You can also upload and share your favorite Juice WRLD wallpapers. Visit for the archived journal posts, past events, band photos, as well as all their music, singles and albums. This will clear your Bing search history on this device. The song kicks off with a hooky bassline before drummer Rubin smacks the snare and the track launches into a behemoth of jagged guitars as frontman Cummings screams the title of the track. Eminem Crack A Bottle Soundcloud Stream 75d6b6f5ec [Eminem - Crack a Bottle Buy Crack A Bottle [Explicit] (Eminem, DrDre collectionStreaming and by permanent [HOST] Crack A Bottle (Explicit Version) by Eminem from desktop or your mobile deviceStream Crack A Bottle (Explicit Version) by Eminem from desktop or your mobile.
Tupac and Biggie were both commercial successes in their lifetimes. Eminem was (and still is) a superstar. Andre 3000 (with Big Boi) still has the highest-selling hip hop record of all time (adjusted for inflation). These guys are widely considered by critics to be the best rappers of all time, and all four of them have received (in my mind) the same kind of deification that Kendrick has.
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When you last left us, the 1960s had just enjoyed their second consecutive victory, thus keeping them in pole position as the Official Best Decade Ever For Pop. But can 1969 sustain the momentum of 1968 and 1967? Or will the 1960s see a slide in popularity, taking them back to the dark pre-Merseybeat days of 1963?
The lengthy DJ-friendly percussion break was of particular fascination, as this was the first time that I became aware of dance music’s functional aspect; you weren’t necessarily supposed to listen to the whole thing from beginning to end, and I found this a radical new concept. And with its blend of mechanistic electronics and uncomplicated euphoria, perhaps this was also a pointer towards the hi-energy music of the early-to-mid 1980s which was to thrill me so much.
Being that I’m not sure what a ‘mash-up’ is exactly, and to fully appreciate what ‘remixes’ bring to the table, I listened to each of these songs in their original forms found on previous releases from the band. There is plenty of bells and whistles added to this collection, making it a justifiable release. Everything from alternate instrumentation to completely different structures in the compositions. From a production standpoint, nothing sounds like it was thrown together for a quick cash-in, so kudos to this Jon Gibson guy for that. He clearly knows his way around a studio and how to craft a competent mix, but sadly, it’s like putting a dog turd on fine China with winter black truffles. Yeah, it’s on an expensive plate with a luxurious side, but the main component of the dish came from the bowels of a dog and you will probably die if you eat it. I can’t help but feel sorry for anyone who actually thinks Twenty One Pilots are a decent band. Just to see if I’m alone in my musings, I Googled “Twenty One Pilots suck” and to my surprise, there weren’t many pages found. Either they’re so bad people aren’t even bothering to discredit their popularity or the state of mainstream music is in far worse shape than I thought.
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All of which simply makes “The Living Years” all the more agonising, as this otherwise fine singer works his way through one of the most painful compositions I have ever had to endure on “Which Decade”. Speaking as someone who has “Unresolved Issues With Formerly Controlling Dead Father” baggage of his own to deal with, thank you very much, there’s something about this song’s lumbering, mawkish strive for universality which really, really needles me.
The rappers, now in their 30s - have each helped to put South Korean hip-hop on the map. They represent labels AOMG, Hi-Lite Records, ILLIONAIRE RECORDS and VMC.
Top 10 Worst Rappers of All-time
This doesn’t make “Please Don’t Go” any more enjoyable in 2009, though. There’s something off-puttingly stiff-hipped and stiff-upper-lipped here; a dessicated repression of unseemly emotion; the sort of stolid recital which reminds us of why rock and roll HAD to happen.
In 2021, if you’re an older person who isn’t part of the mediaclass and therefore not on Twitter, writing about music, culture, or really anything on the internet can be a lonely enterprise. When I first started nearly 15 years ago, what drew me to this strange sub-culture was the sense of community. There were the initial pieces of often brilliant, or brilliantly irreverent writing we were discussing, but we’d have the most fun in the comment threads, back when the very idea of a comment thread wasn’t quite as loaded or toxic, or at least it didn’t feel that way.
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For this marked Mel’s first leave of absence from the Spice Girls, who were still very much seen as a going concern. Before “When You’re Gone”, only Melanie B had broken ranks (with “I Want You Back”), and even the departed Geri Halliwell had yet to launch her solo career.
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And so to Morrissey, scoring his third solo hit with a devotional love song to the Kray Twins, if you please. Moz’s fetishisation of the butch and the brutal would become increasingly apparent over time – to the detriment of his artistic vision, many would argue – but “Playboys” is a third-person narrative, which establishes clear distance between protagonist and performer.
The most common feedback I got on the project when (gracious) people decided to comment had to do with the accompanying mixtapes the pieces came with, and they often critiqued the selection, which was fair. I perhaps didn’t do the best job setting this up, but these mixtapes were never intended to highlight the best, or even my favorite elements of the work of these artists.
A Dingo and DAMOIM collaboration with some of the top hip-hop heavy hitters in South Korea - who mostly were born in 1984. Part one of the project - "Forever 84," hit streaming sites on November 19, with a Dingo music video on YouTube, featuring Yumdda, Deepflow, Paloalto, The Quiett and Simon Dominic.
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Now that I’ve got that out of the way, I can get back to form with the Original Vinyl as well as the Classic 45 Reissues and others. How I will do this is start by listing each record of the full Led Zeppelin Catalog. With each record I will list in order IMHO what the best pressings / releases are, and I will incorporate the Original 1980’s Atlantic Barry Diament/ Joe Sidore releases as well as the 2021 Deluxe Remasters.
Which is perhaps hardly surprising, given that I’ve been going through a major “I ❤ MOTOWN” phase in recent months, spurred into a critical re-appraisal by a delightful series of interviews with Martha Reeves, Lionel Richie and Temptations founder member Otis Williams. Of all the people I’ve interviewed over the past couple of years, these Motown veterans stand out as some of the most charming, courteous and co-operative – and there’s something about the way that they speak about the label which communicates an abiding love of, and genuine pride in, their musical legacy.
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What it came down to here fundamentally was what sound signature each listener is used to. So I am happy to announce there are a lot of choices for the general listening public, it depends a lot on what you know as “The Led Zeppelin Sound” as well as your budget and dedication to the craft of mastering and pressing. For example some reviews I am able to wipe out a whole swath of choices because say there were no good quality CD releases. That is definitely not the case here, with some searching It is possible to find an excellent quality CD in the used CD bins at any record store (or online) on the cheap, as long as you know what the specific years, mastering, and pressings from which the CD or vinyl for sale was cut.
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In personal terms, February 1979 – and specifically the night of my 17th birthday – marked the moment when I began to turn the corner on a particularly nasty and debilitating bout of teenage angst. Six months earlier, I had been isolated, friendless and deeply f**ked up. But now – with A-levels approaching, and the prospect of independence and escape looming ever larger on the horizon – I somehow found the strength and resolve to begin a conscious process of re-invention.
The last angle has to do with price and availability. The Original 1980’s Japanese Diament/Sidore mastered CD’s have excellent sound as well, the problem is their availability and price. Add in the Original Red OBI and the price goes up significantly. So unless you are a collector or find one of these CD’s on the cheap I would just go with the other 1980’s Diament/ Sidore’s recommended. One last thought stay away from the 2008 SHM Japanese Releases either in the original box set or separately. Here is an incidence where Japanese does not mean better sound. They are said to be sourced from the 1990’s remasters, and when I heard them, all I got was louder and more compressed in a bad way. They may be no different from the 1990’s Marino CD’s but just a tad louder. You know how I feel about “Louder”.
The 1960s and 2000s are the two front runners, with the 1970s and 1980s still within grasping distance of the ultimate prize. I can’t see Simple Minds doing the 1980s any favours, but I dare say that the usual Abba-love will keep 1979 in the running.
UK George Peckham Porky Beats out US Robert Ludwig IMHO. This is my favorite Zeppelin album with II right at it’s heels!
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But if you are one of the individuals that no matter how much Twenty One Pilots tell you their music is deep, soul-searching, and thought-provoking art, you must understand that their music is a collection of brainless pillow talk from overprivileged white kid rap. Even if this is mediocre at best, you can probably find better.
It’s difficult to form an objective assessment of Robert Howard (aka “Dr Robert” of the Blow Monkeys) and Kym Mazelle‘s “Wait”, as this was one of the Big Tunes at the weekly mixed gay night that I was running at the time, and I have reason to thank it for filling my floor in the first hour, several weeks on the trot. As such, it’s inextricably linked in my mind with the “She Drives Me Crazy” by the Fine Young Cannibals, which had just dipped out of the Top Ten.
On October 9, 2021, benny blanco released a video on Twitter, teasing the collaboration. The song was teased in the video, changing the background music to Justin Bieber’s voice instead of the original song in the comedic show, Dave, the comedy show that was created by their friend and fellow rapper, Lil Dicky. The two artists later teased some lyrics on Twitter, and they also teased lyrics before confirming the song in the comments on Instagram.
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Firstly, I have an abiding horror of scoring the decades in exact reverse-chronological order, as this suggests a conclusion about the declining state of pop which I refuse to countenance. Secondly, there is at least some degree of crafted workmanship about “Broken Strings”, even if its effect causes my brain to blank the song out entirely, every time I try to listen to it. And that, my fellow voters, is as much rational critique as you’re going to draw out of me on this one.
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It’s been a slower slog than usual up the foothills of this year’s top tens – but with the summit nearly in sight, I think you’ll detect a noticeable and welcome improvement in the quality of today’s selections. So, start spreading the news; it’s the Number Twos!
For the CD’s there were two early masterings. The Original 1980’s Atlantic Barry Diament/ Joe Sidore’s and the 1990’s Marino/Page Remasters.
Partly because I never played it into the ground, partly because it was always a “first hour” floor-filler, and partly because I haven’t heard it in the intervening twenty years, “Wait” still sounds gleaming and box-fresh to me now. Yes, Dr Robert might have been jumping on the house bandwagon – but he did it convincingly, and with enough suss to rope in one of the hot new garage divas of the day, giving Kym Mazelle her first UK hit (her “Useless (I Don’t Need You Now)” already having done the dancefloor business during the second half of 1988).
But don’t run away, when there’s work to be done! Here at Which Decade, we’re voters, not quitters. So buckle down and bite the pillow – it’s your Number Fours.
Tinchy Stryder featuring Taio Cruz – 3 points. Tatyana Ali featuring Will Smith – 2 points.
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Will any of you be marking it higher than “Heart Of Glass”, I wonder? I’d say: doubtful in the extreme.
TLDR: The Best Rappers of the Decade
Oh, did someone mention The Three Degrees? Our heir to the throne’s favourite pop group was sharing the Top Ten with his grandmother’s Desert Island Disc this week, and enjoying a second wind in the UK charts following their Philly period of 1974-75. Fayette Pinkney had been replaced by Helen Scott in the line-up, and composer/producers Gamble and Huff (yes, them again) had been replaced by Giorgio Moroder and Pete Belotte, better remembered for their work with Donna Summer during the same period.
Just remember kids, don’t beat yourselves up too bad, Insane Clown Posse has an album that’s certified gold by the RIAA. That’s a lot of albums that no one admits to buying. We all buy bad music when we don’t know any better, (myself included) but we get up and make better musical choices to become better people. It’s what growing up is all about. So if you are one of the sad, inept individuals who believe Twenty One Pilots are anything but puppets of a soulless music industry meant to play upon your nostalgic adolescence memories of youth, Mediocre At Best may be the record of the year for you, from the band of the decade.
Although his output has been overshadowed by more significant talents, Johnny Nash was by all accounts a crucial figure in the development of reggae music. Not a Jamaican resident himself, a chance visit to the island in 1968 led to Nash discovering the almost unknown genre, and forming an immediate affection for it. Links were forged with Bob Marley and the Wailers, whose early recordings were financed and distributed by Nash – albeit with limited success. As for his own recordings, Nash’s first excursions into the genre proved more successful, “You Got Soul” providing him with his second UK hit.
It’s not fair to judge a person by their taste in music (although it’s hilariously easy) but can the same be said about judging a band for their fan base? In part, no. I mean Phish has some pretty annoying fans, same goes for The Grateful Dead but that doesn’t mean I should never delve into their respective catalogs of music, maybe there is something there I like? But then look at other atrocities such as Insane Clown Posse, the line between artist and fan is so blurred that it doesn’t even make a difference. At least ICP is self-aware and subtly poke fun at their fan base as well as themselves. Twenty One Pilots, on the other hand, play up their fan base and have somehow convinced the general public their songs are deep and thought-provoking. If you are intelligent enough to understand that a pop song is capable of articulating feelings of loss, hope, and redemption, then you should be intelligent enough to know that this band (and record label) is churning out paint-by-numbers alternative pop for kids who aren’t old enough to understand what loss, hope, and redemption really is.
Ee, this ain’t half dated badly. Did this really fill my dancefloor at Eden every week?
Twenty One Pilots: Puppets of a Soulless Music Industry
Apologies for the service break, folks. I was all prepped to make this post over the weekend – but ended up being overcome by a powerful urge to do Absolutely Sod All instead.
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If you’re my age, then I’m guessing you’ll be leaning towards the Feelgoods. Or has Engelbert finally bludgeoned you into submission, after all these years?
Eminem made his debut, simultaneously scaring and charming America with his immensely skilled shock raps
Oh, and apologies for the extended “Which Decade” service break. Conflicting priorities, dear hearts. We should be back on track by late evening.
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In 1962, Peers invited the then unknown Tom Jones onto his TV show, giving Jones his first big break. But as the 1960s progressed, Peers slid from view – not helped by a serious on-stage accident in Sydney which caused him to lose two inches in height (according to this fascinating biographical tribute page).
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So my standard recommendations would be to look for any of the 1980’s Original Atlantic Diament/Sidore CD’s, they have the punch and dynamics to be highly recommended here. The only caveat would be Led Zeppelin IV (the only title to be mastered by Joe Sidore only), It is well known that he had a sub par copy of the Original Analogue Masters. You would think that with the importance of LZ IV they would get it right, but he only had access to inferior tape. Then again on the other side of the coin they have never made available the Original Analog Master Tapes of Led Zeppelin IV, or any other release ever from Zep, other than for the Original Vinyl from the Complete Catalog, but that’s another story. This is not a killer for me as I still prefer the 1980’s Original Atlantic Led Zeppelin IV mastered by Sidore. If you’re feeling dangerous then try 1990’s Zeppelin IV George Marino Remaster (cheap used) and compare it against the 1980’s Original. Also the Marino Zep IV’s suffer from early fades, unforgivable by some. Get both on the cheap and compare yourself, you’ll see what I mean.
As ever on “Which Decade”, it’s the Key Marginals in the earlier rounds which can swing the whole match. So far, the big tussles to watch are Shontelle vs Driver 67 in the Number Tens, Moz vs The Prodge in the Eights, Adams/Chisolm vs Nash (also in the Eights), and Starr vs Brown in yesterday’s Sixes. Just one set of votes can tip the balance, earning or losing crucial cumulative points for certain decades. So if you’re late to the contest this year, don’t worry; your votes are as vital as anyone else’s.
I’m not baffled by Kendrick’s success. In fact, I’m validated by it. It gives me hope that art which is truly great can transcend underground/mainstream partisanship and be embraced by all, even if it means people don’t necessarily arrive at that opinion on their own, and I count it as a personal triumph that we managed to elect Kendrick to this position.
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The Supremes/Tempts project also marked the debut of lead Tempts singer Dennis Edwards, who had been recently drafted in to replace David Ruffin. However, the falsetto lead on this particular track is handled by Eddie Kendricks, with the seldom heard “tenor in the middle” (and my dear personal showbiz friend) Otis Williams handling the spoken word section.
Uncrankable without distorting and ear fatigue city. Not much choice other than the vinyl and hopefully the coming 2021 Deluxe Reissues.
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The primary songwriter in this band claims his music is “poetry” and the reason why he raps is that he is running out of time and space to fit all the words in. How about this, get to the point. There is nothing wrong with beating around the bush for the sake of being ‘artistic’ but if you want to make a song about being lonely or whatever this douche is whimpering about, why would it be based around someone stealing his car stereo?
Ah yes, the rehabilitation by cover version. We’ll come to that in a minute – but not before we’ve dealt with Roy Orbison, returning to the singles charts in 1989 after a gap of nearly twenty years. This has become a well-worn theme on “Which Decade” over the years, but Trendy Eighties Mike gave “You Got It” very short shrift indeed – not least because of the involvement of the ELO’s Jeff Lynne, whose very name was anathema to me back then.
Listening to it afresh, and finding less of interest than I was expecting – it’s a nifty enough pub-rock chugger, but little more than that – I find myself wondering whether the single’s success was largely down to a “Buggin’s Turn” vote of confidence in “the good old Feelgoods”, rather than a specific response to the merits of the track. Or am I being overly harsh on an unfashionable genre?
Review of TOP’s new album, Trench here. Spoiler, Twenty One Pilots still suck.
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Never finishing higher than fourth place at the end of our seven annual “Which Decade” episodes, The 1990s have endured a rough ride. In 70 rounds of voting, our least popular decade has placed first on just eight occasions – a pitiful showing indeed. Let’s list them again, shall we?
Then again, I think Hank knew what he was doing. This pointless cover of Julie Covington’s classic (a “Which Decade” winner from two years ago) might have surgically sucked all the soul out of the song – but it also returned The Shadows to the Top Five for the first time since “The Rise And Fall Of Flingel Bunt”, fifteen years earlier.
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