Thursday, February 21, 2019

It's Thee Electrifying MISSIO And Their Boldly Rockin' Fun "Rad Drugz (Visualizer)" Musique Video

In the words of Brooke Shields and 90s euro-pop dance group the Vengaboys, sometimes you just gotta party! Allow us to introduce you gals and gents to

MISSIO thee American rock duo formed back in 2016 in the neck of the woods of Austin, Texas. The band consists of Matthew Brue and David Butler. In 2017, they signed a record deal with RCA Records and unleashed a tune entitled "Middle Fingers", ultimately dropping their debut album, Loner.

Now they have returned with thee electrifyingly stellar tune Rad Drugz. It's an uplifting energetic upbeat fantasy perfect to let loose too and get into the groove. Not to take literally but instead metaphorically. It's open to interpretation. To the listener. Whatever form of vice whether it be a natural drug or the drug of music, one thing for sure, this is one beat we're all about!

Like a sweet nostalgic 90s, alternative pop-rock anthem vibes a la Fatboy slim, Supergrass, New Radicals, Beck, etc; MISSIO sends a honey butter jam that is dominating our speakerphones unapologetically so. Here ye, here ye, here's to thee latest ItsNotYouItsMe hit parade. Press play with the far-out group MISSIO and their boldly rockin' fun "Rad Drugz (Visualizer)"!

Neo-Soul Young Icon India Arie Chit Chats About Her Brand New Record, Inspiring Younger Like-Minded Artists & Finally Accepting Feeling Worthy

Neo-Soul, young icon, India Arie chit chats about her brand new spankin' record entitled "Worthy". An album we are currently in real-time spinning at headquarters and we must say, it's a sunny yummy basket of eclectic sonics and lyrical thesis'! Expect an ItsNotYouItsMe Album Spin coming sooner than later!

"Four-time Grammy Award winner India.Arie is back on the scene with Worthy. Released Feb. 15 through SoulBird/BMG, the project marks her first full-length album in five years.

But that doesn’t mean the singer-songwriter stopped making music during that time. In fact, India.Arie released two projects prior to Worthy: the 2017 EP SongVersation: Medicine (the follow-up to 2013’s full-length SongVersation) and the 2015 holiday set with good friend and late jazz great Joe Sample, Christmas With Friends.

“There’s been a few times when several years [have elapsed] between albums,” she says. “But I always make music. This time, however, it wasn’t like I was escaping.”

India.Arie is referencing the time she contemplated leaving the music industry, something she revealed during a 2013 interview with Oprah Winfrey while promoting SongVersation. She had decided to shelve Open Door, a still-unreleased collaboration with Israeli musician Idan Raichel, in October 2012. “I call that album college for me,” she says now. “Because in writing those songs, I said everything I wanted to say with no fear of being preachy; no fear of any of the stuff people kept telling me I needed to be careful of.”

Fast-forward to the aptly titled Worthy. Recorded in Nashville, which India.Arie currently calls home, the album finds the singer reuniting with executive producer Aaron Lindsey, longtime creative colleagues Shannon Sanders and Branden Burch plus new collaborators Joel Cross and Chuck Butler. Showcasing Arie’s ever-evolving and compelling perspectives on love, life and humanity, the 16-track set’s noteworthy selections include Caribbean-vibed first single “That Magic” (No. 6 peak on Adult R&B Songs), “Steady Love,” “In Good Trouble,” the title track and the inspirational “What If,” an emotion-packed tribute honoring social activists from past (Dr. Martin Luther King, Rosa Parks) to present (#MeToo).

Presently traveling the press promo circuit with performances on the Tom Joyner Morning Show (Feb. 15) and the Trumpet Awards (Feb. 17), plus a Feb. 28 guest stint on Good Morning America, India.Arie is also prepping for her 2019 Worthy Tour. The national trek launches April 30 and continues through June 9 in New York City. Additional dates will be announced in the coming weeks (

Gratified by the success of “That Magic,” India.Arie says she’s happy “just having songs in the air. I’m enjoying it more than I have in the past because I’ve been through a lot. And it feels good to have a chance to do it again.” In the following interview, she talks about Winfrey helping her “double-down” on her desire to record Worthy and a long-held fantasy that’s come true.

Was there a pivotal moment that led you back into the studio to record Worthy?

I don’t know if I’ve ever had moments where I’m like okay, let’s get started. That’s because I’m always working on the next record in my heart somewhere. Even when I [almost] quit that one time. This one just started slowly taking shape with Aaron and I writing songs. Then I met Joel Cross, another songwriter, and we wrote a lot of songs. At a certain point I was like, “I’m ready to start putting these together into something.” And it turned into Worthy.

What came first: the album title or the title track?

The title of the album was Worthy for a couple of years before I had any songs. I love that word. It’s so potent and encompasses so much [in terms of being] deserving of regard and respect. I always have a favorite word. For a while, it was resilient then authentic.

When I did the interview with Oprah, she asked me how long unworthiness had been my calling card. I realized that I didn’t feel unworthy inside but I could see how I could be giving off that energy to others. It made me double-down on wanting to call this project Worthy and explore why she asked that question. The track “Worthy” is one of the songs that Joel and I created. At that point, I knew what I wanted to say. Then all the other songs started to take shape, being about respect. Even the love songs are about how you want to be treated, how you want to treat other people. [Radio personality] Tom Joyner said this album is a perfect blend of message songs and love songs. That’s where I’ve been in my life these last few years. And the word worthy is imbued in all of it.

Why was it important to include a song like “What If”?

With all of my albums, I’ve tried to make not just protest music, but message music. Music I felt could be a social contribution. Whether I did or not depends on the listener. But with this album, because I’ve grown and matured, I’m able to fully have the confidence to express myself more clearly through protest music that is more potent. For the first 10 years of my career, I was trying to do it but was afraid because people were telling me I needed to pull back and tone it down. So I walked the fine line of it. But 10 years ago I decided I was going to live my life my way. I’m loving being able to be this person at this time because more people are open to it -- even more than five years ago.

How would you describe India.Arie then versus now?

The India of “I Am Not My Hair” was searching for how to be empowered and free. She knew she had it inside of her but a lot of things were blocking it. The India of today has achieved freedom and empowerment; maybe earned is the right word. I also earned the respect of myself. I like who I am, even in the hard times, and it’s coming across in my music. The “I Am Not My Hair” India used to completely fall apart. Like “I quit; I’m moving to a whole other country. I’m out.” Today, I’m like, “Oh I had a hard day, but oooooh I got to sing.” I see the joy in all the things I get to do now because I’m doing it the way that I want to do it. All of my life my mom has been saying that happiness is a choice. It used to drive me nuts. I’d be like, “If happiness was a choice, everybody would just be happy.” The India of today understands what she means now.

How does it feel to be embraced by a new generation of singer-songwriters like Janelle Monae and Ariana Grande?

It was always a fantasy of mine that I would influence someone. That maybe one day people would wake up and say I grew up on India.Arie music. A straight fantasy. [Laughs] Now for people, even 30-year-olds, to be saying that to me, I’m like, “Well, how old are you?!” But I love that a musician whose music I like too would say I had anything to do with whom they’ve become. It’s a fantasy come true. There’s a lot of music I love, like Janelle, Ariana, Lianne La Havas, Jonathan McReynolds, Tori Kelly, Mali Music and Gregory Porter. When something’s good, it’s just good.

What are you most looking forward to on tour?

Of course, I’m looking forward to singing the new songs but also to reinterpreting songs from my catalog. And I’m looking forward to seeing how the audiences are feeling. Every time I put out an album, I’m regarded by the public in a different way and I never know how it’s going to be. That’s really what the shows are about: fellowship and faith from the audience. One of the side effects of the India I’ve become today is that my singing has matured. I never even considered that was a possibility. So I look forward to singing with my new voice and hearing what things come out." -

St. Vincent’s Alien "Rebirth"

Now, this one right here carebears is a stellar-stupendous throwback. One name, St.Vincent. Now, you know, you wanna dig it all out right below!

"No matter how sharp Annie Clark’s tongue, early criticism often focused on her femininity. In 2007, a review praised her “big-girl voice“; in 2009, another mentioned her “small and fragile” vocals; in 2011, she was called “waifishly stunning,” her singing “coquettish.” (Guess the writers’ gender!) And yes, she is stunning, and her voice has carried both raw rage and dulcet adoration with equal skill since her debut as St. Vincent, 2007’s Marry Me. But for a long time, these qualities, and the stereotypes that went with them, dominated her public perception.

Then came the confounding shock of white. On the cover of 2014’s St. Vincent, which celebrates its fifth anniversary this weekend, Clark sits on a throne, commanding. Her hair, once curly and brown, is now gray fading into white. Her gaze is stark. She might be an alien ruler come to Earth. She’s definitely the one in charge.

St. Vincent is not a moment of stylistic metamorphosis; it’s the moment when Clark looked the listener dead-on and declared ownership over her work. By becoming the alien — to borrow a phrase from her frequent inspiration David Bowie — she positioned herself outside of gendered expectations. As the despot on that album’s cover, she seemed to say: I’m not a Woman In Rock. You don’t even know what I am.

The album cycles through birth, death and rebirth, beginning with a near-fatal experience in “Rattlesnake,” where, running naked from mortal danger, she’s baptized by her sweat. The next track, “Birth in Reverse,” implies death by its title, as well as the reference to the Lorrie Moore short story of the same name (in which a Celtic grave resembles a “birth in reverse”). Later, Clark wryly references her rebirth on “Every Tear Disappears,” repeating the lines “Yeah, I live on wires/Yeah, I’ve been born twice.”

Clark has scrutinized traditional gender roles throughout her work, but before St. Vincent, her songs most often centered around women forced into domesticity. On this album, though, she sidesteps the gender binary in favor of something more fluid. The wayward characters of “Prince Johnny” pray to be a “real” boy or girl, a phrase whose relative ambiguity challenges what “real” means; “Huey Newton” finds a non-specific you “entombed in the shrines/of zeroes and ones.” Whether it’s a number binary or gender binary doesn’t much matter. Clark seems to say that we are all trapped in something outside reality, whether it’s a Matrix-esque cyberspace, or the fantasies on TV, or gender expectations.

For all its references to digital unreality, the album has an undeniably animalistic side, as well, with its scrappy protagonist sprinting toward unreachable clarity. There are “feral hearts,” leashes and rattlesnakes; in two different songs, Clark is running. She sings about the mundanity of daily masturbation. The love songs, somewhat disguised by brass and chunky electric guitar, have a primal feeling, too, full of severed fingers, bleeding spleens and literal stolen hearts.

In all these songs, in different ways, St. Vincent suggests an escape from the cyclical commodification of women. If Clark can break free of the gender binary — whether by dying and being reborn, by floating into undefined space, or by emphasizing her animal nature — then perhaps she can avoid being objectified as she has before.

On her next album, 2017’s MASSEDUCTION, Clark dove into latex and leather, presenting herself as a sultrier, more mature self than before, only for another unnamed “you” to force her to try on costumes — a nurse, a nun, a teacher — for their pleasure. Ultimately, she finds, “none of this shit fits.” She can’t be what her dresser desires, either as a costumed stereotype or as their savior. It’s a realization she began working toward three years earlier: On St. Vincent, she knew that even the most liberated performer is still a commodity, still being sold and tasked with selling herself. Trapped within a digital world, a capitalistic world and a restrictive gender binary, she pleaded: “Won’t somebody sell me back to me?”" -

From Kanye West to Jay-Z & Drake, Here Are Rihanna's Best Hip-Hop Collaborations: Critic's Picks

Ooh na na, what's her name. Ooh na na, what's her name, yall!

"Rihanna is one of the most accomplished artists of the 21st century. From her 14 Billboard Hot 100 No. 1 hits to nine Grammys, there isn't much the Barbados-born singer has left to prove in music.

With RiRi only releasing one album since 2013, the 31-year-old has spent time solidifying herself as a mogul in other industries. The launch of her Fenty Beauty line has become a force in fashion and cosmetics. She's even spent time flexing her acting prowess, notching a starring role in Ocean's Eight last year.

Rihanna's focus has shifted back to music, as she's promised to deliver her ninth studio album in 2019 -- which is music to the ears of her loyal Navy fanbase. Part of Rihanna's greatness has been her ability to successfully dabble in multiple genres throughout her career -- especially hip-hop, with Jay-Z introducing her to the mainstream after signing the teen sensation to Def Jam in 2005.

Rihanna has gone on to collaborate with some of the best the genre has to offer. Whether it's teaming with T.I., Kanye West, Drake or Eminem, the ANTI artist boasts a unique ability to take tracks to the next level.

In honor of RiRi celebrating her 31st birthday on Wednesday (Feb. 20), here are the icon's top 10 hip-hop collaborations.

10. Future feat. Rihanna - "Selfish"

Future surprised the world with back-to-back No. 1 albums right around this time in 2017. The second, Hndrxx, would cater to his pop fanbase and dig further into his R&B roots. Rihanna popped up for a soothing duet, as worlds collided on the tuneful "Selfish." The pair would mesh vocals on the chorus, bridged together by a solo verse from each of them. It's a shame the track wasn't properly pushed and marketed, with Future's team opting to go with "Mask Off" as the radio record of choice from the two albums, even though "Selfish" would debut at No. 37 on the Hot 100. The ATL native is somewhat familiar with working with Rihanna, as he previously landed on RiRi's 2012 smash "Loveeeeee Song" and penned her verses for Mike WiLL Made-It's "Nothing Is Promised."

9. Drake feat. Rihanna - "Take Care"

After leaving her off Thank Me Later, Drake linked up with Rihanna on the title track of his classic sophomore album. Drizzy and RiRi pass the baton back and forth, with the Carribean Queen handling chorus duties to let Drake know she'll always be there for him. Meanwhile, the OVO frontman pours his heart out over mistakes he's made in the past. The sultry collab heavily samples Jamie xx's remix of Gill Scott-Heron's "I'll Take Care of You." A visual for the tune was eventually released in 2012, featuring Drizzy and Rihanna lusting over each other, which put their fanbases into a frenzy. The music video now has more than 294 million views on YouTube as of press time, and "Take Care" reached a peak of No. 7 on the Hot 100.

8. Rihanna feat. Jay-Z - "Talk That Talk"

Following the success of "Run This Town" and "Umbrella," RiRi and Hov joined forces for "Talk That Talk," which appeared on Rihanna's sixth studio album of the same name. The StarGate-produced tune finds Jay adjusting his game a bit to fit the more pop complexion of the track, rhyming about the struggles of staying faithful while out on the road. Unfortunately, "Talk That Talk" didn't totally fulfill its potential, as the tune was overshadowed by dance hits from the 2011 project like "Where Have You Been," "We Found Love" and "Birthday Cake."

7. Eminem feat. Rihanna - "Love the Way You Lie"

On the surface, a Rihanna and Eminem linkup didn't make much sense. But the duo has gone on to defy logic and craft a pair of radio-friendly bops with Recovery's "Love the Way You Lie" and 2013's "The Monster," as both reached the apex of the Hot 100. The Alex Da Kid-produced anthem saw Em and Rihanna reflecting on the abusive relationships of their past, which deeply resonated with listeners who had gone through something similar.

"This song, it gave a voice to not only victims, but also what I really enjoy about this song is not only how cleverly written it is," Rihanna told MTV of the track's appeal. "I can’t believe he wrote this song like that, but the fact that he confronts himself on this record was the biggest thing for me, and I think that’s what people connected to the most." The official music video now has more than 1.7 billion views.

6. Rihanna, Kanye West & Paul McCartney - "FourFiveSeconds"

"FourFiveSeconds" is genre-blending genius at its finest. The 2015 track was released with Rihanna, Kanye and Paul McCartney as the main artists. Boasting minimalist instrumentation, a West specialty at the time, and brash lyrics, the tune went on to be an unlikely commercial success, reaching No. 4 on the Hot 100.

The track gave the Beatles frontman the record for the longest time between top 10 hits, with his last trip prior to teaming with Ye and Ri being "Spies Like Us" from 1986. "When you read the lyrics, it’s a completely different song than what you are hearing," Rihanna relayed to V magazine. "The music is easygoing, but the lyrical content is very loud and in your face." It's a shame this couldn't have landed on ANTI or West's scrapped So Help Me God album.

5. Rihanna feat. Jay-Z - "Umbrella"

After getting Rihanna inked to Def Jam under his watch in 2005, Jay and Rihanna teamed up for their first collab, and it was glorious. The percussion-filled tune kicked off RiRi's breakout Good Girl Gone Bad album in 2007. "Umbrella" was originally intended for Britney Spears and Mary J. Blige, who thankfully passed on the record, which spent seven weeks atop the Hot 100. The track's momentum carried all the way into the Grammy Awards, where Jay and Rihanna took home the honors for best rap/sung collaboration in 2008, marking her first of what is now nine wins.

4. Rihanna feat. Drake - "What's My Name"

With Drake still yearning after Rihanna ghosted him and publicly denied anything romantic going on between the two, they teamed up for one of their best collaborations to date. The steamy "What's My Name" powered RiRi's Loud album and went on to notch her a third No. 1 record in 2010 alone. Many wondered the status of Drake and Rihanna's relationship at the time, as he subliminally questioned Ri's intentions earlier that summer on "Fireworks." He even told The New York Times that he basically felt used by her. "What's My Name" was so infectious that Rihanna's team had no choice but to leave Drake on the official album cut, even though he was intended for the remix.

3. Kanye West feat. Rihanna - "All of the Lights"

It's only right Rihanna notched the lone listed feature on Kanye West's posse cut "All of the Lights." The masterpiece would take months for West to complete, tweaking instrumentation and vocals at every turn. The finished product features contributions from John Legend, The-Dream, Elly Jackson, Alicia Keys, Fergie, Kid Cudi, Elton John and Drake. Rihanna showed off her vocal range and shined above the rest when delivering a monstrous hook over West's horn-laden production.

She detailed how the beat stuck out to her when Yeezy played her part of the project to MTV News. "[Kanye] actually played his album to me, like, three months ago, and 'All of the Lights,' that was one of my favorite songs. So when he asked me to come up to the studio at 2 o'clock in the morning, I had to, because I loved it, I knew it was that song," Rihanna explained on the MTV Europe Music Awards red carpet. "All of the Lights" would go on to win best rap/sung performance at the 2012 Grammy Awards.

2. Jay-Z feat. Rihanna & Kanye West - "Run This Town"

Getting Jay-Z, Rihanna and Kanye West on the same track in 2009 is like when LeBron James headed to South Beach to team up with Chris Bosh and Dwyane Wade on the Miami Heat a year later. And "Run This Town" would be King James' "not 5, not 6, not 7" speech at the Heat's welcoming party. The braggadocious track features three artists in the prime of their careers, and they can't be stopped. The results speak for themselves, as the pompous tune took home best rap song honors at the 2010 Grammys.

1. T.I. feat. Rihanna - "Live Your Life"

Getting RiRi on "Live Your Life" wasn't always a forgone conclusion. Tip described there being "a back-and-forth in the studio," but he continued to "hear her voice on the record." T.I. was handsomely rewarded after Rihanna came through and significantly raised the trajectory of the song, which went on to become her third No. 1 of 2008 and his best-selling track ever as a main artist. The inspirational anthem still sounds as refreshing as it did over a decade ago. "Until the game ends, 'til the clock stop/ We gon' post up on the top spot," she prophetically sings. It's 2019 and Rihanna remains at her peak." -

The Number Ones: Nilsson’s “Without You”

According to one of our musical sources:

"Nilsson – “Without You”

HIT #1: February 19, 1972

STAYED AT #1: 4 weeks

There’s a certain breed of pop-culture obsessive that regards Harry Nilsson as some sort of lost patron saint of a wild ’70s era that we will never recover. Nilsson was a fascinating creature: a desperately gifted weirdo who tripped his way through a singular moment in history, intersecting with stardom and sometimes finding and losing it himself. Nilsson’s time in the spotlight was brief, but he did things with it.

Nilsson probably invented the mash-up, though he didn’t necessarily know it at the time. He probably invented the remix album, too, though he didn’t necessarily know that, either. He sang the words “fuck you” on a major-label album — the follow-up to a huge hit, even — when that sort of thing was strictly verboten. He maintained a day job well into his music career, and he maintained a music career even though he generally refused to play live. During John Lennon’s 18-month Lost Weekend — the time when Lennon drugged and drank and fucked himself into a continuous stupor — Nilsson was Lennon’s drugging/drinking/fucking buddy. (They didn’t actually fuck each other, as far as we know, but they did pick up girls together.) And though Nilsson is remembered as one of the great songwriters of his moment, he had his greatest pop success with somebody else’s song.

Here is where we get into the bottomlessly sad saga of the Welsh band Badfinger. Badfinger got together a few years before the Beatles had their pop breakthrough, but they rose to fame in the late ’60s, when Paul McCartney took them under his wing and made them the first band signed to the Beatles’ Apple label. Badfinger’s lushly hooky sound — the kind of thing that people probably used to test their home-stereo systems — was Beatlesque enough to make them a kind of Junior Beatles during the time when the Beatles were breaking up. And for a while, Badfinger had some real success. (Their highest-charting single is 1971’s “Day After Day,” which peaked at #4. It’s an 8.) But they also signed some disastrous deals, and once that first wave of success dried up, their story turned tragic in a hurry.

Badfinger co-leaders Pete Ham and Tom Evans wrote “Without You” sometime around 1970. Both of them were having trouble with their girlfriends, and both of them were trying to write songs about the experience. Ham had a song called “If It’s Love,” but he didn’t have much of a chorus. Evans had a chorus but no real song to attach it to. They put their songs together and included the track, “Without You,” on their 1970 album No Dice. Badfinger’s version of the song is strummy and direct, but it also sounds like a blueprint, not a final version. They could’ve turned it into a showstopping ballad, but they didn’t. They never even released it as a single.

Nilsson, a Brooklyn native, had grown up in poverty, with an absent father. As a teenager in Los Angeles, he dropped out of high school and found himself a job as a computer programmer at a bank. He was apparently great at the job, since the bank didn’t fire him when they learned he’d lied about finishing high school. He also started playing around with music. Nilsson had a great voice, huge and creamy, so he made some money by singing on demos for other songwriters. Then he started writing his own songs.

Nilsson co-wrote a few with Phil Spector, and he sold one to the Monkees. He released his first album in 1965, and his early records didn’t sell, though bigger artists did pretty well by covering his songs. (Three Dog Night took his song “One” to #5 in 1969; that’s an 8.) Lennon and McCartney both fell in love with Nilsson’s 1967 version of “You Can’t Do That,” which worked in a bunch of references to other Beatles songs. (That’s the “inventing mash-ups” thing.) Nilsson finally scored a hit of his own, with a song he didn’t write, when he covered Fred Neil’s “Everybody’s Talkin’” for the soundtrack of the 1969 movie Midnight Cowboy. (Nilsson’s version of that song peaked at #6; it’s a 6.) And then he had even more success when he got ahold of Badfinger’s “Without You.”

Nilsson was working on Nilsson Schmilsson, the album that would turn out to be his one unqualified pop success, with Richard Perry, who was just then emerging as a big-deal pop producer. Perry counterbalanced Nilsson’s messy-weirdo side and put all the focus squarely on Nilsson’s titanic voice. One night at a party, Nilsson heard “Without You” and mistook it for a Beatles song. He wanted his version of the song to be a stark, heavy solo-piano thing, but Perry convinced him to turn it into a grand, crashing, theatrical monster-ballad, complete with orchestra.

When Nilsson was recording his version, Badfinger happened to be recording at another studio in the same building. Nilsson invited them to hear his version, and they later said that they immediately recognized that they should’ve done the song the same way. Badfinger didn’t last much longer. In 1975, as all the members of the band were going broke, Pete Ham hung himself, writing in his suicide note that the band’s manager was a “soulless bastard.” Eight years later, Ham’s “Without You” co-writer Tom Evans also hung himself, immediately after arguing with his former bandmate Joey Molland about who should get what share of the “Without You” royalties.

That’s a whole lot of story for one song. But “Without You,” is, at least to my ears, not a whole lot of song. It is schmaltz. Badfinger’s version is vaguely embarrassed schmaltz. Nilsson’s version is going-for-it schmaltz, which is always better. But it’s still a big and silly and down-the-middle breakup ballad. Keith Emerson had played piano on early versions of the song, but his keyboards were too complicated, so Nilsson and Perry replaced him with prom-theme magician Gary Wright, who played a simple and stately piano line. Wright’s piano is exactly as drippy as the song needs it to be. (As a solo artist, Wright never got to #1, but he had two singles that peaked at #2, both in 1976. “Dream Weaver” is an 8, and “Love Is Alive” is a 7.)

The version of “Without You” that we hear mostly works as a showcase for Nilsson’s voice. It’s not the most interesting showcase for that voice, but that voice is still something special. When the song reaches the final chorus and Nilsson goes all the way big, it’s a textbook power-ballad moment. Maybe it’s the textbook power-ballad moment.

As someone who grew up with early-’90s power ballads, I have a hard time hearing “Without You” as anything other than an early-’90s power ballad. Maybe that’s because the entire institution of the early-’90s power ballad sprang directly from “Without You.” Maybe it’s the sort of thing where we can no longer watch the original Halloween without the context of all the slasher movies that followed. But “Without You,” in all its simplistic grandeur, mostly sounds to me like Firehouse, or Steelheart, or Mr. Big, or Slaughter when Slaughter were feeling sensitive. That’s not a terrible thing, but it’s not enough to earn “Without You” classic status, either.

Nilsson would continue to fuck around with different sounds, even as he ravaged his own voice by drinking too much. His partying days turned dark; Mama Cass and Keith Moon both died in his London apartment. In 1980, after Lennon was murdered, Nilsson mostly left music behind and, instead, campaigned for gun control. And in 1993, as he was just starting to record again, Nilsson died of a heart attack. He was 52.

GRADE: 6/10

BONUS BEATS: Mariah Carey released her 1993 “Without You” cover as a single in January of 1994, nine days after Nilsson’s death. Her version of the track peaked at #3; it’s a 6. Here it is:" -


"Mattijs Deijl at UNO Models photographed by Celine Hasenstab and styled by Roma Losaberidze, in exclusive for Fucking Young! Online.

BRANDS: Namacheko, Mackintosh 004, Barragan, Diesel Red Tag by Glenn Martens, Maison Margiela, Alex Cole, Guidi, SSS World Corp, Rick Owens, Yuiki Shimoji, Magliano." -

Ovadia & Sons Fall/Winter 2019

"Ovadia & Sons presented its Fall/Winter 2019 collection during New York Fashion Week." -

Related Posts with Thumbnails
template by