#album: ballad with windy
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Standing Egg EP “Ballad with Windy” English Translations
I’ve compiled the links for all the translations I did for this album here. Enjoy!
All songs feature Windy as a vocalist
편한사이 | Comfortable Relationship
사랑한대 | He Loves Me
그 자리에 있어 | I’m Still Here
매일 그대를 | Everyday with You
A Perfect Day
앓이 | Ache
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8.2km//5mi in 42:30 (8:30 mile pace//7.1 mph)
✨ so much (for) stardust ✨ - fall out boy
love from the other side - heartbreak feels so good - hold me like a grudge - fake out - heaven, iowa - so good right now - i am my own muse - flu game - baby annihilation - the kintsugi kid (ten years) - what a time to be alive - so much (for) stardust
Y'all this was an absolute delight, what a treat. Arguably their most orchestral album, but with punk grit. And the duality of so much stardust vs so much for stardust, you can feel it in your bones. The wind is at my back, i am flying, i am floating, i am one with the pavement pounded beneath my feet, the pavement is only there to tether me from floating into the night sky. Two qualifiers for this run: i did not want to go. I was melting into my mattress under seven blankets and got a notification it was supposed to start raining in about an hour. (The other qualifier:) But once I got out there, it was ideal weather for this album. It's windy but the wind is at my back and spits of rain are getting steadier but at a pace that feels like im outrunning the storm rather than getting caught in it.
I think I got distracted and forgot to talk about the musicality at all. Lftos is a great intro. It doesn't start super hard, but it builds. Also I love a good overture (i grew up in ballet and then got into musical theatre. sue me). It's also a really long song, which i think I've mentioned enjoying in early songs for my runs (im further in my run by the time im at the second song, third song, etc which makes me feel like im going faster which makes it easier to keep pace rather than getting discouraged). The album also has a nice back and forth between heavier and lighter songs. Like heartbreak has a lighter, bouncier, electronic (?) sound, then hold me like a grudge is drums, it's bass, it's gritty and grounded. Then fake out is back to light and melodic. It's feels gentler on my body, i guess (the first three songs of srar in album order are intense and i took off too fast. i did have to pause and focus really hard on not throwing up, and i think i burnt myself out a little taking off so fast. smfs is a more balanced energetic start). Heaven, iowa edges towards a ballad but they keep tempo enough that it didn't feel like a dip or a disruption. I adore this album. Sprinting the last street while shouting along to the bridge of smfs while the the spitting rain turns decidedly into a steady drizzle? Unmatched. So much (for) stardust, i love you i love you i love you
#fall out boy#fob#patrick stump#running#smfs#so much (for) stardust#pete wentz#joe trohman#andy hurley#go off boys#i know running in the rain “isn't a big deal” but the second my clothes get wet i want to strip them off#bad tactial sensation#more nuerodivergent than previously anticipated ™#so much for stardust ilysm#run out boy
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Album Review of the Week: Lana Del Rey - Did You Know That There's A Tunnel Under Ocean Blvd (2023)
☆☆☆☆
LDR's ninth album opens with The Grants whose intro reflects a rehearsal of background singers which then morphs into a relaxed piano ballad. Her vocals are strong and better than ever thus far. The track swells into an emotionally gripping crescendo as the background singers take their posts, the piano grows more insistent and strings begin.
The album's title track Did You Know That There's A Tunnel Under Ocean Boulevard is next. The vocals are not quite as clear, we get back to the mumbling that tends to plague LDR tracks. Meanwhile, the melody flows like a swirl of autumn leaves on a soft, windy day. The pleading cries of "when's it gonna be my turn / don't forget me" echo throughout the track and again swells into a driving chorus, really folding you into this soundscape that is being introduced to you.
Sweet continues the piano ballad streak, it's a bit more sleepy and not quite as gripping as its predecessors.
A&W was the second single for this album and what made me interested in hearing the entire project (I tend to skip some LDR releases, mostly because it's hard to keep up with!) The second half is what gripped me at first but the more I listened to it, the more I appreciate the entire seven minute track. Something about the melody when she says "this is the experience of being an American whore" just really snaps you into it, as do the urgent high notes in the verses. Once we hit the four minute mark, the bass comes in and I was like 👀, excuse me... hello! After lamenting trouble finding love due to her apparent promiscuity, we get into a sassy moment where she tells them they're f*king up big time! And then I find myself bopping big time to a Lana Del Rey song, which doesn't happen too often just because they don't usually go this hard!
the judah smith interlude is an instant skip, bye. i hate the yelling!
Saving the moment, Candy Necklace comes in. The piano on this one is absolutely haunting. The music video definitely made me pay more attention to this track. I love the chorus's melody and how it quickens pace throughout. The piano solo is so incredibly gorgeous!
This is followed by the Jon Batiste Interlude, he was featured on the previous track, and we get more of that haunting piano which is really great. It is also accompanied with studio chatter and some playful vocals from our main songstress.
With Kitsugi, we enter a portion of the album that doesn't have a lot of re-listen value to me. I'll play the songs when listening to the album in full but I don't think about them otherwise, just too slow!
Maybe it is leftover fatigue, but Fingertips is somehow less interesting.
Paris, Texas picks things up with an interesting piano riff and vocals that closely follow its melody in a music-box fashion. One can nearly picture a ballroom waltz.
And now, for a title so long you cannot even read it in Spotify if you tried! Grandfather Please Stand On the Shoulders of My Father While He's Deep Sea Fishing. It has an almost movie-like quality as it picks up, almost feels like you are entering a fantasy world. Perhaps, an ocean that you can fly and breathe in, enjoying the scenery and wildlife around you.
Let the Light In is a good medium between the sleepy ballads and something that makes you pay attention. It is a sweet duet with Father John Misty that makes me think of a sleepy morning with the one you love!
Margaret takes a while to grab my attention, but I do really like the ending with spoken word and then the background singers become more prominent. That brings a more casual feel to end this string of more serious tunes. I really like the piano as it fades out as well.
Fishtail brings some bass back into the equation and even has some vocal effects which is unusual!
Okay, now we get into the fun part and the REASON I went straight to Target after work the day this came out. Peppers! The energy, the reverb, the beat, the hook. I never thought I would hear Lana Del Rey chant "hands on my knees" let alone follow it with "angelina jolie". I can see this being a great end-of-the-night cool-down track at the club. And then it takes another turn with a 60s bass line?? Ugh, so good.
Taco Truck x VB is my favorite track off of this album. What a closer! The instrumentals are absolutely fantastic. Spoiler alert - let me tell you when it morphed into Venice Bitch I lost my damn mind!!! That is one of my favorite songs of all time and having a "mini" version is so much fun as well as the fact that it was spiffed up a bit.
One thing I don't really love about this album is how the volume fluctuates, that is a big pet peeve of mine. It is very quiet and then we get to a song's climax and suddenly I have to scramble to turn it down a bit!
Although I do feel this album is a bit bloated and could lose a few tracks, the ones that I enjoy are songs that I kind of cannot stop listening to and this album has been in the back of my mind ever since it came out. I really wish I could appreciate Lana Del Rey the way that I know a lot of her fans do, but even though I am not there she still fascinates me a great deal.
While most of this album is the usual fare, there is a lot more experimenting as well which I absolutely love and hope to see more of in the future!
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What "Pretty Boy" might mean for forthcoming High Flying Birds album
Upon living with the track for the days it has been out, it occurred to me that the direction Noel is heading towards might not be as drastic as anyone is making it out to be. On the contrary, close listeners might examine the track for any inklings or traces of the ‘Who Built the Moon?’ or the Extended Play releases. And you’d be completely justified for deeming that the track is nothing but an extension of the theme at play here. Of course, you’d also be selling your theory short of just being half wrong and half-cocked, and be accused of too much bias. Nonetheless, we’re all wrong.
And here’s why.
To mutter, the self-titled debut and, playing all your cards all at once taught us that not everything that you think will work, will in fact work. Out of the two projects that came out of the debut album back in 2010, one of them made it to punchline in July of 2011. Hot off the presses, Noel Gallagher was officially in it for the long haul as a solo artist – FINALLY!
What the debut also taught us was that meeting your heroes has its consequences. Much less, coming to grips that your tenure as the father of Anena rock isn’t all its shaped up to be. Matter of fact, Gallagher didn’t just stop here.
When the debut hit shelves, and he went out on tour and began with the press, he displayed a fierce valliance that no other solo artist presented at the time. Brooding, and self-reliant on nothing but experience as the other brother to a double barrel shotgun of a force, Oasis. Noel’s point of the debut was so that we would have what we wanted. And we got it. Unfortunately, the first few legs of tours for the debut album also showed us that none of it was enough. Some concert goer’s will admit, he hasn’t exactly been “everywhere” yet. Something bigger was coming.
And that leads us into 2014, when rumblings were a’churpin’, abound with months and months of silence. When finally, the holiday of 2014 saw a year-end single reveal. It is now the wet-nose, windy beginning of 2015. And the ballad of a “Mighty I” was thrust upon the cold and ever growing fan-base. 'Chasing Yesterday' proved that even taking the reigns of, well– everything... isn’t exactly what we all wanted. And I’m not really speaking for everyone. It was clear that the eponymous offering wasn’t enough either.
2017. Gallagher unleashes a slew of mini-previews in the form of a music trailer for 'Who Built the Moon?'. Signaling a big “fuck you” to whoever was listening at this point. At the charge of this drastic change came a new line-up, and more promises to rehearse everything. Marr lent a solid in this third offering! A big welcome for us more die-hard listeners. Now, this is where I’d ideally stop. Like I said in the mini-review of “Pretty Boy”, this is just the beginning.
To say that anything is the beginning is, also the end of an era. To signal the end of an era would warrant celebration, or the cause of it. That “beginning” began a long time ago. And if you’ve been really paying any attention, you would have noticed that it started the minute Noel let bygones be bygones, buried the hatchet with Albarn, and really started leading the charge with a more positive output. “She Taught Me How to Fly” was one of the tracks in '...Moon?' that definitely merits a fresh start. “Be Careful What You Wish For” is also a nice call-back to Noel’s heroes (John Lennon).
In truth, that beginning that I’ve been speaking of has been here for a long while. Now, I don’t care what anyone thinks. Quite frankly, whether you’re just catching up now on his last few releases, and are just crawling through his discography, whatever it might be that got you here, welcome! If you’re also here as an old Oasis fan and also don’t give a damn about what everyone else is saying, hiya! Be good to each other. Peace, love and bananas. Whatchu-might–call it, we’re here so that we can be the first ones to say that Noel’s genius is what kept us drudging along with him in the first place. He’s close. And Noel is getting close to showing us the bigger picture. It’s hopeful. And it’s never too late to be what you might’ve been. Or at least, that’s what he tried telling us back in 2011, in the debut. I think that title was always self-explanatory.
I think it’s more than worth it to sit back and enjoy whatever the Chief is putting out now rather than waiting for something “good”, whatever that “good” might be.
The point is, what this might mean for the fourth album might actually be pretty good. A lot of what everyone is claiming is “piss” or “woke” are just being negative about his output so far. Not many solo artists can put out a ‘Best-Of’ in their first decade as an ensemble. Not many bands can actually do that yet. Much less, a solo artist. And I think that’s amazing. It’s not arrogant. It’s not self-righteous or pompous. It’s literally what being in the music business can get you. Or award you. Either way, we’re incredibly lucky to be in the throes of a solo artist such as Noel, or Liam for that matter.
They’re getting somewhere.
Same as the Arctic Monkeys. They’re all maturing in their own way, and I think it’s selfish of anybody to strive for more and to want more. And that’s not a criticism against anybody. I’m just articulating that you can’t always get what you want. Any band, solo artist or group currently venturing out in the depths of the music industry currently, are the last of the greats.
But back to the main topic; what does this all mean for Noel Gallagher’s High Flying Birds fourth album?
That’s up for you to decide.
And whatever it may be, might not be for you. Or it could actually be right up your alley. More so, it’s music for a generation yearning for more Oasis lyrics, in a storm of a urine-contained gestation where everyone keeps asking, ‘When are they getting back together?!’ They’re not. And he’s been trying to tell you that for the past 11 years. Look forward. And keep looking forward.
I’ll see you guys back here when there’s more about the fourth album. For now, continue streaming “Pretty Boy” – out now!
#noel gallagher#noel gallagher's high flying birds#NGHFB#chasing yesterday#who built the moon?#this is the place#blue moon rising#black star dancing#back the way we came#where the city meets the sky#noel g#noely g#noelyg#oasis#liam gallagher#pretty boy
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Friko Live Preview: 3/1, Metro, Chicago
Photo by Pooneh Ghana
BY JORDAN MAINZER
Chicago's Hallogallo collective is remarkably sonically diverse: There's the sneaky art rock of Horsegirl, the chaotic noise of Lifeguard, and, playing tomorrow night at Metro, the communal, orchestral indie rock of Friko. The duo of vocalist/guitarist Niko Kapetan and drummer Bailey Minzenberger have more in common with the earnest likes of Los Campesinos! and Black Country, New Road than with Pylon, Gang of Four, This Heat, or other bands generally lumped in as inspiration for the crop of young post-punk bands to come out of the Windy City and London. Friko's fine-tuned debut LP, Where we've been, Where we go from here (ATO), is as reflective and all-encompassing as the title suggests. On the album, they find fulfillment and solidarity through connection in a world that tries to prevent you from flourishing at every turn.
Where we've been is, in and of itself, a mish mosh of genres, sounds and arrangements inspired as much by Chopin as rock and roll. The opening sort-of title track and pseudo band theme song juxtaposes orchestral swells and circular guitars with group vocals, building up to the all-out desperation of punk as they sing innumerably bleak lines like, "Four feet between a wall and a window make your wife a widow" as if they're life-affirming mantras. On the anthemic "Crimson To Chrome", Kapetan sings, "I'm sitting here writing the same sad song / With the cogs on fire / Spinning on and on / Till I'm old and tired / Even then, I'm on fire," the final line recalling in spirit the Bruce Springsteen song of the same name. Friko might be generations apart from The Boss, but both have the ability to make anguish sound massive.
What's most impressive about Friko, though, is that they know when to pull back. "For Ella", "Until I'm With You Again", and closer "Cardinal" are on the softer side, the first two of them piano ballads. "For Ella", in particular--which features Macie Stewart on violin and Alejandro Quiles on cello--has some of Kapetan's strongest songwriting. Wistful and melancholic, it was inspired by a visit to a graveyard in Wisconsin, and you can imagine Kapetan looking at a marked grave and imagining the current lives of loved ones and the past lives of the folks who now lie beneath. "You were running through the backyard / Said the puddles were the ocean / Now the smell of rainy days always remind me of you," he sings. "Statues", meanwhile, is a slice of moody indie rock, alternating between cleanliness and distortion, as Kapetan again imagines a world long after he's gone: "Someday we'll lay statues of our own / For now, we'll bow to memories made of stone." Pretty wise for a band just getting started.
Opening for Friko at Metro are two more bands from Chicago: synth rock dreamers Smut and alternative indie rockers Neptune's Core. Tickets still available at time of publication. Doors at 7:00 PM, show at 8.
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#live picks#metro#friko#niko kapetan#ato#macie stewart#smut#neptune's core#bailey minzenberger#where we've been where we go from here#pooneh ghana#hallogallo#horsegirl#lifeguard#los campesinos!#black country new road#pylon#gang of four#this heat#ato records#chopin#bruce springsteen#the boss#alejandro quiles
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SEE: Chicago Indie Rock Band | Friko - “Crashing Through”
If you're on the lookout for an electrifying auditory adventure, look no further than Chicago's latest indie rock sensation—FRIKO! Hailing from the heart of the Windy City, this dynamic band brings a fresh and invigorating sound to the indie rock scene.
From the very first notes, you can feel the pulsating energy that defines this group's unique musical identity. Their sound is a thrilling blend of raw, unapologetic rock and sophisticated indie sensibilities. The band effortlessly weaves together infectious melodies, gritty guitar riffs, and anthemic choruses, creating a sonic landscape that's impossible to ignore.
FEELS: like a gritty, sandy walkway
SOUNDS: like Yo La Tengo on speed
An essential new addition to Chicago’s long lineage of forward-thinking indie rock, Friko transform every song into a moment of collective catharsis. On their full-length debut and first release for ATO Records, vocalist/guitarist Niko Kapetan and drummer Bailey Minzenberger merge elements of post-punk and chamber-pop and experimental rock, magnifying their music’s exhilarating power with a steady barrage of spirited gang vocals. Poetic, explosive, and sublimely raw in feeling, Where we’ve been, Where we go from here brings an equally visceral intensity to brutally heavy anthems and heart-on-sleeve ballads alike, creating an immediate outlet for the most unwieldy emotions.
Produced by Scott Tallarida and Friko with additional production from Jack Henry, Where we’ve been, Where we go from here embodies a sonic complexity befitting of a band that names Romantic-era classical music and the more primal edges of art-rock among their inspirations. As Kapetan reveals, the frenzied and majestic opening track “Where We’ve Been” set the tone for the pure abandon embraced by Friko throughout the album’s creation (a process that also included former bassist and founding member Luke Stamos). “We’d tried recording a different version of that song and it didn’t feel right,” Kapetan recalls. “We went back in and reworked it and came up with something that was very much a group effort and doesn’t follow a pop structure at all, and it felt incredible—we were all sobbing afterward. It was something I’d never really felt before in music.”
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SEE: Chicago Indie Rock Band | Friko - “Crashing Through”
If you're on the lookout for an electrifying auditory adventure, look no further than Chicago's latest indie rock sensation—FRIKO! Hailing from the heart of the Windy City, this dynamic band brings a fresh and invigorating sound to the indie rock scene.
From the very first notes, you can feel the pulsating energy that defines this group's unique musical identity. Their sound is a thrilling blend of raw, unapologetic rock and sophisticated indie sensibilities. The band effortlessly weaves together infectious melodies, gritty guitar riffs, and anthemic choruses, creating a sonic landscape that's impossible to ignore.
FEELS: like a gritty, sandy walkway
SOUNDS: like Yo La Tengo on speed
An essential new addition to Chicago’s long lineage of forward-thinking indie rock, Friko transform every song into a moment of collective catharsis. On their full-length debut and first release for ATO Records, vocalist/guitarist Niko Kapetan and drummer Bailey Minzenberger merge elements of post-punk and chamber-pop and experimental rock, magnifying their music’s exhilarating power with a steady barrage of spirited gang vocals. Poetic, explosive, and sublimely raw in feeling, Where we’ve been, Where we go from here brings an equally visceral intensity to brutally heavy anthems and heart-on-sleeve ballads alike, creating an immediate outlet for the most unwieldy emotions.
Produced by Scott Tallarida and Friko with additional production from Jack Henry, Where we’ve been, Where we go from here embodies a sonic complexity befitting of a band that names Romantic-era classical music and the more primal edges of art-rock among their inspirations. As Kapetan reveals, the frenzied and majestic opening track “Where We’ve Been” set the tone for the pure abandon embraced by Friko throughout the album’s creation (a process that also included former bassist and founding member Luke Stamos). “We’d tried recording a different version of that song and it didn’t feel right,” Kapetan recalls. “We went back in and reworked it and came up with something that was very much a group effort and doesn’t follow a pop structure at all, and it felt incredible—we were all sobbing afterward. It was something I’d never really felt before in music.”
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Texas Artists Eli Young Band and George Birge Lend Voices on Tender-Hearted New Tribute of Country Classic “Amy’s Back In Austin”
Hailing from Denton and Austin, Texas respectively, Eli Young Band and George Birge have teamed up to record a tender-hearted new cover of the 1994 hit song “Amy’s Back in Austin.” The melodious new single is the third release from the upcoming tribute album God Blessed Texas, which pays homage to American country music band Little Texas. The new music is available for streaming and download HERE.
Superbly crafted, “Amy’s Back in Austin” tells the story of a naive young couple seeking a better life by leaving their hometown together. Unfortunately, they learn the grass isn’t always greener on the other side and end up parting ways; he heads West and suspects she’s returned home. His love for her remains and occupies his thoughts, leaving listeners with a strikingly heartfelt ballad.
“Growing up, I was always a fan of Little Texas,” reveals Mike Eli – Eli Young Band. “Their songs were a huge part of country music in Texas. I was excited to be asked to sing on the record and it’s a huge honor to be part of this project.”
“Little Texas was a staple in my childhood, and ‘Amy’s Back in Austin’ was an era-defining song for me,” shares George Birge. “With Eli Young Band being one of my biggest musical influences, getting to share this track with them feels like a full circle moment for me in Country music. To be asked to be a part of this tribute album is such a huge honor.”
“We left Texas on a windy night
In a beat-up Chevy van
We loaded it up with our innocent dreams
And all the love we had
We didn’t know then how hard it was
Livin’ on our own
I’d find her cryin’ late at night
Talkin’ to the folks back home
I wonder what went wrong
And where is she now I’d love to know
I bet Amy’s back in Austin
Workin’ at the LaZona Rosa Cafe
I remember the night we lost it
And the day she went away
Was it the angry words or did she miss her momma
I don’t know but it don’t feel right
I bet Amy’s back in Austin
And I’m missin’ her tonight…”
“Amy’s Back in Austin” was co-written by Brady Seals and Stephen Allen Davis. Brandyn Steen served as Executive Producer on the new cover and Duane Propes as Music Producer. It was recorded at ER Studio in Nashville, Tennessee, with mixing done by Bart Busch and engineering by David Spielberg. A-list session musicians included Duane Propes (bass guitar), Mark Matejka (lead and acoustic guitar) and Corey Wright (drums).
Stream and download “Amy’s Back in Austin” on Spotify, Apple Music/iTunes, Amazon Music, Pandora, YouTube Music, Tidal, Deezer and more.
About Eli Young Band
Since the band’s formation as college classmates 20 years ago, the Associated Press has celebrated EYB as “a smart, relevant antidote” to overdone clichés in Country music. The band has amassed 14 Billboard charting singles, including four No. 1 hits via 3x Platinum “Crazy Girl” and 2x Platinum “Even If It Breaks Your Heart” plus Platinum “Love Ain’t” and “Drunk Last Night,” while also earning an ACM Award for Song of the Year as well as multiple GRAMMY, CMA, CMT, ACA and Teen Choice Award nominations.
The musical band of brothers – Mike Eli, James Young, Jon Jones and Chris Thompson – play their own instruments, write their own songs and cling fast to their Texas roots. While selling out venues from coast-to-coast as strong headliners, EYB has also shared the stage with Kenny Chesney, Rascal Flatts, Tim McGraw, Jason Aldean, Toby Keith, Chris Young, Darius Rucker and Dave Matthews Band.
For more information on new music and upcoming tour dates, visit their website and follow on social media @EliYoungBand
About George Birge
RECORDS Nashville songwriter-artist George Birge was “Always Meant for the Solo Spotlight,” hails PEOPLE, as he supercharges the charts nearing Top 10 with “Mind On You,” off his debut album, George Birge: Mind On You. Also serving “Whiskey Go ‘Round (feat. RaeLynn),” Birge is mixing up a potent cocktail of Texas swagger and Music Row heat after the Austin native relocated to Nashville in 2014. Boasting over 45 MILLION streams across his catalog, American Songwriter further praises, “George Birge has a talent for taking a simple concept and turning it into an in-depth song.” Named one of Nashville Lifestyles’ “Artists You Need To Know,” he’s built a strong touring profile supporting Brantley Gilbert, Jake Owen, Gary Allan, Scotty McCreery, and more.
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5 tracks from the nineties that will make you feel like a main character
There’s a trend that’s swept across the globe over the last year. It’s called “living like a main character”. Without getting into the deep and philosophical meanings of this phenomena, being the main character is a mindset that encourages us to live life as a protagonist. Sure, it’s a bit narcissistic and wreaks of gen Z, but it’s fun to walk to work and imagine you’re in the opening scene of a blockbuster.
Music is great for romanticizing your life, and if the kind of movie you want to be leading in is an angsty 90s classic, these tunes may help:
1. Alive - Pearl Jam
If you need a tune to help you feel alive, Alive by Pearl Jam will do exactly that. The 1991 single, that featured on the band’s debut album “Ten”, is made up of grungy riffs, powerful drums and Eddie Vedders distinctive husky voice. It’s the kind of song that would fit well in a John Hughes coming of age film, sound tracking a scene where a group of misfits find themselves on a road trip with a boot full stolen booze.
2. Creep – Radiohead
Feel like the world doesn’t get you? Creep by Radiohead is a 90s hit that may work well if you find yourself earnestly walking in the rain contemplating life. This song is a great example of a beautiful use of instruments whilst also providing lyrics that resonate with so many.
3. What I got – Sublime
Sublime had a gift for producing tunes that sounded like sunshine. Ska punk and Reggae rock is hard to come by these days, but thanks to streaming services, tunes such as “What I Got” are at our fingertips. Close your eyes and stick this into your ears, you may as well be in Long Beach, California.
4. Heart Shaped Box – Nirvana
Another angsty grunge tune that would make for a great heartbreak scene. Cobain’s iconic raspy voice sings lyrics that details a relationship in which one person’s feelings are not reciprocated. It may be a heavy rock ballad but at heart, it’s a love song and is perfect for “main-charactering”.
5. Under the Bridge – Red Hot Chilli Peppers
Another heart-breaking ballad, detailing frontman’s Anthony Kiedis’ time wandering the streets of Los Angeles in the early nineties, feeling sad and alone and finding comfort in the city, who sees his good deeds and kisses him windy. It’s not only lyrically beautiful, but it also has the powerful riffs of Frusciante’s guitar met with a funky Flea bass and Chad Smiths passionate drumming. I’m sure this tune has been used to romanticize many peoples drives home from work.
There are a whole catalogue of nineties tunes that could easily be used to soundtrack our lives. This list is just a setting. Many rock songs produced from the 90s are still used in movies today, likely due to timeless melodies and emotion provoking lyrics. We are lucky these days with great new rock artists generating tunes that are great for scoring our life stories.
#rock music#listicle#writing#music#grunge#pearl jam#music video#musicians#nirvava#red hot chilli pipers#kurt cobain#radiohead#television#alternative#music blog#sublime
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Onto the fourth set of wallpapers now and these wallpapers were shared on the Princesas do Mar WordPress site in 2009, when the animated series was in full swing around the world (at least in whatever countries it was being broadcast in) and the last two books of the main series, namely The Windy Letters (review here) and The Ballad of the Forgotten Princess (review here) were already released, as evidenced by the sixth and seventh wallpapers in this set.
The art style is closer to that of the animated series given Polvina’s design, though an exception can be seen in the sixth (and seventh at a stretch) wallpapers where Polvina’s book design is shown as they reuse the covers for the two aforementioned books. Also, Elektra’s outfit is green for some reason in the first wallpaper.
An edited version of the fourth wallpaper can be found in the sticker albums which shows Matilda in place of the Princesas do Mar logo.
It’s good that this set of wallpapers features a diverse selection of characters, but I think Yabu could have made more of them with focuses on lesser-featured characters because the focus is always on Polvina, Ester and Tubarina, like the entire Sea Princesses series itself.
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Sequitura’s guide to Kpop if for some reason you want to get into it
(Not recommended, the fandom culture is insane, though there are some nice songs)
These are songs that I really liked on the first listen and continue to like. Some songs take a while to grow on me, like “TT” by Twice. Those aren’t on this list.
They're not my top 100 - those would be too particular to my tastes and I tried to cover a range of musical styles.
* means that the song is a b-side (not the primary promoted song in an album) and thus probably doesn’t have a music video.
Oh My Girl (cheerful group with KILLER catchy melodies)
-Windy Day
-Dolphin
-Coloring Book
-Closer
-(optional listening) Secret Garden if you really liked Closer
-(optional listening) Nonstop if you like catchy dance tunes, but after some of their really good stuff it'll pale in comparison. It's good gateway Oh My Girl, though.
Blackpink (they do a lot of hype songs; cool vocal colors; actually not bad rapping for kpop)
-As If It's Your Last
-Playing With Fire
-Lovesick Girls
f(x) (experimental girl pop)
-Rum Pum Pum
-Nu Abo
KARA (exhilarating dance tunes)
-Step
Brown-Eyed Girls (they've covered pretty much every genre at this point, but boundary-pushing is their main theme)
-Kill Bill
-(optional listening) Abracadabra (not personally my thing, but the EDM bassline was super fresh at the time and still is)
-(optional listening) Warm Hole (really catchy 60s-esque bop)
Taeyeon (former main singer in Girl’s Generation)
-4 Seasons
-(optional listening) Spark (not the greatest song in the world, but the lead-in to the chorus is great.)
T-ara (ridiculously cheesy dance tunes)
-Roly Poly
-Sugar Free
-(optional listening) Lovey Dovey (if you loved Roly Poly)
Mamamoo (originally jazz, now... something else)
-Piano Man
-Um Oh Ah Yeah
-(optional listening) Woo Hoo (the harmonies will blow your mind)
-(optional listening) Decalcomanie (GREAT for early 2000s rock Amy Winehouse-esque fans. I'm only mildly a fan of that style, but even I can admit the vocal pyrotechnics are incredible.)
-(optional listening) Pride of 1cm (a rap diss track about each other’s heights)
-(optional listening) Girl Crush (HEY YOUUUU)
Spica (sadly short-lived group that was *really* musical; did jazz authentically and well)
-You Don’t Love Me
IU (soloist whose style has run the gamut, but she mostly writes her own music, now.)
-Eight
-The Red Shoes
-Blueming
-23
AOA (originally a band concept who came back with uh... sexy, which isn’t a genre, but they still have good songs)
-Heart Attack
-(optional listening) Like a Cat
-(optional listening) Elvis
Wonder Girls (retro who came back with a band concept)
-Why So Lonely
Sunmi (her stuff can take a while to get under your skin. It’s quite dark under the surface, which I like.)
-Heroine
-Pporippipam
-(optional listening) 24 Hours
-(optional viewing) Noir, for the music video mainly
Yubin (former rapper for Wonder Girls)
-Lady
-Thank U Soooo Much
Girl’s Generation AKA SNSD (one of the original icons. You won’t find a more polished group anywhere.)
-Paparazzi
-(optional listening) Lion Heart (for those who love the 60s sound)
BoA (original soloist icon. Watch her dance and sing live.)
-Mannish Chocolat
-(optional listening) Woman
Itzy (currently conquering the “teen rebels” genre)
-Wannabe
-Don’t Give a What
-(optional listening) Icy (it’s divisive, but personally I find the attitude super charming and the instrumental fresh and unique rather than irritating.)
Red Velvet (have some great RnB songs, as well as some lovely summer ones, as well as some “lol wut” ones)
-Psycho
-You Better Know*
-Body Talk*
-(optional listening) Russian Roulette (slightly off-kilter pop song and catchy af) -(optional listening) Look* (AMAZING 80s throwback)
-(optional listening) Swimming Pool* (one of those super cheesy pop songs that becomes transdescent in the chorus)
-(optional listening) Sassy Me* (this song is crazy)
-(optional listening) Mr. E* (if you loved You Better Know)
-(optional listening) Sunny Side Up* (if you loved Body Talk and Psycho)
2NE1 (one of the first “badass”-themed girl groups.)
-I Am the Best
-Fire
-(optional listening) I Don’t Care (tackling slow/emotional)
Hyuna (a great performer who sells any song she’s in)
-Trouble Maker
-365 Fresh
-Bubble Pop
CLC (they’ve unfortunately probably broken up now. Super talented group who’s bounced from genre to genre trying to get something to stick, leaving bops along the way.)
-Pepe
-Show*
-No
Weki Meki (they’re slowly finding their niche, which is likely to be smooth club stuff)
-Crush
-(optional listening) Cool (I recommend watching their relay dance/dance practices and giving Lua some attention)
BOL4 (“indie”-ish band; not a big fan of most of their stuff)
-Travel (but they did strike addictive gold when they went more rock)
Gfriend (Strings, guitar, and some of the best/most consistent vocalists in kpop right now)
-Navillera
-Mago
Dreamcatcher (a very unique, metal-influenced sound. Amazing dancing. Probably supported by the most humane company in kpop right now.)
-Scream
-Over the Sky*
-Black or White*
-(optional listening) And There Was No One Left* (idk why but this one hits me. It’s so sparse and yet makes you feel so disconcerted.)
-(optional listening) Silent Night* (if you like the musical aesthetics of the song “Everytime We Touch”)
-(optional listening) Can’t Get You Out of My Mind* (if you liked Silent Night)
Twice (“The Nation’s Girl Group”)
-Fancy (kind of the only song of theirs that I adore; ask me for more recs if you really like them.)
Ailee (known as the Beyonce of Korea)
-I Will Show You (an unironic “yasss” song)
-Heaven (gee, this song is sad but never lets up with the power vocals as well, which I think works better than a straight-up slow ballad)
Loona (I don’t really click with them, but a few songs have hit me first listen)
-Voice* (it sounds like a beautiful, brisk skate across a mile-long lake)
-New (by Yves – it’s super flowy)
-ViViD (by Heejin – I love sassy swing tunes what can I say)
-(optional listening) Heart Attack primarily for the music video
EXID (power vocals + brass + hip-hop? I don’t really get it tbh but good singing can sell me anything.)
-Ah Yeah
After School (I don’t know this group but this song is a bop. Might be one of my top 20 favorites of all time and I only heard it yesterday.)
-Bang!
Sunny Hill (very unique social commentary music)
-Pray (warning: one of the most disturbing music videos I’ve ever seen, but definitely worth a watch if you have a strong stomach)
-The Grasshopper Song (music video is nicer)
(now we move into territory with guys in it. I personally think male artists in Korea release fewer great songs than female artists, beccause the general trend is to be “dark” or “moody” compared to the more melodic trends in female groups. If you like strong choreography or braggadocio vibes, though, you’ll probably like them better.)
AKMU (singer-songwriter sibling pair and probably my favorite composers in Korea right now.)
-Dinosaur
-How People Move
-(optional listening) Happening (somehow gives coffee shop music a driving rhythm)
-(optional listening) Like Ga Na Da (this is a song about the alphabet. It is still insanely catchy.)
-(optional listening) Melted (sad ballad)
TXT (this group has other songs, but I don’t like any of them nearly as much.)
-Runaway (like the classic boy group sound set on fire. A really nice pre-chorus
of all things. Love the guitar.)
Ateez (they might become the next BTS; not sure.)
-Wonderland (like... pirate hip hop/rock. Watch with choreography.)
-Wave (a surprisingly potent summer song)
-(optional listening) Say My Name
Shinee (some of the most talented dudes in kpop)
-Lucifer (probably the only kpop song to pull off a one-note chorus well. Sounds like it was produced by people who evolved in a different universe.)
-View (super smooth, groovy deep house song.)
Oneus (their good stuff goes hard)
-A Song Written Easily
-Valkyrie
Stray Kids (don’t know the group; song is great)
-Miroh
A.C.E. (one of the only kpop groups doing hardstyle and surprisingly enough, I like it.)
-Goblin
-Cactus
Seventeen (don’t really know the group; song is great)
-Mansae
-1/6/21
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Standing Egg — “편한사이” | “Comfortable Relationship” English lyrics
Saying I'm comfortable
Makes my heart sink.
To me, you're uncomfortable—
You, who is smiling
Not knowing how I feel.
Saying you're lonely
Makes me disappear from your side.
How could you say
Such a thing to me,
When you're all I see?
Am I too hasty,
Or are you too slow?
Meaningless time passes by.
Now I don't want to hide
My feelings anymore.
You know that I love you. Baby, I need you.
Every day I wanna make you smile.
I want to take just one step closer.
Like we are now, like we're just friends,
I don't want to look at you like that.
Now you let me hear your story.
Saying there's something on your mind
Makes my heart flutter
Because I can see you,
I can meet you,
Even like that.
If I'm too hasty,
If you're too slow,
We can just come from opposite sides.
Now I don't want to hide
My feelings anymore.
You know that I love you. Baby, I need you.
Every day I wanna make you smile.
I want to take just one step closer.
Like we are now, like we're just friends,
I don't want to look at you like that.
Now, your feelings,
Now, your love,
Now you let me hear your story.
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Album Review of the Week: Mary Travers - Mary (1971)
☆☆☆☆
This is the first solo album by Peter Paul and Mary alum, Mary Travers. The instrumentation throughout is quite minimal, which is a good thing as Mary has a gorgeous alto voice that deserves to be front and center at all times! Her vocals are rich and emotive, bringing life to these tracks.
Most of the songs feel quite short as well, which was normal for the time but they just feel extra short and I want some to keep going!
The album opens with The Song Is Love, which originally appeared a few years prior on the Peter Paul and Mary album Album 1700.
That album and this song are one of my favorites of their discography, so I was happy to hear it on this album as well!
It is a great opener, showcasing her vocals and bringing an optimistic feeling to the project.
While I Guess He'd Rather Be In Colorado brings in a more somber mood, her bright timbre still brings the sunshine, as if we are watching a gorgeous sunset on a cool summer night.
Children One and All has a dark storybook feel to it. The melody is earnest and dramatic, increasingly so as the tune progresses. It is a great song about the equality within us.
The First Time Ever I Saw Your Face is a loving ballad which showcases Mary's beautifully alto voice.
I Wish I Knew How It Would Feel To Be Free has a really interesting piano tone, it almost has a ragtime tone. By that I mean, the early 1900s sound, certainly not the rhythm! Then, it goes into a funky percussion to get you swaying.
Erika With the Windy Yellow Hair is a spoken word poem by Mary Travers with a simple piano accompaniment.
Rhymes and Reasons is the first of a few different tracks written by John Denver featured here. While it is still a great sounding song, it sounds a lot like what we have heard before and causes the excitement of listening to wane.
Follow Me is another John Denver track, although this one has a more engaging melody to grab the attention back.
On the Path To Glory always makes me picture Cher's version from the Sonny & Cher show with accompanying cartoon. This one is penned by Petula Clark and is a melancholy war tune.
Circus and Song For the Asking are some more standard folksy ballads.
Indian Sunset is one of those songs that couldn't be made today, though it is still gripping and poetic. It is a longer track that seems to be layered into different acts.
Generally, this is a solid album to play if you are in the mood for something a bit more sophisticated.
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MURDER BALLADS OF 1816: THE YEAR WITHOUT A SUMMER.
All starters taken from American Murder Song’s 2018 album, “Murder Ballads of 1816″. TW FOR VIOLENCE / DEATH / GORE / BLOOD.
Murder be thy name!
I seal the fault upon the skin.
I carry on our brothers’ sin.
Steel your feet into the ash.
And let there be blood!
Who are we, brothers, here mourning?
Where, where is ___?
___ can’t be saved.
Quiet ___, quiet grave.
Where is our ___? Run, run away!
Where is ___? Come out and play.
Where is ___? Come out and pray.
Dark is the road where the devils play.
Sweet little children, screaming crimson.
Red feet, red paws, to the door!
___, I am worn by the day.
___, please don’t stand in the way.
Tell not thorn nor lie!
Speak to me, o murder child.
Trouble’s in your eye.
You bite the hand that feeds you and crow.
___, I must go to my bed.
Remove your windy barn-door hands.
This is not the shade of his red, by my word.
Your firstborn’s cold as a slab on your cross.
After the spring you will find him.
There’s no grave to fill.
___ close your eyes, there are stories to tell.
I hang the moon that looks to the west.
Water the branches that sprang from your wrist.
Nobody spoke as he emptied his gun.
He and his blood were forgot.
I’ll leave ___ right here on your bed.
What have they done to my sweet ___?
No one can love ___ half as much as me.
The thicker the heart, the stronger the pill.
___ snatched up the knife, and 'round the table we chased.
Silver songs swung from his belt, dangling, tangling.
He waded through the tusks and pelts.
Winter bled into the spring.
___ caught the bruises in a sling.
___ found them in the wire fence.
___ dragged them through blood and silence.
Sit beside my drink and me, my pretty darling.
Gossip and needles, where the chapel ladies meet.
Where’s ___? What’s delayed them?
What goes in ___’s drum? One part kisses, three part rum!
___’s a Northern girl with a Southern tongue.
Every man’s pissing fire and howling for life.
Halfway to ___, and fit to be tied.
Drink up, ___, and wet your thirsty boots in ___’s chest.
Soaking in blood, pale as a sheet, it’s good to be alive!
Mine eyes are seeing double, and my powder horn is drunk.
My left leg isn’t working.
Where’s the goddamn bar?
There’s killing in me yet.
The calendar is false.
Beg for mercy where there is none. I have none. I want none.
The roads have been barren of souls for weeks.
I don’t understand why I’m being punished.
No, God don’t live here no more.
___ has become a festering graveyard.
It was better when the king ruled us.
___ came to the house again.
I should make ___ hope. That would suit them! Hope is for the weak.
Make quick work, and eat again.
___’s blood would be my own treaty.
I, too, have a rifle.
Don’t we all have our pacts to make? Soak them in blood and honour them.
I will not be punished by men.
What beautiful promise this is, ___.
Take my hands, then, for I will not wash ___’s blood from them.
I will let the animals gnaw at ___’s bones.
May you both be blessed in blood.
Emptied the streets, emptied their beds, emptied the pews, and left ___ for dead.
I shot a gun, I prayed a moment, but I didn’t grieve ___.
Who stole the sun from the sky, pale and unforgiven?
Was ___ my sibling to keep?
Keep our sins beneath the shed.
We do not eat alone.
There’s breathing at our gate.
There’s a stubborn stain in the hall.
The dogs claw through the chains and the wall.
This is no place to rest. It’s far too cold on the ground.
Let’s get you up from the rug. There’s no virtue here on the floor.
___ is up from the ember and ash.
‘Twas a body on the chapel steps.
A body on the steps, and lies all about.
‘Twas ___ burning someone’s clothes.
‘Twas ___, with blood on their dogs and mud in their hair.
By the lamb are we saved.
We spit down the hole with no name.
There the devil was cast for ___.
O ye sons of men, now a city shines!
Who’s that preaching?
___, with a brand new Bible and a big big gun.
Damn their treaties, damn their kings, I’ve got a gun named Destiny.
There ain’t no prophets left.
Blood in my footprints, gun in my hand.
I am always walking as somebody else.
A traveler I am.
God is in the country, devil’s at your door.
Risen from the blood, land don’t forgive.
#sentence meme#rp starters#rp meme#shoutout to cllgood for introducing me to this album and like. completely ruining my life
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Battle #29
Icicle Works: S/T ( Side 1 )
Vs.
Chicago : 17 ( Side 1 )
Icicle Works: S/T ( Side 1 )
The Icicle Works are an English alternative rock band and were named after the 1960 short story "The Day the Icicle Works Closed" by science fiction author Frederik Pohl. The band was founded in Liverpool in 1980 when bassist Chris Layhe answered an advertisement for a musical collaborator placed by 20-year-old Ian McNabb. The two got together and started writing. They quickly added drummer Chris Sharrock and began playing live shows as "The Icicle Works". The distinctive nature of this band versus others of the time is all in the percussion. Later albums are more straightforward rock or even punk in nature, but this album seems very tribal. Celtic you could say. Think New Model Army meets Big Country. There is a goth meets punk theme. It all starts off with “Whisper to a Scream (Birds Fly)”. One of the more obscure 80s tunes but recently it was featured in the credits scene of Stranger Things, so maybe that gives it some street cred. It’s a good tune. Catchy and energetic without being a burden. Also, pretty sure there is a monk chanting in the background...I could be wrong. None of my description will do it justice, just listen to the dang tune. “In The Cauldron of Love” follows and honestly how many songs do you know that dare to sing about cauldrons? Exactly. They go a little Screaming Trees on this one. Dark, and with more rock than you would expect. Downward spiraling riffs that stir you up in their cauldron. I just wanted to say that word one more time. It doesn’t even make sense anymore. Cauldron. Yeah...so “Nirvana” is next and it’s about the grunge band by the same name. Just kidding. But there is more chanting and bad ass drum fills. The structure does a good job of feeling peaceful then building up to frantic and blissful payoffs. Certainly some psychological elements. Trippy at times. “Lover’s Day” is a slower tune, but again with some awesome and amazing fills. Flute toots to boot. Nothing says love like a flute. “A Factory in the Desert” is not only a bizarre title, but a bizarrely rocking song as well. In fact, I think that’s the single most surprising thing about this group is their big rock sound for being only a three piece. The jangle guitar aside, there are elements of Echo and the Bunnymen with an Irish coffee aspect. Cultural rock. Very nature and religious themes and inspiration. I feel more peaceful after listening.
Chicago : 17 ( Side 1 )
Chicago is an American rock band formed in 1967 in Chicago, Illinois. Ironic I know. They originally started calling themselves the Chicago Transit Authority in 1968 before shortening the name in 1969. The self-described “rock and roll band with horns” began writing politically charged rock music, and later moved to a softer sound, generating several hit ballads. Also right on trend with other bands naming themselves after their home city. (Looking at you, Boston). The band technically began in California under the name, The Big Thing, but opted to relocate to the Windy City and renamed themselves in doing so. They achieved a fair amount of success before moving so in a somewhat unusual move their debut album was a double LP. The label had big hopes and were not disappointed. Let’s just say it did well enough that their second and third albums were ALSO double LPs. A lot of those early hits sustained the band, but let’s be honest, a lot of that came from the frontman Peter Cetera. The band continued to have great success, pretty much up to his departure in the mid 80s. In fact, if I recall correctly, this album (17...a numbered theme/gimmick they kept in tact most of their career) was his last with the group. Probably because he realized that they kind of suck. “Stay the Night” was a big hit for the boys. Too bad they don’t rock (like the chorus suggests) all the time. It does have a decent hook though. “We can’t Stop Hurtin’” is ...another song ... with some big old keys sound. But then ruined by those jangle guitar riffs. GTFO disco Stu!!! Aaargh, plus those god awful crap horns. As if it’s not evident, I’m really not a big fan of this garbage. This is exactly why this band can go straight to hell. My ears are offended. Another lame hit for these d-bags was “Hard Habit To Break”. You might remember the video where Peter tries to be cool and wears a Bauhaus shirt...? Yeah, well that basically summarizes this whole experience. Ballad junk. Gross bloat rock. F*#@ THESE GUYS. Even the futile attempts to 80s-ify the band can’t save them. “Only You” is next and I literally have no good words to say. I think it’s a different singer on this one? I hate this record. I’m staring at the stylus with daggers waiting for the agony to end! WHY WON’T IT END ALREADY!!???! “Remember The Feeling” is next. I feel like only jerks like this band. Like, if you actually enjoy this ear vomit, then...you are a person that gives up a pet dog because it peed on your bed or something. You are a fowl, wretched human who hates yourself and is constantly cutting people off in traffic. Yeah, THAT kind of jerk listens to this trash. Even Peter Cetera was smart enough to get off the bus, man. He went solo. I may also still be bitter as I was forced to see these guys in concert when I was 5. My parents took me and I only remember falling asleep. Let me repeat that: Chicago, live on stage, PUT ME TO SLEEP they were so boring. Years later, my parents won tickets to see them but couldn’t go. I was given the tickets and only decided to go because Earth, Wind, and Fire were the opener. Well again, the show sucked because it was a torrential downpour (outside venue) and Chicago is just terrible. I’m sorry but this band is horrifying.
(*ahem) So in today’s challenge The Icicle Works worked not only icicles, but body fat. They burned 159 calories over 21 minutes and 5 songs. That is 31.80 calories burned per song and 7.57 calories burned per minute. They also earned 11 out of 15 possible stars. Chicago, on the other hand decided 17 was their number. Here are some other numbers though... 22 which is the minutes, 158 which is the number of calories burned, and 5 which is the number of songs. They burned 31.60 calories per song and 7.18 calories per minute. They earned a (pathetic) 5 out of 15 possible stars. Looks like they may be cold, but those Icicle(s) works today!
Icicle Works: “Whisper To A Scream (Birds Fly)”
Recently featured in an episode of Stranger Things, so if it sounds familiar that could be why...or maybe that one financial commercial.
#Randomrecordworkoutseasonsix
#Randomrecordworkout
#randomrecordworkout#randomrecordworkoutseason6#80s#vinyl#records#80s music#80's music#chicago#icicles#icicle works#stranger things#70's music#70s rock#70s#chicago is a lame ass band
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The Awakening of Complex Simplicity – Teedra Moses
Before I get into to the wonderful connection between Ahmad Jamal , Teedra Moses, and Nas; I want to talk about my connection to the iconic Teedra Moses album called “Complex Simplicity.”
In 1988, my older sister was captivated by Anita Baker’s “Giving You the Best That I Got ” cassette tape. Although I was only 6 years old and unaware of heartbreak and love, Anita became a favorite to me. Her deeply soulful love ballads, sultry voice, and signature dance/sway mystified the Soul and R&B charts of the 80s and beyond. African American women received a gift of ballads that explored love and passion. Anita Baker dominated the soundtrack of my life until I stumbled across the instant vintage masterpiece called “Complex Simplicity”.
Complex Simplicity couldn’t have been released at a better time. During August of 2004, I relocated from a small Louisiana town to the soulful hustle and bustle of Chicago. Little did I know, Complex Simplicity became my weekend soundtrack as I navigated the rewarding but often disappointing love scene of the Windy City.
In 2004, Teedra Moses solidified herself as the “Anita Baker” for young women that were hip enough to slide her debut CD into the soundtrack of their lives. Finally, African American millennials had a sistah that gave us goosebumps as we listened to her lyrics of love, secret crushes and self love. Lets be clear, Teedra Moses has solidified herself as a strong and everlasting soulful voice in the industry. To clarify, Teedra Moses does not live in the shadow of Anita Baker but Complex Simplicity provided the same insight to my generation the same way that Anita Baker’s early albums did during her early career.
On the writing of the Songs of Complex Simiplicity
Approaching the 15th year anniversary of Complex Simplicity, the album’s timeless production and sincere songwriting deserves an encore. Reading some of Teedra’s earlier interviews speaks to her effortless natural talent of songwriting.
“I mean most of those records were written in my mirror. I had mirrors on my closet doors in my room when I lived in Pasadena at that time when I was writing that album. I would just fall so deep into myself. *Laughs* I would have a beat on, and I would just be in the mirror in my vibe, and my room was all red, and I just remember it being such a great color at the time because it surrounded me so much. And I would just be in my room, and I probably looked a hideous mess, but in my head and in my mind I was on. And I would just be in the mirror singing to myself, free styling, and that’s how that record came out. ” Teedra Moses
Connecting “Be Your Girl” to Nas and Ahmad Jamal.
We all love and adore “Be Your Girl”. We can appreciate the shy soulfulness of this track. 15 years later, Teedra Moses Fans became delighted to know the full back story on the making of “Be Your Girl”. Teedra Moses was featured on Issa Rae’s Pieces where she gave us the truth behind the sound and lyrics of the song. Teedra revealed the connection between the song, Nas and Ahmad Jamal. The song was sort of a secret crush’s love letter to rapper Nas. Nas created a track called “One on One” that sampled elements of Ahmad Jamal’s The Awakening. Since Teedra was a distant admirer of Nas, Teedra decided to take elements of Nas’s One on One to make the timeless track “Be Your Girl”.
It doesn’t get better than that right?
In the next coming months, Soultagious will touch on the greatness of Ahmad Jamal samples through hip hop. Ahmad Jamal’s contribution to soul and hip and hop deserves a post of it’s own.
LISTEN TO “THE AWAKENING PLAYLIST” ON SPOTIFY
Let Celebrate the Legacy of Teedra Moses. It is rare to find an album that sounds current whether it is played in 2004, 2014 or 2024. The lyrics and melodies will forever be relevant to anyone that has or desires to experience the crush, the relationship, or even love lost.
Take a listen to a playlist curated by Soultagious that is inspired by the connection between Teedra Moses, Ahmad Jamal, and Nas. Enjoy the sounds of Teedra as we take a listen to songs from her debut album and beyond with a little lagniappe sprinkled throughout the playlist.
Be sure to checkout the amazing tracks released by Teedra Moses after the success of Complex Simplicity. Teedra has churned out a plethora of bangers such as “I Told You”, “Love Devine”, “Whole Lotta Sex”, “R U 4Real”, “Something Real”, “Get it Right”, “So Special”. The List goes go on and on….bangers after bangers.
Let’s Celebrate the Legacy of Teedra!
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