So I'm perusing youtube and I stumble across this track. Dope as it maybe i can't help but wonder is mr. west aware of this?
It is obviously a take off:
i know, i know. One or more of you loyal HSD readers is saying, "but ave, Curtis made 'move on up' in '70, and Ye made touch the sky in '06".
Well loyal reader, there is a perfectly logical explanation for this. If you actually watched the touch the sky video (2:30)you'll see that the video was shot in '69 (Mr West was even ahead of the game by being one of the first to criticize president nixon early in his administration). At least a year ahead of Curtis.
......i know. i know..."But ave, Ye wasn't born until '77". Again, logical explanation best summed up in this early yet recent pic of Ye that should put this to rest
I was invited to contribute awhile back, so this is over due....but, you know....anywho.
My first post was supposed to be about a convo Donnie and i had, it goes something like this.....
We were talking about Weezy (not the one from above, but lilweezy/wayne {don't worry, i didn't forget the baby}, but I didn't want to scare people off before they read the point).
Sorry Ms. Jefferson.
Basically the consensus of my people back in the day was Wayne sucked. In the last couple years some of those people have come around to various degrees; from near g.o.a.t contention to thinking he has some entertaining lines (though she said she can't admit that to everyone). KRS was on Sirius awhile back and put it like this (I'm paraphrasing), "Wayne is dope.....definitely is hiphop.....but some of his subject matter can be a little young for my taste". Thanks Kris, couldn't have said it better myself. Being that this is a music blog on the internet i guess a link of sorts is warranted:
How'd this happen? (do I look like a mind reader) ion't know.
maybe it's the drug use.
maybe its a ghostwriter. maybe if you were rich before you could drive and had nothing to do all day but write lyrics you come up with some witty stuff too....
Yo!! IT'S WORKIIINNNNNG!!! IT'S WOORRRKIIIINNNNG!! Yeah! I finally put my setup back together. For those who dont know, my setup consists of: 2 gemini turntables (sorry, couldnt afford tech 1200's at the time), a stanton SK2F 2 channel mixer, M-Audio Torq (just like serato, only cheaper), and my monster 17 inch dell dual processor laptop. No, I havent put together a mix yet. It's comming. Be patient. But I got two joints that I only have on vinyl.
This joint here is for Ave. Back when i first got my turntables, Ave donated his small crate of records. Included in this crate was a 10 inch box set called The Beat Suite compiled by DJ Spinna. And on one of the records we found Montreaux 76. Its a nice jazzy/hip-hop insturmental. Takes me back to having lunch at the Mello Yellow in Hyde Park. They used to always have nice jazzy laid back music in the back ground. But anyway. Months ago, Ave hit me up and asked me to send him this song. So this ones for you.
This song is the shit. Nuff said. Me, Ave, and Donnie all used to be heavy posters on Okayplayer. I cant remember which forum this used to come up in. But people talked about this song alot. I couldnt find this song for shit. Me and Ave used to hit the music stores on the regular. And I never seen nor heard this song anywhere. So I thought it was an urban legend. The shit just didnt exist. And I could see visions of Questlove picking his hair and laughing at me. But then one day, I'm in Grammaphones digging thru the racks and I see it. Immediately went into secret agent mode. Couldnt let anybody see what I was walking out of the shop with. Yeah, I paid for it. But it felt like I was stealing.
I really treasure the gift of music. So when someone takes the time to introduce me to some new sounds, I am grateful. I'd like to take this time to give recognition to my friend Monica down in Georgia. A long long time ago at a time where my musical identity was still taking its shape, I received a 60 minute cassette tape in the mail that altered everything that I thought was right. Music that I had considered good, was just...eh, average. Musicians and producers I looked up to I started second guessing. Why, cause they weren't doing what THESE guys were doing. That mixtape is responsible for introducing me to Johnny Hammond, James Mason and Bobbi Humphrey.
Well, I received another mixtape (actually it was a CD this time) and I have to admit, she's done it again. Monica truly has an ear for solid soul music. This two disc set is filled with artists and songs I had never heard. One of which is Leo Sunshipp's "Give Me The Sunshine", which hit me hard when I was driving to an assignment. Just a great smooth groove. I love the end where dude pulls out the falsetto.
I never really say, "Hey, download this!" on this blog. But whenever I showcase one of the songs from her newest compilation, you need to download. At least take a listen. I'm having a difficult time picking out the next track. I might have to showcase two next time. Anyway, props to Monica
In preparation for the new Foreign Exchange album, I decided to play Nicolay's second solo album Here. I was only moderately impressed when I first bought it, but now that I've put it back in the rotation, it has really grown on me. The first joint on this album showcases a great talent from the Justus League camp, DarienBrockington. A very solid R&B track with Nicolay's tight production.
Also, allow me to say this. People that miss the Jay Dee sound need to check for Nicolay. I'm not saying he IS Jay Dee by any means, but he's definitely a disciple of his style. Listen to the first Foreign Exchange album, you can hear Jay Dee's influence all over it. While I miss Jay Dee, there are many producers out now that are carrying on his legacy. Nicolay is one of them.
It was the fall of 1996, my freshman year at Columbia College Chicago. I got to talking music with some friends of my roommate one night, and I was asked if I knew about the Philadelphia based hip hop group The Roots. I hadn't. In fact now that I think about it, there was a LOT of hip hop that I didn't know about back then. I'm almost ashamed to admit that outside of "Me, Myself & I", I had never listened to an album from De La Soul.
Anyway after that conversation someone loaned me both Do You Want More and IlladelphHalflife. I dubbed both of them on two 90 minute Memorex tapes and rocked them my entire freshman year. Back then I didn't have a lot of loot to buy new music all the time, plus CD's were expensive. I didn't hide the fact that I loved Do You Want More cause I wore that tape out. So much so that when the tape wasn't playable anymore, I taped over Illadelph with Do You Want More.
Fast forward three years and I have, what I would call, my first real system. A sub woofer powered by an amp all controlled by a Sony Xplod head unit. Hearing "Respond - React" through that system changed something. I don't know what it was, but that album just immediately altered every feeling I had about The Roots.
Why don't they start shows like this anymore? The Amazing Mr. Please Please Please came out with a serious introduction. With the horns of the JB's shouting, how could you NOT be hype? DJ Brainchild of Gordon Gartrell Radio shared a song from this album on his blog about a year ago saying it was a must listen. I bought volume one thinking that was the album he was talking about. Nope, wasn't it. I copped this album a few months back, and this isn't the album either. It doesn't matter, cause it's a solid show. And this track...when those drums hit at 3:11? Sick.
Ali ShaheedMuhammed "Social Reform" // Shaheedullah And Stereotypes (2004)
You have no idea how long it took me to find this CD. I don't know why I thought I'd find this album at one of those big warehouse stores. Do you know how hard it was to tell the kid in the blue shirt at Best Buy I was looking for Shaheedullah And Stereotypes. "Who sings it?" You know what? Nevermind. The average person probably doesn't know who Tribe is let alone their DJ. So yeah, I eventually found it.
This was another slow burner as I found cuts on this album years after I bought it. This album was my first introduction to Sy Smith and Kay from the Foundation. In fact, a lot of the artists that appear on this album have been showcased on RappersIKnow.com (it's all the same circle anyway). Stokely from Mint Condition has a tight track on here too.
I was upset with God's Son after I bought it. It seems I always get tricked in to buying a NaS album cause his singles are usually straight. "Made You Look" kinda sold me. Plus, the self produced "Get Down" was kinda tight. There are a few more highlights on the album, but for the most part it wasn't up to par. Then my guy 9th Wonder from Little Brother remixed the entire album. I'm letting y'all know, God's Son no longer exists in my mind. 9th Wonder (another Jay Dee disciple) hooked it up to make what NaS and his executive producers couldn't. His rework of "Ether" is one of his best beats. A must hear.
1st Born Second took a while to grow on me. In fact, I still to this day think the album is too long. But all in all, the Soulquarian movement is one of my most favorite periods in modern R&B. ?uestlove and James Poyser made some fantastic albums (yes, albums) that showcased some amazing talent. One being the voice, the attitude and the aura that is Bilal. His second album Love 4 Sale has been leaked and shared all throughout the Internet. There are a hundred theories as to why it never received a proper release, one being that it didn't have radio friendly single. Whatever the reason, people are really missing out on a dark yet brilliant album. Yes, darker than 1st Born Second.
The combination of work and Blogger not being very happy with some of my posts kept me off of High Speed Dubbing for a while. Everything is OK. Everything is cool. I appreciate all the emails and comments about the blog. We'll be back to normal on the first of November. I'm already gathering the tracks so come back then.
And just so y'all don't think I forgot about you, here is a mix I put together at my friend DJ's house. It was my first time using Serato, so please be easy on me. The first part of the mix is centered around Jay Dee production (it's the better half). The second half was all Primo (I fumbled a lot on this half). Also (as if I hadn't copped enough pleas for this mix), I didn't let the songs sit long. I was just having fun playing with Serato (a wonderful program and a must have if you're a DJ).
These two are amazing! (i know, I'm late. But for those who didn't know...)
If you're a fan of house music with some serious soul, keys, grooves and beats, you'll love The Rurals. I'd go as far as to say you'll like them a lot. I just recently come up on a solid & seamless mix by DJ Shinobi Shaw. It's a great introduction to their sound and style. Download it. It's good. Great even.
It's been about a month since I last found out about The Rurals (my brother Eric knew about them yet never bothered to mention it to me), and I still have yet to cop anything from them. Don't worry, they're still on my list (import$ are expensive). They have a coupletracks on YouTube that are sick! Based on those, I was ready to cop their entire discography.
01 Days Gone By 02 Addict (Bitter Suite Remix) 03 Rebel 04 Messages 05 I Am 06 Magic 07 Make Amends (Harley & Muscle Mix) 08 Beauty Comes From Inside 09 Mission 1 10 Modulating Sneakers 11 Backstreets 12 West Side 13 Breath 14 Sweeter Sound 15 Red Kickers 16 Lush 17 That Feeling + Relax Your Soul (D3 Deep Blue Mix) *BONUS TRACK*
(If you liked that mix, here's another one that I found on their website.)
This isn't even a full song, and I love it. It's just this amalgam of Blastmaster KRS-One cut together by the legend DJ Premier. I think it's the beginning of the song that gets me every time. The "We will be here FOR-E-VER!" That line alone gets me hyped up.
In fact, this song is the best representation of what going to a KRS-One show is like. From the beats to the rhymes, "KRS-One Attacks" reminds me of what it was like being front row at the Metro years ago in Chicago. I remember jumping up and down watching the Teacher rock the crowd for a solid hour. Best show I've ever been to.
"How many real Hip Hoppers are in the place right about now?"
Freon is the best Hip-Hop instrumental album you've never heard.
During my unemployed days I used to spend my extra EXTRA free time trying to put together a Chicago Hip Hop TV show called Go Ill. My guy Avery and I used to hit up different spots around the city to do man on the street interviews, talk to underground artists and showcase the music Chicago hadn't seen yet. In our time traveling from scene to scene with a big camera, we attracted a lot of "up and coming" MC's and producers. Any time we pulled out a camera...
"Yo dog, let me showcase my new album! 35 tracks of real hip-hop." "Aye man, check out my album." "Y'all doing a TV show? Come shoot me writing my rhymes." "Can I do a freestyle? Let's battle right quick."
...and so forth.
It got to the point where I didn't really like taking people's burned CD-R's. I have about 15 CD's I've collected from that time period I've never listened to. There are a lot of MC's out there making really bad music. It's difficult to weed through it all. Another moment like this came up from my guy DVS, except he wasn't hawking his own album, it was his boy Obsidian Blue. "I hope your car stereo can handle it."
Handle it? What was that supposed to mean? I was soon about to find out. I tossed the CD in my player thinking it wasn't going to make it to the next block. THIS song comes on and I immediately pulled the car over. Wow! In this one song Obsidian Blue was channeling Jay Dee and the RZA. It was the smoothest "dirty" I'd ever heard, and it was beautiful! Track after track, the bass shook my spare tire all around. The music was so thick and rich, I had to open my windows to release some of the pressure.
It's kinda difficult to pin point his influences, but if I had to pick some musicians, producers and beat makers that helped shape his sound, I'd start with:
- jay dee (the claps, finger snaps and bass lines) - roy ayers (vibes & keys) - madlib (very space/sci fi like) - rza (the dirty side. like someone dragged his tracks through the sand)
Again, Freon is the best Hip-Hop instrumental album you've never heard. YES, the album is that good...and it gets better than this track. Support this brother and buy the album.
I'm a Zeppelin novice. I bought Led Zeppelin I about three years ago, and I just copped Led Zeppelin II about a month ago. Without fulling digesting II, I copped Led Zeppelin IV at a new used CD place I found not too far from the Las Vegas Strip.
I actually had Houses Of The Holy in my hand but put it back. I've been trying to go through Zeppelin's discography from beginning to end so I can actually hear the progression. Sometimes the order takes a back seat to a good sale.
There are probably people out there who can express the true feelings and power of this group better than I can. I can only tell you what the music does to ME personally. "Black Dog" hit me harder than any Zeppelin song before it. Why? I think it's because I can hear the progress the group has made since the first album. It's more focused. It's cleaner. Sharp. Granted an entire album was released before this one (III), so I'll have to check that out too. To be honest I haven't even listened past "Black Dog".
The last Wax Poetic issue I received had a great article on Herbie Hancock, an artist I've been wanting to get in to for a long time. The article focused more on his avant garde work, Fat Albert Rotunda and Mwandishi, it also talked about his more funkier efforts that were influenced by Sly Stone. My ears perked up at the thought of hearing any Hancock that was influenced by Sly.
I added Hancock's Head Hunters album to a list of future CD purchases. I keep that list in my wallet so I can remember to look for stuff when I'm at the store. I finally came across Head Hunters at this spot here in Vegas called Zia about a month ago. I bumped it on a road trip to Los Angeles, and really liked it.
Fast forward to a couple weeks later I found myself in another used CD store and found Thrust. In reading the back I read that this is the follow up album to Head Hunters. Being that the store was having a sale, I copped it. No lie, I've played this album about four times from beginning to end since I've bought it. You can check my Lastfm charts if you want, this album has been on repeat the past few days.
I'm trying to keep with the tradition of FIRST by only posting the first track, but "Palm Grease" isn't even my favorite song. While I'm really enjoying the entire album, but I can't stop playing "Butterfly".
Herbie's fender rhodes laced with Sly Stone funk is the only way I can describe it.
Ok for the last 3 weeks thanks to someone on OKP I have killed Erykah’s Live version of “Otherside of the Game” from her VH1 Soul concert. The reason why I love it so much is because it reminds me so much of the 1st time I saw her live. It was at the now legendary Atlanta spot Ying Yang. The night started out as a listing party for Baduizm but little did we know it was going to be a full live performance of her album.
Erykah did a cover of “Stay” by Chaka and killed it. The place was beyond packed and I just remember getting up on the bar so I could see and yell “You sing that damn song!" What a night to remember!
Michael Jackson "Rock With You" (Live) // The Triumph Tour (1981)
I've talked about The Jacksons Live album a few times already on this blog. It's actually a compilation of a few shows the Jacksons did back in 1981. Anyway, "Rock With You" is one of the highlights of the album. The song before it is "I'll Be There". At the end of the song, Mike continues singing getting ready for his solo joint, but it's tacked on the end of "I'll Be There". When listening to the concert, I would always fast forward back to listen to these few seconds. I liked it so much, I re-cut my own version.
"Making Sense Of It" "Music" "Outside" "I'm Still Standing" "Syleste" "Everybody Loves The Sunshine" (Roy Ayers) "Interlude" "Be Thankful"* (William DeVaughn)
"Little Boy" "This Is Not A Love Song" "Golden Brown" "Saturday" "Essensual / Band Introductions"
I WAS AT THIS SHOW!
This was my second time seeing Omar live in concert, and both times were at one of my favorite music venues, The Hot House on Balbo & Wabash. It was one of the most intimate music spots in the city. Shame they couldn't stay open. From Fertile Ground to the All Natural crew, it was fantastic. The stage was just a few inches off the floor and the artists were RIGHT THERE! Listening to this song, you could tell how involved the audience was. You could truly feel the music hitting you due to how close you were.
If you haven't been to an Omar show, consider this your ticket.
* Please take notice of Omar's background vocalist Chris Ballad on this song. Amazing!
The legendary Isaac Hayes was more than just "Shaft". He was more than just a staple of Stax Records or the hip hop sample we heard in between the beats. Isaac Hayes' music represented every black neighborhood in America. From the the ghettos of Los Angeles to the borough's of New York, Black Moses told tales of love, black pride and promise. He was true Blackness personified through music.
If you have Netflix, I highly recommend watching the documentary Wattstax (1973). It's Chappelle's Block Party except they replaced Dave with Richard Pryor.
Kool & The Gang "Summer Madness" (Live) // Love & Understanding (1976)
Continuing our LIVE IN CONCERT series here on HSD, here is one of my father's favorite songs. And while I'm mentioning my father and Kool & The Gang, I have to remember to say the following:
"You know Kool isn't the lead singer right? Everybody thinks he's the lead singer. Kool plays bass."
Not that Kool & The Gang comes up often in conversation often, but you can bet anytime it does my father will say those words. He wants everyone to know the TRUTH! He wants the right man to get the right credit. It's a common mistake, but Robert Bell "Kool" is the bass player. A lot of people mistake J.T. Taylor for "Kool", but he didn't arrive until 1979 (and the cut "Ladies Night).
I'm showcasing this brotha because there isn't anyone in R&B music today that can put on a live show like him. Nobody. And he hasn't dropped an album in eight years! I missed the Voodoo tour the first time it came around, so I only have my audio ticket for access this well put together performance. "One Mo' Gin" was part of the first few shows but was later dropped from the show. It's a shame because this is the definitive version of "One Mo' Gin".
Don't get me wrong, the studio version is great. Fantastic even. It's one of the reasons Voodoo is such a strong album. But when the Soultronics got a hold of this song on the road, they killed it. They took it to another level. Again, this song further showcases what I love about live music. D and the crew took a 5 second portion of the song and stretched it out to 5 minutes just to groove (right around 5:18 or so).
I'm not big on Kweli's studio albums (although I've heard really good things about Eardrum), I will always put money down to see dude perform live. Always! I've seen Talib twice in concert and both times he gave me a show that was well worth my ticket. I dug up this song from the audiogalaxy days (who remembers that?) and thought it would fit with this months theme of live music.
Kweli performed this song before his first solo album Quality dropped in 2002. When I first heard it I was MAD hyped for the album. While Quality was decent, the album version of "Shock Body" was a disappointment after hearing the live rendition. And when I think about it, there aren't a lot of good live hip hop songs out there. THIS is one of them. Kweli attacks the mic with a ferociousness that is unseen in hip hop today. I wish he would mentor his Blackstar partner. I've heard Mos' live show is horrible.
First day of the month. First song of the album. Four songs.
D'Angelo & The Soultronics "Devil's Pie" // Voodoo Tour (2000)
After Voodoo's release, D'Angelo embarked on what would become one of the most fabled series of live soul shows in history, "The Voodoo Tour". Consisting of a live group entitled the "Soultronics", (assumedly assembled by Ahmir "?uestlove" Thompson of The Roots) which engulfed arena-size stages with various dancers and instrument players, it was one of the most attended shows of the year. The tour was taken all around the world, one of the most notable performances being the Free Jazz Festival in Brazil. The live show was a thinly-disguised homage to Prince's late 80's shows, in its grandeur and conceptual stage set up/setlist. Slum Village (then in its original line-up of Jay Dee, Baatin & T3) opened for D'Angelo on several dates, and soul-tinged R&B singer Anthony Hamilton sang backup within the band.
That breakdown half way through the song where Prince tells Andre to take it?
Fantastic! I love it!
This is why I love collecting live shows. Those little musical detours the artist takes with a song truly makes the show. It's not enough to get on stage and regurgitate the album track. I can do that at home for free without the smoke and the crowd. I come to the show for an experience! I want to hear everything you experimented with, but were too scared to release. All those extended solos and riffs that the record label frowns upon because they need the album to fit in this little box, ALL THAT! I want to hear it!
Anyway, this is one of my most favorite live Prince moments. This is what I play for people when they don't quite understand how great this man was. Prince was genius in the studio but wild on stage. Stay tuned this month because I have another concert to showcase.
I remember I went to the mall with my Mom and my aunts one weekend while we were in South Beloit, IL visiting family. When we first got there, I ran to the record store to thumb through the albums. My Aunt Annie said she would buy me two records, but I had to promise to be good for the rest of the mall trip. Shoot, what kid is going to deny THAT deal? So on this day I chose two Michael Jackson albums. One was a Jackson 5 Greatest Hits compilation, the other was The Jacksons Live.
We walked out of the store and I was the happiest kid in the mall. I started walking towards the door thinking, "I got my stuff, let's go." I was wrong. Three hours later and my aunts were STILL SHOPPING! I must have sat on every bench in the mall two times over just waiting for them to stop feeling the fabrics of dresses and trying on shoes. What made it worse, my Aunt Annie wouldn't let me take my new records out of the bag.
"Don't take them out of the bag! Someone will think you stole it."
Don't ask.
This is a phenomenal live album. Growing up I listened to it so much, I recreated the show in my mind using the music as the soundtrack. I envisioned the choreography , the crowd, the back up band, everything...ha ha. This was also the first time I heard "Heartbreak Hotel". I bring this up because eons later when I was in college and I bought the Triumph album, I was upset at how slow the tempo was. The live version, which is much faster, really drives that bass line through the chorus. To me, it's the only version worth listening to.
If you haven't heard this live album, get it. Although it's a combination of songs from their entire tour, it's the Jacksons at their best.
Superfly is my first choice. Curtis/Live! is my second.
I love this album for some of the same reasons I love Donny Hathaway's Live joint. Both were recorded in small intimate environments, and the music benefits from it.
"I got to say it louder, I'M BLACK AND I'M PROUD!"
I love when he sings that line and the crowd at the Bitter End reacts. It's personal...it's warm. It reminds me of one of my favorite music venues in Chicago, the Hot House on Balbo. I saw a ton of shows there in the South Loop while I was attending school at Columbia, and it was a great feeling hearing a small band get up there to perform. Almost like we were in on this secret. Curtis and his small band didn't need a stadium that night. All they needed were some ears and energy.
If you ever check this album out, listen to the interludes in between the songs when Curtis is talking to the crowd. Artists don't do that anymore. Amazing.
Owusu & Hannibal are a two producer team from Denmark. I killed their joint "Le Fox" from their album Living With...
Boom Clap Bachelors is a new project from one of them. I'm not sure which one at the moment, but I like it. Hit up their MySpace page and listen to a cut called "Love".
Earlier this week, I'm riding home from the gig with a friend of mind. We're talking about whatever, and the radio is playing. But the music on the radio is just background noise. Next thing we know, either a Lil wayne song or a songe featuring lil wayne comes on. That shit just disrupted the whole conversation. I didnt say anything. But my guy Rodney, without even taking his eyes off the road, reached into the pocket of the door and pulls out a cd. It didnt matter what cd it was. Anything was better than listening to this shit. Slides in the disk. First cut.... Eric B & Rakim - I aint no joke. Heads automatically bob and we continue our conversation. Next cut comes on..... I'm still #1. All i had to hear was the horns in the intro. Our conversation switched from talking about work to reciting these lyrics. The somewhere in the middle of the song, it hit me. This shit is still relevant today. How is it that KRS wrote a song 20 years ago thats still relevant today??? All I could say was WOW. So what were talking about here is timeless lyrics.
Heres a few standouts from this song:
"I'm the original teacher of this type of style Rockin' off-beat with a smile or smirk or chuckle, yes some are not up to BDP Posse so I love to step in the jam and slam I'm not Superman, because anybody can or should be able to rock off turntables Grab the mic, plug it in and begin But here's where the problem starts, no heart Because of that a lot of groups fell apart"
"You know what you need to learn? Old School artists don't always burn You're just another rapper who's had his turn Now it's my turn, and I am concerned about idiots posing as kings What are we here to rule? I thought we were supposed to sing And if we oughta sing, then let us begin to teach Many of you are educated, open your mouth and speak"
"KRS-One is something like a total renegade except I don't steal, I rhyme to get paid Airplanes flyin', overseas people dyin' Politicians lyin', I'm tryin' not to escape, but hit the problem head-on by bringin' out the truth in a song"
And my favorite line in this song:
"Rap is still an art, and no-one's from the Old School cuz Rap is still a brand-new tool I say no-one's from the Old School cuz Rap on a whole isn't even twenty years old Fifty years down the line, you can start this cuz we'll be the Old School artists And even in that time, I'll say a rhyme A brand-new style, ruthless and wild Runnin' around spendin' money, havin' fun cuz even then, I'm still number one."
I swear KRS is trying to live up to the "50 years down the line" thing. But the whole point is.... be timeless. You almost have to be a prophet when you get on the mic. Say something thats gone messe my head up when i hear it again 10 years later....... 15 years later.... 20 years later.
