solo jam

7

Carrie was someone I not only looked up to but someone I considered a friend. She treated us not like fans but as family and the conversations I had with her, whether it was asking us how to use her phone, us asking for advice, her sharing her wisdom or even asking how much money it would take for the whole chat to meet up, those little chats always brightened my day and are memories I’ll forever cherish. I don’t think it’s quite sunk in and I still can’t quite imagine a world where she doesn’t exist but the legacy she’s left behind will continue to make me happy even if she’s no longer here. She’s given me and a lot of girls confidence and strength and was always determined to erase the stigma surrounding mental illness and to support a good cause. I made a lot of close friends through Carrie and I’m forever thankful to her for that. Because of those friends, there’s flowers with my name on at her memorial in LA and the fact that I can pay my respects from across the world because of them is something I’m eternally grateful for. Rest in peace Carrie and Debbie, I’m glad you’ve got each other in that galaxy far far away.

2

“I wanted to have more jam sections. I was starting to feel there was too much “song, song, song” on my previous solo albums, though jamming and soloing have always been important parts of me, as a musician. For whatever reason, I hadn’t really gone into them much, other than on my first asolo record; I wasn’t into soloing as much as playing melodies. A couple of my albums had long solos, and I wanted to do more of that. Sometimes I’d have a song that was two minutes long and it ended up being five minutes because I put a long solo on it or the original arrangement had long solos built into them that I planned as jams, for shifts in atmosphere. Central is a good example because it repeatedly goes from one kind of space to another.”

- John Frusciante on The Empyrean

      With New York Fashion Week just around the corner, Fuzed would be remiss if we didn’t give a special shout out to the baddest mama to ever rock Calvin Klein and a good toe, New York’s own Foxy Brown. Born Inga Marchand in Brooklyn, Brown came in the game swinging in ‘95 after winning a talent contest and later being granted an opportunity to rap alongside a few hip-hop heavyweights on LL Cool J’s controversial “I Shot Ya” remix. The teenage diva’s cut-throat verse stood out among the song’s otherwise all-male line up and soon the future first lady of The Firm was all over the place. Her lethal flows were featured on some of the most memorable hip hop/r&b cuts of the 90s and her solo records on Def Jam Records have sold several million copies since their respective releases. Brown’s unique blend of harsh street tales, black feminism, vibrant youth, and opulence over immediately recognizable r&b samples made her light shine brightly and eventually, media focus was split between her platinum jams and definitive persona, which included her ghetto fabulous sense of style. 

You simply couldn’t catch the Fox without a perfectly blended weave, a luxury brand outfit, the finest ice, the ILLEST shoes (Fendi, Prada, Gucci, you name it), and her trademark over-plucked brows. High fashion responded to her positively and by the turn of the century, she could be spotted munching on fruits with model friend Kate Moss and flexing her perfect physique in Calvin Klein’s 1999 international ad campaign for CK Jeans. 

Even in the new millennium, Ms. Brown keeps everyone in check with her baby hair analysis and various style tips shared exclusively via her Instagram account. We salute Foxy for using her voice to inspire multiple generations, as well as for her undeniable influence on high and mainstream fashion. So the next time you wear that Marc Jacobs or some deep purple lipstick, think about and thank the Don Diva! 

Jay-Z, photographed on classic 120mm film, for XXL magazine by Jonathan Mannion in 1999.

This contact sheet is from the XXL shoot that officially announced Jay-Z, DMX, and Ja Rule as the Murder Inc. rap group, shown on the cover of the June 1999 issue. Producer Irv Gotti first gathered Jay, Rule and DMX on Mic Geronimo’s 1995 track ‘Time to Build.’ Gotti would eventually work to get all three artists solo deals with Def Jam in collaboration with their respective labels. The trio worked closely over the next few years, recording tracks together, appearing in one another’s videos, and then hitting the road together on Hov’s Hard Knock Life Tour. As a group, Murder Inc. only officially released two songs - although Ja and Gotti have said there are unreleased tracks in the vault. Murder Inc. could have been one of the greatest rap groups of all time - but sadly ego got in the way of them releasing an album.

“What do you think is gonna happen with three of the illest niggas together?”

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Addicted to this. The Rocket Summer (Bryce Avary) - Solo Jam.

Heard it on the live album and just asdfgkl, it is so good.

I'm Still Here (Preview)
archirnicarus
I'm Still Here (Preview)

So the SU subreddit is doing a project where we’re re-working a bunch of the instrumentals from the show. I’m the arranger for a couple songs and this is a rough preview of the slow jam/synth solo at the end of I’m Still Here. Mandolin (in bad need of a strings change) and synth are real recordings (that solo took a good bit of practice), and the rest are MIDI instruments for now. Whole track to be recorded by June!!

WHO NEEDS CONTEXT WHEN YOU HAVE KANAN TACKLING AN AT-AT.

…was there an episode, was there other stuff in RR, I don’t actually care because this clip alone will tide me over until January because I am just that shallow.