#Johnny Moore

[r0s3s-1n-th3-ra1n]

Andromeda, about capsaicin, menthol, alcohol, citric acid, etc: The humans keep consuming poison on purpose!

Johnny: I mean, yeah, but have you tried the poison? It's really good.

[pokemonwearingsportsmerch]

[mitjalovse]

Chubby Checker's hit single exemplified the early 60's. While there was a sense of pushing the envelope further, a lot of people went along with that. Of course, those who were buying had this power, yet we mustn't forget that somehow many things got aligned perfectly. I mean, The Drifters had many successes during the early 60's with the tune in the link being one of them. They kept refining their formula, until they reached their apex on the song I posted. Mind you, I also did the latter thanks to me continuing to be baffled by the piece, since there is an incredible mixture of moods present, a certain part of the composition becomes quite scary. Why did they intend to do such an emotion? Were they expressing the volatility of love?

[muzantropic]

Johnny Moore - Big Big Boss

[filosofablogger]

♫ Under The Boardwalk ♫

The Drifters … carefree youth … toe-tapping tunes! According to SongFacts … The session to record this song was scheduled for May 20, 1964, but The Drifters lead singer Rudy Lewis was found dead that morning (the cause of death is unclear, but likely either a drug overdose or heart attack). The session was rescheduled for the next day, and Johnny Moore was called in to replace Lewis. Moore was…

[newtdrawz]

Fav phrase is "I just wanna put [character] in my pocket"

Like yeah I'm just gonna pick them right up, put them in my jacket pocket and leave

[deadnatura11]

Misha was already starting to get bricked up before SPN ended but now that he has beefed up and remains beefed up I need them to reference it in the show and I want the in-universe reason to be his muscles came from homesteading heaven. He rebuilt Heaven with his own two hands. Jack supervised but it was Cas digging the trenches for the rivers and planting the trees and building homes for every soul wearing nothing but a pair of threadbare overalls and there SHOULD be an episode about it.

[ufonaut]

Variant cover for Alan Scott: The Green Lantern (2023) #2. Art by Travis Moore.

[we-artemis-atenea]

2004 in film

[in-love-with-movies]

The Outfit (2021)

[harrisonstories]

Happy belated 80th birthday to my favourite guitar player. <3

A sequel to this post.

George Harrison: You need Eric Clapton.

John Lennon: No, you need George Harrison.

"He showed me a lot of things on the guitar. George was a really great guitar player. He just didn't think he was. He told me that he almost quit one time because he couldn't play as well as Eric. He said that Eric just had this feel and touch. George really wanted to play like that and told me so, many times. But who wouldn't?" - Bobby Whitlock (Derek and the Dominoes)

“[George is] a great guitar player. When he strikes up on the slide there’s nobody better; his precision, his vibrato is perfect. But he always plays it down.” - Jeff Lynne (ELO, Traveling Wilburys)

"I had heard George's playing on the records, but I hadn't seen him play before I saw A Hard Day's Night. I picked up some tips from him, like playing the G-string up and down the neck for lead guitar because it gave more punch to the lead line. And of course he played the Rickenbacker 12-string and that was a big influence on me, but I even liked to watch his Gretsch playing. He did a lot of barre chords -- John and George used barre chords almost exclusively, whereas coming from the folk tradition I used lots of open chords. With The Searchers and The Seekers, you could hear some of that 12-string out there, but primarily it was The Beatles. I know George influenced us a lot." - Roger McGuinn (The Byrds)

“The innovations in guitar technology he brought to The Beatles were just amazing. He defined what we now know as this classic Rickenbacker 12-string sound. He laid the groundwork for me. And it’s utterly definitive. Nobody had used that volume-pedal technique before ‘I Need You’ […] But you can’t beat ‘Ticket To Ride’. It’s futuristic guitar, even before Hendrix came on the scene. It still sounds like a modern guitar part now." - Johnny Marr (The Smiths)

"I met George during the session Cream did for Badge, and I was very impressed with his playing [under the pseudonym L’Angelo Mysterioso]. I took it for granted that people like McCartney and Lennon were brilliant but didn’t really analyse it. But when you actually play with George you could see what an amazing guitar player he was, doing things that I hadn’t even thought of." - Jack Bruce (Cream)

"Me personally, I worshipped guitar players like George Harrison, who was this melodic part of the Beatles sound and he seemed like he served the song more than his own ego of how many notes per second he could play. I really appreciated that." - Vicki Peterson (The Bangles)

"I love George Harrison so much because [of] the way he would construct a little kind of solo within the song which would be part of the song. So from him I learned about melody […] George Harrison would create a little masterpiece in 8 bars in the middle of Hard Day's Night for example. It's a perfect example of that where he would do something that no other guitarist in the world would think of. He'd put this little lick in. It would have some little fast bits in it, and it would be so outside what you'd imagine the solo of that song to be. Later on I got to know George very well. We became very good friends at one time, and he could do things that no one else could do, and his slide playing was amazing because he used to have very strong Eastern influences from his days with Ravi Shankar and doing the meditation and everything. Just to be around someone like that you learn so much. He really was a giant in the music world for me, very sadly missed." - Gary Moore

"George’s guitar playing was just perfect. In those days we didn’t jam and get to the middle of a song and just play any old thing (laughs); we would have rehearsals and you’d kind of figure out what the part would be so from then on, when you played that song, that was the solo. He was that sort of guitar player and I learned that and I really liked that ‘cause that’s what I was thinking most of the time." - John Fogerty (Creedence Clearwater Revival)

"To see George Harrison there [on the Ed Sullivan Show], standing off to the side, looking down at his guitar while he played his licks -- to my impressionable mind it defined what a lead guitarist was. I knew right then what I wanted to do with my life: I wanted to be like the guy in the middle -- the guy looking down at his guitar and playing all the little fills and solos. Harrison taught me about short solos and hooks, and what a hook is. All those mid-Sixties Beatles tracks -- whether it was 'Day Tripper' or 'Ticket to Ride' or whatever -- they all start with a guitar lick that you wait to come around again in the chorus. That’s where I learned to do that." - Elliot Easton (The Cars)

“His chords were sometimes more a cluster of notes that, to my ears, are beautifully dissonant. The turnaround lick over the last chord in the chorus of the Beatles’ ‘Help’ functions on many levels. It’s such an innovative use of the open G and B strings ringing out, while a minor 3rd shape chromatically descends below it.” - Brian Bell (Weezer)

"I modeled myself after George Harrison a lot in the early days; solos you could sing along with. To this day, that's my approach, and I teach it as a guide at IMA's Rock 'n Roll Girl's Camps." - June Millington (Fanny)

“George was responsible for perhaps the most romantic guitar solo of all time when he recorded Something. It’s arguably among the most gorgeous and expressive solos in any song.” - Nancy Wilson (Heart)

“The solo [from the album version of Let It Be] -- the way his lick comes in after the keyboard breakdown strikes the perfect emotion and uplift for the track. I’ve ripped it off a million times, and will probably rip it off a million more before I’m through. The tone is perfectly gritty but without a safety net and mixed way on top of the tune, warts and all. Love it.” - Chris Shiflett (Foo Fighters)

"I was into Harrison. He's an amazing guitar player. Songwriter too." - Jim Root (Slipknot)

“I feel like the music world mostly thinks of George Harrison as the phenomenal songwriter that he was, but I think he’s really underrated as a tone innovator. I remember reading a GW article [January 2014] about I’m Only Sleeping and how George got this crazy tone by writing the solo, learning it backward and then recording it with the tape running back to front, resulting in the initial solo he had written with this insane, surreal effect. It’s so interesting to think about what that process would have been like, getting those tones in a completely analog studio setting.” - Nita Strauss

“As a guitarist, I've always loved George Harrison. I've never been a fan of the rock'n'roll style, or the solos, etc. I like simple things. When Harrison does a solo, it doesn't sound like a solo, it's just his part, it's never a show of virtuosity. I don't like sham.” - Alex Scally (Beach House)

“The mix [in Savoy Truffle] is all about a trip to the dentist’s office. The guitar tone -- most likely run through a fuzz pedal -- sounds like a drill. The bending, stabbing notes during the lyrics, ‘But you’ll have to get them all pulled out’ really gets the image of a dentist’s drill across vividly. I borrowed those bending, stabbing notes from him and have no intention of returning them anytime soon. The phrasing is total Harrison -- even with the fuzz, you can tell it’s him. He does have that ‘George Harrison sound’ as well, but to identify a guitar player with phrasing is rare.” - Joey Santiago (Pixies)

“Till There Was You shows George’s vast range of playing in 1963. He has lovely phrasing, uses diminished notes –- and there’s a fantastic use of the Gretsch tremolo arm before a fabulous run into the middle eight. [GW Editor’s note: Although he used a nylon-string guitar on the studio recording, Harrison often performed the song with an electric guitar.] To my young ears, this was masterful guitar playing." - Bernie Marsden (Whitesnake)

“No one changed the face of guitar more than George, in my opinion.” - Steve Lukather (Toto)

“He gives [Dig a Pony] space where it’s needed and doesn’t clutter the sound or detract from the lead vocal. This is definitely something we could all learn from him. His choice of notes adds a sense of melancholy to the song, lifting it above what could otherwise have been a bit of a throw-away number. Lennon would later refer to the song as ‘garbage,’ but for me, Harrison’s class makes it an underrated gem. Watching the footage, we get an insight into George’s excellent technique throughout the song; expertly switching between flat-picking, hybrid picking and straight finger picking to accent the lead lines and add texture to his parts. There’s a great shot where you can see him with his pick palmed while playing with his fingers, followed by a quick adjustment of the volume and tone controls, before swiftly returning the pick for some flatpicking. It’s skillfully done and impressive to watch.” - Kevin Starrs (Uncle Acid and the Deadbeats)

“I mean he was one of the first guys to really play melodic slide because most guys that play, they want to play blues, you know? Which is great, but George from My Sweet Lord on, he would play really melodic. I love the way he played, and he was really kind to me. He was very supportive, and he told me several times that he liked the way I played slide too, so I’m greatly indebted to George.” - Mike Campbell (Tom Petty and the Heartbreakers)

'My impression of George when I first met him was that he wasn’t really extremely confident, didn’t understand what all the fuss was about and felt like maybe people were mistaking him, or making a mistake, or seeing something that wasn’t there. That was the feeling I got from him. Everyone was into hot licks, but he didn’t have any. So I feel he didn’t have a glimpse of how really wonderful a musician he was…He was very conscious that he couldn’t read music and that he couldn’t play searing solos off the top of his head. What he could do was worth more to me. He was a beautiful musician, extremely musical. The 'Moonlight Sonata' is a very simple thing to play on the piano, but it’s beautiful. And beauty is not about technique." - David Bromberg

[trialnerror]

Am I dreaming or is this real…? 🫶🏻

Had the BEST weekend at Fan Expo and met some of my favourite people in the world! (And made some new friends along the way!) I will forever remember these memories!

Thanks again to Fan Expo Canada for the best weekend!

[do-you-know-this-queer-character]

Do you know this queer character?

Aunt Johnny is a Lesbian and uses She/Her pronouns!

[cherrylng]

Great Guitarists 100 - The Edge, Thurston Moore, Prince, Brian Setzer, Peter Buck, and Johnny Marr [CROSSBEAT (November 2009)]

The Edge Today, U2 have a strong image as a 'popular band' and are not so much a player's band, but when they first appeared on the scene in the 80s, their political lyrics and The Edge's unique post-punk guitar, which combines Irish melancholy and sharp-edged distortion, attracted a great deal of attention. It brought excitement, especially among rock fans who were concerned about the rise of show-stopping metal guitars and synthesisers, which were often seen as inorganic, and who thought, "Here's the rock guitar that should be here!" Later, the Edge's post-punk guitars acquired an earthy, dry sound with their pilgrimage to America in 'Joshua Tree', and evolved to express the warm human touch behind the modern technology. From the 1990s onwards, U2 themselves were no longer in the position of 'youth culture bearers', and their musical influence was difficult to see because the band had become so big, but in the 2000s they were joined by a new generation of artists such as Coldplay, The Killers, and Kings of Leon, who proved once again their influence by developing a direct lineage to The Edge. Many people, including Nick Zinner of the Yeah Yeah Yeahs, have listed Edge as one of their guitar heroes. -Taiyo Sawada

Representative albums "Boy" (1980, photo) U2 "War" (1983) "Joshua Tree" (1987)

Thurston Moore Since their formation, Sonic Youth have reigned as the kings of the US alternative scene. The heart of their sound is, needless to say, their noisy, chaotic guitar sound. Thurston Moore, who was active in a garage band at the end of the 70s, has musical roots in the New York punk and garage sounds, as evidenced by the episode where he got the band name from former MC5 guitarist Fred "Sonic" Smith. The band's guitar style, which includes the Fender Jazz Master given to them by Patti Smith, as well as Jaguars and Mustangs, is lyrical, but always with a freaky, experimental spirit. One of the most distinctive features is a special tuning called irregular tuning. This enabled him to create overtones and dissonances that could not be obtained with a normal guitar. Of course, the interplay with Lee Ranaldo and Kim Gordon = guitar orchestration is one of the band's greatest attractions. Their dry yet deep guitar sound had a profound influence on future guitarists such as Kurt Cobain, Kevin Shields and Graham Coxon. -Takanori Kuroda

Representative albums "Daydream Nation" (1988, pictured), Sonic Youth "A Thousand Leaves" (1998) "The Eternal" (2009)

Prince He is a mixed-race black and white guitarist. Prince is often compared to Jimi Hendrix for this reason alone, but as a guitarist he has stated that Santana was rather a major influence on him. His long-sustained, sensational lead guitar is certainly reminiscent of Santana in the 1970s. Even in his early recordings, he developed a self-absorbed improvisation style that sounded like a mix of Santana and fusion. The closest he came to 60s rock, including Jimi Hendrix, were 'Purple Rain' and 'Around the World in a Day'. The latter's "America" sounds like Jimi backed by the JBs. Although not often mentioned, Prince is also a virtuoso acoustic guitarist. The unique chord work heard on tracks such as "For The Tears In Your Eyes" is strongly influenced by his admirer Joni Mitchell. -Masatoshi Arano

Representative albums "Purple Rain" (1984 photo), Prince & The Revolution "Around the World in a Day" (1985)

Brian Setzer Made his UK debut with rockabilly trio Stray Cats at the height of the New Wave era. Their sound, produced by Dave Edmonds and infused with punk nuances, was enthusiastically received and triggered the neo-rockabilly movement. Setzer's Gretsch-based playing is rich in vocabulary, with an eye on punks such as the Clash, but with no hidden jazz or country influences. He also shows flashes of genius on fast lead phrases. His versatility was fully realised later in the Brian Setzer Orchestra. After the band broke up, his solo debut, "The Knife Feels Like Justice", was produced by Don Gehman, who had worked with John Mellencamp and R.E.M., and went down the American rock route. A good album with a taste that pioneered alterna-country, but sadly neglected due to poor sales. -Masatoshi Arano

Representative albums "Stray Cats" (1981, photo) Stray Cats "The Knife Feels Like Justice" (1986) Brian Setzer

Peter Buck In the early days, R.E.M. was buried in a vocal ensemble, with Peter naturally taking the lead role in the songs. On the first mini-album 'Chronic Town', his sharp, post-bunk appearance played a big part. The traditional Rickenbacker sound, which relied neither on gain nor vibrato, was skilfully combined with a modern rhythmic feel, and greatly inspired the 60s revivalists of the same era. However, it was not until around 'Lifes Rich Pageant' that this style came to the fore. From 'Document' onwards, when Michael Stipe awakened as frontman, the band played freely in line with his evolution. "What's the Frequency, Kenneth?" and other hard-hitting tunes, he shows off his driving backing. His acoustic guitar precision can be heard on the masterpiece 'Automatic for the People'. -Masatoshi Arano

Representative albums Chronic Town (1982, photo) R.E.M. Automatic for the People (1992)

Johnny Marr Marr is a guitarist, composer and arranger in The Smiths. The main focus of his playing was to bring out the best in the songs. He filled in the gaps between notes with fluid single-note playing, and even went so far as to drop a knife into the guitar for sound effects on "This Charming Man". "Bigmouth Strikes Again", with its high-position cutting using a capo (transposing instrument), is a powerful tune. The delay on "How Soon Is Now?" is a real blast. The frequent use of higher tunings showed that the band were still seeking a sense of tension in their songs. However, the guitar remained in the background, with the singer and the song always taking centre stage. This behind-the-scenes quality blossomed after the break-up of The Smiths, giving The The, Modest Mouse, and The Cribs their greatest hits respectively. After The Healers, in which he played a leading role, ended in mediocrity, he wisely returned to the background. -Masatoshi Arano

Representative albums "The Queen Is Dead" (1986, pictured), The Smiths "We Were Dead Before the Ship Even Sank" (2007) Modest Mouse

[mommahughes19-23]

n' we back - R.L

@jojobean : we came back bc the guys annoyed us all day!💖🍾

tagged : @ryan.leno_4 @_willsmith2 @gabeperreault44

location : still at disney bitch

gabeperreault44 : THE PICTURES OF YOU AND RYAN IN YOUR PHONE OMG CAN YOU GUYS EVER NOT BE TOGETHER!?!?!?!?🤨🤨🤨

↪ jojobean : yes... but why would I want to be away from his cute ass face !?

jacob_fowler24 : omg.... we legit LEFT YOU TWO ALONE THE WHOLE DAY!?!?!!?!!?!?!?! 🙀😾🙀😾🙀

_willsmith2 : dont be dramatic we barley saw you yesterday🫸🏻🫸🏻

trevorkuntar16 : could you be anymore of a LIAR!?!😡😡😡😡😡

↪ jojobean : WHAT DO YOU MEAN YOU GUYS FOLLOWED US ALL OVER THE PARK

charlielindgren35 : y'all are too young, you need a chaperone

↪ jojobean : well CHARLIE are you saying you would like to chaperon!?!?!?!?!?

↪ charlielindgren35 : uhm no. just an observation.

shanepinto : could you not share ALL YOUR relationship deets xoxoxo

colecaufield : your nails look wild... get them done 💅💅💅💅

rutgermcgroarty : I would be uncomfortable to be in your presence for that event

↪ jojobean : WELL GOOD THING YOU WERENT THERE!?!?!?!?!

trey.agustine : oh ew

g.brindley4 : those were my best friends... now I just dont know who they are anymore 👀

olivermoore11 : hello darkness my old friend...

cuttergauthier_ : this makes me not want to be your friend anymore

↪ jojobean : BYE BITCH

lanehutson_ : well this is betrayal.... Ryan where tf is my sweethearts night with you

ryan.leno_4 : I love you baby💖💖💖💖

seamuscasey26 : ew I cant look at this anymore

franknazaar14 : STOP THIS WE GET THAT YOURE IN A RELATIONSHIP OMG

samhillebrandt30 : I object

zeevbuium28 : no

bnelson29 : this makes me uncomfortable

bradytkachuk : Emma told me im not allowed to comment anything mean on this post...

mattboldy : this is just extra

joelfarabee : oi , you think we would know you guys were at disney after Ryans post....

johngaudreau03 : glad im not part of this

lhughes_06 : dont lie on my name ever again😾

trevorzegras : no shot we are just gonna ignore the fact that no one talked to either of them yesterday at disney and she SAID WE FOLLOWED THEM!?!?!?🤯🤯🤯🤯🤯

A.N : here's part 2 of the Ryan request :)

tagged : @skylershines @noahkahansorangejuice @quinnylouhughesx43

[cantsayidont]

July 2014. Dazzling Tula Lotay artwork for SUPREME BLUE ROSE, previewing the cover of #2 (above), and a page from that issue:

I don't even know how to summarize what's going on here because this series is a pastiche on a pastiche of a pastiche: a Warren Ellis revival of Alan Moore's SUPREME — an extended pastiche of/homage to the Silver Age Superman, and Silver Age DC more broadly, based on Rob Liefeld's '90s Superman pastiche/parody — framed as a pastiche of William Gibson's Blue Ant trilogy (PATTERN RECOGNITION, SPOOK COUNTRY, and ZERO HISTORY), and featuring some of the most jaw-dropping artwork I've seen in a modern comic book. It will probably not make any sense at all if you're not familiar with the things I've just named, but if you are, it is unaccountably, exceptionally good.