#acoustic medley 2012

[mikeladano]

REVIEW: Def Leppard - Viva! Hysteria - Live at the Joint, Las Vegas (Part 3 - Japanese bonus track)

REVIEW: Def Leppard – Viva! Hysteria – Live at the Joint, Las Vegas (Part 3 – Japanese bonus track)

[jules-has-notes]

Manila, Philippines — VoicePlay & Rachel Potter live performances

When VoicePlay and their buddy Rachel Potter released their "Moana medley" video in the summer of 2017, it went a bit viral and brought them a number of new fans, especially among young kids and their parents. A year later, one of those families invited the six singers to perform at their daughter's birthday party in Manila, with the added incentive of a public show for more of their Filipino fans. A trip to the other side of the world was an opportunity they weren't about to pass up. Even if it did require a full day of travel each way, everyone agreed that the experience was well worth it.

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VoicePlay knows how to start a show with a bang, and this song gives each member a moment to shine.

Details:

title: Any Way You Want It

original performers: Journey

written by: Steve Perry & Neal Schon

arranged by: Geoff Castellucci

performance date: 18 August 2018

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The boys kept the good times going with some bouncy prog rock and a little audience participation.

Details:

title: Mr. Blue Sky

original songs / performers: "Mr. Blue Sky" by the Electric Light Orchestra (ELO); [1:03] "Blue Skies" by Ben Selvin & Charles Kaley (as The Knickerbockers)

written by: "Mr. Blue Sky" by Jeff Lynne; "Blue Skies" by Irving Berlin

arranged by: Geoff Castellucci

performance date: 18 August 2018

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Next up was a more modern groove that let the fellas show off their harmonies and diction.

Details:

title: Ride

original performers: Twenty One Pilots

written by: Tyler Joseph

arranged by: Geoff Castellucci

performance date: 18 August 2018

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VoicePlay kept things a little mellow for one more number with the first song that this lineup recorded together.

Details:

title: Scars To Your Beautiful & All Time Low mashup

original songs / performers: "Scars to Your Beautiful" by Alessia Cara; "All Time Low" by Jon Bellion (see also: acoustic version) [NOTE: The original lyrics are more explicit than VP's version.]

written by: "Scars to Your Beautiful" by Alessia Cara, Warren "Oak" Felder, Sebastian Kole, Andrew "Pop" Wansel, & Justin "DJ Frank E" Franks; "All Time Low" by Jon Bellion, Mark Williams, Raul Cubina, & Travis Mendes

arranged by: Layne Stein & Hannah Juliano

performance date: 18 August 2018

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Their cover of Disney music was what brought the guys to the Philippines, so it was only natural for them to include this energetic mashup of the Mouse's Broadway tunes.

Details:

title: aca-Disney medley

original songs / performers: "Kiss the Girl" by Titus Burgess as Sebastian in The Little Mermaid (2008); "All About That Bass" by Meghan Trainor; [0:24] "A Whole New World" by Adam Jacobs & Courtney Reed as Aladdin & Jasmine in Aladdin (2014); "Rude" by Magic!; [0:53] "I Just Can't Wait to Be King" by Scott Irby-Ranniar, Geoff Hoyle, & Kajuana Shuford as Simba, Zazu, & Nala in The Lion King (1997); "Trumpets" by Jason Derulo; [1:34] "Seize the Day" by the cast of Newsies (2012); [1:41] "Arabian Nights" by James Monroe Iglehart as the Genie and the cast of Aladdin (2014); "Fireball" by Pitbull, featuring John Ryan

written by: "Kiss the Girl" by Howard Ashman & Alan Menken; "All About That Bass" by Meghan Trainor & Kevin Kadish; "A Whole New World" by Alan Menken & Tim Rice; "Rude" by Magic!, Adam "Messy" Messinger, & Alex Tanas; "I Just Can't Wait to be King" by Elton John & Tim Rice; "Trumpets" by Jason Derulo & Jon Bellion; "Seize the Day" by Alan Menken & Jack Feldman; "Arabian Nights" by Alan Menken & Tim Rice; "Fireball" by Armando "Pitbull" Perez, "John the Blind" Ryan, Andreas Schuller, Ricky Reed, Joe Spargur, Tom Peyton, & Ilsey Juber

arranged by: VoicePlay

performance date: 18 August 2018

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The reason Rachel wasn't on The Sing-Off with the boys back in 2013 is that she had already been selected for The X-Factor, and this is the song that got her there.

Details:

title: Somebody to Love

original performers: Queen

written by: Freddie Mercury

arranged by: Rachel Potter

performance date: 18 August 2018

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This video contains two songs, each with a new performer in a featured role. For the first, J.None steps into Tony's Phantom shoes. For the second, Rachel picks up the torch of self-love from Emoni Wilkins.

Details:

title: Phantom of the Opera

original performers: Sarah Brightman as Christine Daaé & Michael Crawford as the Phantom in The Phantom of the Opera (1986)

written by: Andrew Lloyd Webber, Charles Hart, Richard Stilgoe, & Mike Batt

arranged by: Layne Stein

performance date: 18 August 2018

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title: I Love Me

original performers: Meghan Trainor, feat. LunchMoney Lewis

written by: Ricky Reed, Gamal "LunchMoney" Lewis, Jacob Kasher Hindlin, Meghan Trainor, & Thomas Troelsen

arranged by: Layne Stein

performance date: 18 August 2018

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The three pieces in this video are all fan favorites that show off the guys' skills and sense of humor, and are sure to get your toes tapping.

Details:

title: Elvira

original performers: The Oak Ridge Boys

written by: Dallas Frazier

arranged by: Geoff Castellucci

performance date: 18 August 2018

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title: Percussion solo

original performer: Layne Stein

written & arranged by: Layne Stein

performance date: 18 August 2018

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title: A Crimpella

original songs / performers: [6:12] "Walk the Dinosaur" by Was (Not Was); [6:24] "Witch Doctor" by Alvin & the Chipmunks; [6:31] "Chitty Chitty Bang Bang" from Chitty Chitty Bang Bang; [6:35] "We Go Together" from Grease!; [6:42] “Motownphilly” by Boyz II Men; [6:50] "Imma Be" by the Black Eyed Peas; [6:59] "Tutti Frutti" by Little Richard; [7:01] "Shoop" by Salt N Pepa; [7:06] "Jock-A-Mo" (aka "Iko Iko") by James "Sugar Boy" Crawford; [7:15] "Mahna Mahna" from The Muppet Show; [7:26] "Lovin, Touchin, Squeezin" by Journey; [7:50] "Goofy Goober Rock" from The SpongeBob SquarePants Movie; [7:53] "MMMBop" by Hanson; [8:05] "Hooked on a Feeling" by Blue Swede; [8:09] "Bawitdaba" by Kid Rock; [8:14] "Breaking Up Is Hard to Do" by Neil Sedaka; [8:22] "Bohemian Rhapsody" by Queen; [8:36] "Bad Romance" by Lady Gaga; [8:42] "Can't Get You Outta My Head" by Kylie Minogue; [8:48] "Limbo La La" by James Lloyd; [8:51] "All Night Long" by Lionel Richie; [9:10] "Wanna Be Starting Something" by Michael Jackson; [9:16] "Na Na Hey Hey Kiss Him Goodbye" by Steam

arranged by: VoicePlay

performance date: 18 August 2018

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It would've been a shame to leave out VP's very first collaboration with Rachel, especially since it gave the crowd a chance to hear Layne tackle that rapid-fire rap verse.

Details:

title: I Knew You Were Trouble / As Long As You Love Me

original songs / performers: "I Knew You Were Trouble" by Taylor Swift; "As Long As You Love Me" by Justin Bieber, featuring Big Sean; "All Around the World" by Justin Bieber, featuring Ludacris

written by: "I Knew You Were Trouble" by Taylor Swift, Max Martin, & Karl "Shellback" Schuster; "As Long As You Love Me" by Justin Bieber, Nasri Atweh, & "Big Sean" Anderson; "All Around the World" by Justin Bieber, "Sir Nolan" Lambroza, & Nasri Atweh

arranged by: Layne Stein & Hannah Juliano

performance date: 18 August 2018

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They had to cap things off with the medley that resulted in them going to Manila, and it certainly makes a fantastic ending. It's also fun to see how they adjusted the arrangement to integrate J.None and create a fuller sound in a live setting.

Details:

title: Moana medley

original songs / performers: "Where You Are"; [0:46] "How Far I'll Go"; [1:47] "You're Welcome"; [2:54] "Shiny"; [3:54] "Know Who You Are"; [4:36] "How Far I'll Go (reprise)"; [4:55] "We Know the Way" by the cast of Moana (2016)

written by: Lin-Manuel Miranda, Mark Mancina, & Opetaia Foa'i

arranged by: Layne Stein & Hannah Juliano

performance date: 18 August 2018

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Additional photos

[Geoff isn't in the meet-and-greet photos because the poor guy had food poisoning and needed to go sit down after they finished singing.]

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Private party

[mtmains]

Shawn colvin sunny came home album cover pics

Returning for her encore, Shawn sat at the piano and played Tom Waits “Ol ’55,” which she has not recorded. Shawn finished her set with “Diamond in the Rough,” from Steady On. The song was also famously covered by Alison Krauss and Robert Plant on their 2007 album, Raising Sand. The next song - “Killing the Blues,” a cover of Rowland Salley - was first recorded on John Prine’s 1979 album Pink Cadillac. I was on the RuPaul show, and I was a character on the Simpsons.” Shaw brought up singing with Ernie on Sesame Street: “Bert was there the whole time. Without naming names, she said, “I’ve heard some people complain about having hit songs. Shawn played her most popular song, “Sunny Came Home,” the Grammy Award winner for Song of the Year in 1998. Shawn told the audience that she received the music from her collaborator, and one-time partner, John Leventhal. “That Don’t Worry Me Now” appeared on 2006’s These Four Walls. She mentioned that “Sunny Came Home” was originally titled “40 Red Men,” which her A&R rep explained was not going to work for reasons you might imagine. She then discussed the replica songwriting book for her album, A Few Small Repairs. In this vein, she follows other artists like Rodney Crowell, who released Acoustic Classics this year.Īfter “Cry Like an Angel,” Shawn played the first Tom Waits song of the evening, “Heart of Saturday Night,” which she first released on her 1994 album, Cover Girl. She is headed into the studio next year to make an all-acoustic recording of her old songs. Shawn told the audience that she hadn’t played “Cry Like an Angel,” from Steady On, for a long time before last night. Stream A Few Small Repairs by Shawn Colvin on Spotify: As she noted later in the evening, there never was a “Jimmy” - names have been changed to protect the object of her unrequited love. It’s back to doom and gloom,” and played the “Facts About Jimmy,” from A Few Small Repairs. Shawn quipped, “I’ve been in therapy so long that 45 minutes into this set, I just start winding it down.” Continuing to describe “Polaroids,” she revealed that, in writing the song, she found she was stealing from other songs, which led to her playing a hilarious medley.Īfter her song medley, Shawn joked, “I’m worn out.” She added, “That will be the most fun you have this evening. Almost as if she was speaking directly to me, Shawn said that she wrote those in 1987 or ’88, when she was on tour in Europe as a backup singer with Suzanne Vega, who had a big hit, “Luka.” Shawn regaled the audience with tales of playing Wembley Stadium in England and meeting the King of Sweden. Shawn put my speculation to bed to with her rendition of “Polaroids,” also from Steady On. Shawn openly discusses, in her memoir and elsewhere, her history of addiction and mental health problems. When she immediately followed “Trouble” with “Riding Shotgun Down the Avalanche,” from her first album, 1989’s Steady On, I started to wonder. She didn’t say anything before or after her first number, leading into “Trouble,” from 1996’s A Few Small Repairs, which won the Grammy Award for Record of the Year in 1998. Shawn played solo acoustic, beginning with a cover of Paul Simon’s “American Tune,” which she released on 2015’s Uncovered. In the book, she says, it’s a lucky thing that her daughter does too, as they will constitute most of her daughter’s inheritance. As she discusses in her 2012 memoir, Diamond in the Rough, she loves clothes. Shawn Colvin (Photo provided by Press Here)įor her show on Thursday at The Birchmere, Shawn Colvin appeared immaculately dressed.

[onesweetdreampodcast]

For fun, a micro episode! A reprise of RAM’s critical reception over time. Positive reviews referenced in the episode: Pitchfork “..Paul McCartney's Ram is a domestic-bliss album, one of the weirdest, earthiest, and most honest ever made. What 2012's ears can find is a rock icon inventing an approach to pop music that would eventually become someone else's indie pop.”

ALL MUSIC

“This made Ram an object of scorn and derision upon its release —and for years afterward in fact — but in retrospect it looks like nothing so much as the first indie pop album. Ram has a fuller production yet retained that ramshackle feel, sounding as if it were recorded in a shack out back, not far from the farm where the cover photo of Paulholding the ram by the horns was taken. It's filled with songs that feel tossed off, filled with songs that are cheerfully, incessantly melodic; it turns the monumental symphonic sweep of Abbey Road into a cheeky slice of whimsy on the two-part suite "Uncle Albert/Admiral Halsey.".All three of these are songs filled with good humor, and their foundation in old-time rock & roll makes it easy to overlook how inventive these productions are, ... These songs may not be self-styled major statements, but they are endearing and enduring, as is RAM itself, which seems like a more unique, exquisite pleasure with each passing year.”

LOUDER THAN WAR

“Cool is the most overrated component of rock roll. It blinds the fools and sends the insecure up grubby back alleys of music taste.  ...Maybe it’s a measure of the times but what people ragged on about Paul at the time was the good bloke/family man/simple things in life/not very rock n roll personae that are now seen as assets and that brings us to Ram.At the time the album was buried by the media but now sounds forward thinking and full of that buoyant pop imagination that the supremely talented Macca seems to effortlessly ooze. With the luxury of history the album now sounds like a decades too early precursor to lo fi indie with all the post late sixties bombast stripped away.Of course this simplicity is deceptive. The precociously brilliant McCartney is playing many instruments and he’s great at anything he picks up, dealing out guitar licks, bass runs or pastoral acoustics with an ease for his perfect pop voice to fly over with those cascading and exquisite melodies.” 

SUPER DELUXE EDITION

“Ram has McCartney’s DNA all over it. It is endlessly melodic … with a maze of musical ideas; vocal harmonies,...and, perhaps uncharacteristically, there is a steeliness of purpose evident.Ram works so well for many reasons. McCartney’s voice is at, or near, its peak – everything sounds completely effortless, including the performance on the throat-shredding ‘Monkberry Moon Delight’, and the whole thing just feels so real. Paul wasn’t struggling for things to write about, whether it be the seemingly constant backbiting with Lennon or his new-found love of family life and spending time with his new wife.” FAR OUT MAGAZINE

‘...You can trace everything from Britpop to pure jangle indie back to this record. What started as a piece of pure pop innovation would provide a sure footing for a host of other groups to spring from … there is no denying that Paul McCartney’s Ram is a seminal moment in musical history.’

50Thirdand3rd

“Paul McCartney has rarely sounded more exuberant than he does on Ram. With Linda’s emotional support, he found his way through the darkness occasioned by the collapse of The Beatles and shed all traces of depression and disorientation that marked his first solo effort. On Ram, he sounds positively thrilled to embark on a new, independent musical adventure, as is evident in the unbridled energy he displays throughout the record and the blessed return of his sense of humor. His melodic gifts remain intact, he sings as well as he ever did and he’s still one hell of a bass player.”

THE QUIETUS

It’s a record by a man and woman unburdened, enjoying the happiest days of their lives. It’s full of hope and honesty and goofing around. Unlike so much music from the era, it wasn’t trying to shift units or promote itself as ‘real’ music. In fact Paul McCartney probably doesn’t give a toss if you like it or not.”

SPECTRUM CULTURE

“...it’s clearer than ever that this is one of the great magical experiences in rock … The key to Ram’s power is the two equal and not-necessarily-distinct modes it toggles between. Domestic life between the album’s credited artists is portrayed with earthy whimsy; the instruments crack and splinter, content that the center will hold. Meanwhile, the material dealing with the meaning of the most coveted Beatle’s decision to settle down with the woman of his dreams is painted in the same grand, sweeping strokes as Sgt. Pepper, Magical Mystery Tour, and the Abbey Road medley: symphonic pop that pines for transcendence.”

RAM ALBUM CLUB:

“I listened properly the next morning, I sat in front of it and played it loud. My god, what a fool I’ve been, what a joy this record is. There’s hardly any of the 12 bar I was expecting and there isn’t a twee moment to be found. I adore the first bars of Too Many People, his beautiful tramp voice over those fab four chords into Pet Sounds snare hits. Honey to my bee. Lyrically he sounds like he’s kicking some demons around, eating apples, settling scores and having a ball doing it. Ram sounds like it was recorded at 9.12am amidst a sea of sunflowers under a hazy sun. It’s high as monkeys, full of itself and oh my, what a fool I’ve been. Ram On sounds like the whole of the Department of Eagles album In Ear Park (which I love) and Uncle Albert is fine as it is, all of it. I’m not that bothered about Eat At Home. The Back Seat Of My Car is like a track off the Beach Boys album Friends except better, much better. It’s one his best songs and I’ve never heard it. Third time, I take it downstairs. I light candles. I dress smart and bring gifts. I’m in love and o’ what a fool I’ve been. I’m uplifted, uploaded and upended. His singing is great, the musicians are right on the money and the sound is perfect (it is a truth that all records made in the early 1970s sound fantastic).”

[iridescentides]

omg hi i just woke up to like 50 notifications from you in my activity lmao i luv it 🙈🙈 BUT what set it off songs/videos would you recommend?? i like both versions of wolf in sheep's clothing and i listened to why worry like twice years ago lol but that one was good too so 👀👀👀 what are the reccs

AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAHHHHHHHHHHHH thank you so so much for sending this friend! band rec asks are literally my favorite asks to get!!! i will try to keep this brief but theyre literally my favorite band and i love them so much

GETTING TO KNOW SET IT OFF: a beginner’s guide

MUSIC

SIO has 4 studio albums (and some very old EPs), and this is important because the tone of each release is different:

Cinematics (2012): very aggressive, angsty, dark, emo to the extremo

Duality (2014): blend of that Cinematics aggression (but with more control) and some lighter, happier sounds and themes

Upside Down (2016): very light, bright, poppy, and positive

Midnight (2019): blend of all things Set It Off, with some darker tones, some dancey pop, an emotional ballad, and a big finish

Wolf in Sheep’s Clothing is their most popular song, and it’s from Duality. The acoustic version is from an EP called Duality: Stories Unplugged. Re-imagining songs is a big part of releasing acoustic music for the band, as they try to be creative with the sounds that go into the acoustics vs. the originals.

To get a good feel for the band’s range of different sounds/ tones, I recommend starting with these 5 songs:

Dancing With the Devil

Kill the Lights

Upside Down

Wild Wild World

Different Songs

Based on what you already like by SIO, I recommend that the first full album you listen to is Duality.

Here are my personal favorite SIO songs:

Miss Mysterious

Diamond Girl

Problem (Arianna Grande cover)

And as a lead-in to the next section, to get a visual feel for the band/their vibes, here are the first 5 music videos I think you should watch:

Something New

Lonely Dance

Life Afraid

Killer in the Mirror

Why Worry

(fun fact: all the extras in the Why Worry music video were SIO fans in the area!)

GETTING TO KNOW THE BAND

you didn’t ask for this but an intro to stanning Set It Off

singer: Cody Carson (center)

guitar: Zach DeWall (left)

drums: Maxx Danziger (right)

(The band started out as a five-piece but has since removed two members.)

The best way to get to know SIO as a band is through their YouTube channel! They’ve posted tons of fun stuff there over the years, including behind the scenes videos, viral challenges, album track-by-tracks, scripted sketches, and literally just videos of them doing random things (like trying new foods, playing board games, going to the store, making gingerbread houses, etc.)

Here are some of my personal faves from their channel:

Surprise Party

Cooking With Set It Off (tw: food, spit)

8 Song Acoustic Medley

Mad Lib Challenge

Fans Play Our Songs

And here are some good interviews to check out as well:

Set It Off Ruined Music

Band Trivia

10 Things You Didn’t Know About Set It Off

Fun facts:

Lead singer Cody Carson knew he wanted to be in a band after All Time Low let him sing Coffee Shop Soundtrack onstage with them at one of their concerts.

SIO got their name from a lyric in a Fall Out Boy song, Calm Before the Storm. They named one of their early EPs after this song as well.

The band initially gained traction through Cody Carson’s popular YouTube channel, where he used to post covers.

Maxx and Cody both stream regularly on Twitch!

Their sound comes from a range of instruments, including sax, strings, clarinet, and more, due to Cody’s classical music training and Dan’s (ex-guitarist) marching band experience.

They all love boy bands and claim them as musical influences.

TLDR: Set It Off is a great band with an incredible RANGE and tons of personality, and if anyone wants to come cry over them with me my ask/DMs are always open!

[krispyweiss]

Album Review: Van Morrison - Three Chords & the Truth

If not for a handful of nostalgic songs about days of yore and another lamenting the Brexit debacle, Van Morrison’s Three Chords & the Truth could be mistaken as coming from the first two decades of his career.

In truth, Three Chords is Morrison’s 41st LP and sixth since 2016. And while he’s been on something of a hot streak of late, this record, with all original material for the first time since 2012, burns brightest among its contemporaries as it bounds from the blues of Morrison’s earliest days (“You Don’t Understand”) to the jazz-tinged pop of his commercial heyday (“In Search of Grace”) to the religious leanings of the Avalon Sunset period (“If We Wait for Mountains”).

Shimming acoustic guitars and distorted blues harp - and even the voice; deeper but resonant and distinctive as ever - are familiar sounds; however, Morrison is not simply rewriting old songs. Only “You Don’t Understand,” which bears an uncanny resemblance to Bob Dylan’s “Ballad of a Thin Man,” could be considered a retread.

Righteous Brother Bill Medley makes a cameo on “Fame Will Eat Your Soul;” politicians catch Morrison’s ire on “Nobody in Charge;” “Bags Under My Eyes” addresses aging with uncharacteristic humor; and “Days Gone By” is a ready-made New Year’s Eve classic.

At a time when the 74-year-old Morrison has every right to coast, he's peddling harder than ever. The payoff is albums like Three Chords & the Truth.

Grade card: Van Morrison - Three Chords & the Truth - A-

11/21/19

[frankiefellinlove]

I almost cried because I couldn’t attend this event 😔

Report of Archives shown in Asbury Park today

By Stan Goldstein

What a shame this wasn't recorded or filmed or even photos exist yet. The Asbury Park Music and Film Festival photographer was allowed to take pictures of the talk and hopefully they will appear soon.

This was one for the ages. It was spectacular!! Bruce was there. He did a Q&A at the end. Ten videos shown.

Then they had the talk. Thom Zimny and Chris Phillips came out, there was a third chair. Before they started Thom waved to the side of the stage and said "Come out now" and Bruce walked out to a standing ovation.. What followed was an incredible Q & A. It's a shame this wasn't recorded, but I took a lot of notes.

Some breaking news from it.

Bruce said that a DVD/video will be coming out of the full New Orleans Jazzfest show from 2006.

Bruce said that show was "One of his Top-5 live performing experiences."

Bruce also said he would love to see a full Tunnel of Love show come out.

Bruce said a lot of this footage he had never seen before. He said he never saw the clip with Clarence from Buffalo in 2009 before.

Bruce says he's amazed what he can find on Youtube and suggest fans should go there to find some things.

He was very relaxed. Wore a black sweat shirt (sweater? ladies need your help here) with a "5" on it.

Some quotes from Bruce:

"I have lived many lives, many I haven't seen myself," after seeing this footage.

Bruce said they were "superstitious about being filmed in the early days. That's why we never did any TV. We felt that a magician should not look too close at his magic trick."

Bruce then gave a shout out to Barry Rebo who was in the audience. Barry is the one who shot much of the early footage.

Bruce said he was surprised to find out what they have (in the vaults). "I feel glad that Thom was able to dig up this stuff."

Bruce said when they did the filming for "Live in New York City" in 2000 that he felt "he was finally getting over the wall" of not liking to be filmed.

This was after Chris asked him about the Blood Brothers documentary from 1995 being one of the first things being filmed officially.

Bruce had a funny line about being recorded/filmed: "You always think you are more handsome than you actually are and you always think you sound better than you actually do."

Bruce said the 1975 Bottom Line shows "Really changed the life of the band. We were officially contenders. We no longer had to be good, we had to be GREAT! every night." to which many in the ground yelled out "You are!"

Chris asked about doing 10 Bottom Line shows in five days in 1975 (early and late show) and Bruce said they were only an hour-and-a-half each, so it wasn't too bad.

Chris Phillips tried to ask him about the new album but Bruce said he didn't really want to talk about it.

The 10 songs:

1. When You Walk In The Room - Bottom Line, August 16?,1975

One-camera color. Not great quality but who's going to complain seeing Bruce from this era

2. Apollo Medley - Apollo Theater, NYC, March 9, 2012

Chris Phillips asked Bruce about this. It's the clip where Bruce goes up in the balcony and sings from the front, really dangerous.

Bruce: "I don't know what I was thinking when I did that. It wasn't planned, no one was following me. I just said fuck it and I then fucked up the whole arrangement with the band. I was just glad to find some pipes to hold on to. We do perform some death-defying acts."

Bruce also said it was incredible to play there with all the history of the place and it was a great way to break the band in to start the Wrecking Ball tour. Said it was Jake's first show and "there was no pressure."

Bruce also said to Thom that they should put this out someday too. It was all professionally filmed with multiple cameras. This footage was awesome. The look on Patti's face when Bruce was in the balcony was priceless.

3. New York City Serenade, Dec. 15, 1973, Nassau Community College, black and white, two cameras: Rough footagae but incredible.

Chris Phillips asked about David Sancious playing on this. This was the original E Street Band: Bruce, Garry, David, Danny and Vini Lopez. This clip was shown at the Monmouth U. archives event in 2014. A magical clip. David on the piano is spectacular.

"David is one of the most musically talented people I have met and on the planet. His ability to cover everything, he's a master. I loved to have him in the band."

Chris then said "Well there's the elephant in the room. We have some new music and David plays on it and Bruce said "Yea, he plays on some of it. But we don't have to talk about that."

4. My City Of Ruins - Seeger Sessions, Jazzfest, 2006

Pro-shot, multiple camera footage. Great shots of the crowd singing along "Rise Up!" According to Bruce, this whole show will be out at some point.

Bruce: "The Sessions Band was a great band. I want to do that again. It was a great day. The day before we went driving down to the Ninth Ward. Rock and Roll is best when the stakes are on the table and go go against trouble and hard times. It was good to perform there and serve."

Bruce said to come back to Asbury Park now is so great to see how it is doing. He said he feels like the "Ghost of Christmas past" when he walks around

5. Quarter to Three, Bottom Line, August 16, 1975

Bruce asked Thom Zimny who shot this? And Thom told him Barry Rebo.

Great, color, one-camera footage. Bruce is all over the place. Dancing on the center table in front of the stage. Jumping on Danny's organ then going over to Roy's piano. At one point he drops his guitar pick and a fan hands it back to him. Young, classic Bruce at his best.

Bruce said the band was physically and literally half the size they are now back in those days compared to the Apollo footage now. .

6. Promised Land - Freehold, Nov. 8, 1996

A one-camera close up shot of Bruce in color. Not the greatest video but I'm not going to complain.

Bruce said "going back to St. Rose of Lima was tough enough. I did debut 'Freehold' that night.

7. Who Do You Love/She's the One - Tunnel of Love tour, Rotterdam, June 28,1988.

May have been the highlight clip of the afternoon. Hard rocking E Street Band with the spotlight on Clarence. He's at his peak physically and is all over. "The sight of the The Big Man and the maracas" Bruce said with a smile.

Some epic footage of Bruce and Clarence practically making love on stage. You have to see it to understand. The women in the audience particularly liked this clip.

This is when Bruce said "We should put out a Tunnel of Love show."

8. Patti Scialfa doing "Tell Him" from the Stone Pony 10th anniversary show, 1984 with Cats on a Smooth Surface. Nice color, one-camera shot.

"I almost had her here today," Bruce said. "That's the night I met my wife, 30 years ago at the Stone Pony. As I said in the Broadway show, it was the first time I heard her sing. She was playing with Bobby Bandiera, an Asbury Park hero."

Bruce asked where that footage came from and Thom Zimny said Kevin Buell knew someone who had it.

9. Sandy - Dec. 15, 1973, acoustic with Danny Federici, black and white. Nice version but a bit slow. But hey it's classic Danny and Bruce.

Bruce kidded that "I thought I was going to fall asleep at any moment. I went to the bathroom and came back I was still playing!"

Chris asked Bruce a little bit more about "Sandy" and the writing of it and Bruce said "Sandy was when things were just starting to happen for the band. It was a goodbye to Asbury Park. The last night Danny Federici played with us (Indianapolis, March 20, 2008) I asked him what he wanted to play and he said 'Sandy.' The song was appropriate because I wrote it It as the ending of something wonderful and the beginning of something new. We were leaving Asbury Park just as things were changing,"

10. Growing Up - Buffalo, Nov. 22, 2009. With the story of meeting Clarence.

Bruce said he had never seen this clip before. "The story is completely true, all those things. It actually happened. Looking at that, I really miss the Big Man" Bruce said as he and the crowd got a bit emotional.

Toward the end Bruce thanked Thom Zimny, saying "He has allowed us to use this great footage. He's like another member of the band."

Bruce said how he saw a Jean Claude van Damme movie and called Thom up and said "we should look like that for the Darkness taping right on this stage." Which was done in December of 2009, the filming of the band playing the entire album for the box set.

Bruce also commended Thom for his work on "Springsteen on Broadway" and said "Broadway was going well, let's not fuck this thing up!" Bruce kidded that the "magic begins with: 'Do I look great?'"

There was a little bit of talk about the "Night with the Jersey Devil" film and the short movie made from "Hunter of Invisible Game."

Chris Phillips also asked Bruce about the Upstage movie that is being shown tomorrow and what Bruce thought about the original version which he saw in 2017.

"Why am I not in this?" Bruce said. He then did do an interview for it which will be in the new version. He continued: "That last time I walked into the Upstage it looked exactly how it looked in 1968."

Some notes: Cameron Crowe was in the audience as were the Farrelly Brothers.

When I got to my seat, I was told I was being moved. I bought a single ticket the moment they were on sale and ended up in the first row. They told me my seat was going to be used by Bruce and his family. I got bumped up to a folding chair in the pit right in front of the stage. A little tough to watch the videos but right in front of Bruce for the Q&A so no complaints here. As it turned out, Bruce never sat in the seats anyway. He did watch from the side up against the wall of the lower right (facing the stage) orchestra for a bit

The locking up the cellphones thing worked well. In a way it was kind of nice not having a zillion phones up when Bruce was onstage but what a shame that it wasn't record for "the archives", then again, maybe it was. I don't know.

Great job by Chris Phillips. What I liked is he asked "fan-type"" questions, not like how a New York Times or Rolling Stone writer would try to talk about it.

And if you stayed this long, thank you for reading

[makistar2018]

Taylor Swift’s Netflix Special Is the End of an Era

By Amanda Petrusich January 3, 2019

While Taylor Swift isn’t the most instinctive dancer, she is practiced and spirited, and has surrounded herself with a crew of world-class athletes. Photograph by Matt Winkelmeyer / TAS18 / Getty

Last summer, the pop singer Taylor Swift began a stadium tour in support of her sixth LP, “Reputation.” It was a wildly successful jaunt, and, on its final night, in Arlington, Texas, more than a hundred thousand people filled A.T. & T. Stadium to watch Swift perform. The two-hour show was filmed for a Netflix special and released on New Year’s Eve. If it’s been a while since you witnessed that many human beings gripped by what appears to be complete and utter joy, “Taylor Swift: The Reputation Concert Tour” is a quick fix. Swift’s fans—beaming, sobbing, gasping in a kind of deranged ecstasy—receive her desperately and gratefully. Even through a screen, the heady, collective love is palpable.

Swift first appears onstage wearing dark lipstick, lace-up knee-high boots, and a hooded, sequinned black leotard. While she isn’t the most instinctive dancer, Swift is practiced and spirited, and she has surrounded herself with a crew of world-class athletes. Their routines are elaborate and inventive. Swift is constantly accenting her lyrics with physical flourishes (eye rolls, jazz hands, hair flips), all of which seem intensely pre-plotted; the relentlessness of her choreography allows us to briefly imagine a universe in which nothing plain ever happens and no moment is unproductive. Her tours have always felt more like elaborate theatrical productions than concerts, in part because Swift is not the sort of artist who is prone to spontaneity. Her limbs snap dutifully into formation, over and over. Pop music isn’t exactly predicated on bold expressions of authenticity—there is no reason why, in 2019, any grown person should be griping about the relative “realness” of pop stars—and stadium tours are always tirelessly rehearsed. Still, I winced when Swift and her backing dancers looked at each other and heartily fake-laughed in the middle of “This Is Why We Can’t Have Nice Things.” Truly, I winced so hard.

Swift was an early adopter of the faux-intimacy afforded by social media, and she has mastered, if not pioneered, its weird, chummy cadences (“You guys!”). She is terrifyingly expert at addressing millions of strangers as if each were a cherished and familiar confidant. It’s easy to be cynical about this way of communicating, which favors a kind of dopey, manipulative warmth. In my darker moments, I fear that it portends some kind of societal collapse, in which we are all seduced into complacency by robots giddily announcing, “You guys!” It is more likely that this is simply what happens when powerful women are expected to be both sweet and savvy, nurturers and entrepreneurs—eventually the line between the two fades, and friendliness and salesmanship become inextricable. 

The narrative premise of “Reputation,” both the album and the show, is Swift either shrugging off the gossip and innuendo that have followed her for much of her career or leaning deeper into them. (The latter is represented by a large cobra motif.) But Swift never quite manages the snarling belligerence of Joan Jett, whose “Bad Reputation,” from 1980, remains the definitive text on not giving a shit: “And I don't really care if you think I'm strange / I ain’t gonna change,” Jett promises. 

Swift cares a lot, even when she’s strutting and flipping her hair. To be fair, she has been subject to plenty of sexist bellyaching—what might read as ambitious or confident in her male counterparts is derided, in Swift, as shrewd, conniving, callous. But the fact remains that she’s not exactly enduring endless, seething comparisons to Pol Pot, which sometimes makes her boundless self-pity feel odd. “Reputation” is a resurrection story—there is even a film-within-a-film that figures Swift as a kind of gossamer phoenix, overcoming persecution to stand and love again!—but it’s hard to know what Swift is rising above, exactly, beyond some moderate embarrassment and the usual celebrity hounding. A montage at the start of the film features inane chatter from entertainment hosts and radio d.j.s—the sort of idle, trivial taunting that every superstar contends with. The worst thing anyone says about her is, “All this drama is exhausting.” 

But drama is, of course, the pop star’s stock in trade. Swift has always been proud of the extent to which she transparently mines her own life for lyrical fodder. The songs on “Reputation” toggle between tender and boastful, as Swift recounts various professional and romantic entanglements. “I Did Something Bad” revels in the (satisfying) idea of being a jerk to a jerk (“If a man talks shit / Then I owe him nothing”) but nonetheless contains moments of real vulnerability—like when, in the second verse, she offers the deeply sad advice “You gotta leave before you get left.” 

One of the gentler moments of the film is Swift’s performance of “All Too Well,” from the album “Red,” from 2012. The song was never a proper single, yet it’s one of Swift’s most beloved ballads, and she plays it solo, on an acoustic guitar. The song is about being haunted by memories of a bungled love, maybe for a little longer than you should be. “I know it’s long gone / And that magic’s not here no more/ And I might be O.K. / But I’m not fine at all,” she admits—so go the scars of love. What’s most striking about “All Too Well” is how Swift validates and reaffirms her experience; when a complicated relationship ends, it’s easy to feel bewildered and betrayed, unsure of everything that happenedprior to the moment of collapse. Were you swindled? Or, worse, did you somehow invent the whole thing? Swift’s repeated assertion—“I was there”—begins to feel like a kind of corrective to whatever unkind maneuvering her ex (in this case, the actor Jake Gyllenhaal, according to Swift lore) was up to. Though later in her career she would become more brash about broadcasting her own empowerment, “All Too Well” might be Swift’s most quietly feminist moment. 

The show ends with a medley of “We Are Never Getting Back Together” and “This Is Why We Can’t Have Nice Things,” two buoyant singles about holding your ground. It’s worth sticking around through the closing credits, both to watch the stadium empty out—enterprising fans stuff their bags with scraps of confetti or “Reputation”-themed newsprint from the floor—and to watch a few minutes of backstage footage, in which a surely exhausted Swift and her dancers climb into golf carts and zoom off. 

The critic Jon Caramanica, writing in the Times, recently argued that pop music—which he defines as songs that strive for “gloss, pep, ecstasy, spectacle”—has faded as a dominant cultural force. “Pop, the genre, is no longer pop,” he writes. Instead, pop music has been replaced on the charts by hip-hop and more niche or global sounds (which are usually inspired, in one way or another, by hip-hop). This shift was surely quickened by what Caramanica refers to as “the largely frictionless Internet,” which makes it easy for listeners to acquire precisely what they want and nothing else, and for smaller or regional genres to spread quickly. Pop, as a sound, has always been guileless and optimistic; these days, chart-topping songs tend to be morose, melancholy, and angry. The massive pop stars of yesteryear—Katy Perry, Justin Timberlake—are fading from the public consciousness. Their work seems corny and off-center now. In that context, “Taylor Swift: The Reputation Concert Tour” will soon either be regarded as a museum piece or as a testament to Swift’s era-defying longevity. I suspect it will be the latter. 

The New Yorker

[wwonderstruck]

in exactly one week’s time, on friday 8th june 2018, i will be in manchester UK, at the etihad stadium, sitting in way in the back in BK 315, Row U, Seat 409, in my little rainbow dress, finally seeing my idol TAYLOR ALISON SWIFT on her reputation stadium tour, after 10 years of dreaming of even being in the same presence as her and I. AM. SO. EXCITED!

i know the chances of me getting to meet taylor are astronomically slim with me being sat so far away and not exactly being super active in the fandom, but i have waited for this night for so so SO long and i just know that i’ll be spending half of the show in tears at being so overwhelmed that i’m finally seeing taylor live. all i really really want is for her to at least see this post and know that she means the WORLD to me because she deserves all the love in the universe! please help her see my letter to her!

dear taylor,

my name is inas. i’m 22 years old. i’m happy, free, confused, and lonely in the best way. i live in the UK. my boyfriend, who got me the tickets as a graduation gift and will be sat next to me, has a heavy yorkshire accent, and he takes it as a compliment that i make fun of the way he talks. i’ve been your fan since the moment i first heard love story when i was 13 years old. and all these years until now, i’ve felt like you were my friend. like you were another big sister. like you knew exactly what i needed to hear at the exact right time.

in 2008 i would flick through all the music channels hoping love story would be playing. i watched through probably hundreds of overly saturated, bright and obnoxious, youtube lyric videos, just so i could sing along to all of fearless. i realised some of the girls i hung around with at school knew all the songs from your debut album and from fearless too. we ended up sitting next to each other in every class we shared and had so much else in common. they’re two of my bestest friends til this day.

in 2010 i sang your songs with my friends incessantly. we took every opportunity to bring up your lyrics in conversation. there was one magical time when we sat til 11pm on a school night, sitting in my friend’s garden shed (it was basically a bedroom) getting overly emotional listening to your full discography, crying and singing along, and talking about our dreams and fears. i listened to speak now every morning on the way to school. it was the first album i ever bought with my own money. it’s still my favourite album of yours, both for the sentimental value, and cos i’m a sucker for dreamyness and sparkle. enchanted is my favourite song of all time. i love that, even though it’s a somber song, my birthday (july 9th) is mentioned in last kiss. i still have my wonderstruck perfume bottle, even though it’s empty. my mum was always complimenting your lyrics, how talented you are, how inspirational you are, and how she loved that i had such a wonderful role model to look up to. my little brother would tease me for being so obsessed with you. my two older sisters thought it was cute.

in 2012 i always had red playing in the car. i loved wearing my thick framed glasses and sundresses and red lipstick. i had grown a lot, much like i felt you had in between speak now and red. i’d gone through a tough break up. i was having a tough time coming into my own again. but some things never changed - i was still idly writing your lyrics in my notebooks, on my hands, on my homework. i would still listen to all your songs on the way to school. i still got giddy if your music video came up on a music channel. and then i saw love begin again.

in 2014 i was old enough to travel to one of your shows myself. i had started university, and the dates of the red tour clashed with my lab sessions. my lab partner was missing and i found out the next day that he had ditched to go to the red tour. i found it so funn that i couldn’t be mad, and we were quickly becoming best friends anyway. he always puts red on in his car when i’m in it. i started doing acoustic duets and medleys of your songs with another friend of mine that i met in an acapella society. he was just as obsessed and we essentially became a taylor swift tribute act, or at least that’s what we’d joke to the audience. for my 19th birthday, my sister got me all the physical copies of your albums. later that year i added 1989 to the collection. by this point, i was single for the first time in what felt like forever and i was living my best life. new crowd, new friends, new hobbies, new romantics. weekly heartbreak was my national anthem.

in 2016 i didn’t care about the he said she said. i defended you against anyone who had a bad word to say, to the point i’d sometimes be in tears. through everything that happened, i never forgot that you were the source of joy and understanding for so many people. that your songs were coping mechanisms, a way of healing. or even just something to dance to. i felt all your light, dreamy lyrics about falling in love and i understood why you spent your whole life trying to put it into words.

and now in 2018 i finally get to see you live on the reputation tour and i’ll dance and sing and cry and i wont want to let it go. i’ve spent the whole winter listening to reputation everyday. i can relate to the true, lasting love, that you so fully deserve to have. taylor, you’ve been such a huge part of my growing up, and you’ve helped me learn more about myself. most of all, you’ve always made me smile. you always make me feel so happy.

thank you so much taylor, for 10 years of bringing me such simple, pure, and honest joy. thank you for leaving me wonderstruck. thank you for the music. thank you for the laughs. thank you. i love you.

@taylorswift @taylorswift @taylorswift @taylornation @taylornation @taylornation

[dailylittlemix-blog1]

As Billboard celebrates its annual Girl Group Week, we’ve got Fifth Harmony on our cover, but that doesn’t mean we’ve forgotten the U.K.’s beloved quartet, Little Mix.

Back in 2011, the band came together on The X-Factor, so killer covers and fresh, new renditions of pop classics have always been in their wheelhouse. Six years later, we join Jesy Nelson, Leigh-Anne Pinnock, Jade Thirlwall and Perrie Edwards for a video history of their best cover songs.

1. Fergie - “Big Girls Don’t Cry” (2011)

The Little Mix ladies first auditioned for the U.K.'s X-Factor individually. Former judge Kelly Rowland suggested they be placed into a girl group, and the band we know today -- then called Rhythmix -- was born. This was their first performance together. Consider it iconic and ironic, as their rendition of Fergie’s 2003 single not only made them tear up by the by the end of the song, but even made Jessie J quite emotional. “I’m slightly in love with them,” she said.

2. En Vogue - “Don’t Let Go” (2011)

The girls have mentioned that their take on En Vogue’s “Don’t Let Go” was the turning point of their X-Factor journey to stardom. “That was the moment when people looked at us and thought, ‘Wait a moment. These girls actually stand a chance,'” Edwards recalled. Little Mix delivered a powerful and vocal-dominated rendition of the ‘90s hit, inspiring some to think they really could become the next big girl group.

3. Beyoncé - “End of Time” (2012)

Months after taking the crown as X-Factor’s season eight winners, the quartet opened up its own official YouTube channel with one of Beyoncé’s singles, 2012’s “End of Time.” Without instruments accompanying them but their own vocals and snaps, Little Mix gave a cover that would sure make Queen Bey, herself, proud. (Peep Leigh-Anne and Jade at 1:30 killing it with their harmony.)

4. Fun. - “We Are Young” (2012)

Racking almost 11 million views and counting, the acoustic cover of Fun.’s “We Are Young” justifies Little Mix’s vocal abilities and talents. After covering female artists or pop songs frequently in the past, this was one of the first times Little Mix took an indie pop/rock track and made it their own. Compared to Nate Ruess’ vocals, Little Mix gives this catchy tune a youthful and innocent feel; check that breakdown at the 3:15 mark. The group performed this cover again on SiriusXM months after Perrie had her tonsils taken out.

5. Lauryn Hill - “Doo-Wop”/Lumidee - “Never Leave You” Mash-Up (2012)

“Remember when cats used to harmonize like…” Well, the British babes are the cats that brought it back. Mashing it up with Lumidee’s 2003 summer hit “Never Leave You,” Little Mix throws it back to the bops of the old days. This mash-up also showcases Jesy’s skills in beatboxing, giving an extra dose of nostalgia to the ears. (Watch the 1:09 mark!) “Their voices harmonize together like slicing butter with a hot knife. Holy god,” as how the top YouTube comment would say.

6. Mumford & Sons - “I Will Wait” (2012)

https://www.youtube.com/watch?v=RTytQWfcO4M 

As Little Mix has proven that they can switch from genre to genre, the group turned down the tempo of this Mumford & Sons hit to a ballad listeners could cry along to, in the most elegant way possible. Accompanied by a small orchestra, piano and guitar, “I Will Wait” becomes a heartfelt and sad love song the brokenhearted can listen to for days.

7. “Holy Grail”/“Counting Stars”/“Smells Like Teen Spirit” (2013)

https://www.youtube.com/watch?v=L5lfJkXJ3kk

From rap to pop/rock to grunge, the ladies became Justin Timberlake, JAY-Z, OneRepublic’s Ryan Tedder and Nirvana’s Kurt Cobain all in a matter of four minutes and six seconds. In a mash-up medley they performed at BBC Radio 1’s Live Lounge, the group starts off with “Counting Stars” into “Holy Grail,” then finally transitions to “Smells Like Teen Spirit” with hints of “Counting” in between.

8. Katy Perry - “Dark Horse” (2014) 

https://www.youtube.com/watch?v=x9wIb4YQRiY

Though this wasn’t the first time Little Mix performed a Katy Perry hit, it sure became one of the first covers to flash their mature side. Performed during their Salute Tour, the gals busted out in synchronized harmony and choreography, giving the original Aphrodite a run for her money… or throne.

9. TLC - “No Scrubs” (2015)

https://www.youtube.com/watch?v=yFW7tpGOOEg

One of their musical favorites when it comes to female empowerment, Little Mix embraced its inner T-Boz, Left Eye and Chilli for an a capella of the all-time classic. However, this short a capella rendition wasn’t the first time the girls performed “No Scrubs.” Just like “Dark Horse,” Little Mix has performed a longer version of this cover (with choreography!) -- but on the DNA Tour back in 2013.

10. Destiny's Child - “Bills, Bills, Bills” (2015)

https://www.youtube.com/watch?v=s5AkwPK1oBM

What was meant to be for Z100 and Elvis Duran’s “Pay My Bills” promo turned out to be one of the coolest and shortest covers Little Mix has done. And it left me wanting more. Jesy with the beatboxing while the girls come through with the harmony, 17 seconds is a total cliff-hanger that makes you want to hear more! Nonetheless, it is a cover that gives the Destiny’s Child classic justice and makes their X-Factor judge Kelly Rowland proud.

11. Jason Derulo - “Want to Want Me”/Whitney Houston - “Dance With Somebody” Mash-Up (2015)

https://www.youtube.com/watch?v=OyhgIuNoWvo

Let’s be real. Nothing beats a whole choir when you’re turning two catchy pop/dance songs into a gospel mash-up. As each member took turns crooning the first verse of “Want to Want Me,” the cover gradually takes it to church when the choir joins in for the chorus and smoothly transitions into Whitney Houston’s “Dance With Somebody” (with hints of Natalie La Rose’s revival, “Somebody,” towards the end). It was after seeing this cover that Jason Derulo collaborated with the group for their famous ballad, and LGBTQ anthem, “Secret Love Song.”

12. Rihanna - “Love on the Brain” (2017)

https://www.youtube.com/watch?v=20qlpXsNaXk

Considering the last time the ladies performed doo-wop-inspired tracks was during their Get Weird days (“Love Me Like You” and “The End”), it was refreshing to hear the quartet come together and tackle Rihanna’s ANTI single. Jesy, Jade, Perrie and Leigh-Anne perfectly showcased their vocal abilities (individually and as a group) with their sultry rendition filled with runs and harmonies. Knowing that the bad gal is one of their fashion icons, all four made sure to come clutch for their cover by serving some looks. Trust. This cover will make you say “YAAAS QUEEN!” just like Perrie did at the end. Again, prepare to be slayed.

BONUS: Ed Sheeran covers Little Mix’s “Touch”

https://www.youtube.com/watch?v=VovyjWM2Gq0

Though this is obviously not Little Mix, let’s shout out Ed Sheeran showing some love. As he covered the dancehall-inspired pop song during his “Shape of You” promotions, he mentioned that the hit single was originally for the British girl group. Now, with that thought in mind, one can only imagine how Little Mix’s cover of “Shape of You” would sound like (if you’re reading this, Little Mix, nudge nudge).

If that wasn’t enough for you, check out this playlist YouTube user Allison Hernandez made that mixes 30 of the many acoustic performances and a capella covers they’ve done!

[mikeladano]

RE-REVIEW: Def Leppard - iTunes re-recordings (2012-2013)

RE-REVIEW: Def Leppard – iTunes re-recordings (2012-2013)

Part Forty-One of the Def Leppard Review Series Original reviews:  “Pour Some Sugar On Me”/”Rock of Ages” (2012) “Acoustic Medley” (2012) “Hysteria” (2013) DEF LEPPARD – iTunes re-recordings (2012-2013) It began in 2010.  After a long absence from the digital platform, Rick Savage of Def Leppard announced that their music would soon be available to buy on iTunes.  Due to a long dispute over…

[donqhox-blog]

CNBLUE

⠀⠀

CNBLUE (씨엔블루) is a 4-membered boyband under FNC Entertainment. They debuted with the EP “Bluetory” on the 14th of January, 2010.

Fandom: BOICE.

Music video(s): I’m A Loner, Love, Intuition, Love Girl, In My Head, Still In Love, Hey You, Friday, Where You Are, Come On, Time Is Over, Robot, I’m Sorry, Feel Good, Blind Love, Lady, One More Time, Can’t Stop, Still, Truth, Go Your Way, Radio, Cinderella, White, Supernova, You’re So Fine, Puzzle, Glory Days, Between Us, Shake, Starting Over.

Former member(s): Kwangjin (current member of N.Flying).

Social media: YouTube/YouTube, Twitter, Facebook, Website.

YONGHWA — 용화

Birth name: Jung Yonghwa — 정용화.

Birth date: June 22, 1989.

Birth place: Yeoksam-dong, Gangnam, Seoul, South Korea.

Nationality: South Korean.

Blood type: A.

Height: 180 cm — 5′11″.

Weight: 63 kg — 139 lbs.

Sibling(s): One older brother.

Position: Leader, vocal, guitar, rap.

Social media: Twitter, Instagram.

Language(s): Korean, Japanese.

Instrument(s): Guitar.

Motto: “Power of positiveness”.

Favorite artist(s): NSYNC, Backstreet Boys.

Ideal type: A kind girl, someone who can understand him and give him 100% support.

Movie appearances: “Cook Up A Storm” (2017).

Drama appearances: “You’re Beautiful” (2009), “Heartstrings” (2011), “A Gentleman’s Dignity” (2012, cameo), “Marry Him If You Dare” (2013), “The Three Musketeers” (2014), “The Package” (2017).

Collaborations: Mileage (with YDG), That Girl (with Loco), Fool (with Juniel), Hello (with Sunwoo Jung-a), Fireworks (with Sunwoo Jung-a), Home Alone (with Ravi), Promise (with FTISLAND’s Hongki).

Appeared on television show “We Got Married”, where he was paired with Seohyun.

Composes a lot of music for CNBLUE and other artists.

Was raised in Busan, South Korea.

JONGHYUN — 종현

Birth name: Lee Jonghyun — 이종현.

Birth date: May 15, 1990.

Birth place: Busan, South Korea.

Nationality: South Korean.

Blood type: O.

Height: 182 cm — 5′11″.

Weight: 64 kg — 141 lbs.

Sibling(s): Two older sisters.

Position: Vocal, guitar, visual.

Social media: Instagram, Twitter.

Language(s): Korean, Japanese.

Role model(s): Kim Bumsoo.

Ideal type: An easy-going person. Doesn’t like someone snapping at him. Someone who can accept him the way he is, and who doesn’t play games with him.

Instrument(s): Guitar.

Drama appearances: “A Gentleman’s Diginity” (2012), “Drama Special - Adolescene Medley” (2013, cameo), “One Sunny Day” (2014, cameo), “Orange Marmalade” (2015), “My Only Love Song” (2017), “Lingerie Girls’ Generation” (2017), “That Man Oh Soo” (2018). 

Movie appearances: “Acoustic” (2010), Ikiru Machi” (2018).

Collaborations: High Fly (with fellow bandmember Minhyuk), Love Falls (with Juniel), Young Love (with Melody Day).

Appeared on television show “We Got Married”, where he got paired with Gong Seungyeon.

Composes a lot of songs for CNBLUE and other artists.

Has a black belt in taekwondo and judo.

MINHYUK — 민혁

Birth name: Kang Minhyuk — 강민혁.

Birth date: June 28, 1991.

Birth place: Ilsan, Goyang Province, South Korea.

Nationality: South Korean.

Blood type: A.

Height: 184 cm — 6′0″.

Weight: 60 kg — 132 lbs.

Sibling(s): Unknown.

Position: Drum, vocal.

Social media: Instagram, Twitter.

Language(s): Korean, Japanese.

Instrument(s): Drum.

Education: Digital Seoul Culture Arts University.

Ideal type: Kim Sohyun; actress. 

Drama appearances: “It’s Okay, Daddy’s Girl” (2010), “Heartstrings” (2011), “My Husband Got A Family” (2012), “The Heirs” (2013), “Entertainer” (2016), “School 2017″ (2017, cameo), “Hospital Ship” (2017).

Movie appearances: “Acoustic” (2010), “The Princess And The Matchmaker” (2018).

Collaborations: Fly High (with fellow bandmember Jonghyun).

His father is a drum teacher.

Was a host for Music Bank in 2016.

JUNGSHIN — 정신

Birth name: Lee Jungshin — 이정신.

Birth date: September 15, 1991.

Birth place: Ilsan, Seoul, South Korea.

Nationality: South Korean.

Blood type: A.

Height: 188 cm — 6′2″.

Weight: 66 kg — 145 lbs.

Sibling(s): One older brother.

Position: Rap, bass, vocal.

Social media: Instagram, Twitter.

Language(s): Korean, Japanese.

Favorite artist(s): Maroon 5, Hoobastank.

Music video appearances: 4Minute - Heart To Heart. 

Ideal type: Someone who can understand him well and can lead him in a better manner. Doesn’t mind age difference.

Drama appearances: “My Husband Got A Family” (2012, cameo), “Seoyoung, My Daughter” (2012), “The Blade And Petal” (2013), “Temptation” (2014), “Drama Special - Thank You, My Son” (2015), “A Girl Who Sees Smells” (2015), “Cinderella With Four Knights” (2016), “My Sassy Girl” (2017), “My First Love” (2018).

Composes a lot of songs for CNBLUE and other artists.

Got added to the band when former member Kwangjin left.

Was a host for M Countdown (2015-2016).

[jazzviewswithcjshearn]

Live Review: An Evening With Pat Metheny at the Beacon Theatre, NYC Saturday, June 10 2017

Pat Metheny: acoustic and electric guitars, guitar synth; Gwilym Simcock: piano, keyboards; Linda May Han Oh: acoustic and electric bass; Antonio Sanchez: drums. June 10, 2017 at the Beacon Theatre, New York, New York

Guitarist Pat Metheny has always strove to extend and test the limits of his vast catalog of music.  The twenty time Grammy winner, starting with the trio that recorded “Bright Size Life” (ECM, 1975) featuring Jaco Pastorius and Bob Moses, his flagship Pat Metheny Group, and ensembles featuring Charlie Haden, Billy Higgins, Dave Holland and Roy Haynes have provided a colorful multitude of settings over the years to express his improvisational and compositional muse.  Over the past four years, the guitar icon led one of his very best bands ever, the Unity Band featuring tenor saxophone titan Chris Potter, phenomenal young bassist Ben Williams and long time mainstay drummer Antonio Sanchez. The group, later expanded to include prodigious multi instrumentalist Giulio Carmassi released “Kin (<->)” (Metheny Group Productions/Nonesuch) in 2014, which married the long form compositional aspect found in Metheny Group offerings with a concentrated focus on improvisation which marked the “Unity Band” recording (Metheny Group Productions/Nonesuch, 2012) and seamless integration  of Metheny's mammoth Orchestrion, and electronics.  Mr. Metheny's aim over the past decade, and certainly a thread over his long career has been to feature an ensemble where he could play the vast amount of over 500 compositions he has written in an inclusive setting, and his new quartet featuring British pianist Gwilym Simcock, Australian based (by way of New York) rising star bassist, Linda May Han Oh and Antonio Sanchez truly did so with fire and elan June 10th at the Beacon Theater in NYC.

The quartet, which recorded an as of unreleased studio session in December, has been active touring since the end of last year, and has been playing the Metheny songbook with a few new compositions thrown in.  The use of some of New York's best inter generational players over the past several years in both the Unity Band, and now this new aggregation has invigorated the guitarist's playing, and he has been doing what countless others like Miles Davis and Art Blakey have done, providing a larger forum for the world at large to get to know the best of a younger generation. What's also apparent in this quartet,  is how much joy he has in having a pianist as a foil, and the simpatico with Antonio Sanchez, which of the course of fifteen years has become telepathic, to where they are practically a single entity.  

The evening's three hour assortment of classics and tunes rarely played in recent times kicked off with a 42 string Pikasso guitar improvisation which delved deep into harmonic contours, on the spot invention, quite a different complexion from the moodier offering that began the “Kin” tour show on Metheny's last swing in NYC in 2014.  The solo served as a prelude into “So May It Secretly Begin” to the roar of the Beacon audience, Metheny's solo was absolutely effervescent, some familiar devices presented in the freshness of inspiration.  May Han Oh revealed for the first time over many during the course of the evening, her superb note choices and rock solid time that enlivened the song's familiar changes.  Metheny was equally charged on “Have You Heard”, which performed in a purely acoustic setting and illustrated in much bolder terms how conducive the tune has been as a blowing vehicle. Metheny's series of choruses over the C minor blues, were potent and swinging, with the famous triad lick appearing towards the end of the first chorus.  Gwilym Simcock added a new layer of depth to the tune with a piano solo, something not found in the PMG renditions of the tune.  Simcock, part of Impossible Gentleman, also featuring PMG mainstay Steve Rodby was a combination of cerebral and earthiness, an aspect brought out to the fore on a stirring rendition of “The Red One”, made all the more interesting by Metheny starting the tune on his new Slaman hollowbody guitar as opposed to utilizing the Roland GR300 guitar synth throughout as he  has on the previously recorded versions. Metheny maintained use of the Roland G303 controller for the next tune, a new, free improv based piece incorporating the first tune the guitarist ever wrote (!) in addition to a melody of an unreleased tune that will be familiar to Metheny veterans from years ago and collectors of privately traded shows that the Metheny Group played between 1981 and 1982 entitled “Six And Eleven”.  Finally, the tune also incorporated “Offramp” before the guitarist switched to distortion laced, fretless guitar (first heard on 1996's “Quartet”--Metheny Group Productions/Nonesuch) engaging in scalding atonal fireworks in duet with Sanchez’ drums.  For the first of two occasions in the evening, the pair truly recalled the fire and intensity of John Coltrane and Rashied Ali, or if you will, aurally bringing to mind  titanic combat sports encounters of Ali and Frazier, Leonard vs Hearns I or Stephan Bonnar and Forrest Griffin. It was a true pleasure to hear the guitarist engage in his avant garde proclivities, always  a strong counterpoint to his melodic excursions.

Other set highlights included particularly poignant renditions of two “Secret Story” (Metheny Group Productions/Nonesuch, 1992) ballads “Always and Forever” featuring May Han Oh playing a variation of Toots Thielemans famous harmonica solo,  “Tell Her You Saw Me”.  May Han Oh flourished on a duet with the guitarist on  “Unity Village” and Metheny once again delved into post Trane, and Ornette vocabulary in an intense duet on Sanchez on “Question and Answer”.  The duo with Sanchez on “Question and Answer” and the guitar drums duet breakdown on “James” showed just how genius and accessible Metheny's writing really is because despite the chances taken  in these performances one could still easily mentally note the song form and the original changes amidst the daredevil improvisation.  It was also wonderful to hear the bop based burn on the rhythm changes workout “What Do You Want” from “Trio 99-00” (Warner Brothers/Metheny Group Productions, 2000) and a new waltz tune with a Celtic quality in the intro.  The duet between Simcock and Metheny on “Phase Dance” was very neat, Simcock is a very different player than Lyle Mays but his melodic depth is just as rich and compelling in his way to draw on multiple influences.  Encores included “Are You Going With Me?”, the acoustic guitar arrangement of “Last Train Home” that was first heard on the “Speaking of Now”(Metheny Group Productions/Warner Brothers, 2002) tour in 2003, and the acoustic medley featured on “The Unity Sessions” (Metheny Group Productions/Eagle Rock Entertainment, 2015) blu ray and DVD release.

It's abundantly clear the guitarist is relishing the new lineup of players, and he's rising to the challenge to the musical situations they create.  The reconciliation of various phases of his career under one roof, despite certain configurations like the Pat Metheny Group or Pat Metheny Trio having very specific identities, the depth and range of musical territory has always been an essential component of each. The forthcoming recording is going to be very interesting to see what musical directions it goes, and how this ensemble will evolve in subsequent tours.  The Beacon theater was definitely set simultaneously in nostalgia but looking forward as well.

[valleanenowe-music]

[Remember to add “async” by Ryuichi Sakamoto]

[Also “Operation: Doomsday” and “Mm.. Food” by MF Doom]

(embarrassing list of) Albums on phone:

James Ferraro - Cold

Aphex Twin - Come To Daddy

James Ferraro - Composition Of The Sensibilities Of Melted Knowledge

Aphex Twin - Computer Controlled Acoustic Instruments pt2

James Ferraro - Condo Pets

James Ferraro - Cruisin’ The Nightbiker Strip 1977

Alias Conrad Coldwood - Crying Girls

Com Truise - Cyanide Sisters

Lindsheaven Virtual Plaza - Daily Night Euphoria

Kendrick Lamar - DAMN.

Giles Corey - Deconstructionist

Internet Club - Deluxe

Moby - Destroyed

David Bowie - Diamond Dogs

SunCoast Web Series - Digital Water

James Ferraro - Discovery

Annie Lennox - Diva

James Ferraro - Dreams

Internet Club - Dreams 3D

Aphex Twin - Drukqs

Nyetscape - E-scape

James Ferraro - Edward Flex Presents: Do You Believe In Hawaii?

James Ferraro - Edward Flex Presents: Maui Black Out / Liquid Bikini

Scatman John - Everybody Jam!

Moby - Everything Is Wrong

Com Truise - Fairlight

Andy Stott - Faith In Strangers

Internet Club - Final Tears

Famicom Fountains - First Class

Borden, Ferraro, Godin, Halo & Lopatin - FRKWYS Vol. 7

Com Truise - Galactic Melt

Memorex Dawn - Galleria

James Ferraro - Genie Head Gas In The Tower Of Dreams (Jesters Midnight Toys)

Flamingo Pudding - Geogacca

Local News - Ghost Broadcast

Giles Corey - Giles Corey

James Ferraro - God of London

Kendrick Lamar - good kid, m.A.A.d city

Oneohtrix Point Never - Good Time Original Motion Picture Soundtrack

James Ferraro - Hacker Track

James Ferraro - Heaven’s Gate

Sun Araw - Heavy Deeds

David Bowie - Heroes

Giles Corey - Hinterkaifeck

Disconscious - Hologram Plaza

Monument XIII - Honestly

Moby - Hotel

James Ferraro - Human Story 3

David Bowie - Hunky Dory

Earl Sweatshirt - I Don’t Like Shit, I Don’t Go Outside

James Ferraro - iAsia

Lindsheaven Virtual Plaza - In Construction

Com Truise - In Decay

Bebetune$ - Inhale C - 4 $$$$$

Moby - Innocents

Tim Hecker & Daniel Lopatin - Instrumental Tourist

James Ferraro - Jarvid 9: Flushpipe

James Ferraro - Jarvid 9: Gecko

James Ferraro - Jarvid 9: Kava Jar Race

Scatman John - John Larkin

M.I.A. - Kala

Hearken - Kithless

Knife City - Knife City

James Ferraro - Last American Hero / Adrenaline’s End

Moby - Last Night

Sun Araw - Leaves Like These

James Ferraro - Left Behind: Postremo Mundus Techno-Symposium

DJ Pie - Liquidation

James Ferraro - Live at Primavera Sound 2012

Giles Corey - Live In The Middle of Nowhere

David Bowie - Lodger

Moby - Long Ambients 1: Calm. Sleep.

David Bowie - Low

Sun Araw - Major Grotto

David Bowie - The Man Who Sold The World

James Ferraro - Marble Surf

M.I.A. - Matangi

Thayer - A Medley For Lonely Walks

Famicom Fountains - Mixtape

Moby - Moby

Internet Club - Modern Business Collection

Neil Cicierega - Mouth Moods

James Ferraro - Multitopia

Kanye West - My Beautiful Dark Twisted Fantasy

Internet Club - New Millenium Concepts

David Bowie - The Next Day

Ecco Unlimited - NHK Reminds You To Boost Your Signal

Datavision Ltd. - Nightwaves

Clarence Clarity - No Now

David Bowie - No Plan

Lindsheaven Virtual Plaza - Nordwrong

Lindsheaven Virtual Plaza - NTSC Memories

James Ferraro - NYC, HELL 3:00AM

Nyetscape - Nyetscape

Nyetscape - Nyetscape 2.0

Nyetscape - Nyetscape 3.0

Nyetscape - Nyetscape 4

Nyetscape - Nyetscape 5

Arecaceae - Observatory Cg II & III (Coconut Of Teotihuacan)

Danny Brown - Old

Sun Araw - On Patrol

R23X - OST (1).rar

R23X - OSV: Original Sound Version

90210 - P.O. Box 666

Nyetscape - Party kicks

Sun Araw - The Phynx

The Skaters - Physicalities Of The Sensibilities Of Ingrediential Strairways

James Ferraro - Pixarni

Moby - Play

Gary Numan - The Pleasure Principle

Famicom Fountains - Progman.Exe

Internet Club - Pure Trance

James Ferraro - Purple Gongs

Internet Club - Redefining The Workplace

Aphex Twin - Richard D. James Album

The Diamondstein - The Ridges

David Bowie - The Rise And Fall Of Ziggy Stardust And The Spiders From Mars

SkʞƧ - Round

David Bowie - Scary Monsters (and Super Creeps)

Scatman John - Scatman’s World

Aphex Twin - Selected Ambient works 85-92

Aphex Twin - Selected Ambient Works Volume II

Internet Club - The Sharper Image

Bodyguard - Silica Gel

K2 - Silicon Oasis

DJ Rozwell - Sludge Dredd

Snake Figures Fan - Snake Figures Fan

James Ferraro - Son of Dracula

James Ferraro - Star Digital Theatre: Movies For P.T. Cruisers

David Bowie - Station to Station

Sea of Dogs - Storm Memories

James Ferraro - Suki Girlz

James Ferraro - Sushi

Aphex Twin - Syro

Scatman John - Take Your Time

Gary Numan - Telekon

Moby - These Systems Are Failing

Sea of Dogs - Through The Fog And The Driftwood

Lindsheaven Virtual Plaza - Transversal Worldwide Shopping

Nyetscape - Trinity

Sick Animation - The Ultimate Party Collection Vol. 1

Internet Club - Underwater Mirage

Twistpillar - The Unity Plaza

Internet Club - Unregistered HyperCam 420

Internet Club - Vanishing Vision

Datavision Ltd. - Vector Tables

James Ferraro - Virtual Erase

Moby - Wait For Me

Lindsheaven Virtual Plaza - Watch Their Loneliness

Com Truise - Wave 1

Internet Club - Webinar

James Ferraro - Wild World

Aphex Twin - Windowlicker

Nyetscape - World Edit

Danny Brown - XXX

Aphex Twin - Xylem Tube

David Bowie - Young Americans

░▒▓新しいデラックスライフ▓▒░ - ▣世界から解放され▣

Pastel Lounge LLC -  夢想假期

Famicom Fountains - 砂漠のカメラレッスン

Albums I’ve had to skip: 

Ecco Unlimited - Liquid Nitrogen (My copy is in FLAC, will need to convert it eventually)

James Ferraro - Rerex 1 (Corrupted download)

James Ferraro - Rerex 2 (Corrupted download)

K2 - Chameleon Ballet (Corrupted download)

Albums I’ve had to skip because DoubleTwist will refuse to acknowledge the existence of certain tracks if they’re short enough and these albums have at least one short song that despite its length I would not like to experience the album without:

Internet Club - Beyond The Zone

James Ferraro - Body Fusion 1

James Ferraro - Body Fusion 2

Local News - Channel 8

Aphex Twin - Cheetah

this is gonna fuckin suck

[chackenpharaoh]

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Green Day Concert Review: Barclays Center 3/15/17 

This past Wednesday, I attended Green Day’s show at the Barclays Center. This show took place in the middle of a frigidly cold week, the day after a major snowstorm that hit the New York/New Jersey area. Most people my age are away on Spring Break, escaping the 20 degree weather. But for the 19,000 people who were in attendance for Green Day’s sold out show in Brooklyn, it was nothing short of electrifying.

Concerts are a really special setting. Who would think for about 4 hours, people who share the same bond over a specific artist can all gather in one place and witness that artist live? People put aside the baggage in their lives and whatever is going on in the news to enjoy live entertainment. That’s what I love about going to shows. When you go to a show, you get to see the artists that you’ve listened for years (or recently gotten into) and sing along to every song. You have every lyric memorized, you recognize every opening riff to every song, every note on a guitar solo. Whether you’re a seasoned veteran going to your 30th show or if it’s your first concert ever, concerts are an experience that everyone should witness at least once in their life.

Wednesday night’s show was the fourth time that I saw Green Day, the pop-punk trio that have been around for almost 30 years. Green Day continue to reach audiences of all ages and different generations of listeners. They’ve consistently been one of the biggest names in music since the 90s. This was the first time that I saw them at an arena show. The previous 3 times that I saw them were at intimate venues

The first time being in 2012 when they were promoting the release of the ¡Uno!, ¡Dos! and ¡Tre! albums at Irving Plaza. They played 38 songs that night, where the setlist spanned their whole entire discography which included the hits, B-sides and deep cuts that they rarely play live.

The second time being this past September when they were promoting the release of Revolution Radio at Starland Ballroom in New Jersey

The third time being on the day that they released Revolution Radio and played a surprise show at Rough Trade Records to 250 people (which was crazy to believe that I basically paid $18 to see Green Day since admission to the show was to be one of the first 250 people in line to buy Revolution Radio; I was number 242 in line)

Seeing them at the Barclays Center may have been different but it was also the same kind of experience that you would have witnessed at a smaller, intimate venue. I had nosebleed seats all the way up at the 200 level on the far left end of the stage, which may not be the same as when I was in a tiny general admission floor crammed with 2,000 people that were moshing, crowd surfing and sweating from head to toe. But I have to say that from my own concert experiences, Green Day fans are some of the most dedicated and supportive fans in the whole world. Everyone in my section was standing up the whole time and singing along with every song they played. I could see the people in the GA pit going nuts throughout the whole show. So in a way, no matter the size of the venue or the amount of attendees, both experiences were the same. Everyone goes crazy at a Green Day show.

So the band put on an energetic, crowd pleasing set. Billie Joe was doing his thing by energizing the crowd, running from one side of the stage to the other, leading the “HEEEEEEY OOOOOH” chants, going on little rants about our government and Trump, preaching unity among all people of color and also being his awesome, crazy self. The band sounded really tight and in sync with one another. Tre Cool was a monster banging on the drums with all the thunderous drum fills. Mike Dirnt was being the strong backbone with his bass skills. The setlist was a mix of old and new songs. They played the most songs off of American Idiot, which is probably the album that’s most accessible in their discography and is also most relevant today given our country’s political landscape. The middle of their set consisted of the older songs from the 90s. The show ended with two encore sets. The first encore set consisted of American Idiot (which everyone went nuts for) and the 9 minute epic Jesus of Suburbia (my favorite song by them). The last encore set consisted of two Billie Joe solo acoustic songs (Ordinary World and of course Good Riddance). Confetti sprayed the general admission area once Good Riddance ended. Then the rest of the band came out onstage and took one well-deserved final bow together for the ever loyal Idiot Nation.

Some exciting things that happened during the show:

The Drunk Bunny coming out onstage pumping up the crowd while Blitzkrieg Bop was blasting through the PA system before Green Day came out (which is a usual occurrence at every Green Day show)

Fans getting onstage and then proceeding to stage dive into the GA pit. This happened during Know Your Enemy and Longview (where during the latter, a fan got to sing the last verse and chorus which is awesome. I wish to be one of those fans to sing the last verse and chorus of Longview one day.)

The pyrotechnics and bomb sounds going off throughout the show were exhilarating.

Setlist

1. Know Your Enemy 2. Bang Bang 3. Revolution Radio 4. Holiday 5. Letterbomb 6. Boulevard of Broken Dreams 7. Longview 8. Youngblood 9. 2,000 Light Years Away 10. Hitchin’ a Ride 11. When I Come Around 12. Burnout 13. Waiting 14. Scattered 15. Minority 16. Are We the Waiting 17. St. Jimmy 18. Knowledge (Operation Ivy cover) 19. Basket Case 20. She 21. King for a Day 22. A medley of Bump n Grind/Shout/Always Look on the Bright Side of Life/(I Can’t Get No) Satisfaction/Hey Jude (with a little Careless Whisper saxophone solo) 23. Still Breathing 24. Forever Now

Encore 1 25. American Idiot 26. Jesus of Suburbia

Encore 2 27. Ordinary World 28. Good Riddance (Time of Your Life)

[youdidntruinmylife]

Simple Plan 3/15/17

I HAVEN’T DONE A SIMPLE PLAN RECAP IN SO LONG if you’re interested in hearing about my day/night yesterday it’ll be under a read more!!

HERE WE GO so first of all we got a shitload of snow and I honestly did not think I was gonna make it out, but thankfully I wasn’t that snowed in so I was able to go!!! So I made the soundcheck party list with SP Crew and got the the venue at like 2:30 and waited outside in the cold and the snowstorm for almost a hour and a half (the shit I do for this band...). 

Finally we’re inside and warm and we get to the stage and I finally see my boys again after almost 3 years <3 They played The Worst Day Ever and WHEN I’M WITH YOU, teaser for the NPNHJB tour since it’ll be a while until it comes to Canada. After soundcheck usually they hang out, but since we were too many people last night (seriously, there must have been over 100 people at the soundcheck party), they just did group shots with everyone. SO I FINALLY GOT A PHOTO WITH ALL THE GUYS AFTER 15 YEARS AHHHHH.

After soundcheck we were escorted to another area (we were allowed to stay inside bless Chady and the Bell Centre staff for that) until we went back to the floor for our early entry at around 5:45.

I GOT SECOND ROW AND I WAS SO CLOSE???? Set It Off went up first and they were amazing. I saw them with All Time Low a few years back and to see them again with SP was pretty sweet. Plain White T’s brought me back to my teenage years when I blasted their songs in high school (yikes that makes me sound old). Aaaaand finally Simple Plan came on and opened with Opinion Overload!!

The show was absolutely incredible. I’ve seen Simple Plan so many times, but last night was BY FAR my favorite show. It topped the 2012 Canadian tour, which I didn’t think was possible. Their setlist was fucking perfect.

Opinion Overload Jet Lag Jump I’d Do Anything Boom! Welcome To My Life Your Love Is A Lie Addicted I Don’t Wanna Go To Bed / Party Medley Perfectly Perfect Can’t Keep My Hands Off You Summer Paradise Farewell Crazy I’m Just A Kid Shut Up PERFECT WORLD This Song Saved My Life (Acoustic) Perfect

DURING FAREWELL DAVID JUMPED INTO THE CROWD AND HE WAS SO CLOSE TO ME!!!! I NEARLY DIED!!!!! I haven’t heard Crazy live since my first show in 2008 (usually Pierre would just sing it acoustic) so that was awesome. I FINALLY GOT TO HEAR PERFECT WORLD LIVE IT’S MY ALL TIME FAVORITE SP SONG AND I FREAKED OUT. And Perfect is always an amazing moment, but bittersweet because I don’t want the show to end. They also had confetti and it was so, so cool. Such a magical moment when it all fell into the crowd. I wanna relive last night all over again. I love this band to death and I can’t wait until the next show!!!!!