The Number Ones: Huey Lewis And The News’ “The Power Of Love”

The Number Ones: Huey Lewis And The News’ “The Power Of Love”

| October 21, 2020 – 8:47 am

In The Number Ones, I’m reviewing every single #1 single in the history of the Billboard Hot 100, starting with the chart’s beginning, in 1958, and working my way up into the present.

***

Huey Lewis And The News – “The Power Of Love”

HIT #1: August 24, 1985

STAYED AT #1: 2 weeks

Back To The Future is not a movie about the power of love. If anything, it’s a movie about the fragility of love. Love, the movie tells us, is a circumstantial thing, based on tiny little historical accidents that can’t easily be replicated. If one little thing changes — if, say, a horny creep falls out of a tree and doesn’t get hit by a car — then love might not happen at all. Instead, we might wind up with a situation where a lady wants to fuck her time-traveling son.

But if Back To The Future isn’t about the power of love, then parts of the movie might be about the power of “The Power Of Love.” Back To The Future, the biggest hit at the 1985 box office, is a beautifully assembled Swiss watch of a movie, a perfect little machine full of subliminal clues that pay off much later. Director Rob Zemeckis and his co-writer, producer Bob Gale, find small and clever little ways to convey information, and we get a lot of those in the film’s first few minutes. We also get the big, pumping jam that would become the first #1 hit for Huey Lewis And The News, a band that was already on fire.

Very early in Back To The Future, we see tiny and squeaky and enormously charismatic Michael J. Fox in a desperate rush to get to school on time. Fox’s Marty McFly uses his skateboard to grab rides from passing cars, a hugely dangerous stunt that immediately made him the coolest guy in the world to millions of the kids who saw the movie. The second that McFly begins his dash out the door of his friend Doc Brown’s house, the song kicks in: A big keyboard stab, a revved-up guitar riff, a pulsing beat, a guy saying “aaaahhh” like he’s just had an enormously satisfying sip of lemonade. Over the next two minutes, we see the whizzing-by geography of the fictional suburban town of Hill Valley, and we identify McFly as a scrappy kid who can’t keep his shit together but who is also cooler than anyone we’ve ever met. And we get “The Power Of Love.”

A few minutes later, we get “The Power Of Love” again. Marty and his band the Pinheads want to play the school dance, so they audition for a spot. They launch into a crude, fuzzy version of “The Power Of Love,” with Marty attempting to shred overtop. A few seconds in, one of the stony-faced judges cuts them off, looking aggrieved and exasperated. Through his megaphone, that judge tells the Pinheads, “I’m afraid you’re just too darn loud.”

That judge is, of course, Huey Lewis himself. The man who sang “The Power Of Love” can’t bear to watch this band play anything more than the song’s intro. It’s a clever little meta moment — an inside joke that just about every teenager who saw Back To The Future would’ve immediately understood. By the summer of 1985, Huey Lewis was one of the biggest stars in rock ‘n’ roll. But he was also a straight-laced goof with none of the mystique that so many of his contemporaries effortlessly radiated. “Hip To Be Square” wouldn’t come out for another year, but Lewis absolutely seemed like the kind of guy who would’ve thought that the Pinheads were too darn loud.

Of course, Huey Lewis was not that guy. By the time he finally scored his first #1 hit, Lewis was 35 years old, and he’d been kicking around the music business for more than a decade. Before he’d found stardom, Lewis had lived an appealingly loopy life, coming into contact with a bunch of towering figures before finally becoming one himself.

Hugh Anthony Cregg III was born in New York, but he grew up in Marin County, California, in the Bay Area. As a kid, Cregg was a bit of an overachiever, a high-school baseball star who went to engineering school at Cornell for a few years before dropping out. Cregg’s father spent time as a district attorney in Massachusetts, but his mother was a free spirit who hung out with the Grateful Dead and who eventually fell in love with the Beat poet Lew Welch. While in college, Cregg hitchhiked across the US and, after stowing away in an intercontinental flight, Europe. He later said that he taught himself to play harmonica while waiting for cars to stop and pick him up.

After dropping out of Cornell in the early ’70s, Cregg returned to the Bay Area and joined a local rock band called Clover. In Clover, Cregg sang on a few songs but mostly played harmonica. Sometime in the mid-’70s, Nick Lowe saw Clover play a Los Angeles club and convinced them to come to England, where back-to-basics rock ‘n’ roll was having a moment. (Nick Lowe’s highest-charting US single, 1979’s “Cruel To Be Kind,” peaked at #12.)

In the UK, Clover recorded a couple of albums with Mutt Lange, a producer whose work will eventually appear in this column, but the band didn’t have any success. Cregg started calling himself Huey Lewis, though the name went through a bunch of different spellings. Most of the members of Clover backed up Nick Lowe’s buddy Elvis Costello on his debut album, 1977’s My Aim Is True. (Elvis Costello’s highest-charting US single, 1989’s “Veronica,” peaked at #19.) Huey Lewis didn’t play on My Aim Is True, but he did play harmonica on a song from Thin Lizzy’s 1978 in-concert album Live And Dangerous. He was credited under the extremely funny name “Bluesy Huey Lewis.” (Thin Lizzy’s highest-charting single, 1976’s “The Boys Are Back In Town,” peaked at #12.)

Clover broke up in 1978, and a few of the different members of the band went on to success with different groups. Jeff Porcaro has been in this column as a member of Toto. Guitarist John McFee joined the Doobie Brothers in 1979. Frontman Alex Call co-wrote Tommy Tutone’s 1981 single “867-5309/Jenny,” which peaked at #4. (It’s an 8.) Huey Lewis and keyboardist Sean Hopper came back to San Francisco and formed a new band. At first they called themselves the American Express, but their manager told them that they could get a cease-and-desist for that name. So they changed it to Huey Lewis And The News.

Other members of the News had come from Sound Hole, a Bay Area band who had served as one of Van Morrison’s backing bands in the ’70s. (Van Morrison’s highest-charting US single, 1970’s “Domino,” peaked at #9. It’s a 7.) Saxophonist and guitarist Johnny Colla, who later co-wrote “The Power Of Love,” had even had a cup of coffee in Sly And The Family Stone. So these guys were all veteran journeymen before Huey Lewis And The News formed in 1978. The new band released a self-titled debut album in 1980, and it was roundly ignored. But their second album, 1982’s Picture This, gave them their first hit. Clover’s old collaborator Mutt Lange wrote “Do You Believe In Love” for the band, and that single peaked at #7. (It’s a 5.)

Huey Lewis’ rise was perfectly timed to the beginning of MTV, a place where he carved out a persona as a handsome, self-effacing goofball everyman. That whole schtick, combined with the band’s gleaming and synthesized take on classic American soul-infused bar-rock, made for a winning formula. The band’s third album, 1983’s Sports, was a legit blockbuster, selling seven million copies in the US and launching four singles into the top 10. Billboard named Sports the #2 album of 1984, behind only Thriller.

Hollywood loved Huey Lewis And The News, and it especially loved “I Want A New Drug,” the Sports single that peaked at #6. (It’s a 7.) Making Ghostbusters, the #2 movie at the 1984 box office, Ivan Reitman used “I Want A New Drug” as a temp track. Reitman wanted Huey Lewis to do the movie’s theme song, but Lewis passed on the offer. Instead, Ray Parker, Jr. hit #1 with “Ghostbusters,” a song that sounded enough like “I Want A New Drug” that Lewis and Parker got into a legal battle over it. Robert Zemeckis also used “I Want A New Drug” as a temp track when he was making Back To The Future, and he also tried to get Lewis to write a song for the movie. Zemeckis was more successful.

Zemeckis, Bob Gale, and executive producer Steven Spielberg called Lewis in for a meeting to ask for a new song. They told him that Huey Lewis And The News would be Marty McFly’s favorite band. Lewis didn’t like the idea of writing a song called “Back To The Future,” so Zemeckis told him that he could write any song, and they’d use it. Lewis and Ry Cooder came up with a song called “In The Nick Of Time,” but financial negotiations took too long, so it didn’t end up in Back To The Future. Instead, Patti LaBelle sang “In The Nick Of Time” on the soundtrack of another summer-1985 movie, Walter Hill’s Brewster’s Millions. (Patti LaBelle has already been in this column as a member of Labelle, and she’ll be here again soon as a solo artist.)

Lewis and Zemeckis eventually figured things out, and Lewis actually wrote two songs for Back To The Future. One of them, “Back In Time,” was actually about the plot of the movie. The other one, “The Power Of Love,” had basically nothing to do with the film. News guitarist Chris Hayes (not the MSNBC guy) wrote most of the instrumental track, and Lewis came up with the lyrics while listening to the demo on his Walkman while jogging. Lewis finished up the song while Back To The Future was in post-production, and he only barely made the deadline.

The first demo that Lewis sent Zemeckis is what we hear when the Pinheads are auditioning. Soundtrack coordinator Bones Howe, who’d previously produced #1 singles for the Association and the Fifth Dimension, dirtied the demo up so that it sounded more like high-school kids playing. That demo didn’t have vocals yet. In the movie, Huey Lewis cuts Marty McFly off before he can start singing; that’s because the song wasn’t finished.

Back To The Future was, of course, a phenomenally popular movie, one that far exceeded studio expectations. It came out at the beginning of July and immediately vaulted to the top of the box office. Other than one week where National European’s European Vacation took over the top spot, Back To The Future was the #1 movie in American until late September. A new single from Huey Lewis And The News probably would’ve been a big deal even without Back To The Future; they were coming off of Sports and Lewis’ appearance on “We Are The World.” But with the Back To The Future association, “The Power Of Love” was an unstoppable smash.

Bones Howe is the one who made the call that “The Power Of Love” should be the single instead of “Back In Time,” and he was exactly right. Whether intentionally or not, “The Power Of Love” is perfect for Back To The Future. It’s got the sleek pulse of mid-’80s pop, but it’s also the kind of silliness that wouldn’t put off the older moviegoers who would’ve gone to see Back To The Future for nostalgic-humor reasons. It’s also got a great big bouncy energy, a kind of optimistic silliness that sets just the right tone for everything that follows.

“The Power Of Love” is a goofy song, but it’s a catchy one. Lewis mugs hard all through it, and he wails out nonsensical cocaine-logic philosophical nuggets about how love is tougher than diamonds, rich like cream, and stronger and harder than a bad girl’s dream. When you’re making good bubblegum, you can get away with refusing to make sense, and “The Power Of Love” is good bubblegum. The track has hooks on hooks on hooks, with all the keyboard stabs and shiny-bluesy riffs in the exact right places. Lewis sings in the white-blues honk that Bruce Willis thinks he has, and the rest of the band gets in some nice Billy Joel-style fake doo-wop harmonies on the bridge.

“The Power Of Love” is pure ’80s-blockbuster music, and that’s generally a pretty shallow subgenre of pop music. But the song is bright and engaging enough to be good ’80s-blockbuster music. In all honesty, the fact that the song is attached to a truly great movie probably makes me like it more than I otherwise would. But that’s pop music for you. Context is everything.

Huey Lewis filmed the video for “The Power Of Love” at Uncle Charlie’s, a Marin County club where they’d played in their early days. Christopher Lloyd is in the video as Doc Brown, and there’s a not-fully-fleshed-out story about people stealing the DeLorean time machine, which might foreshadow the plot of 1989’s Back To The Future Part II. The song was nominated for Best Original Song at the Oscars that year, and it lost to a track that’ll soon appear in this column. I can’t imagine that bothered Huey Lewis or the News too much. They’ll be in this column again.

GRADE: 8/10

BONUS BEATS: Here’s New Found Glory’s video for their 2019 pop-punk cover of “The Power Of Love”:

(New Found Glory’s highest-charting single, 2002’s “My Friends Over You,” peaked at #85.)

BONUS BONUS BEATS: Here’s Kelly Clarkson covering “The Power Of Love” on her talk show this past March:

(Kelly Clarkson will eventually appear in this column.)

Watch Dolly Parton Sing To Stephen Colbert And Make Him Cry

Watch Dolly Parton Sing To Stephen Colbert And Make Him Cry

| October 21, 2020 – 9:27 am

American hero Dolly Parton has a long history of making people feel really, really emotional. Last night, she did it on television. Parton is about to publish Songteller: My Life In Lyrics, a new book that focuses on her staggering history as a songwriter, and she’s also got a new holiday album called A Holly Dolly Christmas out already. So last night, she went on Stephen Colbert’s Late Show, and she made Colbert cry.

On Colbert, Parton was her usual charming self, telling stories about giving her song “To Daddy” to Emmylou Harris and hearing Whitney Houston elevate her song “I Will Always Love You.” Then Colbert asked her about when she was a kid, and when her mother would sing her songs. Without breaking conversational stride, Parton launched right into “Bury Me Beneath The Willow,” an old Appalachian folk song that the Carter Family recorded in 1927. Parton just let loose with it like it was nothing, and it immediately sent Colbert into a cry-laughing tizzy.

At the 5:32 mark of the video below, you can see it all happen. Parton realizes midway through that Colbert is breaking down, and Colbert says, “Like a lot of Americans, I’m under a lot of stress right now, Dolly. You got under my tripwire right here, I’ll tell you right there. That was pretty beautiful.” Watch it below.

In the second part of the interview, Parton talks a bit about some of her favorite lesser-known songs. But she doesn’t sing, and nobody cries. If you want to watch that part anyway, here it is:

Last night’s Colbert episode had a musical guest, and it wasn’t Dolly Parton. Instead, it was Ty Dolla $ign, who beamed in with a remote soundstage performance of his new single “By Yourself,” with guest Jhené Aiko and producer Mustard there to assist. Ty Dolla $ign is not likely to make Stephen Colbert cry anytime soon, but he’s pretty good. Watch that performance below.

A Holly Dolly Christmas is out now on Butterfly Records/12Tone Music. Songteller: My Life In Lyrics is out 11/17 via Chronicle Books. Ty Dolla $ign’s new album Featuring Ty Dolla $ign is out 10/23 on Atlantic.

King Gizzard & The Lizard Wizard – “Automation”

King Gizzard & The Lizard Wizard – “Automation”

| October 21, 2020 – 9:33 am

Earlier this week the endlessly prolific Melbourne psych rockers King Gizzard & The Wizard Lizard shared the raw files for a new song called “Automation” and its music video, encouraging fans to create their own remixes. Now the official track and its visuals have arrived, along with news of two new albums. King Gizzard’s 16th studio album K.G. will be out next month, and on the same day they’re releasing a live album titled Live In SF ’16.

K.G. was conceived by King Gizzard ringleader Stu Mackenzie during lockdown this year. It’s billed as “both a stand-alone work and also part of a bigger musical picture,” but the band is being vague about what exactly that means. As another famous K.G. once said, anything is possible! Live In SF ’16 was recorded at The Independent in San Francisco on May 25, 2016 while the band was on tour supporting Nonagon Infinity. They have released so many albums since then! And in a press release, they hint they have another barrage of new music in store for 2021.

Watch the “Automation” video below.

K.G. TRACKLIST:
01 “K.G.L.W.”
02 “Automation”
03 “Minimum Brain Size”
04 “Straws In The Wind”
05 “Some Of Us”
06 “Ontology”
07 “Intrasport”
08 “Oddlife”
09 “Honey”
10 “The Hungry Wolf Of Fate”

K.G. and Live In SF ’16 are out 11/20 on ATO. Pre-order them here.

Julien Baker – “Faith Healer”

Julien Baker – “Faith Healer”

| October 21, 2020 – 10:03 am

In 2017, Julien Baker released her last album, the great Turn Out The Lights. (The title track of which ranked amongst the best songs of the whole decade.) Baker has, of course, remained plenty busy in the interim. But now she’s finally gearing up to release a new album: It’s called Little Oblivions, and it’ll be out in February.

Along with the announcement, Baker has shared a new song called “Faith Healer.” Here’s what she had to say about it:

Put most simply, I think that “Faith Healer” is a song about vices, both the obvious and the more insidious ways that they show up in the human experience. I started writing this song two years ago and it began as a very literal examination of addiction. For awhile, I only had the first verse, which is just a really candid confrontation of the cognitive dissonance a person who struggles with substance abuse can feel — the overwhelming evidence that this substance is harming you, and the counterintuitive but very real craving for the relief it provides. When I revisited the song I started thinking about the parallels between the escapism of substance abuse and the other various means of escapism that had occupied a similar, if less easily identifiable, space in my psyche.

There are so many channels and behaviors that we use to placate discomfort unhealthily which exist outside the formal definition of addiction. I (and so many other people) are willing to believe whomever — a political pundit, a preacher, a drug dealer, an energy healer — when they promise healing, and how that willingness, however genuine, might actually impede healing.

“Faith Healer” comes with a video directed by Daniel Henry. Check it out below.

In lieu of a traditional bio, the album announcement came with an essay written by Hanif Abdurraqib, which you can read below:

If you are lucky enough to have a future where the present anxieties of distance become romantic memories, I hope there are people who turn this album over in their hands years from now and remember the world it tumbled into. A world that, in whatever future moment exists, will likely be defined by the work people undertook and the fights people continued to show up for. But it will also be a world defined by how many of us exist on the other side of distance.

In the moment, here is a new Julien Baker album that arrives as a world comes to newly understand its relationship with touch, with distance. At the time of this writing, I shouldn’t want to run into the arms of anyone I love and miss, and yet I do. In an era of hands pressed on the glass of windows, or screen doors. An era of hands reaching back. An era where touch became an illusion. If we have been unlucky enough, our own lifetimes have prepared us for the ever-growing tapestry of aches.

To wrestle with the interior of one’s self has become a side effect of the times, and will remain a side effect of whatever times emerge from these. The first time I ever heard Julien Baker, I wanted to know how an artist could survive such relentless and rigorous self-examination. I have been lonely, I have been alone, and I have been isolated. There are musicians who know the nuances between the three. What whispers in through the cracks of a person’s time alone. Julien Baker is one of those artists. A writer who examines their own mess, not in a search for answers, but sometimes just for a way out. A lighthouse to some newer, bigger mess.

It is hard to put into words what this feels like. Little Oblivions is an album that steps into that feeling and expands it. Sonically, from the opening swells of sound on “Hardline” rattling the chest, loving but persistent jabs to the way “Relative Fiction” spills into “Crying Wolf,” which feels like speeding down a warm highway that quickly turns into a sparse landscape, drowning in a hard rain. Lyrically, too, of course. There are writers who might attempt to bang at the doors of their listeners, shouting their particular anguish of the hour. And there are undoubtedly times when I have needed that to get from one sunrise to the next. But there are also writers who show up assuming anyone listening already knows what it is to crawl themselves back from one heartbreak, or to shout into an enduring darkness and hear only an echo. Little Oblivions is an album that details the crawling, details the shouting. An album that doesn’t offer repair, or forgiveness. Sometimes, though, a chance to revel in the life that is never guaranteed. Yes, the life that grows and grows and is never promised. How lucky to still be living, even in our own mess.

The grand project of Julien Baker, as I have always projected it onto myself, is the central question of what someone does with the many calamities of a life they didn’t ask for, but want to make the most out of. I have long been done with the idea of hope in such a brutal and unforgiving world, but I’d like to think that this music drags me closer to the old idea I once clung to. But these are songs of survival, and songs of reimagining a better self, and what is that if not hope? Hope that on the other side of our wreckage — self-fashioned or otherwise — there might be a door. And through the opening of that door, a tree spilling its shade over something we love. A bench and upon it, a jacket that once belonged to someone we’d buried. Birds who ask us to be an audience to their singing. A small and generous corner of the earth that has not yet burned down or disappeared. I can be convinced of this kind of hope, even as I fight against it. To hear someone wrestling with and still thankful for the circumstances of a life that might reveal some brilliance if any of us just stick around long enough.

Julien, how good it is to hear you again. And now, in all of our anguish and all of our glory. I miss the way the outside world reflected myself back to me. Now, I make mirrors out of the walls. I am so thankful for a better noise than the howling of my own shadows. Julien, you have done it again. You expert magician. You mirror-maker. Thank you for letting us once again watch you maneuver through all of your pleasant and unpleasant self-renderings. If there is a future, there will be people in it who might not remember how this album came at a time when so many hungered for a chance to put themselves back together. When the imagination of a person, a city, a country, was expanding. When, despite all of that, in the quiet moments, there were people who still wanted to be held by someone they maybe couldn’t touch. Thank you, Julien, for this comfort. This glass box through which a person might better be able to see a use for their own grief. This kingdom of small shards of sunlight, stumbling their way in to disrupt the darkness.

—Hanif Abdurraqib

TRACKLIST:

01 “Hardline”
02 “Heatwave”
03 “Faith Healer”
04 “Relative Fiction”
05 “Crying Wolf”
06 “Bloodshot”
07 “Ringside”
08 “Favor”
09 “Song In E”
10 “Repeat”
11 “Highlight Reel”
12 “Ziptie”

CREDIT: Alysse Gafkjen

Little Oblivions is out 2/26 via Matador.

Megan Thee Stallion Calls Tory Lanez “Genuinely Crazy” After He Says That He Still Sees Her As A Friend

Megan Thee Stallion Calls Tory Lanez “Genuinely Crazy” After He Says That He Still Sees Her As A Friend

| October 21, 2020 – 10:05 am

The strange, upsetting saga of Megan Thee Stallion and Tory Lanez continues. Last week, the LA District Attorney’s Office officially charged Tory with felony assault with a semiautomatic firearm and with carrying a loaded, unregistered firearm in a vehicle. Both are felonies. This came months after widespread reports that Tory had shot Megan in both feet after an argument outside a party back in July, and after Megan confirmed those reports. But Tory is still attempting to tell his side of the story, to the point where he released an entire album about the alleged assault last month. Last night, Tory was on Instagram Live, once again trying to say that Megan’s story was fake but that he still sees her as his “friend.”

As TMZ reports, Tory attempted to proclaim his own innocence on Instagram Live last night while at the same time insisting that he wasn’t trying to drag Megan’s name through the mud. He also called the alleged shooting a “debacle”:

When this whole debacle, or whatever you want to call it, came about — the whole time, it’s like she knows what happened, I know what happened, and what you’re saying, what the alleged things and the alleged accusations of my name is, are not true. It’s falsified information. It’s false information…

To me, as a person, she’s still my friend, no matter what. Even if she doesn’t look at me like that, I look at her like she’s still my friend. In the times that we were together or around each other, we’ve had nothing but joyous moments and good moments.

Megan responded on Twitter last night. Without mentioning Tory’s name, she tweeted that he is “genuinely crazy.”

This Nigga genuinely crazy

— HOT GIRL MEG (@theestallion) October 21, 2020

Yaeji – “When In Summer, I Forget About The Winter”

Yaeji – “When In Summer, I Forget About The Winter”

| October 21, 2020 – 10:43 am

Earlier this year, Yaeji released her first full-length project, a mixtape called WHAT WE DREW 우리가 그려왔던. It’s one of the best albums of 2020 so far and today Yaeji is back with a song called “When In Summer, I Forget About The Winter,” which was originally exclusive to CD versions of the album put out in Japan and Korea. Like the rest of WHAT WE DREW, it’s deeply introspective and also deeply groovy as Yaeji monologues in whispers about the passing of the seasons and the fallibility of memory.

To accompany the new track, Yaeji has also released a web-based video game called Woofa Joofa Juice Club, which stars the animated characters that were featured in her “WAKING UP DOWN” music video. Check that out here and listen to the new song below.

Neil Young Shares Previously Unreleased 1974 Song “Homefires”

Neil Young Shares Previously Unreleased 1974 Song “Homefires”

| October 21, 2020 – 10:51 am

CREDIT: Mick Gold/Redferns

Next month, Neil Young will release the massive new box set Archives Volume 2: 1972-1976. Young has had a career that’s been both long and great, but if you had to nail down a career peak, that five-year stretch would probably be it. The box set will include a whole lot of unreleased versions of Young’s classics, and it’ll also feature 12 tracks that have never been released in any capacity. One of those songs is called “Homefires,” and it dates back to 1974, the same year that Young released On The Beach.

Young played “Homefires” live for the first time in 1974, and he’s played it a bunch of times since, including during his recent 2018 solo tour. But he’s never shared a studio recording of the track until now. In the Archives Volume 2 box set, “Homefires” will appear on a disc that covers the man’s 1974 work. And right now, we get to hear it — or, if we’re not subscribed to the Neil Young Archives app, we get to hear most of it.

On Twitter, Young has posted a clip of “Homefires,” a tender acoustic ramble with Young accompanying himself on both guitar and harmonica. It’s the sort of old-man song that Young wrote even when he was young: “I’m not the same man I was a while ago/ I’ve learned some new things/ I hope that it shows.” With the Twitter version we can hear two minutes and 20 seconds of the song, which seems to be most of it. But Neil Young Archives subscribers can hear the whole thing here.

Homefires 

The second new track from Neil Young Archives Vol. II

Listen Now exclusively on https://t.co/Lw3ovmPLRt or on the Neil Young Archives mobile app pic.twitter.com/Ysn62JdnJX

— Neil Young Archives (@NeilYoungNYA) October 21, 2020

Archives Volume 2: 1972-1976 is out 11/20.

Bill Callahan & Bonnie “Prince” Billy – “Red Tailed Hawk” (Feat. Matt Kinsey) (The Other Years Cover)

Bill Callahan & Bonnie “Prince” Billy – “Red Tailed Hawk” (Feat. Matt Kinsey) (The Other Years Cover)

| October 21, 2020 – 10:57 am

Bill Callahan and Bonnie “Prince” Billy, two kindred spirits and Drag City icons, have been reconvening every week to share a new cover with a little help from their friends. They covered Cat Stevens’ “Blackness Of The Night” with AZITA, they covered Hank Williams Jr.’s “OD’d In Denver” with Chavez guitarist Matt Sweeney, and they covered Dave Rich’s “I’ve Made Up My Mind” with Scottish folk musician Alasdair Roberts.

They still haven’t announced anything about what they’re up to with this series of covers, but they’ve already shared another one. It’s a newer song this time, “Red Tailed Hawk” by the Louisville folk duo and Band To Watch the Other Years, and the two Bills tackle it with an assist from Callahan’s regular sideman Matt Kinsey. Listen and compare it to the Other Years’ version below.


Respire – “Cicatrice”

Respire – “Cicatrice”

| October 21, 2020 – 11:28 am

CREDIT: David Pike

The Toronto screamo sextet Respire make grand, crashing, gut-churning music that combines majestic post-rock grace with searing black metal intensity. Later this year, they’ll follow up their 2018 album Dénouement with a new one called Black Line. Respire have already shared first single “Tempest,” and it rules. Today, they’ve shared another song, and it rules, too.

The new “Cicatrice” is the track that immediately follows “Tempest” on Black Line. On “Cicatrice,” Respire bring an even more volatile combination of aggressive grind and grand melody. The new track starts out as a punishing attack, but it moves quickly into beauty, with violin and trumpet adding whole new dimensions, even as the harder elements come back in. Like “Tempest” before it, “Cicatrice” feels like an absolute epic at five minutes. The song’s lyrics address an all-pervading hopelessness in poetic language: “We’re all disease/ Destroy, destroyer/ Curse against the tides/ Writhe against the call.”

Director Vanessa Gloux has made a very cool video for “Cicatrice.” It artfully captures the band thrashing out in a living room, using smart editing and slo-mo to get the most out of a low-budget music-video setup that wouldn’t ordinarily grab your attention too hard. It can’t be easy for bands to summon the visceral power of a live show during quarantine, but Gloux and Respire come pretty close here. Check it out below.

Black Line is out 12/4 on Church Road Records. It was originally set for a November release on Holy Roar, but Respire, like many other bands, left that label after the sexual abuse allegations against its founder. You can pre-order the album here.

Stream Belgian Hardcore Band Chain Reaction’s Excellently Nasty Figurehead EP

Stream Belgian Hardcore Band Chain Reaction’s Excellently Nasty Figurehead EP

| October 21, 2020 – 12:22 pm

Chain Reaction are a Belgian band with a crushingly simplistic and brutal take on hardcore. Members of the band are also in groups like Rise And Fall and Congress. Like Pittsburgh’s Unreal City, who released a great album a few months ago, Chain Reaction take clear inspiration from Integrity, the Cleveland pioneers of metallic hardcore. Chain Reaction’s lead barker Bjorn Dossche even sounds a whole lot like Dwid Hellion. But Chain Reaction also have a primal tough-guy strut that recalls the pure caveman years of New York hardcore.

Today, Chain Reaction have come out blasting with a new EP called Figurehead, the follow-up to their 2017 EP Hangman and their 2019 split with the band Spark. Figurehead has six songs, and all of them make me want to grab a Russian mobster and rip off the entire bottom half of his face like that scene in The Boys. If you haven’t yet decided whether this is your kind of thing, please devote one minute and 40 seconds to the opening track “Disconnect” and see if you don’t immediately embark on a gory five-state rampage. Stream the EP below.

The Figurehead EP is out now on Atomic Action Records/Control Records.

Backxwash’s Jagged, Metallic Rap Expressionism

Backxwash’s Jagged, Metallic Rap Expressionism

| October 21, 2020 – 12:24 pm

CREDIT: Mechant Vaporwave

“Oh, no! No! Please, God, help me!” That’s Ozzy Osbourne howling on Black Sabbath’s “Black Sabbath,” from the album Black Sabbath. “Black Sabbath” is the first song from Sabbath’s 1970 debut album, which means it’s a big-bang moment for the entire existence of metal. On that song, Osbourne screams about being terrorized by a “big black shape with eyes of fire,” while Tony Iommi grinds out a majestically evil riff. Osbourne doesn’t sound cool. He doesn’t sound like he thinks it’s awesome that this vision of Satan has appeared before him. He sounds terrified.

That strained howl is how Backxwash, the Montreal rapper and producer, begins her album God Has Nothing To Do With This Leave Him Out Of It, the album that she released in July. Backxwash isn’t the first rapper to use a “Black Sabbath” sample. Ice-T chopped up that riff on “Midnight” in 1991, and Backxwash’s fellow DIY rap enigma Ka used the bassline on “You Know It’s About” in 2013. For both Ice-T and Ka, though, the “Black Sabbath” sample was all about the sinister creep of that groove. For Backxwash, it’s the fear and the anguish in Ozzy’s voice.

Backxwash uses samples for groove, too. On God Has Nothing To Do With This, she also uses the elemental skies-falling drum intro from Led Zeppelin’s “When The Levee Breaks” — a classic rap breakbeat and another sound that Ice-T uses on “Midnight.” But for the most part, the samples on Backxwash’s album are heavy in ways just as emotional as they are musical. She uses tribal chants from Zambia, the county where she was born and where she lived until she was a teenager. There’s preaching from the church where she had to spend long hours as a kid. There’s the haunted, disquieting “In Heaven,” the radiator-lady song from David Lynch’s Eraserhead. The album ends with the preacher TD Jakes talking about the idea of forgiveness.

Talking to NPR last week, Backxwash said, “I see samples more than just sounds. They represent a slice of time. From my perspective, I wouldn’t use something unless I was connected to it in some way.” So even when we recognize something like that Sabbath sample, Backxwash isn’t playing around in our memory. She’s playing around in her own.

Backxwash spent 17 years in Zambia, growing up in an oppressively conservative family, before she moved to Canada. She didn’t come out as a trans woman until she was in her mid-twenties, which was around the time she started making music as Backxwash. The whole Backxwash project started in 2018, and it’s already yielded two albums and three EPs, with another LP reportedly coming early next year. In the months since God Has Nothing To Do With This, Backxwash has become a cult favorite in certain circles of the internet, especially the ones where people might recognize the Christian black metal samples on her excellent Stigmata EP. On Monday night, Backxwash won the Polaris Music Prize, the big Canadian award that has previously gone to Arcade Fire and Feist and Fucked Up and Kaytranada and Godspeed You! Black Emperor. Her win is the first time I’ve ever seen anyone win an award by screaming “you gotta be shitting me!” at a webcam.

That award is well-earned. God Has Nothing To Do With This is a cold, powerful album about transgressing someone else’s belief system and about the mental weight of that. On the LP, Backxwash raps about transitioning and about losing the acceptance of her family: “It’s been years since I talked to granny/ I think it’s pretty sick that I lost the family.” On the album’s closing track, the genuinely lovely “Redemption,” Backxwash says things publicly that a lot of people have trouble even whispering to their families: “Feel like you lost a son, but you gained a daughter/ You think it’s plain and awkward, you think I’m pain and sorrow/ You think I broke your heart, I think it’s for survival.” It’s inspiring.

God Has Nothing To Do With This is not a regular rap record, but it does the kinds of things that rap music does. A big part of why I love rap music, on an abstract level, is the way that the music turns the language and flotsam of an oppressive culture against itself. In a lot of the best rap music, people born with no power assert strength and dominance. Backxwash does that. She talks about depression and self-doubt and “torment and mourning,” but she also sounds strong and unbent. She has fun with it, too: “Only thing that I need is some vodka and a little therapy/ Some weed, maybe Serge Ibaka, and two seraphim.”

As strong as God Has Nothing To Do With It is, I actually prefer the immersive clangor of Stigmata, the EP that Backxwash released a month later. Backxwash raps in a wind-blown bellow, and she uses metal samples and industrial textures. I’ve seen her compared to abrasive rap experimentalists like Death Grips and JPEGMAFIA and Ghostemane, and I’ve seen Backxwash express admiration for all of them. But my favorite Backxwash moments remind me more of peak-period Tricky, another dark conjurer and permanent outsider who twisted rap’s building blocks up into his own personal shapes. Backxwash doesn’t sound anything like Tricky, but I get that same wandering-spirit approach to rap methodology from her.

For reasons that I assume are sample-related, most of Backxwash’s music isn’t on the big streaming services. Instead, at least right now, an album like God Has Nothing To Do With This is exclusive to Bandcamp, where it’s a free download. Backxwash is a singular voice, but if you spend enough time clicking around Bandcamp, you’ll find more singular voices. Bandcamp has become a kind of haven for free-floating rap tinkerers like Pink Siifu and Zeroh. These artists don’t really have anything in common, but their work interlocks in some intriguing ways. If SoundCloud rap could become a genre a few years ago, why couldn’t Bandcamp rap become one now?

FURIOUS FIVE

1. Lil Yachty & Sada Baby – “Not Regular”
Lil Yachty has always been endearing — that’s how he wound up in a Sprite commercial with LeBron James — but his persistent devotion to underground Michigan rap is easily the most endearing thing about him. If you’re on a song with Sada Baby and rapping about giving people wedgies, you’re living the dream.

2. RU$H, Tha God Fahim, & Jay Nice – “Kalamata Olives (Cest La Vie)” (Feat. Quelle Chris)
I hear some music like this, and I just feel like my life is a whole lot more luxurious than it actually is.

3. Pap Chanel & Future – “Gucci Bucket Hat” (Feat. Herion Young)
Future hasn’t sounded this cool in a minute. The man can still repeat a three-word phrase a bunch of times and make it sound like hypnosis. When you’re on a song like this with Future, it can be a challenge to assert any real personality. Pap Chanel is up to it. She comes extremely tough on this. Herion Young, meanwhile, has some effortless tossed-off charisma that I really like.

4. Peso Peso – “Trappin & Killin”
Peso Peso, from Houston, has such a great rasp in his voice. Even when he’s doing the same skipping cadences that everyone else does, he doesn’t sound anything like anyone else. He brings pathos even when he’s talking about wearing Off White or whatever.

5. Yella Beezy – “Solid” (Feat. 42 Dugg)
I tend to think of Yella Beezy as a bluesy melodic groaner, but he just skips over this thing. Detroit rappers are out here bringing the best out of everyone.


IT WAS ALL GOOD JUST A WEEK AGO

Jeffrey Toobin want some more

— Ian Cohen (@en_cohen) October 19, 2020

Ty Dolla $ign – “Spicy” (Feat. Post Malone)

Ty Dolla $ign – “Spicy” (Feat. Post Malone)

| October 21, 2020 – 12:48 pm

Back in 2018, the extremely busy Ty Dolla $ign sang on “Psycho,” a catchy Post Malone song that made it to #1 on the Billboard Hot 100. Two and a half years later, Post Malone has repaid the favor. Post appears on “Spicy,” a catchy new Ty Dolla $ign song from the forthcoming LP Featuring Ty Dolla $ign. Over a beat that’s both hypnotic and lively, both of them sing-rap horny strip-club stuff. That whole style can be numbing, but the song works.

The guest-heavy Featuring Ty Dolla $ign comes out in two days, and Ty$ has already shared a couple of its advance singles, like the Jhené Aiko collab “By Yourself” (which Ty$ and Aiko performed on Colbert last night) and the Nicki Minaj team-up “Expensive.” “Ego Death,” the strange summer track with Kanye West and Skrillex and FKA twigs and serpentwithfeet, is also on there as a bonus track. But at least thus far, “Spicy” sounds like the hit. Check it out below.

In a press release, Ty Dolla $ign says:

I keep talking about this new album being all about frequencies. I carefully chose each person that’s on this album based on how each song needed that person’s specific frequency. You know, that magic that only that person could bring to the song. And “Spicy” was no different. This song needed Post’s frequency. Plus, we were overdue for another hit after “Psycho.” I’m just grateful that he lent his frequency to this song because we definitely got another one on our hands. Shout out to my brother Posty!

Featuring Ty Dolla $ign is out 10/23 on Atlantic.

Trent Reznor & Atticus Ross Preview Mank Score On “Secret” Website

Trent Reznor & Atticus Ross Preview Mank Score On “Secret” Website

| October 21, 2020 – 1:48 pm

CREDIT: Frederick M. Brown/Getty Images

Trent Reznor and Atticus Ross scored David Fincher’s new movie Mank, a biographical drama about Citizen Kane screenwriter Herman J. Mankiewicz. We already heard a bit of their work in the initial trailer for the film, which is out on Netflix in December. And today they’re previewing even more of it via a not-so-secret secret website called The White Wine Came Up With The Fish, named for a famous quote from Mankiewicz after he got drunk and vomited at a dinner party with producer and gourmet Arthur Hornblow Jr. Check it out here.

David Fincher’s new film Mank is coming to Netflix December 4th!
Here’s a “secret” site where you can hear a first bit of our score and more (don’t tell anyone):https://t.co/JMgcT2pQgt

— Trent Reznor (@trent_reznor) October 21, 2020

Liturgy – “Lonely OIOION”

Liturgy – “Lonely OIOION”

| October 21, 2020 – 2:13 pm

Liturgy have announced a new album, Origin Of The Alimonies, their follow-up to last year’s H.A.Q.Q.. It’s the Brooklyn avant-garde metal band’s first album since bandleader Hunter Hunt-Hendrix came out as transgender and in a video announcing its release she describes it as “an opera [that] addresses the topic of the origin of all things in the form of a kind of archetypal, mythical story of two characters,” who are called OIOION and SIHEYMN. The first piece they’re sharing from it is called “Lonely OIOION,” a towering howl that’s filled with frantic drumming and a ton of different textures. Check it out below.

And here’s a trailer for the album:

And Hunt-Hendrix’s video on the announce, where she also says that she’ll be posting “lecture videos” about the album once a week until it comes out:

TRACKLIST:
01 “The Seperation Of HAQQ From HAEL”
02 “OIOION’s Birth”
03 “Lonely OIOION”
04 “The Fall Of SHIEYMN”
05 “SIHEYMN’s Lament”
06 “Apparition Of The Eternal Church”
07 “The Armistice”

Origin Of The Alimonies is out 11/20 via YLYLCYN. Pre-order it here.

Graham Nash Shares Previously Unreleased Nixon-Era Song “Vote”

Graham Nash Shares Previously Unreleased Nixon-Era Song “Vote”

| October 21, 2020 – 2:15 pm

Neil Young isn’t the only ex-CSNY member releasing old music today. Hours after Young shared “Homefires,” a previously unreleased track from 1974, Graham Nash has released a song from the same era. Nash wrote the protest song “Vote” during Richard Nixon’s administration, and he’s just now putting it out. He hopes it will help drive citizens to the polls to vote Donald Trump out of office.

“Vote” is a soft, jazzy acoustic folk-rock track laced with saxophone. At Rolling Stone, Nash explains that he dug up the Watergate-inspired song last year and showed it to collaborator Shane Fontayne. On tour early this year, they began working out a new demo of the song. Once the pandemic hit, they sent the basic tracks around to be fleshed out by various players, and Nash recorded his final vocals at his apartment in a space he calls “the Studio Toilette.”

“In 2016, 48% of the American people who could vote, didn’t,” Nash tells RS. “Now, maybe they thought Hillary had it sewn up. Maybe it was snowing that day. Maybe the kids were driving them crazy and they couldn’t get to the voting booth. But 48% of the people didn’t vote and look what happened. We must use the most powerful voice that we have, which is our vote.”

The “Vote” video begins with a message: “In the time it takes to watch this video, you can change the world with the most powerful form of protest ever!” Watch below.

Stream Ghostemane’s Strange New Metallic Goth-Rap Album Anti-Icon

Stream Ghostemane’s Strange New Metallic Goth-Rap Album Anti-Icon

| October 21, 2020 – 2:16 pm

Ghostemane is a truly weird figure, one who occupies his own corner of the musical landscape. A few years ago, Ghostemane emerged from the South Florida SoundCloud-rap lane. Even then, he was a nervous and mysterious figure, one who used textures from metal and industrial music in his stuff. But Ghostemane still seemed to fit with the context of the moment. He collaborated with rappers like Pouya and the late Lil Peep, and his occult aggression was rooted in ’90s-era Three 6 Mafia as much as any snow-blasted black metal auteurs. But since the time I wrote a 2017 rap column about him, Ghostemane has kept moving, and I’m not even sure he’s a rapper anymore.

Today, Ghostemane has come out with the new album Anti-Icon, his follow-up to 2018’s N/O/I/S/E. Since then, he’s experimented with hardcore and pushed his voice in different directions. On Anti-Icon, Ghostemane has gone further into those realms, and it’s more of a digital metal album than a rap one.

Ghostemane still raps on Anti-Icon, sometimes, but he also whispers and rasps and gargles and howls. The production veers into Nine Inch Nails trudge-lurch riffage and seething 808-driven noise-rock. These days, Ghostemane’s closest musical peers might be Code Orange, the neck-cranking Pittsburgh metallic hardcore band. As with Code Orange, there’s some Hot Topic cheese to what Ghostemane does. But if you have a high tolerance for that stuff — or if you actually like that stuff — then there’s a lot of stuff on Anti-Icon that might be of interest. On first listen, I’m not sure how much I like Anti-Icon, but I know that I’m going to come back at least a few more times. Check the album out for yourself below.

Anti-Icon is out now on Ghostemane’s Blackmage label.

Hear Jerry Garcia’s Previously Unreleased David Crosby Cover With Martin Fierro

Hear Jerry Garcia’s Previously Unreleased David Crosby Cover With Martin Fierro

| October 21, 2020 – 2:36 pm

In a couple months, a recording of a Jerry Garcia and Merl Saunders show that took place at San Francisco’s Keystone Korner club in 1971 will be released as the latest installment of the GarciaLive Vol. 15 archival series.

As Rolling Stone lays out, the collection features a previously unreleased rendition of them performing the David Crosby track “The Wall Song,” which Garcia played on when it was eventually released on 1972’s Graham Nash David Crosby but as of that time was not officially out.

Garcia and Crosby performed the song live together at least once, in 1970 before it was released, as part of their group David And The Dorks, but that night at Keystone Korner seems to be the only time Garcia played it sans Crosby. For this performance, Garcia and Saunders were joined by drummer Bill Vitt and jazz saxophonist Martin Fierro. Check it out below.

The Damned Announce Reunion Tour With Original Lineup

The Damned Announce Reunion Tour With Original Lineup

| October 21, 2020 – 2:52 pm

CREDIT: Jill Furmanovsky

The Damned are still a going concern — they released a new full-length, Evil Spirits, in 2018 and a new EP, The Rockfield Files, just last week — but today they’ve announced that the band’s original line-up will reunite for a UK tour next year for the first time in over two decades to celebrate the 45th anniversary of their first single “New Rose.”

Founding members Dave Vanian, Rat Scabies, Captain Sensible and Brian James will get together to perform four shows that are scheduled for July 2021, with sets drawn from the group’s first albums, Damned Damned Damned and Music For Pleasure. James left the band in 1991 and Scabies left in 1996. Tickets for the tour will be up for pre-order this Friday (10/23).

THE DAMNED original line-up will reunite for a UK tour in 2021. Founding members Dave Vanian, Rat Scabies, Captain Sensible and Brian James will play four shows next July, tickets are on sale this Friday 23 Oct from https://t.co/Mnk8EztgSU pic.twitter.com/SxqwVJ84g9

— The Damned (@thedamned) October 21, 2020

TOUR DATES:
07/09 London @ Eventim Apollo
07/16 Birmingham @ O2 Academy
07/17 Glasgow @ O2 Academy
07/18 Manchester @ O2 Academy

Premature Evaluation: Adrianne Lenker songs & instrumentals

Premature Evaluation: Adrianne Lenker songs & instrumentals

| October 21, 2020 – 3:00 pm

The prospect of a “quarantine album” from Adrianne Lenker is immensely appealing. Granted, that’s true of any new music from Lenker, the Big Thief singer-songwriter who in recent years has emerged as one of the most talented and magnetic figures in underground music. Furthermore, disappearing into a remote cabin to record new music with a barebones setup sounds like something Lenker would do even if coronavirus had not forced all of us into isolation this past spring. As this pandemic-thwarted year rolls on, more and more musical artists are emerging from lockdown with new albums they completed in the empty space where a bustling 2020 was supposed to be. But Lenker’s earthy, mystical persona and her gift for piercingly intimate folk-rock lend themselves especially well to the format.

So it was exciting when Lenker announced that she had recorded not one but two albums while holed up in Western Massachusetts this past April, two self-explanatory sets called songs and instrumentals. She wrote of driving a pickup truck from Brooklyn to a one-room cabin that “felt like the inside of an acoustic guitar,” of an 8-track tape machine fried by unstable electrical wiring and replaced just when she and producer Phil Weinrobe had resigned themselves to recording on a Walkman, of cooking meals on a wood stove and bathing in the nearby creek. (“There’s no plumbing in the cabin,” Weinrobe told The New Yorker. “You poop in a bucket.”) It all sounded sufficiently mythic and entirely within character, which only heightened the already towering expectations for Lenker’s first music since U.F.O.F. and Two Hands, the pair of 2019 albums that sealed Big Thief’s place in the upper reaches of the modern indie rock pantheon.

The results of this creative retreat, out Friday, are as agonizingly pretty as you’d expect. Given the power of Lenker’s raw yet delicate soprano, the only real surprise is that instrumentals might be better than songs — or at least “music for indigo,” the first of the two lengthy tracks that comprise instrumentals, is the most striking and immersive piece of music across both discs. Mind you, it’s all extremely immersive. Lenker recorded into a binaural microphone, which essentially brings you into the cabin alongside her. You quickly begin to understand the space’s unique sonic properties and why Lenker felt compelled to record there. No recording takes advantage of that sense of place more than “music for indigo,” which follows Lenker through 21 minutes of gorgeous arpeggios and harmonics, down lush musical pathways and into fascinating cul de sacs, all while a thunderstorm rolls in and out of the area. Listening on headphones one night, I was certain it must be raining in my neighborhood, only to repeatedly look out the window and discover clear skies.

The second instrumental, “mostly chimes,” lives up to its name, for better or worse. Although it begins with more echoing guitar reverberations, it quickly becomes even more abstract than its predecessor — so abstract that it at times evaporates into nothingness. Its 16 minutes contain lengthy stretches in which one or two tones ring out softly and disappear into near-silence, leaving little more than the whispering wind for minutes on end. A meditative work that comes closer to a field recording than a song or even a composition, it will either test your patience or lull you into a state of tranquility. I respect it more than I enjoy it.

Between those poles falls songs, as strong a collection of material as Lenker has assembled so far. Owing to both the production and Lenker’s sharpened songwriting, songs is brighter and more immediate than abysskiss, the solo album she released in 2018. It begins with a warm flurry of guitar notes on “two reverse,” on which we learn this is not only a quarantine album but a breakup album. “Lay me down so to let you leave,” Lenker sings, her voice fluttering against her chiming guitar. “Tell me lies, wanna see your eyes/ Is it a crime to say I still need you/ Crime, wanna feed you.”

From there, with possible exceptions like the familial reckoning “half return” and the morbid “come,” Lenker continues surveying the fallout from a romance gone awry. Mostly she does so via trembling and wooly numbers that resemble the Staves or Phoebe Bridgers tapping into the vibe of early Iron & Wine — except Lenker and Weinrobe present these songs in crystalline clarity without sacrificing that live in-person sensation, so songs never resembles a hushed lo-fi artifact. In fact, it rarely resembles an artifact at all. Every time you press play Lenker seems to be breathing this music to life right now, in this very moment, and she’s chosen to let you in on her private grief. For some artists, this would be the context for a discomfiting listen, a sense that you’ve invaded someone’s privacy or they’ve shared too much of themselves. But even when she’s a wreck, Lenker is a calming presence.

Sometimes she channels her sorrow into nakedly minimal songs like “zombie girl,” on which Lenker is left but nothing but dreams of her ex and the unanswered question, “What’s on your mind?” It’s a reminder of how staggering Lenker’s writing can be, how much emotion she can wring from just her voice, a guitar, and some distant birdsong. Yet the album’s highlight is one of its most layered productions. Built from translucent fingerpicked chords and guided by the rhythm of a handheld shaker, the aching lead single “anything” shimmers with a celestial beauty unmatched in Lenker’s catalog so far, as if lit up by a supernatural mirrorball that has manifested out of thin air. “I don’t want to talk about anything,” a multi-tracked Lenker laments. Eventually, she offers an alternative: “I wanna sleep in your car while you’re driving/ Lay in your lap when I’m crying.”

Again and again on songs, we hear Lenker longing to be in the presence of someone she loves. The same sentiment is implied in the ruminative flourishes and wide open gulfs of instrumentals — that desperation to close a gap that cannot be closed. The reasons for Lenker’s alienation apparently run deeper than the factors that have kept so many in this world separated from their friends and family this year, but the intense feelings she conveys here are congruent with humanity’s pervasive desire to go back to some kind of normalcy that can never truly be reattained. In that sense, these records capture the mournful spirit of 2020 far better than cutesy pop songs about standing six feet apart or being stuck indoors with your partner. Futile as her quest to salvage this particular relationship may be, by documenting it, she has forged a much more universal connection.

songs and instrumentals are out 10/23 on 4AD. Pre-order them here.

P.E. – “I Wanna Be Your Dog” (The Stooges Cover)

P.E. – “I Wanna Be Your Dog” (The Stooges Cover)

| October 21, 2020 – 3:21 pm

Last year, members of the defunct Brooklyn band Pill reemerged as P.E. And back in March, they released their debut album under their new moniker, Person. Today, they return once more with a cover of the Stooges’ classic “I Wanna Be Your Dog.” It’s actually part of a single they’ve dubbed I Wanna Be Your Dog, Boy, which will also feature their take on the Ramones’ also-classic “I Wanna Be Your Boyfriend.”

“We started working on cover songs in preparation for the tour dates to support our debut LP Person,” the band told Flood. “‘I Wanna Be Your Dog’ was the first one we attempted — there’s something appealingly perverse about covering one of the most-covered songs of all time — and it was also the last song we worked on together in a room for many months. With the cancellations and separations imposed by the pandemic, we threw ourselves into remote writing and recording. The covers were a nice palette cleanser; a creative way to play with sound before committing to the next full-length. ‘I Wanna Be Your Boyfriend’ is the first fruit of our remote recording labor, the perfect foil and flip-side of desire to ‘I Wanna Be Your Dog.’ We hope to someday perform these in person as intended, but for now we offer these up to your solitary listening pleasure. We dedicate these songs to all those looking for a special cutie(s) in the midst of a global pandemic; we hope you find some sweetness.”

Given that “I Wanna Be Your Dog” is indeed oft-covered, P.E. put their own spin on it. Theirs takes away the danger/swagger of the original in favor of an eerie, sax-laced, broken-down rendition of the song. Maybe there’s still a sense of dark seduction to it, but I suppose that’d depend on what you’re into! Check it out and revisit the Stooges’ original below.


You can pre-order the I Wanna Be Your Dog, Boy single here.

Adulkt Life – “New Curfew” & “JNR Showtime”

Adulkt Life – “New Curfew” & “JNR Showtime”

| October 21, 2020 – 3:38 pm

CREDIT: Steve Gullick

Adulkt Life, the new band featuring Huggy Bear’s Chris Rowley and members of Male Bonding, announced their debut album Book Of Curses with a pair of singles last month. Today they’re sharing two more, “New Curfew” and “JNR Showtime.”

The former is a boisterously noisy rocker with no shortage of cymbal crashes, tackling the realization that Rowley’s daughter might soon join the protesters in the streets. He says “New Curfew” is about “the moment past meets present and generations inevitably divide, dizzy rascal state of mind hears /or doesn’t Mission of Burma’s panic at emergency, stress lullaby beats fret at the window waiting for your kids to come home safe, trigger fingers rubbing security blankets.”

“JNR Showtime” is only slightly more restrained. Here’s Rowley on that one: “Purge moment, complete disgust and a knight in shining armour falling headfirst into a puddle, through a window? The casual links to child abuse and random greasy swipes at innocence unavenged / not for lack of trying agitated fast product meets Chicago explosions call for response!”

Huh? Check out both tracks below.


Book Of Curses is out 11/6 on What’s Your Rupture.

Shygirl – “SLIME”

Shygirl – “SLIME”

| October 21, 2020 – 4:12 pm

Last month, the London artist Shygirl released the gloriously fun single “FREAK,” which as it turns out was only a taste of an upcoming new EP called ALIAS that’s arriving next month. Today, she’s sharing a new song from it called “SLIME,” which was co-produced by SOPHIE, Kai Whiston and Sega Bodega.

It’s smeary and snappy, a dark throbbing beat pierced by growls and coos that’s centered on Shygirl’s mumbly and menacing delivery: “She came to fuck/ Tell me now, if you’re looking to get down/ In the back, in the front/ On the highway, in your truck.” It’s pretty great and comes with a lyric video featuring some familiar faces including Arca and SOPHIE. Check it out below.

TRACKLIST:
01 “TWELVE”
02 “SLIME”
03 “FREAK”
04 “TASTY”
05 “LENG”
06 “BAWDY”
07 “SIREN”

The ALIAS EP is out 11/20. Pre-order it here.

Lael Neale – “Every Star Shivers In The Dark”

Lael Neale – “Every Star Shivers In The Dark”

| October 21, 2020 – 4:38 pm

Los Angeles indie rocker Lael Neale has signed to Sub Pop, with plans to release new music in 2021. She’s getting a jump on that today with new single “Every Star Shivers In The Dark,” a haunting but upbeat buildup that casts Neale’s evocative lyrics against extended organ chords and a slowly intensifying rhythm, then dissolves into a gorgeous twinkling denouement. “Sailors seek harbor on a lone seashore/ Leaving the known for something more/ I am a pilgrim too.” she sings. “I might be leaving you/ ‘Cause I am a pilgrim too.”

On Bandcamp, Neale shared this statement:

This is my ode to Los Angeles, which always felt to me like the outskirts of Eden. I would walk a lot in the city, go from Dodgers Stadium into Downtown — along Alameda. Up in the hills, I’d look out at the vast sprawl and feel daunted. But Los Angeles is not as it appears. Even in moments of isolation, I have looked for communion with strangers and, almost always, found it. These were the scenes and feelings swirling around when I was challenging myself to write a song using only two chords.

Watch her self-directed “Every Star Shivers In The Dark” video below.

“Every Star Shivers In The Dark” is out now on Sub Pop.

Con Funk Shun – Circle Of Love Lyrics

Seems to me this love affair
Just goes around and around
We always seem to lose the flame
But we find it back somehow
First in love then apart
Then back together again
We play the game so very well
But we never seem to win
Ooh, we go through rounds of hit-and-miss
It always comes back 'round to this
The bottom line, the reason why
‘Cause love's so strong, it just won't die

Again and again
We find ourselves a circle of love
That never ends, it never ends
Again and again
We find ourselves a circle of love
That never ends, again and again

Mixed emotions in the air
Or maybe we’re just too proud
But in my mind they realize
That our hearts are beating loud
Love's merry-go-round goes up and down
Anywhere we start
We feel ourselves so far away
But we never fall apart
Now we read the story till we

Couldn't put it down to begin again
We go through life and never know
Why it is we can't let go
Again and again
We find ourselves a circle of love
That never ends, again and again
Again and again
We find ourselves a circle of love
That never ends, again and again

(Again)
Ooh-ooh-ooh-woo-woo-woo-woo…
(Never ends)
(Again)
Ooh-ooh, oh…
(Never again)

Oh, we go through rounds of hit-and-miss
It always comes back 'round to this
We go through life and never know
Why it is we can't let go

Again and again
(Again)
We find ourselves a circle of love
That never ends, it never ends
Again and again
We find ourselves a circle of love
That never ends, again and again
Again and again
We find ourselves a circle of love
That never ends, it never ends

13 Organise – Tout A Change Lyrics (feat. Le Rat Luciano, Soprano, Jul, L’algerino, Sysa, Solda, Menzo, Stone Black & Fahar)

[Paroles de “Tout a changé” ft. Le Rat Luciano, Soprano, JuL, L’Algérino, Sysa, Solda, Menzo, Stone Black & Fahar]

[Intro]
A-A-Abys One
13 Organisé
Là pour prendre la vie dans des positions indécentes, mon ami
Si tu veux pas qu’on monte (eh), faudra nous descendre, mon ami
1.3

[Couplet 1 : Le Rat Luciano]
Ni confiance en toi, ni en ma rétine, tu sais rien, tu sais bien, pourquoi parle-t-il ?
J’ai la mort, j’ai le démon, parait-il, c’est mon tour par le tien, j’la tiens par les tifs
Déjà été tué mais j’sais par qui, j’tire dans l’tas comme si j’avais la Parkins’
Si tu les comptes, j’veux les peser et par kil’ d’vant la caisse plus grande que la place de parking
J’suis ici, j’suis là-bas, j’suis la j’nesse sans rêve, on veut tout, mon poto, on est v’nu sans rien
Accroche-toi car tout meurt si les couilles s’enraillent
On peut tout, mon poto, dans ces coins sans règles
On en jette, on les jette, on veut tout avoir
Il trahit, on l’éjecte, on veut rien savoir
Très fidèle, très dévoué, pas là pour la gloire
Y a qu’pour la soif, pour la swagg et pour la soie
D’puis qu’on est jeunes, la guerre dans nos quartiers
J’sais pas combien mais j’sais qu’on va tout claquer
J’tuerais des gens pour l’temps des lunettes Cartier
Personne n’est immortel, on va tous craquer
Égaré, mal-barré, j’peux plus réparer
J’ai laissé mon bon fond sur la bande d’arrêt
J’suis garé dans la l’carré, j’bois des raz d’marée
Rien en arrêt, je n’suis que c’que mon [?]

[Couplet 2 : Soprano]
J’ai pris le mic’ pour me soigner à 15 piges, à la base, on rappait pas pour être riche
En larmes quand les frères nous faisaient l’prêche, face aux flics, personne faisait l’autruche
On affrontait nos torts comme des grands garçons, pas de raisin sec dans le caleçon
On prenait exemple sur les anciens, aujourd’hui, l’respect, c’est un paillasson
Tout a changé, même pour manger, des frères se shootent dans les tranchées
Les plus âgés sont ravagés et les p’tits ne savent que s’kalasher
Parents fauchés, amour fâché, t’es cagoulé devant le guichet
Voilà pourquoi tous mes couplets sont des lettres à France comme Polnareff

[Couplet 3 : JuL]
Moi, j’suis sorti du mur, personne me connaissait, j’rappais dans la Twingo, j’étais au quartier
C’était moi qu’tu voyais sur une roue, c’était moi qui sentait l’parfum Cartier
Dans les bras de Morphée, j’ai vu les p’tits morfler
Les schmitts, ils font peur à six heures et les mamas, c’pas de leur faute
Des qualités, des défauts mais trahis pas si tu es mon frère, on va s’en vouloir comme des fous
J’ai tout donné et ça m’en veut, de quoi frissonner
J’ai mis d’côté mon côté émotionnel
Car y a des choses qu’il faut pas cautionner
Tout a changé, c’est comme ça, mon frangin
Personne a rien fait, pourquoi j’irais me venger ?
J’suis dans l’Range, j’gamberge et quand j’pense, ça fait mal de voir ton ami faire l’étranger
Tout a changé, tout l’monde veut manger
À dire que même des daronnes se baladent chargées
Retiens bien l’message : quand tu as pas pied, faut pas nager

[Couplet 4 : L’Algérino]
Les potos, la rue, la rue, les potos, c’est trop chaud, la rue
Les condés prennent des photos, est-ce que tu m’as vu ?
Le futur, [un auto ?] les p’tits vendent la coco, les frères meurent en moto
J’étais dans ma bulle, j’avais pas un euro, j’suis dans l’PMU
Demande à Nono, j’me lâche quand j’ai bu
J’me mets à nu, j’pense à ma mère quand j’regarde la lune
Si tu savais, yemma, rien n’a changé, yemma
Y a trop d’jaloux, yemma, ils font que parler, yemma
Si tu savais, yemma, rien n’a changé, yemma
J’reviens de loin, yemma, la roue a tourné, yemma

[Couplet 5 : Sysa]
J’ai rien oublié, génération veut des billets mais billets nous mènent dans l’corbillard
Ouais, tout a changé même si moi-même, j’ai pas changé
On s’est jamais plaint dans le brouillard
J’peux pas éponger, une vie noyée dans les soucis
On était jeunes et insouciants, pas encore soucieux
2020, ça part en sucette, j’ai cuisiné sans la recette
Donc j’connais les enjeux
Avec rien, on faisait un et avec un, on faisait tout
Et maintenant, même si tu leur donnes 100, ils font plus rien
Et même avec, ça se mêle de tout

Donc j’peux pas oublier sans être outillé, on a marqué la tess, on la fait briller
Tout l’monde a vrillé, maintenant, ça cherche à s’envolait vers le ciel avec des ailes grillées
Y avait des rires, des larmes, l’hiver et des rafales de souvenirs donc je pleure sous l’averse
Le ventre ouvert, cœur déchiré, passé dans mixeur, le reste en PLS
Époque accidentes, sentiments sur l’trottoir, l’histoire ne m’écrit pas, moi, j’écris mon histoire
J’repense à tous mes torts mais y a zéro mystère, on commence comme des potes, on finit adversaires

[Refrain : JuL]
À la base, y avait pas d’avenir
Tout a changé, tout a changé
À la base, y avait pas d’avenir
Tout a changé
Tout a changé, tout a changé, tout a changé, tout a changé
Tout a changé, tout a changé, tout a changé, tout a changé

[Couplet 6 : Solda]
Oh, atterri au monde dans cette ville, dans les années quatre-vingt-dix (dix)
Marseille, FELIX, Dieu m’a créé, faut pas que j’traîne dans le bendo
Ma mère me pensait très nia (nia), attiré par les mensonges, je l’ai nié (nié)
Dans la cité, j’élastiquais les billets pour pas qu’tu fasses le ménage et qu’tu casses le dos, le dos
Faut qu’j’sorte ma tête de l’eau, je savais que c’était pas dans le bendo (‘do)
Que j’allais faire des loves, no
Oh maman, souris, là, j’sors de toutes ces conneries, ma femme, mes gosses et j’esquive
La taule, la drogue, les geôles, les flingues, les boum-boum et les persquis’
Là, j’sors de toutes ces conneries
J’taffe, j’taffe, j’taffe, j’écris, j’veux qu’mon gosse voit que je brille
Qu’à l’école, ça lui dise : “Ton daron, c’est un monstre quand il débite, c’est la folie”, folie, folie
Regarde la vie qu’on mène, j’ai changé mon domaine
Ma haine, ma peine dans mes veines, j’prends tout, j’taille aux Seychelles

[Couplet 7 : Menzo]
Tout a changé tant d’faux sourires, propre sur moi, j’vais les pourrir
J’marche pas au pas, j’les fais courir, système vraiment prêt à t’couvrir
Jamais j’vendrai la main qui veut m’nourrir, à de meilleurs lendemains, pas peur de mourir
La vie d’avant n’est que souvenirs, j’peux plus m’ouvrir, j’veux plus souffrir
Voilà du bon pour les tympans, cœur bat au BPM du tempo
Entendu les cris, sous les pim-pom, j’suis 1.3, l’honneur du drapeau

[Couplet 8 : Stone Black]
Tout a changé dès l’arrivée des armes, dans mon temps, on faisait des têtes puis des fêtes
On sait même plus la destination des âmes, maintenant, l’adversaire n’accepte plus aucune défaite
Il y a les hommes de paix, les forts, puis, les faibles
La jalouse plante, la rancœur lui précède
Le déshonneur et la honte tiennent la baraque pendant que le respect, bah lui, fait la vaisselle
Ne cherche pas la merde à ton gars le plus sage
Des concours de bites du plus con au plus sage, tu trouveras ta dignité au fond du sac, ne ramène pas ta rue, j’ai mon droit de cuisage

[Couplet 8 : Fahar]
La vie n’m’a pas fait de cadeau, débrouillard, j’ai dû trimer
Tout seul, j’ai dû faire un garrot, telle est ma destinée, boy
Y a qu’Dieu qui m’épaule, j’ai vu des horreurs, plus rien ne m’étonne
Nan, j’ai pas changé d’fusil d’épaule, sauf que tout a changé depuis l’école
J’ai fait la guerre pour trouver la paix, chasser mes démons et faire le point
J’ai ce goût amer de mon passé, j’ai dû couper les ponts et [voir ?] au loin
T’as les coups de feu qui résonnent, la rue fabrique et détruit des hommes
On avait tous un rêve quand on était mômes, depuis, tout a changé, chacun ses raisons
T’as vu les traces dans l’auto, ça, c’est les puto, puto (‘to)
Sur le même océan mais pas sur le même bateau, oh
Aujourd’hui, ça donne des go, plus d’sentiments pour le poto
Hier, on était innocents, ensemble sur la photo, oh

[Refrain : JuL]
À la base, y avait pas d’avenir
Tout a changé, tout a changé
À la base, y avait pas d’avenir
Tout a changé
Tout a changé, tout a changé, tout a changé, tout a changé
Tout a changé, tout a changé, tout a changé, tout a changé

Crippled Black Phoenix – House Of Fools Lyrics

Well they served it up and you swallowed it whole
A fateful tale that has oft been told
Of truth and fear and how you lost control

Of chemical pulses in your nerve domain
The simulacra of a futile game
A finger on your trigger, yeah you just got played

While you went all in on a winner
And a cause to save the ignorant and innocent were all betrayed
They sold you down the river and they all got paid

Is this to be our fate?

It's like a dream from which we never will wake
A flowing stream, we're swept along its wake
Slumber on my son into the incessant sun

Blackened mirrors for opaque minds
A curse in disguise for the neophytes
The exultant horde bows to the umbraphile

Feel the crust from your world-blind eyes
These system need chaos if they are to survive
Or forever these people will continue to thrive
Fill your world with light!

It's like a dream from which we never will wake
A flowing stream, we're swept along its wake
What will we become beneath the incessant sun?

Though she is tossed by the waves
She does not sink
She will not sink

We will not fall
We cannot fail

Con Funk Shun – Honey Wild Lyrics

Ooh-hoo…
Yeah…

I loved myself too much to notice you
I never took the time to kiss away
The tears I made you cry
Suddenly I felt it, it was plain to see
The songs you were singing
Were no longer meant for me
No longer meant for me

My honey wild
Sweet woman child
My honey wild
I lost the beauty of your smile
(Lost the beauty, honey, honey)

Last night it seemed
Your touch had grown cold
And though I was in your body
I would never know your soul
I didn't see it and I didn't understand

It destroys the beauty of a butterfly
When you hold it in your hand
When you hold it in your hand
Honey wild
Sweet woman child
My honey wild
I lost the beauty of your smile
Oh, whoa, whoa, yeah
Mmm, oh, oh-whoa…

Whoa, my honey wild
Sweet woman child
My honey wild
I lost the beauty of your smile

My honey wild
Sweet woman child
Yeah, my honey wild
Oh, baby, whoa, baby

Yeah, sweet woman child
My honey wild
I'm really gonna miss
The beauty of your smile

13 Organise – L’etoile Sur Le Maillot Lyrics (feat. L’algerino, Alonzo, Stone Black, Le Rat Luciano, Sch, Jul, As & Veazy)

[Paroles de “L’étoile sur le maillot” ft. JuL, As, SCH, Le Rat Luciano, Stone Black, Alonzo, L’Algérino & Veazy]

[Intro : L’Algérino]
J’croyais plus en la vie, rien que je fumais la frappe
Enfumé toutes les nuits, les rêves passent à la trappe
Bats les couilles d’ton avis, poto, lâche-moi la grappe
On a pris des risques, on avait trop la dalle
Ça pointe à la SPIP, les frérots en cavale
La faute à l’OCTRIS, la justice est loca
La vida loca, les folles à l’hôtel
On a perdu la boule, les boulettes sur la moquette

[Couplet 1 : L’Algérino]
Yeah, yeah, à Marseille, ça vend du shit et d’la chloroquine
Ça prend des années fermes et ça libère les pédophiles
Elle veut bouillave, trop coquine, pour être la copine
J’suis en terrasse, jus d’goyave, polo crocodile
Yeah, les temps changent et putain, fais pas blehni
Tu m’salis, que ça parle mal, cousin
J’suis dans un putain d’engin, j’fais danser ta frangine
On est venu braquer la vie comme le casino d’Enghien
Toute la noche, les frères sont scotchés
Pack de Heine’ sur un rocher, ça rêve de trophée
Sur la musique, ça met des crochets, on était fauchés, hein
Aujourd’hui, ça rentre en boîte en full Dolce

[Couplet 2 : Alonzo]
J’ai jamais pris la mach’, j’ai jamais fait le monstre
Regarde à 8, on mange et personne jouera la montre
J’ai relevé les manches, faut donner à graille aux mômes
Quand j’vois le ciel orange, je pense à la fin du monde
J’suis du secteur à Zizou, pour ça que j’aime le 10
J’ai planqué dans mes bijoux d’famille, mon bout à 10
Ma mère : mon paradis, qui la préserve d’la maladie
Souvent les nerfs à vif, j’vais prendre un flash à l’alim’
Un quart de siècle à trop zoner, j’entends les flingues résonner
Je chante pour mes abonnés, est-ce que vraiment tu m’connais ?
Ils aimeraient tous nous coller pour pirater les données
Mais tout ça, je le sentais, frère, tout ça, je le savais

[Couplet 3 : Stone Black]
J’ai gagné les tournois, j’leur ai laissé la coupe
J’ai dû découper, pas mes couplets, qui m’ont ramené la Soupline
Le rap c’était ma poupée, vu sa fouffe
On m’a dit mec joue la cool, après mon passage, tu peux faire du houla-houp
Fais-moi démarrer l’moteur de Subaru, la routine
La rue m’a rapporté des thunes et la justice m’a tout pris
Je pardonne pas mais j’oublie, nage au milieu des rookies
Respecte-moi, il y a des chances que ta daronne c’était ma groupie
Couche-tard depuis la cité Carter, j’viens du Shootstar
On représente Marseille (13015)
On apprend de tout l’monde et même des plus jeunes
Le vêtement le plus beau n’est pas forcément le plus cher, cousin

[Couplet 4 : Le Rat Luciano]
Hey, hey, gosse du bendo, j’arrache le sol comme si j’avais volé l’benzo
f*ck le taulier, j’vais crever comme le pendo
Hein ces fils de p’ qui mettent les yeux comme le Fendo
Hey, expliquer : compliquer, j’rentre dans l’appart’ j’tire à la Zé Peque’
Plus rien n’m’étonne, laisse-moi trop à part, j’veux ma part de paplards, pas là pour les checker
Ouais, grr, j’connais l’tourniquet, j’vais crever où j’dois pas là pour tmenicker
Le monde me doit rien, j’te dois quoi ? J’te l’dis pour toi, très courtois, pourquoi polémiquer ?
Aïe, merde, il a l’air à terre, il s’prend pour l’pater, fausse Patek au poignet
Non, j’peux plus l’voir comme Gilbert Montagné, il fait l’chaud en équipe, conduite accompagnée

[Refrain : L’Algérino]
Marseillais, l’étoile sur le maillot
La Kalash’ est sortie du chapeau
Roue arrière sur le Prado
Y a 800 chevaux sous le capot

[Pont : SCH, L’Algérino, JuL & Le Rat Luciano]
Ça me dit, si y a embrouille, j’ai mon pétard
S’ils bougent, j’leur fait faire le grand écart
J’ai vu trop d’BDH dans mon décor

Évitons d’être chargés vers le Vieux-Port

[Couplet 5 : SCH]
Le fric sent la lessive, le local sent la résine
On a des gros caissons, aussi, les sous pour la révision
Que ça parle en mandarin quand faut sortir dix tickets
J’vais faire 800 cette année, que tu es là à critiquer
Ma meilleure haze, en vrai, le hazi ferme à minuit
Le PMU tire le rideau, on joue au poker au rami
Les gants bien serrés, qualité Fouganza
Romanza criminale, j’ai grandi avec ça
13, 14ème et 15, le Var et Corsica
Que des brigantés, ça tue pour pas 1K
Tout c’qu’on fait pour manger, sur ma mère, t’as pas idée
De janvier à janvier, j’essaie d’rester là, bébé, j’essaie de pas me faire pincer
Gimme gimme more, ils ont pas compris, j’rappe comme si j’étais chauve
Comme si j’étais pauvre, comme si j’étais mort
Je fume mais fais-moi deux, j’vais respirer fort
J’vais t’faire et rentrer à la kham comme si t’étais pas mort, han

[Couplet 6 : JuL]
Samedi, si y a embrouille, j’ai mon pétard
S’ils bougent, j’leur fait faire le grand écart
J’ai vu trop d’BDH dans mon décor
Évitons d’être chargés vers le Vieux-Port
J’rappe sous la canicule, 1.3 matricule
Personne manipule, y a plein d’bâtards dans l’radar de r’cul
Dans ma bulle, j’fume que d’la purée, j’suis dans l’véhicule
Ils sont pas contents quand tu perces, ils aimeraient dire « Vé, il coule » (hein)
Contre les fils de pute, j’suis pas immunisé
La misère ça fait peur comme des mecs qui rentrent chez toi déguisés
Maintenant, j’suis parano, même quand je vais pisser
Tu m’dois tes papiers, j’m’en fous combien tu dois à l’épicier
Guetteur au talkie, jobeur cagoulé
Y a que des matrixés dans la zone, ils aiment pas les poulets
Ils m’ont pas vu débouler, j’fais des tours dans la war zone
J’ai mon pochon dans les couilles, il fait qu’tomber vers les molets
Ça écarte des volets, pour trouver bonheur dans maison dorée (l’OVNI)

[Couplet 7 : As]
Eh, toujours dans les temps, toujours à l’affût
Pourtant, j’ai plus de 40 piges, j’ai pas stoppé la fume
J’envoie la fusée car j’ai visé la Lune
Doucement, je peux t’brutaliser juste en sortant ma plume
Ça vient du 6.9, frère, big up au 9.3
J’habitais dans l’9.4, pourtant je viens du 1.3
Posé dans l’appart’ avec mes big brothers
Tu sais, en train d’jouer aux cartes, on est sous Jack Fire
Game over, mes srabs arrivent en Range Rover
Ok, réglons les affaires avant qu’je parte t’t à l’heure
C’est fou, l’inspiration arrive quand je la cherche pas
Ma réaction quand j’les écoute : bouge pas

[Couplet 8 : Veazy]
J’en ai vu trahir, ça a changé
D’autres se manger rien qu’pour 100 G’
Que des propos, des discours sans gêne
Fais attention, j’peux t’mettre en danger
Les plus gros jaloux c’est ceux que ton cœur abrite
Parle dans ton dos, après, viennent sucer la bite
Qu’à 30 pour cent, j’faisais déjà la diff’
À six dans la va-go, ouais donne nous le “GO”
Prêts pour le départ, kodo, si tu tiens pas l’alcool, tu vas t’manger des
Baffes (let’s go)
Diplomatico, pour calmer ma hargne, tu me cherches
Attends mon loulou, regarde comme on débarque

[Refrain : L’Algérino]
Marseillais, l’étoile sur le maillot
La Kalash’ est sortie du chapeau
Roue arrière sur le Prado
Y a 800 chevaux sous le capot

[Outro : SCH, L’Algérino, JuL & Le Rat Luciano]
Samedi, si y a embrouille, j’ai mon pétard
S’ils bougent, j’leur fait faire le grand écart
J’ai vu trop d’BDH dans mon décor
Évitons d’être chargés vers le Vieux-Port

Daboii – Just In Case Lyrics

[Intro]
In case your ass forgot
In case your ass forgot
In case your ass forgot
Link-Up

[Chorus]
In case yo’ ass forgot, I’m that nigga with that juice
I’m that nigga in the streets, and the nigga in the booth
In case yo’ ass forgot, bitch I never leave my tool
‘Cause I ain’t f*cking wit’ you niggas, y’all gon’ make me lose my cool
In case yo’ ass forgot, I’m who niggas wanna be
Back to dogging all these hoes, ain’t a bitch I wanna keep
In case yo’ ass forgot, nigga we don’t want the peace
It’s strictly only brothers nigga we with all the beef

[Verse 1]
In case yo’ ass forgot, win or niggas I can’t rock
Baby can you get on top
But can’t f*ck you at the spot
Sippin’ takes, ain’t no Wok
Why the police on my jock
Niggas still dissing for clout like that won’t get a nigga shot
They wanna lock me in that box but I be thinking out that box
In a gun and all got stopped
We put thirties on our Glocks
We got jumps for every chop
We’ll tear down niggas blocks
And a nigga I won’t rob
Think I’m Puffy I won’t stop
I know your ass forgot but guess I gotta remind you
And don’t worry we got flashes with the beams, I’ma find you
Try to pull a card up over here, I wouldn’t advise you
Nigga f*ck minimum wage it ain’t a job I applied to
They like, “DaBoii f*ck done got into you ’cause don’t shit excite you”
“But you always keep it 100, never met no one like you”
I keep it lit for my brothers plus I’m smoking on High Chew
And I been talking to myself like can’t a nigga disguise you
On the

[Chorus]
In case yo’ ass forgot, I’m that nigga with that juice
I’m that nigga in the streets, and the nigga in the booth
In case yo’ ass forgot, bitch I never leave my tool
‘Cause I ain’t f*cking wit’ you niggas, y’all gon’ make me lose my cool

In case yo’ ass forgot, I’m who niggas wanna be
Back to dogging all these hoes, ain’t a bitch I wanna keep
In case yo’ ass forgot, nigga we don’t want the peace
It’s strictly only brothers nigga we with all the beef

[Verse 2]
And nigga it don’t take much for them to get it sparking
And I was niggas big homies up in kindergarten
If I put this bitch in sport, it’ll make you carsick
And if she f*cking with them suckas then that bitch a target
Claiming blocks that you ain’t from that’s how you get departed
And they excuse me off the odor, guess the weed was fartin’
You better not shoot up out that whip ’cause nigga we’ll park it
And if you ain’t the type to finish then I wouldn’t start shit
And we ain’t worried ’bout no static we gon’ handle ours
Remember riding on them pegs and them handle bars
Niggas dissin’ in them raps, he a fan of ours
And didn’t want me back then bitch I been a star
p*ssy nigga bought a gun now he feel he hard
Suspicious driving on that block bitch we drilling cars
2015 I bagged that whip and I was stealing parts
And niggas jumping off that porch but scared to swim with sharks
On the gang bitch

[Chorus]
In case yo’ ass forgot, I’m that nigga with that juice
I’m that nigga in the streets, and the nigga in the booth
In case yo’ ass forgot, bitch I never leave my tool
‘Cause I ain’t f*cking wit’ you niggas, y’all gon’ make me lose my cool
In case yo’ ass forgot, I’m who niggas wanna be
Back to dogging all these hoes, ain’t a bitch I wanna keep
In case yo’ ass forgot, nigga we don’t want the peace
It’s strictly only brothers nigga we with all the beef

[Outro]
In case your ass forgot
In case your ass forgot
In case your ass forgot

Crippled Black Phoenix – Lost Lyrics

I see you and the damage done
We are but lost humans
I see you, what have we become?
We are but lost humans

Set in motion, the great fall
Such devotion to annihilate all
You don't care for much
Just not wise enough to heed the call
We are lost as humans!

As everything fades by your touch, turning into dust
The dangerous nature of an ignorant mind
The final fall for mankind

You don't seem to care for much
You're just not wise enough to heed the call…
We are lost as humans!

Nature is calling, heed its warning
The future is fading, apocalypse in the making
The bells are ringing

You have failed them, future generations failed
Bells are ringing
Bells are ringing
We are we are we are we are lost
We are lost as humans!