Search results for Changes Comin' On
23, 
04:37, 
2008-04-18 11:20:31 Description: Tupac - Changes (Uncensored) <br /> <br /> <br />(Come on, come on) <br />I see no changes, wake up in the morning and I ask myself <br />Is life worth living, or should (More) Tupac - Changes (Uncensored) <br /> <br /> <br />(Come on, come on) <br />I see no changes, wake up in the morning and I ask myself <br />Is life worth living, or should I blast myself <br />I'm tired of being poor, and even worse I'm black <br />my stomach hurts, so I'm looking for a purse to snatch <br />Cops give a damn about a negro <br />pull a trigger, kill a nigger, he's a hero <br />Givin back to the kids, who the hell cares <br />one less hungry mouth on the welfare <br />first ship them dope, let them deal to brothers <br />give them guns, step back and watch them kill each other <br />It's time to fight back, that's what Huey said <br />2 shots in the dark, now Huey's dead <br />I got love for my brothers <br />but we can never go nowhere unless we share with each other <br />we gotta start makin changes <br />learn to see me as a brother instead of 2 distant strangers <br />and that's how it's supposed be <br />how can you tell them take a brother if he's close to me <br />I'd love to go back to when we played as kids <br />but things change, and that's the way it is <br />come on, come on <br />that's just the way it is <br />things will never be the same <br />that's just the way it is, ahh yeah <br /> <br />X2 <br /> <br />I see no changes <br />all I see is racist faces <br />misplaced hate, makes disgrace the racist <br />we under, I wonder what it takes to make this <br />one better place, let's erase the wasted <br />take the evil out the people, they'll be actin right <br />cuz both black and white are smokin crack tonight <br />and the only time we chill is when we kill each other <br />it's takes skill to be real, time to heal each other <br />and I know it's seems Heaven since <br />we aint ready, to see a black president <br />it aint a secret of a sealed up fact <br />penetentiarys packed, and it's filled with blacks <br />but some things will never change <br />tried to show another way, but ya stayin in the dope game <br />now tell me what's a mother to do? <br />being real don't appeal to the brother in you <br />- yeah - <br />You gotta operate the easy way <br />- I made a G today - <br />but you made it in a sleezy way <br />sellin crack to the kids <br />- I gotta get paid - <br />well hey, well that's the way it is <br />chorus <br />talking ... <br />we gotta make a change <br />it's time for us as a people to start making some changes <br />lets change the way we eat <br />lets change the way live <br />lets change the way we treat each other <br />see our old way wasn't working <br />so it's on us to do what we gotta do <br />to survive <br /> <br />and still I see no changes, can't a brother get a little peace? <br />there's war on the streets <br />and the war in the Middle East <br />instead of war on poverty <br />they got a war on drugs so the police can bother me <br />and I aint never did a crime I aint have to do <br />but now I'm back from the locks givin back to you <br />don't let them jack you up <br />back you up <br />crack you up <br />and pimp smack you up <br />you gotta learn to hold your own <br />they get jealous when see you with your mobile phone <br />but tell the cops they can't touch this <br />I don't trust this <br />when they try to rush I bust this <br />that's the sound of my tool <br />you say it aint cool <br />but momma didn't raise no fool <br />and as long as I stay black <br />I gotta stay strapped <br />and I never get to lay back <br />cuz I always gotta worry bout the payback <br />some punk that I ruffed up way back <br />comin back after all these years <br />rat-tat-tat-tat-tat, that's the way it is <br />chorus <br />some things will never change <br /> <br /> (Less)
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51, 04:26, 2008-04-17 13:17:33 Description: 2Pac - Changes (Official Music Video) & Lyrics Download the ringtone at http://SuperDrifting.com 2Pac - Changes Lyrics Come on come on I see no changes wake up in the morning and I ask (More) 2Pac - Changes (Official Music Video) & Lyrics Download the ringtone at http://SuperDrifting.com 2Pac - Changes Lyrics Come on come on I see no changes wake up in the morning and I ask myself is life worth living should I blast myself? I'm tired of bein' poor & even worse I'm black my stomach hurts so I'm lookin' for a purse to snatch Cops give a damn about a negro pull the trigger kill a nigga he's a hero Give the crack to the kids who the hell cares one less hungry mouth on the welfare First ship 'em dope & let 'em deal the brothers give 'em guns step back watch 'em kill each other It's time to fight back that's what Huey said 2 shots in the dark now Huey's dead I got love for my brother but we can never go nowhere unless we share with each other We gotta start makin' changes learn to see me as a brother instead of 2 distant strangers and that's how it's supposed to be How can the Devil take a brother if he's close to me? I'd love to go back to when we played as kids but things changed, and that's the way it is [Bridge w/ changing ad libs] Come on come on That's just the way it is Things'll never be the same That's just the way it is aww yeah [Repeat] [2] I see no changes all I see is racist faces misplaced hate makes disgrace to races We under I wonder what it takes to make this one better place, let's erase the wasted Take the evil out the people they'll be acting right 'cause both black and white is smokin' crack tonight and only time we chill is when we kill each other it takes skill to be real, time to heal each other And although it seems heaven sent We ain't ready, to see a black President, uhh It ain't a secret don't conceal the fact the penitentiary's packed, and it's filled with blacks But some things will never change try to show another way but you stayin' in the dope game Now tell me what's a mother to do bein' real don't appeal to the brother in you You gotta operate the easy way "I made a G today" But you made it in a sleazy way sellin' crack to the kid. " I gotta get paid," Well hey, well that's the way it is [Bridge] [Talking:] We gotta make a change... It's time for us as a people to start makin' some changes. Let's change the way we eat, let's change the way we live and let's change the way we treat each other. You see the old way wasn't working so it's on us to do what we gotta do, to survive. [3] And still I see no changes can't a brother get a little peace It's war on the streets & the war in the Middle East Instead of war on poverty they got a war on drugs so the police can bother me And I ain't never did a crime I ain't have to do But now I'm back with the facts givin' it back to you Don't let 'em jack you up, back you up, crack you up and pimp smack you up You gotta learn to hold ya own they get jealous when they see ya with ya mobile phone But tell the cops they can't touch this I don't trust this when they try to rush I bust this That's the sound of my tool you say it ain't cool my mama didn't raise no fool And as long as I stay black I gotta stay strapped & I never get to lay back 'Cause I always got to worry 'bout the pay backs some punk that I roughed up way back comin' back after all these years rat-tat-tat-tat-tat that's the way it is uhh [Bridge 'til fade] (Less)
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10, 09:40, 2009-09-05 14:59:06 Description: Their debut album 'Together' is considered by fans to be one of the iconic Progressive Rock albums of all time. The band has been through a lot of line-up changes and records on recent years (More) Their debut album 'Together' is considered by fans to be one of the iconic Progressive Rock albums of all time. The band has been through a lot of line-up changes and records on recent years under 'Peter Panka's Jane' after Klaus Hess left the band. Their latest release available in Germany is 'Voices' which has been critically acclaimed by the fans and critics alike. Jane can be seen in the 'Krautrock Meeting' concert film recently released on DVD. Alongside Eloy, Ramses and Birth Control, Jane are regarded as one of the best Krautrock groups with a devoted following which can be traced to Germany, Austria and Iran. Peter Panka (the main founder of Jane) died on June 28, 2007. The future of the band is unknown at this time. The remaining members of the band toured Germany & Austria in 2007 alongside Fritz Randow and Arndt Schulz in memory of Peter Panka. Cool & Easy Records (Jane's official record label) has announced series of rarities titled 'The Lost Tapes' and a new DVD 'Phoenix' for future release. Tribute To Peter Panka a live concert DVD was released in 2008. (Less)
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61, 06:42, 2008-04-17 15:10:07 Description: Delaney & Bonnie and Friends was a rock/soul revue fronted by husband-and-wife singer/songwriters Delaney and Bonnie Bramlett -------------------------------------------------- Career Delaney (More) Delaney & Bonnie and Friends was a rock/soul revue fronted by husband-and-wife singer/songwriters Delaney and Bonnie Bramlett -------------------------------------------------- Career Delaney Bramlett (b. 1 July 1939, Pontotoc County, Mississippi, USA) learned the guitar in his youth, and migrated to Los Angeles in 1959.[1] He became a session musician; his most notable early work was as a member of the Shindogs, the house band for the ABC-TV series Shindig! (1964-66), which also featured guitarist/keyboardist Leon Russell. Bonnie Bramlett (nee Bonnie Lynn O'Farrell, b. 8 November 1944, Alton, Illinois, USA) was an accomplished singer at an early age, performing with blues guitarist Albert King at age 14 and in the Ike & Tina Turner Revue at 15 [2] - the first-ever white Ikette "for three days in a black wig and Man Tan skin darkener."[3] She moved to Los Angeles in 1967, and met and married Delaney later that year. Through their work in the Shindogs, Delaney and Leon Russell had many connections in the music business, and were able to quickly form a band of solid, if transient, musicians around Delaney and Bonnie. The band became known as "Delaney & Bonnie and Friends" due to its regular changes of personnel. They secured a recording contract with Stax Records, and released their first album, Home, on Stax in early 1969. The album was not successful - perhaps due to poor promotion, as it was one of 27 albums simultaneously released by Stax in that label's attempt to establish itself in the album market.[4] Delaney and Bonnie moved to Elektra Records for their second album, Accept No Substitute (1969). While not a big seller either, Accept No Substitute created a buzz in music industry circles when, upon hearing pre-release mixes of the album, George Harrison offered Delaney and Bonnie a contract with the Beatles' Apple Records label - which Delaney and Bonnie signed despite their prior contractual commitment to Elektra. Although the Apple contract was subsequently voided, this incident began a falling-out between Delaney and Elektra, culminating in the band's release from their Elektra contract in late 1969.[5] On the strength of Accept No Substitute, Eric Clapton took Delaney & Bonnie and Friends on the road in mid-1969 as the opening act for his band Blind Faith. Clapton became fast friends with Delaney, Bonnie and their band, preferring their music to Blind Faith's; he would often appear on stage with Delaney & Bonnie and Friends during this period, and continued to record and tour with them following Blind Faith's August 1969 breakup. Clapton helped broker a new record deal for Delaney and Bonnie with his then-US label, Atco (Atlantic) Records, and appears (with Harrison, Russell, and Dave Mason) on Delaney and Bonnie's third album, the live On Tour with Eric Clapton (Atco; recorded live in the UK 7 December 1969, released March 1970). This album would be the most successful of Delaney and Bonnie's career, reaching #29 on the Billboard album charts. Clapton also recruited Delaney and Bonnie and their band to back him on his debut solo album, recorded in late 1969/early 1970 and produced by Delaney. Delaney and Bonnie continued to make well-regarded, if modestly-selling, albums throughout the rest of their career. Their next two Atco albums, To Bonnie from Delaney (1970) and the largely-acoustic Motel Shot (1971) charted, and "Never Ending Song of Love," a single taken from Motel Shot, was Billboard's #67 single of 1971. The band made a cameo appearance in Richard C. Sarafian's film Vanishing Point (1971), and performed a live radio broadcast for New York's WABC-FM (now WPLJ), backed by Duane Allman, Gregg Allman and King Curtis, in July 1971. (The latter, while never officially released on album as Elton John's 11-17-70 show from the same concert series was, has been heavily bootlegged over the years and remains readily available.) By late 1971, however, Delaney and Bonnie's often-tempestuous relationship[6] began to show signs of strain. Their next album was rejected by Atco on grounds of poor quality,[7] with Atco/Atlantic electing to sell Delaney and Bonnie's recording contract - including this album's master tapes - to CBS as a result. Columbia/CBS released this album, in a different track sequence from that submitted to Atco, as D&B Together in March 1972. It would be their last album of new material, as the couple divorced in 1973. Delaney and Bonnie continued to work in the music business - and, in Bonnie's case, in Hollywood as an actress - after their breakup. Delaney's recent appearances on record include the solo album Sweet Inspiration (2003) and Jerry Lee Lewis's Last Man Standing (2006). Bonnie enjoyed success during the late 1970's and early 80's as a backing singer with Stephen Stills and with The Allman Brothers Band; she subsequently turned to acting, appearing (as Bonnie Sheridan) as a regular on the TV series Roseanne. Legacy Delaney and Bonnie are generally best remembered for their albums On Tour with Eric Clapton and Motel Shot. On Tour was their best-selling album by far, and is the only official document of their live work. Delaney and Bonnie were considered by many to be at their best on stage. In his autobiography, Atlantic Records executive Jerry Wexler says that the album he produced for the band, To Bonnie from Delaney, "didn't quite catch the fire of their live performances."[8] Clapton makes an even stronger statement in his autobiography: "For me, going on [with Blind Faith] after Delaney and Bonnie was really, really tough, because I thought they were miles better than us."[9] Motel Shot, although technically a studio album, was largely recorded "live in the studio" with acoustic instruments - a rarity for rock bands at the time, foreshadowing the "Unplugged" phenomenon by nearly twenty years. Besides their recorded legacy, Delaney and Bonnie were personally influential to fellow musicians. Clapton has been quoted as saying that "Delaney taught me everything I know about singing,"[10] and Delaney has also been cited as the person who taught George Harrison how to play slide guitar.[11] Bonnie, for her part, is credited as co-author of many popular songs, including "Groupie (Superstar)" (a Top 10 hit for The Carpenters in 1971 and heavily covered by other artists since) and Clapton's "Let It Rain." (Bonnie's song authorship has in recent years become a matter of dispute, with Delaney claiming that he wrote many of these songs but assigned ownership to Bonnie to dodge an onerous publishing contract.[12]) Delaney and Bonnie's "friends" of the band's 1969-70 heyday also had considerable impact. After the early 1970 breakup of this version of the band, many of its ex-members were recruited by Leon Russell to join Joe Cocker's band, participating on his Mad Dogs and Englishmen recording sessions and North American tour (March-May 1970). Following this, these same musicians, joined by Eric Clapton and Dave Mason, also comprised the core backing band on George Harrison's vocal debut album All Things Must Pass (1970). Clapton subsequently recorded his landmark album Layla and Other Assorted Love Songs (1970) with this band's bassist Carl Radle, singer/keyboardist Bobby Whitlock and drummer Jim Gordon, as Derek and the Dominos. Finally, Delaney and Bonnie's daughter Bekka Bramlett is active in the music business as well. Bekka briefly sang lead with Fleetwood Mac in the early 1990s, and has since pursued a successful career as a backing vocalist. (Less)
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25, 04:17, 2008-04-21 16:39:34 Description: [Donte] Unorthodox, out of proportion Slop, nuclear hip-hop Tell the feds I'ma hidden underground warhead And when we go to Armageddon, I'll leave more dead You can kill what's killed, (More) [Donte] Unorthodox, out of proportion Slop, nuclear hip-hop Tell the feds I'ma hidden underground warhead And when we go to Armageddon, I'll leave more dead You can kill what's killed, innocent ain't guilt I feel like pissin on your bed on that american quilt Keep my head at the tilt, ten is not what you spilt The kids still can believe these pyramids I built How Niagara Falls, what time death calls I shoot the gift and I'm still like a myth to y'all Pitfall, get on your knees and crawl Through the leaves, as steady, as he goes Y'all ain't ready for these flows Graphic, 3-D-O's lyrically CD's pose With the flash out your nose, like some fresh kilos I devour, your energy feild like powder Meteor shower slayin, decayin meteor power [Talib Kweli] I fly in, in the decked of the deckedets My presense be evacuate, in the presidents residence They never seen evidence of somethin like this Ever since the big bang theory And that's just a theory, hear me Fallout shelters, and the heat swelters Main book me a flight on Delta (You's a flight outta town) I seen the plan as clear as an Azima They got the CIA, the NAS, FBI, and FEMA Darsika you and the baby stay with Cheryl While I find an underground spot, I know of several I'm comin of age, and my special powers are showin Babylonian towers is blowin away in the wind I clense like showers, the sins from men They bugged everyone of my kin, I'm not sure what's happenin [Chorus] 2x Nuclear hip-hop, non-stop (non-stop) Non-stop, non stop... (Continue to rock unorthodox) [Talib Kweli] They sayin the rhymes that I write is unforgetable And the styles I bust, is to mysteriously luxurious and lushious Like shots to the vein, the high rushes Straight to your brain, your focus is in my clutches As much as you pretend somethin such as your end Won't happen for awhile, you are livin in denial You were born, from liberated moms abscorn My family's torn, I'm the third eye of this hip-hop storm In my energy feild, phony men'll be killed Some of my files top secret, with the government seal Now they own us, cuz they want us, to be goners This is the time, who is the warner? We been preparing our techs in the van And Rampage is steering, let's make this jam Doing backwards changes moods on the land [Main Flo] My land survives plans like a stand Nuclear like 1945 in Japan I foreign aid my conflicts with porn raids When my snoring days were roaring like soaring grenades My average plot, took me to established spots Ravage docks, take control like Tavey Stocks Just mind control torque aight Wanna break with contacts, with mental cord, jackin four right I'll make you cough more {*coughs*} With long term effects just like the Gulf War Not purse Benon, but I sensed the charge For war in the east, when I lynched the guards Teams flips, money's king, assassination teams was clean Like Gipsapp ravines Regime caps, Korean gaps, was freein blacks A way out, had me seein traps [Donte] Yea, so I came in the forms of migraines And torn by brain fly crane style, I drain Habec pals Poppin all se-niles, with these for being foul Man enough to carry cuffs, man enough to stand trial You feel guilty by association When I capture your mind, then the rest'll motivate ya My brain is a weapon strong enough to hold a nation While balancing, galaxies and planets You can't understand it, while you out in seas stranded Visualize, infinite individual eyes When they realize the way we make the spiritual riiiissseee [Chorus] [Talib Kweli] Non stop.. (Less)
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47, 04:28, 2008-04-22 08:59:16 Description: This is our first introduction to the boisterous Calamity Jane (Doris Day) as she arrives in Deadwood City with a wagon full of goods. The sequence extends to include her entry into the Golden Garter, (More) This is our first introduction to the boisterous Calamity Jane (Doris Day) as she arrives in Deadwood City with a wagon full of goods. The sequence extends to include her entry into the Golden Garter, where we encounter Wild Bill Hickok (Howard Keel); one of the love interests in the movie. Since, at this point, we're not sure of the relationship between Calam and Bill, we witness and interesting interaction between them as Calam introduces Bill as a "friend of a friend", and Bill hides a small smile. Lyrics: Oh the Deadwood Stage is a-rollin' on over the plains With the curtains flappin' and the driver slappin' the reins A beautiful sky, a wonderful day Whip crack-away, whip crack-away, whip crack-away Oh the Deadwood Stage is a-headin' on over the hills Where the Injun arrows are thicker than porcupine quills Dangerous land, no time to delay So whip crack-away, whip crack-away, whip crack-away We're headin' straight for town, loaded down With a fancy cargo, care of Wells and Fargo, Illinois - Boy! Oh the Deadwood Stage is a-comin' on over the crest Like a homin' pigeon that's a-hankerin' after its nest Twenty-three miles we've covered today So whip crack-away, whip crack-away, whip crack-away The wheels go turnin' round, homeward bound Can't you hear 'em hummin' Happy times are comin' for to stay - hey! We'll be home tonight by the light of the silvery moon And my heart's a-thumpin' like a mandolin a-plunkin' a tune When I get home, I'm fixin' to stay So whip crack-away, whip crack-away, whip crack-away Whip crack-away, whip crack-away, whip crack-away... [enters town, tune changes, Townspeople sing/say:] Here they be, here they be. How's about a welcome? A peaceful sort of welcome for the gang [gunshots] [Calamity Jane:] The Deadwood Stage is a-finally home again. [Townspeople:] Well excuse my stammer, if it ain't Calamity Jane. Hi-ya Calam... - What you bring us today? New rubber boots? Ten dollar suits? Things to crochet? [Calamity Jane:] Beads that sparkle like a prism, snake oil for your rheumatism, Calico and gingham for the girls. Gumdrops made up in Chicag-y, Gumdrops just a trifle soggy, And a genuine string of artificial pearls. Here's a hat from Cincinnati, same as Adelina Patti Wore in every famous concert hall! Cast your eye on Dr. Bores' patent-pending hair restorer, Guaranteed to grow hair on a billiard ball! [enters the Golden Garter, tune changes again] Introducin' Henry Miller, just as busy as a fizzy sarsaparilla Ain't a showman and he's smarter, operates the Golden Garter Where the cream of Deadwood City come to dine And I'm glad to say he's a very good friend of mine Hi Joe! Say, where d'you get them fancy clothes? I know! Off some fella's laundry line! Hi Beau! Aren't you the Prairie Rose? Smellin' like a watermelon vine! Here's the man the Sheriff watches On his gun there's more than twenty-seven notches On the draw there's no-one faster, And you're flirting with disaster, When Bill Hickok's reputation you malign. But I'm glad to say he's a very good friend, of a friend of mine. Oh! The Deadwood Stage is entitled to rest today. In the Golden Slipper the folks are chipper and gay. Last to the bar's a three legged crow, Set 'em up Joe, Set 'em up Joe, Set 'em up Joe. Drinks on the house, Drinks on the house! Set 'em up Joe, Set 'em up Joe, Set 'em up Joe!!!!!! **Note: The content of this video belongs exclusively to Paramount Studios and all the people involved in its construction and distribution. (Less)
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28, 06:22, 2008-04-22 09:22:05 Description: Capital Chaos TV has posted video footage of TESLA http://www.teslatheband.com performing the TRAFFIC classic "Dear Mr. Fantasy" during their free CD-release show on May 31, 2007 at the (More) Capital Chaos TV has posted video footage of TESLA http://www.teslatheband.com performing the TRAFFIC classic "Dear Mr. Fantasy" during their free CD-release show on May 31, 2007 at the Cesar Chavez Park in downtown Sacramento, California. http://www.myspace.com/capitalchaos Tesla is the name of an American rock band originating in Sacramento, California. The band formed in 1984 on Guam as City Kidd and was renamed Tesla during the recording of their first album on the advice of their manager. The band derived their name, certain album and song titles, and some song content from events relating to Nikola Tesla, a Serbian inventor and electrical engineer born in the 19th century. Vocalist Jeff Keith fronted a band that included guitarists Frank Hannon and Tommy Skeoch, bassist Brian Wheat and drummer Troy Luccketta. Tesla's music was akin to heavy metal, but was more bluesy and the band's lyrics strayed from the partying and women themes popular at the time. But what set them even farther apart from their contemporaries was their T-shirt-and-jeans image which was in strong contrast to other bands of the time, which were characterized by leather pants and flashy-make up. Tesla is also proud of the fact that their music has always been just guitars and drums, with an occasional piano from bassist Wheat, with no synthesizers or anything to distort their sound and their albums always proudly proclaimed, "No Machines", referring to that fact. However, the band's 2004 album, Into The Now, included synthesized beats. Tesla's remake of Five Man Electrical Band's "Signs" (1990) is the best-known of Tesla's hits, which also include "Comin' Atcha Live," "Gettin' Better," "Modern Day Cowboy," the Ph.D. cover "Little Suzi," "Edison's Medicine," and "Love Song." To this day, "Love Song" is probably the most remembered of the band's songs, and still receives much airplay on rock stations. After "Bust A Nut", the band took a hiatus to support Skeoch during his rehab from drug abuse. It wasn't long before Skeoch briefly joined up with solo artist Marshall Coleman's band to support his solo career, only to see a departure of Marshall soon after. This band eventually morphed to include vocalist Jeff Keith & resurfaced as Bar 7 with a single "Four Leaf Clover", from the album "The World Is A Freak". Bassist Brian Wheat formed "Soul Motor", Frank Hannon "Moon Dog Mane" while Drummer Troy Luccketta worked with several local artist including the bay area's "One Thin Dime." The band reformed in 2000 and recorded a double live album. In 2002 they were featured in the Rock Never Stops Tour alongside other 80s rock bands. In 2004 they released their fifth studio album Into the Now which debuted on the Billboard album chart at number 30. The album was well received by fans and the band was featured on Jimmy Kimmel Live. In the summer of 2006, the band embarked on the Electric Summer Jam Tour and put the following statement on their web site: "We would like you to join us in welcoming guitarist Dave Rude, who will be hitting the road with us for the 2006 Electric Summer Jam Tour as Tommy Skeoch will not be performing with us. Please also join us in congratulating Tommy and his wife on the birth of their new baby boy. We wish the whole family the best." An article in the Deseret Morning News (June 16, 2006) that featured an interview with Wheat clarified the situation: "The tour is also a chance to introduce the newest member of the band, guitarist Dave Rude, who replaces Tommy Skeoch. Skeoch has been in and out of the band since 1994, addressing substance-abuse problems. But with a new baby at home, Wheat said that this time Skeoch's departure is full-time and for other reasons. "He just wanted to spend more time with his family after all these years," Wheat said. "It's hard. He'll always be a part of Tesla history." Cumin' Atcha Live appeared in the 2002 videogame Grand Theft Auto: Vice City, playing on Rock station V-Rock. Tesla has recorded a covers album titled Real to Reel, which was released on June 5, 2007. The recording is available as a 2 CD set. The first CD (containing 13 songs) is sold in a case with a blank slot for the second CD. The second CD (containing 12 additional songs) will initially be available to concert goers at no additional charge beyond the cost of a ticket. http://www.capitalchaos.net Albums * Mechanical Resonance (1986) * The Great Radio Controversy (1989) * Psychotic Supper (1991) * Bust a Nut (1994) * Into the Now (2004) * Real to Reel (2007) [edit] Compilation/Live * Five Man Acoustical Jam (1990, live) * Times Makin' Changes - The Best of Tesla (1995, best of 1986-1994) * 20th Century Masters - The Millennium Collection: The Best of Tesla (2001) * Replugged Live (2001, 2-CD Live Set) * Standing Room Only (2005, Live) (Less)
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24, 06:22, 2007-06-12 10:13:32 Description: Capital Chaos TV has posted video footage of TESLA http://www.teslatheband.com performing the TRAFFIC classic "Dear Mr. Fantasy" during their free CD-release show on May 31, 2007 at the (More) Capital Chaos TV has posted video footage of TESLA http://www.teslatheband.com performing the TRAFFIC classic "Dear Mr. Fantasy" during their free CD-release show on May 31, 2007 at the Cesar Chavez Park in downtown Sacramento, California. http://www.myspace.com/capitalchaos
Tesla is the name of an American rock band originating in Sacramento, California. The band formed in 1984 on Guam as City Kidd and was renamed Tesla during the recording of their first album on the advice of their manager. The band derived their name, certain album and song titles, and some song content from events relating to Nikola Tesla, a Serbian inventor and electrical engineer born in the 19th century.
Vocalist Jeff Keith fronted a band that included guitarists Frank Hannon and Tommy Skeoch, bassist Brian Wheat and drummer Troy Luccketta.
Tesla's music was akin to heavy metal, but was more bluesy and the band's lyrics strayed from the partying and women themes popular at the time. But what set them even farther apart from their contemporaries was their T-shirt-and-jeans image which was in strong contrast to other bands of the time, which were characterized by leather pants and flashy-make up. Tesla is also proud of the fact that their music has always been just guitars and drums, with an occasional piano from bassist Wheat, with no synthesizers or anything to distort their sound and their albums always proudly proclaimed, "No Machines", referring to that fact. However, the band's 2004 album, Into The Now, included synthesized beats.
Tesla's remake of Five Man Electrical Band's "Signs" (1990) is the best-known of Tesla's hits, which also include "Comin' Atcha Live," "Gettin' Better," "Modern Day Cowboy," the Ph.D. cover "Little Suzi," "Edison's Medicine," and "Love Song." To this day, "Love Song" is probably the most remembered of the band's songs, and still receives much airplay on rock stations.
After "Bust A Nut", the band took a hiatus to support Skeoch during his rehab from drug abuse. It wasn't long before Skeoch briefly joined up with solo artist Marshall Coleman's band to support his solo career, only to see a departure of Marshall soon after. This band eventually morphed to include vocalist Jeff Keith & resurfaced as Bar 7 with a single "Four Leaf Clover", from the album "The World Is A Freak". Bassist Brian Wheat formed "Soul Motor", Frank Hannon "Moon Dog Mane" while Drummer Troy Luccketta worked with several local artist including the bay area's "One Thin Dime."
The band reformed in 2000 and recorded a double live album. In 2002 they were featured in the Rock Never Stops Tour alongside other 80s rock bands. In 2004 they released their fifth studio album Into the Now which debuted on the Billboard album chart at number 30. The album was well received by fans and the band was featured on Jimmy Kimmel Live.
In the summer of 2006, the band embarked on the Electric Summer Jam Tour and put the following statement on their web site: "We would like you to join us in welcoming guitarist Dave Rude, who will be hitting the road with us for the 2006 Electric Summer Jam Tour as Tommy Skeoch will not be performing with us. Please also join us in congratulating Tommy and his wife on the birth of their new baby boy. We wish the whole family the best."
An article in the Deseret Morning News (June 16, 2006) that featured an interview with Wheat clarified the situation: "The tour is also a chance to introduce the newest member of the band, guitarist Dave Rude, who replaces Tommy Skeoch. Skeoch has been in and out of the band since 1994, addressing substance-abuse problems. But with a new baby at home, Wheat said that this time Skeoch's departure is full-time and for other reasons. "He just wanted to spend more time with his family after all these years," Wheat said. "It's hard. He'll always be a part of Tesla history."
Cumin' Atcha Live appeared in the 2002 videogame Grand Theft Auto: Vice City, playing on Rock station V-Rock.
Tesla has recorded a covers album titled Real to Reel, which was released on June 5, 2007. The recording is available as a 2 CD set. The first CD (containing 13 songs) is sold in a case with a blank slot for the second CD. The second CD (containing 12 additional songs) will initially be available to concert goers at no additional charge beyond the cost of a ticket. http://www.capitalchaos.net
Albums
* Mechanical Resonance (1986)
* The Great Radio Controversy (1989)
* Psychotic Supper (1991)
* Bust a Nut (1994)
* Into the Now (2004)
* Real to Reel (2007)
[edit] Compilation/Live
* Five Man Acoustical Jam (1990, live)
* Times Makin' Changes - The Best of Tesla (1995, best of 1986-1994)
* 20th Century Masters - The Millennium Collection: The Best of Tesla (2001)
* Replugged Live (2001, 2-CD Live Set)
* Standing Room Only (2005, Live) (Less)
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61, 03:58, 2008-04-18 10:41:22 Description: SOUVENIR.. <br /><br />Fake thug, no love, you get the slug, CB4 Gusto <br />Your luck low, I didn't know til I was drunk though <br />You freak niggaz played out, get (More) SOUVENIR.. <br /><br />Fake thug, no love, you get the slug, CB4 Gusto <br />Your luck low, I didn't know til I was drunk though <br />You freak niggaz played out, get fucked and ate out <br />Prostitute turned bitch, I got the gauge out <br />96 ways I made out, Montana way <br />The Good-F-E-L-L-A, verbal AK spray <br />Dipped attache, jumped out the Range, empty out the ashtray <br />A glass of 'ze make a man Cassius Clay <br />Red dot plots, murder schemes, thirty-two shotguns <br />Regulate wit my Dunn's, 17 rocks gleam from one ring <br />Yo let me let y'all niggaz know one thing <br />There's one life, one love, so there can only be one King <br />The highlights of livin, Vegas style roll dice in linen <br />Antera spinnin on Milleniums, twenty G bets I'm winnin them <br />Threats I'm sendin them, Lex with TV sets the minimum <br />Ill sex adrenaline <br />Party with villians, a case of Demi-Sec to chase the Henny <br />Wet any clique, with the semi-tech who want it <br />Diamonds I flaunt it, chickenheads flock I lace em <br />Fried broiled with basil, taste em, crack the legs <br />way out of formation, it's horizontal how I have em <br />fuckin me in the Benz wagon <br />Can it be Vanity from Last Dragon <br />Grab your gun it's on though <br />Shit is grimy, real niggaz buck in broad daylight <br />with the broke Mac it won't spray right <br />Don't give a fuck who they hit, as long as the drama's lit <br />Yo, overnight thugs, bug cause they ain't promised shit <br />Hungry-ass hooligans stay on that piranha shit <br /><br />[Chorus: samples from "New York State of Mind" (repeat 4X)] <br /><br />"I never sleep, cause sleep is the cousin of death" -> [Nas] <br />"I ain't the type of brother made for you to start testin" -> [Nas] <br /><br />[Nas] <br />I peeped you frontin, I was in the Jeep <br />Sunk in the seat, tinted with heat, beats bumpin <br />Across the streat you was wildin <br />Talkin bout how you ran the Island in eighty-nine <br />Layin up, playin the yard with crazy shine <br />I cocked a baby 9 that nigga grave be mine, clanked him <br />What was he thinkin on my corner when it's pay me time <br />Dug em you owe me cousin somethin told me plug him <br />So dumb, felt my leg burn, then it got numb <br />Spun around and shot one, heard shots and dropped son <br />Caught a hot one, somebody take this biscuit 'fore the cops come <br />Then they came askin me my name, what the fuck <br />I got stitched up and went through <br />Left the hospital that same night, what <br />Got my gat back, time to backtrack <br />I had to drop so how the fuck I get clapped <br />Black was in the Jeep watchin all these scenes speed by <br />It was a brown Datsun, and yo nobody in my hood got one <br />That clown nigga's through, blazin at his crew daily <br />The 'Bridge touched me up severely hear me? <br />So when I rhyme it's sincerely yours <br />Be lightin L's sippin Coors, on all floors in project halls <br />Contemplatin war niggaz I was cool with before <br />We used to score together, Uptown coppin the raw <br />But uhh, a thug changes, and love changes <br />and best friends become strangers, word up <br /><br />[Chorus: first from "New York State of Mind", then "Halftime" (repeat 4X)] <br /><br />"Y'all know my steelo" -> [Nas] <br />"There ain't an army that could strike back" -> [Nas] <br /><br />[Nas] <br />Thug niggaz <br />Yo, to them thug niggaz gettin it on in the world you know? <br />To them niggaz that's locked down <br />doin they thing survivin yaknowmsayin? <br />To my thorough niggaz, New York and world wide <br />Yo to the Queensbridge Militia <br />9-6 shit.. The Firm clique, Illmatic nigga <br />It Was Written though <br />It's been a long time comin <br />Y'all fake niggaz, tryin to copy <br />better come with the real though <br />Fake ass niggaz yo.. <br />(They throw us slugs we throwin em back, what?) <br />Bring the shit man, live man <br />(Fuck that son) <br />Nine-six shit.. <br /><br />~ sHAKURApROD ~ (Less)
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318, 03:58, 2008-04-18 11:09:30 Description: Né à Long Island, New York, fils du trompettiste Olu Dara Jones, Nasir connaît une enfance éloignée de la tutelle scolaire puisqu'il s'en écarte (More) Né à Long Island, New York, fils du trompettiste Olu Dara Jones, Nasir connaît une enfance éloignée de la tutelle scolaire puisqu'il s'en écarte prématurément au stade de la 4ème. Dans la rue, il apprend avec son groupe Devastatin' Seven ce qu'il appelle les "street mathematics", soit le rap, qu'il perfectionne dans le but de rendre sa technique "illmatic" (épatante, folle, fantastique). Ses lectures favorites l'amènent à connaître l'histoire de l'Egypte ancienne, les sourates du Coran, les versets de la Bible, la culture occidentale du XVIIIe siècle et les projets migratoires de Marcus Garvey. Très jeune, il participe à des concours de rap où il rencontre les légendes new-yorkaises, toujours ses aînées, Big Daddy Kane, Rakim, Kool G Rap. Il se fait un point d'honneur tout particulier à citer dans ses improvisations son quartier, dont il veut rétablir le statut, caduc depuis le retour à l'anonymat du rappeur MC Shan. Les chansons de Nas sont toutes habitées par cette culture composite et commune à tant de rappeurs où rap, religion, société et nationalisme noir sont mêlés. <br /> <br />Pour autant, les thèmes qu'il y développe sont moins un reflet exact des événements de son adolescence que l'expression répétée et lancinante des préoccupations qui l'ont trituré durant cette période. Ainsi ses chansons abordent, pour 90% d'entre elles, des sujets attenants à celui de la petite criminalité et du grand banditisme, faisant de Nas un chantre du brigandage à New York bien que, ne s'étant jamais affilié à un clan particulier (si ce n'est son quartier, Queensbridge), le MC n'est pas, à proprement considérer, un gangsta rapper. Partant de ce postulat, il est nécessaire de discuter la croyance selon laquelle il y aurait séparation nette entre le "Nasty" Nas, prétendu civique de Illmatic (1994) et le personnage de Nas "Escobar" qui vit le jour lors de la composition de It Was Written (1996). Cette opposition a souvent servi d'argument à tous ses dénigreurs, disant regretter le rappeur des débuts. Dans N.Y. State Of Mind (Illmatic), Nas compare pourtant l'ampleur de sa notoriété à celle d'un célèbre arriviste cubain joué par Al Pacino dans le film de Brian De Palma, opérant par là même un rapprochement entre son écriture et les stupéfiants (leur fabrication, leur recel). <br /> <br />"Je suis comme quand Scarface sniffe de la coke <br />Et porte un M-16, vois-tu, je suis un extrémiste du style (…) <br />Vous me connaissez tous que mon son passe ou non à la radio <br />J'ai mon stock d'E&J, assis défoncé dans les escaliers (…) <br />Je fais des rêves où je suis un gangster qui boit du Moët, tient des flingues <br />Je m'assure que l'argent rentre puis je décampe <br />Investir dans les stocks, règner sur les quartiers pour vendre la came <br />Sortir vainqueur de fusillades contre de super flics (…) <br />Je ne suis pas le genre de frère qu'il faut que tu t'amuses à provoquer <br />Donne-moi un Smith & Wesson et les gars se déshabillent à ma vue (..) <br />Je rêve pouvoir confortablement m'asseoir <br />et me relaxer style Capone, plein de combines pour écouler la drogue (..) <br />J'ai tellement de rimes que je ne dois pas être très sain". <br /> <br />Loin d'être fraîchement nouveau, ce procédé que du reste avait inauguré, rapologiquement parlant, Grand Master Flash dans The Message (et qui confirme l'idée souvent défendue que Nas est l'un des rappeurs les plus old school de la new school), est à mettre en lumière en ce qu'il contredit complètement la conjecture bien répandue de l'avilissement tardif du rappeur. En outre, il montre que, déjà, la poésie de Nas était le lieu d'expression privilégié de ses fantasmes d'ascension sociale, dont le trafic et le crime apparaîtront toujours à ses yeux comme les chemins privilégiés. Nas n'a donc pas été, originairement, le modèle de probité que beaucoup se figurent. <br /> <br /> <br />Texte grace à l'aimable contribution de Reek <br /> <br /> <br /> <br /> <br /> <br />"The Message" <br /> <br />Fake thug, no love, you get the slug, CB4 Gusto <br />Your luck low, I didn't know til I was drunk though <br />You freak niggaz played out, get fucked and ate out <br />Prostitute turned bitch, I got the gauge out <br />96 ways I made out, Montana way <br />The Good-F-E-L-L-A, verbal AK spray <br />Dipped attache, jumped out the Range, empty out the ashtray <br />A glass of 'ze make a man Cassius Clay <br />Red dot plots, murder schemes, thirty-two shotguns <br />Regulate wit my Dunn's, 17 rocks gleam from one ring <br />Yo let me let y'all niggaz know one thing <br />There's one life, one love, so there can only be one King <br />The highlights of livin, Vegas style roll dice in linen <br />Antera spinnin on Milleniums, twenty G bets I'm winnin them <br />Threats I'm sendin them, Lex with TV sets the minimum <br />Ill sex adrenaline <br />Party with villians, a case of Demi-Sec to chase the Henny <br />Wet any clique, with the semi-tech who want it <br />Diamonds I flaunt it, chickenheads flock I lace em <br />Fried broiled with basil, taste em, crack the legs <br />way out of formation, it's horizontal how I have em <br />fuckin me in the Benz wagon <br />Can it be Vanity from Last Dragon <br />Grab your gun it's on though <br />Shit is grimy, real niggaz buck in broad daylight <br />with the broke Mac it won't spray right <br />Don't give a fuck who they hit, as long as the drama's lit <br />Yo, overnight thugs, bug cause they ain't promised shit <br />Hungry-ass hooligans stay on that piranha shit <br /> <br />[Chorus: samples from "New York State of Mind" (repeat 4X)] <br /> <br />"I never sleep, cause sleep is the cousin of death" -> [Nas] <br />"I ain't the type of brother made for you to start testin" -> [Nas] <br /> <br />[Nas] <br />I peeped you frontin, I was in the Jeep <br />Sunk in the seat, tinted with heat, beats bumpin <br />Across the streat you was wildin <br />Talkin bout how you ran the Island in eighty-nine <br />Layin up, playin the yard with crazy shine <br />I cocked a baby 9 that nigga grave be mine, clanked him <br />What was he thinkin on my corner when it's pay me time <br />Dug em you owe me cousin somethin told me plug him <br />So dumb, felt my leg burn, then it got numb <br />Spun around and shot one, heard shots and dropped son <br />Caught a hot one, somebody take this biscuit 'fore the cops come <br />Then they came askin me my name, what the fuck <br />I got stitched up and went through <br />Left the hospital that same night, what <br />Got my gat back, time to backtrack <br />I had to drop so how the fuck I get clapped <br />Black was in the Jeep watchin all these scenes speed by <br />It was a brown Datsun, and yo nobody in my hood got one <br />That clown nigga's through, blazin at his crew daily <br />The 'Bridge touched me up severely hear me? <br />So when I rhyme it's sincerely yours <br />Be lightin L's sippin Coors, on all floors in project halls <br />Contemplatin war niggaz I was cool with before <br />We used to score together, Uptown coppin the raw <br />But uhh, a thug changes, and love changes <br />and best friends become strangers, word up <br /> <br />[Chorus: first from "New York State of Mind", then "Halftime" (repeat 4X)] <br /> <br />"Y'all know my steelo" -> [Nas] <br />"There ain't an army that could strike back" -> [Nas] <br /> <br />[Nas] <br />Thug niggaz <br />Yo, to them thug niggaz gettin it on in the world you know? <br />To them niggaz that's locked down <br />doin they thing survivin yaknowmsayin? <br />To my thorough niggaz, New York and world wide <br />Yo to the Queensbridge Militia <br />9-6 shit.. The Firm clique, Illmatic nigga <br />It Was Written though <br />It's been a long time comin <br />Y'all fake niggaz, tryin to copy <br />better come with the real though <br />Fake ass niggaz yo.. <br />(They throw us slugs we throwin em back, what?) <br />Bring the shit man, live man <br />(Fuck that son) <br />Nine-six shit.. <br /> (Less)
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467, 02:43, 2008-04-17 15:10:59 Description: Ray Price Portrait of a Legend Stories About Ray The lights dim. The sixtyish-looking woman beside me, a complete stranger until fifteen minutes ago, clutches my arm in excitement. It's the (More) Ray Price Portrait of a Legend Stories About Ray The lights dim. The sixtyish-looking woman beside me, a complete stranger until fifteen minutes ago, clutches my arm in excitement. It's the first time she'll see Ray Price in person. This mature audience in Laughlin, Nevada, seems to appreciate the fact that the living legend on stage, now in his early seventies, is still youthfully handsome, his voice as powerful and melodious as ever. Near the end of the show, Ray introduces a song written, he tells us, by a "dear friend" who brought him as a young Texas kid to Nashville and got him on the Grand Ole Opry. "I lived with my friend for almost a year before he passed away." He pauses, his eyes seeming to wander back to that long-ago time. "So, if you-all don't mind, I'd like to sing you one of the late Hank Williams' songs." The crowd responds with a huge ovation as Ray begins Hank's "Mansion on the Hill." After the show I'm set to interview Ray Price. I want to learn more about that famed friendship. It's a dramatic story, I feel, one that will say much about how a true friend can ease your path, whether you're on the way up--or the way down. The year was 1951. Early autumn. There was a slight chill in the air outside on Nashville's streets. Inside Studio C at station WSM, the atmosphere was tense for the dark-haired young singer from Texas. He had just driven all the way to Nashville, probably breaking a few speed laws on the way. If there were stars in the newcomer's intense blue eyes, he had every reason to be thrilled and enormously impressed. Ray Price was about to meet Hank Williams, the reigning country music star of the day. Not only that, Ray was going to sing on his show. Ray had a few minor recordings and some local Texas performances behind him. Twenty-eight-year-old Hank Williams was already a national phenomenon. Songs he'd written were blasting from every radio and juke box across the country. But ole Hank didn't let that stand between them. Ray, recalling that first meeting, says. "It was one of those instant friendships. I liked him; he liked me. For some reason we hit it off right away." They went to Hank's home after the show and talked for hours about their hopes and dreams. Price, a 25-year-old former veterinary student, had a clear, vibrant voice that many felt might be wasted just talking to horses. He had recently signed with Columbia Records. "All you need," Hank told him, "is a hit record. And I'm going to write one for you." Quite an offer. At that time Hank's songs were being grabbed up by big-name pop singers like Tony Bennett, Jo Stafford and Rosemary Clooney. Tunes like "Cold, Cold Heart," and "I Can't Help It If I'm Still In Love With You" were hitting the tops of the charts in both country and pop markets. Hank followed up on his promise. The day after they met, he took Ray with him to a singing engagement in Evansville, Indiana. During the miles of rolling countryside between Nashville and Southern Indiana, creative ideas flew back and forth. Hank and Ray ended up writing "Weary Blues from Waiting" together. Said Ray, "We'd think up a line, each one of us, and then we'd do another. When we got there it was all written. I didn't put my name on it because I couldn't; I was with another company." Quite a team. Hank, who has been dubbed "The Hillbilly Shakespeare," could capture heartfelt emotion with ease in a few poetic word pictures. By the end of his brief life, he'd written 129 songs, many of them still favorites today. Ray, a fine songwriter too, had the more powerful impressive voice. But in mid-October 1951, it must have made sense for Ray to record "Weary Blues from Waiting" in Hank's highly popular plaintive style. Columbia released "Weary Blues" in November and gave it a big advertising/publicity splash because it was, after all, a Hank Williams song. But it didn't turn out to be the big hit hoped for, the hit that would have led to the Grand Ole Opry, the mecca of all country music performers. Hank didn't let that stop him. A few weeks later, he phoned Ray, who was performing back in Texas, and gave him the big news. If he could be in Nashville by the next day, he had a spot on the Grand Ole Opry. Another frantic trip. Ray burned rubber off four tires getting there. In January 1952, Ray moved to Nashville and soon became a regular on the Grand Ole Opry. A world of possibilities was opening up for him. But while Ray was moving upward in his climb to fame, Hank began to hurtle into free fall. He'd reached the pinnacle of his brief career, and his meteoric blaze in the sun would soon burn out. Separation that January from his wife, Audrey, started off the downhill plunge. Severe problems from a recent back operation added fuel to increase the periodic drinking that had long plagued him. Hank began to drink more and more to ease the the pain and heartache. His career suffered. Although he was still writing and selling songs, he began to miss perfomances or, worse yet, stagger on stage drunk. Ray was quick to defend Hank on that score. "He was not the type to go out in public drunk. When he drank, he drank a glassful at one time, and then another glassful, until he was totally wiped out. And he would stay in his room. The operators or the promoters would drag him out drunk." Ray was hired to accompany Hank on his singing engagements. "They used to send me along to sort of look out for him," Ray explained. "They knew Hank liked me, that he'd listen to me." But Hank's drinking put Ray in a tight spot more than a few times. In a scathing review, a newspaper reporter described one of these performances in Richmond, Virginia, on Jan. 29, 1952. It told how Ray Price had to come on stage and apologize for Hank, stall the crowd by singing Hank's songs, and then declare a half-hour intermission. When Hank finally appeared, he was so drunk that fans began to demand their money back. Ray tried to calm everyone down, calling out, "We all love you, Hank, don't we?" How did it feel filling in for Hank on these tours? Ray's response was fond and overly modest. "There was no way I could fill in for Hank; all I could do was kill time for him." With a reminiscent smile, he added, "He was the top dog." Ray was not about to let Hank down. After Hank and his wife separated and Hank needed a place to stay, Ray came to his rescue. The two moved into a two-story stone duplex in Nashville. Ray lived upstairs and Hank on the first floor. Ray did most of the housework and looked after Hank while he recuperated from the back operation he'd undergone a few weeks earlier. At that point, Hank was optimistic he could patch things up with Audrey and go back to his home and family. But taking care of Hank proved as much of a challenge as touring with him. His alcoholism had advanced to the point where he wouldn't eat while he was drinking. But if Ray could get him to start eating, he'd straighten out. If the food wouldn't stay down, however, he'd reach for the bottle right away and just sit in his room and keep on drinking. The last straw was when Hank lost hope that Audrey would reconcile with him. When she filed for divorce Hank was devastated. According to Ray, who accompanied Hank to the property settlement discussions, Hank was overly generous, giving Audrey much more than was required. He wanted to prove to her how much he still loved her. The divorce went through anyway and plunged Hank into further gloom. In the brief year Hank and Ray knew each other, there was not much time for light-hearted moments, for the hunting and fishing they might have shared in happier times. "We went and tried to fish, but..." Ray's voice trailed off, seemingly reluctant to explain just why the fishing trip never came off. He shifted the subject. "He liked to shoot a pistol. We'd go out on the target range." Hank continued to write songs for Ray. One of them was "I Can't Escape From You," which Ray duly recorded. But Hank also offered Ray some of his biggest hits, songs like "Jambalaya," and "Take These Chains From My Heart." Hank would bounce them off Ray and ask "What do you think of it? I wrote it for you." When Ray predicted they would be hits, Hank would often change his mind and take them back to record himself. Possibly Hank recognized Ray's ability to spot a hit, an ability proven later when Ray helped "launch" the songwriting careers of such "greats" as Willie Nelson, Roger Miller, Harlan Howard, Bill Anderson and Kris Kristofferson. During the early months of 1952, living in the same house with Hank as his alcoholism progressed must have been difficult. One evening, Hank is said to have double-dated with singer Faron Young, but Hank preferred Faron's girl to his own. By the end of the evening when Hank was loaded, he called Faron into a bedroom and pointed a gun at him. He wanted to switch girls; he claimed to have fallen for Faron's date. Faron, understandably, agreed. Whether that story is true or not, Hank did end up marrying the girl, Billie Jean, later that year. But Billie Jean couldn't stop Hank on his downhill plunge. Hank finally became so far gone in his alcoholism that Ray, along with Don Helms, a member of Hank's band, were afraid he'd drink himself to death. They arranged to have him sedated and committed to the Madison Sanitarium to undergo treatment. Hank Williams' biographers have written that Hank was so furious that he ordered Ray to move out of the house, then later apologized and begged him not to leave. Ray, who was already loading a truck, is said to have responded. "I've got to." Ray revealed to me that he moved out of the house at that time, but not out of Hank's life. He moved for personal reasons that had nothing to do with Hank. He continued to be very much involved with Hank's activities. In August, Hank's drinking problem became too much for the Grand Ole Opry, where he had been a top star. They fired him. After Audrey and the divorce, it was another devastating loss for Hank. He left town to go to work for the Louisiana Hayride in Shreveport. Ray remembers the day Hank left Nashville. As he was driving into town, he saw Hank in a service station, standing beside his Cadillac. Hank lifted his hand and motioned for Ray to stop. "Where are you going?" Hank asked as Ray pulled in. "Where are you going?" Ray wanted to know. "Back to Shreveport." He kind of laughed when he asked Ray, "You wanta come?" "I better not," Ray said. He would only see Hank alive one more time after that. Ray's career success continued to escalate in Nashville that fall as he became one of the the hottest entertainers in town. Hank had dreams of straightening out his life and returning to the Grand Ole Opry. It never happened. The final meeting of the two friends occurred at the Big D Jamboree in Dallas shortly before Christmas 1952. Hank caught sight of his friend and walked toward him smiling, singing a few lines from Ray's latest hit, "Don't Let the Stars Get in Your Eyes." They talked, and Hank suggested to Ray and his mother that he "might just come over and spend Christmas with you." They warmly invited him to do so, but Hank went back to his family in Alabama instead. Hank and Ray did make plans to get together in Ohio, however. They both had engagements in that state on New Year's Eve--Ray in Cleveland, Hank in Canton, fifty miles away. They arranged to meet in Canton on New Year's Day. By the end of 1952, the mid-section of the country was in the throes of a fierce winter storm. Hank, who had planned to fly to Canton, hired a chauffeur instead to drive him North in his powder blue Cadillac sedan. Ray was able to get the last flight out of Nashville. Hank couldn't sleep the night before that trip. He told his new wife, Billie Jean, that he saw "God comin' down the road." His health had been deteriorating. The trip was to prove his undoing. He died somewhere in West Virginia in the back seat of his Cadillac. The driver knew Hank had been drinking heavily and thought he had merely passed out. The death wasn't discovered until they pulled into the town of Oak Hill on New Year's day. Officially his demise was attributed to a heart attack. The meeting in Canton, Ohio, on New Year's Day between the two friends never took place. Instead, Ray was among a host of fellow performers bidding goodbye to the great Hank Williams at a massive funeral in Montgomery, Alabama, on January 4, 1953. All the stars of the Opry were there. The radio stations had been playing his music night and day. Fans wept. Hank was back in the fold again, a country music legend for all time. Hank Williams's career was brief, but unforgettable. In 1962, he one of the first performers to be inducted into the Country Music Hall of Fame. Ray Price is still a star, a living legend, who has helped revolutionize more than a few changes in country music. In 1956, Ray's unique recording of "Crazy Arms" was a top hit for forty-five weeks, knocking even Elvis off the charts. It clearly established Ray Price as a leading light in country music. But Ray, in 1967, went in a new direction and with his concert-calibre voice, backed by dozens of violins, soared into a beautiful, show-stopping rendition of the classic, "Danny Boy." Unperturbed by criticism that he had deserted country music, Ray went on to new cross-over heights with his early 1970's hits, "For the Good Times," and "I Won't Mention it Again." Erasing the boundaries between country and pop became a vital issue for Ray Price. He had long resented the fact that Hank's songs were eagerly gobbled up by the pop world, but the country singer himself found it more difficult to cross over at that time. Today, however, Hank Williams is a household word, and Ray, still touring throughout the country, pays tribute to his mentor at each concert. In 1996, Ray Price was inducted into the Country Music Association Hall of Fame. In 1999, he celebrates his fiftieth successful year in the music business. Hank would have been proud of his protege. If you have a story or anecdote about Ray Price that you think Ray's fans would enjoy, we invite you to submit it for possible publication on this site. We're looking for anecdotes that are amusing, cute, heartwarming, or illustrative of the qualities that have made Ray Price a legendary performer. Please email your entry to fan club president SANDRA ORWIG at rpfc40@aol.com. The Day Ray Price almost fell for me Every Sunday back in the 50's the Country Music stars came to the Lyric theater in Indianapolis IN, and I never missed a one. One Sunday when I was around sixteen or there abouts, I had went to see George Hamilton the 4th, and was sitting in the first row, when this good looking guy tried to go pass me for a seat (you know how those theater seats are *S*) and I stuck out my foot to trip him, he just about fell!! Then in a little bit, George said We have a special guest with us tonight and we'd like to get him up here to sing a song for you. Well this good-looking guy got up and went on stage, George said,we'd like for you to meet Mr. Ray Price! Boy was I embarrassed. So I'll never forget how Ray almost fell for me! *S* I have loved Ray ever since! Written by:Liz Puett Reprinted with permission from Dick Shuey's Country Music Stories His Usual Considerate Self It had been many years since I had seen Ray when he was at the Choctaw Festival in Tuskahoma, Ok, a few years ago. I was so excited at seeing him again, so I made a special shirt to wear. It was a red t'shirt and had the slogan, "I love Ray Price" printed in white. My greatest desire was to have my picture made with Ray. After the show he was signing autographs and I waited until he was almost through then asked him to sign my shirt. Then my son took our picture. My son then told me he thought the flash malfunctioned and he was not sure it would be a good picture. I said we would wait until he was finished and maybe try again. Before Ray had signed the last autograph someone was calling from the bus to hurry, they were running late and had to go. He said ok, but first he had one more picture. Then he walked over to me, smiling, and said, "Now, let's get a good picture." He had heard my son's comment and took time to redo the picture although he was running behind schedule. What a guy!!!. Oh, yes both pictures were good. At another concert some months later in Omaha, Texas, I had injured my leg and was on crutches or wheelchair. After the show the line was very, very long and I knew I could not stand that long. So I resorted to the wheelchair. As we approached the table we were talking with Cliff and I mentioned I wanted to take a picture with Ray. And I was wearing another special shirt that said 'I still love Ray Price' Ray heard us and immediately got up and came around the table. He helped me out of the chair, signed my shirt and my son took our picture. On that particular night Ray was fighting a severe cold and was very sick, but that did not keep him from being his usual wonderful, considerate self. I could go on and on and on about Ray. He sure made a hit with my son who grew up on Ray Price music. I even told Ray my son, also named Clifton, could say Ray Price almost as soon as he could say Mommy. Thanks for all you do to promote 'our guy'. Florine It Wasn't Just A Cock-and-Bull Story The first time I met Ray Price was at the Travis County Live Stock Show & Rodeo. My husband and I had only been married a couple of years and I told him I would love to go and see Ray Price. He told me sure we could go and that he had known Ray for many, many years and that he used to handle game roosters for Ray when Ray would fight them in Oklahoma and Louisiana. At this point I was glad to get to go but had major doubts about how well he knew Ray. We bought 4 front and center tickets and waited for what seemed like forever. The night finally come. We got all made up in our best rodeo clothes to go and see the great Ray Price. I didn't watch much of the rodeo for looking to see if Ray was at the autograph table and waiting to hear him sing. The whole way to the rodeo ( an hour drive one way) my husband kept saying him and Ray this, him and Ray did that. Me and the boys were really getting tired of hearing this and thinking that he was full of BS. Before Ray sang they announced he would sign autographs after the show. I set through the show in pure heaven. Ray's voice melting every bone. Right before he finished the last song I told my husband we had to hurry to the autograph place. We went and were first in line. In a few minutes a long, long line had formed. Earlier in the night I had bought a double album to get Ray to sign. My husband said don't buy it I'll get Ray to give you one. Again sure you will. I bought it anyway. We waited for what seemed like hours. The whole time my husband telling us more cute stories. Finally the lady behind us said sure you know him and laughed. That was what we had thought. About that time Ray came out stopped,looked at my husband and said 'Damn, boy, I haven't seen you for years.' They hugged and started talking as if they had just seen each other the day before. After we picked up our jaws, even the lady behind us, Ray chewed my husband out for buying the album and signed it for me. He told my husband that Duke and some of the other old group were up in the Ball Room. He told someone there with him to take us up to the Ball Room which was a black tie or suit and tie place. We were in jeans, western shirts, and boots. The materdee at the door told us you can't come in here you're not properly dressed an your not the type of people that come here. About that time the guy from Ray's band caught up with us and told him that they are guests of Mr. Price. You should have seen that guy jump threw the hoop. It was great. From then on we were believers. Every time we go and see Ray I ask for him to sing my favorite song For the Good Times and we stand in front of the band and it seems as if he is singing for just us. We had plans to go and see him again in Llano but he was sick. There would have been a second favorite to ask for this time Soft Rain. One day we will catch up with him and get it done. Friends and fans, The Skinners A Fan Club President Has Some Stories Too These reminiscences of fan club president Sandra Orwig are reprinted from her most recent newsleter. Ray was playing one of the largest Pennsylvania fairs with three other well-known country artists. Before the show began the head of the fair committee came to the bus and told Ray that if he did not want to autograph after the show he did not have to do so as the others were not going to do so. Ray's reply made me so proud. He said, "I don't care who autographs, I am." He was the top billed star and the only one that cared enough about his fans to stay out in the cold and sign every autograph. It was a very cold September night and Ray closed the show so it was very dark on the race track when he autographed. When he finished, Blondie said to him, "Let's go," and he said, "No, I have to go talk to Sandra's Dad." As most of you know, my father is handicapped and does not get to go see Ray often, but Ray made sure we were escorted to park by the bus and then, regardless of the cold, late hour and long trip ahead of him back to Texas, he took the time to talk with my Dad. Only one reason why he has "Touched My Heart." Sandra Orwig (from her newsletter #55) "His timeless music, incredible voice, and innovative genius have yet to be equalled by any other singer in today's country-music world." Ray Price is one of American music's truly great stars. He was inducted into Nashville's Country Music Hall of Fame in 1996, but has long shown his genius in other genres as well. After more than a half-century in the business, Ray can still belt out a song with the best of them, whether it's honky-tonk, country, pop, blues, jazz, or anything in between. With his May 2000 Buddha Records release--"Prisoner of Love"--Ray has delightfully proven this once again with a big-band-backed medley in many moods and styles. Audiences full of cheering fans still flock to his concerts whenever he's in town, and that's fairly often, for this vigorous Texan maintains a hefty tour schedule. On Inauguration Eve 2001, Ray was proud to be on stage in Washington, D.C., as one of the Texas performers who entertained enormous crowds at the Texas Black Tie and Boots Ball. This dynamic artist can be proud also of his role in the history of country music. In fact, he has helped to write that history as well as live it. He was born Noble Ray Price on January 12, 1926, near Perryville, Texas, and his musical talents became evident at an early age. While in college, Ray became a regular on KRLD radio's "Big D Jamboree" show in Dallas. On March 15, 1951, Ray signed with prestigious Columbia Records, and in 1952, moved to Nashville where his great friend and supporter was the legendary Hank Williams. Hank got Ray on the Grand Ole Opry and the two shared bachelor quarters during the last year of Hank's brief but memorable life. Ray's band was initially formed from the remnants of Hank Williams' band, the Drifting Cowboys. The band would later become the Cherokee Cowboys, and Ray himself would become known as the Cherokee Cowboy. Ray has always had an uncanny talent for recognizing quality in both music and musicians. The careers of many country music superstars, such as Willie Nelson, Roger Miller, Johnny Paycheck, Darrell McCall, Buddy Emmons, and Johnny Bush, began with Ray Price and the Cherokee Cowboys. Ray Price became noted for his magnificent show-stopping voice and honky-tonk hits throughout the 1950's. On the way to the top, he also helped revolutionize more than a few changes in country music. In 1956, when rock and roll was threatening to drown out the sounds of traditional country music, it took Ray's rendition of "Crazy Arms" to knock Elvis off the charts. That recording's 45 weeks at the top of the charts got people listening to country music again and clearly established Ray Price as a leader in the field. But Ray has never been so traditional that he didn't innovate. During the "Crazy Arms" recording session, he added drums and a 4-4 bass and shuffle rhythm that redefined the way country music was played for years to come. Then, just when everyone else in country was turning to that sound, Ray, in 1967, went in a new direction and added a large string section and with his concert-calibre voice soared into a beautiful, show-stopping rendition of the classic, "Danny Boy." Audiences were stunned by its beauty. His "Danny Boy" album made him new fans in sections of the country far beyond the Mason- Dixon line. But some in Nashville and the South thought he had deserted country music and didn't take it well. Unperturbed, Ray went on to new heights with his early 1970's hits, "For the Good Times," and "I Won't Mention it Again." He refused to accept boundaries between country and pop. Music was music. A lot of Ray's strong feeling about artificial boundaries in music goes back to his close association with his mentor and close friend, Hank Williams. Ray resented the fact that Hank's songs were eagerly accepted by the pop world but the country singer himself was not. At least in that day and age. A few year later he would have been, according to Ray. But not then. Erasing the lines between country and pop became a vital issue for Ray Price. With his own brand of individualism, he continues to cross musical boundaries and create songs and sounds for everyone. His latest album, "Prisoner of Love," was recorded with a 50-piece orchestra. It combines old country standards with beautiful ballads from all eras, and includes a few new songs never before recorded. This Country Music Hall of Fame legend is the soul of country music. He continues to be creative and expand conventional boundaries with his music, while never forgetting his roots. His timeless music and incredible commitment to performing has made him a bridge between the early days of country to today's contemporary country music. The Los Angeles Times has declared Ray Price to be 'a national treasure.' Another newspaper has compared him to Frank Sinatra. Ask any Ray Price fan, however, if that's true. Most of them will tell you that Ray Price has no equal anywhere when it comes to delivering a song and pleasing an audience. Born: January, 12, 1926 Years Active: 50's 60's 70's 80's 90's 2000's Related Artists: Kitty Wells, Harlan Howard, Carl Butler, Allan Sisters, Ferlin Husky sponsored content by biggerboat Released: 10/30/2007 1 disc / 21 Tracks Label: Warner Bros. Compare Prices Click for Additional Details Larry the Cable Guy Christmastime in Lar... 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Larry the Cable Guy Christmastime in Larryland Upcoming Concerts 12/01/07 Stafford Centre for the Performing Arts - Amphitheater Stafford TX view all tour information Ray Price has covered -- and kicked up -- as much musical turf as any country singer of the postwar era. He's been lionized as the man who saved hard country when Nashville went pop, and vilified as the man who went pop when hard country was starting to call its own name with pride. Actually, he was -- and still is -- no more than a musically ambitious singer, always looking for the next challenge for a voice that could bring down roadhouse walls. Circa 1949, Price cut his first record for Bullet in Dallas. In 1951, he was picked up by Columbia, the label for which he would record for more than 20 years. After knocking around in Lefty Frizzell's camp for six months or so (his first Columbia single was a Frizzell composition) Price befriended Hank Williams. The connection brought him to the Opry and profoundly affected his singing style. After Hank died, Price starting stretching out more as a singer and arranger. His experimentation culminated in the 4/4 bass-driven "Crazy Arms," the country song of the year for 1956. The intensely rhythmic sound he discovered with "Crazy Arms" would dominate his -- and much of country in general's -- music for the next six years. To this day, people in Nashville refer to a 4/4 country shuffle as the "Ray Price beat." Heavy on fiddle, steel, and high tenor harmony, his country work from the late '50s is as lively as the rock & roll of the same era. Price tired of that sound, however, and started messing around with strings. His lush 1967 version of "Danny Boy" and his 1970 take on Kris Kristofferson's "For the Good Times" were, in their crossover way, landmark records. But few of his old fans appreciated the fact. In the three decades following "For the Good Times," Price's career was often an awkward balancing act in which twin Texas fiddles are weighed against orchestras. Born in tiny Perryville, TX, Price spent most of his youth in Dallas. It was there where he learned how to play guitar and sing. Following his high school graduation, he studied veterinary medicine at North Texas Agricultural College in Abilene before he left school to join the Marines in 1942. Price stayed in the service throughout World War II, returning to Texas in 1946. After leaving the Marines, he initially returned to college, yet he began to perform at local clubs and honky tonks, as well as on the local radio station KRBC, where he was dubbed the Cherokee Cowboy. Three years later, he was invited to join the Dallas-based The Big D Jamboree, which convinced him to make music his full-time career. Shortly after joining The Big D Jamboree, the show began to be televised by CBS, which helped him release a single, "Your Wedding Corsage"/"Jealous Lies," on the independent Dallas label Bullet. Price moved to Nashville to pursue a major-label record contract in 1951. After auditioning and failing several times, Ray finally signed to Columbia Records, after A&R representative Troy Martin convinced the label's chief executive, Don Law, that Decca was prepared to give the singer a contract. Previously, Law was uninterested in Price -- he turned him down 20 times and threatened Martin never to mention his name again -- but he was unprepared to give a rival company a chance at the vocalist. Just before "Talk to Your Heart" became a number three hit for Price in the spring of 1952, Ray met his idol, Hank Williams, who immediately became a close friend. Over the next year, Hank performed a number of favors for Price, including giving him "Weary Blues" to record and helping him join the Grand Ole Opry. Ray also became the permanent substitute for Hank whenever he was missing or too drunk to perform. Following Williams' death in 1953, Price inherited the Drifting Cowboys. Following the success of "Don't Let the Stars Get in Your Eyes" in the fall of 1952, Price was quiet for much of 1953. It wasn't until 1954 that he returned to the charts with "I'll Be There (If You Ever Want Me)," a number two hit that kicked off a successful year for Price that also included the Top Ten singles "Release Me" and "If You Don't, Somebody Else Will." Instead of capitalizing on that success, he disappeared from the charts during 1955, as he spent the year forming the Cherokee Cowboys. Over the course of the past two years, he had realized that performing with the Drifting Cowboys had made him sound too similar to Hank Williams, so he decided to form his own group. Originally, most of the members were lifted from Lefty Frizzell's Western Cherokees, but over the years a number of gifted musicians began their careers in this band, including Roger Miller, Johnny Paycheck, Buddy Emmons, Johnny Bush, and Willie Nelson. Ray returned to the charts in 1956, first with "Run Boy" and then with "Crazy Arms," a driving honky tonk number that immediately became a country classic. The song was one of the first country records to be recorded with a drum kit, which gave it a relentless, pulsating rhythm. Until Price, most country artists were reluctant to use drums and the instrument was even banned from the stage of the Grand Ole Opry. The blockbuster status of the single helped change that situation. Spending an astonishing 20 weeks at the top of the country charts, "Crazy Arms" not only crossed over into the lower reaches of the pop charts, but it also established Price as a star. After the success of the single, he remained at or near the top of the charts for the next ten years, racking up 23 Top Ten singles between the 1956 and 1966. During this time, he recorded a remarkable number of country classics, including "I've Got a New Heartache" (number two, 1956), "My Shoes Keep Walking Back to You" (number one, 1957), "Make the World Go Away" (number two, 1963), and "City Lights," which spent 13 weeks at the top of the charts in 1958. The momentum of Price's career had slowed somewhat by the mid-'60s; though he was still having hits, they weren't as frequent nor as big. His musical inclinations were also shifting, bringing him closer to the crooning styles of traditional pop singers. Ray abandoned the cowboy suits and brought in strings to accompany him, making him one of the first to explore the smooth, orchestrated sounds of late-'60s and early-'70s country-pop. While it alienated some hardcore honky tonk fans, the change in approach resulted in another round of Top Ten hits. However, it took a little while for the country audience to warm to this new sound -- it wasn't until 1970, when his cover of Kris Kristofferson's "For the Good Times" hit number one, that he returned to the top of the charts. Over the next three years, he scored an additional three number one singles ("I Won't Mention It Again," "She's Got to Be a Saint," "You're the Best Thing That Ever Happened to Me"). By the mid-'70s, the appeal of his string-laden country-pop hits had diminished, and he spent the rest of the decade struggling to get into the charts. In 1974, he left his long-time home of Columbia Records to sign to Myrrh, where he had two Top Ten hits over the next year. By the end of 1975, he had left the label, signing to ABC/Dot. Though he hadn't changed his style, his records became less popular around the same time he signed to ABC/Dot; only 1977's "Mansion on the Hill" gained much attention. In 1978, he switched labels again, signing with Monument, which proved to be another unsuccessful venture. In 1980, Price reunited with his old bassist Willie Nelson, recording the duet album San Antonio Rose, which was a major success, spawning the number three hit "Faded Love." San Antonio Rose reignited Ray's career, and in 1981 he had two Top Ten singles -- "It Don't Hurt Me Half as Bad" and "Diamonds in the Stars" -- for his new label, Dimension. Price left Dimension in 1983, signing with Warner Records. He remained at the label for one year, and by that time, his new spell of popularity had cooled down considerably; now, he was having trouble reaching the Top 40. That situation didn't remedy itself for the remainder of the decade, even though he signed with two new labels: Viva (1983-1984) and Step One (1985-1989). By the late '80s, Price had stopped concentrating on recording and had turned his efforts toward a theater he owned in Branson, MO. For most of the '90s, he sang and performed at his theater in Branson, occasionally stopping to record. Of all of his '90s records, the most notable is the 1992 album Sometimes a Rose, which was produced by Norro Wilson. (Less)
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31, 02:10, 2007-12-11 12:51:10 Description: Keni was the lead singer of The Five Stairsteps on this stone killer Northern Soul classic, produced and written by Curtis Mayfield and released on Curtom Records, and one of the defining records of (More) Keni was the lead singer of The Five Stairsteps on this stone killer Northern Soul classic, produced and written by Curtis Mayfield and released on Curtom Records, and one of the defining records of my own youth in the 1960s. It was such a pleasure to film him in his hometown of Atlanta, for The Strange World Of Northern Soul. Keni was born on the 28th September 1953, in Chicago, Illinois. He began his career in the 1960's with brothers James, Clarence, Dennis and sister Aloha in his family group the Stairsteps. When they split up in 1971 he moved to Los Angeles in search of session work. In 1974, he toured with Billy Preston who was a friend of ex-Beatle George Harrison. George met Keni at a time The Stairsteps were discussing a reunion album, and signed the group to his Dark Horse label. The result was one Billy Preston produced album '2nd Resurrection' including Keni's song 'Pasado' (later recorded by the band Pockets). In 1977, the group split up again, but, determined to succeed as a solo artist, Keni recorded a solo album for Dark Horse. The album 'Keni Burke' (1977), including 'Keep On Singing' and 'You Are All Mine', wasn't a great success so Keni returned to session work with his bass guitar. He played with Smokey Robinson, Sly and The Family Stone ('On The Right Track', 1979), Terry Callier, Linda Clifford ('Runaway Love' 1978), Dusty Springfield, Diana Ross, Ramsey Lewis ('Routes', 1980), Gladys Knight, The Four Tops, Curtis Mayfleld, Eugene Record, The Emotions and Bill Withers among many more. He later recorded two albums for RCA, 'You're The Best' (1981), including 'Let Somebody Love You', 'Gotta Find A Way Back In Your Heart', 'Paintings Of Love' and 'Never Stop Loving Me'; and 'Changes' (1982), including 'Hang Tight' and 'One Minute More'. The latter also included 'Risin' To The Top' which has become a cult song on the UK soul scene although it has never charted (though twice released as a single). As a songwriter / producer he has worked with The Jones Girls (1984's Keep It Comin' including 'You Can't Have My Love' and 'Ah Ah Ah Ah'), The O'Jays ('Put Our Heads Together'), The Whitehead Brothers, Mavis Staples ('Chocolate City'), The Whispers (co-writing 'Let's Go All The Way'), Perri (co-writing 'I'm The One', also playing bass on 'The Flight'), and Bill Withers. After many years tracking down Keni Burke, my best friend, Ralph Tee, persuaded Keni back into the recording studio with the resulting album 'Nothing But Love'. The album was missed by many of the critics although the tune 'Indigenous Love' seems to be destined for 'rare groove' status in years to come. In 1999 we filmed this performance of his classic in Atlanta, then in 2002 had him perform it at The Rocket. In 2003, Keni worked with the singer Kalvin Bishop and sang on a single for Acid Jazz Records entitled '(Love Is) Alive In My Heart'. Curtis Mayfield was his mentor, and it really shows here. (Less)
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10, 04:30, 2008-04-05 06:28:13 Description: I don't know where to start, dear God can you open my heart
Let me share with this world my art, this not no R.I.P song
It's a tribute to the spirit of Pac, I still remember when you (More) I don't know where to start, dear God can you open my heart
Let me share with this world my art, this not no R.I.P song
It's a tribute to the spirit of Pac, I still remember when you visit my block
I was a juvenile, in 94' I was stuck in the war
Didn't know the meaning of life or what I was breathin' for
You gave me a hand; you gave me your plan
Thug-Life world-wide with expand
That was your dreams homie
Now it's present right in front of your eyes
They can't tell me your soul ain't alive
Cause I can feel it homie
Dear lord please forgive these sins we all lost souls stuck in the wind...
...so let us in, cause we cryin' at the gates of heaven
I've been tryin' since the age of seven
Only God knows, we gone make it I bet'cha homie
If it wasn't for Kadafi I wouldn't have met'cha homie
Try to...open your heart and feel me a minute
If it wasn't for you, I would've been dead or in prison
So I dedicate this song to you
My whole success truly belongs to you
And that's true...
Chorus(X2) [ Val Young ]
I never forget what you said
Never forget what you did
I never will (Johnny-J: -I- Never Will), I will never will
Verse-1: [ Napoleon ]
Me and Johnny in the studio reminiscin' over you
Try'na put these hits down, thinkin' what would you do
In 2002 and 2003, the worlds going crazy, industry is lazy
It ain't comin' with it, like you came wit it
You pass me the torch, so now I ran wit it
I'm still a outlaw, but I'm doing it dolo
We all go our separate ways homie you know
But I die for this thug-life
It ain't no thing I ride for this thug-life
Know what I mean? And I humble myself
I ain't wild no-more, but I don't leave the door without my foe-foe
Homie guess who I ran to, Val Young to +Live And Die In L.A +
She still singin' like she sung it when you was around
Homie sometimes I wish that you was around
Still puttin' it down.....come on
Chorus(X2) [ Val Young ]
I never forget what you said
Never forget what you did
I never will (Johnny-J: -I- Never Will), I will never will
Verse-3: [ Napoleon ]
I still remember what you told me
+Keep Ma(your) Head Up+, +Are You Still Down+
Don't never give up, do +I Get Around+
No I had to switch up
I did alotta changes dawg I had to grow up
It's still +All Eyez On Me+
Oh yeah remember +Shorty well he Still Wanna Be A Thug
Reminds me of me...and +I Ain't Mad At'cha+...
...that you had to go, oh yeah that +Rose From The Concrete+
It did grow, and +Brenda+...she had another baby
She wonder why they call her a trick
Pac it's crazy, once in a while we had gangsta parties
I still +Toss It Up +, but I don't drink Bacardi
The realest hit you ever wrote was everybody's, favorite song
I mean it played at every party
When Makaveli came to pop the party
Was the hardest music that you could find on the market
Yeah...ya legacy gone live through me
Every breath that I take you gone breath through me
June 16th-71' was the day we got a present from heaven
Pac's spirit stays present...
And that's real....
Chorus (Till The End) [ Val Young ]
I never forget what you said
Never forget what you did
I never will (Johnny-J: -I- Never Will), I will never will
Johnny-J Speakin' Over Chorus:
Yo Pac, this is to you man
You know that Johnny-J got love for you
I kept it going for you man
The legacy lives on
Its nothin' but love for you
Just remember one thing Pac
Amma keep this ride the way you wanted me to ride
Amma let them know, it never ends
I'll never forget u man (Less)
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12, 04:50, 2008-03-30 13:22:34 Description: RATE-COMMENT-SUBSCRIBE!!!
Yea... Thriller back but with Killer AP... New Track "We Are The Greatest"
Beat By EmotionL Productions... Still more songs comin... Thanks all ya'll for (More) RATE-COMMENT-SUBSCRIBE!!!
Yea... Thriller back but with Killer AP... New Track "We Are The Greatest"
Beat By EmotionL Productions... Still more songs comin... Thanks all ya'll for subscribing...
Trilo & AnojanChorus (x2)
We are the greatest, never was fakin./
Everybody around us, playa hatin./
All of them should be tapin,/
Their filthy mouths, for just complainin./
You know we explainin/ That/
Nobody else can start decimatin./
Cause we gonna go eliminatin,/
All of these rappers who always stay patent./
People, always wanna meet,/ All of these rappers who be callin them 'G's'./ Everywhere going, its hard to believe,/
That they say crap, and still signin CD's./ So, dramatically,/ Their popularity,/ Grows fast increasingly./
So it is happenin./ People are clashin in,/ Lyrics, expandin thin./ Nonsense indeed./ We really are the greatest./
Never was fakin./ Everybody contemplatin./ Wondered how we came./ Couldn't process in the brain./ One
would only say, that we were intimidatin./ But we're still, runnin in the makin./ Ready to get, everybody all shaken./
Ran in like thunder,/ and made 'em all blunder./ While they stutter, and wonder, why they all were awakin./
Everybody mistaken./ People said that we were gonna start procastinatin./ One would only start blamin,/ Cause of
the changes./ Minds were incascerated./ Mostly rappers are overrated./ Only will talk about walkin with gauges./
And runnin from police in chases./ Havin the money, with jewellery on faces./ But still minimal spaces,/
Inbetween rappers and criminal cases./ Rap style has truly fluctuated./ So we gotta start changin,/ It back like the
old days and,/ It was amazin,/ Everything blazin./ Some rappers are dazin./ Hopes are breakin./ We are the greatest,
we'll never start flakin./
Chorus (x2)
Ever wonder how this hip-hop communty's,/ Gonna be,/ Really seen?/ Not so pretty, full of mutiny./ Always
usin money,/ So take it from me,/ We are, makin the music. So we gotta take control fully./ And you really wanna see,/
Who the realist gonna be?/ And can pack artillery?/ Can get everybody seized?/ Who can really flow the beats?/ Never
lacks asperity?/ We are the greatest, we pass peripheries./ Yo!/ Gotta go,/ With the flow./ And you really wanna know,/
Who dont joke?/ Only win in every show?/ We do rhythm with the notes,/ You're only readin what we wrote/
Whatever we say is true. We will never revoke./ yea. In the middle of a coke,/ people always see we go./ With
the beats we take control./ Goin really fast Trilo./ Every note, we mikado./ With skill we boast,/ Aint no hoes./
Really our music is whole./
when i get up on the go/ with the wickedest of flows/ it should BE ALREADY known/that its killer-ap fo sho/
when them bitches wanna battle with that inaudible chatter/ hear a click click clack?/better see all of them scatter/
imma run it like a race/ better be settin a pace/ for them others to deface/ disappear without a trace/
dump the body in a ditch and then forget about the bitch/
as i'm takin and breaking the mic gotta know ur whole brain twitched/
I'm scatterin anatomies to all ends of all galaxies/
when you find your way back you'll be all up in your fantasies/
I end it with authority/ no matter what your story be/ imma hit you in the head/ and the body with a bat/
so fast/ that you'll see four of me/ we're the greatest/ never was faking/ no degrading/ what we making
Chorus (x2)
Ya can't fuck with this/ ubiquitous jury/ iniquitous purely/ ya know we flow ridiculous surely/
we spit hotter than the heat of the earth/ we've beat it since birth/ a gift and a curse/
ain't nothin that's worse than us cause/ we a lyrical battery aimed at your sanity/ if you testin our vanity
we be markin off casualties/ sane people faking the death of their brains/ just to get the hell away from i portray
as i spit this unmanagable mental strain/ leaving satan jumping headfirst into a train
going at a pace furious/ everything serious/ no more being curious/ when i'm through with this
vituperation/ a seismic sensation/ that's quaking and shaking/ and breaking the nation/
and taking it into a state of frustration/ no more tolerating/ or faking the hatin/
just racing and pacing/ and pleading for reasons/ for me not to leave you there steadily bleeding
deep in the creek its a struggle indeed/ the fire is burning it's best not to breathe
the shit that i'm saying is hard to believe/ best try cause i'll leave your head pinned to a tree
i know i said from the get go/ and i'll say it again just once more
we're the greatest/ never was faking/ no degrading/ what we making (Less)
Channel: youtubeTags: beats bone bonethugs china fast fastrap flstudio gangser google halo hip hip-hop hop jackson killer michael rap thriller
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0, 02:01, 2009-04-06 01:09:48 Description: Peezy Goin Hard ON The Track....get ready song comin soon
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