Some of you are supposed to be in Performance Management Training at 3 Eastern/2 Central, but if you don't tell your manager you skipped it for Timesesh, I won't, either. Deal?
[Fifteen minutes later ...]
Welcome back to RAPP Radio Presents Timesesh! My name's DJ Cassanova because:
(1) my last name is Cass;
(2) my first car was a Chevy Nova; and
(3) I appreciate irony.
I'll be your host for the next hour. Let's gooooooooooooo!
(WARNING: I like song trivia, but I tend to write long, so I highly encourage you to read my write-ups for today's selections now, later, or not at all. But whatever you decide, thank you for listening.)
DJ L Train, "Time Sheet Shuffle" (2024)
(written and produced by Art Intelligence and Lewis Mercer*)
I asked Grammarly.com's chatbot to rewrite my write-up of "Time Sheet Shuffle" from last May. Here's what I got when I chose the option "Sound confident," which you may agree is easier said than done when AI's not around to give you a virtual pep talk:
"Time Sheet Shuffle" was expertly crafted on Suno.com, which empowers users to effortlessly create a song about anything with a simple prompt. This innovative AI-generated track clinched victory in the RAPP LABB contest, securing its position as Timesesh's new official theme song. Let's give a round of applause for DJ L Train, and remember to get those time sheets in!
(written and produced by Art Intelligence and Lewis Mercer*)
I asked Grammarly.com's chatbot to rewrite my write-up of "Time Sheet Shuffle" from last May. Here's what I got when I chose the option "Sound confident," which you may agree is easier said than done when AI's not around to give you a virtual pep talk:
"Time Sheet Shuffle" was expertly crafted on Suno.com, which empowers users to effortlessly create a song about anything with a simple prompt. This innovative AI-generated track clinched victory in the RAPP LABB contest, securing its position as Timesesh's new official theme song. Let's give a round of applause for DJ L Train, and remember to get those time sheets in!
The O'Jays, "I Love Music" (1975)
(written and produced by Kenneth Gamble and Leon Huff)
"Music is the healing force of the world / It's understood by every man, woman, boy, and girl ..."
I love music, and I love RAPP Radio Presents Timesesh because it's always a thrill to hear what moves other people. You never know where your next favorite song will come from, so keep your ears, mind, body, heart, and soul open!
As I've mentioned before, I especially love 1970s Philly soul, and the O'Jays' "I Love Music" is a prime example of the subgenre. Split in half for radio, "Part 1" of the song peaked at number five on the Billboard Hot 100 in early '76 but went all the way to the top on the trade publication's Hot Soul Singles (i.e., R&B) chart. (When I hosted the first Timesesh on February 2 last year I referenced "Casanova," the 1987 classic by LeVert, a trio that featured Gerald and Sean Levert, sons of the O'Jays' lead vocalist, Eddie Levert.)
Speaking of pop culture with Philadelphia roots, the highly anticipated Abbott Elementary–It's Always Sunny in Philadelphia crossover episode aired Wednesday on ABC. Sunny superfans Bonnie Han*, Sarah Nozick*, Charlotte O'Hehir*, and Reema Patel*, would any of you care to give us a recap?
Eddy Grant, "Electric Avenue" (1982)
(written and produced by Eddy Grant)
"We're gonna rock down to Electric Avenue / And then we'll take it higher ..."
Kenneth Gamble and Leon Huff, the writers and producers of "I Love Music," are also the founders of Philadelphia International Records, the O'Jays' label from 1972 to '87. They composed another song for the group in '76 titled "Message in Our Music," and in general they weren't shy about mixing socially conscious lyrics with danceable grooves: "This Air I Breathe," a track on the O'Jays' Ship Ahoy (1973), addresses air pollution, to name just one example.
Eddy Grant, a native of Guyana who began his music career in London in the mid-'60s as a teenager, wasn't shy about that sort of thing, either. "Electric Avenue" is his response to the Brixton riot, a three-day skirmish in April of '81 between Black youths and the police in London's Brixton area, where Electric Avenue is a main thoroughfare. (The Clash covered the Grant-penned "Police on My Back" on 1980's Sandinista!)
Unfortunately, all political content and context went right over my head in 1983, when I was seven years old and just thought Grant's biggest hit single sounded—quote, unquote—cool. Grant plays every instrument on "Electric Avenue," and his synthesizer programming alone deserved a Grammy Award, if you ask me. (Doy!)
Frankie Smith, "Double Dutch Bus" (1981)
(written and produced by Bill Bloom and Frankie Smith)
(written and produced by Bill Bloom and Frankie Smith)
"Get on the bus, pay your fare / Then tell the driver that you're going to a double-Dutch affair ..."
After you've made your way to Electric Avenue, get on the Double Dutch Bus.
According to various websites, Frankie Smith wrote songs for the O'Jays and the Spinners, another legendary Philly-soul act, but I can't find any information about those songs on those various websites.
Smith did score a few writing credits on albums by Philadelphia International artists like Billy Paul and Archie Bell & the Drells in the late '70s, but it wasn't until 1980, when he was 40, unemployed, and waiting to hear back about a job application to drive a city bus in Philly that he looked out the window, saw neighborhood kids playing jump-rope games, and came up with the idea for "Double Dutch Bus."
It spent four weeks at number one on Billboard's Hot Soul Singles chart and incorporates a variation of pig Latin—"Dizzouble Dizzutch!"—that Snoop Dogg claimed as his own two decades later, but RAPP Radio Presents Timesesh is here to set the record straight on Smith's behalf. (He didn't really need our help, though: Merriam-Webster defines double Dutch as, first, "unintelligible language" and, second, "the jumping of two jump ropes rotating in opposite directions simultaneously.")
This one's for you, Philly phanatic Anthony DiMaio*!
D Train, "D Train Theme" (1982)
(written by Hubert Eaves III and James Williams; produced by Eaves)
"Everybody get up, climb aboard / We're gonna ride the funky D Train ..."
Now transfer from the Double Dutch Bus to the D Train. (Don't mistakenly board the O'Jays' Love Train or Don Cornelius's Soul Train, but if you do, you won't be disappointed. Don't attempt to board DJ L Train, either, or he might report you to HR.)
Clickety-clack—bring the funk on the track!
No offense to keyboardist Hubert Eaves III and singer James Williams, but they needed a style guide in the '80s like the client-specific ones we use here at work. On their albums' and singles' covers, spines, and labels, you'll see the duo listed as either "D Train," "D. Train," "D-Train," or "'D' Train," depending on the location. But isn't consistency supposed to be the name of the game when you're making sure all the trains of the alphabet run on time?
Then again, with powerhouse tracks like "D Train Theme" in their discography, not to mention "Keep On," "Tryin' to Get Over," "You're the One for Me," "Music," and many more, D Train have proven they know a thing or two about quality control.
Paul McCartney & Wings, "Jet" (1973)
(written by Linda McCartney and Paul McCartney; produced by Paul McCartney)
"With the wind in your hair of a thousand laces / Climb on the back and we'll go for a ride in the sky ..."
Do you like trains more than planes? Then I'm sorry, because you're going to have to suffer a jet for the next few minutes.
Paul McCartney reportedly named this top-ten hit from Band on the Run after a jet-black Labrador puppy he briefly owned with his first wife (and Wings bandmate), the lovely Linda, much like how he named the Beatles' "Martha My Dear" (1968) after his sheepdog at the time.
Similarly, George Lucas took the first name of Indiana Jones, the character he created and initially brought to movie screens with his friend Steven Spielberg in 1981's Raiders of the Lost Ark, from his malamute. That's why Sean Connery, as Jones's father, upon learning his son's preference for his nickname over "Junior" at the end of Indiana Jones and the Last Crusade (1989), the third entry in the series, delivers the line "We named the dog Indiana."
Wings, as you probably already know, recorded the theme song for Live and Let Die, the eighth James Bond movie but the first to star Roger Moore as Bond, after Sean Connery hung up the tuxedo in 1971 and swore he'd never play the superspy again. Appropriately enough, his actual final Bond movie is titled Never Say Never Again (1983). (Insert whatever joke you want here about President-elect-again Trump. I'm still processing.)
The week Star Wars opened in May 1977, George Lucas and Steven Spielberg traveled to Hawaii with their significant others. Spielberg told Lucas he'd always wanted to direct a James Bond movie. Lucas responded that he had an "even better" idea for a series of adventure films. They made a handshake deal for Spielberg to direct three movies centered on archaeologist Indiana Jones; Spielberg, who later won the Academy Award for Best Director for both Schindler's List (1993) and Saving Private Ryan (1998), ended up helming four of the franchise's eventual five installments.
New Radicals, "You Get What You Give" (1998)
(written by Gregg Alexander and Rick Nowels; produced by Alexander)
(written by Gregg Alexander and Rick Nowels; produced by Alexander)
"This whole damn world could fall apart / You'll be okay, follow your heart / You're in harm's way, I'm right behind / Now say you're mine ..."
I like to think of "You get what you give" as another way of saying "Live and let die," but that's just me.
New Radicals only made one album, Maybe You've Been Brainwashed Too, before breaking up; the band's frontman, Gregg Alexander, felt more comfortable behind a mixing console than a microphone. He went on to cowrite and coproduce Sophie Ellis-Bextor's "Murder on the Dancefloor" (2001), Santana and Michelle Branch's "The Game of Love" (2002), and songs for the 2014 film Begin Again, and his New Radicals bandmate Danielle Brisebois performed the same duties for Natasha Bedingfield's 2004 hit "Unwritten," which not only received prominent placement in the 2023 romantic comedy Anyone But You but also at the Trader Joe's in Evanston two Sundays in a row last month as I shopped for almonds and microwavable frozen rice.
"You Get What You Give" has been called the best song never recorded by Daryl Hall & John Oates or Todd Rundgren, depending on who's making the comparison. On their 2003 album Do It for Love, Hall & Oates covered New Radicals' "Someday We'll Know," the second single from Maybe You've Been Brainwashed Too, with Rundgren on backing vocals. Respect!
"Wake up, kids, we got the dreamers' disease / Age 14, they got you down on your knees": those are the first two lines of "You Get What You Give," and at times the song sounds like it was written by a 14-year-old, initially bursting with hope and boundless energy, then, in the final 30 seconds, mood-swinging into a Magnetic Poetry-style rant about health insurance, the FDA, and cloning, plus a bizarre threat to beat up Beck, Hanson, Courtney Love, and Marilyn Manson.
No doubt about it—14's a difficult age.
The Silver Seas, "Somebody Said Your Name" (2010)
(written by Daniel Tashian; produced by Jason Lehning and Tashian)
"Don't wanna get burned now / But it looks like my turn now ..."
In 2005 Joni Mitchell called "You Get What You Give" "the only thing I heard in many years that I thought had greatness in it." The following year U2's the Edge told Time magazine, "I really would love to have written that." And in 2007 Daniel Tashian declared, "I actually still maintain that the best song that came out between 1990 and 2000, in ten years, the best single song was 'You Get What You Give.'"
If you haven't heard of Tashian, that's understandable, but he's the lead singer and main songwriter for Nashville's the Silver Seas, and in 2005 he posted a solo album called "The Lovetest" on his blog. It remains officially unreleased to this day, but it's one of my favorite albums, and Tashian's said that "You Get What You Give" spurred him to write the entire thing.
Since "The Lovetest" is unavailable except as MP3s on some random computers' hard drives, including my own, I'm sharing something else written by Tashian: "Somebody Said Your Name," from the Silver Seas' third full-length, Château Revenge!
Anyone here a Kacey Musgraves fan? Tashian coproduced her last three LPs, including 2018's Golden Hour, for which they both won, along with Ian Fitchuk, the Grammy Award for Album of the Year.
The Blue Hearts, "Dance Number" (1987)
(written by Masatoshi Mashima; produced by the Blue Hearts)
"Anyone who laughs at you should go hit tofu and die ..."
Do silver seas enhance the tone of a blue moon?
I don't know if the lyric I quoted above is the best translation from Japanese to English—and I really don't know how one would go about hitting tofu, especially before dying—but what matters is that this number called "Dance Number" rocks in a Clash-like fashion, at least in my opinion. (In Japanese, from what I can find, the song's title is "ダンス・ナンバー," or "Dansunanbā.")
The Blue Hearts put out eight albums from 1987 to '95, and their self-titled debut includes both "Dance Number" and "Linda Linda," which inspired a 2005 film titled Linda Linda Linda, which in turn inspired the Linda Lindas, an all-female Los Angeles band who've released two albums of their own since 2022. (Like D Train, the Blue Hearts were ahead of the curve with branding in the '80s and recorded an eponymous anthem, 1988's "Blue Hearts Theme.")
Simply Red, "A New Flame" (1989)
(written by Mick Hucknall; produced by Stewart Levine)
"A new flame has come / And nothing she can do can do me wrong ..."
When coupled with a blue heart, does a blue moon over silver seas make you see red?
And have you ever bought a band's albums over the course of many decades, through thick and thin, because you were hooked on their music from the very first note? That's been the case for me with England's Simply Red, a six-piece ensemble at the outset whose work quickly became a showcase for lead singer Mick Hucknall's blue-eyed-soul stylings. But seeing as how two of the cuts on the band's debut disc, Picture Book (1985), are "Sad Old Red" and "(Open Up the) Red Box," and the redheaded Hucknall was the only band member featured on their album covers, you kinda knew how this story was going to go from the get-go.
When Hucknall announced in 2007 that Simply Red would be breaking up after a final tour in '09, it was hard not to think, You're breaking up yourself? You're the only original member left! Nevertheless, like the O'Jays' Eddie Levert and D Train's James Williams, Hucknall has pristine pipes, so I'm happy to listen to whatever he wants to sing, but I wasn't surprised when, after two solo albums of R&B covers, he revived Simply Red's name in 2015 and released three more albums (to date) under its moniker.
"A New Flame," the title track of the group's third LP, reminds me of songs with a tango rhythm that I learned how to dance to in college. And in case you were wondering, no, I can't remember any of those tango moves almost 30 years later, but I'm sure a YouTube tutorial or two would jog my memory.
A new flame deserves a new cigarette, and the Australian brand Country Life has "the taste that's right." (The print ad on your screen is from a souvenir book that was available at the Beatles' concerts when they toured Down Under in '64.)
Jocelyn Brown, "Somebody Else's Guy" (1984)
(written by Jocelyn Brown; produced by Brown, Allen George, and Fred McFarlane)
"I can't get off my high horse / I can't let go / You are the one who makes me feel so real ..."
You know who else has pristine pipes? Jocelyn Brown.
You may be familiar with "The Power," a 1990 worldwide smash by Snap! that made appearances in quite a few movies and movie trailers in the late 1900s and early 2000s, including 2003's Bruce Almighty. The line most people remember from the song, "I've got the power!" is a sample from Brown's 1985 single "Love's Gonna Get You," and God almighty, I pray she gets paid whenever "The Power" gets played anywhere in this universe.
Before Brown recorded that single, she shone on "Somebody Else's Guy," the title track of her first solo album. But before that, her pristine pipes contributed to the success of Inner Life's "I'm Caught Up (in a One Night Love Affair)"; Change's "The Glow of Love," featuring Luther Vandross on lead vocals; and George Benson's "Give Me the Night." And after that, she elevated tracks on Steve Winwood's Back in the High Life in addition to Breakfast Club's "Right on Track."
Geoffrey Williams, "It's Not a Love Thing" (1992)
(written by Pete Glenister, Monroe Jones, Simon Stirling, and Geoffrey Williams; produced by Glenister)
"And just like a fool / I've been lovin' you so long, baby / You play it cool / I never know what's goin' on in your mind ..."
We talked about "cassingles"—or cassette singles, for those not born in the 1900s—a bit in the Teams chat when Trisha Huang* hosted Timesesh last November. One of the cassingles I still have in my possession after many moves from one residence to another is Geoffrey Williams's "It's Not a Love Thing."
Despite what the promo copy on your screen says, Bare wasn't Williams's debut album: the London native, who now lives in Australia and of course smokes Country Life, had already released two LPs in the late '80s. Regardless, his "explosion of sonic exotica and smoking funksoulrock" was right up my alley in the spring and summer of '92, so I couldn't comprehend why "It's Not a Love Thing" didn't make him a huge star.
I put this song on a mix for my parents at the end of '21—I've always liked their taste in music, which, naturally, has influenced my taste in music—and my dad, who was 80 at the time, immediately dug it. I'm 49, so forgive me for not being passionate about the wonders of social media—personally, I think it's one of the main reasons why Mr. Never Say Never Again got elected twice in eight years—but I appreciate that I was able to tell Geoffrey Williams on his Facebook page that, almost 30 years later, my dad liked his big swing at chart success in the U.S. He seemed pleased to have finally reached the coveted octogenarian-white-male demographic.
Sly & the Family Stone, "Turn Me Loose" (1967)
(written and produced by Sly Stone)
"If you tell me to leave, I like you / If you tell me to stay, I hate you ..."
My parents moved from Macon, Georgia, where I was born and raised, to Saluda, North Carolina, in 2009, but my family originally visited the small mountain town in the summer of '88. On a return visit in the spring of '92 a local DJ, probably in nearby Asheville, compared Geoffrey Williams to Sly Stone after playing "It's Not a Love Thing."
I thought he meant that Williams had an elastic vocal range like Stone's, but seven years ago a commenter on YouTube who may or may not also have rusty tango moves pointed out that "Love Thing" is essentially a mash-up of Sly & the Family Stone's "Family Affair" (1971)—the drum-machine percussion, the rhythm of the verses—and Boz Scaggs's "Lowdown" (1976)—in particular, the flute on the chorus, or at least a synthesizer's approximation of a flute, because even on "Lowdown" the "flute" seems to be provided by a synthesizer played by cowriter (and eventual Toto member) David Paich. Now I get what that DJ was talking about!
"Turn Me Loose" appears on Sly & the Family Stone's debut, A Whole New Thing, the title of which isn't an understatement. All of the band's hits show up on subsequent albums, but on A Whole New Thing you can feel the visceral excitement of talented musicians trying out different genres and combining them just for fun, yet in the process helping to forge a new one: psychedelic soul.
I'm looking forward to seeing Sly Lives! (aka The Burden of Black Genius), Ahmir "Questlove" Thompson's first documentary since winning the Academy Award for Best Documentary Feature for Summer of Soul (2021). It premieres at the Sundance Film Festival on January 23, followed by its arrival on Hulu February 13.
The Dave Brubeck Quartet, "Maria" (1960)
(written by Leonard Bernstein and Stephen Sondheim; produced by Teo Macero)
"Maria / I just kissed a girl named Maria / And suddenly I found / How wonderful a sound can be ..."
In the fall of 1995, around the same time I first heard A Whole New Thing, I also discovered the Dave Brubeck Quartet's rendition of "Maria," from West Side Story, on a best-of compilation my dad owned. To me, it's the definition of "romantic." Swoon, baby, swoon ...
My dad attended the University of the South, more commonly known as Sewanee, in Sewanee, Tennessee, from 1959 to '63, and was a member of the Sewanee Jazz Society. The year prior to his enrollment, Brubeck added bassist Eugene Wright to his quartet, which already included Paul Desmond on alto saxophone and Joe Morello on drums.
This is now considered the "classic" lineup of the pianist's quartet, but because Wright was Black, 22 of 25 colleges and universities in the south refused to let the racially integrated group play on their campuses in 1960 as part of a proposed tour. Sewanee was one of the three universities that welcomed the Brubeck Quartet, and Brubeck insisted that the group's audiences be integrated as well. Thankfully, this wasn't a problem for the Sewanee Jazz Society, which had welcomed Black audience members since its inception in '58.
Snoh Aalegra, "Find Someone Like You" (2019)
(written by Snoh Aalegra and Marcus James; produced by Jonah Christian)
"Though we got a past, I want you / And even when it's bad I love you ..."
This dreamy concoction by Swedish-Iranian artist Snoh Aalegra screams romance too. But since screaming "ROMANCE!!!!" isn't exactly romantic, allow me to revise my previous statement and instead say that "Find Someone Like You" whispers romance.
I had no idea there was an f-bomb in the lyrics of this song until I looked them up, but what you're hearing right now is the "clean" version, so if you're listening at home with your kids, aren't you ducking happy I censored this for you?
Like the Country Life Cigarettes ad, this jingle was made in the magical land of Oz. Good on ya, Aussies!
Babyface, "My Kinda Girl" [Single Version] (1990)
(written by Kenneth "Babyface" Edmonds, Antonio "L.A." Reid, and Daryl Simmons; produced by Edmonds and Reid; single version produced by Jon Gass and Reid)
"I get a real good feeling / Deep inside my soul / Girl, when you're around / I just lose control ..."
Here's a list of just a few of Kenneth "Babyface" Edmonds's songwriting and production credits over the past 40 years:
• The Whispers, "Rock Steady" (1987)
• Bobby Brown, "Roni" (1988)
• Whitney Houston, "I'm Your Baby Tonight" (1990)
• Boyz II Men, "End of the Road" (1992) and "I'll Make Love to You" (1994)
• Toni Braxton, "You Mean the World to Me" (1993)
• Madonna, "Take a Bow" (1994)
• Eric Clapton, "Change the World" (1996)
• Pink, "Most Girls" (2000)
• Fall Out Boy, "I'm Like a Lawyer With the Way I'm Always Trying to Get You Off (Me & You)" (2007)
• Beyoncé, "Best Thing I Never Had" (2011)
• Ariana Grande, "Baby I" (2013)
• SZA, "Snooze" (2022)
• Bobby Brown, "Roni" (1988)
• Whitney Houston, "I'm Your Baby Tonight" (1990)
• Boyz II Men, "End of the Road" (1992) and "I'll Make Love to You" (1994)
• Toni Braxton, "You Mean the World to Me" (1993)
• Madonna, "Take a Bow" (1994)
• Eric Clapton, "Change the World" (1996)
• Pink, "Most Girls" (2000)
• Fall Out Boy, "I'm Like a Lawyer With the Way I'm Always Trying to Get You Off (Me & You)" (2007)
• Beyoncé, "Best Thing I Never Had" (2011)
• Ariana Grande, "Baby I" (2013)
• SZA, "Snooze" (2022)
The pride and joy of Indianapolis was a hitmaking machine for many artists in the '90s, but he's a talented artist in his own right: "My Kinda Girl" was the fourth and final single spun off from his sophomore album, Tender Lover (1989), his commercial breakthrough as a solo performer after spending the majority of the '80s as a member of the Deele ("Two Occasions").
The version of "My Kinda Girl" that I'm playing is the "Single Version," which is technically an edit of the "Scratch Mix," or 12-inch mix, and has more of an amped-up new-jack-swing flavor than the album version. When I was in middle school and high school and listening to radio stations like Foxy 100 in Macon, I'd hear "My Kinda Girl" or LL Cool J's "6 Minutes of Pleasure" or BeBe & CeCe Winans's "Addictive Love" and get addicted, but when I bought the cassingle or the accompanying album, the version I liked so much—in the case of LL, BeBe, and CeCe, I'm referring to the "Hey Girl Remix" and the "Feel the Spirit Remix," respectively—was nowhere to be found.
To be clear, I'm not mad at Babyface—because who could ever get mad at a baby face?
(Indianapolis, or "Indy," is the capital of Indiana, so I know y'all want me to find a roundabout way to tell you more fun facts about the Indiana Jones movies, but I also know this write-up's long enough as is.)
Stephanie Mills, "Never Knew Love Like This Before" (1980)
(written and produced by Reggie Lucas and James Mtume)
"You are my sunlight and my rain / And time could never change / What we share forevermore ..."
Earlier I mentioned New Radicals' Danielle Brisebois, who, before she became a working musician, played Archie Bunker's niece on the final season of CBS's All in the Family (1978-'79) and all four seasons of its spin-off Archie Bunker's Place ('79-'83). Her character's name? Stephanie Mills—which surprises me, because the singer named Stephanie Mills was already famous.
When Nicole Simmons* hosted Timesesh last September, Antonia Campbell* mentioned in the Teams chat that she'd seen Mills play Dorothy in The Wiz on Broadway as a little girl. (Angela, I played two roles, a Munchkin and Evillene's messenger, in a 1986 community-theater production of The Wiz in Macon, but I guess you were busy, huh? Fine, whatever, I don't care ...) I immediately thought, We've got to play something by Ms. Mills!
From 1978 to '80, before he formed D Train with his former high school classmate James Williams, Hubert Eaves III was in the band Mtume, led by James Mtume, who wrote and produced "Never Knew Love Like This Before" for Mills with bandmate Reggie Lucas; Eaves plays keyboards on the track. (After Lucas and Eaves left Mtume, the group had its biggest hit with "Juicy Fruit" in 1983, the same year Lucas coproduced Madonna's first album.)
"Never Knew Love" was a huge success, peaking at number six on the Billboard Hot 100 and winning Mills a Grammy for Best Female R&B Vocal Performance, while the award for Best R&B Song went to Lucas and Mtume. I adore their production style, which makes it sound as if Mills's voice is emanating from the heavens, and they repeated their magic one year later on "Two Hearts," a duet between Mills and Philly-soul superstar Teddy Pendergrass.
That's it for this edition of RAPP Radio Presents Timesesh! I'll never win a Grammy, but I'd like to take this opportunity anyway to thank all the little people, including myself as a child since, like I said, I played a Munchkin in The Wiz, as well as the mayor of Munchkin City in The Wizard of Oz two years before that, so where's my Wicked cameo? I guess I'll have to wait for the four-hour sequel.
To hear the majority of today's Timesesh on Spotify—take some of your money back from Joe Rogan, Spotify, and invest it in bringing the Blue Hearts to the world of streaming!—click here.
Finally, stay safe, Los Angeles RAPPers—you're all in our thoughts.
Finally, stay safe, Los Angeles RAPPers—you're all in our thoughts.
Oh yeah, I almost forgot—next week your host will be DJ Chilanga, a.k.a. Julia Valdez*!
Until then, please complete your time sheet by the end of the day, and have a great weekend!
* Names of RAPPers have been changed to protect the innocent just in case the innocent don't want to find their names on a random blog during a random Google search.
