's "Sad Pony Guerilla Girl" and Steve Reich's "Clapping Music" were big highlights in particular. Definitely give this a listen!

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The Vault - Maruja

A few months after their Connla's Well EP, Maruja surprise dropped a compilation full of improv jam sessions. It's a bit of an undertaking, but for those who are fans of the band this is definitely a treat. There are so many cool instrumental passages here and it brilliantly showcases how many brilliant ideas are swarming around when the band is in the studio. Their chemistry is off the charts. Here's hoping we get some weird jam stuff on their full-lenght debut, whenever that comes out.

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[lacefuneral]

playlist of music that i think harry du bois listens to

i add new songs as i think of them, but it's already at 48 tracks. mostly 70's & 80's disco, funk, boogie, rock, and pop. some hip-hop, as we know that harry is familiar with DMX and biggie. (there's a shivers check that gives us lyrics to "Where the Hood At?" and several dialog options where harry refers to himself as "Big Poppa".) included french discopop too, and any songs that i remember the game itself referencing (like "Disco Inferno" and "Psycho Killer"). I may add more sad tracks at some point because it's very happy-leaning at the moment

the backstory behind this existing is that i got frustrated that many HDB playlists on spotify used similar songs, and i felt like the choices were "too obvious." so i started making my own (currently still in the works) HBD character playlist. but i had a kim kitsuragi moment and said "ah, fuck it. i DO actually want to make a playlist with Obvious Choices. there is nothing subtle about harry. he WOULD bop to these songs."

[itsmarjudgeloveclassicrock59]

With his hard, edgy tone, rough and rowdy vocals, and barroom boogie aesthetic, Canadian singer, guitarist, and keyboardist Pat Travers is a fine example of a Canadian bluesy hard rock act. He arrived during the '70s heyday of hard blues-rocking guitar heroes. His eight-album run for Polydor -- from his eponymous 1976 debut through 1984's Hot Shot -- netted seven Top 200 chart placements and two Top 40 singles, including the party anthem classic "Boom Boom (Out Go the Lights)." Subsequently, he placed four singles in the Hot 100, and two more in the upper rungs of the Mainstream Rock Songs charts. Travers is equally adept at playing funk, jazz, and prog. He has toured almost annually for more than 40 years, playing more than 150 dates per year. Paul Gilbert has referred to Travers as a "guitar god" and Kirk Hammett of Metallica has cited him as one of his favourite guitar players.

[diceriadelluntore]

Storia Di Musica #280 - Joni Mitchell, Mingus, 1979

Quando nel 1972 George Wein, celebre organizzatore del Festival di Newport, presentò Charles Mingus all’ora governatore della George, Jimmy Carter, futuro presidente degli Stati Uniti d’America, stava già su una sedia a rotelle, in una fase terribile della malattia di Gehring. Ma fu presentato come “il più grande jazzista vivente”. Qualche anno prima, non invitato dallo stesso Wein al Festival di Newport, organizzò un controfestival, con esibizioni notevolissime, girando in macchina con un megafono proprio nella stessa Newport, attirando non poche persone. Mingus negli anni ‘70 era appena tornato sulle scene, dopo il tracollo mentale dello sfratto e le cure psichiatriche. Eppure proprio in questi anni ci fu una riscoperta totale dei suoi dischi, anche perchè come sempre lui ci mise lo zampino: si mise in testa di poter far soldi con la Candid Records, una piccola casa discografica fondata nel 1960 dal critico e produttore Nat Hentoft e da Archie Bleyer, proprietario della casa discografica Cadence. Mingus auto assunse il ruolo di “direttore” e in 6 mesi registrò dischi favolosi, garantendo agli artisti totale libertà concettuale e artistica, ma non pagò musicisti, tecnici, firmò contratti stranissimi, tanto che durò tutto dall’agosto del ‘60 all’aprile del ‘61. Ma dagli anni ‘70 il catalogo completo fu ridistribuito con il marchio Barnaby della CBS, riaccendendo l’interesse su questo geniale quanto stranissimo musicista. Di questo periodo anche le sue ultime grandi composizioni, con il vulcanico quintetto di George Adams e Don Pullen, con cui registrò Changes One e Changes Two, tutti e due del 1975, con uno dei suoi ultimi grandi pezzi, Duke Ellington’s Sound Of Love. La sua quarta moglie, Sue, è il suo angelo custode, e proprio Sue gli porta un album di una cantante canadese,  Don Juan's Reckless Daughter, che in quegli stessi anni, siamo nel 1977, stava sperimentando il canto jazz: Joni Mitchell. Affascinato dalla sua voce, Mingus la contatta e iniziano a parlare di una collaborazione. La prima idea è grandiosa, in pieno stile Mingus, musicare cioè i Quattro Quartetti di T. S. Eliot: Burnt Norton, East Coker, The Dry Salvages, e Little Gidding sono 4 racconti che il grande scrittore americano aveva pensato come sezioni simili ai tempi di un quartetto d’archi, da cui il nome, scritti prima e dopo lo scoppio della Seconda Guerra Mondiale, dal simbolismo ermetico e potentissimo. Joni Mitchell in un primo tempo rifiuta, poi Mingus lascia perdere Eliot e le regala sei composizioni autografe, chiamate Joni I-VI, a cui Mitchell dovrà aggiungere i testi. Siamo nella secondo metà del 1978, e Mingus per via della sua malattia si trasferisce con Sue a Cuernavaca, in Messico. Mitchell prova le canzoni con un gruppo di musicisti, ma non è convinta, così richiama il leggendario bassista e suo collaboratore nei dischi precedenti, Jaco Pastorius, a cui affianca un gruppo fenomenale: Wayne Shorter al sassofono soprano, Peter Erskine alla batteria, Don Alias alle congas, Emil Richards alle percussioni e il grande Herbie Hancock al piano elettrico. Prodotto dalla stessa Mitchell e registrato presso gli Electric Ladyland Studios di New York, Mingus esce nel giugno 1979. Mitchell aggiunge di suo God Must Be A Boogie Man è per voce, chitarra acustica e basso fretless di Pastorius e The Wolf That Lives In Lindsey, più particolare: lungo brano di voce e chitarra più, qua e là, congas (e ululati) e il jazz rock di God Must Be A Boogie Man. Nei brani scelti tra quelli scritti da Mingus, c’è altra magia: A Chair In The Sky è in quartetto con Hancock, Shorter, Pastorius ed Erskine, è uno degli ultimi gioiellini di Mingus, tra armonie complesse e delicate melodie, con Shorter sugli scudi e il lavoro eccellente di Pastorius in tessitura strutturale. Sweet Sucker Dance è quasi swing; The Dry Cleaner From Des Moines è un saltellante blues con tanto di sezione fiati (arrangiata da Pastorius). Il brano decisamente più emozionante è quello che chiude il disco, la magnifica ballata del 1959 che Mingus dedicò a Lester Young, Goodbye Pork Pie Hat: sempre in quartetto, Joni Mitchell fornisce una stupenda esposizione melodica  cantando anche la prima, lunga, parte del bellissimo assolo di sax tenore presente nell’originale del 1959. La Mitchell qui come cantante si è superata, e ci ha donato una preziosa versione di questo immortale brano di Mingus. Tra i brani, si intervallano delle parti di dialoghi buffi e scanzonati, segnati sul libretto come Rap, tra Mingus, amici e vari musicisti. Il disco fu un fiasco commerciale, e anche la critica non seppe capirlo all’epoca. Tuttavia per tutti i musicisti, fu uno dei lavori più cari per vari motivi, non ultimo quello che successe di lì a poco. Appena quasi tutti i brani erano pronti, tranne God Must Be a Boogie Man, furono mandati a Mingus a Cuernavaca, a fine 1978. Mingus fece appena in tempo ad ascoltarli, perchè il 5 gennaio del 1979 muore stroncato da un infarto. Il disco uscirà nel giugno 1979. E nelle note di copertina di Mingus, Joni Mitchell racconta questa storia, che si pensava fosse una leggenda di sua invenzione, ma che alla fine si rivelò vera: nello stesso giorno della sua morte, in una Baia non lontana da Cuernavaca, una mareggiata spiaggiò diversi capodogli. Erano 56, 56 come gli anni di Charles Mingus. Il giorno dopo, come da sua volontà, il suo corpo venne cremato e le sue ceneri verranno poi depositate nel Gange. Nello stesso giorno della cremazione, anche le carcasse dei capodogli vennero bruciate in colossali pire sulla spiaggia. Leggenda vuole che le fiamme facessero nel cielo delle piccole M: l’ultima leggenda di Charles Mingus, genio della musica.

[headfullofpresley]

Elvis Presley Tag Game

Hi babies! I know there's already a few of these floating around, but I decided to make one as well because I love doing and reading these (so definitely tag me in yours~). Also, ignore me naming 300 songs for each question, I couldn't pick one 💀.

Questions are under the cut. 💗

When was the first time you heard of Elvis?

He's always been in my life because his music has always been played in my family (especially during Christmas lol), so I guess I kinda grew up with him.

What's your favorite era?

I love him in all era's tbh, but the 60s have a special place in my heart.

Favorite song(s) from the '50s?

Harbor Lights, How Do You Think I Feel, Anyplace Is Paradise, Don't Be Cruel, Wear My Ring Around Your Neck, Ain't That Loving You Baby, I Was The One, One-Sided Love Affair.

Favorite song(s) from the '60s?

Dirty, Dirty Feeling, Make Me Know It, Such A Night, Surrender, Reconsider Baby, Starting Today, (Such An) Easy Question, Witchcraft, Little Sister, Kiss Me Quick, True Love Travels On a Gravel Road, Suspicious Minds, Summer Kisses, Winter Tears.

Favorite song(s) from the '70s?

The Wonder of You, Patch It Up, We Can Make the Morning, Always on My Mind, If You Talk in Your Sleep, Moody Blue, Make The World Go Away, Snowbird, Never Been to Spain, I'll Never Fall in Love Again, Are You Sincere, This is Our Dance, Walk A Mile in My Shoes. I CAN'T JUST PICK ONE LMAO

All time favorite song(s) that you simply cannot skip?

How Do You Think I Feel, Starting Today, Moody Blue, I'll Never Fall in Love Again and Make The World Go Away.

Least favorite song?

Tutti Frutti, Ready Teddy and Milkcow Blues Boogie. don't hate me 👀

Favorite gospel song(s)?

Swing Down Sweet Chariot, How Great Thou Art, Crying in The Chapel, Bosom of Abraham and Lead Me, Guide Me.

Favorite country song(s)?

Snowbird, Whole Lot-ta Shakin' Goin' On, Funny How Time Slips Away, The Fool, Flaming Star, U.S. Male.

Favorite non-English song?

We'll Be Together (most of it is english but it still counts bc i love this song ☻), Wooden Heart and Santa Lucia.

A song(s) that makes you feel nostalgic?

Jailhouse Rock, Can't Help Falling in Love, Heartbreak Hotel, A Little Less Conversation, Are You Lonesome Tonight and Return to Sender - they remind me of my childhood sm.

A song(s) that makes you cry?

There's Always Me, I Need Somebody to Lean On and Unchained Melody.

A song(s) that makes you wanna dance?

Polk Salad Annie, The Love Machine, Vino, Dinero Y Amor, Bossa Nova Baby, Rock-A-Hula Baby, Return to Sender, Slicin' Sand, Happy Ending, Blue River, A Little Less Conversation.

Favorite song Elvis has covered?

SWEEEEET CAROLINE! 💃🏼

What's a modern song you wish you could hear Elvis cover?

Paper Doll by John Mayer - i want it, i need it! *slams table*. also, Roller Coaster by Danny Vera.

Do you prefer vinyl or CD?

I love both and I love the nostalgic feel of a vinyl, but when it comes to sound, I prefer CDs.

Favorite album?

From Elvis in Memphis, Love Letters from Elvis, From Elvis Presley Boulevard, Memphis, Tennessee and Moody Blue.

Favorite movie soundtrack?

Blue Hawaii, King Creole, It Happened At The World's Fair and Fun in Acapulco.

Favorite live performance?

The Ed Sullivan performances, my god. But I'm also obsessed with the show from August 11, 1970 for That's The Way It Is.

A live performance you wish you were present at?

My ass would be front row at every show, idc.

Favorite jumpsuit(s)?

Adonis, Black Conquistador (IM OBSESSED I TELL YOU; OBSESSED!), Conchos, Royal Blue Fireworks, American Eagle, Pharao and Silver Phoenix. His two piece fits were also very *chef's kiss*.

LIKE HELLO????? TALENTED, BRILLIANT, INCREDIBLE, AMAZING, SHOW STOPPING, SPECTACULAR, NEVER THE SAME, TOTALLY UNIQUE, COMPLETELY NOT EVER BEEN DONE BEFORE!!!!

Favorite movie(s)?

Blue Hawaii, Fun in Acapulco, Flaming Star and It Happened at The World's Fair. Also Viva Las Vegas and King Creole and Loving You and I'm going to shut up now.

Least favorite movie(s)?

Harum Scarum, Stay Away Joe, Kissin' Cousins and The Trouble with Girls.

Favorite co-star?

Ann-Margret and Shelley Fabares.

Favorite documentary?

Elvis by the Presleys, That's The Way It Is, Elvis on Tour and Elvis: Return to Tupelo.

Favorite interview?

This one right here. I can listen to this man talk for hours and fell asleep to this many many times lol.

Favorite car?

The Purple Cadillac Eldorado is sexy af. And also the Stutz Blackhawk... loooord.. 🥵

Do you collect merch? If so, what's the one thing you hold most dear to your heart?

I spend too much money on this man (woops), but I'm obsessed with Elvis and the Birth of Rock and Roll which contains Alfred Wertheimer's amazing work. Andddd a collector's item of the Blue Hawaii soundtrack. 💙

Do you think you'll be a fan of Elvis for the rest of your life?

Yes yes yes. He's such a big and important part of my life, I can't imagine him not being in it anymore.

tagging some of my lovely mutuals: @woundmetender @eliseinmemphis @foreverdolly @septembersghost @mrpresley @marriedtopresley @elvispresleywife @ab4eva @elvisabutler @infatuatedharleys @steph-speaks @mooodyblue - if i missed anyone, sorry bbies!

[godscruelkingdom]

Little introduction thingy post

Im madlok, i draw and play and run around in my little area and boogie

Some things i like to draw aree

•musicians

•superheroes

•anime characters

•TV/Youtube characters

•Original characters

While drawing i listen to music! Some genres I love areeee

•punk/hardcore

•sludge/death/thrash/groove metal

•shoegaze

•indie

•rap/pop

•techno/edm

•hard rock/60's 70's rock

I'll probably post art here (duh) and whatever else jumps out of my head, feel free 2 talk 2 me :)

[top-the-cat]

So I mentioned the other day that I had been vinyl shopping at Psychotron Records in Sutton Coldfield recently, and I am still working my way through my new finds…

We’ll start with this by Lee Scratch Perry and if you know Lee Scratch Perry, then you know exactly what this is going to be. Essentially, volume one of the 12” versions of his biggest hits of the 70s. They had the next couple of volumes in there, but I figured I would start at the start, as the opening track is the Original Upsetter 12” mix of Disco Devil, which you may know as Max Romero’s Chase The Devil or The Prodigy’s Out Of Space, or Dreadzone’s Iron Shirt, to name the first three that come straight to mind . (Apparently, according to Wikipedia, Max Romero’s came first, but Perry produced it and the original Disco Devil was his dub version)

But yeah, if you know that track, you know what this whole record is going to be about; five dubbed out tracks by either by him or produced for others by him, with plenty of echo, extended breaks, and let’s say hazy atmosphere to them.

My only criticism though is the bass isn’t as heavy as I figured it would be on the early tracks. I mean, they are all from the same end of the late 70’s but the tracks on the B side sound better, and I’ve got a pretty decent system to play it on, but its not as heavy and gut rumbling as I figured it would be… Still good though!

Lee Scratch Perry presents Disco Devil Vol 1, Discomixes From The Black Ark

OK, so this is just the 12” single and listening to it, it’s not the exact version that I know and to be honest, I’m not really that impressed with it. The quality is fine, but it kinda’ goes on a bit too long and it feels just a little forced. It’s like there’s no soul left in it. There’s the instrumental on the other side, but again, it’s the instrumental of this alternate version and yeah, if I wanted to sample or battle with it, then it’s there, but lets be fair, neither of those are really going to happen.

Plus, the title of it is weird. Everyone knows that Grandmaster Flash had nothing to do with it and it was Sylvia Robinson of Sugar Hill Records that made it and in turn destroyed the Furious Five, but why call it Grandmaster & Melle Mell? What’s the & got to do with it??

White Lines (Don’t Do It) by Grandmaster & Melle Mel

Now were talking! If you don’t know, Buddy Rich was a classic jazz drummer, who played with all sorts of greats from Frank Sinatra, Ella Fitzgerald, and Luis Armstrong to Count Basie and Charlie Parker. And when you listen to him, he fucking wails on those drums. I mean, he is firing off high speed drum & bass style breakbeats in perfect time, which as a teenager back then, would do the same things to you that jungle would do today.

The first side is a bit jazz standard business. Its calm and maybe a little smooth, but all the while you can hear him trying to restrain himself from going wild. Every now and then though, he lets loose with a little drum break or an inspired fill and it all kicks off. It picks up a bit on the second side with his band barely being able to keep up with him. Pure class!

Stick It by Buddy Rich

Have you been listening to BBCRadio6 over the last couple of weeks? They have been doing some specials on 50 years of hip-hop and some hip-hop specials from the decades. (It’s actually 90’s day on the radio today and I’ve been proper getting my rave on whilst I should be working!) But one of the groups they have been playing a fair bit is BDP, or Boogie Down Productions, which is essentially KRS-One, Scott La Rock, Red Alert, and a few other random DJ’s, producers, and people. And the point is, I’ve been quite surprised by how much I have been liking it. I mean, I’ve always been a hip-hop head, but figured all the best stuff came from the 90’s, as most of the best music does.

So I saw this from ’89 and figured I’d give it a spin as it was only £6. There are no tracks on there that I know but plenty of samples that I do. Its all classic funk and soul samples with the usual KRS socially conscious message over the top. Which is all good in my books.

Ghetto Music: The Blueprint Of Hip-Hop by Boogie Down Productions

I’ve spotted this in my local record shop a few times and looked it over it without buying it. And it was still there last time I was in, so I thought I’d have it away… and it’s like nothing else in my collection.

Essentially, its two guys, Big Black and Black Harold playing African, spiritual jazz on just kongo drums and a flute. There’s chants, rolling rhythms, screams, mysticism, and I’m sure the odd voodoo incantation in there for good measure.

It’s the soundtrack to beatniks sitting in a circle, smoking old grass, wearing polo-necks, stroking their beards, reciting poetry and I fucking love it!

I tell you, I was clearly born in the wrong time. I would have made a quality beatnik. Grooving to this, dropping out, getting stoned, writing bad poetry, sleeping around... Can you dig it daddy-O?

Message To Our Ancestors introducing Big Black

Last one for today and this was a compilation I spotted and bought it purely for the fact that it has Asha Puthli on it, who I first heard on Gilles Peterson’s show, about seven or so years ago. He was interviewing her, cutting with bits of her music, which was a mix of jazz, with a bit of sci-fi disco but not like how you would imagine. And he’s trying to get an age out of her, by asking what sort of year the tale she was relating to was and she stops him, and you could hear the look she gives him over the radio, and just goes “Darling. No” and I pretty much fell in love with her right there and then.

So yeah, bought this mainly as it opens with an Asha soulful disco jazz track and the rest are all fairly similar jazzy/disco rare groove numbers that would be make you feel like you’ve just uncovered some hidden gems going through your parents record collection in the loft.

Not sure why it's written out in biro on the label, and to be honest, it's not the best pressing either, but as the title suggests, these are cool classics....

Cool Classics Vol. 10

[whimseee]

my fall playlists if anybody’s interested 🥰🍂

mutuals may recognize some of these songs because I take your recommendations and absorb them with ardor <3

🪩 harvest party groovin’

lots of 70’s upbeat fun music, some songs do step out of this description but they’re there because they have the same vibe ✨

🏚️ haunting

most of these songs aren’t necessarily spooky but I would 100% absolutely play them to create the ambiance if I were a ghost haunting a spider-webby old house

🍁 color tour

many different genres in this one—perfect for a tour, right? they’re all songs that remind me of autumn… so I guess I’m giving a tour of my own interpretation of the season! would 10/10 play this on the radio while we drive through the woods on a true color tour <3

☕️ autumn café

instrumental!!! yippeee!!!!! a lot of jazz, most songs are fall themed or at least have a fall feeling to them. I listen to this playlist a lot while studying!

🌆 studying by the coffee shop in autumn

I’m not good with guessing the genres of songs… I think this is like, slow pop with a richness to it? Fiona Apple, Corrine Bailey Rae, Fleetwood Mac, etc. I study to this playlist when instrumental music fails to help me focus

🧟‍♂️ spooky boogie!

most wonderful halloween playlist ever! spooky-themed rock from a variety of decades, all of it is very fun!!

lastly, a spring playlist for the southern hemisphere!

this is my absolute pride and joy, my go-to playlist, my true love… these are all songs that I think I would listen to if I were a little toad or perhaps a frog in a marsh at sunrise <3

🦇🍂🎃 🍄🪦🥧🐦‍⬛🍁🕸️🌾🌻

ok I’m hoping the emojis above are aligned alright? such is the despair of making posts on mobile! but anyways, happy fall everybody!!!!!

[djmossback]

Spacebar Thrd Spc Sat 16 Sept 2023

THE SETLIST

Let The Music Play, Shannon (lp cut)

Bad Life, PiL (12" 45 RPM)

Give Me Some Slack, Cars (lp cut)

Every 1’s A Winner, Hot Chocolate (lp cut)

Ms. Fat Booty, Mos Def (12" explicit)

Jive Talkin’, Bee Gees (7" 45)

Oh Sheila, Ready For The World (7" 45)

Rock The Casbah, The Clash (7" 45)

Back & Forth, Cameo (12" 33 1/3 )

Roxanne, Police (7" 45)

I Thank You, ZZ Top (lp cut)

Ex’s & Oh’s, Elle King (lp cut)

Walk This Way, RUN D.M.C. (12" 33 1/3 )

2200 hrs

Metal Gods, Judas Priest (lp cut)

You Dropped A Bomb On Me, Gap Band (lp cut)

Sex Shooter, Apollonia 6 (12" 45 RPM)

Ramblin’ Gamblin’ Man, Bob Seger System (lp cut)

Let’s Dance, David Bowie (12" 33 1/3 )

Pick Up The Pieces, Average White Band (lp cut)

Got To Be Real, Cheryl Lynn (7" 45)

Couldn’t Get It Right, Climax Blues Band (7" 45)

Love Action, Human League (lp cut)

Love Plus One, Haircut One Hundred (7" 45)

Knock On Wood, Amii Stewart (12" 33 1/3 )

Boogie Oogie Oogie, Taste Of Honey (lp cut)

No Scrubs, TLC (12" 33 1/3 )

Declaration Of Rights, Abyssinians (lp cut)

2300 hrs

Clint Eastwood, Gorillaz (12" 33 1/3 )

She’s Crafty, Beastie Boys (lp cut)

Boys Are Back In Town, Thin Lizzy (lp cut)

The Futures So Bright, Timbuk 3 (lp cut)

Do The Du, A Certain Ratio (12" 45 RPM)

Black Sap Scriptures, Plague Vendor (lp cut)

Hair Of The Dog, Nazareth (lp cut)

Dirty Rat, Orbital (lp cut)

Pressure, Ari Lennox (lp cut)

Keep On Movin, Soul II Soul (12" 33 1/3 )

YAH, Kendrick Lamar (lp cut)

Joan Of Arc, OMD (12" 45 RPM)

West End Girls, Pet Shop Boys (12" 33 1/3 )

Mama Used To Say, Junior (12" 33 1/3 )

Nothing Left To Lose, Everything But The Girl (lp cut)

Midnight

Original Sin, INXS (lp cut, Dance Music comp)(Pictured!)

Rock With You, Michael Jackson (7" 45)

Maneater, Hall & Oates (12" 33 1/3 )

Rise, Herb Alpert (12" 33 1/3 )

Money (Dollar Bill Y’all), Jimmy Spicer (lp cut, hits comp)(Pictured!)

Funk You Up, The Sequence (12" 33 1/3 )

Chameleon, Herbie Hancock (lp cut)

Open The Iron Gate, Max Romeo (lp cut)

Who Do You Love, Bo Diddley (lp cut, mono, hits comp)

Seven Nights To Rock, Moon Mullican (lp cut)

blue bones (deathwish), Billy Nomates (lp cut)

Remembering Me, Cate le Bon (lp cut)

The Meaning Of Love, Depeche Mode (12" 45 RPM)

Little Fluffy Clouds, The Orb (12" 45 RPM Drum & Bass mix by Youth)

Love my Spacebar people.

TASTING NOTES

I was kind of prepared. Lots of new records. New old records, too: a wealth of vintage mid-70s funk and disco 12” records came into my possession. But, none of those made it into the crate; I had plenty of other acquisitions to integrate into the flow. I am constantly on the search for the familiar unexpected, and the unfamiliar unexpected, without falling prey to the obvious. And I did what I set out to do. Some of the best segues I have ever done happened tonight... often followed up with the most ham-handed and poor transitions in the history of Third Space Saturday. I’m just happy DJ IGA was not there to witness it, and scowl at my transgressions!

It probably didn’t sound like anything in the house, but your audience or listeners aren’t concerned with the details or technicalities. They want to play Centipede, or get nice with someone.

Cyberjewel gave herself the night off, which probably lent itself to me getting stuck in the elevator, and getting to the booth at 2058, for a start time of 2100 hrs. I wanted to get there early to set up, because there was a live event the night before. Luckily, except for the house sound, things were largely in order. I struggled with volume in the house, problems that weren’t solved until Jules showed up unexpectedly halfway through. Within 5 minutes, the PA was set properly, and I had an Athletic NA in a glass. 

Will was in the house, stationed at the print shop bar. It was great to play for the man who is piloting the spaceship. “She’s Crafty” was played for him. He was excited to get to “hear a Mossback set.” He set up my backgrounds on the TVs you can see on the video and busied himself breaking down the stage setup in the performance area. He works hard. I’m so happy I get to contribute to this thing he made happen. And I will stay as long as they want me. 

The crowds, as usual, were several waves of different people rolling through. At first there were normals. And that’s when the two “request” inquiries happened. Lately I’ve been engaging with people to help read the room, without actually playing what they request. Tonight, I was just trying to get situated. So, I politely declined. But the third person that came up asked about the Shannon track that I opened with, so I was pumped for that! I loved seeing the early 20s kids dancing around to “Maneater” by Hall & Oates, too. The kids are alright. The ones that come through the bar during my sets are game for anything. Well, not the guy who came up and asked for Drake. No bueno. 

I worry that my approach to things is too laid back, like part of the atmosphere. Perhaps my lack of self promotion, and my “let the music be the program” attitude, doesn’t lend itself to making Mossback sets an “event.” Maybe I need to get on the mike and relentlessly exhort people to wave their hands in the air, and relentlessly name check “MOSSSSS-BAAAAAACK!” ad nauseum. I am going to get some coasters made, maybe that will help.

There were some slack periods, unusual for a Saturday night. It made set construction challenging. The energy from the people in the bar contributes to your set in subtle ways, and it was challenging to play without it. But I found my footing, and learned to play without it. I made choices I might not have made with a crowd there. 

The Shannon track I started with was from an LP, but it was a 12” dance mix. It’s a “dance”-oriented compilation from Atlantic Records that also has INXS (which I played) and Phil Collins (which I didn’t play but may in the future). “Sususudio” kicks! The comp is set up in a good way, three songs per side. It almost feels like cheating, but there is a lot of useful stuff on there and it doesn’t take up a ton of space in the crate. And the three-songs-per-side format sounds good, lots of low end. For what I’m doing, it works out fine. 

Compilations can be too loaded with material to be useful in this setting, too many songs crammed onto a side, bad remastering, no thump or presence. So I’m sparing in my use of them. But I carry several around with me just for fun, like Soul Jazz comps and the Trojan Records Toots and the Maytals collection.

Will loved the Jimmy Spicer track I played from the Ace Records subsidiary BGP collection chronicling the first decade of hip-hop called “Dollar Bill Y’All.” It consists of records released by the Spring label, which was run by an industry lifer Bill Curtis, who was also a member of the band Fatback. Dude heard the potential in the hip-hop sound early, and the Spring offshoot Posse had early work from Ice-T, Afrika Islam, Marley Marl and artists promoted by Russell Simmons, like Jimmy Spicer. I followed that up with a Sugar Hill Records group, The Sequence. I like the old hip-hop sound. It still sounds good in the club. Will also dug the Herb Alpert “Rise” mix I have. It was so much fun to see him and the crew dancing around to it. 

I ended right at 0100 hours. Funny how that worked out. I just didn’t feel like going any longer. Maybe I got too much rest that day. I usually like to go until close, just because I like it there, but tonight it wasn’t right, so I bugged out and got home at a decent hour.

Next Third Space is 21 October, 2023. 9PM to 1AM, unless I get inspired to stay.

[dankalbumart]

No BS by Brownsville Station Warner Bros. 1970 Boogie Rock / Detroit Rock / Hard Rock / Rock & Roll

[bearsinpotatosacks]

Slooserole Playlist

The songs in this are up to date as off 25/12/22 when I'm writing this.

Leader of the Pack - Twisted Sister - This is an 80s hair rock cover of a 60s girl band song. This means that the backing vocals are hilarious (on purpose I think) because it's grown men who usually just play instruments. I imagine this is the song Slider sings on Karaoke to Goose and Carole while completing wasted

Feel So Good - Mase - Can anyone else imagine Slider and Goose playing basketball (on opposite teams so Slider is skins and Goose is shirts) at Top Gun while Carole is on the sidelines with Bradley? I mainly imagine her sneaking glances over her sunglasses to look at her husband and this new guy who she definitely isn't developing a crush on /s

Da Ya Think I'm Sexy - Rod Stewart - It's simple. Risqué boogie-ing in a sweaty nightclub

Hit Me With Your Rhythm Stick - Ian Dury and the Blockheads - More boogie-ing in sweaty nightclubs (I don't care if funk and disco weren't cool after the 70s, none of slooserole are cool, even Slider)

Photograph - Def Leppard - Slider has pictures of the Bradshaws in his locker

Tonight You Belong to Me - Nancy Sinatra - Carole being flirty to her boys on shore leave

The Edge of Heaven - More boogie-ing

How Long - Ace - Ice finds Slooserole after their initial hook up at Top Gun

Honey, honey - ABBA - The trio being smitten while having their summer affair at Top Gun

Zanzibar - Billy Joel - Goose and Carole flirting with Slider while Goose plays piano (Goose is such a billy joel fan you can't change my mind)

34+35 - Ariana Grande - Listen to the song. Does what it says on the tin 😶

Pour Some Sugar on Me - Def Leppard - Another drunk Slider karaoke song. Sometimes Goose joins in. Slider almost always ends up ripping his shirt off and throwing it at Carole

Touch-A Touch-A Touch Me - The Rocky Horror Picture Show - Goose and Carole are mischievous drunks who serenade Slider with this (especially when he's the designated driver)

Why Don't You Do Right? - Julie London - Carole wants to get her boys attention, okay?

Let's Dance - David Bowie - Boogie-ing

I Was Made For Lovin' You - KISS - More drunk Kararoke. Slooserole are a karaoke throuple.

Oh! You Pretty Things - David Bowie - More smitten feels while at Top Gun

Honky Cat - Elton John - I imagine a montage of them flirting over Goose playing this on the piano

Shoop - Salt-N-Pepa - Mav leaves another round of Volleyball, this one when Carole's there, so she teams up with Goose, causing them to win every game against Ice and Slider because Slider turns to mush

Seaside Rendezvous- Queen - Slooserole + Bradley beach trip

Love Her Madly - The Doors - More of Goose being flirty while playing the piano

Like a Virgin - Madonna - Carole being gushy and in love. I have the image of her dancing in the kitchen while making cookies with Bradley as this plays on the radio. Goose and Slider just gush while watching her sing slightly off key

I hope you like this playlist, I have plenty of others that I may explain like this because I have so many snippets of ideas that I don’t have time to write but want to get out there

[robmillistw2]

Ken Hensley re-evaluated ('Proud Words On A Dusty Shelf'; 1973)

Like any musician/songwriter preparing to record an album, especially those of us in the lowly pub/club circuit and definitely self-recorded, produced and released catalogue (this will be my second), I have been looking back through my vinyl racks at sources of inspiration - and when you play mainly Hammond organ and electric piano a lot of the time but are very much an 'album rock' man, you don't have the role model choice of guitar-toting contemporaries. So it's Traffic-era Winwood and the Greg(g)s Allman and Rolie. Leon Russell and/or Elton John circa Tumbleweed Connection. And Lee Michaels, for the more intrepid.

So it was that in the rack lurked Ken Hensley's 'Proud Words On A Dusty Shelf'. Oh, that one. Haven't played it for thirty years. Let's see what's what.

Now, let's be clear - thirty years ago I was 18 and soaking up just about anything of a certain vintage. I was working in a record shop on Saturdays, so had great access to the kind of second division LPs that you didn't casually hear. One week it was Uriah Heep's 'Salisbury' I took home.

I'll be honest - at the time, I didn't feel it. David Byron is held up as a god by metal fans (and to be fair to Byron, he was absolutely the genuine article of what Justin Hawkins is a very, very bad photocopy of) and Mick Box's guitar work is owed a debt of gratitude by everybody who came along in NWOBHM time - but at the time, I was a bit more hippy dippy than hard rock, and liked the 'sixties hangover' that Zep and Mountain seemed to have more of than Heep. With hindsight, I should have persevered as it is one of the more interesting heavy rock albums of c1970-71, as the 'roots of metal' bits are tempered by softer moments, and the whole thing concludes with the title suite with orchestral accompaniment. But this isn't a post about 'Salisbury' and suffice to say that at the time, I didn't feel it.

The LP went back to the shop, but I did log that the mellower moments were written by Ken Hensley, the organist, who also wrote copious sleeve notes and seemed much more sensible and musically sophisicated than just a 'metalhead'. Not long after I was in a junk shop somewhere and for almost no money at all I found a copy of 'Proud Words On A Dusty Shelf'.

It was inevitable I'd buy it: it was one of those typical early 70s lavish gatefold sleeves with a leather-bound book theme. They always did those luxury packages for spin off albums by main writers (Alan Hull 'Pipedream', anyone?) in the early 70s. Love all that. And of course 'Oh, that's the nice, chatty chap from Uriah Heep who wrote the mellow bits' sprang to mind. I bought it, gave it a spin, thought no more of it. It was good enough to keep. I wasn't a singer or songwriter in those days.

Thus 30 years on, in the search for Hammond-wielding, singer-songwriter examples, this week I played it again. It's pretty good, actually.

Hensley wasn't daft and the album opens with 'When Evening Comes' - plenty of guitars there to avoid losing the Heep audience, which by 1973 wasn't small, who would also be comforted by the presence of Lee Kerslake (drums; RIP) and Gary Thain (bass; RIP) who along with Ken himself are the core of the album crew. The only other credit is to one Dave Paul for some of the bass parts; this makes sense at the sessions for this album started back in 1971 when Thain was not in the Heep camp yet.

Hensley had always mixed and matched keyboards and guitar in Uriah Heep and bittersweet ‘From Time To Time’ sees his acoustic well to the fore, with synthesiser and organ joining the party as the song progresses, almost in lieu of strings and nicely judged. Kerslake turning in a solid beat here that Levon Helm would have patted him on the back for.

‘A King Without A Throne’ sees Ken back on the piano, in a kind of shuffle/boogie, kind of pop way that the driving, melodic bass is as much responsible for making you want to think of Macca as the piano.

There’s definitely a classic American songwriter influence - the effortless melody, the Brian Wilson/Carole King chord inversions about ‘Rain’, a gentle piece with Hensley again at the piano, with just vibes and a bit of organ used to build dynamics, and no rhythm section. The vocals at full throttle are Ken in harmony with himself and as you’d expect, much of the high harmony work that was a Heep trademark is evident on a lot of this record, albeit in a subtler fashion without Byron - less Three Dog Night/Vanilla Fudge.

Side one closes with the title track, which along with the opening cut bookends the first side with solid guitar fare; Ken’s slide getting an airing here as it did often in Uriah Heep. Kerslake and Thain (or Paul?) again coming up with the goods, the former shining in a very Simon Kirke-like fashion.

‘Fortune’ kicks off side two in a more arranged fashion: what starts out semi-Floyd-y with a bedrock of organ and heavily reverb’d slide guitar then gives way to passages of acoustic guitar and a tempo change to triplet feel over a distinctly George Harrison guitar arpeggio that when this passage returns, closes the song in a semi ‘She’s So Heavy’ manner. Once again, Ken’s vocals are big and soulful. The cycling song sections are a little of their time - but, hey.

One of the most striking elements about ‘Proud Words On A Dusty Shelf’ is how great a drummer Lee Kerslake was outside of heavy rock (his Heep and then Ozzy tenure rather cement it within the genre). On ‘Black Hearted Lady’, Lee sounds to my ears very much like Martin Lamble was in early Fairport - solid, but restrained and a little playful here and there. In fact, the whole song sounds like a product of that scene - not unlike Matthews Southern Comfort with Ken playing some lovely tasteful song-led lead guitar (a pal commented that there’s more than a little of early Stones tenure Mick Taylor about it) and some immaculate acoustic descending arpeggios.

The acoustic guitar, great drums and vocal harmonies mood remains for ‘Go Down’, and again Kerslake has my bacon sandwich on the floor: here he is very Keltner (and the bassist has the Lee Sklar vibe) and the entire song has that USA 70s ‘shop gloss’: Ken’s tracked vocals, pristine acoustic parts and composition presage Hall & Oates here: of course, this is a 1973 product and that was the year of ‘Abandoned Luncheonette’ and Springsteen’s debut - the 'new USA breed' - but this was recorded between November ’71 and November ’72!

Ken is back at his piano for the intro of ‘Cold Autumn Sunday’, and after the beautiful intro, Kerslake is back in Levon mode, both for the fill that brings the band in and the general infectiously unhurried groove. This is my absolute favourite of the album, with a Leon Russell/early Elton feel and some distinctly Ronnie Wood like guitar from Ken. I’m a sucker for Spooky Tooth/Joe Cocker ‘white rock meets gospel’ and the band briefly hushes a little for the choir before the final hurrah.

Anglo-Americana is still the mood of the closer ‘The Last Time’ and here Ken (the album notes say everything but bass and drums is he) gives an even more Transatlantic flavour by adding pedal steel.

It strikes me that Ken Hensley was a very adaptable musician, true to his craft: the song came first and the parts to serve it. Lee Kerslake has knocked me for six listening back to this and to return to my original context of listening to albums before recording myself, in Ken Hensley I’ve found a great role model of a man who sang with soul and conviction without being blessed with a David Coverdale, Mike Harrison or Gary Brooker king-sized voice, and without overdoing the faux American twang. Enjoyed that a lot; RIP Ken Hensley and Lee Kerslake who left us in 2020.

Kenneth William David Hensley (24 Aug 1945 – 4 Nov 2020)

[nwdsc]

(Cruiserweight | The Jack Movesから)

Cruiserweight by The Jack Moves

Across their self-titled debut effort, Newark, NJ based duo The Jack Moves captured the duality of the city’s existence, from the crummy and rude glory hole bandits of Penn Station to cherry blossom park lovers north of the city. The seaside soul meets skate-punk funk narrative was artfully carried forward on the band's sophomore offering Free Money, which was named one of 2018's best albums of the year by KCRW. Once again it’s on… after a stint stuck in solitude, The Jack Moves are back in the ring. Still in love, but not falling. This time, they’re the prize. This go-round, they’re coming out swinging, not too cute for a scuffle. Still cruising, but now it's for a bruising. Legendary producer/arranger Paul Kyser dubbed The Jack Moves “the baddest band in New York City," and they sound every bit of it on their third full length LP Cruiserweight. Since that last outing, which included two cross-country road tours in 2019, Zee Desmondes and Teddy Powell have collected the experiences from their previous travels, and brought them back to home soil, where they would inevitably get deeper into their Jersey roots. To examine what distinguishes a city like Newark and a state like New Jersey from any other. How it’s become like an alternate dimension, somewhat stuck in the past, but simultaneously far off into the future. To further connect with an unusual cast of characters, and translate their passion and mysticism into song. Still dripping with hard soul, but not quite as obvious to categorize… With Cruiserweight, The Jack Moves take a cinematic approach to song making. Each tune is a vignette, where the fellas get deep into character, to deliver essential parts of the story. As the plot thins and thickens, we’re treated to the sound we’ve come to love, along with a few new card tricks brought to the table. With its infectious, ebullient hook and jaunty flute, lead single “Somebody's Watching You” might seem like a sweet paean to longing, to desire—but it's also an ode to looking in its many forms, to the interplay of gazes online and in real life, to observing, being observed, and performing for the eyes of others. Follow up single "Seabra" is a breezy and romantic, mid-tempo ballad, calling back to Philly soul acts like Teddy Pendergrass or Harold Melvin & The Blue Notes, but infused with a sweet Brazilian samba rhythm, à la Astrud Gilberto and Antonio Carlos Jobim. The Jack Moves enable disparate elements to coexist within sweet soul/R&B, much like the Brazilian community in their home-base of Newark has become an intrinsic part of the city's character. “Lionel Richie” is a hard soul banger, complete with throbbing bassline, menacing drums, luscious string and horn arrangements and cocky vocals. The song is reminiscent of The Ohio Players and Rick James funk, or INXS dance-rock if spun at one of David Mancuso's infamous ‘70s parties at The Loft. It's a distinctly east coast R&B sound, but able to sit comfortably alongside a contemporary outer-regional song like "Am I Wrong" by Anderson .Paak & the Free Nationals, or joints by artists like Bakar and Frank Ocean. Imagine a steaming subway commute through the bowels of the city, to emerge into the powder keg that is NYC… ‘Lionel Richie' is that energy. Perfect for modern and nostalgic soul, funk, boogie, rare groove, and disco playlists. Overall, Cruiserweight is a potent dose of everything we've come to know and love from The Jack Moves, from the sweet soul of "When You're In Love" to the rock & roll tinged "Gatti vs Ward," but with a noticeably more dynamic range. With this record, The Jack Moves promise to strengthen their foothold within the current musical landscape, occupying greater space across genres, and taking significant steps forward into this next chapter. In 2022 The Jack Moves have toured with Thee Sacred Souls, Ghostfunk Orchestra and Weapons of Mass Creation. They’ve been sampled on songs featuring Ghostface Killah and Conway the Machine, and have performed at Brixton Academy, Red Rocks and Billboard Live in Tokyo. Their singles “Somebody’s Watching You” and “Seabra” can be heard on Morning Becomes Eclectic. For those who may have contemplated betting against The Jack Moves… you might be stupid, but don’t be crazy! Cruiserweight will be available October 14th 2022 on Digital and CD with the 1st vinyl pressing due August 2023 クレジット2022年10月14日リリース Produced by The Jack Moves Engineered by Z. Desmondes Strings/Brass/Wind/Harp Engineered by Chris Gilroy Mixed by Chris Gilroy Assisted by: Angelo De Filippis, Matt Huncke, Jacob T. Kiely-Song At Douglass Recording, Brooklyn, NY Mastered by Alex DeTurk at Bunker Mastering Recorded at Arranged by Paul Kyser Published by Indpependent Champion Artwork by Alehsi Lambo (p) & (c) 2022 Everloving, Inc. 2658 Griffith Park Blvd. #115 Los Angeles, Ca. 90039 All rights reserved