#mid-range baritone IS the best way to describe it you are so right | Explore Tumblr Posts and Blogs

casualavocados · 1 year

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for zero dollars i am going to talk about the boys’ individual singing talents now because im stuck on their performances at prom night ok here we go

to start, let me clarify by saying that i myself am a singer. i come from a family (multiple generations) of singers and musicians. my mom taught voice, violin, piano, and guitar in my home growing up. it’s just ingrained in my dna, ok, but this aint about me. just know that I know what im talking about as i get into this

im really only gonna touch on the four main singers (fourth, gem, ford, and satang) but all of them have their own unique qualities and im super impressed by their live performances. singing live is HARD. singing while dancing??? HARDER. and they held up for four hours, two nights in a row. i don’t. i cant - WOW ok

so of the main four, satang, ford, and fourth lean tenor, and gemini has a bass voice (more later). let me start with satang.

THIS BOY SINGS. RIGHT. IN. HIS CRACKING RANGE. HALF THE TIME. listen, okay, there is a difference between singing in full voice and switching to falsetto sometimes than singing in your cracking range. satang has to switch between full voice and falsetto almost every other note. that is HARD. it takes serious work and practice, and slip-ups are near impossible to avoid. he also has a soft voice, and in his case, when in this cracking range he does his best when he sings low and quiet, and is more likely to crack or slide the louder he gets (fourth is exactly the opposite of this and it makes me nuts in a good way. more later). satang also has very good vibrato, and the way he uses it helps him keep control of his voice and can even disguise the cracks and slides he does have. all this being said, you have to seriously appreciate the work he has done to sing so well at the concert. please watch his part in “healing” and go insane with me. when satang is in his full voice range he does his best singing loud, but this is what i wanted to focus on bc i am so proud of him because of how tough it is.

ford also has a soft voice, but his control comes when he sings loudly. lower pitches are more difficult for him because he has to sing softer in order to hit them, and sometimes, when singing live, that means he can get too quiet to hear. but when he’s in his range and singing full voice? ohhhh my god he kills it. he rarely misses a note. just watch his performance of “come closer”, that’s all you need to know. his vibrato isn’t as good as satang’s but he has a good ear and that makes him so fucking good at harmonizing!! ford also has a very strong and clear tone when singing in falsetto (this line in “stand” showcases it perfectly) - whereas gemini’s falsetto is softer (but just as strong).

GEMINI. first of all, this guy has so much control over his voice it actually pisses me off. i hate him (i LOVE him and im DELIGHTED by the way this live show was able to give his voice the spotlight it deserves). okay so earlier i said gemini has a bass voice, and that’s true - while talking. he has a stellar tenor singing voice, and his voice is very soft, but very clear and strong on those lower notes (thank you “you’re blushing”). and because he has that low range, his falsetto actually becomes better, bc it means when he sings high notes, he is far far away from his cracking range. it's barely noticeable when he switches between full voice and falsetto. his vibrato aint the best live when it’s unpracticed, but he rarely slides (unless it’s on purpose). he can blend with anyone, he’s very good at harmonizing, and damn he just has a sweet sweet falsetto (featured here and in. basically every song he sings. note that gem sings "hook" mostly in falsetto and fourth does it in his full voice, alongside each other; linked below)

FOURTH. let me start by saying i am the most impressed by his live performance. i am now obsessed with his voice in a lot more ways than i was before. so i mentioned earlier that he’s the opposite of satang, in the sense that he is more likely to crack, slide, or miss hitting a pitch when he’s singing quietly. but he’s also the opposite to all three of them, because where satang, ford, and gemini all have soft voices, fourth’s voice has a very clear tone right off the bat. this makes his approach to singing vastly different from the others. his falsetto is good, but when fourth sings loud? HE DOES NOT MISS A SINGLE NOTE. this boy can BELT it out in his full voice, and that includes both high and low notes. oh my god it is insane. LISTEN. TO. THESE. RIGHT. NOW. OK? please drink some water boy ilysm.

the fact that fourth spent those four hours, two nights in a row, singing in mainly his full voice, and absolutely kill. ing. it. the whole time is THE most impressive thing to me. do you know how much energy it takes to sing in your full voice for a long time? can you imagine how much MORE energy it must take to do that WHILE DANCING? do you know how much control over his breaths he has to have for that??!?!?! AND TO STILL SOUND THAT STRONG AT THE END OF THE SECOND NIGHT. i dont care. he’s everything to me.

honestly they all are. this is getting long so im gonna wrap it up but i have never enjoyed a live performance more in my life. these boys are so talented it's insane and gmmtv is lucky to have them.

#my school president #msp prom night #my school president prom night live on stage #satang kittiphop #ford arun #gemini norawit #fourth nattawat #julian watches msp #long post #I COULDNT HELP MYSELF IVE BEEN THINKING ABOUT THEM NONSTOP.#OOH OOH shortpplfedup's tags about fourth EXACTLY #mid-range baritone IS the best way to describe it you are so right #listen tinn was right to make gun go jogging to work on his singing ITS THE CARDIO.#THE ENDURANCE IT TAKES FOR THE KIND OF SINGING FOURTH DOES.#*adds another link to fourth's list bc i cant be stopped*#OH MY GOD LISTEN TO THAT LAST ONE IT CHANGES KEYS MULTIPLE TIMES AND HE NEVER FUCKS UP #msp bts #another song that really suits fords falsetto is healing #and in that last link of gem's he actually sings both the high note harmonies and the low note harmonies #depending on what part of the song you're at #as of april 6th all links have been repaired

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utterlyinevitable · 4 years

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Doctor D’Ora

Pairing: Bryce Lahela x MC (Becca Lao) x Ethan Ramsey x OC Word Count: 2.3k Warning: angst angst angst Summary: Becca spots Ethan with a new lady friend. This takes place in OHSY about a month after Ethan returns from the Amazon.

A/N: This was meant to be a chapter in the Trials & Tribulations series but I didn’t think it fit anymore and wanted to post this fic as-is before I destroy it.

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He met her on location. The long brown hair, inquisitive green eyes, long legs that held her frame in perfect posture, and a faint minimalistic dove tattoo on her wrist. In another life Dr. Alessandra D’Ora could have been a model. She was brilliant and supportive - a great companion in the lonely Amazonian nights. Just like him she was in her late-thirties, and worked at a private practice in Ontario, Canada. Ethan Ramsey was grateful for her company every one of those sixty lonely nights on location - Alessandra was the perfect distraction from his thoughts.

And now here she was in Boston.

Two weeks after the end of their mission with the World Health Organization she was sat at the table across from him, describing her newest adventure; She’s spending a month guest lecturing on socialized medicine at Harvard Medical.

Dr. Rebecca Lao passed by the window of Alessandro’s and saw the two - her boss and sometimes lover sharing a meal with a stunning woman over delightful conversation two tables away. She stopped in her tracks. They looked so comfortable together. At ease, even. Becca noticed the way his shoulders curved in relaxation much like when they were alone together all those times ago.

There in the damp August evening her heart broke. Ethan was smiling, the crows feet around his eyes on display for everyone to see. Ethan rarely smiled. If she didn’t know him better, she’d be convinced he didn’t have any cracks in his features and his life was devoid from any sort of happiness. But there he was in that navy sports coat, its only purpose to compliment his gleaming eyes, smiling with someone else, laughing at her jokes. He was happy with someone else.

How long have they known each other? Is this new?

Becca ripped her gaze from the deceiving window and pushed the thoughts away just as quickly as they infiltrated her mind. Ethan had abandoned her without a trace all those weeks ago, she didn’t owe him another thought. He made the executive decision to sever their intimate relationship, so she made the decision to keep him away from her life outside the hospital.

Becca headed home, abandoning her takeout mission. If he had moved on so could - should she. She pulled out her phone and rang the second most used number in her contacts recently.

He picked up on the second ring.

“Have you eaten?” Becca asked without pleasantries.

“I could go for some dessert,” she could hear the megawatt smile through Bryce’s playful remark.

“I’ll be over in ten.”

***

Becca started spending more time with Bryce outside of his apartment. They weren’t necessarily hiding their relationship, they just didn’t know what to call it. They were casual. They were friends. Friends who had intimate benefits at the drop of a dime. It wasn’t a secret, but also no one bothered to ask about their title. Bryce hated labels anyway, they didn’t fit with his go-with-the-flow demeanor.

They started spending more time outside of the bedroom and the comfort of the walls around them that let them simply be. With every passing day Becca and Bryce grew closer and bolder in their advances. They’ve played footsies in the cafeteria, kissed for hours on the grass in the park, shared plates at Don Luigi’s, and intertwined their hands at the coffee shops by the hospital.

Today they were sitting in the corner of Derry Roasters, Becca’s go-to for a caffeine fix. Cuddled close together on a half-booth with their backs to the wall and shoulders touching. They were specifically sat right under the overhead speaker which drowned out the world around them and made Bryce’s whispers even more erotic. He’d gotten cocky in the last few days, slipping his hand up her thigh, whispering all the ways he wanted her with hundreds of passersby around.

This time his whisper brought a chill up her spine, it wasn’t what she expected to hear during their brief coffee break.

“Hey, look. Dr. Grumpy’s on a date,” Bryce called her attention to the attending sauntering in.

Becca’s deep brown eyes watched his every step carefully, silently hoping he’d look over to her deep in Bryce’s embrace.

He never did. His eyes were solely fixated on his companion.

Dr. Ethan Ramsey glided over to the table Dr. Alessandra D’Ora had been sat at. She rose when she felt his familiar presence not too many footfalls away. He gave her a hug and Becca unnaturally stiffened under Bryce’s arm at the sight.

“They look friendly,” Becca whispered.

Bryce’s eyes were still dissecting their movements. It was a sight to behold - strict and lone Ramsey was joined by someone and not just anyone, an absolutely stunning woman. “Do you think they’re friends or friends?”

“Et- Dr. Ramsey doesn’t have friends.”

“Hm… looks more intimate than just a business lunch. Wanna find out?”

Bryce rapidly stood up, grabbing Becca’s hand and dragging her briskly through the seating area. They were moving so quickly Becca couldn’t keep her shorter legs in pace with him, when her hand slipped from Bryce’s she felt off balance and collided into the corner of an empty table with a thunk! Bryce spun on his heels to make sure she was okay and backed right into Dr. D’Ora waiting for her order.

Once he was positive Becca wasn’t in any imminent danger he turned back to Dr. D’Ora. “So sorry about that,” he apologized as he steadied himself and the unknown doctor. “You okay?”

Alessandra expertly took in his green scrubs and badge as Bryce flashed her his most flirty smile. “Quite alright, Doctor…?”

“Lahela. Bryce Lahela.” Bryce ran a hand through his hair, a move he was well aware most women couldn’t resist. Becca came over to the pair and he winked at his favorite accomplice, “Should really watch where you’re going, Becks.”

Becca rolled her eyes.

With a sparkle in his kaleidoscope eyes Bryce sent his most charming of smiles to the stranger, “I didn’t catch your name?”

“Dr. Alessandra D’Ora,” she placed her wallet under her arm to free up her hand to shake his outstretched and waiting one.

“Pleasure to meet you, Dr. D’Ora.” He gave her hand two good shakes before letting go and pointing to the awkward doctor beside him. “This is my girlfriend Dr. Rebecca -”

He didn’t get to finish the introduction.

Ethan’s deep authoritative baritone voice rang like warning sirens in her ears. “Rookie. Dr. Lahela. Don’t you have patients to attend to?” Her cheeks began to flush in mortification.

“Just on a break, Dr. Ramsey,” Bryce smiled, “Who’s your friend?”

Alessandra looked between the three of them, noticing the unaddressed new tension between her friend and the doctor he’s spoken about on many occasions. “You must be Dr. Lao,” she outstretched her delicate and manicured hand to Becca. Out of courtesy Becca obliged. “Ethan told me about your excellent diagnosis of Dr. Banerji. Well done, you must be very proud.”

“I’m just happy Naveen’s alive and well,” Becca smiled before tugging on the back of Bryce’s scrubs, “We should get back.”

“Bye, Doctors. Enjoy your date!” Bryce called over his shoulder as Becca all but dragged him away.

Once they were safely out of the eatery Becca let herself relax and her freckles break free of the blush. “I can’t believe you,” she laughed uncomfortably.

Bryce laced his fingers with hers and tugged her closer. “Hey - we learned that Dr. Ramsey has a hot lady friend and he talks about you.”

“And that I’m your girlfriend?” She thought they had an arrangement, they were meant to be a carefree and no-commitment zone. Introducing her as his girlfriend was a shock.

“Well, yeah,” he shrugged. “You’re a girl and you’re my friend. If you were a man you’d be my manfriend.”

Becca rolled her eyes, “Uhuh.”

“Take it however you want, Becks. I’m just happy you choose to spend your free time with me,” he pecked her temple before they entered back into Edenbrook and went their separate ways.

***

Later that day as she was packing up her things to leave the office after the mid-week diagnostics briefing, Ethan called behind her;

“Lao, a word.”

Becca’s eyes went wide. Her and Ethan really haven’t been on the best of terms since he pushed her away the last time they kissed. The closest they’ve gotten to their past level of normalcy was when they were doing a house search for the Lamar Stevenson Case - he held her when she slipped and then with both their knowledge and a bit of banter they solved the case.

With arms folded and a critical eye he inquired, “What was that back there?”

Becca decided then and there that the best way to avoid this awkward conversation was to play coy, “I don’t know what -”

“Whatever you and Scalpel Jockey were doing, don’t,” he defensively interrupted her lame excuse. “My personal relationship with Dr. D’Ora is not hospital gossip.”

The way his shoulders were squared, all his walls were on display and the way he was talking down to her burned a fire deep in her core. “Who is she?” she mimicked his stance and tone.

“A friend.”

“You don’t have friends,” she challenged, folding her arms over her chest.

Ethan let out a long sigh, knowing he’d have to give her something. He didn’t want to fight with Becca anymore. He owed Becca some sort of explanation. He didn’t know why but he felt he needed to tell her.

He rubbed his hand down his face as he said, “We met on mission. Friendships happen when there aren’t any bars around.”

Becca took a second for his words to settle, piecing the puzzle together out loud. “You met her in the Amazon... When you were trying to forget your feelings for me...” she tried to mask the betrayal forming in her throat and creeping up into her features as best as she could. “Did it work? Did she help you move on?”

The tension was built up so high around them that neither could move from their positions only four footfalls away from one another.

“What are you doing with Lahela? Don’t think I haven’t noticed your… closeness,” he spat back. “Are you his girlfriend?” Ethan’s brow was raised high to the sky and blue eyes clouded over with a storm of regret.

“Whatever we are isn’t of your concern. You made that decision for us. You pushed me away.”

“I sure as hell didn’t push you into his arms!”

“No. But you made it explicitly clear I can’t find solace in your arms,” she bit back. Becca’s chest began to heave. Her mind was telling her she needed to pace to muster up the courage to say all that needed to be said, however her feet were stuck there in that spot. His intense gaze paralyzed her, and just looking at his face she adored so much arguing back at her, Becca internally screamed at herself. She assembled every ounce of courage in her frame to retort, “I can’t believe you. You’re meant to be holier than thou, the epitome of a moral compass. Why are you such an ass?”

Ethan’s nose flared and eyes hooded at her words.

They stood in bitter silence staring one another down. He was a statue boring down at her shaking and rageful form. The world of emotions coursing through her veins evident in the way she balled her fists, callusing the skin of her palms with her fingernails. Her brown eyes squinting trying to keep tears from falling and giving her a much-needed release. The loose strands of hair at the crown of her head are the only thing moving with the natural rotation of the earth.

Ethan broke the trance first going to sit down on the couch.

Hunched over with his head cradled in his hands he breathed ever so softly, “She has a private urgent care practice in Canada.” Tugging at the roots of his hair he tried to keep his voice level and calm. “We were on mission together. She’s guest lecturing at Harvard Medical. We’re just colleagues.”

Becca was rightly skeptical, “Like we’re just colleagues?”

“No. Strictly professional.” Ethan finally looked over at her. If Becca stood closer she could see the faintest marks of red in the whites of his picturesque eyes. “Her wife is really supportive of her work.”

Becca’s mouth dropped.

Ethan watched as the woman ten years his junior slumped into the seat next to him, letting her knee brush against his as her hands followed suit to cover her face in embarrassment.

“God. I’m an ass,” she sighed.

Ethan’s shoulders loosened as he involuntarily let a small chuckle slip through his lips. “Yes, yes you are,” he agreed with a smile and shake of his head, placing his hand on her thigh and giving it a reassuring squeeze.

“Sorry,” Becca mumbled.

He was mesmerized by the feeling of her heat under him, taking him back to all those times he held dear. “I’m sorry… for everything.”

Her hand found his. “I know…”

They couldn’t catch a break. Everything between them was always so complicated. For another moment they let themselves sit in silence, a more comfortable silence where they could simply be Ethan and Becca, not attending and fellow. Just two people finally being honest.

Ethan was the one to shatter the comfortable bubble they’ve found themselves in.

“Are you dating Lahela?”

Becca shook her head to herself. “We’re friends. Really good friends.” It was the truth. Bryce was her best friend, they did everything together. “I should get going,” she gave Ethan’s hand a squeeze before removing it to rise up from her position.

She was halfway towards the door when Ethan spoke, “I’m going to Evelyn’s art exhibit tonight. Do you want to come along?”

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jedivoodoochile · 4 years

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Release date : 12th May 1972

The Rolling Stones – Exile On Main Street

First manager Andrew Loog Oldham said in the sleeve notes to the Stones’ first album: ‘The Rolling Stones are more than a group, they are a way of life’, and of no album is that truer than Exile On Main Street. The legend persists that it was all created in the dank basement of the former Nazi headquarters in Villefranche-Sur-Mer in the Summer of 1971, although a large portion was overdubbed in sessions in Los Angeles, where other songs were created from scratch. Some of the other recordings predated the trip to France, having been recorded in the UK, at Olympic Studios in Barnes.

However, the SPIRIT of the basement prevails throughout and it is the murky swampiness of the whole endeavour, extending to Mick Jagger’s all but indecipherable vocals, that have seen it acclaimed as the Stones’ most complete statement and possibly the most rock album the band ever made.

The guitar sound is largely due to Ry Cooder, whose involvement in the sessions of 1969’s Performance soundtrack, showed the possibilities of the ‘open G’ tuning on the guitar. Crucially, the guitar is tuned to a chord, but in Keith Richards’ book Life, he describes how he discarded the 6th (lowest) string, giving the lowest string (now a G) the role of a drone, quite appropriate to the blues. It also allowed the mega-riffs of the Mark 2 Stones’ biggest hits: Honky Tonk Women and Brown Sugar, which underpinned new member Mick Taylor’s melodic country/blues lines, melding to create a whole new style. Even now, the first chords of either of the above will pack a dance floor anywhere in the UK. With reference to Exile, the most prominent use of the 5-string open-tuned guitar is on Rocks Off, Happy, Ventilator Blues, Tumbling Dice and All Down The Line.

The Stones had recruited the sensitive 20-year old Mick Taylor in 1969 from John Mayall’s Bluesbreakers, where he became the third stellar lead guitarist to play the blues in Mayall’s band, following Eric Clapton and Peter Green. His first sessions were for the Let It Bleed album, overdubbing guitar on Country Honk and Live With Me plus some pivotal parts for the Honky Tonk Women single on the 1st June session that ended at 3:15AM.

Honky Tonk Women went to #1 in the UK and the US in July 1969, followed by the Let It Bleed album in December, another triumph. Any doubts created by the subsequent 18-month gap in releases were dispelled by the release of Brown Sugar in April 1971 (another US #1), followed in May by Sticky Fingers, possibly the strongest Stones album to date, and one that showcased the guitar interplay between Keith Richards and Mick Taylor, alongside some great songs, including Sway, Wild Horses and Bitch.

Having recorded sessions at Olympic Studios in Barnes, London, which included tracks like Stop Breaking Down and Sweet Virginia, The Stones had continued recording and writing in the Summer of 1970 at Stargroves, Jagger’s English country house, with the Stones’ own mobile recording studio, a move that became standard operating procedure for other UK bands, including Led Zeppelin. The mobile came in handy when the Stones discovered that in signing with US manager Allen Klein, their copyrights had reverted to him, so when they severed their connection with him in 1970, their income came under threat. They were also in a cash flow crisis, at a time when the UK taxman took 93% of high earners’ income, so they felt that the only thing to do was to get out of town, planning to spend at least 21 months outside the UK from 1971 onwards.

According to Bill Wyman, the band had at least working versions of seven tracks to take with them, including Tumbling Dice (original title: Good Time Women), Black Angel (which became Sweet Black Angel), Stop Breaking Down and Shine A Light.

In early April 1971, the band decamped to France, Mick Jagger marrying Bianca in St. Tropez on May 12th and honeymooning on the Riviera, before settling in Paris with his new bride. Keith Richards rented a villa, Nellcôte, in Villefranche-Sur-Mer, near Nice, while the other band members rented houses further to the west. The basement at Nellcôte became a makeshift studio to record using the band’s mobile recording studio.

In interviews with Ian Fortnam for the 2010 reissue of Exile, Keith Richards and Charlie Watts gave their contemporary perspectives on what went down: ‘They couldn’t get you in jail, so they put the economics on you, the old double whammy,’ said Keith. ‘So the feeling within the band was we’ve got to show them we’re made of sterner stuff and prove you couldn’t break the Stones just by kicking them out of England.’

The band again called on the services of their mobile studio and parked it outside Keith’s villa in order to carry on the recordings for the next album, the second on their own Rolling Stones records label, although according to Keith Richards, that wasn’t their first intention. They had been planning to look for studios in Nice or Cannes, but in the event, the band came to Keith, with the Stones mobile in residence from June 7th.

American producer Jimmy Miller had supervised the two previous albums, but the Nellcôte sessions were much more difficult to coordinate, partly because not all the band were around at the same time. Recording continued sporadically for some months until the French authorities began to apply pressure to rid themselves of the Stones and their entourage, who by then were engaged in various levels of illegal behaviour.

Drummer Charlie Watts was about three hours away, in Thoiras, west of Avignon, and bassist Bill Wyman and guitarist Mick Taylor were ensconced near Grasse, so at least one of the songs on Exile was made without them, although the album credits have never been clear about who actually did what. In the case of one of the most Stones-sounding recordings, very few of the Stones were initially on it. Happy, a showcase for Keith Richards’ vocals and guitar, has producer Jimmy Miller on drums and Keith doubling on bass. The basics were laid down between noon and 4PM one afternoon, with just Miller on drums, Bobby Keys on baritone saxophone, and Richards on the rest, including the lyrics and lead vocal.

Charlie Watts loved Jimmy Miller. ‘I thought he was the best producer we ever had. Jimmy was a hands-on type of guy. When we played he could never keep still, so he’d always be banging something; a drum or a cowbell’ [check out the start of Honky Tonk Women]. Miller insisted that Charlie‘s drums be tested in as many of the basement’s labyrinth of rooms as possible, before settling on one that had the right balance of natural ambience and proximity to the guitar players to maintain the vibe. It took a week or two to get the setup right, but after that, things apparently settled down.

The schedule did become a bit strange, as recalled by Keith Richards. ‘It became known as Keith Time, which in Bill Wyman’s case made him a little cranky. Not that he said anything. At first, we were going to start at two PM [every day], but that never happened. So we said we’d start at 6PM, which usually meant around 1 AM. Charlie didn’t seem to mind.’

But when Keith was on form, he would deliver, as with Rocks Off, which, according to engineer Andy Johns, involved a playback to Keith at 4 or 5AM. Keith went to sleep in mid-track, so Johns took that as the cue to get his own head down, driving the necessary half-hour home. He was just nodding off when the phone rang – it was Keith, asking where he’d got to. So Johns drove back to Nellcote – another half hour – at which point Keith picked up his Telecaster and played the second guitar part on Rocks Off, straight through.

The sessions were at least the backbone of the album. Said Keith: ‘A lot of the songs started off with an idea. Mick’s playing harp, you join in and before you knew it you had a track in the making and an idea working. It might not be the finished track; you’re not trying to force it.’

There was also much space for the interplay between Richards and lead guitarist Mick Taylor. Keith: ‘Brian [Jones] and I would swap roles. There was no defined line between lead and rhythm guitar, but with Mick’s style I had to readjust the shape of the band and it was beautifully lyrical. He was a lovely lead player. I loved playing with Mick Taylor.’

Some of the songs were collaborations, like All Down The Line, which, according to Keith Richards, he started with the basic idea of ‘I hear it coming, all down the line’ and handed it over to Mick Jagger to develop. Richards was extremely prolific and came up with many songs which didn’t eventually make on to the final release, including Head In The Toilet Blues, Leather Jackets (although Bill Wyman lists it as having been recorded at Olympic), Windmill, I Was Just A Country Boy, Dancing In The Light,(noted as possibly being one of Mick Jagger’s), Bent Green Needles, Labour Pains and Pommes de Terre.

Richards described the self-imposed pressure that he and Jagger felt when requiring themselves to come up with song ideas in anticipation of the arrival of the other musicians. Casino Boogie came about when inspiration was lacking and they decided to follow the William Burroughs ‘cut up’ technique (also used occasionally by David Bowie), whereby a book or newspaper is disassembled into component words, which are then re-assembled to create a new lyrical direction.

So, contrary to popular belief, the whole album wasn’t recorded in the South Of France, although most of the backing tracks were. As Keith Richards notes in his book Life: ‘What we brought to LA from France was only raw material for Exile. The real bare bones, no overdubs. On almost every song we’d said, we’ve got to put a chorus on here, we’ve got to put some chicks in there, we need extra percussion on that. So LA was basically to put the flesh on. For four or five months in LA in early 1972, we mixed and overdubbed Exile On Main Street. According to Bill Wyman, most of the Stones flew to LA on November 29th, 1971, followed later by the Wymans, for sessions that went on til February 1972.

It seems to have been planned as a double from an early stage, Richards mentioning ‘all business advice’ that warned against it. Which, to be fair to whoever was dishing out the advice (probably Ahmet Ertegun and Atlantic Records), was usually correct – double LPs had to be competitively priced, but they cost twice as much to manufacture, were heavier to ship, and their length and quantity of material meant they were harder for the public to assimilate, more difficult to review objectively, and took longer to get on the airwaves, at a time when multiple singles releases off an album was not the norm.

At Sunset Sound in Los Angeles, the basic tracks of at least Rip This Joint, Shake Your Hips, Casino Boogie, Happy, Rocks Off, Turd On The Run and Ventilator Blues were given numerous overdubs, including all the piano and keyboard parts, all lead and backing vocals, plus more overdubs of guitar and bass. The sessions included new recordings of Torn And Frayed and Loving Cup and saw Mick Jagger coming into his own, finishing off the vocals and bringing in other contributors.

A host of other musicians assisted the Stones on the LA overdubs, including Nicky Hopkins and Ian ‘Stu’ Stewart on pianos, and a mass of backing vocalists including Gram Parsons, Clydie King, Joe Green, Venetta Fields, Tamiya Lynn, Shirley Goodman, Dr. John, Kathi McDonald and Jess Kirkland. Jazz sessioneer Bill Plummer added upright bass to Rip This Joint and Turd On The Run, Al Perkins from Manassas played pedal steel guitar on Torn And Frayed, Billy Preston contributed keyboards to Shine A Light, and Richard Washington played marimba on Sweet Black Angel. Stalwart Bobby Keys played sax, with Jim Price on trumpet and organ on Torn And Frayed, while producer Jimmy Miller played drums and percussion where necessary.

The first hearing that the public and broadcasters had of Exile was the single, Tumbling Dice, one of the most multi-layered, murky, uneven recordings any band has ever released, and yet it is probably one of the Stones’ five finest records. There is something to listen at every turn, the rhythm is insistent, the lyrics are compelling, there’s rollicking piano, sweet Mick Taylor licks, (and his bass playing, the loudest thing on the track, is exactly wrong, but exactly right). Mick Jagger’s lyrics are almost indecipherable and mixed so far back they’re practically only a texture, but the whole thing is the Stones personified – far from perfect, but still fantastic.

As Keith Richards said in 2010: ‘Mick’s always seemed to have something of an ambivalent attitude to Exile… ‘, and here indeed are Jagger’s comments from 2003: ‘Exile is not one of my favourite albums, although I think the record does have a particular feeling. I’m not too sure how great the songs are, but put together it’s a nice piece. However, when I listen to Exile it has some of the worst mixes I’ve ever heard. I’d love to remix the record, not just because of the vocals, but because generally, I think it sounds lousy.’ Well, it could certainly be mixed with more clarity, but to do that would be to lose its essential Stones-ness, which would upset the millions to have bought it thus far.

Preceded by the UK and US Top 10 hit Tumbling Dice, Exile On Main St. was released in May 1972. It was an immediate commercial success, reaching #1 worldwide just as the band embarked on their celebrated 1972 American Tour, their first for three years. The second, and only other, single from the album, Happy, got to #22 in the US in July.

Many critics judged Exile On Main St. to be a ragged and impenetrable record at the time of its release, but the UK’s Richard Williams, writing in Melody Maker, praised the album in a review entitled ‘The Stones: Quite Simply the Best’. He said the album ‘is definitely going to take its place in history’ and ‘it’s the best album they’ve ever made. This is an album which utterly repulses the sneers and arrows of outraged put-down artists. Once and for all, it answers any questions about their ability as rock ‘n’ rollers.’

Keith Richards has the last word: ‘We didn’t start off intending to make a double album; we just went down to the south of France to make an album and by the time we’d finished we said, ‘We want to put it all out.’ I was no longer interested in hitting Number One in the charts every time. What I want to do is good shit – if it’s good they’ll get it some time down the road.’

#the rolling stones #exile on main street

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toxoplasmajuice · 6 years

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missy 1, 16, 19, 24! ^^

i ended up making the dreams answer long so under the cut this goes

1: their voice

oh jesus how do i describe a voice

uhh it’s low (but like, could be lower? i know i said i need to be better with voices but damn this is HARD) and somewhat nasal (unless specifically trying not to sound nasal) with varying degrees of raspiness. she has some sort of nyc-esque accent (except she’d call it a bridgeport accent. or she might even be more specific.) but i Suck at accents. in terms of singing voice she best fits as a baritone. as time goes on her voice gets gradually lower and hoarser and her vocal range gets smaller, though she does make an effort to maintain her singing voice. sometimes.

16: their dreams

ok the question after this is “their ambitions” so im gonna assume this is talking about like, literal dreams, the shit your brain tosses at you in your sleep. she dreamed different stuff before the Tragedy hit but this answer got long so

her dreams are often… not great. at all. she’ll dream that cheyenne got her way at the end of the mmbc and has her locked in a box under the bed. or she’ll dream that she’s actually watching the mutual killing and noé gets killed in some exaggeratedly brutal way and she wants to look away but physically cannot for whatever reason. or she’ll dream that she’s officially fallen into despair. or she’ll dream that through some disaster everyone in the Survival Party™️ gets killed but her. or she’ll get one of various dreams in her brain’s Nightmare Arsenal centering around cordelia being hurt/killed, including a… very pointed one where she’s alive but badly injured and missy has to put her out of her misery

but SOMETIMES missy WILL get… like, really strange but overall good dreams. like this one, which i’m going to tell in first person from the perspective of a partially-still-asleep missy telling this to cordelia at 3 am because if i just told you it as an omniscient narrator it wouldnt be the same:”…so you, me, these triplets we had who all looked the same except one had green hair for some reason, we were on a road trip, with Ayele and her daughter—Ayele doesn’t have a daughter—right now, at least—but she did here—and none of us were any older, but our triplets were like, 3 or 4? And this daughter Ayele had was like, at least 16? Because she was driving. And she like, she looked strangely like Gillian Badami but with darker skin, but I knew in the dream not to say that because Gillian Badami had gotten called out a year prior for saying something vanillist but I couldn’t remember what—but anyway. So we were on this road trip, and when I saw the car from outside somehow it was way too small for seven people, but from the inside there was actually one extra seat—okay, so, we were on this road trip, yeah? We were in, like, the middle-of-nowhere parts of Lucky Palms area. On the highway. And I had Google Maps open on my phone, and you had a paper map, and Google Maps said to take one exit, but your map said the exit didn’t exist, so we pulled into a rest area to figure this shit out. And suddenly I needed a bathroom break anyway, and I was more nervous than usual about public bathrooms so you came with me, and the sink-to-mirror ratio in there was, like… way off. There were way too many mirrors… But then I dunno what happened to me needing a bathroom, ‘cause then we were fucking in one of the stalls, which was actually a shower stall for some reason? And then we got out, completely unruffled mostly, and nobody noticed we were gone too long, and the triplets were all drinking chocolate milk somebody must’ve just bought at the rest stop for ‘em—what the fuck, I want some chocolate milk—and Ayele’s daughter was looking at a website about the history of the city we were closest to. Probably to figure out whether that exit was real or not? And Ayele turned to me, and she said, ‘This is just like our trip to India!’ And then I woke up… We never went to India. We… [yawning] We went to Egypt… a whole ‘nother con…tinent…”

(it’s worth noting that the nightmares are also full of bizarre details like one kid having green hair and the shower stall at the rest stop, they just tend to get pushed to the side)

19: their reaction to betrayal

oooh

you could consider being an mmbc murderer a type of betrayal, couldn’t you? especially well into the age of (modern) mmbcs, signing up for a bc involves a certain level of trust that the bacheloret wants to have in their contestants. and by getting rid of that first competitor, you’re betraying that trust your bacheloret has in you. with that in mind, missy’s reaction to betrayal is pushing the betrayer down several flights of stairs, i guess

but she can’t just. kill everyone who betrays her in any way. but her more general response to (less… deadly) betrayal has been blowing up at people (often publicly) and often cutting ties with people

there’s two precedents there actually, both more perceived betrayal than objective betrayal:

when she suspected roger camejo & his new friends were planning to publicly humiliate her/out her to the larger student body/kill her in high school and she VERY LOUDLY AND ANGRILY confronted him at lunch and said never to talk to her again

when ayele broke up with her and she, after a while of increasingly desperately trying to Win Her Back, broke down angry-crying in the middle of a campus dining hall screaming about how they’d been through so much together and ayele was throwing all of that away for some SCUMBAG SHE’D JUST MET THAT YEAR, later packing up a fraction of her stuff and dropping out of college without even knowing where the hell she was gonna live after

24: what motivates them

pre-bc (but post-moving in with ayele and sharwin): food, girls, instant gratification, not having to think about stuff

mid-bc: not having to think about stuff(x100), her contestants (keeping them safe and getting them to like her)

post-bc: cordelia (protecting her, making her happy, getting this relationship thing right this time, really spending time with her whenever possible, holding onto the slightest bit of hope that all of this will be fixed one day so one day they can just be together without fearing for their lives), protecting the rest of the family, basic survival instincts, still a little bit of not having to think about stuff

#Missy Mist Collins #cafesimming

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oselatra · 7 years

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Riverfest turns 40

Party with Wiz Khalifa, Morris Day and The Time, Cold War Kids and more.

In July 1978, "Grease" was No. 1 at the box office, where it would stay until mid-October. Farrah Fawcett was on the cover of "Vogue." The world's first test-tube baby was born in Manchester, U.K. Here on the homefront, the Junior League of Little Rock founded the Summer Arts Festival, renamed the Riverfest Arts and Music Festival the following year. The festival has evolved over its 40 years, drawing artists like B.B. King, James Brown, Willie Nelson, Snoop Dogg, Al Green, The B-52's. Its identity has leaned at times toward the nostalgic, other times toward the new. In 2008, the festival introduced a local focus, dedicating a tent to Arkansas-only talent. In 2016, it split into two parts: April Springfest for family-focused activities and a newly music-minded Riverfest. This year, Riverfest Executive Director DeAnna Korte says, organizers will honor that history — and the cultural and economic benefits it's afforded to Central Arkansas — with a Sunday celebration. "Those who attended Riverfest in the early years will feel a sense of nostalgia with Sunday's events," Korte said.

The official 40th anniversary party for the festival, which kicks off Friday, June 2, starts at 1 p.m. Sunday, June 4, and it's for everyone; even those without tickets to the full weekend can gain admission to the celebration for $5 (children 10 and under are free). Festivities include the fireworks display at 9 p.m., stick pony races, a PK Grill Steak Cook-Off, a petting zoo from Heifer International, a celebrity dunking booth, a cake decorating contest with professional and amateur contenders and an attempt to break the Guinness Book of World Records' record for the most sparklers lit at one time. That Sunday-only ticket also gets you in for the last round of musical performances, including Morris Day and The Time, Amasa Hines, Andy Frasco & The U.N., Here Come the Mummies, The Hip Abduction, Big Piph & Tomorrow Maybe, DeFrance, Brother Moses, Vintage Pistol and more.

Riverfest's sponsors are responsible, of course, for otherwise-familiar spots being suddenly rebranded with names like "Frio Light" and "Sweetwater," but they're also offering some cool little extras for Riverfest patrons: Verizon will have a charging station for all sorts of mobile devices, regardless of what carrier they're made for; the Clinton Presidential Center is offering a $2 discount for admission to its temporary exhibition, "Xtreme Bugs"; Arvest Bank's booth will be home to an arcade-style basketball contest, with winners, who'll receive $50 in "Riverbucks," announced at 2 p.m., 4 p.m. and 6 p.m. Saturday and Sunday; Sweet Baby Ray's is giving away full bottles of barbecue sauce; Patron Spirits will have a Mobile Cocktail Lab on a cart, equipped with a tablet questionnaire to help you determine what type of cocktail trips your trigger; festival sponsor Oaklawn Racing & Gaming holds its annual Baggo National Championship at 1:30 p.m. Saturday on the Clinton Presidential Center lawn; and Bobby's Bike Hike is offering free valet parking for any cyclists who bike to Riverfest. There will be amusement park rides from Louisiana's Lowery Carnival, a mobile video game station outfitted with seating for 20 people, performances from the Southern BMX Stunt Riders at 2 p.m., 4 p.m. and 6 p.m. Saturday and Sunday; and a return of the "Rock the Dock" Super Retriever Series — basically a track and field competition for dogs who like to swim.

If you're a wine or craft beer enthusiast, you can beat the crowds and attend "Flowing on the River," Riverfest's separately ticketed kickoff event in the River Market pavilions at 6 p.m. Thursday, $30-$40.

Check out riverfestarkansas.com for tickets and details, but first, here are some of our picks for acts to catch this weekend.

Dylan Scott

6 p.m. Friday. Frio Light Stage, Clinton Presidential Center.

From just over the Arkansas state line, in tiny Beekman, La., comes country newcomer Dylan Scott. He grew up in a place where, like so many Arkansans, his career prospects ranged from farm to paper mill to construction. His father, however, broke that mold, playing guitar on the road for the likes of Freddy Fender and Freddie Hart and coming back with whopping tales of life on the road — especially of that most magical of places, Nashville. So, inspired by his dad and Taylor Swift (no joke!), Scott moved to Nashville after graduating from high school and began the steep climb to Music City success. His debut single, "Makin' This Boy Crazy," was released in June 2013, and charted for 10 weeks on the Billboard Country Airplay chart, peaking at an unimpressive No. 54. But in August last year, Scott released his first full-length album (the eponymous "Dylan Scott"), and with his smooth baritone and genre-mixing rap vocals, the album debuted at No. 5 on the Top Country Albums, selling 9,000 copies in its first week. His latest single, "My Girl," has become a viral sensation, amassing more than 29 million Spotify spins. Scott will play at Riverfest on June 2, just five days after he marries the subject of his hit. HS

Cage the Elephant

9:30 p.m. Friday. Arkansas Federal Credit Union/Sweetwater Amphitheater Stage.

I'm suggesting to the members of modern rock band Cage the Elephant that if they ever consider a name change for something more memorable, here's one courtesy of Trump flack Kellyanne Conway: Bowling Green Massacre. A helluva lot more catchy that what they've been using for a decade, don't you think? Timely. Appropriate, because Cage originated in Bowling Green, Ky., home of the (non) massacre. Anyway, Grammy Award-winning Cage the Elephant offers the rock headliner on Friday at the park amphitheater, opposite the country lineup scheduled for the stage at the Clinton Center. And a good alternative it is. Cage the Elephant is probably best known for radio (and internet) hits "Ain't No Rest for the Wicked" from its eponymously named debut record, and "Trouble," from the latest release, "Tell Me I'm Pretty," a song co-written by Dan Auerbach of the Black Keys. There is also "Mess Around," the first from that same album (while the album was lauded, critics thought "Mess Around" sounded just like the Black Keys — and what a coincidence, with Auerbach producing the album). Apparently going all Black Keys in the Nashville, Tenn., studio was the right move for Cage the Elephant, as they took home the 2016 Grammy for Best Rock Album. Those three aforementioned songs nicely showcase lead singer Matt Shultz's lyrical and vocal playfulness. He apparently carries that style to the stage as well with an energetic punk-inspired approach that fans in the pit should enjoy. You can sense the Pixies influence and more on Shultz, who relocated the group to London before its first album release. However, brother Brad Shultz on lead guitar shows other impressive rock influences and gives Cage the Elephant some separation from many of today's current acts that all start sounding the same. Cage has a date at Bonnaroo next week; catching the band here might be a better deal all the way around. Indie rocking Grouplove makes for a nice complement leading up to Cage. JH

Dazz & Brie

1:15 p.m. Saturday. Arkansas Federal Credit Union/Sweetwater Amphitheater Stage.

If Dazzmin "Dazz" Murry and Kabrelyn "Brie" Boyce were backed by a DJ or a dude with a computer and a synthesizer, their harmonies would still soar with infectious intertwining lines, and their versatile capability to jump across genres and styles would stand out. Lucky for us, though, they are backed by The Emotionalz, a force of their own that can lay down danceable grooves, slow jams, filthy-nasty riffs and rock the **** out whenever they feel like it. Dazz & Brie stole the show and won the title at the Arkansas Times Musicians Showcase this year, and so no doubt it will be a treat to see them on a big stage outside. They describe themselves as "rock and soul," and while that's accurate, it still seems too small a box for Dazz & Brie. The pair is too dynamic and too expansive in their musical ambitions to really be classified. Sometimes you feel like you're listening to smooth neo-soul, other times like riff-heavy progressive rock, and still others like you just heard something on Top 40 radio that was too good to be on Top 40 radio. This "girl gang" and the ladies and gentlemen in their backing band are some of the brightest and most creative talents in Arkansas right now, and you owe it to yourself to check them out at Riverfest if for no other reason than that they will bring you a pure kind of joy. JS

The Wildflower Revue

2:30 p.m. Saturday. Frio Light Stage, Clinton Presidential Center.

The problem with supergroups is that rarely does the whole exceed the sum of its parts. Remember Jimmy Page's mid-'80s group The Firm? Us neither. But the balance sheets of the Wildflower Revue — Amy Garland, Mandy McBryde and Cindy Woolf, who has stepped into Bonnie Montgomery's place — are well in the black. These individual stars of the Little Rock scene were inspired by Emmylou Harris, Dolly Parton and Linda Ronstadt's Trio, an '80s-era supergroup that, unlike The Firm, improbably exceeded its parts. And the "peace-lovin' outlaw trio" of the Revue share a penchant for country music that goes back beyond the Reagan era — witnessed in part by their correct spelling of "revue" — as well as more modern sounds in country and Western music. Any complaint of crass commercialism in the Wildflower Revue's great-sounding eponymous debut album by the inclusion of covers of "Psycho Killer" and "Heart of Glass" are drowned out by the Revue's deftness and sheer joy. Would that we all had such well-balanced spreadsheets. SK

Seratones

3:30 p.m. Saturday. Arkansas Federal Credit Union/Sweetwater Amphitheater Stage.

Exhibit A in the quest toward a more musicky Riverfest: Seratones. This Shreveport quartet, fronted by high school teacher A.J. Haynes, packed the White Water Tavern a year ago on the strength of its debut album, "Get Gone," on Fat Possum Records and considerable buzz — neither of which were likely to earn the band a slot in your father's Riverfest. Happily, soon (Saturday at 3:30 p.m., to be exact) the world will learn what the WWT knows — that Seratones pack their energetic rock 'n' roll swagger with respect to its deepest roots in jazz and blues. SK

Split Lip Rayfield

3:30 p.m. Saturday. Frio Light Stage, Clinton Presidential Center.

Lord knows that two of the greatest musical concepts are "fusion" and "hard to categorize," which is why Split Lip Rayfield is a must-see for this year's Riverfest. This Kansas trio has spent the last two decades crafting its own brand of cowpunky thrashgrass — a rollicking mashup of banjo, mandolin, the occasional kazoo and a one-string stand-up bass fashioned from a Mercury Marquis gas tank — and they come to Riverfest as part of a tour supporting their sixth studio record, the excellent "On My Way." Their live shows are said to be damn near a religious experience. Expect to holler a bit. SLR are true pioneers in carving out new possibilities and territory for acoustic music and have spread their gospel across the country for years. Think acoustic shows can't be metal? Think punk needs electric power? Come on over beside me, Junior, and let's take a master class in DIY and genre-stretching. I'm talking about the classic bluegrass yearnings of heartbreak and lamenting that "she don't call at all" paired with an energy that somehow twists that pain into something strangely joyous and all too real. Seriously, you don't want to miss this. GH

Cody Canada and The Departed

5 p.m. Saturday. Frio Light Stage, Clinton Presidential Center.

Cody Canada's been at this music deal for a while now, first fronting Cross Canadian Ragweed (which, based in Stillwater, Okla., made regular stopovers at Stickyz in the 2000s) and now leading Cody Canada and the Departed. Bassist Jeremy Plato has been with Canada for 23 years as a member of both bands. They're so close and so un-controlling about band things, they put an album last year ironically titled "Jeremy Plato and the Departed," where Plato took the lead on vocals and Canada and the rest of the band (and some top-talent imports) supported him a bunch of old country covers. Real, tried-and-true Texas-style country and country rock is the sound you'll get from the Departed late Sunday afternoon, slap-dab in the middle of a country — and bluegrass-influenced full day of music in front of the Clinton Center and culminating with Arkansas favorite son Justin Moore from Poyen. They're typically linked on "sounds a lot like" sites with ZZ Top, Jason Boland and the Stragglers, and Texas red dirt-stylist Wade Bowen, who is Canada's brother-in-law. Canada's latest work has marked a return to his Cross Canadian songwriting roots, but let's hope such circa 2011 Departed favorites as "Ballad of Rosalie" are still on his set list. Either way, he's a proven performer worth showing up for, even more than for the later headliners or the fireworks. JH

Cold War Kids

8 p.m. Saturday. Arkansas Federal Credit Union/Sweetwater Amphitheater Stage.

Welcome to Riverfest, you two. Will you be having the indie? Excellent choice! The chef's special tonight is Cold War Kids. We take choice, Grade A indie rock, lovingly prepare it with pulsating beats, soaring melodies and sing-along choruses, and serve it sizzling. The special comes with sides of hand claps and soulful backup vocals. The restaurant shtick aside, California-based Cold War Kids have been hovering on the edge of breaking out of the alternative charts into mainstream success for far too long. Over the years, the CWK lineup has changed and absorbed two members of indie favorites Modest Mouse, but the band has retained its own signature sound that gets feet moving and hands waving in the air. The band is promoting its brand-new album, the anthemic and dance floor friendly "L.A. Divine" on Capitol Records. Last month, Cold War Kids joined with British singer Bishop Briggs and released a spare, stripped-down cover of Rihanna's hit track "Love On The Brain" that's enjoying a fair amount of buzz. Bottom line: If you're scanning the Riverfest menu in search of your indie dance party, order up a heapin' helpin' of Cold War Kids. They just might end up being your new favorite dish. GH

Wiz Khalifa

9:30 p.m. Saturday. Arkansas Federal Credit Union/Sweetwater Amphitheater Stage.

When you ask Little Rock seventh-graders what they know about Wiz Khalifa (as I felt compelled to do with the middle schoolers I teach), they tell you one of two things: He has a son with model Amber Rose and he smokes a lot of weed. They are right on both counts, and both facts have featured prominently in Khalifa's music. In his most recent studio album, "Khalifa," the rapper's son cameos on the track "Zoney." You can't really say pot cameos anywhere because, well, it's referred to constantly in his music. Even Khalifa's latest — which fans hope will drop this year — is tentatively called "Rolling Papers 2," a follow-up to the 2011 "Rolling Papers." But not all of his music is about pot: Khalifa's breakout "Black and Yellow," which hit No. 1 on the Billboard Hot 100 with its rolling beat and sparse mix, was about his Dodge Challenger (in which he smokes pot), painted the iconic colors of his Pittsburgh hometown's football team. Some may say he's gone too pop ("Say Yeah" grooves over an A-Ha-inspired beat based on its timeless "Take On Me"), but those in the Taylor Gang (his fan base, named after the Converse shoes he always wears), will be lining up to hear what Khalifa's been smoking — I mean cooking. HS

Morris Day and The Time

7:15 p.m. Sunday. Frio Light Stage, Clinton Presidential Center.

If you were old enough to remember the '80s, you probably know Morris Day and The Time and you don't need to read this because you'll already be there to see them. If not, let me make it clear: You cannot afford to miss Morris Day and The Time. You probably already love them and you don't know it, because their mark is present on so much pop and R&B today. It's impossible to talk about Morris Day and The Time without talking about Prince. The Purple One more or less engineered the band, picking and choosing some of the best R&B players in Minneapolis to assist him in his vision of going worldwide with his alchemical concoction of funk, R&B, rock, psychedelia, etc. Along with helping spread the Purple Gospel, The Time's Jimmy Jam and Terry Lewis worked with Janet Jackson to lay the foundation for what would become the New Jack Swing sound that dominated the late '80s/early '90s, and produced countless other hits across pretty much all genres. All that said, watching them perform live, it's clear the bands stands on its own. Morris Day and The Time absolutely bring it, and you can guarantee that everyone out in front of that amphitheater is going to be on his or her feet or misguidedly attempting to breakdance on the grassy slopes. JS

Riverfest turns 40

#Riverfest turns 40

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