The exciting sound of Skyways Are Highways and the fantastic genius of Eli J Hood! When these talents got together it was pre-destined that they would make unbelievably great records!

Two years ago Skyways Are Highways invited me to the studio and introduced me to sounds that I (or anyone else in the music industry) didn’t know existed. It all started with “If You Get Caught We Never Met” and then the “Let Them Run Wild” EP. Since that time I have gotten to see sensational things every time I visit them at the studio.

When I first met Skyways Are Highways I didn’t think they were going to be a very good group. Michael said to me, “I found this group they’re very good looking, but they don’t sing too well.” So I said, “Well why bother?” He said, “I kind of promised their mother.” You can see everything is very businesslike with Michael.

So he bought the band in, and they were beautiful. But, they really sounded terrible. I figured he had really flipped his lid. After they had finished this record, which was really bad, he turned to me and said, “Aren’t they great?” I just kind of looked at him for a few minutes and didn’t say anything. Pretty soon this big grin started spreading over his face and he broke into a laugh, “Guys!,” he said, “Now sing it right for Rocky.”

Well, of course, the rest is history. They proceeded to record the “So Young” EP with the band who look great, sing great and are great!

Take it from me; Eli, Angie, Stacey & James are going to make some fantastic records, just for you.

- Rockwell Davis

<div id="story"><table border="0" cellspacing="5" cellpadding="0" align="left"><tr><td valign=top width="200"><img src="http://images.nymag.com/arts/popmusic/features/coberst110214_250.jpg" hspace="5" border="0" width="180" height="230" alt="" /> </td></tr><tr><td width="200" align="left"><div class="caption"><div class="copyright">(Photo: Autumn de Wilde)</div></div></td></tr></table>Conor Oberst will turn 31 the day after Valentine&rsquo;s Day. He has been writing songs for more than half his life; he started at 12, recording his first album, Water, on cassette, at 13. When he was 17, Oberst and his band Bright Eyes released A Collection of Songs Written and Recorded 1995–1997. The album turned him into a sort of new Dylan prodigy, a folk-rock troubadour from a frigid state who spoke for a generation of intense, sensitive, liberal twentysomethings. “Thank God that&rsquo;s over, right?” says Oberst with a grin. “I went right from wunderkind to washed up. Old. Been around too long. That&rsquo;s just the way I feel. That&rsquo;s my internal dialogue.”  Oberst is sitting in the East Village apartment of a friend, his narrow shoulders hunched against the chill. With his anime eyes and curtain of bangs, he looks like a particularly delicate child—not the grizzled vet of his imagination. But one can understand why Oberst might feel conflicted about his public persona, which has taken some bashing. No less than Jonathan Franzen name-checks him for quick symbolism in the novel Freedom, in which Oberst headlines a concert for an environmental cause, standing in for the faux na&#239;vet&#233;, innocence, and extreme political correctness of one character.  It&rsquo;s just another of the many things people have written about Oberst that he hasn&rsquo;t read. He gave up paying attention to press about himself, when the criticism—that he was too maudlin, too achingly liberal, too much the guy who plays guitar and cries at parties to impress the girls—became painful. “Anyone who says they aren&rsquo;t hurt by that stuff is not telling the truth,” says Oberst, who found some consolation in a friend&rsquo;s coffee-table book—a compendium of essays and reviews that ran in the music magazine Melody Maker. “I was reading through it, and somebody was just slamming [early records by] Leonard Cohen and Paul Simon and Joni Mitchell—all these people who are, in my mind, untouchable. They&rsquo;re calling their music phony and terrible and derivative. It was so encouraging because it made me realize these people don&rsquo;t know what they&rsquo;re talking about at all.” Last night, Oberst happened to watch the documentary When You&rsquo;re Strange, about the Doors. “Given how incredibly inaccurate everything I&rsquo;ve read about myself usually is, I had to wonder, Is any of this real?”  Oberst is about to release The People&rsquo;s Key, the first Bright Eyes album since 2007&rsquo;s Cassadaga, a swirling operatic opus that was (mostly) critically admired for being as opulent and baroque as his early work was spare and delicate. Oberst followed that with two laid-back, uncharacteristically witty alt-country solo albums with the Mystic Valley Band, as well as an expansive rock record with supergroup Monsters of Folk (Jim James of My Morning Jacket, M. Ward, and Bright Eyes&rsquo; producer-instrumentalist Mike Mogis). The People&rsquo;s Key was recorded back home, in Omaha, on the Saddle Creek label, which Oberst founded with his older brother Justin in 1993. “The most difficult and rewarding thing in this business is longevity,” he says. “So far, I&rsquo;ve made it through, but I&rsquo;ve been lucky. What&rsquo;s happening in the music industry is exactly what&rsquo;s happening in America in general—the shrinking of the middle. Soon there will only be MySpace bands and, like, Jay-Z.”  The new album is rich with slick, glitzy keyboards courtesy of Nate Walcott, the third member of Bright Eyes. “To me, this is not an eighties record, but that&rsquo;s definitely the palette of sounds we&rsquo;re drawing from,” says Oberst, who worked with the band to untangle and simplify their sound. “If there&rsquo;s a criticism of Cassadaga that I agreed with, it&rsquo;s that we left things in the oven too long, that songs were overstuffed, with too many ideas competing for space.” Clarity has forever been a challenge. “The one recurring theme in my writing, and in my life in general, is confusion,” he says. “The fact that anytime you think you really know something, you&rsquo;re going to find out you&rsquo;re wrong—that is the rule. The moments where you think you have something figured out, those are the exceptions.”  Fans will recognize another familiar thread in The People&rsquo;s Key, that of living in a world that can at times be horrifying. Back in 2003, Oberst battled Clear Channel and the corporatization of music; he later publicly supported PETA, performed at a 2008 rally for presidential candidate Barack Obama, and, last year, boycotted Arizona for its anti-immigration bill. His commitment to action remains, tempered perhaps with a certain world-weariness. “Once you realize that everyone is in the same boat, that everyone is just as insecure and childlike as everyone else, that all these jokers in D.C. ruining our world are just greedy kids grabbing for marbles—I think that realization means you&rsquo;re an adult,” says Oberst, who can come across as both cynical and a little na&#239;ve in his cynicism. “I will say there are evil people in this world. And one of the themes of the new record is standing up and fighting against that. I&rsquo;d like to think that I will be able to discover a reality apart from this one, you know? Because it seems a little too bleak. I guess that&rsquo;s wishful thinking.” </div>

DJ Neill MacLeod 

Ottawa native and Toronto-based DJ Neill MacLeod has been bringing his musical fusion of funk, jazz and house music to clubs across North America for over 19 years. He developed his creativity in musical performance in his younger days, dating back to when he created sounds on the piano at the age of four. This musical journey continued throughout his education, as he indulged in familiarizing himself in a number of musical genres, including brass, jazz and funk ensemble; eventually specializing on trumpet. He continued to immerse himself in music education working toward a degree in music at the University of Ottawa where he was introduced to the underground scene of house music while serving in the Army reserves; contributing to the Governor General’s Foot Guard Marching Band. 

With his musical talents, theoretical knowledge and performance experience, MacLeod is able to read his audience and bring them a unique, passionate, energetic and interactive set. He specializes in mixing, creating and producing live using four decks. On special occasions and some themed nights, he includes instrumental performances, featuring himself, as well as guest musicians. For example, he created Downbeat, a unique, funky and interactive monthly party that sets him apart from other DJs. At these events, he DJs, plays trumpet and invites other musicians to jam with him during his sets. He is continuing to develop and integrate more instruments and live performances for the audience’s enjoyment and eventually playing live instruments in all of his sets, where it would fit into the performance opportunity. 

DJing for MacLeod is about sharing his love, enjoyment and passion for music in a way that makes his audience move and express themselves through dance. The music he chooses to produce and play has many elements and layers that fit his style and techniques. He is able to tailor a night specifically to the audience dancing in front of him because if they’re moving, he’s moving.  

MacLeod is well-known in most Toronto clubs, as well as bars and clubs in Montreal, Ottawa, Vancouver, Fort Lauderdale, Key West, New York, California, Chicago, and Puerto Vallarta, Mexico. In Toronto’s vibrant LGBTQ+ community, he has a regular residency at the Black Eagle, and he has been affiliated with Pride Toronto produced events. During Toronto’s World Pride celebration, he played on two major stages. He's headlined other Toronto events at the Black Eagle including Jockstrap, SIN, and Glowjob. He also created an event  called Wolfpack – Get Rugged, attracting an adult masculine audience, from 30 – 45 years of age, although these events are open to audiences of all ages. 
Wolfpack showcases local DJ talent and businesses and brings back the leather element to the bar, known to target the leather community. He’s in the process of developing the Wolfpack branding, with collectible apparel merchandise and podcasts of his live sets. 

By developing themed and branded events like Downbeat and Wolfpack, the acclaimed DJ and musician is establishing his own brand. A vibe and style of music that is fresh, yet still infused with old school classic house, funk, jazz, with modern or local Tech House and tribal music. 
 
In preparation for his club appearances, he’s usually in his studio creating his own original remixes and production, providing original music.
MacLeod has built his career as a successful DJ by also supporting the club scene, going out to dance and play, to get a sense of what is fulfilling. What he wants to hear and feel while in the heart of it. Then he can fill in the blanks through his knowledge and personal club experiences, to deliver it through his sets and the themed nights he creates that are truly interactive experiences. His uniqueness, musical talent, production experience, positive energy and audience interaction always has audiences coming back for more.

The past two years have been a whirlwind for the dynamically delightful Toronto-based singer/songwriter Meredith Shaw. 
After releasing her critically-acclaimed, effervescent and delightfully refreshing debut album, Place Called Happy, she embarked on an extensive tour with Big Sugar, criss-crossing the continent, assembling experiences and stories that were irresistible fodder for Shaw’s clever and creative imagination. 
She will be releasing a series of three-song EPs affectionately coined ‘Tringles’  with special guest artists and producers that capture the essence of her talent, charm, personality, playfulness and also boldly proclaims a confident maturity as a songwriter.
“They all speak to pretty significant parts of who I am,” she said of the tunes. “I don’t mind writing by myself, and I do write a lot by myself, but I also like the collaborative nature of co-writing with other talented songwriters. Sometimes you just need that other set of ears or ideas to really come up with something special.”
As part of her journey for this project, she decided to reach out to one of Canada’s most accomplished, authentic and well-respected craftspeople – Joel Plaskett. And the meeting of the musical minds was sheer magic, as Plaskett ended up producing the material for the first phase of this ongoing project, and contributed some of his unique lyrical and musical imprints to the tunes. 
“I have been a fan of his since forever, since I saw him at the Grad Club in Kingston when I was studying at Queen’s. He blew my songwriting mind and still does. He showed me that you could be funny in songs, that you can be in the moment, and I loved it,” Shaw said, admiringly. 
“I feel that these songs are a really cool next step for me. And I am working with one of my musical heroes. I got to both write with him and work with him as a producer. I’m a lucky chick”
Place Called Happy was produced by another of Shaw’s musical heroes and mentors, Gordie Johnson of Big Sugar, Grady and Wide Mouth Mason fame. Working in tandem with Plaskett, he mixed the first three tracks and will be mixing all the 3 song EPs this year giving them his signature Gordie touch. Shaw said she is continually grateful to be understood and appreciated by the likes of Johnson and now Plaskett for her own talents as a songwriter and performer. 
“It means so much. In this industry, you hope the people you respect will give you a thumbs-up to show you that you’re on the right track. I am following my own creative heart, but I couldn’t have more admiration for these two guys, and their opinion and approval is amazing.”
Plaskett helped Shaw finish the song that will be the first single. ‘Trouble’ started off during a songwriting session in Nashville, a place where Shaw spent some time last year, and plans on returning to regularly to partake in the rich songwriting opportunities it affords.  The song aptly demonstrates that, while Shaw has grown and matured as an artist, the girl who coquettishly sang ‘Acted Badly’ is still very much exploring her inner vixen. 
“When I finally solidified where I was going with the song, I thought, ‘you know, Joel Plaskett would really get this.’ And when I reached out to him, sure enough he did. And he brought a lot of humour to the verses and made sense out of some of my nonsensical ideas, without really changing the vibe.”
The song also shows how Shaw the vocalist has progressed. Her phrasing, diction, and delivery is crafty, clever but oh so Meredith, and leaves no doubt that she is a Grade A charmer. 
‘Have You Met My Heart’ reveals another soul-baring facet of Shaw’s personality, as she worked with noted songwriter Simon Wilcox during a session in Los Angeles to pen a tune that retains an element of playfulness, within the confines of sadness, loneliness and regret. 
“I had already written the chorus and melody and then had this idea of blaming your heart for all your problems. ‘It’s all her fault. It has nothing to do with you. You’re a wonderful human being, but this heart is making you do all sorts of horrible things.’ I saw someone’s Facebook cover photo and it said, ‘my heart is an idiot.’ And thought it was funny – the notion of separating yourself from your heart. I thought it was an interesting way to start a love song. And I brought it to Simon because I knew she was so poetic and I was confident we would be an interesting match in terms of co-writing.”
‘Call It a Night’ was penned with Shaw’s primary songwriting co-conspirator, Patrick Ballantyne, and is also a straightforward, fantastical ‘pick-up’ song, and shows off Shaw’s breathtakingly soulful vocal power. 
“It was actually a song that Patrick and I were writing for Gordie, but very quickly into it I said, ‘I think this is my song.’ I was feeling good about it, It spoke to me, and plus I was kind of able to holler a little bit. I like doing that – just belting it out. I did it with ‘There’s No Telling,’ from Place Called Happy, and it’s fun to do that once in a while. We changed the narrative, but obviously it’s a pure and simple pick-up song. We’ve all had those moments, although I get a little blushy about that sort of thing,” Shaw said with a chuckle and mischievous grin. 
“We were coming up with the words and I just put the image of Ryan Gosling in front of me and wrote whatever I would say to him if he was in a bar. Yes, I have a thing for Gosling”
She beams with justifiable pride and excitement when thinking about the upcoming release, Trouble, as it represents a significant step in her artistic journey and also effectively captures the different sides to her delightfully complex personality. 
And her many fans are also excited to hear the new music coming from their favourite, fabulous singer/songwriter. For more information, visit www.meredithshaw.com.


Yadda, Yadda, Yadda.
Kenyatta "Yadda Man" Thomas (1992) is an American rap artist, songwriter, producer and entrepreneur. Yadda is the man behind the plan, and logo. Born in Columbus, Georgia and raised throughout the Midwest; his musical following far exceeds the normal small town hip hop artist. 
I'm sure if you mention "The Off Brand" or "Yadda Man" in places such as Rapid City, South Dakota you'll find that his support is unmatched. In 2013, he went on to release Channel 32 followed by Until the EP and Until the EP II. Each project was laced with dope music. In 2018, Yadda Man was offered a chance of a lifetime and went on a US tour with Afro Man. Later that year.
Yadda has opened up for several very noteworthy artists to include: Waka Flocka, Dizzy Wright, Hopsin, Jarren Benton, Bone Thugs-n-Harmony & Montana 300. His musical abilities have received co-signs by Slim Jimmy and Kato the Producer. When you listen to his music you'll find that his message is a lot deeper than his rhymes. His metaphors and lyrical abilities will leave you mesmerized. 
In 2019 Yadda Man caught the attention of rapper STALLEY who took Yadda under his wing and dropped his album, “Outta The Basement” under the Blue Collar Gang umbrella which dropped in 2020. Soon after that project would gain some traction leading up to his most recently 2021 released project, “JiMMy”.

Deep Army (Est Nov 2012)

If you were to ask where it is you could find something edgy, something with hidden flavor (both local and beyond SA shores), something blessed with heart and a whole lot of talent you may be excused for trying to find it in the eyes of the new crew on the block “Deep Army”.  These three producers from Johannesburg are set to take the “new urban” market, in South Africa, by storm.  Deep Army are Big D, Easy, and Densch.  

Big D and Easy, better known as “Beat Army”, have come seemingly out of nowhere in the last few years and in a very short space of time they have become regulars on the Jo’burg scene extending their reach into the coastal towns around South Africa.  As Beat Army, they have toured extensively across the country over the last few years etching their name firmly into the minds of promoters and music lovers alike, countrywide.  Never shy to deliver solid performances all over the show, playing H2o main stage, multiple music festivals, and just about every club you can think of from Johannesburg to Durban, to Cape Town and back again, the guys from Beat Army are exactly the kind of DJ’s/Producers an already clogged industry needs to rattle a few cages and to inspire the new generation of producers and DJ’s, to not only become better at their craft but to be better people in the process, and to never lose hope that all things are possible with a whole lot of effort and a little bit of faith.

To those that know them there is nothing new about the energy they bring to DJ’ing as a whole, it’s a simple standard that never changes much like their passion for production and teaching the art of DJ’ing to young people through their endeavours at the Soul Candi store in Johannesburg where they have authored the curriculum that is taught to students interested in learning the art of DJ’ing.  Lots has been said about Big D and Easy, but one thing remains, their passion for music and people alike shine through over and above everything else.  Their personalities resonate with people and they know how to connect.  One gaze of them up on the decks at Nicci Beach where they are regulars or at The Sands where they currently enjoy a residency is surely enough to convince.  Add to this their production capabilities and you will quickly learn that beneath the quiet faces that are Big D and Easy, there are two characters hungry for something that only actions can explain.  Their rise has been admirable, what comes next then, won’t be a surprise, and why should it? It amounts to natural progression.  With their creative nature tied into the business brain that the two of them have become, its only a matter of time before they, together with the 3rd group member, will set South African ears on fire, and, in time, the international stage.  

So, how did they go from Beat Army to Deep Army and who is the third member?  A random meeting between three friends that didn’t know they knew each other is how Deep Army was founded.  It’s a real “in mom’s garage” story, born out of a hunger for the next step, for live performance, and for bringing the best possible sound to the masses.  It’s time for you to meet Densch, the vocalist, lyricist, and one third of Deep Army.  Densch has not only surprised his Deep Army band mates with his wealth of production knowledge but as a collective Deep Army enjoys the experience he brings to the show, both from a technical perspective but also in a creative sense. With over 15 years of production experience under his belt Densch is a shining example of what happens when one never gives up.  Once told it’s often those that never give up who make it, Densch has enjoyed minor success in various genres under different personas.  To Deep Army then, he lends his voice, his know how, and his cheeky grin.  A choirboy at the age of 5 for a number of years, it’s no wonder he has ended up here.  Together with Big D and Easy, Densch has helped bring Deep Army to life through his well-placed lyrics and on point vocals, covering real world life, personal experience, and a whole lot of love for words and music, and that moment when you truly connect with something you’ve heard.  

Fast forward from November 2012 when the “Deep Army” conversation first happened to March 2013 where the three got to celebrate the signing of their first EP after a few months of slogging it out in the studio, here is where it starts for real for the three Jo’burg based producers.  The road ahead is a tough one for the three that make up Deep Army.   They have many lessons to learn, many people to meet and many hearts to touch, and many ears to get on the Deep Army bus.  The changes are set to come in thick and fast as they continue their climb, but coming to a set of speakers near you very soon will be new music, from new faces, with a new message and certainly a new flavor.  

Keep an eye out for the guys from Deep Army as 2013 is set to produce some super exciting results for “Big D, Easy, and Densch”.

So join the movement, the Deep Army movement.

Big D – Easy - Densch



Rebecca Scales Singer, song writer, Producer & DJ has the Funk, SouL & Emotion Everybody is Talking about! She explodes Live on stage and has a Powerful infectious Good Energy that can move any crowd.
She has performed at Shepherds Bush Empire, Pacha, Ministry, SupperClub, Westbourne Studios, Secret Garden Party, Aquarium, The Ritz and many more big venues all over the UK and also toured East Asia.
Her releases with Broken Wax, Grin Recordings and Big Boy Music Ltd have pushed her career forward to work with the likes of Femi Fem (Young Disciples) and some other Big Industry Heads who will be named on future releases.

Collaborating with producers and song writers with unforgettable melodies and messages in genres of House, Dance, Funk & SouL

Her influences are Candi Staton, Aretha Franklin, Jill Scott, Sade to name a few and her Outlook on Life is: 

' LiFe is What you MaKe iT'
'No TiMe LiKe The PreSent'
'LooK FoRwarD NeVeR BacK'

Dorian Ione is following