#MusicMonday - #LostInMusic Spotlight Review: Jagged Edge - JEHeartbreakII

As I sit in front of my favourite window in the new abode, this is not the type of return piece that I want to be bringing you. It's been awhile since we've spent any special time together, so what I had hoped to do, was reflect something appropriate to the joy of returning to times of old. Oh and well…

Let me lay the background for those new to music talks in this little space of mine. Long-time readers will be aware that I am a HUGE +Mariah Carey  fan. I love that lady like family. In fact, I love her more than some family members – hey, if you met them, you'd understand… The point of that little verbal venture, was to explain that whilst Mariah is my favourite female vocalist, and even more avid readers will know that Michael Jackson is, and will forever be my favourite male. Barring the Jackson 5, one area that I do not believe I have covered, is my favourite group. Well here they are. Brandon and Brian Casey, Richard Wingo, and Kyle Norman are Jagged Edge; the Atlanta-based foursome, who have been romancing my ears and imagination since a soppy ex used 'Promise' as a way to score…ill-placed points, and um, all the spoils that came with the win, back in 1998…Damn my R&B weakness.

JEHeartbreak II is available from all major outlets now

Well anywhoo, here we are, on the release of their eighth album, supposedly a sequel to their second (and arguably best) and me with words I never thought I would express in connection with a JE release. Thirteen ballads, all well written, when it comes to demonstrating devotion to their love. With their out of this world harmonies, and manly, forceful delivery, they are nothing short of four vocal prince charmings, come to rescue their maidens from the woes of lost love and broken hearts. The last group to take musical composition as a whole, seriously. That's why it was so shocking to me that on the very first listen, I did not get the familiar goosies (or Goosebumps –the barometer by which I judge solid winners) that has always followed one of their tracks.

I thought this may just be down to opening track Future. Nice as it is, to hear of the longing for one who holds their future in her eyes, with crystal clear visuals, thanks to the most dramatic of metaphors, I just couldn't put my finger on what was missing. The simplistic, but memorable hook, courtesy of Executive Producer Mr Jermaine Dupri, with a little help from a man who has music flowing through his veins – Mr Bryan Michael Cox did nothing to help either.

I attributed the lack of connection to teething troubles, which I assumed would be resolved by second track Familiar. After all, picking up a female in a bar, taking her somewhere so they can 'get more familiar', whilst turning it into the hottest romance of the century, is something this group has down pat – almost like a scientific formula. Or so I thought. For the first time in sixteen years, I did not want to be the girl in the bar. For the first time, even if the words came straight from Brian Casey himself, they would elicit a knockback – that has never happened before! What is going ON, here?

Fourth track Hope brought it's namesake back; as the old magic peeked out for a moment. A pre-cursor to the album, this single had absolutely no-one worried as to the forthcomer's strength, because it was classic Jagged Edge material. With a new freshness that we know they have the power to bring to what is, essentially, a worn out topic – girl meets boy / boy makes girl fall in love / boy gets bored with the chase, then stops making any form of effort / boy gets bump on head (usually from girl's suitcase as she walks over him after kicking him to the curb), and miraculously, boy realises girl is a keeper – The End. R&B Gold, you could stake an album on…couldn't you?

Things I Do for You roused my pulse slightly and almost spurred ONE goosie – I watched carefully for the rise on my skin. In this one, everybody has something to say about the apple of the group’s individual eyes. Faith, hope, trust, honesty, love and attraction are all present, and as such, there is no limit to the things that they would do for their ladylove. One of the album's stronger songs undoubtedly, but despite those flawless Casey harmonies, it doesn't stand up to any of their own classics. Gimme an I Don't Wanna would you?

Love Come Down raised a goosebump on life support with an intro that smacked of hope, promise, and sexual promiscuity. Whilst the latter flowed in abundance, that was about the full size of it (no pun intended). There was no love coming anywhere over here (honestly – no puns, I swear).

The most noticeable thing about It's Been You is the vocal prowess of the group. This is the one that proves they still have it. No originality in terms of the concept – after endlessly wasting some poor girl's time, they've just realised that it's her love they craved the whole time. But in this instance, it doesn't need to be, because if we're truly honest, then we'll admit that this is their wheelhouse, and boy do they work it well. Another female would be along to fall for their charms, faster than the 254 bus, provided they just keep singing. Still no goosies, but for the overall production and delivery 10/10.

Another of the strong tracks on the set, Wanna Be (Romeo) sets you up to think something game changing is on the way. It packs a punch, but it's no Remedy-like knockout. And therein lies the shame.

And then something happened…The intro to Getting over You began, and a seductive lick of harmonies came in pleading, about not wanting to spend the rest of their lives getting over their true love. It wasn't a body full, but there was one - one single, solitary Goosebump – YES! This album was not a complete failure! Nine tracks in, but this album has itself a Saving Grace! I let out the biggest sigh of relief I had since the first time that I heard the opening strains of Faded on Me. I AM Mariah – the worry was over! It was not a flop! I was SO scared! Now that the boys had started the show, one could only hope that they would not drop the ball – so overexcited was I, in my little mixed metaphor world…So?

Ready was next and…I must say that my hope was not there from the intro BUT, then the direction changed as you listened to the helpless pleas about not being "the one who's 50 and alone"…The momentum stayed just enough to make you believe as they sang of their readiness to be in love. The desperation was palpable in the faux timekeeping metronome of the backbeat.

Make It Clear is the point in a JE album where things tend to wane a little, but not this time. In case there is any confusion, they've picked their prey, she is in their sights, and there is to be no dillydallying – when she decides that she wants a man, there is a choice of four standing right there, awaiting her choosing, like cake on the dessert tray.

No Half Steppin' is another strong contender for good album status. Strong R&B, but it is not one that would stop me in my tracks. It's no In the Morning; but it is a nice place to be, late in an album where attention may be straying. It took six listens for me to start to hear what this album really has to offer, and this is one that I did not need explained.

Unfortunately, in typical fashion, the boys close with something questionable (we all remember that entirely unnecessary Promise remix, for which Jermaine Dupri still has not been held accountable over to this day). Posters (We Stay on One) is supposedly a reminder to all, that Jagged Edge never have, nor ever will, lose their strength, pull, or position in this here music game. Skin firmly flat, there is not a goosie to be felt, as this would be my contender for the wackest…I mean Weakest track on the album. I'm sorry, but they're better than this. Leave these antics to groups who need to remind their audiences that they still exist. This track should've been sold to 112…

And so. I reiterate my earlier statement; this is not a piece that I ever expected to write about this group. I never thought the day would come, when I would have to say that my beloved Jagged Edge released a below par album. I never imagined that I would have to be telling you, that at best, a Jagged Edge album, could only ever earn a seriously generous, fan-fuelled rating of 6/10, and never, in a million aeons, warrant an equal footing with the first part in the instalment, but…alas, the times, they are a'changing.

Am I wrong? Do you feel I've been too harsh? Or have I been too overfriendly, purely based on my love for my favourite male singing group? Let me know in your house below. For now though, I'm off before the die-hards get me!

Until the next…

ES ;)

#LostInMusic: MICHAEL JACKSON'S 'BAD' (REVIEW)

Michael Jackson's seventh studio album, released in 1987, is rarely thought of as one of his finest bodies of work, but is instead considered full of iconic moments in musical history. When you consider however, that this album saw the birth of feature zips, the Dirty Diana, and Smooth Criminal legacies, not to mention Moonwalker, and a worldwide tour that grossed $125 million dollars, in some ways, this was one of Michael's most successful projects. In the words of another great, let's start at the very beginning…

The title song was originally supposed to be a duet with that other iconic musician, equally enigmatic, and far more risqué and controversial than Michael ever was. But when Prince listened to the 'Bad' demo, he reportedly told Jackson and Executive Producer, Quincy Jones: "You don't need me on this, man!" And turned down the offer; shattering the hopes and dreams of joint fans everywhere, forever, since the opportunity never came again.

Determined not to be mistaken for a 'Beat It' pt. 2; Michael switched position from Peacemaker to Aggressor in this next phase of his storytelling genius. With 'Off The Wall' we learned that 'Little Michael Jackson' had his own two feet. With 'Thriller', we learned that 'Little Michael Jackson' wasn't so little. With 'Bad', we learned that Mr Jackson had an edge.

Now a lover and a fighter, the sounds were tougher, the moves were sharper, and the words were hard enough to render him the Bruce Lee of lyricism. The video was another defining moment in musical, and cultural history. In the case of Wesley Snipes, it was the beginning of the gainful employment that led to that pesky little tax problem.

If, by some freak force of nature, you've never heard this album, or any of its muthaluving CLASSICS, consider this a crash course. Sit down, grab your notebook, and sharpen your pencil, because class is most definitely in session. In the vein of our US friends, you gon learn today, my friends.

Now then. Once you put your initial shock aside, and consider the lyrics, you'll realise that the aggressor is actually the good guy employed to corral the baddies! Don’t let the black buckles and chains fool you – the villains on the block had a new nemesis, and like the John Waynes, Sergeant Kinchloes, and Shafts before him, this unorthodox protector of the peace was one baaaad mammajamma. Make him mad and he WILL dance at you…

Can we also take a moment to recognise, and celebrate the birth of 'shamone'? That verbal fixture that we all now know so well?

If ever there was a moment that Michael Jackson and I both shared in history, it was that of being stunned by the oh so breathtaking Tatiana Yvonne Thumbtzen. He (and most males) wanted her, and I (and most females) wanted to be her! 'The Way You Make Me Feel' is essentially a slick, four minute and fifty-eight second chat up line, that I feel confident in saying would work on most females; especially in the eighties, when this side of MJ was still so new, sexy, and charismatic to women across the world. A besotted young man lays eyes (and aspires to loins) on an attractive young lady and sets out to get her by laying on the charm nice and thick, to the borderline of insufferable, but never actually breaching it – hence the reason it works. He dances at his prey again, but this time, his gyrating powers are used in an entirely different fashion…

'Speed Demon' is another one that, as Quincy Jones said, was "so far out of the box, that he just stayed there!" On his bike (literally), MJ is targeted by the Road Police, for a ticket that he doesn't want to take, so he burns rubber to get away. Sounds too simplistic, now doesn't it? In fact the premise doesn't sound particularly interesting at all, right? But that was before you heard, and saw him do this with it:

'Liberian Girl' makes you want to change your nationality. An infatuated love song for the exotic fantasy girl, the video features a host of celebrity friends, all trying to find MJ. In the most elaborate Where’s Wally – I mean Michael ever, see if you can spot him…

'Just Good Friends' is an amazing moment in music history. Two of the greatest musicians of all time, not so 'Little Michael Jackson' and not so 'Little Stevie Wonder' come together (no pun intended) in beautiful, duetting harmony, for a back'n'forth, over a girl who's playing them both with the same lines…Trollope. No video for this one, but oh how I wish there was. Michael and Stevie in the studio together should have been recorded properly, for posterity; so a major FAIL on that one.

'Another Part of Me' is an attempt to remind listeners that we’re all one nation, one race, one colour beneath the Heavens, so we should really be nicer, and more accepting of each other. His first message song hitting back at the fingers which, by that time, had begun to point and sneer at him and make him a target. A harder, angrier version is yet to come on this set.

'Man In The Mirror' is still one of Michael’s biggest message songs to date. It's inspirational, it's heartwrenching, and it brings its listeners together in unified solidarity. Definitely one of those 'Best Of' moments…

'I Just Can't Stop Loving You' brought about a milestone in the life of a young(er) ES. This was the first time I ever experienced seething jealousy towards another female (not counting that daft Thriller chick who didn't have the good sense to be eaten by zombies). Throughout my childhood, I developed a perfectly normal and mentally stable hatred for Seidah Garrett, for bewitching my Michael, and making him fall in love and declare his devotion in such a heartfelt fashion. Even though I now know and understand that it was just for the purpose of the song, there’s still a little niggle everytime I think of her. They were too real! No official video for this one either, but here he is, rehearsing it with the amazingly talented Judith Hill, for the 'This Is It' tour:

In the case of 'Dirty Diana', the milestone was learning the true meaning of a slapper. The great Quincy Jones described this one as a "Groupie Song"; so for several years I thought groupie and slapper were one and the same. I humbly apologise to all the non-slapper groupies. It was a genuine mistake. In terms of the song itself? A single, non-racially profiled, female goes a little bunny boiler crazy, when she holds him against his will after a show. She attempts to break up his relationship, and generally creates the definitive term for needing a straightjacket. 

Now when I said that this track created a movement, I really wasn't joking. 'Smooth Criminal' also played a heavy part in the movie 'Moonwalker', which followed a year later. Grossing over $67 million worldwide, it's safe to say that despite the critics response, the film was a stratospheric success. An iconic moment in music history, Jackson's love of old black and white gangster movies came to colourful life a short time, with the twist being that the usual fight scene in a bar became a major dance scene that has become one of the biggest for any artist, in music history…

'Leave Me Alone' closes the standard set with an unabashed message to the media that were, by then, vilifying and condemning him on a daily basis; rarely with a justified reason, but always with a pricetag attached…

This album is an amazing body of work. So creative, and visionary, that last year, on it's 25th anniversary, the occasion was marked not only by a re-release with several (murderous, and NOT in a good way) remixes, but also a documentary by Spike Lee, interviewing some of the world's biggest names, to discuss the influence of the album on them and their talents in their chosen field. It proved without a shadow of a doubt that Michael Jackson's legacy reaches far and wide; beyond the realms of our collective imagination. His achievements will likely never be replicated by one person. So far, the few records broken, have been by various people. No one person has, nor probably ever will, match the unimaginable feats that this one man managed in 44 years. I highly doubt that anyone will change HIStory.

Michael Jackson, #WeSaluteYou til the end of time.

Until the next…

ES ;)

LOST IN MUSIC THROWBACK: Michael Jackson's 'Off The Wall'

Now I could have gone the obvious route.

When deciding who, and what, the focus of the very first Lost In Music 2014 feature should be, I very easily could have gone for the easy choice that everyone would expect, and it would have been a nobrainer. After all, if you are going to talk about The Greatest Entertainer of ALL Time, then surely his greatest collection of works is only fitting, no? No. Not for this Miss.

Instead of the lazy obvious, I decided to take a look at the works that preceded it. For, as a standing rule, I firmly believe that with any artistic great – no matter whom they are, or what they do, before their Opus, comes an inkling that something great is on the way, because the groundwork is already there. Take the female equivalent of my favourite leading examples, for instance. Before Mariah Carey's Butterfly, there was Daydream, which bore the now infamous line that we all know backwards – think Mariah, and pacifiers – you with me? Good. Let's move on, because Mariah made a trend out of exactly this sort of thing. Before The Emancipation of Mimi, there was Charmbracelet, and before Memoirs of an Imperfect Angel, there was E=MC2 – okay, that last one may have only had great moments, but overall, each was grossly underrated, and each was a tell-tale sign of the brilliance that was to come.

Now the problem with Michael Jackson's Off The Wall, serves equally as part of its charm. In 10 songs, lasting 42 minutes and some change, the album is over before you know it, leaving your ears desperately wanting more. Equally, it takes you on a breathless ride that boggles the mind before you realise the rhythmic takeover.

Don't Stop 'til You Get Enough is undoubtedly one of, if not thee best of musical introductions ever recorded. The intro is foreboding and slightly scary, as you listen to 'Little Michael Jackson' talking about a 'force' that appears to be swallowing him whole. Now having seen the video, my jury is still out on whether his force had anything to with the Star Wars force – I mean, how could you really tell, space is space, no? Nevertheless, with a rebirth-like cry, and an electric undercurrent of excitement and anxiety that fit perfectly with his personal life at the time, the choice is yours - whether you hear a musical rebirth, the start of a one of a kind rollercoaster ride, or both. Having just left The Jacksons officially, to break out as an Independent Artist, there were a lot expectant eyes upon him, as well as a misguided father (and sacked Manager) poised to celebrate his failure, if there was even a hint that the public would not accept a completely solo Michael Jackson. Aren't we glad MJ proved him wrong, with quite possibly the most magnificent of bait & switches in musical history? How many of you realised, in this moment tailor-made for John Travolta and some flashing lights, that 'Little Michael Jackson' was actually singing about doing 'The Big Nasty'?

'Get closer to my body now; just love me, 'til you don’t know how'

'Touch me and I feel on fire. Ain’t nothing like a love desire…

I'm melting, like hot candle wax'

If you are anything like me, then suddenly you hear that early yelp in a whole other quick finish context…

If Don't Stop broke Michael Jackson free from The Jacksons' chains, then Rock With You catapulted him to the heights of genuine Vocal Sexpert. Nobody knew that 'Little Michael' had it in him! Well that was because he was 'Little Michael' no more. 

With an intro that proves who the Pied Piper of Music really was (hint: NOT you, R. Kelly), his new RnB sound was seductive without a doubt. You instantly realise that from that drum solo to those early strings, something radical was happening in this new kind of music. It sounded like nothing else on the radio – and you should thank Quincy Jones’ production, and Rod Temperton's lyrics for that. Just as Jimmy Jam and Terry Lewis would do with Michael's baby sister less than a decade later, Jones and Temperton took a shy young man, found his inner charm and charisma, and the three lay their findings down on wax. You’d be hard-pressed to find a sexier song before or after it, unless Michael wrote and sang it himself.

'Girl, close your eyes, let the rhythm get into you.
Don't try to fight it; there ain't nothing that you can do.'

As he sings those opening lyrics, you realise that what you are feeling, he is, word for word, depicting in song. Now how can anyone get so far inside a beat that he gets under the skin of women for generations to come, when he would sadly no longer be around, to witness the remarkable reach of his talent? Mr Jones made sure the bass got in on the act, while Michael purred seductively, in a manner we had never heard before, and that was essentially that! Ready-made seduction in 3 minutes and 41 seconds; served up and putting itself in the modern classic history books, alongside Marvin Gaye's 'Let's Get It On'. Many cite this as Michael's greatest release – but they forget, that other big album had not happened yet…

Next is Working Day & Night, which a young ES completely misunderstood the real meaning of, until her early 20s. Contrary to (my) popular belief, Michael was not, in fact, singing about a money-grubbing girlfriend sending him out to work all the hours, so that she could spend all of his money…Nor was she deliberately making him too tired to partner her in ‘Ze Bedroom Danse’ (teen years). As we (I) discovered (what everybody else already knew), MJ is bemoaning his ladylove for making him work too hard, whilst not giving him any ‘love’ at all…

'How can you leave girl, when love like ours was meant to be?

You must be seeing, some other guy instead of me!'

Now in my defence, who knew that one man could make rhythm sound like a conveyor belt and dancefloor rolled into one, yet still be appealing at the same time? Moreover, can we talk about Quincy Jones production on this one for just a second? I dare you to name a tighter horn section than the one that battled the electric guitar, in a bridge that literally sounded like the guy and girl, going back and forth in a lovers quarrel? Answers in the Comment Box below please! The orchestral sound was so fresh and revitalising in a genre that, at the time, was so heavily synthesised and electric. Between them, Jackson and Jones brought a live, big band feel to Disco that was funky enough to have made even Nile Rodgers jealous!

More live instrumentation and vocal percussion lead the way in the fourth track. The first to actually do what it says on the tin; Get On The Floor is all about 'that girl' that he’s spotted in the club, and her mesmerising moves, MJ croons about trying to woo a potential new ladylove with a few gyrations of his own. And let’s be honest, if he couldn't do it, no one could!

Now I always considered the intro to title track Off The Wall, a precursor to Thriller. It’s Halloween spooky for no apparent reason other than Michael just wanted to liven up everybody – including the dead. Ghoulish elements aside, this song was an early ode to acceptance, togetherness, and being brave enough to be YOU, in spite of those who would dissuade you; with a 'feel good vibe, funky enough to rival McFadden & Whitehead at their finest. GLEE eat your heart out.

'Do what you want to do, there ain’t no rules, it’s up to you'

By the Paul McCartney penned Girlfriend, the tempo slows just enough for the pace to change into an audible love note, that makes me think of the school playground. Something about the arrangement that is almost like a teasing chant between a boy and girl in the throes of puppy love. The song is sweet and subtle enough to make you forget that it is essentially, a story about emotional blackmail, ultimatums and a young girl with loose morals. And yet it is. Remember that as you’re singing along. It will not stop you, because the song is too catchy, but at least bear it in mind.

'Girlfriend, I'm gonna tell your boyfriend (yeah),

tell him, exactly what we're doing (yeah);

tell him what you do to me, late at night when the wind is free.'

Every RnB crooner, from Ginuwine to Marc Nelson, to Country & Western's Willie Nelson even, has covered She's Out Of My Life – with no version even coming close to the original. A sad, painful ballad, it almost feels like the next chapter in the story of this girl that he has been chasing for the last few songs. The moment lets those who pressed play, looking for 'Little Michael Jackson' know, that part of him was still here. Part of the strength of this song, is its simplicity. Just as in the video you're about to see, directed by Bruce Gowers; it's purely a grown up Michael, and some keys, living through the storm of a first heartbreak. The fanfare left when the love did.

Michael Jackson’s cover of Stevie Wonder’s I Can’t Help It brought the sexy back way before Justin, with an intro that is at once hypnotic, and movement inducing. The tempo ramps back up slightly, and gives you, the listener, the opportunity to compare and contrast the application of his softer voice in two completely different scenarios. The change is ever so slight, and yet both make you want to hand the man a tissue – in one song, for his tears and snot, in the other, with your phone number. And possibly your address, dependent upon your moral latitude (Hey, no judgement here).

It's The Falling In Love, the only duet on the album called upon the one and only Patti Austin to take on the gargantuan task; talks of the juxtaposition of falling, and actually being in love, now that they've gone and unwillingly fallen all over again. 

'No matter how it starts it ends the same, someone's always doing someone wrong.'

Quincy Jones' Goddaughter, aka Ms Patti Austin, provides a beautiful wall of sound from the outset with the background vocals, and her tone blends so seamlessly with his, that it is often difficult to differentiate between the two. Like the eight preceding it, 'Falling' is another track that gets under your skin, and makes it impossible not to sing along to; with a subtly sped up tempo, that acts as a blindsiding segue to the closing dancefloor anthem. 

Burn This Disco Out is full of pomp and glory, in the sense that it is a marvellous way to demonstrate going out with a literal BANG. Again, the live orchestral feel, gives the track a sense of closing fanfare. It’s big, it’s braggadocious, and it dares you not to dance.

'Got a hot foot, better freak across the floor,

Join the party; and we came to move, and that’s for sure.'

No soft vocals on this one, it’s Michael’s sharp, fight voice, leading a disco revolt, to party euphoria in an RnB, Jazz and Funk fusion – narcotics not necessary.

Rod Temperton, of Heatwave fame, partnered with Michael for the writing credits on this legendary album that has not only been inducted into the Rock & Roll Hall of Fame as it's own entity, but been cited as one of the greatest albums of ALL TIME. The vast experience in his influence cannot be overlooked. If he were the blueprint, then Jones’ wizardry of live instruments throughout most definitely provided the literal bricks and mortar for the powerhouse, and Michael? Well he was just the electricity that illuminates up the project! Between Temperton, Jones, and Jackson, here was not only a formidable team, but also one of literal organic magic; what else could come from a creative team so powerful? And they were just getting started…

Michael Jackson, for Off The Wall, We Salute Your Memory for getting us Lost In Music.

Until the next,

ES ;)

Welcome to the ALL NEW #MusicMonday feature on 'The ESintheP Blog'!

Welcome to the ALL NEW

#MusicMonday feature on 'The ESintheP Blog'!

There's been a teensy bit of a revamp all-round if you've noticed, but for those who are new, let me introduce you...

If ever you question what else this blog portal has to offer, then there is a handy shop slideshow on your right. For more details, simply visit the ESP website. Check ESP Social Media for the latest news, or better still, connect directly, so that you get all the breaking alerts first! See what's most popular on the blog, by checking the everchanging Top 5 stories. Or purchase the mainstream releases that you see, or read about here - like Iggy Azalea's new album review, coming later today, with a twist - from Amazon in the bottom-right.

Oh yes, and do be sure to share your thoughts on the new blog banner - do we like, or no? You tell me in the Comments Box below.

Now to the meat of the meal. #MusicMonday will consist of any, or all of the following features in any given week:

Headlines are the top News Stories of the past week. They may not always match with the mainstream - in fact I sincerely hope they don't - but you will learn interesting tidbits that you're not as likely to pick up anywhere else!

Since this IS a Spotlight forum, Flashing Lights is dedicated to the winner of our weekly music review...

Lost In Music returns, with a look at past releases, that left an indelible print on musical history.

Sound of the Week is the tune that won't get out of my head, and imprints on my brain. Love it or Hate it, Old, New, or Just Released - it could be anything!

Talk on Corners is the talking point where I shine a light on certain topics currently ongoing, or that seem to be slipping under the radar, and ask YOU to join in the talk with me, over the course of the week.

And finally, Wave Runner is a look at the biggest songs in the media right now (and occasional, legitimate examinations of why on Earth they're there...)

Now as an EXTRA-special Launch Day Treat, I'm giving you one of EVERYTHING throughout the course of the day - but don't think I'll be spoiling you like this every week! With the exception of Flashing Lights, and Headlines, only a selection of features will run every Monday. Sidenote: Naming features after song titles certainly does help create a theme, let me tell you...and we all know how I love a theme!

It's time to get ready for your first offering of the day. It's only right to open big on a celebratory day...ENJOY (and please do let me know what you enjoy [or not] the most)!!!

ES ;)