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fanaticsnail · 1 year ago

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Bachata (Dance Series)

Masterlist here.

Word Count: 3,105

Warnings: Fluff. Pure fluff, dancing, sensual dance descriptors, mention of alcohol (if you squint).

It was beta-read by the ever wonderful @sordidmusings (thank you bby grl, you are a blessing)

Song Suggestion: Stand By Me, Wake Me Up, la Isla Bonita

Your lips remained parted, eyes glossy and hyper-fixated on the movement of swaying hips, bent knees, and the biceps and forearms of your captain who effortlessly led one of the locals in a sultry dance. All his movements were in time to the beat of the drum, the fingerpicking of nylon guitar strings and the push and pull of airy piano accordion accompanying the lilt of vocals.

The atmosphere surrounding the beach-front festival on the coastal shore was loud, the crash of waves in the distance resonated within the chasms of the wooden dock where the Going Merry was harbored. Several vendors had set up temporary huts with canvas roofs atop wooden poles, selling their wares, local cuisine and fountains of exotic drinks of flavors you had never heard of before.

Although the musicians sang out their romantic souls into the air, prompting many a traveler to engage with them in dance and singing along to the tune: your eyes remained fixed on the way Luffy effortlessly spun the local girl within his arms, steadying her hips with his hands. His nose was scrunched with laughter, his grin drawn wide against his cheeks to bare his teeth in unbridled joy.

“Quartermaster?” the green-haired swordsman addressed you, “your thoughts?”

“Hmm?” you hummed in question, snapped from your entranced gaze held against your captain’s swaying body.

“You’ve been staring at him long enough,” Nami giggled at you, leaning back to recline against the wooden log behind her, “surely you have a bit of a hypothesis.”

You furrowed your brow, looking between the remaining companions you’d found yourself serving with on the Going Merry. Nami had a playful shimmer falling in her eyes, Zoro quenched his thirst by draining the remainder of his brown-stained beer bottle, while Sanji was making his way back from collecting the evening meal for the crew by bartering with the vendors.

Usopp and Luffy opted to join in the festival celebrations by swaying with the locals to the beat of the drum. Both men began surprising the crew with how effortlessly they danced to the tunes produced by the band, but Luffy was exceptionally surprising everyone by the way he almost had an air of sultry seduction in his movements. As soon as you witnessed the first effortless and tasteful gyration of his hips, your breath caught in your throat and a warm flush weaseled its way from your chest to tint your cheeks with its presence.

“On the dancing?” you asked again, Zoro chuckling at your thoughts.

“Alright, let’s backtrack then,” the swordsman rolled his eyes with a chuckled scoff, “look at him.”

“Oh she’s been looking at him enough, Zoro,” Nami scrunched up her nose, her tone light and teasing. You scrunched up your own nose in light mockery at her jest, prompting her to release a laugh into the night air.

“Looking at who?” the blonde chef asked as he placed the food down on the stretched canvas mat on the sandy floor in front of you all.

“Alright Sanji, non-biased opinion,” Nami said, leaning forward to sit herself closer to the food in front of her, “our captain. Where do you think he learnt how to dance like that? Look – no, really Sanji – look.”

The chef rolled his eyes and lulled his head over to look at the captain of the Going Merry. Luffy spun his dance partner to face her torso away from him, her back pressed flush against his bare chest as he ghosted his fingertips over her vertical forearms held upwards. His lips traced the back of her neck, his eyes fluttered closed as he swayed his hips against the beat, with his brows furrowed in passionate concentration.

“O-oh,” Sanji stuttered, his eyes widening with a downturned smile rising within his fluster.

“I know, right?” Nami loudly whispered in her hushed enthusiasm.

“I can honestly say: I have no idea,” the blonde nodded his head in confirming his words more-so to himself than to the group, “he doesn’t give off that kind of energy at all.”

The music concluded, the captain breaking away from his dance partner, and giving her a clap on the shoulder as a gesture of encouragement and joy at the time they spent together.

“Oi, Luffy, Usopp!” Zoro called to the two crewmen, “grub’s up, come and get it!”

Your captain’s face snapped over towards the crew; his eyes first meeting with yours. A large grin drew itself against his cheeks once more as he found Usopp and they stampeded together towards the canvas mat.

“You guys, the sand- the sand,” Nami aggressively shooed the two rapidly approaching men, their feet kicking up the coarse grains of sand dangerously close to the food placed on the floor. You giggled at them, looking to your captain and patting the unoccupied space beside you in a gesture for him to sit down.

Usopp claimed the vacant space next to Nami, taking a portion of the local cuisine for himself as he did so. Luffy, smiling at your gesture, immediately plopped himself down ungracefully. He playfully nudged your shoulder with the top of his head, giving you a small smile, his curls feeling soft against your exposed skin as his hat remained fastened to his back via the drawstring. You laughed, reaching your palm and fingertips to brush some of the strands away from his forehead to reveal his hazelnut-coloured eyes to you. You shook your head, scrunching your nose and playfully nudged him away from you.

Your role aboard the Going Merry was the Quartermaster: an aid in the navigation and smooth sailing amongst the waves, while being the secondary loyal soldier behind the first-mate. Luffy, upon finding you in a tavern off the shore of Shells-Town, immediately was taken with your skills and ease in breaking up a tavern brawl. Two rival pirate crews had stumbled into the family-run tavern and began immediately meddling in the affairs of one another’s business. The boiling point flashing like water to scorching oil within the halls of your favorite tavern: foreheads touching, guns withdrawn, fists flying and the breaking of brown, glass bottles. You threw yourself into the crowd, opting to disarm and do no harm, dancing effortlessly within the heat of the battle and incapacitating those who opted to remain fighting. It took little to no time to stop the fight, your skills drilled into you at the hands of many a brawling instructor and mentor throughout your childhood.

After the fight had finished, a brown-haired captain adorning a straw hat with a red ribbon approached you, telling you straight out, “Pack your bags, I need you on my ship,” to which you shrugged with a simple “aye, Sir”.

In your travels with the young captain, you were immediately taken with his innocence and fearlessness to be anything other than what he is: a simple man with the charm and charisma he needs to lead a crew, but also with the mischievousness and playfulness that comes with his inexperience. His heart is intensely displayed on his wrists, his desire to serve and protect those in need was admirable. You would follow him to the ends of the earth, with nothing to add than a simple: “aye, Sir.”

Friendship, proximity, and sleepless nights by each other’s side had a small whisper of emotion beginning to form within the very central point of your heart. The longer you remained with him, the more this feeling began to burn within you. You put it all down to the need to serve your captain well or perhaps a small crush if anything else. Choosing not to engage with such childish emotions, you smothered the feelings as soon as they began.

But there was something about the way his hips were swaying tonight. Something about the way his eyes sparkled, his nose scrunched and his lips drew out to reveal his playful grin under the glittering stars around the festivities that held you hostage to your unquenchable emotions.

“Nice meat!” Luffy’s voice cut through your inner monologue, prompting you to shake your head and blink slowly away your enchantment, “you had any yet-? -You haven’t had any yet! Here, have some!”

Your captain thrust an empty paper plate into your hands before piling a mountain of food atop the plate; it bending beneath the weight of the variety of items.

“Captain, slow down!” you giggled, shooing his hand holding tongs with the dangle of cooked meat waving from the end, “I’m not going to be able to get through all this, but thank you for thinking of me.”

“Anything for my Quartermaster,” he shot you a small wink, “gotta make sure you’re taken care of, you know?”

Your eyes fluttered rapidly in a flustered blink. You shook your head once more and furrowed your brows at his comments. He looked down at your plate, gesturing with his hands for you to begin eating.

“Whatever you don’t eat, I will,” he shrugged, leaning back in his place beside you and looking up at you with eyes full of adoration and appreciation.

“Thanks Luffy, I trust that you will,” you giggled, placing the plate down on the ground and tucking your hair behind your ears and away from your mouth. He smiled up with his broadening grin as the rest of the crew continued to eat the delicacies this area graced you with.

You felt his gaze continue to hold to you as you continued to dine with the other straw-hats, then pouring drinks from the large jug for one another and laughing to a tale Usopp was recollecting. He sat up briefly, noticing some strands of your hair began to fall back in front of your face and immediately reached up to tuck the locks behind your ear with his thumb and index finger. A warmth drew itself upwards to your cheeks at this unrestrained gesture, but you did not shy away from his affection.

Sitting in silence, Zoro continued to hold his intense gaze in unwavering focus against your interaction and dynamic with the captain. His left brow arched at the subtle touches, lingering on your flushed face before looking to the mischievous expression your captain currently was adorning.

“Hey Cap’n,” Zoro smirked up, collecting a beer bottle from beside him, “why don’t you and the Quartermaster have a little dance after dinner? She hasn’t had one all night.”

Your eyes widened at Zoro, a scowl falling to your lips in wordless reprimand. Zoro’s smirk broadened with his left brow arching upwards to taunt you further. Before you managed to get a word out to chastise him further, Luffy spoke up to interrupt your thoughts.

“Sounds good to me!” he exclaimed with joy, “how about it, Quartermaster? Dance with your captain?”

Words fell halted in your throat, the breath you were going to use to speak them caught behind your parted lips. You snapped your gaze back to your captain, snickers from your crew began to whisper in hisses behind their clenched teeth.

“I-I don’t think I could-,” you began, watching your captain as he eagerly rose to his feet and extended his hand out towards you.

“-You’ll be fine,” he smiled, collecting your hand from beside you, “let’s go, music’s starting again.”

“Aye, Sir,” you nodded, allowing him to pull you to rise to your own feet.

You turned your head back to your crew as Luffy began leading you towards the open fire, closer to the vicinity of the music. Zoro’s smirk-like grin was plastered openly on his lips, shooting a small wink towards you at your unsettlement. Nami gave you a small wave, wordlessly uttering to you: “learn why he dances like that.”

You inhaled sharply through your nose with eyes scolding your crew before being twirled within the arms of your captain to meet his hazelnut orbs.

“Just relax, okay?” he scrunched his nose up while pressing his forehead against yours, eyes twinkling with mischief, “I know what I’m doing, let me lead you.”

A small squeak found its way to your throat, eyes wide and cheeks flushed. He chuckled, taking both of your hands within his and began to effortlessly sway with you.

Crossing your arms upwards, he spun you to face away from him; rocking you within his arms briefly before experimentally intertwining his limbs with your own. He twirled you once again to face him, collecting your right hand within his left and placing his right hand wrapped completely around your shoulders beneath your left arm. He held you close in a tight and flush embrace, exaggerating his hips outwards and leading your feet to the beat and rhythm of the music.

Your eyes were wide and frantically looking everywhere else, breath hitching as he led you in the movements with such poise and ease. Meeting your eyes with the taunting and teasing gaze of the green-haired swordsman, you began to fall out of time to Luffy’s movements and stumble a little. You watched the swordsman’s chest tremble as a laugh fell from his lips at your stumble.

“Hey, hey, hey,” Luffy’s voice called to you, drawing your face up with his left hand weaving itself away from your right, “what’s the matter, are you okay?”

Your breath caught in your throat as he reached his hand up to touch your cheek tenderly. He continued swaying the both of you to the music while his eyes searched yours for the source of your unease.

“I-I just,” you began, your own eyes fluttering its concentration between his, “I’m a bit self-conscious dancing like this. It’s a bit-, uh-…”

He nodded with his brows furrowed, leading you with his verbal tone; “-a bit…?”

You clenched your teeth with a small grimace, “-a bit out of the ordinary? A bit unusual to be dancing like this?”

“Oh!” he nodded, returning his broad smile to his lips. He released your cheek from his left hand and again sought out your right to claim, “you don’t have to be self-conscious. As I said, I know what I’m doing. And if the attention bothers you so much, keep your eyes on me!”

The flush returned to your cheeks, the warmth threatening to tint its way to cover the entirety of your face as he confidently wove your right knee between his legs and swung his hips to the beat. You released a shaken breath from your lips, closing your eyes to bring your focus away from the Straw-Hat crew and their teasing gaze. Reopening your eyes, you met with the warm smile of your captain.

“There you go!” he complimented you while tracing small and indistinct lines on your spine, “‘atta girl!”

Internally, you were screaming. Your captain’s praise was nothing foreign to you, especially when in the heat of combat. Within the proximity he currently held with you, dancing you provocatively within the romantic atmosphere, this praise felt especially outlandish. Shaking your head to rid your mind of the fog his verbal praise rose within you, you kept your eyes fixed on him. His eyes softened as he began to hum along to the melody, twirling you away from him. Although his twirls moved your body far from his, he would always bring you back to hold you securely within his arms with his hips almost flush against your own.

As the dance continued on, you began to get more confident in your movements and trust for him to always support and lead you through it. He would sweep you into long-arched dips, circling around his body before having you snap back up to fall within his grip. All laughs and smiles drew upwards against your cheeks, a laugh or two flinging from your chests in glee to the music.

“How do you know how to dance like this?” you breathily asked him while he again twirled you to face away from him.

He released your hands from his grasp as he slowly ghosted them over your ribs, dragging them to rest on your hips. With closed eyes, he brought his lips up to your exposed neck and whispered against your skin: “Shanks taught me.”

Your glazed eyes opened widely, a small “oh” parting from you in surprise. You had heard many tales about Red-Haired Shanks and his crew of seasoned pirates from your captain. It should come as no surprise to you that he had shared more knowledge than the influence of a life of piracy onto your captain, but apparently the charm that comes with sensual dancing.

“When you were a child?” you asked him, lulling your head over as he continued to hold his lips a hair’s length away from your skin. He hummed in confirmation, the vibration prompting your pores to spring upwards over your neck and forearms.

“And the knowledge wasn’t lost to you over the years?” you quizzed him. His hands shifted you within his arms, turning you to face him again.

“I practiced with my brothers,” he chuckled, placing his forehead against your own, “my biggest brother would play guitar sometimes. I’d make my other one dance with me to the music.”

Before you could ask Luffy any further questions on the matter, the music concluded and your captain released you from his arms and cheered loudly to praise the musicians for their song. You trailed your gaze from the raven curls atop your captain’s head down over his sun-kissed skin to hold your lashes half-lidded as they sought out his eyes once more. He was so handsome, you knew that much was certain. All the time you spent together aboard the Merry had you drawing yourself closer to him, but now; you were completely smitten.

His joyful and lilted praise drew itself to a close, him turning to meet your eyes once more with his warm eyes. He reached his left hand down to collect yours within his comforting grip.

“Did you want another dance?” he asked hopefully, before he tore away his gaze to seek out a vendor’s stand behind him, “or we could get a drink? I could go for another one of those juice-things, I think.”

You giggled, reaching up your left hand to caress his smooth cheek. His skin ignited beneath your touch, glowing alongside the smoldering embers of the beach-front fire.

“As long as I'm with you, I’ll follow you anywhere,” you answered whimsically, prompting him to reach his forehead down to touch against your own. His nose scrunched up once more, his lips drawing out to a large smile as he answered you.

“Okay, great! Juice first,” he confirmed, nodding against your head, “then more dancing.”

“Aye, Sir.”

#one piece #opla #opla fic #one piece live action #x reader #luffy x reader #monkey d luffy x reader #monkey d luffy #luffy fluff #fluff

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fannishstuff · 10 months ago

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FIDDLEFORD PSA!!!!!!

OKAY, THIS HAS BEEN DRIVING ME ABSOLUTELY BONKERS FOR A WHILE NOW.

Dear Fiddleford McGucket fanartists:

First of all: draw how you want. The following is not intended to be judgmental, just educational. <3

On to business:

Here is how you fingerpick a banjo.

This is three-finger. There are more styles, but this is how I play. (I did not include fingerpicks because Fidds doesn't use them in the show and they're a pain to draw; you can also play just fine without them, although they are useful.)

Fingerpicking is usually done on a five-string banjo. Old Man McGucket's theme sounds like it's fingerpicked to me. Please note that your pinky and ring finger are planted on the banjo itself, next to the strings.

The first two images are to show posture, the third image is what it would look like to draw:

When I'm just holding my banjo and not playing it, my pinky and ring finger just naturally rest this way because it's comfy.

Here is how you play clawhammer style.

This is just an approximation; I almost never play clawhammer. The big thing is that your fingers curl in in a "claw" and you pick with your thumb.

Here are the tuning pegs on a five-string banjo.

In the show, Fiddleford has a four-string banjo, not five-string. (We see two banjos; they are both four-string.) Honestly, that surprised me. I'm not sure what the folk scene looked like in the 80s, but most players you see today have five-strings, so I think they were just streamlining the design.

EDIT: I was wrong! His banjo has a disappearing and reappearing fifth nut!

A four-string banjo has four tuning pegs at the top, like any other instrument. The fifth tuning peg is about a third of the way down the neck.

BONUS: Nobody gets into this much detail, but clever eyes will notice that the string widths look funny. If you have played a bass or guitar, you're used to the top string being lowest and thickest, the bottom string - which is the "first" string - being highest and thinnest. A four string banjo is tuned like this, but with a five-string banjo, the fifth string is the same diameter as the first.

Anyway, there are plenty of great banjo video and image tutorials on the internet if you want to get into the weeds, but I got the impression that a lot of you have literally never seen a banjo being played often enough to even realize how different it is from a guitar. Some people absolutely do strum banjos like guitars - in fact, I think that's more common with four-strings - but the McGucket music we hear is very obviously not being strummed.

There! Now you may freely choose to draw his hand however you want to, and it won't be from a place of ignorance. <3

(Oh, one last thing: that round thing that comprises the body of the banjo is literally just a drum. Drumming it is fun. You can and should draw Fiddleford tapping his banjo with the tips of his fingers like I do.)

#fiddleford #fiddleford mcgucket #fiddleford hadron mcgucket #fiddauthor #(Sorry I'm literally just trying to make sure fiddleford artists notice this.)#old man mcgucket #mcgucket #fiddleford friday #young fiddleford #gravity falls #ecruvian #my... ?#me #my writing #banjo #(Dear banjo community: I KNOW I'M NOT DOING IT RIGHT PLEASE OBSERVE MY CHEAP-ASS STARTER BANJO AND RECOGNIZE THAT I AM A NOVICE)#(Also my priority was making children's cartoon fanart slightly more accurate. Detail wasn't important.)#drawing turotial #drawing tips

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extraordinaryhistories · 4 months ago

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#22 - 'Far Physician's Son' (non-album track, 2001)

Somewhere early in his career, Sufjan Stevens discovered something incredible: acoustic guitars could be strummed. Before this point, Sufjan did one of two things on the acoustic. He would fingerpick, which made up the bulk of his nascent folk material, and it sounded great (just as it would later in his career, when he became iconic for this sound.) Or he would bash. The sound he gets out of his guitar on a song like ‘A Winner Needs a Wand’ isn’t a strum, it’s an attack, ugly chords getting hammered out of his guitar. There was rarely an in-between. If you want a soft song, you pick; if you want a loud song, you bash. Such was the binary along which he operated for a while.

Then something changed. There was a realisation. There was no need for all this abuse; just sit with it and strum. Listen to the word escaping from the guitar – strum. Listen to all the beautiful resonances. Listen to the syllables as they play across the strings. Listen – really listen – to how the sound fills the space. Listen to six notes interacting as they choose. And then: out of it let music pour.

When Sufjan finally lent himself over to this most traditional of folk guitar styles, he created some really gorgeous work. His feel for writing chord progressions was developing rapidly, and that’s essential for strummed guitar, one of the more direct ways of conveying complex harmonic movement. Suddenly he was evolving out of elementary uses of the instrument, like those we see on ‘Happy Birthday’; the melodies were now being supported with a harmonic framing that served as the yin to their yang, a complementary – but slightly distinct – source of light and colour. A less immediately evident source of the refinement of Sufjan’s music, but one that’s present nearly everywhere, if you care to look for it.

Find it, if you will, in ‘Far Physician’s Son’. This song’s provenance is typically obscure: it was released with three other Sufjan songs on 8.21: A Blue Bunny Compilation, and if you haven’t heard of it, it’s because just about nobody has. On it you will find ‘Woman at the Well’, an early version of ‘Year of the Ox’, and then this, sandwiched between a tinny slacker rock song and a long slab of musique concrète. Listening to it in sequence is quite striking. Sufjan spent about fifteen years of his career (up until Carrie and Lowell) relishing in the fact that he was sort of uncool, an oddball English major writing knowingly kitschy songs based on musical tropes that were very much not in vogue, certainly not in the indie sphere. 8.21: A Blue Bunny Compilation is the perfect microcosm of what Sufjan was becoming as an artist. In the midst of all this wild laissez-faire experimentation comes this, a precious, beautifully-performed folk ode to Jesus. Not quite the recipe to win the alternative glitterati over, is it?

So yes, like ‘Joy! Joy! Joy!’, like ‘Woman at the Well’, like ‘God’ll Ne’er Let You Down’ and a host of others, ‘Far Physician’s Son’ is orthodox in just about every sense. The one daring element here is the time signature. It is our second-ever Sufjan song to feature 5/4 metre, and he continues to demonstrate here his natural gift for making non-standard timing sound like nothing out of the ordinary. This is one of those uncommon songs in five that sounds as effortless as the flowing of a stream – it might take several listens (around five, in my case) before you pick up on any strangeness at all.

We can attribute that effortlessness to the guitar playing. There’s that word – strum – wide, yearning chords, played at a confident pace, that fill up both channels with their close-miced honey. The assuredness of the rhythm draws the ear away from the metric oddities perfectly, make it sound orthodox despite being anything but. This is the first time an acoustic guitar has sounded this rich on a Sufjan song, and thankfully by no means the last – but songs like these are the origin point of so much of Sufjan’s later sophistication. The arrangement here is otherwise remarkably tasteful. Some flutes here, some vibraphone there, all following the vocal melody, nothing feeling garish or out-of-place. ‘Far Physician’s Son’ is not a song designed to challenge you. Sometimes, orthodoxy can be undervalued.

Thus we are encouraged to focus on the symbiosis that underpins all the finest Sufjan songs: the slow-dance between lyrics and melody. Predictably for this man’s early work, ‘Far Physician’s Son’ is a song about Jesus. (As an aside, I have at times theorised that Sufjan was considering a full-blown career pivot to Christian contemporary music around the turn of the millennium, given how nearly every vocal track written between A Sun Came and Michigan is explicitly religious. Religion as a thematic focus came back in a big way on Seven Swans, of course, but there it is treated with more complexity and metaphor than ever before. Early throwaways like ‘Far Physician’s Son’ accept the premise of God’s fundamental goodness without question. Simplistic? Yes, but then again, so many beautiful things are.)

‘Far Physician’s Son’ is a mostly straightforward song that references a passage in Luke 4, where Jesus goes to the synagogue of Nazareth (‘Went to Galilee / With the scroll again’) and announces himself as a saviour – the man who will save humanity from the ills that befall them (‘Heal the poor and stung / Steal the hurt and hung’.) The song emphasises Jesus’ fundamental humanity, and thus his staggering glory; he is ‘Joseph’s son’, child of a common man but saviour of the wider world. Again, there’s not much to this one, but there doesn’t need to be. Jesus’ goodness – his ‘is’-ness – is self-evident. It is written that the person who speaks to God in a few honest words is blessed over the person who speaks to God with ego and articulation. No more words are really required in a song like this than the repeated refrain, the ideological core of the song that inhabits its latter half: ‘he will arise, he will arise’.

It's that phrase, and the melody attached to it, that always beguiles me when I listen to ‘Far Physician’s Son’. This is a feathery song, with lighter-than-air melodies and effete instrumentation – and yet we find this great counterweight at the end of the song, ‘he will arise’, repeated ad infinitum, with its doggedly deep and flat melody. It takes me out of the song sometimes. And yet there is a keen reason to it. ‘He will arise’ is the final truth of the New Testament, the promise and end state of Christianity, the thing above all things. Of course it has to sound weighty. Of course it has to read like a mantra in the context of the song, Sufjan singing it over, and over, and over. It’s only logic. It’s only everything.

Addendum: literally mere weeks before I wrote this, a Sufjan show from the year 2000 was unearthed, and a rendition of ‘Far Physician’s Son’ was in it. A pretty standard version, but a version nonetheless. Massive news for annoying people.

#music #sufjan stevens #sufjan #folk music #the stream of eternity

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diceriadelluntore · 1 year ago

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Storia Di Musica #309 - Led Zeppelin, Led Zeppelin, 1969

Come iniziare un nuovo anno di storie musicali? Si inizia con la scelta di 4 dischi che portano lo stesso nome dei loro autori, 4 band molto differenti tra loro, alcune famosissime, altre molto di meno (la scoperta di grandi dischi da artisti sconosciuti vorrei fosse una sorta di cardine di tutte le scelte del 2024). La Storia di Musica della prima domenica di gennaio 2024 parte con un modo di dire inglese: Go over like a lead ballon, che significa “è fallito del tutto” perché un lead ballon è un palloncino di piombo che ovviamente non può volare. Leggenda vuole che fu questo detto ad ispirare Keith Moon e John Entwistle, che suggerirono a Jimmy Page il nome per quella che diventerà una delle più formidabili formazioni di sempre: i Led Zeppelin. La storia è piuttosto nota: Page entra nel 1966 negli Yardbirds (già di Eric Clapton) come seconda chitarra di Jeff Beck. La band era già allo sfascio, e Page aveva intenzione di formare una nuova band con Moon ed Entewinstle. I tre con Jeff Beck registrano la storica Beck’s Bolero, registrata nel Maggio del 1966 ma pubblicata come singolo solo mesi più tardi, nel Marzo del 1967, brano fenomenale ma dalla storia travagliatissima, tra cui una intricata questione di diritti d’autore. Page, titolare del nome Yardbirds, prende accordi come leader degli Yardbirds per un mini tour in Scandinavia, ma nessuno dei suoi compagni accetta. Ne trova di altri: convince un session man mago delle tastiere, John Paul Jones, nel progetto, e tramite l’ex cantante degli Yardbirds Chris Dreja (che nel frattempo si è dato alla fotografia) assolda un biondo cantante, Robert Plant, che si porta con sé un batterista un po’ pazzo, John Bonham. È il 1968. Nascono così i Led Zeppelin (scritto così per non confondere il lead “piombo” con il lead “guidare”).

Senza nemmeno un po’ di gavetta registrano in 36 ore, sotto la guida del grande ingegnere del suono e produttore Glys Johns per poco più di 1700 sterline il loro primo, omonimo album per la Atlantic Records (fa più impressione il dato temporale che quello economico, 1700 sterline del 1968 sono 35 mila di adesso). E bastano: Led Zeppelin esce il 12 gennaio 1969 e diviene uno dei 10 album di debutto più belli ed importanti della musica rock. Venderà decine di milioni di dischi e manda in orbita, forse quasi troppo velocemente, il dirigibile più famoso del rock. In copertina mettono l’incidente del dirigibile Zeppelin LZ 129 Hindenburg avvenuto il 6 maggio 1937 nel New Jersey (vicenda leggendaria, su cui aleggia un complotto internazionale e non l’ufficiale incidente aereo). I 4 partono dal furente suono del british blues, ma arrivano dove nessuno si era mai spinto: rifanno due classici del blues, I Can’t Quit You Baby (eccezionale, caldissima e stupenda) e You Shook Me di Willie Dixon, e prendono da Jack Holmes Dazed And Confused (che nei live diverrà infinita con medley di altri classici della Musica del Delta). Per capire il suono Zeppelin e la sua travolgente natura, basta capire come strutturano il suono di una canzone tutto sommato banale come Good Times Bad Times. Your Time Is Gonna Come è quasi corale, come la veloce How Many More Times. Black Mountain Side è uno strumentale acustico in cui Page rincorre la maestria del fingerpicking di Bert Jansch, allora in auge con i superbi Pentagle. Communication Breakdown diviene un altro classico, con il suo stile particolare: parte blues, poi sale con l’intensità della voce di Plant e diviene furiosa ed accesa, e per molti è la nascita dell’hard rock. Gemma dell’album è però Babe I’m Gonna Leave You: presa da Joan Baez, in realtà la canzone, accreditata come traditional, è dalla folksinger inglese Anne Bredon (che fu ricompensata con un cospicuo assegno dalla band una volta risolto il mistero). Plant canta babe come mai nessuno più farà, la canzone ha un intro acustico ma poi esplode nel nuovo suono elettrico e potente, diviene struggente, torbida, assolutamente memorabile.

Questo fu il primo episodio di un modo di “gestire” le ispirazioni da altre canzoni che fece scuola, e si potrebbe aprire un dibattito infinito sulla loro musica. Per alcuni (pochini, va sottolineato) il loro rock blues portato all'estremo, con la chitarra rivoluzionaria di Page (che influenzerà 3 generazioni di chitarristi), il bombardamento ritmico di Bohnam (davvero feroce), l’elegante e mai invasivo tessuto sonoro di Jones (che suona basso e tastiere) e la voce, straordinaria e incantatrice di Plant, non è niente di così innovativo. Per altri (la stragrande maggioranza degli appassionati) il loro suono, le idee, la maestria tecnica dei musicisti e l’alone leggendario che la band riesce a costruire su di sé, li pongono ai vertici assoluti della storia del rock, ne fanno i padri putativi dell’Hard Rock (con i coevi Deep Purple), e la loro genialità è dimostrata dalle future evoluzioni stilistiche e musicali. È innegabile però che per farlo saccheggiarono un po’ dovunque, dal blues del Delta a quello urbano di Chicago, spesso non accreditandolo sui dischi, con picchi assoluti di sorrisetti ironici (tipo il caso di Stairway To Heaven per l’intro uguale ad una canzone degli Spirit, Taurus, caso che finirà addirittura in tribunale con la vittoria di Page e Plant, sebbene lo stesso tribunale ne riconosce le somiglianze). All’epoca era prassi comune raccogliere i semi del blues e riadattarli nel suono, un po’ per convenienze e un po’ perché non esistevano le normative precise e puntuali che esistono oggi sui diritti d’autore (molti altri, tra cui i Rolling Stones, furono protagonisti di episodi analoghi). Il successo dei Led Zeppelin amplificò la questione: il problema fu molte volte la paternità delle musiche, spesso passate come traditional (vedi il caso della canzone della Bredon) e quindi non riconducibili ad un artista detentore dei diritti. In tutti i casi di presunta usurpazione di diritti altrui, hanno sempre pagato i richiedenti ufficiali. Quelli che li accusano di scarsa inventiva, sinceramente non li hanno mai ascoltati: nessuno prima di loro suonava così, probabilmente sono tra le band più imitate in assoluto, saranno centinaia quelli che dopo vorranno suonare come loro. E rivoluzionarono anche altri aspetti del mondo del rock: l'andare in tour, i rapporti con le case discografiche, con i promoter, persino con le radio: ruolo centrale lo ebbe in ciò il loro manager Peter Grant, un gigante di stazza e di potere, passato alla storia anche per i modi tutt'altro che amichevoli con cui convinceva i gestori dei locali o chiunque potesse danneggiare il gruppo a farla finita. Un’ultima curiosità: con il crescente successo, una discendente dei Von Zeppelin citò la band per uso improprio del nome, e per un unico, storico concerto a Copenaghen la band si presentò come The Nobs. Poi però tornarono ad essere quel dirigibile di piombo che volava altissimo.

#led zeppelin #led zeppelin (I)#1969 #recensione

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