#and this blog lets be honest is more a Jay blog than a one Chicago blog these days

[one-chicago-fanfiction]

Oh god everyone how are we?

[rubix-writings]

Punisher Pt. 7

Seventh part of Punisher. I couldn’t stop writing so here’s another part. I included a dress as a suggestion of what Jo would wear to the renewal, I’m just so obsessed with that dress, but imagine it how you want! This is a Chicago PD/Fire imagine with an original character. I don’t own any of the plot points or characters from the show. Also, it doesn’t follow any particular season or sequence in the shows.

Series Summary: Josephine (Jo) never expected to find support and pure love when she left Los Angeles. She ran away to Chicago and was content with living an insignificant, hidden life. But everything changes when she walks into Molly’s to get a job.

Josephine (OC) x Jay Halstead

The italicized lines are internal thoughts of the character.

Warnings: language, mentions of drinking, mentions of domestic abuse

“It looks great, thank you Jo,” Trudy warmly grabs my shoulder. I smile and let her get back to her other guests. The ceremony was short and sweet, Trudy and Mouch exchanged the same vows they did years ago. Trudy looked like a badass with her white suit while Mouch wore his dress uniform. Since they got married at city hall they didn’t get to have the full experience and wanted to dress up to the nines for the occasion. Everyone, out of respect, dusted off their dress uniforms as well, even the Intelligence Unit wore their’s. That left the doctors, spouses, and me in our formal wear. I haven’t had to dress up for an occasion like this in what felt like years, Silvie had to take me shopping to find a dress since I had nothing. I grab a glass of champagne from the table and bring it to my lips. 

“Trudy happy with the place?” Jay asks, I nod as I swallow.

“Yeah, she even thanked me,” I say proudly. 

“Well, it looks like you owe me a dance tonight,” Jay leans down to grab a bottle of beer from the tin tub filled with ice. 

“Oh yeah? How did you come to that conclusion exactly?”

“It’s simple really. I helped you decorate this place and Trudy loves it so it would be a thank you dance so to speak,” Jay smirks as he pops the cap of his beer.

“Well if I had known that there would’ve been strings attached, I definitely would’ve thought it through more.”

“What more do you need to think through?”

“You don’t seem like a good dancer if I’m being honest.”

“I’m a great dancer.” 

“We’ll see,” before Jay can respond we are told to take our seats for dinner and toasts. I’m sitting with most of the Molly’s crew - Stella, Kelly, Hermann, Cindy, me, and Matt, while Jay’s table is all of the Intelligence Unit. Normally I’d roll my eyes if they put Jay and I at the same table, knowing that it was them mostly teasing us, but right now I deeply wish that we weren’t at different tables. 

“Excuse me everyone,” Chief Boden announces. “I was asked by the couple to say a few words.” The room quiets to listen, there are only a few clangs of silverware since people are still eating. 

“I’ve had the privilege to know these two separately and as a couple. And let me tell you, if you don’t believe in soulmates, these two will make you reassess. I remember when they first met - I’d never seen Mouch so giddy and Trudy so… quiet. It was like they knew what was about to happen.

“I’ve been lucky enough to be with my wife for some years now, and her love changed me. Just like I know your love for one another has changed each other. I think anyone can tell you that love is easy, sometimes it's so simple, just like you’re waking up in the morning. But other times…. It can get really hard. Love isn’t something of convenience, there's sacrifice and there will never be a ‘right time.’ But I can tell you it’s so worth it,” without thinking, I look at Jay. 

“You two have something so fierce that cannot be copied, but hell we all will try. To Randall and Trudy,” Chief Boden raises his beer to the couple that snaps me out of my daze. Maybe, I’ve been wrong this entire time to push Jay away. Boden’s words sit heavy on my chest for the rest of the toasts. Is it okay to confide in Jay? I turn to look at him again and this time I meet his bright blue, ocean eyes. He doesn’t try to look away, he smoothly winks and smiles. 

“Thank you all so much for being here. We know we surprised everyone when we got married nearly ten years ago. You are all so important to us, that we wanted to go through this with you. We love you, now drink up!” Mouch yells. People immediately get up to get more drinks and start mingling again. I shoot down the rest of my champagne and go behind the bar to get more. 

“I think you’re off the clock Jo,” Will jokes. 

“It’s like a safe space, a security blanket almost.” I gesture to ask if Will wants another beer and he nods. “So how’s everything going with you and Nat? I mean, your ‘guy’ and his girl?” I slide him the opened beer.

“What?” his eyebrows furrow. 

“You and Nat? The girl that just went through the ‘massive life change,’ you know who you have feelings for?” 

“What? I wasn’t talking about us,” Will begins to whisper yell.

“It’s okay, I won’t tell anyone.” I whisper back.

“No I really wasn’t talking about us. Why would you think I would be talking about us?!”

“Because her husband died a year ago?! And you’re shamelessly in love with her?! Also everyone knows that when they say ‘I know someone who’ they’re really talking about themselves!” I whisper yell back to him.

“I’m not shamelessly in love with her, please.” 

“Yes you are.”

“No - I was talking about Jay!” 

“What?” My voice sounds as if I was punched in the gut. Hearing that Jay wants someone else feels painful. It has to be karma for not speaking up sooner. I lost him.

Before Will can say anymore, Jay walks up to the both of us. He slaps his brother on the back and scolds us for not joining the party. 

“I should get out there, thanks Jo,” Will stands up from the stool and walks away. 

“What were you two talking about?” Jay asks through a laugh. 

“Ugh… you actually.” 

“Yeah? Whatever he said he’s lying,” Jay jokes, but I don’t laugh.

“He said you have feelings for someone, and it’s painfully obvious apparently.” “I wouldn’t say painfully -”

“But you do?” he nods. “I’m happy for you,” I plaster on a fake smile. 

“You are?” he asks, almost confused.

“Of course, I’d love to meet her if I haven’t already,” Jay starts laughing. 

“Jo,” he holds my hand. “I guess it isn’t so painfully obvious to one person. To the one person it matters.”

Oh shit.

“C’mon,” he doesn’t wait for me to speak. “I think you owe me a dance.” 

Adele’s cover of “Lovesong” comes through the speakers as guests begin to couple up. Without a word I walk out from behind the bar and take Jay’s hand again. He strokes his thumb on the back of my hand as he leads me out to the dance floor. My other hand rests around his neck while his free hand wraps around my waist to pull me close. Our temples rest against each other as we sway to the music. 

“I feel so stupid,” I whisper.

“Don’t, you needed time.”

“Thank you for giving it to me,” I pull away to look into his eyes.

“Of course, take all the time you need, okay?” I nod. “You look beautiful,” I can feel my cheeks flush.

“Thank you. You look…. Really hot in that uniform,” he laughs. 

“Thank you,” we hold each other’s gaze. I watch as Jay’s eyes flicker down towards my lips. I look down towards our feet, not allowing the potential kiss.

“I’m sorry, it feels like everyone is watching us,” I whisper. 

“You never have to apologize to me about that,” he whispers in my ear. “And you’re right, they are. Stella just gave me a thumbs up,” I laugh. Jay and I sway there for a while, despite knowing everyone is looking I never want to leave Jay’s arms. Luckily another slow song begins to play. 

“I wanted to ask you something, um, police related,” he nods.

“I can’t get you out of that parking ticket Jo.”

“I paid it already,” he laughs. “No, I have this friend from back in LA and her boyfriend was horrible. He’s this drug runner, that would hit her so she got a restraining order. She moved to Boston to get as far away as possible, but would the restraining order still work in Boston?”

“Yeah, it should. Does she think he’d follow her out there?”

“Maybe? He’s unhinged and obsessive.”

“Well, I have some friends from the service that are now cops out there. I can give them her information to check on her.”

“You’d do that?” he nods.

“She’s important to you and she must be scared out of her mind.”

“Yeah, she is. But it took a lot of convincing to get her to even let me ask you about it, so I don’t know.”

“Whatever she’s comfortable with, you let me know.”

“I will, thank you,” Jay spins me out and back, making me laugh. I’ve never felt a moment more perfect than tonight. I guess I’ll have to make Will that Manhattan after all.

Taglist: @whit85-blog @bestillmystuckyheart @nocturnalherb16 @5sos-imagine​ @miranda0102

[babygirlbenji]

A Tough Case

A/N this is set before Gabby leaves because let’s be honest, this is something our queen Gabriela Dawson-Casey would do. Also, as a Brit, I literally know nothing about Chicago, so I hope I did this great city justice! Also this gif UGH such a cutie. I tried to insert a “read more” but unfortunately I don’t have access to this blog on my laptop bc Tumblr is being weird so when I get access to it I’ll insert a read more!

Imagine for @harryskittenxox - hope you like it my lovely, thank you for being my first ever official request EEK

TW - alcohol, one mention of pedophilia (related to the case)

It was karaoke night at Molly’s, and you were at least six double vodkas in.

You were a detective for the Chicago Police Department, and you and the rest of the unit had just finished up a difficult case. You weren’t usually much of a drinker, but this case had affected you in a way none of the team had ever seen before.

‘Don't want to close my eyes, I don't want to fall asleep, ‘cause I'd miss you baby, and I don't want to miss a thing!’ The rest of the bar roared their approval as you sang your karaoke song at the top of your lungs - I Don’t Wanna Miss a Thing by Aerosmith.

‘And that was Detective Y/L/N with I Don’t Wanna Miss a Thing by Aerosmith! Anyone else for the mic?!’ Otis called to the crowd, and handed the mic to another person who started singing You’re The One That I Want from Grease. Meanwhile, you stumbled your way to the bar to order another drink.

‘Y/N, honey, how much have you had?’ Gabby asked. You stared at her indignantly.

‘Not enough! Another double vodka lemonade, please, my fine firefighter friend!’ Your voice was extremely slurred, and you could barely see or think straight.

‘She’s right, Y/N, you have had a lot. Maybe you should take a break?’ Jay tried to reason with you, but when you were in this state, and after everything you’ve seen the past few days with this awful case, you really needed to forget about everything and party, even if it was just for tonight.

‘No, Halstead, I am fine. Gabby! My drink, please!’

‘Okay, but I’m calling Kelly to take you home, you’re going to hurt either yourself or someone else in this state.’ You just grumbled, and swiped your drink out of her hand.

You continued to mingle, your vision going more and more blurry.

A few minutes later, you felt a hand on your waist.

‘There’s my beautiful lady!’ You turned and immediately broke into a wide grin.

‘My love is here to take me home! My chariot awaits.’ You took his hand, him glancing at Gabby over at the bar and just getting a thumbs up in return.

The chilly November air whipped your hair as you stepped out of the warm bar, and you pulled your coat closer.

‘Brrr, Kelly, who turned the heating off?’ He wrapped an arm around your shivering shoulders as you made your way towards his car.

‘Chicago doesn’t have a heater, love,’ he reminded you gently. He helped you into the car, before running around and getting in as quick as he could so he could start the engine. The vintage Chevrolet purred into life, and he started down the road towards your shared apartment in downtown Chicago. ‘Come on, let’s get you home and warm. You’re gonna be nursing quite the hangover tomorrow.’ He looked over at you. ‘Gabby said she’s never seen you drink that much, even after a case. Everything okay?’

The relative time between now and your last drink had allowed you to sober up slightly, allowing you to think and speak more coherently.

‘Yeah, just a tough case.’ Your voice was merely more than a mumble, and he had to strain his ears over the rumble of the engine in order to hear you.

‘Okay. You know you can talk to me about anything, right?’ All he got was a nod in return. The case - about a pedophile ring in the outskirts of Chicago - had drawn up memories you’d rather forget, and you were ashamed to admit it, but you resorted to drinking in order to drive them out of your mind. ‘Look, you and me, we’ve... we’ve been through a lot over the couple years we’ve been together, and you mean more to me than anything, so I just want to make sure you’re alright.’ Despite your somewhat forlorn state, you looked up and smiled slightly.

‘You’re the best, you know that?’ He smiled and patted your knee.

‘Only the best for my best girl.’

He parked up outside the building, and helped you out of the car.

‘Kelly, I can walk, you know.’ Your words said one thing, but your actions said another as you leant onto him, hand in his.

‘Oh really? Let’s just get you inside.’

Once in your apartment, you wasted no time in collapsing onto the king-sized bed.

‘Can you get changed yourself?’ Kelly called from the kitchen, obviously getting you some water and an Advil.

‘Yes, maid.’ Your dark blue dress was off in a flash, you reached for your cosy sweatpants and one of Kelly’s firefighter shirts. Not bothering to get up and brush your teeth, you curled up under the covers and waited for Kelly to join you.

‘Here you are, get some rest now.’ He handed you the glass of water and tablets, which you downed easily. ‘You good? Don’t need a bucket or anything?’ You glowered at him, despite how helpful he was being.

‘I’m not that bad, Kelly Severide. Now come on, your lady demands cuddles.’

‘Only too happy to oblige.’ He clambered in, and you immediately cuddled in close, breathing in his familiar scent.

‘Have I ever told you how much I love you?’

‘Just about every day before I go to shift, and just about every day when I get back from shift.’

‘Good, because I’m relieved every time you come back from shift. I always dread getting a phone call from Chief Boden or someone saying that you…’ Your throat closed up; you just couldn’t bear saying it. Luckily, he knew what you were getting at, and rubbed your shoulder.

‘Hey, look at me…’ You gazed up into his Mediterranean blue eyes. ‘I am always going to come home. You’re my home. You don’t ever need to worry about that, okay?’

In that moment, nothing else mattered. You were in the middle of one of America’s biggest cities, but in that moment, in that small bedroom, you were the only people that existed. Not even the fact that your head was still kind of swimming could distract you from the obvious butterflies that were fluttering around your stomach, as was usually the case whenever you looked him in the eye.

‘Okay. I’ll hold you to that, and if you die, that’s going on your gravestone.’

[jumphq]

A Hand to the Devil? A Gift to the Masses?

I’m thinking that this might be my last post here on Tumblr. I’m not antiTumblr, necessarily…it was a necessity in 2015 to get up and going as quickly as possible. But it has always felt clunky and now that we have other options: our official page, Medium, Patreon…it’s time to consolidate, I think. I feel like this blog has kind of been out in the wilderness a little and maybe it’s time to give it a better home.

Speaking of Patreon, our page launched last Thursday, and while I was very much looking forward to it, I can’t lie: I lost a number of nights of sleep over it. Why?

It’s the oldest way for artists to exist: through the patronage of people that want to support the artists in making new art. This practice allowed tons of artists do what they did for centuries, and happily. But this practice hasn’t really been a part of the modern world until “crowdfunding” became legal. Even then, it is one thing to ask people to help you pay for one thing. It’s another to ask for people to give part of their monthly income to you, not knowing about the thing, but hoping that a thing happens. So, anxiety.

It is thrilling and feels icky at the same time, to ask for people to be your patrons. On the one hand, why shouldn’t you ask? I want to create things, as an artist. I want to create things for a living, as an artist. Why would those two statements need to be separate thoughts?

I was actually taught that they were separate thoughts. If you are a son of two artists, you learn that money isn’t something that is easy to come by. You go to art school, you are encouraged to wear the “starving artist” badge on your sleeve proudly. Artists are special. They are different. Artists are poor.

Again, why? I don’t know. If you’ve never tried to make a living being a full-time artist, you might don’t know this. It’s hard. When I make money as a web developer, it sometimes makes me angry. Why do I make so much more money building a website for a marketing firm, or an app for a company that sells stocks? These jobs aren’t nearly as difficult or interesting to me as writing a song or acting in a play, but they are far more highly valued by society.

I like writing code. I like getting paid to do so. But I don’t like it as much as being on stage. I can (more easily) support my family writing code, and live a comfortable life, but if that’s all I do, I feel unfulfilled. I could build websites by day and act in plays at night, but that is sort of a drag for me because then I’m in two full-time day jobs and am always sort of strung out and exhausted and can’t give my best to any work I do.

This is just me, by the way. I’m just speaking about my experience as an artist. My fellow developers are very fulfilled being full-time coders. Tons of actors here in Chicago love to have day jobs for money and then put on their “Artist Caps” at night. They have the drive and energy to do that. I am not knocking their choices. I’m just a better person, a better artist, when I am single-tasking: getting paid to do one, fulfilling, creative job.

Jump, Little Children never got “famous”. We were successful for a rock band in that we could hit the road and have between 50 and 5000 people come see us when we played, depending on the location. In some cities we were almost a household name and in others very few people had heard of us. We weren’t as business-savvy and easy to swallow as Guster and we weren’t a sexy two-person band like Shovels and Rope. We just didn’t catch on enough, and there is no big clear reason why. We cannot really blame bad management and record label issues. The truth is that tons of amazing bands don’t catch on, don’t make it to Conan, but love writing and playing and do it for as long as they can financially and emotionally stay afloat. It doesn’t matter “why”. We gave it our all, made some good decisions and some bad ones, and were proud that it was our full-time job for as long as it was.

Of course, by “full-time job” standards, we were way below the poverty level our entire career. It’s expensive to run a business, and Jump was our sexy business, which meant that if there was anyone that was going to get a pay cut when times were tough, it wouldn’t be our manager, tour manager, lawyer, or sound guy. Just us. You keep going in the hopes that you’ll eventually be the ones making the most money; that didn’t happen for us and I have no regrets.

It was amazing to finally get paid a living wage when the band was done in 2005. The first time I made a weekly paycheck I couldn’t believe it. Making $30k a year for the first time was like being fabulously wealthy…and this was in my very late 30s. Being comfortable was intoxicating for a while, but not being a creative person for a living kind of left me with a empty feeling in my chest. My journal entries pre-2015 had a theme: ask after ask for the Universe to bring me something that would both be a fulfilling career and support my family at the same time.

Yet when the Universe brought the Jump reunion in 2015 to me, I was the last person in the band that said “yes”. I assumed that the chapter was closed and I was fine with it. The five of us weren’t that close at the time and I had forgotten what it was like to play music with people that knew you as well as Jay, Johnny, Ward and Evan knew me. I knew that saying “yes” was going to open up a lot of baggage that had been packed away, would be a ton of extra work for me personally, was going to be scary and emotional and possibly a big fucking failure.

It has been some of those things, too. But as you’ve gathered from this blog, it has also been incredible–a great creative lump of plaster putty to fill in my unfulfilled chest hole (gross!). Worth the being away from home, worth the pay cuts again, worth the anxieties and fears and insecurities. Lots and lots of sleepless nights. Worth it.

I’m luckier than the members of the band that don’t live on Facebook and Instagram, I’m luckier than those that don’t stay in the lobbies of rock clubs after every show until the venue kicks us all out. I’m luckier, because I can see the direct impact our saying “yes” to JLC in 2015 made on your lives and therefore on my life. You’re very honest about it, and I don’t take it lightly. The music has gotten you through bad times and good and happy moments and sad. The community has not just been a place to put your love of a rock band, but also a place to put your own dreams and hopes and needs. Every band might be required to say “we couldn’t do it without our fans” but I know more than anyone how true that statement is for Jump. I’m lucky.

So, Patreon.

Man, it is hard. I get it. For those of you that are a little taken aback at our choice to try this out in order to keep our creative little rock and roll world afloat, I feel you. Everyone is asking for your money these days. How can people that don’t have 9 to 5 jobs ask you to help pay for their lifestyle? Especially if you like your 9 to 5 job? I do not have an answer, because it feels a little icky and uncomfortable to me, too.

Cards on table: Jump, Little Children has two options in 2019. We can’t afford to do what we did last year and not get paid for the intense amount of work it takes to be a mostly-full-time band: writing, recording, touring, posting, streaming, marketing. We either try this Patreon thing out, or something like it, to see if it will help us be able to spend more time writing music and creating things, or we spend less time on the band and do more lucrative things to keep food on tables. Realistically, we will still have to do other things anyway, but anything helps. The days (and chances) of a big record label swooping in and paying us to write and record songs are over, and even when our big record label did swoop in, we didn’t get a pay raise anyway.

Friday morning I woke up with an idea to record some Irish music with my friend Amanda Kapousouz in time for St. Pat’s. And I felt a freedom to have that thought that I didn’t have before. Sure, I might have done the recording anyway, but knowing that I could at some point make a creative work like that happen and get paid for it was inspiring. I’ve just spent three hours writing this letter to you. Connecting with you has always been my job and always will be, whether I get paid for it or not, but it does take time, time that I could spend coding, I suppose. I’d rather write these love letters to you.

Patronage isn’t about putting a price on your love. We are putting a price on the pride we take in our work, the time we take to agonize over details, the care we put into everything from a melody, to a sentence, a pixel, a shade of hair dye. It’s not your responsibility to feed us. It’s our responsibility to find the means to feed ourselves. We would like to do that by writing songs and producing new content, and we are attempting to find new and creative ways to do so.

It could be a winning solution for everyone. If this works out for us, the goal is to keep writing music and performing. With something like Patreon, we could possibly have a new album next year. Without it, we might have a new album in 2022. That’s not a huge difference. Either way, it’s OK, right?

Support us on Patreon if you can, but if you cannot: please don’t. Please please don’t. If you like this idea and want to support us, but can’t afford to, let us know how we might help you make that work. Is it to change the tier prices? To put more stuff in the lower tiers? What would make it worth it? We need to have all the data at hand.

And if you can’t, please accept that we are still going to be around and not play games with your hearts? We’ll post to the same social media and do the same silly LIVE chats and tour and hopefully write new music. We are here, we love you just as much, so you can let other people pay while you reap the benefits, OK?

Whew. I feel better getting this off my chest…thank you. I’m gonna go record some flute, now, for fun…and profit?

We love you,

Matt “Overshare” Bivins

[jaycross666]

It’s been nearly ten years since Lil Wayne, on Birdman’s 2009 hit, “Money to Blow,” implored listeners not to worry about Cash Money’s future because the label would be all right as long as they “put Drake on every hook.”

Since then, Drake’s earned the right to be mentioned in the same breath as Rap’s Greatest Scene-Stealers ever—Busta Rhymes, André 3000, and Lil Wayne—as he’s swiped dozens of songs out from under artists on the strength of show-stopping guest verses.

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Even more, a Drake feature practically guarantees you a hit: over the past decade, he’s guested on seven No. 1 singles on Billboard’s Hot Rap Songs chart (“No Lie,” “Moment 4 Life,” “Right Above It,” “Aston Martin Music,” “I’m On One,” “Say Something,” and “Only”), and 13 Top 10 hits on the Hot 100 (“Work,” “What's My Name,” “She Will,” “MIA,” “Look Alive,” “No Guidance,” “Going Bad,” “Yes Indeed,” “Right Above It,” “F***** Problem,” “Love Me,” “I’m On One,” and “Walk It Talk It”).

With his status as hip-hop’s Feature King unchallenged, here are Drake’s 50 best guest verses.

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But first, a couple of notes before we begin:

We’ve omitted songs where Drake only sings the hook: Rick Ross’ “Diced Pineapples” and “Aston Martin Music”; Lil Wayne’s “She Will,” “Love Me,” and “With You”; Gucci Mane’s “Back on Road”; Tyga’s “Still Got It.”

Also ineligible are remixes that double as Drake freestyles: “We Made It,” “Paris Morton Music,” “Sweeterman,” “Tell Your Friends,” and “Freak N You.”

Without further ado...

50. Nicki Minaj — “Champion” ft. Drake, Nas & Young Jeezy

Album: Pink Friday: Roman Reloaded (2012)Producer: T-Minus, Nikhil Seetharam

Two years before he was having tea with Erykah Badu on 2014 loosie “Days In the East,” Drizzy mentions that he used to stay with her in his verse on “Champion.” And while Jeezy might steal the show with his appearance, Drake delivers the more confident verse, reflecting on how he makes “hits in three acre cribs” and “stars outta basic bitches.”

49. PartyNextDoor — “Recognize” ft. Drake

Album: PartyNextDoor Two (2014)Producer: PartyNextDoor

This is Peak Drake: In the span of two bars, he plans trips to Europe, then remembers his side piece’s Benz needs snow-equipped tires.

48. Preme — “DnF” ft. Drake & Future

Album: Dear America (2014)Producer: Noel Cadastre & Noah “40” Shebib

You’d be remiss to bring up this verse around lyrical heads, but admit it: Drake’s performance on “DnF” is unbelievably catchy. Even more, it contains one of the best Sad Boy Drake sequences in his catalog.

47. Big Sean — “Made” ft. Drake

Album: Finally Famous... Vol. 3: BIG (2010)Producer: Kanye West

In the summer of 2010, Big Sean should’ve known better than to request a feature from the Rap Rookie of the Year. Predictably, his decision backfired: Drake not only washed the Detroit rapper on his own song (“Made”), but arguably had the best overall verse on the entire mixtape. I wish I could say Sean learned his lesson, but considering what took place three summers later (Kendrick’s guest spot on “Control”), we both know the answer.

46. Rick Ross — “Gold Roses” ft. Drake

Album: Port of Miami 2 (2019)Producer: OZ, Syk Sense, Vinylz, & The Rascals

Writing about the song in his review of Port of Miami 2, my friend Yoh said it best: “Drake has one of the most seamless deliveries in hip-hop. The words don’t have any weight, and his voice never fumbles the cadence. He steps into a particular zone. As a lyricist and performer, Drake must be considered a great rapper. The blasphemy line. The double-jointed line, too. Scorpion needed ‘Gold Roses’ more than Port of Miami 2.”

45. French Montana — “No Shopping” ft. Drake

Album: MC4 (2016)Producer: Murda Beatz, Cubeatz

Congrats to Joe Budden for turning a one-sided war against Drake into the most unnecessary rap beef in recent memory. In the summer of 2016, their feud culminated in Drake sending multiple shots at Budden on French Montana’s “No Shopping.” In hindsight, these barbs overshadow Drizzy’s superb verse, which has earned its place in the canon of underrated Drake guest spots.

44. Bun B — “Put It Down” ft. Drake

Album: Trill OG (2010)Producer: Boi-1da, D10

Nine years on, Drake’s verse on Bun B’s “Put It Down” has aged like fine wine. Following a couple of cringy lines early on (“I never cheat unless you count the girls I cheat on;” “Homesick just when I thought I was sick of home”), Drake finds his sweet spot and begins rapping like the superstar he’d soon become.

43. Meek Mill — “Going Bad” ft. Drake

Album: Championships (2018)Producer: Wheezy

Drake’s 2018 guest-appearance blitz will go down as one of the best in his career. After owning the winter with “Look Alive” and “Walk It Talk It,” the summer with “Yes Indeed” and “SICKO MODE,” and the fall with “Never Recover” and “MIA,” Drake still had enough left in the tank to supply his former rival, Meek Mill, with one of his best verses of the year on their reunion collaboration, “Going Bad.”

42. Jamie Foxx — “Fall For Your Type” ft. Drake

Album: Best Night of My Life (2010)Producer: Noah “40” Shebib, Rico Love, & Drake

After spending 2010 singing hooks for A-list rappers like Birdman (“Money to Blow”), Lil Wayne (“With You”), and Rick Ross (“Aston Martin Music”), Drake capped off the year by flexing his versatility alongside an A-list R&B star. On Jamie Foxx’s “Fall For Your Type,” Drake’s closing verse introduced fans to the off-script, sing-song style he’s now known to implement when rapping over R&B beats.

41. Rihanna — “What’s My Name?” ft. Drake

Album: Loud (2010)Producer: StarGate, Kuk Harrell

“Best I Ever Had” and “Find Your Love” may have been the first tracks that showcased Drake’s mainstream popularity, but his guest spot on Rihanna’s No. 1 hit, “What’s My Name,” proved he could be a pop-star in his own right.

40. T.I. — “Poppin Bottles” ft. Drake

Album: No Mercy (2010)Producer: T-Minus, Nikhil Seetharam

On the No Mercy standout, Drake makes up for a lack of lyrics with a devastating flow, cementing his swag-soaked performance as one of the first iconic club bangers of his career.

39. Timbaland — “Know Bout Me” ft. Drake & JAY-Z

Album: Opera Noir (2013)Producer: Timbaland & J-Roc

Timbaland’s “Know Bout Me” could’ve been another stellar collaboration between JAY-Z and Drake. Instead, Jigga merely spoke 16 words on the intro, “We gotta sell these bitches the dream, my n***a. N****s like Walt Disney around this bitch.” Thankfully, Drake made up for his counterpart’s no-show and went in with a double-time delivery on the second verse.

38. The Game — “Good Girls Go Bad” ft. Drake

Album: The R.E.D. Album (2011)Producer: Cool & Dre

Despite being one of the cornier verses in his catalog, you’d be hard pressed to find another Drake guest spot as funny as his appearance on Game’s “Good Girls Go Bad.” The 16-bar verse is filled with hilarious quotables, from the opening lines (“Good evening, I’m in Chicago at the Elysian / With some girls that say they models but ummm, I don’t believe ‘em”) to his use of childhood TV references as pickup lines, to the way in which he tosses aside a former flame in brutally honest fashion.

37. Waka Flocka Flame — “Round of Applause” ft. Drake

Album: Triple F Life: Friends, Fans & Family (2012)Producer: Lex Luger

Following his sympathetic verse about strippers on The Weeknd’s “The Zone,” Drake pivoted on Waka Flocka’s strip club anthem, “Round of Applause,” delivering the most malicious stripper tribute of his career. Backed by Lex Luger’s pulsating beat, Drizzy leaves his feelings at the door.

36. SBTRKT — “Wildfire (OVO Remix)” ft. Drake

Album: N/A (2011)Producer: Jerome

On May 20, 2011, Drake posted a remix of SBTRKT’s “Wildfire” to his OVO blog. The track was quickly erased from our minds, however, when “Dreams Money Can Buy” arrived hours later. Eight years on, you won’t find many people who’re familiar with Drake’s verse on “Wildfire,” let alone aware of its greatness. This lack of recognition, though, is exactly what makes it such a rewarding listen.

35. Nicki Minaj — “Only” ft. Drake, Lil Wayne & Chris Brown

Album: The Pinkprint (2014)Producer: Dr. Luke, Cirkut & JMIKE

Is it the strongest song by Young Money’s three-headed monster? Not a chance. But that doesn’t mean it’s not an entertaining listen, especially Drake’s verse, which is perhaps the funniest guest spot in his discography.

34. YG — “Who Do You Love?” ft. Drake

Album: My Krazy Life (2014)Producer: Mustard

As someone who loves to ride the latest wave, Drake had no choice but to link up with 2014’s hottest rapper-producer duo, YG and Mustard, on the former’s hit single, “Who Do You Love?” After lacing the Bompton rapper with an excellent guest spot, though, Drizzy was forced to settle a dispute with Rappin’ 4-Tay, who called him out for biting his 1994 song, “Playaz Club.”

33. The Weeknd — “Live For” ft. Drake

Album: Kiss Land (2013)Producer: The Weeknd, DaHeala & DannyBoyStyles

Nearly a year after linking up on Thursday standout “The Zone,” Abel and Aubrey joined forces for “Live For,” the fourth single from The Weeknd’s debut studio album, Kiss Land. Released in August 2013, a few weeks before the release of Nothing Was the Same, the sprawling cut found Drake assessing the competition.

32. Fetty Wap — “My Way (Remix)” ft. Drake

Album: N/A (2015)Producer: NickEBeats, JayFrance & Micah Street

If you’re still not convinced of the power of the Drake co-sign: With this remix, Fetty became the first rapper to have his first four debut singles chart in the top 10 on the Hot Rap Songs chart simultaneously: "Trap Queen" (No. 2), "My Way" (No. 3), "679" (No. 5), and "Again" (No. 8).

31. DJ Drama — “We in This Bitch 1.5” ft. Drake & Future

Album: Quality Street Music (2012)Producer: Kane Beatz & JMIKE

Occasionally, Drake is capable of stealing a song on the strength of his charisma. DJ Drama’s “We In This Bitch 1.5” is one of those rare instances, as Drizzy needs just one minute to set the tone and hijack the song, with a lively opening sequence.

30. The Weeknd — “The Zone” ft. Drake

Album: Thursday (2011)Producer: Doc McKinney & Illangelo

The first collaboration between The Weeknd and Drake on one of Abel’s projects, “The Zone” lived up to the potential the duo displayed on Take Care standouts “Crew Love” and “The Ride.” “The Zone” sees The Weeknd set the stage for Drake’s big entrance. From there, Drizzy offers up the most gentle verse about a strip club ever laid to wax.

29. Lil Wayne — “It’s Good” ft. Drake & Jadakiss”

Album: Tha Carter IV (2011)Producer: Cool & Dre

This song is remembered for Lil Wayne’s subliminal shot at JAY-Z, but Drake has the best verse on the collab. The Boy’s appearance is a short one, but it hooks you immediately, before it ends with him announcing Wayne’s return home in triumphant fashion.

28. Mary J. Blige — “Mr. Wrong” ft. Drake

Album: My Life II… The Journey Continues (Act 1) (2011)Producer: Jim Jonsin & Rico Love

It’s easy to forget from 2009 to 2011, Drake was the Best R&B Guest Rapper Alive, scoring features with everyone from legends Mary J. Blige (“The One”), Alicia Keys (“Un-thinkable (I’m Ready)”), and Jamie Foxx (“Digital Girl,” “Fall For Your Type”), to present-day superstars like Chris Brown (“Deuces (Remix)”), Sean Garrett (“Feel Love”), and Trey Songz (“I Invented Sex,” “Unusual”). His second collab with the Queen, “Mr. Wrong,” remains his most underrated R&B feature to date.

27. Fabolous — “Throw It In the Bag (Remix)” ft. Drake & The-Dream

Album: N/A (2009)Producer: Tricky Stewart & The-Dream

Long before he’d declare his intent to give Halle Berry a baby on 2013’s “Versace (Remix),” Drake professed his love for older women on the remix to Fabulous’ 2009 hit single, “Throw It In the Bag.”

26. Travis Scott — “SICKO MODE” ft. Drake & Swae Lee

Album: Astroworld (2018)Producer: Hit-Boy, OZ, Tay Keith, Cubeatz, Chahayed & Mike Dean

If Drake was properly credited, there’s a good chance “SICKO MODE” would rank inside the top 10. Not that it matters much, considering his opening and closing verses are arguably the highlights of the ASTROWORLD standout.

25. Aaliyah — “Enough Said” ft. Drake

Album: N/A (2012)Producer: Noah “40” Shebib

In order to appreciate the overlooked greatness of this 2012 loosie, let’s ignore the fact that Drake is listed as the featured artist on an OVO-sanctioned, posthumous Aaliyah single. Backed by 40’s smoky, after-hours R&B production and the late singer’s silky falsetto, Drizzy unleashes one of his classic confessionals.

24. Game — “100” ft. Drake

Album: The Documentary 2 (2015)Producer: Cardo & Juliano

Twenty-six days before Meek Mill would kick-off the biggest rap beef this decade, Drake was already on the defensive. When listening to his verse on “100,” you don’t have to read between the lines. He sounds exhausted while reflecting on his position atop hip-hop, and the incessant threats that come with it. And yet, Drizzy still appears unfazed, too busy making his circle smaller to concern himself with opposing forces on the horizon.

23. A$AP Rocky — “F**kin’ Problems” ft. Drake, Kendrick Lamar & 2 Chainz

Album: Long.Live.ASAP (2013)Producer: Noah “40” Shebib

Released in October 2012, “Problems” wasn’t just the year’s most star-studded posse cut, but also a changing of the guard moment for hip-hop. At the time, Rocky was two months away from dropping his debut album; 2 Chainz and Kendrick were fresh off releasing theirs. And then, of course, you had Drake, who was just hitting his prime. While it’s debatable which rapper had the best verse, there’s no denying Drizzy came off as the biggest star of the bunch.

22. Lil Reese — “Us (Remix)” ft. Drake & Rick Ross

Album: N/A (2012)Producer: Young Chop

By the fall of 2012, Drake was amidst a flawless streak of guest spots: Rick Ross’ “Stay Schemin’,” DJ Drama’s “We In This Bitch 1.5,” Nicki Minaj’s “Champion,” 2 Chainz’s “No Lie,” French Montana’s “Pop That,” Meek Mill’s “Amen,” Aaliyah’s “Enough Said.” As if that wasn’t already one of the greatest runs by a featured rapper, Drizzy made sure to earn more street cred points that October, when he hopped on to the remix to Lil Reese’s “Us”.

21. Birdman — “Money to Blow” ft. Drake & Lil Wayne

Album: Priceless (2009)Producer: Drumma Boy

Fresh off a summer in which he catapulted to superstardom on the back of a handful of hit singles (“Best I Ever Had,” "Successful,” “Forever”), Drake proved he possessed the Midas touch on the fall 2009 anthem, “Money to Blow,” which, of course, is remembered for Lil Wayne’s prophetic line: “We gon’ be alright if we put Drake on every hook.”

20. Tinashe — “2 On (Remix)” ft. Drake & OB O’Brien

Album: N/A (2014)Producer: Mustard, Redwine & DJ Marley Waters

Drake ran the rap game in 2014 solely on the strength of one-off singles. Take a moment and look at this murderer’s row of hits he released between December 2013 and October 2014: “0 to 100/The Catch Up,” “Tuesday,” “Draft Day,” “Trophies,” “Wade Made It,” “Days in the East,” “How Bout Now,” “6 God,” and “Heat of the Moment.” I mean, good God. Perhaps the greatest testament to Drake’s unbelievable run that year is that “2 On/Thotful” is probably the eighth best song in the group.

19. ILOVEMAKONNEN — “Tuesday” ft. Drake

Album: ILoveMakonnen (2014)Producer: Sonny Digital & Metro Boomin

Built around Sonny Digital and Metro Boomin’s syrupy beat and iLoveMakonnen’s Auto-Tune-enhanced vocals, “Tuesday” provided Drake an opportunity to step out of his comfort zone. By delivering perhaps the best vocal performance he’s ever laid to wax, Drake helped “Tuesday” go viral, which in turn, minted Makonnen a star and gave the most boring day of the week new meaning.

18. Kendrick Lamar — “Poetic Justice” ft. Drake

Album: good kid, m.A.A.d city (2012)Producer: Scoop DeVille

The Kendrick Washed Drake on Take Care camp (via his scene-stealing guest spot on “Buried Alive Interlude”) seem to have forgotten that The Boy returned the favor on Kendrick’s debut album, good kid, m.A.A.D city. Drake’s appearance on “Poetic Justice” might not jump out at you, but when stacked against either of Kendrick’s verses on the song, it’s obvious who comes out on top.

17. Nicki Minaj — “Moment 4 Life” ft. Drake

Album: Pink Friday (2010)Producer: T-Minus

“This supposed to be y’all year? We ain’t get the memo,” Drake raps on “Moment 4 Life,” a highlight from Nicki Minaj’s debut album, Pink Friday. At the time, you couldn’t blame Young Money’s roster for feeling themselves. In the fall of 2010, the label boasted the Best Rapper Alive, Lil Wayne, along with the Rap co-Rookies of the Year, Drizzy and Nicki, both of which released their debuts within five months of one another.

16. Alicia Keys — “Un-thinkable (I’m Ready) (Remix)” ft. Drake

Album: N/A (2010)Producer: Alicia Keys, Kenny Brothers Jr. & Noah “40” Shebib

For someone who, in recent years, has been clowned for their immaturity and inability to grow as an artist, it’s easy to forget that there was a time when Drake seemed wise beyond his years. This verse is enough of a reminder, as a 23-year-old Drizzy voices his inner fears about partying too much and not finding the right woman.

15. Lil Wayne — “Believe Me” ft. Drake

Album: N/A (2014)Producer: Vinylz & Boi-1da

Five years after Lil Wayne told listeners, on “Money to Blow,” not to worry about Cash Money’s future because the label would be alright as long as they "put Drake on every hook,” Drake continued his mentor’s prophetic claims on “Believe Me.” From the jump, Drizzy assumes the role of host to the welcome-back party, rolling out the red carpet for his Big Homie, with one of his best guest spots this decade.

14. Big Sean — “Blessings” ft. Drake

Album: Dark Sky Paradise (2015)Producer: Vinylz & Allen Ritter

Big Sean dropped “Blessings” on January 30, 2015, exactly two weeks before Drake would surprise-release If You’re Reading This It’s Too Late. In hindsight, his verse here gives us a taste of the subject matter he’d visit on IYRTITL: Feuding with YMCMB over unpaid royalties, worrying about his mother, throwing shade at the press, and, of course, repping the 6.

13. Lil Wayne — “Right Above It” ft. Drake

Album: I Am Not a Human Being (2010)Producer: Kane Beatz

If I Am Not a Human Being was Lil’ Wayne’s pre-prison curtain-call, then “Right Above It” was his victory lap. Backed by triumphant production courtesy of Kane Beatz, Drake, the Rap Rookie of the Year, delivered a career-defining guest verse that marks the moment the torch was passed between the Young Money President and his protégé.

12. BlocBoy JB — “Look Alive” ft. Drake

Album: Simi (2018)Producer: Tay Keith

Considering that the best part of Drake’s guest appearance on “Look Alive” is the infectious hook, you could argue that his eight-bar verse doesn’t deserve to be ranked this high. In this case, however, Drake does such an excellent job blending the hook and his first verse together, that you have no choice but to consider them one and the same.

11. 2 Chainz — “Big Amount” ft. Drake

Album: Daniel Son; Necklace Son (2016)Producer: Buddah Bless

On “Big Amount,” Drake raps circles around 2 Chainz without even breaking a sweat. His verse is so effortlessly executed that it’s easy to miss how casually arrogant it actually is. And yet, once his calm, cool and collected delivery wins you over, don’t be surprised if you find yourself admiring each arrogant boast.

10. Meek Mill — “Amen” ft. Drake

Album: Dreamchasers 2 (2012)Producer: Key Wane & Jahlil Beats

Backed by a gospel-clapping, organ-laced piano loop, there’s no denying fans were shocked to hear Meek rap over a beat so far out of his wheelhouse, so effortlessly. In an alternate universe, we might remember “Amen” for Meek’s jubilant hook. Unfortunately for Meek stans, though, The Boy showed up and stole the song while operating on cruise control.

9. 2 Chainz — “No Lie” ft. Drake

Album: Based on a T.R.U. Story (2012)Producer: Mike Will Made It

Fresh off his show-stopping guest spots on Kanye West’s “Mercy” and Nicki Minaj’s “Beez In the Trap,” 2 Chainz entered the summer of 2012 as the hottest feature in hip-hop. Then, in an admirable move in the spirit of competition, Drake reclaimed the title by dusting Tity Boi on the Atlanta rapper’s debut single, “No Lie.” Thanks to his contagious hook and instantly-quotable verse, the banger was inescapable that summer.

8. Rick Ross — “Made Men” ft. Drake

Album: Ashes to Ashes (2010)Producer: 2 Tall Beats

After spending the fall of 2010 handing out guest verses to R&B singers such as Jamie Foxx (“Fall For Your Type”), Tank (“Celebration”), Rihanna (“What’s My Name”), and Trey Songz (“The Usual”), Drake needed to raise his street cred. So, that December, he hopped on one of the hardest beats he’d ever come across, then proceeded to murder the hardest rapper alive, Rick Ross, on his own shit.

7. PARTYNEXTDOOR — “Over Here” ft. Drake

Album: PartyNextDoor (2013)Producer: PartyNextDoor

The most underrated verse of Drake’s career is a victim of circumstance. Released the same day as “Versace (Remix)”—only one of the two or three best guest verses in his catalog—“Over Here” remains criminally overlooked in the canon of Drizzy features. Backed by a murky beat courtesy of PND and 40, Drake’s double time verse makes you feel like you’re sitting shotgun in his Bugatti while he navigates through the streets of Toronto.

6. Future — “Sh!t (Remix)” ft. Drake & Juicy J

Album: N/A (2013)Producer: Mike WiLL Made-It

Released in December 2013, Future’s “Sh!t (Remix)” arrived just three months after Drake released the biggest album of his career, Nothing Was the Same. But rather than celebrating his recent coronation on his first post-NWTS verse, Drake warned the rest of hip-hop that his reign was just beginning. Over Mike WiLL Made-It’s thumping beat, he sounds hungry as ever, yet is well aware of his unchallenged place atop the rap game.

5. DJ Khaled — “I’m On One” ft. Drake, Lil Wayne & Rick Ross

Album: We the Best Forever (2011)Producer: T-Minus, Noah “40” Shebib, & Kromatik

Drake already had a flawless streak of guest spots (from “Money to Blow” and “Say Something” in 2009, to “Made Men” and “Right Above It” the following year), but never had he swiped a song out from under the headlining artist as effortlessly as he did on DJ Khaled’s summer anthem. When Drake wraps up his opening verse around the two-minute mark, the song is already his, completely.

4. Kanye West — “All of the Lights (Remix)” ft. Drake, Lil Wayne & Big Sean

Album: N/A (2011)Producer: Kanye West

In August 2010, an early version of “All of Lights” leaked, featuring Drake rapping over Kanye’s triumphant beat. Three months later, however, Drizzy was noticeably absent from the official version. In interviews, Drake stressed that he was okay with Kanye’s decision; his tone on the unofficial remix, however, argued otherwise. Released in March 2011, Drake’s verse on the “All of the Lights” remix serves as our introduction to the tough guy persona he’d tap into later that year on Take Care.

3. French Montana — “Pop That” ft. Drake, Rick Ross & Lil Wayne

Album: Excuse My French (2013)Producer: Lee On the Beats

Fresh off delivering two of the year’s best guest verses, on Rick Ross’ “Stay Schemin’” and 2 Chainz’s “No Lie,” Drake laid claim to summer 2012 on French Montana’s banger, “Pop That.” In hindsight, Drizzy’s scene-stealing verse is a perfect snapshot of where he was at in his life at that exact moment.

2. Migos — “Versace (Remix)” ft. Drake

Album: N/A (2013)Producer: Zaytoven

After owning the previous two summers on the strength of stellar guest spots (2011’s “I’m On One” and 2012’s “Pop That”), Drake did it again in 2013, with an earth-shattering guest verse on the remix to Migos’ then-bubbling hit, “Versace.” Six years on, it’s impossible to measure how impactful Drizzy’s verse was, considering it helped catapult the Atlanta trio to superstardom.

1. Rick Ross — “Stay Schemin’” ft. Drake & French Montana

Album: Rich Forever (2012)Producer: The Beat Bully

With no disrespect to DJ Khaled’s “I’m On One,” Drake’s guest verse on Rick Ross’ “Stay Schemin’” is the moment when he snatched the throne for good. By flaming rap vet Common in the opening bars, The Boy proved that he was about that action. If it’s not the best guest verse of his career, it’s surely the most important.

[jumphq]

Post-Mortem, Sparrow Tour 2018

This was a month that felt like four months. I don’t mean that in a bad way. I mean that in the amazing way that doing all sorts of brand-new things and being very much in the moment seems to slow down time. There are articles written about this phenomena, actually: https://www.psychologytoday.com/us/blog/the-empowerment-diary/201705/how-slow-down-time. According to this article, the reason September went by so freaking meaningfully is that we were bombarding ourselves with Firsts. First big tour in support of Sparrow. First time in a long time heading back to the Northeast and Midwest. First time I had to add an actual keyboard to the list of instruments I bring on stage, and within that one instrument there were dozens of sounds I had to reproduce. Etcetera, etcetera.

We worked hard. I don’t know if it’s readily ascertainable that being in a rock and roll band is tons of work by looking at one. It’s fun work, usually, but has its moments of being very intense. Especially when a new album comes out. There is radio to do in the mornings, interviews scattered during the day, loading in and out of venues, and we added soundcheck meet & greets that meant that once we arrived in a city, we were going to be working from then until show, basically.

It’s so fulfilling, though. I am the kind of person that works hard, all the time. I push and push myself (sometimes for no seeming reason), and am frustrated and disappointed with myself when I don’t get enough done. I would be classified as a “type-A” person, and I don’t mind. But sometimes I’m just working on “things” that I’m not as passionate about. An eight hour day of working on something I’m not emotionally connected to is much more tiring than working sixteen hours a day on something I believe in and care about. Being in JLC is that kind of job.

We needed every second that we had to put this tour together. These new songs are hardto play. There is so much going on in each and every song on Sparrow. Not necessarily more than on earlier recordings, but keep in mind that we never had to re-learn songs after other albums; we had been playing them live forever before we got to the studio and didn’t change them much after. There has always been a “live version” and a “studio version” of early Jump songs.

Not this time. Jay spent a crazy amount of time accessing the original recording files and turning his voice and Ward’s cello parts into samples that I could play on the keytar. While Evan didn’t really want to play to tracks, he add some electronic drums to his repertoire to approximate some of the parts live. Ward brought two guitars on tour for the first time, and Johnny played not only electric bass but a beloved new Moog Phatty. It was complicated, felt a little bit fragile, at first, but once we got the hang of things it was fun.

Hurricane Florence, while not visiting Charleston, still brought chaos to the city. There was anxiety felt wondering whether we’d be hit and how that would affect our practice. Shops and roads started closing down and we made a move so the entire band could be close by in case of flooding. In the end we were very very lucky, but there were still repercussions for us. We were trying to fulfill our PledgeMusic items, to get them sent out before tour, but this didn’t happen because mail basically shut down in NC, SC, and GA. This put us a full week behind, and we spent the rest of the month trying to catch up on many things.

Even in the last few days of rehearsal we were all feeling a bit overwhelmed. We camped out at the Footlight Player’s Theatre and the goal was to have a “listening party”, a final rehearsal before we hit the road, and that night, to be honest, I was not ready. Lyrics weren’t memorized and I had to think way too much about parts and how to play them. We were being hard on ourselves, though, and the response was so encouraging afterwards I didn’t mind spending the rest of that week’s dinner breaks to get in some extra practice so that the songs could feel comfortable.

Once the shows began, a quick weekend to some of our favorites: Charlotte, Atlanta, Columbia, where we were starting to find our groove. Raleigh, though, and the Lincoln Theatre, was a special surprise. It was Sunday, we hadn’t had a day off in three weeks, we were exhausted. It wasn’t the largest crowd we’ve played to, but that show was so much fun. People there were there to have a good time, and it put us into overdrive. Thank you so much, Raleigh.

The next leg was in the Northeast (and DC, where I insulted many a mid-Atlantic inhabitant). We hadn’t been there in fifteen years, but every show was sold out or nearly so, and that made us feel so great. These shows were our first of the City Winery gigs, and they were good to us. Great sound, great food. There were many highlights, for me, up North. We had a duo of ASL interpreters in DC that had mad sign-singing skills, and were more fun to watch than we were. Our show at Le Poisson Rouge made us feel so sexy to sell out such a great place in the Big Apple. Performance-wise, the NYC show was my favorite performance-wise; I felt really “on” that night. The super-intimate punk-rock feel of Union Pool in Brooklyn was refreshing after the lovely but slightly clinical City Wineries. We had to put Wardie in a corner to fit on stage, and many Dirty Dancing jokes were necessary. Our old pal the Mommyheads came to play with us, and they were as good as they were 20 years ago. Lots of our fans came just to see them that night and I didn’t mind at all. We had a lovely evening off with three people that pledged for the album and got to go to a Dr. Who-themed bar with us. The trio couldn’t have been more interesting and fun to hang out with: the professional bassoonist, the research monitor, and the Facebook developer. Loved that evening, and Ward got to show off his hipster Brooklyn knowledge by taking us to great places for dinner and dessert.

And Chicago! My kind of town. Chicago was a big deal for me personally, because I knew that the audience was going to be made up of a lot of friends and family that had never seen the band before, never seen me in that light, literally. I was a little nervous about that show, and I rarely get nervous. I also wanted very much for Chicago to be the show that was 100% accessible to the d/Deaf and hard of hearing. City Winery worked so hard with me to provide CART real-time captioning for all the goofy stuff we said in-between songs. And the captioning of the lyrics was provided by my other passion job, CaptionPoint, built by my wife Lindsay and run by my dear friend Lora. It was even more successful than I had hoped, the captions looked great on both sides of the stage. It was the first time Lindsay had ever been able to fully experience a JLC show; I am sure that our stage patter was absolutely worth the wait.

Wow. As I’m writing this I realize again how relatively short the tour was: after Chicago there were only three more dates. But it felt like we did so much. We saw so many of you, talked to everyone as long as we could and took pictures. The “soundcheck parties” were so fun for us. Seeing everyone again was energizing, to me. I wished at times that I could have spent more time. You said such wonderful, heartfelt things, things that I heard very clearly and appreciated completely. I am honored that this band and music and community has meant so much to you over the years; you mean everything to us. When people told me that they liked Sparrow I knew they were telling the truth and not just making conversation. Nothing could have made us happier. Like I said: fulfilling.

Athens was a highlight: we hadn’t seen the GA Theatre since it burned in 2009. The renovation was beautiful. They managed to keep the vibe of the place while making it all so much…better. But the fans in Athens have always been a special breed and we could have played on the streets if that was the only way to get to them. In the new GA Theatre we didn’t have to.

And finally, the Charleston Music Hall. Our new home. Our new “Dock Street”, a place that just makes us feel like the chamber-pop stars we are. We will see you soon, CMH.

This post is a marathon. If you’ve gotten this far, you must be a fan of the band, so I appreciate it. I want to thank many people for making this tour and this year possible, because…contrary to pop belief, we are not a famous rock band with loads of cash and there were many many donated hours that made this tour work.

Our manager Vance’s sidekicks on the Crew were Nick Stewart, the Ultimate Intern, hazed by his boss into oblivion and seemed to love every minute. He sold you tee shirts this time, but he’s going to be running something big someday. Herbie Jeffcoat, monitors and front-of-house, the sweetest “country boy” (his words, but also true) you could want on your team. Especially funny this time was hearing Herbie converse in his potent Southern accent with the FOH in Boston with a potent accent of his own. Translators were required.

Mike Rogers: what a treat it is to have gotten to know you both as a professional sound engineer and family member. I think that if Dad and your Mom had a reason to work with each other growing up like Evan and I have with you, our families would be closer than they are. Let’s keep working at it.

Alison Kendrick! The person that would be sooo bad at being a ninja because she simply wouldn’t be able to be quiet because life is just SO MUCH FUN and worth every giggle: thank you. Teasing aside, Alison is a complete and utter professional, a doer but more importantly a Problem Solver, and I truly would not have been able to do all the things internet-related without you. Thank you for being a mentor and a real friend. If you’d like to work with Alison yourself, please go to akshouts.com

Our uncomfortably attractive lawyer Gabe Fleet is genuinely fun to hang out with, giving attorneys a good name. Old pal Josh Terry and his amazing team in Maddison and Jen at Workshop Management opened doors that are closed to most people so thank you for helping us walk through them. New friends Sue, Lindsay and Tyler at Stunt Company put us in front of the movers and shakers and some (NPR, Paste, American Songwriter) actually liked what they heard.

Chris Slack, you hold all the archival keys to our kingdom and are dear to us for much more than that. Nate Baerreis and Ed and Val Schooling Brantley made us look so cool, so often. How, we will never know. Thank you.

Thanks to our families who let us be gone as much as we have been, this year. Some of you haven’t experienced not having us around, and I know it was hard, but thank you for being so supportive. We love you.

And Chief “Not-Getting-Paid-What-He’s-Worth” is Vance McNabb, who is still working on this tour two weeks later and won’t be done for a while. There are no ways to thank you, V, except perhaps to find a way to make Sparrow huge so you can get a massive raise and hire tons of people to help you. So, we’ll work on that.

Actually…will y’all please help us work on that? If not for us, for Vance? Thank you. And thank you most of all, for letting us make this album. Sparrow is a beautiful thing to us and we’re so lucky that you wanted to hear it. We are lucky that we got to make it. But it isn’t over, is it? There are ways we can try to keep this machine going, if you are willing. More in another post.