Capturing the culture that makes Detroit what it is.

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May 2014

What if Motown stayed in Detroit

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In 1972 Motown Records officially moved from Detroit MI to Los Angelos CA. The move was primarily based upon Berry Gordy’s (Motown Record’s Founder and President) interest in the movie industry. The success of the most lucrative record label ever carried on. Performers like Rick James, Teena Marie, Lionel Richie, and Boyz to Men added to the legacy. Films such as ‘Lady Sings the Blues,’ ‘The Last Dragon,’ and ‘The Wiz’ expanded the legacy. Here is my take on if Motown were to stay in Detroit.

1972 was a pivotal year in American, Black, and Detroit history. The honorable Erma Henderson (RIP) was elected to her first term as a Detroit City Council member, Angela Davis was acquitted of murder, and Richard Nixon was re-elected as President of the USA. The pulse of the people (I believe) was charged up from a politically active close to the 1960’s. The Vietnam War, murders of: Dr. Martin Luther King Jr; Malcolm X; and John F Kennedy, and rebellions (or riots) in Detroit, Boston, and South Central respectively changed the course of American history. This time is characterized best in Marvin Gaye’s ‘What’s Going On’ album.

Berry Gordy, Diana Ross in Lady Sings the Blues, Erma Henderson
Berry Gordy, Diana Ross in Lady Sings the Blues, Erma Henderson

The 1971 release was Marvin’s interpretation of expressing a relationship between consciousness, spirituality, and artistry (read the album notes which have Gaye’s letter to the Lord). The commercial success of ‘What’s Going On’ changed the imagery of the clean and friendly Motown Records artists, and music.

Motown records shelved ‘What’s Going On,’ for years as Marvin Gaye performed most of the album throughout Detroit in places such as Baker’s Keyboard Jazz Lounge. Experiences like this would have been abundant with the new music from Motown records in the 1970’s.

The foundation of the Motown sound was built on the production of Holland-Dozier and Holland, Barrett Strong, and Smokey Robinson. The 1970’s ushered in the styles of Norman Whitfield, Clay McMurray, Lionel Richie, Stevie Wonder, and Rick James. The changing of the guard in production brought Motown into the Funk. This matched Detroit’s political Black power structure developing in the 1970’s. Anchors like Ed Vaughn, Judge Claudia Morcom, and Congressman John Conyers were all setting their respective marks in Detroit. Funk mirrored the ‘take now’ attitude. Beginning music on the down beat captures the ears of a listener. Mayor Coleman Young’s 20 year reign in Detroit matched that spirit.

Rick James, Emanuel Stewart and Tommy Hearns, the Fox Theater
Rick James, Emanuel Stewart and Tommy Hearns, the Fox Theater

The gregarious demeanor of Rick James creating a record like ‘Street Songs’ is meant for Detroit. Detroit’s 1980’s prominent sports figures embody the Rick James spirit. Kirk Gibson, Isaiah Thomas, and Tommy Hearns (Motor City Cobra with the Jheri Curl and slow jab) are loved and hated. This individuality represents the ‘vs the World’ mentality Detroiters needed. After the rebellion in 1967 Federal and State funding due to the city of Detroit dwindled (this is a focus in Coleman Young’s autobiography Hard Stuff). Businesses, jobs, and educational programs subsequently vanished as well. I feel Motown records would have kept a social identity, and shared the America’s disparities through music.

The big opportunity of Motown staying in Detroit would have been in film. As Motown began producing movies the cinematic interests of many young Blacks would have been drawn to Detroit. Spike Lee, Denzel Washington, Pam Grier, Samuel L Jackson all studied and started their careers in the 1970’s. Films require huge staffs, facilities, and budgets which would have given Detroit assets.

Finally, Motown staying in Detroit would have led to ‘Motown 25’ being held in Detroit. Michael Jackson performance of ‘Billie Jean’ during ‘Motown 25’ is the greatest television performance the world has witnessed. That would have been fitting for the Fox Theater.

Detroit is Different Podcast with Carolyn Stiriho

in Detroit is Different Podcast by

Detroit is Different featured Music for May of 2014. My podcast guest was Carolyn Striho. Carolyn is a musician, vocalist, song writer, and passionate performer from Detroit. Her work has won many Detroit Music Awards and traveled the world.

Me and Scott Dailey, Me and Carolyn Striho
Me and Scott Dailey, Me and Carolyn Striho
On the Podcast we discuss her passion for music. In the conversation Carolyn Striho shares about traveling the world playing music, writing the song ‘Enchante’ inspired by Eastern European music, and surviving cancer. Carolyn also thanks her band featuring her husband Scott Dailey (guitar). This is a fun and inspirational conversation. Join in and listen. Click Play below

The Podcast features three songs from Carolyn Striho: ‘Enchante’ and ‘Word Attack’ from her 2013 album release of ‘Word Attack’; and ‘Honesty’ from her 2009 album release of ‘Honesty.’ Carolyn will be performing next at Callahans in Aurburn Hills MI at 7PM.
What if motown copy

7 O’Clock Saturday Stories: Carolyn Striho

in 7 o'clock Saturday Stories by

Music is a universal language. As a hip-hop artist I’ve performed with many acts. Carolyn Striho is one of the best! Her stage presence, and feel on stage is pure passion. Her music, show, and energy are AMAZING.

We originally met recording Paul Mile’s “Motown is Our Town.” The song featured Detroit Music Award winners, nominees, and legends. After the performance Paul Miles suggested Carolyn and I work together. Soon after she invited me to feature with her at Northern Lights Lounge, and Taste Fest (back when it happened in Detroit, and it was Taste Fest). I invited her to perform at the “Hot Summer Nights Music Festival” I hosted at Focus:HOPE in 2009. She wowed the stage. This relationship of trading stages has carried on for years. Two years ago I think we performed our best set at “Arts, Beats, and Eats” in Royal Oak.

Being that I’m featuring Music this month on Detroit is Different Carolyn Striho is a perfect guest for 7 O’Clock Saturday Stories. Her journey in life and music are intriguing. I welcome you to join us as we talk about her passions.

Carolyn Striho, Detroit Energy Asylum (Dave McMurray and Randy Jacobs)
Carolyn Striho, Detroit Energy Asylum (Dave McMurray and Randy Jacobs)

7 O’Clock Saturday Stories hosted by Khary WAE Frazier featuring Carolyn Striho
Saturday, May, 24 2014 7PM at Le Petit Zinc Restaurant 1055 Trumbull Detroit MI
FREE EVENT ALL AGES WELCOME, Come Join Us for this Podcast Live recording

Here’s more about Carolyn Striho from here biography on www.carolynstriho.com :

Once a 16 year-old playing in punk bands in the seediest venues of Detroit’s musical underbelly, including fronting the well-known and celebrated art/punks The Cubes, this classically-trained pianist and self-taught guitarist has since played Lollapalooza, Italy, the UK and Japan. Being both a friend and musical colleague of Patti Smith, Carolyn has the distinction of being one of the few invited to perform at the prestigious Meltdown UK Festival (2005), curated by Smith. There, Carolyn opened for Steve Earle and shared the stage with the likes of Tori Amos, Sinead O’Connor, Marianne Faithful, Yoko Ono and others of such celebrated musical calibre.

Yet with all of the musicians Carolyn has collaborated with in the past, even when fronting bands whose music she composed, and even when close to signing record deals — something, somehow, always seemed to elude her from properly claiming the spotlight … until recently.

Carolyn Striho and husband Scott Dailey
Carolyn Striho and husband Scott Dailey

Perhaps it was keeping a sort of level head while her bandmates chased their rockstar dreams … some of which have succeeded, others, tragically fallen … but three college degrees later, a helluva lot of perseverance and that unique blend of Detroit heart, soul and elbow grease have earned Carolyn recent accolades of Detroit Music Award nominations and awards, an honorable mention in the Billboard Magazine’s Songs of the Year (2009) for the cabaret-style crowd favorite, “Enchante,” and the 2010 Detroit Music Award for “Outstanding Rock/Pop Album of the Year” for “Honesty.” In 2012, Carolyn and band were honored with the Outstanding National Indie Artist of the Year in Detroit. She has been featured on National Public Radio, garnered regular airplay on radio stations on the East Coast and Europe, and continues to be invited to some of the most prestigious festivals throughout the Midwest and overseas. Carolyn was a DJ and is a proponent of all music, always. Now Carolyn’s work with guitarist Scott Dailey and her full band continue to attract even more attention.

7oclock sat stories 5 24 copy

Around Detroit: Metro 37 Studios

in Around Detroit by

37 deal

Metro 37 Studios is one of the best recording studios in Metro Detroit. Producers Ryan Arini, Matt Dalton, and Kevin Sharpe all collaborate creating a dream space for musicians, vocalists, recording engineers, and music producers. Matt Dalton was the founding member of this collective in 2005 (it was originally built in 2002). Notable artists in hip-hop (Machine Gun Kelly, Ma$e), hard rock (Trans-Siberian Orchestra , Hawthorne Heights), and metal (Madam X) have all worked at Metro 37 Studios.

Inside Metro 37 Recording Studios A
Inside Metro 37 Recording Studios A

Ryan Arini and Kevin Sharpe joined the studio in 2008. Arini is a musician (guitarist), vocalist, audio engineer, and fan of music. Sharpe is a musician (key player) and world renown audio engineer. In 2008 Arini’s band (Hell Rides North) won an ‘89X Battle of the Bands’ competition for $10,000, and album recording at Metro 37 Studios. Sharpe at the time was the live engineer for the band. Upon visiting Metro 37 Studios (for the recording of the album) Sharpe and Arini joined the studio as partners.

Inside Metro 37 Recording Studios B
Inside Metro 37 Recording Studios B

Arini is my connection to Metro 37. In 2011 we met at the Detroit Music Awards (URGE ALL MUSIC ARTISTS, BUSINESS PEOPLE, AND PLAYERS TO GO). Arini has a humble and practical approach towards life that carries over into his music, recording, mixing, and mastering. I feel likability matters in many business realms, but in a recording studio it’s essential for artists, producers, and engineers. Arini’s band (Hell Rides North) has released albums in 2008 and 2012. The band has been together since 2003 (great sign for any band). Currently Arini is making a solo project that blends many alternative and acoustic styles. It will be released later this year. Hear his music. Below I’ve posted Hell Rides North’s version of Depeche Mode’s ‘Enjoy the Silence.’ Arini recorded, mixed, and mastered the song (he’s formally trained and certified by Fuil Sail University class of 2003).

CLICK PLAY: “Enjoy The Silence” from Let The Wicked Burn by Hell Rides North. 2012. Metal.

“The advantage of a recording studio over home recording is you don’t have to do all the work yourself in painting your audio picture,” Arini. I’m next up working with Arini in June on a project to be released in November. Metro 37 is offering all Detroit is Different guests a deal of $45 per hour of studio time. I encourage all of you that are interested in working in a studio, looking for a good studio, or want to try something fun to visit. Call (586) 549-2879 and/or visit Metro37  and get your discount.

7oclock sat stories 5 24 copy

37 deal

Around Detroit: DJ Drummer B

in Around Detroit by

Kick this one here for me and my DJ – Cha Cha Cha by MC Lyte

As a rapper the most important person is your DJ. My DJ is Drummer B. Drummer B is a producer, DJ, rapper, sound engineer, and one of my best friends in music. For over six years we’ve worked together making music, performing shows, and providing sound for events throughout Detroit.

DJ Drummer B Concert, Party, and Logo
DJ Drummer B Concert, Party, and Logo

Drummer B’s music production is generally based in two facets: tech hop and soul. Tech hop is a music genre and movement of blending techno/ electronic music and hip-hop. Techno music was birthed in Detroit by Kevin Saunderson, Mike Banks, Derrick May (my homie), and Juan Atkins. Tech Hop was made by Nick Speed and Drummer B (Nick Speed is another producer and close friend in music). The mesh of Hip-hop and Techno is a unique sound that’s still developing and building before us all. Notable artist performing the music are Danny Brown, Dope Head, and J Kidd. Drummer B’s love for Soul music is deep. His first album ‘Me and Marvin’ exclusively samples Marvin Gaye interviews, music, and artwork creating a classic. Here is a song we did together “Help Somebody” which was featured on my first album “Preaching to the Choir” as well.

CLICK PLAY TO HEAR THE MUSIC: “Help Somebody” by Drummer B & Khary WAE Frazier. Produced by DJ Drummer B. Featured on Drummer B’s ‘Me and Marvin’ 2011 and Khary WAE Frazier’s ‘Preaching to the Choir’ 2008. Visit i-Tunes to purchase.

Nick Speed, DJ Drummer B, Nic Notion, and me at the DMA 2010; Kaunn, Leland Stein Jr, DJ Drummer B, and me African World Festival 2011
Nick Speed, DJ Drummer B, Nic Notion, and me at the DMA 2010; Kaunn, Leland Stein Jr, DJ Drummer B, and me African World Festival 2011

Drummer B and I are also working together building an audio engineering company. We provide speakers, microphones, audio mixing boards, DJ equipment, and live audio recording for events. Our company is Boardsmen Pro Audio. We’re currently developing our business and marketing plans. If you’re interested in a DJ our sound we are available. Call or e-mail DJ Drummer B at (313)205-6718 and drummerb85@gmail.com

Boardsmen Pro Audio Equipment (Leonard 'Drummer B' Ware and Khary 'WAE' Frazier business)
Boardsmen Pro Audio Equipment (Leonard ‘Drummer B’ Ware and Khary ‘WAE’ Frazier business)

Use to Be: Lyrical Breakdown

in Lyric Breakdown & Background by

CLICK HERE TO BUY “USE TO BE” TODAY 

Recording ‘Use to be was experiential. I hear a presence of enjoyment and creativity oozing throughout the recording. I believe my spirit and attitude (of joy) carry over the music.

Here is my analysis of the words behind the feeling I created when recording ‘Use to Be.’

Yea yea check it

Chorus
I’m sick of hearing things ain’t how they use to be
I’m sick of hearing things ain’t how they use to be
I’m sick of hearing things ain’t how they use to be
Values alive in my people still alive in me

My lifetime I’ve heard the adage ‘things ain’t what they use to be.’ As a nostalgia junkie (term I’ve created, and now own) I understand how. It’s easy to romanticize the past (or future) in hopes of a better reality. I seek to gather a better understanding of that over time.

I’m culturally sensitive, and insecure. As a Black male (sometimes) I take on the romanticism of legendary Black men as a knock towards the character of myself, and my peers. This belief led me to express ‘I’m sick’ of hearing it. The duality of my artistry still honors my history by sharing “Values alive in my people still alive in me.”

Verse One
I grew up man a whole lot different than most
Father lived for his family brother just lived to smoke
Before that, yo, he lived his life for the Panthers

My Father has been my lead example in life as a man, entrepreneur, and decision maker. As a child he grew up with a strained, and distant relationship with his Father. My Uncle Wali fulfilled (some of) my Father’s male role model needs. My Uncle Wali was the son of my paternal Grandmother’s (Granny) friend.

Wali is one of the most intelligent, and enlightened people I’ve met. When he was younger he was active in many Black movements throughout Cincinnati OH (my Dad’s hometown). The Cincinnati Black Panthers, Cincinnati Nation of Islam, and ‘Highlight Magazine’ all had Uncle Wali’s touch. My Father worked with Uncle Wali developing ‘Highlight Magazine’ which featured pictures and articles of Cincinnati’s Black entertainment culture in the 1960’s and 70’s (till this day my Dad has some pictures of Roy Ayers from a Cincy concert that are classic).

Uncle Wali presented and offered my Father a spark into knowledge of self, and the legacies of African people. African centered thinking is a platform that can empower a young Black mind to see life has endless possibilities. I feel much of my Father’s faith in being a CPA, computer programmer, and (Grand)Father are all interconnected to seeing past American limits.

The tragedy of Uncle Wali, and many Panthers (and people) is he’s struggled with addiction throughout life. The strength of his mind always makes letting go of the addiction tougher (I believe).

Black Panther Party, Big, Me & Granny
Black Panther Party, Big, Me & Granny

Mama was my teacher (and) Granny fought off cancer
Just being a kid seeing how real life is
My hero full head of hair all came from a wig
Growing up wasn’t like BIG
Tom Hanks had a genie I saw people live

My paternal Grandmother is one of the toughest people I know. She worked in a Juvenile Detention Center keeping order between delinquents, and administration. Granny is a very proud, wise, and beautiful woman. She also has affected the way I saw Cancer as a child. When I was a child she battled Cancer, and survived. Moving forward I saw the possibility of living past Cancer, because of her. Sadly, after her the next 10 people I knew with Cancer passed on.

Granny was one of the first people with a VCR in our family. She owned Karate Kid I & II, Cocoon, Bill Cosby Live, and Big. ‘Big’ was a movie starring Tom Hanks. Hank’s is a kid that goes to a carnival and wishes he was an adult to a genie. Throughout the movie Hank’s addresses all his conflicts by making wishes. This parallel is made to my life because my course of action in life has always been living.

My Grandfathers … both was hustlers
One who stole cars … other one ran numbers

My paternal Grandfather was incarcerated when my Father was born for charges related to grand theft auto. This situation I believe always led to a strain between the relationship between my paternal Grandmother and Grandfather. This left my Father seeking attention. My paternal Grandfather always shared with me that the lure of crime is only active when you’re weak in mind.

My maternal Grandfather was a decorated Korean War veteran. His belief in America was subdued upon losing a leg in the War. My Grandfather made the most of his money earned in the service by buying a home and business. He owned an all purpose shop where he sold candy, repaired upholstery, and ran numbers (illegal street lottery).

His shop, and home, place me in my neighborhood now. I live next door to the home he bought. My parents purchased my home in the early 1980’s. They wanted to live next to my maternal Grandmother. Both properties have remained in our family. Today, following the birth of my nephew Solomon (2012), my families lived in Detroit’s 48238 zip code for four generations. My maternal Grandfather’s shop was located on Woodrow Wilson walking distance from my home.

My Great Uncle knew Kwame Nkumrah
Same blood in my veins Ivory Coast first tutor

One of my (maternal) Great Uncles is Judge Joe Rouhlac (RIP 2008). He was one of Ohio’s first Black judges. In Akron OH there are streets, community centers, and apartments named in his honor. While attending conferences as an attorney, Uncle Joe met Kwame Nkumrah. Kwame Nkumrah was Ghana’s first president after colonization (colonization was the process in which European nations would forcibly occupy African, Asian, and South American nations for natural resources & labor). Uncle Joe shared Black American cultural dialects, and meanings with Nkumrah in the time they spent.

My Great Grandfather was a preacher
One of Selma Alabama’s first Black teachers
So I’m failing on my people if I’m not a leader

Kwame Nkumrah, Uncle Joe and Aunt Francis Rouhlac, Bone Thugs and Harmony
Kwame Nkumrah, Uncle Joe and Aunt Francis Rouhlac, Bone Thugs and Harmony

Uncle Joe’s father was Papa Rouhlac. He was a preacher. He also was one of the few educated men in Tuscaloosa AL at the turn of the 1900’s. As a preacher he fulfilled many roles in the community. The lack of access to information, knowledge, and schooling was a dilemma throughout the American South post the Civil War – WWI era (this conflict, with a burgeoning industrial age, required an educated workforce. This established a need for public schools. Andrew Carneige and Booker t Washington are instrumental in these developments). Papa Rouhlac acted as a liaison between the discriminatory Alabama Police Department and many Black men, composed and read letters for families, reviewed mortgages and loans, and helped find employment for Black people throughout Tuscaloosa AL. The tragedy is my Great Grandfather was fulfilling these roles for church members and Black people in Selma AL starting the 1900’s. My friend Pastor David Bullock fulfills many of these roles for families as a pastor today.

My Grandmother wrote Mary McCleod Bethune speeches
So I strive for achievement
Despite what they said keep on leading
Keep on leading
Keep on teaching

Verse Two
I got the spirit
I got the soul
I got the heart of a rebel
And I’m fighting off the devil
Anybody come to me ain’t getting on my level
It’s like … it’s like
I got the heart, the mind, the spirit and the soul
And I’m losing control
Just like
uh Yea

I believe rappers should manipulate words, and spacing of words to create melody. In this stanza I deliver a pace in rhythm to feed Joey Spina’s guitar as if my words were a drum. This technique is prevalent in reggae music as well. The rappers who I feel deliver this best are Bone Thugs and Harmony, Outkast, and Eightball and MJG.

Bridge
I got the blood in my veins of a soldier and a king
Can’t step to me talking them things
Blood of a King in my veins
(laughing)

Song Performed by Khary WAE Frazier
Music Played, Composed, Arranged and Produced by Joey Spina
Lyrics by Khary WAE Frazier
Song featured on the Notes of an Artist/ Activist I Album 2008
PRESS PLAY and HEAR THE MUSIC!

CLICK HERE TO BUY “USE TO BE” TODAY 

5-12 AR Det Drum B

Use to Be: Song Background

in Lyric Breakdown & Background by

CLICK HERE TO BUY “USE TO BE” TODAY 

In 2009 I was a business partner in the ‘1440 Collective Studios.’ The ‘1440 Collective Studios’ was a creative space located at 1440 Gratiot Detroit MI 48207 in Downtown Detroit. Conceptually the ‘1440’ could be compared to the maker space initiatives launched throughout Detroit today. The ‘1440’ mixed the creativity of public relations, music recording, music production, DJing, live band (music) rehearsals, and video production. It was innovative. The collective was founded by Nadir Omowale, Habiba Adams, Eric Campbell, DJ Major, DJ Man Power, and myself, in 2008. By 2009, Joey Spina and Davey G partnered. A host of artists, people, and tastemakers visited, supported, and conducted business at the ‘1440.’ In 2011 the ‘1440 Collective’ closed. Today it’s remembered for the parties, (musician) jam sessions, and music recordings.

the 1440 Collective, Joey Spina
the 1440 Collective, Joey Spina

In the Spring of 2009 ‘1440 Collective’ business partner, Joey Spina, purchased a Pro Tools recording module (Pro Tools is a music recording computer software and hardware brand). The day he bought the recording module he brought it to the ‘1440.’ Spina told me how excited he was about the purchase (I’ve always called Joey Spina ‘Spina’). I told him emphatically, “I’m going to be the first person to record on it!” We laughed about it. He agreed in one week we do a recording session.

Before that conversation with Spina, I had yet to record (music) in months. I spent the close of 2008, and start of 2009 performing, and promoting my first album ‘Preaching to the Choir.’ In that process I lost the drive to write, and record music. In a week of preparation I gathered my notebooks, and began writing.

Generally I write rap songs in three styles: premise, story, or slick. Premise is a style in which I brainstorm ideas to write the song. The brainstorming process is as important as the content.

In example: If I were to brainstorm the topic of Detroit Pistons, Isiah Thomas immediately comes to mind. Bringing more color to a reference, I would recall Terry Duerod. ‘In Detroit we on guard/ like the one that came town that kicked out Terry Duerod’ – example lyric unused. So for Piston fans (especially at my barbershop, Hawk’s off Schoolcraft and Southfield, what up Mike D!) it’s special. Isiah Thomas took Terry Duerod’s place on the Pistons. That fact makes the lyric clever. Duerod is one of the best U of D Titan basketball players ever. Mentioning him is symbolic to Detroit.

The story style engages the listener in a conversation as though we know one another. Finally the slick style is a culmination of lines that I wind together in rhyme schemes, patterns, consonant placement, and alliteration to give a rap character.

‘Use to Be,’ blends the style of premise and story. The recording session also featured two vocalists; Fee Graffiti, and Polka Dot. Fee Graffiti is a singer I knew for years. We met through her boyfriend Doug Greenwood who produced music for me. She graduated from MSU with a degree in communications. She was looking for vocal and studio experience. Polka Dot is a business partner to my friend Kaunn. We met upon Kaunn insisting that we should record together. When the opportunity opened up to record music, I called.

Fee Graffiti, Kaunn, Polka Dot
Fee Graffiti, Kaunn, Polka Dot

Recording was fun. Spina had the studio set up with three open microphones. The only headphones for the sessions were used by Joey Spina. I rapped short segments of songs. Spina played along finding chords to match. When we agreed upon matching chords, I’d arrange a hook with Fee Graffiti, or Polka Dot. In two hours we recorded seven songs. The most notable songs of the seven were ‘Teddy Bears Tied Up to Trees,” and “Use to Be.”

After the session was wrapped up we shared shots of Bourbon (Spina always drank Bourbon). Two weeks later Spina gave me the sessions. I placed the ‘Use to Be’ on my ‘Notes of an Artist and Activist I’ album.

The recording is very special to me. ‘Use to Be,’ has a blues feel and I LOVE BLUES. The characters, personal relationships, and essence of Keb Mo, John Lee Hooker, and a host of others capture my imagination. I’ve always felt the hip-hop experience is as interpersonal to me as Blues. I also appreciate the manner and style it changes dependent upon the mood of the artist. “I can’t stand to sing the same song the same way two nights in succession, let alone two years or ten years. If you can, then it ain’t music, it’s close-order drill or exercise or yodeling or something, not music,” Billie Holiday. That’s one of my favorite quotes from one of the most powerful voices to be recorded. RIP Lady Day.

Song Performed by Khary WAE Frazier
Music Played, Composed, Arranged and Produced by Joey Spina
Lyrics by Khary WAE Frazier
Song featured on the Notes of an Artist/ Activist I Album 2008
PRESS PLAY and HEAR THE MUSIC!

CLICK HERE TO BUY “USE TO BE” TODAY 

5-12 AR Det Drum B

 

Use to Be

in WAE Music by

Use to Be

CLICK HERE TO BUY “USE TO BE” TODAY 

 

Song Performed by Khary WAE Frazier Music Played, Composed, Arranged and Produced by Joey Spina Lyrics by Khary WAE Frazier Song featured on the Notes of an Artist/ Activist I Album 2008 PRESS PLAY and HEAR THE MUSIC!

Yea yea check it

Chorus
I’m sick of hearing things ain’t how they use to be
I’m sick of hearing things ain’t how they use to be
I’m sick of hearing things ain’t how they use to be
Values alive in my people still alive in me

Verse One
I grew up man a whole lot different than most
Father lived for his family brother just lived to smoke
Before that, yo, he lived his life for the Panthers
Mama was my teacher (and) Granny fought off cancer
Just being a kid seeing how real life is
My hero full head of hair all came from a wig
Growing up wasn’t like BIG
Tom Hanks had a genie I saw people live
My Grandfathers … both was hustlers
One who stole cars … other one ran numbers
My Great Uncle knew Kwame Nkumrah
Same blood in my veins Ivory Coast first tutor
My Great Grandfather was a preacher
One of Selma Alabama’s first Black teachers
So I’m failing on my people if I’m not a leader
My Grandmother wrote Mary McCleod Bethune speeches
So I strive for achievement
Despite what they said keep on leading
Keep on leading
Keep on teaching

Verse Two
I got the spirit
I got the soul
I got the heart of a rebel
And I’m fighting off the devil
Anybody come to me ain’t getting on my level
It’s like … it’s like
I got the heart, the mind, the spirit and the soul
And I’m losing control
Just like
uh Yea

Bridge
I got the blood in my veins of a soldier and a king
Can’t step to me talking them things
Blood of a King in my veins
(laughing)

CLICK HERE TO BUY “USE TO BE” TODAY 

 

WAE Break-Back 5 8 2014

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