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midnightsslut · 3 years ago

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Taylor Swift Tours Masterpost

Hey everyone! For absolutely no reason at all, I’ve decided to compile a masterpost of all the regular setlists, surprise songs, covers, and guests on Taylor’s tours with links to YouTube videos when available (I’m only including videos that weren’t featured in official tour movies). I’ve noticed that, although there are posts like this for specific tours, like Red or reputation, some of this information is pretty hard to find, and it might be useful to some to have it all in one place. Also, I’m something of a Taylor Swift live performance ~connoisseur (💀), so I thought I might share. :) Here we go

Note: This is only part one. I don’t know when the posts for Red, 1989, and reputation will be up.

Part One: Fearless & Speak Now

Fearless Tour (April 23, 2009-July 10, 2010)

This tour did not feature a ‘surprise song slot,’ but she did sometimes change the setlist up a bit. She also brought out a couple of surprise guests (most notably John Mayer and Katy Perry), but not nearly as many as she did on her later tours.

Regular setlist: Fearless Tour

1. ‘You Belong with Me’

2. ‘Our Song’

3. ‘Tell Me Why’

4. ‘Teardrops on My Guitar’

5. ‘Fearless’

6. ‘Forever & Always’

7. ‘Hey Stephen’

8. ‘Fifteen’

9. ‘Tim McGraw’

10. ‘White Horse’ (x)

11. ‘Love Story’

12. ‘The Way I Loved You’ (x)

13. ‘You’re Not Sorry’ / ‘What Goes Around… Comes Around’ (x)

14. ‘Picture to Burn’

15. ‘Change’ (x)

16. ‘I’m Only Me When I’m with You’ (2009) (x) OR ‘Today Was a Fairytale’ (2010)

17. ‘Should’ve Said No’ (extended version)

Footnotes:

*Starting from the show in Uncasville, Connecticut on August 28, 2009, ‘Change’ was removed from the setlist. It was added back in Greensville, South Carolina on September 4, 2009. Starting from the show in Pittsburgh, Pennsylvania on October 1, 2009, it was removed again.

*European shows on the 2009 leg often removed ‘I’m Only Me When I’m with You’ as well as ‘Change.’

*Starting from the show in Brisbane, Australia on February 4, 2010, ‘Today Was a Fairytale’ replaced ‘I’m Only Me When I’m with You’ in the encore.

Surprise songs:

1. ‘The Best Day’ - Evansville, Indiana (April 23, 2009) Note: This was actually the first show of the tour. Unfortunately, I haven’t found a video of this performance.

2. ‘Two Is Better Than One’ - Brisbane, Australia (February 4, 2010) (x)

3. ‘The Best Day’ - Moline, Illinois (May 8, 2010) (x)

4. ‘Jump Then Fall’ - Foxborough, Massachusetts (June 5, 2010) (x)

Surprise guest performances:

1. ‘Your Body is a Wonderland’ and ‘White Horse’ (already part of the regular acoustic set but performed as a duet here) with John Mayer - Los Angeles, CA (May 22, 2009) (x)

2. ‘The Way You Love Me’ with Faith Hill - Nashville, TN (September 12, 2009) (x)

3. ‘Hot N Cold’ with Katy Perry - Los Angeles, CA (April 15, 2010)

Speak Now World Tour (February 9, 2011-March 18, 2012)

Regular setlists:

Eurasia (February 9, 2011-March 30, 2011)

Note: All of the performances linked below are from the Eurasian leg. Therefore, their quality is questionable. I’m only including these because this leg had a slightly different wardrobe than the North American leg which was recorded for the tour movie. I’m not including videos from performances where the costume is the same.

1. ‘Sparks Fly’

2. ‘Mine’

3. ‘The Story of Us’

4. ‘Back to December’ / ‘Apologize’ / ‘You’re Not Sorry’ (x)

5. ‘Better Than Revenge’ (x)

6. ‘Speak Now’

7. ‘Fearless’ / ‘I’m Yours’ / ‘Hey, Soul Sister’

8. ‘Fifteen’ (x)

9. ‘You Belong with Me’

10. ‘Dear John’ (x) - I’m only including this video because she wore her hair loose lol

11. ‘Enchanted’ (x)

12. ‘Long Live’ (x)

13. ‘Love Story’ (x)

North America & Oceania (May 21, 2011-March 18, 2012)

This is based solely on the first North American show

1. ‘Sparks Fly’

2. ‘Mine’

3. ‘The Story of Us’

4. ‘Our Song’

5. ‘Mean’

6. ‘Back to December’ / ‘Apologize’ / ‘You’re Not Sorry’

7. ‘Better Than Revenge’

8. ‘Speak Now’

9. ‘Fearless’ / ‘I’m Yours’ / ‘Hey, Soul Sister’

10. ‘Last Kiss’

11. ‘You Belong with Me’

12. ‘Dear John’

13. ‘Enchanted’

14. ‘Haunted’

15. ‘Long Live’

16. ‘Fifteen’

17. ‘Love Story’

Notes:

Starting from the show in Toronto, Canada on July 15, 2011, Taylor started playing acoustic covers right after her performance of ‘Last Kiss.’

Starting from the show in Denver, CO, on September 27, 2011, ‘Ours’ was added to the encore, right before the performance of ‘Fifteen’. This marked the live debut of the song. If Taylor had a surprise guest, this was the song she would usually cut from the setlist.

Starting from the show in Perth, Australia on March 2, 2012, ‘Safe & Sound’ (x) was added to the encore. ‘Ours’ (x) was shifted to the acoustic set and was played right before ‘Last Kiss.’ It was only skipped at the show in Auckland on March 17. I’m including a video because, although the performance from the encore was featured in the tour movie, this version takes place on the B-stage and has a different costume (the purple Susan Hilferty dress she wore for half the show lol).

At the shows in Melbourne, Australia on March 12, 2012 and Auckland, New Zealand on March 16, 2012, ‘Fearless’ was skipped.

Surprise covers:

1. ‘Livin’ on a Prayer’ by Bon Jovi - Newark, NJ (July 19, 2011) (x)

2. ‘Dancing in the Dark’ by Bruce Springsteen / ‘Livin’ on a Prayer’ by Bon Jovi - Newark, NJ (July 20 & 24, 2011) (x), (x)

3. ‘Cowboy Take Me Away’ by the Dixie Chicks - Newark, NJ (July 23, 2011) (x)

4. ‘Lose Yourself’ by Eminem and ‘Smile’ by Uncle Kracker’ - Grand Rapids, MI (July 28, 2011) (x)

5. ‘Jack & Diane’ by John Mallencamp and ‘I Want You Back’ by the Jackson 5 - Indianapolis, IN (July 29, 2011) (x), (x)

Note: ‘I Want You Back’ was featured on the Speak Now World Tour Live CD. The second link will direct you to the audio.

6. ‘I Try’ by Macy Gray and ‘My Wish’ by the Rascal Flatts - Cleveland, OH (July 30, 2011) (x)

7. ‘I Heard It Through the Grapevine’ by Gladys Knight & the Pips and ‘Ghetto Superstar’ by Mya - Washington, DC (August 2, 2011) (x)

8. ‘Stay (I Missed You)’ by Lisa Loeb and ‘A Sorta Fairytale’ by Tori Amos - Washington, DC (August 3, 2011) (x)

9. ‘Who Knew’ by P!nk and ‘Unpretty’ by TLC - Philadelphia, PA (August 6, 2011) (x)

10. ‘Sugar, We’re Goin Down’ by Fall Out Boy - Rosemont, IL (August 9-10, 2011) (x)

11. ‘Just a Dream’ by Nelly - St Louis, MO (August 13-14, 2011) (x)

12. ‘God Only Knows’ by The Beach Boys and ‘Sweet Escape’ by Gwen Stefani - Los Angeles, CA (August 23-24, 2011) (x), (x)

Note: ‘Sweet Escape’ was featured as a bonus track on the Target deluxe version of the Speak Now World Tour Live CD. The second link will direct you to the audio.

13. ‘This Love’ by Maroon 5 and Bette Davis Eyes’ by Jackie DeShannon - Los Angeles, CA (August 27, 2011) (x), (x)

Note: ‘Bette Davis Eyes’ was featured on the Speak Now World Tour Live CD. The second link will direct you to the audio.

14. ‘Realize’ by Colbie Caillat’ - Los Angeles, CA (August 28, 2011) (x)

15. ‘Drops of Jupiter’ by Train - San Jose, CA (September 1, 2011) (x)

Note: ‘Drops of Jupiter’ was included in the Speak Now World Tour concert movie. An audio was also featured on the standard CD.

16. ‘Good Riddance (Time of Your Life)’ by Green Day - San Jose, CA (September 2, 2011) (x)

17. ‘Untouchable’ by Luna Halo - Sacramento, CA (September 3, 2011) (x)

18. ‘Closer to Love’ by Matt Kearney - Portland, OR (September 6, 2011) (x)

19. ‘You & Me’ by Dave Matthews Band - Tacoma, WA (September 7, 2011) (x)

20. ‘Nashville’ by David Mead - Nashville, TN (September 16-17, 2011) (x), (x)

Note: ‘Nashville’ was featured as a bonus track on the Target deluxe version of the Speak Now World Tour Live CD. The second link will direct you to the audio. PS: This is one of my favorite covers she’s ever done.

21. ‘Lucky’ by Britney Spears - Bossier City, LA (September 20, 2011) (x)

22. ‘Swing, Swing’ by The All-American Rejects - Tulsa, OK (September 21, 2011) (x)

23. ‘How to Save a Life’ by The Fray - Denver, CO (September 27, 2011) (x)

24. ‘Animal’ by The Neon Trees - Salt Lake City, UT (September 28, 2011) (x)

25. ‘Baby Girl’ by Sugarland - Atlanta, GA (October 1-2, 2011) (x)

26. ‘Ain’t Nothing ‘Bout You’ by Brooks & Dunn - North Little Rock, AR (October 4, 2011) (x)

27. ‘Breathless’ by Better Than Ezra - New Orleans, LA (October 5, 2011) (x)

28. ‘Boys of Summer’ by Don Henley - Dallas, TX (October 8, 2011) (x)

29. ‘The Back of Your Hand’ by Dwight Yoakam - Louisville, KY (October 11, 2011) (x)

30. ‘Wide Open Spaces’ by The Dixie Chicks - Lubbock, TX (October 14, 2011) (x)

31. ‘What Hurts the Most’ by Jeffrey Steele - Oklahoma City, OK (October 15, 2011) (x)

32. ‘Dare You to Move’ by Switchfoot - San Diego, CA (October 20, 2011) (x)

33. ‘No Parade’ by Jordin Sparks - Glendale, AZ (October 21, 2011) (x)

34. ‘You Learn’ by Alanis Morissette, ‘Baby’ by Justin Bieber, and ‘She’s So High by Tal Bachman (all played in succession along with ‘You Belong with Me’) - Toronto, Canada (July 15, 2011) (x)

35. ‘Complicated’ by Avril Lavigne, ‘Baby’ by Justin Bieber, and ‘I’m Like a Bird’ by Nelly Furtado - Toronto, Canada (July 16, 2011) (x), (x), (x)

Note: She only played excerpts from each song. A full video isn’t available.

36. ‘Complicated’ by Carolyn Dawn Johnson - Edmonton, Canada (August 18, 2011) (x)

37. ‘Summer of 69’ by Bryan Adams - Vancouver, Canada (September 10, 2011) (x)

38. ‘Where Were You (When the World Stopped Turning)’ by Alan Jackson - Vancouver, Canada (September 11, 2011) (x)

39. ‘All You Wanted’ by Michelle Branch - Glendale AZ, (October 22, 2011) & San Antonio, TX (October 25, 2011) (x)

40. ‘Run’ by George Strait - San Antonio, TX (October 26, 2011) (x)

41. ‘Hold On’ by Jack Ingram - Memphis, TN (October 30, 2011) (x) (skip to 21:46; this video includes all the Speak Now Tour covers)

42. ‘Cry Me a River’ by Justin Timberlake - New York, NY (November 21, 2011) (x)

Surprise guests:

1. ‘Baby’ with Justin Bieber - Los Angeles, CA (August 23, 2011) (x)

2. ‘I’m Yours’ with Jason Mraz - Los Angeles, CA (August 24, 2011) (x)

3. ‘Tonight, Tonight’ with Hot Chelle Rae - Los Angeles, CA (August 27, 2011), (x)

4. ‘Super Bass’ with Nicki Minaj - Los Angeles, CA (August 28, 2011) (x)

5. ‘That’s What You Get’ with Hayley Williams - Nashville, TN (September 16, 2011) (x)

6. ‘Bleed Red’ with Ronnie Dunn - Nashville, TN (September 16, 2011) (x)

7. ‘Big Star’ with Kenny Chesney - Nashville, TN (September 17, 2011) (x)

8. ‘Keep Your Head Up’ with Andy Grammer - Nashville, TN (September 17, 2011) (x)

9. ‘Just to See You Smile’ with Tim McGraw - Nashville, TN (September 17, 2011) (x)

10. ‘Yeah!’ with Usher - Atlanta, GA (October 1, 2011) (x)

11. ‘Live Your Life’ with T.I. - Atlanta, GA (October 2, 2011) (x)

12. ‘Meant to Live’ with Jon Foreman - Glendale, AZ (October 21, 2011) (x)

13. ‘She’s So High’ with Tal Bachman - Vancouver, Canada (September 10, 2011) (x)

14. ‘The Middle’ with Jim Adkins - Glendale, AZ (October 22, 2011) (x)

15. ‘Just a Dream’ with Nelly - Houston, TX (November 5, 2011) (x)

16. ‘Right Round’ with Flo Rida - Miami, FL (November 13, 2011) (x)

17. ‘Alright’ with Darius Rucker - Columbia, SC (November 18, 2011) (x)

18. ‘Who Says’ with Selena Gomez - New York, NY (November 22, 2011) (x)

19. ‘Fire and Rain’ and ‘Fifteen’ (part of the regular setlist but performed as a duet here) with James Taylor - New York, NY (November 22, 2011) (x)

Surprise songs.

1. ‘Superman’ - Kansas City, MO (September 24, 2011) (x)

Note: This is the only live performance of ‘Superman’ to date. The video begins with an excerpt of her ‘Last Kiss’ performance, so you’ll have to skip to circa 1:30, but unlike other recordings, it’s complete. This is six minutes of pure joy.

2. ‘Never Grow Up’ - Lexington, KY (October 29, 2011), Houston, TX (November 5, 2011), Raleigh, NC (November 17, 2011) (x)

3. ‘Eyes Open’ - Auckland, New Zealand (March 17, 2012) (x)

Note: This marked the live debut of the song, as it had not even been released at the time of the performance.

#live #speak now #speak now tour #masterpost #fearless tour #audio #video #speak now world tour #fearless #Taylor Swift #covers #surprise songs #Taylor Swift live

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putschki1969 · 3 years ago

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Announcement: H-el-ical// to participate at 「Miyako Premium Live 2021」

It has just been revealed that H-el-ical// will appear as one of the participating artists at "Miyako Premium Live 2021" to be held at ROHM Theatre Kyoto Main Hall.

■ Miyako Premium Live 2021

■ Date and time ・ December 10th (Sat) Open 17:15 Start 18:00 ・ December 11th (Sat) ① Open 11:45 Start 12:30 ②Open 17:15 Start 18:00 ・ December 12th (Sun) ③ Open 11:45 Start 12:30 ④ Open 17:15 Start 18:00

■ Line-up "Miyako Premium Live 2021 -Premium Acoustic Night-" December 10 Megumi Nakajima, Nagi Yanagi

"Miyako Premium Live 2021" December 11 ① ASCA, Akane Kumada, Yuri Komagata, Konomi Suzuki, halca ② i ☆ Ris, Miku Ito, Anna Suzuki, Machico, Haruka Yamazaki

December 12 ③ Yuka Aisaka, Ayasa Ito, Aina Suzuki, Mia REGINA, Run Girls, Run! ④ Riko Azuna, EXiNA, Yuka Iguchi, TRUE, H-el-ical//

<MC> Ayasa Ito

■ Venue ROHM Theatre Kyoto Main Hall (https://rohmtheatrekyoto.jp/)

■ Ticket price All seats reserved ・ ¥ 6,800 (tax included: 7,480) / performance

■ Advanced ticket lottery October 6 18:00 - October 17 23:59 https://eplus.jp/miyakop/

■ Sponsor Kyodo Asia Co., Ltd. ■ Planning HK ’s WORKS ■ Production cooperation Hifumi Co., Ltd., Hands-on Entertainment Co., Ltd.

■ Kyoto Premium Live Official Site: http://miyako-premiumlive.jp/

H-el-ical// LIVE 2021 「生 -SAY-」 Musicians

【Musicians】 https://h-el-ical.com/news/211003/

Gt. SUNAO @sunao_g0428 Gt. Gushimiyagi Hideyuki @gussy_ Kb. Sakurada Hirotaka @sakuramongaino Ba. Sunaga Kazuhiro @KazuhiroSunaga Dr. MASUKE @MASUKE_Drummer

『Songful days SEASON2 with "H-el-ical//"』 Altern-ate- acoustic ver. rehearsal snippet

Here’s something to whet your appetite for Hikaru’s upcoming event 『Songful days SEASON2 with "H-el-ical//"』. A short recording from the Songful days rehearsal featuring a lovely acoustic version of the H-el-ical// debut single “Altern-ate”. Cannot wait for the event, I am sure it’s gonna be nice. However, I am wondering what she will be singing. Right now she only has two officially released anisongs. If we add “JUST DO IT” and “The Sacred Torch”, it’s a total of four but still not anything close to the amount of songs that ReoNa sang during her performance. I feel like she might be singing some Kalafina? Or I guess she could cover all sorts of anisongs. Either way, she will have to come up with a few more pieces, otherwise it’s gonna be a very short live. Hopefully that Wataru Hatano person won’t waste too much time doing some random narration.

───※ ·❆· ※───

I barely know anyone on this line-up but it looks pretty decent. Hopefully this will provide some exposure for Hikaru. *fingers crossed*. There is no mention of a live stream option so I am afraid we will have to sit this one out T_T

#kalafina #hikaru #news #hikaru//#helical #h-el-ical//#miyako premium live 2021 #hikaru live 2021 say #H-el-ical// LIVE 2021 「生 -SAY-」#songful days #songful days season 2

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sagehaleyofficial · 4 years ago

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HERE’S WHAT YOU MISSED THIS WEEK (5.5-5.11.21):

NEW MUSIC:

Black Veil Brides revealed that their new album The Phantom Tomorrow is being delayed due to COVID-19. Instead of its original release date of June 4, the album will be now coming out on October 29 via Sumerian Records.

Rise Against shared another track titled “The Numbers” from their upcoming album Nowhere Generation. The band also worked alongside Indecline, an American activist collective, to produce a visual for the song.

You Me at Six shared a new visual for their track “WYDRN,” off of their latest album Suckapunch. The music video is composed of clips submitted by their fanbase, lovingly called “Sixers.”

Bowling for Soup dropped a new track titled “Getting Old Sucks (But Everybody’s Doing It).” The song is accompanied by a music video featuring puppets and follows on from their song “Alexa Bliss” released last year.

Sincere Engineer announced the details of their new album Bless My Psyche. The album is set for release on September 10 via Hopeless Records, their first release since signing with the label.

Ice Nine Kills performed their own parodied version of Fountains of Wayne's hit song “Stacy's Mom,” titled “Jason’s Mom.” The band also recently covered Elvis Presley's classic track “Can't Help Falling in Love.”

Hometruths dropped a new track titled “So Over You,” following on from their previous singles “Shimmers” and “Soundtrack” released last year. The band was recently added to Spotify’s “New Punk Tracks” playlist.

Set It Off announced a deluxe album titled Midnight (The Final Chapter). The new release features three acoustic versions of their songs “Killer in the Mirror,” “Lonely Dance” and “Happy All the Time,” and will be released on June 4.

KennyHoopla and Blink-182’s Travis Barker announced they have joined forces for an upcoming mixtape titled Survivors Guilt. The new EP will be dropping on June 11 and features their new song “Hollywood Sucks.

TOUR ANNOUNCEMENTS:

Salem, the new project from Creeper's Will Gould, announced the details of their debut UK headline tour. They also revealed they will be bringing James and the Cold Gun along for the run of shows.

Dropkick Murphys announced they are heading back over to the UK and Ireland next year, bringing The Interrupters on the road with them. The short tour will kick off in Manchester, England, on February 15 and end in London on February 26.

After a 10-year hiatus, the Bamboozle Festival revealed it is making a return in 2023. They will be celebrating 20 years since its inception with a new event taking place on May 5-7 in Asbury Park, New Jersey.

Friends of the late Steve Dillon, a well-known tour manager in the scene, put together a livestream event in his memory, with performances by members of Deaf Havana, Yearbook and Fearless Vampire Killers. The event took place last Friday.

Mod Sun and Avril Lavigne announced that they will be performing on Jimmy Kimmel Live! on May 12, serving as the former artist’s national TV debut. The singer recently released a deluxe version of his latest album Internet Killed the Rockstar.

Waterparks announced the details of a short run of shows in the United Kingdom, shortly before revealing the track listing of their upcoming album. The shows will kick off in Glasgow on August 30 and end in Birmingham, England, on September 3.

Motionless in White announced the details of a second “Deadstream” event, following the success of the first installment. The band will be performing at the Pennhurst Asylum in their home state of Pennsylvania on June 9.

I Prevail's previously scheduled tour of the UK and Europe was rescheduled until 2022. The band will now be joined by Wage War and Dream State, kicking off in Leipzig, Germany, on February 27 and ending in London on March 23.

OTHER NEWS:

Twenty One Pilots’ hit track “Stressed Out” is now certified Diamond according to the RIAA. The last certification the song received was back in 2019 when it was certified 8x Platinum.

All Time Low’s most recent single “Once in a Lifetime” broke into the Top 10 on Alternative Radio in the United States. It's the band's second song to appear in the Top 10, with “Monsters” still going strong at No. 7.

The Offspring’s track “Let the Bad Times Roll” hit the No. 1 spot on Active Rock Radio in the United States. In addition, the song’s music video is about to hit 3 million views on YouTube.

___

Check in next Tuesday for more “Posi Talk with Sage Haley,” only at @sagehaleyofficial!

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enoilovebot · 4 years ago

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enoi moments I think about a lot

aka enoilovebot posts a lot of videos on her blog and wanted to make a masterlist to keep track of them all

last updated: 26 October 2020

Misc.

- Jeonghoon’s message for English-speaking RAYS (vlive with Avin and Jinwoo)

- Kyuhyun hand-feeding Jinwoo and Avin kimbap and Avin biting his fingers and not letting go

- predebut Dojin dancing to SHINee’s Good Evening

100th day anniversary vlive

- random play dance (part 1) (part 2)

- spraying each other with water for 1 minute in the middle of their gardening vlive

- telling the story of the time they had a water fight in their practice room

Vlive Series

Gun’s Guitar

- short acoustic cover of Oh My Girl’s Dolphin

Hamin’s Music

- Everything by Michael Bublé

- Every Day, Every Moment by Paul Kim

J-Kid’s Dance Class

- Seventeen’s Left & Right

- BTS’s Serendipity

We Like ENOi

Ep. 4 - Real Variety Mission Impossible

- Dojin rapping 92 syllables in 8 seconds

Ep. 6 - Hyungs vs. 00 line

- 00 line playing the radish game ft. Kyuhyun attacking Gun with kisses

- Gun securing his evil maknae title at Kyuhyun’s expense

- Jinwoo vs. elephant spins: round 1

- Jinwoo vs. elephant spins: round 2

- the mat-ripping incident

Ep. 8 - VR Game

- Jinwoo playing the plank game

Ep. 11 - Karaoke

- Avin and Hamin singing 2NE1′s Fire

- Avin’s Amor Fati ft. Hamin headbanging

- Bboom Bboom

- Dojin singing Block B’s HER

- Hamin nearly busting a lung singing Me Gustas Tu in the original key

- Hamin singing Banana Allergy Monkey

- Hamin singing 좋아합니다/I like you by Day6

- when Shine comes on during the “guess the song in 1 second” game

#enoi #kpop #laon #dojin #hamin #avin #jinwoo #jkid #j kid #gun #yang hyuk #yang gun #enoi gun #we like enoi #video masterlist #*#my hamin bias is showing

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prettyoddfever · 4 years ago

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P!ATD – December 2006 after the NRWC tour

The band seemed exhausted by the time the Nothing Rhymes With Circus tour ended on December 9th in San Diego, but their appearances kept coming...

12/10 – KROQ ALMOST ACOUSTIC CHRISTMAS: The very next day P!ATD appeared on the second night of the KROQ Almost Acoustic Christmas in Universal City (here’s my tag). This was my least favorite performance the band ever did. I thought the modern-style stage didn’t work with the concept of the NRWC costumes & performers, the cameras were being creepy about zooming in on the dancers, the guys really needed a break, and it was nothing like the NRWC tour so poor Brendon was stuck in the weird spot of whether or not he should interact with the crowd or fully go for his creepy character (which didn’t even make sense in that setting). Fans could watch the webstream and a lot of us were like ehhhh this isn’t the best. But P!ATD got to meet Tom DeLonge so that was neat. MTV said that P!ATD also used this time in LA to meet with some potential producers for their new album.

THE SPORTS ILLUSTRATED PHOTOSHOOT: I heard that this maybe happened during the day on December 10th, so I’m putting it here as a possibility... the band did look like they were wearing that photoshoot’s makeup during the KROQ performance (and by that I mean Bden’s eyebrows were really intense lol).

12/11 – JAY LENO: Here are some pictures – they link to the performance of Lying Is The Most Fun. Once again, the camera decided to ignore Jon Walker. But some cool things happened too, like how P!ATD met Jimmy Carter that night. Ed Norton from Fight Club was also there and Brendon was clearly trying to not freak out haha.

12/12 – THE MEXICO SHOW: Mexico City was the final concert in the Fever-era tour schedule. This show was a pretty fascinating hybrid of what P!ATD had done over the past 3 months. It looked SO much like the October international tour (to the extent that I can almost guarantee a few shots of Brendon in Mexico will accidentally end up in my October tag). The band was back to a plain stage & basic outfits, which looked so confusing when they did their NRWC covers of Eleanor Rigby & Killer Queen. Except they also opened with Time to Dance like they did in October. The Mexico show messes with me so much and I love it. Here’s a playlist and an interview.

OTHER RANDOM STUFF FROM DECEMBER

Ryan’s holiday greeting

the band’s holiday greeting

their Rolling Stone photoshoot & interview were done in December 2006, so I’m still listing it here even though the content wasn’t released until January 2007 (and the rest of the photoshoot wasn’t shared until 2008).

Jon said had been with the band for most of 2006 (he first joined a tour they were on in late January). He told MTV that "I might get a tattoo that just says '2006,' cause it was such a big year. Really, just the whole year in general has been amazing to us."

Brendon had to make a YFly profile, but he didn’t do much with it. He mainly just filled out his interests... I don’t think anyone was surprised to see that he loved Halloween, pop tarts, Journey, Queen, capri sun, The Dark Crystal, and Labyrinth. He put Where The Wild Things Are as one of his favorite books too. That social media site's whole angle was the fact that celebrities were actually verified.

Some bands were still hating on P!ATD for not paying their dues. And at this point it was like omg they’ve been touring for 1.5 years now, get over it. Las Vegas Weekly did an interview with Brendon in December and said “Where there's some grudging respect for The Killers on the local scene, veteran Vegas bands don't seem to like Panic! much. How does that make you feel?” Brendon answered:

“Honestly, when I hear that kind of thing, I don't get mad. I kind of feel that if I was in their position I would probably say the same things that they say about our band. If I was in their position, I would be upset. If I was in a band that had been playing live shows in Vegas for five years and built up all this credibility, I would probably say the same things right off the bat, without even listening to our band. But that just springs off of jealousy, I think, and ignorance. So I don't think about it too hard, just kind of write it off. It doesn't really bother me too much.”

this auction happened for Virgin Mobile’s charity Virgin Unite (but idk why the band signed the butt of a reindeer for that lol).

There were SO many fake screen names being passed around for the guys. A couple fake Brendons took things too far and kind of hurt his image... like they were saying ridiculous & horrible things and people honestly believed it was him. I heard that one of the accounts wasn’t too harmful but also didn’t seem to have much creativity – they were just recycling the slightly creepy comments that Ryan had said to girls on livejournal in 2004 lol (like “you look like you want sex bad”). Another girl pretended to be on tour with the band and actually got pretty far with that story. She even ran a fake Brendon account (brenny123bear) so “Brendon” could talk about how much he liked her and things got weird from what I heard.

The fans who were around in 2005 still had Brendon, Ryan, and Spencer’s actual AIM info but most of us didn’t bother to step in & correct anything in the lengthy debates over which screen names were real... I mean, obviously the guys weren’t going to spend their scarce free time chatting with hundreds of middle school girls. Ryan was too busy to do the book club back when P!ATD was only opening for TAI and now the band was getting ready to play Times Square after a massive arena tour. So many people were reporting that the band looked physically & emotionally exhausted. Ryan Ross was not busy writing secret poems for 12-year-olds.

Speaking of things Ryan Ross did not write... lol there were a lot of fake lyrics for the second album being passed around. I thought this was super entertaining because it wasn’t really hurting anyone’s image. Most fake lyrics were dismissed pretty quickly, but I have to share this part of one song that was believed so much that it was posted to a few of Ryan’s fan pages:

Matrimony is Paving the Way for Preplanned Alchemy As the rain falls, my umbrella doesn't always work drip drop drip drop splish splashing in my brain It's a flood honey, a real mach five Oh dear, I fear a dreadful drizzle my dear It's time to fly south with the mice Dripping dripping dripping in my Sunday morning tea One lump or two? How do you do? It's the monopoly guy These mice aren't blind, baby, but I guess they don't see the light But you know, maybe it's just dark or something baby, I don't know It could be the wool pulled over their eyes by father time or a gardening bird

a decent amount of fans swooned over those lyrics and said that Ryan was such an amazing writer. I was almost tempted to start writing the most cringey stuff “from Ryan” just to see if people would automatically love it.

P!ATD and some of their songs were on a lot of “Best of 2006″ lists around the world. IWSNT was the predictable choice for Best Song, but several lists also chose The Only Difference (although it was way further down the ranking... like Rolling Stone had it as #84 on their list of the 100 best songs of the year). Other highlights from some lists: IWSNT was #20 on Billboard’s top singles of the year, #31 on NME’s Top 50 Tracks of the Year, AOL put IWSNT as #19 and The Only Difference as #29 on their Top 100 songs of 2006, the IWSNT video came in at #1 on Fuse’s year end countdown. AFYCSO was #13 on NME’s list of the top 50 albums of 2006 and #32 on Billboard’s year end charts. Kerrang also put AFYCSO as #15 in their list of the top 20 albums of the year (it didn’t come out in the UK until 2006).

NME put Ryan Ross as #17 in their list of the 50 coolest people in rock & roll. The band was also 3rd in Rolling Stone’s “best dressed” category of their reader’s poll. P!ATD was simultaneously the best & worst band in a lot of other polls... here’s one example.

IWSNT was nominated for “Best Single” at the Virgin.net Music Awards (fans could vote).

Brendon was single again, so the tween magazines were finally accurate. There were rumors that he was dating a girl named Holly, one named Jadie, and also Kelly Clarkson.

Ryan told Rock Sound in 2008 that the first time he got drunk was at a hotel in LA in December: “Our manager bought me a shot and it was the first time I’d ever drank – I got drunk from one shot – belligerently drunk! I didn’t get sick, it was just laughing, hanging out and sitting in my room.” Rock sound asked if that led Ryan onto the slippery slope of boozing and Ryan said “yeah! I guess it did and unfortunately our manager is to blame.”

Ryan told MTV that the upcoming video for Build God would have "dry humping, excessive drug use, pretty much anything vulgar.”

these posters showed up by Times Square.

Stylus Magazine put IWSNT as #33 in a list of the top 50 singles of 2006 and said:

“As emo ascends into mainstream culture (in its noun form, it's now a cafeteria tribe like skaters and jocks), it's been fascinating to see which aspects of the genre are embraced by the MySpace generation: pretentiously verbose lyrics are apparently still in, but the lo-fi howls and jigsaw time signatures of late '90s Jade Tree bands have been replaced by garish theatricality and a thick rhythmic crunch. Part of what makes Panic! At the Disco stand out even further among this new crop is that on "I Write Sins Not Tragedies" the makeup-caked band weds the startled cries of male sexual angst to the delicate baroque touches of xylophone and pizzicato strings. It's all pretty ridiculous, to be sure, but the commitment is admirable, and I certainly can't deny the awesome rush I feel every time I belt out that serpentine chorus in the car.”

Brendon supposedly made one last lj entry on December 22nd that was friends-only:

just let me run where i want to run home. bored. i found my old scrapbook. millions of baby pictures... how did i get so ugly? i guess that's just what happens when you get older. or at least it did as i got older. i never thought having friends was this critical to survival. it almost feels worse waking up with no agenda, no comrades, and no comprehension of what "normal" means. it's always been the case: music never let me down. cheesy, i know. but so true. "i live in the numbness now, in the background."

NEW YEAR’S EVE

Here’s more about the NYE performance in Times Square. That was Bartram’s last performance with the band, so he was only around for part of 2006.

Here’s a quick video greeting (Jon’s comment was also in this article but idk how it’s a resolution):

youtube

P!ATD also had a NYE Celebrity Playlist on their MTV page:

THE MAIN POST

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kpophours · 5 years ago

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a very necessary guide to SF9

so. let’s talk about these underrated kings. be prepared for rambling. I just love them too much. my favorite boys, 10/10 would recommend stanning them.

some basic information

9 members (5 vocals, 4 rappers, 9 dancers and 9 visuals just stating the facts)

SF9 stands for Sensational Feeling 9

debuted on October 5, 2016 with Fanfare (still a BOP)

currently under FNC Entertainment and actually their first male dance group

their official fandom name is Fantasy (such a good name, honestly) and the official color is Fantasia Hologram (aka the p r e t t i e s t).

debuted after winning a survival show called Dance or Band (they participated as the dance team; the band team debuted as Honeyst in 2017)

7 mini albums so far with RPM being their latest comeback

... now onto the members (buckle up)!

Youngbin

Kim Youngbin, born on November 23, 1993

LeaderBin aka the Dad™

very charismatic, be prepared for some really intense eye contact (two words: stage presence)

rapper (highest rapping voice out of the four of them)

D A N C E R (a former 1MILLION dance studio trainee), so he‘s obviously 1/3 of sf9′s extremely talented dance line

also 1/3 of hyung line

cutest eye-smile (so soft) + cutest giggle™

rocked his red hair and looks amazing with slightly curled hair (do not fight me on this)

is tattooed (very p r e t t y)

threatens everyone’s bias at least once

gives amazing (and unnecessary long) pep talks together with Jaeyoon (just let the other boys sleep, please)

gazes so, so fondly at all his members in pretty much every video (no, I will NOT cry)

Jaeyoon is his roommate and secret wife.

Inseong

Kim Inseong, born on July 12, 1993

the oldest (not mentally) aka the Grandpa™

main vocal (those HIGH NOTES, damn). extremely steady voice.

unique beauty. looks a bit like a desert fox (according to himself and everyone with a pair of functioning eyes).

1/3 of extra line (see and hear three loud idiots in all their videos? yep, that’s him ft. Jaeyoon and Dawon)

also 2/3 of hyung line

v e r y intelligent and educated (holds a degree in Journalism and Communication) but also stupid

owner of an extremely cute smile

t h i g h s i am not weak or biased at all

SF9’s designated English speaker (used to live in London for a year)

amazing winking-ability, 10/10 will leave you weak-kneed

King of Lies. he’ll probably never pass a lie detector test. but it’s okay we still love him.

is left-handed and really good at drawing

married to Jaeyoon (it‘s complicated).

Jaeyoon

Lee Jaeyoon, born on August 9, 1994

3/3 of hyung line

honey voice (aka OST King)

d i m p l e s.

blindingly white teeth. the most beautiful smile (canines!).

very proud of his hips and butt (as he should be).

his actual name is Ethan

likes to work out and is f i t (he ended all Fantasies during rpm promotions, so thanks for that)

King of girl group dances and in charge of sexy (Zumba) dances

a fuc ki ng tease (again, rip all Fantasies during the UNIXERSE rpm stage)

2/3 of extra line (shares one brain cell with Inseong and Dawon. they don’t use it very often.)

had a pink undercut during the Mamma Mia era and probably made people cry with his outstanding beauty. again, i’m not biased at all

seems a bit shy and quiet at first. don’t be fooled. he is loud and will come for you.

married to both Inseong and Youngbin.

Dawon

Lee Sanghyuk, born on July 24, 1995

oh boy... such a bundle of utter chaos.

e x t r a (3/3 of extra line and probably their President™)

hear something loud and annoying in the background? it’s probably (most definitely) Dawon (helped by the other 2/3 of extra line)

a unique and beautiful voice (he needs more lines or else I’ll throw hands) - rapping, singing, screaming, he can do it all.

a fucking tease 2.0 (seriously, he and Jaeyoon need to be stopped)

Bruce Lee impressions on point

has tattoos

such a meme-face but also so handsome, like H O W

looks amazing and so soft with curly hair must protect

had so many different hair styles during their Mamma Mia promotions, rip his hair (and rip to all new Fantasies trying to keep track lol)

actually very soft. cried when Inseong surprised them during their UNIXERSE concert (which our Grandpa couldn’t participate in due to an injury)

likes to bully Taeyang.

Zuho

Baek Juho, born on July 4, 1996

Mr. Deep Ass Voice™

“my nose is my swag“

such a good dancer, definitely underappreciated.

looks intimidating at first, but is actually the softest (d u a l i t y)

the best cat dad (Huru has yet to accept his undying love for him though)

composes/produces own songs (@FNC: please, I’m b e g g i n g you to finally put Champagne on an album) and writes lyrics for a lot of sf9′s songs

didn‘t participate in most of their Enough promotions due to his (still ongoing) back problems (#FNCletZuhoRestChallenge2019)

a dork and meme and honestly just so, so cute and lovable

social butterfly (seriously, he‘s friends with literally e v e r y idol out there)

composed a (love) letter to Fantasy while driving a car with Hwiyoung, Taeyang and Dawon sleeping in the passenger and backseat yes I cried

a scaredy cat (ran away and left his members behind when he got scared by a staff member during their Trip with Fantasy)

Rowoon

Kim Seokwoo, born on August 7, 1996

yes he‘s a Tree™. is made up of 90% unnecessary long legs.

main vocal 2.0

1/2 of actor line

very handsome, I know (but he‘s so much more than just his good looks)

a devoted mom of 8

loves all Chanis and not-Chanis equally

almost had a mental breakdown because he managed to hit Chani’s face with a football which resulted in his precious maknae getting a nosebleed

always hugging and kissing and generally just smothering all members with his endless love and affection (especially Chani)

(t) h o t and knows it (very shy with fanboys though)

has literally only one selfie angle he uses rigorously

his One True Talent™ is staring sexily into the camera and doing nothing else because yes, he’s just that handsome

tries to be funny and fails most of the time, but he‘s cute so it’s okay.

Taeyang

Yoo Taeyang, born on February 28, 1997

undercover main vocal (has almost as many lines as Inseong and Rowoon)

best dancer, period. his entire body is probably made out of water. such. fluid. moves. - 2/3 of dance line, often in charge of choreographies.

also 1/3 of maknae line

speaks in ᵀᴵᴺʸ ᶠᴼᴺᵀ

the literal Sun™, his smile has healing properties.

has great hair and pushes it back a lot during his dance moves

a flower boy (literally. wanted to become a florist before debuting as an idol)

looks a bit like Lee Dongwook aka The Reaper from Goblin

you think he‘s soft? uh, sure, yeah. but is also s a v a g e (the personification of that then perish meme)

has a... unique way of drying his hair (ask Dawon, he‘ll show you. even if you don’t want him to, Dawon will show you)

gets bullied by Dawon. bullies him back. very spot-on impressions of Mr. Extraness (as seen on their Weekly Idol episode)

soulmates and married to Hwiyoung, I don’t make the rules.

Hwiyoung

Kim Youngkyun, born May 11, 1999

rapper and Mr. Charismatic™

yes he is that guy from their Now or Never mv

looks bad-ass but is a certified baby boy (2/3 of maknae line)

cute without trying and is actually a cat

has literally the best gummy smile which he used to hide behind his hands (but his hyungs encouraged him so much and now he smiles openly, I am not crying, you are)

grew up so suddenly and had long hair out of nowhere and left everyone sh o ok (should definitely be in a shampoo commercial)

composes songs. put one on SoundCloud just very recently. writes lyrics for a lot of sf9′s songs.

cried during their survival show when he got scolded for continuing to mess up the choreography and had to be hugged by Youngbin (who really is the best dad™)

King of the Cleopatra game thanks to his dolphin screams should probably be part of vocal line

pretended to not recognize his soulmate and roommate aka Taeyang when he had to guess his members from their hands while wearing a blindfold. Taeyang will probably never recover from this betrayal and is most definitely still whining about it.

Chani

Kang Chanhee, born on January 17, 2000

deep ass voice 2.0

d a n c e r (his little solo dance in Now or Never will forever be superior), 3/3 of dance line

Evil Maknae™ (3/3 of maknae line)

2/2 of actor line (yes he‘s that boy from Sky Castle)

speaks fluent duck

Taemin‘s Nº fanboy (literally knows his blood type, like... wow okay)

can‘t remember any of the members birthdays (he actually thought Youngbin was born in August when his birthday is literally in the middle of Winter. Leaderbin was hurt).

always looks like a smol bean, but everyone else is just ridiculously tall

had bright orange hair once only for about one second though lol

constantly smothered with love and hugs from Rowoon and pretends to hates it

has all his hyungs wrapped around his finger and knows it (they‘re all whipped for him, especially when he’s doing aegyo)

has a lot of hair aka (my favorite) coconut head (#freehisforehead2019)

looks expressionless and tired 24/7 (a whole mood and true gen z)

some videos to watch

all of their mv’s of course

literally every comeback stage

the suit versions of Now or Never and RPM

the ghost prank/horror version of Now or Never (I cried laughing)

this really cute Dingo Music version of Enough

basically all their dance practices, but especially K.O. (we all know they should have gone viral with that choreography)

their adorable pajama version of Different

them performing RPM on a treadmill (Chani is a mood™ and Inseong’s grandpa waddle is so cute)

these stunning acoustic versions of their songs brought to you by 2/3 of extra line + The Tree™

their kcon New York 2019 performance (+ their cover of Love Shot)

their reality show Trip with Fantasy

them dancing to O Sole Mio ft. Ostriches

their episodes on Weekly Idol and Idol Room

their girl group cover dance battle on Weekly Idol (ft. Cross Gene)

Rowoon and Inseong on Masked Singer

Dawon on Weekly Idol as part of the Masked Idol segment

the Now or Never choreography ft. dance line and the 1MILLION dance crew

them covering BTS’ Boy in Luv + EXO’s Call Me Baby

the Idol Dance Cover Challenge of Love Shot (ft. Astro, The Boyz and CIX)

this interview (I mean, that title alone... lol)

those are just a few of my favorite videos - there’s so much more content out there, so you’ll definitely never starve, lol.

I could literally ramble on about these nine incredible men for hours on end.

But this will be the end of my guide (it’s long enough already, lol).

Stan SF9 for (clear skin and good grades) nine hard-working and so, so talented individuals with amazing voices, incredible dance moves, outstanding visuals, chaotic energies and a lot of meme-worthiness.

You won’t regret it, I promise.

(Don’t worry, Rowoon(’s face) is okay).

[masterlist] | [requests]

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dustedmagazine · 4 years ago

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Dust, Volume 6, Number 11

HAAi

As it was with September, so it is with October. After what felt like the dam breaking on all those albums optimistically held back by the pandemic, October continued to rain down releases and there was no shortage of them to cover. As ever, if diversity’s your thing, we have it: From pimp-rap to free jazz, death-metal to AM gold, jungle to Azerbaijani guitar jams, we got it all for you to peruse. Contributions this go ‘round come care of Ray Garraty, Ian Mathers, Bill Meyer, Jonathan Shaw, Andrew Forell, Tim Clarke, Justin Cober-Lake, Patrick Masterson and MIchael Rosenstein.

AllBlack — No Shame 3 (Play Runners Association/Empire)

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Just when we thought that pimp-rap was going out of business, AllBlack blessed us with No Shame 3. It is a lot of what it claims: playfulness with no shame, ignorant beefs, endless balling during California nights and showing off in earnest. AllBlack alludes to the fact that even though he’s getting that rap check, he’s far from quitting the pimp game: “Made 40K in eight days, that was just off pimpin'.” But behind this happy façade is something darker that’s looming on: “As I got older, I ain't scared, I guess I'm cool with death / You speak the truth and they gon' knock you down like Malcolm X.” While admitting that rap is a cutthroat game, AllBlack is only one of the few artists of a younger generation who is ready to pay respects in his songs to the OGs — the godfathers of pimp-rap, to Willie D, Dru Down and Too $hort. The standout track here is “Pizza Rolls,” where DaBoii and Cash Kidd drop in to deliver the funniest lines.

Ray Garraty

Bardo Pond — Adrop/Circuit VIII (Three Lobed Recordings)

Adrop / Circuit VIII by Bardo Pond

There are plenty of reasons to do small, limited runs of certain releases, in music as in other artistic fields, ranging from the brutally practical/logistical to the aesthetic, but when the material released in that fashion is good enough, it can be a relief to see it given further life (and not just digitally). This year saw the mighty Three Lobed Recordings (who we featured in an anniversary Listed here) has seen fit to reissue on vinyl two Bardo Pond LP-length pieces that were originally issued in limited run series back in 2006 and 2008. They were in good (and varied) company then, but resonate together in a pretty special way, whether it’s the tripartite Adrop wandering from gnarled, crepuscular grind to violin-powered epiphany or back down to delicate nocturnal acoustics. The longer Circuit VIII doesn’t have as distinct phases but still builds to an all-time Bardo Pond-style crescendo, featuring Isabel Sollenberger’s only vocals of the duo. Even with a band and label this consistently on point, these particular recordings are worth the wider dissemination, whether considered as archival releases or just a hell of a double album.

Ian Mathers

John Butcher & Rhodri Davies — Japanese Duets (Weight of Wax)

Japanese Duets by John Butcher & Rhodri Davies

There’s a bittersweetness about Japanese Duets that’s as pungent as the puckered, perfectly placed reports that English saxophonist John Butcher sometimes punches out of his horns. This is the third in an ongoing series of download-only releases that Butcher, idled by COVID-19, has culled from his archive, The Memory of Live Music, and the unbearable lightness of its format, only accentuates the sense of lost opportunities and experiences. One of the things that a touring musician gains in exchange for their embrace of uncertainty is the chance to go to some unlikely place and undergo something extraordinary. The four-page PDF that comes with this download reproduces photos from Butcher and Welsh harpist Rhodri Davies’ 2004 tour of Japan, which took in swanky museums and shoebox-sized jazz cafes; each image looks like a moment worth living. But if all you can do is hear the evidence, that’s not exactly settling. This improvising duo was audibly on a roll, pushing reeds and strings to sound quite unlike their usual selves, and challenging each other to move beyond logic to the rightness of jointly made and imagined moments. Thanks, guys, for sharing the memories.

Bill Meyer

Ceremonial Bloodbath — The Tides of Blood (Sentient Ruin Laboratories)

The Tides of Blood by Ceremonial Bloodbath

Yikes — talk about truth in advertising. Canadian death-metal band Ceremonial Bloodbath delivers the goods promised by their moniker and this new LP’s title. It’s a repellent record created by dudes that play in a bunch of other death-metal bands based in British Columbia: Grave Infestation, Encoffinate (not Encoffination), Nightfucker and numerous others that tunnel even further under the broader public’s attention. Give these guys credit for their single-mindedness: None of those bands is likely to make you feel any happier about the human condition. Neither will listening to The Tides of Blood, but it’s a better record than any that those other acts have released. The songs are low-tech, dissonant and about as subtle as a bulldozer’s blade knocking through your front door. In other words, the record is largely in line with what we’ve come to expect from the death-metal recently dug up by Sentient Ruin Laboratories, and for a certain kind of listener, that’s a good thing. Check out “The Throat of Belial,” which comes on hard and fast, then downshifts into second gear and unleashes a tangled, coruscating sort-of-guitar-solo. The mechanical chug reasserts itself, then speeds up again, unleashing steam and the smell of something… organic. The song has a ruthless momentum, as does the rest of the record. Pretty good Halloween music if you want to scare all the trick-or-treaters off your lawn.

Jonathan Shaw

Cut Worms – Nobody Lives Here Anymore (Jagjaguwar)

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Max Clarke evokes a wistful nostalgia for an America that existed perhaps only in the mind, the warm campfire glow of an era personified by The Everly Brothers’ harmonies, the twanging guitars of country rock and 1970s singer songwriters. On his new album as Cut Worms, Clarke literally doubles down on his musical project. Nobody Lives Here Anymore comes in at 17 songs that, while individually fine enough, meld into one another and gradually fade from the memory as the album unwinds. Clarke never quite transcends his influences and is not a strong enough lyricist to engage at this length. The effect is similar to that of The Traveling Wilburys where the whole is lesser than the sum of its parts. That said, Clarke is engaging company with a voice that splits the difference between the aforementioned siblings, Roy Orbison and Tom Petty. He has an ear for a melody and skillfully recreates an AM radio sound that trips the memory for anyone who grew up with this music either as inescapable background of their lives or soundtrack for their teen dreams and heartaches.

Andrew Forell

Dead End America — Crush the Machine (Southern Lord)

Crush the Machine by Dead End America

This new EP by Dead End America (DEA — see what they did there?) comprises four short, piledriving hardcore songs, all directly addressed to the current occupant of the Oval Office. “Bullet for 45 (Straight From a .45)” neatly captures the EP’s essential sentiments, and also suggests the general level of restraint exercised by the whole enterprise. Hint: Restraint and nuance are not Dead End America’s strong suits. That’s not surprising, given the folks involved. The band and record were conceived by Steve “Thee Hippy Slayer” Hanford, late of Poison Idea, and of this world. It’s pretty wonderful that this is some of the last music Hanford produced — pissed off and irreverent to the very end. Additional contributors include Nick “Rex Everything” Oliveri (the Dwarves), Mike IX Williams (Eyehategod), Blaine Cook (the Fartz) and Tony Avila (World of Lies). Sort of remarkable that a record including players from all those legendarily vile, venomous bands doesn’t just spontaneously self-combust; maybe it helps that they focus their collective rage on such a deserving target. RIP Steve Hanford. The wrong people are dying.

Jonathan Shaw

Chloe Alison Escott — Stars Under Contract (Chapter Music)

Stars Under Contract by Chloe Alison Escott

Chloe Alison Escott is the frontwoman of Tasmanian post-punk duo The Native Cats, and her pre-transition solo album, The Long O, released on Bedroom Suck back in 2014, received justified plaudits upon its release. (It remains a low-key favorite of mine.) New solo piano-and-vocals album Stars Under Contract was all recorded in one day by Evelyn Ida Morris (Pikelet), which lends these performances an on-the-fly liveliness. For the most part, it’s rollicking fun, with some wryly funny lyrics that betray Escott’s sideline in standup comedy. This performative confidence comes through in early highlight “There’s Money in the Basement,” which has the jaunty barroom bounce of “Benny and the Jets.” Later, Escott reaches for the heavens on single “Back Behind the Eyes Again,” with a truly heartbreaking piano progression. Though the 16 tracks are wisely interspersed with short instrumentals such as “What Are You Reaching For,” “Evening, Sunshine” and “Playfair,” 43 minutes is a lot of piano-and-vocals songs to get through in a single sitting. On closing track “Permanent Thief,” there’s a tantalizing flash of drum machine and bass, which could be a nod there’s another Native Cats album on the way soon.

Tim Clarke

Eiko Ishibashi — Mugen no Juunin - Immortal - Original Soundtrack (King)

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If you sit up nights fretting about how Eiko Ishibashi and her partner, Jim O’Rourke, pay the bills, this music may be your melatonin for your worried mind. Immortal is the soundtrack for Blade of the Immortal, an anime adaption of a popular manga that’s been picked up by Amazon Prime. Ishibashi composed and played the music with contributions from Tetuzi Akiyama, joe Talia, Atsuko Hatano, and O’Rourke, who also mixed the music. Ishibashi’s music echoes the affect-stirring melodies of her song-oriented material and the careful sound placement of her recent electro-acoustic work for Black Truffle; when the swirl of keyboard tones looms over her piano on “Animal,” there’s no mistaking it for anyone else’s work. But this is still made for a mass market, with unabashed classical music lifts and big, booming electronic percussion that would make a multiplex’s walls throb if you gave it a chance. There’s no physical release or Bandcamp option, so if you want to check this out, Apple Music and iTunes are your options.

Bill Meyer

Ela Minus — Acts of Rebellion (Domino)

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Colombian musician Gabriela Jimeno’s debut album as Ela Minus is a collection of original tracks that merge songcraft and club sounds into an assured mix of electronica on which she plays all the instruments and sings in both Spanish and English. After spending her teenage years drumming for hardcore band Ratón Pérez, Jimeno studied jazz drums as well as the design and construction of synthesizers, and she eschews the use of computers to create her music. She brings a DIY spirit to her work combined with meticulous production style that gives acts of rebellion the experimental edge of early 1980s independent synthpop. The highlight "Megapunk” is musically close in spirit to Cabaret Voltaire, its defiant lyrics — “There’s No Way Out But to Fight” — tying freedom of expression to wider human progress. A textured and nuanced album, Ela Minus joins an ever-growing group of South American producers to tune into.

Andrew Forell

Erik Friedlander — Sentinel (Skipstone)

Sentinel by Erik Friedlander

Cellist Erik Friedlander seems to pop up in the oddest places, playing now with the Mountain Goats, then with Dave Douglas, and finding a little time for film scoring on the side. It's reasonable that for new album Sentinel, he'd connect with a couple of other artists — guitarist Ava Mendoza and percussionist Diego Espinosa — equally comfortable with finding unexpected sounds in a variety of styles. The group, given their background, sounds their best when they're blending genres. “Flash” starts off as new jazz, turns into rock for a moment, then some strange cello lead pushes it into alien territory. At the edges of the trio's work, heavy rock often feels about to break out, but the group refrains from ever indulging that impulse. “Feeling You” even provides some light, pretty pop, allowing the band to show its full breadth.

Friedlander's compositions provide the basis for the album, but Sentinel never feels like just his album. The band, assembled for what sounds like a hurried set of takes, found their partnership quickly, turning the pieces into fluid performances. “Bristle Cone” lets all three members shine and functions like a microcosm of the disc as a whole: As soon as you think it's a guitar album, you start paying attention to the percussive elements; as soon as you remember it's experimental cello work, you're back to guitar rock. The trio's engagement with the music and with each other comes through, the playful innovation guiding each piece into a multifaceted whole.

Justin Cober-Lake

HAAi — Put Your Head Above the Parakeets EP (Mute)

Put Your Head Above The Parakeets by HAAi

Though it was Teneil Throssell’s mixes that initially made her name as HAAi (and remain strong even amid the pandemic, her latest for XLR8R another beauty), her own productions are a wonder unto themselves that demand repeat listens even as they come a trickling single or carefully cultivated EP at a time. The Karratha, Australia native, Coconut Beats hostess and Rinse and Worldwide FM veteran’s latest is the delightfully titled Keep Your Head Above the Parakeets EP, pure headphones music meant for sunrises, sunsets, walks in deep snow, rain-swept moors, you name it. Her talent is in balancing airy synth melodies with ever-shifting percussion influenced primarily by jungle, breaks and (ultimately) house; when people talk about psychedelic dance music, this is something like what I always hope to hear. Another unmissable missive.

Patrick Masterson

Hübsch, Martel, Zoubek — Ize (Insub)

Ize by HÜBSCH, MARTEL, ZOUBEK

Decades have passed since Derek Bailey wrote his book, Improvisation. At that time, it was already clear that the intentionally non-idiomatic music he pioneered and practiced was a subset of the more universal matter of improvising as a necessary aspect of playing music. It was also becoming clear that non-idiomatic improvisation’s aspirations and proscriptions amounted to a new but quite identifiable idiom, and this Swiss trio is okay with that. If you told Carl Ludwig Hübsch (tuba, objects),Pierre-Yves Martel (viola da gamba harmonica, pitch pipes) and Philip Zoubek (piano, synthesizer) that the music on Ize sounds a bit like the British ensemble AMM’s, they’d likely nod and thank you for noticing. They’re not trying to make a new kind of music, they’re trying to be good at a kind of music that they love, and on those terms, they succeed. Aside from the occasional Feldman-esque piano phrase, they mostly trade in layers of tone and texture, operating in complementary parallel to one another, taking the listener through states of meditative stillness and slow-motion vertigo.

Bill Meyer

J Majik — Your Sound - Photek & Digital V.I.P 12” (Infrared)

J Majik - Your Sound - Photek & Digital V.I.P by J Majik / Photek / Digital

Released on the same day as the “This Sound” single that allegedly was refashioned from “unfinished jungle project from the vaults,” “Your Sound” was further proof that UK drum n’ bass vet Jamie Spratling bka J Majik still has plenty of material from the golden era to get out into the world. The original is a certified mid-’90s Metalheadz classic, but Photek and Digital’s reworking on the a-side “originally only destined for the dubplate boxes of the ultra-elite” has been floating in the ether for years as an alternative; its light Amen sequences and booming bass will have you yearning for every closed club you can’t attend. J Majik’s remix of his own tune on the flip was originally the b-side to a 1997 Goldie VIP edit, so having a more readily available remaster here does it a world of good. One for the headz, obviously.

Patrick Masterson

KTL — VII (Editions Mego)

VII by KTL

Most of KTL’s recordings have been seeded by theater and film soundtrack commissions. But when Stephen O’Malley (Sunn 0))), Khanate) and Peter Rehberg (Pita, Fenn O’Berg) found themselves in Berlin this past March with more time on their hands than they expected, they booked themselves into Mouse On Mars’ MOM Paraverse Studio sans portfolio and set to work. The first track, “The Director,” seems to acknowledge the situation by introducing the Shephard-Risset glissando, a repeated scale that sounds like it is endlessly ascending or descending. The titular figure never arrives, but while you’re waiting, fat looped electronics impart the experience of going somewhere while leaving you exactly where you’re at. The director isn’t the only value missing from this equation; O’Malley’s default sonic signature, a massive metallic wall of sound, has been softened to a close-shaving buzz that rattles and circles around within Rehberg’s synthetic/sonic biodome. That’s right, while you’ve been baking bread and putting on that COVID-15, KTL has actually lost weight!

Bill Meyer

Lisa Cay Miller/Vicky Mettler/Raphaël Foisy-Couture — Grind Halts (Notice Recordings)

Grind Halts by Lisa Cay Miller/Vicky Mettler/Raphaël Foisy-Couture

Montreal-based guitarist Vicky Mettler, bassist Raphaël Foisy-Couture and Vancouver-based pianist Lisa Cay Miller are all new names to me. For their trio collaboration on Notice Recordings, the three work their way through a set of eight free improvisations that range from one and a half minutes to eight minutes long. The combination of piano, guitar and upright bass is striking from the start: Miller slips seamlessly between the keyboard and inside-string preparations, mostly eschewing readily identifiable sonorities of her instrument. Mettler’s resonant, brittle electric guitar is the perfect foil to Miller’s piano and one often has a hard time teasing apart where inside piano strings end and guitar strings begin. Add to that Foisy-Couture’s dark low-end bass, which he attacks with groaning scrapes, shuddering arco and assorted string treatments. The three engage in active improvisations, plying their respective instruments into a collective whole while steering clear of garrulous interaction. The fourth piece, “Lower” is as close to trio exchanges as things get, opening up the ensemble sound to allow shredded guitar textures, resounding piano chords and scabrous bass abrasions to accrue into pulsating timbral layers. A piece like “As It Spins” is more about process, adding in the rumble and clatter of assorted percussive detritus, used on their own and to activate the strings of the instruments, which jangle with resultant shimmering overtones. The pieces often segue one into the other, creating an enveloping sound-space throughout. Based on this one, I look forward to hearing more from each of the participants.

Michael Rosenstein

Mint Field — Sentimiento Mundial (Felte)

Sentimiento Mundial by Mint Field

Mexico City-based duo Estrella del Sol Sánchez (voice, guitar) and Sebastian Neyra (bass) enlist drummer Callum Brown to expand the range of their dreamily psychedelic shoegaze on Mint Field’s second album Sentimiento Mundial. Sánchez has the breathy cadence of Rachel Goswell and moves easily between an almost folky introspection in her guitar playing to squalling walls of sound underpinned by Brown’s often motorik drums on tracks like “Contingenicia” and “No te caigas.” The bulk of the album is more reflective, Sánchez’ Spanish vocals close to your ear as she concentrates on atmosphere and dynamics. The result is a dreamscape that lulls, then hits with febrile bursts of restless dread, an impressive collection that fans of 4AD in particular should recognize and embrace.

Andrew Forell

Takuji Naka/Tim Olive — Minouragatake (Notice Recordings)

Minouragatake by Takuji Naka/Tim Olive

Minouragatake (a mountain outside of Kyoto, Japan) is the fourth recording by Takuji Naka and Tim Olive, a duo that has played together for close to a decade now, melding together music of slowly evolving rich timbral abstraction. Each are consummate collaborators and for this session, they make their way across the seven untitled tracks with steadfast focus to the nuanced details of their respective sound sources. Naka utilizes “long loops of sagging/distressed cassette tape winding into and out of similarly distressed portable tape players, with real-time analog processing.” Olive uses his regular array of magnetic pickups and low-tech analog electronics, drawing out volatile hums and changeable striations that coalesce with his partner’s slowly devolving layers of sound. These pieces are imbued with unflappable deliberation, each sound integrated into the cohesive, gradually unfolding improvisations. Each of the pieces sound as if one is tuning in mid-stream and end with a sense that they could continue on indefinitely. Rather than adhering to any formal developmental arcs, the two patiently sit within unfurling sonic worlds as layers ebb and flow. Naka’s degraded tapes lend an aura of catching wafts from some distant celestial emission which Olive subtly shades and colors with hisses, whispered mutable fuzzed gradations and aural grit. Snatches of scumbled lyricism morph into static-laden swirls; washes of flaked and tattered textures disperse into shuddering thrums. Naka doesn’t record much so it’s good to hear another project from him. Olive has been on a particular roll as of late and this one is a laudable addition to his discography.

Michael Rosenstein

Okuden Quartet — Every Dog Has Its Day But It Doesn’t Matter Because Fat Cat Is Getting Fatter (ESP-Disk)

Every Dog Has Its Day But It Doesn't Matter Because Fat Cat Is Getting Fatter by Okuden Quartet: Mat Walerian/Matthew Shipp/William Parker/ Hamid Drake

Put aside the bleakness of this double album’s title because this music embodies the idea that things can get better. Not that there was anything wrong with Polish woodwinds player Mat Walerian’s previous recordings, which have all involved some combination of the musicians on this one. But Walerian has never sounded so strong on his various instruments (alto saxophone, bass and soprano clarinets, flute); so clear on how to get the most out of Matthew Shipp, William Parker and Hamid Drake; or so engaged with jazz, and not just the free jazz that he’s made with these gentlemen to date. By turns subdued, impassioned and bathed in all the shades of the blues, Walerian no longer sounds like a guy who has great taste in sidemen who happen to have played with some of the greats of our time, but a guy who sounds like he belongs in their company. Each lengthy track (they range from 11 to 18 minutes long) imparts a narrative feel without dispelling the mystery that makes you want to hear them again. Here’s hoping that when things start moving again, this band finds a way to move around the world and move us in person.

Bill Meyer

Om — It’s About Time (Intakt)

It’s About Time by OM - Urs Leimgruber, Christy Doran, Bobby Burri, Fredy Studer

To a fan, It’s About Time might sum up the feeling upon learning that the Swiss quartet Om finally recorded a new studio album 40 years after its predecessor, Cerberus (ECM). It also captures the existential question facing a quartet of improvisers, some of whose paths have often crossed during that time, but some of whom have taken very different roads. On the one hand, drummer Fredy Studer and guitarist Christy Doran play in a Jim Hendrix cover band with Jamaladeen Tacuma; on the other, soprano saxophonist Urs Leimgruber works mainly in freely improvised settings with the likes of Alvin Curran and Joelle Leandre these days. Burri seems to be the guy who has maintained connections with everybody. How to make sense of such a history without denying anyone’s musical identity? During their first go-around, between 1972 and 1982, Om was played polyrhythmic electric jazz. During the mostly low-profile gigs they’ve played since reconvening in 2008, they’ve had time to forge an updated vocabulary that is less groove-oriented but takes full advantage of the timbral resources on hand. While it’s evident that time has passed, it’s by no means a waste of time.

Bill Meyer

Rüstəm Quliyev — Azerbaijani Gitara (Bongo Joe)

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Azerbaijani music, by and large, hasn't broken through to the American mainstream. That might not change, but the new anthology release of Rüstəm Quliyev's work, titled Azerbaijani Gitara, at least makes a case against our insularity. Quliyev's work, even for an insider, would be hard to pin down given that the overriding goal seems to be the synthesis of as many styles of music as possible. Western ears will be most comfortable with the psych-rock influences here. Quliyev also reworks Bollywood, folk, Middle Eastern dance and more on his electric guitar. Taken from recordings from 1999-2004, this nine-song collection sounds more coherent than that idea might suggest, but no less frantic. Quliyev plays with a persistent energy, his kinetic approach matched my his chops, often with a tone reminiscent of Carlos Santana (if we reach a little). On songs like “İran Təranələri,” he allows the piece to develop patiently, but these cuts rely on movement and virtuosity. Quliyev had a challenging life cut short by lung cancer, but his music finds itself unleashed through apparent joy.

Justin Cober-Lake

ShooterGang Kony — Still Kony 2 (Empire)

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A fortnight shy of his 22nd birthday (this coming Wednesday, mark your calendars and send best wishes), Sacramento rapper ShooterGang Kony has dropped his second full-length project of the year in Still Kony 2, a skit-free set of songs with a Biggie homage as the cover that explores further his emotional depths while still retaining the bouncy Bay Area nature of his livelier side. There’s stuff like “Red Ice” and “Fasholy Good,” of course, but there’s also the stretch of sobering songs later in the tracklist, including “Overdose,” “Flaggin” and the particularly affecting “Do or Die.” No matter the type of beat, though, Kony feels completely at ease with his cadence and wholly in control of his verses despite occasionally verging on a Detroit-like dismissal of the beat. Even if you can’t see the geekin’, you can certainly feel it.

Patrick Masterson

Suuns — Fiction EP (Joyful Noise)

FICTION EP by SUUNS

For better or worse, Suuns’ new Fiction EP is pretty much the sound of 2020 encapsulated, not in the sense of distilling current musical trends, but rather in succinctly conveying the disorientating feeling of living through a year that has been such a traumatic mess. Across these six tracks, the Montreal-based band creates a fuzzy, feedback-streaked, claustrophobic racket that just about coalesces into song forms around breakneck rhythm tracks. “Fiction” and “Pray” will meet the expectations of anyone expecting Suuns to continue sounding like fellow noise-rockers Clinic, but elsewhere there’s surprising variation to the band’s sound palette. Opener “Look” emerges out of the darkness like a warped apparition, concluding with a chant of what sounds like “Sheep, sheep, sheep.” They enlist the help of Jerusalem In My Heart for droning instrumental “Breathe,” and Amber Webber lends ghostly vocals to “Death.” At the EP’s end, the Mothers of Invention’s wailing blues-rock classic “Trouble Every Day” is barely recognizable, foregrounding Zappa’s lyrics and chewing them up into a garbled rush of splenetic invective. Though short, there’s something satisfyingly ghastly and cathartic about this EP that really cuts through.

Tim Clarke

Women — Rarities 2007-2010 (Flemish Eye/Jagjaguwar)

Rarities 2007 - 2010 by Women

Some outlets rode much harder for Women than others when the band was still a dysfunctioning unit (RIP Cokemachineglow, namely), but there’s little doubt left a decade on that what the Calgary quartet had going was a volatile yet beautiful indie-rock ideal that hasn’t been duplicated in Viet Cong/Preoccupations or Cindy Lee since. These rarities, affixed to a deluxe decennial reissue of Public Strain due out in November, could all have made the final tracklistings of either of their full-lengths. The music veers between sunny ‘60s singalongs and dark guitar dissonance; I find myself thinking of The Walkmen’s first LP on “Bullfight” (a free release from 2011 in the aftermath of the band’s collapse the year before) and of The Chameleons on “Group Transport,” which is considerably more Janus-faced with its juxtaposed harmonies, for example. It took me much longer than it should have to come around on Women, but in case you’re still on the fence or also just never got around to them in the first place, perhaps this small coda will sway you in their favor once and for all.

Patrick Masterson

Yo La Tengo — Sleepless Night EP (Matador)

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In July, Yo La Tengo released the abstract, droning instrumental EP We Have Amnesia Sometimes, harking back to the sound of their excellent soundtrack album The Sounds of the Sounds of Science (2002). This new Sleepless Night EP brings together five covers and one original, first released in conjunction with an L.A. exhibition by Japanese artist Yoshitomo Nara, who helped the band pick the songs. Sleepless Night opens with “Blues Stay Away” by The Delmore Brothers and “Wasn’t Born to Follow” by The Byrds, both fairly straight renditions of the blues and country-rock originals. The real keeper in this collection comes next in the form of Ronnie Lane’s “Roll On Babe,” beautifully sung by Georgia, which hypnotizes with its languid sway. Their cover of Dylan’s “It Takes a Lot to Laugh, It Takes a Train to Cry” also has Georgia take the lead over beatless organ, bass and guitar. “Bleeding” is the sole original, a shimmering atmospheric piece with ghostly vocals from Ira, which dissolves in a pool of pitchshifted reverb. Finally, “Smile a Little Smile for Me” strips out the rhythm section from the Flying Machine original and slows the tempo, Ira’s measured vocal performance lending the song an affectingly forlorn slant. Though the material here offers few surprises, it’s a reassuring release from a justifiably loved band at a time when we could all use a little more reassurance.

Tim Clarke

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dustinreidmusic · 4 years ago

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Compilation and words by mr tambourine.

This compilation needs a little explanation. For those who don't know, this is Bob on electric guitar, not acoustic. Bob has retired the acoustic guitar temporarily in 2003, even though he has played it on a few occasions after 2003, the latest known being in 2010 at the White House. When it comes to the electric guitar, Bob once limited his usage of it also in 2003 probably, when he first started playing the keyboards and later, in 2006, also added the organ (not the mouth organ though, the actual organ). There were times when he would grab the guitar, some nights he even played a bunch of songs with it, depends on his mood probably.

But in 2012, Bob started with the grand piano. This has limited his usage of electric guitar to zero in the next four years. It wasn't until 2016, on October 13, in Las Vegas, that he would grab the guitar mid-song during Simple Twist Of Fate. The same day it was announced that he won the Nobel Prize, becoming the first singer or musician or songwriter to do so. 12 days later, he played it again, in Shreveport, during High Water. He then did it three times in 2017 and two times in 2018. In 2019, he started playing guitar every single night on the Fall Tour, so I covered at least one performance of each of the 4 songs that featured Bob on guitar during that time.

Some of these have great historical significance, at least currently. I'll explain that bellow after the tracklist. These should be all occasions where Bob played guitar from 2016 to 2018.

01. Simple Twist Of Fate (Las Vegas, October 13 2016, first time on guitar since 2012 overall)

02. High Water (Shreveport, October 25 2016)

03. To Ramona (Port Chester, June 14 2017)

04. Don't Think Twice It's Alright (Port Chester, June 15 2017)

05. It Ain't Me Babe (Wallingford, June 18 2017)

06. Stu's intro (without Bob) / All Along The Watchtower (Seoul, July 27 2018)

07. Don't Think Twice It's Alright (Seoul, July 27 2018) Brief Ghost Of 'Lectricity (2019 Bonus Edition)

08. Beyond Here Lies Nothin' (Palo Alto, October 14 2019)

09. It's All Over Now, Baby Blue (St. Louis, October 22 2019)

10. Things Have Changed (Denver, October 17 2019)

11. Ballad Of A Thin Man (State College, November 15 2019)

To Ramona, included here, is currently the last performance of the song to date. It Ain't Me Babe, included here, is a one-off version, and the first performance since 2013. All Along The Watchtower, included here, is the first performance of the song since 2015, and the first time played as an opener of the show in a decade.

#bobdylan #electricguitar #2016 #2017 #2018 #2019 #compilation

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xocookiest · 5 years ago

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SUPERGIRL PLAYLIST: SEASON 5 (PART II)

Summary: This is a compilation of songs that can possibly summarize Kara and Lena’s thoughts and feelings throughout Season 5 of Supergirl. All of these songs were compiled using the application Spotify Song Radio and the song “Keep You Safe” by Lindsey Ray in Episode 7 of Season 5 of Supergirl as its base.

1. Keep You Safe - Lindsey Ray

2. Everybody - Ingrid Michaelson

3. Make Us Stronger - Emily Hearn

4. Dreamer - Elizavetta

5. Who We Are - Tristan Prettyman

6. Courage Is... - The Strange Familiar

7. When We Were Young - Lucy Schwartz

8. Thank God You’re Holding Me - Emily Hearn

9. Drink You Gone - Ingrid Michaelson

10. Rabbit Hole (Radio Edit) - Mindy Gledhill

11. I Was Gonna Marry You - Tristan Prettyman

12. Somewhere Over the Rainbow - Jenny & Tyler, Kris Allen

13. This Is Survival - Lindsey Ray

14. Like Ships Need the Sea - Emily Hearn

15. Christmas Lights - Ingrid Michaelson

16. Chai Tea Latte - Angel Taylor

17. Someone to Love - Kate Earl

18. No Rain - Meiko

19. Dark Runs Out - Amy Stroup

20. The Way I Am - Ingrid Michaelson

21. Volcano - Emily Hearn

22. Give up the Ghost (feat. Johnny McDaid) - Rosi Golan & Johnny McDaid

23. SOS - Elizaveta

24. Wish You Well - Katie Herzig

25. Over You (feat. A Great Big World) - Ingrid Michaelson & A Great Big World

26. Paris, or Wherever We Are - Emily Hearn

27. Boo Hoo! - Mindy Gledhill

28. Feeling of Being - Lucy Schwartz

29. Me Without You - Katie Herzig

30. Turn to Stone - Ingrid Michaelson

31. My Oh My - Tristan Prettyman

32. As Long as Our Hearts Are Beating - Jenny & Tyler

33. Lost and Found - Katie Herzig

34. Worth Fighting For - Emily Hearn

35. How Am I Doing? - Anna Waronker

36. Can’t Go Back - Rosi Golan

37. Wyatt and Lucy - Robert Duncan

38. Anchor - Mindy Gledhill

39. Parachute (Acoustic) - Ingrid Michaelson

40. Walk With You - Jenny & Tyler

41. All That I Wanted - Shelly Fraley

42. You Are - Kathrn Ostenberg

43. Feel Alive - Katie Herzig

44. Mother - Ingrid Michaelson

45. Heart of a Hero - Cathy Heller

46. October: Written in the Stars - Tim Myers

47. Love Song - Paula Valestein

48. Here We Go - Emily Hearn

49. Unchained Melody - Priscilla Ahn, Inga Roberts, Wendy Wang

50. Glow - Brooke Annibelle

51. My Love Will Never Fail You - Marie Hines

52. Fix You – Jenny & Tyler, The Gray Havens

53. March: Hills to Climb - Marie Hines

54. Pony (It’s OK) - Erin McCarley

55. Annie - Emily Hearn

56. Running Wild – Jules Larson

57. Still the One - Ingrid Michaelson

58. Make a Noise - Katie Herzig

59. I Love You Will Still Sound The Same - Oh Honey

60. Re-Arrange Again - Erin McCarley

61. Whole Lot of Heart - Ingrid Michaelson

62. Cutting Ties - Emily Hearn

63. Save It All - Marie Hines

64. The Lotto - Ingrid Michaelson

65. Anything Is Possible - Mozella

66. Sweeter - Jess Penner

67. Together - Andrew Allen

68. Best Day of Your Life - Katie Herzig

69. DieDieDie - Erin McCarley

70. Keep Me – Lucy Schwartz

71. Underneath - Rosi Golan

72. Miss America - Ingrid Michaelson

73. I’ll Be By Your Side - Cathy Heller

74. All About Your Heart - Mindy Gledhill

75. Hate You - Ingrid Michaelson

76. I Want the Sky - Lucy Schwartz

77. Not Even Human - Angel Taylor

78. Versailles - Amy Stroup

79. Hell No - Ingrid Michaelson

80. Of This I’m Sure - Jenny & Tyler

81. Hold onto Hope Love - Amy Stroup

82. Take Me Home - Ingrid Michaelson

83. I Wanna Dance With Somebody - Fay Wolf

84. Be The One – Emily Hearn

85. Been A Long Day - Rosi Golan

86. Don’t Come Over - Jess Penner

87. Life In Letters - Lucy Schwartz

88. Always Been You - Marie Hines

89. By Your Side - Brooke Annibale

90. Take All The Time You Need - Oh Honey

91. Remind Me - Brooke Annibale

92. I Do Adore – Mindy Gledhill

93. Weight Lifting - Katie Herzig

94. I Remember Her - Ingrid Michaelson

95. Viva La Vida - Katie Herzig

96. December Days - Tim Hanauer

97. Just Like Us - Olly Anna

98. Underneath the Covers - Priscilla Anna

99. My Darling - Lucy Schwartz

100. Light Me Up - Ingrid Michaelson

#supergirl #supercorp

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jaybe11 · 5 years ago

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Richard Dale "Richie" Kotzen, Jr. (born February 3, 1970) is an American guitarist, singer, songwriter and producer. Kotzen has a prolific solo career, with a back catalogue of more than twenty album releases, was a member of the glam-hard rock band Poison from 1991-1993, Mr. Big from 1999-2002, and since 2012 has been the frontman of the band The Winery Dogs. Kotzen was signed to California-based Shrapnel Records from 1988 until 1991. Biography Richie Kotzen began playing piano at the age of five. At the age of seven, he was inspired to learn the electric guitar by the band Kiss. He started his career in a band named Arthur's Museum. Kotzen was eventually discovered by Shrapnel Records' Mike Varney, and he recorded his first solo album by the age of 19, the first of two instrumental records, simply entitled Richie Kotzen. He created the video Rock Chops for REH video in 1989, highlighting many of his formative techniques, including using wide-intervals and fluid sweeping. One year later, a second solo album called Fever Dream was released, which was the first one to also feature his lead vocals. Since then, Kotzen has released a long series of more than twenty albums with musical influences ranging from Rock, Hard Rock, Pop, Blues, Blue-eyed-soul, R&B and Funk to Jazz Fusion. In 1991, at age 21, Kotzen joined glam-hard rock band Poison, co-writing and performing on the album Native Tongue. This album produced two top-twenty singles which Kotzen co-wrote, "Stand" and "Until You Suffer Some (Fire and Ice)". Kotzen then focused on his solo career, regularly releasing song oriented, r&b/soul & funk influenced melodic rock albums such as Mother Head's Family Reunion, Wave Of Emotion, Something To Say, Break It All Down and What Is. He also made guest appearances on several albums by artists like Glenn Hughes, Stevie Salas, T.M. Stevens and others. In 1995 and 1997 he collaborated with Greg Howe on two Jazz Rock Fusion albums. In 1999, Kotzen replaced Paul Gilbert as guitarist in the mainstream hard rock band Mr. Big, performing on their album Get Over It. He also contributed guitars to their subsequent release Actual Size. The record included the Kotzen song Shine, which debuted at number one on Japanese radio charts. In 2001, while still in Mr. Big, Kotzen recorded and release another solo album called Slow, which contains a mix of some crunchy funky and bluesy rock tunes and softer R&B/Pop songs like "I Don't Wanna Lie", for which a music video was filmed. On some of the songs on Slow Kotzen experimented with the use of a drum computer, while on others he played drums. After Mr. Big disbanded, Kotzen continued his solo career. He released his next solo album Change, in 2003. The title track, a soft ballad, and the song Get a Life, a rock song in the style of Mr.Big, were featured in TV commercials throughout Japan. In 2002, Kotzen bought a commercial building in Los Angeles and established a recording studio and production company. He has since produced his own acclaimed solo albums and collaborated with various figures in rock (e.g. Gene Simmons), jazz and fusion, including jazz legend Stanley Clarke, with whom he realized the project Vertú. The 2004 follow-up-album to Change, Get Up featured a more edgy, aggressive rock sound. It was more hard rock oriented than any of his previous solo outputs since Fever Dream and contains the ballad "Remember", which became a minor hit. In 2005, Kotzen teamed up with three Japanese punk rockers to form the short-lived Forty Deuce-Project, which only lasted long enough to record and release one album. Later in the same year, Kotzen collaborated with Funk Rock Fusion guitarist Steve Saluto on his album Rough Beat, where he contributed 50% of the vocals and co-wrote some of the songs. The album was first released on December 31, 2005, and got re-issued in 2009 under the name Resurrection, coming with five additional tracks. In 2006, Kotzen was the opening act for The Rolling Stones in Japan on their Bigger Bang tour. During the year 2006, Kotzen produced and released two solo studio albums, first Ai Senshi Z×R, an album on which he played several English sung rock covers of theme songs from the Japanese Gundam anime franchise, and only nine months later Into The Black, containing ten self-penned rock songs. The latter starts with the angry song "You Can't Save Me", in which he uses the F-word extensively, what eventually turned it into a fan favorite. In 2007 Go Faster was released, which alternatively was named Return Of The Mother Head's Family Reunion in Europe and Japan. On the album, Kotzen showcases a firework of edgy, driving, yet melodic funk influenced blues rock songs with strong hooks and passionate guitar playing. It includes the eight-minute-song "Fooled Again", which became a live favorite on the following tours, and the soft pop ballad "Chase It" with its significant mandolin riff, for which a music video clip was filmed in Venice. In 2008, Kotzen's first live album, simply entitled Live in São Paulo was released, followed by the acclaimed Peace Sign album in 2009, for which Kotzen played and recorded all instruments himself. In 2009, Kotzen also teamed up with songwriter/producer Richie Zito for a short-lived project they called Wilson Hawk. Wilson Hawk produced one album called The Road, on which they celebrate some R&B & soul influenced pop music in the style of the late 60s and 70s and many soulful pop ballads. After the "Peace Sign" world tour, Kotzen released one single in 2010 (the Rod Stewart reminiscent Angry Boy). In 2011, Kotzen released a full-length Solo album titled 24 Hours, which features ten catchy, fresh 70s funk & r&b influenced melodic rock songs with strong hooks and vibes, garnished with a lot of fiddling around. The release was followed by another tour. In 2012, he joined forces with Mike Portnoy and Billy Sheehan to form the rock supergroup The Winery Dogs who released their self-titled debut album on May 15, 2013 in Japan, with a worldwide release on July 23 of the same year. A world tour followed. After that, Kotzen went on an acoustic solo tour and started working on his 20th solo effort, which became the Cannibals album, that was released on January, 5th, 2015. Cannibals features a more relaxed, and often r&b influenced rock/pop sound. Kotzen's girlfriend, bassist/vocalist Julia Lage, added some background vocals and also appears in the music video for the song "In An Instant". On the song "I'm All In" Kotzen shares the vocals with Doug Pinnick of King's X and Kotzen's daughter August Eve is featured on the ballad "You", playing the piano. For "You" also a music video was recorded. Only nine months later, on October 2, 2015, The Winery Dogs released their second album Hot Streak, followed by another world tour. By the end of 2016, The Winery Dogs went on hiatus and Kotzen focused on his next solo record Salting Earth, which came out on April 14, 2017. From August until late September Kotzen completed a European tour. On January 25, 2018, Kotzen released a video for his new single called The Damned via youtube, which was filmed at Paramount Ranch in Agoura, California by director Vicente Cordero. On June, 5, 2018, a second video single called Riot was released via YouTube, which was again directed by Vicente Cordero. On December, 11, 2018, Kotzen announces a Winery Dogs Tour through the US for May, 2019, via his official Facebook page. Guitar playing style Kotzen has described his style as a mix of rock, blues, heavy metal, jazz, fusion, and soul music. Kotzen utilizes a heavy amount of legato and sweeping in his playing. As his main influences, he lists Jimi Hendrix, Stevie Ray Vaughan, Eddie Van Halen, Jason Becker (who produced his first album), Allan Holdsworth, and many other jazz and fusion players. Kotzen, since around 2007, has opted to stop using guitar picks and been playing exclusively with his fingers ever since.

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waterparchive · 5 years ago

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Toxic Fandom, Public Heartbreak, And The Feedback Loop

Travis Riddle – October 29, 2019

Fandom by Waterparks is one of my favorite albums of the year, regardless of the fact that…I am friends with the band. There was not a single track that immediately stood out as my favorite like Take Her to the Moon and Peach on previous albums--but I think that's because everything on this one is so good, it's impossible to choose one. I Miss Sex/War Crimes/I Felt Younger would probably comprise my top 3, but every song is fantastic. And the album is on the shorter side but you truly don't feel that length, these songs all go through so many different movements--lyrically and musically--that every song is just dense as hell and it feels a lot longer than it is, while still not feeling overwhelming or messy at all. It flows great and hits some really interesting themes.

This write-up was initially sent to Awsten on the album’s release date, and I’ve edited it a little below for clarity/brevity, because I would not shut up about it.

1. Cherry Red - Starting the album off with that bark/yell is so tight. A year and a half ago in that parking lot going to get crawfish together I didn't really "get" this song, but after hearing the album several times it really clicked for me. I love how it acts as kind of a setup to the whole thing, getting the listener into your mindset and introducing one of the main themes of the album. I also like how it continues your color motifs; "blue and yellow let’s get together and be green" has now gone bad and turned to sour green, and it seems like cherry red is replacing yellow (red + yellow = orange hmmmmm). I also love how "You know I died for you" ties into the closing track, "I said I loved you to death so I must be dead."

2. WWHN - A really great choice for the first full song of the album to set the tone for the Fandom theme in contrast with Cherry Red setting up the emotional side of the lyrics. It's also a goddamn jam so it's great at hyping up right at the start hahah. I've probably told you everything about this already but I like what you're saying in this, and how it's something probably every single artist goes through in their career, but no one seems to say in a critical way (that I’m aware of). I'm sure this and other songs will make some fans upset because they're being called out but I like that, and it's some stuff that needs to be said.

3. Dream Boy - Lots of good stuff about fan expectations in this, dressed up in metaphors and really catchy pop to catch people off-guard. Love the phrase "Build-A-Boy, pick your pieces" and "Do you believe in love and is it because of me?" With people's weird way of crafting their whole lives and beliefs and desires on these celebrities that they don't know personally at all yet are so invested in.

4. Easy to Hate - I feel like this is the most straightforward and "simple" song thematically, but man it is so catchy. The sound effect that I'm sure is your voice in the opening before the verse is so damn cool. I like this first real hint of the colors turning to red. This is thematically pretty similar to other demos like ********* and Play and stuff so with how catchy and big this chorus is, it's easy to see why you chose this one to cover that topic. I'm also a sucker for someone doing the chorus in a song but stripped down like you do here. Those harmonies in the final chorus are also soooo good..........

5. High Definition - You're on some Imogen Heap-ass shit here and it's dope. I like this as a single choice since I feel like the emotional side of the album really hinges on this track--it's not a breakup album in the typical sense (aside from like Easy to Hate and Worst), but rather it's about the aftermath of the breakup and the emotional state surrounding that, the doubts and insecurities and vulnerabilities of losing trust in everybody due to one person’s actions, and this song is such a direct and succinct and sad encapsulation of that. Hate how this whole song makes me feel for my friend but it's also really pretty and good.

6. Telephone - This is some real Hellogoodbye-ass shit here with the ending of the chorus hahah. The juxtaposition between this and High Definition is interesting, basically both songs coming to the same conclusion--not committing to a relationship--but in totally opposite ways. With this one basically being "I won't tell you how I'm feeling, I'll just go write lyrics/sing voice memos/tweet." Is this about the damn pretty Target girl you tweeted about once? "Now I'm living on a target" and "all these aisles feel like miles" hmmmmMMM. This wasn't my favorite when I first heard it but it realllllly grew on me and now I love it. The chorus is so good and I love what you're doing with the music/harmonies in the background of it. Also the dumb shit after "I'll follow" always makes me laugh. Then the dichotomy between this/HD is emphasized in the closing Wedding Singer sample which I feel like represents the fandom; you’re going through this huge emotional turmoil, but we’re reaping the benefits by getting great songs out of it.

7. Group Chat - It works as a goofy little interlude but I also like what it says thematically (if I'm not just pulling this out of my ass anyway). On one hand it seems to me like a commentary on the inanity of some fan group chats, how in some of them they all act like they're best friends but really it's just a surface-level friendship. "My name's [whatever] and we're all friends! :D" and then also with the effect on your voice, seems to imply to me how mentally draining everyone in the fandom can sometimes be on you more so than Geoff and Otto.

8. Turbulent - I know some people just gotta have their metaphors and shit in their lyrics but I love how direct this song is. Just plainly stating things makes them feel so much more raw and real. I can't see how you could more powerfully convey the anger and hurt than with "I'd unfuck you if I could." Also the "sOoOoO" in the second chorus is still best part (also the barks). Also the pitched-down backup vocals are tight in this song, really gets you into the frantic, pissed off headspace.

9. NBA - I like the potential double meaning of the chorus in this one; everyone in LA looks like you cause I'm missing you and seeing you everywhere, but also it’s kind of insulting, like "everyone in LA looks like you, you're not special." But aside from that, another very pretty albeit sad song. The chorus with full instrumentation and harmonies really hits hard. I also like the 11:11 connection with tying breath in knots; you're always really great at bringing back recurring images and lines in your writing, it makes your discography feel really connected and like you're actually writing these things, it's not some producer in a studio writing lyrics for you. These songs all lead into each other; the songs on Fandom could not exist without what came before in DD and Entertainment. That evolution is always really interesting to see, how these different motifs recur and change their meaning over time. I assume the main metaphor of this might also be a callback to Crybaby with “chasing through dreams in bloom.”

10. IMHSBALIDWDA - Definitely one of my favorites, it's just so damn fun. And once again some cool vocal effect you have going on in the background, which I always love. The lyrics here are fun but also biting; I've been thinking of this as a commentary on how fans don't really care about an artist's well-being or life even if they try to act like they do, they just want new songs and good performances and new merch etc. etc. no matter what it means the artist is going through or how they feel when they sing these emotionally devastating songs. So the chorus to me is kinda like a self-care anthem in a way, setting aside all the negative stuff and admitting to yourself hey, at least I feel kind of better now; maybe not entirely better, but I'm getting there.

11. War Crimes - Another song with sad lyrics but musically it goes so damn hard, another favorite. "I'm forgetting how to hate myself" is one of my favorite lyrics on the album, as is "My death will be the fandom." I don't even totally know what to say about this song cause sooo much is going on and it's just crazy. "Let's go!" is also a favorite moment. And the "I saved my own life" calling back to Not Warriors is tight.

12. [Reboot] - Hey is "I need to sleep alone" a reference to Sleep Alone!!!!!?!???? I've already talked to you about this song a lot too so I don't have much new to say. The vocal effect on the bridge is dope. The breaths before verse 2 are maybe my favorite part, as well as what you do on "all on you" including holding out "you" into the chorus. And whatever's going on in the background at the end of that second chorus, I can't tell if it's vocals or instruments or what, but it sounds really cinematic and cool.

13. Worst - This new version is so cool, it has so much texture that the demo didn't. Vocals are also really pretty. The added bass and electronics really add a lot of rhythm and an interesting vibe to this; the bass is almost jazzy in a way? But then the electronics/percussion are almost like a dance beat but really stripped down? I dunno, it's such an odd combination, especially with the guitar just being acoustic. One of the most interesting songs on the album sonically despite being comparatively "simple" at first listen.

14. Zone Out - My least fave just because it's such a simple interlude, but what I like that it does is like...basically comments on the preceding songs I guess? It's like a question to the listener. At the beginning you've got Dream Boy setting up their expectations, then this comes at the very end and essentially asks them, "After hearing all of these angry heartbroken songs, am I still your dream boy? Do you still think love exists because of me even though I've gone through all this and don’t believe in it myself?" I like that it makes the listener confront their previous feelings and expectations before we dive into the finale.

15. IFYWWM - First off I absolutely love the effect you put on the vocals at the start of this, especially with how that effect abruptly cuts off; it's so weird and interesting and I never get tired of hearing it. The difference between the demo and this final version is amazing, I love this song. And "I said I loved you to death so I must be dead" is such a great one-two punch; it hits hard as a "fuck you!" line with being a way to say you don't love her anymore, but then you realize how sad it is that the effect has been this emotional death that pervades the entire album and eventually leads right back into Cherry Red. Which is also a depressing ending; it's so abrupt without any closure about anything talked about on the album, and the way that it circles back into the opener kind of implies to me that maybe there's a sense of circularity to everything, it's unending, the songs will always be fueled by heartbreak and the emotional trauma will never go away and dealing with it in the public eye of the fandom will always be overbearing.

http://www.travismriddle.com/blog/2019/10/29/toxic-fandom-public-heartbreak-and-the-feedback-loop

#travis riddle #fandom #waterparks #waterparks band

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