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The Tribe Returns: MMW at Le Poisson Rouge

On Tuesday night in the historic Greenwich Village, Medeski Martin and Wood returned for the second night of their sold-out Le Poisson Rouge run. The room was damp from the weather outside and the lights were dimmed as The Thunderclouds welcomed the audience to the ceremony with a Native American chant. John Medeski, Chris Wood, and Billy Martin joined behind the three tribal drummers from Wisconsin, as the two trios became one on stage, igniting the crowd in an almost euphoric fashion.

The slow building jam picked up as the Thunderclouds exited the stage and morphed into an extended rendition of “Where’s Sly” off their second album It’s A Jungle In Here. Each member got their time in the spotlight as the crowd shook off the winter chill with a variety of dance moves. Up next was “Amber Gris” from Radiolarians II. The beginning of that track would serve as an excellent hip-hop beat and as much as I wanted to attempt to freestyle in front of my friends, I was able to contain myself in a room full of MMW veterans armed to give a solid “STFU” at any moment.

The first set came to a fantastic finish as the trio embraced the spirit of New Orleans with the danceable “Coconut Boogaloo” from the Combustication album. Bleecker Street in Manhattan felt a lot like Bourbon Street in Louisiana after a Mardi Gras parade as the packed room grooved to the Creole-influenced jam. While New Orleans is considered the birthplace of jazz, NYC is the birthplace of MMW and as set break began, longtime fans reminisced about seeing their baby all grown up after all these years.

Set two brought us back to the Bayou with a swampy “Seven Deadlies,” most recognized from the live album, Tonic. The mesmerizing bass solo by Wood had the crowd in a trance before handing the baton over to Medeski to work his magic. There were moments when Herbie Hancock’s Chameleon album came to life during the 15-minute plus jam and the crowd adapted to every minute of it. A loose version of “Undone” off Radiolarians III created space for the most soulful tune of the night, “Everyday People,” which is the second one played from Combustication. Medeski has spent a lot of time taking the crowd to church with his super-group, The Word, and the gospel influenced tune transformed the room into a sanctuary for a peaceful ten minutes of bliss. A haunting drum solo by the master, Billy Martin, quickly turned into “Nostalgia in Times Square/ Angel Race” where the golden oldies “On Broadway” can be heard teased throughout. Medeski went back and forth from the organ to the keys and despite no psychedelic influence, I am fairly certain he had four arms during that jam much like Goro from Mortal Kombat.

The always funky “Pappy Check” and “Partido Alto” got the blood flowing as this one-two punch ended the second set. The legendary band definitely didn’t need any introduction, but Martin announced the group anyway. When they returned for a much deserved encore, Billy remarked how right next door, the venue that was once the Village Gate was where they played their first ever show. Fans, friends and family of the band rejoiced as they launched into one of their most well known grooves, “Bubblehouse,” off the iconic Shack-man album. The trio shifted into high gear and revved the engine for an extended encore that left the crowd more than satisfied.

The 3-show January residency in their old stomping grounds came about because Chris Wood was hospitalized during the originally scheduled October dates. It was amazing to see the band sonically tight and physically healthy after the brief scare last fall. While the band does not tour as much as they once had, the spirit of experimental jazz is stronger thanks to 25 years of MMW. Cheers to another 25.

Set 1: Thunderbird Chanting>Jam, LPR Jam, Where’s Sly?, Amber Gris, Coconut Boogaloo> Jam

Set 2: Seven Deadlies, Undone, Everyday People*, Drum/ Percussion Solo, Nostalgia in Times Square/ Angel Race!, Pappy Check, Partido Alto

Encore: Bubblehouse

*w/ Amazing Grace tease

! w/ “On Broadway” & “Lively Up Yourself” teases

January 19, 2017
Streamstock 2017, a Streaming Inauguration Day Music Fest

Musicians have joined forces to livestream a concert, Streamstock, during Inauguration Day on Friday, Jan. 20, to protest the Inauguration of the 45th president of the U.S.Streamstock 2017, an online music and arts festival that describes itself as, “by the people and for the people,” will begin at the same time as the Inaugural Address to raise awareness for various progressive causes.

The festival’s lineup includes Young The Giant, Umphrey’s Mcgee, Reed Mathis & Electric Beethoven, Lettuce, Holly Bowling and more. Additionally, Bill Kreutzmann, drummer of the Grateful Dead, will debut his new project, Bill Kreutzmann’s Rooster Conspiracy, exclusively for the event.

The festival reached out to the public asking for musicians, spoken word artists and poets to submit videos of their work to be a part of the performance. Besides the performance, Streamstock’s main goal is looking to promote progressive causes supported by themselves and the bands on the lineup.

The grassroots project hopes the event will help bring awareness to groups like the NAACP, ACLA, GLAAD, Women’s Rights and Environmental Organizations, Standing Rock and more, which they feel will need additional support under the Trump presidency.

In order to view the event, viewers must have the Facebook Messenger app. Visit the Streamstock 2017 Facebook page to download their app. The event launches at 10 a.m.

January 19, 2017
New Album from Valerie June Scheduled for Late January.

Valerie June‘s critically acclaimed 2013 recording, Pushin’ Against a Stone, drew wide attention to the Tennessee native’s eclectic mix of blues, folk, bluegrass influences, world music rhythms, and her singer/songwriter abilities. She refers to it as “organic moonshine roots music.”

The title of her latest work, The Order of Time, reflects June’s philosophy of recognizing and respecting the time it takes for things to happen in life, and for her songs to reach fruition. June recorded the album in Guilford, Vermont with producer Matt Marinelli, known for his work with Bad Brains, Beck, and Norah Jones. Jones contributes piano accompaniment on three of the twelve original songs on the record.

photo by Brian Cornish

June is renowned for her picking skills on guitar and banjo and says,“People shouldn’t necessarily think of bluegrass when they see the banjo. It was originally an African instrument, and people in America used to play all kinds of banjo. For some reason people like to limit it and say it just has to be in folk and bluegrass, but to me it can be in anything, and I really wanted to set the banjo free on this record.”

June also contributed a version of “Astral Plane” from the new record to Bedstock, a music fest in which artists play songs from their beds for sick children who are stuck in their own. Fans contribute to the charity and help music be the medicine.

Many Central New York music fans will recall June’s captivating performance at the 2013 Chenango Blues Festival in Norwich, New York.

The Order of Time can be pre-ordered through June’s website, iTunes, or Amazon, and will be released on Concord Records Jan. 27.

January 18, 2017
A Phantogram Homecoming

Phantogram played to a sold-out crowd in Clifton Park Saturday with New York City-based We Are Scientists. Josh Carter and Sarah Barthel of Phantogram spoke of their love for Upstate NY throughout the set and even Sarah’s mother was in attendance. They electrified the crowd with new gems like “You Don’t Get Me High Anymore” and threw down with the classic “When I’m Small.”

Setlist: Funeral Pyre, Black Out Days, Turning Into Stone, Don’t Move, You’re Mine, Same Old Blues, Answer, Mouthful, Howling At The Moon, Bad Dreams, Destroyer, When I’m Small. Encore: Cruel World, Fall In Love, You Don’t Get Me High Anymore.

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January 18, 2017
Hearing Aide: Seth Yacovone Band ‘Shovel Down’

The red-bearded guitar slinger from Vermont, who cuts his teeth in the cozy confines of Nectar’s, reunited with his band to release a new record. Yes, after 12 years, the Seth Yacovone Band finally put music to tape and set it free for the world to hear this past December. The band, drummer Steve Hadeka and bass player Alex Budney, has been playing live again together for the past few years. But when his bandmates bought him studio time for his birthday, it was time for Yacovone to finally reenter the world of recorded music.

Yacovone picked the shovel up for Shovel Down, a workingman’s rock album that digs deep to satisfy all of your rock cravings. What your favorite track is will depend entirely on how you like your rock cooked.

If you like it grooving and jammy, you’ll dig album-opener “Playing Patterns.” Zappa fans will gravitate toward “Caveman Guerrilla,” where Yacovone delivers it’s off-the-wall lyrics like “I’ve got the wherewithall of a Neanderthal” with a Zappa-like cadence punctuated by angular guitar blasts. “Falling on Deaf Ears” will not fall quietly to those that enjoy their rock with a pulsating melodic blues and Gov’t Mule fans will find a lot to like in the power trio blues jam “A Question Mark to Answer.” For those that like to enjoy it with their head on a swivel and their devil fingers raised high, “The Snake” descends into the depths of metal, complete with speedy runs down the fretboard and slithering reptilian lyrics. “Mr. Reed” will appeal to anyone who wants their rock raw, anthemic and fist-pumping while “Open the Door” bookends the album with more of that groovy funk.

For those that just want to hear some quality guitar playing, Yacovone has sprinkled plenty throughout this near-50 minute set that showcases a band, while quiet in the recording world, has clearly been putting the work in on the live stage.

Key Tracks: Caveman Guerrilla, Falling on Deaf Ears, Mr. Reed

January 18, 2017
Hearing Aide: Creamery Station ‘Creamery Station EP’

Connecticut isn’t known to pump out world renowned musicians like New York, Seattle and California do, so it’s refreshing to see a group of guys emerge from the backwoods of the state with some true talent and passion for the art. Over the past three years, Creamery Station has been cooking up a collection that’s surprisingly good.

Creamery says they’re a combination of the Grateful Dead, Allman Brothers, The Band, Little Feat, Railroad Earth, David Grisman, Doc Watson, Jimi Hendrix, Stevie Ray Vaughan and their first album is a fantastic representation of all these legendary groups. They manage to sound unique while giving glimpses of the defining characteristics of their inspiration rather than a copy of them. Some songs sound more familiar than others, but this is their first compilation and it’s thoroughly impressive.

They started from humble beginnings as a small band playing for a few house parties and slowly grew to a full seven-man group that brings a classic and a universally enjoyable country/ jam sound to the stage. They are based in CT but are making their way to New York City for the very first time and are definitely worth checking out.

A lot of the inspiration came from the adventures some members endured, as well as a love for playing and performing music. All of the tracks were written and contributed to by every member of the band, which makes the connection between the musicians something truly exceptional, says singer and mandolin player Dylan Kader. “The energy between us when we play is something special and the crowd can feel that and they respond to it,” said Kader.

This album is a bit all over the place, and that’s meant in the best way possible. Every song has a tie to country music with most of the tracks being based in that genre. But then some can, arguably, even have a reggae feel to it which is a combination that works surprisingly well.

Things start off with “Ramblers Delight” and it’s about as country as it gets. It has a pretty straightforward chord progression with spices of mandolin a violin/ fiddle and relatable lyrical content. The feel of the song changes a bit when a very bluesy and fairly distorted guitar solo rings over the group that reminds listeners that a lot more is in store for the rest of the album. Country sounds are the basis of their musical content but that’s just the ground floor, and it’s a sturdy and simple one to build upon, giving Creamery free range to experiment with all sorts of genres.

“Kansas City Blues” is appropriately named and placed at a slower pace and even more like the typical melancholy country song. It’s the same sound as “Ramblers Delight” in terms of country sounding instruments, but the pace and chord progressions and lyrics make it a little more somber with just a few hints of uplifting major chords.

“Walking for miles just to get a drink, then resting when we could find the shade, it’s hard to find the time for this poor boy to think, when he only eats if he sings and plays.” It’s still a well done song but this isn’t something that changes the minds of people who don’t like country.

“Railroad Blues” is another very well-performed and professional sounding track. It’s comparably more upbeat and will definitely hit home with anyone willing to give Creamery Station a shot. There are light hints of country style instruments and it is based on a 12 bar blues chord progression which makes this one feel more rock and roll than anything else.

Now “Sam the Clam” is where things get interesting. Harmonica player Don DeStefano dreamt up this song years ago in a separate band of his own while rehearsing backstage of a blues club called “Sam the Clam’s.” John Coltrane and Miles Davis were a big part of the inspiration behind this track as well as renowned harmonica virtuosos like Toots Thielmans and Little Walter. The combination makes for a jazzy, bluesy and damned smooth recording. It’s all instrumental to give keyboardist Jon Truelson, guitarist Jim Kader and DeStefano a chance to strut their stuff. The guitar is set to a perfectly smooth and warm tone, Truelson nails his time in the limelight and DeStefano absolutely kills his solo. It’s definitely the most fascinating song on the album and should be the go-to for first time listeners and those not soon keen on getting into the country scene.

And just like that, “You Did Me Wrong” jumps on and the listener is thrown back into the world of country. Unfortunately, like the first three songs, it blends into the rest of the old-school country scene, but they still absolutely nail the style.

“Out of Reach” is one of the most interesting songs on the album being that a country group created a pretty in-depth reggae sounding song. Everything about it is quintessentially reggae; a down beat, loads of percussion and funky guitar but a little hint of blues with a flavor of harmonica that sets this track apart from other songs of the same style. The best part of this song has to be the guitar solo. It’s a little dissonant and very similar to the styling of Carlos Santana. It’s a phenomenal track considering the roots of the band

The album ends on a bit of a bittersweet note with “Sleep Late,” a very lazy country sound that leaves a little bit of an odd taste in the mouth of the listener, but again, as far as EP’s go, this one was really, really well done.

Again, Creamery Station is coming to New York for the very first time and is going to blow the socks off of anyone that attends. This is a band that will be appreciated most in a live setting, so see them on Friday, January 20th at American Beauty in Manhattan, find their free first album online, and keep an eye out for their soon to be released full length album, Pastures of Plenty.

Key Tracks: Sam the Clam, Out of My Reach, Railroad Blues, Rambler’s Delight

January 17, 2017
Talking Under Water Treats Audience to Songs from Upcoming Album

Talking Under Water has emerged from the studio, where they recorded their first full-length album, which will be available in April. On Friday, January 13, the five-piece indie rock band performed some of those new songs to a live audience for the first time.

Talking Under Water played to an intimate audience at one of their favorite hometown venues, the Little Theatre Café in Rochester. Situated in Rochester’s East End district, the café is located inside the Little Theatre. This cozy spot seats 70 people, and was relatively full with friends, fans, and café patrons. However, it wasn’t long before it became standing room only, as the theater-going crowd was drawn in by the music.

The set started with a new tune, “Lost,” with singer Dave Chisholm on guitar, Elise Hughey on cello, Sam Thomas on vocals, Matt Bevan-Perkins on drums and Colin Gordon on keyboard. The heartfelt song is typical of the band’s ability to morph elements of rock, jazz, and blues into their own contemporary style.

Chisholm introduced the songs, and talked a little about them. “Rubber Band,” is about distractibility. “Window to Witness” is about having compassion despite differences. And as the name suggests, “5 am” was written on a sleepless morning.

They also played tunes from their EP’s, which are notable not only for the music but also the lyrical storytelling. Chisholm spun a tale of an unrequited love triangle in the anthemic “Tossing and Turning.” In the breathtakingly melancholy “First Act,” Chisholm sang the lines, “You try to breathe her in/ To always have a part of her contained within/ ‘Cause any day she’ll walk away/ You still can’t help it/ It’s a sin.”

The melodies swelled and crested in artful arrangement, as Chisholm sung in his soulful voice and Thomas harmonized. Bevan-Perkins used a small drum kit for this performance, but pulled out some interesting tools like drum brushes. Gordon’s played the keys with heart, but would have had a fuller sound if he had access to a piano. The overall depth of the music was enhanced by the prominent use of the cello. Conservatory-trained cellist Hughey played with equal measures of skill and emotional expression.

A cover of Taylor Swift’s “Blank Space” was also thrown in for fun. The other songs they covered mid-set reflected their musical influences – “Jealous Guy” by John Lennon, “Don’t Think Twice, It’s All Right” by Bob Dylan, and “Lua” by Bright Eyes. Some more original songs rounded out the two-hour set. On “Hopeful,” the audience was invited to stomp and clap along. The night ended with the final song off the forthcoming album, “If My Body Freezes.”

Talking Under Water’s yet-to-be-titled debut album will be released April 28, 2017. In the meantime, their current body of work can be streamed on Spotify or purchased on Bandcamp or on iTunes. Follow the band on Facebook or Twitter for updates on the album and plans for an album release party.

Set list: Lost, We Used to Dream, Nomad, The Truth, Tossing & Turning, Only the Strong Survive, Days Like Today, Gravity, Window to Witness, Blank Space (Taylor Swift), 5 am, Space, Time Machine, Horizon, Rubber Band, First Act, Jealous Guy (John Lennon), Don’t Think Twice It’s All Right (Bob Dylan) Luna (Bright Eyes), The Boxer, Hopeful, If My Body Freezes

[embedyt] http://www.youtube.com/watch?v=KGMoz6YQEg4[/embedyt]

January 17, 2017
Def Leppard and Poison To Hit The Road Together Again This Spring

Def Leppard and Poison will reunite and hit the road together for the third time in in less than 10 years, with an extensive spring tour across North America that will hit 38 different cities across the United States and Canada. The two bands last toured together on the Rock Of Ages tour in 2012 that also featured Lita Ford.

Kicking off on April 4, at the SNHU Arena in Manchester, NH, the tour will also feature Tesla in the opening slot for most of the shows. The tour is set to close on June 25 at the Klipsch Music Center in Indianapolis, IN.

Cites in New York, and surrounding areas, that were missed during the 2016 tour will benefit from this go-around. The tour will make stops at the Bell Centre in Montreal on April 10, the Mohegan Sun Arena in Uncasville, CT on April 12, and at the Nassau Coliseum in Uniondale, NY on April 15. Tickets go on sale on Jan. 20 and Jan. 21 through Live Nation.

Blabbermouth reports, when talking about the upcoming tour, Def Leppard frontman Joe Elliot stated:

We’re thrilled to be able to take this tour to cities we didn’t play in 2016. The demand for us to return, or rather extend the tour was phenomenal! There’s a great buzz around the band right now and we’re loving the fact that we can do this with the latest album being so well received.

Poison frontman Bret Michaels added:

I could not be more excited. I know all of us will give one thousand percent on stage and we are looking forward to performing our hits together. I personally could not be more thankful for the three generations of fans and I love the music of Def Leppard and Tesla. This will be an amazing night of rock and roll. Don’t wait because god only knows.

Def Leppard, who toured over 70 cities in 2016, will also headline some of the major rock festivals this summer including Fort Rock, Welcome To Rockville, Carolina Rebellion, and River City Rockfest.

This will also mark the first time in over five years that all the original members of Poison: Bret Michaels, C.C. DeVille, Bobby Dall and Rikki Rockett, will take the stage together and perform. Rockett, who was diagnosed with oral cancer in 2015, is now cancer free.

Def Leppard, Poison & Tesla Tour:

April 8 – SNHU Arena – Manchester, NH
April 10 – Bell Centre – Montreal, QC *
April 12 – Mohegan Sun Arena – Uncasville, CT
April 14 – Royal Farms Arena – Baltimore, MD
April 15 – Nassau Coliseum – Uniondale, NY
April 17 – Van Andel Arena – Grand Rapids, MI
April 19 – Resch Center – Green Bay, WI
April 21 – Xcel Energy Center – St Paul, MN
April 22 – Sanford Premier Center – Sioux Falls, SD
April 24 – Wells Fargo Arena – Des Moines, IA
April 26 – KFC Yum! Center – Louisville, KY **
April 27 – Bridgestone Arena – Nashville, TN
April 29 – Fort Rock – Ft Myers, FL ***
April 30 – Welcome to Rockville – Jacksonville, FL ***
May 2 – Tuscaloosa Amphitheatre – Tuscaloosa, AL
May 3 – Lakewood Amphitheatre – Atlanta, GA
May 5 – John Paul Jones Arena – Charlottesville, VA
May 6 – Carolina Rebellion – Charlotte, NC ***
May 24 – Pinnacle Bank Arena – Lincoln, NE
May 26 – Rocklahoma – Pryor, OK ***
May 27 – River City Rockfest – San Antonio, TX ***
May 29 – Broadmoor World Arena – Colorado Springs, CO
May 31 – Brick Breeden Fieldhouse – Bozeman, MT
June 2 – Rogers Place – Edmonton, AB *
June 3 – Scotiabank Saddledome Calgary, AB *
June 6 – Rogers Arena Vancouver, BC *
June 7 – Spokane Arena – Spokane, WA
June 9 – White River Amphitheatre – Seattle, WA
June 10 – Moda Center – Portland, OR
June 12 – Save Mart Center – Fresno, CA
June 14 – Citizens Bank Arena – Ontario, CA
June 16 – Sleep Train Amphitheatre – San Diego, CA
June 17 – MGM Grand Garden Arena – Las Vegas, NV
June 19 – ASANA Amphitheatre – Salt Lake City, UT
June 21 – Sprint Center – Kansas City, MO **
June 22 – Hollywood Casino Amphitheater – St Louis, MO
June 24 – Hollywood Casino Amphitheater – Chicago, IL
June 25 – Klipsch Music Center – Indianapolis, IN

Tour Key:

Def Leppard solo date *
Def Leppard & Poison date only**
Def Leppard festival appearances ***

January 16, 2017
Hearing Aide: Dave Fields ‘Unleashed’

This coming Valentine’s Day, New York City-based blues guitar player Dave Fields will release his seventh studio album, Unleashed. In a career that spans writing jingles for the likes of IBM and Publishers Clearing House, working with legendary British bluesman John Mayall, and getting inducted into the NY Blues Hall of Fame in 2012, Fields is definitely making the most of his musical talents. And with an album title like Unleashed, he’s certainly building up some kind of anticipation. And I must say, Unleashed is a fitting title.

The album opens with “Anticipating You,” an instrumental jam more on the jazz side of things. It also starts what’s a regular occurrence on the album. Though he bills himself as a blues player, Fields goes on long shredding passages like he’s an 80’s hair metal guitarist.

If you want an idea about what kind of lyricist Fields is, look no further than “Child of the World.” The song is about having to deal with all the bad things currently happening in the world, like terrorists and people who have extremist thinking. And Fields says he’s on a “love crusade” to try and right these wrongs. It’s the kind of lyrics you’d hear from a 1960’s artist, but trying to specifically address modern day topics in that exact way sounds odd.

The blues aspects really come out on songs like “My Mama’s got the Blues” and “The Boy Wants to Play,” the former sounding like it comes straight from Memphis and the latter having backing singers and more of a soul/gospel feel, even if it is about a boy wanting sex. Meanwhile, the two-parter “Jagged Line” probably gives the best example of Field’s attempt to blend these varying styles together. The rock guitar, backing organ sounds, and blues lyrics about growing up with a hard life, gives any passive listener a good idea of where modern blues music is heading or what it’s trying to be.

Starting at “Better Be Good,” another song about trying to love one another in the face of terrorism and corrupt governments, the album suddenly transitions to a live set at a NYC blues club. From there, he makes his Jimi Hendrix influences bright as day with a faithful cover of “Hey Joe” and his own rendition of the Star-Spangled Banner. It wasn’t a note-for-note recreation of the Hendrix version (I don’t think that’s possible), but he does make some impressive runs that leave any fan of shredding pleased.

The two songs that end the album couldn’t be further from the rest of the album. “New York City Nights” is the only real ballad here, with Fields switching to acoustic guitar and backed by synth strings. Meanwhile, “Les Hoedown” is easily the fastest song here. An instrumental featuring very fast guitar plucking that sounds like Jeff Beck doing rockabilly, with the drum fills and bass managing to keep up.

I have no doubt an audience for this music exists, for those who like frequenting establishments who play blues, roots, or Americana music. And if you do appreciate shredding and fretting guitar playing, Fields is worth a listen.

Key Tracks: Jagged Line (Pts. 1 & 2), The Boy Wants to Play, Pocket Full of Dust (live)

[embedyt] http://www.youtube.com/watch?v=fd3zvlvoLuo[/embedyt]

January 14, 2017
Ed Sheeran Forgot He Wrote One of the Biggest EDM Tracks of 2016

Folk singer Ed Sheeran, wrote one of the hottest crossover EDM tracks of 2016. Only thing is, he forgot he wrote it. Your EDM reports that DJ/producer and Major Lazer member Diplo, tried to contact Sheeran wanting the song “Cold Water”. Sheeran, not knowing what Diplo was talking about, just blew off the text message. The track that features Justin Bieber and MO is currently certified twice platinum by the RIAA.

Ed Sheeran – CMAC

Diplo contacted Sheeran again telling the singer that Bieber wanted in on the song, and if it would be OK. Still not knowing what Diplo was talking about, it took until Sheeran heard the track on the radio to trigger the light bulb over his head.

Ed Sheeran stated about the EDM track:

‘Cold Water’ was a weird one because I didn’t even know that song existed. It was a song I must’ve half-written somewhere at a time where I was writing a lot of songs and I did it at Benny Blanco’s house and then I got an email from Diplo just being like, ‘Yo! That ‘Cold Water’ song is dope! Can I have it?’ And I was like, ‘I have no idea what you’re talking about,’ so I just didn’t reply. And then he emailed and was like, ‘Yo, Justin [Bieber] wants to hop on the ‘Cold Water’ song. Is that cool?’ And I’m just like, ‘What are you talking about?’… And then the song came out and it was number one and I was like ‘Oh, that song!’ I remember doing it, but it was really, really slow. I remember hearing it and being like ‘That kind of sounds like me. Oh wait, it was me.

January 13, 2017