(orchestra jazz music) >>Ladies and gentlemen, welcome to DMV The Beat.
Tonight, we're proud to present the incomparable sounds and smooth wordplay of Carolyn Malachi.
Combining fun and important ritual, a time for relaxation, collective coping and bottomless everything.
Carolyn Malachi is a sexy, happy, certified feeling myself hit maker.
Welcome to DMV The Beat.
♪ If I ♪ ♪ Don't reply ♪ ♪ It's okay.
Boo boo ♪ ♪ Me and the fool ♪ ♪ We at the beach and ♪ ♪ I got a deep tan ♪ ♪ Bottles in the sand ♪ ♪ So anyway, I got your little email ♪ ♪ Talking bout, what ♪ ♪ Talking bout welcome back well ♪ ♪ Say its good for me ♪ ♪ I don't know if I'm the one ♪ ♪ I'm still jamming on the one ♪ ♪ Flawed logic ♪ ♪ That's when you need to come back to the office ♪ ♪ After the shearing I had ♪ ♪ After the time that I've had ♪ ♪ Move with me baby ♪ ♪ Pour another round bartender ♪ ♪ You my best friend ♪ ♪ Now forever ♪ ♪ If I don't reply ♪ ♪ Its for a very good reason ♪ ♪ I'm in no mood ♪ ♪ To be accosted by ♪ ♪ One of the bosses ♪ ♪ I'll cut my losses ♪ ♪ Anyway, I got your little email ♪ ♪ Talking bout, what ♪ ♪ Talking bout, what that well ♪ ♪ I don't know that I'm the one ♪ ♪ I'm still jamming on the one, hey ♪ ♪ Flawed logic ♪ ♪ That's when you need to come back to the office ♪ ♪ After the shift that I had ♪ ♪ After the time that I had ♪ ♪ You know you lying ♪ ♪ Pour another round bartender ♪ ♪ You my best friend ♪ ♪ Now forever ♪ ♪ Pour another round bartender ♪ ♪ You my best friend ♪ ♪ Now forever ♪ ♪ Pour another round bartender, you're my best friend ♪ ♪ (riffs) ♪ >>Welcome to DMV, the beat I'm John Monds, the host of The Original Quiet Storm on 96.3 WHUR.
Very happy to be here tonight with a coworker of sorts, (Carolyn laughs) she's also a part of the work staff here at Howard University, Assistant Professor in the School of Communications and also a great mixer and owner of her own company >>Yeah is call in?
>>Call and response.
How did you know that?
>>I know everything as we find out as this goes on, but I wanna know more about Carolyn Malakai.
Thank you for being here.
>>Thanks for having me.
So the question comes when's about your music.
When did it hit you that maybe you were interested in singing?
>>I think I've just always been interested in storytelling.
So it was an undergrad where I picked up my first DAW, digital audio workstation.
So I was just making beats and then putting lyrics on top of that and performing.
And it, I think I just caught the bug then and tried to just get better as time goes on.
>>Was it a time early in life where you just maybe were walking around the house singing?
>>Oh yeah.
I mean, of course that there's that, you know, as a kid, I definitely was just making music.
I had this little Casio keyboard, like a lot of kids did back in the day that would just, you know, make certain drum patterns or melody patterns.
And I would like write songs to that.
And you know, my parents' musical taste was pretty diverse too, because I have the like jazz and go-go from the DC side of my family, but my mom's from Ohio.
So all the folk music and that, and all the rock music that I could take.
So I was influenced by so many different genres.
Yeah.
>>Was there a time when somebody said, well, not only do you like to sing, but you sound really nice and maybe it's something you consider doing sometime in life.
>>You know, I actually, I have to credit a drummer by the name of Danny Tate.
He was my very first drummer or somebody I met in college and I played some things for him.
I played piano, I was just kind of goofing around in school and he was like, "Hey, let me, let me call a few musicians".
So the next thing I know, I'm in rehearsal with an upright bassist and a pianist, and that was my first band.
>>So let's, let's fast forward, past that first band you started doing music.
How did you decide what type of music that you wanted to do?
>>So professionally, I was just wanting to explore the sounds that felt natural to me.
It was just an, it's always been an exploration of sound always.
And trying to figure out how to structure a love of sound and create songs.
I just, it was like trial and error.
So I started making records using, you know, whatever software, whatever instruments I could get my hands on and didn't know anything about mixing.
(laughs) So I put out a record, it was called, "Revenge of the Smart Chicks", but there's like literally no engineering beyond.
>>I know that one.
>>Yeah.
But then I did a sequel, "Revenge of the Smart Chicks Two: Ambitious God's".
How you like that?
>>Oh >>Yeah, so I've just been going ever since, yeah.
>>So your music now, if you had to describe your sound classic R&B, neo-soul?
>>You know, I think I'd like to describe it more as like a mood, its brunch.
It's girls night in.
Its just a vibe.
Its the music now is it's the energy of release.
So sometimes that feels like R&B soul, sometimes it feels like house, sometimes it feels like trap, but it is all a vibe and it's all meant to make us feel.
Yeah.
>>So are there artists that you, when you hear them, that you kind of say that kind of makes me kind of want to do something along those lines?
>>You know, I hear there's some artists that I listen to and I think, wow, I would really like to just sit in a room with this artist and see what we can come up with together.
Because I think, and there's one artist who, you know, she doesn't know me and I don't know her, but I'm always talking about her because she's one of the most influential artists to me, that's Me'shell Ndegeocello.
>>Ah, I love her >>Love her voice, the way she plays bass.
Every time I listen to her record, "Comfort Woman" is one of my favorite albums.
I've always found that album to be such, just a, a liberated journey of sound.
But with clear thought, like you can understand what she's saying, what she's talking about.
So, I would really like to work with her one day.
>>Well, maybe that will happen.
Let's check out some of your music right now.
Carolyn Malachi is with us.
Let's check out a couple of songs and we'll be right back to find out more about you.
Let's continue our great performance tonight from Carolyn Malachi.
This is, "Blowing Smoke."
(applause) >>Your so pretty That sound good ♪ Let's stay right there ♪ ♪ (riffs) ♪ ♪ Okay, okay ♪ ♪ Oh your a rebel without a cause ♪ ♪ I've been a rebel since Dawes ♪ ♪ And 84 people cheer on my Tesla now ♪ ♪ On my Tesla now ♪ ♪ Blowing Smoke ♪ ♪ Oh ♪ ♪ Oh ♪ ♪ Oh ♪ ♪ Oh ♪ ♪ Blowing Smoke ♪ ♪ (riffs) ♪ ♪ I've been living a double life ♪ ♪ Plantation days ♪ ♪ Paparazzi nights ♪ ♪ Robin, Peter with Paul giving me the eye ♪ ♪ Any day now, enough hands gonna see my ride ♪ ♪ Yeah, Oh ♪ ♪ Oh ♪ ♪ Oh ♪ ♪ Blowing Smoke ♪ ♪ (riffs) ♪ >>something very important for us to do is to remind ourselves how precious and important our time is.
You know what I'm saying?
We gotta be places where people appreciate us and our energy.
Cause you can loose everything that you have and get it back again.
Every single thing except, what?
Time, I mean unless there's time machines.
B, you know about a time machine?
(laughs) So listen to yourself ♪ I'm gonna be ♪ ♪ where my time ♪ ♪ is appreciated ♪ ♪ I'm gonna be ♪ ♪ with someone who knows just ♪ ♪ what it costs ♪ ♪ Yeah, yeah, yeah ♪ ♪ (riffs) ♪ >>Right there ♪ (record scratch) mic check ♪ ♪ Buy low, sell high, make it right back ♪ ♪ Swimming in dividens that I stack ♪ ♪ Learn to kick the field goal through the price gap ♪ ♪ Gold flakes in my nightcap, I like that ♪ ♪ Rainy days, all the ways I cash out ♪ ♪ Fade away, LeBron James, swish ♪ ♪ I might drop my own shoe ♪ ♪ Cinderella Story, "Bibbidi-Bobbidi-Boo" ♪ ♪ Hey (instrumental) ♪ ♪ That mean, running for my life ♪ ♪ Riffle in your hand, is that right ♪ ♪ You only care when the end is in sight ♪ ♪ And I don't even care where you gonna sleep tonight ♪ ♪ Sugar, I am blowing oh ♪ ♪ (riffs) ♪ >>This is "Fall, Winter, Spring," from Carolyn Malachi on DMV The Beat.
(applause) ♪ To Fall ♪ ♪ Into your Winter ♪ ♪ Means to Spring ♪ ♪ Where my dreams ♪ ♪ Dare not summer ♪ ♪ You can sing along with me if you want to, that's okay ♪ ♪ That's the one ♪ ♪ Doubting me was a mistake ♪ ♪ I didn't make any promises ♪ ♪ I made up the rules as I went along ♪ ♪ Because boxes don't fit me ♪ ♪ Very well ♪ ♪ Confinement is hell ♪ ♪ Or what I imagine it to be ♪ ♪ And I ain't meant to burn ♪ ♪ I ain't meant to burn ♪ ♪ Not ice cold me ♪ ♪ I am meant to fly ♪ ♪ Cool and high ♪ ♪ So why would I ♪ ♪ Ever be inclined to fall ♪ ♪ Into your Winter ♪ ♪ That would mean ♪ ♪ I would have to Spring ♪ ♪ Where my dreams ♪ ♪ Dare not summer ♪ ♪ To to give, to give ♪ ♪ Into your darkness ♪ ♪ Is to take ♪ ♪ All my light ♪ ♪ And hide ♪ ♪ All you ladies clap your ♪ ♪ See I be just chillin' on my living room floor ♪ ♪ In walked Bud cup of tea and a brainstorm ♪ ♪ On my back listening to Monk ♪ ♪ Foreplay my thoughts 'til I ♪ ♪ To the conclusion its a delusion of grandeur ♪ ♪ For any tomcat to combat the lioness ♪ ♪ Yes, square chick in the winners circle ♪ ♪ I'm not the trapezoid ♪ ♪ My every joy is taking shape ♪ ♪ Through the fire, to the limit, to the wall, mate ♪ ♪ You go to war for love ♪ ♪ I'll redeploy my faith, yup ♪ ♪ Right hand to my great-grand ♪ ♪ Sarah and Betty know I'm ready and I'm on they path ♪ ♪ And they hand down messages telling me, man ♪ ♪ That's what I call a parallelogram ♪ ♪ That's why I stay with a band ♪ ♪ Every tune we commune with the muses, man ♪ ♪ To fall ♪ ♪ Into your winter ♪ ♪ Means to spring ♪ ♪ Where my dreams ♪ ♪ Dare not summer ♪ ♪ Oh (riffs) ♪ ♪ To give ♪ ♪ Into your darkness ♪ ♪ Means to take ♪ ♪ All my light ♪ ♪ And hide ♪ (applause) >>Well, if you didn't know.
Now, you know.
That's Carolyn Malachi off the stage and back on the seat in front of me.
Let's switch directions because you mentioned the technical part of what you do.
And there aren't very many women that do mixing.
That's what I'm understanding, at least.
>>Yeah.
>>So why did you decide to go that route?
>>Wow, that's a really great question.
And you're right.
Only 2% of the recording industries, producers and engineers are women and that number's growing, but it's still such a small number.
And I think that's probably one of the reasons why it was really important, you know, to me to get the skills, to be able to, you know, work with other women.
'Cause sometimes it's really difficult when you're in the studio, you're trying to express yourself.
Maybe you have an idea you know in your heart, you can hear it, but you don't have the technical terms to >>Right.
>>you don't have like the technical language to explain yourself.
That's hard for a lot of people and it can be particularly intimidating for women who are, you know, kind of alone in the studio.
But, there was a moment when I was on tour in Kuwait and we got to the venue and there were like, there was no sound equipment set up on stage, no stage monitors.
The console was there, but it was in a box and I didn't know how to set anything up.
And I was like, you know what?
I'm never ever gonna get caught out here like this again, ever.
So I went back to school, I got my Masters in Audio Technology at American University.
And while I was there, I really, really got into mixing.
Just being able to take an artist, to take an idea that's already there.
An artist that says, has said, "This is my creative work.
This is my idea.
Can you help me make this shine?
Another, I think the, if I'm honest, now I'll be honest with you, John Monds.
I feel like we know each other.
>>Yes.
(laughs) >>You know.
(laughs) Being from DC, there's so much wonderful music, but in many cases, artists avoid mixing because it can be cost prohibitive.
That's one and artists just sometimes avoid mixing because they don't know it needs to happen.
A lot of us aren't aware of the process, you know, arrangement, recording production, mixing, mastering.
We need to do all these things for our records to compete.
So while the creative ideas here are exceptional, bar none.
Making sure that our records can compete sonically with a Rihanna, with a Drake, with a little whoever, you know, it's really important.
And I want to be able to provide that service for artists in my community.
>>So having that ability to mix, are you able to throw in some little tweaks that may be >>Of course.
>>other people might not know or understand?
>>Yeah.
I mean, so there's a band that I'm mixing for right now.
And I have the really just, I love when I can pull things out of the session, meaning I have all of their instruments, I have everything they've played and sung.
And so I like when I can take that, the same piece of music that they've been listening to unmixed and then just pull like solos out or like maybe change the texture of a sound so that it's more present.
And you just, to see people's faces light up when they're like, oh, I forgot I did that there.
(John laughs) >>Oh, wow.
Oh wow.
The sound is doing like this.
How'd you do that?
I mean, it just makes people feel good.
And then they can like hear their music next to other artists that they love and enjoy and appreciate their music on the same level.
That's really important to me.
>>Tell me about some of these honors you've had Fulbright- Hays?
(Carolyn laughs) >>Well, is that not, just...(laughs) >>(Laughs) No, no >>Tell me, tell me about it >>no I'm joking So The Fulbright-Hays Award is what took me to the Eastern Caribbean to teach workshops and then also to perform.
I've also been able to work with the state department to go to several nations, so Taiwan in China, Mainland China, Papua New Guinea, South Africa.
Just there's so many places actually South Africa was with that was actually with an artist by the name of Jabulani Sambo HHP within, I went back with another nonprofit here which is an honor in itself.
If you're asking me how these things happen, is that the question?
(laughs) >>Well, for those who don't know, what is the Fulbright?
>>Well, so the Fulbright, as I understand it is an award that an educator can receive or an artist can receive to travel to other nations and do their work basically.
And a lot of this work is diplomatic.
A lot of it is educational.
It's just a really like wonderful opportunity.
>>So we know you wanna work with Me'shell Ndegeocello.
>>(Carolyn laughs) >>Just from a production standpoint, >>Tom York >>just because you just love her sound.
>>She's got, I love her sound.
I love the bass.
I just, you know, I play a Moog Sub Phatty So, you know, I'm not gonna pick up an electric bass, but I, this is what I play.
It's a, it's a keyboard.
I just, I love that tone.
And I love hearing, I just like the texture of it.
And one thing that draws me back to her music.
And the like music of Radiohead, Tom York, is that, you know, these are artists who play, you know, chord wise, melody wise.
It's very, sometimes it's very complicated, but it just sits, and it fits in such a nice groove.
Like you don't really understand the brilliance until you sit down and try to like play it or like you just listen to it in comparison to other things.
And it's just like, wow, this is, this is magical.
It really is.
>>So from a musical taste, you have a pretty diverse collection of music at home that you listen to.
>>I do >>You're not just a R&B or... >>No.
I mean my musical tastes are pretty broad.
I mean, I've, I think like a lot of people, I'm more like playlists than albums now.
More about, it's more about like a mood, a vibe, and very intentionally with this new record, I have like different songs for different moods, different vibes, because that's just where I was, like a lot of people during the pandemic just all over the place emotionally >>Right.
>>So yeah.
>>Just in time for the season, here's Carolyn Malachi with "Summer" on DMV The Beat.
(applause) ♪ I have an idea ♪ ♪ Basically its ♪ ♪ How to keep the world off of your shoulders ♪ ♪ Now I don't mind sharing ♪ ♪ But you gotta be down ♪ ♪ Y'all down ♪ ♪ With me ♪ ♪ Lose your mind with me ♪ ♪ Fly into your dreams ♪ ♪ I will take you way over the rainbow ♪ ♪ Now I don't mind leading but you gotta be down ♪ ♪ To believe ♪ ♪ Look at what I did with the fan ♪ ♪ I turned the dollar into ten ♪ ♪ I had to start over again ♪ ♪ Hey, look at what I did ♪ ♪ With nothing, nothing ♪ ♪ Oh, so I came to support you ♪ ♪ Defend you with my friends ♪ ♪ And my hands and my family sins ♪ ♪ I am lost in the wind ♪ ♪ Got a pin ♪ ♪ I need a new blueprint ♪ ♪ Dry the ink ♪ ♪ Well for a dream so I use it from the Holy land ♪ ♪ Harlem can't believe my column ♪ ♪ I 'cause a problem with my big bottom ♪ ♪ Stamped made in Africa ♪ ♪ Ancient amateur needs more light ♪ ♪ You should open up your aperture TikTok this ♪ ♪ Sun plus drums ♪ ♪ I live off the sum total of my art ♪ ♪ Things fall apart ♪ ♪ They always do ♪ ♪ But I voodoo like a Hutu and my Tutsi is the truth ♪ ♪ See brother all you need ♪ ♪ Is to fall upon your knees ♪ ♪ Roll upon the breeze ♪ ♪ Rumba of another crew ♪ ♪ Opposite of the jazz crew ♪ ♪ Debated, make room for the elevated fly friends ♪ ♪ See 'em, you know you wanna ♪ ♪ 'Cause look at what I did with nothing ♪ ♪ I turned a dollar into ten ♪ ♪ I had to start all over again ♪ ♪ Just look at what I did ♪ ♪ With nothing yeah nothing yeah ♪ ♪ I wanna see hands of the people ♪ ♪ Who live unapologetic, love unconditional ♪ ♪ Live off the dollar ♪ ♪ We shouldn't grant approval ♪ ♪ Privacy that my only earn indices ♪ ♪ Permanently, bear with me ♪ ♪ Abusing the insurrected industry ♪ ♪ The end of me will never be ♪ ♪ The sanctity economy I'm gonna be rich ♪ ♪ Because I'm suppose to be ♪ ♪ Keep a little secret in my hosiery ♪ ♪ Tough skin, rough jeans, goggles ♪ ♪ And nothing wanna ♪ ♪ 'Cause look what I did with nothing ♪ ♪ I turned a dollar into ten ♪ ♪ I had to start all over again ♪ ♪ Look at what I did with nothing, yeah ♪ ♪ Nothing ♪ ♪ Look at what I did with nothing ♪ ♪ I turned a dollar into ten ♪ ♪ I had to start all over again ♪ ♪ Look at what I did with nothing ♪ ♪ Nothing, nothing ♪ ♪ I want to see each and every hand ♪ ♪ Of every body in the stands ♪ ♪ Say, Yes, I can ♪ ♪ Yes, I can ♪ ♪ Yes, I can ♪ ♪ Yes, I can ♪ ♪ Yeah ♪ (applause) >>We've got more Carolyn Malachi here on DMV The Beat.
This is (speaks foreign language).
(applause) ♪ (singing in foreign language) ♪ ♪ (singing in foreign language) ♪ ♪ (singing in foreign language) ♪ ♪ (singing in foreign language) ♪ ♪ (singing in foreign language) ♪ ♪ (singing in foreign language) ♪ ♪ (singing in foreign language) ♪ ♪ (singing in foreign language) ♪ ♪ (singing in foreign language) ♪ ♪ (singing in foreign language) ♪ ♪ (singing in foreign language) ♪ >>Who are you and I What light but dust but star but far away from home ♪ but sweet nothing ♪ ♪ happy feelings in the air ♪ ♪ move back ♪ (sings in foreign language) ♪ But muscle and bone ♪ ♪ but hustle and flow ♪ ♪ But the light in each of us ♪ ♪ Searching for the best of us ♪ ♪ And if God is love ♪ ♪ Then love is where we belong ♪ ♪ We belong ♪ (sings in foreign language) ♪ Y'all can sing it ♪ (sings in foreign language) (applause) >>I'm John Monds, here with Carolyn Malachi on DMV The Beat.
And we're talking about your music and you just asked me earlier, before we started the interview, are we gonna talk about my new music?
>>I did ask you that, John Monds.
Yes, I did.
>>That's a smart question.
So let's touch on that first.
What's going on with you right now?
>>What's going on.
There's an album coming.
It's called, "Counter Narratives."
And I started writing this album right when the anxiety and the stress reached its peak during the pandemic, but I started to feel like there were a lot of main narratives that were being told that didn't reflect my experience as a woman, especially as a black woman.
And I felt like I wanted to say some things, but you know, I really didn't know how to.
And John, I'm gonna tell you just you and me, I'm gonna tell you the secret.
So I had to, a lot of black women deal with fibroids and I had to have an open myomectomy and just the fear of dealing with the healthcare system.
I don't know what it was, but these songs just started to come outta me.
So there's, we're leading with a song called, "Brunch."
Which is really about, you know, after brunch, you know what happens after brunch, John Monds.
Don't you?
>>You go to sleep?
No.
(laughs) >>Hey, some people that's what they do, hey.
But (laugh) I feel like that's an important song because what we were missing during the pandemic was each other.
We were missing that camaraderie.
We're also missing through that camaraderie opportunity to just like release, like it's mimosa weather now.
We gotta have brunch.
So that's the first song and then the other songs are equally thematic.
There's a song called, "Flawed Logic", which is about and you know, this experience, remember that first email you got, where they were like, welcome back to work.
>>Right?
>>You were like, I don't know.
I don't know Playboy.
That was to think about that one.
(laughter) >>Excuse me.
But I'm, I'm very excited for people to hear this record.
It's we just put so much love into it.
And remember how I was telling you about going back to school for my Masters in Audio Technology.
One of my former professors is actually a co-producer with me on the project.
So co-ranger and co-writer and we worked together to bring this about his name is Andros Rodriguez.
So shout out to him.
>>I see there.
All kinds of people.
>>Yeah.
>>I was gonna ask you, you kind of answered it.
You had something that kind of got your creativity going, but yeah, when COVID was going on as an artists, what are you, right, when your not interacting with people your just by yourself.
Most of us were alone at home, so.
>>Yeah You had you know something that brought your energy, but what about other people?
What I mean >>What, so you're asking me?
>>How do you get around the creativity part?
>>Oh the creativity part >>When you're stuck alone.
I mean.
>>I mean, you are physically alone, physically not with a band, but you know, technology evolved so rapidly.
There's one stop.
Like there's one software that really worked to serve musicians and that's "Audio Movers."
So we can do like virtual sessions and virtual mix sessions.
And you can play music back to people in high fidelity.
Podcast really took off, so as a producer and engineer, I got asked to do a lot of that work too, which I felt was important because, you know, again, righting some of these false narratives out there, there's a lot of sociopolitical podcast work that I got to do.
So I might have been like physically, it might have just been like my husband and I, but you know, he's amazing.
So no time, no problem spending time with him, but what it's not, you know, when I'm not around a bunch of people, I still have like all this virtual work to do.
And I think that's helped.
That has helped a lot of musicians maintain a robust career.
You know, like so much music was released during the pandemic.
>>Right.
>>Cause we're all at home.
And if we had, so this is when I think about Audre Lorde and in her book, "Sister Outsider", I'm forgetting the name of the specific essay, but she asks a really important question.
She says like, in a time of great inflation, who is it that basically gets to do the art because it's expensive to be an artist.
So if you don't have access to a laptop or a budget to have, you know, a monthly subscription or an audio interface or a proper microphone, you can be at a loss.
But it's, I think that's one of the reasons why, like you asked about honors, why I like to do grants and things like that, because I always wanna be able to own the means of production and John that's so important.
It's what allowed me to produce this album.
Of course, you know, with Andros, but it's so important for artists to own the means of production.
And so for me during the pandemic, I was able to produce.
>>One set of ears.
Describe your music as somewhere between Jill Scott and Dianne Reeves.
>>Hmm.
>>Sounds good.
Agree or disagree?
>>So I think I think there's like a there's definitely a range that's there, but I really like the Diane Reeves note because, oh, what's the name of that album?
My mom used to play it for me every day on the way to school, on the way to Bunker Hill.
But there's a song called, "Nine."
(scats melody) So I just always loved that record.
Jill Scott too mean Jill Scott's fly.
How could I, I can't hate these.
I can't hate this.
I don't hate this.
I love it.
Yes, whoever said this.
Yes >>I was impressed when I heard that, I was like, oh wow.
That's that's, you know.
>>I think to that, I would say, "Yes and."
>>Yes and super yes.
Yes and yes >>Carolyn Malachi is here with us.
There is more music to be heard tonight.
Are you ready to do some more for us?
>>I believe so.
We're ready.
>>All right, let's do it again.
Carolyn Malakai back on the stage.
>>A reminder for this particularly tough days.
A mantra.
♪ It's going to be a wonderful day.
♪ ♪ I'm awake and I'm ready to play ♪ ♪ All the games ♪ ♪ That life can play with me ♪ ♪ With me ♪ ♪ I am ready ♪ ♪ Car, key chain, hand ♪ ♪ No fear ♪ ♪ All that I am ♪ ♪ Is ready flowed ♪ ♪ All that I am ♪ ♪ Is ready for the world ♪ (riffs) ♪ I'm going to do great things today ♪ ♪ Even if nothing goes my way ♪ ♪ I'm on the move ♪ ♪ Locked in my groove ♪ ♪ I am ready ♪ ♪ Car, key chain, hand ♪ ♪ No fear ♪ ♪ All that I am is ready ♪ ♪ For the world ♪ ♪ All that I am is ready ♪ ♪ For the world ♪ (riffs) (applause) Thank you >>With her song, "All Right."
Here's Carolyn Malachi.
>>The gold album.
Oh.
>>Much love to WHUR >>You all blowing this song up, appreciate it ♪ Baby don't you worry ♪ ♪ We can sort your day out together ♪ ♪ Come and lay your burdens ♪ ♪ Down ♪ ♪ On my bed ♪ ♪ Honeysuckle, primrose ♪ ♪ Lavender and you ♪ ♪ Go well together ♪ ♪ Let me rub your head and curl your toes ♪ ♪ From the moment I get home ♪ ♪ You should know ♪ ♪ Its gonna be all right ♪ ♪ When I get home ♪ ♪ We gonna fight the fight ♪ ♪ Together ♪ ♪ Its gonna be all right tonight ♪ >>What's up John Monds?
♪ Bring it all to me ♪ ♪ Baby let me see you let go for a minute ♪ ♪ You mean the world to me ♪ ♪ Hate to see the world get you down for a minute ♪ ♪ Yeah, baby let the radio play ♪ ♪ I'm your favorite song today ♪ ♪ Hurry up and let your hair down ♪ ♪ From the moment I get home ♪ ♪ You should know ♪ ♪ Its gonna be all right ♪ ♪ On the win ♪ ♪ For the fight the fight ♪ ♪ Together ♪ ♪ Its gonna be all right ♪ ♪ So ♪ ♪ If no one listens to you ♪ ♪ You can talk to me ♪ ♪ If someones lying on you ♪ ♪ You can trust me ♪ ♪ If they try to make you weak ♪ ♪ You can come to the gym with me ♪ ♪ If you need someone on your team ♪ ♪ You can play with me ♪ ♪ What?
I know you get down from Georgetown to Gauteng ♪ ♪ Make all of your melodies haunting ♪ ♪ Mazzottii ♪ ♪ Fly with you high on an airplane ♪ ♪ Oh you touch down ♪ ♪ Kiss ground ♪ ♪ Come my way ♪ ♪ 'Nuff a dem test ♪ ♪ But you been true to me always ♪ ♪ From relaxers and bubble coats ♪ ♪ When I put my 4.0s in my panty drawer ♪ ♪ Now I rock a and I'm comfortable ♪ ♪ Girlies with the cop attitudes ♪ ♪ They should blame it on the boogie, yo ♪ ♪ Bout to kill my radio ♪ ♪ She got her mouth on ya ♪ ♪ Super stereo ♪ ♪ Louder than a woofer ♪ ♪ Subber than a teacher ♪ ♪ Meet me at the bleachers ♪ ♪ Like we used to do in high school ♪ ♪ You made waves ♪ ♪ Now, they seasick ♪ ♪ Watch you like the choir watch Detrick ♪ ♪ Hannibal Lecter trick ♪ ♪ Nasty ♪ ♪ Had a long day and I just want to put it past me ♪ ♪ Cup of tea ♪ ♪ You and me ♪ ♪ Lights down ♪ ♪ Be all right ♪ ♪ Be all right ♪ ♪ Be all right ♪ ♪ Be all right ♪ ♪ Be all right ♪ ♪ Be all right ♪ ♪ Together ♪ ♪ Be all right ♪ ♪ It's gonna be all right ♪ (applause) >>From her new album, "Counter Narratives."
Here's Carolyn Malachi with, "Brunch."
(applause) ♪ I can think of 50 million things we can do today ♪ ♪ Lets play a little game ♪ ♪ Cross you up, then I shoot the J ♪ ♪ From way downtown ♪ ♪ Kobe ♪ ♪ But you hit me up about tonight ♪ ♪ Thinking wine and candlelight ♪ ♪ You left looking kinda right ♪ ♪ Hurry home to your wife ♪ ♪ I just got in from brunch ♪ ♪ A likkle litty yo it don't take much ♪ ♪ No, it don't take much for me and you ♪ ♪ It don't take much at all ♪ ♪ You know what comes after brunch ♪ ♪ I ain't gotta say too much ♪ ♪ Ain't gotta say too much for me and you ♪ ♪ Say too much at all ♪ ♪ All you gotta do is find me ♪ ♪ I will be lively ♪ ♪ All you gotta do is find me ♪ ♪ I will be lively ♪ ♪ Talking, talking, talking ♪ ♪ Married life ♪ ♪ Whole vibe ♪ ♪ We together ♪ ♪ But we decide ♪ ♪ We never gotta be ourselves on the side, and that ♪ ♪ Is what its like to arrive ♪ ♪ Proud wifey tryna be baby mothah ♪ ♪ Put it on my calendar "preggy by the summer" ♪ ♪ Heard these pandemic babies be on some other ♪ ♪ We got a plan, right ♪ ♪ Sure you right ♪ ♪ Anyway, I just got in from brunch ♪ ♪ A lil' lit, yo it don't take much ♪ ♪ You know it don't take much for me and you ♪ ♪ It don't take much at all ♪ ♪ You know what comes after brunch ♪ ♪ Yeah, I ain't gotta say too much ♪ ♪ Ain't gotta say too much for me and you ♪ ♪ Say too much at all ♪ ♪ All you gotta do is find me ♪ ♪ I will be lively ♪ ♪ All you gotta do is find me ♪ ♪ I will be lively ♪ ♪ Talking, talking, talking ♪ ♪ Talking 'bout you ♪ ♪ You know what comes after brunch ♪ ♪ Say, you know what ♪ ♪ Hey, say you know what comes after brunch ♪ ♪ Hey (riffs) ♪ ♪ All you gotta do is find me ♪ ♪ I will be lively ♪ ♪ All you gotta do is find me ♪ ♪ I'll be lively ♪ ♪ I mean, we gotta right brah ♪ ♪ Hey, you know what I'm saying ♪ ♪ Aright, Aright ♪ ♪ Yeah ♪ ♪ Okay ♪ (applause) >>Yeah!
Fire!
(cheers) >>Thank you all so much.
(laughs) Ammani on bass.
Gabe on drums.
>>For more information about DMV The Beat log to WHUT dot org.
>>My name is Carolyn Malachi.
Clap for yourselves.
Clap for your ancestors.
Clap for everybody that made this happen.
Clap for Mr. Joe.
Thank you sir.
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Thank you.