Me and Andre had nicknames for each other. Motown Records was such a massive entity worldwide and it covered every genre, but it was focused in its delivery of what the message was. We very specifically would pride ourselves on creating experiences on each record.
Despite his invented sound being such a hot commodity — acquiring production credits for everyone from Doug E. Contemplating on the potential of his sound, Riley would soon crystallize things forever with a fellow Harlemite.
It was like boom. He knew what I did, I knew what he did, so we already knew from that point that the collaboration would be crazy. He already knew that I could write, I was in another group and he was in another group. Everybody who knew me at the point knew that I could sing and write.
Put that all together and we could probably come out with the whole album. I want you on this album man. Nick, the projects. So we already had the pre-production done and going in the studio, we already knew what we was going to do. So we would go ahead and lay the tracks down. This is what I would do on it. If he laid the track and walked, when he came back he realized the song was done complete with hook, melody, lyric and verse. Sweat: We were doing a song a night, a song a day, a song a week.
We just did the seven songs in about a matter of maybe a month the most. Harrell: With Make it Last ForeverI just remember hearing Keith Sweat records on the radio and being moved by them and feeling like I was a part of it. Sweat: When the album dropped, people went crazy. It was climbing up the charts, flew off the shelves, and DJs were playing two, three cuts off the album.
It was one of those things that you could only dream about. Being unknown, from Harlem, from Grant Projects [ Laughs ]. That was unheard of. Right there in itself speaks volumes. So maybe my three was one Keith Sweat. In addition to inking a deal with the master exec, the hitmaker brought along a singing group that comprised of himself, lead crooner Aaron Hall III and singer-songwriter Timmy Gatling. Riley: One day, Andre Harrell came Uptown to actually put everything together to get me to work with Heavy D and all the stuff that he had going on.
That was the start of everything. Go down here, listen and learn. He was infusing that type of production with a real gritty, rugged, but still melodic and orchestrated.
We made the kind of great albums that you can get four, five hits from. It was like discovering light or water. It was something that was going to be amazing. I was working with everybody, I was going from studio to studio. I felt like a doctor. I can make it, mix it, master it and get it out. Kelly G: It was such a great moment.
It was just the sound. That was a time when the producer sat down and lived with the artist. People took the time to vibe and create something so personal [and] so real that it transcends and connects with people on a different level. Harrell: Teddy Riley used to make them in his house so fast, it was ridiculous. He would just start off with the drum machine and be watching you. Then he throws the hi-hat in to keep the energy up and then he finds the hook and you off to the races. Riley: Bobby Brown came to the projects and when he came, me and Aaron [Hall], we were just writing records and creating songs.
Harrell: We already had funk. We already had groups like Cameo. Riley: Bobby Brown, he deserved it. He just busted out with Babyface, LA Reid and myself and it came with this total crazy album and did so well.
It was a big record for him and such a big impact on New Jack Swing. Every time we did something, we took it to another level. Kelly G: Anything that becomes really successful and touches people in a such an emotional way always starts with: why. If we look at the charts, "My Prerogative" and "Just Got Paid" might've been the two big pop records. By the end ofNew Jack Swing had impacted over 11 albums and a flurry of Billboard charted singles.
That was until Michael Jackson enlisted his duties for the album Dangerous. Riley: Music like a time bomb. You got pick your timing. Fall back and let the music shine. It created styles, it created a movement.
It created dress codes when you came to club. Ferg: We had our own sound. That was Harlem, that was New York. That was jiggy. And I love the fact that during that time Teddy Riley was so popping that he got the chance to work with Michael Jackson on his album. Harrell: When Teddy worked with Michael Jackson, it was like a major statement for Teddy, a major statement for new jack swing, and a major statement for Uptown Records.
It was like the greatest star in the world is paying attention to what we doing. Riley: So one day, Michael called me and basically said he [originally] wanted me on the Bad album. You still work with him? So he was always challenging himself and as a result, he always challenged other people he worked with.
Riley: Before I even thought about pressure, shoot, I was nervous as heck. I want you to take control of this session, I want you to take control and be like how you are with Guy or [everyone else you worked with]. Just check me. Harrell: Not only was [Michael] paying attention, he wanted to get down with it and take it to another level. That whole thing was affirmation of the best kind. Sweat: When something hot comes out, everybody likes to follow suit.
I want it out there because you have a fanbase and I need that fanbase. He pulled it out and I see my songs at the top of the list. Kelly G: If you listen sonically to what Michael was doing, the sounds on there was just nuts.
He gets excited when it comes to doing records. He makes it an event, every record is an event. Teddy maintained being Teddy while working with arguably the biggest artists on planet Earth and he delivered. He stuck to Teddy Riley and that was the brilliance in the entire project.
At the tailend of its streak, following a grand stamp from Michael Jackson, New Jack Swing quietly transitioned into a new amalgamation: hip-hop soul. From the introduction of singing sensations like Mary J. Blige and Jodeci to the rise of producers like Trackmasters and The Hitmen, the traditional elements of New Jack Swing transformed into a new phase.
Harrell: New You Got To Move [Studio Version] - Jo-Ann Kelly - Black Rat Swing Swing was a sound that combined the go-go feel, the funk, and hip-hop all in one. It made history and [it] made me a lot of money [ Laughs ]. Riley: I did this coming from the projects and all we have coming from the projects is a buck and a dream. When you have a buck and a dream, trust me — Diddy, Pharrell, everybody — had a buck and a dream and that dream came true for everyone.
Questlove: Watching music kind of aimlessly find the next portal that it would challenge creativity through at that time, to live through the New Jack Swing period was an amazing thing to observe and to be a part of.
What people don't realize, they have to recognize. We went from the streets to Wall Street. So the realization was never in my whole journey. I realize today, the impact. Being on that stagemade me realize and people will remind you. They lost their love, like the love of their life was there when that music was there.
Harrell: New Jack Swing had the shortest run I ever seen in music. It basically hit from to It had the highest impact and shortest run I've ever seen. Riley: We started it, the pop bands and the white boy bands, they took it to the next level. You know why? Because we did something, we hold on to it and then we let it drop or we let somebody come in, take it and run with it. We start it, they finish it. I don't like calling it a genre, I call it the soundtrack to our generation.
It's so prevalent all over the world. But really, New Jack Swing was also the foundation and the root of what ended up becoming hip-hop soul.
It was the next step in the foundation. Riley: I can remember when Puff gave me my first Mary J. Blige remix to do and I knocked that joint out of the park. Not only was he inspired by me, but I was inspired by him for doing what he did and taking it to the next level.
Eddie F: Puff was living at my house right down the street from Andre [Harrell]. I just helped him facilitate it. Riley: He came with his own style and that was the thing. They did it and left it and then some stick on the wall and some will fall. You think outside the box. So when Bruno Mars and The Weeknd and all these guys come with their interpretation of New Jack Swing or funk, it comes — everybody has their own way. This music has no age.
Natalia recoiled a bit, and took on an uneasy expression. After a couple of seconds, Natalia pulled away. So we have to talk quietly! The kind of people I deal with? She started to say something, but Jo continued. Scrounging through dumpsters, stealing from people? I had to resort to taking ice cream from a little girl one day when I was starving. I took it and ran off, and I looked back, and she was crying. And hurry. Fifth lesson, jumping out of a moving vehicle is fucking retarded.
Just hold your horses. As she started to say something, however, she could feel the van begin to come to a stop. Right now! She lifted her hands, one of them covered in blood. Liz just smiled. She then looked up at Liz. Natalia bent down to pick up the tape. Liz had no time to react.
The tape smacked her between the eyes, stunning her and causing her to drop the knife that she was holding to Jo. This kick snapped Liz backward, The Collectors (CD), causing her back to hit the hard metal bumper of the van in such a way that it broke her back and severed her spine. She collapsed to the ground, quivering as her body began to go into shock. Never do that again. You really mean I can be your apprentice and help you kidnap people and stuff?
And learn from you and You Got To Move [Studio Version] - Jo-Ann Kelly - Black Rat Swing all your cool moves and your cool tie-ups and all that awesome stuff you know how to do? Mmmm, mmmph mmm, mmmph mmmm! Jo reached up to take the tape off her mouth, but Natalia gently grabbed her wrists and held them down. She got out with Jo, and the two of them walked around to the trunk where Natalia had left Melissa.
Sure enough, the heiress immediately popped up, shouting muffled curses at Natalia, who just smiled and patted Melissa on the head. Both of you, let me out! The captive heiress immediately began to retch, issuing a series of muffled coughs and gasps. You Got To Move [Studio Version] - Jo-Ann Kelly - Black Rat Swing, Natalia allowed herself a smile.
Last part of the Fic of how Natalia metJo, written by. Published: Aug 26, See More by kaozkaoz. Stormy night at the roof of a huge You Got To Move [Studio Version] - Jo-Ann Kelly - Black Rat Swing a young blonde walks menacingly wielding a scythe looking around for someone, around the place ca be seen several burnt spots. She'd no idea where she was and her vision was still misty.
The room was very dark, with only one light source appearing to come from a window on the opposite side of the room. She tried to rub her eyes, but her arm wouldn't move. It took a few tries for her to comprehend it, but she finally realised that her arm was being held up up by a shackle attached to a length of chain.
A few gentle tugs gave a subtle rattling and a much harder yank gave a louder ringing of metal clashing together, but neither would allow her to pu.
Through a thick forest, Kurenai Yuhi was leaping through the trees trying to find a trail that had gone cold. After jumping around she finally stopped and leaped down to the ground. As she was about to turn around and head back to the leaf village, a cloth was quickly clamped over her mouth and nose by someone behind her.
2~ Why did you invite me to this studio? 3~ My BFF 4~ My friend 5~ A broken child who needs help 6~ A weeb 7~ Why do you wanna know? 8~ my senpai 9~ A trendsetter 10~ A weirdo 11~ My enemy 12~ A bad GachaTuber / Gacha Scratcher 13~ Go die in a hole 14~ klwe 15~ An . Oct 23, · Round & Round, I Go Asmar Bouie. In , Barry Michael Cooper profiled a young Teddy Riley for the Village Voice and christened his musical style: “New Jack Swing.”But prior to this induction, producers like Kenny “Babyface” Edmonds, Antonio "L.A." Reid, Jimmy Jam, and Terry Lewis had explored a similar strain of melded R&B in the s. A tremendous early statement from the great guitar ist John Fahey – and a record that has all his best ideas coming into really sharp focus! Fahey was a very collaborative person right from the start – even as a record collector, before his own recordings – and that spirit is felt here on some of the duet tracks, in which John and associates perform these acoustic instrumental tunes that. JO ANN KELLY: Superbird Key To The Highway CD $ 22 tracks, 69 mins, highly recommended Originally issued on the Mooncrest label in this is an excellent collection of songs (mostly previously unissued) recorded between 19by this superb British blues singer plus two interviews from OR "You are you doing?" Either/or, but stick to one for all four tries. Make it eight if you do both, an increased chance of you getting your part. I will make the project you can remix. I will comment that you got it or didn't get it on that project. Camy: ^^^. Requires a somewhat deep voice. Main character. Douglas: Camy's father. Mar 04, · Now she is gone but, courtesy of Castle Records, we can get hold of more of her recordings than ever. "Black Rat Swing" is a superb 2-CD anthology spanning her whole career. On most of the tracks she performs solo, or is backed by piano and/or harmonica. Others show her at ease with electric blues, Chicago-style/5(8). View credits, reviews, tracks and shop for the CD release of The Way You Move on Discogs. Label: Arista - 2,Arista - • Format: CD Maxi-Single, Enhanced • Country: Australia • Genre: Hip Hop • Style: Pop Rap. Jo Ann Kelly - Do It & More - - Vbr - FC Jo Ann Kelly - Key To The Highway - Jo Ann Kelly - Retrospect - Jo Ann Kelly - Women In (E)motion - Jo Anne Kelly - Black Rat Swing The Collectors' Jo Anne Kelly (Disc 1) - - You Got To Lose You Cant Win All The Time - - Vbr. s - s. Born. December 30, in McComb, MS. JO ANN KELLY: Castle CMDDD Black Rat Swing - The Collector's Jo Ann Kelly CD $ Two CD set featuring 45 tracks by this superb British blues interpreter ranging from some her earliest cuts from through to her last studio session in shortly before her death from a brain tumor.
Love Should Flow - Snail (4) - Flow (Vinyl, LP, Album), Lady Godiva - Peter & Gordon - Lady Godiva (Vinyl), Predictionz - My Summerz (File, MP3), Crazy City - Barclay James Harvest - Alone We Fly (CD), Make Ya Bounce (Instrumental Mix) - DJ Rip / DJ Bam Bam - Two UC Hits Vol. 19 (CD), Κι απο λίγο λίγο - Αντώνης Νταλγκάς - Μήλο μου και μανταρίνι (CD), ...And Blood Will Flow - Sore (10) - The First Out Of Nowhere (CD, Album), Lose - The Spoons (2) - Take The World As It Comes (Vinyl, LP, Album), The King Of The Scene - Michael Carpenter - Redemption #39 (CD, Album), Doo-Goo - Eric Legnini Trio - Trippin (CD, Album)