#it used to be ‘yeah I love This Band…their second album wasn’t my fave but man do I love their third and fourth���

[longlivetv]

The culture around creation right now is fascinating to me, because whether we’re talking a blogger with a couple hundred followers on a dying website or the biggest artist in a generation, huge groups of people seem to think that creators should mold their creations to suit the consumer and get angry when they do not. When in reality, the creator gets to decide the direction and it is on the consumer to let it go and find something else to consume if it isn’t what they want.

[sunsetcurbed]

So I was listening to The Band Camino’s new album and every time I hear Help Me Get Over You I think about gmsthot. Actually a couple other songs on that album too but that one especially makes me think of those precious boys.

You also mentioned being bummed that not as many people read it but I wanted to tell you that it really resonated with me. I met my best friend when we were 14 and been half in love with her for almost as long. We danced around things a lot and our paths took us pretty far from each other after high school. There was a point where I had to choose between moving close to her again and finally giving us a real try and going to my dream grad program and I chose school. Sometimes I still think about if it was the right choice. Reading gmsthot made me pretty emotional especially since I really related to Willie and his situation. I really appreciate you writing and sharing it.

YESSSSS help me get over you is one of my faves on the album. also song about you is definitely alex in gimis thot. but yes there are so many songs on the album that could relate back to gimis thot i was listening and just screaming (90% because tbc, 10% gimis thot).

this is what i sent to my friend after i first listened to help me get over you though: "okay uh i know i did angst with gimis thot but angst on top of that angst?? bc you've listened to the album right?? SO help me get over you jUST CAN YOU IMAGINE alex talked about how he almost texted willie so many times. so he goes searching for reasons. he'll occasionally make a comment like "have you guys heard from willie" and the band will say yeah and he'll try and convince himself it's him, that willie can't stand him, that willie saying he couldn't be friends was a cover up because he didn't want to be. after the initial shock of khaled he starts convincing himself that willie IS happier with khaled and convinces himself that willie knew khaled before they broke up and wanted to date him and that's part of why they didn't work because willie wasn't trying hard enough because he had already met someone else. in the back of his mind he knows it's ridiculous but how else is he supposed to move on" ((also GOD DON'T GET ME STARTED ON THE SECOND VERSE))

anyways yes i'm just so emotional about tbc and gimis thot.

Also, oh my god. I'm so sorry. That's like- stories like that are why I wanted to tell the story. Because these things happen. And they hurt, and they suck, but in the end with that minimal information provided, I personally think you made the right choice. Someone can't be your entire life, you can't give up opportunities like grad school and your dream career because you love them. And, well. Call me a sucker, but I believe in hope too. And maybe once school is over you might have a chance with her. You can't bank your life on it and wait for it and expect it, but you don't have to completely write it out of your life (unless she's in a committed relationship, in which case you have to be realistic). I just. Life is hard, and shitty, and messy, but sometimes things are good anyways. And I promise that even if you don't get her, you're going to end up with someone amazing, and in the end, when you're in your career and kicking ass at your job, I hope you look back and I hope you made the right choice.

[actuallyrandomperson]

My thoughts on the Sanders Sides Spotify playlists- Virgil Edition!

Note: this is Purely me saying whether or not I like the songs, not theorising about any deeper meanings. I’ve done them all, so just click on the names to see my reactions to the others: Patton, Roman, Logan, Janus

Impressions from looking through the playlist: I don’t specifically know most of the songs (I know more of the bands), but I feel like that’ll be a recurring theme as I tend to stick within my very specific music taste and only add songs to my playlists if I hear them while I’m out and about and like them enough to find them on Spotify, which means my horizons aren’t broadened very often. The ones I do know do not surprise me that much (neither do the bands, for that matter), as they feel very Virgil

1: ‘Sunrise, Sunset’, by Bright Eyes. I didn’t mind it at first? But the chorus was a bit too,,, shouty for me. Probably Definitely a song I’d skip if it came up on a playlist in the future, as much as I liked the tune(/melody?). Not surprised to find it on Virgil’s playlist though, it gives off Angst. Was very in my face as I tried to continue reading fics.

2: ‘Lets Kill Tonight’, by Panic! At The Disco. One that I have probably heard before, as while I myself didn’t have an emo music phase, an ex friend did. I liked it more, as I expected to as I tend to like p!atd’s songs. Not one that I’d go out of my way to listen to again, but has been added to my 32 hour long playlist on Spotify (not my slightly more curated 10 hour one tho, but I mostly play the 10 hour one while doing work or while others are around soo). Once again felt like it suited Virgil, (as I imagine all of them will, so I might just call out ones that feel Odd if any do.)

3: ‘Sally’s Song’, by Amy Lee. It might shock some of y’all, but not one I’ve really heard before! I live in Australia so Halloween’s not a massive thing and I actually don’t know that many people who’ve watched The Nightmare Before Christmas. Thomas is actually one of the main reasons I know that the movie exists. I really liked it, unsurprisingly, so it too made its way to my 32 hour playlist (not the ten hour one, but only because I try to keep mostly ‘normal’ songs on there so there’s not that many songs from movies in it)

4: ‘It Ends Tonight’, by The All-American Rejects. I recognised the band, but not the title. I think I’ve heard this before though- I didn’t love it, but I didn’t hate it. I wouldn’t skip it if it popped up in a playlist at some stage in the future, but I haven’t added it to either of my playlists.

5: ‘I’d Hate To Be You When Everyone Fonds Out What This Song Is About’, Mayday Parade. Very long title (ok, I know in emo song title standards it’s not even that long but as I said I didn’t really have an emo phase so these sorts of titles always shock me) that slightly confuses me (who’s you? why is what the songs about bad for them??), but I liked it! Is now on my 32 hour playlist. I suspect that at the end of listening to all of these it will be longer than 32 hours.

6: ‘A Decade Under The Influence’, Taking Back Sunday. Another one that I liked enough that I wouldn’t skip it in the future, but didn’t add to my playlist. I just didn’t vibe with it enough. Happened to line up with Roman having a Bad Feeling™ in the fic I was reading tho so that was entertaining

7: ‘Thks fr th mmrs’, by Fall Out Boy. This was the first song to invoke feelings of Nostalgia™ in me, and I’m kinda shocked it’s not already in my 32 hour playlist. That has been remedied. This song was played a fair bit in my childhood, both on the radio and by an older sister. I imagine a lotta people my age had a similar thing. Obviously one I Love. Got me to stop reading in favour of being a doofus by lip syncing and dancing around while lying in bed (and deafening my eardrums as I turned it up louder) during the chorus.

8: ‘Be Calm’, by Fun. This was the second song that I didn’t recognise either the title or the band for. I liked it, even though the initial warped carnival-esque tune thing made me think of Pennywise. Pretty much as soon as the singing started I added it to the 32 hour playlist. It might make its way to the shorter one one day, as I actually really like it. It’s just a bit odd, and as I said I try to keep that playlist to more ‘conventionally normal’ songs as it’s designed for me to be able to play around other people without getting weird looks.

9: ‘I’m Not Okay (I Promise)’, by My Chemical Romance. Let’s be real. I would’ve cried if this song wasn’t included in the playlist. You would’ve cried if this song was not included in this playlist. If all of their songs aren’t in their respective playlists I’ll be disappointed. This song being in the playlist prompted me to go back and rewatch that episode. so many jokes originate in that ep. also we only knew one name back then? and the dark sides were barely a blip on our radars??? how????? ok back to the song- not my favourite, but I wasn’t expecting it to be. Probably won’t skip it every time it comes up in the future, but it’s definitely not my cup of tea.

10: ‘Imaginary’, by Evanescence. I laughed when I realised this was next up, as rewatching the q&a reminded me that Virgil said they were his favourite band so I’d noted that I had to look out to see if any of their songs were on the playlist. I liked it enough to add it to the 32 hour playlist, but wouldn’t go out of my way to play it in the future.

11: ‘Soft Shock- Acoustic Version’, by Yeah Yeah Yeahs. When this started my first thought was ‘oh, I think I’m gonna really like this one!’ and my second was ‘I’m kinda surprised it’s on Virgils playlist, but it feels right somehow.’ (It made more sense as I listened to the lyrics, I think I was just massively caught off guard by it being acoustic). I hadn’t heard of either the song or the band before this, but my initial instinct was Correct and it has in fact.... made it onto the ten hour playlist!! Hell yeah!! I actually liked it enough to listen to the og version as well, which I still liked but slightly less. (Also I have heard some of their music before as I realised looking at the album this came from that my one of my sisters used to listen to them, which I’m not that surprised about as we have Similar tastes in music)

12: ‘The Good That Won’t Come Out’, by Rilo Kiley. I liked this enough to consider adding it to my 32 hour playlist, and the lyrics were interesting, I just didn’t vibe with it that much. 🤷‍♀️

13: ‘Sick Sad World’, by Nervus. The bands name feels very apt for Virgil. I liked the rhythm of this one, and it was also a Certified Mood tbh. Got added to the 32 hour playlist!! Also made me wanna hug Virgil.

14: ‘Ignorance’, by Paramore. I wasn’t expecting to love this, as I don’t remember really liking much of Paramore’s music in the past even though I know I must’ve heard some, but I didn’t hate it. Didn’t get added to either of my playlists, but I probably wouldn’t skip it in the future.

15: ‘The Ice Is Getting Thinner’, by Death Cab for Cutie. I was expecting to like this one, as one of my favourite youtuber’s fave songs is a death cab for cutie song and I really like it as well. I did like this one quite a bit, but it only made its way onto my 32 hour playlist.

16: ‘Overkill- Acoustic Version’, by Colin Hay. I didn’t mind this, but didn’t like it enough to put it on the 32 hour playlist. I possibly would like the original version more, but I can’t be bothered finding it especially given my first impression is just meh

17: ‘Under Pressure’, by My Chemical Romance. I didn’t love it as much as I love the original, but it did prompt me to check if I’d added the original to my two playlists. Apparently I didn’t, even though I was listening to a Lot of Queen when I was deeply entrenched in good omens.

18: ‘Everything is Alright’, Motion City Soundtrack. I liked this one! I think I might’ve heard It before, but it’s been a while. It got added to the 32 hour playlist.

19: ‘The Middle’, by Jimmy Eat World. I didn’t recognise the title b u t I did recognise the song. Obviously. Because I’m a gen z with older siblings. It was the second big nostalgia feels song, which was made even stronger by me not immediately recognising the title (unlike thks fr th mmrs). Was added to the 32 hour playlist as soon as I realised what song it was

20: ‘Vindicated’, by Dashboard Confessional. I knew this, but mostly from a music podcast called Punch up The Jam so hearing it in full was weird. Added it to the 32 hour playlist but wouldn’t go out of my way to listen to it again.

Final thoughts: I know I said I never had an emo phase in music, but I do actually like a lot of it even tho I was never That Kid, so I was kinda expecting to at least like a lot of these songs. My favourite song was definitely Be Calm, closely followed Soft Shock and Thks Fr Th Mmrs. 12/20 got added to my 32 hour playlist, and 2 (I eventually decided my love of Be Calm was strong enough for it to be an exception) to the 10 hour one!

@thatsthat24

[alltimelowgoodtimes]

Me Listening to Wake Up Sunshine While Drinking Vodka Lemonade (Sorry if this is super long):

Some Kind of a Disaster: nice, bop, nice way to start the album

Fave lyric: You gotta hurt sometimes to learn to heal. You gotta get back up and learn to deal.

Sleeping In: Honestly this song makes me want to get up and just dance around my room. It’s so upbeat and I love everything about it. The lyrics, the melody, the vocals. Just yes

Fave Lyric: Honestly the whole thing but really “If I said I want your body would you hold it against me? 7 In the morning wanna listen to Britney.”

Getaway Green: This song reminds me of early 2000′s teen movies. It’s like a song you would hear during a montage. Nice melody.

Fave Lyric: Do you wanna know how the story ends? Hazy and spun out just more than friends.

Melancholy Kaleidoscope: Okay so this was the song I was most excited to hear but after hearing it I’m kinda eh. But really I think the beginning is okayish and afterwards the song picks up. By the time it gets to the bridge I’m ready to give 100 instead of 95.

Fave Lyric: Staring at the ceiling choking back my feelings. Can’t be 100 if you’re only giving 95. (relatable af at the moment).

Trouble Is: So far this one is my fave just cause THIS IS ME RN. That first verse and chorus. I felt that. Oh and that one little mini scremo part during the second chorus...yes.

Fave Lyric: Even when I try there’s a little part that gets through, hide away the feeling. Never was enough, doesn’t matter what I do. 

Wake Up Sunshine: THE TITULAR TRACK. Wasn’t expecting that intro in the beginning. Okay so this song is very like “im gonna do me and I don’t care what you think.” If I had to put this in a movie this would go in the scene where the main character finally decides to stop being what everyone wants lol.

Fave Lyric: You’re pissing away, everyday’s a cliche. And they say if you’re bored then you’re boring.”

Monsters: THE BASS IN THE FIRST VERSE! YES ZACHARY. I’m waving my hand up and down the whole song PLS PLAY THIS ONE LIVE.

Fave Lyric: this is gonna be basic af but “Why am I sucker for all of your lies? Strung out like laundry with every line. Why do I come back to you like i don’t mind if you fuck up my life?”

Pretty Venom (Interlude): This is a very interesting and different sound for them in my opinion. The way Alex’s voice sounds here reminds me of Simple Creatures a bit. 

Fave Lyric: The whole song. I fuck with the whole song.

Favorite Place ft. The Band Camino: This is a song I would love to hear live just cause I feel like it would sound great live. Like it’s a nice chill song after turning up to something else.It’s a very sweet song. 

Fave Lyric: Can we close the space between us now? It’s the distance we don’t need. <-----That’s very headass and I love headassery.

Safe: I like how optimistic this song is. It’s very “you got this” and it’s def a song I would listen to when I’m down.

Fave Lyric: For every long goodbye, I’ll be your future down the road. 

January Gloom (Seasons Pt. 1): I like how he describes this person who gets him out of this rut. I like it cause I can picture someone even though it’s not the same person he’s talking about. Idk this song makes me feel things.

Fave Lyric: You’re like the sunshine in the lazy days of June. 

Clumsy: Idk why but this gives me “Oops I Did It Again” vibes. Specifically the “I was bound to make a mess of things, mixin' fireworks and gasoline. Now I'm out to make you fall with me.” also i see the "dropping bombs” and “future’s past” nods to time bomb and future hearts.

Fave Lyric: I got too high on myself, too young and stupid to tell. (Mostly cause it reminds me of the great sing Walls, ya know “it was obvious you were too much for me, oblivious I was young and horny”

Glitter and Crimson: This is very “the world is against us but together we make sense” vibes. 

Fave Lyrics: The whole bridge

Summer Daze (Seasons Pt. 2): It’s not my fave, it’s kinda just there. But this is a song I would’ve liked to hear when I was going through my sad girl summer.

Fave Lyric: Even when you’re gone it’s like I heard my favorite song and I never have to wonder.

Basement Noise: THERE’S TEARS CAUSE LIKE I’VE BEEN LISTENING TO THIS BAND FOR LIKE 10 YEARS AND I’M JUST SO PROUD OF THEM. This is another So Long Soldier but way better. God I’m so proud of these 4 men

Fave Lyrics:  Honestly just this whole song I’m crying DON’T LOOK AT ME lol.

Okay so basically I love this album and it’s one that I can listen to more and it’s not forgettable (sorry Last Young Renegade). It’s very upbeat and motivational. It’s weird cause my two favorite artists (All Time Low and Taylor Swift) released these positive albums that make me wanna do better you know? But yeah I can’t wait for to hear this live. 

[kinghoranshit]

Tell Me a Lie (NH) Ch 3

Word Count: 2,065

Warnings: Swearing

I snapped a pretzel in half and munched on it. I dipped the other half into the small jar of peanut butter and popped it into my mouth before I flipped the piece of paper to the other side. I was deep in editing mode for Stone Cold. 

I had talked to my manager about the upcoming events since there were red carpet dates already locked down for later that year, and she approved them, along with congratulations on the romance. But I was not able to get any definitive days off to truly work on Stone Cold, so I was still back to my weird schedule to get it finished on time. 

Out of bad habit, I clicked my power button on my phone and looked at the screen for anything to distract me for a short second. There was a message from Niall. 

N: Yoo, it’s go time . 

L: Really? What about publicity photos?

N: This is gonna work better . I’m gonna use one of our old selfies . 

L: Haha You mean from backstage in Chicago? That was like 6 months ago... 

N: It’s the only recent once we’ve got , Kelly . 

It’ll work 

L: I guess you’re right.

N: I am (: 

Be ready for it . 

Now, an Instagram notification came up and I already knew who it was from. I pulled down my notifications bar to see it and tapped it. I swear my heart stopped at the caption. 

@NiallOfficial: You know I don’t like lying to you all, but I’ve kept this a secret . For the sake of wanting our first few months to be only us . Well , those few months turned into a full year . I couldn’t be happier with this woman ! She makes me feel like I’m on cloud 9 . She even makes the golf losses better haha

He’d also tagged me. It was another requirement for social media; all posts had to be tagged. I was suddenly super nervous. This was actually it. There were so many new follows, likes, and comments on my account, and people were commenting congrats underneath Niall’s; though it wasn’t hard to miss a few of the mean wishes. 

K: So…. this is really it?

N: Yup . You got this , Kelly !   

K: There weren’t that many restrictions to the socials, surprisingly…

Do I have to follow people back? 

N: Haha no ! Follow who ya want 

K: Cool

A Twitter notification popped up on my top bar. I pulled it down to see Niall had tagged me in a photo there as well, and it was similarly worded to Instagram. At least it wasn’t a total copy and paste, that wasn’t necessarily Niall’s style. The Twitter notifications also started to flow in and I knew there had to be some way to filter them or this was going to be overwhelming.

K: Please tell me there’s a way to filter the notifications 

N: Absolutely , under your settings there should be a way to just get ones of people you follow 

If you get verified , I’ll help you with those 

K: Who said anything about me getting verified? 

N: Kelly , don’t act so cavalier love . It’ll happen eventually . 

I’ll walk you through it , I had Modest to help me and you’ve got me to help you

K: Duh duh DUHHHH

N: Okay , if you don’t want it I won ‘t give it to ya 

K: You know you will anyway

You loooove me 

N: Augh

You’re right 

***

I finally gathered the courage to thoroughly go through my Twitter notifications. I figured that the most recent ones may not be necessarily nice since I had been MIA for a few days after Niall’s initial post. But could they really blame me? I didn’t think so. 

My Twitter followers went from literally 450 to 38K. Just cause I was Niall’s “girlfriend”? That’s just… I couldn’t lie, I never followed the boys’ girlfriends or PR girlfriends, whatever they were to them. I didn’t have much to say to this. 

I decided to make a tweet first before doing anything else. 

@kellygarden: Sorry I’ve been MIA y’all. About to get interactive though! How about a Q&A? Hashtag #AskKelly :) 

I used the time of people asking questions to go through some of those following me and follow a few. And when I say a few, I mean a few. I might do a follow spree at some point and do a hundred or a couple hundred people. 

I about shit my pants seeing some of those who were following me that I was already following. Like Tom Holland, all the 5SOS boys, the other lads from One Direction, and Selena Gomez. Holy shit. What? Why? I was having a hard time believing this, but I couldn’t stop a smile from crossing my lips. So unreal. 

I searched my hashtag now and looked at some of the questions, replying to some. 

@Fuckmeniall: @KellyGarden Was it love at first sight? #AskKelly

@KellyGarden: @Fuckmeniall First off, love your @ . It was more like love at first coffee - we met at a cafe in London :)

@DamagedQueen: @KellyGarden Hw old r u? Wt do u do? #AskKely PS luv ur layout<3

@KellyGarden: Aww thanks so much! I’m 24 and a novel editor for a publishing house in London. 

@Jocylnbitch: @KellyGarden I don’t really like you, but I have a question about Niall. What’s he like in bed? #AskKelly

@KellyGarden: @Jocylnbitch: Glad to hear your opinion about me. And I don’t think that’s any of your business. 

@Rylanroll: @KellyGarden R u a virgin? #AskKelly

@KellyGarden: @Rylanroll Are you old enough to be asking this question? But no, I’m not.

@Hannable: @KellyGarden If you could clone yourself, would you? Why? #AskKelly

@KellyGarden: @Hannable I would. As selfish as this is, I’d have my clone to do my work so I could go see the world and be with Nialler.

@Uplousass: @KellyGarden Have you met the other boys yet? Freddie? #AskKelly

@KellyGarden: @Uplousass Props for the @, I’m dying! *laugh crying face emoji* I haven’t... and I’m not going to force any of them to meet me if they choose not to. 

@NiallOfficial: @KellyGarden How far are you up my ass? #AskKelly

@KellyGarden: @NiallOfficial I would be Hella far up if you weren’t so far up mine already :P

@Michael5SOS: @KellyGarden CAN I MEET YOU?! ASDLFKAS #AskKelly

@KellyGarden: @Michael5SOS DLKASLGA YEAH IF YA WANT 

@lukecummings: @KellyGarden Have you ever written fanfiction? #AskKelly

@KellyGarden: @lukecummings I have, but they’re cringy af. I’m not kidding on that. They will never resurface the web. 

@Astheticnolan: @KellyGarden What are you favorite smells on earth? #AskKelly

@KellyGarden: @Astheticnolan COFFEE, books, rain, You&I perfume, flowers, Niall’s cologne

@Haywire: @KellyGarden What’s your music taste? #AskKelly

@KellyGarden: @Haywire My music library is on crack. I could be listening to 1D, then it could go to Skillet, Ed, Counting Crows, M83, etc. It’s a wide range, except no Country.

@Luke5SOS: @KellyGarden Is that lame band 5SOS not in your music library? :(

@KellyGarden: @Luke5SOS Pft yes, yes they are in my music library. It’s full of lame bands lmfao

@Daylight5SOS: @KellyGarden Have you talked with the other boys? #AskKelly

@KellyGarden: @Daylight5SOS Yeah, Louis. 

@Louis_Tomlinson: @KellyGarden Do look forward to officially meeting you. Freddie son says hi.

@KellyGarden: @Louis_Tomlinson I look forward to it as well. Stay safe you two x.

@Penofhope: @KellyGarden Favorite genre to write? #AskKelly

@KellyGarden: @Penofhope Fiction. YA. Mainly Fantasy and Sci-fi. 

@Clotheswhore: @KellyGarden What's your aesthetic? #AskKelly

@KellyGarden: @Clotheswhore By your @ I’m going to assume you mean my clothes aesthetic? I’d say it’s a little bit of everything - I can’t stick to one thing lol

@Niallsride: @KellyGarden Do you drive? #AskKelly

@KellyGarden: @Niallsride I do. Both car and motorcycle/bikes.

@Monaymaker: @KellyGarden Do you drink? #AskKelly

@KellyGarden: @Monaymaker I do socially.

@Harry_Styles: @KellyGarden I look forward to meeting you. Niall is a lucky guy. All the love. H. #AskKelly

@KellyGarden: @Harry_Styles Thank you so much, H! Soon I hope x.

@Horanyass: @KellyGarden How many kids do you want? Gender ? Would you like to have them with Niall? #AskKelly

@KellyGarden: @Horanyass 2 or 3, any gender, and if I happen to have my kids with Niall then I’d be happy about it :)

@Styleskid: @Kellyiebabes Fave bromances of 1D and 5SOS? #AskKelly

@KellyGarden: @Styleskid All the ones with Luke and Niall, Cashton, and Lilo. 

@5Saucelove: @KellyGarden Pancakes or waffles? #AskKelly

@KellyGarden: @5Saucelove Waffles all the way! X.

@Horanhasmyheart: @KellyGarden Have you heard any songs off Niall’s upcoming album? #AskKelly

@KellyGarden: @Horanhasmyheart Nope, he’s super secretive about it. I’m gonna be just as shook as all of you! Looking forward to it! 

I looked at all the ones I answered, smiling a bit at a few of them. I didn’t realize how many I answered or how much time had passed. I had to be on a work call soon, which could go until midnight because of the time difference. 

@KellyGarden: Gotta get back to work. Thank you all for the questions! I’ll be doing another one of these soon, yeah?

I didn’t wait for any of the replies before I locked my phone and set my laptop up for Zoom. 

***

I huffed, observing the cherry patterned and floral dresses in my hands, and the pile of other choices I thought about taking to LA. I was so indecisive right now. How many outfits did I really need? Five days worth, but on top of some clothes for clubbing possibly, and pjs. But if I packed something I didn’t want to wear, I didn’t really want to wear the same thing. Why was I like this?

I huffed once again and flopped down onto the mass. I leave tomorrow and need to get this sorted out. After another half hour of stalling, I willed myself to get back up and actually pack. I decided on six solid outfits, on top of one clubbing fit and pjs. It seemed like the safest route.

N: Get in loser , we’re going to see Paps 

K: Hah hah like oh my god they don’t even go here 

I finally just packed. How’s LA? 

N: Kelly, you’re such a procrastinator 

LA is ready for you 

K: But I don’t know if I’m ready for LA 

N: Ooo so cliche , you’re both ready. 

See you tomorrow x

K: See you tomorrow xo

***

As much as I’d love to say I could handle getting myself to my flight on my own, I couldn’t. I hadn’t flown in a few years and that had been with a group of others. I was flying by myself now, and I have to do all the checking in and such as well. 

I took a deep breath as I approached the security check line. I set my purse and backpack in one bin and my duffel in another before setting them on the metal rods that would take it through a detecting machine. I waited for the woman to wave me through the detecting machine, and I went through fine. I mean, I didn’t have anything that would set it off. 

Once my stuff came through the other end of the metal rods line, I grabbed it and put the bins in the pile that was started. When I started walking away to find my gate, I realized I was stupid to be so nervous about going through the line. 

Finding my gate wasn’t hard. It helped that the Cedar Rapids Airport was small. There’s like eight gates. I settled myself in a seat to wait until boarding was called. I took my phone out and busied myself with Instagram and Tumblr; I just scrolled through my feed, liking and reblogging stuff. 

“Gate B is now boarding. If you are first class, you have a separate line. If you are G1 for the coach cabin, you can now board.”

That was me. 

I took another deep breath, grabbing my three bags, and I walked over to the woman. She took my ticket, ripping off the part she needed, and then handed it back to me. “Enjoy your flight.”

“Thanks,” I replied. 

I walked through the terminal and onto the fairly small plane. It was more of a jet. I found my seat and settled everything. I followed the directions given by the fly attendant as I waited for the plane to actually take off, and finally, we moved to be on the runway and ascended into the air. 

Next: Ch 4

[Masterlist]

[vangoddamn]

Every other emotion

Promt: could you write maybe something where van and the reader are competetive, alomost like they hate each other but they’re too stubborn to admit themselves that they have feelings for ech other? 

Warning: Swearing, kinda fluffy at the end, minor sexual abuse

A/N: Hope this is ok, quite like the ending, thanks for the suggestion! Love Em xx

“Van! Turn your fucking music down I’m tryin to do some work in here!” I yelled over the top of his shit ‘the streets’ album. I had one of my final papers to hand in soon and I was stessed to say the least. Bondy had said Van could crash at ours for a coupla weeks for some interviews they had and I was fuming. Van had always, as soon as Johnny joined his band, made it his life’s mission to ruin mine. I couldn’t stand him and more than a week with him meant alot of mental breakdowns and my temper to shoot through the roof.

“Chill, love” He said, whilst rolling his eyes and turned it down by a notch “Thought this was ya fave track?” The smirk on his face with his sarcasm made me want to slap it right off, but for Bondy’s sake I sighed deeply and went back to writing.

I was always quite content on my own, never really having a big group of friends. It was always me, Becks, Bondy and Lou. Then things changed, I went to uni with Becks, Lou travelled the world and Johnny joined Catfish. The start of the end of my world! 

I finally got into the zone again and submitted the last of all my assignments, meaning the end of Uni! Bondy had decided we should go out at the end of the week and I was buzzing for it. Until then I had to cope with being stuck in a flat with Van.

I shuffled into the kitchen feeling a little restless and bored to see all the lids over playing fifa. I made my way over to the end of the sofa where Bondy was sat with his controller and sat on the side. He was playing against Larry and majorly loosing.

“aaawww Bonds, look give it ere” I said whilst he gave up handing me the controller. I was a boss at Fifa, always playing against my younger brother when he came over.

“Nah, that’s not fair!” Larry winged, knowing my skills. But Van being the cocky bastard he was, stood up saying he’d challenge me anyday.

“Go on then” I egged him on wanting to see his face when he inevatably lost. He swanned over to the controller Larry held out to him.

The game started strong on my side and it was clear I was winning. By the look on Vans face he was suprised until he started to get back on it. I was three, two to me but he’d just scored making me a little tense by our sudden evens. I grit my teeth until the game ended and we drew. That was even worse than losing I thought to myself. The look on his face was not what I had anticipated and I was to say the least a little pissed off. I didn’t know why but I always got that little bit more riled up him. He did something to make me tick and blood boil.

“Sorry y/n, maybe next time” he beamed clearly pleased with himself knowing he’d got the better of me.

------------

It was Friday finally and me and Becks were getting ready in our finery. I’d decided to go with a simple black number with a pair of heels to match. Becks had always been prettier than me and her long blond flowing hair made people stare at her through the streets. She wore a short red dress with a corset type lace back, extravigant to match her personality.

It didn’t take long for me to get ready with minimal make up so we all headed off to town. The clubs were raging and I made my way to the bar asking for shots. Unfortunately Van got there before me and it wasn’t long before we were teasting each other with our alcahol tolerance. Shot by shot we had pretty much gone through every spirit you could imagine, although throughout not one of us backed down. Instead we just stared harder into each others eyes. I think it must’ve been the alcahol but I was finding things in Vans eyes I’d never seen before. The pool of blue, with hint of green and brown swirled into it transfixed me and for a moment I spaced out until he nudged me saying he won and I was weak. 

There he went again, making me hate him with his arrogance and know it all demeanor. I stumbled to the dance floor finding Benji and Becks dancing togethr. I liked them two and always thought they’d be good together. Bondy found me soon after asking if I wanted a smoke, I accepted his proposal and he led me outside arms linked around my body.

“I saw you with, Van earlier, you got the hots for him” he chuckled to himself trying to tease me knowing full well it would work.

“Ew!” I pulled away from him, screwing my face up in discust at the thought of that cocky boy. “Bonds what the hell?”

“Don’t think I didn’t see your little stare, I’ve seen that look from both of ya before and come on you’ve been flirting with him for years like”

“Bonds, let’s get this straight! I detest Van and will for the rest of my life, I’d rather die than talk to him for more than ten minutes!” I slurred mixing some of the words up on the way.

“y/n, You were drinking with him at the bar for over an hour and I bet ya my whole life savings your just doin what ya always do to lads.” He stated plainly, slightly startling me as if he were pointing out the obvious. He was right though, I’d always had tendencies to push people away but my drunk mide didn’t register that.

“Nah, Bonds your waaaay wrong” I sighed whilst letting out a huff of smoke. as I did Van came wondering out with some girl wrapped round him like some kind of pet. I physically wretched from the sight or maybe it was the alcahol but soon after I felt my blood begin to boil and rushed into the club again making it my mission to find someone.

It didn’t take too long as it was late and most guys were drunk an gagging for it. The guy I’d found looked like an idiot, someone I’d never go for and would probably leave once he got what he wnated. Perfect.

I grabbed him by the neck and pulled him into a messy kiss, dragging him outside. I never was the type to really do this but somehow I was feeling different. I saw Becks give me a funny look but I carried on. It wasn’t long until we were outside ,where Van and his ‘pet’ once were, and random kissing guy with too much tongue started to go for more. 

Suddenly I didn’t really want to do this and maybe this was all because of Van. I tried to resist him and tell him to sstop but he wasn’t, forcefully he jammed his knee between my thighs and ground me into the wall. I tride to scream out but nothing was to be heard. I kind of blanked out for a second until I felt the man being pulled away from me and I heard shouting.

I tried to tune in quickly realising that the random guy was being pushed to the ground and punched by none other than Van. The guy ran off as Van came too check if I was ok. I was so confused, if he hated me so much why do something like that for me?

“Shit y/n, are you ok? Did he hurt you?” Van fussed over me and checked for any sign of damage to my body. Again in my drunk state of mind I got lost inhis eyes, Drowning in the deep pools of blue. I clearly worried him not answering and he brushed his thumb down my cheek.

He decided he’d take me home slinging my arm round his shoulder as he held my weight. I suddenly felt a feeling of dissapointment in him and myself. Maybe Bondy ws right, maybe I did like him, maybe he liked me. Feelings were never my thing and as I sorted through everything about van in my head I subconsciously made a pro con list. I didn’t quite know why, since I met him I only felt pure hatrid towards him and the feeling was always mutual. It was almost a safety blanket to hae each other. But as soon as I saw him with another girl that blanket got stollen away from me, and I wanted it back.

“Van...” I started

“y/n....”

“where’d that girl go?”

“Oh .....Umm she left.” He hesitated slightly and I wondered why. The thinking made me stop and I became confused. “Come on idiot, you’ll freeze to death if you stand there all night” He mocked trying to get back to our old habits.

“Yeah ok...” I hung my arm round his shoulder again and he put his jacket round me. 

Once we got to the door of the apatement I couldn’t help but feel different. I knew I was drunk but something had changed and I couldn’t work out what. I stumbled to my room as Van dissapeared into Lous old one. I changed into some comfier clothes and tried to get dome sleep but it was useless. The thoughts in my mind killing me. I was usually so stubborn and I knew what I wanted but tonigt I didn’t and it scared me.

I got up not really knowing what I was doing and whent to my door to find someone was already there, thinking the same as me. And no sooner did I open that door was I met with a pair of lips colliding with mine. For a moment I forgot who I was and kissed back. It felt natural as his tongue rolled against mine. But suddenly reality hit and I pulled away confused, shocked and every other emotion.

He smiled back at me shyly and I realised, I was an idiot. I leant back into his lips feeling confused but safe at the same time. Nothing as I knew it would be the same and I’d probably owe Bondy alot of money.

[hazzasgayvodka]

can you do an imagine where famous!y/n and harry just went public and everyone is freaking out about them and how amazing they look together:) also happy birthday!

“You ready for this?” Harry asks, the smile on his face the biggest you’ve ever seen, “The single’s out at midnight.” 

You let him wrap his arms around you from behind, leaning his head on your shoulder. You’d be lying if you said you weren’t nervous, releasing a song featuring your big famous boyfriend that no one knows about. It started as a joke, just a regular day in the studio recording your second album when Harry, who was notoriously bored if he wasn’t helping out in some way, grabs the Stratocaster out of the corner and starts strumming a few chords. He looks over at Mitch who is still standing behind the glass and nods his head over to the drum kit, urging Mitch to hop on it. 

You couldn’t help but shake your head laughing as Mitch pushes his way through the door to the studio and all of the guys standing in front of the sound board on the other side of the glass throw their hands up in frustration. 

“Get me a four on the floor going man.” Harry grins, grabbing your acoustic guitar and handing it to you. 

“Harry, what are you-”

“A minor,” He says, cutting you off as you throw the guitar strap over your shoulder, “Stay on it for four counts, switch to D minor on the one.” 

You do as he says, positioning your fingers and strumming along, falling into the beat with Mitch while Harry readjusts the strap on his shoulder, nodding his head along to the beat before coming in strong with a very familiar riff. He’s playing Miss You by The Rolling Stones, one of your favorites. 

Mitch is shaking his head as Harry stumbles over the notes in the riff a couple of times before locking them in and getting the strumming pattern down. You look up and notice the guys behind the soundboard don’t look too enraged anymore, instead they’re smiling and the recording sign is glowing red. 

“You ready baby?” Harry smirks, nodding to the mic in front of you, “You’re in first.” 

“I’m what?” You laugh just as he nods to you and Mitch and counts you in. 

“Come on y/n, ready, and one, two, three, four!” 

The little jam session Harry had started to get your mind off the album for a couple minutes turned into a full duet cover of the song. As soon as you opened your mouth to start singing and he came in with the lower harmony, the guys in the booth were shouting for you guys to keep going. 

You had fun with it and so did he. He was dancing around the studio, bopping his head around and sharing your mic with you to sing the little adlib riffs of ‘ooh, ooh, hoo, ooh, ooh, hoo, ooh’ every time they came back around. Mitch eventually hopped on the guitar to show Harry how it’s done, playing the notes of the riff fluidly and effortlessly before adding a sick guitar solo to the end. The entire track was finished by the end of the day and your manager was almost begging you and Harry to put it out as early publicity for your album. 

This was the first time you’d ever done something together for the public. You hadn’t planned on announcing your relationship for quite some time but with the way the media is, Harry knew what the tabloids were going to say whether you two confirmed it or not. Harry wanted people to hear it from him, not some dicey article online, but you were still wary. What were his fans going to think? The first time they ever hear about you being with Harry and you’re already releasing a song featuring him. How is that going to look? They’re gonna think you’re in it for the money or the fame just like what they say about the rest of them, you’ve read enough tweets to know how they feel about the women who get linked to Harry Styles. 

“I don’t know, Harry.” You say nervously, your stomach twisting in the worst way. 

“What do you mean you don’t know?” He asks, suddenly serious as he spins you around in his arms and meets your eyes with his own, “What’s wrong?” 

“I’m just thinking about what everyone’s going to…” You sigh, letting your sentence trail off, “Never mind, don’t worry about it.”

You pull away from him to walk back to the bathroom and worry about this in solace, not wanting to drag him down with you since he seems so excited about your big debut as a couple. 

“Hey, hey, hey,” He calls, grabbing your hand and pulling you back to him, “What’s going on, love? I thought you were excited about this.” 

You want to lie and tell him that everything’s fine, but you know he’ll see right through you when he’s staring at you like that, his eyes drilling into yours. You hang your head on your shoulders, staring down at your shoes but he grabs your chin and tilts your head back up to face him. 

“Baby, I can’t fix it if you don’t tell me what’s wrong.” He murmurs, moving his hand from your chin to cup your cheek instead. 

“I just don’t know if I can do this,” You shrug weakly, “I don’t know if I can be the Harry Styles’ girlfriend.” 

“While I’m appreciative of the ego boost,” He teases, tucking your hair behind your ear, “I’m just as nervous about being the y/n y/l/n‘s boyfriend.”

You shove him off, rolling your eyes, “Don’t even, Harry.” 

“I am!” He laughs, “What if your fans hate me? I’m some old news boy band guy and you’re like the hot new shit topping the charts, you’re like a rock goddess y/n.” 

You can’t stop the heat creeping up your neck and flushing your cheeks pink. You know your face is as red as a tomato as you shake your head, trying to hide your beaming smile from him. 

“I am not,” You sigh, “You’re Harry Styles, if anyone should be worried about fans, it should be me, they’re going to tear me to shreds Harry-”

“You think?” He smirks, taking out his phone, “Let’s find out then, huh?” 

“What do you mean? What are you-”

You’re cut off as he holds up his phone and kisses your cheek just as the flash goes off. You gasp in surprise, squeezing your eyes shut and laughing as he attacks your cheek with kisses. You look over at his phone to see the picture, his puckered mouth pressed against your cheek and you laughing hysterically. It’s absolutely adorable and you can feel another blush creeping onto your cheeks when you notice his giant smile as he opens Twitter. 

“Harry.” You warn.

“Midnight. Miss You cover with my girlfriend, the one and only y/n y/l/n. All the love as always, H.” He reads along as he types, attaching the picture and hitting Tweet. 

“Harry, no! What did you-”

“Look,” He says, shoving his phone in your hands, “They’re so cute, can’t wait, she’s so pretty.” He reads, scrolling through the hundreds of replies already flooding his account. 

Can’t believe my two faves are dating AHHHH

MISS YOU? AND Y/N?? HE WANTS US DEAD

oh my god guys he looks so happy I love her already

can y/n drop her skincare routine ??

You can’t help but laugh as you continue reading through a couple of the replies. You can feel Harry’s eyes on you, staring at you while you scroll. You finally look up to match his gaze and he smiles, taking you in his arms. 

“See?” He asks, taking his phone back and slipping it in his pocket, “I told you they were gonna love you.” 

Suddenly your phone is buzzing out of control in your pocket and you realize that your followers must have gotten wind of your new relationship status. You take out your phone and toss it onto his desk, letting it buzz away while you grab his face in your hands and pull him to you, sealing your lips to his. 

By the time midnight rolls around, the nerves have started to creep back in but for an entirely different reason. You could tell Harry was a little nervous too, he would never admit to it but you could see him picking at his bottom lip as he scrolls on his computer. 

“Five minutes.” He calls over his shoulder, his knee bouncing underneath his desk. 

You get up from the couch and pad over to him, placing your hands on his shoulders and gently massaging the skin between his shoulder blades. He sighs in relief as you do so, leaning his head back and closing his eyes. 

“They’re gonna love it Harry.” You assure him, leaning down to peck his cheek. 

“Yeah, you’re right,” He sighs, sitting back upright, “What about your fans? What do they think of me?”

“They love you Harry,” You smile, loosely draping your arms around his shoulders and leaning against his back, “Everyone’s had good things to say.” 

“What kinds of things?” He smirks, clearly fishing for compliments. 

You look over at the computer as the page refreshes and suddenly your single is live, “Harry, look!” You grin, pointing at his laptop. 

He turns around quickly and smiles, pressing play and instantly nodding his head along to the track. Your phone starts buzzing in your pocket and you take it out to see half a dozen twitter and Instagram notifications coming in. 

You start to scroll through what everyone has to say just as Harry reaches out and snatches the phone straight out of your hand. He points your phone at the small mirror on the desk you use for doing your makeup and you lean forward, reaching around him to try and grab it. He holds it further away and just before he can snap another picture of the two of you, you cover his eyes with your hands. He puts up a peace sign and takes the picture anyway. You stand up straight, looking over his shoulder to see the selfie of the two of you in the reflection of the mirror and smile. He opens your Instagram and chooses the photo, typing a quick caption and pressing share. He turns around and hands your phone back to you with a big cheeky grin on his face. 

“What are you up to now, Styles?” You laugh, looking at your most recent post. 

@y/n: hackstagram 

You look up at him and he’s still grinning, clearly proud of his work. You shake your head and turn back to your phone in your hand but he sighs, taking it back and tossing it onto the desk. 

“Can we worry about what people think tomorrow?” He asks, taking your hands in his, “I want to go out and celebrate,” He smiles, “In public, with my girlfriend.”

I promise I tried lmao also thank you for the happy birthday :)

[aquietchild]

My new opinions on SuperM that literally no one cares about nor asked for

But I need a place to vent. So if you don’t care, keep scrolling and have a nice day. :)

So. When SuperM got announced. I was…very sceptical, and pretty upset. So being my petty, angry self, I typed up a whole post about my thoughts. To summarize, I basically thought that it was a stupid idea, it wasn’t even going to last long, and that I simply didn’t like the concept.

Now…I’m still extremely sceptical. I mean it’s SM. It’s a big company with money. I don’t trust rich people and rich companies. Am I paranoid? Probably. But that’s besides the point.

To get to the point, I saw the part of the article about SuperM on Instagram that said they heard about how people said they should disband.

And now I feel like a crappy person. And it has also made me really think about my feelings towards this group.

I can’t lie. The concept is cool. Having a bunch of your faves band together into a mega group? Yeah that’s pretty cool, not gonna lie. But. (yes, there’s a but) It raises me questions. Such as:

1. Why is it only the boy idols?

Imagine if Irene or Taeyeon, or Seulgi was also in the group. That would EXTRA iconic. SM also has talented female idols, and it’s definitely not like they’ve never debuted large groups before. (looking at you, Nct) Personally, it would’ve been so, so, so cool to have female idols as well. Then again, that’s probably to much for SM.

2. HOW CAN THEY CALL THEMSELVES THE AVENGERS OF KPOP AND NOT EVEN HAVE A SUPERHERO CONCEPT???

Excuse my screaming that your brain just read. But, to me, this?? Makes?? No?? Sense?? Like superheroes are so cool. I don’t care how overdone they are. They’re cool and I love them. >:( As for the concept they’re actually going for?? Super dope, but I’m fricking confused.

Anyways, I do have positive things about SuperM. Maybe I should’ve said these things before, but it’s whatever.

1. Member interactions

This ones simply put. Taeyong and Ten have been reunited, Mark and Lucas (99 line) are together and that makes me happy. Ten is going to be debuting with his idol, Taemin, and I feel so proud?? Idk how to describe this. And all of them are adorable. I can’t hate them. That’s the main reason I felt bad when I realized they saw the comments about disbandment. They just wanna work hard and do what they love. That shouldn’t be cocked blocked by my petty hate at SM.

The boys do seem to be genuinely enjoying themselves working together on this project, so now, I just want them to be happy.

About the whole “SuperM won’t affect their original activities” of course it will you uncultured swine. When you have a schedule and something gets ADDED to it, things CHANGE so it can FIT. I know Lucas said that it wouldn’t affect WayV schedules, and I trust that boy, but I saw another blog say that Baekhyuns solo schedule got postponed because of SuperM. So the point of this paragraph is that why did SM even try like who did they fool?

Y’all are probably sick of me so let me wrap up with my two final points.

First, I’m sick of being petty and angry just because SM annoys me to no end. I’m supporting SuperM because I love the members and what they do, and I’m sure they’re enjoying this project. I just want them to know that I’m sorry, I won’t do angsty teen rants about how SuperM is dumb (or any other group because, honestly no one cares, and I really should think before I post) and that they do have fans that will support them.

Second and finally:

If Mark’s rap from his solo teaser is not anywhere to be found on the album.

I

Will

Start

A

Riot

You do NOT just drop that in a teaser and NOT have something bigger in store for us. YOU DON’T.

Anyways, support SuperM, support the boys, the just wanna show what they got. And I should really find another place to vent my feelings privately so I don’t hurt people’s feelings.

If you made it to here, then thanks I guess. Hope I didn’t annoy you too much.

Okay now I’m really done, Bye.

[justforbooks]

"Led Zeppelin The Forum June 3, 1973

This is based on the fantastic AUD recording, expertly transferred from the JEMS Master - DAT (16/32) source. This is a wonderful audience source, documenting an incredible show.

Some feel this is Led Zeppelin's best performance of the 1973 North American tour.

Hey guys, if you're interested in imagining what it was like to be at this show, I highly encourage you to check out this post by Strider on the Led Zeppelin forum. It is easily the best account of a Zeppelin show I have ever read.

Let's get on the time machine...

Sunday June 3, 1973

I'm flying home from San Francisco to Orange County...a little wobbly after my Kezar Stadium trip, but feeling better the more fluids I drink and the closer I realize I am getting to the appointed hour of my third Led Zeppelin concert in four days.

This Led Zeppelin concert is a little different, however. Not only is this the last show of the first leg of the 1973 US tour, but the last LA show...and who knew when the next tour would be, so this would have to get me through whatever dry spell awaited. Most important of all...I was taking my girlfriend to the show; not only her first Led Zeppelin concert, but her first concert period. That I wanted her to enjoy it was an understatement.

My girlfriend's name was Trudy. She was slightly older than me...11 going on 12...while I wouldn't turn 11 until the next month in July. We met when we were on the same community rec swim team the summer of 72. She also liked baseball and played on the girl's softball team until it became too painful for her(this was before the days of high-tech sports bras). A tomboy, she was like Tatum O'Neal with boobs. Our first date was to an Angel game to see Nolan Ryan pitch.

*Quick digression: baseball games make wonderful first dates. It's not as crowded or noisy as football, basketball, hockey or auto races. And the leisurely pace allows for plenty of conversation time to get to know each other. And if you're lucky to get picked for the "Kiss-Cam", that gives you an excuse for a quick kiss.

Back to Trudy...she was great, except when I met her, her musical tastes ran to America, Bread and Seals & Crofts...the hardest band she liked was Three Dog Night. So it was a long process to get her to like Led Zeppelin, David Bowie, the Stones, Alice Cooper and my other faves. Some she never took to(Frank Zappa, Velvet Underground), but after a few months she finally got hooked into Zeppelin. Of course, it was mainly the softer stuff she liked...Stairway to Heaven, What Is and What Could Never Be, That's the Way. Thank You was her favourite LZ song. And when Houses of the Holy came out, she immediately fell in love with Rain Song. But little by little she came to appreciate the hard rocking songs as well.

All this was on my mind as I rested on the plane-ride home. You see, before I saw Led Zeppelin for the first time in 1972, I had NO IDEA what to expect from a Led Zeppelin concert. I had all four studio albums released at that time, but had yet to acquire any bootlegs. So yes, the effect was fairly shattering when finally seeing my first Zeppelin concert, June 25, 1972. By the time of the 1973 shows though, I had bought two Led Zeppelin bootleg double-albums: Live on Blueberry Hill, the September 4, 1970 Forum show; and Going to California, the Sept. 14 1971 Berkeley show, mislabeled as being at the Forum.

Those two boots, plus the memories of the 1972 shows, instilled in me the idea that the acoustic set was a regular part of a Led Zeppelin concert, and I raved to Trudy about the acoustic set...how they did Going to California and That's the Way, two of her faves. But now I had seen 2 of the 73 concerts, and neither one featured an acoustic set, not even one acoustic song...there didn't appear to be an acoustic guitar in the building. They had played Rain Song, so I knew Trudy would love that, but after building it up in her head, I was worried she would be disappointed if she didn't get an acoustic set. Perhaps, they were saving it for this last concert of the first leg...a special treat for LA. That was one fortunate outcome of Jimmy Page's finger injury: not only was Trudy now able to see the concert, but by moving the concert to June 3, my last Zeppelin memory of 1973 would be crystal clear, unlike the hazy one I had of the Kezar Stadium debauchery.

Shortly after 5pm, the plane descended into Orange County airspace, glistening swimming pools dotting the landscape, the brown smog bank of the Inland Empire off in the distance. There they were, my BB and Trudy, my sun-dappled girl, waiting for me as arranged. To save time, I gave him Trudy's address so he could pick her up before meeting me at the airport. Then we could just drive straight up the 405 to the LA Forum. So, after a brief wait for my luggage, there the three of us were in my BB's blue 1969 Chevy Malibu, him driving, and Trudy and I in the backseat. Making the long slog north on the 405, joining thousands of others making the drive from San Diego back to Los Angeles, I filled Trudy and the BB in on my San Francisco trip, not exactly revealing EVERYTHING. Trudy wasn't a party-stoner girl, and I didn't want her to get the wrong idea about me. The BB and I answered questions she had about the concert; she was excited when I told her that it was pretty certain that they would play Rain Song. But I also said that they hadn't played Thank You, and she looked bummed about that...but hey, I said, you never know what they'll play for sure. Maybe tonight they'll play it.

A quick pit stop for gas and a bite to eat at Tijuana Taco(don't ask...just slightly better than Taco Bell...they shut down later in the 70's when employees were caught selling drugs thru the drive-thru window), and we were back on the 405, past the Westminster Mall, past Seal Beach then Long Beach, until nearing LAX airport, and the giant Randy's Donut Donut marking the Manchester Blvd. exit. It must have been around 7pm, as we drove east on Manchester, past La Brea and Market, past the A-Frame International House of Pancakes on the left at Hillcrest, past the usual shady characters holding up "Need tickets" signs. This time we turned right on Prairie, then left into the Forum parking lot, the Forum Club awning up ahead. It was still plenty light outside, a pleasant June evening, and as usual for a rock concert, the parking lot was a bazaar of the bizarre. A panoply of colourful types everywhere you looked.

Thanks to my uncle's wife washing my clothes while sleeping off my trip in San Francisco, I was wearing my burgundy velvet hip-hugger bell-bottoms and yellow 1973 Zeppelin tour shirt. But I saw a bootleg parking lot shirt I liked and bought one for me and Trudy...total cost $4.

There was a long line to get in the Forum, so we headed to one of the special entrances for people with floor seats. Yeah, I had almost forgotten...after 4 previous Led Zeppelin concerts spent in loge or bleacher seating, I was finally going to be near the stage, 13 rows from the front, on the floor, looking at the stage head on. No side or obstructed views this time. I was already stoked...this sudden realization of where we would be sitting further stoked my fire. So eager with anticipation we fairly glided through the narrow tunnel into the Forum floor, past the massive soundboard/mixing desk towards the rear and past the rear sections of the floor, approaching the stage closer and closer until we came to our destination: Section B, Row 13. It did feel weird looking at our tickets and seeing the date May 30. The time once again said 8:00 pm...but we told Trudy that was more a "suggested" time than a firm commitment.

That allowed for plenty of time for concert prep...last-minute bathroom visits, stock up on snacks and coke and back to our seats with plenty of time to watch the roadies fine-tune the stage as the Doobie Brothers and Yes played over the sound system. Although the music wasn't nearly as loud as the concert would be, I gave Trudy the earplugs the BB had brought for her, as we didn't want her first concert to be too painful...I mean, Led Zeppelin were LOUD...VERY LOUD!

Being so close to the stage, you notice details you can't see from far away...the details of the amp setups...Jimmy's simple effects setup...Jones' keyboards and the white mellotron...Bonzo's orange Ludwig vistalites. In fact, I noticed that if you took away the gong and tympani, his drum kit was actually quite small compared to the gargantuan kits of Carl Palmer, Keith Moon and Ginger Baker. Just a bass drum, snare, one rack tom and two floor toms, that's it. Yet, in Bonham's talented hands, that kit sounded more MASSIVE than Carl, Keith and Ginger's kits combined.

Ooooh, there was the big mirror ball high above Bonzo's kit...I pointed it out to Trudy. She also noticed with some trepidation and awe the huge PA speaker stacks...courtesy of Showco. As roadies climbed roped rigging ladders to fix the various spotlights and whatnot, I sensed a different vibe in the Forum tonight from the Bonzo Birthday Party show. Yes, the audience for that show was excited...it was the first night and it was Bonzo's birthday, so we were hyped. But as shouts of "Led Zeppelin!" and "Rock and Roll!" and "Whole Lotta Love!" echoed around the arena, as frisbees and beach balls whizzed and bounced around, the anticipation and buzz of the audience seemed torqued to a higher degree. With the benefit of hindsight, I think I know why. First, the June 3 show was originally supposed to be the first show...and anyone who has been to multinight stands knows that the first night crowd often has the hard core fans. We were the "real" first night crowd, not the May 31 crowd. Second, that May 31 show was so amazing that obviously word-of-mouth spread. Folks heard how awesome the May 31 concert was, so everyone was at fever pitch for tonight's gig...both the people who were there May 31 and were expecting more of the same, and those who just heard about it and couldn't wait to experience it themselves. If you've ever been to a concert by your favourite band, you know the feelings you go through right before the band comes on: the butterflies in your stomach, the calculations in your mind at what the first song will be and what the setlist will entail. How you literally cannot breathe from excitement.

Well, take all that and multiply by 10 and you'll get an idea how feverish the crowd was for this Led

Zeppelin concert was...if someone had thrown raw meat into the crowd, it would have been devoured. Hell, I feared if one of the roadies had fallen into the crowd, he'd be torn limb from limb. The beast was getting hungry...we wanted Zeppelin. At any bit of lull from the sound system, any break from the music, a great hue and cry went up from the throng in anticipation of the band coming on stage. At long last however, after several false moments, sometime around 9ish, the Forum went dark as the house lights went down.

CUE PANDEMONIUM!!! I am serious. Sure, every Zeppelin concert I attended the crowd would greet the band loudly, as loud as any concerts I have seen. But the concert of June 3, 1973 was something else entirely...it was like RAPTURE! People stomping their feet, ecstatically screaming, firecrackers exploding...the only other time I experienced this frenzied a response was the June 21, 1977 show.

In the dark, periodically illuminated by flashes and lit lighters, we could make out the shapes of the band members making their way on stage. As the stomping and hollering from the crowd continued, Bonham gave a quick test of the drums and soon after, the Little Richard-tribute drum intro to Rock and Roll commenced the beginning of the show as the stage exploded to brightness as the stage lights came on the same time as the band kicked into the main riff of Rock and Roll.

Oh shit Dorothy, we're not in Kansas anymore. Being on the floor is a completely different deal. The loudness is even more LOUD...IN YOUR FACE...AND IN YOUR GUT!!! Especially Bonzo's kick drum and Jonesey's bass. I looked over at Trudy and thanked my lucky stars we had thought of bringing earplugs for Trudy...she had been gripping my hand since the Forum lights went down, but as I looked at her she smiled and signaled she was okay. Her eyes widened as she took in the scene in front of us, and I returned my gaze to the stage. From behind the kit, Bonzo looked like he was wearing the same pastel tanktop, or wifebeater, as before. John Paul Jones was wearing some multicoloured button-down shiny shirt with these fantastic flash silver bell bottoms. Simply extraordinary...he should've worn them for the MSG shows! Unfortunately, being close to the stage allowed me to see Jones' mustache more clearly...he just didn't look right with that mustache. Jimmy Page was wearing the same natty white double-breasted suit as he did at Kezar. With the black and white shoes. His hair looked healthy and fluffy, the coloured lights giving it different hued highlights throughout the night.

Then, there was Robert Plant. Golden God. Golden, flaxen hair flowing down past his shoulders, the lights amplifying the golden hue of his curly locks. Long, lean and tanned body encased in skintight flared blue jeans and a pinkish-red shirt, more masculine than his usual 1973 blousey-type tops, but with just enough femininity to give Plant that otherworldly, ethereal sexual charisma he, and only he among the 70's frontmen, had. No, not even David Bowie or Freddie Mercury had it...David was too drugged out and sickly thin and Freddie too campy with his "Al Pacino in Cruising" look. To top it off, Robert had a red flower(a rose?) stuffed down his pants, so that the flower was just over his belt buckle.

And because we were now looking straight ahead and up at the stage, and not down from afar as before at other shows, the band, particularly Jimmy and Robert since they were closest to the front, appeared 10 feet tall. Like they truly were gods descended from Mount Olympus to bestow upon us mere mortals their immortal musical alchemy. As Rock and Roll progressed, with Jimmy doing his signature Rock and Roll stagger step, Trudy and I were hopping up and down on our seats, standing on our seats the only way we could see over the grownups in front of us. After the guitar solo, when Jimmy did his little leap, Trudy and I jumped as well, as various girls around us squealed. That's another thing I noticed being down front...lots of teenage flesh in hotpants and platforms. But let's get back to the music...

Rock and Roll was at it's end, Bonham flailing away like Animal of the Muppets during the final drum flurry, which leads to the rousing fanfare into Jimmy's solo intro to Celebration Day, notes flashing fast and furious from his vintage Les Paul. THIS was one of the moments I was already anticipating, for the previous 2 Zeppelin concerts had proven how great, and underrated, a song Celebration Day was in concert.

Tonight was no different...as Jimmy's opening guitar shot rapid fire notes, and Robert intones the opening lines, the song builds to that slight hesitation as Robert sings "and she wonders pretty soon everybody's gonna KNOWWWW" and then Bonzo, Jones and Jimmy SLAM into the song in total force, and the impact is UN-FUCKING-REAL!!!

Try to picture this in your mind...Bonzo and Jones are laying down this MASSIVE volcanically-erupting groove, Jonesy's bass inhabiting your bones, while Bonzo's drums wallop your guts, all the while he's staring intently at Jimmy, his mouth popping open from time to time like he's chewing gum and his head jerking with each accent of the beat. Meanwhile, Jimmy is slinking around the stage, guitar slung low, while carving out that ridiculously sexy funky Celebration Day riff. It's not that there's anything wrong with Rock and Roll, although even then it sounded slower in concert than on record, with Robert's vocals not as manic as the studio version, but Celebration Day, for me, is when the enormity of the concert hit me. The song seemed faster and more high energy than Rock and Roll.

And it was somewhere during Celebration Day that I lost it. How can I explain it to you? There isn't a bootleg in the world that can replicate the sound, the experience. Jimmy's guitar is sounding like 100 chainsaws carving that riff into your head...the bass and drums are exploding into your spine causing you to spontaneously jerk and dance about. The overwhelming loudness of the sound envelops you, harmonic overtones, that no bootleg can pick up, merging to create new tones and notes, raising the hair on your arms and sending tingles up and down your spine. On top of the the force of the groove and the sound, is the visual impact of Robert and Jimmy swaggering, thrusting, dancing across the stage...their movements somtimes in tandem, sometimes on their own, yet still strangely in sympatico with each other; the yin and yang. As Robert's voice, by now warmed up from the rough Rock and Roll opening, wails over the musical onslaught, and Jimmy's guitar cuts like a knife sharper than Bryan Adams will ever know, Jimmy struts to the front of the stage and I half expect him to just keep walking off the stage into the air above us. That is when I just erupt in tears of joy. I couldn't help it...I'm with my girlfriend and the band is sounding so good and they are fucking rocking the stage like they OWN IT! None of this tentative squirreling about like some bands. And Celebration Day is KICKING SO MUCH ASS! I tell you, I was in a state of happiness, of TOTAL BLISS, that the waterworks just flowed and flowed. I hugged Trudy and gave my BB a high-five as CD came to an end much too soon...they could have kept that groove going for another 10 minutes as far as I was concerned. And they should have made Celebration Day a permanent part of the setlist from 1971 on, I'm my opinion.

No time for dillydallying, Jimmy immediately slides into the Bring It On Home riff after CD...and Robert promises all the ladies in the house he's going to make them sweat and groove, as the band lurches into the serpentine riff of Black Dog, the third all-out hard rocker in a row to open the show. I always preferred the Bring It On Home riff as an opener to Black Dog to the Out on the Tiles riff, and here's why. With the Bring it riff, the segue to Black Dog seemed smoother. Also, I didn't particularly want to hear the actual song Bring It On Home, by then having grown bored with the early blues covers like Bring It and You Shook Me, so I liked when they shifted into Black Dog. But Out on the Tiles is one of my favourite songs, especially after hearing it on the Live on Blueberry Hill bootleg. So everytime they would play that opening riff to Out on the Tiles, I would get excited they were going to play the whole song. So I actually would feel a twinge of disappointment when they would go into Black Dog instead. C'mon guys, just ONCE gimme Out on the Tiles!

Black Dog swaggers to a close, Jimmy bringing the song to an end with a blazing run, and just like that, the opening three song assault is over, and us fans have a chance to cheer and welcome the band back to LA, as Robert says good evening and goes into one of his plantations, none of which I recall. It's funny, but even more so than in the stands, people down front yell all sorts of stuff at the band, thinking they're so close the band will hear them and respond. Greetings, requests...some musical, some sexual...non sequiters, all manner of nonsense is shouted at the band as a whole and at individual members; Jimmy and Robert topping the list, natch.

Another thing you notice up front is all the stuff that gets thrown on stage that the roadies periodically have to clear off. Joints, wadded balls of paper(notes, I presume), cards, flowers, candy, popcorn, items of clothing(some intimate)...it's quite a sight and probably quite a haul by the end of the night. Fortunately, Trudy refrained from throwing any clothing.

Jimmy took this time to remove his jacket, revealing an orange-red striped button-down shirt with black cuffs that I don't think I've seen him wear before...or since. In fact, both Jimmy and Robert are wearing shirts that I've hardly seen pop up in photographs other than in photos of tonight's gig.

With jacket removed, and Robert's introduction over, the folky beginning of Over the Hills and Far Away begins, as Jimmy's sweet cherry red Les Paul tone lulls you into a state of mellowness, as Robert sings to his lady...then WHAM! The volume increases ten-fold, and again, one of those ingenious simple-sounding yet complex riffs grabs hold of you, while Bonzo lays down a beat that at first seems at odds with the riff, but gradually reveals itself to be a marvel of deep-in-the-pocket groove. In fact, OTHAFA is one of those songs that was fun to watch the band play in concert. Jimmy hunched over, jerking his body to the riff, while Bonzo and Jones watched each other, working over the changes as Jimmy solo'd stratospherically over the top. Robert by now would throw in his Acapulco Gold aside to knowing looks and laughs among the stoners in the audience.

After the song drew to its languorous close, Jimmy bathed in deep blue light, I checked with Trudy to make sure she was okay...that it wasn't too loud or if she needed to rest. Before the concert, we said that we would stay to the end, but if she needed to go to the rest room, I would escort her, and if she got tired, she could sit and if possible, nap in her seat. So far, she was A-OK, thumbs-up, all systems go! Which was fine by me, as we were coming to another highlight of the show for me: the Misty Mountain Hop/Since I've Been Loving You tandem, signaled by Jones removing his bass and walking over to our left and sitting down at his keyboards, face-forward to the crowd, while Jimmy switched from the red Les Paul w/ black pickups to his customary Les Paul Sunburst.

Hippie funk-groove, followed by the sweeping, cinematic English blues drama of SIBLY. As the band charged into Misty Mountain Hop, the vibe of the show kept elevating...so many people dancing and smiling and having a goodtime. Apparently enpugh people in the crowd had experienced getting hassled by the cops over rolling papers to the point that the entire Forum wanted to escape to the Misty Mountains. Once again, the sound is massive, as Jimmy Page's guitar is in your face. Robert is doing all his hippie dances and wiggles across the stage while Jones' funky Fender Rhodes gives the song its colour. But it is Bonham who really drives the song, his every beat of the drum a mighty wallop, with the most awesome snare sound I've yet to hear...crisp, deep and resonant. Fill after fill with perfect timing electrifies the song until the final riff explodes, as Jimmy hits a switch and the guitar increases 10-fold in intensity and Bonzo does what seems like one continuous, roiling fill until the band reaches the point where it suddenly STOPS!

Leaving Jimmy to bend and sway as his fingers traverse the neck of his guitar, notes flying left and right until he slows into those familar notes that shift the band into Since I've Been Loving You. As the crowd howls in delight, especially the blues fans and guitar players amongst us, many of the crowd also begins to sit down, and Trudy is one of them, so I sit down with her. We still have some of our coke left and as we quench our thirst, I ask how she is liking the show so far. "Too much...it's far out", she replies. I put my arm around her as we settle in our chairs and watch the drama unfolding on stage. SIBLY is one of those moments where Jimmy trancends mere musicianship. He's not merely playing guitar, but making the guitar speak, as if the guitar itself had a soul. Or put another way, it's as if Jimmy and his Les Paul were fused into one, as if the guitar was just another extension of his body.

One thing I noticed with Jimmy Page, especially during SIBLY, is that he adjusted his tone and volume knobs on his guitar more than anybody I'd ever seen. Some guitarists I saw wouldn't touch their knobs once during an entire concert. Whereas Jimmy was constantly fiddling with the knobs, fipping the toggle switch...anything to create the variety of tones and sounds that emanated from his guitar. Considering the simplicity of his effects(compare his stage setup in 1973 to today's array of stompboxes taped down in front of every guitarists stage monitor), it's amazing the wide variety of sounds he got out of his guitar.

Again, just to listen is not enough, nor are pictures sufficient to suggest the total charasmatic effect that Jimmy playing the guitar on stage renders on you. And I fear my words fail to accurately portray the devastating impact of Pagey with a guitar. It goes beyond the way Jimmy moves and dances on stage, which is already beyond compare. Not Keith Richards, not Chuck Berry, not Richie Blackmore, not Mick Ralphs. Certainly not Clapton or Iommi, both of whom stand still as statues, making a guitar grimace once in a while. Pete Townshend is the only contemporary who comes close, and his vibe is more "athletic" with his jumps and windmills. Jimmy's vibe is more sinuous and sexy. His ability to dance and swagger and weave across the stage, while his slender frame is weighed down by some of the heaviest guitars in the business, the solid-body Les Paul and the Gibson doubleneck, is incredible enough. The fact that he often skitters across on one foot is miraculous and warrants comparison to James Brown. You think I'm kidding? Well, I'm not...if only someone would have filmed Jimmy at a 1973 concert, just focusing on his feet, you would be talking about his footwork with awe. To see it up close was breathtaking. But what truly made Jimmy a guitar god and sexually charasmatic to everyone in the arena no matter their sex or sexual orientation was the way he danced with his guitar while his feet were dancing upon the stage. Start with the fact that nobody wore his guitar slung as low as Jimmy. NOBODY. Most guitarists had their guitars strapped pretty high, which is the best position for clean, fast playing: Steve Howe, Richie Blackmore, Frank Zappa, the Grateful Dead guys...all guys who strapped it high. Keith Richards and Pete Townshend had theirs a little lower than that, but still nowhere near as low as Jimmy. And I'm sure Jimmy sacrificed some speed and accuracy having his guitar so low...that can't have been good for his wrist and shoulder. But I'll be damned if in 1973 I could tell for he sure sounded fast and accurate enough to me. And that was while he was doing electric gyrations across the stage. When he deigned to stand still like during Rain Song, he sounded as clean as his studio performances. But Jimmy wasn't built to stand still...he used his body to transmit to the audience every electric charge he was feeling through the music. Every whiplash chord, every sinewy solo, transmuted his body. At any given moment, he would swing his guitar away from his body, or hold it aloft with his right arm extended upwards to form a "V". He would be hunched over dramatically studiously focused on the fretboard, or gracefully arched back, back nearly parallel to the ground, while pulling of a solo. Or there were those tender moments, often during SIBLY, when he would pull the guitar up gently in a nearly vertical position, as if he were cradling a baby or a woman, and coax the most beautiful tones out of his instrument. It was a pas de deux between man and guitar and it was mesmerizing, both aurally and visually, beyond compare.

It was Godhead...sheer and utter GODHEAD! But while I was transfixed by the moans and groans emitting from Jimmy's guitar, my girlfriend Trudy was enraptured by something equally as powerful and potent: Robert Plant. Six feet of tanned, blond, British sex-on-two-legs. For while Page's guitar was emoting its way through SIBLY, so was Plant doing his moaning and groaning, while doing his mic stand parry-and-thrusting...sometimes hanging on and gripping the mic so tightly, you thought he would crush it. As Plant and Page engaged in their signature banter, with each seeking to echo and underscore what the other was doing, until both vocal and guitar lines were intertwined, the slow-burn drama of the song began to build towards that crucial hypnotic part right after the guitar solo. When I turned to look at Trudy, she had a look on her face that suggested she was transfixed. Not exactly a 1000 yard stare, she was keenly focused on Mr. Plant, a broad smile creasing her face until later in the song, she was just frozen in open-mouth wonderment. You know that scene in The Song Remains the Same movie, where that beautiful hooded girl breaks into a smile during SIBLY, overcome by the power of the song? That's what it was like watching Trudy during SIBLY. I can't say if it was the best SIBLY I ever saw...I tend to be partial to the SIBLY's where JPJ uses the Hammond B3 organ. But it was plenty emotional and definitely up there with the best.

Now came the Houses of the Holy trilogy of mood: the gloomy winter of No Quarter; summery surge of The Song Remains the Same; and pastoral spring of the Rain Song.

As Jones remained at the keyboards, the fog rolled in off the stage as Jones sounded the opening notes. It was incredible from this vantage point. It seemed at times as if the whole band would be swallowed up by the bank of fog, the stage lights giving it a haunting glow. I don't see how Jimmy could find his wahwah pedal in all that smoke. Speaking of Jimmy, this is one of those songs from Houses of the Holy that, while sounding perfectly okay on record, took on an extra depth, energy and power in concert. Jimmy's riff especially gained depth in concert. On the record, it's suitably fuzzy and kind of jazzy...but it lacks heft. The riff sounds thi and barely there. But not in concert. Once Jimmy stomps on his Crybaby, the riff CRUSHES your skull and you find yourself alone in the snowy, wintery night, chased by the dogs of doom. The sound of the song is MASSIVE...yet you look on stage, and there's ONLY THREE GUYS making this simultaneously huge, yet subtle and colourfully varied sound. No backing tapes or backup musicians a la the Who or Queen. No other 4-piece (which basically was a trio instrumentally, with a vocalist), could equal Zeppelin's sound in 1973. Black Sabbath? HA! Nice try, but ultimately a one-trick pony, and not helped at all by a shoddy muddy sound system.

To watch Led Zeppelin in concert was to be reminded once again of the mathematical trueism: the sum is greater than the parts. While each member of Led Zeppelin was spectacularly proficient on his individual instrument, it was the spontaneous combustion when they got together, the sum total of their talents, the off-the-charts group chemistry they had that made Led Zeppelin special.

Let's face it...Led Zeppelin was playing the same notes, the same blues scales as many other bands. But their talent and sheer force of personality made it appear to the audience that we were hearing these sounds for the first time. They sounded fresh and new the way Zeppelin played them, while Grand Funk, Deep Purple, Uriah Heap, and Sabbath sounded old and stodgy after awhile.

It was during No Quarter, as the lights turned blue and the band worked into the jam groove, that you noticed another singular element about Led Zeppelin...it wasn't so much notes they played, but colours and emotion. Bands like Emerson Lake and Palmer and Deep Purple would show off their instrumental chops and I wouldn't feel anything other than an overwhelming urge to chop off Keith Emerson's hands or knock Richie Blackmore's scowl off his face. With Zeppelin, their jams created a mood, an emotion tied to the song and to some distant yearning in the listener. Time stopped and you felt transported.

Jimmy remembered the second part of the solo, unlike San Francisco, and it was during the latter part of the song that we got the first taste of Jimmy's Theremin, accenting the howls of the dogs of doom. Followed by Jimmy going crazy on the wahwah. As was usual by now on the 73 tour, the song engendered a standing ovation. Trudy and I, along with most of the crowd, had spent SIBLY and No Quarter sitting down, but now were on our feet roaring. And as Jonesy took his bows, and moved to put his Fender bass back on, and Jimmy strapped on his iconic Gibson EDS-1275 12- and 6-string double-neck guitar...red body with black pickguard, thank you very much...I knew we wouldn't be sitting down soon. For by now I knew it was too early for Stairway to Heaven. Besides, with Jones on bass, that meant it was time for the rush of sound that was The Song Remains the Same.

Robert was doing an introduction to the song, and I believe he mentioned Rolling Stone magazine sarcastically...which I think he also did at Kezar. It seems Rolling Stone compared Led Zeppelin unfavourably to Slade, which when you think about it sounds ludicrous. But then, that's where Rolling Stone's head was at at the time. I mean, Slade had some moments but to put them in the same league as Zeppelin was laughable.

So, 1-2-3-4-GO! And The Song Remains the Same blasts us in the face, Bonzo's galloping beats and JPJ's rubberband-man bouncing bass lines underpinning the chiming bells of Jimmy's 12-string guitar. It's such a warm, beautiful sound...those ringing, chiming bells; what a TONE!

Then again, there's the magical, indescribable sight of skinny Jimmy, huge doubleneck strapped to his thin frame, weaving and bobbing around the stage, somehow managing to avoid crashing into the drums or decapitating Plant with his guitar. The song is so joyous to hear and see performed, that I'm almost moved to tears of joy again. Trudy and I are boogieing on our seats, as is my BB. The smells of cannabis and hash are in the air, but whether it's because I've built up a resistance or what, I don't really feel affected by it. The groove of the song is IMMENSE and INFECTIOUS! And the camaraderie among the band is evident, with Robert, Jimmy, John and Bonzo exchanging winks and smiles like they were the coolest boy's club in the world. Watching them, I want in...I want to play guitar like Jimmy Page and start a band. That becomes fixed in my brain as the state of supreme happiness.

When Robert sings "California sunlight", I cannot help but beam with state pride...California's mentioned in a Led Zeppelin song! I also notice something else...I prefer Robert's vocals on this song in concert than the helium vocals on the record. The Song Remains the Same is hurtling along, pell-mell, taking the crowd along in its frenzy. Shit is flying through the air and we're all just along for the ride. The song at once sounds tight and together and about to come apart at the seams. It's like Bonzo said "alright, everybody go on the count of 3, and meet you at the finish!"

The song comes to its end so quickly that you barely get your breath back before the sweet, lilting sound of Jimmy on the 6-string rings in the opening of Rain Song, as the bright lights dim to blue. FYI, Jimmy looks gorgeously spectral in this light. Now, I knew Rain Song followed TSRTS, but Trudy didn't, so as I knew she liked the song, I couldn't wait to see her reaction when the song began. She gave my hand an extra tight squeeze, and as everybody was sitting down again, as I sat down she sat on my lap and gave me a hug and whispered "thank you" in my ear. Again, Robert's vocals were perfect...so tender and filled with sincere emotion. I know some people think he lost it after 1972, but on some songs he sang better than ever. Immigrant Song might have been beyond his reach at this point, but he nailed all the Houses of the Holy songs.

As Jimmy and Jones, who now was seated at his white Mellotron facing right towards Jimmy and Bonzo, began the langorous instrumental interlude after Robert's opening verses, Trudy turned to me and kissed me deeply...and we kept kissing...and kissing all the way through til when the song gets to the rocking middle part. Everybody who has been to a concert with their significant other has had a moment like that. It's a memory emblazoned on my brain and one I will never forget. Whenever I hear Rain Song, I think back to that kiss.

As Jimmy delicately finger picks the closing arpeggios, and Plant brings the song to a rousing finish with a final wail, we are on our feet again giving the band another well-deserved standing ovation. People, mostly the girls, are shouting endearments to the band, as piercing whistles echo through the arena and bics flicker and glow in the darkness. Jimmy takes a bow and nods to the audience before handing his doubleneck to Raymond, his Scottish guitar roadie. As Robert also acknowledges the crowd, and the multifaceted Jones once again switches instruments, Jimmy rolls up his right sleeve. For now it's time to really get to work.

As Jimmy straps on his trusty Les Paul, Robert gives an introduction about an oldie...then only a single spotlight on Jones as the doomladened notes of his bass sound the beginning of "Dazed and Confused", in 1973 still one of the most anticipated songs of the night. A whoosh of expectation rushes through the crowd, as Jimmy sounds the first opening squeal of his guitar, heralded by a flash of smoke and fire and deep dark red lights. As Jimmy manipulates the sound of his guitar via his wahwah and and bending the strings behind the tuning peg, the mood turns positively evil. Is this the SAME BAND that just moments ago had transported us to a serene English meadow?

Okay, I have to confess I didn't like the way Robert sang Dazed and Confused in 1973...and 75 as well. Too much unnecessary squealing and changing the lyrics. Saying "I wanna make love to you little girl 25...25...25" over and over was annoying. It's a hoary blues cliche. Wished he would've stayed with the original "will your tongue wag so much when I send you the bill".

But the opening verses pass quickly enough, and 1973 is the last year where Jimmy really hits the vibrato during the chorus riff. Now it's on through the new segment developed for 1973, the fast solo and riffing bit leading into the "San Francisco" segment. I looked over at Trudy and she was still hanging in there. The band was cooking until suddenly it stopped and Jimmy shifted gears and began picking out the most beautifully melancholy melody I've ever heard. The genius of this band to just nonchalantly spring into a riff that other bands would kill for. As we all know by now, that riff was later used as part of "Achilles Last Stand", which I suppose is one reason why Dazed was dropped after 1975...although the band could've just dropped the "San Francisco/Woodstock" segment.

But as much as I love "Achilles", I feel that riff was most effective in the live Dazed and Confused's. It

felt more naked and vulnerable...more haunting. As Jimmy played the riff, and Jones and Bonzo figured out when to come in with the beat, Robert sang the lyrics to "San Francisco", the Scott McKenzie song I barely remembered from Monterey Pop. Then as Jimmy leaned on his wahwah and played that phasing sawing riff, Robert added his spectral moans courtesy of his echoplex.

Before you knew it, Jimmy was headed towards his wall of amps, and the moment everybody was looking forward to was at hand...Jimmy had the cello bow in his hand.

At first, as Jimmy applied the heavily rosined bow strings to his guitar, Jones and Bonzo gave light accompaniment, but soon they stopped as the stage darkened with the lights only on Jimmy. Now the bow segment began in earnest, as the most unearthly, loud, resonating howl emerged from the depths of hell. Then, as he began the part where he slaps, or whips the bow against the pickups, and pointing the bow in the direction the sound was reflecting, people began to lose their minds. The lights flashed and changed colour with every slap of the bow...blue, red, yellow, green, orange...as Jimmy pointed left, right, front, back with his bow, bow strings shredding, directing the sound around the arena. Then, the coup des grâce..the lights begin flashing rapidfire as shapes flicker in the background as Jimmy whips his guitar mercilessly, bow strings breaking and flailing everywhere, people in the front row trying to grasp the falling strands. It is one of the most indelible concert moments I've ever seen and heard. By this time Jimmy seemed 10-feet tall, and held complete command of all of us. But he was just beginning.

As he began bowing a spooky, scary-movie motif, I looked at Trudy and saw that she was sitting down, holding her hands over her ears, even with her earplugs already in...this was too much for her to take at her first concert. But like a trouper, she endured it with no complaint, unlike some other girls I took to concerts. One thing people often forget about the bow segment, is that it wasn't just about Jimmy. Depending on how inspired he felt, Robert would also contribute to the sound-orgy by adding his echoplexed melismic moans and howls to Jimmy's bow screeches. With the lightshow getting weirder and weirder, with trippy shapes and shadows projected onto Jimmy Page, the mood of the whole piece attained a level of evil dread that Black Sabbath could only dream of reaching. Every time I saw Black Sabbath, I could never take their attempts to be dark and evil seriously...mainly because Ozzy was such a ridiculous frontman. He was like a hyperactive frog.

As the bow segment reached it's climax, and Jimmy unleashed the hounds of hell, the sound began to drive you mad...you can't imagine how loud and shrill it was. Nor the white noise harmonic overtones that added to the texture of the sound. By now, Jimmy was frantically rubbing his fingers up and down the strings from the neck of his guitar to the pickups, while sawing his bow, with barely any strings left. With his hand rubbing more violently, I feared he was going to slice his hand on the strings. Bonzo joined in the final unholy climax of noise, and as Jimmy threw the bow away, the band got ready to gallop into the marathon jam, with Bonzo, Jones, and Jimmy hitting a few preparatory power chords before launching into the first fast guitar solo section familiar from the album version. From here the song becomes KINETIC personified. Behind the drums, Bonzo is hammering away at a racehorse pace, head snapping at the beat, each strike of the kick drum knocking you for a loop. Meanwhile, Jones is rolling through that endlessly looping bassline at inhuman speed, using just his fingers...NO PICK! Then there's Jimmy, strafing the audience with blitzkrieg runs up and down the neck of his guitar...how his guitar is still in tune after the violent lovemaking he gave it during the bow segment is beyond me. And don't forget Robert...he's not taking a break during this jam, either. Whether engaging in call-and-responses with Jimmy, or boogieing along to the music, Robert was a lion on the prowl.

As the band worked through the different changes, Jimmy, Bonham and Jones watching and listening to each other for the various cues, the incredible stamina of the band hit me with the force of a Bonham beat. Here we were, nearing the 90 minute mark, and while most bands would just be wrapping up their shows by now, Led Zeppelin were just getting started, savagely attacking their instruments with godlike intensity. The Rolling Stones would already be in their limos heading out of the Forum parking lot.

But Led Zeppelin asked no quarter...and they gave no quarter. When you entered a Led Zeppelin concert, you were entering a test of extreme stamina and emotions. Led Zeppelin was body music to the extreme, but it was also music for the head and psyche. After a Zeppelin concert, not only would your body feel pummeled, but your psyche, emotions and senses felt like they'd been put through the wringer. It was total immersion.

The boys were winging their way through the various twists and turns of the Dazed and Confused jam, Jimmy and Bonzo taking delight in prodding each other. My girlfriend had decided to take it all in sitting down...the storm of sound that is Dazed and Confused was a bit much for her. Baby steps I thought to myself...everything in good time. By now, sweat was flying off Jimmy's hair everytime he whipped around. I wouldn't be surprised if the people in the front row got sprinkled with a bit of holy sweat. As Jimmy navigated the twists and turns and dips and dives of the jam, he pulled out all the stops. Electro-stagger steps...laybacks...whirls and twirls...chicken dances. He was everything you want a guitar-hero to be...and his boundless energy was stunning to behold.

1973 was the last year I truly enjoyed Dazed and Confused from start to finish. In 1975, while I liked parts of Dazed, I found the energy of the piece as a whole, flagged at times...sometimes even coming to a complete halt. In 1973, the energy was NON-STOP! Like I said, it was a ocean of sound, a storm of sensory overload battering the senses. A complete contrast, say, to the jam in No Quarter. No Quarter was more a study in the use of space in a jam, Jonesey's piano, Jimmy's guitar, and Bonham's drums working off each other's tangents. Dazed and Confused was more about exploring every riff's possibility for themes and variations. That's why there's enough good riffs in Dazed and Confused to create 6 or 7 new songs.

Then, as if that wasn't enough, as the band comes to the end of the song, where any normal band would hurry to the finish, Led Zeppelin find one last spark of inspiration and take the audience on one last stratospheric jam...Bonzo and Jones engaging in a funky, bouncy round-and-round groove, while Jimmy goes in wahwah hyperspace. Just when you think the song couldn't last any longer, you're engrossed and groovin' to this spacey jam and you think to yourself that you wouldn't mind the jam going on for a while. Several minutes later, Bonzo's flying fists of fury are flailing around his kit at supersonic speed, and 30-some-odd minutes later, Dazed and Confused comes to an end. The band and audience both seem half- euphoric and half-exhausted. Jimmy smilingly accepts the hosannas of the rabid crowd. Again, the intensity and vibe of the crowd tonight seems 10 times the previous shows, which in turn seems to be inspiring the band to greater heights.

More Plantations follow, as Jimmy once again straps on the Gibson doubleneck, and Jones sits again at the Mellotron. I can't remember exactly when during the concert Plant made these remarks, but I know he mentioned Jimmy's hand injury and how he had been soaking it in a bucket of ice-cold water ever since the injury. He also said something to the effect of "you shouldn't be here tonight and we should be in England", in reference to the May 30 show being rescheduled for June 3.

Robert Plant's relaxed remarks and calm control of the stage revealed another reason why Plant was such a singular presence in the 70's. Apart from his sexual charisma and primal rock voice, it was refreshing to have a frontman from England that you could understand when he talked between songs. I couldn't understand half of what Mick Jagger or Ozzy Osbourne were talking about when they bantered between songs. Of course, it didn't help that they were yelling half the time. Which brings me to another plus about Plant...he wasn't a hype-meister who condescended to the crowd. Robert could talk and joke with the crowd with a quiet confidence, a relaxed nature that made a show feel intimate even though there were 18,000 other people in the room. And if he wanted quiet, he wasn't afraid to issue a curt "shut up a tic" to the crowd. Most frontmen so want to be liked that they're afraid of saying anything that would piss off the audience. But the quality I most admired in Robert was his refusal to be a hype-meister and phony. Mick Jagger and Ozzy Osbourne being two examples of the above. Mick and Ozzy found it necessary to constantly harangue the audience to make some noise and go crazy, always yelling, Yelling, YELLING at the audience. It's like they didn't trust the music to excite us, they had to whip us up in a frenzy like they were working a circus sideshow. It became annoying after a while. Sorry Mick and Ozzy, I don't always have to be jumping up and down and waving my hands in the air to have a good time. Sometimes I just want to be still and concentrate on the music. They are like the precursors to today's rap hype-men. Robert trusted Led Zeppelin's music to do the talking. He didn't need to scream the cliché "Are you ready to rock, Cleveland?" or the equally hoary "make some noise!"

Plus, the guy was gorgeous with the most amazing head of hair in rock history. I put it to you that no other rock frontman could have worn those flowery, feminine blouses that Plant wore, and still retain the masculine sexuality that Plant did. And Plant was sly enough, and confident enough in his masculinity, to allow the feminine, androgynous side to shine through, too. He was a sexual beacon for all.

But he wasn't the only one...and that is yet another reason Led Zeppelin had such a devastating impact on people, not just musically but sexually as well. For in addition to the blond Viking god, Robert, you had the yin to his yang, the dark, mysterious, ethereal Jimmy Page.

The next song showed this duality off to terrific effect. As Jimmy played one of the most instantly recognizable song intros ever, his guitar was momentarily drowned out by the huge roar of the crowd. Almost a year and a half since LZ IV's release and Stairway to Heaven had assumed anthem status. The blue lights sparkled off Jimmy's doubleneck, and reflected off the sweat on his face and in his hair. As Robert sang the opening lines, another roar erupted from the crowd, before everyone sat down to take in the song. This is where the band showed their understanding of pacing, as they knew after the half-hour of Dazed and Confused, the crowd would need a respite to regroup before building the audience's excitement back up again to carry over into Moby Dick. Stairway to Heaven was the perfect song choice.

Meanwhile Trudy had recovered from the Dazed and Confused onslaught, and liking Stairway to Heaven, her attention perked up...especially the way Robert Plant was glowing before her. Let me explain. While the majority of the stage was bathed in a cool blue light, golden spotlights shone on Robert from behind. So while his chest glistened with sweat in the mystic blue light, the spotlight behind him gave his hair a giant golden halo effect. I looked over at Trudy and once again, she had THAT LOOK. She had been zapped by the Golden God. And the effect was heightened by the fact that Robert stood mostly still while singing the first few verses of Stairway, so that when Robert looked our way, Trudy could imagine he was singing straight to her. Coupled with Jimmy standing to the side, blue light casting an ethereal shimmer on him, both Robert and Jimmy appeared to be a couple of Sylvan Sylphs, visiting our world to spread a little musical majick.

Bonzo soon added a little earthy reality as he came in with the beat, his snare sounding resoundingly through the Forum. Then, as the stage lights brightened to a white heat, it was time for Jimmy's fanfare, his doubleneck held aloft, vertically upright, fretboards parallel to his body. Then, THE SOLO! By now, it was de rigueur that every Stairway solo was different, which in my opinion, was a lot of pressure for Jimmy to put on himself. I mean, think of the strain and stress of having to come up with a different solo every night. But as I mentioned before, they asked no quarter, they gave no quarter. By the solo, most of us had risen to our feet again, and watched with elation as Jimmy tangoed with his doubleneck one last time for the night, wringing every last bit of emotion from the neck of his guitar. Come the final hard rocking part, and I think Plant stunned a few of us with the intensity of his attack on the final lyrics...he was holding nothing back. This was a band that still played Stairway to Heaven like they MEANT it. Needless to say, Plant's gentle reading of the final line triggered a massive wave of love as lighters were lit and more flowers thrown on stage and waves and waves of cheers descended upon the band as the lights hitting the mirror ball high above the arena threw 1000's of fractured shards of light spinning around the darkened Forum. Another memorable moment.

Now it was time for Bonham's showcase, Moby Dick, and it is a sign of the times that people still cheered a drum solo back then. But Trudy needed a pit stop, and as I had already seen 2 Moby Dick's this tour already(although I only remembered the Forum one), I didn't mind escorting her to the women's restroom and getting her a coke. Apparently we weren't the only ones making a pit stop at that time...as the line for the restrooms and snacks were huge. Judging by the length of the women's line, women have less of a tolerance for drum solos than men. The BB joined us, and while

waiting for Trudy to emerge from the bathroom,

we compared tonight's show so far with Bonzo's

Birthday show the previous Thursday while we hit

the men's room. I thought it was going even better

than Thursday's concert. He wasn't sure. We both

agreed the crowd seemed even more geeked up

than Thursday...more geeked up than any concert

crowd we had seen. FINALLY Trudy emerged from her restroom hell, and we headed to the snack bar line, where BB was already waiting for us, having gone ahead while I waited for Trudy. After nearly 20 minutes or so, we had drained our bladders and gotten some more coke to fill them up again. We were ready for the final stretch of the show..

As we made our way back to our seats, we saw the last bit of Moby Dick, as Robert shouted "John Bonham! John Henry Bonham! 25 years old" while Bonham stood up and tipped his hand to the crowd. Of course, Bonham's drum solo was so loud, that even though we were in line outside, we could still HEAR Bonzo even if we couldn't SEE him.

Meanwhile, there had been a few sartorial changes while Bonzo was making like Animal from the Muppets. Somehow, the red flowers in Plant's pants now were attached to Bonham's drumkit, and Plant had planted new flowers in his crotch. And Jimmy had ditched his sweaty orange-red shirt in exchange for a black zippered windbreaker jacket, with the zipper undone nearly all the way.

Bonham went into the 1973-style intro for Heartbreaker, and as Jimmy's wondrous 1973 tone carved its way like a scythe across the Forum as those buzz-saw riffs strutted like a tiger in heat, the band's intent became clear. It now became clear why the band dumped the acoustic set for the 1973 US tour.

As the 1973 US tour would be their longest and largest yet...more cities, more dates, larger venues...the band probably realized that they would attract a lot of casual and first-time fans on this tour. With the increased focus on Public Relations, there would also be increased media scrutiny. It seems, if you look at the setlist, and the way certain songs were linked together, that the band wanted to streamline their set for maximum impact. No more long gaps tuning up, or setting up acoustic guitars and stools. They kept the marathons the hard core fans loved (Dazed and Confused and Moby Dick), while adding enough of the eclectic and soft material to make up for the loss of the acoustic set(Rain Song, No Quarter, OTHAFA). And look at all the linkages, which cut way down on song intro time, not to mention equipment changes:

1. Rock and Roll>Celebration Day>Black Dog

2. Misty Mountain Hop>Since I've Been Loving You

3. The Song Remains the Same>Rain Song

4. Heartbreaker>Whole Lotta Love

Another consideration that may have led to the dropping of the acoustic set, is the reality that the ability of mics to pick up acoustic guitars in an arena setting with high quality was hit-and-miss in the early 70's. The band might have said let's wait until microphone technology improves before dealing with the hassles of miking acoustic guitars in a humid basketball arena. Just a hunch.

Whatever the reason, the 1973 setlist was a model of pacing and variety delivered for maximum impact.

Right off the bat, three quick all-out hard rockers: R & R, Celebration Day, and Black Dog.

Then, two more rockers that are slightly more eclectic: OTHAFA and Misty Mtn Hop.

Then a long stretch of new songs and old showcasing a variety of moods and tempos and solo showcases: SIBLY, No Quarter, TSRTS, Rain Song, D & C, Stairway, and Moby Dick.

Finally, the ramp back up to high energy rockers to send the crowd out on a high: Heartbreaker, WLL, The Ocean, Communication Breakdown.

Back to Heartbreaker...Bonzo is a friggen' marvel in this song; more than 2 hours of playing and right after completing a huge drum solo that would have exhausted most men, and John Henry is STILL delivering crisp fill after fill and hitting the beat hard. Jimmy is moving and grooving as only he can, and as he tempts and teases us during the wicked guitar solo, leaning out over the lip of the stage as he bends the strings behind the nut, it's hard to believe that he just recently injured his hand. You'd never know it the way Jimmy is blazing on guitar tonight. After I saw the Bonzo Birthday Party concert, I made a mental comparison between that show and the 1972 shows, and for the most part I felt the songs played in 73 were just as good, if not better than the same songs played in 72. The two major exceptions were Heartbreaker and Whole Lotta Love. I thought both those songs were played better in 72 than 73. And while tonight's Heartbreaker was better than May 31, I still didn't like the way it cut off the end to go into Whole

Lotta Love.

Whole Lotta Love started more smoothly than on May 31, more crisp and immediately in the groove. Watching Jimmy take a turn at the backing vocals was always a treat. But the real treat lay ahead during the Theremin segment. 1973 is when the

Theremin segment came into its own. They ditched

the bongo and organ underpinnings from the

past, and finally got down and funky, with Bonham and Jones laying down a mean groove, while Page and Plant did battle with each other. Most of the time they would lead into the Theremin segment with a bit of The Crunge or some James Brown groove. But tonight they dove right into the Theremin segment, with Jones and Bonzo establishing the beat, as Plant asked where that confounding bridge was..."Has anybody seen the bridge?" But the main event occured when Jimmy cranked up his Theremin and Gizmotron, which I think were run through his Orange Amps. In one corner you had Plant at the left, his echoplexed orgasmic moans and cries of love whirling around the Forum as he pirouetted around the mic stand. Then in the right corner stood Jimmy, the Grand Wizard of Sound, directing with his elaborate hand movements bolts of whooshing and whirring sound to do battle with Plants orgiastic wails. It was like a Battle Royale...and once again, another indelible concert memory was imprinted on my psyche. There Jimmy was, hands arcing this way and that as he slid and stalked across the stage, his arms and hands directing the eerie electronic sounds this way and that. Truly remarkable...what a showman Jimmy is.

This theremin duel seemed to last a little longer than most...as if they were having one last bit of fun before the tour break. The crazy sounds were whirling around your head, buzzing your brain while Bonzo and Jones were making everybody get their groove on. After about 5 minutes of delirium, Jimmy cranked his guitar up again and launched into the famous WLL solo. One more verse and chorus and Plant unleashed one of his epic "Wanna whole lotta LOOOOOOOOOVE!"

Now the other night, they only did Boogie Mama, which kind of disappointed me, being used to the 25-minute Whole Lotta Loves with the wacky medleys. So right away I was stoked, as when Plant would normally begin his "Last night" spiel, he instead said "I'm going down", and the band followed suit, Jimmy nailing that staccato riff. YES! This what I wanted...something different and spontaneous. I was holding Trudy's hand and we were swinging our arms back and forth. A couple more verses and a guitar solo, then the band is crunching out the I'm A Man riff, then it's The Hunter...awesome, as this is one of my favourite parts of How Many More Times! Finally the band lets Robert tell us about his mama and his papa, too. This boy's reached the age of 24 and he wants to BOO-BOO-BOO-BOO-BOO-BOO-BOOGIE! When Jimmy starts that Boogie Mama riff, the anticipation and excitement builds until the whole band joins in and the Forum explodes with joy, as the infectious tune has the crowd happy and boogieing. Robert is shaking it one time for Elvis...well, actually he's shaking it a helluva lot more times than once. While Robert is shaking his bum, Jimmy is reeling off solo after solo, as once again the band's energy and stamina is a marvel. Just like that Robert intones "Woman...woman...woman", and we're back to finish Whole Lotta Love. "Waaaaayyyy down insiiiiide..." As Robert heads to the finale, I make sure Trudy can see as I don't want her to miss this...we have our arms around each other. The band hits those two power chords as Plant gathers himself for that epic "LOOOOOOOOOOOOOOOOOOOOVE!"

Bonham starts his rat-a-tat fill as the lights briefly flash and dim until right at the moment Jimmy comes in with the WLL riff and BLAM BLAM BLAM! Three fireballs explode behind the stage, the heat of the fire warming our faces! Trudy freaks out at the explosions...she wasn't expecting THAT, hahaha. Oh, but there's more pyro to come...as Jimmy plays the wahwah variation of the riff, Bonzo's gong is prepared with the lighter fluid soaked wraps. All hell breaks loose then as Jones and Jimmy are slashing away at their instruments, Plant is howling above the din, and Bonzo bashes away at his Gong of Fire, flames surrounding Bonham as the whole thing becomes a sight-and-sound bonanza, crescendoing deliriously to the finish. The crowd is a sea of madness...we've been whipped into a frenzy and the band hasn't even left the stage before cries of "MORE!" ring out. Now some bands will only wait 30 seconds to a minute before coming back out for the encore. Led Zeppelin is different, natch. They make sure the audience is serious about wanting an encore, making us clap and scream and stomp deliriously for almost 5 minutes before the band makes it's way on stage. There's been more stuff thrown on stage in the interim.

Now, one way the 1973 Oceans were better than the 1972s, was that in 73 you got the Bonham spoken-word intro, which was always a treat. Bonham also sang harmony with Plant on the la la la part. The Ocean is a song for the fans, and the fans eat it up. It's snappy riff and monster beat lends itself to a happy vibe. It's a giant party in the Forum as people are clapping and dancing up a storm! Trudy and I have got our second wind and are dancing as energetically as we were earlier in the night, 2 and a half hours ago. Now, having had the Houses of the Holy album for 2 months, I had already memorized most of the lyrics, so I knew The Ocean by heart. On the May 31 show, I thought perhaps Plant switched lyrics during The Ocean, but I wasn't sure. So tonight as the band played The Ocean, I silently sang along and sure enough, Robert switched the 2nd and 3rd verses! Of course, I was later to discover he had a habit of transposing lyrics to other songs: Kashmir, TSRTS, No Quarter, Sick Again, Trampled Underfoot. The Ocean is such a killer song, though, I didn't really care about Robert's lyrical switch. Once again, as I watched Jimmy uncork another one of his rubberband-leg dances and the obvious relish with which the band was playing the tune, I think this is such a perfect encore song...one for the fans. In hindsight, I wish they hadn't dropped it from the set so quick...it would have made a better encore song in 1975 than Black Dog. Same in 77.

The Ocean is so infectious and sweeps you up into

its party wake so easily that it's over much too

quickly. And just like that the band is off again,

while this crowd is not going to settle for one

encore. I'm still kind of hoping, since this is the last night of the leg, that we'll get a blow-out of the likes of the June 25, 1972 show, with multiple

encores. But as the setlist was exactly the same on

May 31 and June 2, and so far tonight as well, I

wasn't getting my hopes up.

A few more minutes of hooting and hollering and back come the guys for a second encore. I listened to my "Three Days After" bootleg so many times in the 70's and 80's, that I can still recall exactly what Robert said before the starting the song: "This is something we don't seem to have trouble with...". And Jimmy warms up the Les Paul, then rockets into Communication Breakdown, an early precursor to speed metal, and already faster and heavier than Black Sabbath's Paranoid. The song unleashes a flurry of headbanging in the Forum, your humble narrator included. Until after the solo, when the band switches gears effortlessly from metal to funk, as the band extrapolates on the O'Jays "It's Your Thing" groove, with Jimmy weaving an incredible snake-like riff in and around the beat. What a conjurer of riffs...what a snakecharmer Jimmy is!

The band quickly ramps back to finish Communication Breakdown after the funky interlude. And afterwards, I'm expecting the band to take their bows again and say their goodbyes and disappear off stage. But WAIT! They're making no move to leave the stage...are we, the final night's audience, who have already proven to be one of the loudest and intense, going to get a special treat? YOU BETCHA! I have to bite my lip to contain my excitement as Jonesy sits behind his Hammond B3 organ. Robert then says, "We'd like to say something else." Jones then starts playing his organ solo,  and I am so beside myself, I'm practically levitating. For while she knew Rain Song would be played, as I told her, I also said they had not played Thank You. But knowing that Jones organ solo lead into Thank You, I began to get goose bumps from excitement. Since Trudy didn't know this, I decided not to tell her so it would be a surprise. As Jones executed a sweet gospel-inflected solo, leading to the final fade into silence, as Jimmy prepared to enter, I was literally bursting. Then came those delicate opening chords to Thank You, before Jones and Bonzo entered and Jimmy cranked the volume on his guitar and the riff exploded as a cheer went up. I looked at Trudy and she looked so happy and so awestruck at the same time...we immediately began to kiss, standing on our seats in the middle of the crowd with the song enveloping us. Now, if you've heard the Three Days After boot, you know that after the initial cheer when Thank You begins, 30 seconds later an even larger cheer occurs. Something obviously happened. But what? That is what people have been asking me for years...and I tell 'em, I don't have a clue. For while that was going on, Trudy and I had locked lips and were holding our bodies tight against each other as we let the warm sound of the song cocoon us. So I don't know what caused that sudden crowd eruption...maybe a stage diver? Someone threw a giant joint on stage? A streaker? Maybe Silver Rider climbed up on stage and gave Jimmy a kiss?

All I know is that once again, I was in a state of absolute bliss, such extreme happiness, that I thoought I was having an out of body experience. Here I was, 11 years old, with a sweet girlfriend, whose tongue was doing loop-de-loos in my mouth...AND I already had 5 LED ZEPPELIN concerts under my belt. I knew that no matter what darkness the future held for me, the memory of this night would sustain me through any tough times.

And it did...and still does to this day.

Frankly, Thank You was a blur that night...was it as good as 72 or earlier versions? I don't know. It sounded pretty good to Trudy and me that night! All I know is that we got to hear one of the last Thank Yous ever...definitely the LAST THANK YOU IN L.A.!

Again, Thank You seemed such a perfect encore song, you wonder why it wasn't played as an encore all the time. Thank You over, we held out hope for another encore, so after the band bowed and said good night and goodbye, we stuck around just in case. But really, how could the band top that...Thank You was the perfect song to go out on.

We waited for the house lights to come up, so we weren't stumbling in the dark. Now it's one thing to leave the Forum from the stands, whereby you exit through the concourse and soon you're outside in the fresh air. But on the floor, once the lights come up, you're hit in the face with the craziness...all around you on the floor are hats, glasses, various shoes, ticket stubs, t-shirts left behind, a tambourine, trash of all shapes and sizes, spilled coke and beer. The detritus left behind at a concert is truly staggering. As we left our seats and headed for the tunnel that led out to the parking lot, I noticed a group of fans lingering at the front of the stage talking to the security guys...perhaps trying to talk their way backstage. Today, people try to get the roadies to hand them a setlist or a stray drumstick, but Zeppelin never used printed setlists.

Walking through the spilled drinks on the floor was one thing, but when we hit the tunnel...PEEUW! As loud shouts of "ZEPPELIN!" and "Fuck Yeah!" and "ROCK AND ROLL!" and "WOO HOO!" sounded through the corridor,  the overwhelming stench of stale beer and sweat hit us in the narrow tunnel. What a blessed relief to finally make it outside in the crisp June night air.

After orienting ourselves, we found BB's Chevy Malibu, and joined the line of cars exiting the parking lot. Sure, it's a bit of a wait...but totally worth it. I feel sorry for those that left early to beat the traffic and missed Thank You.

Trudy and I are still in a state of bliss...we fairly floated out of the Forum. In my excited state and the glow of L-O-V-E suffusing me, I declare that that was the best concert I've ever seen. Trudy is too overwhelmed by it all to say much. The BB decides to treat us to a post-show nosh, and we hit the classic A-Frame IHOP down the street from the Forum on Manchester. While Trudy and I peruse the menu, BB makes a call to Trudy's mom to let her know the situation...we're having a post-show meal and then we'll head home. Trudy and I decide to share an order of strawberry pancakes with whip cream. And hot chocolate. They taste pretty good...but then, pretty much all food tastes good after midnight when you've been at a concert all night. Trudy can't wait to tell her friends and sister about the concert...she's finally in a state where she can talk about the show. She thought it was wild and made me promise to take her to see Zeppelin again the next time they played LA. She didn't care for Dazed and Confused though...that was too much for her. She said she literally got scared during the bow segment...it was hurting her ears and freaked her out. The BB said he thought the show was better than May 31, but that the 72 Forum was best overall...he missed the acoustic set.

Our hunger sated, we headed home, south on the 405, Trudy asleep with her head on my lap, as BB drove. I ruminated over all my favourite bands and concerts I had seen...the Stones, Dylan, Beatles, Pink Floyd, Marvin Gaye, David Bowie, Jethro Tull, Black Sabbath, Deep Purple, Yes, ELP, Elvis Presley, Roberta Flack, Joni Mitchell. It was now 1973...ten years from when the Beatles burst on the scene. A full decade. And in 1973, Led Zeppelin seemed to be the supreme summation of all the influences that came before that led to the developing of hard rock and also represent the possibilities for hard rock to transcend its influences and barriers. No other band did what they did...with the variety and power that they did it with. Not that other bands weren't good...the Stones, Floyd, Yes, Jethro Tull...all had something to recommend them. But when I measured them against Led Zeppelin, they all came up short...and I'm not just referring to the length of their concerts.

Seeing Led Zeppelin confirmed to me that while my eclectic taste would allow me to listen to and love a wide range of bands...even bands with no guitars and drum machines...it would always be hard rock, or at least Zeppelin-style hard rock that would be my primary taste. And it would be the electric guitar that represented the sound of rock and roll. And Jimmy Page was THE MAN in 1973, when it came to the electric guitar.

1973 was the year Led Zeppelin ascended Mount Olympus. Houses of the Holy returned them to #1 on the Billboard chart. Their 1973 European and US tours were mega-successful. They broke the Beatles long-standing attendance record and caused hysteria with nearly every concert. Word-of-mouth spread like wildfire. They could even afford to hire their own plane...the Starship. If in 1971, Stairway to Heaven made them superstars, by the end of the 73 tour Led Zeppelin had gone from superstars to rock gods.

In a rare case of the reality not only matching, but exceeding the marketing hype, Led Zeppelin in concert delivered the goods, and then some.

Led Zeppelin: The effect truly was SHATTERING.

Postscript...one of the after-effects of the concert was that Trudy became obsessed with Robert Plant...and with long, blond hair. I didn't have blond hair. Shortly after my birthday, she left me for some surfer with blond locks.

She came back to me two weeks later because he was a lousy kisser.

Daily inspiration. Discover more photos at http://justforbooks.tumblr.com

[larriefails]

First off, I’m not a rad nor a larrie, I’m a louie who hates both. I was just commenting on that because I’ve been in the fandom since 2013 and the de facto leader comment not only came from the boys but also during a billboard interview. In the billboard interview, they highlighted how Louis was the one taking the business calls and talking to their team about certain things. Also it’s not completely impossible to believe that once the 1d train ran out the big producers/names didn’t care to +

Work with him, because he was no “harry styles” liam is the same he even said that Simon didn’t want him on his label as a solo artist despite him having a great rapport with him. But there were other times louis’ business contacts were brought to light such as when he went to the Brits in 2016 and a reporter commented on how he was constantly on his feet to greet big name record executives and businessmen. He has the connects in the business that’s all I was trying to state.

Look, 99% of the time when I reply to an anon “you sound like a conspiracy theorist” it’s not because I think they believe in Larrie or because they’re rads, it’s because they fucking reason like conspiracy theorists

And your reasoning here is just… conspiracy theory mess. I don’t care which parts of it you believe or not, I don’t care what your personal feelings on these specific sets of conspiracy theories are. It doesn’t matter, the point is that you’re reasoning like a conspiracy theorist

I was gonna put this in a separate post, but I think it fits here very well (I might still make a separate post about it who knows)

A few days ago, I saw this video on twitter of a woman talking about her own death like it was nothing in a very matter of factly way, wearing a wig and using a very funny tone. Someone in the replies linked to her IG page so I went to look at it, and when I saw comments telling her “thank you for accepting my follow request” I realized she was usually on private and I’d just been very lucky to find her profile to be open, so I followed her just in case with the intention of watching her funny videos later

Since she was a new follow she continuously appeared on my recent IG feed and I soon realized how relevant what she was saying was to my interests

This is the woman

One day she posted this, and my alarms went off

Let me clarify that I don’t care if she’s a professor or a therapist or not, I followed her because I thought she was funny and that she’d go on private soon, this was all a complete surprise to me. The DM rang close to home to me, seeing as I’ve read Larries for a while now, it was all too familiar, her reply was too

Then she posted this

Once again, I said it before and you can read it here X it doesn’t matter if she’s a professor or not, if their suspicions are real or not, if she’s lying or not, because going through UCLA’s professor roll call is a step too far, and confronting her about it, even more so. And the way she presents it.. she’s right. She just linked the website, she never claimed to work there. If you go to her page, she’s very careful with the information she provides, so the people that want to prove she’s lying have very limited resources. They go with the preconception that she’s lying so they try to find ways to prove their preconception

You have the preconception that Louis was the de facto leader of 1D, so you’re working your way backwards to prove it. You’re looking at bits and pieces of interviews that will prove your theory right, but that’s just not what reality is

“The de facto leader comment not only came from the boys” .. no it didn’t, though? They didn’t say this. Do you know where the “the boys say Louis is the leader” comments come from? Stuff like this

Context for that interview? The Hot Desk, August 2011 X

One Direction had exactly ZERO songs out, this interview was recorded before they even released WMYB. All 5 of them had written on 3 songs of their first album that would come out in November. Savan Kotecha was still running the show. Louis was still 19 and he hadn’t been in show business for a year. How much of a leader that conducted business meetings do you think he was? I’m not gonna watch the entire interview to see the context, but this is not Zayn saying Louis was the de facto leader, this is Zayn kidding

What to even say about this, which is from the video diaries in X Factor?

Or this?

What? No, no they’re not, like, they’re just not, they’re standing in a circle and looking forward

This is just ridiculous

Does the person that created this gif set not realize that this is the performance where Louis doesn’t sing at all? It’s Torn at judges’ houses. It’s infamous for the fact that only Liam Harry and Zayn sang. This is all for dramatic effect because X Factor was a reality show

Louis liking motivation chants means he’s the leader? That he goes to business meetings? I’m so confused

That’s not because “he’s the leader” that’s because he’s the class clown

If accepting an award means he’s the leader then I guess this meme fits 1D very well

They all accepted awards, Christ

Anyway….

And that’s an entire gif set that was solely engineered to show that Louis was the leader and that “the boys said so”…. but they actually didn’t? The only two times it comes up they answer jokingly and it’s before Louis could do anything remotely leader like. But that gif set is so popular, created by a Larrie but that spilled out to the general fandom enough that I saw it on my dash reblogged by non CT blogs X

And it created this notion among some people, especially those who have Louis as their fave, that the other members of 1D had in fact said that Louis was the de facto leader, when they didn’t. It’s conspiracy talk, scouring through hundreds of MILLIONS of milliseconds of footage to pick 9 of them and put them in a gif set to prove a point they’d already decided on

There are also three news articles linked (copying and pasting directly from the source, sorry for the weird formatting idk how to take it off)

1: That’s the number of hotel rooms in Mexico City used for dance rehearsals. The guys locked down a room for three hours. Louis took control of the rehearsals and even helped conceptualize some of the routine.

That’sabout 1D learning the choreography for Best Song Ever

How exactly does it prove that Louis is the de facto leader for him to take over 1 dance rehearsal when everyone in 1D had confessed they couldn’t dance a million times at that point? Louis had some musical theater experience, so that’s that..

Harry: Louis is still loud and mischievous - he likes to test the boundaries. He’s quite outspoken. You need someone like that, because he’s great at standing up for us as a band.

That’s perhaps the most “leader like” comment any of them have ever made about Louis, and it’s not really about him being a leader once you put it by itself instead of surrounding it by “look at all the times they said he was the leader,” right? It’s just more of a testament about the fact that Louis was louder than the rest, which we already knew. If someone had asked me six months into my journey in the fandom who I thought was the loudest in band meetings I would’ve said Louis. That doesn’t mean he’s the leader. A leader has SO many more characteristics than being loud and outspoken. In fact, a lot of leaders aren’t loud or outspoken at all

The last link they put is once again, what How I Met Your Mother explained as the cheerleader effect X which taken away from the time period sounds quite misogynistic but let’s not dwell on that. Basically, it’s when a group of women appear hot when they’re all together but not individually. When you have the gif set all together, it looks like “wow, these are hot arguments as to why EVERYONE thought Louis was the leader,” but look at them individually, see their context and they’re not as hot now, are they? Especially when you realize, once again, that these are very very small morsels of time taken from very very large portions. That’s how Larries operate

Several people in your management and inner circle have described you to me as the unofficial businessman or leader of the group. Is that a fair assessment? I’ve sometimes felt like that, but to be honest most of the time I’m the immature one who needs to be told to get focused. I’m a bit of a perfectionist so I have to be kind of be on board with every minor detail and [I’m] quite opinionated.

And that last link is also the Billboard interview you mention in your ask. Do you know when it’s from? December 2012. One Direction had just released Take Me Home, their second album, which according to the interview that Larries love the most to base their sabotage conspiracies, didn’t very much involve 1D’s input at all

Savan Kotecha: I think by album 3 (Midnight Memories), yeah, not all of them, there was definitely one or two-one especially-that was like, kind of bitter about the fact, that, you know

Ross Golan: They were a boyband?

Savan Kotcha: And he was not the talented one. He wasn’t the singer, and he wasn’t the star. And you know which one I’m talking about…

Ross Golan: Of course.

Savan Kotecha: And he then started having something against me and against that process, I think. And, you know, maybe we could have been more inviting in the creative process during album 2 (Take Me Home) and not been so…authoritative.

At that point, Louis STILL wasn’t in a position where he could really be the leader. None of them were because the creative process wasn’t inviting still. It wouldn’t be until the third album

The conclusion here isn’t that Louis isn’t outspoken, or that he didn’t care about business or that he didn’t defend the band, or that he didn’t want to write more, or that he didn’t want to make connections. No one here is arguing that he didn’t care at all or not giving him credit for anything. The point I‘ve been making for days now and that people don’t seem to get (one way or another, because I’ve gotten very unpleasant messages about how he’s not equipped to be a businessman and shit like that that I’ve just decided not to publish at all), is that things don’t have to be black and white

I don’t think ANYONE was the leader of 1D. I think that Louis’ personality made him stand out more in certain aspects (such as meetings with their team), and because people need to label everything all the time, instead of describing it as it was, it took the position of “de facto leader”

The problem here isn’t even that people believe he’s the de facto leader, that wouldn’t concern me at all in and of itself because who cares? It’s not hurting anyone… The problem is that it puts an excessive amount of weight on Louis’ shoulders, I also explained this. It’s this dichotomy of a person who basically carried the whole band during its five years but that also is completely defenseless and at the mercy of binding contracts to even choose the socks he wears

These sort of preconceptions aren’t harmful by themselves, they wouldn’t be harmful in a normal band. I wouldn’t have a problem with this preconception if Louis was Calum Hood and this was 5SOS, my problem is that this is One Direction and preconceptions and conspiracies have tormented these guys for YEARS. No conspiracy and no preconception is innocent, they all have to be dismantled, we have to examine EVERYTHING that leads to absolutes if we want a chance at healing the fandom, and I don’t mean the 1D fandom because that’s gone now, it’s never gonna heal, I mean Louis’ specifically

If we want a chance at him being left alone from Larries these things have to go. Stop seeing him as this commodity that you can just paint over and start seeing him as a person, not a caricature

That interview also doesn’t say anything about him taking any calls business or otherwise. I don’t think anyone has ever said it and I have no idea where it came from because I’ve found zero sources. The interview doesn’t mention him “talking about certain things“ either, it’s just what I pasted here. That’s all of it. Everything else comes from years and years of stretching this one question out of this one interview done when Louis was still 20 and 1D had less than 2 years in the music industry. It’s no exactly the smoking gun y’all think it is, guys. Same with the Savan Kotecha podcast

Then the rest of what you say is just noise, man. IDK what to tell you. It’s just noise. If Louis had ran the show BTS for five years, then he’d have access to the best producers and writers on speed dial, why would he not being Harry Styles hinder how he’s perceived by the people that work backstage? They’d recognize the person that was “the backbone of 1D” for who he is because those things spread in the business. If LOUIS said that wasn’t happening, then it’s because your preconception was wrong and you took a bunch of things out of context to create a “narrative” that simply wasn’t real. Louis was dedicated to the band and wanted to write for it and involve himself in the creative side and he GENUINELY WAS IMPORTANT for the band, but he wasn’t its backbone or its de facto leader

Simon didn’t wantt Liam on his label probably because he couldn’t afford him, btw. He decided to stick with Louis because they’ve been thick as thieves since 2014 and those contracts cost money and Syco is a very small label with very limited resources, so they couldn’t offer anything to more than one member. I’m  aware that I’m making assumptions here, but they very much align with reality, especially now that Syco lost so many other acts and now that Fifth Harmony disbanded and Syco landed only Lauren (Camila being like Zayn) and having to leave Ally, Dinah, and Normani go to other labels. That doesn’t mean they saw no value in them (in fact, I think Lauren is the one faring the worst), it’s just that they can only afford so much

And how much can you grin on one report written by the HUFFINGTON POST in 2016?X I’m talking about the “Louis hugged industry people that one time” comment you made. Once again, I’m not saying he doesn’t know anyone. I’m saying I BELIEVE WHAT HE SAYS. If he says he can’t easily get the producers and writers he wants, then I’m going to believe him. And that one report doesn’t really change anything for me. It’s, once again, very conspiracy theorist behavior to put more weight on an isolated report from an untrustworthy source three years ago than on Louis’ own words. If he really had enough reach to be friendly with everyone in the industry, then he’d be able to get any producer he wants

You can’t have this dichotomy that you present in this very ask of “they’re not picking up the phone because he’s Harry Styles” but he was the de facto leader of the biggest band on the planet for five years and everyone in the music industry knows him. It just doesn’t mesh together. You’re placing him in the same impossible position Larries are placing him and that’s harmful. He needs fans that see him as a person and you, I’m sorry to tell you, do not. You see him as a caricaturesque figure that can both be incredibly important and incredibly subjugated

“He has the connects in the business is all I was trying o state” 1. no that’s not all you were trying to state. 2. According to himself, he doesn’t have all the connects. He’s clearly close enough to be friendly with Rob Stringer, but that doesn’t mean that Rob Stringer will lift a finger for him and according to Louis, he’s not.. But that doesn’t mean that Louis can’t get ANYONE or that he’s being sabotaged. As always, truth lies somewhere in the middle. The only reason it’s harder to spot in this case is that people stretch it on every possible side so much

I know this is long as fuck and I probably lost any person that was willing to read my drivel in the first place, but I just really think it’s important that you start taking what LOUIS SAYS ABOUT LOUIS as fact, instead of twisting it around to present alternative facts that would present a reality that will please you more. It starts at “Louis was the de facto leader” and it ends as “he’s been faking fatherhood for three years and lied about his mother’s last few days” Sick..

[rayofspades]

My Thoughts on Blue October: A Two-Way Personal Narrative

This post has no point or thesis it’s literally just me talking about music that I like because I think it’s interesting.

Anyways.

I was making a playlist for work the other day, and in the process I rediscovered some Blue October songs I have on my ipod. And then I rediscovered all of the Blue October songs I have on my ipod because...I have a lot. 

And it’s pretty much my favourite music (for the most part). 

Blue October was a weirdly prominent part of my youth, so it makes sense that I would have an attachment to their music (people tend to like the music they grew up with). But even then, re-listening to those albums fills me with a lot more satisfaction than other songs from my childhood/adolescence. From ages 11-16-ish, my favourite band was The Killers, with Blue October in second place. I still like a lot of Killer’s songs, and they have a lot of nostalgic value, but when I’m listening to Blue October’s music...like....it really, genuinely holds up to me.

Which is weird, because most of my current faves and older faves were either pop or soft-rock (with the sub-genre of “edge” in my early teens). 

Blue October is classified as “alternative rock” which I think is just the professional way of saying “fucking wild.”

I’ve always joked that if some songs are “edge” then Blue October is “the whole knife.”

But that’s the thing; even though they’re understandably known for their kind of raw intensity, at least among the fan base, the albums tend to have a fair bit of variety both musically and lyrically. I often think of the lyric from “Inner Glow”: “So here's a preview shove it under old-new / Or call it rock or pop or bach or fuck / Goddamn where did we go wrong / Now there's a category for every song.” Even though the band is kind of unhinged in terms of genre, each album very much has its own personality despite the different tones of each song.

By the time Approaching Normal came out (when I was around 14) I had kind of put together a narrative with each album. It wasn’t really a clear-cut story based on the lyrics of every song, but rather a series of emerging themes and events that each album put extra focus on:

Consent to Treatment: Dealing with psychosis and frustration.

History for Sale: Continuing to struggle with mental illness while also thinking about romantic and sexual relationships.

Foiled: Appreciating and/or longing for loved ones.

And yes, I know that The Answers is technically their first album, but I only know 3 songs from that one and didn't love them enough to seek out the whole album.

Personal context: I started listening to Blue October at a relatively young age because they were one of my dad's favourite bands and he would blast their albums in the car. He correctly assumed that I, a sheltered 10 year old, wouldn't put together that some of the songs were about drugs and suicide. He would always skip the more sexual and violent songs though. He aint irresponsible.

So basically those first few albums just became part of my internal music library since I heard them so much. I remember the first song of theirs that I really noticed on its own was “The Answer,” and after learning that it was Blue October singing that song, my interest in them grew slightly more independent. 

When I was about to enter my early teens, I developed an interest in psychology (most notably psychosis) after watching A Beautiful Mind. After that I became even more interested in the lyrics from Consent to Treatment and History for Sale, and grew more attached to these albums that I was already very familiar with and fond of.

Foiled was and continues to be my favourite album of theirs, though. It has the largest variety of music and a lot of the lyrics are really interesting. 

I almost think it was kind of inevitable that this is the album that would get popular. “Hate Me” keeps true to their style, but it still has mainstream appeal. It’s...not the whole knife, but it still has a good melody and good lyrics. 

“Into the Ocean,” which is my favourite song of theirs, is fucking perfect for mainstream appeal. It’s catchy, it’s pretty, it’s edgy, and it’s good. I HEARD IT PLAYING IN A HOTEL ELEVATOR LIKE A MONTH AGO. The song is so beautiful it’s almost enough to distract you from the fact that it’s about suicide.

It’s great.

The only song on the album that I would say is far outside of mainstream appeal would be “Drilled a Wire Through My Cheek,” but according to wikipedia, that made it onto the Saw III soundtrack, so there you go.

Foiled also might be the best showcase of the lead singer’s vocal talent. One thing that I really like about this band is how the vocals can be unbelievably smooth and wonderful, but the lead singer, Justin Furstenfeld, can just...fucking...flip his vocal chords inside out and fucking scream to a melody when the music calls for it.

It’s an amazing album that I would recommend to pretty much anybody who’s into punk or “alternative rock” or even just...music. 

ALSO I have to talk about the s t r i n g s.

I legitimately think that Blue October’s music sounds so different and resonant because, even though it’s a lot of intense hard rock, there is so. Much. Violin.

Sometimes the violin will overpower the guitar, or maybe even straight up replace the guitar in some places. It’s unique and great and it sounds fucking amazing. I love that fucking violin. 

So I’m really invested in both the music and the Narrative of Blue October albums by the time I’m 13-14sh; right when Approaching Normal drops.

This album is...different...ish.

Like, I don’t necessarily think it’s more intense than their other albums, but it’s...angrier.

Approaching Normal also apparent themes, much like its predecessors: the birth of a daughter and a crumbling marriage. However, unlike the previous albums, the lyrics on this one become a lot more literal. The writing isn’t as good as far as the words go. As for the music...eh. I like “Should Be Loved” quite a lot, but I feel like the vocal performance is at odds with the melody. Most of the album is either just okay or actively bad. 

It’s...an uncomfortable album. The Narrative has become too overwhelming and I would argue too personal. 

There’s less violin.

And

whoo boy.

Okay, I literally just found out there was a censored version of this album like 6 seconds ago because I’m looking stuff up on wikipedia, but, of course, me and my dad got the uncensored version because we’re not w i m p s.

So, thank fuck by this point in my life I had my own ipod and my dad listened to music on his computer, so we heard this album independently from each other. 

Dude, I first heard the song “The End” at like 3 in the morning as a very sheltered and very very squeamish 14 year old.

I

could not sleep.

I literally took the song off of my ipod so I wouldn’t have to even think about it.

Yeah...this album didn’t get played in the car often.

It’s amazing how Foiled finally got the band off of the ground and then like 3 years later they come out with this album that is not nearly as easy to market. My local radio station used to have a show called “wired or fired” where they would play new songs and the audience would vote on whether or not it sucked. “Dirt Room” was featured on there and the reception was nooot positive. 

So fast forward another two years and Any Man in America comes out.

I fucking hate this album.

Actually the sad thing is I technically like more songs on this album than on Approaching Normal, but I just haaaaate it conceptually and in practice. 

The lyrics are even more literal and more personal than on Approaching Normal, and the Narrative picks up right where that one left off. The theme of Any Man in America is a very very messy divorce and custody battle that Justin Furstenfeld was going through. 

It is a Hard Yikes.

The misogyny in this album is overwhelming. And you can argue like “hey...the guy has bipolar disorder and is just working through his emotional problems” or whatever, but...he still dedicated an entire album to basically cursing at this woman. But what really turns my stomach is how much this album can and will resonate with every joe-shmoe misogynist going like “yeah haha women suck the feminists are taking over make me a sandwiiiiiich” like alskdfkhgkajhdkfjskf I DON’T THINK THAT’S THE ALBUM’S INTENTION BUT IT WILL DEFINITELY SPEAK TO THAT CROWD EVEN IF THAT WASN’T THE POINT.

But hey, shout out to “The Money Tree” and “The Follow Through” for actually being good songs and also bringing back that violin. 

So yeah. Blue October just kind of fell off of my radar after that, until another two years pass and I catch wind of Sway coming out. I was kinda like “eh, they’ve already jumped the shark,” but then I heard the single “Bleed Out” before the album’s release and...I didn’t love it, but I liked it. It sounded more like Foiled and less like Any Man in America. So I got on the hype train.

And I’m glad I did. I bought the album digitally and burned it onto a CD for my dad, and it was the first time in a while that he had an actual Blue October CD in his car, instead of just the best selection on a USB.

It’s the most tonally similar to Foiled, although I don’t think it’s as strong  as that album. That could be a nostalgia bias, but I do legitimately think the melodies are less interesting... and that violin continues to get downplayed. I miss it. I miss the violin.

The Narrative continues, but thankfully the lyrics have gotten less literal. I would say the theme of this one is “healing and starting over.” “Sway” is a pretty ballad and I love “Angels in Everything.” The album as a whole is just...nice. But it still has some of that edge/whole knife thing going for it. The sex and drugs aint absent. 

So I liked this album. 

Fast forward another few years, to a Renee that hasn’t listened to Blue October songs in a while and also doesn’t really listen to the radio that much anymore. I’m randomly in the car with my dad when I hear a fucking Blue October song on the radio. A new one. I could tell it was them because Furstenfeld’s voice is very distinctive. Out loud I’m just like “Is...is this Blue October?????????” Partially because I didn’t know they had a new album out, but mostly because this was the first time I’d heard a new Blue October song get radio play in my city since fucking 2009 when “Dirt Room” was on Wired or Fired.  

The song was “Home,” which was also the title of the album. My dad ended up buying it for me for Christmas that year. The album reminds me more of Sway than any other, but I do prefer more songs on it. “Heart Go Bang” is great and sounds like it came straight off of History for Sale and “I Want It” is fantastic in my opinion. I like “Coal Makes Diamonds,” I like “Houston Heights” and “Leave it in the Dressing Room,” and I really like “Home.” 

(Still want more violin, though.)

I would say that the Narrative/theme of this album is love and family. This album was written after Furstenfeld remarried. Before Sway came out, his girlfriend apparently told him to stop being a piece of shit and get sober or she was going to leave and take their unborn baby with her.

So he did.

I really want to know more about this woman, because she’s kind of my hero at the moment.

The second last song on the album, “Time Changes Everything” feels like it’s about letting go of that battle he was fighting with his ex. It’s conceptually comforting, if that is indeed the case.

The funny thing is, I thought this album kind of put the Narrative in a nice little bow. Like, the most dramatic part is over and now this story can have a happy ending.

Which is why it came as an extra-super-double shock when I found out two days ago that Blue October released another album over a  y e a r  a g o.

This is what I get for not listening to the radio.

I have not listened to this album yet, and the reviews posted on wikipedia are positive but still mixed. Like, people saying it’s poppy and mainstream but also saying it still has edge, etc.

I’m a little afraid of listening to it, because I’m not sure what direction their music has taken, or if it’ll become too same-y to other stuff on the radio.

We’ll see.

When I finally listen to it I might post a review or something.

But from what it sounds like, the album is mostly positive in terms of messages and themes, and that’s comforting to me.

Okay.

Those are my thoughts on Blue October.

They...probably are my favourite band, despite the problems I have with some of their music.

I kind of made this post to put into words why/how this music is so important to me, but it’s genuinely hard to describe. I’ve done my best, but at the end of the day...I just really dig this music.

Anyways, if you for some reason decided to read this post without knowing much about Blue October music and want to get into it, I made a playlist of what I think are the best songs from each album because IIIIIII had nothing better to do. Apparently.

Trigger Warnings: A very large number of the songs are about mental illness and suicide, so watch out for that.

“Angel” and “Razorblade”: Sexual Violence TW (Good songs, but really intense)

“Hard Candy” and “Drop”: Drug Use TW

There ya go.

Enjoy.

[lukefluffandstuff]

youngblood; thoughts

youngblood

fave angsty teen babby

CAUSE I’M JUST A DEAD MAN WALKING TONIGHT

there’s something about luke’s voice that makes me so fml

i think it’s the rasp

like

the rasp

want you back

luke’s falsetto will always get me

tbh this is one of my least faves but it has that repeatability and i fuckin hate myself for replaying this over and over and over

lie to me

;;;;;;; literally no words

everything about it renders me speechless because it itself is an entity, like a timeless queen

it’s so heartbreaking but it’s like they’re trying to hold on and keep themselves together

AND HARMONIES

I COULDN’T HEAR THEM AT THE CONCERT BUT THIS IS SO BEAUTIFUL

lie to me is raw and vulnerable and it’s one of those songs where you really need to take a moment to let it sink in because if you let it pass you by you’re doing it dirty

“now i wish we never met” dAMN STRAIGHT BISH IF WE NEVER MET I WOULDN’T BE HAVING ALL THESE UNNECESSARY EMOTIONS

there’s an innocence to it that i can’t place my finger on

valentine

my Gothic Vampire Baby

it took me awhile but it grew on me and now i’m grooving

this takes gothic sexual to a whole new level 

now i want to be a seductress 

talk fast

tEcHNo bEaTS

it’s so disco and shoulder wiggles

calum

cAlum

damn straight i’ll give you second i’ll give you a minute a day a month a year a decade my life

i mean

ahem

during the bridge, luke looked like he was going to lead us to liberation and i was like LOLOLOLOLOLOLOL TAKE ME WITH YOU

moving along

is it bad if you’re naked on your sofa???

calum baby anything’s fine

but this song is so like

it’s filled with so many regrets and guilt

but it’s also really problematic, and i feel that that’s the beauty of it because humans are generally problematic and complex in nature

and it’s natural to be really toxic particularly when it comes to relationships

wOw i’m getting real philosophical up here

if walls could talk

this is like some secret rendezvous and i don’t mind getting down

“not everything is so primitive” luke don’t

lyrically, this song is the most cryptic because i can’t seem to get them down

but it’s mainly revolving around want and longing and lust(?)

OKAY BUT IT’S SUPER GROOVY AND I AM DIGGING THIS

a lot of people say that they prefer sgfg and i somewhat agree because sgfg was a real emotional rollercoaster

but youngblood is actually giving us new and young blood, and it’s really different from their previous albums and i think it’s great that they are a band that explores a multitude of genres

better man

straight up i thought

2013 ed sheeran lyrics with 2017 ed sheeran beat/melody

it’s definitely more poppy and sounds like something 1d would release - NO OFFENSE by the way, i love 1d it’s just a comment

it’s not one of those songs which would make me think or want to hear it once more

more

O K A Y

THE STARTING IS A MOVIE

GETTING INTO YOUR CAR AND REVVING THE ENGINE AND ROLLING OUT OF YOUR DRIVEWAY

ughhhhhh this is so good

i don’t even know how to put this into words 

it’s one of those songs where it rides on the passion and emotions and you really got to f e e l the music to know

sort of like spitting out random words in order convey how you feel about this song

why won’t you love me

this one really hit me

and it’s so direct with its feelings

it doesn’t hide any hidden messages or feelings whatsoever it’s really just coming out and asking why won’t you love me

particularly when the two have gone through so much

and you think you have a connection but the other just leaves and rejects you

and you get stuck in that turmoil and start wondering why

woke up in japan

oh wow this like some acid trip

i’m imagining technicolour backgrounds

and sensual kisses and touch

i want to wake up in japan like this

empty wallets

this already feels emo

UNEXPECTEDLY UPBEAT

SPEND IT ALL ON ME

god make this my anthem what

MICHAEL

HELLO???????

BELIEVE IN ME B

ghost of you

okay you know it’s getting serious when you hear the picking of the strings

the piano!!!!!!

i imagine someone running in a field for some reason

amnesia pt 2 but the cousin who’s more mature and is looking back on memories and tries to suppress it

this doesn’t feel like a breakup, but more of the other passed on without any warning and now they have to deal with it

yeah sure “ghost” but it’s one of those songs where you have to move on simply because nature tells you to do so

monster among men

STARTING WITH MICHAEL YES MY BOI

the beat is weird

it keeps changing and i’m like eh???????

it slows;;;;;;

i am confused

props to ashton for keeping up with these weird beats thoooo

this song wasn’t what i was expecting 

hmmmm it requires a couple of listens before i can really get into it i feel

meet you there

BITCH BODY WORMS FOR DAYS

SOSOSOSOSOSO GOOD

i don’t even know how to classify this kind of rock but it’s so fhaiwuel ahahahahaha kill me

this is so groovy

drumsdrumdrumsdrumsdrums ashton fml

babylon

OH WOOOOOOOOOOOOOOOOOOOOOOOOOOOOW

this is sensual body rolls at its finest

CALUM FUCK ME UP

oml i had some expectations for this song and THEY DID NOT DISAPPOINT

(i know the target version has two extra songs) but this is good way to finish this album

vaguely reminds me of tomorrow never dies

THIS IS CALUM’S SONG GUYS

they’re really taking this whole new album thing to a new level

i want to go higher

such good music we’ve been spoilt

yall i love 5sos and now i just want to implode and explode and combine all the pieces to c o m b u s t

this album’s definitely more mature in the sense where the self-titled album was all about teen love and want and youth, sgfg tackling issues that youth faces, but this is matured where it reflects their age, it’s sort of wild in its own way, but it also has that emotional turmoil where you’re left wondering why you’re so alone and why love doesn’t work out

[kmp78]

Kudos

Hi K, I’m glad you enjoyed the trip and the M&G and after all, thanks to the IG Live which I enjoyed as well ;) (THANKS for the fun!) also the show. Contrary to some of the opinions here, you can be a fan and still not agree with some things your fave band does, you don’t have to love all their songs, you don’t have to come in and face your idol (haha..;)) and be afraid to ask anything that Mr Perfect won’t approve of. That’s not even true in real life! Even Jerd himself said many times that he welcomes constructive criticism, so he has to know this album was half-assed and his passion for this band is also not what it used to be.

I, as a long-time fan, am happy that finally someone stood up and asked the questions we all wanted answers to, even if we haven’t gotten any answer after all->

**

Me: “So we´re never gonna get any explanation?”

Reni: “It´s a personal matter… And until he doesn´t decide… It´s not in our…”

This is self-explanatory and beyond. Although I don’t believe J or the band are in a place where they wouldn’t be able to tell us, let’s say, “Mars and T parted ways because of our creative differences” or something equally neutral, this happens all the time with other bands! - they just won’t say anything because any explanation would mean that T left on his own simply because he didn’t want to be part of this Murica shindig anymore, and that would be equal to admitting J did something wrong (aka not purrfect). Hence, a quiet, no. 

**

Then they plugged Camp Mars (a few people had no idea what Camp Mars even is…) and lured us to buy with big promises of hangings with the band during the most magical weekend of the year.

“The band is also there all day.”

Duuuude! Telling a straight up lie in my customers’ faces, I would die of embarassment. 

**

(I voted Tabasco. 🤗)

What song is that? :O ^^

**

His reaction both in words and in vibe (and the reaction from the room aka loud gasps, few hisses and cheers after he “lashed out” at me) was worth all the money I paid for that M&G, I don’t even mind telling you!

I can’t even begin to understand why the other M&G goers were hissing at you and cheering that he was mad! But yeah… this is Echelon. As an artist, as he likes to call himself, he should be prepared (and in his interviews he says he knows he won’t make everyone happy!) for criticism and he should be able to react to it. Or just freaking act like you know how to react to it, you got yourself an AA award after all. AA I mean Academy award, not A.Arquette btw… ^^

“It´s not a rock album.” 

Followed by a LOOOOONG silence. 

A silence which was only interrupted by SL going “Well, there you go!” in a triumphant manner. Echies of course applauded, and then suddenly JL picked up again:

“Don´t be fooled, we knew EXACTLY what we were doing. But let me just tell you something: we have NEVER gotten good reviews. Even when we made rock albums. So… Nothing really changes…”

Looord this is beyond hilarious. They got fairly good reviews on both ABL and TIW and imo, self-titled was still their best. I don’t remember reading such a scalding bad review of their previous records as some of those I read about Murica! Okay, maybe LLFD wasn’t a masterpiece either, and frankly I barely listen to any song from that one, but those reviews for Murica were outstanding!

**

JL said that “sometimes I´m not inspired” (REALLY? Never would have guessed…) and that “at that point you just have to rely on muscle memory and to just put one foot in front of the other and keep marching forward… Someone asks a question you don´t like (WHO?! WHO ASKED A QUESTION YOU DID NOT LIKE?! 🙊), you deal with it… You have to do some part of your job that´s tedious (like… the actual working part?), you push past it… I think a lot of times it´s just showing up… You can surprise yourself. You start a conversation, you start a concert, and before you know it you´re lost in the concert and you´re enjoying your time.”

Ugh. The vibe I get from this paragraph is that

- his creative spirit has gone dry but gotta make some dough bro (for bro)

- he’s snarky as hell

- people who don’t praise the ground he walks on make him uncomfortable

- being part of the band and travelling and dealing with fans annoys him

- concerns no longer make him feel happy/good/fulfilled as he always said they did

GRIM.

**

Seriously it was RIDICULOUS! Felt even faster and more North Korean than in Getafe! We all legit had no more than 2 seconds to pose and then we were pushed out! 😑

Total bs. No other way to put it. Treated like actual cattle

Isn’t meet and greet about being able to talk to the band like with regular folks? Since when this has become a lecture with given set of questions and seats assigned? Meh…

**

Also..

there were near-catastrophic incidents in Prague some days ago, some girls ran like cray and tripped and fell and created a domino effect and it was a mess…

JAAYYYSSUUUUSSS… :D :D

**

Thanks K! :*

***

your-little-scarlet-starlet - Thanks!  😘

Good observations! Agreed!

And yeah as far as an actual MEET and greet goes... Well, there is no meeting of any kind for 80% of the people present. Only those handful lucky ones who manage to get their question asked can actually say they kinda “met” the band. Everyone else pretty much just watched a theater performance in silence and ran through a photo session.

There is no way on earth to justify the price tag they have set for this event with what they offer back. 

(Tabasco is Dangerous Night! You know... “Man on fire...”  😉)

(Disclaimer and rules)

[metalindex-hu]

„We worked with a lot of passion and enthusiasm on this record!”

„We worked with a lot of passion and enthusiasm on this record!” - http://metalindex.hu/2021/01/25/we-worked-with-a-lot-of-passion-and-enthusiasm-on-this-record/ -

Drummer Husky about Asphyx’s new album Necroceros

Dutch monsters known as Asphyx are equal to the notion of true, traditional Death/Doom Metal. They belong among those few groups that never released a single bad record – in my humble opinion. This year the band came out with its tenth effort, titled Necroceros and drummer Stefan „Husky” Hüskens was kind enough to share his thoughts about this new masterpiece.

Husky, although you have been for six years the drummer of Asphyx, how did you join them to replace Bob Bagchus? Were you their first choice or did they audition other drummers as well?

Hey, how are you? I hope all is fine and the pandemia didn’t hit you that hard and all your friends and family are in good health! To your question… I think I was first choice. After Bob told them that he can’t/will not do any longer Asphyx, I think Martin and Alwin spoke about new drummers and Alwin told them to ask me. After they did I was really surprised and proud being asked from 1 or your 2 alltime faves to pound the drums. After the first rehearsal it was sure, that the chemistry between us is really something special. I am, like everyone in the band, is proud beeing an Aspyhx member. This means everything to me!

To what extent were you familiar with the band? What are your favourite releases of them?

I know Asphyx since my very beginnings in Death Metal. A friend of mine from my hometown showed me in the beginning of the 90’s The Rack and I was blown away! That was Death Metal I wanna listen to! Raw, dirty and heavy! From that time on I was a huge fan! And The Rack was always the non plus ultra for Death Metal. I was so proud to got in touch with Eric and Bob back in time when they started Soulburn which was back than nothing more or less than Asphyx! Wannes was a good friend of mine because Desaster and Pentacle placed many shows together back then. So after they returned as Asphyx to record/release The Wings of Inferno, Infernal (Desaster) and I did a show with Asphyx, Warhammer and Divine Genocide (with Guido/Sataniac on vokills/bass) at our local youth club which was sold out and that was also the key point why Sataniac joined Desaster some years later! Funnywise Hont, new drummer in Desaster also was playing drums that night for Divine Genocide.

Before I ask you about the new record, what kind of purposes did the Last One on Earth single serve that was released in August by Church of Vinyl Records?

I was suprised when I saw pics of this on Facebook. All older releases are of course in the hands of Bob and Eric. So they sometimes allow people to do some special releases and we normally get a free copy. Which makes me as a collector more than happy. I love that shape, looks amazing!

At which point did you start writing the material for the new album?

Oh, we started writing the new album some years ago. But I must say that Asphyx is a kinda rehearsing lazy. We had like 3-5 rehearsals for the whole record before we entered the studio. Most songwriting we do at the recording studio. Paul comes up with ideas and than we start working on the construction of the song. So at the end, since the last album was out, Paul started collecting new riffs for Necroceros.

Your chief songwriter is guitarist Paul Baayens, does it mean, that all of the songs were written by him alone or did you also conduce with any ideas?

I am a drummer, no musician…. :-). So I can’t write any riffs etc. I can help to build a song with riffs, but the riff must come from someone else! And Paul is the riffmaster in Asphyx. He is the master! He knows how Asphyx 2020 has to sound like. I love his Black Sabbathized riffing. All his riffs are true headbangers and fistraisers!

According to singer Martin Van Drunen, the guys started jamming with all the riffs and arranging the songs together. Did you also engage in those rehearsals or did you work out your parts for yourself and sent them to the guys?

There is no his or my part in Asphyx. We work as a real band. As I said, Paul comes up with riffs and some drum beats. All the rest we do together at the recording studio.

How much material did he have written? In what aspects did you choose the songs that made the record?

We had 1,5 songs extra, which will be on the special edition of the record. Full Death Metal scenario is a fast banger. Martin is telling his thoughts about the whole Covid-19 shit. That lyrics were written right after the first lockdown in March. Second song is only a half song called Death Doom Division and it was kinda make Century Media nervous. Paul found out that on the drums of Botox Implosion another riff, more 80’ speed/thrash style, also fitted. So he recorded a half song with that riffs and we sung over it with massive choruses and high screams. After that we have sent out that song to our contact at CM and told him that it’s time for Asphyx to turn into new ways. To sell more records and get rich!… :-). I think in the first second he really thought we would mean that serious! We were laughing our balls off! But honestly don’t take that song serious, it was to blame Century Media thing.

Did there remain any stuff that wasn’t used and put away for an EP or for the next album?

No!

How did the recording sessions go?

We had like 2 weekends for drum recordings and rehearsal. Was good fun with some beer and snacks. First rehearsal/recording was in the middle of the first lockdown. We all had to take care to keep the 1,5 m distance, but it worked fine and all was good and safe. I thought, since the recording studio is in Enschede/NL I maybe cannot enter the Netherlands, but there still is no controls at the border! After all drums were recorded, Alwin and Paul recorded bass and guitars at Paul’s Mörser Studios, which took a couple of weeks and after that was done, Mr. Van Drunen started screaming on the new songs! Amazing times and goosebumps alarm! For this we went back to Tom Meier Recordings in Enschede!

How do you view that you have clicked into a higher a gear this time around capitalizing the free time to deliever your finest record yet?

To be honest Corona wasn’t the reason we started writing and recording a new album! That was planned earlier than this fuckin virus! It was just time for a new Deathdoomageddon!

Do you agree with Martin’s words, that since the previous Incoming Death, nothing has changed, you are well played-in together and it keeps getting better?

Yes, the understanding in the band is better than ever. We play along kinda blind and everyone knows what’s up with the others. Even me as a non-dutch guy, we are a huge family and Martin, Paul and Alwin are like real brothers for me! And this you also feel in the music and see/feel on stage!

Is the actual line up of Asphyx the most stabile, strongest one in the band’s career?

Yes, it is! Absolute! I am in the band since 2014. Six fuckin’ years! Still proud being a member of this cult band from the Netherlands!

Botox Implosion was published in early November; did it really represent what the new album is about as a whole?

Yeah, the Botox Implosion videoclip was good fun to film… :-). But in my eyes this song is only 50% representative for the new album. Necroceros in complete is a bit more heavier, darker and doomy than this song. But as you know, Asphyx is always a mix of heavy, doomy, catchy riffs and fast fucker!

In your opinion, is Necroceros manifestly heavier and more vicious than anything Asphyx have released before?

No, every Asphyx record is HEAVY! Even with all the line up changes, the red line never got lost and Asphyx was always a name for high quality death doom! Necroceros is the next step after Incoming Death and looks like it will be the next milestone in the band’s history! But this is nothing we can say, this is something our fans have to do! I am very, extremely proud of this record, since in my opinion this is the best what we can do at the moment and we worked with a lot of passion and enthusiasm on this record!

As far as I’m concerned Three Years of Famine and the closing title track are the highlights…

Thanks a lot! For me every song is a highlight, but I guess especialy live Knight Templar… and Yield or Die will be hard neckbreaker!

It was partly inspired by the horrors and frustrations of the pandemic era, isn’t it? Did the lockdown put its stamp on your mood a lot, while you were working?

Not really, it was more that we had enough time for anything else. Alwin is still working, Paul also. Martin is at home and myself is renovating a house. So it was good to write and record the album in March! But Corona was not a big influence on that record! Fuck it! This little virus asshole is destroying our dreams!

What are your comments regarding the title? What does it refer to?

We build a new huge monster which is called Necroceros. Maybe we start a comic series! The incredible Necroceros! Yes, that was Martin’s idea behind the title! The doomy monster known as Necroceros! I loved it from the beginning! It is the right title for this record. Necroceros is heavy, doomy and brutal! So, if someone wanna do a comic, let us know!

How about soundwise? According to Martin, the only thing the band changed is, that you wanted to try out something with a different mixer. Did Sebastian Levermann manage to do what you wanted to achieve the album with?

Even better! We thought it was time for a change soundwise. Seeb is more wellknown for recording/mixing heavy/speed/bombast metal bands. But I knew that he is a huge Death Metal and specially Asphyx fan. So we checked with him. I am really happy with the sound. For me and my drums there is no better recording exisiting than this! 2nd best was The Arts of Destruction from Desaster and Seven Inches for the Second Attack by Metal Inquisitor! Really happy and satisfied with Seeb’s job! I love Swanö and I am a huge fan of Edge Of Sanity and most of his other projects. But it was time for a change.

Does Necroceros somewhat differ in terms of sound, songwriting, arrangement etc. compared to its predecessor or to the early Asphyx releases?

Like in all Aspyhx albums you still can find the red line. Even after so many line up changes, the Asphyx vibe is on every record. But of course Paul is a different guitar player than Eric for example. But we all in the band know how Asphyx has to sound like. On the new album we tried a new guy behind the mixing desk. Seeb from Greenmann Studios (Orden Ogan) took over and we are soooo happy with the result. He did an amazing job! But as written before all sounds still Asphyx-ish!

Are all of you satisfied with the end result? Does the album remain true to the band’s seminal legacy?

Since I started listen to metal I am also a huge Asphyx fan, so I know how Asphyx need to sound like. I think in every record you find the red line and that’s what Asphyx is all about. Death Metal! Aspyhx is a huge family. We are still in contact with most all of the older members and escpecially Bob is kinda involved. Most things we do let him know and he is happy where Asphyx is now.

Asphyx’s debut record The Rack turns 30 in 2021; are there any plans in mind performing the whole material in live situation? What are your plans for 2021 in general?

We’ll have a Live Stream Release show in 2 weeks. Many shows are booked and planned, but lets see how the fuckin’ virus situation is going. We are ready to enter the stages again and bring Necroceros to the masses! Lets hope the best!

Are you, Paul Baayens and bassist Alwin Zuur still involved in any other bands/projects or are you fully concentrating on Asphyx?

Paul is still in Thanatos and Siege of Power. Alwin is in Berzerker Legion, Gods Forsaken and Grand Supreme Bloodcourt (tbc). Myself is in Carnal Ghoul, Rotten Casket and Trinitas so far. I try to do some more stuff with Rotten Casket at the moment. Carnal Ghoul is on ice and Trinitas is kinda project.

Husky, thanks a lot for your answers! Please, share your last thoughts with the Hungarian readers!

Thanks for this interview! Wish you all a lot of health and lets hope that the virus is crushed down soon! We need live shows again! Check our the new album and stay METAL! Cheers!

[ts1989fanatic]

All 115 of Taylor Swift's Songs, Ranked

From teenage country tracks to synth-pop anthems and little-known covers, a comprehensive assessment and celebration of Swift's one-of-a-kind songbook

Taylor Swift the celebrity is such a magnet for attention, she can distract from Taylor Swift the artist. But Swift was a songwriter before she was a star, and she'll be a songwriter long after she graduates from that racket. It's in her music where she's made her mark on history – as a performer, record-crafter, guitar hero and all-around pop mastermind, with songs that can leave you breathless, or with a nasty scar. She was soaring on the level of the all-time greats before she was old enough to rent a car, with the crafty guile of a Carole King and the reckless heart of a Paul Westerberg – and she hasn't exactly slowed down since then.

So with all due respect to Taylor the myth, the icon, the red-carpet tabloid staple, let's celebrate the realTaylor – the songwriter she was born to be. Let's break it down: all 115 tunes, counted from the bottom to the top. The hits, the flops, the deep cuts, the covers, from her raw 2006 debut as a teen country ingénue to "...Ready for It?" – her latest offering. Every fan would compile a different list – that's the beauty of it. But they're not ranked by popularity, sales or supposed celebrity quotient – just the level of Taylor genius on display, from the perspective of a fan who generally does not give a rat's nads who the songs are "really" about. All that matters is whether they're about you and me. (I guarantee you are a more fascinating human than the Twilight guy, though I'm probably not.)

Sister Tay may be the last true rock star on the planet, making brilliant moves (or catastrophic gaffes, because that's what rock stars do). These are the songs that sum up her wit, her empathy, her flair for emotional excess, her girls-to-the-front bravado, her urge to ransack every corner of pop history, her determination to turn any chorus into a ridiculous spectacle. So let's step back from the image and pay homage to her one-of-a-kind songbook – because the weirdest and most fascinating thing about Taylor Swift will always be her music.

115. "Bad Blood" (2014)

Melodically parched, lyrically unfinished, rhythmically clunky – this was a mighty strange pick for a single from an album as loaded as 1989. There are a million things Taylor has in common with Paul McCartney – one is that celebrity grievances tend to sound like a penny-ante waste of their time, even when they're totally understandable (unless you're a fan of Macca's "Dear Boy," where John Lennon is his Katy Perry). The single remix is improved by Kendrick Lamar – but he wasn't saving his A-game for this one.

Best line: "Band-Aids don't fix bullet holes."

114. "Santa Baby" (2007)

Yes, she made a Christmas album, which is full of contenders for the basement of this list. But an oldie about a gold digger wooing Little Saint Nick was perhaps a dubious pick for a singer still in her teens.

Best line: "I've been an awful good girl."

113. "A Place in This World" (2006)

Apprentice work from the debut, when she was still learning the ropes as a country songwriter. Yet, the seeds of greatness are already there. Historical significance: This was the song where Tay discovered rain imagery, which in her hands was the equivalent of Sir Isaac Newton inventing calculus.

Best line: "I'll be strong/I'll be wrong/But life goes on."

112. "Christmas Must Be Something More" (2007)

A hymn about how Jesus is the reason for the season, with the hook, "So here's to the birthday boy who saved our lives." Unlike most boys Swift sings about, Jesus didn't comment publicly.

Best line: "What would happen if God never let it snow?"

111. "I'm Only Me When I'm With You" (2006)

Could there be a less Swiftian sentiment? For better or worse, this girl is always herself. That's kinda the point.

Best line: "I'm only up when you're not down/Don't wanna fly if you're still on the ground."

110. "Two Is Better Than One" With Boys Like Girls (2009)

A long, long, very long duet with former Good Charlotte and Fall Out Boy tourmates Boys Like Girls, who are either from London or Nashville (they seem to switch accents at random).

Best line: "You already got me coming…undone."

109. "Out of the Woods" (2014)

Taylor loves to sing about boyfriends who are terrible drivers, but this guy takes the prize – he crashes her snowmobile and gets 20 stitches in the hospital. Call a cab, girl.

Best line: "Two paper airplanes flying, flying, flying."

108. "Silent Night" (2007)

This bizarre version manages to miss almost every single note in the melody. They sure were in a rush to get this Christmas album out.

Best line: "Shepherds quake at the sight."

107. "Both of Us" With B.o.B (2012)

Nice try at remaking "Airplanes," but that Hayley Williams lightning does not strike twice.

Best line: "Your money's all gone, and you lose your whip."

106. "The Last Time" With Gary Lightbody (2012)

Her duet with the guy from Snow Patrol. Unfortunately, their voices don't mesh at all – what, is he auditioning for a Spandau Ballet tribute band? The funny moment is the très Eighties synth-horn blurp at the three-minute mark.

Best line: "This is the last time I'm asking you this/Put my name at the top of your list."

105. "The Outside" (2006)

Still a rookie, still learning, still trying to get away with "read between the lines" and "the road less traveled by" in the same verse.

Best line: "Nothing ever works the first few times/Am I right?"

104. "Girl at Home" (2012)

A perfunctory cheating-is-bad homily, with barely any chorus.

Best line: "I feel a responsibility/To do what's upstanding and right."

103. "Come in With the Rain" (2008)

She leaves her window open overnight, just in case her ex falls out of a cloud. There's a great "oooh" in the second chorus – one of those moments you can tell she's an Oasis fan. (This song makes you suspect "Don't Look Back In Anger" is a fave.)

Best line: "I could stand up and write you a song/But I don't wanna have to go that far."

102. "Half of My Heart" With John Mayer (2009)

The real prize from his Battle Studies album is "Heartbreak Warfare"; this is lesser J.M., with an underexploited T.S. cameo and an increasingly irritating premise of hearts having fingers, which they don't. No wonder the girl in the dress cried the whole way home.

Best line: "Half of my heart's got a grip on the situation."

101. "The Other Side of the Door" (2008)

Again with the slamming doors. Tay Tay – even the great songwriters can get away with exactly one slamming door per career. And just to be on the safe side, she throws in pouring rain, photo albums, a little black dress (which rhymes with "mess" and "confess"), a guy throwing pebbles at her window….In other words, this would be the ultimate Swift song – except there are a hundred better ones.

Best line: "Me and my stupid pride, sitting here alone/Going through the photographs, staring at the phone."

100. "Superman" (2010)

A Lois Lane fantasy, left off Speak Now for good reason.

Best line: "Tall dark and beautiful/He's complicated, he's so irrational."

99. "Cold as You" (2006)

"I start a fight because I need to feel something" – give her credit for honesty, even in this raw phase.

Best line: "Oh, every smile you fake is so condescending."

98. "If This Was a Movie" (2010)

"Good evening, sir. May I help you? You're a guy in a Taylor Swift song who wants to stand outside the window in the pouring rain, begging the love of your life to forgive your sorry ass? Take a number and get in line. No, that line."

Best line: "But I take it all back now!"

97. "Sweeter Than Fiction" (2013)

A warm-up for the synth-pop of 1989, from the One Chancesoundtrack.

Best line: "What a sight when the light came on."

96. "A Perfectly Good Heart" (2006)

"It's not unbroken anymore"? Paging the eminent cardiologist Dr. Toni Braxton.

Best line: "Why would you wanna make the very first scar?/Why would you wanna break a perfectly good heart?"

95. "White Christmas" (2007)

Unlike "Silent Night," this was a yuletide carol she could handle, with a straight-down-the-middle country rendition.

Best line: "Where the treetops glisten."

94. "Never Grow Up" (2010)

A folksy fingerpicking change of pace on Speak Now, pining for childhood innocence – though it feels more like a leftover from the debut.

Best line: "You're mortified your mom's dropping you off."

93. "I Don’t Wanna Live Forever" With Zayn Malik (2016)

Neither she nor Zayn sound deeply interested in this dueling-falsettos battle from the Fifty Shades Darker soundtrack. Maybe it works in the movie, but who wants to go find out? Really, they sound like two ghosts standing in the place of…sorry, sore subject, let's drop it.

Best line: "I've been feeling sad in all the nicest places."

92. "You Are in Love" (2014)

One of her through-the-years romances, this one featuring a snow globe.

Best line: "For once you let go of your fears and your ghosts."

91. "Mary's Song (Oh My My)" (2006)

Another through-the-years romance, but with a sweet homespun touch.

Best line: "I'll be 87, you'll be 89/I'll still look at you like the stars that shine in the sky."

90. "Highway Don't Care" With Tim McGraw and Keith Urban (2013)

A duet from McGraw's album Two Lanes of Freedom, with a guitar solo from Keith Urban. The plot: His ex is driving away, listening to a Taylor song on the radio, as Tay tries to coax the woman into turning the car around and going home. Perhaps McGraw's finest duet since his great lost Nelly jam, "Over & Over."

Best line: "I bet you're bending God's ear talking 'bout me."

89. "Change" (2008)

Oh, the fall of 2008 – Chuck and Blair were still an item, Suede was killing it on Project Runway, and "Change" was a de facto victory song for Obama, complete with a thumbs-up for "the revolution." Yeah, those were different times.

Best line: "These walls that they put up to hold us back will fall down."

88. "Nashville" (2010)

A cover of an obscurity by country singer David Mead, tucked away as a bonus on the Target edition of the Speak Now Tour Live DVD.

Best line: "Was that a blood or wine stain on your wedding dress?"

87. "The Sweet Escape" (2010)

From the same live DVD, a remake of the Gwen Stefani solo hit. Taylor's vocal sure fits the Gwen just-a-girl sensibility.

Best line: "I must apologize for acting stank."

86. "Look What You Made Me Do" (2017)

The reason fans once cared about rap beefs: They inspired great songs, whether it was Queens vs. the Bronx ("The Bridge" vs. "The Bridge Is Over" vs. "Have a Nice Day") or LL Cool J vs. Kool Moe Dee ("How Ya Like Me Now" vs. "Jack the Ripper" vs. "Let's Go" vs. "To Da Break of Dawn"). But this just sounds like a trivial time-waster by her standards – Swift's celebrity feuds are not really one of the hundred most interesting things about her. The main attraction here is the retro Panic! at the Disco vibe. Here's hoping it gets outshined by the rest of Reputation, the way "Shake It Off" was instantly eclipsed by the rest of 1989.

Best line: "It's much better to face these kinds of things with a sense of poise and rationality." Oh wait – that actually is Panic! at the Disco.

85. "Stay Beautiful" (2006)

An early stab at a take-the-high-road breakup song.

Best line: "He whispers songs into my window."

84. "I Want You Back" (2010)

A live acoustic tribute to the then-recently departed Michael Jackson, with a bit of Motown tremble in her voice.

Best line: "Now it's much too late for me to take a second look."

83. "The Way I Loved You" (2008)

She meets a low-stress boy who doesn't want love to be torture. Alas, this suitor is toast, because he reminds her how much she misses the manic pixie drama vampire she dated before. Sorry, dude – she loves the players, and she loves the game.

Best line: "He respects my space/And never makes me wait."

82. "Thug Story" With T-Pain (2009)

The classic T-Pain and Taylor duet from the 2009 CMT Awards, still T-Swizzle's finest rap performance.

Best line: "No, I never really been in a club/Still live with my parents, but I'm still a thug/I'm so gangsta you can find me baking cookies at night/You out clubbing, but I just made caramel delight."

81. "I Wish You Would" (2014)

One of her many, many songs set at 2 a.m. – clearly the most inspiring hour on Swift Standard Time – with a staccato disco guitar lick.

Best line: "We were a crooked love in a straight line down."

80. "Umbrella" (2008)

The Rihanna hit, briefly covered on the Live in SoHo digital album. Her finest Ri tribute remains her 2011 version of "Live Your Life" with T.I. onstage in Atlanta – sadly unreleased, but a duet that deserves to be enshrined for the ages.

Best line: "Stand under my umbrella, ella, ella."

79. "I Heart ?" (2008)

The trad country sound she soon left behind, from her Beautiful EyesEP.

Best line: "Wake up, and smell the breakup/Fix my heart, put on my makeup."

78. "Breathe" (With Colbie Caillat) (2008)

A gorgeous duet full of low-key nuances – her humming after the first verse, that "sorry, sorry, sorry" fade, the way Colbie's voice lifts hers.

Best line: "It's tragedy, and it'll only bring you down."

77. "The Moment I Knew" (2012)

A somber piano ballad about getting stood up on your 21st birthday.

Best line: "There in the bathroom/I try not to fall apart."

76. "Untouchable" (2008)

A rare case where she retools somebody else's song on one of her proper albums – the all-but-unknown Y2K-era rock band Luna Halo, who went on to open for Hoobastank. Her Fearless version sounds practically nothing like their original (though both name-check .38 Special's Eighties classic "Caught Up in You"). In fact, it's tough to fathom how she heard the original as raw material she could use – now that's ears.

Best line: "In the middle of the night when I'm in this dream/It's like a million little stars spelling out your name."

75. "Pour Some Sugar On Me" With Def Leppard (2008)

She makes a daring leap into the hair-metal mom market by teaming up with Def Leppard on CMT Crossroads, a move that works almost frighteningly well. Peak glam, especially when she asks the gender-torching question, "Demolition woman, can I be your man?"

Best line: "Do you take sugar? One lump or two?"

74. "Christmases When You Were Mine" (2007)

Taylor writes her own ace lovelorn holiday standard, ambushing her ex with one of those squirm-packed Merry-Christmas phone calls. Awkward question: "When you were putting up the lights this year/Did you notice one less pair of hands?" Eat your heart out, Mariah.

Best line: "I bet you got your mom another sweater."

73. "American Girl" (2009)

A bang-up claim on the Tom Petty classic – she used his original as her live entrance music for a while. Then she switched to Lenny Kravitz's "American Woman."

Best line: "Oh yeah! All right!"

72. "Invisible" (2006)

A teen ditty about a boy who doesn't realize she's alive, from pretty much the last moment in history that was possible. Clever pop-obsessive touch: The final steel-guitar twang echoes Elton John's "Rocket Man." If you think that's an accident…this is Planet Tay. There are no accidents.

Best line: "We could be a beautiful miracle, unbelievable, instead of just invisible."

71. "Jump Then Fall" (2008)

Ironclad rule of pop music: Songs about jumping are never a bad idea. Dig that "listens to Sublime once" vocal.

Best line: "I watch you talk, you didn't notice."

70. "Breathless" (2010)

Digging deep in the Nineties modern-rock crates, she does right by a previously obscure (to me) nugget from the New Orleans band Better Than Ezra – from 2005!, 10 years after their MTV hit! – as a charity benefit for the Hope for Haiti Now album.

Best line: "I'll never judge you/I can only love you."

69. "Superstar" (2008)

"You smile that beautiful smile, and all the girls in the front row scream your name." No relation to the 1970s Leon Russell ballad immortalized by the Carpenters – except they're both poignant ballads about groupies crushing on distant guitar boys. Well, as Journey warned, lovin' a music man ain't always what it's supposed to be.

Best line: "You sing me to sleep every night from the radio."

68. "Crazier" (2009)

Her ballad from Hannah Montana: The Movie, snagging her a cameo in the film. (But the highlight of the soundtrack will always be "Hoedown Throwdown.") This is where Taylor and Miley crossed light sabers – although they'd meet again. Great title, too – even Taylor might probably admit Miley had her beat in this department, at least until the "Blank Space" video.

Best line: "Every sky was your own kind of blue."

67. "Innocent" (2010)

Little-known fact: Did you know Kanye West once went onstage to interrupt Swift's acceptance speech at the VMAs and threw a misogynist tantrum about how she didn't deserve an award? Strange but true! "Innocent" was her song publicly forgiving him – seven freaking years ago – then they both released brilliant albums, and we all moved on with our lives. Dear Lord, if only this story had ended there.

Best line: "It's okay/Life is a tough crowd."

66. "Come Back…Be Here" (2012)

A yearning prayer for a rock & roll boy on tour, weak in the knees as she pleads for him to jet back on any terms he chooses.

Best line: "I guess you're in London today."

65. "Tied Together With a Smile" (2006)

An unsung highlight of the debut – a teen pep talk about self-esteem.

Best line: "Seems the only one who doesn't see your beauty/Is the face in the mirror looking back at you."

64. "Last Christmas" (2007)

Tay does the Wham! legacy proud – she should have also covered "Wake Me Up Before You Go-Go." The ache and quaver of her voice fit the George Michael melancholy; this might be the saddest "Last Christmas" since the original. Plenty of us communed with this version last Christmas, the night we said goodbye to the guy who wrote it. R.I.P., George Michael.

Best line: "A girl on a cover, but you tore her apart."

63. "Tell Me Why" (2008)

From Neil Young to the Beatles, "Tell Me Why" songs are tough to screw up, and even at 19, Tay's too seasoned to let that happen.

Best line: "I need you like a heartbeat/But you know you got a mean streak."

62. "Beautiful Eyes" (2008)

If you're a fan of Swift's Nineties modern-rock radio jones – one of her most fruitful long-running obsessions – check out this shameless tribute to the Cranberries. (But did she have to let it linger? Did she have to? Did she have to?)

Best line: "Baby, make me fly."

61. "Everything Has Changed" (2012)

She and Ed Sheeran wrote this duet together in her backyard while bouncing on a trampoline, because of course they did.

Best line: "All I've seen since 18 hours ago is green eyes and freckles and your smile."

60. "Love Story" (2008)

Romeo meets Juliet: proof that star-crossed teen romances never go out of style. She's kept going back to the well of Shakespearean tragedy, quoting Julius Caesar in the "Look What You Made Me Do" video. It's never been clear what the line "I was a scarlet letter" is doing in this song, but now it's a hint that Tay was just a few years away from going full Hester Prynne in "New Romantics."

Best line: "Just say yes."

59. "Speak Now" (2010)

In real-life weddings, the preacher hardly ever invites the groom's ex up to interrupt the ceremony. But if you're a fan of Tay in stalker mode, this is priceless – crouching behind the curtains in the back of the church, waiting to pounce. "Horrified looks from everyone in the room" – you don't say.

Best line: "It seems I was uninvited by your lovely bride-to-be."

58. "Shake It Off" (2014)

A clever transitional single – great verses, grating chorus, pithy lyrics with a shout-out to her obvious inspiration, Robyn's "Dancing on My Own." As a lead single, "Shake It Off" might have seemed meager after 1989 came out – she was holding back "Blank Space" and "Style" and (Lord have mercy) "New Romantics" for this? But "Shake It Off" got the job done, serving as a trailer to announce her daring Eighties synth-pop makeover.

Best line: "It's like I got this music in my head, saying it's gonna be all right."

57. "Better Than Revenge" (2010)

One of the basic rules of stardom is "never punch down" – don't go after somebody one-thousandth as famous as you – but rules were made to be broken, and Taylor is the girl made to break them. Here, she goes Bruce Lee on a sexual rival who may or may not be the actress who had Alyssa Milano as her babysitter in the erotic thriller Poison Ivy 2. But as usual with Swift, her self-owns are the funniest part of the song.

Best line: "She thinks I'm psycho because I like to rhyme her name with things."

56. "Welcome to New York" (2014)

People sure do love to complain about this song – in fact, the most authentically New York thing about it is how it sends people into spasms of mouth-foaming outrage. An explicitly queer-positive disco ode to arrivistes stepping out in the city that invented disco – "You can want who you want, boys and boys and girls and girls" – that will be bugging the crap out of you in rom-coms for years to come. (It made me throw a napkin at my in-flight screen during How to Be Single, when Dakota Johnson's cab is going the wrong way on the Brooklyn Bridge – and I love this song.) Bumped up a few bonus notches for pissing everyone off, since that's one of this girl's superpowers.

Best line: "Searching for a sound we hadn't heard before/And it said welcome to New York."

55. "Drops of Jupiter" (2010)

I mistakenly thought this Train hit was deep-fried garbage until I heard Swift's version and realized, "Hey, she's right – this is the best soy latte I've ever had!" Props to Tay for bringing out the hidden greatness in this song – the stargazing lyrics and her voice go together like Mozart and tae bo. (The astrophysicist in my life would like me to point out that you can't "make it to the Milky Way" because that's the galaxy we already live in. In fact, you couldn't leave the Milky Way if you tried. Science!)

Best line: "Tell me, did Venus blow your mind?"

54. "Haunted" (2010)

Enchanted to meet you, Goth Taylor. We'll meet again.

Best line: "Something keeps me holding on to nothing."

53. "Today Was a Fairy Tale" (2011)

Don't let the title scare you away – it's a plainspoken and genuinely touching play-by-play recap of a worthwhile date. In fact, "Today Was a Fairy Tale" and "If This Was a Movie" should trade titles, since this one feels realer and would make a better movie. It could rank higher, except she hugely improved it when she rewrote it as "Begin Again." (Docked a couple notches for coming from the soundtrack of Valentine's Day, which is the most dog-vomit flick Jessica Alba has ever made, and I say that as someone who paid money to see The Love Guru.)

Best line: "I wore a dress/You wore a dark gray T-shirt."

52. "All You Had to Do Was Stay" (2014)

A 1989 banger that could have made an excellent single – it sounds a bit like "Out of the Woods," except with a livelier chorus and a stormier range of electro-Tay sound effects.

Best line: "Let me remind you that this was what you wanted."

51. "Eyes Open" (2012)

Finally, her long-overdue metal move, from The Hunger Games: Songs from District 12 and Beyond.

Best line: "Every lesson forms a new scar."

50. "Treacherous" (2012)

"Put your lips next to mine/As long as they don't touch" – now there's an entrance line. Taylor braves the ski slopes of love, with a seething acoustic guitar that finally detonates halfway though.

Best line: "Nothing safe is worth the drive."

49. "You Belong With Me" (2008)

One of her most pop-friendly early hits, singing in the role of a high school geek crushing on her best guy friend. When he comes out in college, they'll have a few laughs about this. (And never let us forget the wisdom of Alicia Silverstone in Clueless: "Searching for a boy in high school is as useless as searching for meaning in a Pauly Shore movie."

Best line: "She wears high heels, I wear sneakers/She's cheer captain, and I'm on the bleachers."

48. "I Almost Do" (2012)

A Red slow jam that could have worked even better sped up into a punked-out rocker – though it's plenty affecting as is.

Best line: "Every time I don't, I almost do."

47. "...Ready for It?" (2017)

If by "it" you mean "literally any song that isn't 'Look What You Made Me Do,'" the answer is "extremely ready." A major rebound from her previous release, a week earlier – the chorus of this one actually sounds like a Swift song, with a little air in the mix, giving the room she needs to pull off her intricate breathy effects. Max Martin knows how to shape a production around her voice. A hopeful omen for the rest of Repu TAY shun (hey, I just got that).

Best line: "You can be my jailor/Burton to my Taylor."

46. "Stay Stay Stay" (2012)

"Before you, I only dated self-indulgent takers" – but here she turns into a self-indulgent taker herself and (surprise!) she likes it, a phone-throwing nightmare dressed like a grocery-shopping daydream. She finally meets a guy who can roll with her mood swings – even if she's more in love with the mood swings than with the guy.

Best line: "You came in wearing a football helmet and said, 'Okay, let's talk.'"

45. "Safe and Sound" (2012)

She ventures into rootsy folkie territory on the Hunger Gamessoundtrack, teaming up with the Civil Wars and producer T Bone Burnett, exploring crevices of her voice she hadn't opened up before. Everyone steps out of their comfort zone, and it works. The Swift-Burnett connection raises the question of how long it'll take her to collaborate with Elvis Costello, a songwriter with whom she shares some fascinating affinities. At the very least, Tay should cover "New Lace Sleeves."

Best line: "Don't you dare look out your window, darling/Everything's on fire."

44. "Ronan" (2012)

A little-known charity single for cancer research, unlike anything else in her songbook. She wrote this about Ronan Thompson, a four-year-old Arizona boy who died of neuroblastoma, after she read his mom's blog. She turned the blog entries into a disarmingly eloquent ballad (crediting Maya Thompson as co-writer) and performed "Ronan" at the Stand Up to Cancer benefit. You might expect it to be manipulative and obvious; it isn't.

Best line: "We had our own secret club."

43. "You're Not Sorry" (2008)

A dramatic piano-and-strings ballad from Fearless, showing off how much her voice has deepened between her first two albums.

Best line: "It's taken me this long, baby, but I figured you out."

42. "I Know Places" (2014)

She goes all Kate Bush, pursued across the moors by the hounds of love. This 1989 deep cut is underrated, but count on "I Know Places" to loom large in her canon over the years.

Best line: "My love, they are the hunters, we are the foxes."

41. "Bette Davis Eyes" (2010)

Her kickiest left-field cover, from Speak Now Live. "I'd love to play you some music that I'm a fan of that's come from L.A. – is that OK?" she asks the West Coast crowd, strumming her guitar. "This one came out in 1981 – eight years before I was born!" Virtually nobody seems to recognize it or sing along. Kim Carnes hit Number One with "Bette Davis Eyes," but it was written by the great Jackie DeShannon, the only songwriter to collaborate with both Randy Newman and Jimmy Page. (Page wrote "Tangerine" for DeShannon!) The fact that Swift loves this classic ode to romantic espionage explains a lot.

Best line: "She's pure as New York snow/She's got Bette Davis eyes."

40. "Wonderland" (2014)

Why did it take her five albums to get to Alice in Wonderland? Needless to say, Taylor Alison Swift fits right in on the other side of the looking glass, with white rabbits and Cheshire cats. Feed your head!

Best line: "It's all fun and games till someone loses their mind."

39. "The Lucky One" (2012)

She's so lucky, she's a star. For the record, T.S. did cover "Lucky" live once (and damn well, too), as a Britney tribute in Louisiana back in 2011.

Best line: "It's big black cars and Riviera views/And your lover in the foyer doesn't even know you."

38. "Wildest Dreams" (2014)

You rang, Goth Taylor? At first this might have seemed like a minor pleasure on 1989, but it really sounds stronger and stronger over the years, especially when she hiccups the words "my last request ih-ih-is." The video features giraffes and zebras.

Best line: "He's so tall and handsome as hell/He's so bad, but he does it so well."

37. "White Horse" (2008)

Teen Romantic Tay meets Bitter Adult Tay in a superbly disenchanted breakup ballad that gives up on princesses and fairy tales.

Best line: "I'm not the one you'll sweep off her feet/Lead up the stairwell."

36. "Starlight" (2012)

"Oh my, what a marvelous tune" seems like a dauntingly quaint chorus, yet she makes it stick, in what sounds like an F. Scott Fitzgerald-themed whirlwind romance. That hook comes straight from the AC/DC playbook (specifically, the opening lines of "You Shook Me All Night Long") – the sign of a truly sick pop scholar.

Best line: "We snuck into a yacht-club party/Pretending to be a duchess and a prince."

35. "Picture to Burn" (2006)

The dawn of Petty AF Tay, as she serves her ex beatdown threats. Every boy who ever complained when Taylor wrote about him – this is where you officially got fair warning.

Best line: "Let me strike a match on all my wasted time."

34. "Forever and Always" (2008)

She added this to Fearless at the last minute – just what the album needed. It's a blast of high-energy JoBro-baiting aggro on her most anomalously shade-free album. "It rains in your bedroom" is a very on-brand Tay predicament.

Best line: "Did I say something too honest? Made you run and hide like a scared little boy?"

33. "Back to December" (2010)

One of the rare ballads where she goes crawling back to an ex she treated like dirt – and she's surprisingly effective in the role. Although breaking into the guy's house is a little extreme. (If she's blocked by the chain on his door, that means she already picked the lock, right?) And sorry, but you're seriously dreaming if you think I'm bothering to Google the name of that Twilight guy, don't @ me.

Best line: "It turns out freedom ain't nothing but missing you."

32. "The Best Day" (2008)

Her tribute to Mama Swift. A weapons-grade tearjerker and not to be trifled with in a public place. NSFW, unless you are a professional crier.

Best line: "You were on my side/Even when I was wrong."

31. "The Story of Us" (2010)

You could credit this hit with single-handedly driving John Mayer out of the pop heartthrob business and into the Grateful Dead – which is just one of the things to love about it. Along with the Joey Ramone-style way she says, "Next chapter!"

Best line: "See me nervously pulling at my clothes and trying to look busy."

30. "How You Get the Girl" (2014)

She busts out her trusty acoustic guitar, teardrop stains and all, just to turn it into a beatbox.

Best line: "Stand there like a ghost shaking in the rain/She'll open up the door and say 'Are you insane?'"

29. "Hey Stephen" (2010)

Loaded with classic girl-group flourishes, right from the opening "Be My Baby" drum beat. Plus, it begins and ends with her finest humming solos. If she wanted to hum on every song, she could make that work.

Best line: "All those other girls, well, they're beautiful/But would they write a song for you?"

28. "Should've Said No" (2006)

A pissed-off highlight of the debut, with an Oasis-worthy chorus. Savor the perfect Liam Gallagher way she milks the vowels of "begging for forgiveness at my fee-ee-eet."

Best line: "It was a moment of weakness, and you said yes."

27. "Last Kiss" (2010)

Toward the end of Speak Now, when you're already wrung out from sad songs and begging for mercy, this six-minute quasi-doo-wop ballad creeps up on you to inflict more punishment. One of those flawless Nathan Chapman productions – so sparse, so delicate, flattering every tremor of her voice.

Best line: "I'm not much for dancing, but for you I did."

26. "Teardrops on My Guitar" (2006)

One of her defining early smashes – and the one that marked her crucial crossover to the minivan-mom adult audience, where country stars do most of their business. It also inspired the first anti-Taylor answer song – Joe Jonas sang, "I'm done with superstars/And all the tears on her guitar" in 2009, on the JoBros' instantly forgotten Lines, Vines and Trying Times.

Best line: "Drew walks by me/Can he tell that I can't breathe?"

25. "Sad Beautiful Tragic" (2012)

She must have heard a Mazzy Star song on the radio that morning and thought, "Hey, this sounds like fun." All the details are in place, from her woozy Hope Sandoval mumble to the way Nathan Chapman nails Sandoval's exact tambourine sound. Such an underrated Red gem, one she's almost never done live. Would any other songwriter on Earth have the sheer gall to get away with that title? Let's hope nobody tries.

Best line: "You've got your demons, and, darling, they all look like me."

24. "Mine" (2010)

"You made a rebel of a careless man's careful daughter" is one of those hooks where she seems to cram a whole life story into one line.

Best line: "I was a flight risk with a fear of falling."

23. "This Love" (2014)

A meditative 1989 nocturne – half acoustic introspection, half electro reverie – as she genuflects in the midnight hour.

Best line: "I could go on and on/And I will."

22. "22" (2012)

Approximately 22,000 times more fun than actually being 22. The best song about turning the double deuce since Neil Young's "Powderfinger," if not the Stratford 4's "Telephone," it's also her first shameless disco trip, with that Nile Rodgers-style guitar flash. But the power move is that "uh oh" into the chorus – the oldest trick in the book, except she makes it sound brand new every time.

Best line: "This place is too crowded, too many cool kids."

21. "Mean" (2010)

A banjo-core Tay-visceration of people who are mean, liars, pathetic, and/or alone in life, including the ones who live in big old cities. Always a concert highlight, showcasing her murderers' row of a band, the Agency.

Best line: "Drunk and grumbling on about how I can't sing."

20. "I Knew You Were Trouble" (2012)

It slams like a lost Blondie hit, from somewhere between Parallel Lines and Eat to the Beat. The way she sings the word "drown-i-i-i-ing" alone makes it.

Best line: "He was long gone when he met me/And I realize the joke is on me."

19. "Tim McGraw" (2006)

We knew she was trouble when she walked in – or at least we should have guessed from her debut single. You couldn't make this up – a nervy high school kid shows up with a country ballad she whipped together after math class one day, about slow dancing in the moonlight to the pickup truck radio: "When you think Tim McGraw/I hope you think of me." Within a couple of years, she's an even bigger star than McGraw is.

Best line: "He said the way my blue eyes shined/Put those Georgia pines to shame that night/I said, 'That's a lie.'"

18. "Style" (2014)

Not always a subtle one, our Tay. This extremely 1986-sounding synth-pop groove is full of hushed-breath melodrama, where even the guy taking off his coat can feel like a plot twist. (Why would he keep his coat on? This is his apartment.) And the long-running songwriting badminton between her and Harry Allegedly is pop call-and-response the way it ought to be – no matter how much misery it might bring into their personal lives, for the rest of us it means one great tune after another. (Yeah, OK, plus the one about the snowmobile.)

Best line: "You got that James Dean daydream look in your eye/And I got that red lip classic thing that you like."

17. "State of Grace" (2012)

She opens Red with one of her grandest love songs in arena-rock drag, and the U2 vibe makes sense since she's also got a red guitar and the truth. If "State of Grace" is her U2 song, what's the U2 song that sounds most like Taylor? Probably "All I Want Is You," though you could make a strong case for "A Sort of Homecoming."

Best line: "Up in your room and our slates are clean/Twin fire signs, four blue eyes."

16. "Sparks Fly" (2010)

"Drop everything now! Meet me in the pouring rain!" Oh, this girl loves her precipitation scenes, but "Sparks Fly" really brings the thunder. It shows off her uncanny power to make a moment sound gauchely private and messily public at the same time. (The new Waxahatchee album has another excellent song called "Sparks Fly" – no relation.)

Best line: "Just keep on keeping your eyes on me."

15. "Fifteen" (2008)

"In your life you'll do bigger things than date the boy on the football team/I didn't know that at 15." Still south of her twenties, she sings her compassionately, sisterly yet hardass advice to her fellow teenage girls. (Spoiler: Boys are always lying about everything.)

Best line: "We both cried."

14. "Ours" (2010)

Like so many of her songs, "Ours" sounds like it could be channeling the 16-blue mojo of the Replacements' punk-rock bard Paul Westerberg. (Melodically, it evokes "When It Began," though it feels more like "I Will Dare.") Especially the best line, which is possibly the best-est "best line" on this list, and which I sing to myself a mere dozen times a day.

Best line: "Don't you worry your pretty little mind/People throw rocks at things that shine."

13. "Begin Again" (2012)

"You said you never met one girl who had as many James Taylor records as you," indeed. Sweet Baby Tay drops a deceptively simple ballad that sneaks up and steamrolls all over you, as an unmelodramatic coffee date leads to an unmelodramatic emotional connection. She's always been outspoken about her mad love for her namesake JT and Carly Simon, but "Begin Again" could be the finest collabo they never wrote.

Best line: "You don't know why I'm coming off a little shy/But I do."

12. "Fearless" (2008)

Oh, Fearless, it's easy to take you for granted sometimes. The first time I heard her sophomore record (the record company literally played it over the phone for me because they were so afraid of it leaking) I thought, "Holy cats, this is a perfect pop album. She'll never top this." Then she topped it three times in a row, to the point where it's one of history's most curiously overlooked perfect pop albums. The title anthem gathers so many of her favorite tropes in one chorus – rain, cars, fancy dresses, boys who stare at her while driving instead of watching the damn road, shy girls posing as brave and faking it till they make it – and builds up to a swoon.

Best line: "You're so cool, run your hands through your hair/Absent-mindedly making me want you."

11. "Enchanted" (2010)

The moment where this bittersweet symphony leaps from a nine to a 10 comes at the 4:25 point, when it feels like the song has reached its logical conclusion, until the Interior Monologue Voice-Over Taylor beams in to whisper: "Please don't be in love with someone else/Please don't have somebody waiting on you." In the final seconds, for the coup de grace, she duets with herself.

Best line: "The lingering question kept me up at 2 a.m./Who do you love?"

10. "Our Song" (2006)

The hit that made me a Swift fan, the first moment I heard it in 2007 – it knocked me sideways in the middle of lunch. (The CW played it as interstitial music between afternoon reruns of the Clueless sitcom and What I Like About You.) "Our song is a slamming screen door," what a genius hook. I Googled to see who wrote this; it turned out the songwriter was also the singer and – how strange – she was just starting out. I hoped she might have at least another great tune or two in her. This song and that voice have kept slamming those screen doors ever since.

Best line: "We're on the phone, and you talk reeeeeal slow/'Cause it's late and your mama don't know."

9. "Red" (2012)

The mission statement for Red, this century's most ridiculously masterful megapop manifesto. Eurodisco plus banjos – the glitter-cowgirl totality Shania Twain spent years trying to perfect, with a color-tripping lyric worthy of Prince himself, faster than the wind, passionate as sin. Plus, her all-time gnarliest pileup of Swiftian metaphors. (Nitpick: What kind of crossword puzzle has no right answer? What self-respecting puzzlemaster would sign off on that?)

Best line: "Lovin' him was like driving a new Maserati down a dead-end street."

8. "Clean" (2014)

Love is the drug. "Clean" is the stark synth-folk ballad of an infatuation junkie struggling through some kind of detox, with a big assist from Imogen Heap. An intense finale for the all-killer homestretch of 1989.

Best line: "Ten months sober, I must admit/Just because you're clean don't mean you don't miss it."

7. "Holy Ground" (2012)

Nobody does zero-to-60 emotional peel outs like our girl, and "Holy Ground" is her equivalent of Evel Knievel jumping the Snake River Canyon. Note the sly brilliance of how she steals that Eighties guitar riff from none other than Billy Idol, making this her "White Wedding" as well as her "Rebel Yell." (Though the lyrics are about dancing with herself.) A highlight on the Red tour, showcasing Tay's drum-solo skills.

Best line: "Hey, you skip the conversation when you already know."

6. "Dear John" (2010)

A slow-burning, methodical, precise, savage dissection of a failed quasi-relationship, with no happy ending, no moral, no solution, not even a lesson learned – just a bad memory filed away. "Dear John" might sound like she's spontaneously pouring her heart out, but it takes one devious operator to make a song this intricate feel that way. ("You're an expert at sorry and keeping lines blurry and never impressed by me acing your tests" – she makes all that seem like one gulp of breath.) Every line stings, right down to the end when she switches from "I should have known" to "You should have known."

Best line: "I'm shining like fireworks over your sad empty town."

5. "We Are Never Getting Back Together" (2012)

Like, ever. Her funniest breakup jam, because it's her most self-mocking. She could have made the guy in this song a shady creep—a cheater, a liar, a scarf-stealer, etc. But, no, he's just a needy little run-of-the-mill basket case, exactly like her, making the same complaints about her to his own bored friends, though his complaints can't be as catchy as this chorus. And the video is a gem, especially when she's wearing the Tay Is Seriously Mad Now glasses. Where is that indie-rock bar that still has a pay phone?

Best line: "I mean, I'm just like, this is exhausting, OK?

4. "Blank Space" (2014)

A double-venti celebration of serial monogamy for Starbucks lovers everywhere, as Tay zooms through the whole cycle – the high, the pain, the players, the game, magic, madness, heaven, sin. Every second of "Blank Space" is perfect, from the pen clicks to the "nasss-taaaay-scarrr" at the end. The high might not be worth the pain, but this song is.

Best line: "Darling, I'm a nightmare dressed like a daydream."

3. "Long Live" (2010)

This is her "Common People," her "Born to Run," her "We Are the Champions." An arena-slaying rock anthem to cap off Speak Now, for an ordinary girl who suddenly gets to feel like she rules the world for a minute or two. "Long Live" could be a gang of friends, a teen couple at the prom, a singer addressing her audience. But like so many songs on Speak Now, her secret prog album, it reaches a point where it feels like it's over and Tay's bringing it in for a landing, except that's when the song gets twice as good. In the final verse, she makes a gigantic mess. (Actual lyric: "Promise me this/That you'll stand by me forever." WTF, girl, you were doing so well there.) Yet that's the moment that puts "Long Live" over the top – a song nobody else could have written, as she rides those power chords home. That's Taylor: always overdoing it, never having one feeling where six would do. Long live.

Best line: "I had the time of my life fighting dragons with you."

2. "New Romantics" (2014)

The way Taylor exhales at the end of the line "I'm about to play my ace-aaah" is perhaps the finest moment in the history of human lungs. "New Romantics" is where she takes the Eighties synth-pop concept of 1989 to the bank, with a mirror-ball epiphany that leaves tears of mascara all over the dance floor. She tips her cap to the arty poseurs of the 1980s New Romantic scene – Duran Duran, Adam Ant, the Human League, etc. – yet sounds exactly like her own preposterously emotional self. (One of my weirdest moments of recent years: explaining this song's existence to the guys in Duran Duran.) "New Romantics" is hardly the first time she's sung about crying in the bathroom, but it's the one that makes crying in the bathroom sound like a bold spiritual quest, which (when she sings about it) it is. The punch line: Having written this work of genius, exceeding even the wildest hopes any fan could have dreamed, she left it off the damn album, a very New Romantic thing to do.

Best line: "We show off our different scarlet letters/Trust me, mine is better."

1. "All Too Well" (2012)

So casually cruel in the name of being awesome. This towering ballad is Swift's zenith, building to peak after peak. For "All Too Well," she teams up with her trustiest collaborators – songwriting sensei Liz Rose, producer Nathan Chapman – to spin a tragic tale of doomed love and scarves and autumn leaves and maple lattes. It's full of killer moments: the way she sings "refrigerator," the way she spits out the consonants of "crumpled-up piece of paper," the way she chews up three "all"s in a row. No other song does such a stellar job of showing off her ability to blow up a trivial little detail into a legendary heartache. (That scarf should be in the Rock and Roll Hall of Fame, though in a way it already is.) You can schaeden your freude all over the celebrity she reputedly sings about, but on the best day of your life you will never inspire a song as great as "All Too Well." Or write one.

Best line: "Maybe we got lost in translation/Maybe I asked for too much/Maybe this thing was a masterpiece till you tore it all up/Running scared, I was there, I remember it all too well."

[subarulesbian]

@emogender tagged me to do this for mcr so buckle up, fuckers

How long have you been a fan? since january 2013 lmao kill me i have the worst timing

Do you remember the first song of theirs you heard? technically the first song i heard was na na na when someone played it in choir in 7th grade but they played the explicit version and my teacher turned it off as soon as it got to “drugs! gimme drugs!” lmfao. so i count honey, this mirror as the first mcr song i ever heard when i listened to their discography the first time. (or i guess technically romance bc that’s first??)

What’s your favourite album(s)? bullets

What’s your favourite song(s)? okay kill all your friends has been my absolute fave for a while now, but it’s a really hard choice. others include literally every single other mcr song. like i just went and looked to see if i could pick any others out and i honestly cannot. sorry lol

Have you ever seen them live? (How often?) no and i think about missed opportunities every single day

Have you ever met them? no and idk if that would be a good idea bc i would probably just drop dead

Do you have a favourite era of their career? god this is so hard i don’t know if i could pick. i guess it depends on what exactly we’re talking about? bc story wise, danger days is my favorite just bc it’s such a massive world and i love it. otherwise like if we’re talking musically or aesthetically i don’t think i can choose lmao

Do you have their autograph or a photo with them? no god fuck i’ve accomplished nothing in my life

Is there a song or album of theirs you dislike? honestly every song i disliked when i first heard it has grown on me so much that there’s nothing i don’t love. the only thing i can say is i really didn’t like zero percent the first few times i listened to it but now i like it so it doesn’t count

Do you own a lot of merch (like t-shirts, posters, ect.)? i have a couple shirts and like 80 pairs of socks lmao. also some patches that i plan on putting on a jacket soon

Are you a member of any forum about them or run a fansite? i have a blog lol. check it out if you want...

Do you own their music on CD/vinyl/ect? i have revenge and the black parade on cd. sadly that’s all

What do they or their music mean to you? an absolutely ridiculous amount. like, i know a lot of fans say this (which is not a bad thing at all) but mcr saved my life. i’m gonna put that story in the last question but like.... i would not still be here if not for mcr.

Do you ship them with anyone? why is this question even in here?? it doesn’t fit. but no

Have you got a crush on them? in pics where gerard looks like a lesbian.... yeah

Are you interested in every aspect of their life and person or only the music? i mean i follow all their solo projects and follow them on ig, twitter, etc. so like... i guess?? i try not to be all up in their personal lives but i like knowing what they’re willing to share with us

Would you pay 200$ for a front row ticket? i would sell my soul for any kind of ticket. i would give all the money i have or will ever have if i got to go to an mcr show. (this is more about selling my soul, etc. to find a way to travel back in time bc like,, that’s really what i want to do. not that i would complain if they were to reunite, i would go hard as hell. but i still missed them in their prime and that fucking sucks)

Have you ever gone to another country to see them live? no but i would 

Do you get annoyed when other people don’t like them? i just dont really get it honestly. like, especially when people don’t like ANY of it. even if you’re not into that kind of music at all, how can you not at least enjoy listening to summertime or scarecrow?? 

Which artist do you want them to collaborate with? lmao green day bc they’re friends and i feel like it would be cool if they did it now that they’re all old dudes

Are they underappreciated/unknown? they were so big so they’re well known but yeah i think their music is underrated and not appreciated for how important and influential it was. like i think in a few decades there’s gonna be a big shift in how their music is viewed, and i’m half really excited for that and half not looking forward to it at all because i’m sure it’ll be a bunch of annoying dudes who are like “this is REAL music” when they were the ones who made fun of girls for being emo in middle school

Is there a song of them that everybody likes but you dislike? not a song but the black parade is my least favorite album. not that i don’t absolutely love it, because i do, but idk i just don’t love it quite as much as the other three. but it was their most popular album so i’m gonna say it counts for this question

Do people think you are too obsessed with the artist? definitely lmao

Do you preorder their new albums without having heard any music from it? i didn’t when they were together but i fucking would

How did you get into them? okay trigger warnings for death and suicide for this story. i’m not gonna get super specific but basically in the fall of 2012 someone really close to me in my family died and one of the things they left me was their ipad, which was kinda weird but i like cherished that thing. anyway, i was having a really bad time and hadn’t worked out any of my anger or grief over their death. i was probably the most suicidal i’ve ever been. so over winter break in like early january 2013 i was up really late almost every night and just kind of hating being alive and one night i decided to go through all the music on the ipad. most of it was stuff i already knew or wasn’t interested in, but they i saw mcr was on there and i was like “huh, i’ve heard of them” and decided to listen to it. i put on bullets and i remember thinking romance was like so cool and original and risky for a band like that to do. and then about two seconds into honey, this mirror i thought “holy shit i love this” and idk i just didn’t want to die quite so badly. i listened to the entire discography that night, and again the next night and nearly every night for almost a year. practically all i listened to for all of high school was mcr. anyway yeah that’s how i got into them.

anyone who wants to do this should do it! here is the original questionnaire