independant label


On this day in music history: April 24, 1982 - “If It Ain’t One Thing… It’s Another” by Richard “Dimples” Fields hits #1 on the Billboard R&B singles chart for 3 weeks, also peaking at #47 on the Hot 100 on May 15, 1982. Written and produced by Richard “Dimples” Fields and Belinda Wilson, it is the biggest hit for the San Francisco, CA born and raised R&B singer. Fields originally co-writes and record the song in 1975, released on his own small independent label Dat Richfield Kat (DRK) Records. After signing with Neil Bogart’s Boardwalk Records in 1981 and having R&B chart success with the album “Dimples” and its hit single “She’s Got Papers On Me”, he re-records “If It Ain’t One Thing… It’s Another” for the follow up album “Mr. Look So Good!” released in early 1982. The seven minute long song (edited for single release) about personal trials and tribulations capped off with the singer quoting from the bible becomes a huge hit on black radio. “If It Ain’t One Thing… It’s Another” is later quoted as a hook in Snoop Dogg’s 1994 single “Doggy Dogg World”. Fields records another album for Boardwalk titled “Give Everybody Some!” in late 1982 before the label folds the following year. He signs with RCA (later Columbia)shortly after where he scores his last sizable R&B hits with “Your Wife Is Cheatin’ On Us” (#32 R&B) in 1984, and a cover of Aaron Neville’s classic “Tell It Like It Is” (#22 R&B) in 1987. Subsequent albums for Columbia and Bellmark Records fails to make an impact. Richard “Dimples” Fields passes away from a stroke at the age of 57 on January 12, 2000.

louis is really out here destroying yeezys with no regard to their status as the world’s most sought-after shoe, he’s out here wearing wool pants in 70-80 degree desert heat, he’s been on ASOS menswear’s weekly ootd column 3 times in 3 weeks, his complete outfits are often worth more than $2000, he’s branching out into more niche/independent fashion labels and designers, i think we all know who the real king of fashion is here

Open Letter to the Clique from Mark

Dear Skeleton Clique,

We are slipping.

Tyler Joseph and Josh Dun use their many talents to send a message of hope and community to those who feel hopeless and alone. The band’s mission is for this message to reach those who struggle (usually with depression, since this is the struggle they (specifically Tyler) understand best), in hopes that it will also help the listener overcome the obstacles they share. They do send other messages, but this is the most immediate and by far the most important.

When a fan base selflessly rallies around this kind of mission and message for the sake of helping others to stay alive, it’s unspeakably beautiful and actually lifesaving. When that same fan base selfishly rearranges its priorities to put fan-status ahead of the mission, it’s unspeakably ugly and detrimental to everything it stood for to begin with. It isolates the message from those who genuinely need it most. It’s an ego-driven, life-threatening mentality.

If there wasn’t so much at stake, I wouldn’t care enough to write a single word about this. The reality, however, is that a truly lifesaving message is getting heavy pushback from many who claim to believe and live out these truths – all in the name of self-glorification. When that happens, we withhold goodness from so many people. Again, we withhold aid from those who need it, and I refuse to just sit here and watch that happen.

I’m not just assuming this negativity and selfishness exists, but rather watching it unfold firsthand. Furthermore, I’m not just assuming that people could really benefit from the message. How many times have you read “Your music saved my life” in the comments? Has it saved yours? Would you want it kept from you?

Let’s take a look at some (paraphrased) attitudes we constantly see:

1) “I’ve been a fan since [album title/year]”
I completely understand why somebody would be proud to have watched a band grow from the beginning. In that case, there would be few who could claim to have seen what you’ve seen, and that’s special in and of itself.

However, it’s not meant to be a trophy for you to shove in anybody’s face. The most likely reason somebody would do this is so that others might acknowledge and validate some high-level of fandom that they possess. Instead of seeking this approval for no good reason, acknowledge your fandom to yourself and move on. Validate your fandom by being a fan. Support the band and its mission.

Honestly, you’d be hard-pressed to find more than one legitimate instance in which you should bring up how long you’ve been a fan. The only one I can think of (and it’s rare as hell) is if somebody asked you directly, but even then, just tell them and move on. Somebody was a fan before you, and there’s likely a band you’ll love that – through no fault of your own – you haven’t even discovered yet.

Boasting the number of years you’ve served in the clique doesn’t drive any of your points home. Not a one. Instead, it divides us, which is foundationally against the message and mission of the band to come together and stay alive.

2) “I hate that they’re getting famous.”
If that’s the case, you simply don’t love or support this band. Let me clarify.

There are only two cases (that I am aware of) in which it makes ANY sense to be upset about your favorite band getting famous: 1) They did so by way of “selling out.” In other words, they sacrificed their mission and message and abandoned what they once stood for as a means to an end (but even in this case, you’d be more upset about the means (selling out) than the end (fame)). 2) Their concert tickets are now much more expensive, which makes it more difficult for you to see them live. In these two cases, absolutely be mad.

The reality you need to accept is that if you love this band, it should bring you unspeakable joy when fame allows their message to reach more people. Otherwise, you’re pushing back against the mission of the band, likely because you just don’t want to share, which brings me to my next point…

3) “This is my band.”
I believe the “this is my band” mentality is responsible for a lot of the issues I’m discussing. When you link your personal identity so heavily with something that is fundamentally meant to be shared, you will inevitably forfeit your identity to the public when it actually becomes shared. You will lose yourself entirely.

4) “I hate how people call themselves fans but they only know Stressed Out/Tear in my Heart/House of Gold/Car Radio.”
Show me even one person who claims to be a Twenty One Pilots fan while simultaneously admitting to only knowing one or a handful of song(s). Seriously, if you see somebody do both at the same time, comment it below. Let’s see how many actually exist.

In other words, those who are upset about self-proclaimed fans only knowing one song likely have no way of proving that the person actually only knows the one song. Rather, they assume the worst of a stranger based solely on whichever song they listed as their favorite. If it’s a radio hit, they often call out the poor soul who simply said they like Stressed Out. Even if they do admit to only knowing the one song, in most (if not all) cases, it’s paired with something like, “…but I love this band,” suggesting they expect to dig further into the discography based off of how much they love what little they’ve heard.

The truth is that these songs are powerful enough for one of them alone to move somebody. If you’re not willing to accept that truth because you feel somebody isn’t doing the entire catalog justice, you don’t even understand these songs, let alone support the mission they drive. No matter how ideal it would be for someone to know the whole catalog, no matter how cohesive and intentional each album is as a whole, that can’t possibly diminish the fact that each song can speak volumes by itself. It’s no crime for somebody to recognize that. In fact, it strengthens this community and allows it to grow.

5) “It’s ‘Twenty One Pilots,’ not ’21p’ or ‘TOP'”
I actually agree that we should spell out the band’s name. They requested that we do so out of respect. However, we need to realize something.

Those who abbreviate the band name are almost never doing so to diminish what Twenty One Pilots is. Abbreviating is common with band names, and people are usually just being people. If you’re seeking to invite the person to understand the spelling-out of the band name, do so kindly and in a way that fosters community. This is usually the route the clique takes, and I’m grateful for that. This is just a friendly reminder.

Again, this is no time to take people’s innocent ignorance personally (see point 3). There is never a need to prove how much you know just for proof’s sake.That divides the fan base and pushes back against the band’s mission and message.

EDIT: Since this article was posted, Twenty One Pilots has released official merchandise with their band name abbreviated in nearly every way imaginable (2NTY ØNE PLTS, TØP, etc), which I have to imagine was their decision. Do what you will and remain inviting.

6) “Vessel is not their first album”
Again, those who suggest Vessel is the band’s first album almost never do so just to get under your skin. Don’t let it anger you. Instead, realize that it actually makes a lot of sense for someone to believe Vessel is their first album considering the difference between independent releases and label releases (some of their work isn’t actually allowed by law to be sold commercially or publicly). Be welcoming and kind. Nurture the clique. Let it grow.

7) “Twenty One Pilots is not indie/rock/pop/rap/whatever.”
The lines separating genres have become so blurred at this point that it’s almost pointless to even try to assign one to a band anymore. There’s no reason to get upset if you think Twenty One Pilots has been misrepresented by genre. That being said, by all means have a discussion about what you think it might be. But don’t get upset. That just doesn’t make any sense.

For the record, they’re self-declared as “Schizoid-Pop” and I have no idea what that’s even supposed to mean. Discuss.

Being a part of the skeleton clique should make you feel proud. We are the foot soldiers in places the band can’t reach alone. By spreading this message, you help the band help others, and that’s all they want. That, and to see the clique grow.

If somebody flat-out disrespects the mission and message of Twenty One Pilots, by all means fight back. Don’t be rude, just be real. Defend the truth with more truth.

In that same vein, spreading this message is crucial. Let it through. Do not keep it for yourself. This band is not yours, it’s ours. Not everyone in the clique is guilty of this selfish mentality. In fact, I’d say the vast majority is still on track. However, I say again, we are slipping. Let’s find our footing.

Stay alive, friends. |-/

ALBUM REVIEW: Frank Ocean - Blond

As his visual album, Endless, dropped in dissonance to Channel Orange, fans scratched their heads, asking themselves, “Is this our Frank?” The angelic voice seemed to be directing his art away from the groovy, hip-hop timbre of the first album, toward a more cathartic R&B tonality. Three days later, what seemed to be a sonic transformation proved to be only an addition to Ocean’s skill set, when a second album broke through the surface. Blond was released on an independent label and is anything but a carbon copy of Endless. Stylistically, it’s more similar to Frank’s flair on Channel Orange, which brought him into the spotlight.

Blond’s first song, “Nikes,” begins with an organ-like synth and Ocean’s voice comes in a few octaves higher than normal. For me, the “little” voice appears as Ocean’s conscience and it wanders from heavier content, like police brutality and materialism, to more whimsical lines about little mermaids by the pool and b***** wanting Nike. The stream of consciousness is a more fluid approach that almost says, “These are my thoughts, but it’s just me.” Ocean does this to recognize himself as part of the movement, but reinforces his role as a storyteller who starts conversation. In times like today, being queer, Afro-American, and in the spotlight is difficult because people look to you to be the leader. Instead, Ocean chooses to provide his thoughts, but doesn’t lay them down as the law. The song tells the story of glittery fame, juxtaposing the realities behind that fame with an obvious distaste for materialism in our modern world. Three minutes into the song, the register drops and Ocean begins addressing the audience. The message remains similar, preaching to live in the moment (“living so that last night feels like a past life”) but tends toward personal experience as opposed to a comment on our world. Lyrics in the bridge lament having something special with someone that isn’t love, or what they have with someone else, but still is something meaningful, setting the tone for the next song and the content of the album as a whole.

“Ivy” chronicles “the start of nothing new” with an old lover and the problems that arise due to confusion of emotions and changes that happen with time spent away from that person. The manifestation of confusing emotions, as the feeling deep down is “still good,” but “it’s not the same,” is a motif carried throughout the album. There are a lot of songs out there about breakups and new love, but on this album, Frank does a marvelous job of telling the stories behind those imperfect, undefined relationships: the ones that aren’t right out of a fairytale. When I started this review, I asked many of my friends what their favorite songs on the album were, and I was confused when each person came at me with a different song. Usually, there is some sort of consensus, or a song that comes up a few times (probably the banger off of the album), but pretty much every song on the album got a shout out from my pals. This is most likely because each song talks about a very specific sort of relationship or situation, rather than finding a unique way to talk about the same cliché set of love stories. Channel Orange had a similar approach to discussing love, which is partially why I thought it was such innovative songwriting. This quality also contributes to the album’s ability to grow on you, because the complexity of the lyrics and the situations discussed takes a few listens to fully capture. There also may be a situation described that is too specific for someone to relate to currently, but they can come back to it in a year with greater sympathy. The reverb on the guitars is reminiscent of a slow-moving, California beach rock love song. By the end of the track, Ocean’s voice has been transformed via production to an aggressive, pseudo-robotic cry, as the anger and frustration in the lyrics grows. Then, cut music and just the echo of the last word, “dreaming,” resonates in the space left by the instruments. This is killer, as it generates the feeling of trying to grasp something that can really only be a dream, being left emptyhanded instead and the frustration that comes along with that.

“Pink + White” follows this song, setting the pace for the ebb and flow of the album. The triplet feel in the base line with the minimalistic piano counterpart creates a groove similar to that set by older songs like “Sweet Life,” which makes sense because both songs were produced by Pharrell. I am mentally taken to lazy walks that I like to take when the sun is setting in summertime because everything is brilliantly-colored and sits still for a moment before the craziness of the evening picks up. Frank paints a picture of the rosy haze surrounding experiencing a new kind of love, wherein instead of walking grounded, you waltz (¾ time) through the clouds. This is definitely one of those songs you should play for your s.o. when you’re lounging around in bed, with the shimmers of light coming through the shades of your window. The cloudscape is completed with the glittering voice of Beyoncé, the sunshine, who is also included on backing vocals.

Following, “Pink + White” is a female voice sample whose monologue sharply contrasts the lazy summer vibe of the previous track, warning whomever she is addressing to not use drugs and alcohol. Repetitively, the voice tells her audience to be themselves and continues preaching regarding typical temptations of a young adult. By the end of it, I was definitely thinking about my mom, and my feelings were validated when the voice signs off, “This is mom, Call me.” Ryan Ocean, Frank’s brother, later confirmed on Twitter that the sample was Auntie Rosie, who was also featured on the song “Not Just Money” from Channel Orange. A good family friend, the recording is an actual voicemail that one of Ocean’s friends received. The sample balances the copious drug references used in other songs and seamlessly introduces “Solo,” the next song. The primary instrument in “Solo” is an organ synth, thus the succession of tracks mimics a sermon followed by the church music, but of course, the lyrical content is far from the typical church experience. The track talks about being alone, getting high, and essentially coping with loneliness. Instead of the strong psalm of solitude one might expect from the title, Ocean’s melancholy melodies soar over the organ in a ballad, discussing the little things that are okay when you are alone; the heaven that exists within the hell that is separation.

“Skyline To” follows the night of ridin’ “Solo” with a story of summer love. Homoerotic musings brush the audience in Biblical references like, “Makin’ sweet love, takin’ time, ‘til god strikes us,” which I love. I love that he slips in his sexuality in such a normalized fashion, with pride, but just going on with his day-to-day life. This is how it should be. The song rolls through a druggy haze with a psychedelic synth accompaniment. Kendrick Lamar lends his vocals and none other than Tyler the Creator is the producer – guess it’s OFWGKTA for the win. The end result, tonally, is of a similar leaf to “Pink + White” with images of sun slipping through the window, turning into beams of moonlight. Finally, the mention of what no one wants to think about: the end of summer. Somehow, I don’t care that he made me think about starting school, though, because the melody and lyricism in this song slay me.

The whimsical voice of Frank’s conscience returns for the hook of “Self-Control” as he recalls a pool-side conversation, questioning whether he and the person he’s with and he can “make it shine.” The hook lets way to an acoustic guitar and Ocean croons, spilling his heart out over a past lover. This song digs into the stereotypical situation that starts over lust, but the flame within one of the people dies, causing disproportionate interest and eventually an end. Swedish rapper Yung Lean is featured on the chorus with Austin Feinstein of Slow Hollows, saying, “Keep a place for me, for me I’ll sleep between y'all, it’s nothing, It’s nothing, it’s nothing.” The repetition of “It’s nothing” mimics the repression of the other thoughts in one’s head; trying to play it cool. This lyric also pays a small amount of homage to Prince’s lyric “…I didn’t care…when he was there, sleeping in between the two of us” from “When U Were Mine,” which Frank covered on his last tour. The perspective is different because Prince talks about the person coming between he and his lover, whereas Frank wishes to be the one coming between his significant other and the person with whom they’re sleeping.

After pouring his heart out, Frank recounts a blind date he had in New York city, set up by one of his mutual friends, on the track “Good Guy.” This mini-track is cut from the same emotional cloth as “Self-Control;” Ocean ripples from emotionless hookup to emotionless hookup. It’s nice to know that even superstars have problems with finding someone who wants something real. Then, at the end of the song, there is a clip of two men in a car, talking about girls wrecking their hearts, but it cuts midline to my new cruisin’ anthem, “Nights.” It’s as if the Frank, whose feelings weren’t returned, hits that “snap out of it” wall, vibin’ onto a more up-tempo track.

Although “Nights” dissertates the hustle, it also references other parts of Ocean’s “everyday shit,” including the people he’s seeing on the side of his work. He reminisces on days where he had less money and worked night shifts. Manifested is the feeling of wanting to have someone there to come home to, but also being married to the grind and not being able to keep up something more serious. The cyclical thoughts build to waterfalls of notes echoing into a phone ringing, then silence. This felt like when I lie in bed at night and thoughts bounce around until finally I go to sleep, but in a tempo change that screams Frank Ocean. The change signals the entry into dreamland: deep bass kicks in and the mix feels like bubbles of rolling piano chords, slowly finding their way to the surface – perfect for a final verse about memories deeper in Ocean’s past. The hook returns over the same production, cessation echoing into a “Solo Reprise” by André 3000.

The halfway point in the album coincides with the tempo change so it makes sense that the reprise comes after, returning to themes from the beginning of the album. André’s rapid flow blew my mind the first time I heard the track, accompanied by just piano for most of the song. He bemoans police brutality and materialism, touching on his unhappiness with the music industry, asking at the end, “Was I working just way too hard?” Cut immediately to “Pretty Sweet,” which has an intro that’s anything but sweet. More of an auricular experiment, what starts as complete chaos and dissonance within the synth chords turns into less dissonant guitar, but there remains a lack of structure. Ocean’s flow is at times melodic, but the phrasing of the verse is syncopated and some lines remain unfinished. A chorus of children at the end turn the sonic trip into a shimmer of major chords, sunshine, and happiness: disharmony resolved.

The next voice on the album has much too thick of a French accent to be Frank Ocean, and that’s because it’s French DJ and producer SebastiAn. He actually “programmed” several of the tracks on Endless, including one of my favorites, “Rushes.” He spoke about Frank recording the story when they were just hanging out in an interview with Pitchfork, confirming the skit to be a true story. “Facebook Story” echoes previous mentions of technology bending what people consider to be reality, making them “crazy.” After all, the relationship ended when the DJ wouldn’t immediately accept an official request on Facebook when he was with the friend. A similar message rests in the lyrics of Wolfgang Tillman’s track, “Device Control,” that premiered at the beginning and end of the visual album: people are unable to live their reality without their technology intertwined.

Next is a cover of what originally was “(They Long To Be) Close to You” by The Carpenters. It truly sounds more similar to a live Talkbox cover of the Carpenters song done by Stevie Wonder due to the production of Ocean’s voice. A talkbox is one of the original tools used by musicians for vocal modification, so covering a cover, adding even more technology and production, is playing even further into the picture of virtual reality that Ocean continues to paint. It is a nice compliment to the last skit, as Ocean sings of longing to be close to an anonymous lover in this lyric collage cover.

Remember a year ago when A-Trak hinted that in a few weeks we would hear a song called “White Ferrari” that would be the best thing we would hear that year? Then how it really stunk when it didn’t come? Well, ladies and gents, here it is, THE “White Ferrari,” track 14 on the album. Lennon/McCartney are credited on this track for a similarity in lyrics to the song “Here, There, and Everywhere.” The tone is nostalgic, the content being an old relationship and the purity of the love he found. The melody stands strong in front of major synth chords that eventually change to guitar while still remaining predominantly low texture. The last lines of the outro are sung by James Blake until breaking through to the clarity of “Siegfried.”

“Seigfried” is obviously a break-up song, but it dives into the world of Ocean’s other life experiences and musings on the nature of his mind. He pays homage to Elliott Smith’s haunting song regarding substance abuse, “A Fond Farewell,” in saying a “fond farewell to a friend,” and through the lo-fi quality of the guitars. The repeated references to bravery make me think that the title refers to the warrior Siegfried (slightly different spelling) of Norse mythology who often symbolizes bravery, and his story ends in the perfect fairytale with a princess. Ocean believes that the suburban, settled life is not for him and that he’s not brave. Additionally, the warrior could be representative of Ocean’s ex-boyfriend, Willy Cartier, who looks similar to depictions of Siegfried with long, flowing locks and a “speckled face” that Ocean mentions in the first verse. There is also the possibility of the title instead referencing Siegfried Sassoon, a British poet and soldier, who is actually more similar to Ocean in his bisexual experiences. Sassoon also had a romance with Wilfred Owen, who fell madly in love with him, but the love was not returned. The conclusion of thought is that Frank Ocean would do anything for whomever he’s talking to, in a desperate final cry for the lost relationship.

“Godspeed” has a fitting ecclesiastic organ accompaniment and Kim Burrell, who many consider to be one of the greatest gospel singers of all time, sings the outro. The song matches titles with a story that Frank wrote in the Boys Don’t Cry magazine, and I think that the following quote he shared with fans speaks for itself:

It’s basically a reimagined part of my boyhood. Boys do cry, but I don’t think I shed a tear for a good chunk of my teenage years. It’s surprisingly my favorite part of life so far. Surprising, to me, because the current phase is what I was asking the cosmos for when I was a kid. Maybe that part had its rough stretches too, but in my rearview mirror it’s getting small enough to convince myself it was all good. And really though… It’s still all good.”

He shared this as a note, reminiscing about the making of the album in two Tumblr posts that you can read here. The note containing the quote is shared in the form of a collage with an image of a gold BMW. “Futuara Free,” the final song on the album, has a title reference to Stanely Kubrick’s favorite typeface and is divided into two parts by a silent interlude. If you thought there was a problem with the audio, you better go back and listen again. The beautiful melody recounts all of Ocean’s accomplishments and from where he came. The verse moves in a stream of consciousness, free-falling through pop culture references and lamenting the stress that comes with being famous. The second part, post silence, is a clip of an interview with Illegal Civilization, a skater gang that hangs with Odd Future in LA. The interview was conducted by Ryan Breaux, Ocean’s brother, years ago and includes silly interview questions, lots of background noise and interview clips with Mikey Alfred, Sage Elsesser and Na-kel Smith. The video ends the album, fading into a lighthearted rosy haze, in the hands of the youth. It also works well with the large amounts of sampling and collaboration that Ocean uses on the album, truly showcasing that an artist pulls influence from everywhere.

Overall, it was worth the wait. Each track stands as artwork and they are sewn together with the motion of the Ocean, into a masterpiece.

-Erin Jones


jparkitrighthereTook the words right out of my mouth!! damn!! 🔥🔥🔥😤😤💪💪#aomg #h1ghrmusic#followthemovement #inspiration#diddy #badboy17.04.11

jparkitrighthere: Made a sudden cameo in @malitia_malimob M/V peoples king~ even tho we talk about different things in our music, can’t help but appreciate the hustle, raw artistry and just overall dope music. Also appreciate the love and hospitality 🙏🙏 Don’t sleep on Seattle! Too much talent in the city 🔥🔥💯💯🌊🌊 #Seattle2Somalia2Seoul ayyyyyyy

A post shared by $hway BUM Park 박재범 (@jparkitrighthere) on Apr 10, 2017 at 10:17pm PDT


jparkitrighthere: We been reppin our city goin’ hard for our ppls 🙌🙌🙌🙌 #nationalsiblingsday #lilbruddah#aomg #h1ghrmusic#followthemovement #cafedudart#seattle2seoul

A post shared by $hway BUM Park 박재범 (@jparkitrighthere) on Apr 11, 2017 at 1:05am PDT


jparkitrighthere: 호.박.마.차 🎃🎃🎃 #aomg #h1ghrmusic#followthemovement photo by @boobagraphy

A post shared by $hway BUM Park 박재범 (@jparkitrighthere) on Apr 11, 2017 at 2:32am PDT


jparkitrighthere: Took the words right out of my mouth!! damn!! 🔥🔥🔥😤😤💪💪#aomg #h1ghrmusic#followthemovement #inspiration#diddy #badboy

A post shared by $hway BUM Park 박재범 (@jparkitrighthere) on Apr 12, 2017 at 9:44pm PDT


jparkitrighthere: #aomg #h1ghrmusic#followthemovement

A post shared by $hway BUM Park 박재범 (@jparkitrighthere) on Apr 13, 2017 at 3:26am PDT


jparkitrighthere: Forbes 30 under 30 Asia 🙏🙏 “Park is a Korean-American performer, and founder of the independent Korean hip hop label AOMG. A multi-platinum selling artist in South Korea, Park has performed with top acts such as Justin Beiber, Jason Mraz and Ne-Yo. He rose to prominence as a member of South Korean boy band 2PM and counts actor Will Smith among his fans. In 2017, Park was named Artist of the Year at the Korean Hip Hop Awards and Musician of the Year at the Korean Music Awards.” #aomg#h1ghrmusic #followthemovement#seattle2seoul #forbes

anonymous asked:

I think you are misunderstanding what an "exclusive license" means. Niall signed a record deal with Capitol, not a distribution deal. What the essentially means is that Neon Haze have licensed out Niall to Capitol. That's why Capitol is running his website, why they'll get money from his merchandise, tour sales etc. Having Niall sign a record deal via Neon Haze rather than directly is just a smart way for Niall to put a firewall around his personal assets and to help him lower his tax rate.

No. Neon Haze Music, Ltd. signed an exclusive license deal with Capitol. There is a difference, and it’s not just about taxes. And while you’re correct that “distribution deal” isn’t proper wording since it includes marketing and promotion - neither is “Neon Haze licensed out Niall.” Neon Haze is licensing the masters to Capitol, not Niall himself.

And yes, I’m sure they’ll get a percentage of merchandise and touring, but it’s a flat amount, not regular record label creative accounting.

This is an article about Downtown Records and the deal they cut with Universal. This is essentially what I believe Niall (and the rest) have agreed to with their independent labels.


On this day in music history: March 24, 1962 - “Twistin’ The Night Away” by Sam Cooke hits #1 on the Billboard R&B singles chart for 2 weeks, also peaking at #9 on the Hot 100 on the same date. Written by Sam Cooke, it is the third chart topping single for the R&B and pop vocal icon from Clarksdale, MS. Making the move from independent label Keen Records to major player RCA Records in 1960, Sam Cooke doesn’t miss a beat in the transition, scoring a big hit with the classic “Chain Gang” (#2 R&B and Pop). Though with the exception of “Cupid” (#20 R&B, #17 Pop), Cooke hits a slump in 1961, when five of his singles chart poorly or not at all. Looking for something to pull himself out his chart stagnation, the singer turns to the latest pop cultural phenomenon for inspiration. A sensation in the US and worldwide since Chubby Checker emerges on the scene with “The Twist”, Checker’s record achieves the unheard of feat of topping the Billboard Hot 100 in two separate runs on the charts in September 1960 and January 1962. Also in late 1961, New Jersey based band Joey Dee And The Starliters are quickly moving up the charts with “Peppermint Twist Pt. 1”, which replaces “The Twist” at number one after its second time at the top. Cooke writes “Twistin’ The Night Away”, and plays the finished song for his producers Hugo Peretti and Luigi Creatore. Hugo and Luigi agree with Cooke that it’s a hit, and quickly move to record it. “Twistin’” is recorded at RCA Studios in Hollywood, CA on December 18, 1961, with members of the famed Wrecking Crew studio collective including arranger Rene Hall (Marvin Gaye), Earl Palmer (drums), Tommy Tedesco, Clifton White (guitars), Red Callender (bass), Ed Beal (piano), Jackie Kelso, John Ewing, Jewell Grant (saxophones) and Stuart Williamson (trumpet). Released on January 9, 1962, the song quickly demonstrates that Sam Cooke is far from over. Entering the Hot 100 at #70 on February 3, 1962 and #20 on the R&B singles chart on February 17, 1962, the single rises up both charts quickly. “Twistin’ The Night Away” becomes one of Sam Cooke’s most popular and beloved songs, later being featured in films like “Animal House”, “Innerspace” and “The Green Hornet”. Rod Stewart records the song for his album “Never A Dull Moment” in 1973, re-recording it for the soundtrack of “Innerspace”, appearing along side Cooke’s original version in the film. Drag performer and actor Divine also records a Hi-NRG dance version “Twistin’” in 1985.

All I have to say right now

I hope that SM and Only13s are happy

Henry is the purest thing ever and since before Super Junior M even debuted the boy’s been hated on for no fucking reason. He didn’t take ANYONE’s place in Super Junior, he earned it himself, as did Zhou Mi, and everyone who is or was in Super Junior. The members always say that SJM members = SJ members, and most fans say the same thing. I’m beyond pissed off right now to the point of me actually crying because of what Henry posted.

I’m scared. I don’t want Henry to suddenly leave. I doubt it, but you can never be too sure. The boys love Henry and Henry loves them, but there is so much we don’t know, and Henry crying for help now means he’s hit his limit of enduring whatever he’s been going through. Now’s the time for us all, as his fans, to show him undying and unconditional love and support. Even if you’re not an ELF, please show support towards Henry because he is struggling a lot from what we’ve just seen.


Jay-Z, Leroy “Pistol” Gordon, J. Prince’s right-hand man Tony “Big Chief” Randle and Gordon’s friend P. Woods, photographed during a visit to the Rap-A-Lot Records compound in Houston, Texas in 1996.

This unseen picture of Hov comes via Cashville Ten-A-Key’s own Pistol, who was once a member of Eazy-E’s Ruthless Records. He was signed to the label in 1994, and released his debut studio album Hittin’ Like a Bullet later that year.

J. Prince’s success in building one of the first independent rap labels outside of New York or Los Angeles had always greatly impressed a young Jay, and the Rap-A-Lot Records mentality influenced the foundation of Roc-A-Fella Records.


Cannonball Adderley, Rick Holmes, The Nat Adderley Sextet “ Soul Zodiac” 1972 US Jazz Funk,Soul Jazz,Deep Jazz.


Awesome cult classic deep jazz album from Nat Adderley featuring narrations from radio DJ Rick Holmes on the theme of astrology!
Mystical out-there 1972 deep jazz wig outs, as sampled by artists such as Tribe Called Quest!
This is some deep stuff! If you like the Soul of the Bible album then this is very similar! …Recommended!………..

“Soul Zodiac” is an album by jazz cornetist Nat Adderley released on the Capitol label featuring performances by Adderley’s Sextet with Ernie Watts, Mike Deasy, George Duke, Walter Booker, and Roy McCurdy with narration by Rick Holmes and Cannonball Adderley guesting on two tracks. Because of the prominent production credit on the cover the album is often mistakenly credited to Cannonball Adderley. Also, Soul Zodiac is not to be confused with Cannonball Adderley’s Love, Sex, and the Zodiac. …….~Wikipedia~ …….

A few seconds of spacy echo loops and you know where this album is coming from – the early jazz/rock era, the Age of Aquarius and all that. Yet this crazy amalgam of jazz, rock, electronics, and spoken astrological advice by the popular Los Angeles DJ Rick Holmes actually works, for the music behind the soulfully intoned words is very inventive and Holmes plays effectively off its rhythms. Basically this is the Cannonball Adderley group (Nat, cornet; George Duke, electric piano; Walter Booker, bass; Roy McCurdy, drums), with the young eloquent Ernie Watts sitting in for Cannonball (who appears only on “Libra” and “Aries”) on tenor and flute, and Mike Deasy contributing wild psychedelic guitar at times. Indeed Nat seems like just the nominal leader of the session – Cannonball actually gets top billing as co-producer – though he plays spiritedly at all times. The music is very eclectic, ranging from mainstream jazz to free-form freak-outs and even hilarious heavy metal rock on the stomping 14-minute “Taurus.” Actually these were expansions of the directions the Adderley group was exploring at the time, and one wonders how they determined the idiom for each sign. Whether or not you accept astrology, this double set is a lot of fun…….by Richard S. Ginell..allmusic…….

One of the great alto saxophonists, Cannonball Adderley had an exuberant and happy sound that communicated immediately to listeners. His intelligent presentation of his music (often explaining what he and his musicians were going to play) helped make him one of the most popular of all jazzmen. Adderley already had an established career as a high school band director in Florida when, during a 1955 visit to New York, he was persuaded to sit in with Oscar Pettiford’s group at the Cafe Bohemia. His playing created such a sensation that he was soon signed to Savoy and persuaded to play jazz full-time in New York. With his younger brother, cornetist Nat, Cannonball formed a quintet that struggled until its breakup in 1957. Adderley then joined Miles Davis, forming part of his super sextet with John Coltrane and participating on such classic recordings as Milestones and Kind of Blue. Adderley’s second attempt to form a quintet with his brother was much more successful for, in 1959, with pianist Bobby Timmons, he had a hit recording of “This Here.” From then on, Cannonball always was able to work steadily with his band. During its Riverside years (1959-1963), the Adderley Quintet primarily played soulful renditions of hard bop and Cannonball really excelled in the straight-ahead settings. During 1962-1963, Yusef Lateef made the group a sextet and pianist Joe Zawinul was an important new member. The collapse of Riverside resulted in Adderley signing with Capitol and his recordings became gradually more commercial. Charles Lloyd was in Lateef’s place for a year (with less success) and then with his departure the group went back to being a quintet. Zawinul’s 1966 composition “Mercy, Mercy, Mercy” was a huge hit for the group, Adderley started doubling on soprano, and the quintet’s later recordings emphasized long melody statements, funky rhythms, and electronics. However, during his last year, Cannonball Adderley was revisiting the past a bit and on Phenix he recorded new versions of many of his earlier numbers. But before he could evolve his music any further, Cannonball Adderley died suddenly from a stroke. ~ Scott Yanow…………..

One of the coolest, baddest, funkiest albums Cannonball Adderley ever recorded – a massive suite of tunes based on the signs of the Zodiac, produced to perfection by David Axelrod, and featuring some hip recitations from the mighty Rick Holmes! The double-length set is completely compelling all the way through – a darkly brooding batch of funky jazz that shows a strong Miles Davis electric influence at points, thanks to Nat Adderley’s spacey trumpet lines, Mike Deasy’s trippy guitar, and George Duke’s excellent keyboards! Other tracks are a bit more laidback, fitting the mood of their respective signs – and overall, the whole thing slips and slides wonderfully from cut to cut – taking you through the star signs with a really righteous, soulful approach. Titles include “Cancer”, “Sagittarius”, “Pisces”, “Aquarius”, “Capricorn”, “Virgo”, “Taurus”, “Aries”, “Libra”, and a special “Introduction”. (………… 

The Nat Adderley Sextet’s Soul Zodiac could easily have been buried in a time capsule as an example to future generations of the ideas that were in the air in late 60s/ early 70s popular culture. A concept album based on the signs of the Zodiac, a hip narration, psychedelic guitars and some fatback drums. Paradoxically it was this level of vogueishness, that for many years consigned it to the parts of the jazz catalogue that time had forgotten. However in the early 90s the acid jazz scene discovered its funk filled grooves and hip hop producers used those very grooves as the building blocks of their own records, turning the album into a sought after collector’s item. The Adderley brothers were born in Florida, Julian, more famously known as ‘Cannonball’ in 1928 and Nat in 1931. Cannon became a renowned alto saxophonist, and one of the leading bandleaders of his day. Signing in 1955 to Mercury Records, but making himself a national name when he joined the Miles Davis Sextet in 1957 being present on the recording of Davis’ most enduring album Kind Of Blue. After leaving Davis he signed to the New York independent jazz label Riverside where he began to score a series of jazz hits that would make his group one of the most successful jazz bands of the time. A key component of that group was his brother Nat who had played at various times with his brother in the 50s, as well as with J J Johnson and Lionel Hampton. After rejoining Cannon he would stay in his bands until his brother’s death in 1975. As well as his cornet playing being the front-line instrumental foil to Cannon he was also responsible for some of the most important tunes in the group’s song-book including 'Work Song’, 'Jive Samba’ and 'Tengo Tango’. The Cannonball Adderley Quintet’s success, and problems at Riverside saw them signed in 1964 to Capitol Records and working alongside staff A&R man and producer David Axelrod. Axelrod and Cannon got on well, and they settled into an extended period of work that would see the group reach a new level of success. That success reached its peak - commercially at least - with 1967’s LP Live At The Club. This album contained the Joe Zawinul composition 'Mercy Mercy Mercy’, which when edited down and released as a single became one of the biggest jazz hits of the decade. This success fed itself through to a level of freedom for the participants, that allowed them to experiment with the sorts of records that they could make. Axelrod made a pair of albums based on the works of William Blake Songs Of Innocence and Songs Of Experience, whilst Cannonball made an album focused on Africa, and released an album, Country Preacher that paid explicit tribute to Black rights leader Jesse Jackson. Nat Adderley was also given his opportunity. Since his breakthrough as a writer with his brother he had made several LPs as a leader, first of all at Riverside then Atlantic, Milestone and most recently under Creed Taylor’s auspices at A&M. Although fairly numerous and of high quality these albums had always been really distractions from the day job of playing with his brother. Although the same could be said about the two “Cannonball Adderley presents The Nat Adderley Sextet” albums released by Capitol in the early 70s, there was a certain substance to them that suggested that they were definitely given more thought than usual. Those two albums were Soul Zodiac and Soul Of The Bible, produced by Cannonball Adderley and David Axelrod. In Wax Poetics magazine Axelrod was dismissive of Soul Of The Bible stating that it was so bad that it deserved not just to be rare but to be dead. He claimed that the problem was Rick Holmes’ narrations which just didn’t seem - to him - to work on the Bible stories. However of Soul Zodiac he had a much higher opinion “..astrology was fine, and Rick was really into astrology.(it) was a smash hit”. Holmes may well have been the key to these records being made in the first place. He was one of the most influential jazz DJs in the country, the host of his own show on KBCA a very big jazz station………………


Alto Saxophone – Cannonball Adderley (tracks: 2)
Art Direction – John Holmes
Cornet – Nat Adderley
Double Bass, Guitar – Walter Booker
Drums – Roy McCurdy
Electric Piano [Fender Rhodes] – George Duke
Engineer – Howard Gale
Guitar – Mike Deasy
Photography By – Rick Rankin
Photography By [Body Painting] – Abe Gurvin
Producer – Cannonball Adderley, David Axelrod
Soprano Saxophone – Cannonball Adderley (tracks: 3)
Tenor Saxophone, Flute, Tambourine – Ernie Watts
Voice [Narration], Written-By – Rick Holmes

A1 Introduction 3:00
A2 Aries 4:52
A3 Libra 3:15
A4 Capricorn 6:10
B1 Aquarius 7:47
B2 Pisces 3:53
B3 Sagittarius 5:15
C1 Gemini 4:35
C2 Leo 2:51
C3 Virgo 4:10
C4 Scorpio 4:23
D1 Cancer 2:45
D2 Taurus 13:52


ゲスおと☆ (Gesu oto)

Aniban, an independent label, has announced the release of their ゲスおと☆ series, with two volumes currently planned for release in February.

Synopses (Paraphrased):

After being brought along to a big marriage partner hunting party (read: 婚活パーティー) by your company senpai, you find yourself overwhelmed by the chaos and liveliness of the party, and are subsequently abandoned by your senpai, who leaves you to go talk to a man she sets her sights on. 

Awkwardly standing about with no real idea of what to do, you hear a man’s voice calling out you.

However, that man is considered highly “individualistic,” or in other words, seems like he could be categorized as a ゲス (gesu*) type…

The first “gesu” guy in question is 千束友靖 (Senzoku Tomoyasu), a swimming instructor who has just recently broken up with his girlfriend. Worried over the fact that he hasn’t been able to stay with any particular girl for a long period of time, Tomoyasu decides to go to a matchmaking party for the purpose of finding a bride. 

Given that it’s a party conducted with the specific purpose of finding a marriage partner, he figures that a girl he falls in love with there won’t be able to escape the prospect of marriage with him.

And of course, Tomoyasu takes a liking to you, and you both end up going home together.

Overjoyed by the fact that he found you, Tomoyasu is unable to hold back…

ゲスおと☆ 白金泉 (Right):

The second “gesu” guy is 白金泉 (Shirogane Izumi), a cellist who is also an extreme clean-freak, and is forced to go to the marriage partner hunting party by his grandmother. Annoyed by just having to share the same air with other people, Izumi nevertheless tries to hide his discomfort to the best of his ability once the party begins. 

It is then, however, that you appear in front of him…

*ゲス = low-life/basically kind of an a** ( • v • )

**Namikawa’s volume may not be R18; it’s unclear due to conflicting information (but it’s likely not R18, as he didn’t use a pseudonym).

CVs: 佐和真中 (Nakazawa Masatomo), 浪川大輔 (Namikawa Daisuke)**

Release Date: February 24th, 2017.


Finally in my hands. 

Record of the day… Brand New - Déjà Entendu


AM is the fifth studio album by the English indie rock band Arctic Monkeys. The album received critical acclaim from music critics and featured in many end of year lists as one of the best of 2013. It was nominated for the 2013 Mercury Prize for best album, hailed the Best Album of 2013 by NME magazine and featured at number 449 on NME’s list of the 500 Greatest Albums of All Time. Commercially, AM has become one of Arctic Monkeys’ most successful albums to date, topping charts in several countries and reaching top ten positions in many more. In the United Kingdom, Arctic Monkeys broke a record with AM, becoming the first independent-label band to debut at number one in the UK with their first five albums. The album is also considered the band’s breakthrough in America. The single “Do I Wanna Know?” was the first song by the band to enter the Billboard Hot 100. The album has also been recognised as one of the best-selling vinyl albums of the decade, selling more than 27,000 units as of July 2015. (insp. by x)