LIVE REVIEW: THE KILLERS @ MANCHESTER ARENA (18/02/13)

4/5

Redemption Ready.

Little background, I'm sitting in this Manchester Arena for the first time since the epic, beautiful night of witnessing the wonders of Bon Iver in November with my closest. The same month where I was supposed to see the group I'm seeing tonight in the midst of enjoying their latest album-which was arguably 2012 and their best-at it's peak at the most exciting time of the fall right before Christmas. But lost voices, disgruntled fans and rescheduling lead me to wait until mid-February to see the band I love, Brandon Flowers and The Killers touring their Springsteen epic/Heartland Vegas music touring their 'Battle Born' album.

A little more background. I'm sitting here with one of my greatest friends. A guy I've shared a lot with especially when it comes to traveling and touring the classic cities of the United States Of America. We even drove through the desert to the State of Nevada seeing where these boys came from. Aptly listening to 'Welcome To Fabulous Las Vegas' off Brandon Flowers incredible solo set 'Flamingo' as neon replaced sand and we arrived in the sin city of casino, make or break dreams. So this definitely was the gig for us and the soundtrack of our nostalgia as we traded American stories in between some 'Hard Rock' food and showing more than a passing respect for the sensational support act.

Then as soon as the 'Battle Born' AC/DC-esque thunderbolt lit up to the opening riffs of 'Mr Brightside' it all came back together to a chorus of crazy cheers. We where right back on that road to Vegas from two years back, like the huge screen print of the bands latest highway strewn album cover on stage. All the time and memories came flooding back, as all the time and disappointment of the double-header gig cancellation of November ebbed away. This was well worth the wait.

From 'Sam's Town' to Manchester, England all the hits where rolled through with a 'Hot Fuss' of epic Springsteen, stadium style anthems ignited like Gaslight. It was Brandon Flowers who was boss however, donned in all black, leather and smart shirt and pants he owned the stage with assured confidence but humbled charisma that suited him down to the ground. "You came back" he marveled as everything from 'Human' to 'Smile Like You Mean It', 'Somebody Told Me' and 'Spaceman' where rolled out to bright, effervescent stage sets, fireworks, choruses of confetti and fire explosions that could even warm the foreheads of those up in the nosebleeds.

From reading Flowers mind to joining him in chanting "I've got soul, but I'm not a soldier", you really got a taste of just how many hits one of the worlds best, but still somewhat underrated bands really have. Flowers and his boys couldn't be stopped, only taking a break to alert security that someone was in trouble...just like the nice, well raised rocker he is. The desert boys even paid tribute to Manchester's own Oasis and featured New Order on the mother of all tributes, besides this band got their name from one of the Manchunian bands videos, which they truly showed.

It was when this band banged out their latest work, where they really brought out the big guns. Flowers has admitted he's troubled by finding time on the set for all of his latest. He wants to tour the whole album in its entirety and we wish he would. Still, greats like 'Be Still', 'Here With Me', 'Deadlines And Commitments', 'Carry Me Home', 'Prize Fighter' and 'Heart Of A Girl' where missing on the milk bottle. Even so, everything was made up with the ravishing riffs of 'Runaways', the added "daaarlings" of 'The Way It Was' and the nuclear explosions of the tested 'Miss Atomic Bomb'. After this band ended their epic encore with the title track of their latest and greatest album and raised the bar with an army of hits it was clear to see and hear that these boys really are 'Battle Born'. TIM DAVID HARVEY.

SOUNDTRACK REVIEW: DJANGO UNCHAINED

5/5

The 'D' Is Loud.

As singer/songwriter/comedian and actor Jamie Foxx rides through the Wild West with the wonderful Christophe Waltz to save his leading lady Kerry Washington from the classic craziness of Leonardo DiCaprio and Samuel L. Jackson, Quentin Tarantino really has crafted another classic with his genre whipping 'Django Unchained'. The only thing left to make this all complete is a soundtrack...and boy do we have one here that's truly off the chain.

With incredible interludes of Q.T.'S famous and favorite dialogue (even with some deleted scenes that didn't make the movies final cut, but avoid this albums cutting room floor) and some Spaghetti Western tasty genre joints this really is one of the top scoring, 'Music From The Motion Picture' releases in recent times. You'd have to go back to last years 'Lawless' to find an audio sign of the times more apt or fitting. This is Tarantino's best score since 'Pulp Fiction' and just like the film this OST follows Quentin's greatest with it's own claim for first place.

OK, the talented leading man/singer Jamie Foxx doesn't sing...that may have been a little too 'Wild, Wild West' (coincidentally Will Smith was originaly up for the leading role, before Foxx got it), but he does have his own theme and 'Django' really is one of the best. Harking back to the good, ole days of Western films like Tarantino's traditional opening credits. He even has his own epic, Clint Eastwood style stand down, draw moment in this movie which is punctuated perfectly by 'La Corsa (2nd Version)' by Luis Bacalov. A song that just like in the movie follows modern day soul legend Anthony Hamilton and Elayna Boynton's beautiful cry for 'Freedom'. It doesn't get much more epic than this with the two greatest pieces of music for one of the films greatest and moving moments.

Ennion Morricone's 'The Braying Mule' really rides us through the Wild West and straight to the saloon of past times. Whilst 'Lo Chiamavano King (His Name Is King)' by Bacalov is just movie music at it's moment making best. Jim Croce gives us a nice settled, montage break with 'I've Got A Name', writing beautifully and sounding like a young Elton John. That is before hip-hop comes into play for this modern day reworking of a classic...its only right. Rick Ross (with some co-writes from our movies co-star Foxx) gets deep and dark on the criminally good '100 Black Coffins'. Still it's the 'Unchained' melody and incredible, inspired blend of late legends Tupac Shakur and James Brown that gives this film it's perfect wild shootout music.

'I Giorni Dell'lra (Days Of Anger'), 'Nicaragua', 'Sister Sarah's Theme' and 'Ancora Qui' provide beautifully diverse, and wonderfully sitting background music to score the tempo of this film. Still soul star John Legend's 'Who Did That To You' really steps things up a notch in the movie and on the score. Mr. Stephens furthers his 'legend' with his best individual song in years vowing revenge on the fool that hurt Django's woman. "You better call the police/Call the coroner/Call up your priest/Have him warn ya" Legend warns as Foxx emerges from the smoke of dynamite for an explosive moment, made emphatic by this heated and hot track.

This really is the perfect music for Foxx's 'Django's' rise and redemption. Brother Dege gets real Western and upbeat with the poignant and yet proud 'Too Old To Die Young', while 'Un Monumento' and 'Titoli (Trinity)' are the perfect closers. As an added bonus what Tarantino, hip-hop inspired soundtrack would be the same without a RZA track? As the Wu-Tang, rapping and producing turned acting and directing (Q.T. recently debuted and co-singed the RZA's first martial arts flick)  legend closes the credits with a real rundown. Thus ends a classic film and it's perfect soundtrack. One that scores big on more than just being epic and great music. One score that really makes it's motion picture that bends the history that much more believable. Just like this movies modern take on a classic genre, this soundtrack has moments that you can't distinguish from the past and now and thus here lies a classic for today. TIM DAVID HARVEY.

REVIEW: BEN HARPER & CHARLIE MUSSELWHITE-GET UP!

4/5

Relentless Harper.

Ben Harper isn't just one of the greatest singer/songwriters of our generation...he's also the most profound and prolific. The man with more bands and side projects than Rolling Stone and Beatle frontmen combined is truly on the great form that began his classic career. It only seems like yesteryear his latest solo set ('Give 'Till It's Gone') proved to be just as great as his best individual work (see 'Both Sides Of The Gun', 'Diamonds On The Inside', 'Fight For Your Mind' and 'The Will To Live'). Now the man who has many great live albums and soundtrack contributions to his credit adds another collaboration to his list of groups. An honor roll that features 'The Innocent Criminals', 'The Blind Boys Of Alabama', 'Relentless7' and the group 'Fistful Of Mercy' and some incredible, inspired records.

The man who even released a greatest hits, ballad retrospective ('By My Side') with the single 'Crazy, Amazing' last year is showing no slowing signs. Teaming up with blues legend Charlie Musselwhite, Harper gives us yet another side-project and yet another album at the forefront with the stand up anthems on 'Get Up!' The beautiful blues, slow burner 'Don't Look Twice' begins this dynamic double act, before things heat up with a bang on 'I'm In, I'm Out And I'm Gone', a straight whiskey strong joint with little chaser. It all goes down smoothly and soulfully.

Exploring and traversing new blues landscapes, Ben's slides and glides with Charlie who rides shotgun on harmonica providing the perfect backdrop for Harper to lay new musical groundwork. The chorus pleading of the down but not out nature of 'We Can't End This Way' gives our singer his new classic. While you can be certain to have faith in the wonderful writing of the single 'I Don't Believe A Word You Say'. The excellent word-smith who know how to turn a lyrical phrase is still on top of his wonderful wordplay.

As Ben hauntingly hums "I sit here in a daze/Wishing I could change my ways/And let's not pretend it isn't what it is/Its time we both go on and live", 'You Found Another Lover (I Lost Another Friend)' is another sensational single example of this, lamenting the unfair war of love and loss of friendship. It all ties together like this new perfect partnership for the generation gaps ages. The artistic mix of this couple mirrors the black and white album artwork, splashed with color. The traditional texture of the music transcends. It's classic music for the new ages. 'I Ride At Dawn' swings straight out of the saloon of a classic Western. The albums darkest and best could have earned it's spurs on the 'Django Unchained' soundtrack.

'Blood Side Out' paints more dark and decadent themes ("Got a wine soaked heart/And whisky soaked lips/Don't know how to get to you/But I know how to get my kicks") for the lyrical genius who once sang "you wrote me a four page letter, front and back/wrote in your favorite colors, blood and black". The title track 'Get Up' see's the pair get down even further as Charlie mussels in with some epic scores, that help bring out the harp like beauty of Ben's slides across the strings. More guitar punch comes with the 'She Got Kick' boot-cut, boot strapped classic on an album that harks back to 'The Will To Live' days. The 'Paris, Sunrise' evocation of the instrumental beginnings of 'All That Matters Now' is all you need to end this epic album perfectly. As Ben Harper forms another great group with Charlie Musselwhite, he's gives rhyme to the reasoning that here lies another collaborative project that the versatile singer should expand on. Like all his other groups we hope and wait for another album. The question now however is whatever next? TIM DAVID HARVEY.

R. KELLY & MICHAEL JORDAN Feature-90's CHICAGO

The Chicago Crossover Connection.

By TIM DAVID HARVEY

"You love to hear the story again and again, about these young brothers from the city of wind"-Common.

Two men from the Windy City believed they could fly

Let's take it back. There's nothing like nostalgia. Back in time. Back across the pond from America to an 11 year old boy whose American dreams where oceans of time and opportunities away in the mid nineties of his childhood and the golden era. There he is with a cassette tape in the deck of his boombox waiting for his favorite song to come on the radio again. "I just don't know she's just got that vibe" the public announcement says as he hits record, hoping that the radio D.J. wont talk over the end of his perfectly captured song. Late that same night in a screwdriver panic the reels of the tape are turned frantically round after the overplayed tape gets chewed up in the deck. Not a creature is stirring, there is only the silence of this kid not trying to wake his parents and the glow of the television in our company. But boy does it glow. It may be the middle of the night in England, but in America it's primetime and All-Star weekend for this sport of basketball that seems as theatrical as it is exciting. With volume muted, emphatic player announcements, a dominating figure of assured, silent swagger and legendary legacy making greatness runs across the screen and court. A number 23 is blazed across his chest. Who is this guy? What is this game? In a mid-nineties, mid-February this kid fell in love with the sport of basketball.

Fast forward almost fifteen years and this mid-twenties man is back in the U.S.A. like he was Springsteen born there. Traveling and living the dream his childhood and adolescence promised. Finally after all this time he gets to visit Chicago, climb the Willis Tower, see the city and go back once more less than a year later. Even before his second visit to the second city, this place feels fondly familiar from the t-shirts with Bulls on to the radios and what they play all day. It reminds him of a childhood time. Destiny, where he was meant to be. A place that showed him just what life, the world and dreams are made of. What he always wanted. They say there's nothing like your first love. This kid fell in love with the game of basketball and the man that dominated it. This man fell in love with urban soul and the sounds ruled by the R in R&B. Two men that not only defined the good old decade days of the nineties but also represented the Windy City of Chicago and put this major American market that some see behind New York and Los Angeles on all sorts of maps.

Before Kanye West showed in the new millennium that Chicago, Common and Twista where a major force in music someone else carried the ghetto blasting torch. Before Chicago showed it was the true Gotham City for Christopher Nolan's Batman, and the late, great Heath Ledger's Joker and Christian Bale's Bat duked it out on the same road that 'The Untouchables' made iconic, someone in crisp, collectible sneakers ran the streets, like that jumpman commercial across the rising bridge over the legendary Lake Michigan. Before Derrick Rose and the changing of the guard gave the Bulls and this city it's new hope and charge, going West like Kanye in the middle of America there was a man who cemented his status across the whole world like he did outside the United Centre in the concrete immortality of a statue. Before 'The Chicago Fire' and 'The Chicago Code' hit the screens, two men dominated the tube, like Clooney's 'E.R.' or the noisy, clanging, sweeping of the overground L trains did the city. Just like Snoop and Dre, Magic and Kareem and Shaq and Kobe did for Los Angeles, or De Niro and everyone else did for New York, two men did for Chicago. Just like stars of 'Philadelphia' Denzel Washington and Tom Hanks did for movies that decade, these men did for music and sports in the 1990's.

One man followed in the footsteps of Marvin Gaye, Sam Cooke, Al Green and Stevie Wonder. The other Elgin Baylor, Julius Erving, David Thompson and Magic Johnson. One would pave the way for Kobe Bryant, LeBron James and Kevin Durant. The other Usher, Ne-Yo and Tyrese to go along with many more inspired by both men. A legion of followers that would make Twitter look like bird seed. These two men of course being Michael Jordan and R. Kelly. One homegrown and one from Brooklyn, New York who put the air back into Chicago and illuminated the second city skies like the Chicago theatre at night, with towering talents taller then any skyscraper, dominating newspaper headlines, rave reviews and the word of mouth of everyone's lips. Two men that took their respective games and shared city across the whole world, not just America. Needless to say New York and the Knicks and Los Angeles and Hollywood where jealous. In the defining, golden era of music and basketball in the nineties, Michael and Robert where king on the same throne. From above the rim to down in the studio and the last shot to endless songs produced. Everyone was watching like Spike Lee, Scoop Jackson was writing. I was listening. The Grammy's and MVP's kept coming with the soaring record sales and scores. As did the gold championship trophies and platinum plaques.

Then one guy with a carrots and big ears would bring them together like the river that ran through their city. When Michael Jordan teamed up with Bugs Bunny, Daffy Duck, Bill Murray and more to take on some giant aliens in the blockbuster movie 'Space Jam', Michael truly proved he was out of this world, in a 'Roger Rabbit' classic that framed his talents on the big-screen. Fellow Chi-town hero R. Kelly provided the perfect number for Mr. 23 to rise to. 'I Believe I Can Fly' gave air to the films soundtrack and the films moving first late night, back-yard, father and son scene. It also touched the sky for the two men giving the R his biggest and most recognized epic, hit, as he spread his wings. It even drew some of the attention off Seal's fellow big blockbuster track 'Fly Like An Eagle' for the movie. Michael Jordan wasn't the first M.J. R. Kelly wrote for as the king of R&B wrote 'You Are Not Alone' (and recovered it for a 'Love Letter' tribute to the late, great) for the king of pop, Michael Jackson, who also got down and danced with Michael Jordan for the 'Jam' video. Together Chi-town's finest did it again in a crowning moment that showed that in the nineties the world of entertainment was Mike and Rob's...but that wasn't all folks.

If they could see it, these too could surely be it. Michael Jordan won a three-peat with the Chicago Bulls, while R. Kelly started his own trilogy of success with the classic '12 Play' albums (before adding an unrleased 'Fourth Quarter' edition that hit like Mike in the last period of play). Michael scooped up more championships and awards by the double, while with the classic 'R', Kelly released an epic double album that included so many records like 'Home Alone', 'If I Could Turn Back The Hands Of Time', 'When A Woman's Fed Up', his Space Jam big-score and his own record for Batman ('Gotham City'). There was even a duet with Celine Dion on there (the heaven sent 'I'm Your Angel'). One had Scottie Pippen, Dennis Rodman, Steve Kerr, Toni Kukoc and Phil Jackson. The other the Trackmasters and more hits then an entire genres worth. One rebranded Jive and modern soul music. The other revolutionized Nike and sports marketing. From Kelly's self-titled collection, to Jordan's self-assured performances these two danced and shrugged their way to success. No matter if they had the flu or other problems not much could stop this dynamic duo.

The two men are Chicago like a deep dish pizza, the crust of the city. They reminded us of something but revolutionized their games. It must have been the shoes or the "oh, oh, ooohs". Even when they took different routes they showed they weren't playing. We saw nothing wrong with their bumps and grinds, even if some peoples minds where telling them no. Michael Jordan made his late father proud when he picked up sticks and played baseball for a year, while R. Kelly teamed up with fellow urban music king and the M.J. of rap Jay-Z and held his own on the collaborative 'Best Of Both Worlds' album. You can't trap these guys is closets or lockouts. Michael Jordan was the closest thing the sports world witnessed to Muhammad Ali, R. Kelly wrote 'The Worlds Greatest' song (that and the haunting 'Hold On') for the Will Smith 'Ali' movie, both men went to the Olympics. The nineties was their moment, beyond their respective professions or the city of Chicago. They where icons then. Legends now.

The nineties was truly Michael Jordan and R. Kelly's time it was like they where born in it, even though the sixties debuted them to the world. Still the new millennium still showed the former North Carolina and Public Announcement alumni where here to stay in legacy and legend. Michael Jordan came out of retirement again for the Washington Wizards, showing he could still play with the Kobe's and the T-Mac's all whilst incredibly donating his entire playing salary to the September 11th relief fund. Whilst R. Kelly stuck his key back in the 'Ignition' and spun in a new direction, remixing his career and giving us some of his best, new records harking back to the music of decades gone by with 'Chocolate Factory' and 'Happy People'. Stepping back on court and in the name of love these greats still showed the new school an entertainment education.

Today Jordan owns the Charlotte Bobcat franchise and is even prepared to lace them up to help this young team practice. These days Kelly is still making hits, taking his revolutionary sound back to the good old days of soul as his 'Love Letter' and latest 'Write Me Back' can reply. 'When A Woman Loves' is the mans best song in years, while Mike is still inspiring and influencing generations. That's what happens when your legends, the legacy just goes on and the city of Chicago will never forget it's leading men. This city was built on rhythm and basketball. It'll blow forever through the Windy Cities memory. Michael made the moments, while Robert provided the soundtrack. Music and Basketball was their forte. The 1990's their definition and the city...theirs.

FOR THE RECORD: BON IVER @ Manchester Arena-9TH NOVEMBER 2012

5/5

'For Holly, Forever More'.

For those who don't know-or think it's just a 'Bon Jovi' typo-Bon Iver are one of the greatest bands in the world. This is just how good these folks are. Bon and his Iver's are becoming so big they deserve a stadium worthy of that sound. The amazing acoustics of the Manchester Arena (once voted the worlds best) provided just that last week on the latest leg of the bandsmen's tour, which won't stop running. A tour with more at stake with the support of the fantastic female trio 'The Staves' who echoed their harmonies throughout the arena and the attendees phone search engines. Save your search their album is out now.

This writer had a talk with a friend who has followed this group its whole career. From the first E.P and the small venues to 'For Emma, Forever Ago' and the theatre's he has seen them in the most intimate and inspiring musical ways. Reluctant to see them in such a big arena known for hard-rock Gods, he wondered how the sound would translate. Well the beautiful, atmospheric on their acoustics still reaches the sold out seats. While the epic sound of their latest self-titled set gets the electric, Dylan scaling treatment. Both styles of sound able to bring a tear to any eye and run like lightening through any vein.

From the perfect Bon Iver album opener 'Perth' (this may be the bands best number) Zepellin esque intro this group never goes under. They let their sensational, sublime sound reach the ceiling all night to the new album closer 'Beth/Rest'. Along with the enthusiastic encore of the cult, classic-full 'Skinny Love' and the equally sung along dedication 'For Emma' that will be devoted forever more, like the people spent in each others company on this 'remember for the rest of your life', amazing night.

The checked shirt, log cabin, 'Movember' every month favorites traversed much ground on their stop in England. From the aforementioned to 'Minnesota, WI' and 'Brackett, WI' to 'Hinnom, Tx', beautiful 'Lisbon' and timeless 'Calgary'. Bon also got lost in the 'Woods' for a vocal sample that Kanye West would struggle to match. Recording himself and playing out a stunning solo, looper harmony hotter than Joesph Gordon-Levitt and Bruce Willis playing the same guy in a movie.

From the rising 'Towers' to the formidable 'Flume' and the epic E.P. of 'Blood Bank' and the haunting 'Holocene' the set was listed with greats. Still it was the creepings of 'Creature Fear' and the salvation of 'Wash' that gave this night it's most stunning and moving performances. Draped in straw scarecrow stage throws and lit by nothing but the simple but atmospheric stage candles and the audiences flashing phones this was a picture perfect night. The kind of night you should spend with the one you love the most, because when it comes to modern, mainstream music it doesn't get much deeper, more dedicated, beautiful or unforgettable than a Bon Iver show. TIM DAVID HARVEY.

HE MAJOR-In Memory Of Stephen 'Static Major' Garrett

Nothing but Static.

By TIM DAVID HARVEY

"I stay in the streets, that’s where I draw my inspiration. If it can’t be played in the hood, then it just doesn’t work for me. And nobody can hold me on harmony. My whole aura is not your typical R&B aura."-Static Major.

"If at first you don't succeed, you can dust it off and try again." Hear that? Sure you do, it's unmistakable. It's the words of R&B icon Queen Aaliyah, but can you hear that bit of Static on the record? A classic hit sung by the baby girl we have been mourning and missing for 11 years but penned and produced by Stephen Ellis Garrett, otherwise known as Static Major. Another late legend took way too short before his time tragically four years back. It's been a long time but the feelings are still raw. Neither of these incredible, inspiring, influential individuals should have left us. Static's tragic trip to the hospital in February 2008 took his life, still today his life is what we should celebrate. 01/01/12 marks remembrance day and what should have been Stephen 'Static Major' Garrett's 38th birthday. On this anniversary let us not forget this young man who was part of more classics in urban music than most care to remember or would desire to have.

'Are You That Somebody?', 'Come Back In One Piece', 'Try Again', 'More than a Woman,' 'We Need a Resolution', 'Rock the Boat', 'Loose Rap', 'Extra Smooth', 'I Refuse', 'What If', 'Those Were The Days', 'Never No More' and that was just for Aaliyah. Static Major changed the game with Jay-Z (on the song 'Change The Game'), rode Ginuwine's career success by writing the genre changing classic 'Pony' (as well as 'So Anxious', 'Same Ole G' and 'You Owe Me') and made Pretty Ricky stars amongst giving hits to others like Truth Hurts ('Addictive') and Jamie Foxx ('Can I Take You Home'). So many hits, so many credits, but outside of those he worked for and his fans Static Major barely gets or received the credit he justly deserves. 

It's simply another example of an injustice in music. The appreciation from some is long overdue like this article or the promised, posthumous album 'Suppertime'. A shelved release that should be a celebration of his life's work and legacy. If released in his lifetime this album would have finally made Static the major star he deserved to be. Maybe record labels need to listen to hungry fans, it's time for supper. Even the singles looked set to be food for platinum thought. The uplifting 'My Valentine' was sweet and sublime, like the upbeat, motivating 'Till The Wheels Fall Off', the unique and cool 'Bus Stop Breezy' and the undeniable, career song 'I Got My' featuring Lil' Wayne.

In fact 'I Got My' served as the incredible sequel to 'Lollipop'. This cult favorite was set to be a classic like it's predecessor. A predecessor that was written by and featured Static. That's Major living it up like Ja Rule in his day with Weezy F. Baby in a stretch-hummer limo with a bevy of beauties in Las Vegas. Wait to the end of this classic video to see Static get the credit he deserves. In his loving memory the clip serves as a beautiful but tragically poignant moment. The video shows Wayne and Major living it up like the 'Blues Brothers', rocking out in shades and suits. After all these years they finally made it and were deservedly exclaiming it. This video was released after Static's death, it's a shame he didn't get to see it or that of the success Wayne had and he could have...should have. 

Still even after his death he gifted Lil' Wayne with his biggest, world-wide, commercial hit. A hit that tuned his career and 'Tha Carter' album series into the most sought-after thing in hip-hop. What a touch of grace from the spirit of urban music. Wayne rightfully and respectfully so recognizes and is thankful and grateful for what Static has done for him. Even if they don't in the record books, 'Lollipop' and 'I Got My' stand next to each other as two legendary licks on a musical collaboration that was so much and set to be even more.

Forget the NBA's hottest stars in Miami for a moment. LeBron James, Dwyane Wade and Chris Bosh may be amongst basketball's best but the original 'superfriends' belonged in Blackground. Static was just as heroic as his fellow, superfriends and record company dream team. Just like the one in a million Aaliyah, original R&B male megastar Ginuwine, legendary lyrical female Missy Elliott and super-producer and father to it all Timbaland. Aaliyah, Missy and Gin were dominating the pop charts as well as the urban ones with that signature, unique and ahead of it's time, Timbaland sound, but those signature Static lines helped them all hit big in the major leagues. Own, incredible talent aside this big three owe as much of their careers to Static as they do Timbaland. More was going down in the name of fresh, futuristic beats for the streets however. 

Timbaland had his own underrated rap duo with the unique Magoo and Static had his own side-project at the forefront in the form of his own group Playa. Another underrated act who hit big with the R&B classic 'Cheers 2 You'. This group lie Static were played a bit by the masses. They should have been stars as Static even held his own next to Ginuwine on Timbaland's infectious, inspiring 'Joy'. They should have been played more like their biggest hit 'Cheers 2 You'. The album of the same name was timeless and cohesive featuring greats like 'I-65', 'I'll Be 2 C U', 'Ms Parker' with Missy or 'One Man Woman' with Aaliyah which just like Li-Li's own duet with Static ('Loose Rap') displayed their incredible charisma and chemistry.

From there the work, royalties, Grammy's and Mercedes came rolling in. Just like his incredible contributions that made the 'Romeo Must Die' soundtrack even as good as the Jet Li movie it was from. Static brought the best out of co-star Aaliyah producing some of her most defining songs, all whilst he gave Ginuwine a 'Simply Irresistible' track and got Playa played on the score with their top track 'Woozy'. It's no wonder for a man who has worked with everyone and has even had some posthumous promise with Twista ('Gotta Get Me One'). Static understood how to write hits not just for him, but for others too. This explains why he could write so many hits like 'More Than A Woman' from a females perspective for Aaliyah. He understood more than just lyrics, rhyme schemes, verses, bridges and hooks, he understood the perspectives of others, even the opposite sex. 

This is a testament to just how good a writer he is like the legacy of classics he left. Dig through the crates of his tribute mixtape classics and you can find more catchy classic solo songs like 'Speed Of Life', 'Private Number', 'For A Long Time' and 'Good Weather Music' 'featuring another late great in the form of Pimp C from UGK and some classic, upbeat, energetic lines like, "you never thought I would be more than a gangster" which if properly released would make him stand out loud and proud. 

Still regardless of celebrity status, which these days ranges from the overnight to 'over in 15 minutes' Static's body of work is bonafide famous and speaks for itself. Forget that he's underrated, his groundbreaking, pioneering music will never be outdated as it defined a time and change in modern sound. Like Drake on the sample of his new hit ('Look What You've Done') we need to keep Static's memory alive in his beautiful music. The man brought fun, energy, and the understanding of a culture to the mainstream music industry. He goes down in music history as one of the greatest writers and hit-makers of our generation and in urban music all-time. For the record his names there on the record. No more need be said except, Happy Birthday Stephen. We and music as a whole misses you but your work lives on in all its legendary legacy. Rest in peace.

REVIEW: AEROSMITH-MUSIC FROM ANOTHER DIMENSION

3.5/5

Does The Noise From My Other Dimension Bother You?

Aerosmith have survived acid, 'Armageddon' (with the beautiful like Liv Tyler 'I Don't Want To Miss A Thing' lead song), a tell all memoir (lead singer Steven Tyler's brilliant, classic 'Does The Noise In My Head Bother You'), 'American Idols' and themselves and still after 40 years they're the last great rock band standing at sixty. As they continue to break ground, walking this way it seems between busts and break-ups nothing can clip Aerosmith's wings. Now they are well and truly back this decade with something ten years in the making. This is their 'Music From Another Dimension'.

Following their classic covers 'Honkin' On Bobo' the blues are over for this group. After their legacy making 'Legendary Child' lead single and it's 'Love Alot' follow-up (you can tell how much "she loves a lot" by the number of times Tyler sings it) comes the bands latest, greatest classic. 'What Could Have Been Love' is a classic Aerosmith and nineties rock power ballad with it's catchy hook, lines ("So what's the meaning when our love has faded?/I should've known that you'd still be Jaded/My heart's awash in this ocean of foam/Now all this old dog wants is to be walked straight home") and whiskey sinker sound. This isn't it however for the 'Guitar Heroes' who 'Can't Stop Loving You' and country collaborator Carrie Underwood with another single set to be released from their 15th studio album that only just comes out this week.

As they 'Just Push Play' on their first studio set since 2001. 'Cocked, locked and ready to rock' Steven Tyler, Joe Perry, Brad Whitford, Tom Hamilton and Joey Kramer lay down their new material with the first kiss of 'LUV XXX'. A Beatles esque number with backing from John Lennon's son Julian. It' clear to hear that after all this time and history it's all coming together. Unleashing the Tyler howls on 'Oh Yeah' the band scream back onto the airwaves before giving us another classic ode with the stunning 'Beautiful' and it's dedicated harmonies "Beautiful/We are free again, we're out of here)/Beautiful/(You need a friend, let's disappear)."

Tom Hamilton reveals some new writing with his tell all 'Tell Me,' while Joey Kramer also adds his first songwriting credits since his 'Permanent Vacation'. The band get deeper and darker on the atmospheric 'Out Go The Lights' before they get even more introspective and inspired on 'Street Jesus', which has been praised as hardcore fans favorite over the last few months. As Tyler writes to the most high, "Wise man tell ya what they’re reading from a scroll/But things kinda change when the story gets told/They tell it like it is to everybody they meet/Just to sing it in the church what they’re preaching in the street", sweet Mother Mary we have another classic Tyler 'scribe. It's the end of this album that things get epic however. Rock epic. End of the world epic. Armaggedon epic.

With a ring full of roses on 'We All Fall Down' Tyler and Aerosmith collaborate once again with the great songwriter Diane Warren, who gave this band wings with their boldest and most beautiful hit 'I Don't Want To Miss A Thing' and they in collaboration they craft another classic. With lyrics like "when your heart is breakin'/when your faith has been shaken/when the road you're takin'/takes you nowhere at all" and "when your dreams are shattered/when you feel broken and battered/when every step of the ladder/takes you nowhere but down" you can tell this is a match made in songwriting heaven. Stay awake because pulling no punches on 'Freedom Fighter', the Boston boys are backed by full-time movie superstar and part-time rocker Johnny Depp who helps star stud this sensational song.

More moments of magic are pulled out the bag for the closing trinity of this album. 'Closer' really pulls you in, while Joe Perry really shows us 'Something' before 'Another Last Goodbye' sends us off. You could also be tempted by the soulful special edition of this album which features the 'Shakey Ground' of a terrific Temptations cover (mark it next to 'Come Together' as another great tribute to the greats). With the latest noise from their heads these idols are back with a bang a scream and a welcome. From Perry's rip-roaring riffs to Tyler's tongue-lashing lyrics of vocal fury, the twins are back together and hotter than acid. No drug could take their substance away. Jaded? No way. Let's hope they don't spend too long in another dimension, because another ten years would be too long. We don't want to miss a thing. TIM DAVID HARVEY.