Cikita is posing as a naughty schoolgirl in todayâ€s update from Only Tease as she lies on the bed and teases the camera. She is wearing a blue sweater and plaid skirt with white pantyhose. As she gets more comfortable, she lifts her skirt up and slowly rolls down her pantyhose to show off her sweet ass!
The best part of this set is once all her clothes are off and she is showing off her sweet pussy with her panties around her ankles. Those amazing photos can only be found at Only Tease so you should really take a look at the site!
Wow check out this amazing ass that belongs to the beautiful Kate C from Only Tease! Kate is wearing a very naughty bright blue flight hostess uniform with a black thong and black stockings. Her dress is so short that when she bends over we get a sexy upskirt shot of her thong barely covering her sweet spots!
If you want to see this entire set that ends with Kate C posing nude, you have to visit Only Tease! There you will be able to see all of the 111 photos in this set as well as 442 images in other sets that even include Kate wearing a sexy schoolgirl uniform!
Check out this sexy update from Lola at Only Tease! She starts the set wearing a beautiful light blue summer dress with white hold up stockings. Once the dress is pulled off, we get to see her white garter and thong. When she bends over on the chair and shows off her ass, she makes my mouth water!
Only Tease is the only place to find this set and many more of Lola posing nude for erotic photo shoots! Every set starts with her in lingerie and cute outfits and ends with her topless showing off her amazing body!
Method Man made his bones in Hip-Hop by bodying tracks with sharp darts and ear drowning flows and though he’s since gone on to pursue a career in acting, Johnny Blaze can still turn into the Ghost Rider when some heat is needed in the booth.
South London’s Blue Meth seems to know as much as he calls from across the pond to get some assistance from The Iron Lung in his black-and-white clip for “Winnebago” which finds the two rappers spitting bars into their mobile phones to see which Meth is the most potent.
Back in Harlem A$ AP Ferg becomes the latest rapper to dye his hair blonde while getting it popping in the studio for his MadeinTYO assisted clip to “WAM.”
Check out the rest of todays drops including work from Big K.R.I.T., Trae Tha Truth, and more.
BLUE METH FT. METHOD MAN – “WINNEBAGO”
A$ AP FERG FT. MADEINTYO – “WAM”
BIG K.R.I.T. – “M.I.S.S.I.S.S.I.P.P.I.”
SLIM THUG FT. FMG LACE, BIG BAD KAB & MORE – “KOTH CHALLENGE”
I don’t normally wear just my lingerie in the Kitchen but this was really fun, although a little cold. This is the only blue lingerie i have, but i think i might have to get some more blue lingerie as i think it looks quite good. What do you guys think?
Also the long white socks look fab what do you think of the socks?
Sexy blonde teen Gemma is one of the hottest blonde babes you will ever see in a pair of pantyhose or stockings and she definitely knows how to work those nylons! Only Opaques has a huge array of sexy babes who look delicious in nylons, from blonde babes to [[redheaded|brunette]] babes there are girls for everybody over at Only Opaques and they never disappoint. There aren’t just babes in black and tan nylons either if you can think of a color you can find a babe with that color nylons on over at Only Opaques even orange!
Take a look at these pictures of Gemma showing off in her bright blue pantyhose and her short plaid skirt. It’s a wonder that Gemma doesn’t blow minds every time she’s at college in that tight uniform. Knowing just what you want to see she lifts up her skirt and flashes her plump [[juicy|round]] ass under those smooth blue pantyhose. Even those tiny white thongs look amazing underneath those blue pantyhose! Gemma unbuttons her blouse and reveals her perky braless titties with her delicious pink nipples. As she stands there wearing just her blue pantyhose and that tiny white cotton thong she is the figure of every mans fantasies!
Ten years after releasing their live DVD and album, Argue With A Tree, Blue October is set to release Things We Do At Night (Live From Texas). Filmed at the House of Blues in Dallas, Texas, Things We Do At Night (Live From Texas) showcases the live energy and raw emotion Blue October fans have come to love and expect. The live performance covers all of the hits and favorites from the band’s last four albums, Foiled, Approaching Normal, Any Man In America, and Sway.
Natalie M was a naughty girl and got sent to the principals office, luckily for the principal she was dressed in her school uniform with a pair of delicious light blue pantyhose on and she was more than willing to show off those long supple legs of hers with her [[smooth|sleek]] blue pantyhose covering them! Needless to say Natalie doesn’t get in to much trouble because all she has to do is flash a little leg in those shiny smooth nylons and she always gets her way!
Take a look at these pictures of Natalie as she starts off posing in her short skirt and blue pantyhose as she sits in the headmasters office. Sitting there in the chair she waits for him to arrive. Her short skirt barely covering her thighs. She can’t help herself from sliding her hand up and down the smooth nylon and soon she [[strips|slips]] out of her sweater and unties her tie. It’s not long before Natalie has let her juicy perky titties free as well and as she stands there with her tits out and those delicious blue pantyhose hugging her legs she looks absolutely mouth watering. Talk about a teen tease!
Ashley White is a naughty blonde teen who looks absolutely mouth watering in any type of nylons but these bright blue stockings are enough to blow anyone’s mind! It’s not often that you find a babe ballsy enough to wear stocking so bright but they look absolutely delicious on Ashley’s long shapely legs. As she starts to show them off it’s the material of every guys fantasy come true, sliding her hands up and down her soft nylons. Watch Ashley in these pictures as she shows off in her tight black mini dress and her soft nylon stockings. Slowly she unzips her dress and lets her perky [[titties|tits]] pop out and soon she’s showing off her lacy panty and bra set. Things get even hotter as Ashley slips out of her clothes and stands in front of the camera with just her bright blue stockings and her lacy panties with her perky titties showing!
If you love watching hot teens and babes in nylon stockings and pantyhose then you’re really going to love Only Opaques! Only Opaques is dedicated to [[kinky|naughty]] teen babes who love to wear nylons as much as you love to look at them! Hundreds of the hottest babes strip out of their sexy outfits just to show off their nylons.
I hope you all like the 3 preview pics from today’s set on www.onlymelanie.com. The jeans I am wearing are my favourites they fit so snug and low they make me will feel mega sexy, especially when I wear lingerie under them. talking about my blue lingerie I hope you like it I got it for today’s shoot, I thought the lingerie wound look great with the jeans, let me know what you think.
As I always do when I wear jeans I also wear a thong, but I am naughty cos the jeans are so low you can see my thong over the top of the jeans, maybe not as bad as the 2nd photo above hehehe.
Beyonce and Blue Ivy were a spitting image of each other at the premiere of the new ‘Lion King’ movie — and they couldn’t have looked more like royalty if they tried. Queen Bey and her cub rocked half suit jackets and half gowns on the red carpet…
Defenseman Scott Harrington, who set career highs in games played, assists and points for Columbus last season, has signed a three-year contract worth $ 4.9 million with the Blue Jackets. www.espn.com – NHL
Since 1973, Randolph USA has made high-quality sunglasses just outside of Boston, Massachusetts with top-grade, responsibly sourced materials. 50 different artisans cut, mold, stamp, twist, solder, plate, and polish each pair of Randolph frames in a 200-step process (predominantly by hand) that takes more than six weeks for each pair. Randolph is so confident in its frame joints that each and every pair is protected by a limited lifetime warranty.
Each pair of Randolph sunglasses meet specifications precise enough to meet the demands of the world’s toughest critics, including the US Department of Defense, pilots, naval aviators, astronauts, and even Hollywood stars. You’ve probably seen them on guys like Dwayne Johnson and Zac Efron. Randolphs are also found in Netflix and Amazon Prime shows, worn by stars like John Krasinski, and made it to the big screen in the Captain Marvel movie.
Randolph makes more than a dozen styles of metal frames. Mix that with a myriad of lens colors, styles, and materials and there are literally hundreds from which to choose. Randolph USA even offers six distinct types of blue lenses. So you can get the season’s hottest color and still be a complete original.
Get The Blues in 6 Hues
Randolph USA offer several extraordinary shades of blue that go with any frame. The company’s most popular blues are the Atlantic Blue, an electric royal blue, and the new Polarized Cobalt, a greener ocean blue hue. Both offer full-mirrored reflection.
Engineered to meet the exacting standards of military pilots, Randolph lenses are designed to reduce eye-strain and improve visual acuity. They have built-in hydrophobic, anti-static, and scratch-resistant properties. The premium SkyTecTM lenses are individually ground, and polished to the same standards of a camera lens for the absolute clearest optics possible with maximum scratch resistance. They protect from blue light. Plus, they block 100 percent of damaging UVA and UVB rays, as well as infrared light. Finally, they’re drop-ball tested for impact resistance with a 5/8 inch steel ball from 50 inches!
SkyForceTM lenses are lighter, combining lightweight comfort with outstanding optics in an advanced lens material that is 40 percent lighter than SkyTecTM glass. Randolph also offers a line of SkyForce AirTM gradient lenses that are darker on top and lighter on the bottom for a unique visual experience.
So if you want the finest sunglasses made, with quality you can see and feel, check out Randolph USA. And you can get them in the summer’s hottest shades of blue. Here are a few of our favorite selections.
How to Choose Blue Shades
Aviators come in a variety of shapes, including teardrop, navigator and round. Pair your favorite beautiful blue hue with the perfect aviator frame for your style.
Note this book has been previously published. USA Today Bestselling author Christie Ridgway delivers a delightfully romantic and emotional novel about the power of love, sisterhood, and community in NOTHING BUT BLUE SKIES. Innkeeper Zoe Cash loves the life she shares with her beloved younger sister, welcoming guests to their hillside abode on Abrigo Island off the Southern California coast. She has everything she needs, even a hobby as a local—if not particularly successful—matchmaker. After weathering a personal storm, it looks like only sunny days ahead…until one wounded man arrives and threatens the perfect bubble she’s constructed around herself. He’s making her want, well, more .  Astronaut Yeager Gates escapes to the island and the charming inn looking for nothing but a place to heal before getting back to his high-octane life. He’s not made for sitting still any more than he’s made for long-term romance, though intriguing Zoe Cash is tempting him to turn all his set-in-stone plans on their head. In this unique locale, surrounded by sun, sea, and well-meaning family and friends, two people learn to face their fears and realize that falling in love might just be worth the risk.  Note this book has been previously published as Wish You Were Here. More of Christie’s romantic titles: The Billionaire’s Beach Series Take Me Tender Take Me Forever Take Me Home The Rock Royalty Series Light My Fire Love Her Madly Break on Through Touch Me Wishful Sinful Wild Child Who Do You Love (coming soon!) PRAISE FOR CHRISTIE’S BOOKS!  "Ridgway's feel-good read, with its perfectly integrated, extremely hot, and well-crafted love scenes, is contemporary romance at its best." –Booklist (starred review) "Emotional and powerful…everything a romance reader could hope for." –Publishers Weekly (starred review) "This sexy page-turner [is] a stellar kick-off to Ridgway's latest humor-drenched series." –Library Journal “Ridgway rocks romance!” –Bella Andre, New York Times and USA Today Bestseller "Christie Ridgway writes a sizzling combination of heat and heart." –Barbara Freethy, #1 New York Times Bestseller
When Kate Middleton walked out in a perfectly pretty cobalt blue dress to the Fostering Excellence Awards in London on Tuesday evening, we practically broke the Internet trying to find it. After all, many sites…
Click here to see lots more of Lucy Briggs at Only Opaques. Only Opaques is dedicated to photographing and filming the sexiest women in their pantyhose and stockings. All of the photos and videos are one hundred percent exclusive to Only Opaques. You’ll never find another site exactly like it that can satisfy you nylon fetish the same way!
Check out this erotic Only Opaques photo set featuring Carole. It seems that each of her photo shoots are more erotic than the last. Today, she’s wearing a slinky grey dress with blue pantyhose underneath it. She slowly teases out of the dress to reveal her amazing figure and more of her nylon covered legs.
Want to see more of Carole? Click here to visit Only Opaques. If you like beautiful women in sexy leg wear, you’re going to love Only Opaques. They have thousands of photos and hours of downloadable video featuring nothing but babes like Carole in pantyhose, stockings and tights.
Town rake, Grayson Cole, climbs into a hayloft where schoolmarm Nora Banks is hiding and puts them in a compromising situation. What makes things worse is the group of people who gather in the barn just when Grayson slips and falls over her. Reluctantly agreeing to a shotgun wedding, they hatch up a plan to break up. Now only if they were not so attracted to each other. A delightful love story that takes place in 1860s Alder Gulch, Montana.
You can see more of Lily S and her sexy legs inside Only Opaques. Only Opaques is the premier site for babes in pantyhose, stockings and tights. There, the only focus is on the sexy model and the erotic leg wear that she’s wearing. There’s thousands of photo sets to check out and hours of erotic video to download that features nothing but babes in sheer leg wear.
Today at Only Opaques, you can enjoy this amazing photo set of a busty blonde named Elena. She’s wearing an eye catching sailor costume with bright blue pantyhose. This is one of those photo sets that you don’t want to miss. She teases out of her uniform and reveals more and more of her amazing figure.
You can enjoy the entire photo set at Only Opaques today. There you can see all of Elena’s amazing photo sets – see her wearing sexy college uniforms with pantyhose, dressed for a hot night out on the town wearing sexy black stockings underneath a tight black dress and much more.
Breathless is Book One in The Blue Fire Saga, a paranormal romance series filled with passion, suspense and supernatural danger. There are currently 5 books in the series: Breathless, Deathless, Helpless, Fearless and Heartless. Weston College freshman Leesa Nyland has been fascinated by vampires since she was three years old. That’s when her mom started acting weird, refusing to go outside during the day and insisting the sunlight hurt her skin because she’d been bitten by a one-fanged vampire. But fascinated doesn’t mean Leesa believes. Any more than she believes in blue fire, people who live for centuries, and kisses that can kill. When her beloved older brother suddenly disappears, she is forced to confront all these and more. She also has to figure out what to do about her mysterious new boyfriend. She knows Rave likes her a lot—so why won’t he kiss her? As Leesa draws closer to finding her brother, she faces some gut-wrenching decisions. Should she risk her mom’s life trying to “cure” her? Should she continue seeing Rave, after he reveals his dangerous secret? And most terrifying of all, should she make the ultimate sacrifice—give up her humanity—to save her brother? Readers and reviewers have been loving Breathless, call it "fabulous," "amazing," and "a page-turner." "Breathes new life into the vampire genre." ~ Book Fetish.org "A book you will fall in love with and want to read over and over again." ~ Bite This! Vampire Book Blog "I could hardly put it down." ~ ReadersFavorite.com
On September 11, 2001, Cantor Fitzgerald became famous for the worst of all possible reasons; 658 of their employees were missing in the terrorist attacks on the World Trade Center. Though Cantor suffered more casualties than any other organization, their story was soon pushed aside as the media ambushed CEO Howard Lutnick, who went from face-of-the-tragedy to pariah within weeks. A true stranger-than-fiction account, unfolding over months and years, the film captures what it feels like to be caught in the crosshairs of history.
I don’t know about you but I’ve always had a thing for chick in schoolgirl costumes. Check out these Only Opaques photos featuring a very naughty looking co-ed named Tindra. Today, she decided to pair her sexy blue college uniform with a pair of hot blue pantyhose. All day long she had boys whistling at her and trying to grab her ass under the short pleated skirt. By the time she got home, she was so turned on that she really wanted to put on a sexy show for the camera. As she pulled her uniform off she revealed her stunning body and her long, silky nylon covered legs.
Want to see more of Tindra? Click here to visit Only Opaques. They have hundreds of gorgeous babes in nylons, stockings and tights. Check out thousands of photos of hot girls just waiting to show off their nylon covered legs.From bright colored tights to sheer hold-up stocking, Only Opaques has it all. I never knew what the fuss about a chick in tights was until I stopped by and now I’m addicted. I can’t get enough of these sexy covered legs.
Resort collections are by nature attuned to the sand and sea. This season designers plunged into an ocean of blue, sometimes offering a subtle suggestion of nautical via stripes or a rope-inspired detail. The result was a moody mix of pieces that work in a city setting, too.
Marine captain Katie Higgins is the first female pilot to fly in the Blue Angels stunning air shows. She pilots “Fat Albert” a C-130 cargo transporter that is a crowd favorite for its low passes, dives and backwards taxi. WIRED Videos – The Scene
Blue and white may be the classic colors for the dream beach house, but the duo’s undeniable appeal says summer even far from the shore. From Carolyn Murphy’s minimalist escape to Aerin Lauder’s traditional chinoiserie, here are the seven best examples on Instagram.
Jennifer Lopez transforms into an action movie heroine in her new television series Shades of Blue. In the new series, Lopez is a single mother named Harlee Santos who juggles life as a detective with parenting. In the new images that have surfaced online, Lopez waves a gun around in a shootout scene and even guns down one person. RTT – Music Webcam Performers Wanted – Earn $ 100,000 per year!
Charlotte Ross claims her ex-boyfriend was so abusive he once threatened to drown her dog. Ross claims in a new restraining order, obtained by TMZ, she confronted then-boyfriend Patrick Eugene Aurignae over his alleged infidelity. The…
The last thing I see before I close my eyes are his silver wings coming toward me. He lifts me up and takes me in his arms. While demons hurl fireballs at us from every direction, I study his face. I realize he doesn’t want me to live; he needs me to. It’s as if his whole existence depends on it… The Noru series in order: Book 1: Blue Rose Book 2: Last Akon Book 3: Fall Of The Chosen
Summer in Lake Tahoe just got hot… Recent college grad Cali Morgan thinks she has her life all figured out, until she returns to Lake Tahoe and runs into an old crush she barely recognizes. A serious accident pushed Jaeger’s life in a new direction, but he’s hotter than ever, his presence rocking the foundation Cali staked her future on. "Jules Barnard deftly avoids NA cliches, delivering fresh settings, realistic characters and smart writing that will have readers eagerly awaiting her next release." ~ Lauren Layne, USA Today Bestselling Author —– When Cali Morgan kicks off her perfect post-college summer in Lake Tahoe, she has everything she ever wanted: acceptance into a top law program, a gorgeous boyfriend, and an incredible summer planned with her best friend. Confident about her place in the world, Cali makes it her mission to be her friend’s wingwoman and help her meet guys. What Cali doesn’t count on is running into Jaeger Lang, one of her older brother’s high school friends, or the sparks that fly when she’s around him. Jaeger has changed, and it’s not just the added height and muscle. There’s something about him that’s deep and a little scarred. In spite of the changes, Jaeger becomes a top pick for her friend—if Cali can keep her hands off him. But when Cali’s boyfriend dumps her and her carefully laid plans begin to unravel, she finds herself questioning what it is she truly desires. In the midst of doubts about her future, one thing is very clear: she wants Jaeger for her own. The question is, has her friend already fallen for him? And will Jaeger’s past come back to haunt them both? Each book in the Blue Series is a standalone and does not need to be read in order, but characters pop up again so it's fun to read them sequentially.
The “Modern Family” actress did something out of the ordinary this weekend: She shared a makeup-free selfie on Instagram. KLG and Hoda can’t get over how young and beautiful she looks, comparing her to a young Brooke Shields.
How are you celebrating Father’s Day? If you’re Beyonce, you’re probably making posts on Instagram. To celebrate this Father’s Day, Queen Bey took to the social media platform to praise both her own father and her husband, Jay Z. News
Action-packed terror! "Bigger, better and more frightening than JAWS" – WKDM Radio. All-star cast includes Oscar and Golden Globe-nominee Samuel L. Jackson ("A Time to Kill," "Pulp Fiction"), Saffron Burrows ("Celebrity," "Wing Commander"), LL Cool J ("In the House"), Thomas Jane ("The Thin Red Line") and Michael Rapaport ("Cop Land"). A group of scientists create genetically altered sharks which are bigger, smarter, faster and meaner. After a big storm damages their remote research facility, they must fight for their lives as the sharks hunt them down, one by one. Directed by Renny Harlin ("Die Hard 2").
The following work is designed for those who are learning the noble game of Chess. Many persons have been confused and discouraged at the very outset of the study by the great variety and the delicate distinctions of the openings: and this has constituted a fault in many otherwise excellent manuals for the learner.
Poignant, romantic, and mesmerizing, writer/director Woody Allen’s latest masterpiece centers around Jasmine (Cate Blanchett), a former New York socialite teetering on an emotional tightrope, balancing between her troubled east coast past and a fresh start in San Francisco. Having moved into her sister’s humble apartment, Jasmine ricochets between the tumultuous acceptance of her new limitations, and the dreams of reclaiming her past life’s glamour. Join a powerful cast including Alec Baldwin, Sally Hawkins, Louis C.K., and Peter Saarsgard for an intimate portrayal of the battle between fantasy and reality which wages within us all.
The Blue Portal is an extract from the beginning of Eric Brown's upcoming novel The Kings of Eternity, due to be released April 2011. 1999, on the threshold of a new millennium, the novelist Daniel Langham lives a reclusive life on an idyllic Greek island, hiding away from humanity and the events of the past. All that changes, however, when he meets artist Caroline Platt and finds himself falling in love. But what is his secret, and what are the horrors that haunt him? 1935. Writers Jonathon Langham and Edward Vaughan are summoned from London by their editor friend Jasper Carnegie to help investigate strange goings on in Hopton Wood. What they discover there – no less than a strange creature from another world – will change their lives forever. What they become, and their link to the novelist of the future, is the subject of Eric Brown's most ambitious novel to date. Almost ten years in the writing, The Kings of Eternity is a novel of vast scope and depth, full of the staple tropes of the genre and yet imbued with humanity and characters you'll come to love.
The sensation of the Cannes Film Festival and the most controversial film of the year, Blue is the Warmest Color made cinema history as the first film ever awarded the Palme d'Or to both its director and its actresses. In a star-making role, Adèle Exarchopoulos is Adèle, a passionate young woman who has a yearning she doesn't quite understand until a chance encounter with the blue-haired Emma ignites a flame and brings her to life. Léa Seydoux (Midnight in Paris) gives a fearless performance as Emma, the older woman who excites Adèle's desire and becomes the love of her life. Abdellatif Kechiche's (The Secret of the Grain) intimate epic of tenderness and passion charts their relationship over the course of several years, from the ecstasy of a first kiss to the agony of heartbreak. Pulsing with gestures, embraces, furtive exchanges, and arias of joy and devastation, Blue is the Warmest Color is a profoundly moving hymn to both love and life.
Mike Ragogna: Ben, Blue Camus is your thirty-first album. From your perspective, what did you achieve on this album that you didn’t on the previous thirty?
BS: On the one hand, every record is like a child; you love them all and wish them the best. I love this one because it has a combination of great grooves and intellectual investigation that just doesn’t happen these days, if it ever did. But I’ve always admired jazz musicians for their global perspective; they tend to be improvisers in not just their music lives but in their lives in general, and so they read, they think, they talk about ideas. This CD captures this.
MR: In 2012, you released Don’t Cry For No Hipster to your usual critical acclaim, good sales and successful tour. As you’re moving forward creatively with Blue Camus, what do you notice is changing in the creative and, I’ll say it, also business process?
BS: Obviously, the recording business is at the end of a long ten-year slide, moving away from physical product to streaming and subscription models. So the business of the business is changing dramatically and relentlessly. From a creative perspective, nothing changes. I wake up in the morning and try to deal with the problems in front of me, whether they’re musical or personal or just intellectual. Then, a little further down the road, I always look forward to going out and playing gigs with my friends. It’s like boys night out. It’s one of the payoffs of doing the work.
MR: Would you please give us the tour of the album, like how it was mapped out creatively, what your favorites are for whatever reasons, and what is the big or holistic statement that it’s making?
BS: Every album is the same and every album is different. The process of recording always involves solving the problems at hand, and each time, the problems are different. This time it was a matter of fitting brief philosophical narratives into free form grooves in a way that the listener hears the whole thing as a series of songs, emotions, movements, colors. From my point of view, every album I make is exactly that: an album. I try to make the sequence and the material flow so that the experience of listening to it is cumulative. Of course, that is not the current fashion. Today it’s all about singles and nobody cares where in the album sequence you might find Bruno Mars’ “Uptown Funk.” I don’t even know if it’s on a physical album or just on the streaming services, where sequence is irrelevant. But I have the luxury of thinking about these things.
The holistic statement, if there is one, is about living a human-scale life in our modern world, which most people would agree is out of control with technology, ambition, cynicism and just plain cash. Referencing the existential philosopher Albert Camus in the song “Blue Camus” is a reference to his search for meaning–even just feeling–in the modern world. This is a problem we all face; we eat without tasting, look without seeing, listen without hearing. We are not in our bodies and so we often feel lost or disconnected. Music is one of the great emotional anchors in our lives so it’s natural to try to set up a nice groove and welcome the listener to check it out: “If you don’t say what you want, want what you say, you’re just hanging in the cut between avant and passe…” is the relevant line.
The song “A is For Alligator” pretends to be a children’s song but is really about capitalism. Is it really possible to let the alligator play in the bathtub? Of course not; the alligator will eat you, or you will eat it. Capitalism. I dedicate it to George Orwell because Animal Farm used the same structural conceit.
There are also some nostalgic hipster moments like “Dee’s Dilemma,” an obscure jazz song from the ’60s updated with a Crusader’s kind of funk groove. The point being, I have not forgotten the music I loved fifty years ago; I am still a witness to the execution and I find some comfort in knowing that you stand for something or you’ll fall for anything.
“There Used to Be Bees” is an instrumental meant to capture the motion and wonder of watching bees in my garden and then suddenly grasping the inevitable moment that’s coming when, as there will be with frogs and elephants and so many other species that human’s have no time or respect for, they will be no more. Again, a human scale perspective. Bees are just trying to make a living, not a killing. People can learn from that.
“The King of Harlem” is based on the Federico Garcia Lorca poem “Poet In New York.” I wrote it several years ago when I was asked to participate in the celebration at the New York Public Library of the discovery of the original manuscript. I saw it as a piece of music dedicated to a lyrical work of personal passion. Lorca had come from Spain to New York in 1929 just as the stock market crashed and even though he spoke very little English, he became very involved with the dark side of the city, both through the economic panic and the dangerous life of its homosexual community, or which he was a part. I wanted it to feel like Lorca’s words felt to me, to try to capture the emotional universe he invoked, without having to be literal about. His poem was about modernism and what the modern world does to its inhabitants. You can start to see a theme here I guess; I’m very interested in how humanity can survive all its great technological success.
“Wake Me When It’s Over” is an attempt to call political gridlock what it is. I wrote it when the Tea Party was holding the government hostage. “Too many people got nothing to say but they’re saying it louder and louder every day.”
MR: You were part of Steve Miller’s band for many years. What do you feel you added to his projects best? Do you have any favorites from that catalog of work?
BS: Well, I’m best known for co-writing the song “Space Cowboy” and I guess my contributions to his lyrics were my initial contributions, that and editing things he had written early on. Over the years, I also hooked him up with songs and musicians. For example, back in 1973, I produced the blues musician Paul Pena who wrote a song called “Jet Airliner” and when Steve heard it, he went to Paul and bought the rights to it and turned it into a huge hit. And many of the musicians he worked with for years, like drummers Gary Mallaber and Gordy Knudtson, came to him through me.
MR: Since you’ve been in at least three worlds of music–rock, pop and jazz–what do you think about the states of those genres these days?
BS: I really don’t think of music categorically. I know there are categories, particularly in record stores–if there are any such things anymore–and in Billboard charts, but I have never been able to figure them out or understand my place in them; perhaps if I could, I would be better known.
MR: What has the jazz format allowed you to express or accomplish that Steve Miller’s band and other rock and pop acts you worked with didn’t?
BS: In a pop band like Steve Miller’s you attempt to give the kids what they want, which is exactly what they heard the first time they heard the hit song on the radio. You play the same arrangement, without any additional notes or too many changes in the arrangement. And you generally play in front of a large audience so you have to play very simply so the kids in the back can follow along. You don’t want to loose them in any controversy. Steve always used to say, “That’s the problem with jazz musicians; they always want to add notes that aren’t there.”
It’s not the same as playing simply. Playing blues or R&B, you play simply but with authenticity and conviction. Pop music is basically an act, an evening of theater that the kids get to play along with. Blues, R&B and jazz are all authentic forms of Americana and leave room for personal expression, digression, recapitulation and are often better served in smaller venues and to a more intelligent or experienced group of people.
MR: What’s the story behind your commitment to jazz?
BS: When I was a young kid, maybe seven years old, I heard “Pine Top’s Boogie” by Pine Top Smith and it really spoke to me. I was taking piano lessons so I went to my teacher and she provided me with a boogie-woogie book. Then when I was thirteen, I heard the Horace Silver record Six Pieces of Silver, which just floored me. I must have listened to that record a hundred times, over and over again, like an Eskimo huddled around a fire, being warmed by the music and convinced that if I heard it just one more time, I would understand it, or be able to somehow translate what I was hearing into my own life. When I discovered that Horace and the others were black, I immediately understood that race is a chimera; there is only one race, the human race, and everything else is local color. The music spoke to me of deep humanity and a kind of profound, everyday spirituality that suggested we are all brothers, we are all related and that we can get better, feel better–even happy–if we live the right way.
MR: Who influenced you?
BS: As a piano player, I would say Erroll Garner, Horace Silver, Dave Brubeck, Bud Powell, Sonny Clark, George Shearing, Freddy Redd, Wynton Kelly, Ray Charles, Thelonious Monk, Barry Harris, Tommy Flanagan, Red Garland, Count Basie, Fats Waller, Bill Evans, and, of course, Pine Top Smith.
MR: Beyond Blue Camus material, do you have any personal favorite songs that you recorded in the past that still affect you deeply to this day?
BS: The songs that I wrote that I like the most are “Life’s a Lesson,” “So Long,” “Old Hoagy,” “There They Go,” “Don’t Cry For No Hipster,” and “In the Beginning”.
MR: At this point in your career, what has your musical mission evolved into?
BS: Living the life I sing about in my songs. It’s all well and good to have good ideas and gather up knowledge and technique but can you live the life you sing about in your songs. That’s the question I first heard in an old gospel song of the same name, and it still is news.
MR: These days, are there any musicians you prefer to create or perform with?
BS: The most important musician in my life at this point is my son, Leo. He is now in his thirties and has a life and a career of his own, but we have developed a kind of musical radar from playing together for so long and he brings out the best in me. Also I love his sense of humor and I find my best work comes when I’m laughing.
MR: What advice do you have for new artists?
BS: If you try to be anybody but yourself, you are doomed to be second best. Having said that, we all start out by trying to copy our heroes. Naturally, we will fail. And it is in the recovery from that perceived failure that you will begin to develop your own voice. So make your own mistakes. Embrace failure.
MR: When you released Blue Camus, were you even aware you had released thirty albums previously?
BS: Not really. I could have counted them up but I certainly wasn’t thinking about anything other than solving the musical problems in front of me.
IRON TOM’S “NOBODY’S CHILD” EXCLUSIVE
The new single “Nobody’s Child” is taken from LA-based Irontom’s forthcoming self-titled release compiling their previous singles. Says Irontom drummer, Dyl Williams…
“‘Nobody’s Child’ was one of our first songs together, and it’s always been very different from our other material. Whereas most of our songs can get loud and aggressive, this song is more relaxed and spacious – and it’s taken us a little time to complete a recording that does it justice. It has followed us quietly for years, and we’re excited to finally share it. The creative process is very cool.”
— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.
Khloe Kardashian made a grand entrance at BookCon in New York City on Sunday, wearing a bright blue, figure-hugging dress with sheer panels. The reality star, who topped off the eye-catching ensemble with a pair of nude heels, attended the event to promote her forthcoming and untitled advice book, to be released in November.
The 30-year-old showed love for her glam squad in an Instagram post:
In April, Kardashian spoke about the upcoming project in a press release via the book’s publisher, Regan Arts.
“I am so excited about sharing my philosophy on how I live and the power of strength,” Kardashian said. “I hope to be an inspiration to readers everywhere on how they can create their own true strength and beauty inside and out.”
— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.
Chris Brown just threw down a hip-hop papa challenge — essentially putting Jay Z and Kanye West on notice … that his baby girl is gunning for their daughters in the cute department. It might seem like an odd way to mark Royalty’s first birthday, but…
Are we in for another walk-off? “Zoolander 2” is shaping up to be the king of cameos … as Ben Stiller just revealed Justin Bieber will make an appearance in the flick. Bieber has hinted he might be appearing, writing, “Working on something big…
“‘Duct Tape Heart,’ one of the tracks from the Barenaked Ladies’ forthcoming album Silverball–out June 2nd–is an Ed Robertson and Kevin Griffin (Better Than Ezra) collaboration. ‘I love the imagery of a MacGyvered heart–a heart that is taped back up, but by virtue of being duct-taped back up, it’s rock-solid,’ Ed notes, no pun intended.
In Robertson’s view, Silverball has already attained a lofty status in the band’s canon, for reasons that are fundamental and enduring. ‘I think the strength of this record is the band playing together,’ he says. ‘We’re pushing in new directions–as always, I think–but it’s still unmistakably these four guys playing together, and that’s what I’m most proud of. I put the record on and it doesn’t sound like anything we’ve ever done before, and yet it is unmistakably the new Barenaked Ladies record. We made it quickly and effortlessly, and I think it’s a great showcase of what this band is capable of.”
ERIC HUTCHINSON’S “FOREVER” EXCLUSIVE
photo credit: JUCO
According to Eric Hutchinson…
“I had already made a video for ‘Forever’ when John [Danovic] emailed me this idea he had. It was this cool little demo video he made in his car. Stripped down but he totally got the visuals across. I loved it instantly and I had to see it made! The actual video he made is even cooler. This video captures all the emotions I felt when I wrote the song. The ups and downs of love and waiting.”
The video’s director, Jon Danovic, adds…
The inspiration for the video came from the lyric, “Tell me how you know nothing lasts forever.” There’s a desperate optimism that attracted me to the song, I tried to balance that hope and melancholy with the visual.”
“I wrote ‘Wildfire’ about being carefree and not allowing others to bring you down, which is summed up in the lyrics. ‘Rising like a phoenix, I’ll make you see. I’ll burn even higher, Burn even higher. I’m a Wildfire.’ ‘Wildfire’ is much more mature than my other songs…it really reflects my personality and artistry. It’s an anthem for the vagabonds, the wanderers, and the hippies of now.”
“Wildfire” is the free download of the week on iTunes!
A Conversation with David Coverdale
Mike Ragogna: David, sir, let’s talk about all things Purple.
David Coverdale: Oh, Mikey Rags, what a treat! Two of my favorite elements in my life, Mike Ragogna and HuffPost.
MR: Then you’re either in for a treat or a wild disappointment.
DC: That depends on what you think of the f**king record, probably!
MR: [laughs] It’s hard to be objective because of our friendship, but I honestly think the record is excellent. And furthermore, I believe The Purple Album is very significant in the DC cannon because it brings your career full circle. It’s almost like after all your experience in making music–being as creative a person as you’ve been all these years–you’re looking back and respectfully treating your roots. I’ll go further. I believe this revisit of your Deep Purple material brings out musical elements of the material that you’re only now hearing at this point in your life. Conjecture, of course, but pretty close, right?
DC: That’s about it, thank you! It was nice talking with you! [laughs]
MR: [laughs] David, actually, why did The Purple Album come out now, and why not earlier in your career?
DC: It’s a very layered why, but the whole idea was birthed from tragedy. You are right when you say we’ve come full circle because that’s actually what I’ve been saying while I was mixing the album with Michael McIntyre. It was a feeling of completion of a particular journey. I think the next chapter of my life is going to be somewhat different. Still involved with music, that’s my primary vehicle for expression, but maybe not the big Tarzan, animal skin, swinging through the trees and beating my chest stuff.
MR: Well, then this interview is absolutely over! Take care, be good.
DC: [laughs] No, I’m still swinging from light truss to light truss unfortunately. It’s so very funny, Michael, from the very beginning, even before Purple, I’ve always challenged myself as a vocalist, as an athlete, as a student, and of course that was amplified by joining Purple. I wrote like four or six versions of the song “Burn” as the new boy, just wanting to please. Of course, they chose the lyric. But I’ve always challenged myself and continue to this day, but this challenge has become a little more challenging as age rears its questionable head.
Purple was literally birthed from tragedy. In 2012, I received a call from a representative of my beautiful friend and former colleague Jon Lord, who was just an amazing character in my life, a mentor, he introduced charm and grace to a working class kid from Heathcliff-land, Wuthering Heights. Jon had been diagnosed with cancer, which was horrifying, and the next thing was, “He’s determined to beat it. On his recovery, would you be up for doing some kind of Purple project?” I went, “Absolutely, you tell him I’m there for him.” The greatest sadness, of course, we lost Jon. But the loss and the grieving led me to open dialog with Ritchie Blackmore after over thirty years.
Really, there was no project on my agenda, on my radar; none whatsoever. For me, to stand between Ritchie and Jon, it was the Colossi of Rhodes. I was able to work with Glenn Hughes and Jon Lord and Ian Paice; I worked with those guys other than Glenn in early Whitesnake. Sadly, the last time I saw Ritchie, which was over thirty years ago, we had a physical confrontation which was very unpleasant and unsavory for both of us. An unpleasant rivalry between Whitesnake and Rainbow persisted for many years until Whitesnake became so ridiculously successful and sold so many records it wasn’t even a consideration.
But for two reasons, I wanted to speak to Ritchie. One was to commiserate on the loss of Jon and the other was to sincerely thank him for being part of a decision that gave me the opportunity to front one of the biggest bands in the rock ‘n’ roll world. I had no preperception of global success. I’d seen Deep Purple on a couple Top Of The Pops, I’d seen a little bit of one of their shows in the north of England where I lived. I knew they were big in England but that’s all I knew. I had no perception whatsoever off the kind of global success they were embracing. So to give this unknown, untried, untested vocalist from the north of England this incredible, indescribable opportunity to front and to create songs with Ritchie and Tommy Bolin was the Willy Wonka golden ticket. They started me on a journey that may be completed at the end of this forthcoming world tour.
MR: And your versions of these Deep Purple songs aren’t clones but evolved versions of the originals. Was this a sort of resolution, maybe what you always wanted to do with these songs?
DC: Oh, very much so. My primary thing when I heard “Burn” was, “Christ, I was naive. Jesus, I was young. Buddha, I was innocent.” [laughs] I was literally flying by the seat of my pants. The cliché would be “thrown in the deep end to sink or swim.” Fortunately, I swam. I actually used one of the lyrics from an initial version forty years ago on my last studio album, Forever More. But what was really fantastic for me, reconnecting with these songs after reconnecting positively with Ritchie Blackmore was, “Jesus, what a great band!” It tends to diminish over the decades when you’re focused and moving around. I’m not a nostalgia guy, I’m a, “Now and moving forward, what are we doing next,” kind of guy. The Lewis and Clarke of rock. “Okay, this f**king avenue’s closed, let’s hack our way through this one,” determined to find a new way to deliver music from A to Z in these very, very new times.
What I was astonished by was the musicality, how the songs stood up, even the production values were pretty happening for that time. It reconnected me with fortunately more positive memories than negative ones. For instance, actually doing The Purple Album sitting next to Reb Beach and Joel Hoekstra firing on all six cylinders on the “Burn” solo and going, “Oh my God, I was sitting next to Ritchie Blackmore over forty years ago in The Rolling Stones truck recording the original solo. It was moments like that. Tommy Bolin and I writing “Love Child” after hanging out with Bob Marley & The Wailers. We totally loved reggae. I loved it since it was ska and bluebeat. There was a large Jamaican populace in the north of England close to where I lived. I loved that stuff. So the original version of the song called “Love Child” was literally reggae. [Sings “Love Child” to a reggae beat] At the end of it, Tommy and I looked at each other and said, “F**k it, Purple ain’t gonna buy that.” So we made it significantly more butch, but on the Come Taste The Band album there are a couple little inflections of reggae that really I don’t think anybody picked up on other than Tommy and I.
These things were super little reconnecting dots that I had just let go of years ago. It was fabulous in so many ways, being able to write a small elegy to Jon in the middle of a song called “Sail Away.” I digress somewhat because the conversations with Ritchie Blackmore took place in 2012 going deep into 2013 while I was on Whitesnake’s world tour “Year Of The Snake.” He asked me to speak to his manager, who then asked me if I could keep a secret. I said, “Of course not, I’m a f**king singer!” She said, “Would you be interested in doing a project with Ritchie?” Primarily, I thought, “Hmm, Blackmore/Coverdale; we could embrace the music of Purple and Rainbow and Whitesnake, it could be an interesting ticket.”
Then the question was would you choose Roger or Glenn. I love Roger Glover, I worked with him, he produced two solo albums for me a lifetime ago, but Glenn Hughes is my soul brother. We communicate pretty much every day. At the time I dug out these old projects. This wasn’t even on my radar, Michael. So literally I dug out the Burn, Stormbringer and Come Taste The Band albums and thought, “Eh, he’s not going to want to do anything from Come Taste The Band, of course. Hang on a second, he’s going to want me to do ‘Smoke On The F**king Water.'” But I was digging into them and going, “I just hope he’s up for giving the house of Purple a fresh coat of paint and maybe moving the furniture around a little bit.” What my words were, once I actually got into the studio with Whitesnake was, “Snake ’em up a bit,” said with the benefit of forty years of experience in survival in a very challenging industry.
So I was starting to work on this while discussing things with Ritchie and his manager. The unplugged version of “Sail Away,” which I thought would be a wonderful transition, maybe even a duet, with Ritchie’s lovely wife Candace. They have a beautiful Renaissance-style music group called Blackmore’s Night. So I was pulling all of these strings together to make it some kind of cohesive thing, but you know the more I discussed it with his manager the more I felt, “I can’t share this vision.” At this time in my life, I’m not going to do anything I don’t want to do, Michael, so I very respectfully withdrew from further dialog regarding a project and wished them well in everything they do. Fortunately, we’ve stayed in touch.
Then I was having dinner with Cindy, my wife–I don’t know if you ever met her back in the day–but I was commiserating with her, “Eh, what a bummer, I’ve done all this work and it’s not going to see the light of day.” It was my beloved partner who said, “Well, why don’t you do it under the Whitesnake banner,” and I went, “Oh!” My glass of chardonnay hovered mid-drink as that realization hit me. And with my being a meditative little son of a gun, I meditated on it for a couple of days and then I spoke to Michael McIntyre my co-producer. I’d already been speaking to Doug Aldrich who was still involved with Whitesnake at the time, so I spoke to our fabulous record company Frontiers and of course these guys are fans of rock and total Deep Purple fans, so I said, “How would you feel if Whitesnake did a tribute album?” There’s never been a best of for Mark III or IV! How f**king goofy is that? The best classic rock tunes in the world and the management has never had the thought of, “By all means, let’s keep milking the teets of Mark II, but what about Mark III and Mark IV?” It all kind of came together. My musicians all had the same kind of musical boner, so it came through, all systems go.
MR: So when you entered the band, it also was an education in how to go solo and rev up Whitesnake.
DC: Oh yeah. I’m like Bubba The Love Sponge. I just soak it all in. I was there, I still don’t understand all the technical stuff, but I know if I want to add a little more EQ here, less bass there. I’ve never wanted to be an engineer, but I was there for every session, watching it, discussing it. Just earlier we mentioned the “Burn” solo, which is a breathtaking musical, symphonic solo from not only Jon Lord but also Ritchie Blackmore. It harnesses his classical training for a breathtaking guitar solo. When I was sitting next to Ritchie in the Stones truck in Switzerland, he turned around to Martin Birch, our producer and engineer and said, “Slow the tape down a bit.” I’m sitting there going, “Huh?” But suddenly “Burn” starts playing [mimics slow track], I have no f**king idea, but then Ritchie’s at the top of his neck playing along with this, pre-click track stuff, playing that Bach sequence. Then he said, “Oh, play it back at normal speed,” and he plays it back and it’s this astonishing, [mimics solo] mandolin kind of thing. He said, “What do you think?” and I said, “It sounds a bit like a balalaika!” He said, “Play it back. He’s f**king right. Take it off.” I thought, “Oh my God, I’m going to be fired.”
That was my huge learning lesson. If somebody asks you, tell the f**king truth. In any given situation, tell the truth because it’ll pay off. Ritchie and I wrote most of the material together, and then the band of course put their astonishing identity on, which is what really made Deep Purple, but I wrote a lot of stuff with Ritchie and that actually made our work easier. I thought, “Thank God I have an opinion because I’m from Yorkshire,” and we’ve got an opinion about every f**king thing.
MR: [laughs] You were talking about always telling the truth earlier. It seems like that’s a major component of your work.
DC: I’ve always loved music, and my beloved aunt who I lost at the same time as Jon Lord was fourteen, spending all of her pocket money on Little Richard and early Elvis Presley and Chuck Berry and I’m this six or seven year old going, “Oh my god, this is fucking unbelievable.” I still can’t articulate what pulled me in about Hendrix, what made Hendrix my muse. He’s this guy harnessing blues and soul and exciting guitar and image and blues lyrics and extraterrestrial cosmic shit. He’s everything. Hendrix just harnessed everything that I love. There are no mistakes. I go to school one day and the music teacher was ill and the only other teacher who had a free period was the science teacher, a guy called Benbow. He said, “I don’t know what to talk to you about; I’m just a clarinet player.” So he played a bit of Sidney Bechet, but then he played Lead Belly and I’m going, “What the f**k? All the hairs on the back of my neck are going up! What is this?” I’m eleven years old or something and I go up to him afterwards and say, “What is that?” He played me a bit of Big Bill Broonzy and I’m going, “Wow!”
Before I played an instrument, I would write secret poetry to express myself. I kept it well away from my soccer-playing chums, otherwise I would’ve had my ass kicked probably. “Hey, how are you doing?” “Well, the sun hangs slowly like a golden orb.” As soon as I started playing a couple of chords they became lyrics. Hearing blues singer talk about the honesty of sex, the honesty of politics, of poverty, of heartbreak,” it just rung all of my bells, as opposed to leaving me flat on “Mrs. Brown, You’ve Got A Lovely Daughter.” F**k, that meant nothing to me. But when you’ve got The Who harnessing Motown and you’ve got The Kinks harnessing whatever the f**k Ray Davis was, those things just resonated like f**k. All of that was going into the Coverdale blender to be mixed up in preparation for my work with Deep Purple.
MR: How big does spirituality play in your life and music?
DC: I’ve always completely and utterly believed in a supreme being. Always. I was unable to articulate it when I was a kid, but my best friend was a catholic kid and I used to sneak into their church, I knew all the hymns, until a priest grabbed me by my significantly short hair and dragged me out and literally threw me out of the fucking church, which probably served me well in the long time. I’ve always believed in God, even as a child going, “Oh, please bring me a grey bike for Christmas.” I always believed there was something more than what’s just here. Of course as I got older my believe system became that of spirituality. I don’t particularly embrace religions, but my spirituality is complete, I meditate and pray to God every day without fail and do my energy intentions and stuff. It’s an amazing journey to be on. It’s the ultimate accessory for me, Michael. Having real hair and meditation has made my life complete. [laughs]
MR: Well, I have one of those! [laughs]
DC: So the thing for me now…you said “full circle” and that’s exactly the expression I’ve been using. A feeling of completion. Being able to pay respectful tribute to the men of Deep Purple. There isn’t a note on The Purple Album that isn’t a respectful nod to each of our colleagues. All my liner notes in there are respectful. The guys came in… Reb Beach was so full of this project that Michael and I offered him a co-production scenario, which he did heroically throughout last year. Joel Hoekstra came in to assume as a fresh guitar player after Doug Aldrich had moved on. Joel’s musicality is extraordinarily welcome. Tom and Michael Devin, Tommy Aldridge came in, the drummer, he came in and set the energy bar for this project. If anybody can’t hear the drive and celebration from the moment “Burn” starts going I don’t want to know them. It’s like f**king NASCAR with Tommy in the driving seat. Tommy’s very much like the school of Ian Paice, the original drummer on these songs, who was significantly more influenced by big band drummers like Max Roach and Buddy Rich and whoever, harnessing those elements in a rock environment, whereas a lot of other people follow the school of John Bonham, just straight forward rock ‘n’ roll stuff. This was perfect for Tommy to come in on. I said, “None of these are going to be singles, we don’t have to worry about CHR, just fucking go for it,” and my god, they did. But as soon as Tommy started going I saw the guys physically go, “F**k!” and everyone came up a few notches. It was really inspiring. It was all positive, Michael, it was lovely.
MR: In your opinion, what is the legacy of Deep Purple?
DC: I have no idea. I’ve never done it for that stuff! You guys are the ones who throw words like that in. Oh my god, when I’m doing interviews and people are very nervous with me, saying, “oh my god, you sang with Deep Purple, Ritchie Blackmore, Tommy Bolin, Jimmy Page, Uncle Tom Cobley and all,” you go, “Wow, it has been a serious career!” But I’ve never looked at it with those eyes. Never. It just isn’t something, “Oh my god, we deserve a place in the–” fuck ’em if they don’t want us in the rock ‘n’ roll hall of fame. Every one of my musicians, and Lars from Metallica and Paul Stanley are going, “What the f**k, aren’t you guys in?” I was actually talking to Ritchie at the time we were nominated, two years ago, I said, “Are you going to go?” he said, “Nah,” and I said, “Well if you’re not going I’m not f**king going.”
But we still sell records. When I got that big success in America, MTV time, ’87, ’88, ’89, all those years, most of the interviews out of America had no clue about Deep Purple. I was very happy to just continue talking Whitesnake, Michael. Nothing I’ve ever done is for legacy. I didn’t know “Still Of The Night” or “Is This Love?” were going to be giant fucking songs that were part of the background of people’s lives, are you kidding me? I just try to sing as good as I can, write better songs, make better records, play better concerts and challenge myself. If I’m not inspired to put effort into my work then I’m getting off that f**king horse immediately. When I stand in front of these guys and sing I do stuff that shocks the shit out of me, let alone anyone else, because I have the inspiration, the drive from that stuff and I’m still to this day inspired. Hopefully, you can hear that.
MR: Oh yeah. Has this foray into The Purple Album changed how you’re going to look at your own stuff?
DC: What was fascinating for me was seeing such a palpable thread from the very beginning of my writing with Deep Purple through to my last studio album, Forever More, there’s an absolute connection. I’ve written two heavy metal songs, “Burn,” and “Stormbringer.” Those lyrics have nothing to do with heart and soul or a search for direction or anything. They’re sci-fi fantasy things, which basically I wrote for Ritchie Blackmore, because he loved that s**t. I wasn’t going to do “Stormbringer” on this album until all of the band emotional avalanched me. “You’ve got to do it, I can’t ‘Snake it up, it’s in fixed melody, blah blah blah,” and I went, “F**k it, okay, you want to do it? We’re going to make a sonic fucking storm. In the performance and the video we’ll have it for the first time and probably the only time I’ve done production stuff with that kind of music.”
Michael dug out storms, my son Jasper became the voice of the storm, that kind of demonic voice at the beginning and the end. Four year-old Jack Hoekstra sent his daddy a message while he was working with me and I said, “Let’s put that in there.” I found a cassette of my daughter at four years old singing songs that I used to write for her, so Michael McIntyre fucked them up and low-fi’d them and distressed them. Those kids are the willful children of the storm. I’ve never done that before! It was a poopload of fun. It’s probably not something that I’m ever going to do again, but it was great and it serves its purpose for this. But in all of the songs I’ve found that there was this really common denominator that was so easy to put in certain musical accents which maybe we did live with Purple, but I’ve maximized on doing those accents so it’s part of the Whitesnake identity. It was really fun, very organic and natural. I swear to God, meditating and sitting down with a guitar, or sitting down at the piano, it just unfolded. This project was absolutely meant to be done at this time in my life. I have no doubt whatsoever.
MR: How do you think Jon would’ve reacted to The Purple Album? He had to be in your heart and in your mind as you were doing this, right?
DC: I know what you’re saying, but I’ll be honest with you. I never look at replacing musicians. I get new people in who I feel can help inspire me and take Whitesnake another step up the ladder and hopefully reciprocate with them so it’s a mutual exchange of energy and creativity. I specifically focused on the twin guitar attack of Whitesnake on this record. I brought in a keyboard player I worked with many years ago who I knew was an acolyte of Jon Lord and Emerson and Rick Wakeman to do the keyboards, but I said, “The focus will be on twin guitars. The keyboards are just going to be more layered and more orchestral on epics like ‘Mistreated’ and ‘You Keep On Moving’ and ‘The Gypsy,’ adding more synthesized orchestra than we did back in the day.” I think Jon’s response would be, “There’s nowhere near enough f**king organ on this! It’s missing my organ.” And that’s what it is.
But Jon was such a unique man, his musicality, his inversions. George Harrison was brilliant with inversions, moreso than the other two guys, but as George came into his own he wrote all of these things he called silly chords, those diminished chords and stuff that worked beautifully and established the George Harrison identity. Jon Lord would bring that to my songs. His musicality, instead of a straight “C,” he would say, “Oh, what about a major seventh or a minor seventh,” and my god it made all the difference in the world. He had a beautiful feel for music and melody. Gorgeous.
MR: Can you remember his reactions to your creativity while working with him?
DC: Jon was huge to me. I’ll give you three very quick examples. Just after Ian Gillan and Roger Glover joined, my local group supported Deep Purple, the early Mark II as students at Bradford University. The Purple guys were really complimentary. We had some alternate arrangements for “Shakin’ All Over” by Johnny Kidd & The Pirates. But I was already messing around, trying to take straightforward songs and making them more rocky or whatever. You know how Page did with Willie Dixon songs and Duane Allman did with Muddy Waters stuff. Taking the blues and just making something symphonic with them was really interesting. There’s no reason on this planet for me to lie, but Jon Lord sat me down and said, “I like your voice a lot.” I’m going, “Oh my God, this is amazing!” He said, “Do you have a phone number in case it doesn’t work out with the other guy?” I didn’t have a phone number, I was still living with my parents and we never had a phone. So I gave him my address and we went our separate ways. Of course, I’ve got blue birds flying out of every orifice driving home and checking the mailbox every day for the next three months. And it worked out incredibly well with the new guy, as we can all testify.
The second time was my audition when I’m this nervous kid. I brought a bottle of Bell’s Whisky and the guy who drove me down hid it from me, but of course I found it, so I’m having little sips, and Jon sat me down and said, “Don’t worry about it, just be yourself. You’re among friends.” He spoke to me like an incredibly kind soul. This beautiful-looking guy really settled my nerves and helped me calm down. And he did the fucking same again after I got the gig with Purple and I’d been at rehearsals at Clearwell Castle with the power trio of Blackmore, Pace, and Glenn Hughes. Jon had had to stay in London for a couple of days on business and he called up Ritchie and said, “So how’s it going?” “Oh, great,” and he said, “How’s David doing?” “Oh, he seems great. He hasn’t sung anything, but I think he’s doing well.” [laughs] So he comes down to Clearwell Castle and he sends everybody down to the local pubs, so it’s just Jon and I in the studio–well, crypt–where rehearsal stuff is. He goes, “Yeah, have a drink. I must tell you, when you sang yesterday at the audition I had tears in my eyes. It was beautiful.” I sang more of the Ray Charles style vocal.
So he’s just playing music and I’m singing along, Beatles tunes and rock stuff, just the two of us and a couple of drinks to get the edge off. It was an amazing conversation for this founder of Deep Purple to share with a new guy, he said, “It’s really hard for me because when we started I was the primary writer. Once we did the In Rock album Ritchie became the dynamo. Ritchie can just play the simplest of riffs and everybody goes, ‘Oh wow, that’s amazing!’ But if I played that riff on organ it just doesn’t resonate. Nobody gets it.” I said, “Some of my favorite stuff is chord-related on organ. Have you got any chord sequences?” and he played me this sequence which ultimately became “Might Just Take Your Life.” I went, “F**k, that’s like ‘Heard It Through The Grapevine!” That was my foundation, so I start wailing on this stuff and John’s going, “Oh my god, look, goose bumps!” and all this. I would take my riffs to Blackmore and I would take my chord sequences to Jon. It became really apparent from then on. But I can’t tell you how pivotal Jon Lord was in my life to help me on my fucking journey. It was amazing.
MR: Can you hear other musicians’ works who seemed to have been affected by him? Can you hear what kind of influence he had on rock in general?
DC: Oh God yeah! He just made the Hammond organ. Him, Wakeman, Emerson, those guys just took it from Jimmy Smith and put it into a rock format. If you take Jon Lord’s left hand off Deep Purple record it’d be an entirely different band, even with Ian Paice and Ritchie playing. His sound was absolutely crucial to the sonic identity, as far as I’m concerned, of Deep Purple. He and Keith were beating the stage with their organs, if you’ll excuse the expression. Thrusting their organs all over the stage.
MR: [laughs] What advice do you have for new artists?
DC: Oh, in this day and age? Get a f**king lawyer. All the music companies are doing 360 deals, which couldn’t be more obscene to me. I love my lawyers. My guys have integrity, which isn’t usually synonymous, but for me as a business man I can’t see the logic of cutting your nose off to spite your face. Why would you want to not pay an appropriate royalty for streaming? Why would you try to diminish the worth of an artist when it’s their work that’s fueling their industry?
MR: It’s preying on desperation. I hate the overt greed of it. No shame.
DC: Musicians can go out and play to fill the gaping hole that the lack of record sales has created, but streaming has actually become the saving grace for record companies. But it really is to the point of such diminishing returns for musicians that I have no words to describe it. I would turn around and say, “Okay, let’s make this work,” but now I’m hearing that new contracts that are sent out from friends of mine who are lawyers, that record companies now want to pass on paying even streaming royalties because they consider streaming “promotion.” That is beyond a grey area.
MR: What does the future hold for you?
DC: I’m in awe of the bar that The Who and The Stones have raised, but I really can’t see me doing “Still Of The Night” how it’s supposed to be done at seventy. I just can’t see that. But then again, I thought I was done at thirty. It is physically demanding. One of the things I have to do is a blues album, because I truly love the blues, and whether or not this is my last big rock record it would be appropriate to go out as I came in, but I’m not sure of that because we’re probably going to be filming and recording this upcoming tour, but I see in my future just making music available directly to my fanbase through the website or wherever rather than sweet talk a record company into allowing me to do a blues record. But the other thing I want to do, truly, is an unplugged Greatest Hits with a couple of new songs. Not totally unplugged, not Simon & Garfunkel, but something not so physically demanding on my body and my voice. I do still maintain a good mid-range and low voice which seems to be appealing to a lot of people, particularly the ladies. So even if this is the last hurrah in terms of “David Coverdale aka Tarzan,” there’s going to be some up close and personal stuff I think in the foreseeable future.
Transcribed by Galen Hawthorne
RYAN CALHOUN’S “COFFEE” EXCLUSIVE
photo credit: Trever Hoehne
According to Ryan Calhoun…
“I knew ‘Coffee’ was going to be a polarizing song, people are either going to love it or hate it. So I wanted to have a video equally polarizing. I didn’t want the video to be ‘on the nose,’ for example a guy in a coffee shop trying to talk to a good-looking girl etc etc. As a kid I was obsessed with Michael Jackson’s ‘Thriller’ video–who wasn’t. And with the popularity of Zombies, I thought we could do something along those lines. I worked with director Gavin Fisher and we shot the video in a day at a ranch about an hour outside of LA. I liked the dichotomy of a cheerful song about coffee being set in a post-apocalyptic zombie world! I want the viewer to be like, ‘Wait! What? This is hilarious!!’ Also, as for me, I have become a huge fan of The Zac Brown Band. He gets thrown into the ‘country’ world, but he’s so much more than that. He kind of does what ever he wants, sometimes his songs are country, other times more folk or rock. He’s a badass and he makes no apologies for it, it’s very inspiring. I do feel like my new album is parallel to Zac Brown’s style of music; he has definitely taught me that a good song is a good song. Write what you write and do what you love!”
SONNY KNIGHT AND THE LAKERS’ “WHEN YOU’RE GONE” EXCLUSIVE
photo credit: Mike Madison
According to Sonny Knight and the Lakers drummer Eric Foss…
“For us, playing live is all about putting on a show, not just picking a bunch of songs and playing them. Set lists are developed in a very methodical way. There is no stopping to switch guitars, or tune, or tell funny stories. I guess we think of it as more of a performance art in that sense. Nothing against folks who don’t do it that way, some of my favorite artists are the exact opposite of this. I’m thinking of how Townes or Ramblin’ Jack performed live. This is just what we’re into and works best for us. Last year, we were blessed with the opportunity to perform our show nearly 100 times throughout the US and Europe. When things finally calmed down at the end of the year, we knew it was time to develop a new show. But we wanted to document this one before moving on from it. Then a four show engagement at The Dakota in Minneapolis fell in our lap and we knew it was now or never. The crazy thing about working with Sonny Knight is that at 67 years of age, somehow he just continues to get better night after night. I’m glad we were able to capture him performing that show at his very best before we dismantled it. Now we’re just looking forward to doing it all over again, releasing a new studio album, touring that record, and God willing, cut another live album.”
A Conversation with Motopony’s Daniel Blue
Mike Ragogna: You recently posted your video “Daylights Gone,” a song from your new album Welcome You. What’s the song’s concept?
Daniel Blue: “Daylights Gone” is a song comparing the phases of the moon to the transformative nature of the human experience.
MR: This being your second album, what’s been the growth or significant changes for the band creatively between the self-titled debut and Welcome You? Have your personal relationships changed since the early days?
DB: I wrote most of the first album alone in Tacoma. I hired Buddy Ross as a producer and he wound up joining and we built a band around the record we created. When we got signed, we collected a new drummer, Forrest Mauvais and a second guitarist, Mike Notter.
We set out to write a “record we could play live”, since the first record was mostly me and production tracks. During the writing process of the second album, Buddy moved on to work with Frank Ocean and I lost another member, Brantey Cady, to a friend’s project. Mike, Forrest and I brought on a trio–Andrew Butler on keys, Nate Daily on guitar, and Micah Simler on bass–and went about finishing the record and writing at least another dozen songs. We ended up finding a pretty new sound and since we were after a live sound we started over probably six or seven times. Micah went on to tour with Noah Gundersen before we tracked with McCarthy and we brought on Terry Mattson on a recommendation from Hey Marseille–Seattle chamber pop. We wanted a “band record,” and to us that meant everyone got input on everything and we all had to absolutely love every measure of our parts.
MR: What are the responsibilities of each of the band’s members in the recording and live processes?
DB: First, it’s to our specific instrummies and strengths; I’m good at lyric, Mike is a hell of an arrangement man. But as I said, there’s not much we didn’t listen to from every member who got inspired.
MR: The last album’s emphasis track seems to have been “King Of Diamonds.” Is this album’s biggest highlight “Daylights Gone”? Can you go into a couple of stories behind the topics or creative process of a couple of other songs?
DB: “Daylights Gone” wasn’t my choice. I’m torn between “Changing,” “1971” and “Gypsy Woman,” depending on my mood. Changing was a total band effort and we rewrote it like 40 times so the name became kind of ironic. “1971” came from a chorus Nate had cooking based on his idolization of that period in music and a “champagne super party” he feels like he missed out on growing up in the depressing 90’s. “Gypsy Woman” is a song from my inner feminine–Carl Jung would call an “anima”–to myself about how to be a performer.
MR: What was it like working with Mike McCarthy?
DB: Indescribable. Im kidding. I’m not kidding. He’s a master at vintage sound.
MR: How does Seattle play into the spirit of the band?
DB: Context is the only definition we have, buddy. It’s the only thing that’s real.
MR: Which artists or songs influenced you as you became aware of music? What age did you become aware you wanted to follow music as a path?
DB: Growing up, I wanted to be either an astronaut or a rockstar. But the truth is my parents didn’t trust or teach science and we listened to very little secular music. When I was 12 we moved to Washington and I discovered FM radio on an alarm clock they bought me for school. I would listen in secret with the intent a dry sponge has in a puddle. There was no filter, I wanted it all. As I developed my own style and friend group I leaned toward grunge and classic rock, but mostly because that’s what the other kids with skateboards listened to… In my late teens and early twenties, I was a fiend for electronic music and dance culture and when the drugs wore off I got into Emo and shoe gaze. When I started writing poetry in my mid-twenties, someone turned me on to the beats and that led me through the ’60s to Dylan and then Neil Young and subsequently late era John Lennon. Wherein I fell back in love with The Beatles…which was the only music my parents had that wasn’t pretending to be religious. Full circle, haha!
MR: Are there any steps or events you would have wanted to do differently up to this point?
DB: I’ve no regrets. All consequence is learning.
MR: What’s Motopony map of the future?
DB: Love one another. Stay close, forgive each other. Stay honest, enjoy what comes.
MR: What advice do you have for new artists?
DB: Ask yourselves the big why questions. Where does inspiration come from? How does sound create emotions? Who am I, really? What do I actually have to say?
Avoid the trap of trying. Don’t let anyone–including your own desire–make you try to sound like this or that. Don’t try to be cool or popular. Don’t try to write music that sells. Fame and money will come if you are chosen and dedicated to pure expression that other humans can relate to. Love the listener, even if you are being critical of them. Tell your truth in a way it will be understood. Don’t copy your heroes, they weren’t copying theirs.
CRAIG GREENBERG’S “THAT GIRL IS WRONG FOR YOU” EXCLUSIVE
photo credit: Roberto Ariel
According to Craig Greenberg…
“The song, ‘That Girl Is Wrong for You,’ isn’t about one ‘girl’ specifically, but is more an indictment of a few women I’ve known over the years. In the lyric, I am singing as the benevolent narrator, trying to warn a friend, but the truth is it’s about my experience going after women that aren’t right for me, which I seem to do repeatedly in my life. Maybe it’s wanting the unattainable, or maybe it’s a fear of commitment I have that makes me pursue unworkable relationships. Unfortunately, I haven’t figured it out yet, so I imagine the song will continue to resonate with me for some time.
Musically, ‘That Girl Is Wrong for You,’ is one of the most straight ahead songs I’ve written, and also one of the shortest. I’d say it’s as close to a standard pop song as I have in my catalog. Rarely do I like key changes in pop songs, but I managed to slip one in that I think works quite effectively to give the song a lift, and also isn’t cheesy. And I’m especially proud of the piano solo breakdown in there. I defy any listener to not nod their head or stomp their feet during that section. It’s rock ‘n’ roll as I think it should be–simple, danceable, and fun!”
“That Girl is Wrong for You” is off of Craig Greenberg’s album The Grand Loss & Legacy.
Video director Toby Ross created an outstanding hardcore short story collection in this refreshingly different vintage gay sex video. Always provocative, Ross constructed a video with groundbreaking dialogue and intrigue, historical significance, and spontaneity.
Also, Ross’s attempts at expanding the typical gay sex video are commendable, featuring a well-mixed offering of good acting, steamy sex, political satire, as well as porno with a message.
Gisele Bündchen might live the glossy life of a supermodel, but the Brazilian stunner isn’t opposed to eating waste.
Food waste, that is, which Mrs. Tom Brady proudly scarfed down at Blue Hill chef Dan Barber’s two-week-long pop-up, appropriately named WastED. Bündchen declared the feast to be “one of the best meals” she’d ever had in a post on Instagram.
In a conversation with HuffPost Live’s Nancy Redd on Tuesday, Barber explained that cooking with yesterday’s food scraps is actually incredibly common among chefs — it’s just not something they publicize.
“It wasn’t hard [for me to do] because chefs do that every day,” he said. “We just don’t call it waste.”
In the case of ravioli, a patron will likely encounter “greens damaged from yesterday, not used from yesterday, or cooked from yesterday,” repurposed with other fresh ingredients.
“I wanted to take what good chefs do every day in their restaurants and wear it on our sleeve,” he recalled. “This is actually wasted food, but we’re going to put it in the context of delight and pleasure.”
Blue Bailey really gets into it! Watch some of the best scenes of Blue Bailey lustfully taking throbbing cock in his warm, wet mouth and inviting that big hard cock into his tight little asshole. Plenty of steamy action!
Blue Bailey really gets into it! Watch some of the best scenes of Blue Bailey lustfully taking throbbing cock in his warm, wet mouth and inviting that big hard cock into his tight little asshole. Plenty of steamy action!
Action Bronson’s long-awaited debut LP, Mr. Wonderful, hit stores today. To commemorate its release, he returns with the official visual for “Baby Blue,” featuring Chance The Rapper.
In true Queens fashion, Bronsolino finds inspiration in the classic 1988 film Coming To America, playing the roles of Prince Akeem, Randy Watson, and even the Jewish barbershop customer. Meanwhile, his right hand man Big Body Bes is Semmi.
Chance is essentially a young Cuba Gooding, Jr., long before he was backflipping.
Juicy J ft. K Camp – “All I Need (One Mo Drank)”
Tyga – “40 Mill”
Termanology ft. Slaine & Artisin – “Depths of Hell”
Have you ever confused black with navy? Ever had to ask a friend, or been totally confused by an online purchase that turned out to be a totally different shade than the one you’d thought you’d bought? Are you, at this very instant, holding a frock up under different lighting to suss out the difference?
Life hands us plenty of colorful optical illusions daily: And today, the internet served the click-frenzied population a supposedly confusing color situation on a hashtag-ridden silver platter—what we now refer to as #TheDress or #DressGate (see, we can’t even agree on that). It all started when one curious person posted a photograph of a bandage dress and asked via social media whether it was “blue and black, or white and gold?” The human eye is tricky. Tones become foggy. Lighting can be confusing. Perceptions can get altered. Tomato, tomato, potato, bandage dress. The whole event has been a baffling sartorial moment. Our readers may be up-in-virtual-arms, but don’t fret! We have come to you with the solution! Here, see four very stylish dresses that require no color questions asked—and even if they did, you’ll still look great, no matter the hue.