I don't carry no paper around or no pencils. I write on a lot of napkins here and there, stuff like that. If the songs are worthwhile enough that they're gonna move me, they stay in my head. | | | | Swede dreams are made of this: Robyn at Boston Calling, Boston, May 28, 2016.
(Burak Cingi/Redferns/Getty Images) | | | | | |  | "I don't carry no paper around or no pencils. I write on a lot of napkins here and there, stuff like that. If the songs are worthwhile enough that they're gonna move me, they stay in my head."
| | | | | | rantnrave:// Two big losses this week, of men whose music you're more likely to know than their names. Men who lived in the liner notes. TONY JOE WHITE had a top-10 pop hit early on, but some dude named ELVIS covered it soon after and if you ask anyone with a long memory whose song "POLK SALAD ANNIE" is, they're as likely to say the latter as they are the former. But Tony Joe White, born in Louisiana, was the one who could tell you what poke sallet is and how to prepare it (OK, wait, Elvis probably could, too, but I'm trying to make a point here), and he spent the next half-century writing rootsy songs that drew on the details of his Southern experience, songs that few other songwriters would even know how to write but scores of singers clamored to record. He made a good cult reputation, and a great life, out of that. May streaming services find a way to surface his name to future listeners... As a member of MOTOWN's house band, the FUNK BROTHERS, and in a long career as an ace sideman that followed, MELVIN RAGIN found as much meaning and beauty in his wah-wah pedal as PICASSO found in blue paint. You know him, if you do, as WAH WAH WATSON. That's him wah-wahing all over the TEMPTATIONS' "PAPA WAS A ROLLING STONE," and that's him starting MARVIN GAYE's "LET'S GET IT ON" with one of the most sensuous guitar licks ever committed to tape. Also: MICHAEL JACKSON. "I can't even properly structure the sentence," QUESTLOVE wrote on Thursday, "to convince you guys how much THIS particular guitar god effects your life." The misspelling of "affects" is Quest's, and it's perfect for a player who figured out how to pour his life experience into an effects pedal. Spoiler: The secret's in your in fingers, and in your heart; the pedal's just a tool. Figure out how to structure *that* sentence, ye keeper of digital music information, and please don't forget his name... Move over, vinyl. The new thing to be nostalgic for is music sharing and downloading software. We are SOULSEEK, we are golden. Today's must-read: LIMEWIRE... More people leaving SPOTIFY these days than leaving the OAKLAND RAIDERS... For your HALLOWEEN pleasure: A KENDRICK LAMAR/TUPAC ghost story... The DEVIL's interval... The scariest band of all time... Morbid melodies... The enduring, frightening sound of the music for a movie called HALLOWEEN... "BABY YOU'RE A HAUNTED HOUSE" by GERARD WAY... More new stuff on the scary music shelf... BILLBOARD's Halloween chart... Why do Utahns like this stuff more than anybody else?... It's FRIDAY and that means new music from ROBYN, MAKAYA MCCRAVEN, TY DOLLA $IGN & JEREMIH, JULIA HOLTER, MICK JENKINS, BOYGENIUS (JULIEN BAKER, PHOEBE BRIDGERS and LUCY DACUS), THOM YORKE (SUSPIRIA soundtrack), LAURA GIBSON, TORY LANEZ, BLACK EYED PEAS, CHRISTIAN MCBRIDE, UNKNOWN MORTAL ORCHESTRA, GEORGIA ANNE MULDROW, LUKAS GRAHAM, JOHN LEGEND, JOSH TURNER, CULTURE CLUB, DAVID CROSBY, ANDREA BOCELLI, RAY BLK, JOE LOUIS WALKER, BRUCE KATZ & GILES ROBSON, KAIA KATER, SAVES THE DAY, WILLIAM SHATNER, TY SEGALL, BLOODBATH, B.E.D., DEAN WAREHAM VS. CHEVAL SOMBRE, TASHA, NAO, TOM ODELL, MIYA FOLICK, FETTY LUCIANO, APOLLO BROWN & JOELL ORTIZ and WHITEY MORGAN & THE 78's. | | | - Matty Karas, curator | | | |  | Slate | | The pianissimo, churchlike atmosphere audiences expect is killing classical music. | | | |  | Music Business Worldwide | | Investment in analytics is both a positive force and a business necessity for any serious artist or music company. But to what extent does A&R "Moneyball" truly serve memorable creativity and vision for artists, versus further homogenizingmainstream musical output? | | | |  | Vulture | | After BTS's Love Yourself World Tour sold out across the globe, it wasn't uncommon to see American media comparing their tour to the Beatles' arrival in the U.S. and the British Invasion of the 1960s as a whole, as BTS has left in their wake a long trail of sold-out stadiums filled with screaming fans. | | | |  | MEL Magazine | | LimeWire was miraculous, and no one thought it would survive. Eighteen years later, it's getting the recognition it deserves. | | | |  | Noisey | | "Maybe its just the generation Z in me but how did people burn CDs?" asks a 17-year-old. "Like how did you just get a blank CD and put songs on it?" | | | |  | The Ringer | | For more than 20 years, the Swedish pop iconoclast has been charting new ground and standing alone. On her new album, 'Honey,' she's as independent-and brilliant-as ever. | | | |  | Rolling Stone | | Chicago-based drummer and bandleader on how he's marrying the energy of intimate club performances with 21st-century electronic thinking. | | | |  | Hypebot | | Facebook is rolling out new music features, after recent deals with the major labels. The results feel a lot like a modern version of MySpace Music, which veteran Hypebot readers may remember was once the #1 marketing platform for indie and diy music. | | | | | Music Business Worldwide | | "Mon Pays C'est L'amour" shifted more than 630,000 copies in three days. | | | |  | Pitchfork | | The tape of the late rapper was recorded in 2016, shortly before his arrest for domestic violence. | | | |  | GQ | | The legendary songwriter talks about how Aretha's death shook him up, coming of age in the Commodores, and why he still plays the hits at his concerts. | | | |  | The New Yorker | | As the long-running science-fiction television series begins a new chapter with a woman in the lead role for the first time, its theme tune more or less restores the original musical conception. | | | | | Noisey | | Melbourne-based artist and Milk! Records label manager Jen Cloher explores the impact of female and non-binary musicians on Melbourne's music scene through looking at songs by Ruby Hunter, Camp Cope, Simona Castricum and more. | | | |  | The Washington Post | | The Colombian American singer, who oversees most of her own creative direction, has a clear view of not only what she wants to do, but how she intends to do it. And the 24-year-old is well aware of how the world perceives resolute women like her. | | | |  | Musonomics | | The most sweeping update of American music copyright in a generation is now law. In this episode of Musonomics, Larry Miller talks to three people that shaped or closely followed this bill from draft to signing: Jacqueline Charlesworth, Mitch Glazier, and Robert Levine on why the Music Modernization Act was so urgently needed, how it came to be, and what happens next. | | | |  | Trench | | Mid-2000s UK rap was akin to choppy waters, but The Mitchell Brothers swam through them with effervescence, flair and bags of personality. | | | |  | Variety | | To say that the 2019 Grammy Awards have something to prove is an understatement of epic proportions. | | | |  | Los Angeles Times | | With first-round voting underway for the 61st Grammy Awards, "The Times'" Mikael Wood writes a letter to Recording Academy members offering his unsolicited advice. | | | | | The Ringer | | From Post Malone to Lil Dicky, a bro wave has crashed the shores of rap. But not every white rapper is comfortable with the idea. And maybe it needs to go altogether. | | | |  | The New York Times | | I was 27, new to New York and suffering from terrible anxiety. Then, on doctor's orders, I slapped on some headphones. | | | | |  | | YouTube | | | | | | | | | | | From "Honey," out today on Konichiwa/Interscope. | | | | | | | | © Copyright 2018, The REDEF Group | | |
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