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Thread: 'Wilted' Album Discussion

   
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    Default 'Wilted' Album Discussion

    Track listing:

    1 collide
    2 undone
    3 repair
    4 cosmic
    5 dead sea
    6 let down
    7 eyelids
    8 scorpio rising
    9 freight train
    10 wilted
    11 another spring

    'wilted' is currently available on Apple Music, Spotify, YouTube, Amazon, Deezer, and Tidal: https://parisjackson.lnk.to/wilted/

    What are your thoughts on the album?

    1.Collide



    2. Undone



    3. Repair



    4. Cosmic



    5. Dead Sea



    6. Let Down



    7. Eyelids



    8. Scorpio Rising



    9. Freight Train



    10. Wilted



    11. Another Spring


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    Default Re: 'Wilted' Album Discussion

    I like it, especially let down, eyelids and scorpio rising.

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    Default Re: 'Wilted' Album Discussion

    I am so proud of Paris right now and I'm very pleased that this album is doing well for her. It's a great effort for a debut solo album.

    I intend buying a copy of "Wilted" for myself. This is huge for me (LOL) - I haven't bought anyone's music in a couple of years.
    When I have bought it and devoted some time to really listening to each track, I'm going to talk about them.

    My initial reactions are that the songs I've heard so far are sonically beautiful and lyrically sophisticated.
    I always enjoy interesting lyrics that contain poignant imagery and emotional depth.

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    Default Re: 'Wilted' Album Discussion

    The more I listen to Paris's new album, "Wilted"; the more I appreciate her musicality.
    Paris's father, Michael Jackson, is smiling down at her from Heaven.
    :innocent:
    Last edited by CherubimII; 18-11-2020 at 05:53 AM.

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    Default Re: 'Wilted' Album Discussion

    I haven't listened to all songs yet but I really liked Let Down, she's talented. So sad Michael isn't there to see his child doing so well. I can only imagine how proud he would have been. He would have said so many nice words about the album. Would have loved to hear them.

    I really didn't expect her work to be so good. It's a nice surprise.

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    Default Re: 'Wilted' Album Discussion

    Nice album. i like eyelids, scorpio rising, wilted, and let down. my favorite is let down. i can see why she call that her baby. nice.

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    Default Re: 'Wilted' Album Discussion

    While i don't agree everything Paris do and say. at the end of the day she's an adult. she still young and have a whole life ahead of her. if she's decides to keep doing music then that's her choice. i'm not comparing her to michael or any of her family members. i'm not sure why people asking her to be like them.

    fans need to stop thinking that their idols kids are gonna be like them. and of course she doesn't sound like michael because she her own person and style. but that's her father.

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    Default Re: 'Wilted' Album Discussion

    Quote Originally Posted by NatureCriminal7896 View Post
    While i don't agree everything Paris do and say. at the end of the day she's an adult. she still young and have a whole life ahead of her. if she's decides to keep doing music then that's her choice. i'm not comparing her to michael or any of her family members. i'm not sure why people asking her to be like them.

    fans need to stop thinking that their idols kids are gonna be like them. and of course she doesn't sound like michael because she her own person and style. but that's her father.
    I agree. I also think she will become more mature over time. If music is what she wants to do then I think she should do it. She does have talent and a style of her own.

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    Default Re: 'Wilted' Album Discussion

    Other than the single, "Let Down", my favourites are "Cosmic", "Scorpio Rising" and "Another Spring".

    I think "Another Spring" should be the next single.....or "Scorpio Rising". I wonder if she's going to release another single with a video for it?

    It'll be interesting to find out what song (or songs) she does on the Jimmy Kimmel show. She'll probably do her single, of course, but it would be good if she performed one of the other songs, too.

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    Default Re: 'Wilted' Album Discussion

    Quote Originally Posted by Mikky Dee View Post
    Other than the single, "Let Down", my favourites are "Cosmic", "Scorpio Rising" and "Another Spring".

    I think "Another Spring" should be the next single.....or "Scorpio Rising". I wonder if she's going to release another single with a video for it?

    It'll be interesting to find out what song (or songs) she does on the Jimmy Kimmel show. She'll probably do her single, of course, but it would be good if she performed one of the other songs, too.
    Mikky Dee, we have the same taste! ;)
    The songs you named by Paris Jackson are some of my favorites, also!!!!
    :love:
    I, also, enjoy listening to listening to "Collide".
    God, I thank you for allowing Michael to continue to watch over his children:

    Prince Michael, Paris, and Blanket ("Bigi").


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    Default Re: 'Wilted' Album Discussion

    More video from behind the scenes during the filming of Paris Jackson's "Let Down" video.

    God, I thank you for allowing Michael to continue to watch over his children:

    Prince Michael, Paris, and Blanket ("Bigi").


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    Default Re: 'Wilted' Album Discussion

    Click on the Paris's instagram link below to submit your Art work inspired by her "Wilted Album:
    https://www.instagram.com/p/CICUzuwpXDN/



    God, I thank you for allowing Michael to continue to watch over his children:

    Prince Michael, Paris, and Blanket ("Bigi").


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    Default Re: 'Wilted' Album Discussion

    Paris Jackson Turns Brokenness Into Alt-Dark Folk Music On Debut Album "Wilted"
    by Jason Scott

    Paris Jackson Turns Brokenness Into Dark Alt-Folk Music On Debut Album, ‘wilted’ « American Songwriter
    Paris Jackson is carving her own path. It may have been easier to follow in her late father Michael Jackson’s musical footsteps, it would also have been less fulfilling. So, instead of fitting her voice within the pop/R&B space, she veers in another direction entirely. Her debut record, wilted, written with and produced by Andy Hull (of Manchester Orchestra), shape-shifts between shadowy, evocative confessionals and alt/-folk soundscapes that configure snuggly up against Phoebe Bridgers.

    “I love Phoebe Bridgers,” she says of the comparison. Funny enough, Bridgers is in a band called Boygenius with Lucy Dacus and Julien Baker, and Baker is good friends with Manchester Orchestra. Two degrees of separation underscores how tight-knight “this little community in the alternative/folk world” really is, she remarks.

    Jackson measures out her own unique musical ingredients, though, from the haunting chain-stomp on “repair” to the otherworldly orbs of “dead sea,” and always with a feathered inflection and pinches of raw vulnerability. “Wither away like bones to dust / Shrivel and break and combust,” she draws pain unto herself, letting it finally dissipate on the titular track. A ghostly moan tumbles around her, fusing together with so much static, and her voice remains the unwavering constant.
    wilted certainly runs the risk of being too dark or too depressing 一 but her journey into and out of heartbreak and impenetrable anguish could not have been expressed any other way. “I know you’re fallin’ to pieces / ‘Cause you wear your heart on your sleeve / But if you could just put down the needle / Mend yourself and make believe,” her voice quakes on the hypnotic “undone,” witnessing a relationship spiral terribly out of control. Leaning into her rock sensibilities, Jackson found herself drawn to Grandaddy frontman Jason Lytle’s approach, structuring with doses of synth and swapping in a bass solo instead of classic guitar.
    It should come as no surprise how influential folk legends like Damien Rice and Ray LaMontagne are to her own work, as well. Jackson may not have studied music theory or adhere to any strict songwriting guidelines ─ but her songcraft is instinctual and moving, much like her heroes. “[Damien and Ray] are just so honest and raw. When they sing, you can hear how much they feel it. It really sounds like it’s coming straight from their soul, no filter, no restraint. It’s sometimes pure agony, or pure love. You hear it.”

    Moments later, “repair” smacks the eardrums with an unsettling melody and rattling chains that feel bruised and tormented. “You told me once our broken pieces fit so well,” she weeps. “But now I’m whole / So swear to God you’ll love me still.” Even her inherently lilting vocal cords appear to flounder in heartbreak’s rising waters.

    Strongly influenced by Cage the Elephant’s acoustic iteration of “Right Before My Eyes,” originally a hidden track on 2011’s Thank You, Happy Birthday, Jackson pays homage in both the guitar line and her vocal phrasing. Side-by-side, “repair” certainly feels beholden to it without growing stale or overwrought. “I’ve always loved the acoustic version [of that song]. It’s been one of my favorites since I was a freshman in high school. The only way I can find it now is going on YouTube and listening to a fan uploaded version of it,” she explains.
    “That influenced the strumming patterns of the guitar and the chain-like percussion. What we did for percussion was we got a giant tote of shakers and tambourines and different little percussion tools and shook the entire thing in front of a mic. That’s the sound you hear, and it does sound like chains rattling and dragging on the floor.”

    “If I could be the one that you wanted / If I could be enough for you,” she laments on the bridge. Her misery echoes throughout the song, notably with the switch from E minor to a full E chord, a technique she absolutely adores and borrows from Radiohead’s work.
    With “dead sea,” Jackson draws from her Jewish heritage and turns to one of her favorite The Lumineers tracks for inspiration. “I’ve always loved [their song] ‘Dead Sea.’ That whole record [2012’s self-titled] was a big record for me when I was a freshman and sophomore in high school. I listened to that whole thing on repeat. It was one of the first records I owned on vinyl,” she says. More importantly, she’s always been fascinated with “what the Dead Sea can represent.”
    “A lot of the songs I [took] to Georgia to record were already written. But ‘Dead Sea’ was completely rewritten with Andy. It was a very back-and-forth kind of thing. He’d write half a line, and then I’d finished the sentence,” she continues. “Or I’d say one word, and that would inspire him to write two parts of a verse. It definitely exceeds any expectations when two musicians truly connect and speak the same language. It’s like when two brains melt into each other and become one.”

    “Cut my eyelids / So I can’t see you float out the door,” Jackson unpacks visceral, terribly gutting imagery against a celestial, watery backdrop. In such a way, she is able to dive deep into the darkest, most troubled aspects of the human existence, insightfully nestled among her own. Hull, who sings background vocals on the entire record, rises to meet her voice in the set’s only duet.
    “I knew I wanted to do a duet with him at some point. I didn’t know which song or if he’d want to do it. I left it up to him to decide which song. It was originally supposed to be a hidden track and only a minute and a half long,” she says. “I’d only had my verse written. He said, ‘No, we could really take this somewhere.’ He wrote an entire new verse, and that’s the part he sings. He’s so good. There’s no words to describe what it felt like to hear my hero singing the words I wrote.”
    Often described as having a “soft” and “sweet voice,” Jackson works her tone to her advantage, frequently pairing with her love of “the macabre and gore and really dark things,” she offers. It makes sense then that her entire album aesthetic, from YouTube audio thumbnails to album artwork, would lean hard into creepy, unsettling imagery.

    A long-time admirer of artist Matt Duncan (known as CREEPTOONS on Instagram), she knew almost immediately he would be the right fit. “I’ve been following him since I was about 16 or 17. I’ve always loved his art and the creepy stuff. When it came down to thinking up cover art, I was going to research some artists and maybe reach out to some who have done art for my favorite bands,” she says, noting bands like Colour Revolt. “While I was thinking about it, one of Matt’s pictures popped up on my feed.”

    wilted drags the listener through the most overgrown lyrical thickets, leaving them nearly as emotionally injured as she. In the final moment, on the unexpectedly giddy closer “another spring,” Jackson allows all the heaviness to fall from her shoulders. “Seasons change / Days dawn anew / I’ll rearrange /And let my wounds shine through,” she sighs in acceptance. She comes to terms with all her pain and fully realizes it’s time to move to what’s next. Initially, the song was never intended to make the final record. “While I was in the studio recording, I wrote this song. That’s the newest one. It seemed like a good punctuation to put at the end, and it felt like a part of the story,” she says.

    With inviting Manchester Orchestra into her world, Hull and the band have become much more than collaborators; they are family. “Over the last couple months, since recording this album, they call me their little sister. I can’t even describe how that makes me feel. But I call them my musical big brothers,” she shares. “When it came down to getting the record deal or asking for advice, I can always call Andy and ask him what he thinks about the contract or this one lyric or melody. We send voice memos or memes to each other.”

    Hull even recently sent her a snippet of a brand new song on which the band is working. “He just sent me the first two verses, but it’s so beautiful. And it got me teary-eyed listening to it. He’s incredible. I asked him, ‘How do I get this incredible at writing? Is it really just experience and practicing?’ He said, ‘Study really good songwriters. Try and take it from a different perspective.’ So far, I’ve been writing about what I know and things I’ve experienced. He’s like, ‘Start thinking about more from a storytelling approach, not necessarily telling your story.’ So, I said, ‘I just watched ‘The Fly.’ What if I wrote a song about that?’ He said, ‘That’s a perfect example.’ So, I wrote a song about ‘The Fly.’”

    Paris Jackson exhibits great strength and power as a songwriter. wilted is only the beginning of her journey, and its shimmering promise will surely serve her well. Not one to be constrained by genre labels or boxes, she eyes “maybe sprinkling some grunge or rock” in her work in the future, she muses. “I’m going to let it happen and not think about it too much and feel my way through. I do what feels right.”



    God, I thank you for allowing Michael to continue to watch over his children:

    Prince Michael, Paris, and Blanket ("Bigi").


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    Default Re: 'Wilted' Album Discussion

    Paris Jackson on Her Indie-Folk Debut Album, ‘Wilted’: ‘It Just Makes My Heart So Full’

    Paris Jackson on Debut Album: 'I Want to Do This the Rest of My Life' - Variety

    The 22-year-old daughter of Michael Jackson, who performs tonight on "Jimmy Kimmel Live," says her debut album made her feel "like I’m exactly where I need to be, and I’m doing exactly what I need to be doing."



    Janell Shirtcliff


    The last time most of us saw Paris Jackson, she was 11 years old and crying. Taking the stage at Staples Center in June 2009 at her father’s star-studded memorial service, her famous aunts and uncles told her to speak up as she nervously said: “Ever since I was born, Daddy has been the best father you could ever imagine — and I just want to say I love him so much.”
    But Jackson, now 22, has been busy forging her own path as a model and actor in the decade since. She’s had parts in the Fox series “Star” and the David Oyelowo action-comedy “Gringo.” She has 3.6 million followers on Instagram, but the microscope of celebrity has also magnified her bouts with depression and drug use. It’s hard to live normally or emerge from the shadow of Michael Jackson. But Paris Jackson has now followed her father’s footsteps into music, and her debut album “Wilted” is full of pain, heartache and meditations on mortality.

    It’s a record in a surprisingly earthy, indie-folk vein, made in collaboration with singer-songwriter Andy Hull and engineer Robert McDowell of Manchester Orchestra, one of Jackson’s favorite bands. It owes stylistic debts to that group and her other musical heroes, including Radiohead’s Thom Yorke. If her father haunts the album in any way, it’s in Ms. Jackson’s pure-tone, angelic but full-bodied voice. Like her father, she’s not a multi-instrumentalist or trained composer, but she thinks like a producer, humming the different instrumental parts she hears in her head. :cool:

    Jackson’s media team made it clear that “Dad” was a strictly verboten topic of discussion, so any deeper connections will have to be inferred. Variety spoke to her on the eve of Thanksgiving, a holiday she doesn’t celebrate. “I think it’s good to be thankful every day, you know?” she says. She appears tonight on “Jimmy Kimmel Live,” making her late-night TV performance debut.
    Why now? Are these songs you’ve been storing up for years?

    No, I wrote them all this year, starting in January, all the way till about June or July. I don’t know, I just wanted to get in a studio and record, and it kind of worked out the way it did. The guys that I worked with, my heroes, just so happened to be free and available to record with me.
    Was the pandemic an unexpected upside in any way?

    Yes, in the sense that Andy and Rob were available to record with me. Usually they’re on tour. Andy’s got a couple other side projects—aside from Manchester Orchestra, he’s also in Bad Books and he does Right Away, Great Captain! He produces for other people as well, so he’s normally a really busy guy.
    There has been a silver lining of actually getting a hold of people who are normally so busy.

    Yeah. And the first half of the year, the film and fashion industry were pretty much completely shut down, so I wasn’t working as much.
    Did COVID factor into your writing at all?

    Not really so much in the writing, but it definitely gave me more free time.
    How long have you been writing songs prior to this?

    Maybe a little less than 10 years, I think.
    But this felt like the right time to make your debut with a record?

    Yeah, I guess. It really just worked out the way it did. The album was just ready, so we were just like: okay, let’s release it.
    Did you see the album as having a concept or a story to it?

    No, at first I didn’t, because I wrote all the songs as I was going through just life. Then when it came time to actually get in the studio and start recording demos, it was a matter of: Okay, well, out of all the songs I’ve written this year, which ones am I going to choose to record? And as I was writing down which songs I wanted to record, it started to seem a little bit like a concept record. So I was like, Okay, I’m going to intentionally make this, you know, a story. It’s my experience with love and betrayal and heartbreak. And, in that sense, it is autobiographical. But I feel like it’s also written in a way that can be all-encompassing, because everybody experiences that in some form or another, you know?
    Do you write your songs on a particular instrument?

    Guitar. That’s the only one I know well enough to be able to write on. I’m kind of slowly picking up piano here and there, but I don’t know it well enough to be able to write on the piano.
    So you went to Andy with a batch of demos. What kind of form were they in?

    I had gone into a studio out here with an engineer, and recorded just very basic ideas of what I wanted to do with the songs. I had guitar and vocals. And for “Another Spring,” for example, I didn’t have a banjo, so we took the guitar, I did some plucking, and then we tuned it up using autotune, and added filters over it to make it sound like a banjo. We used sample percussion to get the ideal sound that I was trying to go for, and then we used a synthesizer to get the cello sounds that I wanted. I would just sing to the engineer what I heard and what I wanted, and he would play it on the synthesizer. So they were just like really standard demos. But Andy said that normally when he works with someone new, they just come with like a voice memo from their phone. So he said it was really helpful that I had basically full songs. … Some songs, as I’m just playing it on guitar after it’s been written, I’ll hear what I want the bass to sound like, and if I want there to be electric guitar. I’ve been told I have the producer brain, so I definitely hear the song before it’s made.
    What was the stamp you felt Andy could give these songs?

    I am obsessed with his music. Honestly, he can do no wrong in my eyes. So when I brought the songs to him, I was just like, “Whatever you want to do with these songs, let’s do it.” There were some songs where he was like, “I don’t want to change anything at all.” And then there were some songs where he’s like, “All right, well, let’s work on the lyrics,” or “let’s improve this in some way.” Or he’ll just totally take the producer standpoint and enhance the sound. And then, like “Eyelids” for example, he totally wrote his own verse, and we worked on the harmonies together. But I trust his instincts. We connected in a really cool artist way. Most of the time, if someone tries to tell me to change something, depending on the person, it can feel like they’re not respecting my art, you know? But with Andy, there was so much trust there that I was very open-minded to what he had to say.
    Did you envision a certain palette of sound, or a genre of music you wanted the songs to end up in?

    I knew I wanted “Undone” to be more upbeat, a little bit more on the rock side. I knew I wanted “Scorpio Rising” and “Wilted” to be the weirder ones on the record. I wanted to really experiment with textures and just weird sounds, and I really wanted to make the listener feel uncomfortable in a comforting way. I believe that art is supposed to comfort the disturbed and disturb the comfortable. I wanted to try and capture the feelings that I get when I listen to certain Radiohead songs, and howI’ve seen some people react where it just makes them uncomfortable and uneasy, but it feels so comforting to me. I knew I wanted “Another Spring” to just be like super folky. And then there were just some other ones where I’m like, “Yeah, I just want it to be a mashup of Radiohead and Manchester Orchestra, so, I trust you, Andy. Do your thing.”
    Manchester Orchestra. Radiohead. What other kind of music do you gravitate to? Which artists speak most to you?

    Honestly, I have so, so, so many influences. But for specifics, “Undone” was very heavily influenced by the band Grandaddy, and the lead singer Jason Lytle and his music. “Another Spring” was very influenced by Caamp and the Lumineers.
    What adjectives would you use for what this record is?

    Mmm… just a good starting point. Because I want to keep growing. I want to keep expanding. I want to keep experimenting. I want to try as many things as I can, while staying true to myself and what I think sounds and feels right. I mean, just for the sake of naming a genre, I’d say it’s more alternative folk, but I don’t plan on staying with just that. I’m definitely going to keep some of those elements, but I really, really want to expand, and just try everything out.
    Talk about the little touches and textures on the album, like the glass jangling or whatever that sound is on “Repair.”

    That was a really fun one to record. That one was very heavily influenced by Cage the Elephant — and Radiohead, of course. The sound that you’re thinking of, the percussion, was actually a box filled with tambourines and shakers and little percussion thingies, and we just shook the whole box in front of a mic. It was really fun.
    I was also really struck by the quality of your voice. I hadn’t heard you sing before. Who would you say are some of the inspirations for you as a singer?

    I guess Thom Yorke, for sure. And Andy. I don’t know. I mean, I grew up hearing my dad’s voice all the time, so I imagine that’s definitely got to have an influence on me, subconsciously — and just picking up things here and there because that was my childhood. I think all the music that I listen to, in some way, just influenced my sound.
    Your singing voice feels very unaffected. It doesn’t have a put-on to it. A lot of popular singers do a voice, and yours is a little bit more pure.

    First of all, thank you — I appreciate that. That is definitely my intention, is to be as honest as possible with my music, and to just be myself. But I definitely, in the future… I’m starting to try out different sounds with my voice, and see how far I can go before it starts sounding bad and weird. When I’m by myself in my car, I’m trying out different voices to see what sounds right. Up until this point, I’ve just been 100 percent myself, and just singing how I sing. But I’m trying more raspy stuff, and just trying to see what my voice can do, and really explore.
    You mentioned Thom Yorke, who goes up into falsetto a lot. There’s something very vulnerable about that — especially for a man, I guess — but something kind of pure and vulnerable about his voice.

    Oh man, he’s so incredible. If you haven’t gotten a chance to check out “In Rainbows – From the Basement,” which they released earlier this year, he does exactly what you’re talking about. It’s kind of like a wailing. It’s the most beautiful thing I’ve ever heard.
    Tell me if I’m wrong on this, but your video for “Let Down” reminds me of the ball sequence in the movie Labyrinth. Was that inspirational at all?

    That’s a massive compliment. You’re talking about the Bowie movie, right? That’s awesome. I could totally see how that would be influential for me. I do love that film. The influence for that was mainly just a collaboration with me and [director Meredith Alloway]. Meredith just wanted to take a more Victorian approach, based off of what I described. We both love “Penny Dreadful,” we both love gore, we both love Alexander McQueen. The waltz itself, as a female, you have to be very trusting to your partner. You have to really trust them when they’re leading you, and dipping you, and doing all the things that you do in a waltz. And if you are going to hurt someone, it is when they’re going to be most vulnerable, and you trust your partner the most when you let them dip you. So it’s the perfect time to rip someone’s heart out, when they are 100 percent belly exposed. And I love gore. So that was mainly the approach that I wanted to take. I talked to Meredith about it, and she had this beautiful — without even hearing the song “Wilted” — she was just like, “Oh, decay,” and started talking about decaying fruit. I’m like, that is exactly what I’m going for.
    I was struck by some of the imagery in your lyrics, like “bugs may eat my flesh,” but I guess if you’re into gore, that makes sense.

    Mm-hmm.
    Were you planning to do live concerts to promote this if there hadn’t been a pandemic?

    Yeah, I mean, I love performing. There are so many different cool parts about being a musician, and performing is one of them. As soon as I’m allowed to, as soon as it’s not problematic, I’ll definitely be hitting the stage.
    You say this is a good start. What’s a career dream you have?

    To do this for the rest of my life. I’ll share this moment with you. I think it was maybe day two or three in the studio in Georgia, at Andy and Rob’s place. And we recorded the basics for, I think it was “Freight Train” that we were working on. “Freight Train” was one of the more vulnerable songs of mine. I was sitting in the computer room with Rob and Jamie [Martens], and this was just a few days before Dan [Hannon] came on board. Andy went into the vocal booth to do the harmonies and the backup vocals, and for that they turned my voice down so we could hear what he was doing. And to just hear my hero singing my lyrics… it brought tears to my eyes. I just remember thinking, Damn, I want to do this for the rest of my life.
    “This,” meaning make music?

    Yes. Connect with other artists like this, and to create like this. It just makes my heart so full. It’s that feeling like I’m exactly where I need to be, and I’m doing exactly what I need to be doing. It’s hard to explain, but it’s incredible.




    Last edited by CherubimII; 12-12-2020 at 09:46 PM.
    God, I thank you for allowing Michael to continue to watch over his children:

    Prince Michael, Paris, and Blanket ("Bigi").


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    Default Re: 'Wilted' Album Discussion

    I remember Michael used to ”sing a guitarr solo” for example the way he wanted it to sound like and she seems to do something similar according to the interview.

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