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Sepultura Why Max Cavalera Left The Band Hotney 2 Streams • 3 years ago

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Today we discuss why Max Cavalera quit Sepultura and how the band fell apart around the time of their 1996 Roots album.

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Sepultura broke the mould of metal by not originating from America or Europe as most other bands in the genre did. Instead they were 4 kids from Brazil who got lucky and found their way to America. The third album of their career Beneath the Remains was their first release on American label roadrunner records. Considered by many to be a monumental album in the thrash genre, even former frontman Max Cavelera acknowledged that it was the album where the band found their style. It was brash, explosive and in your face. It was a warning to metalheads everywhere of what the 90’s would have in store for the band. The group’s 4th album titled Arise would be released in 1991 and would be a commercial and critical hit going platinum and would be considered by many to be one of the band’s finer moments. While the album’s sound stayed close to Beneath the Remains there were glimmer’s of the band experimenting with their sound that wouldn’t come to fruition until their follow up record.

The group’s fifth album Chaos AD saw the band pushing them past their contemporaries exploring new sounds and becoming more comfortable with experimentation putting a bigger emphasis on groove metal.. The album easily found an audience becoming a top 40 hit in UK and US. The band would tour alongside Pantera and Ministry, Sepultura guitarist Andreas Kisser would recall to Metal Hammer “During the making of Chaos AD, we were very focused, very organised, very connected,”. “We were together, it was a very special moment in Sepultura’s career.”

But by 1995 the incarnation of the band fronted by Max Cavalera was on its last legs as the band fell apart. What happened? Stay tuned to find out.

It’s a story that’s been told a million times. A band gets big, they are inundated with pressures and new found fame and they suddenly fall apart. That pretty much describes Sepultura’s story in the early to mid 90’s. The classic lineup of Sepultura would consist of vocalist/rhythm guitarist Max Cavalera, lead guitarist Andreas Kisser, bassist Paulo Jr Pinto and drummer Max’s brother Iggor Cavalera.

Max would summarize the band’s rise and fall to Metal Hammer saying
“All of a sudden we’re this really big machine and we couldn’t really comprehend it,” We didn’t know how to deal with it.” he’d say

It was 1995 and the band was ready to hit the studio to work on their follow up to Chaos AD titled Roots. They had assembled at the Indigo Ranch in California with future Slipknot and Limp Bizkit producer Ross Robinson. As the title of the album implied this album was meant to pay homage to the band’s birth country of Brazil, but it may surprise people to know that it was producer Ross Robinson who came up with the idea of “Braziliness” as he called it. Roots saw the band experiment with elements of the music of Brazil's indigenous peoples, and adopted a slower, down-tuned sound. Many consider the album to have had a huge impact on the nu metal scene that exploded a few years later.

According to guitarist Andreas he would reveal the monumental impact producer Ross Robinson had saying:

Ross had a whole new perspective. He came and showed a lot of new possibilities for us. He really brought that idea of the ‘Brazilianness’: the jams, the free approach to everything.” while Iggor would tell

“He was pushing a lot of crazy ideas. I remember coming back from the studio with a tape we’d done there, and I didn’t know what we were going to do with it, ’cos there was so much going on – a thousand guitars on a take with noises and percussion, that kind of thing. I was a bit confused.”

Robinson wasn’t the only person who had a huge influence on the sound of the album It legendary engineer Andy Wallace who worked with a huge eclectic list rockstars including Guns N’ Roses, Paul Mccartney, System of a down also worked on the album Max pointed out the importance of Ross Robinson and Andy Wallace working on the album saying “The greatest thing was having the combination of Ross and [engineer] Andy Wallace. Ross recorded it on his own and it sounded like total dogshit – not for human consumption. We’d send it to Andy. It would be like sending him a diamond covered in shit, and he had to clean all the shit from it to make the diamond shine, which is what he did.”
The band would successfully make it through the recording

Kanye West - Clique ft. Big Sean & Jay-Z (Explicit) Hotney 3 Streams • 3 years ago

[Intro: James Fauntleroy]
What of the dollar you murdered for
Is that the one fighting for your soul
Or your brother's the one that you're running from
But if you got money, fuck it, because I want some

[Hook: Big Sean]
Ain't nobody fucking with my
Clique, clique, clique, clique, clique
Ain't nobody fresher than my muthafuckin
Clique, clique, clique, clique, clique
As I look around, they don't do it like my
Clique, clique, clique, clique, clique
And all these bad bitches, man, they want the
They want the, they want the, they want the

[Verse 1: Big Sean]
I tell a bad bitch do whatever I say
My block behind me like I'm coming out the driveway
It's grande, from Friday, to next Friday
I been up straight for nine days, I need a spa day
Yup, She trying get me that poo-tang
I might let my crew bang, my crew deeper than Wu Tang
I'm rolling with... fuck I'm saying? Girl, you know my crew name
You know 2 Chainz? Scrrr! I'm pulling up in that Bruce Wayne
But I'm the fucking villain, man, they kneeling when I walking in the building
Freaky women I be feeling from the bank accounts I'm filling
What a feeling, ah man, they gotta be
Young player from the D that's killing everything that he see

[Hook]

[Verse 2: Jay Z]
Yeah I'm talking Ye', yeah I'm talking Rih
Yeah I'm talking Bey, nigga I'm talking me
Yeah I'm talking bossy, I ain't talking Kelis
Your money too short, you can't be talking to me
Yeah I'm talking LeBron, we balling our family tree
G.O.O.D Music drug dealing cousin, ain't nothing fuckin' with we, me
Turn that 62 to 125, 125 to a 250
250 to a half a man ain't nothin' nobody can do with me
Now who with me? ¡Vámonos! Call me Hov or Jefe
Translation, I'm the shit, at least that what my neck say
Least that what my check say, lost my homie for a decade
Nigga down for like 12 years, ain't hug his son since the second grade
He never told, who we gonna tell, we top of the totem pole
It's the dream team, meets the Supreme Team
And all our eyes green it only means one thing
You ain't fucking with my clique

[Hook]

[Verse 3: Kanye West]
Break records at Louie, ate breakfast at Gucci
My girl a superstar all from a home movie
Bow on our arrival - the unamerican idols
What niggas did in Paris, got em' hanging off the Eiffel
Yeah I'm talking business, we talking CIA
I'm talking George Tenet, I seen him the other day
He asked me about my Maybach, think he had the same
Except mine tinted and his might have been rented
You know white people get money don't spend it
Or maybe they get money, buy a business
I rather buy 80 gold chains and go ig'nant
I know Spike Lee gone kill me but let me finish
Blame it on the pigment, we living no limits
Them gold Master P ceilings was just a figment
Of our imagination, MTV cribs
Now I'm looking at a crib right next to where TC lives
That's Tom Cruise, whatever she accuse
He wasn't really drunk he just had a few brews
Pass the refreshments, a cool, cool beverage
Everything I do need a news crew's presence
Speedboat swerve, homie watch out for the waves
I'm way too black to burn from sun rays
So I just meditate at the home in Pompei
About how I could build a new Rome in one day
Everytime I'm in Vegas they screaming like he Elvis
But I just wanna design hotels and nail it
Shit is real, got me feeling Israelian
Like Bar Refaeli, Gisele, nah that's Brazilian
Went through, deep depression when my momma passed
Suicide, what kinda talk is that
But I been talking to God for so long
And if you look at my life I guess he's talking back
Fucking with my clique

[Hook]

Episode 6 - Jimmy LIE-Vine Hotney 5 Streams • 3 years ago

On this episode of Collect Call With Suge Knight, Suge gets down to the truth about Jimmy Iovine's manipulative ways, how pinning crews against each other has become the industry's oldest trick. Some interesting information is revealed about Tupac’s mother, Afeni Shakur. Suge also addresses the recent call Dave Mays received from Snoop Dogg for being part of the groundbreaking podcast Collect Call.

1:37 Suge explains why owning your publishing and masters was so important to him

2:23 Suge gets an offer from Michael Fuchs to leave Interscope but he stays loyal to Jimmy Iovine and Ted Field

4:09 Suge describes a lawsuit related to Kurupt that Interscope settled for $50,000 but it ended up costing Suge $10 million

4:58 While Suge is in prison, Interscope sends Suge a letter saying they will no longer distribute Death Row

5:40 Dr. Dre does an interview saying gangster rap is over and he will no longer put out music with profanity

6:35 After some of Suge’s master reels allegedly get stolen by Daz and MC Hammer, Jimmy Iovine makes a call to take over storage Suge’s archive of masters

9:33 Suge comes home from prison and goes to see Jimmy Iovine, who tells him that he took all of the drum beats off of the Death Row master recordings and gave them to Dr. Dre

10:57 Jimmy Iovine and David Cohen tell Suge that Afeni Shakur brought guys with guns and took all of Tupac’s masters from them

11:43 Suge talks about the creation of the "One Nation" project that Death Row and Tupac were doing to unite all the regions of hip-hop

12:38 Suge recalls Afeni visiting him in prison and Afeni tells him that Interscope told her that Suge had her son killed

14:46 Jimmy visits Suge and wants to use the name “The Chronic” for the next Dr. Dre album; he tells Suge that he will pay him $1 per record sold, but they end up putting just The Chronic leaf logo on the album and not the words

17:19 Interscope, Sony and Death Row get sued by the Harris’s

18:39 Jimmy curries favor with Snoop by paying $800,000 for a music video for the song “Midnight Love” without Suge’s approval

20:01 Jimmy meets with Dr. Dre to try to get him to come over to Interscope; Jimmy pays for a $1 million studio in Dre’s house that Suge didn’t approve and then recoups it from Suge and Death Row

21:35 Suge reveals he paid Dr. Dre just $2 million when he left Death Row but kept a 30% management fee that should have applied to the sale of Beats and the release of the Straight Outta Compton movie

21:48 Dave gets a phone call from Snoop Dogg who tells Dave that Suge wasn’t the one who paid for his legal fees during his murder trial that they were paid by Jimmy Iovine

23:55 Suge speaks on producing evidence that he paid for Snoop’s legal fees during his murder trial

24:19 Suge says he is going after Jimmy Iovine and David Kenner for money owed and fraud

26:45 Suge says he’s been hearing about plans for Denzel Washington and Antoine Fuqua to do a Death Row documentary without him

29:25 Suge compares what it was like fighting with Jerry Heller and Ruthless Records versus fighting with Jimmy Iovine and Interscope Records

33:10 Suge says he has retained the Death Row merchandising rights and will be suing Jack In The Box for allowing Snoop to wear a Death Row chain in their new commercial

Special shout out to D Dog!

NEW EPISODES OF COLLECT CALL WITH SUGE KNIGHT ARE RELEASED WEEKLY
Make sure you comment, like and subscribe on Apple, Spotify or wherever you listen to podcasts. Visit the @BreakbeatMedia YouTube page for video versions of our shows, https://www.youtube.com/@breakbeatmedia

Executive Producers: Dave Mays (@therealdavemays) & Brett Jeffries (@igobybrettj)
Executive Producer: Toi-Lin Kelly
Editor & Producer: Trae Quaintance for Black Wolf Agency
Producer: Christopher Samuel (@Christylezz)
Production Manager: Norvin Leeper
Audio: Cornell Sanner
Sound effects: Envato Elements

IG: @BreakbeatMedia @OfficialSugeKnight @TheRealDaveMays

The Best Christmas Song I've Ever Heard. It Will Give You Chills. Hotney 7 Streams • 3 years ago

Website: https://www.skylight.org

Over A Thousand People Came Together To Break a Record And Bring This Moving Christmas Hymn To Life.

The Piano Guys, Peter Hollens, David Archuleta, and the Mormon Tabernacle Choir get together to sing "Angels We Have Heard On High."

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Website: https://www.skylight.org

About this song:
This piece is a modern and unique take on the traditional Christmas carol, and it is truly an exceptional musical accomplishment.

One of the things that makes this song so special is the beautiful and emotive piano arrangement by The Piano Guys. The piano melody is hauntingly beautiful, and it is accompanied by beautiful string arrangements that add to the overall sense of wonder and awe.

The vocals by David Archuleta, Peter Hollens, and the Tabernacle Choir at Temple Square are also a standout feature of this song. David and Peter's voices are angelic and pure, and they sing the lyrics with a sense of sincerity and emotion that truly captures the spirit of the Christmas season and the birth of the Lord Jesus Christ.

One of the most memorable moments in the song is the bridge, where the music builds to a dramatic climax and Archuleta sings the line "Gloria in excelsis Deo." This part of the song is especially powerful, and it is guaranteed to give you chills every time you hear it.

Overall, "Angels We Have Heard on High" by The Piano Guys others is a truly beautiful and moving Christmas song. It is a modern and unique take on a traditional carol, and it is guaranteed to get you into the Christmas spirit! 🎄

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