O-10, to quote Rok himself in the Brubeck thread: ****First, this is not an argument. It’s a discussion. **** A very good discussion in that thread, btw; of the kind that, frankly, I wish we had more of here. To quote Rok again (imagine that ☺️), "words matter". Let’s try and not be so quick to blame others for misinterpreting what we write. I think it would be far more productive if we tried to be clear about with what we write so that we don’t have to keep going back to the same tired issues like that of your musician friend who supposedly didn’t practice. Again? Yikes! 😬 re Brubeck: I love Brubeck. Of course it’s jazz and it is obviously good jazz. I love Paul Desmond even more. But it’s a different kind of jazz that is more genteel and SEEMINGLY (!!!!) more disciplined and "controlled" than the jazz represented by...let’s, for lack of a better term, refer to it as "Blue Note" jazz. This goes to some of what is at the root of some of the disagreements here about jazz and segues nicely (I think! Coffee hasn’t kicked in yet this morning....sorry) to the Marcia Ball clips: O-10, your description of Ball and her possible influences is spot on; in answer to your question, I think you gave an excellent description of her music. The problem for me is that she, while she is clearly having fun and is a good singer, is just too....dare I say it?.... white, for that music; not enough grease in her singing (her tenor player has some grease ’though).. Grease: https://m.youtube.com/watch?v=65nDprifGekOne of my all time favorite Jazz quotes: When asked how he got that amazing sound on the alto, Paul Desmond said: "I try and sound like a dry martini". Polyunsaturated: https://m.youtube.com/watch?v=7ak2aOWiYUo |
Frogman; I reported what I knew about, and I only knew about his practice habits for that one Summer. If I said he never practiced, I was reporting what I saw. Brubeck: I still have this memory of him coming up that long winding road to the top of the hill where the shrine amphitheater is, in a long limousine (is there any other kind). He was a distinguished looking gentleman with white hair, as opposed to the pictures I'm accustomed to seeing on albums (much younger) I don't recall any other musicians, just him on solo piano. Since the troupe of modern dancers, danced to the music, it certainly wasn't the jazz we're familiar with, or maybe it wasn't even jazz; Mr. Brubeck has a wide repertoire. Paul Desmond: A disc jockey who came on at midnight, used Desmond's "Desmond Blue" for his intro tune, and I was cruisin with my girl at about that time; consequently, even today, I love "Desmond Blue", I even love the album cover; Paul Desmond has the most romantic tone of all the saxes. https://www.youtube.com/watch?v=FT5zGYaUN_QI will in the future make every effort to prevent misinterpretation. Enjoy the music. |
Spring will be here soon. What are your fave Jazz albums/cds to kick off
the new season? Happy Listening! |
Marcia Ball: Not everyone can sing the blues. It helps a lot if you have lived the Blues.
Paul Desmond & Dry martini:
Mission accomplished.
The Frogman Posting Shemekia Copeland:
WTF!!! oops She's from NYC. Never Mind.
.
Cheers |
I like Marcia Ball- she can really swing as well. |
Range, Rok, range! 😔 As always, "there’s only two kinds of music.....(you know the rest). Actually, being the daughter of Johnny Copeland (Texas) means that she’s probably more from Texas than anything else; as far as her music genes go, anyway. Story that I think you’ll appreciate: So, I’m riding the subway last night on my way home after a job and, as often happens here in NYC, this alto saxophone player gets on the train and starts to play. I’ve seen/heard him about half a dozen times before on my train; late middle age, not quite down and out, real character. He plays the same tune EVERYTIME; Nat Cole’s "Nature Boy". The guy can sort of play; not too bad as is often the case and as one would expect on the subway. But, he plays the same wrong note everytime and it’s been driving me crazy. If you know the tune and the lyric it’s where it goes: "There was a boy, a very strange, enchanted boy. They say he wandered very far, very far..." Well, the note on the first "far" is supposed to be a half step below the note before it on (ve)"ry". It’s almost like a melodic hook and is one of the tune’s most identifiable melodic traits. Well, this guy plays it a whole step lower which sounds clearly wrong. When he finished playing one chorus of the tune he went up and down the crowded subway car with his hat in his outstretched hand. I always give him a few bucks and bite my tongue. This time, as I hand him a five, I said "it sounds really good, but you know you’re playing a wrong note". He responds in a funky gravelly voice: "yeah man, I know, its supposed to be a half step. You know, I started to play that tune before I learned to read music and get me my books and I learned it with that wrong note. The weird thing is that when I play it with the wrong note I make more money than when I play it with the right note". Cracked me (and others on the train) up. http://youtu.be/Iq0XJCJ1Srw |
Hi Orpheus - I just saw your question about what classical music would be cool. I have been sitting here for fifteen minutes trying to decide how to respond. This is actually a difficult question, as I have absolutely no idea what you would think is cool. I could give you a couple of recommendations of things I like, but if you didn't like them, then you might not respond well to further suggestion.
It would be better if you explored for yourself at first. The problem becomes then, where do you start? There are lots of different ways to approach that, too. One approach might be - what is your favorite instrument(s)? When you listen to jazz, do you like the pianists the best? Then maybe try some solo classical piano music, or some piano concertos. If you like the trumpet, then maybe find a recording of some trumpet concertos. Do you like the vocalists? Then pick either opera (again so many different places to start), or maybe some art songs, by say Schubert. If you went this route, then you are at least starting with something at least somewhat familiar, the instrument being featured.
Another way to approach it would be by picking a composer to start with, and listening to several different types of pieces by that composer. Again, there are many different places to start here, and I have no idea which composers or what era of music you might like the best - and by the way, that's another way to start - pick an era (Medieval/Renaissance, Baroque, Classical, Romantic, etc.) and listen to several different works by different composers in that era.
I hope this is somewhat helpful. If anything above strikes your fancy, then maybe we could get more specific with recommendations. |
Learsfool, that was my attempt at humor. I've never heard of cool classical music. I really meant any classical music you like. Since I have jazz by Andre Previn, I tried to find some classical music by him, but this is all I found. https://www.youtube.com/watch?v=CwEuR2TtW5cMaybe you could find some classical music by him and paste it so we can hear it. Or any classical you like best. Enjoy the music. |
Have you ever wonder why some of the great albums were not published when they were recorded, but years or decades later, sometimes even when the original artists were already dead? Intersting article on that subject, via perspective of Tina Brooks. http://homes.chass.utoronto.ca/~chambers/tinabrooks.html |
I want to thank you Alex for a very important story. I'll get back to you after I've had a chance to read and digest it.
Enjoy the music.
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Frogman, that's the first "Nature Boy" I heard, and I've been in love with the tune every since.
That guy on the subway knows it's about whatever works.
Enjoy the music.
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Frogman, that guy on the subway "gravely voice" probably a wino and heavy smoker. He made me think about a guy I knew who was a St. Louis celebrity for a few minutes; he could really cook on the organ, and packed the house wherever he played, but he couldn't stay away from the wine bottle. You know the rest.
My stories are beginning to tie together; he's the same guy who learned music by watching my best friend's brother practice for gaining admission to Julliard. He could play on the piano, every thing he heard that brother had practiced.
Friends brother got a degree, and was very successful teaching music, but never played as a musician. The guy who watched him practice was a successful musician until he became a wino; life is weird ain't it.
Enjoy the music.
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Maybe the piano player WANTED to teach. Not everyone is cut out to be a performer; a LOT of pressure. Maybe the organ player, had he gone to school, would have learned the importance of discipline; and, that may have kept him away from the bottle. Just maybe. |
Too many to lists, but will mention one particular artist that shamelessly was over looked, and neglected.
Frank Hewitt, and here are 6 of his albums:
We Loved You
Not Afraid to Live
Four Hundred Saturdays
Fresh from The Cooler
Out Of The Clear Black Sky
Salience.
His style definitely in the school of Bud Powell, another favorite of mine. Some backgrounds on this beautiful artist if you are interested:
"In New York City, the cabaret laws enacted in 1926 during Prohibition strictly forbade the gathering of more than three musicians and forbade the use of brass or percussion instruments, except in those few nightclubs that were specially licensed and regulated by the city. The laws were believed by many to be in part instruments for preventing the congregation of black people, and the mixing of races. Jazz was held as a culprit, a source of moral decadence, and the cabaret laws afforded the city the means to zone jazz into virtual extinction. The laws persisted on the books until 1988 when they were overturned on the grounds that they violated the constitutional right to free speech, as famously argued by Paul Chevigny. In the aftermath, myriad small jazz clubs flourished in a renaissance of jazz in New York. Smalls was notable among them.
Smalls, and its successor in the present day, Fat Cat, were the brainchildren of quixotic jazz-lover Mitch Borden, who wanted to build a club that would serve the needs of jazz musicians and enthusiasts. Artists of special merit were featured regularly, receiving the rare opportunity to develop their repertoires and styles to maturity. During the day, musicians would come to Smalls to rehearse, some even sleeping there when they couldn't find housing. Each night, music flowed until dawn -- and the price was right. As word spread, Smalls developed into the social hub of the NY jazz scene. A steady stream of musicians from around the world came to listen and to congregate in its fabled back room, which hosted long listening sessions, and a perpetual conversation about music and life. We who were involved with Smalls on a week-to-week basis formed a close-knit community, bearing witness to one-another's lives, loves, and sometimes deaths. We are the "we" in the title of this record, and we count ourselves fortunate to have had Frank working and living amongst us.
Frank Burton Hewitt was born in Queens, NY on October 23rd, 1935, and grew up in Sugar Hill, Harlem. His mother, a church pianist, exposed Frank to piano music and started him on lessons early in childhood. Over the course of ten years of classical study, he developed into a capable pianist. He attended the High School of Needle Trades, originally intending to become a tailor, but as a teenager he was increasingly drawn to the jazz piano. One night, while washing dishes for a church social at his mother's apartment, he heard Charlie Parker's "Dewey Square" on the record player. After all had gone home, he played it over and over again, ever more intrigued by its dark, subtle beauty, and the mystery of its melodic lines. This, he felt, was the kind of music he wanted to explore. Over time he met up with Bud Powell, Thelonious Monk, and Elmo Hope, whom he would later count as his greatest influences. By his early twenties, Frank was playing often as a sideman on the New York scene, appearing with such notables as Billie Holiday, Dinah Washington, John Coltrane, Howard McGhee, Cecil Payne, and many others. In 1961, he performed in The Living Theater's groundbreaking production of "The Connection." Over the years, he held down the piano bench at countless sessions, appearing often at Barry Harris' jazz workshops, at the University of the Streets, and at the Jazz Vespers at St. Peter's Church. He was also often heard accompanying the late underground saxophone legend Clarence "C" Sharpe, himself a direct influence upon many from the Smalls community, and the subject of a future Smalls Records project.
Frank was the featured artist at Smalls, appearing two or three times weekly for nine years running. During that time, he was heard by tens of thousands of Smalls fans, among them numerous jazz pianists from around the world who came to listen and learn. The history of jazz is often mistaken as the history of jazz recordings; but in truth, the history of the music is constituted by sessions, night after night, only a few of which are ever recorded. In a club like Smalls, where Frank was featured weekly, we had the unique opportunity to experience the long process of coming to appreciate the depth and breadth of his music, its expressive force, and its melodic and harmonic ingenuity. We cannot afford you the same experience on records. But we feel these recorded performances attain the highest level of achievement, and that repeated listening will yield continual rewards.
The two sessions highlighted here show Frank in two distinctly different moods, affording the listener new to Frank's music some appreciation for his expressive range. Frank is accompanied throughout by his long-standing bassist Ari Roland. They are joined on one session by veteran drummer Jimmy Lovelace, and on the other, by up-and-coming drummer Danny Rosenfeld. These two groups represent Frank's two working trios from Smalls. The level of interplay in these trios is very high, developed over many years together on the bandstand.
The sessions were run in the manner of a live performance and recorded and mixed live using no isolation. [We hope the listener will excuse the occasionally uneven quality of these recording experiments in lieu of their historical importance.] Frank never called his tunes ahead of time on these sessions, preferring to let his mood dictate the selection. Take special note of Frank's improvised introductions to each tune. Frank felt that the verse was an important part of a composition, and the introductions are original verses, which establish a thematic basis for subsequent improvisation. The thematic development in Frank's improvisations is ingenious, so much so that new listeners often underestimate him. We had the unfair advantage of hearing him night after night, which helped to settle all questions over time. Frank's ingenuity was all in the service of the poetic spirit, which is what makes the experience of listening to him such a complete one in the end.
Though Frank was the master musician in our midst, the major record labels overlooked him in their incessant quest for young, photogenic, crossover musicians. The crass negligence of the major labels gave rise to the moral imperative to create a record label for the Smalls community to ensure that Frank Hewitt, and jazz artists like him, would not be neglected in recorded history. We hoped to give Frank a few years in the sun, but tragically, he died on September 5th, 2002 before this record could be released. We'll miss you Frank."
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Excellent! Will check him out. Thank you.
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Alex, I have Mosaic MR4-106, The Complete Blue Note Tina Brooks Quintets, it consists of 4 LP's and two booklets. Although there are many good cuts, my favorites are "Star Eyes" and "Stranger In Paradise"; Tina captures the beauty in these tunes far better than most versions I've heard, and considering all the versions of these tunes I've heard; that's saying a lot.
I see that it's not a coincident that Blue Note had all the junkey musicians, and that story tells why. "The better to exploit you my dear". It's like finding a man in the gutter, pouring gasoline over him and striking a match.
Enjoy the music.
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I would not draw any conclusions based only on one article, but I must admit that story sounds sinister. If it happens to be truth, it might change my romantic perspective about the label. Would like to hear more facts, if someone knows, or opinions at least, about the subject |
You are wise to not draw any conclusions from one article, Alex. I would preface my comments (opinions) by pointing out that it was I who first mentioned Tina Brooks on this thread way back when, and then again more recently as one of the players deserving more recognition; one of the exceptions to my belief that "there is usually a reason why". It is important to remember that record labels, even great and art-sensitive ones like BN, are a business. As a business they have to consider things like whether there is room in their catalogue for one more hard-bop tenor player. All sentimentality and opinion of the article's author aside, as good as he was, Tina Brooks was not the unique and influential voice that (of the other mentioned tenor players) Wayne Shorter and Joe Henderson was; or Lee Morgan for that matter. I put him in the same broad stylistic "shelf" as Hank Mobley; but, not quite on the same level imo. And even if he was arguably on the same level as Mobley, they already had Mobley. IMO, as far as unique and influential voices go, if Shorter and Henderson are level A+ players and Mobley an A, Tina Brooks was an A- or B+. Obviously just my opinion, but that is the kind of thing that labels and producers have to consider. Add to that the insinuated personality issues and it's possible to see why things went the way they did for Brooks. A shame, but I don't believe, based on what I know of the story that there is anything sinister involved. Why would they release his work decades later? Different economic and artistic climate and fewer big jazz record labels than decades earlier. Great player. |
Frogman, There are things in that story consistent with other musicians; like music not being released until their "dead", they seem to prefer "junkys" who they could pay a flat "peanut" sum for a record, and not pay royalties. For some reason or another, I didn't know about Grant Greens best work, which were his early Blue Note recordings. That might have been my fault, but I don't have an answer.
For a fact I know about them paying someone a flat fee. Of course that was his fault, but that's the way they liked to do business; with people who are easily taken advantage of; oh I forgot "That's Business".
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Miles Davis should have held a business clinic, they rarely screwed him. Did he ever record for Blue Note? Miles wasn't a junky for that long, he was one of those able to quit.
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*****
players deserving more recognition; one of the exceptions to my belief that "there is usually a reason why". It is important to remember that record labels, even great and art-sensitive ones like BN, are a business.*****
That sums it up. First there is always a reason why, good or bad, deserved or not, but there is a reason.
All these labels were / are in business to make money. Do not assume that the decision makers at BN loved Jazz. They may have, but they loved making money more. Business people don't always love or even care about the product that they sell.
For example, you'd be hard pressed to find an automobile aficionado among car dealers and salesmen. It's just a product. We may see the MBs and BMWs as wonderful feats of automotive engineering, but they could be washing machines as far as the average dealer is concerned. The bottom line is all that concerns them.
The owners at BN and other labels, did not see the players as we saw / see them.
Cheers |
Rok, I knew you would take that attitude, after all BN, did nothing illegal. But now almost every business is a predator, and you're the prey. Those laws on the books that protected you, are no longer there; that's because "We Don't need no stinking regulations", they ruin business.
No, I'm not getting on my soap box today, since we all have PC's, if you want to know what's going on, you can find out just like I did. Once upon a time you could get legal help when you got screwed by big business, but now all you can do is reach for a crying towel.
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One story that circulated on Agon was that Grant Green would come to Blue Note with his 'substandard' junky music wanting them to record it. Grant Green didn't make substandard music even before he became a professional, and was just playing for the joy of playing and being heard.
I let the circulater know what I thought about him. He might just crawl out from under his rock and be heard since he knows I'm talking about him.
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O-10, yes, a flat fee was often the case for players without a lot of clout. Some players were "taken advantage of"; some let themselves be taken advantage of.
****they seem to prefer "junkys"****.
Sorry, O-10, but that has got to be one of the most cynical comments. Junkies tend to not show up to jobs on time; studio time is very expensive. |
Junkies:
Being a musician does not make you do drugs, or give you the 'right' to be an addict. There were thousands of men going to work everyday at jobs all over NY, and the country for that matter, who did not do drugs.
Musicians have a talent few people have, if they can not see that, and be thankful and make the most of that, then shame on them. Save your pity for the innocent people close to them that really suffered.
I think the OP is addicted to Kool Aid.
Cheers
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Being a musician does not make you do drugs, nor does being a human being, but I would never try to take advantage of a person who's as low as he can go. Maybe society will change it's attitude about drugs now that it's not just "jazz" musicians. https://www.youtube.com/watch?v=-TgqWbfga7oAfter looking at that, what's your attitude now. |
As is usually the case, the truth is probably somewhere in the middle. Heads of jazz record labels tend to indeed be jazz lovers. Why else would someone start a jazz record label? Plenty of better and easier ways for entrepreneurs to make money. I don't know if they love money more than the music, but I do know that to run a viable business of any kind one has to make money; otherwise, you don't help anyone.
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I always thought they just filled a niche that no one else was interested in filling. After reading this wiki thing, I see I am right. If other established labels had been willing to record Jazz, there may have never been a BN. Of course all this was brought about due to 'social conditions' and 'race' music. https://en.wikipedia.org/wiki/Blue_Note_RecordsThe article says Lion was drafted in 1941 for two years. That would mean he was discharged in the middle of the war. WTF? There no easier way to make money than having an entire market to yourself. I wonder why we always think BN was run by Jazz lovers, but don't think DG was run by Classical lovers. At least I never did. Of course they are all now part of faceless multinationals. O-10: Aficionados of the world, UNITE!! You have nothing to lose but your LPs. Cheers |
From the very Wiki article you site:
++++++++++++
Lion first heard jazz as a young boy in Berlin. He settled in New York in 1937, and shortly after the first From Spirituals to Swing concert, recorded pianists Albert Ammons and Meade Lux Lewis in 1939 during a one-day session in a rented studio. The Blue Note label initially consisted of Lion and Max Margulis, a communist writer who funded the project. The label's first releases were traditional "hot" jazz and boogie woogie, and the label's first hit was a performance of "Summertime" by soprano saxophonist Sidney Bechet, which Bechet had been unable to record for the established companies. Musicians were supplied with alcoholic refreshments, and recorded in the early hours of the morning after their evening's work in clubs and bars had finished. The label soon became known for treating musicians uncommonly well - setting up recording sessions at congenial times, and allowing the artists to be involved in all aspects of the record's production.
+++++++++++
Kindly explain to me how this goes counter to my contention that the founder Lion was a jazz lover. Moreover, that, at least this particular label (BN), treated their musicians well. So, not only does jazz need "saving" now, but it needed saving back then. I get it 🙄 |
*****
Musicians were supplied with alcoholic refreshments, and recorded in the early hours of the morning after their evening's work in clubs and bars had finished. The label soon became known for treating musicians uncommonly well - setting up recording sessions at congenial times, and allowing the artists to be involved in all aspects of the record's production.******
Seems like they got everything except money. Esp money commensurate with their importance and their contributions to the business. I guess the alcohol was considered adequate reimbursement.
Reminds me of Chess records in Chicago. The Blues label. Also owned by some refugee from Europe. He paid his artist in Cadillac automobiles. WTF!!! Haven't these people heard of Money, and Royalties?
*****
Kindly explain to me how this goes counter to my contention that the founder Lion was a jazz lover. *****
Never said he was not a Jazz lover, and the article never said he was. It said he was exposed to it in Berlin. My contention is that they saw an opportunity, an opening, a market that was under served, and they took advantage of the situation. Nothing personal, just business.
Cheers |
Alex, don't change your romantic perspective on the Blue Note label. It was founded as a true labor of love and, as you know, produced some of the greatest music ever. I am always mystified by what it is about human nature that causes some to be so cynical and see only the negative in certain things, even the music they claim to love. Great reading about Alfred Lion that clearly shows he was a jazz lover and treated his musicians well: http://www.immigrantentrepreneurship.org/entry.php?rec=112 |
Rok on Rok, tell it like is, "Mama's little baby like diamonds, Mama's little baby like gold", yall can keep that shortnin bread (whatever that is) Damn near all the Blue Note jazz musicians were junkys, was that a coincident. What did Blue Note do to help them. Those musicians have to show up for a lot of club dates. Blue Note didn't care about them not showing up for jobs, but they only have to show up at the recording studio every now and then. Albums made in 65, are still selling today, and if Blue Note paid a flat price, nobody but Blue Note is making money off those albums. An addict would sell his mother to get a fix. No matter how immoral and rotten that sounds, that's the way it was, and Blue Note knew it. Now we have a heroin epidemic, and those pretty little girls in the suburbs, who should be in college, might be out hustling to get a fix. What do you think about that? I bet you can't give an answer, and if you do, it will be much different than whatever answer you gave in regard to Tina Brooks being an addict. With all those boss albums Grant Green had out, why did he have to leave his hospital bed to make a gig? The doctor told him it would kill him, and it did. I don't even know if he still had a habit at that time, I doubt it. When I saw an addict with the incredible talent of a jazz musician, it tore my heart out, and I did what I could to help them, Blue Note saw money on the hoof, (I mean foot) when they saw what I saw. There is absolutely no doubt that Blue Note had the most talented jazz musicians. That kind of talent is very rare; it's only when you see them live, no rehearsal, no written music, and they perform like you would not believe. Maybe nobody believes what I wrote and said I saw, but that's OK; let's call him "Harvey". To get a little more specific, let's call him Blue Note Harvey. Since I have seen an addict who I couldn't help, these people are not statistics, they are people who need help, and it's too late to get sanctimonious. https://www.youtube.com/watch?v=M-uYsuSKe4gIf you want to know where it comes from, check heroin and Afghanistan. |
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Orpheus, in the classical world, Andre Previn is mainly known as a conductor, though he did write a few pieces. He also wrote a few film scores. I don't think I have ever even heard any of his classical compositions, let alone played them. Certainly they are not performed very often, especially if he is not conducting them. His recordings I have heard where he is a conductor did not particularly impress me. Not saying they are not good, just that there are much better conductors. |
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Frogman, I never said it was classical, I would have to be a MOWRON to think that was classical music. I stated this was all I could find by Previn , and I asked Learsfool to find some classical music.
That was considered "west coast jazz" in 58, with a 'beatnik' theme. Do you remember them? 'Like Young' was not considered bland at that time, and I still like it. Your last sentence emphatically states that I am a MOWRON.
You're probably too young to remember when that was red hot on the west coast. |
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I liked "John Adams Road movies," the second one was OK, might have sounded better if I was in a different mood. On the last one I couldn't get past the ladies screeching voice. This post is an indication of how much culture I got.
Enjoy the music.
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You're welcome, O-10. Jeez! |
Frogman, I'm still waiting for a response on my post dated 03-20-16 12:05 AM, and don't forget the link, it's most important. Thank you.
Enjoy the music.
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O-10, re Previn. There must be a couple hundred clips of Previn on |
O-10, re Previn (and the 3/20 post):
There must be a couple hundred clips of Previn on YouTube, you write this:
****Since I have jazz by Andre Previn, I tried to find some classical music by him, but this is all I found.****
and, you post the clip I commented on. Certainly appears that you consider it classical. I don’t think nor did I state that you are MOWRON. It is clear, however, that you prefer, as I said before, to focus on the negative and stay on the dark side. Sorry, I’m not playing.
Hey, btw, one out of three ain’t too bad. Now you know you like John Adams; how about that! Also, are we talking about Previn the classical composer or Previn the classical conductor? |
Frogman, you still have not responded to my post that appears between your post to Alex, and your post to Toudou. You'll need time to consider the link, I understand that.
Thank you.
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Frogman, if you want to evade, or avoid that post, we can just move on to the next thing. |
Frogman, I forgive you for not responding to that link; people like me who know what's going on, and let it be known that they know, pay a very high price.
Since I'm already in the spotlight it doesn't matter, but it's better not to be in the spotlight.
Enjoy the music.
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From the Blaxploitation genre???
Junk music glorifying drugs and violence.
Cheers |
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Rok, it seems no one is going to respond to the link on post dated 3-20-2016; that was 12 hours ago.
Superfly: "Freddie's dead"; juxtapose that with the link on the post dated 3-20-2016.
Superfly: "Pusherman"; juxtapose that with the link on the post dated 3-20-2016.
Enjoy the music.
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