#Rob Cantor perfect lyrics

[fiddlstyx]

ive made a character playlist for martin, my boy!

more songs to be added later!

explainations for each song under cut

…well, better than the alternative - Will Wood:

Mostly the end part where the singer is asking the subject “What's so wrong about what's wrong with me?! I'm just trying to do what's right by you!” and so on, feels like Martin breaking, realizing and finally addressing how messed up his town is. Also “If everyone's sick, well then nobody can catch it, and if everybody's different how can anybody match?” reminds me of Citizen Valley.

The Main Character - Will Wood:

Mostly vibes, partially Martin feeling superior to others while in the throes of the brainwashing. “God forbid I'm seen as just an average human being.”

Woke Up - Adventure Time:

Martin realizing how awful his town is, directed at Citizen Brown (or Edna). “I should say, that you're kind of a dictator in a way. You're to blame, you're a constant source of misery and pain!”

I'm Gonna Win - Rob Cantor:

Thanks Jay. Evil Martin au, but also the vibes of Martin getting tired of Citizen Valley in a… not so healthy way… “It's hard to be charming and smart and disarming, it's hard to pretend you're the best.”

All I Need is You - Rob Cantor:

Mostly the vibes. A sense of hopefulness at a better future only to be shot down by reality. I drew a thing for this song.

Disobedient - Steven Universe:

Like “Woke Up”, Martin addresses the reality of his town and, like the song says, wanting to be disobedient. “It's feeling strange, man, this whole arrangement is gonna end with me totally deranged!”

Goodbye - Bo Burnham:

Post woah-everything-I've-ever-known-is-a-lie depression

Keep Your Head Up!! - MilkCan:

Martin slowly losing it due to pressures and other such things. Before he addresses the reality of things.

Cough Syrup - Young the Giant:

Gifted kid burnout. Also, my Martin one shot name comes from this song. “If I could find a way to see this sane, I'd run away to some fortune that I, I should have found by now.”

Taken for a Ride - Tally Hall:

Half vibes. First lyric sounds like, “[Martin] walked into a helpless land and wondered lightly, am I happy?”

Rät - Penelope Scott:

Sounds like Martin’s opinion of Citizen Brown after he breaks free. “I bit the apple cause I loved you, and why would you lie? And then I realized, you're just as naive as I am.” < Specifically sounds like Martin addressing Edna in this problem too.

Anytime You Smile - JT Music:

That whole “There is no war in Ba Sing Se,” vibe. Yes everything is perfect and amazing! (No it's not.) “Let me mask your sadness, I can make happiness a choice! You won't have any tears left to shed when your heart is filled with joy!” Last half really leans into things not being okay.

Oh No! - MARINA:

That whole vibe of being stuck. Martin playing along and feeling terrible. “One track mind, one track heart. If I fail I'll fall apart. Maybe it is all a test, cause I feel like I'm the worst so I always act like I'm the best.”

Time Machine - Miracle Musical:

Time machine. That's it.

Misery Fell - Tally Hall:

Wow that is literally just Citizen Valley! This song is about Citizen Valley. “First they do is to substitute pleasure for pain, helping themselves figure out there's so much they can gain.”

Gadzooks - Lemon Demon:

Martin’s curses. Maybe also, a twisted brainwashed view of the “hooligans” in town.

What the World Needs - Ride the Cyclone:

Another brainwashed superiority song.

It's Alright - Mother Mother:

Martin feeling awful again. Maybe when he starts to break free and starts to realize how he's acted his whole life. “You're not a demon, there's a reason you behaved in that way… And I believe, yes I believe that you will see a better day.” Trying to comfort himself. “I don't wanna know I'm not capable of coming out alive.” Poor Martin

dumb dumb - mazie:

Brainwashed superiority song with a hint of a coming breakdown. “I just wanna be the comic relief, making jokes, not taking responsibilities. It's like waking up inside of the dream.”

Sweet Hibiscus Tea - Penelope Scott:

The aforementioned breakdown. “I am not your protagonist, I'm not even my own! I don't know anything, I don't even know what I don't know!”

Wow, I'm Not Crazy - AJR:

Here come the ajr songs. Mostly vibes. Maybe Martin finding comfort in Jenn again after everything.

Birthday Party - AJR:

The lies he grew up with his whole life. “My minute’s been going great, and I hope it stays that way!”

Karma - AJR:

Right at the beginning of Martin waking up and can't quite handle the truth yet. “I've been so good, why am I feeling empty?”

Come Hang Out - AJR:

Martin overworking himself and by extension, pushing everyone away. (He doesn't have friends tho)

Next Up Forever - AJR:

Vibes

Normal - AJR:

Martin right at beginning of waking up, trying to pretend things are still fine.

Role Models - AJR:

His role model is being manipulated by his wife to brainwash an entire town.

Pretender - AJR:

Most of his personality is pretend, something that happened because of how he grew up. He's completely the opposite of Marty. “Oh I'm insecure, I'm insecure, I think I like what I'm supposed to.”

Be Nice To Me - The Front Bottoms:

Be nice to him, he just realized his life is a lie. “There is very little left of me and it's never coming back.” Between breakdown and rebellion stages

Blame - Air Traffic Control:

Like “I'm Alright”, feels guilty about his actions but is realizing it's not his fault. “Don't blame yourself. Cause you tried as hard as hell, with the hand that you've been dealt.”

Puppet Boy - DEVO:

Brainwashing is kinda like puppeting someone, right? I also just love this song. “Listen puppet boy, before you disobey, consider that the strings attached could make a big change in your ways.”

[luckhissoul]

──   top  5  song  associations,       share  the  top  songs  in  your  playlist  that  most  inspire / represent  your  muses  the  most.    bonus  points  if  you  include  lyrics  to  go  along  with  it.  

Black Fox - Heather Dale “ And up there sprung like lightning, a fox from out of his hole But his fur was the color of a starless night and his eyes like burning coals So they chased him over the valley and they chased him over the fields And they chased him down to the riverbank, but never would he yield And he's jumped into the water, and he's swum to the other side And he's laughed so loud that the green woods shook He's turned to the huntsmen and he's cried: "Ride on, my gallant Huntsman... when must I come again? For you should never want for a fox to chase all over the glen. “

Wage War. Get Rich. Die Handsome. - The Mountain Goats “ Stay independent Make adjustments as needed It's losers all the way down You stay undefeated Stay undefeated Wage war, get rich, die handsome “

Leave Out All The Rest - Linkin Park  “  Don't be afraid I've taken my beating I've shared what I've made I'm strong on the surface Not all the way through I've never been perfect But neither have you “

I’m Gonna Win - Rob Cantor ‘  It's hard to be charming and smart and disarming It's hard to pretend you're the best It's hard to fulfill everyone's expectations It's hard to keep up with the restBut I'm gonna win, I'm gonna try I'll never lose, I'll never die You've seen me before, you'll see me again I'll never give up, I'll never give in 'Til I'm bloody and bruised 'Til I've broken my bones  'Til I won't be abused 'Til I'm laughing alone “

Jak o’ The Shadows - Reflections of Sound ( because ofc ) “ We'll dance all night until the moon runs free, And dandle the lasses upon our knee, And then you'll ride along with me, To dance with Jack O' the Shadows.We'll sing all night, and drink all day, And on the girls we'll spend our pay, And when it's gone, then we'll away, To dance with Jack O' the Shadows. “

tagged by @caracarnn tagging @inprometheanfire / @agoldenlily / @ofimaginarybeings

[anarchy-and-piglins]

Saw the last post with the lyrics, and got curious. Do you have any songs that you think fit Peerpressureduo? It can be canon or it can be for one of your AUs. I just thought this could be fun to think about yknow?

Anon you don’t know what you’ve unleashed. I continually make mental playlists for all my favorite characters/dynamics, you’re just giving me an excuse to share. SO WITHOUT FURTHER ADO:

Flaws by Bastille - the undisputed peerpressure duo song for me. Something about it just screams Techno & Ranboo, I can literally not listen to it anymore without thinking about them

I’m Gonna Win by Rob Cantor - this leans maybe more to being a Techno song, but there’s definitely some Ranboo vibes in there for me too. I named my peerpressure duo whumptober fic after it for a reason

Pretender (Acoustic) by AJR - similarly this might lean a bit more towards being a Ranboo song but it has those Techno vibes. I mean, I consider their characters foils and they share a lot of themes in the narrative so it makes sense that songs that fit one of them can fit both

After The Storm by Mumford and Sons - file this under ‘peerpressure duo makes me cry’. It fits their shared storyline so well, starting from just post-doomsday up to Ranboo’s death. [There will come a time, you'll see, with no more tears. And love will not break your heart] is perhaps the perfect Techno lyric to me

Ready Now by Dodie - does this one even need an explanation? It’s peerpressure duo my beloveds <3

Therefore You and Me by tadanoCo - I’m cringe so this list wouldn’t be complete without at least one vocaloid track. This song has no clear meaning or interpretation, some interpret it as a love song but the first time I heard it, it was in an AMV for two characters who had a parent and child type relationship so I guess that stuck? If anything it’s very much about a conversation between two characters who are desperately similar but one of them has become incredibly disillusioned with the world already. Somehow, that fits Techno & Ranboo...

[troop52]

do u !!! have any character theme songs for the troop boys? Like any songs you think really fits them (and why u think it fits)?

THATS A GREAT QUESTION!!

Before I get into it Im going to plug this collaborative Troop Playlist on Spotify, feel free to add onto it!! Continuing with my picks

I think a lot of the songs I associate with The Troop in general are just because I happened to listen to them around the same time I got into the book in the first place (So they could only be tangentially related BUT only if you squint hard) Example: Drunk by The Living Tombstone, cant really tie it into the story but in my mind its linked Some better, more fitting songs under the cut (Side note its LONGGG IM SORRY... Also its all YouTube links because some of these arent on Spotify :'^()

Disclaimer -Like 95% of my choices arent really a "These lyrics match up exactly 1 to 1" but more of an overall "the vibe/general idea its trying to capture lines up" type thing. If that makes sense.

Its Alright by Jack Stauber: Kind of self explanatory, I think its a perfect song for these guys. From "It's alright, I'm here, Everything's alright, Feels weird but calm, I wanna hear It's alright" to the whole sound of it- its all great. Equal parts distressing and sad with an almost eerie calmness to it. Despite it all theyre gonna be alright, right?

The Second Little Piggy by Worthikids: Another one that I think is sort of self explanatory- at least with the chorus. "If my brain turns to mush, If the shit hits the fan, Will you be my friend?" Kind of the falling apart of everything, specifically their relationships, in light of the incident.

Poor George by James Supercave: Another case of "listened to at the same time I read the book" BUT I was actually making a Troop PMV script with that song. I never finished it but maybe Ill revisit it... just for you

Cold Summer by Le Matos ft Computer Magic: I dont even think this takes place in the summer but the VIBES and also it came from Summer of 84, which is another good piece of murder boy media.

Treehouse by Alex G ft Emily Yacina: This is a Eef and Max type of song because they are bffs and thats final. Basic song because Im not creative, but I think its a nice heart to heart theyd have (with Eef doing the talking)

Fifteen Minuets by Nick Krol: On the flipside heres a song that goes with Eef and Maxs friendship fracturing, once again more from Eefs side than Maxs. THE GIRLS ARE FIGHTINGGG

As far as songs for the boys as individuals hmmm thats a good one that I havent thought about as much...

MAX + The Ghosts by The Real Tuesday Weld: That survivors guilt... lyrics arent like a perfect match but I think it gets that sort of hollow feeling across. Hes haunted man... + Final Girl by Electric Youth: Ok its a little funny because har har Final Girl Trope but I mean HE IS ONE. ANd dont look at me its a nice song- "Others were gone, and you kept going on, You know they never really noticed, you were always different, One by one, They're all done, And you're the last one standing" + Going Grazy by Lonesome Wyatt and the Holy Spooks: HONESTLY this could go for all the characters but Im tagging it onto Max because hes the one who has to deal with the aftermath of losing everyone (sorry survivors guilt Max again </3) "Everyone's saying my mind is unsound, 'Cause I always see you when you aren't around" "They're gonna wrap me in a jacket of white, And lock me away in a room without light" is what cements it as a Max song for me

EEF + The Existential Threat by Sparks: Once again starting sad, I link this one specifically to his paranoia about the worms- especially with lines like "Can't they see the existential threat is on its way". Kind of exasperated no one else can see the danger (he thinks) hes in. + Wrecking Ball by Mother Mother: I know I know its basic but I cant help it!!! Eef anger issues arc we are shaking hands me too + Haunted by Laura Les: Eef struggles with people seeing him as "just like his father" and I think we can get some good angst out of this track if we keep that in mind. Especially the back half of the song with lyrics like "Do you think I'm frightening?" and "Mirrors shatter when I'm passing, broken glass and crashing" since he is just a reflection of his dad (to others at least). Also song good.

KENT + Goodbye Mr A by The Hoosiers: Mfw the disillusionment with authority sets in. I think the vibe fits when he had that little epiphany about how adults are fucked- not perfect but it gets the idea across me thinks. + I'm Gonna Win by Rob Cantor: Ties into his need to "win" aka be the best at everything, be in charge, all that jazz! Hell do whatever it takes to be successful, even if it hurts. That was a little emo + Toba the Tura by Forgive Durden ft Chris Conley: Not to be emo again but "They say you're gifted, well I just see a scared kid. They must have flipped it, your skills are latent. O, you snuffed the glow. Replaced it with coals. Threw away the throne... This mess that you've made, it's a six-foot grave. It's a home for your lonesome bones that remain. We'll disappear, but you'll stay here to rot" AND SO ON AND SO FOURTH representing his fall after it was revealed he was sick. He was referred to as "the uncrowned king" and was on top of the world but then POOF that all crumbled and it was made out that he basically deserved what happened to him. It would be fun to make a pmv of him with this song (Simplifying my thoughts a bit because Ive already written a LOT)

NEWT + I Earn My Life by Lemon Demon: Ok a little Kentcore but Im actually having a hard time coming up with songs for Newton so here we are, they can share. Newt existential crisis moment time I guess + Know How by The Crane Wives: POV Newt struggles with going through with the plans he makes to keep everyone safe (stopping Max from touching Kent, going back into the cabin, etc) "I am not brave, I am not brave, I keep my focus on what is safe, You drew a line, made up your mind, And now I'm struggling to realize" And also maybe struggling with his place in the group and as a person in general- all that living through his cousin thing. "I gotta wrap my head around, What my heart is telling me, I've been trying to drown it out, Just because I know what I am, I am supposed to do now, Doesn't mean I know, Doesn't mean I know how" + On The Outside by Oingo Boingo: Idk man. Hes on the outside lookin in!! Loner nerd!! Its ok though, we still love him

SHEL + Bad Blood by Creature Feature: The lyrics speak for themselves: "I can guarantee I will do evil things, The only way that you can stop me now, Is if you put me in the ground, Somewhere I'll never be found" + Frontier Psychologist by The Avalanches: Hinges on the fact that the principal or whoever was like "Your sons a freak" and Shels mom was like "HES PERFECTLY FINE" while Shelley was like dismembering an animal or something + Johnny by American Murder Song: The songs good but theres this ONE LYRIC that sucks so the link provided is an edited version and also a lovely Warriors oc video I think you should all enjoy and support <3 Anyway Shel would be Johnny I could see this song being a scene in the book. Field trip to Shels house and they find his murder garden

If anyone wants more for Im not opposed to making another post :^)

[lizardrosen]

Let me, if not by birth, have lands by wit. All’s with me meet that I can fashion fit.

Songs with key lyrics under the cut!

Backstage Romance - Moulin Rouge

I want your horror, I want your design 'Cause you're a criminal as long as you're mine

Under My Skin - Jukebox the Ghost

And my family had a castle, way back when I would have lived there if they had more male children

You’re Gonna Go Far, Kid - Jonathan Young

With a thousand lies and a good disguise Hit 'em right between the eyes, hit 'em right between the eyes

The Room Where It Happens - Hamilton

God help and forgive me I wanna build something that's gonna outlive me

All Eyes On Me - Victor McKnight

So many experiments So many mistakes But I'll go all the way Til I'm in perfect shape (First the worst Maybe thirds the charm)

Run For Cover - The Killers

What are you waiting for, a kiss or an apology? You think by now you'd have an A in toxicology

Could Have Been Me - The Struts

I wanna taste love and pain Wanna feel pride and shame I don't wanna take my time Don't wanna waste one line

Nails For Breakfast, Tacks For Snacks - Panic! At The Disco

That's when you st-st-stutter something profound To the support on the line And with the way you've been talking Every word gets you a step closer to hell

You’re Dreaming - Wolf Parade

Another scene more shattered glass Every system in collapse A billion screens they move so fast but that’s not life

Like Real People Do - Hozier

I knew that look, dear: eyes always seeking Was there in someone that dug long ago

Young God - Halsey

If there's a light at the end, it's just the sun in your eyes I know you wanna go to heaven, but you're human tonight

Take It Easy (Love Nothing) - Bright Eyes

Now I do as I please and lie through my teeth Someone might get hurt, but it won't be me I should probably feel cheap but I just feel free... And a little bit empty

The Boys Are Too Refined - The Hush Sound

And if the timing is right (Ohh) To sneak off into the night (Ohh) I'll let myself be taken just for the thrill

Bâtard - Stromae

Han, pardon, monsieur ne prend pas parti Monsieur n'est même pas raciste, vu que monsieur n'a pas de racines D'ailleurs monsieur a un ami noir, et même un ami Aryen Monsieur est mieux que tout ça, d'ailleurs tout ça, bah ça n'sert à rien

Oxford Comma - Vampire Weekend

All your diction dripping with disdain Through the pain, I always tell the truth

Call Them Brothers - Regina Spektor

That's it, it's split - it won't recover Just frame the halves and call them brothers

Wolf In Sheep’s Clothing (Acoustic) - Set It Off

Aware, aware, you stalk your prey With criminal mentality You sink your teeth into the people you depend on Infecting everyone, you're quite the problem

Counting Stars (instrumental) - Simply Three

I feel something so wrong doing the right thing I couldn't lie, couldn't lie, couldn't lie Everything that drowns me makes me wanna fly

Young And Vicious - Night Terrors of 1927

I saw the fakes, the forgeries The verdicts, guilty pleas Erased the names, wrote in our own Shining new history

My Songs Know What You Did In The Dark

I've got the scars from tomorrow and I wish you could see That you're the antidote to everything except for me Through a constellation of tears on your lashes Burn everything you love then burn the ashes

Afraid - The Neighborhood

When I wake up, I'm afraid Somebody else might take my place When I wake up, I'm afraid Somebody else might end up being me

Dear Dictator - Saint Motel

And at the trial, there'll be no jury And all the dead are gonna play witness Not too late to say you're sorry It's too late to truly mean it

Angel of Small Death and the Codeine Scene - Hozier

Freshly disowned in some frozen devotion No more alone or myself could I be Lurched like a stray to the arms that were open No shortage of sordid, no protest from me

High Tide Rising - Fox

There's a big storm comin' And I don't care So ooh, baby Just gimme my ticket to hell

Younger - The Mountain Goats

Set the torch aflame Call the night by name Stake out your dark position

Solitary One - Murder by Death

You've got your books You've got your shows But who you really are Nobody knows You just carry on 'Til you're gone

Highest Building - Anna Tivel

In the palm of your hand is a worn out dollar You stole from a man on the subway steps With a cardboard sign said thank the father But you ain’t spoke no thank you yet

Running Up That Hill - Ruby & the Rogues

You don't want to hurt me But see how deep the bullet lies Unaware I'm tearing you asunder Ooh, there is thunder in our hearts

Peacocks - The Mountain Goats

Hands grasping and groping Seizing opportunity right where it lies The sky will fall, we will rise

Watch It Crash - Toh Kay

It said We can't just blame it on our mothers Claim everything they did was always wrong And there ain't not turning back when our train is off its track And there's nothing we can do but watch it crash

Seven Nation Army - Zella Day

And I'm bleeding, and I'm bleeding, and I'm bleeding Right before the lord All the words are gonna bleed from me And I will think no more

I’m Gonna Win - Rob Cantor

It’s hard to be charming and smart and disarming It’s hard to pretend you’re the best It’s hard to fulfill everyone’s expectations It’s hard to keep up with the rest

[tundrakatiebean]

A year of song lyrics, week 8: Garden of Eden by Rob Cantor

Anyone else have friends who can’t love themselves as much as they deserve so you somewhat aggressively love them all the louder so you can try to convince them they’re worth it? That’s kind of my signature move anymore. This particular lyric made me think of two of my friends who deserve so much love but have some trouble accepting it. I’m willing to take the time to help them carve out all the love they deserve though!

I did watercolor for the background again and tried to make the pattern reminiscent of calacatta marble. I like the contrast of the cool gray with the warmer gold tones. I added a little bit of gold metallic watercolor in there to give it some sparkle that the minerals in the marble would give. I really like the way the calligraphy black letter font came out and I’d like to practice and perfect that in the future.

[kimabutch]

Song Asks: Solar Waltz by Cosmo Sheldrake for Caduceus, Come Along by Cosmo Sheldrake for Molly, Lonely but not Alone by Rob Cantor for Yasha

Oh fuck I love this Cosmo Sheldrake? The sound is so good and the lyrics are very cool — they remind me a bit of Danny Schmidt, whom I adore. Solar Waltz is just a lovely song for Caduceus, too — all about the usefulness of decomposition!

“So rot, ferment and decompose,/ So all the things can grow,/ Or wallow in a drinkless world,/  And wither on the bough.”

I feel like this is very much Cad’s philosophy, although less eloquently put.

And Come Along is perfect for Molly taking on life by the (tiefling) horns and refusing not to have fun:

“We’ll dance and sing till sundown,/ and feast with abandon,/ We’ll sleep when the morning comes,/ and we’ll rise by the sound of the birdsongs.”

You can almost hear the carnival in the background.

It’s always disconcerting for me to see Rob Cantor outside of Actual Cannibal Shia Leboeuf, but Lonely (But Not Alone) is actually really lovely and makes me think of Yasha missing Zuala. I think this line: “The longer we stay, the less we decide” fits how she thinks of the M9 — the longer she’s with them, the more she feels compelled to open up, which complicates all her feelings. 

Come yell at me about the songs that remind you of Critical Role! I’m making a giant playlist! (Song masterpost | CR music tag)

[morbidoptimisim]

song that I think works well with your portrayal of momlonde+rose's relationship- Perfect by Rob Cantor. It's sort of a psychedelic pop piece.

this is so on point ;;

i feel like the tone and instrumentals of the songs play on that rose's infantilization feelsall happy cheery, like her planetbut could be taken condescendingly, if focusing on the wrong bits of lyrics, which is what rose would do. ‘perfect’ repeated so many times as to loose intended meaningsidenote, its interesting to me, how "mother knows best" and "a mother will do what is best for her children" are two totally different vibes?the latter i know was from an outside perspective, the white queen, i think?so some bias might apply, but in effect the povs are discardable

i also liked the ‘boat out to sea” and the lines about defacing art. -very in their characters. 

this is all just, first impressions upon listening. I’ll likely return to this song with a drawing at some point. 

[pegastarstudios]

What the fuck is a tally hall

Tally Hall is an American indie rock band formed in December 2002 and based in Ann Arbor, Michigan. The band has a relatively significant cult following, and is known for upbeat melodies and whimsical lyrics; the band members once described their musical style as “wonky rock” and “fabloo rock”.[1]

Tally Hall has five members, distinguished by the color of their neckties: vocalist and guitarist Rob Cantor (yellow), vocalist and bassist Zubin Sedghi (blue), vocalist and guitarist Joe Hawley (red), drummer Ross Federman (gray), and vocalist and keyboardist Andrew Horowitz (green).

Once under the Atlantic Records recording label, Tally Hall was, again, signed to indie label Quack!Media,[2] who previously helped finance and nationally distribute their debut studio album, Marvin’s Marvelous Mechanical Museum. They released their second album, Good & Evil, on June 21, 2011.[3] Pre-orders were given a digital download from Quack to compensate for the time it took for the physical copy to be delivered.

Early years

Often recognized by their trademark colored ties, Cantor (yellow-vocals/guitar), Sedghi (blue-vocals/bass), Federman (gray-percussion), Hawley (red-vocals/guitar), and Horowitz (green-vocals/keys) make up Tally Hall, which got its start in 2002. Horowitz, the only member not originally from Michigan, began writing songs when he was eight years old, and eventually headed to the University of Michigan to study composition. There he met Cantor, who had both attended high school with Sedghi and joined Hawley’s film production group. When Tally Hall’s original drummer left the band, they recruited Federman, who had gone to high school with Hawley.

The name “Tally Hall” comes from its use as the name of an indoor shopping plaza on Orchard Lake Road in Farmington Hills, Michigan. Marvin’s Marvelous Mechanical Museum, the arcade whose name shares the title of their debut album, remains there, though the shopping center has changed names.

In 2005, the band released their debut studio album, Marvin’s Marvelous Mechanical Museum.

The band has received national media attention, performing their song “Good Day” on The Late Late Show with Craig Ferguson on August 2, 2006, as well as appearing in MTV’s segment You Hear It First in September 2006.[4] The band appeared at the 2007 South by Southwest Music Festival. On August 3, 2008, Tally Hall was a performer on the BMI stage at Lollapalooza.

Tally Hall was invited back by The Late Late Show with Craig Ferguson on September 16, 2008, to help promote the launch of Tally Hall’s Internet Show. They performed “Welcome to Tally Hall” in newly donned black vests over top of their traditional colored ties, white shirts, and black pants.[5]

The band worked on several projects after the completion of Marvin’s Marvelous Mechanical Museum, including covering the song “Smile Like You Mean It” by The Killers for the sixth The O.C. soundtrack: Music from the OC: Mix 6.

The band re-released Marvin’s Marvelous Mechanical Museum on April 1, 2008, with their new record label, Atlantic Records after some re-recording and re-mixing.

Tours and Good & Evil

On September 9, 2009, Hidden in the Sand (HITS), a prominent Tally Hall fan site, broke the news that Tally Hall was going to release a collaborative song, featuring Nellie McKay, which would be released as a free download from mp3.walmart.com when customers of Walmart purchased a book called The Magician’s Elephant by Kate DiCamillo.[6] The book had been made available for purchase earlier that day. The same day, HITS reported the title of the song, “Light & Night”, along with a short audio clip of it in another update.[7]

In their 2010 March tour with Jukebox the Ghost and Skybox, it was reported that Joe Hawley had unexpectedly backed out of the tour. Hawley was replaced with Casey Shea, who wore a black tie. On March 25, 2011, the band announced that all five original band members were still together.[8]

The band was managed by The Hornblow Group, who also manages They Might Be Giants, OK Go, and Oppenheimer, until 2010, when Tally Hall changed management to Stiletto Entertainment, who manages Barry Manilow, in addition to several other solo performance acts.[9][10]

With the release of Good & Evil, Tally Hall returned to their original label, Quack!Media.[2]

Post-Good & Evil

After the release of Good & Evil, the band became inactive, and all of its members went on to more or less independent endeavors.

Horowitz, under the moniker “edu”, released a solo album called sketches in 2012. He also was involved in production and piano on John Legend’s Love in the Future.[11]

Hawley returned to school, but released an album, Hawaii: Part II, as part of his musical side project ミラクルミュージカル (Miracle Musical). He collaborated with Tally Hall members Sedghi, Federman, and Cantor on the album. Hawley later released Hawaii: Part II: Part ii, a compilation of outtakes and demos of the original album.

Cantor released his solo album, Not a Trampoline, on April 14, 2014.[12] In addition, he has made several viral videos on YouTube, including “SHIA LABEOUF” and “29 Celebrity Impressions, 1 Original Song - Rob Cantor”.

Federman has made occasional appearances as producer, percussionist, and DJ with the pseudonym “Mr. F”, although his main focus has been school. He graduated from the University of Michigan with a 4.0 science GPA, and is attending Yale University for grad school. Sedghi, aside from appearing in Hawaii: Part II, has simply stayed in school.[13]

In mid-2016, Joe Hawley announced his new hip-hop album “Joe Hawley Joe Hawley”, which was released October of that year.

Videos

In addition to music, the band has also created numerous movies. These movies include both music videos and humorous skits. The best known of these videos is the music video for “Banana Man”, which resulted in significant publicity among online users visiting the website Albino Blacksheep, along with “The Bidding”, another popular title by the group.

Corresponding with their single “Good Day”, released on February 26, 2008, the band released a music video for the song on YouTube.

In August 2008, the band performed a three-song live video set for LiveDaily Sessions, including the songs “Good Day”, “Be Born”, and “Greener”,[14] which premiered on August 28, 2008. They have appeared on Fearless Music several times, playing songs such as “Be Born”, “Ruler of Everything”, “Misery Fell”, “Good Day”, and “Banana Man”. These recordings can be found on YouTube.

In July 2014, band member Rob Cantor released a video in which he seemed to perform his song “Perfect” by singing spot-on impressions of 29 celebrities. In the video, Cantor is accompanied by another band member, Andrew Horowitz, on piano and backing vocals. The video received more than 7,000,000 hits in 10 days. Shortly thereafter, Cantor revealed the video to be an elaborate hoax.[15]

Tally Hall’s Internet Show

Taking on an even larger role within the band’s video portfolio was the ten part bi-weekly variety-show series Tally Hall’s Internet Show (T.H.I.S.), which debuted on September 15, 2008. Each episode ran 10 minutes long and was posted on their website. The content primarily included comedy sketches and music videos.

With the release of Tally Hall’s Internet Show in September 2008, it became clear that many music videos would be released within the Internet Show. “Good Day” was the first music video to be seen in episode one. Other music videos include “Welcome to Tally Hall”, “Two Wuv”, “The Whole World and You”, “Greener”, “Ruler of Everything”, and “Hidden in the Sand”.

Episode List

Good Day (September 15, 2008) – 9:24

Death Request (September 29, 2008) – 11:35

Taken for a Ride (October 13, 2008) – 9:17

Welcome to Tally Hall (October 27, 2008) – 11:37

Who Cares (November 10, 2008) – 9:24

Mary-Kate And Ashley (November 24, 2008) – 10:31

15 Seconds of Bora (December 8, 2008) – 9:08

The Whole World and You (December 22, 2008) – 11:06

Potato Vs. Spoon (January 5, 2009) – 8:32

Good Night (January 19, 2009) – 10:53

Band members

Current members

Rob Cantor (Yellow tie) – Guitar and vocals

Ross Federman (Grey tie) – Drums (2004–present)

Joe Hawley (Red tie) – Guitar and vocals

Andrew Horowitz (Green tie) – Keyboards and vocals

Zubin Sedghi (Blue tie) – Bass and vocals

Additional touring members

Casey Shea (Black Tie) – Guitar and Vocals (March 2010 Tour)

Bora Karaca (Orange Tie) - Keyboard, accordion, whistles, acoustic guitar (Good & Evil Tour, Summer 2011)

Past members

Steve Gallagher (Grey tie) – Drums (2002–2004)

Discography

Studio albums

Complete Demos (2004) (Independent)

Marvin’s Marvelous Mechanical Museum (2005) (Quack!Media) (Re-released in 2008 on Atlantic Records)

Good & Evil (2011) (Quack!Media)

Singles

“Good Day – Single” (2008) (Atlantic Records)

“Light & Night” (featuring Nellie McKay) (2009) (N/A)

“You & Me” (2011) (Quack!Media)

“&” (2011) (Quack!Media)

EPs

Partyboobytrap (2003) (Independent)

Welcome To Tally Hall (2004) (Independent)

The Pingry EP (2005) (Independent)

Compilations/Soundtracks

Music from the OC: Mix 6 (2006)

The Sims 2: Apartment Life (2008)

Admittedly Incomplete Demos (2015) (Independent)

In other media

Tally Hall’s “Banana Man” was featured on The Real World: Key West. The song “The Whole World and You” can be heard in a commercial for Crayola’s 3D Sidewalk Chalk.[16] In addition, the song “Mucka Blucka” was used in the 4th season premiere of The Good Wife.

Hope this helps

[jazzviewswithcjshearn]

An Appreciation of the Pat Metheny Group’s “Still Life (Talking)” 30 years on

Pat Metheny: acoustic and electric guitars, guitar synthesizers; Lyle Mays: piano, keyboards; Steve Rodby: acoustic and electric basses; Paul Wertico: drums; Armando Marcal: percussion, voice; David Blamires: voice, Mark Ledford: voice.  Recorded March/April 1987 at Power Station, New York, New York.  Engineer: Rob Eaton, assistant engineer: Alexander Haas. Produced by Pat Metheny, Co-Producer: Lyle Mays, Associate Producers: Steve Rodby & Paul Wertico, with Steven Cantor and David Oakes. Originally Mastered by Bob Ludwig at Masterdisk, Remastered by Ted Jensen at Sterling Sound, New York, New York.  Originally released on Geffen Records, and reissued in 2006 on Nonesuch/Metheny Group Productions.

Thirty years ago in 1987, the Pat Metheny Group released the defining “Still Life (Talking)”.  The album was significant in several ways, as much as it was an expansion on the Brazilian sound of “First Circle”, it was also a departure.  The guitarist's ending of a nine year relationship with ECM signaled a resounding shift that reverberates to this day. Metheny was the first jazz artist to be signed to Geffen records in 1985, releasing the brilliant if controversial “Song X” with free jazz icon, the late Ornette Coleman that perhaps did even more to solidify his reputation amongst jazz purists than “80/81” (ECM, 1980) as a force to be reckoned with.  “Song X” revealed in no uncertain terms that he had reached an unprecedented level of creative and artistic control that at the time for any jazz artist was extremely rare: his Metheny Group Productions imprint allowed for complete freedom to make the product, Geffen only distributed the final album.  “Still Life (Talking)” sonically is a masterpiece, the use of the recording studio as an instrument is increased tenfold with engineer Rob Eaton at the helm who was an assistant engineer for “First Circle” beginning to define the sonic signature of the Metheny Group which he would refine and perfect over the next eighteen years.  Specifically Steve Rodby's bass sound is much richer and present than it’s predecessor adding an extremely sharp focus to the rhythm section of PMG co pilot, the great pianist Lyle Mays, then drummer Paul Wertico, and percussionist Armando Marcal, making his band debut.  The large palette of sounds courtesy of Mays unmistakeable synth orchestrations from his Oberheim, and Prophet V were enriched by the recent addition of the Roland JX 10, a synth that would become the main source of his signature (as Mays called it in a Jazziz interview podcast) flutophone sound and Metheny's much more in depth use of the Synclavier.  Though first heard on “Offramp” (ECM, 1982) by 1987 he had head first dove into it's composing, sequencing  and sampling capabilities,  increasingly evident on the new album.  Metheny created basic sketches of the tunes through the Synclavier which would be enhanced by the live musicians.  Adding even more to the dense textures were the recruitment of Canadian vocalist and guitarist David Blamires and Detroit vocalist/trumpeter the late Mark Ledford (1960-2004) to replace Pedro Aznar who had temporarily left the band and the two men opened the music up even more with their  decidedly more poppish and soul inflected approach to wordless vocals.  Additionally they could play just about any instrument under the sun, particularly dazzling in concert.

I first heard the album in either my sophomore or junior year of high school, as the guitar and orchestra teacher, and also my mentor Lawrence Lolli was transcribing the ethereal, memorable intro to “Minuano”.  At the time, I was still inextricably wedded to straight ahead jazz, hard bop to be exact, and in my snobbery foolishly considered Metheny “smooth jazz”, something that couldn't be farther from the truth.  Even at that stage, Lolli who is a diehard Metheny fan and was trying to open me to Pat's universe, there was something magical about that  lilting intro.  Less than a year later I became a raging Metheny fan, and this album as well as every album he's ever made has not left constant rotation in my daily listening.   A sort of gently cycling repeating guitar figure gorgeously dressed by Marcal's shaker percussion and distant melancholic vocals from Blamires and Ledford is initially stated, then again in a gorgeous unison falsetto. Ledford's voice really pops out on this second repeat of the vocal line, as if they are just examining the beauty of the universe at a leisurely pace.  The intro is  iconic, and was sadly excised from the piece around the time of the tour associated with “Secret Story”, and the tune is played to the present day without the haunting intro. The liquid rubato of the intro dissipates into the driving 6/8 main section, featuring Metheny's infamous “pop” of his E string, (something he uses to check the reverb levels of the guitar and to signal sound man David Oakes) leading into the triumphant main theme. Metheny's solo is beautiful, never at of a lack of ideas, Rodby's rock steady bass churning out the changes, and Marcal decorating the proceedings when needed. Interestingly this album was the first to feature Metheny's guitar to be miked to pick up a semi acoustic quality of his hollow body guitar, something that has subsequently been a feature of his sound the past fifteen years, but the test pilot of that sound so to speak appeared here.

“So May It Secretly Begin”, a richly detailed melodic line that has been one the guitarist continues to investigate in stripped down contexts to the present is also meant as a nod to the CTI era orchestrations of arranger/ composer Don Sebesky, and painter Paul Klee.  While the tune and Sebesky only bear a superficial resemblance, the depth of texture created by swelling Synclavier strings and Mays' use of flute patches set the tone on a grand scale for the graceful, sensuous melody stated by Metheny.  The acoustic like attack of his stereo miked Gibson ES 175 is boldly highlighted once more as it was on “Minuano” and again on “Third Wind” setting the stage for one of Lyle Mays' finest lyrical solos on record.  The piece with  subtle details of layers of activity throughout is something that became a Metheny trademark gives the listener food for thought upon multiple hearings. Additional bright color is added at the close with Ledford and Blamires doubling the main melodic line in falsetto vocals.  “So May It Secretly Begin” thoroughly a standard of the Metheny repertoire, actually has a puzzling place out of jazz, as the piece has been sampled multiple times by hip hop artists.  The reason why it seems puzzling is that the bridge and main “hook” of the song have been sampled pretty much straight through, such as on Statik Selektah's “To the Top”, and it sounds extremely out of context without the rest of the tune. While even more people get exposed to the beauty of Metheny's music through the sample it reveals an issue that producers seem to have with the guitarist's music in that they seem to be unable to negotiate successfully the rhythmic and harmonic complexities it contains.  Nevertheless, the tune placed second on the album continues an inspired thread that concludes the first side on LP, with “Last Train Home”.

“Last Train Home” may actually be one of Metheny's most famous and  visually evocative melodies.  One literally can imagine a train making a long journey as the sun sets, or already at dusk courtesy of Wertico's steady chugging brushes on snare, and Rodby's never flagging pulse.  The melody, played on Coral electric sitar, a stalwart instrument of many 60's and 70's pop classics is a melancholic glow all the way through, with a slight Asian tinge towards the end of the melody.  The guitarist's solo is one of his best ever in terms of purely being in service to the song, and the backgrounds of Ledford and Blamires' vocals are exquisite building to the tremendous post solo interlude contributed by Lyle Mays (though the tune is solely a Metheny composition) with breathtaking three voice counterpoint  resolving in a hymn like and serene manner, to usher in the melody to fade out.  “Last Train Home” has found tremendous life outside the record, infamously appearing in a Publix commercial, and most recently used as the closing theme for the Japanese animated JoJo's Bizarre Adventure television series once again exposing an audience to Metheny's music that may not have heard otherwise, a sure sign of the lasting legacy of “Still Life (Talking)”.

The back half of the album begins with the powerful one-two punch of “(It's Just) Talk” and the classic, anthemic “Third Wind”, smoldering Brazilian groovers with inspired melodies and solos.  “(It's Just) Talk” began life in embryonic form as the PMG played the piece in radically different form live during 1981-2 where it sounded more like a Lee Morgan “Sidewinder” boogaloo than what it became known as.  The melody of the final version on the album showcases Ledford and Blamires soul tinged approach to wordless vocals perfectly with the backdrop of Armando Marcal's ebullient cuica barks, the tune is probably known best for it's great repeating vocal line at the end of the tune which generates tremendous momentum.  Live, the tune showcased creatively bursting solos from Metheny and Mays and a heavily pulsating rhythm courtesy of the rhythm section.  Marcal's timbale blasts that signal “Third Wind” usher in a composition that's not only famous for it's wonderful melody, but the quicksilver lightning guitar break. Metheny's nod to the jazz tradition is explicit, with a burst of notes codified in his own bebop dialect conjuring Charlie Parker's break on “A Night in Tunisia”.  For all the frankly absurd criticisms of many that the guitarist does not swing, “Third Wind's” illustrious break and solo throws such claims out the window.  His invention is liquid, furious and meaningful with Wertico's constantly shifting ride cymbal swing behind him, comping and orchestrations from Mays put a bold exclamation on the proceedings and move the piece into a dizzying second section.  The chromatic movement  of this part of the composition further exposes the ties to bebop.  Again, for the consideration of space on the subsequent “Secret Story” and “We Live Here” tours, this middle section was cut, and turned into a drum-percussion duet section incorporating portions of the tune “Straight on Red” from the album “Travels” (ECM, 1983). Following the polyrhythmic web of the second section, with a heroic bed of Mays' synth and brass laid down, the classic final melody over a churning 12/8 rhythm is revealed.  The imminently singable vocal figure sets up a trademark smoldering Roland GR300 guitar synth solo for Metheny, one of his finest moments on record.  The guitarist has said that the use of the GR300 enables him to get into the range of an alto or soprano saxophone, and the horn like quality suggested by the synth's peculiar yet enchanting saw tooth wave tone take full of advantage of his aims.

The last two pieces, Lyle Mays' dark, haunting “Distance”, primarily synth driven, with eerie atmospheric vocals, percussion and subtle undercurrents of Synclavier triggered sampled sounds, along with the guitarist's stunning, heart wrenching “In Her Family” form a through composed final chapter and epilogue of sorts, as one uninterrupted piece. “Distance” would take on a considerably different complexion live, never really played verbatim as on the record it opened vistas for a searching Mays improvisation, otherwordly Synclavier guitar triggered soundscapes, and eerie colors from the rest of the band.  This engagement of the Group's avant garde proclivities of the band as a radio recording from the Montreux Jazz Festival and 1987 video from Argentina on youtube  demonstrate the breadth of just what this ensemble was capable of, nothing off limits in the “one long song” universe of Pat Metheny.

To close this appreciation of an unforgettable album, a note about how the legacy of “Still Life (Talking)” remains a vital force in contemporary jazz.  The Pat Metheny Group's “Brazilian trilogy” which started with the aforementioned “First Circle”, the sound was so engaging that it kind started a life of it's own.  While the guitarist by no means spearheaded the Brazilian jazz movement he was clearly inspired by musicians who deeply influenced him like Toninho Horta and Ivan Lins, and brought that joy he felt from Brazilian music. The one of a kind accessibility of  “Still Life (Talking)” spawned what has occasionally been called in Metheny fan circles as “Pat-lite”.

The fact that the album had come in the prime years of  so called smooth jazz radio, and received airplay on said stations created this culture of some bands trying to capture the feeling of the PMG on the surface but without the spark of the inner workings that truly make his music special. For example Canadian guitarist Brian Hughes' album “Under One Sky” (Justin Time, 1992) and the track “Nine Doors” is an obvious display of love for Metheny, and sounds like something distinctly from the “Still Life” period, but to these ears, it's missing something.

When the deluxe, 2 CD remastered edition of Metheny's watershed solo “Secret Story” (Nonesuch/Metheny Group Productions, 1992) was reissued in 2006, the guitarist unearthed “Understanding”, a tune that was intended for “Still Life (Talking)” but rejected.  The tune was performed live in 1987, as a folksy-pop inspired ballad, with room for improvisation, but the released version is purely composed with a string section from the original “Secret Story” sessions, and additional guitar from Metheny.  Regardless of it's brief length the composition is a gem, and could have stood with the original “Still Life” album.  

The 2006 Nonesuch remaster and reissue of “Still Life (Talking)” is definitive, a stone classic that remains one of the best recordings in the Pat Metheny catalog.  The album really stands the test of time with stunning compositions, immaculate sound and production. No collection should be without it.

Footnotes: Pedro Aznar, the phenomenal Argentinean vocalist and multi instrument would return for the follow up “Letter From Home” (Nonesuch/Metheny Group Productions, 1989) and subsequent 1991 world tour that produced “The Road To You: Recorded Live in Europe” (Nonesuch/Metheny Group Productions, 1993).

In a 2006 podcast supplement celebrating the reissue of the album, Metheny noted the band really disliked “Still Life (Talking)” initially and the album was nearly shelved.  By consensus, they decided to release it, and the album later won the 1988 Grammy award for Best  Jazz Fusion Performance, and was a certified gold record having sold over 500,000 copies.

(c) 2017, CJ Shearn

[buzz-io]

Shia LaBeouf Does It Again. Epic.

Shia LaBeouf Does It Again. Epic.

This wins.