Artists
Aisha M. Muhammad Honored as a VIP Member for 2021 by Strathmore’s Who’s Who Worldwide Publication
Henderson, NV, July 01, 2021 –(PR.com)– Aisha M Muhammad of Henderson, Nevada has been honored as VIP Member for 2021 by Strathmore’s Who’s Who Worldwide for her outstanding contributions and achievements in the fields of music production and entertainment.
About Aisha M Muhammad
Aisha M. Muhammad, aka Lady InI, is the chief vice owner along with her husband, chief owner Kyle Delon Phillips, aka Patch Da Produsah, of Patch It Up Production. It is an international music and entertainment company based in Boulder City, Nevada that provides music production services. With over 20 years’ experience, Mr. Phillips and Ms. Muhammad are responsible for music production, composing, arrangements, and promotional endeavors. They are a power couple like no other that does extraordinary tasks for major and local artists internationally.
Born September 29, 1984 in Virginia Beach, Virginia, Aisha attended Bryant and Stratton Business School. Ms. Muhammad is an entrepreneur with her own call center company, Patch It Up Call Center LLC, her own music production company, and a growing YouTube channel named 4Mullah.
Aisha is married to Kyle Delon Phillips and they have four children, Jaylin Muhammad-Wickware, Amir Muhammad-Brown, Khadijah Muhammad-Walker, and Hibba Muhammad. In her spare time, Aisha enjoys family activities, music, exercising, martial arts, and reading.
About Strathmore’s Who’s Who Worldwide
Strathmore’s Who’s Who Worldwide highlights the professional lives of individuals from every significant field or industry including business, medicine, law, education, art, government and entertainment. Strathmore’s Who’s Who Worldwide is both an online and hardcover publication where we provide our members’ current and pertinent business information. It is also a biographical information source for thousands of researchers, journalists, librarians and executive search firms throughout the world. Our goal is to ensure that our members receive all of the networking, exposure and recognition capabilities to potentially increase their business.
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London indie-punk band Song 1 have released a new five-track EP called What The…., following a year of lineup changes and what the band describes as a shift toward sharper, more off-kilter songwriting.
According to the announcement, the record lands following months of roster adjustments that solidified the five-member configuration, and the record is framed as the sound of that lineup settling into place. The band describes the title not as a literal question but as a kind of shrug, an expression of the loose, sideways attitude that runs through the tracklist.
The EP opens with “Feeling Sideways,” which the band positions as the reset point for this new phase, constructed from restless grooves and crooked rhythms, per the band’s description. The focus single, “Crooked,” follows, built around jagged guitar work, live drums and a melodic bassline, with the line “I move crooked but I land just right” serving as the track’s stated thesis.
“Morning Sun” is described as a tonal shift toward something wider and brighter, using imagery like a “paper weight sky” to move from heavier material toward something more lifted. “Not Lost” continues that throughline lyrically, with the band pointing to the line “I’m not lost, I’m just aligned / With the beat that hides between your time” as a statement of purpose. The EP closes with “My Shadow’s Got Its Own Mind,” which the announcement calls a late-night, low-lit close to the record, framing the band’s embrace of unpredictability as a deliberate stance rather than a lack of direction.
Taken together, the band and its team describe What The …. as the clearest statement yet of Song 1’s identity: an alternative indie-punk work anchored in big hooks, live-wire guitars and knowing self-awareness about not fitting a mold.
Studio CarryOnHarry will be watching whether “Crooked” gives the band a genuine breakout moment beyond the EP cycle, since focus singles built around a clear lyrical hook are often where a band either finds a wider audience or doesn’t.
No compass or straight lines required, as the band themselves put it, just an audience willing to turn it up.
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Blues artist Wailin’ Walker has scheduled the September 9, 2026 debut of his album Bluesmen via Jitterbug Records, according to the announcement.
The release comes almost exactly a year after Walker’s last album, Blues Lightnin’, which the announcement states reached the No. 1 spot on Canada’s blues charts within days of its September 2025 release. That back-to-back turnaround is notable for an artist whose catalog has otherwise been built over decades: Walker began his recording career in 1978 alongside The Houserockers and subsequently produced six independent blues records, according to the announcement.
Walker’s earlier records have had international reach. The Devil Made Me Play It, put out under the Amsterdam label Double Trouble Records, topped blues charts in the Netherlands, Spain and Australia, per the announcement. No Regrets and All Fired Up later topped blues charts in the United States and Canada. The announcement also credits Walker as a songwriter for Long John Baldry and Powder Blues, and lists a run as house band at Vancouver’s Commodore Ballroom for 78 shows, along with a stretch touring with the Jerry Doucette Band from 2006 to 2018. Walker’s music has ranked No. 2 on the Roots Music Report in 2014-2015 and No. 1 in 2024-2025, the announcement states.
Walker has said he was personally mentored by Buddy Guy, Pee Wee Crayton and Otis Rush, and has shared stages with Johnny Winter, George Thorogood and Stevie Ray Vaughan, according to the announcement. Such associations situate Walker within a dwindling cohort of contemporary blues performers who have worked directly with blues music pioneers.
No further details on Bluesmen — including tracklist, personnel or recording location — were included in the announcement.
Studio CarryOnHarry Perspective
At Studio CarryOnHarry, we see Walker’s mentorship lineage as perhaps his most significant legacy. In an era when direct connections to blues music’s foundational architects are disappearing, Walker represents a living conduit between generations—trained by Buddy Guy, Pee Wee Crayton, and Otis Rush, figures who shaped the electric blues sound itself. This isn’t merely biographical trivia; it’s cultural preservation. Each album Walker releases carries forward the accumulated knowledge and artistic sensibility of musicians who might otherwise fade into history as names in liner notes. With Bluesmen arriving in 2026, Walker has an opportunity to explicitly honor and transmit what those legends taught him, ensuring their influence doesn’t dilute through abstraction but remains tangible in contemporary recordings. For blues listeners and historians alike, Walker’s work functions as a bridge—proof that the tradition remains vital and evolving, not archived.
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