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mlmshipbracket · 10 months ago

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Fourth MLM Ship Bracket Propaganda Submissions

Below you will find all of the submitted and approved ships for the Fourth MLM Ship Bracket Tournament along with the form to submit further propaganda at the bottom

This is another opportunity to submit propaganda for your favorite ships. Wether you were unable to submit propaganda for them in the initial form or you spot your favorite ship who has no propaganda submitted. Ships with a strikethrough have propaganda submitted, I will continue to update this post as propaganda is submitted. I will accept further propaganda for ships with already submitted propaganda but please prioritize those with out.

The goal is to have propaganda for all ships but I understand that may not be possible. Therefore I will be leaving the form open for a few weeks to see if we receive propaganda for at least half the ships.

Note: Please reach out to me if you spot any mistakes in character or fandom names, even if it is only formatting or spelling issues.

Monkey D. Luffy/Roronoa Zoro (One Piece)

Kyojuro Rengoku/Akaza (Demon Slayer)

Mikhail”Misha” [Heavy]/Dr. Ludwig [Medic] (Team Fortress 2)

Dave Strider/Karkat Vantas (Homestuck)

Chu Shuzhi/Guo Changcheng (Guardian, 2018)

Oliver Marks/James Farrow (If We Were Villains)

David Starsky/Kenneth "Hutch" Hutchinson (Starsky & Hutch)

Tinn/Gun (My School President)

Loki Odinson/Mobius M. Mobius (Loki)

Jaime Reyes/Bart Allen (DC Comics)

Levi Schmitt/Nico Kim (Grey's Anatomy)

Ren Amamiya or Akira Kurusu/Goro Akechi (Persona 5)

Wallace Price/ Hugo Freeman (Under the Whispering Door)

Daffy Duck/Bugs Bunny (Looney Toons)

Shen Wei/Zhao Yunlan (Guardian, 2018)

Isak Valtersen/Even Bech Næsheim (SKAM)

Henry "Monty" Montague/Percy Newton (Montague Siblings)

Nico di Angelo/Will Solace (Camp Half-Blood Chronicles)

Argos/Mr. Plant (The World of Mr. Plant)

Richard St Vier/Alec Campion (Swordspoint Universe)

Klaus Hargreeves/Dave Katz (The Umbrella Academy)

Woody/Buzz Lightyear (Toy Story)

Victor Lawson/Hap (In the Lives of Puppets

Charlie/Babe (Pit Babe The Series)

Fred/Shaggy (Scooby-Doo)

Simon Snow/Tyrannus Basilton "Baz" Grimm-Pitch (Carry On)

Gaius Octavius/Jedediah Smith (Night at the Museum)

Sound/Win (My School President)

Pat/Pran (Bad Buddy)

Mike Wazowski/James "Sulley" P. Sullivan (Monsters, Inc.)

Nicholas “Nick” Bell/ Seth Gray (The Extraordinaries)

Evan 'Buck' Buckley/Edmundo 'Eddie' Diaz (9-1-1)

Sean/White (Not Me: The Series)

Vegas Theerapanyakun/Pete Saengtham (Kinnporsche: The Series)

Runaan/Ethari (The Dragon Prince)

Larry Daley/Ahkmenrah (Night at the Museum)

Tintin/Captain Archibald Haddock (Tintin comics)

Bai Lang/Jin Xun An (My Tooth Your Love)

Napoleon Solo/Illya Kuryakin (The Man from U.N.C.L.E)

Wario/Waluigi (Mario franchise)

Peter Parker/Miguel O'Hará (Spider-Man: Across the Spider-Verse)

Steve Rogers/Anthony "Tony" Stark (Marvel Comics)

Dave Miller/Jack "Old sport" Kennedy (Dayshift at Freddy's)

Boston/Nick (Only Friends)

Kinn Theerapanyakun/Porsche Kittisawasd (Kinnporsche: The Series)

Satoru Gojo/Suguru Geto (Jujutsu Kaisen)

Craig Cuttlefish/Octavio Takowasa (Splatoon)

Tulio/Miguel (The Road to El Dorado)

Sun Wukong/Neptune Vasilias (RWBY)

Zachary Ezra Rawlins/Dorian (The Starless Sea)

Fox Mulder/Alex Krycek (The X-Files)

Thomas/Newt (The Maze Runner)

Fulgrim/Ferrus Manus (Warhammer 40k)

Kim Theerapanyakun/Porchay Kittisawasd (Kinnporsche: The Series)

Alec Lightwood/Magnus Bane (The Mortal Instruments)

Tan/Bun (Manner of Death)

Qrow Branwen/Clover Ebi (RWBY)

Rhy Maresh/Alucard Emery (Shades of Magic)

Yashiro Isana/Kuroh Yatogami (K Project)

Jaskier/Geralt of Rivia (The Witcher)

Dustfinger/Mortimer "Mo" Folchart (Inkworld series)

Brandon/Sky (Winx Club)

Phineas Taylor “P. T.” Barnum/Phillip Carlyle (The Greatest Showman)

Alfred Hillinghead/Henry Ashe (Bodies TV Show)

Baal/Inanna (The Wicked + the Divine)

Timothy "Tim" Drake/Bernard Dowd (DC Comics)

Vash the Stampede/Nicholas D. Wolfwood (Trigun Stampede)

Anthony Lockwood/Quill Kipps (Lockwood and Co)

Henry Winter/Francis Abernathy (The Secret History)

Crowley/Aziraphale (Good Omens)

Dainix/Falst (Aurora Comic)

Prince Rupert/Prince Amir (The Two Princes)

Finn/Poe Dameron (Star Wars)

Jean Luc Picard/Q (Star Trek: The Next Generation)

Will Stronghold/Warren Peace (Sky High)

Heart/Li Ming (Moonlight Chicken)

Wallace Wells/Todd Ingram (Scott Pilgrim Takes Off)

Sunai/Veyadi Lut (The Archive Undying)

Linus Baker/Arthur Parnassus (The House in the Cerulean Sea)

Aaron Slaughter/Jace Boucher (House of Slaughter)

Hercule Poirot/Captain Arthur Hastings (Hercule Poirot)

Phaya/Tharn (The Sign)

Hercules/Iolaus (Hercules: The Legendary Journeys)

Todd/Black (Not Me: The Series)

Julio "Rictor" Esteban Richter/Shatterstar (Marvel Comics)

Wen Kexing/Zhou Zishu (Word of Honor)

Siffrin/Isabeau (In Stars and time)

Kendall Knight/Logan Mitchell (Big Time Rush TV Show)

Yuichiro Hiyakuya/Mikaela Hyakuya (Owari no Seraph/Seraph of the End)

Palm/Nuengdiao (Never Let Me Go)

Khatha/Dome (Midnight Museum)

Asterix/Obelix (Asterix Comics)

Bowser/Luigi (Mario Franchise)

Lucien "Luc" O'Donnell/Oliver Blackwood (London Calling)

Kazuki Kurusu/Rei Suwa (Buddy Daddies)

Benjamin “Ben” Tennyson/Kevin Ethan Levin (Ben 10: Alien Force)

Lumière/Cogsworth (Beauty and the Beast)

Damian Wayne/Jon Kent (DC Comics)

Spy/Dell Conagher [Engineer] (Team Fortress 2)

Shanks/Buggy (One Piece)

Jesper Fahey/Wylan Van Ecks (Six of Crows)

Harold Finch/John Reese (Person of Interest)

Ulrich Stern/Odd Della Robbia (Code Lyoko)

Vincent Freeman/Jerome Morrow (Gattaca)

Eustass Kid/Killer (One Piece)

Christopher Hitchcock/Jalil Sherman (Everworld)

Frodo Baggins/Samwise Gamgee (Lord of the Rings)

Edgin Darvis/Xenk Yendar (Dungeons & Dragons: Honor Among Thieves)

#tumblr poll #tumblr bracket #mlm ship #mlm ship poll #mlm ship bracket #mlm ship bracket tournament #mlm ship bracket 2024 #mlm ship bracket tournament 2024 #fourth mlm ship tournament #propaganda #ship propaganda

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ostensiblynone · 10 days ago

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Oasis ‘Wonderwall’

Published November 2012

By Richard Buskin

For many, (What's The Story) Morning Glory? is Oasis's masterpiece. Producer and engineer Owen Morris tells us the story of its creation.

SOS Sound On Sound: Oasis ‘Wonderwall’ Production

Following 1994's impressive debut, Definitely Maybe, Oasis quickly hit their stride and reached their peak with their 1995 sophomore effort, (What's The Story) Morning Glory? Co‑produced by songwriter and lead guitarist Noel Gallagher and Owen Morris (who also engineered), this record signalled Gallagher's shift from power-rock towards more melodic, anthemic, mid-tempo numbers and ballads whose sophisticated instrumentation and synth-string arrangements helped make the album a Britpop landmark.

Following its October 1995 release, the album topped the UK chart for 10 weeks, climbed to number four in the US and spawned hit singles in the form of UK number ones 'Some Might Say' and 'Don't Look Back In Anger', as well as UK number twos 'Roll With It' and 'Wonderwall', the last of which climbed to number eight in America, where 'Champagne Supernova' — featuring lead guitar by Paul Weller — also made the Top 20. Amid a tabloid-fuelled 'Battle of Britpop' with London rivals Blur, the Mancunian quintet of Gallagher, his brother Liam (lead vocals), Paul 'Bonehead' Arthurs (rhythm guitar), Paul McGuigan (bass) and Alan White (drums) became international superstars.

Still, the charges of plagiarism that had been levelled at Noel for some of the material on Definitely Maybe returned when (What's The Story) Morning Glory? hit the shops, with him being accused of ripping off anyone from REM to the Beatles. And then there were the stories of how the recording sessions at Rockfield Studios near Monmouth in Wales were disrupted by a physical fight between the Gallaghers — hardly surprising, given their long tradition of violent bust-ups, although the reason for this particular altercation was not, according to Owen Morris, due to who should sing the track 'Don't Look Back In Anger', as has been widely reported.

"There's been a lot of fanciful journalism,” says the producer-engineer who, on the album's cover, can be seen carrying the master tapes to the Reckless Records shop on Berwick Street in London's Soho. "And Noel makes up his own history, as well.”

A native of Port Talbot in South Wales, Morris started his engineering career as a 16-year-old assistant at Spaceward Studio in Cambridge where, during the mid-'80s, he worked on projects by the Stranglers and the duo of Dave Stewart & Barbara Gaskin. Towards the end of the decade, Morris then relocated to Manchester and commenced a stint with ex-Smiths guitarist Johnny Marr, recording the self-titled 1991 debut album by Electronic — Marr's collaboration with New Order frontman Bernard Sumner — as well as New Order's own Republic (1993). Subsequently, Marr's manager Marcus Russell, who also managed Morris for a while, was responsible for hooking up the engineer with Oasis.Photo: Photoshot/Paul Slattery

"I got myself a different manager just before Marcus began managing Oasis,” explains Morris who, at that time, was looking to become a fully fledged producer. "Had I stayed with Marcus, I may well have been involved with Oasis right from the start.”

Definitely Maybe

Instead, in January 1994, Oasis began sessions for Definitely Maybe with Dave Batchelor as their producer. Dissatisfied with the lacklustre results, they next hired Mark Coyle — Noel Gallagher's best friend and the band's live engineer — to co-produce with Gallagher and try to reproduce their concert sound. This they attempted by recording together in the studio without any screens between their instruments, before Gallagher overdubbed more guitars. When this approach still didn't achieve the desired results, and without any more funds from their label Creation Records, to start over yet again, Marcus Russell turned to Owen Morris.

"The backing tracks had been well recorded and everything on there sounded pretty good,” Morris says. "Initially, I was just brought in to redo the vocals and remix the album. However, to free up enough tracks to record Liam singing and then compile what he did, I had to strip away some of Noel's less necessary guitar parts. All of the best ones, I kept.”

Noel Gallagher actually dipped into his publishing advance to pay for the studio time and Owen Morris's work, but once the album was released it didn't take long for him to recoup the money. In the meantime, Morris recorded Oasis' Christmas '94 single 'Whatever' (which, after Neil Innes sued Gallagher for lifting part of the melody from his song 'How Sweet To Be An Idiot', resulted in Innes getting a co-writing credit) as well as tracks such as 'Listen Up' and 'Fade Away' that were included on the Japanese 'Whatever' EP. This five-day session led to Owen Morris engineering and co‑producing (What's The Story) Morning Glory?

"Noel really had it sussed in terms of the song choices and arrangements, but he wasn't experienced in the studio, so I kind of filled in the gaps as far as the basic production methods, putting takes together and getting the vocals done,” Morris explains. "That was important, because once Noel had shown Liam a song, he'd just bugger off and let Liam sing. That was a cool way of doing things, and so it fell to me to produce and compile the vocals.”

Rockfield

1995 was a busy year for Oasis, with the band taking time out from recording to play Glastonbury.

'Some Might Say', the first song recorded for (What's The Story) Morning Glory? was also the last to feature Alan White's predecessor on drums, Tony McCarroll. This was tracked in March 1995 at Loco Studios in South Wales, where Owen Morris had recently been co-producing the Verve's second album, A Northern Soul. However, the locale switched to Rockfield once the sessions with White got under way at the start of May.

"Rockfield was a better studio, with bigger recording areas and better accommodation,” says Morris. "Coming from Wales and having seen its name on plenty of records, it was a place where I'd always wanted to work. So, being that Marcus put together the budget for us to go in there for six weeks, that's what we did.”

Rockfield has two studios: the Quadrangle and the smaller Coach House. When Oasis recorded there, the Coach House had a Neve VR console with flying faders, two Studer A820 multitrack machines, JBL monitors and a standard selection of outboard gear. A live room was situated to the left of the control room, directly in front of the control room was a drum area, and on the other side of the drum area was the main studio, with a couple of booths at the far end: a vocal booth on the right and a guitar booth on the left.

"Alan was on a riser in the drum room and playing a very basic little Gretsch kit that I wasn't very fond of but which he loved,” Morris says. "The mic setup would have been very straightforward: an [Electro-Voice] RE20 on the bass drum, probably a couple of [Shure] SM57s on the snare, probably two [Neumann] U47s for the rack and floor toms, [AKG] C12s overhead — I don't think I even miked the hi-hat — and then a couple of ambient mics.

"Although we had two A820s, my mindset was still 24-track — as I'd recorded that way for Definitely Maybe and the Verve album — and I was therefore keeping things simple: eight tracks of drums; an RE20 on the bass amp plus a DI; an SM57 and a [Neumann] U87 on the Marshall amp that Bonehead used with his Epiphone Casino; the same on Noel's Vox AC30, Marshall combos, WEM combo and Orange amp for his Epiphone Casinos and [Gibson] Les Pauls; and a FET 47 for the lead vocals.”

During the 'Some Might Say' tracking sessions at Loco, Owen Morris had been aware of Noel Gallagher already having other songs for the new album. These included early compositions such as 'Hello' (with the "it's good to be back” refrain lifted from Gary Glitter's 'Hello, Hello, I'm Back Again' that would result in another lawsuit and unplanned songwriter co-credit) and 'She's Electric', with its chorus that utilises part of the melody to the Beatles' 'While My Guitar Gently Weeps', as well as the "lots and lots for us to see” refrain referencing the theme song to the BBC TV children's show You & Me.

"Noel was a cheeky writer, no doubt about it,” says Owen Morris. "But all of those little bits he stole were from his childhood, and quite precious to him, really. I always remember him saying that he was astonished he was never sued for ripping off the 'Get It On' guitar riff by T-Rex/Marc Bolan that he used as the basis for his song 'Cigarettes & Alcohol' [on Definitely Maybe].”

Among the more recent numbers that Morris learned about at Loco were 'Roll With It' and 'Champagne Supernova', while 'Don't Look Back In Anger' had been added to the list by the time Morris and the band reconvened at Rockfield.

Routine Operation

"We had a week of routining before the actual sessions began, and I think they only rehearsed 'Roll With It' and 'Hello,” Morris recalls. "That was basically the band wanting to spend some time with Alan White, who had just joined. We didn't hear 'Morning Glory' or 'Wonderwall' until the week of the session. Noel played 'Wonderwall' to me on the first day, a Monday, checking which arrangement to use: the one that we settled on or a more complex one that had a slightly different way of getting to the bridge and an instrumental part after the first chorus. It sounded unnecessary and over-complicated to me, so it didn't take long for us to say, 'Let's not bother with that.'

"That day, we actually recorded 'Roll With It'. The guys played live together, we did about a half dozen takes, and the first take was the backing track we kept. Apart from a few little overdubs on the guitar solo that Noel would do later, it was pretty much complete, and that's because they were already familiar with the song. However, with the tracks they didn't really know, we could be arsing around for a long time if they had to learn them everyday and then do multiple takes that I'd have to edit together. So, having read an article about how Marc Bolan and T-Rex used to record, I told Noel we should take his approach for the other songs — doing a vocal and acoustic guitar guide to a click before the rest of the band overdubbed their individual parts.

"Noel agreed, and so after that, each morning, Noel and I would find the right tempo for whichever song we were going to do, and then he'd do an acoustic guitar take, followed by a guide vocal take along to the click. Next, after listening to the arrangement and maybe having a couple of play-throughs, Alan would overdub the drums to that while Noel sat in the same drum room wearing headphones, directing him as to where the fills were coming up. That meant there was very little rehearsal, we'd just go in and record. And if Noel didn't like the sound of what was happening, we'd just stop, rewind and drop in. That way, we'd have the drum track within maybe half an hour of Alan starting.

"Noel would usually put the bass down. I think Guigs [Paul McGuigan] played bass on a few tracks, but God bless him, he wasn't the greatest musician in the world. So, although he was really good live, it was just quicker for Noel to do one or two takes on the bass, with drop-ins here and there relating to the timing. By midday, we'd have the drums and bass down. Then, if Bonehead was playing electric guitar, he'd get his takes down very quickly — I'd normally get about two tracks of him. So that would be another half hour to an hour maximum, after which Noel would overdub maybe three, four, five electric guitar parts.

"This is how we worked on the Tuesday when we recorded 'Hello'. On the third day, Noel asked Liam, 'Which one do you want to sing: 'Wonderwall' or 'Don't Look Back In Anger'? Liam said he'd sing 'Wonderwall', and so that same day we recorded and pretty much finished it, apart from one little piano overdub at the end.”

While the 'Wonderwall' title was taken from the 1968 film of the same name for which George Harrison had provided the soundtrack music, the song itself was written about Noel's then-girlfriend Meg Matthews. At least, that's what he told the NME in 1996. Five years later, after he and Matthews had divorced, he asserted it was "about an imaginary friend who's gonna come and save you from yourself.” Regardless, none of this affected the May '95 recording session.

"First we got the drums and bass down by about midday or one o'clock,” Owen Morris recalls. "Then Noel overdubbed three acoustic guitar parts, after which Liam quickly did four takes of the lead vocal for me to compile. I used the Eventide DSP4000 pitch quantiser on his voice. If he was out on any lines, I'd just pull him in slightly, and everyone seemed happy with that. Having used it on Definitely Maybe, I used it on Morning Glory as well. Liam sang really well whenever I recorded him and his voice was very open. So he was doing takes very confidently and very quickly. He was so easy to record and Noel absolutely loved his performance on 'Wonderwall'.

"In the meantime, given all of the computer-based work that I had done with Bernard Sumner and Johnny Marr, I always had Cubase running, and on Morning Glory we also got an old Mellotron in. Bonehead wasn't going to play his usual strum-along bar chords on 'Wonderwall'. So I went and picked out the root notes, showed him where they were, and then got him to play those with the Mellotron's cello sound, which we all liked. After picking out a harmony for the bridge and chorus to build it, we were basically finished by dinner time. The only things that weren't on there were the little piano line that comes in at the end — we knew the track needed something there to keep it going, and Noel would provide it a few weeks later — and the Kurzweil strings that I'd add during the mix.”

'Don't Look Back In Anger'

In the meantime, on the Thursday, 'Don't Look Back In Anger' largely duplicated the work methods employed on 'Wonderwall', although the greater number of guitar and string parts ensured the session lasted longer into the night. The song's intro, extremely similar to that of John Lennon's 'Imagine', was, according to Owen Morris, very much a tongue-in-cheek embellishment.

"When Noel got Bonehead to play it like 'Imagine', it made us all laugh,” he says. "No one really cared. It was just funny. And as for the whole thing about his work being derivative of the Beatles, Noel was quite happy to be compared to the Beatles.”

He was also perfectly happy to perform the 'Don't Look Back In Anger' lead vocal, even if it meant him doing a couple more takes than Liam would have required to provide Morris with what he wanted.

"I was never that convinced Noel should be singing it,” Morris admits. "I didn't think he sounded as good as Liam. Certainly not back then. Liam was such a great singer. However, Noel sang that song, I comped it, and I also tuned it to ensure we had the vocal you hear on the record. Certainly, it worked, and people seemed to like it, but I've still always thought that Liam should have sung it.”

Contrary to the version of events that has been doing the rounds for years, Morris asserts that the younger Gallagher raised no objection whatsoever to his older brother handling the vocal chores.

"Having sang three lead vocals in three days, he was quite happy to have the day off,” says the producer-engineer, thus discrediting the notion that a disagreement over who should sing 'Don't Look Back In Anger' led to fisticuffs during the session when Noel was fulfilling that role.

"Oasis used to work Monday to Friday, and then everyone would bugger off down the pub on a Friday night,” Morris continues. "Well, on that particular Friday we started the backing track to 'Champagne Supernova', recording the guide vocal, acoustic guitar, drums, bass and Bonehead's electric guitars. Then, at around nine in the evening, while Noel and I were taking care of a couple of his guitar overdubs, Liam went down the pub. We continued to work, and after we'd finished, Noel and I enjoyed a few drinks in the studio with the band's art director, Brian Cannon, while putting our feet up and listening back to everything we'd done that week.

"Later on, Liam returned to Rockfield's accommodation facility — a seven-bedroom property that's roughly 500 yards from the Coach house — with about 20 people that he'd just met in the pub. Back in the studio, Noel, Brian and I knocked things on the head at around one in the morning, locked up and returned to the house. Totally exhausted from the week's work, I went straight to bed, but apparently when Noel saw all of these people having a party in his accommodation, he upset Liam by telling him to get them out of there.

"Although reports of what happened next vary, I don't think Liam trashed any of Noel's equipment. He couldn't get into the studio to do anything like that. However, angry about being told off in front of his 'new friends' by his older brother and embarrassed by how he'd ordered them to leave, Liam battered down Noel's door as soon as he, too, went to bed. Noel's response was to grab a cricket bat and hit Liam with it, and when I ran into Liam the next day he looked very sheepish, having broken his foot while kicking in Noel's door. By then, Noel and the rest of the band had all buggered off... but we'd done a good week's work!

"Given that Oasis didn't work on weekends, everyone reconvened at the studio about 10 days later, Liam and Noel hugged each other and we carried on with the work. By then, after all, they'd been breaking up regularly, so to them it was just another argument. There was no way they weren't going to come back and finish the record.”

'Champagne Supernova'

Later that week, after working on some other songs, Noel returned to his 'Champagne Supernova' guitar overdubs.

"There are two e-bows that run throughout the song, giving it a sort of violin effect, and he did all of those parts pretty quick,” says Morris. "Then he also did all of his picking parts pretty quick. This went on for about two hours. Noel would just sit in the studio next to his amps and play. He wouldn't come into the control room to listen to what he'd done until everything was finished. So his guitar overdubs were all done fairly quickly.

"After that, there was a session when Liam felt inspired to do all of the Beatle-y 'aaahs' that would go over the guitar solo, to which I also added some Beatle-y Mellotron parts. Then, during another session, he had a go at singing 'Champagne Supernova'. We did half a dozen takes, but what happened was that the high note of the song — at the end of the line 'The world's still spinning around, we don't know why' — was kind of burning his voice out. So he was getting croakier on each take, and by the time he got to the end he was sounding very Rod Stewart-y.

"I did a comp of the vocal and, bizarrely enough, Noel and Liam both liked it. But I didn't. So at the very end of the six-week session at Rockfield, when just Liam and I were in the studio, I got him to re-sing it and we did it piece by piece. We did the first verse half a dozen times and we did the ending half a dozen times. Then, once he'd completed all of the soft bits, Liam did the first chorus half a dozen times, followed by the same number of takes for the second verse and the other choruses, until he tackled the high part last.”

The only major element still missing from 'Champagne Supernova' was the lead guitar that Noel Gallagher wanted his mate Paul Weller to play. Accordingly, after Oasis appeared at the Glastonbury Festival in late-June and the mix of (What's The Story) Morning Glory? commenced on a Neve console in the mix room at South London's Orinoco Studios, Weller showed up one day with his roadie, a white Gibson SG and an old Vox AC30 amplifier.

"He didn't have any pedals with him,” Morris recalled. "He had the volume on '3'. It was a really nice Vox and a really nice SG, and so I just put a 57 on it and recorded it as was. Paul probably did four solos, and then he and Noel let me pick what I wanted. He also contributed a little whistle to 'Champagne Supernova' — a few bars after the big guitar solo finishes — and 'Ooh' backing vocals at the end, as well as some harmonica and guitar to 'The Swamp Song'. All in all, it was another very quick session. He and Noel probably turned up at three in the afternoon and left at seven that evening.”

All Your Dreams Are Made

Since shifting a record-breaking 347,000 copies during its first week of release, (What's The Story) Morning Glory has sold about 22 million copies worldwide. In 1995, Noel Gallagher told Rolling Stone that while Definitely Maybe "is about dreaming of being a pop star in a band, What's The Story is about actually being a pop star in a band.” That was certainly true. Oasis were living the dream — and, occasionally, the nightmare.

"During that period I had a lot of fun with Oasis,” says Owen Morris, who has also recently been enjoying himself producing what he predicts will be all-new hit material for Madness. "They were very positive to be around. It was a lovely time and, for all its imperfections, the music was really, really good.”

Loudness Wars

At the same time as Oasis were supposedly engaged in the 'Battle of Britpop' with Blur, they were also, courtesy of Owen Morris, waging the so-called 'loudness war' as a result of the compression-heavy brickwall mastering technique that he had already employed on Definitely Maybe.

"When Electronic's first album was mastered, it sounded bloody awful, so I thought I'd have a go at it myself,” he explains. "Johnny Marr let me do this at his studio, and for that I hired a set of Apogee A-D converters which had a 'soft limit' function that enabled me to crank up the volume without distortion. Well, I mastered Definitely Maybe in the same way, so it was all volume — all quantity rather than quality. I wasn't technically that adept, but the theory was loud and proud, and I did a similar thing on Morning Glory. Then, after that, I thought I'd better stop. There's only so loud you can go!”

Published November 2012

#oasis #(what's the story) morning glory?#oasis band #and noel makes up his own history! as well!#gallagher brothers

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doedipus · 11 months ago

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jazz season continues, in spite of inclement weather

I don't have anything clever to say about this album but the first track really strongly brings to mind pbs bumpers from when I was a kid

youtube

credits under break

Neil Ardley keyboards, synthesizer, liner notes

Bob Bertles alto saxophone, soprano saxophone, flute

Paul Buckmaster cello, producer

Tony Coe tenor saxophone, clarinet, bass clarinet

Ian Carr trumpet, flügelhorn

Geoff Castle piano, synthesizer

Dave McCrae piano, synthesizer

Roger Sellers drums

Ken Shaw guitar

Brian Smith tenor saxophone, soprano saxophone, flute

Roger Sutton bass

Barbara Thompson alto saxophone, soprano saxophone, flute

Trevor Tomkins percussion, vibraphone

John Taylor keyboards, synthesizer

Stan Sulzmann wind instruments

Martin Levan engineer

W lacquer cut

John Pasche design

Gull Graphics design

Phil Jude cover photography

Derek Jewell liner notes

#'this program was brought to you by viewers like you. thank you.' sorta composition #ian carr (trumpet) also headed a few albums with nice art so I might take another look at those for later in the week #Youtube

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burlveneer-music · 9 months ago

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Mudd - In The Garden Of Mindfulness - languid grooves pack the new solo album from Claremont 56 label head

When Paul Murphy released his critically acclaimed debut solo album, Claremont 56, in 2006, many thought it would be the first of many. In a way, it was, as in the years since he’s released a string of collaborative sets alongside Benjamin J Smith (as Smith & Mudd), and as part of underground ‘supergroups’ Paqua, Bison and Hillside. But that second solo album? Well, it just had to wait. In early 2023, Murphy finally decided to scratch that itch, roping in some of his most trusted collaborators (keyboardist and bassist Michele Chiavarini, percussionist Patrick Dawes, guitarist Dave Noble and HF International’s Kashif included) to lay down a sumptuous set of tracks that not only showcases his now familiar (bit hard to pigeonhole) neo-Balearic sound, but also proves how much he has matured as a writer and producer since 2006. In The Garden of Mindfulness is richly musically detailed, expertly arranged and full to bursting with fluid instrumental solos, with Murphy and his collaborators serving up tracks that brilliantly blur the boundaries between languid jazz-funk, downtempo, vintage synth-laden krautrock, dubby grooves and sun-splashed soundscapes.

#Bandcamp #Mudd #paul murphy #claremont 56 #balearic #chillout #2024

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emj-lane · 1 year ago

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A little About me🤷‍♀️

My name is Emma-Jean Victoria Lane

Most people call me EmJ but some call me Em or Emma...all those things I respond to. I have a hyphenated first name so it's a mouthful lol!

I'm 18 years old and have an identical twin sister, Mazee. Our birthday is Halloween 🎃

Mazee and I were adopted from China when we were 2 months old

We live and were raised in California.

Besides Mazee, I have a sister, Natasha, who is 19. A sister, Morgan, who is 14. my sister, Sydney, is 11. And the youngest is my brother, Hunter, and he's 7. These siblings are my parents biological children.

We have 2 dogs that are golden doodles, Luna and Courage, and we have a cat. Her name is Boo.

I find it weird how friends or dates/boyfriend are sketched out, leary and scared off by the fact that my mom is a psychiatrist. That's her career/ her job but she is a regular person, wife, mother individual outside of her psychiatrist title/career. I promise she's not analyzing or diagnosing you if you aren't her patient in her office or in the hospital

My dad is a teacher at a boarding school for high schoolers gifted in the arts like music, theater, dance, writing, painting etc

Surfing is one of my favorite things/passions/talents. My whole family surfs.

Equal to surfing is my passion for writing.

I started playing soccer in second grade and the rest is history. From then on year after year I played on the soccer team for my elementary school, middle school and high school.

Should have been a mermaid. Love the water and swimming and diving. I was a competitive swimmer and diver from 7th grade and on through the rest of my middle school and high school career

I train and practice karate and kick boxing. In a fist fight I will kick your ass & I love it

My life motto and really driving phrase for my life and personality is "Underestimate me. That'll be fun..."

I'd say I'm very outgoing, friendly and social.

It can get very heated and tension does get very high at home with my older sister, Natasha. She has a diagnosis of ARFID which is avoidant/restrictive food intake disorder. She has a lot of Orthorexia traits and tendencies as well. This has been a battle and an issue for almost 12 years now. Natasha doesn't really want full recovery...she doesn't want to weight restore or be healthy. She wants to maintain where she is...still sick, still disordered, still underweight but not getting worse- just completely maintaining & existing forever as she is. It is really really frustrating and sad. Sometimes I would like to kick her in the mouth, grab her and shake her and scream at her but it would not get through to her. It would not help.

I get self conscious sometimes being out with my family. Because I am Chinese and my parents and siblings, except Mazee, are caucasian American many people don't see us as family. They assume my parents are hosting foreign exchange students or if I am out with my 7 year old brother people assume I am his babysitter or his nanny- these things get said to me and my family and those things make a home in my head . They hide out a lot but still are there, lingering.

I enjoy music and playing music. I play piano, guitar, violin and saxophone. They are more hobbies and escapes although I am told I am talented and gifted in playing instruments I like having it as just something enjoyable, not necessarily something to pursue and train for career/performance/competitive purposes. The same goes for drawing.

My favorite artists and musicians right now are John mayer, Dave matthews band, Green Day, Nirvana, The Smiths, Bruno Mars, Billie Eilish, Yellow card, Lindsay Stirling and switchfoot.

Traveling & hiking is also something I love and something my whole family likes to do. Just being outside. We've been to the grand canyon, Niagara falls, Rocky mountains, smokey mountains, parts of the Appalachian trail/mountains, we've been to Hawaii, the Bahamas, Jamaica, Mexico, Australia, Alaska and Canada. And of course California has some hiking/national parks and nature too so we do a lot here too.

Favorite tv shows: Law and order svu, Criminal minds, Psych, and The Good Doctor

Favorite Movies: The Lord of the rings movies, Harry Potter movies, any of the Jaws movies, The Shallows, Hunger games movies, any X-men movies, Star wars movies, Man on Fire, National Treasure 1 and 2, A Beautiful Mind, I Am Sam, Dead Poet's Society, and Freedom Writers.

That's all. This is already longer than I intended.

#personal #about me #surfer #writer #twin life

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singeratlarge · 1 year ago

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HAPPY HEAVENLY BIRTHDAY TO DAVE "LOAFY" ALEXANDER + SATURDAY MATINEE MUSIC VIDEO “My Love (She Means Everything)” https://www.youtube.com/watch?v=UVAX_iK8NVE Between 1993 and 2003 Davy Jones and I worked on 40 of his original songs. Most of the work was recorded and issued on 3 albums, the best known being JUSTME and JUSTME2 (refracting on JUSTUS, the 1997 Monkees reunion album). David and I had a give-and-take communication on the arrangements—sometimes he’d let me run wild with tempos and instrumentation, other times he had a song mapped out and I topped it off. His eclectic tastes went into country to r’n’b to Latin styles, and we explored glam, British rock, and old school Britpop. Many of the songs were new while some were songs he started in 1968, designated for The Monkees but not used. "My Love" (a newer one) was inspired by "Hurricane" Smith and ELO. This is one of my personal favorites and features key members of his road bands: myself, Aviva Maloney (sax, vocals), and two people no longer with us, the late well-remembered Jerry Renino and Dave “Loafy” Alexander—whose birthday was yesterday (9/22). When I made this “My Love” video for I intended for Dave and Jerry to have significant face time.

Dave was a proud flag-bearer for all things Monkees. My friendship and work history with him began in 1994, and (for 19 years) we intersected on Monkees spin-off gigs (including Davy’s first symphony pops concert in 2005). When I first met Dave, he had hair like a male Rapunzel. Davy needed a quick-study keyboard player for his band + an upcoming Brady Bunch musical tour. Jerry (then Davy’s music director) found Dave and introduced him as “the perfect person for the job,” arriving with bonus skills on guitar, ukulele, and very strong vocals. It helped that Dave had the temperament of a gentle giant, which was tested as he was often the brunt of Davy’s jokes—from the “short/tall man” vignettes (“I can see right up your nose”) to the Archie & Edith routine that always killed audiences. Then there was Dave’s spot-on Meatloaf parody, which may or may not explain why Dave’s nickname was “Loafy.”

In time Dave became deeply imbedded in touring with The Monkees and with solo Micky Dolenz, and Dave took the Monkees songbook to heart. Speaking of heart, he and I had confessional conversations, and there are stories about him that range from hilarious to unbelievable (they’re still talking about the “Lefty & Loafy gig” in Green Bay WI). Yet even when he was living on the edge in private, he was always on point for the music. I could count on his uncanny memory for musical details, and there was no guile or competitiveness with him.

https://www.youtube.com/watch?v=UVAX_iK8NVE Meanwhile, heavenly HB Dave and thank you for always making me feel like a brother. See you on that great stage in the sky.

#davidalexander #davealexander #loafy #meatloaf #davyjones #mickydolenz #monkees #justme #mylove #johnnyjblair #jerryrenino #birthday

#johnny j blair #music #pop rock #monkees #davy jones #Micky Dolenz #Dave Alexander #Loafy #birthday #My Love

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silverslipstream · 1 year ago

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not sure why but here's my spotify playlists

I've ranked them from longest (time-wise) to shortest, with number of songs, the median song length in each (because I can't be arsed adding hundreds of songs together for an exact average) and a random selection of three tracks as a sample.

#1. ignition sequence | 148 songs, 13hr 39min total length, median song length 5m 24s

Realizer - The Crystal Method

Atom Bomb - Fluke

Papua New Guinea (Hybrid Mix) - The Future Sound of London

#2. the soundtrack to a downward spiral | 205 songs, 13hr 26min total length, median song length 3m 50s

Magnificent (She Says) - Elbow

Blood - The Middle East

I Know It's Over - The Smiths

#3. yokohama expressway | 163 songs, 13hr 17min total length, median song length 4m 55s

Antares - Omniverse

GRAN TURISMO - Trashiii

The Band Played On - Glenn Underground

#4. 80s stuff | 137 songs, 9hr 46min total length, median song length 4m 03s

Fire In The Twilight - Wang Chung

You Can Call Me Al - Paul Simon

Tainted Love - Soft Cell

#5. club and dance shit but like only the popular stuff | 131 songs, 8hr 58min total length, median song length 3m 39s

Castles in the Sky - Ian Van Dahl, Marsha

Feel The Love - Rudimental, John Newman

The Rockafeller Skank - Fatboy Slim

#6. chill beats to shit and piss to | 90 songs, 6hr 57min total length, median song length 4m 20s

An Ending (Ascent) - Brian Eno

Sympathique - Pink Martini

My Tears Are Becoming A Sea - M83

#7. theme tunes for a hopeless romantic | 112 songs, 6hr 27min total length, median song length 3m 29s

I Belong In Your Arms - Chairlift

Je te laisserai des mots - Patrick Watson

This Charming Man - The Smiths

#8. britpop | 86 songs, 5hr 38min total length, median song length 3m 50s

Common People - Pulp

Chelsea Dagger - The Fratellis

Inbetweener - Sleeper

#9. boys night out playlist (co-created with three friends) | 94 songs, 5hr 31min total length, median song length 3m 24s

Paddling Out - Miike Snow

SPIT IN MY FACE! - ThxSoMuch

Novocaine - Valentino Khan, Kayzo

#10. the songs I do air guitar to when nobody's looking | 96 songs, 5hr 24min total length, median song length 3m 19s

Lobotomy For Dummies - Zebrahead

Lights and Sounds - Yellowcard

Blackjack - Airbourne

#11. summer: the motion picture soundtrack | 77 songs, 4hr 49min total length, median song length 3m 42s

16 - Craig David

Cheerleader - Felix Jaehn, OMI

How Bizarre - OMC

#12. random shit with a vaguely American teen movie from the late 90s or early 2000s-theme | 75 songs, 4hr 21min total length, median song length 3m 23s

Seven Days In The Sun - Feeder

Maureen - Fountains of Wayne

Partners In Crime - Vibrolux

#13. classical music | 40 songs, 3hr 22min total length, median song length 4m 29s

Prokofiev: Romeo and Juliet, Op.64, Act I, Scene II: Dance of the Knights - Sergei Prokofiev, André Previn, London Symphony Orchestra

13 Pieces, Op. 76: No.2 Etude - Jean Sibelius, Håvard Gimse

Piano Sonata No. 12 in F Major, K. 332: II. Adagio - Wolfgang Amadeus Mozart, Maria João Pires

#14. i am literally humphrey bogart | 43 songs, 3hr 13min total length, median song length 4m 32s

Loungin' - Donald Byrd, Guru

My Queen Is Albertina Sisulu - Sons Of Kemet

Beatmaker - Matt Berry, Emma Noble

#15. kurtzing the gesagt | 24 songs, 2hr 56min total length, median song length 6m 55s

Alien Scale - Epic Mountain

Dyson Sphere - Epic Mountain

All The Bombs - Epic Mountain

#16. tofu delivery beats | 30 songs, 2hr 30min total length, median song length 4m 48s

SPACE BOY - EXTENDED ver. - Dave Rodgers

The Top (Extended) - Ken Blast

RUNNING IN THE 90'S - Max Coveri

#17. music to start a cyberpunk revolution to | 49 songs, 2hr 28 min total length, median song length 2m 58s

Stardust Circuit - Starjunk 95

Daft. - Kosu

Lost (Instrumental) - PYLOT

#18. nucking futs (goes fucking nuts) | 48 songs, 2hr 16min total length, median song length 2m 52s

Ready Set - Joey Valence, Brae

Get Your Dad Off The Internet - Dr. Syntax, Tom Caruana

BERRIS FUELLER - Billy Marchiafava

#19. valentine's day | 24 songs, 1hr 37min total length, median song length 4m 02s

About You - The 1975

Kiss Me - Sixpence None The Richer

Can't Help Falling In Love - Lick The Tins

#20. childhood ruined | 20 songs, 1hr 3min total length, median song length 2m 36s

So Long - Randy Newman

Stuff We Did - Michael Giacchino

Leaving Hogwarts - John Williams

#21. falling in love on a bridge in an old english city | 34 songs, 59min 41sec total length, median song length 1m 34s

Cambridge, 1963 - Jóhann Jóhannsson

Travel To Edinburgh - Tom Tykwer, Johnny Klimek, Reinhold Heil

Whiffing - Borrtex

Hope you enjoyed this stupidly lengthy view into my music taste, if you've managed to read this far! I have no idea why I did this!

#music taste #my playlist #writeblr #writeblr community #silverslipstream #about the author I guess?#also yeah the variety is weird #I'm weird #we'll get along somehow

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depthbuffer · 2 years ago

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On the one hand, I am once again wide awake at 1am because my belly hurts, the latest in a long line of unrelated ailments that seemingly insist on forming an orderly queue and playing out one after the other over years, instead of being mostly well with the occasional bout of sickness here and there like a normal person.

On the other hand, I just scored a barely used second-hand Keystep Pro, and a massively discounted B-stock DSM-03, a module I didn't even know existed until I stumbled across the listing. (In fact, I never even knew Dave Smith Instruments made modules, however briefly.)

The basic concept is Karplus-Strong in a box, but because it's Eurorack, all the building blocks have their own inputs and outputs. Karplus-Strong is a "plucked string" synthesis technique that works by feeding a short noise pulse into a feedback loop consisting of a low-pass filter and precisely timed delay, so you end up with a repeating wave with frequency based on the delay time, and decay as each repeat goes through the filter. Breaking that into its component parts, this module lets you feed in any audio, not just its internal noise pulse; the attack & decay of the noise pulse can be tweaked; and the filter cutoff & resonance, feedback loop gain, and delay length are CV-controlled. I particularly like how, with a smeared long attack noise pulse, it starts to sound panpipe-y.

The Erica Synths Pico Voice has a Karplus-Strong mode, which I used for the "guitar" on this track - along with overdrive for grit, a dash of volt/octave tuned squeal from a self-oscillating filter, a touch of reverb, then feeding the whole post-oscillator signal chain back on itself and blending back in with the dry stopping *just* before the point where notes would devolve into feedback whine rather than fade away, because why use real hardware if you aren't going to abuse feedback loops in ways DAWs can't do?

But I kind of like having the "real thing" in a module. Plus the thrill of having scored something slightly rare for a bargain price. The Pico Voice, being a fully digital, 3HP module, is awesome at doing exactly what it is advertised as doing, but has no patching potential beyond being an oscillator.

youtube

(video not mine)

However, it's 10HP I hadn't planned to fill this way; I had a plan for the remaining space in my case and this wasn't part of it. Oh well. A problem for future self. 🙃

The Keystep Pro I had planned to get for a while, because up until now I've only had a cheap keyboard with USB MIDI out, and only a single channel 16 step hardware sequencer, so I've had to have my PC on & DAW running, relying on MIDI-to-CV to actually pay my modular rig. Which kind of sucks for experimenting/meditating, and rules out live jamming, when you only have two CV outs and no expression or pitch bend. So I might start streaming at some point, just casually on twitch maybe.

#eurorack #modular synth #music #bandcamp #diy #synthesizer #musician #the case and touchscreen for my raspberry pi also turned up #and there is an arm linux version of renoise #so i want to see if i can add cv outs to the gpio pins and drive them from a custom vst #but shhh don't tell anyone because it's super early stages and i don't know how feasible it is yet #Youtube #Bandcamp

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90363462 · 2 years ago

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Kendrick Lamar’s New Song ‘The Heart Part 5’ Is a Heart Wrenching Tribute to the Power of Forgiveness

Daniel BridgestoneMay 10, 2022

Kendrick Lamar is back with new single “The Heart Part 5”, the newest installation in his recurring The Heart series. The release marks the announcement of his forthcoming album ‘Mr Morale & The Big Steppers’ and his return to music since the critically acclaimed DAMN! was released in 2018. The anticipation has been high and the 34 year old Los Angeles based artist gifted his fans a 5:32 record accompanied with a powerful video.

With production duo Beach Noise providing instrumentation, Kendrick raps over a chopped sample of Marvin Gaye’s “I Want You,” a song originally released in 1976 that served as a romantic tribute to Janis Hunter, Gaye’s wife. The video, both starring and directed by Lamar with longtime collaborator Dave Free, is minimal and performance based. Lamar stands afront a red screen, wearing a white shirt and blue bandana around his neck, passionately rapping along with the record.

The twist is, as the lyrics progress, Lamar, using deep fake special effects, morphs into a cast of black male cultural figures such as OJ Simpson, Kanye West, Jussie Smollett, Will Smith, Kobe Bryant, and Nipsey Hussle. Lamar, known for lyrical depth and symbolism, matches the lyrics with the history of each respective celebrity that appears on screen, making a larger statement about the current climate of North American culture. With this in mind, one could assume that the intention for the record came hand in hand with the visual concept.

Kendrick Lamar’s Perspective

Lamar begins with the statement, “as I get a little older, I realize life is perspective and my perspective may differ from yours.” In The Heart Part 5, this perspective extends beyond himself and onto the men who appear via deep fake, all of whom have made a cultural impact in recent history. Lamar both pays homage to leaders, such as Nipsey Hussle, and questions the integrity of egoists, such as Will Smith, all while empathizing with the pressures of celebrity.

There is much to unpack in Lamar’s new record, a social commentary that could be analyzed from a variety of different angles. This article will focus specifically on verse three, when Lamar and the late Nipsey Hussle exchange moments; riffing on fate, community, forgiveness, and hope.

Nipsey Hussle, a famous hip-hop artist and community activist was fatally shot in front of his own store in South Central Los Angeles in 2019. Lamar reflects on finding out Nipsey had passed, “I’m in Argentina wiping my tears, full of confusion, water in between us another peer has been executed” he pauses and further professes, “but that’s the culture, hard to deal with the pain when you’re sober, by tomorrow we forget the remains and start over.”

This is an extremely vulnerable moment as Kendrick brings forth the idea of a cultural cycle within his own community, one that is desensitized to gun violence, turning to drugs to mourn loss.

Nipsey Hussle: The Immortal Empath

Similar to Lamar, Hussle grew up in South Central, and like Lamar, is known for fighting injustice and addressing socio economic issues within his music. Both artists were community leaders in their respective Los Angeles neighborhoods, donating money back to the streets they grew up on, providing young men with opportunities to break out of a poverty cycle that has negatively impacted people of color in the United States. Later In the video, after reflecting on his passing, Kendrick deep fakes as Hussle; speaking from his perspective; “To my brother, to my kids, I’m in Heaven, to my mother, to my sis, I’m in Heaven, to my father, to my wife, I am serious, this is Heaven.”

Kendrick, as Hussle, is speaking directly to his family and letting them know that, not only is he in heaven, in fact, heaven does exist, professing that beyond death, there is peace. Kendrick has chosen to paint the picture of a utopian afterlife, one that juxtaposes the violence of South Central Los Angeles. Kendrick views Hussle as a man of empathy and righteousness, one that, even in his own death, would forgive his murderer, “and to the killer that sped up my demise, I forgive you, just know your soul’s In question, I seen the pain In your pupil, when that trigger had squeezed, and though you did me gruesome, I was surely relieved.”

Kendrick recognizes that the senseless violence, which has taken so many people he’s known, as well as Hussle, is rooted in anger, connecting to a larger issue of institutionalized racism in America, a systemic pattern that has made it difficult for people of color to afford higher education, access healthcare and seek job opportunities. Hussle forgives his killer, seeing the pain in his eyes, attempting to understand the struggle he’s gone through, blaming a system instead of an individual. Hussle’s murderer was in the same gang as him, Rollin’ 90s, and was also a rapper, although his music never caught on in the same way Hussle’s did.

Some speculate that the reasoning for the killing was out of jealousy for Hussle’s success. This brings us back to the sample featured on the record, Marvin Gaye, who, similarly, faced his demise at age forty-four, when his own father shot him in 1984, echoing the situation that Hussle faced, as Gaye’s father was fueled with jealousy and resentment.

Hussle goes on to say, “I completed my mission, wasn’t ready to leave, but fulfilled my days, my creator was pleased,” expressing that he lived a good life, one where his “mission” was giving back to the community he grew up in, positioning his priorities as giving back to his family and community.

Last Thoughts

Kendrick as Hussle, ends the track with this powerful sentiment, “and to my neighborhood, let the good prevail, make sure them babies and them lead us outta jail, look for salvation when troubles get real, ’cause you can’t help the world until you help yourself,” explaining that change must come from within and begin locally.

Show love to your community and to your family first, work on yourself, and the rest of the world will follow. Kendrick paints an incredible picture of Hussle, one of forgiveness and empathy, one that individuals should follow as a model for themselves.

https://www.youtube.com/embed/uAPUkgeiFVY?feature=oembed

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