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in-death-we-fall · 1 year ago

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Wham, Glam, Thank You Mam…

Kerrang 910, June 29 2002

The unmasked Joey Jordison’s Murderdolls are not Slipknot Mark II. Can you imagine the Clown wearing make-up and stack-heels?...

Oh Kerrang, we absolutely can... but that's not the point here

Words: Joshua Sindell Photos: P R Brown, Lisa Johnson

(drive link)

In a dimly lit room at the Sunset Marquis hotel, five heavily mascara’d men in black leather, each with immaculately back-combed hair, pose and purse their lips for a photographer’s lens. Only a single white curtain against the window protects their pale skin from the outside sun’s piercing rays. Last night’s expedition to famed strip club Crazy Girls has left some of them feeling bleary and achy, but, as the band Junkyard once sang so sagely, ‘That’s life in Hollywood’. Yes, this is LA, the home of all things tawdry and torrid, where giants in spandex so famously used to stride down the Strip. But this is not 1986. These events are happening in June of 2002. And one of these pouting prima donnas happens to be a member of Slipknot.

Murderdolls are the new baby of Joey Jordison – Slipknot’s diminutive drummer – but in stark contrast to his unrelentingly intense day job, their music is a trashy pastiche of glam-rock, New York punk circa 1977, schlock-horror, and heavy metal. Jordison has swapped his mask for make-up and his sticks for a guitar, and has created a band that embody practically everything you don’t ever hear on the radio these days. Alongside him are Static-X guitarist Tripp Eisen, singer Wednesday 13 who previously fronted the Frankenstein Drag Queens From Planet 13 and two friends of Tripp from LA – bassist Erik Griffin and appropriately-named drummer Ben Graves.

Just one listen to the Murderdolls’ debut album will be enough to have a legion of Slipknot fans chomping on their home-made boiler suits in confusion. Cheesy songs about grave robbing? Tributes to ‘The Exorcist’’s possessed devil-doll Linda Blair? Zombies? Mad scientists? Ghouls? What the hell is going on?

Jordison, barely five-foot-five even in his new stack heels, allows himself a sly smile.

“This is so far removed from Slipknot that it’s actually the best thing about it,” he says. “When we play, it’s just so fucking funny. We’re very serious about not being serious.”

To change gears from the testosterone-filled, uncontrolled anger of ‘Iowa’ to the sexually charged grind of Murderdolls is certainly something of a role-reversal. Butt Tripp Eisen, who, like Jordison, is also on shore leave from his day job, finds the turn-around almost hilarious.

“It’s kind of like being bisexual,” he jokes. “You’re doing a guy for now, but you’re not giving up on the ‘girl’ thing.”

The seeds of this project were sown years ago, in the mind and garage of Joey Jordison, under the name The Rejects. This was long before Slipknot and nu-metal’s all-conquering domination of the rock scene. The Rejects would eventually morph into Murderdolls, and to Joey, this is no mere side-project.

“I just feel that there’s no point in doing anything that’s even remotely similar to Slipknot,” he reasons, seated at a small table inside the cool, dark hotel room. “For me, it’s a chance to play guitar, which I played long before I played drums.”

Murderdolls began to become more than just a figment of Joey’s imagination three years ago when Slipknot toured with New Yorkers Dope, who had Eisen in their line-up at the time. The two bonded over a mutual love of such bands as Manowar, The Ramones and The Plasmatics.

“I had spent my whole life being kind of a glam guy, but also digging the heavy, heavy music,” says Tripp, a soft-spoken man with dreadlocks that sprout from his head like drooping asparagus. “It’s rare to find someone who can relate to both, and that’s what drew me to Joey. He’s into Slayer and Twisted Sister with equal intensity, and there’s not many people like that.”

To Tripp, there’s not all that much difference between the two. Both metal and glam are escapist and theatrical in nature, and he points out that Mötley Crüe and Slayer both used pentagrams on their albums.

Together, during the off time from their respective bands, Joey and Tripp dug up some of Joey’s old Rejects songs and dusted them off. They discovered a voice in North Carolina native Wednesday 13, and he brought several of his own songs with him. Then, after the album was finished, the band’s line-up was completed by Griffin and Graves.

The record itself is an absolute blast. Roaring guitars, skull-rattling drums and sneering, screaming vocals, all set to fast-paced tunes of terror and turmoil. Imagine the Ramones, the Misfits and the Dead Boys wearing long-haired wigs and goofing on love, lust and comic books. Add to the mix a soupçon of Marilyn Manson, plus a few screaming metal electric guitar leads, and stir. What pours out ain’t pretty, but it will certainly raise some eyebrows.

Joey couldn’t be more excited at the prospect of his Slipknot fans lending Murderdolls an ear.

“Not to take anything away from Slipknot, because I love that band and I’m still very much in it. But playing the guitar is not the same as playing the drums. Wearing make-up and trashy clothes is not the same as wearing coveralls and a mask.”

But what is to become of that famed Slipknot ‘mystique’? Won’t it forever be ruined by the fact that Joey is the first of them to go mask-less? Joey downplays the importance of his decision, saying that the internet has basically removed whatever secrecy Slipknot had tried to maintain anyway.

“We meet and talk to the kids without our masks every day,” he points out. He also says that Slipknot’s singer Corey Taylor and guitarist Jim Root will soon be performing sans masks in their own side-project, Stone Sour.

“I’ve said this a million times before, but wearing the masks is what the music ‘made’ us do,” says Joey. “It was not to just hide our faces. After knowing what Kiss looked like without their make-up for so many years, when I went to see them on their reunion tour, I didn’t give a fuck if I knew what they looked like under their make-up. When I saw them in make-up, I said, ‘That’s fuckin’ Kiss’.”

Scheduling the Murderdolls sessions and upcoming tour was never an issue with Slipknot either. All of the nine members decided that their loving maggots could allow them a few months’ rest, and many of them are pursuing solo projects.

“It was a mutual decision,” says Joey, “It wasn’t like we all needed the time away from one another. I told them that I felt that this stuff was worthy of being put out on a record. I think that it’s worthy for people to see it live as well. I’ve been spinning upside-down on a drum riser for the past 10 months, and now I’m going to go jam with this other band for a while, and they were totally cool with that. They knew from the start, even before the first Slipknot record, that I was going to do this, so it was no surprise to them.”

As for the other members, this much is known. Tripp Eisen says he’s still very much a part of Static-X, who are just about ready to wrap up their touring scenario for 2002 and will immediately begin writing their third album. Singer Wednesday 13, recruited to replace Rejects singer Dizzy, is an aficionado of ‘80s glam acts like Pretty Boy Gloyd and Tuff, and claims, quite horrifically, to have the soundtrack albums to every one of Sylvester Stalone’s movies – including ‘Over The Top’ and ‘Rhinestone’. Wednesday, who speaks in a warm southern drawl, plays a big role in the band’s theme and sound. He explains the song ‘Dawn Of The Dead’.

“I’ve always loved that movie,” he says, “and I thought, ‘How great would it be to have a Quiet Riot, ‘Cum On Feel Tha Noize’-type chorus for a song like that?’.” The singer described the sound of Murderdolls as a “Frankenstein monster we stitched together.”

The two newest members are Ben and Erik, friends of Tripp’s from LA. They do not play on the record, and both were struggling musicians who felt left out by the onslaught of post-grunge blandness and down-tuned rap-rock. Secretly, they wished they’d get hired to play just this kind of balls-out rock that just didn’t seem to exist outside of their old CD collections. They were working in shops on trendy Melrose Avenue when Tripp gave them a call.

“Once we all agreed that Nikki Sixx was God, we knew they were the right guys,” observes Wednesday.

Joey is loath to describe the band’s sound as metal or punk, though clearly it has elements of both, as well as some of the more frenzied moments of Marilyn Manson’s catalogue. In particular, ‘Dead In Hollywood’ truly sounds as if the God Of Fuck was somewhere in the mix, lending a helping shout. As it turns out, Joey asked the man himself to contribute, but not on any of the songs that have turned up on the record.

“Marilyn’s a friend of mine and we’ve always helped each other out,” says Joey. “I played some guitar for him and hooked him up with a remix, which he just recently used on the ‘Resident Evil’ soundtrack. He said that he’s going to sing on one of our songs now.” Unfortunately, what with his own deadline looming shortly, Manson’s tracks – either ‘People Hate Me’ or ‘Nineteen Seventy 666’ – may have to wait until after the release of the new Manson disc.

If all this sleaze and disorderly conduct sounds a little backward thinking, it is no accident. Even Trip agrees that the ‘Dolls pay tribute to a bygone time.

“I feel that kids today don’t know about what we grew up on, and I think that we’re trying to bring the whole package to them. The Union Underground and Sinisstar are similar in the respect that they’re bringing trashy rock back, but we just feel like we can do it better.”

Wednesday speaks with an endearing confidence that borders on pride.

“Nobody’s done it to the extent that we will,” he brags. “There were bands like Buckcherry and Beautiful Creatures who were doing the whole Guns N’Roses rock thing, but nobody’s done it at the level that we’re going to.”

Without too much Slipknot business to attend to, aside from the upcoming Reading and Leeds appearances this summer, Joey is clearly basking in his new-found freedom. Returning from the bathroom after applying his make-up, he jokes that posing for photos in Slipknot is so much easier than this current Murderdolls shoot. “You just throw on a mask and make hand gestures!”

Joey says that he’s looking forward to sharing his band with the world, and playing guitar live.

“I think that we’re original, but we’re not trying to reinvent the wheel,” he muses. “I think that in Slipknot, we broke down a lot of doors. I’m very proud of that, and I’m very fulfilled there. This is just another way to keep the glass full.”

Murderdolls release their debut album, ‘Beneath (sic) The Valley Of The Murderdolls’, on August 19 via Roadrunner.

Doll Parts

Joey Jordison’s guide to his new bandmates…

Ben Graves Joey: “Again, Tripp found him. Does he look like Twiggy Ramirez? Absolutely no comment.”

Wednesday 13 Joey: “He and I wrote all the music and the lyrics together. It’s fun when we’re singing about grave robbing. It’s much more tongue-in-cheek than anything Slipknot’s ever done.”

Erik Griffin Joey: “Tripp brought him into the band. I saw a video that Tripp did of them jamming, and he looked right for the band.”

Tripp Eisen Joey: “When we met, we instantly knew that we had the same taste in music. I really love his leads on the album. Live he’s great, and he’s a great friend.”

#if you want anything else from this scanned lemme know #hey if you're new here and don't know why nobody talks about tripp (beyond being in the band very briefly)#his wikipedia immediately gets right straight to the point #murderdolls #joey jordison #wednesday 13 #ben graves #eric griffin #tripp eisen #interview #kerrang 910 jun 29 02 #that time eric decided to spell his name with a k i guess?#i had the power to scan the two page spread in one piece but 1. there was a white line and 2. i thought it was funny tripp was cut in half #DROOPING ASPARAGUS almost makes up for the diminutive incident #there's some old website features and a page of stickers in the drive folder! and i'm shutting the fuck up now

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everysongineverykey · 1 year ago

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and now, what no one's been waiting for: junie's official ranking of every (original) queen album, from favorite to least favorite! it's fucking long. have fun, if you're interested!

-the works: ah, this one is a fucking classic. peak queen, in my opinion. to me, this is the culmination of their sound and style as a band. this is the album that took priority in their iconic live aid performance (mostly because it'd just been released, but still), and for good reason. there isn't a single song on this album that isn't at least pleasant to listen to- even some of the less Good tracks like man on the prowl and i go crazy are at least still decent and have some good lyrics and a nice backbeat. and the hits on this record- my god, who can hear i want to break free and NOT start dancing? it's one of the best examples of john deacon's pure songwriting genius. roger taylor really shines on this one, too; radio ga ga is a powerful, touching tribute to the radio medium that actually has genuine emotion behind it. every time i hear "radio, what's new? someone still loves you" my heart aches. the boggles could NEVER. brian may writes some of his best social commentary in hammer to fall, which never fails to leave me moved to my core- it's so passionate, and the fact that it still holds up to this day really says something. none of the megahits on this album were penned by freddie mercury, but he still produces his share of bangers. it's a hard life is a passionate and earnest ballad about heartbreak that turns hopeful in the end and genuinely makes me want to fall in love, and keep passing the open windows is a simple yet beautifully uplifting song with some fucking amazing guitar bits. underrated gem, in my opinion! really, really picks you up. the whole album does, in fact. my favorite forever and always- it doesn't get more "queen" than this.

-sheer heart attack: this one's so so good. the overall sound of the album is really eclectic and varied, jumping from vaudeville to heavy rock to campy from song to song. it features the first song john deacon ever wrote for queen, the underrated bop misfire which i just adore- there's something about the energy and the earnestness of the lyrics and vocals that just make it. obviously we have freddie mercury's (and the band's) first ever megahit killer queen, which needs no introduction- the lyrics are some of the most intricate, cleverly worded ones he's ever written, and the song as a whole fits perfectly with the rest of the album's refined yet playful style. "drop of a hat, she's as willing as / playful as a pussycat / then momentarily out of action, temporarily out of gas / to absolutely drive you wild"- those lyrics perfectly describe sheer heart attack as an album to me. it pulls you in and then hits you with the wildest bait-and-switches ever, from the cheery, upbeat misfire straight to the long, emotional she makes me. it does that thing where almost every song segues perfectly into the next and doesn't really "end" properly, which probably isn't to everyone's taste, but i personally adore that the final line of flick of the wrist crosses over into lily of the valley- it sets the tone, in a way, because lily of the valley is far less shouty and angry, and opening it with a softer version of that classic "baby, you've been had" before breaking into a sweet piano melody really helps build atmosphere. roger taylor has one of his first vocal spotlights in tenement funster, and while it's not my favorite song ever, the lyrics are quite clever, and he sings it well, and it really shows you his potential as a lead vocalist and songwriter- potential he comes to fully realize in later albums. favorites of mine from this one include the classic brighton rock, misfire, flick of the wrist, the bouncy vaudeville bring back that leroy brown, and stone cold crazy (which has such fun lyrics). some of their strongest work!

-a day at the races: now, most would probably put this one below night at the opera, which is completely fair- the latter is one of their most famous albums, and that isn't at all undeserved, so it often ends up overshadowing its smaller-scale companion/sequel album. i personally think that's a crime, though! a day at the races has all the satisfying vocal arrangements and song styles as its predecessor, in my opinion, and what's more, it doesn't try to be the second a night at the opera- it's simply a more lowkey continuation of that type of music. standouts (to me) include roger taylor's drowse, which i believe is some of his most pleasant lead vocal work ever, with really good lyrics about burnout and midlife fatigue, and brian may's long away, which is so sweet and longing and melancholic it makes my brain go "we need to go home!! we need to go home RIGHT NOW!!!" even when i am at home. then, of course, there's freddie mercury's two hits, somebody to love and good old-fashioned loverboy, which. i mean, come on. these two songs were once described by a critic as "mercury's baroque one-two", and i think that says it all. they really ARE a one-two punch- somebody to love knocks you OUT with its passionate vocals and lyrics about loneliness and city-living burnout, and good old-fashioned loverboy finishes the job by surprising you with some of freddie's best lyric writing since killer queen and an addictive melody to boot. as for john deacon's work, he produces another sweet, earnest love song with you and i, again showcasing his talent for passionate love songs just as brian may deals perfectly in melancholia and roger taylor gives us one small town burnout anthem after another. as for freddie mercury, well, what doesn't he do? this album, i think, really shows you what each member is all about. it's their fifth album, but if you wanted to listen to it first, i wouldn't stop you at all.

-a night at the opera: well, this one was bound to be near the top, wasn't it? you know this one- even if you're not a serious fan, all i have to do is tell you it's the one with bohemian rhapsody, and you'll probably go, "oh. oh, THAT one." even if you don't know any of the other songs, i mean. it's the one with bohemian rhapsody. regarding that song, like. what can i say that hasn't already been said? it changed contemporary music history. it basically invented the music video. it became a mandatory north american white people party song for the rest of time. yadda yadda yadda you don't need me to ramble on about bohemian rhapsody. as famous as it is, it's actually not my favorite song on the album, which has a lot more to offer than just borhap- this album is home to my favorite queen song ever, you're my best friend, which is some of john deacon's best ever songwriting work. the man doesn't miss basically ever, but this one is particularly special. the beat's so damn bouncy and addictive, and the lyrics are the sweetest and so fun to sing- you can tell it was written out of genuine love and passion. listen to that "oooh, you make me live" and tell me you don't want to jump to your feet. it never gets old! besides that banger, we've also got '39, which is another brian may melancholia masterpiece- the lyrics tell a perfect story, and roger taylor's falsetto during the bridge is really, really something to behold. it's not even really edited, if you listen to a live version- he can just do that. men with high voices i love you. anyway, another standout is death on two legs, a delightfully angry and vitriolic song that is so mean to the band's asshole former manager that freddie mercury's bandmates were initially shocked when he showed them what he'd written, and he later actually questioned whether they should actually release it because it was so hateful. you can tell it's genuine, too- mercury's vocals have a rough, legitimately furious edge to them as he sings, which is something i LOVE in songs. it's so fucking fun to sing if you're angry, or even if you're not angry. incredible lyrics include "feel good? are you satisfied? / do you feel like suicide? (i think you should)" (yes they told him to kill himself in a song they released to the public. yes he sued them for defamation. yes all this did was reveal to the public that he was the bastard they were talking about and damage his reputation so bad he wrote an autobiography defending himself titled "life on two legs". anyways), "was the fin on your back part of the deal? shark!", and "insane, you should be put inside / you're a sewer rat decaying in a cesspool of pride". this song fucking rocks. three more underappreciated gems from this flagship album are lazing on a sunday afternoon, which is short but oh so sweet, seaside rendezvous, which is heartwarming and upbeat, and the prophet's song, an eight-and-a-half minute-long behemoth (yeah, you thought bohemian rhapsody was their longest song? you ain't seen nothing yet) about the biblical apocalypse that absolutely fucking slaps and makes you want to shake your fist at god. would recommend!!! i don't have much else to say about this album. it's an all-in-all really cohesive and well put together record that gets an unfair amount of focus put on its most famous song when it's got lots more to offer besides that. i like it!

-jazz: a delight through and through! the ones you're bound to know from this one are fat bottomed girls, bicycle race, and don't stop me now, which all rock, but i think it has a really steady groundwork of less well known songs holding it up besides the megahits. my personal favorite is if you can't beat them, another john deacon jam, but not about love this time- instead, it's about people trying to take your money. fun times! it's genuinely so fun to sing. i also like mustapha, though i can't really sing along to it since most of it's just gibberish (side note, it's really funny how freddie mercury clearly saw the opportunity to write a vaguely persian-sounding gibberish song that didn't actually mean anything but that would be believable to the average white person as meaning something in part because of his parsi background, and took it. get it king fool us we are stupid). jealousy is another really nice mercury piano ballad, and helps give the whole album a nice smooth, confident feel, as do songs like dead on time and leaving home ain't easy. the whole record gives off a very nonchalant "yeah, i know i'm cool, what of it?" vibe, but not in like an obnoxious way- in a completely deserved way. you can tell that they've really become confident in their style as a band by this point in their careers from the way every song fits together like puzzle pieces. they all sound so right!

-the miracle: this one's interesting. their third-to-last album, the miracle was released in 1989, around the time when freddie mercury's aids was beginning to take a turn for the worse, and i believe the first album written after his bandmates had found out about it. as such, it marks queen's first major forays into reflective songs about life, death, humanity, the impermanence of beauty, and abstract subjects like that. the eponymous single "the miracle," for which the album is named, is the perfect example- freddie mercury's (and the band's as a whole, but the chords were primarily mercury and deacon) declaration that there are miracles even in the smallest things in life, that everything in the world is beautiful, that one day we'll all get over ourselves and achieve world peace. you have other songs like that, too- scandal, written by a frustrated brian may annoyed at the tabloid press' hounding of his own declining marriage and the ailing freddie mercury, with some genuinely good lyrics ("today the headlines, tomorrow hard times, and no one ever really knows the truth from the lies"), and was it all worth it, written mainly by freddie mercury, asks just that, and concludes that in the end, everything that's happened has been for the best, and that the singer wouldn't change a thing. so all in all, the miracle is in concept a very good album- it's just such a shame that i only really like two of the songs on it. lol. i'd like to like the album as a whole, but... i don't know! although i recognise that it's objectively good, most of it doesn't do much for me. two songs i adore, however, are rain must fall and breakthru. rain must fall is a fun, cleverly written collab between freddie and john, who i would say are my two favorite songwriters in the band overall, so it really works marvelously well. breakthru is a primarily roger taylor-written piece that doesn't have the deepest lyrics ever, but the chorus is really really good- freddie mercury reaches a heavenly high note in the second chorus that reminds you with a start that oh yeah, this guy has a four-octave vocal range and can sing as a baritone, a tenor, and even practically a soprano if he wants. insane. this album also features a decision of the band's to credit all their songs to the band as an entity instead of the individual members who wrote them, taking away some of the competitive nature and making them closer as a group. it's a nice show of collaboration and teamwork! again. i want to like this album better. i really do. but aside from the ones i listed above and the invisible man, most of it's just okay. i wouldn't not recommend it, though. different tastes for different people.

-made in heaven: ohhh this one. this one. their last album as queen, released years after freddie mercury's death and made up of songs he had recorded vocals for before death without instrumentals because he knew he wouldn't have time to wait for the rest of them to play all together. as such, it's... an emotional record. most of the songs are about the impermanence of youth and beauty, such as it's a beautiful day and a winter's tale (which i believe was the last song freddie mercury ever wrote), which both exude a sense of peaceful finality. they give "i'm satisfied, and i'm ready to go." it touches me deeply when i think about it- i only wish the actual songs did the same. there are some really good ones, of course- mother love is a classic, with the final verse being sung by may because mercury died mid-recording- and that vocal change really really adds to the turbulent, haunted atmosphere of the song. as far as i know, that's one of only two queen songs that share two lead vocalists with relatively equal amounts of singing time (the other one is the tribute song they wrote for freddie after he died. so.). it's really powerful, and even at death's door, freddie sings his fucking heart out and delivers some spine-chilling vocals ("i don't want pity, just a safe place to hide! mama, please, let me back inside..." haunts my dreams). too much love will kill you is another favorite- it's passionate and emotional and i was legitimately shocked when i found out it wasn't written by freddie. you will see why if you listen to it. all in all, made in heaven, like the miracle, is so so fucking good as a concept, but in reality, i can only really get into one or two songs. i love the vibes, though- peace and love and finality and acceptance and hope.

-news of the world: this one's okay. it's not BAD, by any means- most of them aren't- but it's always felt very generic rock to me personally. to be clear, i'm kind of biased, since i like their more unusual stuff. this is a big album. it's the one with we will rock you and we are the champions, for god's sake. and there ARE songs i like on it- john deacon's classic songwriting shows up again on the tango-y who needs you, which is very sweet both lyrically and musically, and it's late goes so fucking hard and stirs definite emotion in me. it's got good stuff- ballads as well as their typical rock tunes, and all recognizably distinct from each other. i love the album art, and everyone does a great job individually and produces some great work, but if you like their more eclectic work, i wouldn't say this album's for you- it's much more down-home type rock.

-innuendo: their second-to-last album, and the last one freddie mercury was alive to record. despite being sandwiched between two melancholy albums focusing on life and death and acceptance, this one takes a break from that- it gets a little experimental with it, with tracks like innuendo and bijou being the best examples. of course, the best songs on it are i'm going slightly mad and these are the days of our lives, which are also the most famous ones- i'm not pretending to be unique here. honestly, it's not my thing- the album art's cool, and the funky, more electronic vibes are nice, but other than the aforementioned two songs, none of it really makes an impression on me. delilah's sweet, though. sometimes you just gotta write a song about your favorite cat who you love so much even though you have like six. freddie mercury was so real for that

-queen ii: i'll be honest, their really early work is not for me. it's far more folky and has a recurring fantasy theme to it, with songs talking about fairies and ogres and rats and the like. freddie mercury's vocals are a bit higher in a couple songs, giving him kind of a fey-ish sound, so i guess i like that that works with the theme. i do like one song from this record- funny how love is is a very sweet little ditty about love in all its forms, and it's where i get my url. march of the black queen is also interesting, though it runs a little long for my taste. this is from the time where they were still figuring out their style as a band, and though you can tell they had fun with it, it obviously didn't really last past the third album. on the whole, it's fine. nevermore is fine. some day one day is fine. funny how love is is very good. i approve! but i don't really like listening to it all the way through.

-a kind of magic: ehhhh. the two albums that immediately follow and precede this one are both better (the miracle and the works respectively). it's got a specific sound to it, but i can't really explain it- i don't have the fancy music words. you have to listen to it to get it. the only track i really like is friends will be friends- it has a nice guitar riff and it's about friendship, so of course i approve. i honestly don't have much to say about this one. at the very least it stands out as audibly its own album and clearly distinct from the others (but again, for the life of me, i can't explain how. it's not super electronic or disco-y, but it's not old-fashioned heavy rock either. it's a nice blend of the two). the song a kind of magic itself is nice, but not really nice enough to get this album a higher spot on the list. sorry besties this one just isn't it :(

-queen: again, from the era where they were really into the tolkien stuff. it's a small album. it's all okay. i have nothing to say about it. they have a song about... jesus. cool. at least keep yourself alive is good. now that's got staying power! it shows hints, i think, of how the band's sound will develop in the future, and it's still nice to listen to. yeah!! we SHOULD keep ourselves alive!! other than that, though, entirely unremarkable album. sorry

-the game: okay i. i'll be honest i don't get the hype. this one seems to be generally pretty well-liked and i don't get why. is it because it has another one bites the dust (once again courtesy of our man of the hour mr deacon)? like what else has it got? crazy little thing called love? i'm sorry i really don't get why that song's so beloved. it's fine! it's a normal rock song! nothing special! and yet it's somehow my uncle's favorite queen song. the only song i actually kind of like from the game is need your loving tonight (john deacon again! he does not miss), but it's not quite enough of a saving grace to bump it up to third from last. it's even more generic rock than news of the world. maybe i just need to listen to it again, but last time i did, i found nothing at all interesting about it. i liked need your loving tonight, but that's it. however, it still isn't as bad as

-hot space. you knew this one was gonna be last. you know under pressure? that awesome fucking song about societal divide and how we need to reach out to others and open our hearts to fix things but we're scared of that vulnerability deep down? yeah, great song, right? well, the rest of the album kinda sucks. SORRYYYY i'm sure it's to some people's taste but it's not at all what you want from queen. it's entirely electronic disco 80s funk- which isn't inherently bad, just... again, not what queen fans want to listen to, generally. in fact, it caused such discord within the band that they all split up for like a year and took a break from each other because they kind of all hated each other for it for a while. then they came back and produced their best album, the works! so that makes up for it :3 this album is still. not good. though. the songs all sound the exact same, and it's not even a good sameness. it's the exact same bland 80s disco song over and over again. there are one or two glimmers of hope in there- las palabras de amor is a nice effort, as is life is real, freddie's touching tribute to john lennon, and brian makes a nice attempt at some social commentary with put out the fire, a song about gun violence. the lyrics aren't really thought-provoking, just kinda "aren't anti-gun law people stupid?", not really the most revolutionary stuff in the world, but it's kind of fun anyway. very sad that the actual melody is not interesting in the slightest. if you are wondering why queen suddenly decided they were all about disco in 1980, well, it's in large part because the album was heavily influenced by freddie mercury's then-manager (boyfriend as well? i think? he was in the movie but they could've made that up) who hated rock and loved disco. why they let him convince them to make this album i cannot figure out. hot space 1980 why. your best song is one that wasn't even written for you. under pressure was written like a year before they got any ideas of r&b or dance music in their heads and it shows. thanks but no thanks

#i've wanted to make this for a while now #it features what i hope is enough background info for non-fans to understand as well!

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fantastickkay · 1 year ago

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Album Review of the Week: Lali - Lali (2023) ☆☆☆☆

Funnily enough, I found out about this album from the Britney sample in its single "Obsesión". It was reposted on several Britney fan Instagram accounts and as a fan of Britney and Spanish music, I ran to play the entire album.

Argentinian singer Lali teamed up with a couple of producers and set out to create an Argentinian pop album, which they had felt never been done before. The style is inspired by Max Martin and his hard-hitting early 2000s pop music (Backstreet Boys, *NSYNC, Britney, etc). The album cover is even inspired by Avril Lavigne's Let Go. They definitely achieved what they had set out to do because this album is fantastic!

The entire album has a high energy that does not falter, even during the downtempo tracks. The beat keeps pulsating throughout, and it is full of innovations while throwing it back to the music of yesteryear.

Obsesión has a really cool guitar intro, the hard-hitting beats and a twirling instrumental laid on top - not to mention that awesome Britney sample taken from (You Drive Me) Crazy (The Stop! Remix).

Quiénes Son? is one of my favorite tracks, I love the creepy crawly vocal melody. I'm not really sure if it's technically a chorus, but there is a quick vocal bit that does repeat however with different lyrics. That is really fun as well! The title translates to "Who Are They?" and is an ode against online hate culture.

Diva is a downtempo R&B track that discusses the pitfalls of becoming someone defined by the term "diva" to the public and names some other famous divas such as Britney and Cher. This a great track and I definitely clocked the early 2000s-like single beat right at the end of the track, sort of like the end of Baby One More Time.

Motiveishon is another standout track. It is a mainstay on any workout playlist of mine as it not only discusses motivation, but also has the driving beat to back it up and keep you moving! Normally, I really dislike male vocalists and rappers with my divas but I feel like the person featured in this track definitely adds some edge!

Unfortunately, I have yet to procure a copy of this disc. The original images are sourced from Discogs.

#album review #lali #2023 #2020s #new music

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numetaljackdog · 1 year ago

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what i'm listening to 6/8/2023 (song notes under cut)

spot. link//yt link

Laura Les - Haunted: haunted. by laura les.

Death Grips - Hacker: nothing super unique to say about it other than that it's genuinely just one of the best songs. like probably ever. we know this

Limp Bizkit - Clunk: smiles. it's me. clunk is nowhere near my favorite song on three dollar bill y'all but it's like. the best of the bad songs. it never could have been a single bc it doesn't have the strength and the hook is wimpy as fuck but i have fun with it :) i like the part where fred says clunk a bunch of times and i like the breakdown :) come closer i am normal about this album

Ada Rook - TRU U (Live at ELECTROPUNKz 2023): ah, rook's performance at electropunkz. another thing that i am normal about. i believe i've professed my love for the album this song is from before, so i'll save that ramble, but i had a lot of fun with the live ep here. and tru u is such a fucking banger i love every second of it, from the silly anime sample at the beginning to the little pause in the last chorus where the word "death" intrudes. i've said before: ada rook makes the music that i wish i made. this remains true

Danny Burstein & Jessica Hecht - Do You Love Me?: i've had Theatre on the Brain for the past week or so, which led me to listen to the soundtrack to a show that my high school did (although i didn't work on that show myself, i knew people who did). fiddler on the roof is a good show imo, and while i don't really feel qualified to talk about some of the more complex subject matter of a lot of the play, this song is relatively accessible and also drives me a little crazy. i just can't get over the careful, straight-faced profession of love between two characters who never considered before that their marriage might be anything more than a practical and social necessity. it's a tribute to the fact that sometimes love is unglamorous, sometimes it's really as bland as spending all your time with someone just because they're there and while that might not be the fairy tale we all like to imagine, it doesn't make the love worthless. tevye and golde SAY that it doesn't change a thing, but i don't think we're meant to believe them. it doesn't change their often grim material lives and daily realities, true, but i like to think that knowing there's love between them will make the rest of their days just that tiny bit sweeter. i'm so normal about this

Nirvana - Pennyroyal Tea (Live on MTV Unplugged): links to this post. it's just so crazy to me. we had five or so years of kurt cobain screeching the most agonized poetry the music industry has ever seen, cutting through the bullshit of shiny happy pop music and voicing the blood and death and sickness of an entire generation, and now they're just remembered as that one old band who did the song you hear people playing at guitar center. i command of you. actually really listen to this band, take the time to go through some deep cuts, listen to the weird little eps and bonus tracks and shit. there's so much to uncover. this song came on shuffle at one point and i just was floored by it all once again, so it's here as representative of the sentiment

Cab Calloway - St. James' Infirmary: i've been obsessed with an old betty boop cartoon that features this song, which i put in the youtube playlist. you might have seen a clip from it making some rounds on tumblr, but the full thing is worth a watch. cab calloway was known for his flamboyant performances, but all that energy takes on kind of a dark, unsettling tone when placed in the context of the moderately-fucked-up cartoon. good stuff

Billy Joel - Movin' Out (Anthony's Song): i've never been much of a billy joel fan but i've felt the need to explore more of his stuff after getting into this one. it came on the radio in the car and i was on an easygoing road so i got the chance to really LISTEN to it, y'know. like i've probably heard it in passing a million times, and my dad and i would always make fun of the "heart atTACK ACK ACK ACK ACK" part, but when i really listened to it... it's a damn good song! got that earnest, heart-aching singer-songwriter realness. who knew!

Skee-Lo - I Wish: TWO new todd videos since the last WILT, so you know that shit is making an appearance. i genuinely really love this song, i think it's so fun and creative with an *amazing* sample, i kinda wish skee-lo had gotten a little better than he did. you should follow my nu metal tournament blog, because i'm gonna put a bunch of other non-nu metal polls up when the bracket's done, and skee-lo is gonna make an appearance. i need more skee-lo warriors, basically. that rabbit in a hat thing is bullshit though

Caravan - The Dog, The Dog, He's At It Again: this is a find from charlotte charlottan's "Intro to Prog" playlist that i immediately fell in love with. it's so floaty and lovely, while managing to both gesture towards a wide variety of themes AND be catchy as all hell. it's good song, basically. i know nothing about caravan so that's basically it, but it's even got dog in the title :V

Parkway Drive - Boneyards (Live): it doesn't technically count as a repeat bc this is the live version!!!! i just love this shit so much. relistening to horizons after having not heard it for so long was such a breath of fresh air (this was like 3 months ago and i'm still talking about it lmao). i love the big stupid breakdown so much, boneyards has nearly permanently entered my rotation of songs to imagine myself performing. i also just love to imagine like. picture going to some punk or metal festival around the time horizons came out, and parkway is there, and your buddy is like yooo come on we GOTTA see these guys they fuckin kill live. and you're maybe not really familiar with them but you figure it's worth checking out. and they play this song and you're like damn yeah this is pretty good. and then the fucking breakdown happens!!!!!! i feel like you'd just be standing there and realize wow. i'm going to die in this pit. and that's really the feeling i'm pining for

Scatman John - Scatman's World: now some of you in the crowd may be familiar with our friend the scatman.... i've personally had my eyes opened to a whole slew of scatman hits that i never even knew about thanks to the enthusiasm of local scatman expert violet gec (hi violet!!!!!) and although this particular track is one i already knew of, i expect a lot of you might not know it. go ahead and take a step into scatman's world, baby! it's a beautiful place! and also the song will get stuck in your head despite your inability to mimic the sounds he makes!

underscores - Count of three (You can eat $#@!): i'm a pretty casual underscores fan, i just know songs here and there, but i do really like what i hear. count of three is SUCH an earworm, and i love a good "fuck you" song when it's done correctly. i also just appreciate the quality of the censoring job in the title. it's not perfect but there's effort... a lot of people just pick four random characters but here, $ obviously looks like S, # is similar to H, and so on. these are the kinds of things i think about

Bring Me The Horizon - AmEN!: continuing to ask the question of "what the hell are these guys doing ever and why does it sound good." first of all, we have to address the lil uzi feature. that makes... two? i think it's just two fuckin international pop stars that bmth have collaborated with. i mean, i know uzi is a rapper but considering rap's dominance in the pop sphere and their sheer popularity, i think i'm justified in calling a pop rapper a pop star. it's been said to death, but it's just crazy that these guys have become one of the biggest rock acts around considering where they started. as for the song itself, it's not like... my favorite? but it's cool, it's catchy. i don't find their lyrics nearly as impactful now as i did when 1. i was younger and 2. they wrote about suicide and nihilism and shit all the time. i guess the themes are still dark but it all just kinda washes over me now. i'm just here for the heavy heavy and the big chorus, and that's what i got. so i'm happy :)

Everclear - I Will Buy You A New LIfe: as you may have seen, i had a big sappy emotional moment for a few days at the end of last month, and that had me returning to my roots. post-grunge. a genre with no shortage of lame pop rock relationship tunes, including this one. i even made a playlist of sappy songs, of which this was one. i just like the idea of pledging all these expensive things to someone you love, but doing it as kind of a joke. like the sentiment is real, but you both know that's never gonna happen, because all you really have to offer is yourself. and hopefully that's enough. it's like if two princes by the spin doctors was less fun. i fuck with it mildly

Third Eye Blind - Jumper: that's right folks. not one, but TWO mellow and corny 90s rock tunes. i have nothing to say about this song other than that it's pretty good and, more importantly, you should watch the most recent trainwreckords video (told you we'd get both todd videos in here). i've even conveniently included that very video in the youtube playlist :) DO IT

Kesha - Eat The Acid: i listened to and enjoyed the new kesha album, but this single was definitely the song that stuck in my mind above all the others. it just made such an impression. even in her current era, i don't think i or anyone else expecting... this. it's very psychedelic, and while it doesn't completely deviate from pop by any means, i think it's a pretty bold step for her and i hope it pays dividends. i would be 100% down for more strange experimental kesha, i wanna see where this goes

Tina Turner - What's Love Got to Do with It: tina turner is featured on two WILTS in a row... if only the circumstances weren't so unfortunate. as i'm sure i said last time, she was a fantastic vocalist, and her biggest hit here gave her the space to really holler. i thought it was fitting as well to put this song right next to eat the acid, as both are the returning singles of women finally casting themselves free (or at least attempting to) of the figures that tied them down and abused them in the music industry. What's Love might reek of the 80s, but it's the good 80s. and for the record, i went back and listened to the full album and found a lot to like about it. RIP to a legend, for real

Roxy Radclyffe - YOU'RE GOING TO LOVE ME: another song whose presence is moreso indicative of a broader listening trend. i've been really interested in this artist's work recently, although i haven't had the opportunity to really dive headfirst in yet. i discovered her through a rym/bandcamp rabbit hole and was fascinated by the quanitity of projects she has running. i would recommend checking out her neocities and poking around, i've found some interesting stuff so far. definitely the kind of thing i think my crowd of oddballs on tumblr dot com could enjoy

#damn this one's long #*char noises*#talking pop

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rainydawgradioblog · 2 years ago

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boyGENIUS!!!!

boygenius, a superstar trio of indie artists including phoebe bridgers, julien baker, and lucy dacus, recently released their debut album, and it is truly nothing short of genius. in a moment that was about as culturally significant to me as the signing of the declaration of independence, these three women utterly changed the course of my life and the lives of thousands of other melodramatic girlies. this lil post, despite being a healthy 3-ish weeks after the actual release of the record, will compile some of my standout thoughts on each track of the album. hope you enjoy! ;)

1: without you without them

one thing about me, i LOVE some boygenius harmonies. in a similar manner as my beloved favorite track from their 2018 EP, ketchum ID, without you without them provokes a deep sense of peace and emotion combined. “speak to me, until your history’s no mystery to me” is the cutest cleverest little lyric. the perfect opening track.

2: $20

0:01 seconds in, any seasoned boygenius fan immediately goes “julien!!!” her signature heavier guitar and drums sets her apart from the jump and creates the catchiest hook. plus the screaming at the end?? oh my god??? (that video of phoebe recording I KNOW!!!!! YOU HAVE!!!!! 20 DOLLARS!!!!!! has actually not left my head since i saw it)

3: emily i’m sorry

i will forever be unapologetically weak in the knees for phoebe bridgers. she captures so many emotions so beautifully in this, between loving someone so much it destroys you and feeling completely out of control of your life. i love the progression between “i can feel myself becoming someone only you could want” and “i can feel myself becoming somebody i’m not, i’m not” between the two choruses.

4: true blue

more songs about platonic love!!!! PLEASE!!!! this track is devastatingly adorable. “i can’t hide from you like i hide from myself,” is the perfect lyric to make you think of that friend who will tell you that you don’t have to say “its ok” when you’re miserable over something. the bridge also makes me feel like i’m floating. i love lucy!!!!

5: cool about it

WOW. unquestionably in the top three, immediately. i’m a sucker for a boygenius song where they all have equal verses (souvenier-esque) and this one HITS. i’ve seen so many different interpretations of this one, including but not limited to: 1: the feeling of knowing an old friendship is slowly drifting apart, 2: a heartbreak that you swallow and smile through for the other person, and 3: clinging to someone that you know is bad for you because you can’t imagine yourself without them. all of them are so fitting, and i find so much beauty in the open-endedness.

6: not strong enough

LUCY AT THE END. LITERALLY JUST. LUCY’S PART AT THE END.

makes me go actually crazy every time. they ate this one up. a depressing song in an upbeat major key melody is an incredible combination. sneaks up on ya.

7: revolution 0

this is such a genuinely beautiful song. another one where they just nailed the harmonies. “i used to think if i’d just close my eyes, i will disappear” reminds me so much of “i used to think you could hear the ocean in a seashell, what a childish thing” in phoebe’s single “sidelines.” definitely a lie on the floor and ponder existence while tracing the cracks in your ceiling type jam.

8: leonard cohen

i love a short little song. and this is a fantastic one. “i am not an old man having an existential crisis at a buddhist monastery, writing horny poetry, but i agree” is incredibly boygenius-coded. their tendency towards the occasional silly little lyric is something i can always get behind. my favorite fact about this one is that the story at the beginning is 100% true-and that phoebe was the one driving the car.

9: satanist

as the text that my best friend sent to me at the release of the album reads, “satanist BANGS” and it’s true. satanist does in fact, bang. another distinct julien standout, it provides a sick little head-bangy intermission to all the introspective, staring-at-the-ceiling pondering. “will you be a nihilist with me? if nothing matters, man that’s a relief” has got to be the realest thing i’ve heard in a minute.

10: we’re in love

dunno if this song has too much of a tinge of sadness to be my first dance song at my wedding…..but i certainly want it to be. i’d have to claim this one as my favorite from the album. everything about it is just stunning, from the lyrics and the story they convey to the vocals and simple instrumental backing. the verse about finding each other in the next life actually made me tear up in the public record store where i first heard the album. “i can’t imagine you without the same smile in your eyes, there is something about you that i will always recognize” ARE YOU KIDDING?!! so heart-stoppingly beautiful.

11: anti-curse

i’d love to drive down an empty highway with this song playing. there’s something so magical about a song that has a dramatic build-up, and there’s nobody that does a dramatic build-up better than these three right here (shout out not strong enough again). the instrumental swells at “i guess i did alright considering” and “i’m swimmin back” feel like such a true release of emotion, you can’t help but feel it alongside the band.

12: letter to an old poet

INSANE. easily a standout track, between the parallel to the past “me and my dog,” from the band’s debut EP, to the gut-wrenching lyricism delivered in phoebe’s smooth vocals, it’s seriously unforgettable-especially for old fans of the band. “and i love you, i don’t know why, i just do” is a poignantly simple capture of a feeling we’ve all faced at one point or another. the combination of love, hurt, and rage is such an intriguing combination and draws the listener in from the first moment. also a BIG fan of “you don’t get to tell me to calm down.” remember to never let anyone invalidate how you feel, my friends. and also remember to…

STAY COOL!!!!!

K-MURPH

listen here:

#Spotify

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cryptic-rainfall · 1 year ago

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So I've been putting together this playlist (shameless plug for my playlist here) in response to my phone getting stolen a year ago, which triggered probably the worst, most intense depressive episode I've ever had. Like I was standing on the edge of a cliff bad. Making a playlist to "commemorate" that time you were super depressed doesn't really sound like a good idea, but I've been trying to use it as a way to work through the trauma of it all. Mostly it's songs that I heard on the radio on the drive to and from work, plus a couple songs I heard on repeat to stave off the insanity. There's a lot of Marina and Green Day on there because I have those on CD, easy to turn on without having to think about what I wanna listen to.

Anyways, I thought very long and hard about including Green Day's Wake Me Up When September Ends on the playlist, because of how well it captures the feeling of grief. I ultimately decided against adding it, a little because my bad depressive episode started when September ended, ironically, but mostly because I didn't want to compare the loss of a cellular phone with the loss of a close family member (I know that grief exists for many things and you can grieve deeply and heavily for objects or your own life even without death or someone close to you dying, but it still felt disrespectful).

However, I do wanna talk about how accurately I think Wake Me Up When September Ends depicts grief (because over-analysis of music is what I do for fun for some reason, and dealing with grief has been a big Thing for me this past year in general). The song starts off with soft guitar, soft vocals, and not many instruments. Grief starts quiet sometimes, like the processing time? I think it's also important to note that the song that comes right before this one in the album (Side note: Green Day is incredibly good at constructing albums, the way they sequence and connect their songs in an album is phenomenal, that is it's own post entirely however.) is Letterbomb, which is very upbeat, and the contrast in tempo and lack of instruments that comes at the start of Wake Me Up When September Ends makes you just sort of sit in the quiet that the song starts with. Sit with the grief.

And the whole first verse has that soft guitar and quiet lack of background instruments. I'm not gonna go crazy over lyrics, I'm sure a million people have more to say on it than me, but I do love the themes and imagery. "The innocent can never last" - no one can remain free from grief. "Here comes the rain again, falling from the stars" - idk I just really love this. You don't see stars when it rains, and the slight disconnect draws me deeper into the imagery here. "Drenched in my pain again, becoming who we are" - I also really love the imagery of soaking in grief, drenched is really such a great word choice here. And then "becoming who we are," this idea I think is a hard one to come to terms with when it comes to grief or bad things in general. That grief is a part of you. All your experiences go into you, into this process of you becoming yourself. That process never stops, and it's especially hard when grief or loss change you, but also other things will change you too. Bittersweet. "As my memory rests, but never forgets what I lost" - I think it's interesting here that it's the memory that rests, not the person who passed. You don't forget your loss, but your memory of it rests.

After the first verse, the instrumentals pick up a bit and the second verse is very similar to the first vocally, but the instrumentals are more intense. Grief isn't always quiet, a lone tear running down your face. When you really start to process it, it gets intense. I also love the contrast of spring and summer, and then the end of September, nice little touch.

After the second verse there is a longer instrumental bit, the music swells, and then pulls back to the soft guitar, transitioning us to the third verse, which is literally like the first few lines of the first verse with two notable differences: 1) instrumentals come in bringing the intensity up after the first line, 2) instead of 7 years, 20 years has gone so fast. Whenever a song does a repeat line but changes one (1) word, it literally drives me crazy, that shit is so good. I still grieve about things from when I was a kid and sometimes it blindsights me, like why am I crying about a friend I haven't seen since I was 8. It also really brings out the "gone so fast" aspect, by the end of the song we've gone from 7 years to 20 years.

I didn't talk about the title lyric from the song, "wake me up when September ends," because that's pretty well documented I think (for those that don't know, Billie Joe Armstrong wanted sleep through September after his father died). It is a very good line in the song though, grief is like that. It wasn't until Halloween/Nov. 1 of last year that I felt ok for even a moment. Grieving periods are obviously different per person but it was nearly exactly a month for me, when the first rains came, that I had a moment that wasn't agony.

Very last note, this song transitions beautifully to the next song, Homecoming, it puts you in this morose moment which is a great place to start the next song, tone-wise. I have no ending so :3

#grief #depression #music analysis #green day #as much as I want to. I'm not proofreading this shit #here: have what should be a journal entry + naive music analysis #this would be like a 15 year old's video essay #this isn't a jab at video essays made by 15 year olds btw #if I had the mindset I did at 15 and wanted to attach this to my voice/face then this would absolutely be a video essay #anyone concerned about the first paragraph in particular: I better now #still working through grief and Other Stuff but like. I'm not constantly in misery the way I was a year ago

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therecordconnection · 2 years ago

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Ranting and Raving: "the BLACK seminole." by Lil Yachty

youtube

"It's like he downloaded the entire Pink Floyd discography into his mind and synthesized all of it into seven minutes. This is absolutely incredible."

That was my thought the first time I heard "the BLACK seminole.," the opener to Lil Yachty's newest album, Let's Start Here. "Lil Yachty makes psychedelic rock" is yet another surprise I can add to my growing list of "Unexpected 2023 Events."

It was the kind of song that once you hear it, you're blown away and you immediately start texting all your friends about it. I certainly did. The best way I can describe this song to people is that it's a perfect synthesis of everything Pink Floyd did in their career. It's all here. Guitars and soloing that sound like David Gilmour himself wandered into the studio. Grooves that are reminiscent of "Echoes," "Breathe," and the instrumental section of "Pigs (Three Different Ones)." Keyboard work that sounds ripped straight out of "Us and Them." An ambient section in the middle that brings to mind stuff like "A Saucerful of Secrets" and the intro to "Time." Diana Gordon's vocal runs during the second half of the song are pure "The Great Gig in the Sky." If any second of this song reminds you of something Floyd did, you aren't crazy. Yachty is very clearly a Floyd fan and he did his homework when it comes to making a track like this. It's absolutely stunning.

And yet... the more time I spent with it, the more I found the shine and the sheen had started to dull. Around my seventh or eighth listen, the flaws began to show more and more. I struggle with whether I still love this, and by extension, the rest of Let's Start Here.. I'm gonna do my best to try my struggles with this.

So, let's start here. (HA!) Musically, this song scratched just about every itch for me. With Pink Floyd being one of my favorite bands, it was easy for me to fall in love with this right from the drop. All the little moments that reminded me of Floyd songs kept me engaged and left me wondering how the hell Yachty pulled this off. But there's one problem with this song: it didn't leave me hungry for more Yachty, it just made me want to go back and re-listen to some Floyd that I hadn't gone back to in a while. "the BLACK seminole." is a great song, and it certainly did its job in terms of getting me to pay attention and listen to the rest of what Let's Start Here. offers, but I find it suffers from too much imitation. Yachty doesn't experiment or push the boundaries of psych rock, he just recreates one of the genre's most important bands. Even beyond this song, other songs on the album suffer from this too. "the ride-" sounds like a discarded Tame Impala track at points and "drive ME crazy!" has a cool disco and soul vibe to it, but in the same breath I would tell you anything by Silk Sonic or anything Kali Uchis has done herself or with Tyler, the Creator shines brighter.

When I say this song didn't leave me hungry for more Yachty, it's because I would argue he's the weakest element of this entire song. It's clear that he enjoys this music and it's clearly the music he now wants to make, but that doesn't exactly mean he's up to par when it comes to performing it. It's been a hot minute since I've encountered a song where the music absolutely outshines its performer. Yachty's stiff and heavily processed vocals end up being a detriment to him as he never really stands out. You could replace him with anybody and the song would remain the same, which is a shame because I think lyrically this song stands out and it's pretty strong and introspective, especially if you're someone who hasn't kept up with Yachty since he gained a lot of popularity back in the late 2010s.

Now, you may be wondering, "What is a Seminole? What the heck is a black Seminole for that matter?" For our purposes, all you need to know is that the Black Seminoles were a group of free blacks and runaway slaves that joined forces with the Seminole Indians in Florida from around 1700 through the 1850s. Specifically, the Black Seminoles were able to help their Native American brethren through their knowledge of the language and culture of Euro-Americans as well as their military prowess (that's what the lines "African Rambo with more ammo" and "The Black Seminole, a head general" are referencing.) If you're interested in knowing more, you can find more info here and here.

Lyrically, Yachty likens himself to the Black Seminoles and uses them as a metaphor for his own creative endeavors. The Black Seminoles escaped slavery to create their own culture, which is similar to Yachty escaping "Soundcloud Rapper" label try and create his own unique sound with psychedelic rock. Your mileage may vary on how well this works.

It's a good metaphor and it's definitely something that's out of left field for Yachty. If you're someone like him and you've been longing to be taken more seriously as an artist, writing a psychedelic rock song about an Afro-Indigenous group is a good way to go. And being taken seriously is the entire reason Yachty has taken the direction he has with this.

At a surprise listening party for the album, Alphonse Pierre's review on Pitchfork quoted a statement Yachty had made: “I really wanted to be taken seriously as an artist, not just some SoundCloud rapper or some mumble rapper.” Pierre then writes, "This is the speech rappers are obligated to give when it comes time for the drum loop to take a backseat to guitars, for the rapping to be muted in favor of singing, for the ad-libs to give it up to the background singers, and for a brigade of white producers with plaque-lined walls to be invited into the fold."

What's clear to me, is that Yachty wants what Tyler, the Creator got when he made Flower Boy, Igor, and Call Me If You Get Lost. All of them successful albums made by a guy who got big making weird, offputting, almost silly rap (early 2010s/Odd Future era) only to later transition into a more genuine and more experimental artist. Playboi Carti also ended up getting that same acclaim with Whole Lotta Red. The difference between these men and Yachty, however, is that neither Tyler nor Carti completely abandoned the sounds they had already made. Rather, Tyler and Carti were simply pushing the envelope of their previous sound into new and more experimental avenues. Neither sacrificed their identity, Yachty does and it's very obvious. Then again, Tyler and Carti have also enjoyed more respect than Yachty ever got, as Yachty was often pointed at and blamed for everything wrong with modern rap (Pierre cites guys like Pete Rock, Joe Budden, Anderson .Paak, Kendrick Lamar, and J. Cole as guys who criticized and singled him out).

Pierre nails exactly what makes me feel conflicted about what Yachty has done on this song and the rest of the album when it comes to what kind of "respect" Yachty is after:

The respect Yachty is chasing on Let’s Start Here. feels institutional. It’s for the voting committees, for the suits; for Questlove to shout him out as the future, for Ebro to invite him back on his radio show and say My bad, you’re dope. Never mind if you thought Lil Yachty was dope to start with: The goal of this album is to go beyond all expectations and rules for rappers.

Everything about "the BLACK seminole." starts to change when you begin looking at this song and the album as Yachty attempting to chase acclaim and respect he's never gotten. I can't be angry about it, because it worked. Here I am, writing a post about Lil Yachty, somebody who doesn't really interest me as an artist but found a way to make something that feels like it was tailor made for me and get my attention. It worked, but I don't think it'll work for much longer. Like I said before, the shine and the sheen had started to dull after more listens and Yachty's flaws and weaknesses began to creep in more and more.

I already spoke about how lyrically, the song's topic and focus on the Black Seminoles makes for an interesting song, but it doesn't feel like it was really a Yachty idea beyond the initial metaphor. This is to say that I think the words sound a bit disingenuous, because I don't believe Yachty penned them. The guy who is infamous for stupid bars like "All my bitches come in pairs like balls in my nutsack" or, even more infamously, "My new bitch yellow / She blow that dick like a cello." I would be remiss if I didn't mention that Yachty was confused about that because, "I fucked up. I thought Squidward played the cello. He don’t. That’s a flute. I fucked up. But it do sound good." It would... if Squidward didn't play the c l a r i n e t !

I don't want to come across too mean, especially because people grow and change and are always capable of getting better at writing, but forgive me if I find it a bit hard to believe that the lyrics to this song came from the mind of Yachty. I want to be optimistic and believe that he penned the lines, especially because if he wrote the line, "Love is not a lie, it just feels like a Tarantino movie scene," he should be damn proud of that one.

Do I still like this song? Yes. Very much. I can recommend it and I can say that the rest of Let's Start Here. might end up surprising you in some fun ways. Yachty is clearly trying to go for something different with this song and the album. I always appreciate an artist stepping out of their comfort zone and trying something new, but sadly, I think Yachty ends up missing the mark by a hair and ends up coming off as more of an imitator than an innovator. But if this is where we're starting, I can at least happily say I'm interested in where we're going. This song and this album ended up surprising me and while I'm not 100% head over heels for it, it certainly was unexpected and that's something that makes following modern music fun for me.

At the close of the spoken word piece ":(failure(:," Yachty offers this gem of wisdom that I think is worth keeping:

Oh, man, failure, that took time to understand, you know? Like, failure doesn't mean defeat, more so, like, "Try again, shit, try even harder" Revise your steps and rewrite your future Failure to me isn’t, like, always a negative thing, more so, more so, like, just a way to relook at things You know, you never know how close you are to success

"Revise your steps and rewrite your future." That's good advice for any artist. If you find something isn't working, revise your steps and rewrite your future. If Lil Yachty can do it, there's hope for all of us.

Ride on against the tide, lil boat. Let's start here and let's keep going.

#original post #ranting and raving #lil yachty #let's start here.#music essay #music criticism #Youtube

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dollarbin · 3 months ago

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Shakey Sundays #34:

Archives 3: Takes

I've gotta say, Archives 3 is underwhelming so far.

Now, of course, I'm experiencing it in true Dollar Bin curmudgeonly style: I've got my hands on a digital copy of the sampler Takes collection and that's it so far. Unless one of you gifts me the yet-to-be-released $800 vinyl version of the whole thing, I frankly don't want a physical copy of Archives 3.

Here are a few of my cranky, middle aged white guy, reasons why that is so, penned while I guzzle generic booze on ice in a Southern California heatwave:

I don't ever want to own a CD again. I can't stand the things. Neil used to agree with me on this point; now he wants me to have 17 more of them. For shame Neil!

Same thing with Blue Ray discs. 40 million years from now the only thing left on this planet will be cockroaches, scratched up and unplayable CDs and Blue Rays and Willie Nelson - that crazy guy will never die.

Neil continues to clog up his Archives collections with tracks that we've all had for decades on original releases. If he took off all the previously released stuff, including most of the incredibly dull Hawks side of Hawks and Doves, Archives 3 would be half the size and half the cost. Give me a break, Neil. We can already experience your career in consequential order by simply listening to your original records, which we all already own, in order.

Dude, this collection covers 78-87. I love Neil's music from this era, but let's get real: Archives 1 and 2 were both a way bigger deal. And Archives 4 will be as well. (Archives 8: The Montsanto Years Uncut? That will be another story...)

My house is already full. Where the hell would I keep that big box? It'd wind up in my underwear drawer - and that drawer is already full of valuable undergarments that I actually need in my life.

What's more, the sampler "Takes" collection is pretty damn underwhelming. Sure, we get a tantalizing taste of Neil teaching Nicolette Larson and Linda Ronstadt Stars and Bars; and, sure, the new 76 version of Drive Back, in which Neil momentarily forgets how to play guitar altogether and then suddenly remembers how and sets our souls on fire, gets me fired up for all the new Budokan-era stuff he's finally letting us hear with soundboard quality.

And, wow, for sure, yes, the Boarding House Trasher, which comes complete with heated pool and, at last, the air-conditioned bar that Neil's original lyric sheet promised (and which I would love to access right about now), reminds us of that song's windy chasms and forlorn depths.

But there's plenty of underwhelming nonsense on Takes - and the collection is supposed to make us want to get our hands on the whole shebang.

After all, because my famous brother has been hooking us up with Shakey bootlegs for over two decades, we already know that:

Joe Freakin' Lala dominates much of If You've Got Love. His bongos fill me with rage.

Bright Sunny Day makes me pray for an immediate hurricane.

The baby from Devo singing Hey Hey, My My from Human Highway makes me hate all babies. Hate them!

Happily, there is one immediate revelation on the Takes collection: Neil Young's solo effort to emulate the Faith-era Cure.

Seriously: compare The Cure's The Funeral Party to Neil's initial attempt with a track my famous brother and I have both spent time on lately, Razor Love; in 85 Neil was, knowingly or unknowingly, emulating Robert Smith in his first, metallic, somber and sparse, heyday:

youtube

Did Neil know how to work up a dark wave of Cure-level depth and complexity? Nope.

But do I wish that he'd spent more time in the genre and recorded an entire solo album in this vein instead of pumping out Old Ways?

Hell yes.

Now, someone, bring me more booze and ice. I'm gonna listen to Takes all over again.

P.S. My famous brother, who is a showoff, just lambasted my review of Archives 3, insisting it is a tear-jerking monster of greatness. In the process he showed off his very own gargantuan box. Enjoy adding on to your house so as to make room for all those new CDs bro!

#neil young #shakey sundays #joe freakin' lala #the cure #robert smith #gloom and doom from the tomb #Neil Young archives

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cloudberry-ado · 4 months ago

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(Good gawd I'm sorry this became a way longer reply than I thought it would be since I ended up rambling a lot (typical of me!) I'm so sorry 😭 if you're gonna read this post you're probably gonna be tortured so fair warning in advance before you delve into my little rant)

I wonder if you'll still see this if I reblog it...? Hopefully LOL- I'm new to Tumblr as I said so I'm just figuring out some things- it honestly is a little hard for me because well- the reason me and my best friend came together is because of Once-ler so he means even more to me. Its just a little sad that I see them go since we had a lot of memories together about him I've just accepted it for now but it's getting sort of lonely being so in love with a character and nobody is really there to understand that if ykyk. Maybe I'm just being sad because I haven't even talked to anyone for months on end and it's starting to drive me crazy lols.

Okay I had to draft this so many times because I was reading your links to the posts while trying to remember everything JSJSJ but yes I have thought or assumed that the fandom has changed a lot over the years so much- And hey I love dedicated people! Idk why but seeing people leave (me) so often without mostly limp reasons it always made it hard for me to make friends easily so to lose THOSE friends too...yeah. A bit of a twist to the knife but I've grown to accept it even if I valued them so much. Which is why i love onceler. His whole story in the movie was him being abandoned completely at the end? Honestly maybe that's why people loved him when he first came out since they probably related to the stinging pain of abandonment and how it's portrayed so quickly that it almost symbolises how friendships, success, anything that makes you feel great pass ever so quickly...haha I'm going on a tangent here sorry (that's what I get for studying English literature!). But yep another reason why I love him so much is because hey! He MAY be a fictional character and he MAY not be real (ugh that breaks my heart everytime realising that) but that means he cant exactly leave you right? What drawn me to the onceler fandom is that people make different versions and ocs of him and honestly? I loved that. Seeing everyone's comfort oc of onceler made me want to do the same. So, already being a huge lover of music as well as onceler being one of my biggest fandoms ever, I decided to make music for him. Regarding the fact that people may not be comfortable with what people do with their onceler ocs...hm. I'm a bit scared if Ive done something that may be offensive since I looked into many askblogs, active currently or not and they always gave me inspiration so I made songs about them. God I loved the truffula flu so much that I made a whole handful of songs about it (for each character like Swag, Rocky, entre, 72 etc etc). My boyfriend who is in the onceler fandom and is also recovering from a few things that happened recently helped me with the guitars (we HAD to include it as the main instrument - it is onceler themed songs after all!). If this is offensive though dont worry, we didn't really share out the songs to anyone or made it public it was just a fun thing we did together in our studio. But we will stop if it is. We made our own onceler rockstar au called "Thneed! Look Sharp!" (heavily inspired off Roxettes 1988 album "Roxette! Look Sharp!" since we were big pop rock fans as well. We made songs for it as well and I even wanted to create an askblog of it but I'm conflicted because yes, my fear is that something so precious and private I've made myself with someone close...I'm scared it'll get ruined by people who unintentionally make stuff about it that I'm uncomfortable of.

And yes I understand that the fandom has changed a lot throughout, and it has died and come back during the years throughout (I even made a song circling about this thought - "Come Back Before You Leave"). For me, I found it a bit hard when the fandom started going since well, I found something new, SOMEONE new. The Onceler. He was so much more than just a fictional character, he was almost like a real person to me from how attached I am to him. If I never discovered him I would've never discovered my best friend, a type friend I haven't ever had in a long long time. And that's a big thing for me. That's what makes him so special, he gave me someone that I never thought I could ever have. I love them so much. But ever since they seemed to have left the fandom things have been a bit hard to the point we don't even talk for a month despite me wanting to talk to them. Ever since my boyfriend (who is aka their best friend) had a few unfortunate things happen and it's gotten harder...i haven't heard much of them at all despite me thinking I could rely on them since that's what they promised. It really makes me feel the way how onceler probably had felt when his family abandoned him and lord it hurts. So here I am, clinging on to him still because well unfortunately hes becoming my only source of comfort left. I'm holding on to him just hoping something good will come out, that's why I'm here on Tumblr. Its all a bit depressing really so I'll stop talking now lol. Onceler is also very special for me for many other reasons (a few mentioned earlier as well) and regarding the fact that yes the fandom I'm sure has changed especially on age varietys. The people I knew were in the fandom personally were all teenagers (like me) so I made friends with many of them quickly. When I made a tumblr account and looked at the askblogs from 2012 the authors seemed to be all in their 20s. It was interesting, all the onceler ocs were taken very seriously and the art! I loved it all. Honestly actually when I first started the fandom the first person I new related to it you since yours was one of the most prominent (and so beautifully stunning ofc!) I loved your Audrey ocs and it's what made me get Tumblr myself. You were always cool af from the start and even more so when I realised you were still in the fandom. Really admire that dedication, seriously. Even so, yes I agree. I suppose I'm just bitter from how hard things have been personally but I know i can't force people to stay. Still it's nice seeing people happy, it makes me happy too so I'll let them be. I just hope everyone who has drawn distant from me in the short period of time is okay, including my best friend....

Well maybe it's because I'm so new to the fandom still lol when you've been here for years. Its risen so quickly last year that it trended but now it's very hard to find anyone who is still active unless I go to Tumblr. So here I am asking on ask blogs that are active lol including yours. You were the first one that actually replied though! Thank you for taking the time, honestly it's been an encouragement to me since it gave me some comfort really

All that said can I ask something weird? Maybe I shouldn't ask this on a reblog but...can we be friends? I am wanting to look for more friends (since my social life has been absolute shit but then again when is it not LOL) but ngl, your friendliness is contagious XD I've heard a bit about kilonova (author of idol-ler I think) who is one of my close friends (and mother figure even) and I've wanted to be friends with you ever since, but I was too scared to ask! All that aside though thanks for answering, not only it made me feel a lot better in general but it also gave me a huge insight on the fandom too!

Hey, this might be a long one (though I'm new to Tumblr so idk how this even works tbh) but I got into the onceler a year ago? I'm still morbidly in love with this guy and ngl maybe I'm just here because I'm feeling sad that all my friends have left him already and moved on- still I knew that you were in the onceler fandom since the start and honestly i admired you a lot for that for staying with him for so long jsjjs- I wanted to ask since the fandom comes and goes every so often, how was it like in 2012/2013? Everyone has told me that now is really tame compared to how wild the fandom was when the movie came out and hearing about it I really wish I was there to witness it (i mean I could've but I was only little kid lol). Another question though how do you feel about the onceler fandom being revived then dying a few months later? Ngl it makes me feel pretty sad for onceler for some reason lol it just makes me think about him rising up to fame and success then falling back being alone again and the cycle continues. Still I know some are still active which gives me comfort

Hello! Aw it's always bittersweet when a friend loses interest in a thing you were both into but sadly it's part of life :,) As long as there were no hard feelings then you can cherish the memories you made together.

And actually I've talked before about how the fandom was in the past vs how I feel in the present, here are a few posts that may interest you: [link] [link] [link] If you want specifics of things that occurred you could check out this post too: [link] and then here is a really good summary of how the fandom evolved in 2012: [link]

^And related to that last link, this is one of the reasons that the fandom seems to "die" every so often I guess? People get inspired and make onceler ocs and then they eventually get deoncelerized and used in other projects, and I don't think that's a bad thing at all. The Once-ler is a fictional character from a book/movie so I don't feel bad for him, it's the real people that are/were in the fandom who matter more and it's really cool and heartwarming to see people have fun and make friendships that last beyond their time in the fandom. So all in all I think it's okay as long as our friends are happy. We can't force someone to like something.

All that said though, I think our perceptions are a bit different currently because I feel like the fandom has been booming for the past year? 😂 Idk it seems really active to me at the moment!

#onceler #MY GOD MY FINGERS ARE FALLING OFF THIS TOOK SO LONG TO TYPE RAHHH #miru667 #Thank you so much for replying i never actually expected you too but omg this made me feel so much better already aaa-#you DO NOT need to reply to all of this please don't torture yourself drar god- im just hoping that you will see it nonetheless anyway JSJS

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path-of-my-childhood · 4 years ago

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Musicians On Musicians: Paul McCartney & Taylor Swift

By: Patrick Doyle for Rolling Stone Date: November 13th 2020

On songwriting secrets, making albums at home, and what they’ve learned during the pandemic.

Taylor Swift arrived early to Paul McCartney’s London office in October, “mask on, brimming with excitement.” “I mostly work from home these days,” she writes about that day, “and today feels like a rare school field trip that you actually want to go on.”

Swift showed up without a team, doing her own hair and makeup. In addition to being two of the most famous pop songwriters in the world, Swift and McCartney have spent the past year on similar journeys. McCartney, isolated at home in the U.K., recorded McCartney III. Like his first solo album, in 1970, he played nearly all of the instruments himself, resulting in some of his most wildly ambitious songs in a long time. Swift also took some new chances, writing over email with the National’s Aaron Dessner and recording the raw Folklore, which abandons arena pop entirely in favor of rich character songs. It’s the bestselling album of 2020.

Swift listened to McCartney III as she prepared for today’s conversation; McCartney delved into Folkore. Before the photo shoot, Swift caught up with his daughters Mary (who would be photographing them) and Stella (who designed Swift’s clothes; the two are close friends). “I’ve met Paul a few times, mostly onstage at parties, but we’ll get to that later,” Swift writes. “Soon he walks in with his wife, Nancy. They’re a sunny and playful pair, and I immediately feel like this will be a good day. During the shoot, Paul dances and takes almost none of it too seriously and sings along to Motown songs playing from the speakers. A few times Mary scolds, ‘Daaad, try to stand still!’ And it feels like a window into a pretty awesome family dynamic. We walk into his office for a chat, and after I make a nervous request, Paul is kind enough to handwrite my favorite lyric of his and sign it. He makes a joke about me selling it, and I laugh because it’s something I know I’ll cherish for the rest of my life. That’s around the time when we start talking about music.”

Taylor Swift: I think it’s important to note that if this year had gone the way that we thought it was going to go, you and I would have played Glastonbury this year, and instead, you and I both made albums in isolation.

Paul McCartney: Yeah!

Swift: And I remember thinking it would have been so much fun because the times that I’ve run into you, I correlate with being some of the most fun nights of my life. I was at a party with you, when everybody just started playing music. And it was Dave Grohl playing, and you...

McCartney: You were playing one of his songs, weren’t you?

Swift: Yes, I was playing his song called “Best of You,” but I was playing it on piano, and he didn’t recognize it until about halfway through. I just remember thinking, “Are you the catalyst for the most fun times ever?” Is it your willingness to get up and play music that makes everyone feel like this is a thing that can happen tonight?

McCartney: I mean, I think it’s a bit of everything, isn’t it? I’ll tell you who was very... Reese Witherspoon was like, “Are you going to sing?” I said “Oh, I don’t know.” She said, “You’ve got to, yeah!” She’s bossing me around. So I said, “Whoa,” so it’s a bit of that.

Swift: I love that person, because the party does not turn musical without that person.

McCartney: Yeah, that’s true.

Swift: If nobody says, “Can you guys play music?” we’re not going to invite ourselves up onstage at whatever living-room party it is.

McCartney: I seem to remember Woody Harrelson got on the piano, and he starts playing “Let It Be,” and I’m thinking, “I can do that better.” So I said, “Come on, move over, Woody.” So we’re both playing it. It was really nice... I love people like Dan Aykroyd, who’s just full of energy and he loves his music so much, but he’s not necessarily a musician, but he just wanders around the room, just saying, “You got to get up, got to get up, do some stuff.”

Swift: I listened to your new record. And I loved a lot of things about it, but it really did feel like kind of a flex to write, produce, and play every instrument on every track. To me, that’s like flexing a muscle and saying, “I can do all this on my own if I have to.”

McCartney: Well, I don’t think like that, I must admit. I just picked up some of these instruments over the years. We had a piano at home that my dad played, so I picked around on that. I wrote the melody to “When I’m 64” when I was, you know, a teenager.

Swift: Wow.

McCartney: When the Beatles went to Hamburg, there were always drum kits knocking around, so when there was a quiet moment, I’d say, “Do you mind if I have a knock around?” So I was able to practice, you know, without practicing. That’s why I play right-handed. Guitar was just the first instrument I got. Guitar turned to bass; it also turned into ukulele, mandolin. Suddenly, it’s like, “Wow,” but it’s really only two or three instruments.

Swift: Well, I think that’s downplaying it a little bit. In my mind, it came with a visual of you being in the country, kind of absorbing the sort of do-it-yourself [quality] that has had to come with the quarantine and this pandemic. I found that I’ve adapted a do-it-yourself mentality to a lot of things in my career that I used to outsource. I’m just wondering what a day of recording in the pandemic looked like for you.

McCartney: Well, I’m very lucky because I have a studio that’s, like, 20 minutes away from where I live. We were in lockdown on a farm, a sheep farm with my daughter Mary and her four kids and her husband. So I had four of my grandkids, I had Mary, who’s a great cook, so I would just drive myself to the studio. And there were two other guys that could come in and we’d be very careful and distanced and everything: my engineer Steve, and then my equipment guy Keith. So the three of us made the record, and I just started off. I had to do a little bit of film music - I had to do an instrumental for a film thing - so I did that. And I just kept going, and that turned into the opening track on the album. I would just come in, say, “Oh, yeah, what are we gonna do?” [Then] have some sort of idea, and start doing it. Normally, I’d start with the instrument I wrote it on, either piano or guitar, and then probably add some drums and then a bit of bass till it started to sound like a record, and then just gradually layer it all up. It was fun.

Swift: That’s so cool.

McCartney: What about yours? You’re playing guitar and piano on yours.

Swift: Yeah, on some of it, but a lot of it was made with Aaron Dessner, who’s in a band called the National that I really love. And I had met him at a concert a year before, and I had a conversation with him, asking him how he writes. It’s my favorite thing to ask people who I’m a fan of. And he had an interesting answer. He said, “All the band members live in different parts of the world. So I make tracks. And I send them to our lead singer, Matt, and he writes the top line.” I just remember thinking, “That is really efficient.” And I kind of stored it in my brain as a future idea for a project. You know, how you have these ideas... “Maybe one day I’ll do this.” I always had in my head: “Maybe one day I’ll work with Aaron Dessner.”

So when lockdown happened, I was in L.A., and we kind of got stuck there. It’s not a terrible place to be stuck. We were there for four months maybe, and during that time, I sent an email to Aaron Dessner and I said, “Do you think you would want to work during this time? Because my brain is all scrambled, and I need to make something, even if we’re just kind of making songs that we don’t know what will happen...”

McCartney: Yeah, that was the thing. You could do stuff - you didn’t really worry it was going to turn into anything.

Swift: Yeah, and it turned out he had been writing instrumental tracks to keep from absolutely going crazy during the pandemic as well, so he sends me this file of probably 30 instrumentals, and the first one I opened ended up being a song called “Cardigan,” and it really happened rapid-fire like that. He’d send me a track; he’d make new tracks, add to the folder; I would write the entire top line for a song, and he wouldn’t know what the song would be about, what it was going to be called, where I was going to put the chorus. I had originally thought, “Maybe I’ll make an album in the next year, and put it out in January or something,” but it ended up being done and we put it out in July. And I just thought there are no rules anymore, because I used to put all these parameters on myself, like, “How will this song sound in a stadium? How will this song sound on radio?” If you take away all the parameters, what do you make? And I guess the answer is Folklore.

McCartney: And it’s more music for yourself than music that’s got to go do a job. My thing was similar to that: After having done this little bit of film music, I had a lot of stuff that I had been working on, but I’d said, “I’m just going home now,” and it’d be left half-finished. So I just started saying, “Well, what about that? I never finished that.” So we’d pull it out, and we said, “Oh, well, this could be good.” And because it didn’t have to amount to anything, I would say, “Ah, I really want to do tape loops. I don’t care if they fit on this song, I just want to do some.” So I go and make some tape loops, and put them in the song, just really trying to do stuff that I fancy.

I had no idea it would end up as an album; I may have been a bit less indulgent, but if a track was eight minutes long, to tell you the truth, what I thought was, “I’ll be taking it home tonight, Mary will be cooking, the grandkids will all be there running around, and someone, maybe Simon, Mary’s husband, is going to say, ‘What did you do today?’ And I’m going to go, ‘Oh,’ and then get my phone and play it for them.” So this became the ritual.

Swift: That’s the coziest thing I’ve ever heard.

McCartney: Well, it’s like eight minutes long, and I said, “I hate it when I’m playing someone something and it finishes after three minutes.” I kind of like that it just [continues] on.

Swift: You want to stay in the zone.

McCartney: It just keeps going on. I would just come home, “Well, what did you do today?” “Oh, well, I did this. I’m halfway through this,” or, “We finished this.”

Swift: I was wondering about the numerology element to McCartney III. McCartney I, II, and III have all come out on years with zeroes.

McCartney: Ends of decades.

Swift: Was that important?

McCartney: Yeah, well, this was being done in 2020, and I didn’t really think about it. I think everyone expected great things of 2020. “It’s gonna be great! Look at that number! 2020! Auspicious!” Then suddenly Covid hit, and it was like, “That’s gonna be auspicious all right, but maybe for the wrong reasons.” Someone said to me, “Well, you put out McCartney right after the Beatles broke up, and that was 1970, and then you did McCartney II in 1980.” And I said, “Oh, I’m going to release this in 2020 just for whatever you call it, the numerology...”

Swift: The numerology, the kind of look, the symbolism. I love numbers. Numbers kind of rule my whole world. The numbers 13... 89 is a big one. I have a few others that I find...

McCartney: Thirteen is lucky for some.

Swift: Yeah, it’s lucky for me. It’s my birthday. It’s all these weird coincidences of good things that have happened. Now, when I see it places, I look at it as a sign that things are going the way they’re supposed to. They may not be good now, they could be painful now, but things are on a track. I don’t know, I love the numerology.

McCartney: It’s spooky, Taylor. It’s very spooky. Now wait a minute: Where’d you get 89?

Swift: That’s when I was born, in 1989, and so I see it in different places and I just think it’s...

McCartney: No, it’s good. I like that, where certain things you attach yourself to, and you get a good feeling off them. I think that’s great.

Swift: Yeah, one of my favorite artists, Bon Iver, he has this thing with the number 22. But I was also wondering: You have always kind of seeked out a band or a communal atmosphere with like, you know, the Beatles and Wings, and then Egypt Station. I thought it was interesting when I realized you had made a record with no one else. I just wondered, did that feel natural?

McCartney: It’s one of the things I’ve done. Like with McCartney, because the Beatles had broken up, there was no alternative but to get a drum kit at home, get a guitar, get an amp, get a bass, and just make something for myself. So on that album, which I didn’t really expect to do very well, I don’t think it did. But people sort of say, “I like that. It was a very casual album.” It didn’t really have to mean anything. So I’ve done that, the play-everything-myself thing. And then I discovered synths and stuff, and sequencers, so I had a few of those at home. I just thought I’m going to play around with this and record it, so that became McCartney II. But it’s a thing I do. Certain people can do it. Stevie Wonder can do it. Stevie Winwood, I believe, has done it. So there are certain people quite like that.

When you’re working with someone else, you have to worry about their variances. Whereas your own variance, you kind of know it. It’s just something I’ve grown to like. Once you can do it, it becomes a little bit addictive. I actually made some records under the name the Fireman.

Swift: Love a pseudonym.

McCartney: Yeah, for the fun! But, you know, let’s face it, you crave fame and attention when you’re young. And I just remembered the other day, I was the guy in the Beatles that would write to journalists and say [speaks in a formal voice]: “We are a semiprofessional rock combo, and I’d think you’d like [us]... We’ve written over 100 songs (which was a lie), my friend John and I. If you mention us in your newspaper...” You know, I was always, like, craving the attention.

Swift: The hustle! That’s so great, though.

McCartney: Well, yeah, you need that.

Swift: Yeah, I think, when a pseudonym comes in is when you still have a love for making the work and you don’t want the work to become overshadowed by this thing that’s been built around you, based on what people know about you. And that’s when it’s really fun to create fake names and write under them.

McCartney: Do you ever do that?

Swift: Oh, yeah.

McCartney: Oh, yeah? Oh, well, we didn’t know that! Is that a widely known fact?

Swift: I think it is now, but it wasn’t. I wrote under the name Nils Sjöberg because those are two of the most popular names of Swedish males. I wrote this song called “This Is What You Came For” that Rihanna ended up singing. And nobody knew for a while. I remembered always hearing that when Prince wrote “Manic Monday,” they didn’t reveal it for a couple of months.

McCartney: Yeah, it also proves you can do something without the fame tag. I did something for Peter and Gordon; my girlfriend’s brother and his mate were in a band called Peter and Gordon. And I used to write under the name Bernard Webb.

Swift: [Laughs.] That’s a good one! I love it.

McCartney: As Americans call it, Ber-nard Webb. I did the Fireman thing. I worked with a producer, a guy called Youth, who’s this real cool dude. We got along great. He did a mix for me early on, and we got friendly. I would just go into the studio, and he would say, “Hey, what about this groove?” and he’d just made me have a little groove going. He’d say, “You ought to put some bass on it. Put some drums on it.” I’d just spend the whole day putting stuff on it. And we’d make these tracks, and nobody knew who Fireman was for a while. We must have sold all of 15 copies.

Swift: Thrilling, absolutely thrilling.

McCartney: And we didn’t mind, you know?

Swift: I think it’s so cool that you do projects that are just for you. Because I went with my family to see you in concert in 2010 or 2011, and the thing I took away from the show most was that it was the most selfless set list I had ever seen. It was completely geared toward what it would thrill us to hear. It had new stuff, but it had every hit we wanted to hear, every song we’d ever cried to, every song people had gotten married to, or been brokenhearted to. And I just remembered thinking, “I’ve got to remember that,” that you do that set list for your fans.

McCartney: You do that, do you?

Swift: I do now. I think that learning that lesson from you taught me at a really important stage in my career that if people want to hear “Love Story” and “Shake It Off,” and I’ve played them 300 million times, play them the 300-millionth-and-first time. I think there are times to be selfish in your career, and times to be selfless, and sometimes they line up.

McCartney: I always remembered going to concerts as a kid, completely before the Beatles, and I really hoped they would play the ones I loved. And if they didn’t, it was kind of disappointing. I had no money, and the family wasn’t wealthy. So this would be a big deal for me, to save up for months to afford the concert ticket.

Swift: Yeah, it feels like a bond. It feels like that person on the stage has given something, and it makes you as a crowd want to give even more back, in terms of applause, in terms of dedication. And I just remembered feeling that bond in the crowd, and thinking, “He’s up there playing these Beatles songs, my dad is crying, my mom is trying to figure out how to work her phone because her hands are shaking so much.” Because seeing the excitement course through not only me, but my family and the entire crowd in Nashville, it just was really special. I love learning lessons and not having to learn them the hard way. Like learning nice lessons I really value.

McCartney: Well, that’s great, and I’m glad that set you on that path. I understand people who don’t want to do that, and if you do, they’ll say, “Oh, it’s a jukebox show.” I hear what they’re saying. But I think it’s a bit of a cheat, because the people who come to our shows have spent a lot of money. We can afford to go to a couple of shows and it doesn’t make much difference. But a lot of ordinary working folks... it’s a big event in their life, and so I try and deliver. I also, like you say, try and put in a few weirdos.

Swift: That’s the best. I want to hear current things, too, to update me on where the artist is. I was wondering about lyrics, and where you were lyrically when you were making this record. Because when I was making Folklore, I went lyrically in a total direction of escapism and romanticism. And I wrote songs imagining I was, like, a pioneer woman in a forbidden love affair [laughs]. I was completely...

McCartney: Was this “I want to give you a child”? Is that one of the lines?

Swift: Oh, that’s a song called “Peace.”

McCartney: “Peace,” I like that one.

Swift: “Peace” is actually more rooted in my personal life. I know you have done a really excellent job of this in your personal life: carving out a human life within a public life, and how scary that can be when you do fall in love and you meet someone, especially if you’ve met someone who has a very grounded, normal way of living. I, oftentimes, in my anxieties, can control how I am as a person and how normal I act and rationalize things, but I cannot control if there are 20 photographers outside in the bushes and what they do and if they follow our car and if they interrupt our lives. I can’t control if there’s going to be a fake weird headline about us in the news tomorrow.

McCartney: So how does that go? Does your partner sympathize with that and understand?

Swift: Oh, absolutely.

McCartney: They have to, don’t they?

Swift: But I think that in knowing him and being in the relationship I am in now, I have definitely made decisions that have made my life feel more like a real life and less like just a storyline to be commented on in tabloids. Whether that’s deciding where to live, who to hang out with, when to not take a picture - the idea of privacy feels so strange to try to explain, but it’s really just trying to find bits of normalcy. That’s what that song “Peace” is talking about. Like, would it be enough if I could never fully achieve the normalcy that we both crave? Stella always tells me that she had as normal a childhood as she could ever hope for under the circumstances.

McCartney: Yeah, it was very important to us to try and keep their feet on the ground amongst the craziness.

Swift: She went to a regular school...

McCartney: Yeah, she did.

Swift: And you would go trick-or-treating with them, wearing masks.

McCartney: All of them did, yeah. It was important, but it worked pretty well, because when they kind of reached adulthood, they would meet other kids who might have gone to private schools, who were a little less grounded.

And they could be the budding mothers to [kids]. I remember Mary had a friend, Orlando. Not Bloom. She used to really counsel him. And it’s ’cause she’d gone through that. Obviously, they got made fun of, my kids. They’d come in the classroom and somebody would sing, “Na na na na,” you know, one of the songs. And they’d have to handle that. They’d have to front it out.

Swift: Did that give you a lot of anxiety when you had kids, when you felt like all this pressure that’s been put on me is spilling over onto them, that they didn’t sign up for it? Was that hard for you?

McCartney: Yeah, a little bit, but it wasn’t like it is now. You know, we were just living a kind of semi-hippie life, where we withdrew from a lot of stuff. The kids would be doing all the ordinary things, and their school friends would be coming up to the house and having parties, and it was just great. I remember one lovely evening when it was Stella’s birthday, and she brought a bunch of school kids up. And, you know, they’d all ignore me. It happens very quickly. At first they’re like, “Oh, yeah, he’s like a famous guy,” and then it’s like [yawns]. I like that. I go in the other room and suddenly I hear this music going on. And one of the kids, his name was Luke, and he’s doing break dancing.

Swift: Ohhh!

McCartney: He was a really good break dancer, so all the kids are hanging out. That allowed them to be kind of normal with those kids. The other thing is, I don’t live fancy. I really don’t. Sometimes it’s a little bit of an embarrassment, if I’ve got someone coming to visit me, or who I know…

Swift: Cares about that stuff?

McCartney: Who’s got a nice big house, you know. Quincy Jones came to see me and I’m, like, making him a veggie burger or something. I’m doing some cooking. This was after I’d lost Linda, in between there. But the point I’m making is that I’m very consciously thinking, “Oh, God, Quincy’s got to be thinking, ‘What is this guy on? He hasn’t got big things going on. It’s not a fancy house at all. And we’re eating in the kitchen! He’s not even got the dining room going,’” you know?

Swift: I think that sounds like a perfect day.

McCartney: But that’s me. I’m awkward like that. That’s my kind of thing. Maybe I should have, like, a big stately home. Maybe I should get a staff. But I think I couldn’t do that. I’d be so embarrassed. I’d want to walk around dressed as I want to walk around, or naked, if I wanted to.

Swift: That can’t happen in Downton Abbey.

McCartney: [Laughs.] Exactly.

Swift: I remember what I wanted to know about, which is lyrics. Like, when you’re in this kind of strange, unparalleled time, and you’re making this record, are lyrics first? Or is it when you get a little melodic idea?

McCartney: It was a bit of both. As it kind of always is with me. There’s no fixed way. People used to ask me and John, “Well, who does the words, who does the music?” I used to say, “We both do both.” We used to say we don’t have a formula, and we don’t want one. Because the minute we get a formula, we should rip it up. I will sometimes, as I did with a couple of songs on this album, sit down at the piano and just start noodling around, and I’ll get a little idea and start to fill that out. So the lyrics - for me, it’s following a trail. I’ll start [sings “Find My Way,” a song from “McCartney III”]: “I can find my way. I know my left from right, da da da.” And I’ll just sort of fill it in. Like, we know this song, and I’m trying to remember the lyrics. Sometimes I’ll just be inspired by something. I had a little book which was all about the constellations and the stars and the orbits of Venus and...

Swift: Oh, I know that song - “The Kiss of Venus”?

McCartney: Yeah, “The Kiss of Venus.” And I just thought, “That’s a nice phrase.” So I was actually just taking phrases out of the book, harmonic sounds. And the book is talking about the maths of the universe, and how when things orbit around each other, and if you trace all the patterns, it becomes like a lotus flower.

Swift: Wow.

McCartney: It’s very magical.

Swift: That is magical. I definitely relate to needing to find magical things in this very not-magical time, needing to read more books and learn to sew, and watch movies that take place hundreds of years ago. In a time where, if you look at the news, you just want to have a panic attack - I really relate to the idea that you are thinking about stars and constellations.

McCartney: Did you do that on Folklore?

Swift: Yes. I was reading so much more than I ever did, and watching so many more films.

McCartney: What stuff were you reading?

Swift: I was reading, you know, books like Rebecca, by Daphne du Maurier, which I highly recommend, and books that dealt with times past, a world that doesn’t exist anymore. I was also using words I always wanted to use - kind of bigger, flowerier, prettier words, like “epiphany,” in songs. I always thought, “Well, that’ll never track on pop radio,” but when I was making this record, I thought, “What tracks? Nothing makes sense anymore. If there’s chaos everywhere, why don’t I just use the damn word I want to use in the song?”

McCartney: Exactly. So you’d see the word in a book and think, “I love that word”?

Swift: Yeah, I have favorite words, like “elegies” and “epiphany” and “divorcée,” and just words that I think sound beautiful, and I have lists and lists of them.

McCartney: How about “marzipan”?

Swift: Love “marzipan.”

McCartney: The other day, I was remembering when we wrote “Lucy in the Sky With Diamonds”: “kaleidoscope.”

Swift: “Kaleidoscope” is one of mine! I have a song on 1989, a song called “Welcome to New York,” that I put the word “kaleidoscope” in just because I’m obsessed with the word.

McCartney: I think a love of words is a great thing, particularly if you’re going to try to write a lyric, and for me, it’s like, “What is this going to say to that person?” I often feel like I’m writing to someone who is not doing so well. So I’m trying to write songs that might help. Not in a goody-goody, crusading kind of way, but just thinking there have been so many times in my life when I’ve heard a song and felt so much better. I think that’s the angle I want, that inspirational thing.

I remember once, a friend of mine from Liverpool, we were teenagers and we were going to a fairground. He was a schoolmate, and we had these jackets that had a little fleck in the material, which was the cool thing at the time.

Swift: We should have done matching jackets for this photo shoot.

McCartney: Find me a fleck, I’m in. But we went to the fair, and I just remember - this is what happens with songs - there was this girl at the fair. This is just a little Liverpool fair - it was in a place called Sefton Park - and there was this girl, who was so beautiful. She wasn’t a star. She was so beautiful. Everyone was following her, and it’s like, “Wow.” It’s like a magical scene, you know? But all this gave me a headache, so I ended up going back to his house - I didn’t normally get headaches. And we thought, “What can we do?” So we put on the Elvis song “All Shook Up.” By the end of that song, my headache had gone. I thought, you know, “That’s powerful.”

Swift: That really is powerful.

McCartney: I love that, when people stop me in the street and say, “Oh, I was going through an illness and I listened to a lot of your stuff, and I’m better now and it got me through,” or kids will say, “It got me through exams.” You know, they’re studying, they’re going crazy, but they put your music on. I’m sure it happens with a lot of your fans. It inspires them, you know?

Swift: Yeah, I definitely think about that as a goal. There’s so much stress everywhere you turn that I kind of wanted to make an album that felt sort of like a hug, or like your favorite sweater that makes you feel like you want to put it on.

McCartney: What, a “cardigan”?

Swift: Like a good cardigan, a good, worn-in cardigan. Or something that makes you reminisce on your childhood. I think sadness can be cozy. It can obviously be traumatic and stressful, too, but I kind of was trying to lean into sadness that feels like somehow enveloping in not such a scary way - like nostalgia and whimsy incorporated into a feeling like you’re not all right. Because I don’t think anybody was really feeling like they were in their prime this year. Isolation can mean escaping into your imagination in a way that’s kind of nice.

McCartney: I think a lot of people have found that. I would say to people, “I feel a bit guilty about saying I’m actually enjoying this quarantine thing,” and people go, “Yeah, I know, don’t say it to anyone.” A lot of people are really suffering.

Swift: Because there’s a lot in life that’s arbitrary. Completely and totally arbitrary. And [the quarantine] is really shining a light on that, and also a lot of things we have that we outsource that you can actually do yourself.

McCartney: I love that. This is why I said I live simply. That’s, like, at the core of it. With so many things, something goes wrong and you go, “Oh, I’ll get somebody to fix that.” And then it’s like, “No, let me have a look at it...”

Swift: Get a hammer and a nail.

McCartney: “Maybe I can put that picture up.” It’s not rocket science. The period after the Beatles, when we went to live in Scotland on a really - talk about dumpy - little farm. I mean, I see pictures of it now and I’m not ashamed, but I’m almost ashamed. Because it’s like, “God, nobody’s cleaned up around here.”

But it was really a relief. Because when I was with the Beatles, we’d formed Apple Records, and if I wanted a Christmas tree, someone would just buy it. And I thought, after a while, “No, you know what? I really would like to go and buy our Christmas tree. Because that’s what everyone does.” So you go down - “I’ll have that one” - and you carried it back. I mean, it’s little, but it’s huge at the same time.

I needed a table in Scotland and I was looking through a catalog and I thought, “I could make one. I did woodwork in school, so I know what a dovetail joint is.” So I just figured it out. I’m just sitting in the kitchen, and I’m whittling away at this wood and I made this little joint. There was no nail technology - it was glue. And I was scared to put it together. I said, “It’s not going to fit,” but one day, I got my woodwork glue and thought, “There’s no going back.” But it turned out to be a real nice little table I was very proud of. It was that sense of achievement.

The weird thing was, Stella went up to Scotland recently and I said, “Isn’t it there?” and she said, “No.” Anyway, I searched for it. Nobody remembered it. Somebody said, “Well, there’s a pile of wood in the corner of one of the barns, maybe that’s it. Maybe they used it for firewood.” I said, “No, it’s not firewood.” Anyway, we found it, and do you know how joyous that was for me? I was like, “You found my table?!” Somebody might say that’s a bit boring.

Swift: No, it’s cool!

McCartney: But it was a real sort of great thing for me to be able to do stuff for yourself. You were talking about sewing. I mean normally, in your position, you’ve got any amount of tailors.

Swift: Well, there’s been a bit of a baby boom recently; several of my friends have gotten pregnant.

McCartney: Oh, yeah, you’re at the age.

Swift: And I was just thinking, “I really want to spend time with my hands, making something for their children.” So I made this really cool flying-squirrel stuffed animal that I sent to one of my friends. I sent a teddy bear to another one, and I started making these little silk baby blankets with embroidery. It’s gotten pretty fancy. And I’ve been painting a lot.

McCartney: What do you paint? Watercolors?

Swift: Acrylic or oil. Whenever I do watercolor, all I paint is flowers. When I have oil, I really like to do landscapes. I always kind of return to painting a lonely little cottage on a hill.

McCartney: It’s a bit of a romantic dream. I agree with you, though, I think you’ve got to have dreams, particularly this year. You’ve got to have something to escape to. When you say “escapism,” it sounds like a dirty word, but this year, it definitely wasn’t. And in the books you’re reading, you’ve gone into that world. That’s, I think, a great thing. Then you come back out. I normally will read a lot before I go to bed. So I’ll come back out, then I’ll go to sleep, so I think it really is nice to have those dreams that can be fantasies or stuff you want to achieve.

Swift: You’re creating characters. This was the first album where I ever created characters, or wrote about the life of a real-life person. There’s a song called “The Last Great American Dynasty” that’s about this real-life heiress who lived just an absolutely chaotic, hectic...

McCartney: She’s a fantasy character?

Swift: She’s a real person. Who lived in the house that I live in.

McCartney: She’s a real person? I listened to that and I thought, “Who is this?”

Swift: Her name was Rebekah Harkness. And she lived in the house that I ended up buying in Rhode Island. That’s how I learned about her. But she was a woman who was very, very talked about, and everything she did was scandalous. I found a connection in that. But I also was thinking about how you write “Eleanor Rigby” and go into that whole story about what all these people in this town are doing and how their lives intersect, and I hadn’t really done that in a very long time with my music. It had always been so microscope personal.

McCartney: Yeah, ’cause you were writing breakup songs like they were going out of style.

Swift: I was, before my luck changed [laughs]. I still write breakup songs. I love a good breakup song. Because somewhere in the world, I always have a friend going through a breakup, and that will make me write one.

McCartney: Yeah, this goes back to this thing of me and John: When you’ve got a formula, break it. I don’t have a formula. It’s the mood I’m in. So I love the idea of writing a character. And, you know, trying to think, “What am I basing this on?” So “Eleanor Rigby” was based on old ladies I knew as a kid. For some reason or other, I got great relationships with a couple of local old ladies. I was thinking the other day, I don’t know how I met them, it wasn’t like they were family. I’d just run into them, and I’d do their shopping for them.

Swift: That’s amazing.

McCartney: It just felt good to me. I would sit and talk, and they’d have amazing stories. That’s what I liked. They would have stories from the wartime - because I was born actually in the war - and so these old ladies, they were participating in the war. This one lady I used to sort of just hang out with, she had a crystal radio that I found very magical. In the war, a lot of people made their own radios - you’d make them out of crystals [sings “The Twilight Zone” theme].

Swift: How did I not know this? That sounds like something I would have tried to learn about.

McCartney: It’s interesting, because there is a lot of parallels with the virus and lockdowns and wartime. It happened to everyone. Like, this isn’t HIV, or SARS, or Avian flu, which happened to others, generally. This has happened to everyone, all around the world. That’s the defining thing about this particular virus. And, you know, my parents... it happened to everyone in Britain, including the queen and Churchill. War happened. So they were all part of this thing, and they all had to figure out a way through it. So you figured out Folklore. I figured out McCartney III.

Swift: And a lot of people have been baking sourdough bread. Whatever gets you through!

McCartney: Some people used to make radios. And they’d take a crystal - we should look it up, but it actually is a crystal. I thought, “Oh, no, they just called it a crystal radio,” but it’s actually crystals like we know and love.

Swift: Wow.

McCartney: And somehow they get the radio waves - this crystal attracts them - they tune it in, and that’s how they used to get their news. Back to “Eleanor Rigby,” so I would think of her and think of what she’s doing and then just try to get lyrical, just try to bring poetry into it, words you love, just try to get images like “picks up the rice in the church where a wedding has been,” and Father McKenzie “is darning his socks in the night.” You know, he’s a religious man, so I could’ve said, you know, “preparing his Bible,” which would have been more obvious. But “darning his socks” kind of says more about him. So you get into this lovely fantasy. And that’s the magic of songs, you know. It’s a black hole, and then you start doing this process, and then there’s this beautiful little flower that you’ve just made. So it is very like embroidery, making something.

Swift: Making a table.

McCartney: Making a table.

Swift: Wow, it would’ve been so fun to play Glastonbury for the 50th anniversary together.

McCartney: It would’ve been great, wouldn’t it? And I was going to be asking you to play with me.

Swift: Were you going to invite me? I was hoping that you would. I was going to ask you.

McCartney: I would’ve done “Shake It Off.”

Swift: Oh, my God, that would have been amazing.

McCartney: I know it, it’s in C!

Swift: One thing I just find so cool about you is that you really do seem to have the joy of it, still, just no matter what. You seem to have the purest sense of joy of playing an instrument and making music, and that’s just the best, I think.

McCartney: Well, we’re just so lucky, aren’t we?

Swift: We’re really lucky.

McCartney: I don’t know if it ever happens to you, but with me, it’s like, “Oh, my god, I’ve ended up as a musician.”

Swift: Yeah, I can’t believe it’s my job.

McCartney: I must tell you a story I told Mary the other day, which is just one of my favorite little sort of Beatles stories. We were in a terrible, big blizzard, going from London to Liverpool, which we always did. We’d be working in London and then drive back in the van, just the four of us with our roadie, who would be driving. And this was a blizzard. You couldn’t see the road. At one point, it slid off and it went down an embankment. So it was “Ahhh,” a bunch of yelling. We ended up at the bottom. It didn’t flip, luckily, but so there we are, and then it’s like, “Oh, how are we going to get back up? We’re in a van. It’s snowing, and there’s no way.” We’re all standing around in a little circle, and thinking, “What are we going to do?” And one of us said, “Well, something will happen.” And I thought that was just the greatest. I love that, that’s a philosophy.

Swift: “Something will happen.”

McCartney: And it did. We sort of went up the bank, we thumbed a lift, we got the lorry driver to take us, and Mal, our roadie, sorted the van and everything. So that was kind of our career. And I suppose that’s like how I ended up being a musician and a songwriter: “Something will happen.”

Swift: That’s the best.

McCartney: It’s so stupid it’s brilliant. It’s great if you’re ever in that sort of panic attack: “Oh, my God,” or, “Ahhh, what am I going to do?”

Swift: “Something will happen.”

McCartney: All right then, thanks for doing this, and this was, you know, a lot of fun.

Swift: You’re the best. This was so awesome. Those were some quality stories!

#this just might be the longest post I have ever posted #I have so much work so I'll read and edit later #taylor swift #paul mccartney #Rolling Stone magazine #interview #folklore era

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sgt-paul · 4 years ago

Photo

MUSICIANS ON MUSICIANS: Paul McCartney & Taylor Swift

❝ During the shoot, Paul dances and takes almost none of it too seriously and sings along to Motown songs playing from the speakers. A few times Mary scolds, ‘Daaad, try to stand still!’ And it feels like a window into a pretty awesome family dynamic. ❞

interview below the cut:

Paul McCartney: Yeah!

McCartney: You were playing one of his songs, weren’t you?

McCartney: I mean, I think it’s a bit of everything, isn’t it? I’ll tell you who was very … Reese Witherspoon was like, “Are you going to sing?” I said “Oh, I don’t know.” She said, “You’ve got to, yeah!” She’s bossing me around. So I said, “Whoa,” so it’s a bit of that.

Swift: I love that person, because the party does not turn musical without that person.

McCartney: Yeah, that’s true.

Swift: If nobody says, “Can you guys play music?” we’re not going to invite ourselves up onstage at whatever living-room party it is.

McCartney: I seem to remember Woody Harrelson got on the piano, and he starts playing “Let It Be,” and I’m thinking, “I can do that better.” So I said, “Come on, move over, Woody.” So we’re both playing it. It was really nice.… I love people like Dan Aykroyd, who’s just full of energy and he loves his music so much, but he’s not necessarily a musician, but he just wanders around the room, just saying, “You got to get up, got to get up, do some stuff.”

Swift: Wow.

McCartney: Well, I’m very lucky because I have a studio that’s, like, 20 minutes away from where I live. We were in lockdown on a farm, a sheep farm with my daughter Mary and her four kids and her husband. So I had four of my grandkids, I had Mary, who’s a great cook, so I would just drive myself to the studio. And there were two other guys that could come in and we’d be very careful and distanced and everything: my engineer Steve, and then my equipment guy Keith. So the three of us made the record, and I just started off. I had to do a little bit of film music — I had to do an instrumental for a film thing — so I did that. And I just kept going, and that turned into the opening track on the album. I would just come in, say, “Oh, yeah, what are we gonna do?” [Then] have some sort of idea, and start doing it. Normally, I’d start with the instrument I wrote it on, either piano or guitar, and then probably add some drums and then a bit of bass till it started to sound like a record, and then just gradually layer it all up. It was fun.

Swift: That’s so cool.

McCartney: What about yours? You’re playing guitar and piano on yours.

Swift: Yeah, on some of it, but a lot of it was made with Aaron Dessner, who’s in a band called the National that I really love. And I had met him at a concert a year before, and I had a conversation with him, asking him how he writes. It’s my favorite thing to ask people who I’m a fan of. And he had an interesting answer. He said, “All the band members live in different parts of the world. So I make tracks. And I send them to our lead singer, Matt, and he writes the top line.” I just remember thinking, “That is really efficient.” And I kind of stored it in my brain as a future idea for a project. You know, how you have these ideas… “Maybe one day I’ll do this.” I always had in my head: “Maybe one day I’ll work with Aaron Dessner.”

McCartney: Yeah, that was the thing. You could do stuff — you didn’t really worry it was going to turn into anything.

Swift: That’s the coziest thing I’ve ever heard.

McCartney: Well, it’s like eight minutes long, and I said, “I hate it when I’m playing someone something and it finishes after three minutes.” I kind of like that it just [continues] on.

Swift: You want to stay in the zone.

McCartney: It just keeps going on. I would just come home, “Well, what did you do today?” “Oh, well, I did this. I’m halfway through this,” or, “We finished this.”

Swift: I was wondering about the numerology element to McCartney III. McCartney I, II, and III have all come out on years with zeroes.

McCartney: Ends of decades.

Swift: Was that important?

Swift: The numerology, the kind of look, the symbolism. I love numbers. Numbers kind of rule my whole world. The numbers 13 … 89 is a big one. I have a few others that I find…

McCartney: Thirteen is lucky for some.

McCartney: It’s spooky, Taylor. It’s very spooky. Now wait a minute: Where’d you get 89?

Swift: That’s when I was born, in 1989, and so I see it in different places and I just think it’s…

McCartney: No, it’s good. I like that, where certain things you attach yourself to, and you get a good feeling off them. I think that’s great.

Swift: Love a pseudonym.

McCartney: Yeah, for the fun! But, you know, let’s face it, you crave fame and attention when you’re young. And I just remembered the other day, I was the guy in the Beatles that would write to journalists and say [speaks in a formal voice]: “We are a semiprofessional rock combo, and I’d think you’d like [us].… We’ve written over 100 songs (which was a lie), my friend John and I. If you mention us in your newspaper…” You know, I was always, like, craving the attention.

Swift: The hustle! That’s so great, though.

McCartney: Well, yeah, you need that.

McCartney: Do you ever do that?

Swift: Oh, yeah.

McCartney: Oh, yeah? Oh, well, we didn’t know that! Is that a widely known fact?

Swift: [Laughs.] That’s a good one! I love it.

Swift: Thrilling, absolutely thrilling.

McCartney: And we didn’t mind, you know?

McCartney: You do that, do you?

McCartney: Well, that’s great, and I’m glad that set you on that path. I understand people who don’t want to do that, and if you do, they’ll say, “Oh, it’s a jukebox show.” I hear what they’re saying. But I think it’s a bit of a cheat, because the people who come to our shows have spent a lot of money. We can afford to go to a couple of shows and it doesn’t make much difference. But a lot of ordinary working folks … it’s a big event in their life, and so I try and deliver. I also, like you say, try and put in a few weirdos.

McCartney: Was this “I want to give you a child”? Is that one of the lines?

Swift: Oh, that’s a song called “Peace.”

McCartney: “Peace,” I like that one.

McCartney: So how does that go? Does your partner sympathize with that and understand?

Swift: Oh, absolutely.

McCartney: They have to, don’t they?

Swift: But I think that in knowing him and being in the relationship I am in now, I have definitely made decisions that have made my life feel more like a real life and less like just a storyline to be commented on in tabloids. Whether that’s deciding where to live, who to hang out with, when to not take a picture — the idea of privacy feels so strange to try to explain, but it’s really just trying to find bits of normalcy. That’s what that song “Peace” is talking about. Like, would it be enough if I could never fully achieve the normalcy that we both crave? Stella always tells me that she had as normal a childhood as she could ever hope for under the circumstances.

McCartney: Yeah, it was very important to us to try and keep their feet on the ground amongst the craziness.

Swift: She went to a regular school .…

McCartney: Yeah, she did.

Swift: And you would go trick-or-treating with them, wearing masks.

Swift: Ohhh!

Swift: Cares about that stuff?

Swift: I think that sounds like a perfect day.

Swift: That can’t happen in Downton Abbey.

McCartney: [Laughs.] Exactly.

McCartney: It was a bit of both. As it kind of always is with me. There’s no fixed way. People used to ask me and John, “Well, who does the words, who does the music?” I used to say, “We both do both.” We used to say we don’t have a formula, and we don’t want one. Because the minute we get a formula, we should rip it up. I will sometimes, as I did with a couple of songs on this album, sit down at the piano and just start noodling around, and I’ll get a little idea and start to fill that out. So the lyrics — for me, it’s following a trail. I’ll start [sings “Find My Way,” a song from “McCartney III”]: “I can find my way. I know my left from right, da da da.” And I’ll just sort of fill it in. Like, we know this song, and I’m trying to remember the lyrics. Sometimes I’ll just be inspired by something. I had a little book which was all about the constellations and the stars and the orbits of Venus and.…

Swift: Oh, I know that song — “The Kiss of Venus”?

Swift: Wow.

McCartney: It’s very magical.

Swift: That is magical. I definitely relate to needing to find magical things in this very not-magical time, needing to read more books and learn to sew, and watch movies that take place hundreds of years ago. In a time where, if you look at the news, you just want to have a panic attack — I really relate to the idea that you are thinking about stars and constellations.

McCartney: Did you do that on Folklore?

Swift: Yes. I was reading so much more than I ever did, and watching so many more films.

McCartney: What stuff were you reading?

Swift: I was reading, you know, books like Rebecca, by Daphne du Maurier, which I highly recommend, and books that dealt with times past, a world that doesn’t exist anymore. I was also using words I always wanted to use — kind of bigger, flowerier, prettier words, like “epiphany,” in songs. I always thought, “Well, that’ll never track on pop radio,” but when I was making this record, I thought, “What tracks? Nothing makes sense anymore. If there’s chaos everywhere, why don’t I just use the damn word I want to use in the song?”

McCartney: Exactly. So you’d see the word in a book and think, “I love that word”?

Swift: Yeah, I have favorite words, like “elegies” and “epiphany” and “divorcée,” and just words that I think sound beautiful, and I have lists and lists of them.

McCartney: How about “marzipan”?

Swift: Love “marzipan.”

McCartney: The other day, I was remembering when we wrote “Lucy in the Sky With Diamonds”: “kaleidoscope.”

Swift: “Kaleidoscope” is one of mine! I have a song on 1989, a song called “Welcome to New York,” that I put the word “kaleidoscope” in just because I’m obsessed with the word.

Swift: We should have done matching jackets for this photo shoot.

McCartney: Find me a fleck, I’m in. But we went to the fair, and I just remember — this is what happens with songs — there was this girl at the fair. This is just a little Liverpool fair — it was in a place called Sefton Park — and there was this girl, who was so beautiful. She wasn’t a star. She was so beautiful. Everyone was following her, and it’s like, “Wow.” It’s like a magical scene, you know? But all this gave me a headache, so I ended up going back to his house — I didn’t normally get headaches. And we thought, “What can we do?” So we put on the Elvis song “All Shook Up.” By the end of that song, my headache had gone. I thought, you know, “That’s powerful.”

Swift: That really is powerful.

McCartney: What, a “cardigan”?

Swift: Like a good cardigan, a good, worn-in cardigan. Or something that makes you reminisce on your childhood. I think sadness can be cozy. It can obviously be traumatic and stressful, too, but I kind of was trying to lean into sadness that feels like somehow enveloping in not such a scary way — like nostalgia and whimsy incorporated into a feeling like you’re not all right. Because I don’t think anybody was really feeling like they were in their prime this year. Isolation can mean escaping into your imagination in a way that’s kind of nice.

Swift: Get a hammer and a nail.

McCartney: “Maybe I can put that picture up.” It’s not rocket science. The period after the Beatles, when we went to live in Scotland on a really — talk about dumpy — little farm. I mean, I see pictures of it now and I’m not ashamed, but I’m almost ashamed. Because it’s like, “God, nobody’s cleaned up around here.”

But it was really a relief. Because when I was with the Beatles, we’d formed Apple Records, and if I wanted a Christmas tree, someone would just buy it. And I thought, after a while, “No, you know what? I really would like to go and buy our Christmas tree. Because that’s what everyone does.” So you go down — “I’ll have that one” — and you carried it back. I mean, it’s little, but it’s huge at the same time.

I needed a table in Scotland and I was looking through a catalog and I thought, “I could make one. I did woodwork in school, so I know what a dovetail joint is.” So I just figured it out. I’m just sitting in the kitchen, and I’m whittling away at this wood and I made this little joint. There was no nail technology — it was glue. And I was scared to put it together. I said, “It’s not going to fit,” but one day, I got my woodwork glue and thought, “There’s no going back.” But it turned out to be a real nice little table I was very proud of. It was that sense of achievement.

Swift: No, it’s cool!

McCartney: But it was a real sort of great thing for me to be able to do stuff for yourself. You were talking about sewing. I mean normally, in your position, you’ve got any amount of tailors.

Swift: Well, there’s been a bit of a baby boom recently; several of my friends have gotten pregnant.

McCartney: Oh, yeah, you’re at the age.

McCartney: What do you paint? Watercolors?

Swift: Acrylic or oil. Whenever I do watercolor, all I paint is flowers. When I have oil, I really like to do landscapes. I always kind of return to painting a lonely little cottage on a hill.

McCartney: She’s a fantasy character?

Swift: She’s a real person. Who lived in the house that I live in.

McCartney: She’s a real person? I listened to that and I thought, “Who is this?”

McCartney: Yeah, ’cause you were writing breakup songs like they were going out of style.

Swift: That’s amazing.

McCartney: It just felt good to me. I would sit and talk, and they’d have amazing stories. That’s what I liked. They would have stories from the wartime — because I was born actually in the war — and so these old ladies, they were participating in the war. This one lady I used to sort of just hang out with, she had a crystal radio that I found very magical. In the war, a lot of people made their own radios — you’d make them out of crystals [sings “The Twilight Zone” theme].

Swift: How did I not know this? That sounds like something I would have tried to learn about.

McCartney: It’s interesting, because there is a lot of parallels with the virus and lockdowns and wartime. It happened to everyone. Like, this isn’t HIV, or SARS, or Avian flu, which happened to others, generally. This has happened to everyone, all around the world. That’s the defining thing about this particular virus. And, you know, my parents … it happened to everyone in Britain, including the queen and Churchill. War happened. So they were all part of this thing, and they all had to figure out a way through it. So you figured out Folklore. I figured out McCartney III.

Swift: And a lot of people have been baking sourdough bread. Whatever gets you through!

McCartney: Some people used to make radios. And they’d take a crystal — we should look it up, but it actually is a crystal. I thought, “Oh, no, they just called it a crystal radio,” but it’s actually crystals like we know and love.

Swift: Wow.

McCartney: And somehow they get the radio waves — this crystal attracts them — they tune it in, and that’s how they used to get their news. Back to “Eleanor Rigby,” so I would think of her and think of what she’s doing and then just try to get lyrical, just try to bring poetry into it, words you love, just try to get images like “picks up the rice in the church where a wedding has been,” and Father McKenzie “is darning his socks in the night.” You know, he’s a religious man, so I could’ve said, you know, “preparing his Bible,” which would have been more obvious. But “darning his socks” kind of says more about him. So you get into this lovely fantasy. And that’s the magic of songs, you know. It’s a black hole, and then you start doing this process, and then there’s this beautiful little flower that you’ve just made. So it is very like embroidery, making something.

Swift: Making a table.

McCartney: Making a table.

Swift: Wow, it would’ve been so fun to play Glastonbury for the 50th anniversary together.

McCartney: It would’ve been great, wouldn’t it? And I was going to be asking you to play with me.

Swift: Were you going to invite me? I was hoping that you would. I was going to ask you.

McCartney: I would’ve done “Shake It Off.”

Swift: Oh, my God, that would have been amazing.

McCartney: I know it, it’s in C!

McCartney: Well, we’re just so lucky, aren’t we?

Swift: We’re really lucky.

McCartney: I don’t know if it ever happens to you, but with me, it’s like, “Oh, my god, I’ve ended up as a musician.”

Swift: Yeah, I can’t believe it’s my job.

Swift: “Something will happen.”

Swift: That’s the best.

McCartney: It’s so stupid it’s brilliant. It’s great if you’re ever in that sort of panic attack: “Oh, my God,” or, “Ahhh, what am I going to do?”

Swift: “Something will happen.”

McCartney: All right then, thanks for doing this, and this was, you know, a lot of fun.

Swift: You’re the best. This was so awesome. Those were some quality stories!

#paul mccartney #old paul #taylor swift #*m #💖#grandpaul #silver stubble #(aahh king)#(I LOVE HIM SO MUCH F*CK OFF EVERYONE)#(the thumbs lads. its always about the thumbs)

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lashton-is-my-drug · 3 years ago

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"Not In The Same Way" is Lashton AF

“Not In The Same Way” track 8 off of 5SOS album CALM (2020)

Recently I took the time to revisit the March 2021 instagram livestream where Ashton did a track by track to celebrate the album's 1 year anniversary.

A few of the tracks caught my attention that lead me to believe they are Lashton songs. NITSW is one of them.

Let’s take a look at what Ash has to say and his reaction while it’s playing.

Then, we will look at what Luke said about NITSW, during album release promo last year.

Ash's March 2021 instagram livestream::::

To start, Ash says this song “started with a guitar riff. Stylistically links up with “Old Me"', ' because of the hip hop beat influenced sound they have. Melodically it's pretty fire.

"The concept is pretty beautiful. 'We love each other but not in the same way'. " Ash is all smiles and giggles while this song is playing.

He points out that the “Hurricane insert name” lyric is for the fans to insert the name of “the person who drives you fucking crazy”.

“We fuck we fight you call me a psycho…” for this lyric Ash makes the comment “Lust!”

Ash is so frickin happy and vibin out to this song, it's really so beautiful, just like he is.

Here's the video::

youtube

Now let's rewind back to...

April 2020 for CALM album release promotion.

Luke was interviewed by Paper Magazine.

He was asked about NITSW, specifically.

The interview itself was kinda short and in print form.

It being in print makes it a bit more interesting when we look at what was said. Let me add, it was before the band had parted ways with Modest! Management and their record label (March 2021). Interviews in print form can be more easily modified by an artists team. This is something I’ve learned through paying close attention to how music artists images are handled. The love lives of artists are very often used to promote songs, albums, and other projects. This album cycle… Luke’s relationship with his songwriter girlfriend was used to give her some work and to promote a narrative that they write love songs about each other.

Ok, now onto what Luke had to say...

Luke talked about how it was just him and Ash in a room singing over Andrew’s drum riff. And said it was one of the best days of writing he experienced. Luke said he was doing the male perspective and Ash sang the bridge, which is the female perspective.

So, Luke was feeling particularly inspired that day...

Lyrically writing a love song with his bandmate... I see....

He continues on... using the "we" first person pronoun... I see...

Then says its from two sides of a relationship... I see...

Then Luke for some reason, felt the need to go on a paragraph long answer about his girlfriend. The girlfriend who has been promoted throughout this album cycle by even including her as a songwriter on the album. The girlfriend who used to be in a duo band, was engaged to the guy, then it was broken off, and now she has latched onto Luke's career.

"Maybe Ashton was there as well, MaYbE He WaS WrItInG AbOuT SoMeOnE ElSe"

Sir- 😂

Please- All of the 5SOS guys spend most their time together and know each other like the backs of their hands. Luke and Ash wrote over 30 songs that made it to release together. There's no way in hell that Luke and Ash would have no idea who they were each writing about. So, even if in fact, they were writing about their girlfriends, they would most certainly have known.

This, folks, is why we have to think critically when we read things.

What I suspect happened was Luke was giving his answer then thought it through in his mind that this might be sounding a bit too suspect (read: gay) that he and Ash, were in a room, riffing a love song towards each other, then tried to compensate by talking about the girlfriend.

He did the interview and someone from his team told the interviewer to add in the last part to build up this flowery language about the girlfriend. To... ya know... make it not sound so... gay.

Oh…. There’s also this….

The NITSW visualizer video on the 5SOS YouTube channel uses. Red and blue, which I think are what Luke and Ash’s colors are.

So....

Lashton writing love songs with each other, for each other, on the fly, is such a serotonin filled thought. It's the best.

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piratewithvigor · 4 years ago

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My first thought in regard to every band that gets played on my radio station

ACDC: Every dad’s favourite band

Adams, Bryan: Every mom’s favourite singer until Michael Buble came along

Aerosmith: haha they thought Vince Neil was a lady

Alice Cooper: he’s a Game Of Thrones fanboy and I have proof

Alice In Chains: my sister doesn’t like them because she decided AC were Alice Cooper’s initials ONLY

Allman Brothers Band: good music for dropping acid to

Allman, Gregg: That’s too many Gs for one name

Animals: House Of The Rising Sun, or who even cares

Argent: Sometimes Hold Your Head Up is really catchy

Asia: Tuesdays

Autograph: one of the members went on to be a pharmacist

Bachman-Turner Overdrive: There are just so many pop culture jokes about Taking Care Of Business that whatever I say won’t be as funny

Bad Company: with their song; Bad Company, off their album; Bad Company

Benatar, Pat: Always getting her confused with Patti Smith

Black Crowes: I like them for Lickin, but it doesn’t seem to exist outside of one shoddy video on youtube and my old CD

Blackfoot: this band name feels kind of racy

Black Sabbath: Dio was not better or worse than Ozzy; just different

Blondie: I like Call Me, but Blondie confuses me stylistically

Blue Oyster Cult: MORE COWBELL

Bon Jovi: Hello, childhood trauma, I missed you

Boston: ONE GUY. ONE GUY DID IT ALL AND NO ONE KNOWS

Bowie, David: Don’t let your children watch The Man Who Fell To Earth, or David Bowie’s will end up being the third penis they see in life

Browne, Jackson: Another musician ruined by Supernatural

Buffalo Springfield: Jack Nicholson was at the riot they sing about

Burdon, Eric: no ideas, brain empty

Bush: ditto

Candlebox: ditto once more. Who are these people?

Cars: This band feels so gay and so straight at the same time, I can only assume they’re the poster children of bisexual panic

Cheap Trick: I played Dream Police on Guitar Hero so fucking much because it was the only song anyone who played with me could keep up with

Chicago: Chicago 30 exists, but they do not have 30 albums. Fucking riddle me that

Clapton, Eric: 6 discs in one Greatest Hits is too many. That’s called “re releasing your discography”

Cochrane, Tom: For some reason, everyone thinks Rascal Flats did it better

Cocker, Joe: Belushi did it right

Collective Soul: who?

Collins, Phil: If his biggest hits were done by MCR, they would be emo anthems, but because he’s 5′6″ and from the 80s, they’re not

Cream: *Vietnam flashbacks on the hippie side*

CCR: *Vietnam flashbacks on the war side*

CSNY: David Crosby; meh

Deep Purple: THEY’RE SO MUCH MORE THAN SMOKE ON THE WATER

Def Leppard: the only music for when you’re a heartbroken bitch but also a sexy one

Derek And The Dominos: Clapton and ‘Layla’ broke up

Derringer, Rick: Tom Petty if he was from the midwest

Dio: You thought it was an anime reference, but it was me, Dio

Dire Straits: You can tell how bigoted a radio station is based on how much of Money For Nothing they censor

Doobie Brothers: I have yet to smoke weed, but I listen to the Doobies, and I think that’s pretty close

Dylan, Bob: I take back everything I said about him in my youth

Eagles: Hotel California isn’t their best song, but the memes that come from it are second to none

Edgar Winter Group: @the--blackdahlia

Electric Light Orchestra: Actually an orchestra and sound a fuckton like George Harrison

ELO: I really hesitate to ask what happens with the 7 virgins and a mule

Essex, David: no prominent memories of him

Fabulous Thunderbirds: cannot spell

Faces: Who on earth thought that was a good album name?

Faith No More: I got nothing

Fixx: One Thing Leads To Another is a damn bop

Fleetwood Mac: I ain’t straight, but I’m simply not enough of a witch to enjoy them to full potential

Fogerty, John: He got sued cause he sounded like himself

Foghat: Slow Ride slowly becoming less coherent feels like a drug trip

Foo Fighters: He was just excited to buy a grill

Ford, Lita: deserved better

Foreigner: dramatically overplayed

Frampton, Peter: a masterful user of the talk box

Free: dramatically underplayed

Gabriel, Peter: leaving Genesis changed him a lot

Genesis: if someone likes Genesis, clarify the era, because yes, it does matter

Georgia Satellites: sing like you have a cactus in your ass

Golden Earring: Twilight Zone slaps, but it doesn’t slap as hard as this station thinks it does

Grand Funk Railroad: Funk

Grateful Dead: I like their aesthetic more than their music

Great White: there are so many fucking shark jokes

Greenbaum, Norman: makes me think of Subway for some reason

Green Day: the first of the emo revolution

Greg Kihn Band: RocKihnRoll is literally the most clever album name I’ve ever seen

Guns N Roses: They have more than three good songs, but radio stations never recognize that

Hagar, Sammy: I’m still trying to figure out where he lived to take 16 hours to get to LA driving 55 and how fucking fast was he driving beforehand?

Harrison, George: He went from religious to rock, and if he had continued rocking, he would have gotten too cool

Head East: I respect people who use breakfast foods as album names

Heart: Magic Man and Barracuda are played at least once every goddamn day. They’re not even the best songs!

Hendrix, Jimi: I have both a cousin and a sibling named after Hendrix references

Henley, Don: Dirty Laundry gives me too much inspiration

Hollies: Somehow sound like they’re both from the 60s and the 80s at the same time

Idol, Billy: he’s doing well for himself

INXS: Terminator vibes

Iris, Donnie: knockoff Roy Orbison

James Gang: too many funks

Jane’s Addiction: if TMNT had a grunge band representative

Jefferson Airplane: *assorted cheers*

Jefferson Starship: *assorted boos*

Jethro Tull: The only band to make you feel not cool enough to play the flute

Jett, Joan: icon

J. Geils Band: I requested them on the radio once and it got played

Joel, Billy: he really did just air everybody’s business like that

John Cafferty And The Beaver Brown Band: literally wtf is that name

John, Elton: yarn Elton sits in my basement, unstaring. Please someone take him from me

Joplin, Janis: Queen

Journey: Stop overplaying Don’t Stop Believing. It takes away from the rest of the repetoire

Judas Priest: literally started the gay leather aesthetic

Kansas: another fucking band Supernatural stole

Kenny Wayne Shepherd: the man confuses me to the point where he isn’t in the right place alphabetically

Kiss: Mick Mars and I will simply have to disagree on the subject

Kravitz, Lenny: runaway vibes

Led Zeppelin: Fucking fight me if you don’t think they’re the most talented band (maybe not the most talented individually, but collectively, no one comes close)

Lennon, John: My least favourite Beatle for reasons

Live: I got nothin

Living Colour: slap a decent amount

Loverboy: do you not get TURNT the fuck up to the big Loverboy hits? Who hurt you??

Lynyrd Skynyrd: Sweet Home Alabama is a Neil Young diss track

Marshall Tucker Band: no opinion

Manfred Mann’s Earth Band: VERY STRONG OPINIONS THAT THEY AREN’T GOOD

McCartney, Paul/Wings: Power couple

Meatloaf: I have nothing but respect for a man who willingly named himself Meatloaf

Mellencamp, John: voted cutest lesbian of 1987

Metallica: I liked their appearance on Jimmy Fallon

Midnight Oil: I get them confused for Talking Heads a lot

Modern English: who?

Molly Hatchet: Hollies vibes, but also Georgia Satellites vibes

Money, Eddie: DAN AVIDAN, IF YOU SEE THIS, COVER TAKE ME HOME TONIGHT

Motley Crue: Stan Mick Mars and John Corabi. They’re the only ones who deserve it

Mott The Hoople: no one loves them except for David Bowie

Mountain: props for naming an album ‘Climbing’

Nazareth: I want to make a John Mulaney joke here, but I can never come up with one

Nicks, Stevie: witch queen

Night Ranger: I get them confused with Urge Overkill

Nirvana: Kurt Cobain was the ally grunge needed

Nova, Aldo: he’s Canadian, at least

Nugent, Ted: *serves a ghost as jerky*

Offspring: nothing here

Osbourne, Ozzy: this bitch crazy

Outfield: Your Love is kind of a sketchy song, but it slaps hard

Palmer, Robert: low quality Eddie Money

Pearl Jam: *grunts in Eddie Vedder*

Petty, Tom: I have so many feelings about Tom Petty and they are all good

Pink Floyd: which one is Pink?

Plant, Robert: solo career is a crapshoot, but his voice is unparalleled

Poison: I want them to write a song called ‘Alice Cooper’

Pretenders: I want to say good things, but I have nothing to say

Queen: A doctor of astrophysics, a screaming girl, a disco queen and a diva walk into a bar. It’s Queen; they’re there to play a gig

Queensryche: neutral opinion

Quiet Riot: they got big because of a song they hated. I love that

Rafferty, Gerry: the second-sexiest sax opening in all of music

Rainbow: Ritchie Blackmore created something very magnificent

Ram Jam: one good song and they didn’t even write it

Ratt: I’m sure they have more than Round And Round, but I don’t know it

RHCP: funky, but if you have paid money to hear them, you’re going to The Bad Place (I don’t make the rules)

Red Rider: basically Golden Earring

Reed, Lou: Walk On The Wild Side would be such a cool song if it wasn’t so dull

REM: American Tragically Hip

REO Speedwagon: Props for having a dad joke as an album title

Rolling Stones: Never in my life could I imagine the drummer being named anything but Charlie

Rush: How to make being uncool the coolest fucking shit

Santana: The world needs more Santana

Scandal: There’s something really funny about The Warrior being my brother’s “song” with his girlfriend

Scorpions: Was Wind Of Change written by the CIA? Only the spotify podcast I got an ad for once could say

Seger, Bob: A different variety of Eric Clapton (frankly a better variety, but that’s just me)

Simple Minds: we ALL forgot about you

Skid Row: Sebastian Bach is prettier than all of us

Soundgarden: music that makes you feel like you dunked your head underwater

Springsteen, Bruce: my arch-nemesis. Maybe someday, he’ll find out about it

Squeeze: according to my friends, the stupidest band name ever, but they’re theatre kids, so you know

Squier, Billy: If he can make it through 1984 alive, you can make it through whatever bad day you’re having

Stealers Wheel: Yet another band who I always mistake for George Harrison

Steely Dan: my house’s nickname for the Robber in Settlers Of Catan

Steppenwolf: Either makes me think of Jay & Silent Bob, Jack Nicholson, or that time I had to cut 6lbs of onions

Steve Miller Band: when you’re in the right mood, they slap hard

Stewart, Rod: my soundtrack to summer 2015

Stills, Stephen: Love The One You’re With Is Catchy, but the lyrics are questionable

Stone Temple Pilots: the only band to write a song about goo you smear on yourself

Stray Cats: an obscene amount of merch is available for them

Styx: Supernatural would have ruined them for me too if I hadn’t been into them previously.

Supertramp: I hunted for Breakfast In America for two years and it was worth every hunt

Sweet: I will never understand my two-month obsession with Ballroom Blitz when I was 15, but it was legit all I listened to

Talking Heads: you may find yourself in a pizza hut. And you may find yourself in a taco bell. And you may find yourself at the combination pizza hut and taco bell. And you may ask yourself; ‘how did I get here?’

Temple Of The Dog: I keep confusing them for Nazareth

Ten Years After: somehow still relevant

Tesla: not the car or the dude

The Beatles: Evokes a lot of opinions from people. Mine is that I love them

The Clash: I showed my sister the ‘Lock The Taskbar’ vine ONCE and it still kills her

The Doors: evokes teenage terror from deep within my soul

The Guess Who: Canada’s answer to confusing question-themed band names

The Kinks: kinky

The Police: wrote the theme of 2020 and everyone somehow forgot it was about a teacher resisting becoming a pedophile

The Ramones: playing all of their songs in a row wouldn’t take more than 2 hours

The Romantics: you don’t think you know them, but if you’ve seen Shrek 2, you have

The Who: If someone can explain Tommy to me, I’d be glad to hear it