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All three songs would remain concert staples throughout the Thursday's career. It is heard playing on Julia's stereo when she is stranded in her car late at night. The album gained largely positive critical reception, particularly within the punk community.
Kurt Morris of Allmusic described Full Collapse as "a breath of fresh air" and noted, "Thursday displays a peerless version of the emo sound for a music scene that may not be ready for what the band has to offer. Frontman Geoff Rickly would describe Full Collapse as a "turning point record"  and strongly favor it over most of the band's other work for both its passion and cohesive feel throughout.
In the first week of release, Full Collapse sold copies. The following month, it was announced that, to celebrate the tenth anniversary of their landmark album, Thursday would perform the album in its entirely throughout a US tour.
While on tour with Underoath , the band began playing it the following year. In April , the group will perform a run of two-night shows where they'll play Full Collapse on the first night, and War All the Time on the other, in their entirety. All lyrics written by Geoff Rickly. All music written by Thursday. Personnel per booklet. From Wikipedia, the free encyclopedia. This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources.
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Archived from the original on February 13, We're like, of course we know that song. And he was like, you know, isn't this great? And I was like, yeah. He's like, and how did you hear that song? Man, I've been listening to that since I can remember, since I was, like, 3, you know? And so Clay came up with the idea of doing this band. And, you know, like he said, you know, on a few occasions, you know, being, you know, from the outside, you know, looking in and thinking about the music and hearing it and how, you know, it's just not as popular or not as existent as it is where we're from, you know, out in the world ROSS: And it was funny when I first came with - to them with the idea - I mean, to make a long story short, they were early mentors of mine, and we kept in touch.
And I left for New York City almost 15 years ago to pursue jazz music. And lots of, you know, roads happened musically and opportunities and things. But these are, like, key relationships in my life and friends. And everywhere I'd go, I'd - especially involved in the world music community - I'd see all these groups celebrating music from all over the world. And I said, well, man, no one is really doing this contemporary version of our music from South Carolina and this music that sort of by happenschance ph was music that inspired me deeply and even as a young man.
And I wanted to try to share that with the world, and I knew exactly who I wanted to do it with. And when I first brought them the idea, they really laughed at me, man laughter. I mean, they were like - they were kind of like, well, why would we do that? Think about it. I mean, just - that's how we grew up, so it was every day. So, you know, you just - after a while, you figure, you know, everybody knows it or that's just the norm for me.
But, you know, the songs I grew up with in church. And even if it wasn't the exact words, it was the styling. So Charlton likes to say, you know, the elders in the church would say, we'd like to raise up a song. You know, whatever you're going through, you sing at the moment. SINGLETON: And if you look at a lot of the - you know, the names of the tracks and you listen to the songs, then you can hear at least something in one of those songs where, you know, it's a - cry.
It's a cry for, you know, help from the Lord or it's something that has something to do with spirituality.
But that's part of the culture. It's all wrapped up in that Gullah culture. And a couple of the songs on your new "Ranky Tanky" album have kids' rhymes in them that are very rhythmic. GROSS: And so can you talk about and maybe sing a few of those rhymes and tell us how they figure into the music? ROSS: Well, yeah, that'd be great. Why don't we do the "One-ry, Two-ry" ph? This is a really good one. ROSS: And actually, just to preface this because I want to make sure that I honor someone who really did a lot to make this band possible from a previous generation, who is Bessie Jones.
And I think without her foresight and will and drive to record and document a lot of these songs - she made a book with Alan Lomax's wife that - called "Step It Down," which is an amazing book that illustrates a lot of these games. And this is where we've revived, and been inspired and gotten a lot of these songs directly from this book.
And this next one is like that. These are two different little poems, I guess. And it's cool because they say that you almost could see - hear how these are, like, from Celtic roots, almost, and the kind of Gaelic - almost a Gaelic kind of language. And you can hear the direct pollination of cultures, which is, you know, African, West African rhythmic culture and, like, a British colonial life.
And that's what's really, I think, one of the most unique things about Gullah culture - is that pure mix of cultures. Halli-boo, crack-iboo, 10, Pee, po, must be done. Twinkle, twangle, One saw, two saw, ziggy-zaw-zoe. Bobtail dominicker, deedle daw doe.
Hail 'em, scale 'em, Virgin Mary, ike to my link - tum buck ph. ROSS: I don't know if you'd hear it quite that way, like, if kids are singing it. But we kind of made a little harmony with it. And actually, there are a few recordings out there of kids doing that, you know, as the game aspect.
And the musicality from our side was taking that game and building some music around it in order to present it, you know, as the "Ranky Tanky" song that you hear on the recording, you know.
Old lady come from Booster, had two hens and a rooster. The rooster died, the old lady cried. Now she don't eat eggs like she used to. Rooster died, the old lady cried.
Oh, Ma, you look so - oh, Pa, you look so - I said, who been here since I've been gone? Two little boys with the blue caps on. Leaning on a hickory stick, Papa gonna slap them good.
Pain in my head, ranky tanky. Pain in my heart, ranky tanky. Pain in my feet, ranky tanky. Pain all over me. So tell us about the rhymes in "Ranky Tanky. The rooster died. The old lady cried. Now, imagine, you know, two - usually, you see two little girls probably playing, like, patty-cake, a little hand game or something like that. Now put those words into it, and there you have the game.
And, you know, singing old lady come from Booster, had two hens and a rooster. So you've got that aspect, definitely. We add in the Gullah rhythm, if you will, and put in a good bass line with it. And there you have "Ranky Tanky. So we're talking about how Gullah music has rhythms that are maybe a little different from what you were used to playing in bands. Though Charlton, this music was always a part of your life. But as the trumpeter, Charlton, is there anything unique to what you're doing on trumpet that is different when you're playing music from the Gullah tradition than when you're playing in a jazz band?
Not - it's not - it's not that terribly different. I grew up - you know, my first music lesson I can recall - or at least that I think it was my first music lesson - was actually from my grandfather, who is, you know, directly descended from the, you know, Gullah.
You know, he was born in on Capers Island, one of these small islands, just like, you know, the other islands off of the coast. And when he was - I think Big Daddy was 6 or 8 or something around there where there was a really big hurricane that came and forced all of them to seek higher ground, and that's how they ended up in the small community of Awendaw - or 10 Mile, we call it - which is about 14 miles going north of the city of Charleston.
And he would always sit all of his grandkids and great-grandkids and great-great-grandkids up until he passed away - he made it to But he would sit all of us down, and he would sing to us, and he would clap to us. I had to have been around 2 or something around that. But he would - he'd put us in front him. And you sit down, and he would stomp on the floor. And he would keep this steady beat going on the floor. And then he would clap this other rhythm.
And that's just - that's the Gullah rhythm. That's the basis for it all. You will hear that in - and when you're listening to Ranky Tanky. If you go to a church in the low country, if you go to a Baptist church or an AME church or any of the historically black denominations church, you're going to hear that beat in the low country.
That's just a given. You know, whether it's a slow song or a fast song, whether it's a hymn, whether it's a gospel song, you're going to hear that. And so he would keep that steady - you know, four on the floor with his foot. And then he would clap, and then he would sing to us. And he would just go singing jump, baby, jump.
Jump, baby, jump. And we'd just sit there and jump, you know, just in any way, shape or form. You know, we were, you know, 2 or 3 or 4 years old. And, you know - and then he'd go, singing fall, baby, fall.
And then you'd dive on the floor. And everybody gets a laugh, you know, something like that. But I think, looking back on it, that that was, you know, the thing for me - that rhythm, you know? It's embedded in everybody in the low country. That's the rhythm. That's definitely it. Let's take a short break here, and then we'll talk some more, and we'll hear some music.
If you're just joining us, my guests are three of the members of the band Ranky Tanky, which plays music from the Gullah tradition but in a contemporary setting. My guests are Clay Ross, who's a guitarist and singer, Quiana Parler, who's the main singer with the band, and Charlton Singleton, who is a trumpeter and singer.
We'll be right back. My guests are trumpeter Charlton Singleton, guitarist Clay Ross and singer Quiana Parler, three members of the band Ranky Tanky, which plays contemporary versions of music from the Gullah culture of the South Carolina coast and Sea Islands.
Their debut album is called "Ranky Tanky. ROSS: You know, that's a good question. You know, I think that the - coming back to this project after years of doing other kinds of music was really the only way that it would've worked.
And so a lot of the rhythms that I play on the guitar are actually - they're rhythms that I play a lot when I play Brazilian music. And while there isn't a specific guitar tradition associated with Gullah culture because it's traditionally an a capella music with hand claps and singing, so the instrumental elements of the music are something that we are kind of contributing. And I think specifically with the guitar, a lot of the rhythmic patterns that I use come from forro music and northeastern Brazilian music.
And when you look at, like, the history of those musical cultures and the story of the transatlantic slave trade and African diasporas in the Americas, I mean, it makes sense because it's really from the same source.
Brazilian rhythms that you play and compare that to what you're doing with Ranky Tanky. ROSS: Yeah. Let me give you an example. So there's, like, a forro rhythm, like, a - playing guitar, singing in Portuguese.I play in, and do the art for We Lost The Sea, a Sydney based cinematic instrumental post-rock band. Our latest record ‘Departure Songs’ is inspired by failed, yet epic and honorable journeys or events throughout history where people have done extraordinary things for the greater good of those around them, and the progress of the human race gobbconewslalingmar.leyneracsusemabtopormopulpate.cog: Embryo.