#debut stratocaster

[sleepingangelmusic]

FENDER Squier DEBUT STRATOCASTER PART 2/ TUNING/ Intonation/MUSICAL Demo...

[allthedesiredusernamesaretaken]

...sound of rebellion ...

Rory Gallagher's Sunburst 1961 Fender Strat guitar

[kkuraissante]

✧ ultimate bias ✧

In which y/n is a big fan of Sakura (ft. aespa!y/n)

[y/n confessing her love for Sakura during an interview]

“so, y/n who is your celebrity crush?” the radio host in front of her asked. 

hearing the question, the rest of her members looked at each other, sharing a knowing glance. “huh, well… I think some of the fans may noticed it based on my phone wallpaper, but my celebrity crush is sakura from le sserafim.” y/n admitted shyly, lightly scratching the back of her head.

“I actually became her fans during pd 48 and have been her fans ever since. You don’t know how happy I was when I heard that she will debut again into a new girl group after the disbandment. I cried so hard after watching the intro videos,” y/n confessed. 

karina laughed after hearing her comments, “yeah, you wouldn’t believe how crazy she is for sakura. she collected albums and merch, basically a hardcore fan”.

“no, but do you guys remember how she sneaked out of the dorm during our free time to attend izone fansign? It was legendary. She talked our ears off about sakura that day” giselle added, groaning at the memories. 

the host and members laughed hearing the remarks. 

“well, I mean, who could blame me, she was perfect. a literal angel.” y/n tried to defend herself. “hopefully I will be able to go to her fansign again” y/n sighed happily at the thought. 

“you heard it guys, you need to steal y/n heart from sakura” the host joked.

[y/n’s room tour during her vlog]

“hi guys, today I will be showing you my room” y/n waved at the camera, standing outside her bedroom door. 

“so, here is the entrance. this is a custom-made sign that I bought on the internet and essentials to keep my sanity,” y/n gestured to a red sign that read ‘yoo jimin do not enter unless permitted’ in the middle of the door.

opening the door, y/n waved her hand excitedly for the camera, “welcome to my sanctuary.”

“first thing first, this is my closet, it’s a little messy since we’ve been busy these past few weeks, but its usually not this bad, I promise!” y/n said seriously, raising her pinky finger up.

“here is my desk, with my gaming setup. I’ve been playing valorant and lol whenever I’m free. over there is my keyboard and guitar wall. the black guitar is a gift from jimin unnie and the white one is from taeyeon unnie. this is actually my first guitar that I bought with my money” y/n showed everything before raising a red fender Stratocaster, showing it proudly. 

“moving on, this side is the bed. it looks comfy right?” y/n shoot the bed before raising the camera upwards, showing the hanging shelf, filled with albums, mainly her senior and izone albums. “and here is my album collection. most of these are gifts from sunbaenim during promotion and the only albums that I bought myself are the izones one” y/n smiled proudly at the camera. 

“look, this one is signed by all members” she showed the bloom*iz album. “Sakura was so pretty during this era,”

“and this is my photocards collection” y/n opened a photo album. “it’s mostly Sakura but I have other people too. this one is my favorite,” y/n raised sakura perfect night pc, “she look so cute with the glasses right?  oh!  I also want to flex a little, are you curious? this is not sakura, but I really like it” y/n show off a chaewon photocard. “ I think this is one of the rare photocard and are sold very expensive, so i’m really happy that i have it. also, chaewon-ssi looks so pretty here"

“so, that’s all for my vlog. thank you for watching the video. I love you MY’s, byee” y/n blowed a kiss at the camera before the vlog ended. 

[karinanana]: y/n is literally one of us

[y/n_wife]: I never expect that I will finally see an idol that collect photocards

[fimmily222]: y/n is the biggest sakura stan. we have an idol piona!!

[amboya.amboya]: I know the rest of her members are tired hearing her fangirling over sakura. look how much she rambled about her throughout the vlog. 

[thirstyfory/n]: the rare chaewon pc is killing me

[y/n showing her things during live]

“hi! Welcome to my weverse live!” y/n grins at the camera in front of her before reading the comments on her phone. 

“unnie, what items has you bought recently?” y/n read out loud. she scratched her chin before standing up abruptly, “wait a moment guys, let me pick some stuff up” she apologized, moving out of the frame, towards her bedroom. after 5 minutes she came back, holding a bunch of stuff on her arms.

“sorry for the wait but I’m back! let me review all the things that I bought recently” 

“first thing! its a t shirt” y/n raised a white t shirt, “it’s very cute right? i bought it in Japan during one of our schedules”

“this hoodie is also bought in Japan” y/n raised a black chrome hearts hoodie, “now I have a matching hoodie with Sakura” she blushed slightly at the thought.

remembering that its live, she tried to change the subject, quickly picking up the next item which is a headphone accessory. “oh, I bought it because it look cool, like, why does sakura always wear the coolest stuff” y/n whined at the camera. “she’s just so perfect”

“and the last thing is this” y/n raised a big basket filled with knitting yarn and needles. “I’ve noticed that sakura has been knitting a lot recently and I want to also try it. maybe trying to give her a handmade beanie if i succeed later”

“this is the first thing that I make” y/n picked up what looks like a knitted leaf. “it’s for headphones, but I think I screwed it to the point its unrecognizable, it’s way too crooked and ugly. minjeong teased me the other day saying that a year old could do it better than me” y/n pouted, remembering the teasing that she has to endure from her members that day.

“let’s move from my bad knitting projects…”

[necnnights]

.・。.・THE INSTRUMENTS OF NEON NIGHTS

inspired by Kasey @plasticflwrs

( I ) Eunbyul is most often spotted with the PRS SE CUSTOM 24. It’s used in the majority of the band’s performances, and has traveled with her to every country Neon Nights has traveled to.

( II ) For studio recordings, she prefers to use the GIBSON LES PAUL STUDIO. It’s one of her more prized possessions, and for that reason, it hardly leaves her bedroom and its case outside of recording sessions.

( III ) She’s the most emotionally attached to the acoustic YAMAHA FS800, which was the first guitar she learned how to play. 

( IV ) Her latest addition is the SCHECTER HELLRAISER, purchased as their music began to take a louder and more aggressive sound. It also looks cooler in their music videos.

( V ) Though it has yet to make an appearance in any of their music, Eunbyul is also a proficient CELLIST. Prior to joining the band, she considered a pursuing a career as a professional symphony musician.

( I ) Hwajung’s current drum kit is the PEARL MASTERS MAPLE in rose gold.

( II ) Her backup kit is her old PEARL EXPORT set. It lives in pieces between the Neon Nights practice room and their apartment.

( III ) Her favorite cymbals are the ZILDJIAN A line. She’d literally die if she had to use the ones that came with the drum set.

( IV ) Hwajung’s drum sticks of choice are the VIC FIRTH AMERICAN CLASSIC 5A. She always carries an extra pair or two, because one of her biggest fears is trying to twirl a stick on stage, dropping it, and losing it forever.

( I ) Yumi’s main bass guitar is the YAMAHA TRBX504 that she's been using since their debut. 

( II ) She tried to upgrade to the YAMAHA BB734A a couple of years ago, but quickly changed her mind. She now uses it only for studio recordings.

( III ) For special occasions—showing off—she plays the YAMAHA TRBX505, the five-string version of her usual bass. 

( I ) Eden owns one keyboard: the YAMAHA CP88. She spends more time singing than playing the piano, so she doesn’t see the point in getting another one. 

( II ) As a child, she learned how to play the piano on her family's STEINWAY AND SONS K52.

( III ) She's also the band’s resident VIOLINIST, having played the instrument from her days as a student in youth symphony.

( IV ) Her electric violin is the YAMAHA SV-200, though she uses it much less than the acoustic one.

( I ) Qiuyun’s first guitar was the FENDER PLAYER STRATOCASTER, recommended to her by Eunbyul, despite Eunbyul not favoring Fenders.

( II ) As she grew more proficient with her instrument, she upgraded to the FENDER AMERICAN PROFESSIONAL II STRATOCASTER, which is now her most-used guitar.

( III ) From time to time, she can also be seen with the IBANEZ PRESTIGE AZ2204NW.

[dreamsister81]

Fan Alasdair Dickson on seeing Jeff at Rough Trade Records in London March 19, 1994 via his blog alasdairdickson.wordpress.com, December 14, 2017:

When I caught the No.12 Routemaster into town from Camberwell Green, then descended Slam City Skates’ spiral staircase to the Tardis-like Rough Trade shop in its basement, I’d not yet heard any of Buckley’s music, acting solely on a brief but enthusiastic NME review of his set at the New York Music Seminar the previous year. The article mentioned how a frantic-looking Alan McGee had been spotted running around, trying to sign Buckley to Creation Records before his performance had even finished. Three years earlier I’d fallen in love with the music of his father, Tim Buckley, thanks to a landlady who’d left behind a pile of records she didn’t want, including his debut. I’d hopped on that bus fully aware that I didn’t have money for the return journey, so determined was I not to miss this show.

When I reached the bottom of that staircase I was greeted by an apparently comatose, stupidly handsome man standing roughly a metre away, his hands by his sides, a stratocaster hanging from his shoulders and wearing a fashionably oversized Houses of the Holy t-shirt. Taking my place amongst the modestly sized throng of punters, I realised that I was still in daftly close proximity to the performer, although this was quite normal for gigs in that shop. Buckley’s eyes remained closed and he was motionless, his head hanging slightly forward. One of Rough Trade’s familiar staffers came clunking down the metal steps, holding a polystyrene cup of coffee from Neal’s Yard Bakery. Buckley opened his eyes and took a sip, then placed the coffee on the floor. Very gently, he began playing his guitar, except he was playing so quietly that I initially thought he was just tuning up. Eventually, the circular melody he was playing was accompanied by a high, distant hum that slowly grew in volume. I now know this to be the beginning of Mojo Pin but then I had no idea what it might develop into; I certainly didn’t anticipate the extraordinary vocal range he was about to unleash on us all. It was surreal to witness this human statue yawn himself awake with the aid of his music. In retrospect I’ve often wondered if this was all part of the performance (although he did request a second coffee very soon after the first!)

Buckley pretty much played the mini-album he was promoting, Live at Sin-é. I am, however, adamant that the second song he launched into, with its memorably clanging guitar chords, was Grace; five months later I would hear it for only the second time, when he and his band appeared on BBC2’s The Late Show. (It’s worth looking out for the singer’s reaction when Tracey McLeod mentions his father during her introduction.)

What was striking about Buckley’s performance was how funny he was in between songs; his set could have even been viewed as a stand-up comedy gig bookended by music. If he’s to be compared to his father at all, his comic sensibility should be included alongside any musical parallels; just listen to ‘Dream Letter: Tim Buckley Live in London’ and you’ll hear the funniest comedian in town introduce his next song. The tragically early deaths of both singers, and the mythologies that have grown around them since, are in danger of erasing the light and shade that was abundant at their concerts, ditto Nirvana’s frequent larking about onstage. (”I’m a standard lamp!” – Krist Novoselic.)

The Rough Trade show was punctuated by a running stream of banter between an unnamed Melody Maker journalist, his girlfriend and Jeff. Buckley and the scribe traded faux insults with one another, while the singer pretended to flirt with his partner.

Shortly before launching into his cover of The Way Young Lovers Do, Buckley gulped down more coffee and, in his sharp-toned voice, murmured ”Coffee overdose.” The journalist blurted out ”Kurt Cobain”, in gallows humour reference to the painkiller-induced coma the Nirvana singer had survived earlier that month. ”That guy?…”, retorted Buckley, "…Lightweight!” We all laughed. ”No seriously,” he continued, ”I was so shocked, I wanted to call him and say ‘Oh Kurtis!!! I was so worried!!!” (I shall now lapse clumsily into present tense and describe how, at this moment in my recollection, Buckley has grabbed the mic by its stand and is lurching forward and wailing into it, in a camp and melodramatic send-up of himself.)

That was the only time I got to see Jeff Buckley play live. When his death was confirmed in May 1997, I kicked myself for never having seen him with his astonishing band. I should have counted myself lucky that I got to see him at all and in such an intimate setting, despite the 4½ mile walk home. (📷 Nicola Dill)

[airi0212]

this is my official tumblr debut because twitter kinda sucks now

i’m airi, feel free to use any nicknames or whatever, as long as they’re not offensive. any pronouns are also fine, they don’t matter too much to me. (even though they don’t matter to me, they might matter to other people! use people’s preferred pronouns!)

i like anime, manga, games, and music. i don’t have a favorite anime or manga, but i like sapphic stuff. as for games, i play rhythm games like prsk and chunithm most, but i also play hsr and minecraft sometimes. i mostly listen to j-rock, but i listen to western stuff too sometimes. currently, my favorite bands are tuyu and mowmow lulu gyaban.

speaking of music, i also like to play guitar. i’m not that good, so on a scale from 1 through 10, i’d say i’m about a 4. right now i play a red squier stratocaster, but i’m planning on getting a new guitar soon. i also want to learn how to play bass, but i want to get better at guitar before i start committing myself to bass. please tell me if you have any tips on getting better at guitar!

i don’t have any specific dislikes or triggers, just stuff that people would usually dislike or be triggered by (ex. gore). don’t be an asshole and i’ll probably be fine with you.

that’s all for my introduction. i might update this later. thank you for reading.

[estellamiraiauthor]

The Stars May Rise and Fall: The Annotated Re-read (Chapter 21)

So it’s time for Chapter 21, aka The Date. This is one of the most memorable chapters to me, both because it’s sort of unusual as a relative downtime in terms of the neverending onslaught of angst (sorry), and because this was where I took a break for about 5 years before finally figuring out where I wanted the story to go. (Eternal pantser… I wish I could plot, but alas, I can’t.)

Have a photo of Ochanomizu, one of the several locations for this date, before we dive into spoilers under the cut!

This is a pretty long chapter but a lot of it is kinda fluff, so there’s not necessarily a lot to comment on. Teru’s initial “What in the world kind of date is going to go over well?” worries are very much a reflection of his author! I wanted them to have a good time, but it had to be in character, so couldn’t be TOO ridiculously fluffy?

Teru really tries to be thoughtful here, choosing to take a route that avoids the subway “with its endless stairs and squat toilets” (the Tokyo subway is much better now, but it’s still sorely lacking in accessibility in a lot of ways, and the toilets were downright disgusting back in the day), but he still kind of underestimates how hard something like window shopping is going to be on Rei. It’s not at all his fault, and Rei understands that, but Teru does feel a little guilty… he says here that he wishes he had a car (or a license for that matter), and of course that ties into him actually HAVING a car in the last couple of chapters… maybe not FOR Rei per se, but I think they both make some self-improvements during the time between chapters 32 and 34 to kind of… become the kind of partner they wished they could’ve been for each other?

The music store stuff is mostly fluff, but I really especially love how Rei comes out of his shell a little and messes around on a piano in the middle of the store… and absolutely slays, of course. I’d love to have fanart of that scene. I think it was important to show him both simply having fun with music, and also still being able to play live in some capacity, and to do it well.

There’s a tiny bit of angst when they find a vintage guitar that is apparently something Rei has wanted for a long time… but now that he’s actually found it and can afford it, he can’t actually PLAY it, and that puts a little bit of a sad cloud over the date.

They go to Odaiba… originally this scene was set in Kasai Rinkai Park, which also has a Ferris wheel and is across the bay from Tokyo Disneyland, so you can watch the fireworks for free. But VERY late in the editing process, I realized that the Ferris wheel in Kasai Rinkai Park did not actually exist yet in July 2000, so changed it at the last minute to Odaiba, where the Ferris wheel did exist at the time (but did not exist in 1995, which meant it could be something just for Rei and Teru, since he couldn’t possibly have shared it with Saki). I rewrote the Ferris wheel scene so many times that I always have a hard time remembering whether they kiss at the top or not. There were versions where they didn’t, there were versions where they did. I’m glad I left the kiss in (and this is another scene I’d love art of).

This is also where Teru learns exactly how much older Rei is. He wants a ‘64 Stratocaster because that’s the year he was born, which would make him 36 in 2000. Teru also acknowledges that he would’ve been on the older side as someone still working toward a major label debut at 30. A lot of people wonder why I didn’t just make Rei younger, to prevent all the “ewww yuck age difference” stuff, but it was really important to me that he have that history, that the success he almost had was something he had worked his ass off for for almost a decade and a half… he wasn’t just some teenage prodigy, and the hardships he’s faced up to now aren’t ONLY the ones he’s endured as a direct result of the accident. I needed this character to have this history, and Teru is a full-grown adult, he can certainly decide to be fine with a 15 year age difference.

They then go to a cheap yakitori place for dinner, and Rei tells Teru a little about coming to Tokyo from Aomori when he was 16–not EXACTLY the same as Teru coming from Niigata at 18, but the general experience being something they can bond over, and we get to see Rei a little more relaxed and comfortable again. Honestly, I kind of wish I’d included more little dates or domestic-ish scenes between these boys. If I ever get around to writing that sequel that’s pretty much allll it’s going to be. I just really, really wanted to sell this to a traditional publisher so I streamlined all that stuff to “move the plot forward”. Sigh.

There was actually ANOTHER fluffy scene at the end of this chapter that got cut. The chapter is long already, and that specific scene didn’t really add anything new about either of the characters, so I guess I’m glad I cut it, but it might be a nice thing to get art of someday too. In that draft, when they were eating dinner, Rei said he liked Teru’s nails, which were still painted from their last show but starting to chip, so on the way home, Teru says he needs to stop by the drugstore for something and semi-secretly buys nail stuff and they give each other manicures. The idea is kinda cute, but there was really nothing that that particular scene SAID that wasn’t said elsewhere. It would be wonderfully adorable for Rei to give Teru a kind of shaky, pretty awful manicure but for Teru to wear it for a week anyway, and then for them both to keep practicing on each other until they got REALLY GOOD… but that’s more of a fanfic thing, so it got cut.

Instead, we (and Teru) learn that Rei also writes super mega pop hits and sells those under Chizuru’s name, thereby explaining how he has so much money, and Rei tells Teru that he’s going to Saki’s grave to kind of ask for permission to have a real relationship with Teru. Teru also admits that he does feel sorry for Rei sometimes—he doesn’t use the word “pity,” though, like Rei does—but that the respect he feels is much stronger, and the real reason he’s here.

Random shout-out here to my husband’s grandmother, who inspired Rei’s wheeled cart that he brings out the drinks on. One of the hardest things about sort of physically blocking any scene with Rei in it was that he couldn’t really CARRY anything unless it was something light enough and the distance was short enough that he wouldn’t need a cane or a crutch. But my husband’s grandmother used to put things on a little wooden serving cart and then push it around like a walker. She was still alive when I wrote this, and I really just used it because it seemed like a good idea, but now I’m really glad, because I remember her every time I read this scene.

It’s probably important to note that I stopped writing after this chapter for about 5 years, before coming back to draft the next chapter. When I started writing this, I honestly didn’t know if I wanted these characters to end up together or if I was going to end with them breaking up, but both having become better people for having known each other. In the end, I kinda did both?

But at the time this felt like a weird not-quite end. Teru and Rei are together. They’re comfortable enough together that Rei is taking off the mask and being honest (at least here) about his pain. Kiyomi is still around, but not really as a potential romantic rival. The band is doing well (the “Bara comes back” subplot didn’t exist in that draft, so there was no real conflict there)… this definitely isn’t a happily ever after yet, the story didn’t feel DONE, but I also didn’t know where the characters were headed, and where they needed to go next in order to get there.

This is kind of the end of “Act 1” anyway, and the second part is much less tied to the “Phantom” structure, except of course for the end.

[lboogie1906]

Ronald Rohn Lawrence (September 5, 1960 - December 30, 2021)

Whether in the studio or on the stage, creating a feeling of joy is guitarist his ultimate goal.

The list of other guitarists who have influenced his style includes Wes Montgomery, Charlie Chrisitan, and John Tropea.

A native of New Haven, Connecticut, Lawrence doesn’t even remember the day he wasn’t playing guitar– something he’s been doing since the age of two-and-a-half. As a youngster, he cultivated his concepts by listening to his musical heroes–including non-guitarists such as Count Basie and Lionel Hampton. He played acoustic guitar through elementary school, began building guitars before he turned nine, got his first Stratocaster at age eleven, and switched to electric guitar exclusively when he was about thirteen.

Playing in New Haven Funk bands such as “Good News” and “The Lift”, he soon developed into a first-call axeman for several of the most active players on the contemporary music scene. He has continued to perform with Meadows while cultivating associations with other notables like George Duke, Diane Reeves, Jonathan Butler, Alex Bugñon, Freddie Jackson, and Najee.

It was in Najee’s band that he met “Bread” of the duo “Bread & Butter”, who are the producers on his Atlantic debut. He has been performing regularly with “Bread & Butter”, primarily at noted local nightspot Wally’s–immortalized on the tune titled “Waitin’ On Wally”.

He has been leading bands on stage for years, Hangin’ On A String was his first studio session as a leader. #africanhistory365 #africanexcellence

[sleepingangelmusic]

FENDER SQUIER DEBUT STRATOCASTER UNBOXING & WALKTHROUGH / BEST BUDGET EL...

[thebandcampdiaries]

"Shake A Leg Like Elvis" Prepares to Dazzle Fans with Long-Awaited Music Video

Dino Jag's "Shake A Leg Like Elvis" was released about a year ago. However, the track is still going strong, as it received many accolades and rose to the ranks as a true fan-favourite for Dino's listeners, and not only. This song is one of those time-tested tunes that has left an indelible mark and continues to captivate listeners not only in Australia, the artist's home base, but across the globe. Now, one year into its success, fans are on the cusp of an extraordinary treat. This track is set to receive the visual homage it so rightfully deserves in the form of an eagerly awaited music video.

This forthcoming music video was long overdue! It is much more than a simple visual companion to the song. It's a jubilant celebration of a song that has reached remarkable heights of acclaim. "Shake A Leg Like Elvis" has garnered impressive accolades, underscoring its enduring popularity. The song conquered the coveted #1 spot as Australia's most streamed and downloaded track on PlayMPE Charts and ascended to #2 on the National AIR Chart. Moreover, it made a grand entrance, debuting at #7 on the iTunes TOP 40 AUSSIE POP SONGS, cementing its place in the hearts of music enthusiasts in Australia and far and wide. The song itself has a rock and roll spirit, but sonically, it is closer to funk and Motown. The guitar is infectious: the sound is bright and jangly, a Stratocaster-like sparkle that adds rhythm and melody to the mix. The rhythm is groove-driven and extremely infectious, serving as a fantastic backdrop for the vocals to unfold. The electronic drums are powerful and punchy, especially the bass drum, which anchors the beat down. There is also room for a tasty electric piano part, which adds more motion to the groove and makes the song flow even more smoothly.

One of the most unique characteristics of this music video project lies in its remarkable backstory. Originally intended for simultaneous release with the song, the video production experienced some issues due to scheduling conflicts, which sort of stopped the process in its tracks…until now!

Finally poised for its debut, the upcoming video is an unforgettable experience for fans of the song and for Elvis aficionados alike.

The exceptional collaboration at its core adds an extra layer of charm to this endeavour. The video incorporates previously shelved footage featuring the illustrious Elvis Tribute Artist Mark Anthony. Anthony's global renown goes beyond his name; it's a testament to his peerless talents. From clinching the grand champion title as the ultimate Elvis tribute artist for the South Pacific to ranking among the top 5 Elvis tribute artists worldwide, Mark Anthony has left an indelible imprint in the world of Elvis impersonation, and he is perhaps the best one to ever do it! His presence in the music video feels like a natural match with the vibe of the song and the overall aesthetics of "Shake A Leg Like Elvis."

Dino Jag's "Shake A Leg Like Elvis" is a musical odyssey. The title of this song isn't just a nod to the king of rock and roll. It comes from a very personal place for Dino, as it was inspired by a phrase from his father, who encouraged a young Dino to move like Elvis himself, who was very well-known for his moves and prowess on the stage. The song is a playful nod to one of the true greats of rock (and of all music), but it is also a powerful statement. The video encapsulates this release's carefree, powerful attitude, which feels like a spontaneous and powerful invitation to break free and embrace one's unique self. The song received glowing reviews from the press, including a feature in the world-renowned Vents Magazine, which described the song as "a memorable musical joyride."

With its unmistakable aesthetics and concept, the video for "Shake A Leg Like Elvis" will transport viewers to some of the best years of rock and roll and serve as a bridge to merge old-school songwriting with modern sensibilities. Ultimately, it is about positivity and good times, cherishing the power of music. It can bring us all together and make the world a better place!

In conclusion, Dino Jag's "Shake A Leg Like Elvis" touched the hearts of many, and the forthcoming music video is a joyous celebration of that very same spirit that still resonates very deeply with the audience. With the inclusion of Mark Anthony, a veritable legend in the realm of Elvis tribute artists, this video will breathe fresh life into a classic tune that has secured its place among Australia's musical treasures. Prepare to "Shake A Leg Like Elvis" once more and join the ranks of Elvis fans and music lovers in savouring the magic of this rock and roll gem.

[afropunkcommunity]

Fender Taps Steve Lacy For Signature Guitar

If you’re a fan of the genre-defying musician Steve Lacy, you might have caught a glimpse of what he has been cooking up with Fender, his new signature strat. Making cameos in the music video for “Sunshine” featuring Foushee and most recently in his “Bad Habits” performance on the Grammys and Saturday Night Live, the Steve Lacy People Pleaser Stratocaster has been hiding in plain sight and has finally debuted for fans to pick up. With a resume starting from his teenage years and early Grammy win with the Internet to his work with Solange, Kendrick Lamar, Vampire Weekend, and his solo work, including his recent Grammy-winning album Gemini Rights, we are glad to see him add having a signature guitar. Read more here in the blogpost.

[dustedmagazine]

Spencer Cullum’s Coin Collection — Spencer Cullum’s Coin Collection 2 (Full Time Hobby)

https://spencercullumscoincollection.bandcamp.com/album/spencer-cullums-coin-collection-2

Spencer Cullum’s first album with his band Coin Collection was released back in late 2020, and a year later it was deservedly re-released on a bigger label with a bonus track. Jennifer Kelly reviewed the original release for Dusted, praising the music as “lovely, intricate and full of ease.” The same most certainly applies to Cullum’s new album, which arrives seemingly unaffected by the pandemic, bearing a bucket-load of charm, a playful demeanor, and an unashamedly retro sensibility that feels both genuine and deferential.

The most immediate sign of this album’s retro leanings is the way in which the majority of the instruments (drums, guitar, piano, voice, woodwinds) are either panned hard-left or hard-right, leaving the bass in the center to anchor the music. Modern production has largely abandoned such an approach, which only underlines how the music feels like it’s been unearthed from another time. This feeling is only intensified by Cullum’s voice as he speak-sings his way through the songs, his Romford, East London, accent to the fore.

Given Cullum is an Englishman living in Nashville, it’s unsurprising that the record’s two singles are about the weather. “Kingdom Weather” is a beatific celebration of care-free sunny days, with some gorgeous interplay among  bass, electric guitar, and flute. While the music of “Cold Damp Valley” is lighthearted and playful, much like the theme tune to a long-lost children’s TV show, the lyrics survey England’s seemingly endless overcast skies: “It’s always bloody freezing / There’s mist in the corners of the ceiling.” Other highlights include the serenely bummed-out jazz-folk of “Green Trees,” and “Out of Focus,” which revisits the Olivia Tremor Control sounds that emerged on Cullum’s debut thanks to some strident clarinet lines. 

To underline the retro vibes of the album being a two-sided experience, best suited to listening on vinyl, Cullum opens Side B with a loose, exploratory instrumental entitled “The Three Magnets” (the title perhaps referencing the three single-coil pickups of the Fender Stratocaster, the tones of which are all over these songs). Whereas the motorik-leaning “Dieterich Buxtehude” played a similar role on Cullum’s debut, “The Three Magnets” focuses more on textural guitar work and the liberal application of echo effects. It certainly invites the listener to reflect on what it might be like as a fly on the wall during the band’s more out-there jam sessions.

This is largely what makes Spencer Cullum’s Coin Collection so alluring: they’re a gang of skilled musicians gathered to execute Cullum’s charming folk-rock vision, but they’re perpetually poised to launch into more explorative realms.

Tim Clarke

[brn1029]

On this date in music history. Lost a few big time names….☹️

December 6th

2016 - Vinyl Albums

It was reported that more money had been spent on vinyl than downloaded albums for the first time. Vinyl sales made the record industry £2.4m, while downloads took in £2.1m, the Entertainment Retailers Association (ERA) said. It marked a big shift in music consumption. In the same week the previous year, vinyl albums made £1.2m while digital ones made £4.4m.

2013 - Bob Dylan

The electric guitar played by Bob Dylan at the 1965 Newport Folk Festival was sold at auction in New York for a record $965,000. The Fender Stratocaster had been in the possession of a New Jersey family for 48 years after Dylan left it on a private plane.

2011 - Dobie Gray

American singer and songwriter Dobie Gray died from complications of cancer surgery in Nashville, Tennessee at the age of 71. His hit records included 'The 'In' Crowd' in 1965 and 'Drift Away', which was one of the biggest hits of 1973, and went on to sell over one million copies.

2003 - Elvis Costello

Elvis Costello married jazz artist Diana Krall in a ceremony at Elton John's UK mansion. About 150 guests, including Paul McCartney attended the wedding. It was Costello's third marriage.

1994 - The Beatles

Tower Records released The Beatles 'Live At The BBC', a 69 track, double album of tunes recorded for BBC shows such as Top Gear, Easy Beat, Saturday Club and Pop Go The Beatles. The LP will rise straight to the top of the UK chart, selling over 600,000 copies by the end of the year and 2,000,000 in the US four weeks later.

1988 - Roy Orbison

American singer songwriter Roy Orbison died of a heart attack aged 52. Scored the 1964 UK & US No.1 single 'Pretty Woman', plus over 20 US & 30 UK Top 40 singles including ‘Only the Lonely’ and ‘Crying’. Formed his first band The Wink Westerners in 1949, was a member of The Traveling Wilburys (known as Lefty Wilbury) with Bob Dylan, George Harrison, Jeff Lynne and Tom Petty and had the 1988 UK No.21 single 'Handle With Care'. Orbison endured a great deal of tragedy in his life. His first wife, Claudette died in a motorcycle accident in 1966 and two of his three sons, died in a house fire.

1986 - Europe

Europe were at No.1 on the UK singles chart with 'The Final Countdown'. They became only the second Swedish act to score a UK No.1. The song reached No.1 in 25 countries and the song's lyrics were inspired by David Bowie's song 'Space Oddity'

1975 - Paul Simon

Paul Simon went to No.1 on the US album chart with 'Still Crazy After All These Years', his first US No.1 solo album.

1975 - Elton John

Rev Charles Boykin of Tallahassee, Florida organised the burning of Elton John and The Rolling Stones records, claiming they were sinful. Boykin was reacting to the results from a survey that said, 984 of the 1,000 local unmarried mothers had sex when listening to rock music.

1972 - Keith Richards

While reading the morning newspaper in Nice, France, Rolling Stone Keith Richards was surprised to learn that arrest warrants had been issued for him and his girlfriend, Anita Pallenberg for drug possession.

1969 - Led Zeppelin

Led Zeppelin made their debut on the US singles chart with 'Whole Lotta Love', it went on to make No.4 on the chart and was the first of six Top 40 singles for the group in the US. During the bands career, Zeppelin never released any singles in the UK.

1969 - Steam

One Hit Wonders Steam started a two week run at No.1 on the US singles chart with 'Na Na Hey Hey Kiss Him Goodbye'. The song was actually recorded by Gary De Carlo, who intended it to be the "B" side of his first single. Gary didn't like the song and when record executives wanted to issue it as the "A" side, he insisted it be released under an assumed name. The song became a UK No.5 single for girl group Bananarama in 83.

[hamtodaygames]

Get ready to hit the stage in classic Fender style. The legendary Fender Stratocaster and Precision Bass make their debut in the Fortnite Item Shop tonight!

[adoretheo]

strike the axe ! 🎸

{ Yun, 22, GMT+8, He/Him } —— look who’s joining the infinite tour! only MOON THEODORE HARANG (THEO), who is the LEAD GUITARIST of TIDAL. i’ve heard whispers that the 27 year old is pretty AFFABLE but lowkey LAZY. also, doesn’t he remind you of CHAE HYUNGWON?

Hey, name’s Yun and I’m glad to be here! Not very good at plotting but I do have two connections in mind. Keeping it simple for now : I’m looking for TWO best friends for Theodore! They can be a fellow idol or a staff. They would have probably been someone who helped him adapt to everything when he came to Seoul. They’ve been there for each other through rain or shine. He’s going to splurge a lot on you and cook delicious meals for you when he’s full of energy! AND someone whom he got close to since filming a season of We Got Married together back in 2017 (I think they’re very very shipped by the fans too). Okay, enough rambling, please give this a LIKE if you’d like to plot and I’ll hit you up!

[ You can read more about Theo below! ]

BACKGROUND moon theodore harang was born and raised in london, united kingdom but later moved to seoul, south korea because of his parents’ business expansion. theodore was in a four-piece indie rock band with his schoolmates but that all soon came crashing down when he was made to move back to his homeland. he may no longer have a band but his dreams of making music, performing and traveling around the world only grew stronger. he was certain that he wanted to pursue a career in music despite his parents’ objections and the constant reality check comments he was receiving from his relatives and almost everyone around him. skipping classes on one fateful friday, the sixteen-year-old showed up at infinite entertainment with his electric guitar for an audition. he failed three times before he was finally accepted, i guess you could say third time’s the charm! theodore trained in dance and music production for three years before debuting as the lead guitarist for the entertainment agency’s first ever co-ed band TIDAL in 2015.

FULL NAME moon theodore harang STAGE NAME theo NICKNAMES teddy, sleepyhead, sloth BIRTHDATE 15.08.1995 PLACE OF BIRTH london, united kingdom LANGUAGES english, korean, chinese HEIGHT, WEIGHT 185cm (6'0), 65kg SEXUAL ORIENTATION bi-demisexual PROFESSION lead guitarist of TIDAL WEAPONS OF MASS SENSATION Fender Stratocaster (seafoam green), Fender Telecaster (black with gold crack lines), Yamaha NT acoustic MUSICAL INFLUENCES arctic monkeys, nothing but thieves, the white stripes, franz ferdinand FIRST IMPRESSIONS cold, intimidating, reserved PERSONALITY affable, humorous, laid-back, patient, mischievous, playful, sassy, lazy, confrontational, disorganized LIKES making music, songwriting, performing, grilled king prawns, bbq flavoured french fries, root beer, sweet rice punch, snacks, snuggling in bed, working out DISLIKES waking up in the morning, being hurried when he’s not fully awake yet, having to focus when he’s sleepy, spicy food, being lied to

[tfc2211]

Jimi Hendrix playing his Monday morning set at Woodstock. Photo © Barry Z Levine.

By August of 1969, Hendrix’s career was in a major state of flux. Holed up at his rented house in Shokan, he assembled a new group to play at Woodstock, which he named Gypsy Sun and Rainbows. This featured Jimi Hendrix Experience drummer Mitch Mitchell alongside two local Woodstock percussionists, Juma Sultan and Jerry Velez. The lineup was rounded off with two of Hendrix’s buddies from his days in the U.S. military, guitarist Larry Lee and rock-solid bassist Billy Cox. They convened for a brief but intense series of rehearsals in Woodstock before heading out to White Lake for Hendrix’s headlining gig.

As the sun rose higher in the sky on Monday morning, it was now time to bring the Woodstock Music & Art Fair to a close. The man chosen to cap the event was Jimi Hendrix, who got the honor after festival promoter Michael Lang tried and failed to book cowboy legend Roy Rogers, whose “Happy Trails” may well have been a poignant (if somewhat bizarre) closing number for that tumultuous weekend. Hendrix had been scheduled to climax Woodstock’s final evening around midnight, but scheduling delays meant that he did not take the stage until 9:00 a.m. on Monday morning.

By this time, the crowd had largely dispersed and returned to their regularly scheduled lives (although there was a certain glow to each and every one of them). About 40,000 people stayed to watch Hendrix and his new group get it on, a tenth of the total attendance of the festival but enough to intimidate Hendrix and his band. Nonetheless, Hendrix looked remarkably relaxed and composed as he walked to the microphone and casually remarked: “I see that we meet again!”

After correcting Chip Monck (who had introduced the group as The Jimi Hendrix Experience), Jimi and his comrades launched into a new song, “Message To The Universe” (later titled “Message To Love” and later released on the live album Band of Gypsys in 1970. The group worked fairly well together, with a full sound dominated by Hendrix’s white Fender Stratocaster. Another unfamiliar song followed with “Getting My Heart Back Together,” a song that would go unreleased on an album during Hendrix’s lifetime but which had been a regular live number for the past several months. Retreating to the familiar, Hendrix pulled out an exuberant version of “Spanish Castle Magic” from the 1967 album Axis: Bold As Love, in which he traded off solos with Larry Lee and even gave the spotlight over to Mitch Mitchell for a brief drum break.

Hendrix’s beloved slow blues “Red House” followed. It had been issued on U.K. pressings of his debut album Are You Experienced? in 1967 but had only just been released in the U.S. the previous month on the compilation, Smash Hits. Larry Lee was given a lengthy guitar solo, though unfortunately, his Les Paul suffered from major tuning and intonation issues which he would never quite recover from for the entirety of the performance. Larry was then given a chance to take a lead vocal with his self-penned ballad “Master Mind”.

Feeling the need to take things up a notch, Hendrix abruptly launched into “Lover Man,” another unreleased tune that would be familiar to Experience audience veterans, as Hendrix had been playing it live for the previous two years. With the crowd yelling for more familiar material, Jimi delivered the goods with a searing rendition of “Foxey Lady” from his first album, pulling out his catalog of crowd-pleasing bumpin’ and grindin’ guitar tricks. The set continued with two brand new numbers—“Beginning” (aka “Jam Back At The House”) was a monstrous and complex riff-based instrumental that featured another drum solo from Mitchell, while the anti-war anthem “Izabella” grooved along in a most appealing and offbeat manner, giving the audience a glimpse at the progressive fusion Hendrix envisioned for his future work.

It was now ballad time with Larry Lee again, as he got soulful on a medley of two Curtis Mayfield and The Impressions songs, “Gypsy Woman” and “Aware Of Love.” By this time, the crowd was still shouting out requests for various oldies, and Jimi obliged them with a rousing “Fire” from his first album. It was now time to take it on home; for this purpose, Hendrix lit into his standard closing number “Voodoo Child (Slight Return)” from his 1968 album Electric Ladyland. This extended into a jam with Hendrix trading off solos with Larry Lee; as this wound down he advised the audience that “you could leave if you want to, we’re just jamming, that’s all.”

This wound down to the crashing final chord and then, suddenly and without warning the band, Hendrix hit upon the opening notes to the U.S. national anthem “The Star-Spangled Banner.” The band tried to follow Hendrix’s lead briefly but then wisely chose to layout as he created magic. His masterful instrumental rendition of the anthem managed to convey the feeling of turmoil that gripped America at the time; nightmare visions of war and destruction swept over the crowd before he brought it back to earth with a peaceful reading of the final lines of the piece. This was a truly astonishing performance and one that would become one of the most enduring of all Woodstock moments and memories.

But Jimi Hendrix was not finished. To the delight of the crowd, he proceeded non-stop into the classic “Purple Haze” from his first album, delivering a mighty rendition of this golden oldie which was enhanced by the obvious magic he had just created. This settled into a lengthy instrumental improvisation, with Jimi running unaccompanied through a variety of riffs and styles. Finally, he brought the main set to a close with “Villanova Junction,” a slow and mournful instrumental blues that seemed like a requiem for the entire weekend. With that, Jimi left the stage with a simple “thank you.”

The crowd wasted no time in demanding more, however, and Hendrix quickly returned. Although he had wanted to play another new song, “Valleys of Neptune,” he gave in to the crowd’s demand for the familiar and closed out his performance, and Woodstock as a whole, with a strong rendition of his first single “Hey Joe,” sounding somewhat incongruous in light of what had come before it. With that, an exhausted Chip Monck bade the crowd farewell with a sweet, “Ladies and gentlemen, thank you so very much. It’s been a delight seeing you. May we wish you anything that the person next to you wishes for you. Good wishes, a good day, and a good life. Thank you.” The denizens of Woodstock Nation returned home transformed, well aware of the cultural revolution that they had helped create.