In Conversation: Butch Vig

The producer discusses the new 5 Billion In Diamonds release, Bond themes, and 30 years since the grunge explosion…

Those lucky enough to make a career in music always have a tale For two to tell, but you’d be hard-pressed to find someone with more to offer than producing legend Butch Vig. Over a four-decade career, Vig has helped some of the biggest names in alternative rock become the stars they are, not to mention earning a few platinum records himself with Garbage.

This month sees Vig and British bandmates Andy Jenks and DJ James Grillo drop 5 Billion In Diamonds’ sophomore effort. It’s another cinematic delight, soundtracking an imagery film while gleefully bouncing around genres. Clash caught up with Butch for an in-depth chat on the album’s creation, what it feels like to perform a Bond theme, and how his work in 1991 changed his life.

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Firstly, congratulations on the new album. For those who missed your self titled release back in 2017, if you wouldn’t mind going over how Andy, James, and yourself got together. Bristol and LA are not normally mentioned in the same breath.

Well, I’m good friends with James and Andy. I spend once or twice a year every holiday coming over there. James lives in Southampton and has a massive record collection. He probably has 20,000 pieces of vinyl or CDs and 10,000 DVDs. He has tons of movies, too, has this huge wealth of musical knowledge. We were talking about a film score one day, and I sort of challenged James. I was like, ‘Why don’t we start a band so you can write some film music?’ and he goes, ‘Yeah, ok, I’ll take that challenge.’ We were sort of kidding to each other, but the way we initially started, James would play a record, and we would hear a vibe of something that we liked; it could be an obscure B-side from an early 70’s folk singer, and we’d hear a little loop in there, and we’d capture the loop, and we’d start playing on it.

After we had like seven or eight pieces of music, we were thinking like ‘Well, who do we want to sing? Let’s approach somebody,’ and James suggested Ebbot from The Soundtrack of Our Lives right away, and we’re all huge fans of that band, and as it happens, Garbage was playing a festival in Sweden, and The Soundtrack of Our Lives was also playing. So James and I, after having several glasses of wine, just bum-rushed them backstage, went right up and go ‘Ebbot! Ebbot! We have a band, and we want you to sing with us!’ and he was like, ‘Well, I guess I should. Of course, I will.’ Literally, six days later, he was in Bristol singing with us.

We did the same with David Schelzel. We were big fans of his band Ocean Blue. He played a show in Silver Lake, right down the hill from where I live, and James flew all the way over for a day, from England, and we went and saw him that night, and I did the same thing, and bum-rushed him after the show and said ‘David we’re massive fans, we have this band. Would you want to collaborate with us and sing in two of the tracks? He said ‘Sure.’ We found that when you ask someone, it’s actually pretty easy.

In that first record, we wanted to reference a lot of film scores, especially John Barry. We love the chords in the music that he writes and the tones that he uses. He uses a lot of horns and woodwinds. It was tricky to get the singers to find their right fit. Sometimes we’d give a song to Ebbot, and it didn’t quite work for him; he didn’t know what to do with it, so we’d give it to Helen (White), and she’d work on it, maybe come up with a verse, and then we’d give it David, and he’d work on it. It was a bit of a process, and in the end, I think it all got very glued together, but it was a somewhat difficult process.

When we started making ‘Divine Accidents,’ we knew we had a much better template for how to work, and I sort of knew as a producer what sonically would fit people better, where their comfort zone was. So when we started writing the pieces of music, we would write a piece of music, ‘This is for Ebbot.’ We’re not going to play it for everybody and see how it fits. Or ‘This is for David,’ or ‘This is for Helen,’ or this is for James Bagshaw from Temples. We literally wrote pieces of music for people, and it was much easier because I think the music sort of fit them more like a glove and so it’s easier for them to interpret it and come up with lyrics and a vocal line.

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Where did the album title come from this time around?

We were watching a documentary on Orson Welles, and about two-thirds of the way through the documentary, he says, “The best thing about filmmaking are the divine accidents. And when a divine accident falls in your lap, you must use it.” With that, we each went ‘Divine Accidents.’ That’s pretty good – and also coming from Orson Wells, and considering we have some film references in our music, we thought that was perfect.

Did you guys have any soundtracks or films in particular that you kept going back to for references? This album’s still got that gorgeous sweeping 60’s feel, but then there are these nice 80’s synth touches.

We watched The Wicker Man. Incubus with William Shatner, it looks like an Ingmar Bergman film. In Cold Blood, which has a Quincy Jones score, which is amazing. Just the use of horns, jagged horns. James went mad for flute on this record.

I think besides the film references, and the late 60’s early 70’s psych folk-rock, I hear bits of the 80’s seeping in, even a bit of the 90’s seeping in. One of the songs David sings, ‘Into Your Symphony,’ I hear The Cure, The Smiths, you know, I can hear the tones and the synths in the melody. Just the way that David sort of sings reminds me of the late ’80s. It still sounds like 5BID. A lot of that is because Andy, the way he plays his keys, he gets really spacy keyboard sounds. Often, we’ll be finishing a song, getting ready to mix it, and James will say, ‘We need some 5BID fairy dust’, which means Andy needs to put keyboards on. Noodly things and spacey, twirly things and, you know, stuff that spaces it out and makes it a bit more freaky, and he’s great at doing that.

How much of this was started pre-COVID?

Well, we were lucky; we started early 2019 and had pretty much finished it by the end of the year. I started mixing in December and finished mixing in January. We were lucky that we had it done before the lockdown. We do file share sometimes; if I get an idea, I’ll just send him a file, and Andy’ll send me one back, but it’s much better to be in a room collaborating because you make decisions so fast. As soon as you have to start file sharing, it just slows the process way down. You might not be excited about something, you might not hear back from someone until the next day, and then your head might be in a different space, so it’s just tedious. Plus, when we’re in a room together, we like to drink wine. We drink a fuck load of wine. And we talk movies and, you know, it’s not all work. It’s work and play, which is one of the reasons I love being in 5 Billion In Diamonds.

It seems like wine is a powerful fuel for this project. Definitely, I tried to figure out how many cases of Sauvignon Blanc we went through in the process, and there were quite a few.

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You’ve got the brilliant Helen White back for this album. Can you tell us some more about the new artists you’re collaborating with?

Helen’s back, I did a duet with her, ‘Formaldehyde.’ ‘Formaldehyde’ is about a serial killer basically, but it’s a love song to his dearly departed who he keeps in a tube, a bottle, up in the wall. That was really fun to do. Then we brought in Martin Barnard from Alpha, who has a really lovely voice. We weren’t going to use it, that song, ‘The Unknown,’ and then Martin heard it and said ‘I think I can write some words to this,’ and so he came back the next day and pretty much did it in one take, and it’s truly lovely because he has such a great tone to his voice, and it really fits perfectly with the sound of the track. It’s all really spare and very orchestral.

James Bagshaw from Temples joins us on a track, and that was really interesting because I had started writing a piece of music here on keyboards and normally I write on guitar, I’m not that great of a keyboard player, but I started writing with a sound that was sort of a little bit like Tame Impala. I wanted to write a sort of a Tame Impala song because I love Tame Impala. It had a little bit of an electro vibe and almost a bit of a Motown feel.

James says, ‘Let’s call Kevin Parker and see what he wants to do’ and I said, ‘He’s not going to do this. He’s way too busy’. And I said, ‘Who do we know in the UK that has a voice like that?’ And James loves Temples; I do too. And he said ‘we could call James Bagshaw, and see if he’s interested.’ I wrote him an email and he came to London and met James, and we took out to lunch and hung out for an hour and he’s just lovely. He sang, but he also played guitar, put a lead down, he played bass, played some synth, and he played drums. He was pretty much a one man show.

This year has been a bit of a nightmare for everyone, well arguably the last few years, but this album has a certain sense of optimism and a reflective slant. Was that an intentional thing you guys set out to do when you were pulling all the material together?

For this song ‘Formaldehyde,’ I wanted it to be a celebration even though the guy’s completely insane. You know, he’s killed his lover. But it’s meant to feel like a party. I was sort of inspired to do that from ‘Psycho Killer’ by the Talking Heads. I also wrote most of the lyrics to ‘Weight Of The World’ that Ebbot sang, and that was meant to sound celebratory too. Like the word has gone to shit. Everything is just ponying down on you, but somehow, the way Ebbot sings it, he’s happy, you know? He’s sort of embracing it. Like when it kicks into those big strummy sections, it’s like the sun is shining down, or maybe it’s piss that’s coming from the heavens on him, but he loves it. It’s meant to be optimistic.

With the current situation touring is not an option. Are you guys planning to build some more material in the interim, or are you going to wait until it’s a bit more feasible to get back together and enjoy a drink?

We were hoping to go on tour sometime this Summer or Fall, but obviously, that’s been pushed back. We want to tour because I think it would be a gas. Not only that, we have two albums too. I think we could go out and do a 75-minute show or an 80 or 90-minute show and use all the singers and put a really dynamic performance together. I think it would be fun.

Moving on to other aspects of your career but tying into the cinematic theme, you graduated from the University of Wisconsin with a degree in Film Studies. Jump forward two decades, and you find yourself doing a Bond theme tune with Garbage. I mean, how does an opportunity like that even arise, and what was that like?

It blew our minds. As a band, we’re all huge fans of the Bond canon, and God bless Sean Connery, who just passed away. You know he to me he will always be the number one Bond, maybe because he defined it so well early on. But we got a call from David Arnold, who was the composer, and he was a Garbage fan and really liked Shirley’s voice. He called Shirley, and I think she went and met him in a cafe and he said ‘Shirley, would you like to sing a Bond theme?’ She just started screaming. I remember coming back to the dressing room at the venue we were at, and she was like, ‘Oh my God, we just got asked to do a Bond theme,’ and we were like, ‘What?!’

It took a bunch of work. Because we were on tour, we initially had to start making phone conversations in hotel rooms with David to try to make sure the key was right, I think it’s either an F or F Sharp, but we wanted to make sure that the key was OK – so that Shirley could hit the notes low but could hit the notes high. He kept flipping around keys until we felt like we had one that worked for all the dynamics. Then as a band, we started tinkering around with some ideas on my laptop; I just had a little recorder thing on my laptop, backstage in dressing rooms just trying to think what we wanted to do with it psychically.

We played a show about a week later in France, and after the show, we ran off the back of the stage, down this field, and there was a private jet. We hopped in, and it took off from this field and flew over the English Channel to Heathrow, and we landed and we went straight to a recording studio. I think we went to; I want to say it’s Metropolis, a great studio. David was there, and Don Black, the lyricist, was there, and some of the people from the Bond production were there, and there was a film crew there and, you know, and we’re all sitting there a little intimidated especially when we’re dead tired.

At this point, we’d been on tour for like six months or something too so we’re pretty fried out. It was pretty heavy. We had to come up with the music on the spot in the room, and we managed to kind of get the rhythm section down, and we really worked on getting the guitar riff. The guitar, we really wanted something that sounded like John Barry, and there’s that little guitar riff ‘The World Is Not Enough’ those little half step notes. John Barry uses a lot of half step notes in a lot of his music, especially in the Bond guitar riffs. That simple guitar riff connected it to the classic Bond themes.

Then we did our usual Garbage, you know, we put textures in and things, and we were very keen on it sounding like a proper Bond theme but also sounding like Garbage, and I think that we nailed it.

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Scarily 2021 is looming on the horizon, and with that comes the 30th anniversary of both ‘Gish’ and ‘Nevermind.’ These albums have been dissected and mythologised endlessly. Still, I’ve always been interested in your viewpoint on this cultural shift. You’re producing these two bands, and within a matter of months, the records come out. Suddenly the alternative scene has been rammed into the mainstream and you’ve just had a hand in soundtracking this new youth subculture. ‘Gish’ came first. What was it like to work alongside Billy Corgan producing?

I had a great working relationship with Billy, and I was thrilled because it was the first record where I actually had a decent budget. I think we booked 26 days or 28 days in the studio, including mixing, but up until then, I’d been doing records in three days or four days. A band would come in and track everything one day, and then the next day, they would come in and mix it.

I had done a single with them (Smashing Pumpkins), so I knew how talented they were, and Billy and I had been talking on the phone, and he really wanted to raise the bar. He just wanted everything to sound really focused; he wanted the dynamics to be over the top, all the performances to be spot on, and so I pushed him hard, and he pushed me, and it really captured a sound for them. I think I was able to sort of corral that gigantic roar that they had. Well, they could also bring their music down to a whisper when they sang but then go back to roar, and that was one of the hardest things to capture, those dynamics, but I think we nailed it.

While I was doing that record, I got a call from Sub Pop, and then Sub Pop ended up doing a deal with Geffen, because Nirvana went to Geffen, and I got a call from Chris saying ‘Hey, man. Do you want to do the Nirvana record?’ and I was like, ‘Yeah, I’d love to.’ So I finished ‘Gish’ and maybe three weeks later, four weeks later, I was in LA doing ‘Nevermind.’ That was kind of the opposite. That was done really fast in 16 days, and the band was in really good form. They were so happy; they had money from signing a record contract, they were staying in these posh apartments; condos, we called them the Cokewoods because a lot of young Hollywood actors were staying there. But they were in good form, man, and I didn’t notice at the time, but they had practiced a shit load, like every day for six months, so they were really tight.

It was pretty easy. I could suggest ‘Let’s change that drum feel there or let’s maybe cut this section down a little shorter,’ and they were like ‘Ok.’ I think after the third day of rehearsal, we had another day scheduled, I said ‘I don’t even want you guys to come in. I think you’re ready to go. Let’s take the day off.’ The hardest thing was always dealing with Kurt’s mood swings because he could just shut off in the blink of an eye. It was like a light switch went off, and he would withdraw into himself. Sometimes he would leave the studio; sometimes he would go sit in a corner.

I knew this earlier because he’d come to Wisconsin and worked in my studio, and the first time that happened, Krist came over to me, pulled me aside, and said, ‘He’s ok; he gets in these moods. You just need to leave him alone, and he’ll snap out of it.’ and he would. So when he’d snap out of it, I’d make sure everything was ready to go, everything was tuned up, the drums were mic’d up, everything was ready, and we were ready to hit tape and record.

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Obviously, ‘Nevermind’ drops and hits like a sledgehammer. It knocks Michael Jackson off the number one spot. What was it like for you? The fallout? One moment you’re quickly producing this three-piece, you’re really proud of the record, and then suddenly there’s this absolute tsunami of attention and praise.

I remember calling John Silver, their manager when the record was at number three, or something, and I said ‘John, does ‘Nevermind’ have a chance to get to number one?’ and he said ‘Not a chance, Butch. Michael Jackson’s number one.’ And then next week they beat Michael Jackson and, I remember the first thing I did. I called my Mum and Dad because my Mum was a huge supporter of mine, my Dad reluctantly was. He wanted me to go into a proper profession, like be a dentist or a doctor or a lawyer or something. But they were both really excited for me.

When I got to the studio that morning, the phone just kept ringing. I was getting offers to do crazy things. Like people wanted me to fly, set me up in a studio in LA or New York or London, set up your own production company. I had all these managers calling me who wanted to manage me. These labels were calling; they thought I had this secret recipe to take a band and make them sound like Nirvana. Some of it was laughable. Like I’d get a demo tape in the mail, and it would be like a jazzy folk singer that they wanted me to morph into Nirvana.

I was kind of able to start picking and choosing what I wanted to do at that point. I decided to stay in Madison because I felt really comfortable working there. I really didn’t want to get sucked up in Los Angeles or New York City. I’d been in those cities before, and I thought it was just easier to work when there are less distractions. So with the success of Nirvana, we were able to sort of upgrade the studio too, and we eventually put in two 24 track rooms and put in automation mixing, bought more microphones and gear. So we just upped the game there.

Their record, ‘Nevermind,’ changed my life. It opened up all these doors for me. I wouldn’t have been able to do Garbage without having done ‘Nevermind.’ We sort of got a free pass card to try this somewhat experimental band.

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Re-listening to the first two Garbage albums, it’s really interesting how you blended genres, which now is quite a normal thing for pop music to do, especially in the age of streaming. What was the reaction when you dropped the debut – mixing in all these electronic elements and interesting percussive touches?

People were very surprised. When they heard my name was attached to it, pretty much everybody thought it was going to be a grunge record and sound like a rock record, like Nirvana. But before Garbage happened, I’d spent a year and a half doing a lot of remixes for U2 and Depeche Mode and Nine Inch Nails and Beck and Alanis Morissette. In these remixes, I would strip everything away except the vocals, and I’d use samplers to put in beats and weird sound effects and keyboard lines, and that became the template for Garbage.

I really got into using samplers because you could manipulate the sound. I think quite honestly; I got burned out on doing guitar, bass, and drums. By the time Nirvana hit, I’d probably done a thousand bands like that, and I was just looking to do something different. So using the samplers in the studio just gave me a different sonic palette. That first Garbage record, a lot of the instrumentation went through those samplers. And it has an odd sound to it.

But I think that’s one of the reasons it’s kind of interesting sounding. We tried to write these sort of sonic moments, but we also wanted there to be good songs. So we worked pretty hard on the songs, and I’m really lucky that there were three or four that got played on the radio. ‘Only Happy When It Rains’ and ‘Stupid Girl’ were big singles for us. So, cut to 18 months later, we went on an 18-month tour all over the fucking world. It was crazy!

Has Garbage got anything lined up for 2021?

Yeah, we just finished mixing our new album, and I think it sounds awesome. It’s quite dark. I think it’s somewhat eclectic. It reminds me a little bit of a mutant cousin to our third album, ‘Beautiful Garbage’ because each song is kind of its own thing. A lot of Shirley’s lyrics are about the crazy world we live in right now, although she wrote most of them before we went into lockdown. There are some Talking Heads references in a couple of songs, some Roxy Music references. I think it’s good and It’ll probably come out next summer, we hope. And we hope to be on tour maybe by August or September next year.

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‘Divine Accidents’ is out now.

Words: Sam Walker-Smart

*Some of the questions have been edited for brevity and clarity

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“Honest And Transparent” Clash Meets LANY

Paul Klein on their new album, dating, and heartbreak…

After six years of singing about young love against the backdrop of pink skies and drunken nights in Malibu trying to numb the pain of heartbreak, Los Angeles-by-way-of-Nashville three-piece LANY (pronounced lay-nee) are officially embracing their Southern roots on their third album ‘mama’s boy’, out October 2nd.

“I just want to give you everything, show you I’m a Southern gentleman,” croons frontman Paul Klein on ‘good guys’, the first single off the forthcoming record. Deviating from their signature dreampop tunes about relationships and the band’s quintessential LA lifestyle, ‘mama’s boy’ is a tender record with a nuanced Americana-pop sound that explores a deeper narrative about parents growing older, love, grappling with religion and the harsh realities of dating when you’re touring.

“This is the first time that we’re really lyrically and musically touching on where we’re from,” Klein explains. “It’s always been California, West Coast, young love, pink skies. It’s cool to really reference the things that we know the most and the best…”

LANY’s 2018 tearjerker ‘Malibu Nights’ was meant for one person to listen to, but ‘mama’s boy’ is for everyone. Taking some time to write the album in Nashville where they got their start, ‘mama’s boy’ ushers in a new era for LANY by introducing some more acoustic instrumentalisation to let their introspective poetic lyrics shine. Combining gentle Southern sounds of gospel choirs and the new addition of acoustic guitar with the synth-pop sound fans know and love, the record is an authentic representation of who the band are and how they have evolved since their humble beginnings.

Clash caught up with Klein for a Zoom chat to discuss growing up in “the middle of nowhere”, the importance of having a geographical identity, dating and heartbreak, and being “LA’s little band”.

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Congrats on ‘mama’s boy’! Your previous records have always had sunsets and Los Angeles as a core element of your lyrics and sound, but this album has you embracing your Southern roots. What was it like growing up in Oklahoma?

I mean, I don’t have any complaints or anything. It was a good place to grow up and I’m thankful for my upbringing, it clearly got me to this point in life. But it’s a real interesting kind of circle. You grow up and you’re like, ‘OK, I don’t want to be here anymore. I want to get out of here. I don’t really necessarily fit in and I have these dreams and these aspirations that I’m not sure I can really achieve or realise in this state or in the city. I’m going to get out. I’m gonna go to LA, I’m gonna work really hard. Oh my god, I’m writing some songs, people are starting to listen, this is amazing.

I’m going around the world’ and then I’m like, ‘Oh wow, I’m getting a little bit older and I’m realizing I’m not perfect, but I’m proud of some of the life decisions that I’ve made. And I’m thankful for the way my mom raised me. I’m thankful for my parents and my family [and] friends in my surroundings growing up.’ So you see that that full circle and I guess it’s part of just growing up.

I’m not trying to go back to Oklahoma by any means. But I do think, you know, Jake [Goss] is from Arkansas, Les [Priest] is from Missouri, that’s all just kind of right there. All those states touch. When we talk about bands that we love and respect, bands like U2 and Oasis and The Beatles, they have a geographical identity. You know where they’re from.

And yeah, for a while LANY was that kind of West Coast-California-dream pop kind of thing, which we were because we had come to California and seeing this, all of it, for the first time [inspired us] and we were writing songs about it. But really, we’re from the middle of nowhere and I think that’s really important for the story of this band and for our fans because most of us are from the middle of nowhere. It’s cool to just touch on that and to kind of make that cool.

Your music has evolved from, like you said, a dreampop sound that was present on your debut singles like ‘Walk Away’ in 2014 to a more organic sound on this record. What has been the evolution of your music?

When we first started the band, we had a Dell computer and literally a couple of synths and that was it. We let our limitations define our art and that was cool for a time. Now there’s this genre called bedroom pop and I’m almost positive we invented that because in 2014 like nobody was doing that. And in fact, so few people were doing that, that the label was like, ‘This is your talking point in interviews. Talk about how you make this on a Dell computer in a bedroom or in a kitchen, just the three of you, because nobody’s doing that.’ And so that’s what we did. But we needed to get better and bigger and reach more people.

So once we put out that debut album we went on a world tour and built the fan base. We were able to then kind of, I mean more or less, afford to go into a studio. We wanted to work with somebody older and wiser and we found an amazing producer, Mike Crossey, who kind of took us under his wing and said, ‘Here’s the things you’re good at, here’s the things you’re not good at. So we’re going to lean into the strengths and then we’re going to grow as a band.’ And that’s what you saw on ‘Malibu Nights’, which was an amazing experience.

Then with ‘mama’s boy’, we didn’t want to make the same album twice. There’s a real obvious instrument that has never been present in the LANY song and it was the acoustic guitar. That’s something that Jake had been fighting [to include] for years. You know, ‘Let’s introduce more guitar.’ Finally, the stars aligned and it made sense with the kind of songs that we were writing and it matched the temperature and the mood of everything.

So now we were able to get into the rooms with some of our dream producers or people that we’ve always wanted to work with and that’s what ‘mama’s boy’ is. – We’ve got a gospel choir, kids choir, a flugelhorn, we have slide guitar, we have an acoustic guitar and those are five huge things that we’ve never ever had on a LANY song, ever. So it’s amazing to just know that nothing is… that whatever we want, we can figure out a way to put it in.

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You make use of these new sounds on ‘you!’ and the track ‘i still talk to jesus’, which includes a gospel choir. How did that come about?

When you have a song like ‘i still talk to jesus’, it’s a very visual song. I mean, if anyone’s ever stepped foot into a church, you know choirs are very much associated with church and cathedrals. I touch on stained glass as a lyric in that song, so it just kind of made sense. It was almost like a no-brainer. I was just like, ‘I would love to hear a gospel choir sing this with me.’ And so we sent the song to this amazing choir in Nashville and they sent us back a video of what they would do and it just kind of blew me away. And so we’re like, ‘OK just set up the microphones please and please record them.’

You’ve always had a West Coast aesthetic and style as a band, and your press note mentioned a “guise of cool” persona you adapted when you moved to LA. What made you want to write about your hometown this time around?

When I first got to LA, I wasn’t necessarily trying to [be] like, ‘I’m from Oklahoma! Wow.’ That was never really a talking point and that still doesn’t necessarily need to be a talking point. This is the first time that we’re really lyrically and musically touching on where we’re from. It’s always been California, West Coast, young love, pink skies. It’s cool to really reference the things that we know the most and the best… and it’s been really fun. And I think it means a lot to people. 

Like I said, most of us aren’t from those parts of the country. People can really relate and [I] think that embracing where you’re from and knowing that nowhere is perfect, but just loving your roots and where you’re from… and that it’s a good thing, that it’s a good quality to have and it’s a good thing to do.

Did your Southern upbringing influence your previous records like ‘Malibu Nights’ or is it something new you tuned into for ‘mama’s boy’?

You know, I don’t know. I think I am a product today of where I’m from and everything I’ve said, my mind and my eyes and my ears, you know? Humans are sponges and just kind of absorb all the information and then when we are creative and we make things, it’s the combination of everything, all the information turned into inspiration and then turned into an expression, I guess. So I’m sure to a certain degree but not as much I think as this because I was very conscious about it this time around on ‘mama’s boy’ and you hear that.

2018’s ‘Malibu Nights’ was a deeply personal and emotional breakup album that really solidified LANY’s success. Was it difficult going into ‘mama’s boy’ after creating that record and trying to get to that vulnerable place again?

I don’t really get into my head that much. The one challenge that I knew is [that] I was very vulnerable on ‘Malibu Nights’ — incredibly honest and transparent and I needed to match that same level of transparency. I actually think I maybe went even further. This album is incredibly self-reflective. Oftentimes, there are more songs [where] I’m having a conversation with myself and I’m writing a song to or for or about somebody and so I’m really proud of that. I mean, I think that’ll pay dividends in the long run.

On ‘mama’s boy’, you’re focusing on newer themes like family and religion but also return to heartbreak on ‘heart won’t let me’ when you explore the dichotomy between your head and your heart and trying to leave a source of pain. You experienced a difficult breakup that resulted in your creating ‘Malibu Nights’. Are you ever scared to fall in love after that experience?

No, ’cause you know what? 99 out of 100 times, it’s not supposed to work. I think that’s something that we don’t talk about enough. Like, you’re supposed to find one person that it really clicks with and that’s way more difficult than we often talk about and recognise.

So you know, that’s the chance that you take when you date or you let your heart kind of fall into a relationship is like, there’s a really good chance that this isn’t gonna work out… we’re going to try and we’re going to, you know, I’m going to do my part and I’m gonna do everything I can and be sacrificial, try to be selfless and try understanding operate from a position of forgiveness. But most times, people don’t do that and that’s not reciprocated. And that’s the chance you take, right? With great risk comes great reward. Breaking up is the worst thing in the world.

– – –

– – –

You wrote ‘Malibu Nights’ in a crazy short time, 40-days or so. On Instagram, you mentioned that during the album process for ‘mama’s boy’ you sometimes wanted to quit music. How difficult was it to get to that deep place of self-reflection?

Writing [‘if this is the last time’] about ‘Hey, mom and dad, I love you. You’re getting older and you know, the truth is one day I’m not going to have you anymore.’ Those are hard songs to write, [like] ‘Hey I grew up in church, but sometimes I do things that I’m not supposed to do and you might not believe it but I still talk to Jesus because I’m still like…’

These are tough songs to write. [Like] ‘bad news’ [is] like, ‘Hey, I’m on tour all the time and don’t fall in love with me because unfortunately, even if I wanted this to work out, I’m going to be home like six days this year.’ And ‘when you’re drunk’ [is about how] it really sucks when you realise that somebody doesn’t actually like you, they just get kind of tipsy and loose and lead you on. So they’re tough songs — they’re tough songs to write. But that’s why I said I thought about quitting music because sometimes you write really bad songs.

We were in Nashville for two weeks and [we were] trying to write a song every single day. When we were in Nashville we wrote ‘if this is the last time’, ‘good guys’, ‘when you’re drunk’, ‘anything 4 u’, ‘i still talk to jesus’ and ‘sad’. That’s six songs. Now that’s pretty prolific writing that made the album. But of course, there were the four other days where we wrote some terrible songs and you just are like… that’s the worst feeling at the end of the day [when] you write a song and you’re just like ‘God, what were we thinking?’ But that’s part of the creative process.

You were a solo artist under your own name before you reached out to Jake and Les and started LANY. Was your solo music anything similar to what you’re creating as a band now?

No, I don’t think so. I mean, songwriting is hard and you have to write a lot of really bad songs in the beginning. A lot of it is trial and error. And I started writing songs at like 15 or something like that and my first EP when I was 18 and they’re not good songs. They’re just not. I mean, I’m not embarrassed by them. Maybe I am a little bit but it’d be really weird if I was looking back like ‘Wow, I used to be really good, what happened?’ Those were not great songs and no one was listening to them except for my mom and my dad. And maybe my sister. Maybe. I just kept at it.

I started going, ‘OK, what’s not working here? Why are these not good songs?’ I moved to Nashville, which is a big songwriting, songwriter town, songwriting community. There were some singer-songwriters that were having some like a certain level of success. And I was trying to do whatever they were doing and it wasn’t working out. I mean, I was like, ‘You know what? I just think to be true to myself’. I found a lot of that freedom with Jake and Les. They really, really… they really encouraged me to be myself.

‘Cause every time I’d go into a room with other producers or whatever [they’d go], ‘Ah no we can’t do that, we can’t do that. We need this kind of instrumentalisation and blah blah blah.’ And Jake and Les were like, ‘We don’t know anything, let’s just turn the computer on and try.’ You know, we just operated from our instincts and for the first time, I was just allowed to be completely me and just run with whatever ideas I had…

When you look back at the band’s start, do you still think that the band was ‘Made In Hollywood’?

[LANY started when] we put our first two songs on the Internet. I was living in LA, Jake and Les were still in Nashville, so I’d fly there. When we put those first two songs out [‘Hot Lights’ and ‘Walk Away’], they kind of blow up on a very small scale within the industry and everyone’s like, ‘What else do you have?’ We didn’t have anything else. And that’s when I flew back and I wrote ‘I Love You So Bad’ [‘ILYSB’] in Nashville along with ‘BRB’. And I actually wrote ‘Made in Hollywood’ in Nashville. The band got to become a thing so much that Jake literally sold the house that he was living in, in Nashville, and Les and Jake just very early on, just packed up their stuff and said, ‘Yo, we’re going to come to LA because this is actually a real thing that’s really happened.’

I think we needed to be here, all three of us. I think us sharing a one-bedroom apartment and making music in that apartment and sleeping on the floor and playing shows and taking meetings here [was important]. There are a lot of things in this city that really shaped who we are today as a band.

Yes, we are from Oklahoma, Arkansas and Missouri, but I will tell you, nobody shows up to LANY shows like Los Angeles. It has been amazing… I feel like we’re kind of LA’s little band. People really take total ownership of us here and I can’t tell you how thankful I am for that. There are so many times people ask me, ‘What’s your favourite place to play in the world?’ And I feel pressured to say something outside of where I live but ultimately, this [LA] is my favourite place to play a LANY show.

– – –

– – –

When you first moved to LA you had a university degree but couldn’t get a job bagging groceries. How does it feel to look back at those formative years in LA now that you’ve made it?

I remember moving here, the band wasn’t a thing. I just took a total… I don’t know what it was, I just knew something inside my spirit, I knew that I was supposed to move to LA. And then once I did, like the heavens opened up and things just started falling into my lap. I can’t explain it, but it was just clearly where I was supposed to be.

My first month here was pretty tough because I didn’t have a job and I was applying to bag groceries at Trader Joe’s and wash dishes in the back at Whole Foods. I even applied to be a bank teller at Chase Bank. But I think during that time in California, no one was really trying to hire someone part-time. They wanted a full-time employee, 40 hours a week. That’s not why I moved to California to be a bank teller for 40 hours a week at Chase Bank. I eventually found ways to make money and it feels good. I mean, I don’t know. I guess if I can do it, anyone can do it.

Touring is a huge part of your job — you played 120-something shows last year — and your shows are a therapeutic experience for fans. Do you have anything planned to promote the release of ‘mama’s boy’?

I mean, we have a very grandiose idea, I think we’re working like almost around the clock trying to materialise [it] – no promises. This has been a crazy year and like you said, we play a lot of shows and we take our shows very seriously and we miss it a lot. We’re trying to come up with the way that we can provide that same spiritual experience through the Internet, on YouTube, which is super tough. But ultimately we’re just excited and hopeful for the future to get back out there and play some shows.

Last year you spent only six nights or so in your own bed because of touring. How was lockdown for you? Was it nice to recharge?

It was cute for like the first couple of weeks, ‘this is nice being home and all that’. I miss being on stage, being a real musician because it’s going to be tough. ‘mama’s boy’ comes out October 2nd and normally, you’d go and tour the hell out of that album. You’d go all around the world and you would see how the songs are connecting with people in their life and that brings such a sense of validation. It makes you realise why you do it and brings a lot of meaning to it and you feel like, ‘OK what you’re doing is worth it. It’s really, truly connecting with people’. And I don’t have that anymore, for the time being, so it’s going to be bizarre. I guess, we’re just going to start working on an album four.

Aesthetics are a huge part of LANY’s identity — roses for 2017’s self-titled album and moons for ‘Malibu Nights’ — and for ‘mama’s boy’ you’ve created a ton of limited edition merch of cowgirls and trucks for your fans. Did lockdown give you time to focus on building the visual side of ‘mama’s boy’?

I guess that is one thing that was kind of fun and the more positive side of quarantine was that it gave me some time to really build the visual side of the album out, which is something I’ve always done and always been passionate about, but oftentimes didn’t have, like, I didn’t have a ton of time to do it. And it’s been really cool.

Like, obviously, we’re just dropping so much merch, but that’s because it’s fun and we like it and it’s fun to draw up different pieces that reflect different songs and different moods of the album. I’ve always taken the visual side very seriously. I think anyone who’s a LANY fan knows that and appreciates that and it’s something that we’ll always keep as a part of our DNA of the band.

Lastly, in the spirit of ‘mama’s boy’, do you have any advice for your younger self?

My mom didn’t really give me a choice when it came to piano. It was not up for discussion, it was like, ‘You will do this.’ Because I was gonna say, just keep practising piano, that’s gonna pay off. So I don’t know. I guess like, I probably spent some years of my life trying to be somebody that I wasn’t. I spent some years in my life stressing the small stuff, wondering if I’d ever get here. And maybe that stress is what compelled me to work hard. I really don’t know.

We’re not the biggest band in the world but I am really proud of where we’re at and how far we’ve come and I want to continue forward. Just practice piano, keep working hard, stay diligent and I guess don’t give up. You know, I could have given up a long time and I’m glad I didn’t.

– – –

– – –

LANY will release ‘mama’s boy’ on October 2nd.

Words: Caroline Edwards

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

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In Conversation: Jeff Rosenstock

"The politics of equality, and sharing, and a communal way of doing things…"

If you don’t run in underground punk rock circles, Jeff Rosenstock may not be a name you’ve heard. If you do, then it certainly is. Over two decades, the Long Island native’s contribution to the scene – from his work with ska punk band The Arrogant Sons of Bitches, to the staunchly DIY Bomb the Music Industry!, to the four records under his own name, to his numerous side projects along the way – has been enormous, and his influence equally so.

“My introduction to punk came from hearing Green Day,” Rosenstock says. “That was a mind-breaking thing.”

And when he discovered local hardcore bands playing at Long Island DIY spots, it was an epiphany of its own. “That’s how I figured, ‘Oh wow, you could be from [small Long Island village] Lindenhurst and still have a band, this is crazy.’”

His own musical work has consistently been marked by an anti-capitalist, anti-music industry philosophy, and radical explorations of both the political and the emotional.

In May, after a move from New York to LA, Rosenstock surprise released his fourth solo album, ‘NO DREAM’. True to form, it’s full of anger and frustration with the state of the world, entwined with reflections on his own personal relationships and mental health.

Clash caught up with him about the record, punk, and politics.

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– – –

How does it feel to have the record out?

It was a nice week when the record came out. I felt happy to have it done. Then pretty quickly after that, the video of George Floyd being murdered by a police officer by stomping on his neck for eight and a half minutes came out, and shit got real over here. So I haven’t been thinking too much about the record except for when I’m talking to people about it.

What’s interesting is how ‘No Dream’ blends politics with the personal feelings that they invoke.

It just feels natural for me. I think there was a point before [second solo record] ‘Worry’, where it was a conscious decision to not speak entirely personally about things, but to think about the external forces that lead to anxiety and depression. I was getting kinda tired of talking about myself. You think, well, fuck, am I gonna write ten more records about how I’m a sad little boy? So I wanted to write about things that were kind of unignorable, the things that were on my mind non-stop.

Specifically with that record ‘Worry’, I was reacting to actually seeing videos of racist police brutality, instead of just reading about it. Or seeing the waves of gentrification sweep through Brooklyn, and seeing everybody get pushed further out and things get more expensive, and less people being able to afford to live there. And the general consumerism of society, and how capitalism turns the world against each other.

I think that you feel everything all at once. So when I’m writing, I try to be truthful to how I’m feeling. And I think that’s why it ends up being both of those things, because I don’t really go in and go like, ‘I’m gonna write this song about this’. It starts with seeds of ideas, and I try and just let my mind go to where it’s gonna go, and try and make sense of the whole thing.

Does writing about feelings facilitate a change in how you think about them?

Yeah. Writing about [personal issues] is usually me trying to process it and figure out how to get through it. A song like ‘Beauty of Breathing’, or ‘Leave It In the Sun’, a lot of that is like, write it all out on a page and be like, ‘How do I make sense of this and grow from it?’ I’m lucky to have found a positive, creative outlet for that stuff.

Recently you moved to LA from New York. Do you think that your surroundings have an impact on the art you make?

Definitely. I think the energy of New York City certainly pushed those records to be what they were. Even if it just comes down to the difference between listening to demos or trying to write while on the train, or while walking around, versus what it would be like if I was trying to do that while driving in LA. Even small stuff like that, whether you like it or not, you’re influenced by your surroundings. Whether that’s gonna make anything drastically different, I don’t know. I think it all just adds some ingredients to this thing that you’re making.

How have your experiences as a touring musician have fed into your worldview?

I’m lucky that I’ve gotten to see so many places and people in different places. I’m lucky that I can tell you firsthand that the stereotype about the Southern states in America, that everybody there thinks a certain way, is untrue.

Going around and meeting people everywhere, that’s the luckiest thing you get to do as a touring musician, and by meeting people everywhere you can see that there’s a lot of really good people everywhere who are struggling, and it gives you perspective. The more people you meet from the more different places, the more perspective you have.

What is the value of political art in the modern era, now politics unfold all day long on our phones?

I ask myself that a lot. Because political art has existed before we were in the situation that we’re currently in. So sometimes you feel like it might be a little bit hopeless to make anything, because shit’s still fucked up. But I think at the end of the day, I found out about radical politics – about feminism, about animal rights, about gender – just from listening to one Propagandhi record when I was a kid.

I think that in that there’s value, in spreading information about good things through it. I think also if you listen to reggae records from the 60s, 70s, 80s – to me that feels like empowering music for people who are fighting this fight. And I think that that still holds true now. Even if that music isn’t straight-up political all the time, it’s a commentary on the strife, it’s there to be something to sing as you’re going through this.

Or there’s political rap music. I think just even talking truthfully about what is happening is very valuable. That was true of Dr Dre having the song about the LA riots on ‘The Chronic’. When I heard that as a kid that was the first time I’d heard that perspective on it, because the media doesn’t push that perspective.

People like Noname right now, Kendrick Lamar, Denzel Curry, Run The Jewels, Killer Mike – we aren’t lacking rappers talking the real shit about what is going on right now. And I think that that’s important. At a time where there’s less and less you can trust about the media to get news, I think there’s value in getting it through music where you have one person’s unfiltered thought and perspective on what is happening.

Do you think there’s an inherent relationship between DIY music and politics?

I think that if you are in a band that is part of an underground scene, in a lot of ways that can be a political act in itself. Like, my old band Bomb The Music Industry!, the songs were not particularly political, but just through the actions of saying we’ll only play all-ages shows, we’ll only play shows that are ten bucks, we developed a community with other bands that were helping each other out.

That idea of helping each other out and building a scene is a political action, because you are doing that apart from the traditional way of doing things, which is playing bars, playing showcases, trying to get signed and get a manager. If you do it the other way, that is a political act.

The politics of equality, and sharing, and a communal way of doing things, is really ingrained in the path of doing shows in your own spaces, playing in a basement, having donation shows. Trying to build something that way, that serves as a foil to the industry’s way of doing things – that’s hand in hand with political action, because you are doing something that is against the capitalist system.

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– – –

‘NO DREAM’ is out now on Polyvinyl Records.

Words: Mia Hughes

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

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Try To Reach Me: Exploring Sofie’s ‘Cult Survivor’

Inside the multi-hyphenate's debut album…

Sofie (Sofie Fatouretchi) is a master of all trades.

Born to Iranian and Austrian parents in California, she spent many of her formative years as a musician travelling between the US and Vienna.

Between these various environments, she’s covered a lot of creative ground. Not only is she a classically-trained musician, playing the violin and viola since the delicate age of four, she is also self-taught on the piano. As a DJ and fervent record collector, she’s best known for her monthly show SOS Radio on NTS and her eclectic DJ sets. 

And just when you thought that might be enough for anyone, she’s also managed to somehow squeeze in some time to study for a teaching degree in psychology, philosophy and English in Vienna, where she currently lives.

Inspired by the experimental musical concoctions of Gary Wilson, and the soft dreaminess of ‘60s pop, Sofie’s latest creative venture via Stones Throw is her debut album, ‘Cult Survivor’. It’s a deliciously chaotic listen, entirely left of field and unpredictable.

Ahead of its release, we spoke about artistic influences, what motivates us to create art, and how classical music shapes us.

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– – –

So this is your debut album. You mentioned in a previous interview that you create music that you need for yourself. What was the motivation, or need, that stemmed from this album?

I didn’t write these songs with the intention of it becoming an album. I would just write down the songs I’d hear in my head, and eventually record them; it was only over an email exchange with Peanut Butter Wolf when he’d mentioned I have more than enough songs for an album that we narrowed down the tracks that would eventually become ‘Cult Survivor’.

You are a big fan of the experimental musician Gary Wilson and even drew a painting of him – ‘Gary Kissed A Mannequin’ – which hangs in your studio. He also features in the video for ‘Truth of the Matter’. What is it about his work that you wanted to capture in your own sound and how has he influenced your creative projects over the years?

I think Gary’s one of those rare, once-in-a-generation talents who’s so unique and uncompromising, there’s just something inherently true to himself, and I think that honesty which comes across in his lyricism and arrangement, as well as being unafraid to conform to a traditional standard has been most influential to me.

You’re classically trained as a musician and cite Serge Gainsbourg as an influence. He similarly had a close relationship to classical music from a young age and you can very clearly see the influence of composers such as Chopin and Brahms in his work. Has this been something you have also encountered in your practice and has it shaped how you approach your music?

I haven’t yet done the classic Gainsbourg re-sampling of chord structures that he does, like if you look at ‘Jane B’ it’s an exact transcription of Chopin’s Op. 28 No. 4 in E Minor, or ‘Baby Alone in Babylon’ is Sympony No. 3 in F Major by Brahms – but I’d like to for sure.

I think perhaps I have the hindrance of having that more traditional approach to music embedded in me, and it used to really annoy me but over the past couple of years I’ve stopped fighting it and have resigned myself to the utter devotion of classical music again.

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– – –

You moved back to Vienna after living in Los Angeles. I’ve read that you found this to initially be quite an isolating experience (though one that ultimately led to the songwriting for this album and forged the way for new creativity). How did you rebuild your music community and how did these spaces and experiences differ from those of LA?

I wouldn’t even necessarily say I have a music community in Vienna, I have some friends that are very dear to me.

Some are talented musicians in their own right, like Christian Hummer, who plays in the Austrian band Wanda, has his own band that’s worth checking out (Loewe Loewe), and plays bass in the loose formation that is my band the Cult Survivors, and who is the only other person to have contributed to my album musically, laying down drums, bass, and some guitar on a few tracks.

I’m reticent of having to compare the two cities. I’ve been able to do things here that I wouldn’t have been able to do in the US in general, just out of financial reasons I wouldn’t have been able to attend university, whereas here my education is free.

You are a master of many trades – a DJ, model, artist, musician, philosophy student – and often talk about how your various creative and intellectual projects feed into one another. Were there any particular themes or questions that evolved in the making of this album that you encountered in other projects first?

I think all art I make ends up inevitably being a combat, a sort of praxis, for me to deal with living life, and responding to experiences I have.

You mentioned in an interview once that you don’t tend to pursue a singular creative project, instead, working on multiple at the same time. Yet you also noted that this might be because of a “fear of failure”, or even a fear of yourself. Do you think that this album – which brings together lots of different parts of your creative identity into one finished product – challenges this fear in any way?

I guess you’re right! It’s been a while since that interview and that has definitely changed. Yes, I suppose it definitely does.

You are very open about your struggles with anxiety. How do your creative practices help with expressing or relieving this?

If I wouldn’t do them, I’d go crazy, I have. It’s very hard for me to not do anything. That being said, it’s important to have periods of stagnation, just for introspection’s sake.

What’s next?

Existing, bettering myself, continuing to learn, trying to not feel too disheartened about the world. I’ve been feeling the need to retreat more and more. I’ve been enjoying practicing etudes on the piano – I was classically trained on the violin, but not the piano, where I’m self-taught – I have a whole book of Kreutzer etudes I want to be able to play by the end of the summer.

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– – –

‘Cult Survivor’ is out now.

Words: Tess Davidson
Photo Credit: Manuel Haring

Join us on the ad-free creative social network Vero, as we get under the skin of global cultural happenings. Follow Clash Magazine as we skip merrily between clubs, concerts, interviews and photo shoots. Get backstage sneak peeks, exclusive content and access to Clash Live events and a true view into our world as the fun and games unfold.

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Nav – Overdose Lyrics

[Intro]
Oh, oh, oh
Oh, oh, oh (Yeah)

[Verse 1]
Tryna cover pain up buyin’ all these things
Lately I been feeling like it’s something missing (Oh, missing)
Lately it’s a problem every time the phone ring (Ring, ring)
Can’t help everybody, gotta do my own thing (Yeah)
Wish that when I die could change my batteries
Can’t believe I thought about a salary (Yeah)
Love my fans, they get everything outta me
But when I get depressed, no one can help me (Help me)
Don’t know why they hate me since I came on the scene
Don’t nobody know what it feel like to be me (Woah)
They be so naive, it’s easy fooling family
They think I’m happy just ’cause they see me on TV (Yeah)
Three years ago these bitches weren’t f*ckin’ with me (With me)
When she said she love me, yeah, it’s hard to believe
I think she just in love with who I’m destined to be (Woah, yeah)
If I wasn’t getting checks, nobody checking for me

[Chorus]
Xannies had me comatose (Yeah)
And it was all my problem’s fault (My problem’s fault)
Sometimes I hope I overdose (Overdose)
Just to get all of my problems solved
Gotta get my brothers out the cage (Cage)
And don’t care what it cost
All my brothers on the same page
Nobody takin’ orders, everyone a boss (Yeah)
I was sellin’ weed on foot (On foot)
I trapped the soles of my Jordans off
Somebody from my hood just got took
And I still feel like I should get involved
I ain’t tryna give into the pain
But it’s getting hard stayin’ strong
You wonder why I be takin’ all these things
I been stressed, but not for too long

[Verse 2]
Thumbs hurtin’, I been countin’ hunnids all day
Workin’ hard so I go hard when it’s time to play
With XO all your dreams come true, you know you gettin’ paid
Abel went and got a different car for everyday
Bitches love us so much, my assistant getting laid
Diamonds need psychologist, they going insane
My jeweller told me that he want like thirty for the chain
Told him send the invoice, I ain’t sweating over petty change
Happiness gon’ come and go, it balance with the pain
People know I’m smart, they always tryna pick my brain
Didn’t cheat, but I still cracked the code to the game
My DNA got “Go and get it” running through my veins
Celebrating every time I’m making big cake
We was smoking Backwoods full of roaches and shake
Now we buy another pound every seven days
Got everyone a visa, book a jet to LA

[Chorus]
Xannies had me comatose (Yeah)
And it was all my problem’s fault (My problem’s fault)
Sometimes I hope I overdose (Overdose)
Just to get all of my problems solved
Gotta get my brothers out the cage (Cage)
And don’t care what it cost
All my brothers on the same page
Nobody takin’ orders, everyone a boss (Yeah)
I was sellin’ weed on foot (On foot)
I trapped the soles of my Jordans off
Somebody from my hood just got took
And I still feel like I should get involved
I ain’t tryna give into the pain
But it’s getting hard stayin’ strong
You wonder why I be takin’ all these things
I been stressed, but not for too long

Youngboy Never Broke Again – Fire Stars Lyrics

[Intro]
(Felipe S, it’s Vade on the keys)

[Chorus]
So I guess you ain’t just think about me
I got feelings too
Why you cuttin’ up while these people ’round me?
I don’t know why that you do
I had no choice, I felt like I was pushed away
So I had to just go (Had to just go)
When we first met, never knew I would feel this way (I ain’t know)
And this you never ain’t know (But you know now)

[Verse 1]
And ever since that I was young you been on side me
No two-three, I don’t ride cheap
These hoes came, abducted me
Try hard just for to hide me
Ain’t think that you would f*ck with me, back then I was nobody
You was f*ckin’ on that dude and his brother split my brother body, ooh, ooh
It’s a cold story
I can’t believe the fact you never told me
We throw out summers, we don’t be outnumbered, me and my brothers roll deep
You ain’t no different from that bitch, that’s what exact you showed me

[Chorus]
So I guess you ain’t just think about me (So I guess you ain’t just think about me)
I got feelings too (I got feelings too)
Why you cuttin’ up while these people ’round me? (Why you cuttin’ up while these people ’round me?)

I don’t know why that you do (I don’t know why that you do)
I had no choice, I felt like I was pushed away (Ayy, ayy, ayy)
So I had to just go (Had to just go)
When we first met, never knew I would feel this way (I ain’t know)
And this you never ain’t know

[Verse 2]
I rock out on that stage and I think about our bond
Right now I’m up in LA, ask you and my son for to come
It’s been a whole half a day, I only got two response
I took the fall for my blames, thought I would die once I jumped
But I was flyin’ like a eagle
I let my soul do the singin’, leave the opps’ bodies in the road
Oh, oh, oh, probably seen how we get dressed up for my shows
Won’t let my pride ever get me vest up behind these hoes or my bros

[Chorus]
So I guess you ain’t just think about me
I got feelings too
Why you cuttin’ up while these people ’round me?
I don’t know why that you do
I had no choice, I felt like I was pushed away
So I had to just go
When we first met, never knew I would feel this way
And this you never ain’t know

Jay Critch – Gettin Da Cash Lyrics

[Intro]
Hey!
Getting the cash and shit
Doing the dash and shit
Hey, Yeah, Woah
The Lab Cook

[Chorus]
Aye, I be
Getting the cash and shit (getting the cash and shit)
Doing the dash and shit (doing the dash and shit)
How you loving on an average bitch (on an average bitch)
Bands flipping like magic bitch
She suck me up I might crash the whip (crash the whip)
I be riding with a ratchet while you pussy niggas giving fashion tips (riding round with a ratchet)
Pull up on ’em like what happened?
I got shooters hit, shoot and clap your bitch (pull up on ’em like what happened?)
I be cooling smoking Jattic
I got lotta pounds in the stash and shit (cooling smoking jattic)
I might hit it then I’ll pass it
I might fuck around, Steve Nash your bitch (fuck around, Steve Nash it)
I had to Balmain the fabric
Go get that new wraith do the dash in it (skrt skrt)

[Verse 1]
High like the attic
I’m in LA, need a pound of the cookie
She a fiend, she a addict
She got and old nigga, but that nigga a rookie (that nigga a rookie)
Spend some green on the fabric
Now she trying to pull up, trying to give me the good shit (trying to give me the good shit)
I’ma go ahead and smash it
Now a nigga bugging out over some pussy (over some pussy, hey!)
Aye, diamonds shining now they can’t overlook me
I had to go and make a plan for the guap (plan for the guap)
He be acting like the man, he not (he not)
She’s like what’s the flashing on your hand, the rocks (hand, the rocks)
Do the dash and she like where’s the top (where’s the top)
Mansion looking like the stairs don’t stop
Fuck the fashion I like bands a lot (bands a lot)

[Chorus]
Aye, I be (hey)
Getting the cash and shit (getting the cash and shit)
Doing the dash and shit (doing the dash and shit)
How you loving on an average bitch (on an average bitch)
Bands flipping like magic bitch
She suck me up I might crash the whip (crash the whip)
I be riding with a ratchet while you pussy niggas giving fashion tips (riding round with a ratchet)
Pull up on them like what happened?
I got shooters hit, shoot and clap your bitch (pull up on ’em like what happened?)
I be cooling smoking jattic
I got lotta pounds in the stash and shit (I be coolin smoking jattic)
I might hit it then I’ll pass it
I might fuck around, Steve Nash your bitch (fuck around, Steve Nash it)
I had to Balmain the fabric
Go get that new wraith do the dash in it

[Verse 2]
Aye, I might fuck around and pass it
Just like D. Will, Steve Nash and them (D. Will, Steve Nash and them)
Money on me like it’s tatted
I got way too much cash to spend (too much cash)
They be talking all that stattic
When we run down we catching them (we cathing them)
Damn shawty you a bad bitch
I’m trying to run down, what’s happening? (run down, what’s happening?)
Hey, young nigga getting the money, they mad at him
We was running off with them O’s by the school (O’s y the school)
Nigga I don’t owe nothing to you (owe nothing to you)
In the coupe, but I’m trying to get two (trying to get two)
Wake up and it’s payday (payday)
All my niggas with the stain gang (stain gang)
Hit a lick, gotta maintain yeah (gotta maintain, yeah)

[Chorus]
Aye, I be
Getting the cash and shit (cash and shit)
Doing the dash and shit (dash and shit)
How you loving on an average bitch (average bitch)
Bands flipping like magic bitch (magic)
She suck me up I might crash the whip (crash)
I be riding with a ratchet while you pussy niggas giving fashion tips (riding round with a ratchet)
Pull up on them like what happened?
I got shooters hit, shoot and clap your bitch (what happened?)
I be cooling smoking Jattic
I got lotta pounds in the stash and shit (smoking jattic)
I might hit it then I’ll pass it
I might fuck around, Steve Nash your bitch (fuck around, Steve Nash it)
I had to Balmain the fabric
Go get that new wraith do the dash in it (skrt)

070 Shake – Rewind lyrics

(feat. Lil Yachty)

[Verse 1: Lil Yachty]
You know you was wrong
And you know you fucked up when you left me
And you know that I’m headed so high
Your new guy, your new guy is going so down
Your new guy, you can’t bring around me
You can’t bring around us
Cause if you do, you found me
You know you was wrong
That’s why when you see me on your new TV
You change the channel
Cause you know you was wrong
And now you know that I’m gone
Oh, I’m gone, I’m so gone
And you wish
Oh yeah, you wish that you could return the time
You wish you could rewind
You wish you could rewind my mind

[Verse 2: 070 Shake]
My crew is so fucked up
Take it in and get your doses up
If they ask you, you don’t know of us
And they’ll go, they’ll go so hard for you
Pitty-pitty-pitty
She been asking why all around the city
Don’t be asking why, I ain’t even kidding
You know what you’ve done
Giving me your back cause I dont like the front
Now you got some offers I don’t need none
You wish, you wish you could rewind the time
LA come all of the lights
Smoke it all up til we dry
We become vamps in the night
Vamps in the night

Lil B – Billionare lyrics

[Verse 1]
The bitch look mad, you’re stressed out
I don’t give a shit, fuck her in the mouth
Bitch Mob niggas know what we about
Thank you BasedGod, fuck my bitch now
Everybody know the BasedGod fucked my bitch
I’m out in Detroit tryna hit a lick
Everybody know BasedGod fucked my bitch
Everybody scream “BasedGod fucked my bitch!”
[?] with that…
I own real estate, I own a… block nigga
BasedGod, I want a fat bitch
In Beverley Hills getting ratchet
Shout out to LA, them some real niggas
Yeah I still jerk and I kill niggas
I need a bad bitch right now
And tell that ho I need a hundred thou

[Chorus]
The BasedGod just fucked my bitch (Real nigga)
He just fucked my bitch
The BasedGod just fucked my bitch (Real nigga)
He just fucked my bitch
The BasedGod just fucked my bitch (Real nigga)
He just fucked my bitch
The BasedGod done fucked my bitch (Real nigga)
He just fucked my bitch

[Verse 2]
And I buy hoes
Hundred thousand for a show, that’s just how it goes
Fuck my bitch BasedGod, I’m fat now
Pretty boys in this bitch, I’m getting racks now
I’m a OG, the whole 5’9″
What that mean bitch, tall as a glass of wine
Did you drink or did you get drunk?
Nigga do I look a fucking punk?
Do I look like I got jumped?
All these bitches look like Taylor Swift
Nigga play with me, get the whole K clip
Pulled out the ladder then I made him strip
Shout out to Richmond on that gangster shit
Shout out to Berkley on that gangster shit
Shout out San Francisco on that gangster shit
Wordwide Lil B, I’m on the map bitch

[Chorus]
The BasedGod just fucked my bitch (Real nigga)
He just fucked my bitch
The BasedGod just fucked my bitch (Real nigga)
He just fucked my bitch
The BasedGod just fucked my bitch (Real nigga)
He just fucked my bitch
The BasedGod done fucked my bitch (Real nigga)
He just fucked my bitch

[Interlude]
Ay man we coming for these billions like I said mane. Hundred thousand for a beat. Hundred thousand for a feature. You feel me. Hundred thousand for a show. They don’t believe me? Go check, Ayy man tell ’em, we coming for the billions. Ayy man only billions man. Like I said man it’s your boy Lil B, we in this thang billionaire type

[Outro]
Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions
[?] Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. Billions. [?]

Lil Baby – Leaked Lyrics

[Intro]
Yeah, yeah
We ain’t talked in like a week straight
I been all on the interstate
I been tryna go and get this cake
Yeah, yeah

[Chorus]
She in her feelings because we ain’t speaking, but she don’t even call a nigga
She gon’ get nasty whenever I see her, she tryna suck all a nigga
Heard you been doing business with the opps, fuck you and all them niggas
We gon’ keep riding around with them Glocks until we find them niggas

[Verse 1]
They thinkin’ I lost it, remind them niggas
I can get flyer than niggas
Hundred thousand in a Gucci bookbag
They thinkin’ I signed them niggas
I leveled my life up, this Rollie I got on don’t tick tock
Still on that bullshit, if you pull up on me, let the stick talk
I’m in LA with the vibes, Dane in the cut getting high
She tryna get in my ride, she tryna turn up tonight, yeah
I was running up cash, yeah, I had ran up a bag
And they started gettin’ mad, yeah
But I didn’t get mad, I just kept getting cash, yeah
And I’m in my bag, yeah, now I’m in my bag, yeah
She wanna get with me, she know that I’m sticky, but I’m in my bag now
She wasn’t fucking with me, she didn’t come around, she wishing she had now
And I’m in my bag now
I’m in the bag, the Goyard to be exact
Three hundred racks inside it, and that ain’t no cap
I could’ve bought a Wraith today, yeah yeah
I ran it up, they supposed to hate
I’m digging this lifestyle
Water drippin’ on me like I’m a faucet
The crew with me right now
You can play, just proceed with caution
I popped the wrong pill, now I’m nauseous
I need to get off this drank, it’s a problem
I took a Tesla and landed on Mars​
Lord please wake me up tomorrow

[Chorus]
She in her feelings because we ain’t speaking, but she don’t even call a nigga
She gon’ get nasty whenever I see her, she tryna suck all a nigga
Heard you been doing business with the opps, fuck you and all them niggas
We gon’ keep riding around with them Glocks until we find them niggas
She in her feelings because we ain’t speaking, but she don’t even call a nigga
She gon’ get nasty whenever I see her, she tryna suck all a nigga
Heard you been doing business with the opps, fuck you and all them niggas
We gon’ keep riding around with them Glocks until we find them niggas

[Verse 2]
They know they can’t beat me, so they tryna leave me
And she tryna leave me, but I ain’t gon’ let her
Diamonds on Fiji, I’m running with QC
And Reebok endorse me, went up a new level
I’m loving this lifestyle and niggas wanna be me
I know they won’t catch up, but I ain’t gon’ let ’em
As soon as the money get up to a million, put it in the ground and then buy a new shovel
How you gon’ be in yo feelings when I’m in my feelings?
We both can’t be in our feelings
I ain’t gon’ lie when you thinkin’ I did it, I did it
It’s something ’bout your intuition
I’m telling you no lies, I’m tired of seeing you cry
Come here girl, let me wipe your eye
Everything gon’ be alright

[Chorus]
She in her feelings because we ain’t speaking, but she don’t even call a nigga
She gon’ get nasty whenever I see her, she tryna suck all a nigga
Heard you been doing business with the opps, fuck you and all them niggas
We gon’ keep riding around with them Glocks until we find them niggas
She in her feelings because we ain’t speaking, but she don’t even call a nigga
She gon’ get nasty whenever I see her, she tryna suck all a nigga
Heard you been doing business with the opps, fuck you and all them niggas
We gon’ keep riding around with them Glocks until we find them niggas

Charlie Puth – Attention lyrics

[Intro]
Woah-oah, hm-hmm

[Verse 1]
You’ve been runnin’ ’round, runnin’ ’round, runnin’ ’round
Throwin’ that dirt all on my name
‘Cause you knew that I, knew that I, knew that I’d
Call you up
You’ve been going ’round, going ’round, going ’round
Every party in LA
‘Cause you knew that I, knew that I, knew that I’d
Be at one, oh

[Pre-Chorus]
I know that dress is karma, perfume regret
You got me thinking ’bout when you were mine, ooh
And now I’m all up on ya, what you expect?
But you’re not coming home with me tonight

[Chorus]
You just want attention, you don’t want my heart
Maybe you just hate the thought of me with someone new
Yeah, you just want attention, I knew from the start
You’re just making sure I’m never gettin’ over you, oh

[Verse 2]
You’ve been runnin’ ’round, runnin’ ’round, runnin’ ’round
Throwin’ that dirt all on my name
‘Cause you knew that I, knew that I, knew that I’d
Call you up
Baby, now that we’re, now that we’re, now that we’re
Right here standin’ face to face
You already know, ‘ready know, ‘ready know
That you won, oh

[Pre-Chorus]
I know that dress is karma, perfume regret
You got me thinking ’bout when you were mine, ooh
And now I’m all up on ya, what you expect? (oh baby)
But you’re not coming home with me tonight, oh no

[Chorus]
You just want attention, you don’t want my heart
Maybe you just hate the thought of me with someone new (someone new)
Yeah, you just want attention (oh), I knew from the start (the start)
You’re just making sure I’m never gettin’ over you (over you), oh

[Bridge]
What are you doin’ to me?
What are you doin’, huh? (What are you doin’?)
What are you doin’ to me?
What are you doin’, huh? (What are you doin’?)
What are you doin’ to me?
What are you doin’, huh? (What are you doin’?)
What are you doin’ to me?
What are you doin’, huh?

[Pre-Chorus]
I know that dress is karma, perfume regret
You got me thinking ’bout when you were mine
And now I’m all up on ya, what you expect?
But you’re not coming home with me tonight

[Chorus]
You just want attention, you don’t want my heart
Maybe you just hate the thought of me with someone new
Yeah, you just want attention, I knew from the start
You’re just making sure I’m never gettin’ over you, oh

[Bridge]
What are you doin’ to me? (Hey)
What are you doin’, huh? (What are you doin’, love?)
What are you doin’ to me?
What are you doin’, huh? (Yeah, you just want attention)
What are you doin’ to me? (I knew from the start)
What are you doin’ huh? (You’re just making sure I’m never gettin’ over you)
What are you doin’ to me?
What are you doin’, huh?

State Champs – Crystal Ball lyrics

[Verse 1]
When it all began, was it time that we asked for?
Or was it anything to feel complete forevermore?
Wanna see myself like I used to back then
But every time I turn around I’m in LA again
Don’t take this for granted, that’s not how we planned it
I know, we’re tearing these pages
Before we get to watch it unfold

[Pre-Chorus]
Yeah, it’s a long road
You think your time is running out
Gotta be looking up when it goes down

[Chorus]
Know that I’ve seen better days
Turned and looked the other way
But with you I can’t see past the crystal ball
(To all we ever wanted)
I can’t fight this disconnection
You can see my imperfection
Still, at least I’ll never be ungrateful

[Verse 2]
Opposite of here there’s a bold faced enemy
But sure enough, when I look up
It’s myself staring back at me
I’m not saying there’s a reason
Close it up and leave it, even though
We’d still be tearing the pages
Before the rest of it changes
So let’s go

[Pre-Chorus]
‘Cause it’s a long road
You think your time is wearing thin
Remember to breathe out when you dive in

[Bridge]
I think my nights are my days
I can feel you slipping away
So savor every moment
Don’t you stay in disarray
I think my nights are my days
I can feel you slipping away
Can we savor every moment
Find ourselves along the way
I confess

[Pre-Chorus 2]
That it’s a long road
You think your time is running out
Gotta be looking up when it goes down

[Chorus]
Know that I’ve seen better days
Turned and looked the other way
But with you I can’t see past the crystal ball
(To all we ever wanted)
I can’t fight this disconnection
You can see my imperfection
Still, at least I’ll never be ungrateful

Don Broco – Come Out To LA lyrics

Come out to LA
Come out to LA
Write a few songs
Maybe you could stay
Stay in Hollywood
Stay in Hollywood
Stay in Hollywood

Come out to LA
Come out to LA
There’s people you should meet
There’s hands you should shake
Down in Hollywood now
Down in Hollywood
Down in Hollywood

It’s my call to the faithful
You’re not happy, happy, happy
Call to the faithful
If you’re willing and able
Just be happy, happy, happy
I’m not happy, happy, happy

Come out to LA
Come out to LA
Play a few shows
Maybe you could break
Down in Hollywood
Down in Hollywood
Down in Hollywood

Come out to LA
Come out to LA
There’s places to be seen
There’s friends you should make
Down in Hollywood now
Down in Hollywood
Down in Hollywood

And I can’t live without it no more
No I can’t be without it O Lord
Praying that my feet don’t fail me now
Keep the faith, keep the faith
I’m so full of doubt
Keep the faith, keep the faith

Come out to LA
Come out to LA
Play a few shows
Maybe you could break
Down in Hollywood
Down in Hollywood
Down in Hollywood

Come out to LA
Come out to LA
There’s places to be seen
There’s friends you should make
Here in Hollywood
Right here in Hollywood
Here in Hollywood

I can’t live without it no more
No I can’t be without it O Lord
Praying that my feet don’t fail me now
Keep the faith, keep the faith
I’m so full of doubt
Keep the faith, keep the faith

No I’m not a believer no more
When all I hear is silence O Lord
Praying I’m not lost
I’m not a believer
Keep the faith, Keep the faith
Please let me be found
Keep the faith, Keep the faith

Come out to LA
Things are going great
Sun is always shining
Everyone’s excited
You’re in Hollywood now
You’re in Hollywood

Come out to LA
Hoping that you make it
If you don’t you’ll do your best to fake it
You’re in Hollywood now
You’re in Hollywood

It’s my call to the faithful
We’re not happy, happy, happy
Call to the faithful
In this city of angels
Can’t be happy, happy, happy
I’m not happy, happy, happy

Come out to LA
No I’m not a believer
Keep the faith, keep the faith
Please let me be found
Keep the faith, keep the faith

Come out to LA
Come out to LA
Write a few songs
Maybe you could stay
Stay in Hollywood
Stay in Hollywood
Stay in Hollywood

Come out to LA
Come out to LA
There’s people you should meet
There’s hands you should shake
Down in Hollywood now
Down in Hollywood
Down in Hollywood

Come out to LA
Come out to LA
Write a few songs
Maybe you could stay
Stay in Hollywood
Stay in Hollywood
Stay in Hollywood

Camila Cabello – OMG (feat. Quavo) lyrics

[Verse 1: Camila Cabello]
Baby, what’cha say?
I ain’t here to, I ain’t here to conversate
Baby, I don’t play
From Miami, causin’ trouble in LA
Rowdy, Tennessee
If I don’t send for you, best not come for me
Jordan, twenty-three
Guarantee you’re gonna wanna leave with me

[Pre-Chorus: Camila Cabello]
I got that li-li-li-like

[Chorus: Camila Cabello]
Pull up, pull up, pull up straight from Tokyo
You cannot believe it when we come through
Woo, my God, you look good today
Woo, my God, you look good today, yeah
Back up, back up, back up, do it slow-mo’
When she drop, it bounce back like a yo-yo
Woo, my God, you look good today
You look good today, yeah
Oh my God

[Post-Chorus: Quavo & Camila Cabello]
Oh my God, yeah (uh)
Oh my God, you’re awesome (oh my God)
Oh my God, yeah (uh)
Oh my God, you’re awesome (oh my God)
Oh my God, yeah (uh)
Oh my God, you’re awesome (oh my God)
Oh my God, yeah

[Verse 2: Camila Cabello]
Ice cold like my drink
Lose your concentration when you take a sip, yeah (sip it, sip it)
Cyclone, make it spin
‘Cause all I, all I, all I, all I do is win

[Bridge: Camila Cabello]
Yeah, I’m cut like a diamond, I’m cold
4 A.M., bloom like a rose
Girls like the summer, we’re gold, uh

[Pre-Chorus: Camila Cabello]
We got that li-li-li-like

[Chorus: Camila Cabello]
Pull up, pull up, pull up straight from Tokyo
You cannot believe it when we come through (yeah, yeah)
Woo, my God, you look good today
Woo, my God, you look good today, yeah
Back up, back up, back up, do it slow-mo’
When she drop, it bounce back like a yo-yo
Woo, my God (my God), you look good today
You look good today, yeah
Oh my God

[Post-Chorus: Quavo & Camila Cabello]
Oh my God, yeah (uh)
Oh my God, you’re awesome (oh my God)
Oh my God, yeah (uh)
Oh my God, you’re awesome (oh my God)
Oh my God, yeah (uh)
Oh my God, you’re awesome (oh my God)
Oh my God, yeah

[Verse 3: Quavo & Camila Cabello]
Oh my God, she’s so right, though (you know you’re so right)
Me and you, that’s a iso
Waist so small, look like lipo (li-lipo)
Moonwalk, my diamonds Michael (Mi-Michael)
She’s so fine, I call my best man (brr)
Ain’t no rings on her left hand (no rings)
I had a dream I was in quicksand (dream)
Then I woke up with the best plans (yeah)
Oh my God, yeah (uh)
Oh my God, you’re awesome (yeah)
Smoke more green than Boston (green)
I make a play and call ’em (yeah)
Oh my God, she flossin’ (ooh)
On the cover of magazines
I’mma crown the queen (queen)
Bad and boujee, thick and pretty
I’m givin’ her wet dreams (ooh, yeah)
I’m the main reason why her friends like me (hey)
Havin’ her mad at me, tackle me like I’m an athlete (ooh, yeah)

[Chorus: Camila Cabello]
Pull up, pull up, pull up straight from Tokyo
You cannot believe it when we come through
Woo, my God, you look good today
Woo, my God, you look good today, yeah
Back up, back up, back up, do it slow-mo’
When she drop, it bounce back like a yo-yo
Woo, my God, you look good today
You look good today, yeah
Oh my God

Bobby Brackins – Tap In (feat. PnB Rock)

[Intro: PnB Rock & Bobby Brackins]
Hit me up and tap in tap, in
Hit me up and tap in ya
Hit me up and tap in

[Verse: PnB Rock]
With a little baby
She be going brazy
She ride me like a Mercedes
[?]
She just wanna taste me
She [?]
[?]
[?] other bitches they so basic
She say [?]
She just wanna race me
I say girl you crazy
This money all I’m chasing
[?] to the bank now
You should see my statements
[?]
You should see my [?]
[?]
[?] on my wrist
She sippin bubbly I’mma sip fine
Hit me up and tap in when when you in my town

[Chorus: PnB Rock & Bobby Brackins]
Hit me up and tap in
Hit me up and tap in tap, in
Hit me up and tap in
Hit me up and tap in
Hit me up and tap in
Hit me up and tap in tap, in
Hit me up and tap in
Hit me up and tap in

[Verse: Bobby Brackins]
Don’t forget to hear my phone now
You be the one I hold down
Rolling up that [?]
The money ought to slow down
Ye I got [?] next to your city
Whenever you in Cali
Come and fuck with me I be down in LA
She know I’m from the bay
She giving good brain
Cos she graduated [?]
[?] getting cake now
Automatic pay
[?]
[?] to the bank

Pell – Chirpin’

I don’t need much but I want it all, answer my phone when the money call
I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’ I’m chirpin’ I’m chirpin’
Need to get off of the internet, searching for something more intimate
I’m closing up all of the curtains, and hiding way under the surface

I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’, Bitch
I’m chirpin’ I’m chirpin’

I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’, Bitch
I’m chirpin’ I’m chirpin’

I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’, Bitch
I’m chirpin’ I’m chirpin’

I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’, Bitch
I’m chirpin’ I’m chirpin’

Always been down to the asphalt
Head in the clouds when I blast off
Riding round bumping that future, stealing yo girl with my mask off
If was intentional, I was just chirpin’, she hit me up
I was just giving her twitter hugs
But flirting in person way different love
Play with her heart like it’s candy crush
She wanna star and I wanna fuck
Doing commercials and getting funds
In my green bubble I Samsung
I sleep when I’m dead
Rest when I’m tired
So many shows I should host a late night
I sleep when I’m dead
Rest when I’m tired
So many shows I should host a late night
LA tonight
Nola tomorrow
I been on ghost so I ain’t see you called

I don’t need much but I want it all, answer my phone when the money call
I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’ I’m chirpin’ I’m chirpin’
Need to get off of the internet, searching for something more intimate
I’m closing up all of the curtains, and hiding way under the surface

I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’, Bitch
I’m chirpin’ I’m chirpin’
I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’, Bitch
I’m chirpin’ I’m chirpin’

I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’, Bitch
I’m chirpin’ I’m chirpin’

I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’, Bitch
I’m chirpin’ I’m chirpin’

Always been down to the asphalt
Got a catalog, that you can’t ignore
Spit a cannon balls, when i rattle off
Tell a dick rider pull the saddle off
Might puff once albuterol
I need a moment to breathe
Long as we got trump in office
I done forgot what is sleep
I done forgot what is peace
Shame we gotta plea
Telling me that we got freedom
But i ain’t forgot what it mean
I don’t need much but i do deserve it
For i spit a sentence they all know the verdict
Hit the liquor store fuck a bottle service
I don’t need the club money got me nervous
I’ll splurge when I’m dead
Save while I live
Grind overnight and retain ownership
LA Midnight
NY at 10
I been on ghost so excuse
If i dip

I don’t need much but I want it all, answer my phone when the money call
I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’ I’m chirpin’ I’m chirpin’
Need to get off of the internet, searching for something more intimate
I’m closing up all of the curtains, and hiding way under the surface

I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’, Bitch
I’m chirpin’ I’m chirpin’
I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’, Bitch
I’m chirpin’ I’m chirpin’

I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’, Bitch
I’m chirpin’ I’m chirpin’

I’m chirpin’ I’m chirpin’ I’m chirpin’
I’m chirpin’, Bitch
I’m chirpin’ I’m chirpin’

Gryffin – Nobody Compares To You (feat. Katie Pearlman) (Lyric Video)

[Verse 1]
Thought I saw you at our bar last night
Hid in the bathroom, I just couldn’t stay high

[Pre-Chorus]
‘Cause I took so much time to reset my life
But in just one look, I’m back
Forget that I could have any one I like
But now all I remember is what we had

[Chorus]
Nobody, nobody, nobody compares to you
Somebody, somebody please help me get over you
‘Cause it feels like I’ve been wasting my time
In all the wrong places, on all the wrong faces
Nobody compares to you
Nobody compares to you
Nobody compares to you

[Post-Chorus]
Nobody compares to you
Nobody compares to you

[Verse 2]
What should I do?
Maybe I’ll move away
Start somewhere new, I’ll let you have LA

[Pre-Chorus]
‘Cause I took so much time to reset my life
But in just one look, I’m back
Forget that I could have any one I like
But now all I remember is what we had

[Chorus]
Nobody, nobody, nobody compares to you
Somebody, somebody please help me get over you
‘Cause it feels like I’ve been wasting my time
In all the wrong places, on all the wrong faces
Nobody compares to you
Nobody compares to you
Nobody compares to you

[Post-Chorus]
Nobody compares to you
Nobody compares to you

[Bridge]
You’re once in a lifetime
Better than New Year’s at midnight
Wanna grab on and hold tight
And I won’t let go
I hope you can hear this
‘Cause it’s your face that I miss
Your lips I wanna kiss

[Chorus]
Nobody, nobody, nobody compares to you
Somebody, somebody please help me get over you
‘Cause it feels like I’ve been wasting my time
In all the wrong places, on all the wrong faces
Nobody compares to you

[Post-Chorus]
Nobody compares to you
Nobody, nobody, nobody compares to you

Electric Starlet – Speed Lyrics

ELECTRIC STARLET
Speed Lyrics

Speed, speedin
Speed, speedin

I just need to get away, its to wild in the streets of LA,
Took to long and I couldn’t wait, it’s a long road when you’re running
Away from home.
I know I promised that I would stay, but its a long road and Im going, I’m
Going, gone.

Foot on the gas; hold it down, f**k the world, grip the wheel, on the edge,
Flip a bitch, switch gears, switch gears
Foot on the gas; hold it down, f**k the world, grip the wheel, on the edge,
Flip a bitch, switch the gears, switch the gears

Drive, ’til i can’t see the horizon, I’m alive, drive
I’ll let the wind blow in my hair, I take the high road anywhere, just
Drive;
’til I can’t see the horizon;

I just need to get away, ain’t got time, get the f**k out my way, I need
Space to accelerate , now I see an open road, imma charge that shit alone
Come on, let’s go
I know you really needed me to stay, but it’s an open road and Im going,
I’m going gone;

Foot on the gas; hold it down, f**k the world, grip the wheel, on the edge,
Flip a bitch, switch gears, switch gears
Foot on the gas; hold it down, f**k the world, grip the wheel, on the edge,
Flip a bitch, switch the gears, switch the gears

Drive, ’til i can’t see the horizon, I’m alive, drive
I’ll let the wind blow in my hair, I take the high road anywhere, just
Drive;
’til I can’t see the horizon;

Camila Cambello – OMG (oh My God) lyrics

Baby, what’cha say?
I ain’t here to, I ain’t here to conversate
Baby, I don’t play
From Miami causing trouble in LA
Rowdy Tennessee,
If I ask them for you, best not come for me
Jordan, 23
Guarantee you’re gonna wanna leave with me

I got that la la la la
Pull up, pull up, pull up straight from Tokyo
You cannot believe it when we come through
(Oh) my God, you look good today
(Oh) my God, you look good today
Back up, back up, back up do it slow-mo
Yeah she drop that, bounce back like a yo-yo
(Oh) my God, you look good today
You look good today
Oh my God

Oh my God
Oh my God
Oh my God

Ice cold, like my drink
Lose your concentration when you take a sip, yeah
Cyclone, make it spin
Cause all I, all I, all I do is win
Yeah I’m cut like a diamond, I’m coal
Follow you I’ll bloom like a rose,
Cross like the sun when we go

Oooh
We got that la la la la
Pull up, pull up, pull up straight from Tokyo
You cannot believe it when we come through
(Oh) my God, you look good today
(Oh) my God, you look good today
Back up, back up, back up do it slow-mo
Yeah she drop that, bounce back like a yo-yo
(Oh) my God, you look good today
You look good today
Oh my God

Oh my God
Oh my God
Oh my God

We got that la la la la
Pull up, pull up, pull up straight from Tokyo
You cannot believe it when we come through
(Oh) my God, you look good today
(Oh) my God, you look good today
Back up, back up, back up do it slow-mo
Yeah she drop that, bounce back like a yo-yo
(Oh) my God, you look good today
You look good today
Oh my God

Charlie Puth – Attention (Acoustic)

[Verse 1]
You’ve been runnin’ round, runnin’ round, runnin’ round Throwin’ that dirt all on my name
‘Cause you knew that I, knew that I, knew that I’d call you up
You’ve been going round, going round, going round
Every party in LA
‘Cause you knew that I, knew that I, knew that I’d be at one
Ohh

[Pre-Chorus]
I know that dress is karma, perfume regret
You got me thinking ’bout when you were mine (Ohh)
And now I’m all up on ya, what you expect
But you’re not coming home with me tonight

[Chorus]
You just want attention
You don’t want my heart
Maybe you just hate the thought of me with someone new
Yeah, you just want attention
I knew from the start
You’re just making sure I’m never gettin’ over you (Ohh)

[Verse 2]
You’ve been runnin’ round, runnin’ round, runnin’ round Throwing that dirt all on my name
‘Cause you knew that I, knew that I, knew that I’d call you up
Baby, now that we’re, now that we’re, now that we’re
Right here standing face to face
You already know, already know, already know that you won
Ohh

[Pre-Chorus]
I know that dress is karma (dress is karma), perfume regret
You got me thinking ’bout when you were mine
(You got me thinking ’bout when you were mine)
And now I’m all up on ya (all up on ya), what you expect
(Oh baby)
But you’re not coming home with me tonight (Oh no)

[Chorus]
You just want attention
You don’t want my heart
Maybe you just hate the thought of me with someone new
Yeah, you just want attention
I knew from the start
You’re just making sure I’m never gettin’ over you
Ohh

[Refrain]
What are you doin’ to me?
What are you doin’, huh? (What are you doin’?)
What are you doin’ to me?
What are you doin’, huh? (What are you doin’?)
What are you doin’ to me?
What are you doin’, huh? (What are you doin’?)
What are you doin’ to me?
What are you doin’, huh?

[Pre-Chorus]
I know that dress is karma, perfume regret
You got me thinking ’bout when you were mine
And now I’m all up on ya, what you expect
But you’re not coming home with me tonight

[Chorus]
You just want attention
You don’t want my heart
Maybe you just hate the thought of me with someone new
Yeah, you just want attention
I knew from the start
You’re just making sure I’m never gettin’ over you
(Over you)

[Outro]
What are you doin’ to me? (Heyy)
What are you doin’, huh? (What are you doin’, what?)
What are you doin’ to me?
What are you doin’, huh? (Yeah, you just want attention)
What are you doin’ to me? (I knew from the start)
What are you doin’ huh?
(You’re just making sure I’m never gettin’ over you)
What are you doin’ to me?
What are you doin’, huh?

Omega Crosby – Money lyrics

[Chorus]
They hate it when you shine, yea
They don’t wanna see you grind, yea
All these girls wanna be mine, yea
But I ain’t got time, yea

Get money, get money oh
Get money, get money oh
Get money, get money oh
Get money, get money oh

[Verse 1]
High as the moon, fly as a kite
She want the pipe but she ain’t the type
I love these checks, the money’s my wife
Niggas be hatin, but that ain’t my life

I go ham on em, ham on em
They hate it when I stand on em, stand on em
They said I put that flame on em, flame on em
They sayin I done changed on em, changed on em

Nooo, same nigga same clique tho
Get brilla, fuck bitches, takin pics tho
I’m trappin out the bake they don’t get it tho
I see a real thick chica I’ma getta tho

They say I’m hella raw, well I’m from stanislaus
They put a roof over my city I’m bout to tear it off
I’m in that first class poppin bottles eatin toast
If you ain’t gone follow why you likin all my posts

[Chorus]
They hate it when you shine, yea
They don’t wanna see you grind, yea
All these girls wanna be mine, yea
But I ain’t got time, yea

Get money, get money oh
Get money, get money oh
Get money, get money oh
Get money, get money oh

[Verse 2]
Man I’m on that no sleep, eyes red hella gone
The models in my DM say I’m hella on, kill em all
I just wanna gold faced rollie wit some diamonds
Lately I been really in them streets like a sidewalk

If come to a color I be chasin green
I put numbers on the board they ain’t ever seen
Goldie said if you wanna shmack do the footwork
So I used my brain bullets showed em how that book work

At the age of thirteen I was sellin dope
At the age of fourteen I got my first note
At the age of twenty one I was sellin hope
Ray Charles I can’t see myself bein broke

I live like erryday my birthday
I really drink champagne when im thirstay
I flex on these hoes you can call it fitness
So fresh I put plug it in outta business

[Chorus]
They hate it when you shine, yea
They don’t wanna see you grind, yea
All these girls wanna be mine, yea
But I ain’t got time, yea

Get money, get money oh
Get money, get money oh
Get money, get money oh
Get money, get money oh

[Verse 3]
Sky is the limit, green light they can’t stop me
Errybody clones, everything I do they copy
Shoutout to my girl lay, I’m flyin out to LA
Celebrate at all times but we dont do holiday

What if we, what if we, shut up on the down play
Why you bein a negative Nancy no Holloway
I swear I dont know these hoes it must be a thursday
I’m dope spittin flames I treat beats like an ashtray

[Chorus]
They hate it when you shine, yea
They don’t wanna see you grind, yea
All these girls wanna be mine, yea
But I ain’t got time, yea

Get money, get money oh
Get money, get money oh
Get money, get money oh
Get money, get money oh

Alt-J – Deadcrush (Relaxer Album)

[Verse 1]
Extraordinarily pretty teeth
Beauty lingers out of reach
You’re my DC oh Lee, oh
Man Ray went cray cray over you
Capturing but never captured
You’re my DC oh Lee, oh

[Chorus]
Swim low
In the back, dry in the night
Sample
Put it there, get the money
In the back of a Volvo car
Sample
Hold over
Pay up, sign up LA

[Verse 2]
Anna Bolina
Maid of honour
Not your sister, fearful temper
You’re my DC oh Anna, oh
Unknown artist
Took your likeness
Henry Tudor left you lifeless
You’re my DC oh Anna, oh

[Interlude 1]
Keepa, keepa, keepa, keep me damn down
Let it low
Let me know where you go
Papa, papa, papa
Get me down
Deep, deep down
Pablo, let me know

[Interlude 2]
If you don’t have the ace of hearts
My dear, you’re a lost man
Falcon for you, Anna, from the left arm of the falconer
Anna, Anna, Anna, Anna L’Arlésienne

[Chorus]
Swim low
In the back, dry in the night
Sample
Put it there, get the money
In the back of a Volvo car
Sample
Hold over
Pay up, sign up LA

[Chorus]
Swim low
In the back, dry in the night
Sample
Put it there, get the money
In the back of a Volvo car
Sample
Hold over
Pay up, sign up LA

The Maine – Black Butterflies And Deja Vu (Lovely Little Lonely Album)

[Verse 1]
What would you say if you could say
Everything you needed to
To the one, you needed to?
You flash like a setting sun
You come around, I come undone
Can’t find the sound under my tongue
When I look at you

[Chorus]
I lose my voice when I look at you
Can’t make a noise though I’m trying to
Tell you all the right words
Waiting on the right words
Just another lovesick afternoon
Black butterflies and déjà vu
Hoping for the right words
Waiting for the right words

[Verse 2]
Just yesterday north of LA
I couldn’t help but think of you
Every time I think of you
You crash like a rolling wave
You come around I lose my brain
Can’t find the sound under my tongue
When I look at you

[Chorus]
I lose my voice when I look at you
Can’t make a noise though I’m trying to
Tell you all the right words
Waiting on the right words
Just another lovesick afternoon
Black butterflies and déjà vu
Hoping for the right words
Waiting for the right words

[Bridge]
I’ve been searching for the right words
But I can’t even find an echo
Don’t you let go
There are only twenty
Six letters I can use
Just to tell you I won’t let go
Don’t you let go

[Chorus]
I lose my voice when I look at you
Can’t make a noise though I’m trying to
Tell you all the right words
Waiting on the right words
Just another lovesick afternoon
Black butterflies and déjà vu
Hoping for the right words
Waiting for the right words

[Chorus]
I lose my voice when I look at you
Can’t make a noise though I’m trying to
Tell you all the right words
Waiting on the right words
Just another lovesick afternoon
Black butterflies and déjà vu
Hoping for the right words
Waiting for the right words

Cousin Stizz – Headlock (feat. Offset)

[Chorus: Cousin Stizz]
Yeah, I put the drank in the headlock
Tryna cross me, boy you better not
Four until four, almost fell out
Doing they can’t, ’cause it’s deadlock
Four until four, almost fell out
Yeah, I put the drank in the headlock
Tryna cross me, boy you better not
Four until four, almost fell out

[Verse 1: Cousin Stizz]
Yeah, almost fell out
How did I know you would sell out?
I hit the block and I sellout
Plug in LA, put the mail out
Niggas be waitin’ for handouts
I roll the blunts size of dreadlocks
Most of my sneakers is dead-stock
I fuck the bitch ’til the bed rocks
I will not sell from the crib though
No service there like a dead spot
I don’t eat pig ’cause it smell cop
I been this way since the sandbox
And I must live what I cannot
Impossible? Why the hell not
I’m more lucky than shamrock
All my dogs cold, and the lead hot

[Chorus: Cousin Stizz]
I put the drank in the headlock
Tryna cross me, boy you better not
Four until four, almost fell out
Doing they can’t, ’cause it’s deadlock
Four until four, almost fell out
Yeah, I put the drank in the headlock
Tryna cross me, boy you better not
Four until four, almost fell out

[Verse 2: Offset]
Bad bitches walkin’ on some red bottoms
Countin’ up the racks, I be playin’ with ’em
Ice copped Patek, hundred thou’ on my arm
Got yo’ bitch on the run, yeah she callin’ me the gun
The Actavis, it got a nigga in a headlock
Flintstone diamonds, make these bitches bed rock
Hoppin’ in the coupe, drop top, robot
Everybody gotta stick, ain’t no Glocks
Just popped the perc, I ain’t fuckin’ with the xan
Yeah, shawty bad but lil’ mama a fan
I’m the engine that told you I can
Big bank take lil’ bank, the battle of bands
Heart of a lion, I ain’t sacred of these niggas
Hoppin’ in that lamb, switch gears on these niggas
Heat tryna kill, put a tear on a nigga
There he go nigga, pray for your nigga

[Chorus: Cousin Stizz]
I put the drank in the headlock
Tryna cross me, boy you better not
Four until four, almost fell out
Doing they can’t, ’cause it’s deadlock
Four until four, almost fell out
I put the drank in the headlock
Tryna cross me, boy you better not
Four until four, almost fell out

[Verse 3: Cousin Stizz]
These days I run it like Ricky, I’m Ross
What did it take? Turn yourself to a boss
I’m getting oral, B, you know I floss
Straight to the bread at all costs
Those diamonds ain’t real, boy, so knock it off
Hittin’ the 4 ’til I’m noddin’ off
Smokin’ the gas with the CBs and rastas
Just spent $100 on one plate of pasta
Green and the red I’m like Blanca
Play with the Tim Turner concha
Rollie in water like lobster
Me and three bitches in Benihana
I ain’t their daddy, they call me papa
Hundred bands come up of fifty dollars
Watch out for snakes like a Gucci collar

[Chorus: Cousin Stizz]
I put the drank in the headlock
Tryna cross me, boy you better not
Four until four, almost fell out
Doing they can’t, ’cause it’s deadlock
Four until four, almost fell out
I put the drank in the headlock
Tryna cross me, boy you better not
Four until four, almost fell out

[Outro: Cousin Stizz]
I put the drank in a headlock
I-I put the drank in a headlock

Quentin Miller – Expression 5

[Intro]
Yeah, yeah, yeah
One three one seven man
Man, man, yeah

[Verse 1]
Jump right back to the beats
20 somethin’ songs in a week
Checks comin in from the Clicks..
Mac, iPhone, PC
Clocked in middle of the night
2am going on 3
You wouldn’t understand my life
Wouldn’t understand, yeah
‘Bout to move to LA, ATL get too cold man
Middle man sittin’ in the way
Middle aged Quentin on the way
Nigga finna turn 28
Can’t be sittin’ in the same place
Can’t take a break no, no
Can’t take a break (whoa)
Back in the kitchen like Deen
Fuck these niggas like Dean
Legendary like Mike Dean
You ain’t seen the shit that I seen
I could never work at a desk
Nigga found a way to cheat death
Music only thing I got left, damn
Jump right back to the beats
20 somethin’ songs in a week
Checks comin in from the clicks
Mac, iPhone, PC
Mac, iPhone, P-(alright)

[Beat Switch]

[Verse 2]
(Yeah)
I made this beat and song yesterday
2017 we in a different age
Directly to my fans, ask the middle man
Yeah, XO’s for all my women friends
Respects owed to us we doing
What they said we can’t, man
Shout out Boi-1da he set the play up if it…
Wasn’t for him I’d still be minimum wage
Till this day
Big blessings, I’m seeing big blessings
Grind harder, stack, leave my kids blessings
Put some respect up on my name
Quentin million dollar Miller
Keep the change, peep the change, damn
Peep the change, yeah

Rexx Life Raj – Handheld GPS

[Hook]
I’ve been out the way tryna gain it all
Weed and Adderall, that’ll get me there
Hoping soon enough, I don’t do enough, I could do some more
I don’t even know what I’m shooting for but I’m shooting anyway

[Verse 1]
Handheld GPS, still everybody’s lost
We’re in the land of the free where everything costs
But everything is everything though
I’ve been holding onto too much, now it’s time to let everything go
Leave all these thoughts and the weed I blow
Probably swoop a little shawty from the east side though
LA trips in this SUV
4 niggas deep, still fit a few hoes
Berkley, Telegraph Ave be the fast life
But I’m Hollywood when I’m on Melrose
2 cellphones, still so disconnected
Social media disingenuous
It’s that shit that needs disinfecting
Sitting back, counting blessings
Don’t accept no for answers, ask questions
Fuck a suggestion, use intuition
When your heart speaks to you, you should listen
I’ve been minding my business
I’ve been building my business
I’ve seen niggas go from checking for FASFA checks
To signing checls for millions
Shoutout G, boy that’s 30 Ms
Get an indoor pool and I’ll slide and swim
You came a long way from that blue Corolla
You was sliding in, inspiration
It’s better when you lead by demonstration
Don’t compare me to anybody, that’s disrespectful
These niggas ancient

[Hook]
I’ve been out the way tryna gain it all
Weed and Adderall, that’ll get me there
Hoping soon enough, I don’t do enough, I could do some more
I don’t even know what I’m shooting for but I’m shooting anyway

Evidence – Throw It All Away

[Chorus]
I got some money I’m a blow it all today
They say Michael don’t throw it all away
And my reply was there’s more on the way
When I said it I was walking in the rain

[Verse 1]
I did a show in Chicago on the first
Now I’m back in LA like Chicago and First
No sun but I’ll father this verse
That’s all I’m probably worth
And I’m from sunny CA to rain on all of this earth
Rainy terrain, receive the God sent messages
We know the answer, but dance around what the question is
What is it
It’s back to who’s on first
It’s my dog
It’s his tail
It’s the chase
It’s the search
It’s the ignorance that causes all the bliss in my surroundings
Cause dealing with reality’s like drawing out your boundaries
And I refuse to be referred as less than a creative so catch me when I’m live in town as I’ve been demonstrating
That I could find my greatness in the waking of my absence
And absolutely kill it when they’re dealing out these bad hands
A player plays what a player’s dealt
And carries baggage like conveyor belts
And never fucking saves his wealth

[Chorus]
I got some money I’m gonna blow it all today
They say Michael don’t throw it all away
And my reply is there’s more on the way
When I said it I was walking in the rain

[Verse 2]
I write to Alchemist cause others don’t inspire me
I got my people and they got my back entirely
I kill with Iriscience on the side of me
And by myself I lay em’ out and iron out the irony
What a long winding road it’s been
With no sign of slowing up around its turns and bends
How many have friends that ain’t foes within
Dirty laundry in the wash, but them clothes don’t spin
I mean really, I kill two birds with one bullet
The target’s when I line it up, the triggers when I pull it
Out the gate a bit late, but the champ is back
I need a third hand to wear my rings and hold plaques
I hit the track like the runners new
Hands high like a stickup Killer Michael running jewels
It’s true, the eyes slanted, my fam rock the planet
Don’t take fans for granted like the money is due

[Chorus]
I got some money I’m a blow it all today
They say Michael don’t throw it all away
And my reply was there’s more on the way
When I said it I was walking in the rain

I got some money I’m a blow it all today
They say Michael don’t throw it all away
And my reply was there’s more on the way
When I said it I was walking in the rain

Evidence – Throw It All Away Lyrics

Chorus:
“I got some money I’m a blow it all today
They say Michael don’t throw it all away
And my reply was there’s more on the way
When I said it I was walking in the rain

Verse 1 :
“I did a show in Chicago on the first
Now I’m back in LA like Chicago and First
No sun but I’ll father this verse
That’s all I’m probably worth
And I’m from sunny CA to rain on all of this earth
Rainy terrain, receive the God sent messages
We know the answer, but dance around what the question is
What is it
It’s back to who’s on first
It’s my dog
It’s his tail
It’s the chase
It’s the search
It’s the ignorance that causes all the bliss in my surroundings
Cause dealing with reality’s like drawing out your boundaries
And I refuse to be referred as less than a creative so catch me when I’m live in town as I’ve been demonstrating
That I could find my greatness in the waking of my absence
And absolutely kill it when they’re dealing out these bad hands
A player plays what a players dealt
And carries baggage like conveyor belts
And never fucking saves his wealth

Chorus :
“I got some money I’m gonna blow it all today
They say Michael don’t throw it all away
And my reply is there’s more on the way
When I said it I was walking in the rain

Verse 2:
“I write to alchemist cause others don’t inspire me I got my people and they got my back entirely
I kill with Iriscience on the side of me
And by myself I lay em’ out and iron out the irony
What a long winding road it’s been
With no sign of slowing up around it’s turns and bends
How many have friends that ain’t foes within
Dirty laundry in the wash, but them clothes don’t spin
I mean really, I kill two birds with one bullet
The target’s when I line it up
The triggers when I pull it
Out the gate
A bit late, but the champ is back
I need a third hand to wear my rings and hold plaques
I hit the track like the runners new
Hands high like a stick up
Killer Michael running jewels
It’s true, the eyes slanted
My Fam rock the planet
Don’t take fans for granted
Like the money is due

Chorus:
“I got some money I’m a blow it all today
They say Michael don’t throw it all away
And my reply was there’s more on the way
When I said it I was walking in the rain

“I got some money I’m a blow it all today
They say Michael don’t throw it all away
And my reply was there’s more on the way
When I said it I was walking in the rain”

John Warden – Out Of Here lyrics

Out of Here

Gas is flowing
Wheels are rolling 
I’m outa here

Sparks igniting
I’m through with fighting
I’m outa here

You dragged me all over LA’s not so freeways
Through all that smog I just couldn’t see
Just how bad, just how bad you were to me

Engines revving
I’m through with begging
I’m outa here

Gears are turning 
My mind is burning
I’m outa here

Ain’t gonna play those L.A. Games with you
Not gonna be your fool no more
My foot’s on the gas shoved down to the floor

Speeds increasing
All your deceiving
I’m outa here

Exhaust is flying
You thought I’s lying
I’m outa here

Nothing left for us to talk about
Except all those lies you were feeding me
I had my fill, it’s time to leave

Don’t send any emails, don’t try to call me, I forgot your name already

You dragged me all over LA’s not so freeways
Through all that smog I just couldn’t see
Just how bad, just how bad you were to me

The 1 to the 101…the 405…the 5 to the 91… the 605… the 405…the 101…
And back to the 1 where it all had started from…

Chorus

Don’t send any emails, don’t try to call me, I forgot your name already
Don’t send any emails, not even a text, I forgot your name already