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chpkns · 4 years ago

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BEST ALBUMS 2020

Some albums I enjoyed during quarantine.

Hon Mentions: Campfire Chords - Arkells, A Written Testimony - Jay Electronica, All In One - Jaunt, Punisher - Phoebe Bridgers, Alfredo - Freddie Gibs and Madlib, Thats What They All Say - Jack Harlow, Western Swing & Waltzes and Other Punchy Songs - Colter Wall, This Place Sucks Ass - PUP, Only For Dolphins - Action Bronson, Black Habits - D Smoke, What’s Your Pleasure - Jessie Ware, 3.15.20 - Childish Gambino, Dedicated Side B - Carly Rae Jepsen, Dark Lane Demo Tapes - Drake, After Hours - The Weeknd, color theory - Soccer Mommy, Circles - Mac Miller, Womb - Purity Ring

10) Future Nostalgia - Dua Lipa

One of the lesser, although still significant, tragedies of the 2020 COVID era was that weddings and sweaty club basements the world over were robbed of Dua Lipa’s prolific output this year. Future Nostalgia is hit or miss in places, but the hits come hot and heavy delivering banger after 80′s-disco-inspired banger. Dominant summer jams “Don’t Start Now” and “Break My Heart” are the highlights here, along with “Levitating” (equally good with or without DaBaby). Sleeper tracks “Cool” and “Hallucinate” round out the year’s best pure pop album.

Highlights: Don’t Start Now, Break My Heart, Levitating, Physical, Cool, Hallucinate

9) Women In Music, Pt. III - HAIM

The third album from LA’s sister act rock trio HAIM delivers consistency and growth for the band. There’s plenty of retro heartbreak rock on Women In Music, Pt. III to satisfy fans of HAIM’s first two albums, but lots of new on offer as well including the jazzy Lou Reed inspired sax of “Summer Girl” and Danielle Haim sounding positively Joni Mitchell-esque on “Man From the Magazine”. The auditory production flourishes of erstwhile Vampire Weekend member Rostam are noticeable throughout and help stretch the bounds of the HAIM sisters’ signature Wilson Phillips meets Fleetwood Mac summer rock sound into something more of the moment.

Highlights: The Steps, Summer Girl, Don’t Wanna, Man From the Magazine, FUBT

8) My Turn (Deluxe) - Lil Baby

I’ve almost given up on trying to enjoy or understand most “new rap” but every now and then something breaks through that I connect with for some reason. Atlanta rapper Lil Baby’s My Turn was that album for me this year. There are many reasons I feel I should not like Lil Baby’s music, from his liberal use of autotune to his mumbling delivery, but something always drew me back to it and, listen after listen, it grew on me. Lil Baby’s flow is persistent when he locks in, with matching driving trap production from Quay Global, Tay Keith and others, mirroring in sound the story of Baby’s rise from the streets to prison to the studio. The standout track is late addition “The Bigger Picture”, Lil Baby’s protest anthem on race in America, policing and the turmoil following the killing of George Floyd by police, a political statement from an otherwise apolitical artist, showing that Lil Baby has much more to offer than bravado and autotune.

Highlights: Grace (ft. 42 Dugg), Forever (ft. Lil Wayne), No Sucker (ft. Moneybagg Yo), Social Distancing, The Bigger Picture

7) Miss Anthropocene - Grimes

The third major studio release from Montreal native Claire Boucher, better known as Grimes, doesn’t reach the same highs as its predecessors - 2015′s electro-pop masterpiece Art Angels (which rated number 1 on this list for that year) or 2012′s Visions, the synth-laden fever dream that introduced Grimes to mainstream notoriety (number 2 on this list for 2012) - but it’s still very much worth the time. The vibe of Miss A falls somewhere between Grimes’ previous two albums, and a little darker and messier to boot. Grimes sounds a bit like she’s playing a concert for the end of the world, which feels a bit prophetic for an album released just before a global pandemic took hold. As always, Grimes is out to flex her muscle as a technician and across the album’s ten tracks she mixes diverse sounds ranging from rave synths to banjos showing how far her craft has come since making Visions on Garageband in her Mile End apartment.

Highlights: So Heavy I Fell Through The Earth, Violence, Delete Forever, 4ÆM, You’ll miss me when I’m not around

6) evermore - Taylor Swift

Spoiler alert, this isn’t the highest ranked Taylor Swift album on this list. Surprise released in December, evermore was an early Christmas present to fans of Swift’s surprise summer album folklore (more on that later). evermore continues Swift’s reinvention from pop star to indie singer-songwriter, assisted by songwriting partner Aaron Dessner of The National and a variety of indie darling guest stars - this time around featuring HAIM, The National’s Matt Berninger and another stunning guest turn with Bon Iver. Speaking of Justin Vernon, the album capping title track might be the single best song on either folklore or evermore. And for fans of Taylor’s earlier catalogue like me, the return to country music on “no body, no crime” is like reconnecting with an old friend. evermore is a little messier and less consistent thematically than its sister album, feeling a bit like folklore’s b-sides. But when your b-sides are better than most artist’s a-sides, why not release another album’s worth?

Highlights: ‘tis the damn season, no body no crime (ft. HAIM), coney island (ft. The National), cowboy like me, evermore (ft. Bon Iver)

5) RTJ4 - Run The Jewels

Walking the streets of my neighbourhood with the first listen of RTJ4 in my earbuds, I found myself actually crying at the thought that I would not get to see Killer Mike and el-P perform these songs live in the summer of 2020. The memories of RTJ festival sets past came rushing over me in a wave. That was my first “damn, I miss live music moment” of the pandemic. The fourth instalment of Run The Jewels’ historic rap partnership is more of the same in the very best way. Like the dynamic duo’s previous three instalments, RTJ4 is in your face, moves at a frenetic clip, and takes no prisoners. There’s even another album highlighting collaboration with Rage Against The Machine’s Zack De La Rocha. The politics of RTJ4′s tirades against inequity and the police state feel even more imminent in 2020 against the backdrop of George Floyd, the ensuing protest movement that gripped America, and the 2020 presidential election. I really hope we get a chance to see Mike and el-P tour these songs in 2021, the world needs it.

Highlights: ooh la la (ft. Greg Nice and DJ Premier), goonies vs. E.T., walking in the snow, JU$T (ft. Pharrell Williams and Zack de la Rocha), a few words for the firing squad (radiation)

4) Saint Cloud - Waxahatchee

The majestically twangy folk-Americana of Saint Cloud, the fifth solo album from Katie Crutchfield (stage named Waxahatchee after Waxahatchee Creek, Alabama, where the singer grew up), is a nostalgic cure for the ails of 2020. The soft bluesy rhythms of Crutchfield’s songs feel like a lazy long summer day spent by the water. That was something we needed this year. The songwriting is just as beautiful. The standout track, “Fire”, speaks to Crutchfield’s journey finding sobriety and reconnecting with her southern roots. It also speaks to a longing feeling “give me something / it ain’t enough / it ain’t enough”. On “Arkadelphia”, Crutchfield croons: “We try to give it all meaning / Glorify the grain of the wood / Tell ourselves what's beautiful and good”. In the chaos of 2020, the calm oasis of Saint Cloud is certainly something beautiful and good worth enjoying.

Highlights: Can’t Do Much, Fire, The Eye, Arkadelphia, St. Cloud

3) Suddenly - Caribou

Suddenly was my first genuine pandemic listen and, in the early days of lockdown, I found myself going back to it again and again. So much so, that the opening haunting notes of “Sister” became a kind of touchstone as I adjusted to a weird new work-from-home lifestyle. The chilled out weirdness of Caribou was an extremely welcome presence in 2020. It had been long enough since 2014′s Our Love (2014′s number 1 on this list) that I’d forgotten how enjoyably quirky Dan Snaith’s floaty pseudo-house tunes could be. Suddenly is a little more laid back than the club ready Our Love, which maybe suits it more to a world where dancefloors are closed. The tunes are also tighter, more economical in their length and soundscape. The lead single “Home” sounds downright commercial (in a good way) with it’s motown sampled chorus. Other parts of the album, like the closing “Cloud Song” venture into more experimental territories. All throughout, however, are Caribou’s signature warm chord progressions inviting you to lose yourself in them. Whether you’re looking for a guided meditation or an at-home dance party, Suddenly was the perfect 2020 album for it.

Highlights: Sister, Home, Lime, Never Come Back, Ravi

2) Cuttin’ Grass, Vol. 1 : The Butcher Shoppe Sessions - Sturgill Simpson

2020 was full of unexpected things, many bad but some surprisingly delightful. Firmly in the latter category is Cuttin’ Grass, Sturgill Simpson’s surprise double album made up entirely of bluegrass covers of his own catalogue. A true product of 2020, Simpson recorded the album with a murderer’s row of contemporary bluegrass artists after recovering from COVID-19 and challenging his fans to raise funds for charity in exchange for recording a new album. That album became Cuttin’ Grass, a traditional bluegrass re-imagination of the greatest hits and hidden gems of a country artist who has always strived to avoid being labelled as a country artist. The songs feel effortlessly at home and are given new life amid the frenetic guitar and mandolin picking, flying fiddles, and twangling banjos. If Simpson’s ode to the revelatory experience of psychedlic drug use “Turtles All The Way Down” felt revolutionary on 2014′s Metamodern Sounds in Country Music, it feels like an old standard here with its tempo pitched up and enveloped in the cacophony of the bluegrass ensemble. There is some good old fashioned heartbreak to slow things down too. Mandolin player and backup vocalist Sierra Hull shines on “I Wonder” (a cover of a song originally recorded by Sturgill’s former band Sunday Valley) as she joins Simpson on the chorus: “Tell me am I the only one / drinking and cursing your name?” The juxtaposition of Simpson’s unconventional country catalogue with the most traditional of country music styles just works and the entire hour can be listened and relistened for days. And if you’re still not satisfied, the companion “Volume 2: the Cowboy Arms Sessions” released in December brings back the same supporting cast to explore more of Simpson’s catalogue.

Highlights: All The Pretty Colors, Breakers Roar, Time After All, Turtles All The Way Down, Voices

1) folklore - Taylor Swift

Well, I told you there’d be more Taylor Swift on this list, and here it is. Your number 1 album of 2020 is folklore, the surprise release pandemic project in which the world’s biggest country star turned pop star reinvented herself again as an indie artist. Unlike anything else Swift has put out since RED, nothing on folklore is designed to be played in a stadium. Rather, it’s all more at home in a cabin by the fire, or in your earbuds on a fall walk... basically, it’s music meant for 2020. Like its companion evermore, folklore is the product of Swift’s songwriting collaboration with The National’s guitarist Aaron Dessner. The melding of songwriting styles seems like an odd match at first but sounds like a match made in heaven. Lyrically, Swift’s songwriting makes an evolutionary leap, almost leaving her primary auto or semi-autobiographical comfort zone behind completely (other than, perhaps, in heavily veiled metaphor) in favour of invented stories and semi-historical world building. After a few listens, you discover that the same characters appear in different songs like the imagined history of Rebekah Harkness, the real life former inhabitant of Swift’s Rhode Island home, on “the last great american dynasty” or imagery of “battleships” that “sink beneath the waves” in the ghost story of “my tears ricochet”. In the so-called “teenage love triangle trilogy” of “betty”, “cardigan”, and “august”, Swift tells different parts of the same story from the perspective of different characters. Each song stands on its own, but the discovery that the pieces fit together is wonderful. “betty” is the standout track for me, as a long suffering fan of “country Taylor”. In style, it harkens back to her earlier work, but in substance it’s something new entirely as Swift sings from the perspective of James, the boy who has done wrong by his lover and is seeking forgiveness. The pinnacle of the album is “exile” Swift’s collaboration with Bon Iver’s Justin Vernon. The call and response interaction of Swift with Vernon’s true to for emma form baritone is chill inducing. Like so many of the unexpected good things in 2020, folklore came from throwing plans out the window and doing what felt right for the moment. This is Taylor Swift making the music she wanted to make. In Dark Knight fashion, it’s the album we needed, if not the one we deserved. It’s the best album of the year.

Highlights: cardigan, the last great american dynasty, exile (ft. Bon Iver), my tears ricochet, epiphany, betty, peace

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mymusicmemories · 4 years ago

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The Who - June 29th 1989 - Giants Stadium, East Rutherford, NJ

Set 1 -

Overture

It’s A Boy

1921

Amazing Journey

Sparks

The Acid Queen

Pinball Wizard

Do You Think It’s Alright

Fiddle About

I’m Free

Tommy’s Holiday Camp

We’re Not Gonna Take It

Friend Is A Friend

A Little Is Enough

Save It For Later

I’m A Man

I Can't Explain

Substitute

I Can See For Miles

Trick Of The Light

Boris The Spider

Who Are You

Set 2 -

Magic Bus

Mary Anne With The Shaky Hands

Baba O’Riley

My Generation

Let My Love Open The Door

5:15

Love, Reign O'er Me

Love Hurts

Too Late The Hero

My Wife

Sister Disco

Rough Boys

Join Together

You Better You Bet

Behind Blue Eyes

Won't Get Fooled Again

Encore -

Barefootin’

Hey Joe

In 1986 I was a freshman in high school. I think it was a very typical city high school. You had all the typical “high school movie” social clicks and then there was me. Me, the fat kid with my long hair, leather jacket and combat boots. I didn’t really fit in anywhere. I had a “friend” or two in every group, and they would vouch for me and it was cool, but it was never my tribe. I had a couple good friends, friends that I still have to this day, but I never felt understood.

I had always been a classic rock fan. I grew up with WNEW in New York, home of Scott Muni and his lunchtime Beatles block and Carol Miller who was “Getting The Led Out” at 8pm every night. I was familiar with The Who, but only the radio hits. I bought The Who’s Tommy on cassette, mostly for Pinball Wizard and The Acid Queen. What I discovered was songs that seemed like they were written for me. I was a kid who felt like he was never seen, heard or touched. I was Tommy. I spent weeks with Tommy exclusively in my Walkman. That was until I bought Who’s Next. Who’s Next changed me. Changed how I listened to music. It forced me to think about lyrics. Forced me to think and feel.

I was still the fat kid with the long hair, leather jacket and combat boots, but at least someone understood me, at least Pete Townshend understood. Roger Daltrey spoke, no, screamed with the anger I felt and sang with the love I desired. Keith Moon’s drumming was the manic thoughts in my head. I would later discover the magic in John Entwistle’s bass playing.

In 1989 The Who announced some dates in LA, New York and London. They were celebrating Tommy’s 20th Anniversary. Sadly I couldn’t get tickets but then they announced a tour. I wasn’t going to miss The Who in concert. This would be my first concert.

My friend Billy and I lied to our parents, I was staying at his house, he was staying at mine. We took the bus from Bayonne to Jersey City, a long 20 minutes, we walked about a half a mile to a video store (remember video stores?), and camped out all night. Although we were probably the youngest ones there, we were part of the scene that night. The music blasted in the parking lot, there was a lot of smoke and a lot of beer. I do admit I stuck with soda and I couldn’t afford a cigarette or whatever they were smoking, even if I wanted one. All my money was going to this ticket.

The next morning we got in line and got two tickets. The concert was two weeks away. That’s how it was done then, tickets didn’t go on sale the year before, you bought your tickets and you saw the show. It was over 30 years ago, but I still remember we were sitting in section 131. I had been to Giants Stadium before, for football, but I never sat in the lower bowl. It was a whole new world.

To be honest, the beginning of the show is hazy. I remember them opening up with most of Tommy. I was just in complete awe. My first show with 60,000 people, the lights, the sounds, the stage, just awe. “Sparks”, of all songs, stands out but my memory of the show really starts with Pete’s solo set after Tommy. It was kinda jarring to me when Roger left the stage. It was good, real good, but I was there to see The Who.

When Daltrey came back out the band tore the place down for, what seemed like hours. They played everything. John Entwistle stepped up and played “Trick Of The Light”. This was a surprise for me. I always thought of this song as my secret, and now I was sharing it with 60,000 other people and it felt so good. I found my tribe, all of us there for one reason, this great music. Music that meant so much to all of us.

When I looked around I saw old hippies (who were younger then then I am now), suits and ties who came right from their offices, moms and dads out for a date night, drunks and potheads, and guys like me. We sang together. We danced together. We were there together. 60,000 people making one sound. I was hooked. Over the next 30 years I would spend a ridiculous amount of money and time seeing the bands that have meant so much to me. It was all worth it.

#the who #first concert #1989 #pete townshend #roger daltrey

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magratpudifoot · 6 years ago

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Anti-Love Collection Track List

Below the cut is a list of every track on every disc of the Anti-Love Album. I thought pretty seriously about going through and linking to music videos and bandcamp and whatnot, but, yeah, that’s not happening tonight.

Disc One(Chaotic/Static Cling Enterprises)

1. Could You Use Me? Harry Groener and Jodi Benson 2. Hit the Road, Jack Ray Charles and the Raelettes 3. Down with Love Caxton Swing 4. You're No Good Linda Ronstadt 5. It Ain't Me, Babe The Turtles 6. Already Gone The Eagles 7. Paradise By the Dashboard Light Meatloaf 8. Don't Believe a Word Andy Taylor 9. I Will Survive Gloria Gaynor 10. I've Done Everything for You Rick Springfield 11. Love Stinks The J. Geils Band 12. Don't You Want Me The Human League 13. Goodbye to You Scandal 14. Love's Been a Little Bit Hard on Me Juice Newton 15. I Could Be Happy Altered Images 16. What Do All the People Know The Monroes 17. Jukebox (Don't Put Another Dime) The Flirts 18. No More Words Berlin 19. She Don't Love Nobody Nick Lowe 20. So In Love Orchestral Manoeuvres in the Dark 21. Let Your Love Go Bread

Disc Two(Chaotic/Static Cling Enterprises) 1. Would I Lie to You Eurythmics 2. Keep Your Hands to Yourself The Georgia Satellites 3. Twisting They Might Be Giants 4. I Don't Want Your Love Duran Duran 5. One More Minute Weird Al Yankovic 6. What Part of No Cactus Country 7. Itty Bitty Little Single Solitary Piece O' My Heart Lari White 8. That Was Yesterday Wynonna Judd 9. Jane Barenaked Ladies 10. Better Things to Do Terri Clark 11. Bury the Shovel Clay Walker 12. No News Lonestar 13. Spiderwebs No Doubt 14. She Won't Change Her Mind The Band with Rocks In 15. Me Neither Brad Paisley 16. Waste Smash Mouth 17. Goodbye Earl Dixie Chicks 18. Giving up on Love Ataris 19. Kiss This Aaron Tippin 20. Last Chance to Lose Your Keys Brand New 21. It's Only Me (The Wizard of Magicland) Barenaked Ladies

Disc Three(Aberration, Inc.) 1. Can't Hold Us Down Christina Aguilera feat. Lil Kim 2. The Frug Rilo Kiley 3. A Man/Me/Then Jim Rilo Kiley 4. Nothing Came Out The Mouldy Peaches 5. All That She Wants Ace of Base 6. You Oughta Know Alanis Morissette 7. The More You Ruv Someone Avenue Q 8. Roses Outkast 9. Day Tripper Live 10. Sexx Laws Beck 11. Vienna Billy Joel 12. Sunday Girl Blondie 13. You Don't Own Me The Blow Monkeys 14. You Give Love a Bad Name Bon Jovi 15. Protons, Neutrons, Electrons Cat Empire 16. Girls Just Wanna Have Fun Cyndi Lauper 17. Mix Tape Avenue Q 18. 31st & M The Daycare Stranglers 19. Fuck It (I Don't Want You Back) Eamon 20. Inside Out Eve 6 21. Beep The Pussycat Dolls feat. will.i.am

Disc Four(Aberration, Inc.) 1. Just One of Those Things Frank Sinatra 2. Just Friends Gavin Degraw 3. Defying Gravity Idina Menzel and Kristin Chenoweth 4. Sugar Tick Tick Boom Cast 5. Gold Digger Kanye West feat. Jamie Foxx 6. Bag of Money The Low Life 7. Scotty Doesn't Know Lustra 8. I'm So Alone The Mad Caddies 9. World at Large Modest Mouse 10. Get Over It OK Go 11. People Got to Be Free The Rascals 12. Tainted Love Soft Cell 13. Don't Do Me Like That Tom Petty 14. What's Love Got to Do with It Tina Turner 15. He Wasn't Man Enough Toni Braxton 16. Undone (The Sweater Song) Weezer 17. Funny Honey Renee Zellweger 18. I'll Never Be Jealous Again Reta Shaw and Eddie Foy, Jr. 19. Everyone Else Has Had More Sex Than Me Ambient Irony 20. Dirty Little Secret All American Rejects

Disc Five(Chaotic/Static Cling Enterprises) 1. Will you Love Me Tomorrow The Shirelles 2. Desperate But Not Serious Adam Ant 3. Ready to Run Dixie Chicks 4. I'm Gonna Miss Her Brad Paisley 5. Love Is Hell Ryan Adams 6. It Ain't None of Your Business Missing Persons 7. Stupid Boy Keith Urban 8. Before He Cheats Carrie Underwood 9. You Don't Love Me Anymore Weird Al Yankovic 10. The Song That Goes Like This Christopher Sieber and Sara Ramirez 11. (I'm Gonna) Run Away Joan Jett and the Blackhearts 12. I'm Not in Love Talking Heads 13. You Keep Me Hangin' On Kim Wilde 14. Don't Let's Start Common Rotation 15. That's Enough of That Mila Mason 16. Leave in Silence Depeche Mode 17. Sign of the Times The Belle Stars 18. Break Your Heart Barenaked Ladies 19. Signs of Life Journey 20. Cell Block Tango The Six Merry Murderesses of Cook County Jail

Disc Six(Aberration, Inc.) 1. Designated Drinker Alan Jackson and George Strait 2. Video Game Heart All Girl Summer Fun Band 3. Twisting They Might Be Giants 4. Fighter Christina Aguilera 5. Found Out About You Gin Blossom 6. What Is This Feeling Kristin Chenoweth and Idina Menzel 7. Therapy Amy Spranger and Raul Esparza 8. Since U Been Gone Kelly Clarkson 9. Number One John Legend feat. Kanye West 10. Material Girl Madonna 11. Build Me Up, Buttercup The Goops 12. Schadenfreude Natalie Venetia Belcon and Rick Lyon 13. Happy Now Gwen Stefani 14. Why Don't You Get a Job Offspring 15. Cry Me a River Justin Timberlake 16. Ugly Ugly Mustache Girl The Skakabobs 17. You Don't Know How It Feels Tom Petty 18. Pink Triangle Weezer 19. Let Me Be Lonely Will Hoge 20. Buttons The Pussycat Dolls 21. My Love (The Christian Bale Experience) Sweet Tired Kitten

Disc Seven(Chaotic/Static Cling Enterprises) 1. Let's Hear It For Love Smoking Popes 2. She Hates Me Puddle of Mudd 3. In and Out of My Life (In a Day) The Pandoras 4. Cry of the Wild Goose Frankie Laine 5. Way Away Yellowcard 6. Blue Monday New Order 7. Kerosene Miranda Lambert 8. Don't Shed a Tear Paul Carrack 9. Ghost of Love The Proclaimers 10. I Write Sins Not Tragedies Panic at the Disco 11. Smile Lily Allen 12. Goodbye Says It All BlackHawk 13. Careless Memories Duran Duran 14. Nowhere Girl B-Movie 15. Hard to Be a Husband, Hard to Be a Wife Chely Wright and Brad Paisley 16. Not About Love Fiona Apple 17. Take Out the Trash They Might Be Giants 18. U + Ur Hand Pink 19. Good News Neurotic Outsiders 20. Love You Jack Ingram 21. Time for Me to Fly REO Speedwagon 22. What Is This Thing Called Love? John Barrowman

Disc Eight(Aberration, Inc.) 1. Stripped, Part 2 Christina Aguilera 2. Girls Lie, Too Terri Clark 3. What Goes Around Comes Around Justin Timberlake 4. Believe Cher 5. Subtract One Love (Multiply the Heartaches) Cake 6. Knock 'Em Out Lily Allen 7. All That She Wants Ace of Base 8. You Don't Love Me The Kooks 9. You're So Damn Hot OK Go 10. Billie Jean Michael Jackson 11. Losin' You Amy Millan 12. Oh, Goddamnit Hot Hot Heat 13. You Oughta Know Alanis Morissette 14. You Don't Own Me The Blow Monkeys 15. Girls �� Beastie Boys 16. Next Ex-Girlfriend Bowling for Soup 17. Never There Cake 18. You Are Everything The Low Life

Disc Nine(Chaotic/Static Cling Enterprises) 1. Love Potion No. 9 The Searchers 2. My Lovin' (You're Never Gonna Get It) En Vogue 3. Liberty Duran Duran 4. Da Da Da I Don't Love You You Don't Love Me Aha Aha Aha Trio 5. Hole in My Head Dixie Chicks 6. Your Woman White Town 7. Murderess Power Station 8. Good as Gone Little Big Town 9. One Night in Bangkok Murray Head 10. Endicott Kid Creole & the Coconuts 11. Kiss You Off Scissor Sisters 12. I'll Take You Back Brad Paisley 13. New Toy Lene Lovich 14. Every Word Means No Let's Active 15. Broke in Two They Might Be Giants 16. My Friends Johnny Depp and Helena Bonham Carter 17. He Can't Quit Her Gary Allan 18. When You're in Love The Proclaimers 19. Don't Think You'll Be Missed Aileen Stanley with the Virginians 20. Why Say Anything Nice? Barenaked Ladies

Disc Ten(Aberration, Inc.) 1. Don't Trust Me 3OH!3 2. Atari Lucky Boys Confusion 3. Get Over It OK Go 4. So What Pink 5. Have I Been a Fool Jack Penate 6. Flavor of the Weak American Hi-Fi 7. There's a Fine, Fine Line Stephanie D'Abrazzo 8. 99 Problems Jay-Z 9. Don't Want You Back Backstreet Boys 10. You Turn the Screws Cake 11. Breakin' Up Rilo Kiley 12. More Boys I Meet Carrie Underwood 13. They'll Need a Crane They Might Be Giants 14. Should've Said No Taylor Swift 15. Hound Dog Elvis Presley 16. Take Me or Leave Me Rent 17. Your Kisses are Wasted on Me The Pipettes 18. Just a Girl No Doubt 19. Bust Your Windows Jazmine Sullivan 20. Single Ladies (Put a Ring on It) Beyonce Knowles 21. There You Go Pink

Disc Eleven(Chaotic/Static Cling Enterprises) 1. I Hate Myself for Loving You Joan Jett 2. Her Royal Majesty James Darren 3. What If I'm Right? Sandi Thom 4. I Hear You Knockin' Fats Domino 5. Go Your Own Way Fleetwood Mac 6. He'll Have to Stay Jeanne Black 7. Du Hast Rammstein 8. Ampersand Amanda Palmer 9. Another Girl The Beatles 10. Can't Do It Today Gary Allan 11. No Scrubs TLC 12. Cold Cold Heart Tony Bennett 13. Gunpowder and Lead Miranda Lambert 14. True Romance She Wants Revenge 15. Brand New Lover Dead or Alive 16. Ex-Girlfriend No Doubt 17. Nothing Suits Me Like a Suit Neil Patrick Harris, et al 18. Don't Say You Love Me Erasure 19. Red Rubber Ball Cyrkle 20. Strange Reba McEntire 21. Mr. Spock Nerf Herder 22. See You Later Alligator Bill Haley and His Comets

Disc Twelve(Aberration, Inc.) 1. Right as Rain Adele 2. She Ain't Got LeToya Luckett 3. Fly on the Wall Miley Cyrus 4. Telephone Lady Gaga feat. Beyoncé 5. Love Drunk Boys Like Girls 6. Bye Bye JoDee Messina 7. Analysis of a 1970s Divorce David Dondero 8. I'm Not Crying Flight of the Conchords 9. Every Breath You Take Police 10. You Owe Me an IOU Hot Hot Heat 11. It's Over John Legend feat. Kanye West 12. Mood Ring Relient K 13. Picture to Burn Taylor Swift 14. Gives You Hell All American Rejects 15. Hit Em Up Style Blu Cantrell 16. Beautiful Girls Sean Kingston 17. It's Oh So Quiet Bjork 18. Pastures Lil' Justice

Disc Thirteen(Chaotic/Static Cling Enterprises) 1. Fox on the Run Sweet 2. Angel in Your Arms Hot 3. Say It Right Nelly Furtado 4. Gimme Three Steps Lynyrd Skynyrd 5. Heartbreaker Pat Benatar 6. Don't Bet Money, Honey Linda Scott 7. Two Out of Three Ain't Bad Meatloaf 8. Too Many Fish in the Sea The Marvelettes 9. Pet Name They Might Be Giants 10. Cold as Ice Foreigner 11. Jezebel Frankie Laine 12. Dark Lady Cher 13. (She's So) Selfish The Knack 14. Evil Woman Electric Light Orchestra 15. Lipstick on Your Collar Connie Francis 16. Stereo John Legend 17. Too Fast James Marsters 18. I Don't Wanna Go on with You Like That Elton John 19. It's My Life Talk Talk 20. Cold Hearted Paula Abdul

Disc Fourteen: Suck It, Marshall(Chaotic/Static Cling Enterprises) 1. Told You So Barenaked Ladies 2. The Sign Ace of Base 3. Bulletproof La Roux 4. Victim of Love Erasure 5. I'll Never Fall in Love Again Kristin Chenoweth and Sean Hayes 6. Are You Fucking Kidding Me? Kate Miller-Heidke 7. Leeds United Amanda Palmer and the Born Again Horny Men of Edinburgh 8. Bringin' Me Down Andy Taylor 9. Alejandro Lady Gaga 10. Go Where You Wanna Go The Mamas and the Papas 11. Hate on Me Jill Scott 12. Shop Around Smokey Robinson and the Miracles 13. Anti-Love Song Raven-Symoné 14. Don't Come Around Here No More Tom Petty 15. King of Anything Sara Bareilles 16. Endgame Tommy Körberg and Barbara Dickson 17. I Am a Rock Simon and Garfunkel 18. Don't Ask Me OK Go 19. Gonna Get Along Without Ya Now Patience and Prudence 20. I Quit Hepburn 21. The Mixed Tape Jack's Mannequin

Disc Fourteen-and-a-Half: The Robot Falls in Love (Static Cling) �� 1. Rolling in the Deep Adele 2. Rolling in the Deep David Choi 3. Rolling in the Deep Jodie Aysha 4. Rolling in the Deep Kina Grannis 5. Rolling in the Deep David Cook 6. Rolling in the Deep Wonderland 7. Rolling in the Deep PS22 Chorus feat. Denise 8. Rolling in the Deep Adele, Jay-Z, Biggie Smalls, and Voodoo Farm 9. Rolling in the Deep Tahj Mowry 10. Rolling in the Deep Tim Halperin 11. Rolling in the Deep Melissa Tojones 12. Rolling in the Deep Mike Posner 13. Rolling in the Deep Chris Ning 14. Rolling in the Deep Haley Reinhart 15. Rolling in the Deep Darius Dante 16. Rolling in the Deep John Legend 17. Rolling in the Deep (live on Ellen) Adele

Disc Fifteen(Aberration, Inc.)

1. Just You Wait My Fair Lady 2. You Can Make Him Like You The Hold Steady 3. Like a Boy Ciara 4. Marionette The Marvelettes 5. Through with You Maroon 5 6. Bye Bye Baby Janis Joplin 7. Let It Die Foo Fighters 8. Blow It Out Ludacris 9. Take It Easy (Love Nothing) Bright Eyes 10. The Line Skakabobs 11. Fuck You Cee Lo Green 12. Grenade Bruno Mars 13. Jar of Hearts Christina Perri 14. Love the Way You Lie Eminem feat. Rihanna 15. Potential Break-Up song Aly & AJ 16. Cooler Than Me Mike Posner 17. What the Hell Avril Lavigne 18. Tired Adele 19. My Give a Damn's Busted JoDee Messina 20. Ignorance Paramore 21. Hot and Cold Katy Perry

Disc Sixteen(Chaotic/Static Cling Enterprises) 1. Almost Sorry Scissor Sisters 2. Drama! Erasure 3. Stop Draggin' My Heart Around Stevie Nicks and Tom Petty 4. Runaway Baby Bruno Mars 5. I Have Learned Barenaked Ladies 6. All Cried Out Redux Jill Scott (feat. Doug E. Fresh) 7. If Only Grey Delisle and Neil Patrick Harris 8. Nobody's Side Elaine Paige and Murray Head 9. Human Charlene Kaye 10. Maneater Hall & Oates 11. Mr. Big Stuff Jean Knight 12. Used to Love U John Legend 13. Bad Medicine Bon Jovi 14. Treat Me Right Pat Benatar 15. We'll Sing in the Sunshine Gale Garnett 16. The Last Song Tim Halperin 17. Bills, Bills, Bills Darren Criss and the Warblers 18. Modern Girl Sheena Easton 19. Chain of Fools Aretha Franklin 20. Dreams Be Dreams Jack Johnson

Disc Seventeen(Chaotic/Static Cling Enterprises) 1. Dead Memories Slipknot 2. Poison Alice Cooper 3. Paper Gangsta Lady Gaga 4. Maneater Nelly Furtado 5. These Boots Are Made for Walkin' Nancy Sinatra 6. 50 Ways to Leave Your Lover Paul Simon 7. Stutter Joe Walker 8. Solitaire Laura Branigan 9. Runaround Sue Dion and the Beltones 10. Life Goes On Little Texas 11. Me Party Amy Adams and Eric Jacobsen 12. Coin-Operated Boy The Dresden Dolls 13. Smoochy Smoochy Pukey Pukey Harry and the Potters 14. I Know There's Something Going On Frida 15. Evil Ways Santana 16. Your Cheating Heart Joni James 17. Harden My Heart Quarterflash 18. Rest in Peace James Marsters 19. That'll Be the Day Linda Ronstadt 20. (I'm Not Your) Stepping Stone The Monkees 21. Na Na Hey Hey Kiss Him Goodbye Steam

Disc Seventeen-Plus(Static Cling) 1. Ready to Go (excerpt) Nicholas Strauss and Brian Holden 2. Please Don't Touch Me Megan Mullally 3. I Want You, But I Don't Need You Momus 4. The Longest Text Message Childish Gambino 5. Makin' Whoopie Amanda Palmer 6. Fuck You/Gonna Get Over You Sara Bareilles 7. Getting Rid of Britta Eric Christian Olsen, Chevy Chase, and Tom Wolfe 8. Geek in the Pink Jason Mraz 9. Look It Up Ashton Shepherd 10. Poison Bel Biv DeVoe 11. Used to Love Her Guns N' Roses 12. Irreplaceable Beyoncé (feat. Ghostface Killah) 13. How to Write a Love Song Axis of Awesome 14. The Girl Next Door (To Everybody Else) George Watsky 15. I'm Tired Madeline Kahn 16. Jubilation Day Steve Martin and the Steep Canyon Rangers 17. Making Circles Christian Kane 18. Tyrone Erykah Badu 19. The Rake's Song The Decemberists 20. The Succubus Isaac Hayes and Trey Parker 21. There Ain't Nothing Like a Dick Nicholas Strauss and Devin Lytle

Disc Eighteen(Static Cling) 1. She Runs Tim Halperin 2. Boy Toy Tanya and the Hot Girls 3. Misery Maroon 5 4. Grown Man Cry Amanda Palmer and the Grand Theft Orchestra 5. Ooh La La Counting Crows 6. The Truth About Love P!nk 7. Bones Gary Allan 8. Good Girl Carrie Underwood 9. I Don't Think She's in Love Anymore Charlie Pride 10. I'm Not Your Toy La Roux 11. Kids Childish Gambino 12. Lesson in Leavin' Jo Dee Messina 13. Mockingbird Rob Thomas 14. Say You're Sorry Sara Bareilles 15. Can't Wait to Say No to You TalkFine 16. You Lie The Band Perry 17. I'll Feel a Whole Let Better The Byrds 18. Turn on the Radio Reba McEntire 19. Bye Bye Baby OK Go 20. Leave the Pieces The Wreckers

Disc Nineteen(Static Cling) 1. Rumour Has It Adele 2. Woman Up Charlene Kaye 3. No Surprise Daughtry 4. Nylons in a Rip Nikka Costa 5. How Am I Doin'? Dierks Bentley 6. Hermione The Moaning Myrtles 7. Baby Don't Get Hooked on Me Mac Davis 8. The Apartment Song Tom Petty 9. I'm Like a Bird Nelly Furtado 10. At Seventeen Janis Ian 11. Le Disko Shiny Toy Guns 12. Strippers Ghost of the Robot 13. You Don't Like Me They Might Be Giants 14. Shame on You Jerry Minor 15. The More I Learn (The Less I Understand About Love) Ronna Reeves 16. Bad Blood Natalie Lungley 17. To Be a Man Brian Holden and Joseph Walker 18. Her Daddy Was a Dalek, Her Mummy Was a Non-Stick Frying Pan Martin Gordon 19. Men The Forester Sisters 20. Rashida Jones Prometheus Brown and Bambu 21. All You Really Need Is Love Brad Paisley 22. Alone with You Jake Owen 23. Wind It Up Barenaked Ladies

Disc Twenty(Static Cling) 1. You Will See Me dan le sac Vs Scroobius Pip 2. Pumpkin Soup Kate Nash 3. Girls Ain't Nothing but Trouble The Fresh Prince and DJ Jazzy Jeff 4. Sigh No More Catherine Tate and David Tennant 5. Tough Goodbye Gary Allan 6. Survivor Destiny's Child 7. Trade Mistakes Panic at the Disco 8. I Don't Wanna Be in Love Good Charlotte 9. Poison Apple Charlene Kaye 10. Hey Robin, Jolly Robin Paterson Joseph 11. Sitting, Waiting, Wishing Jack Johnson 12. Blow Me (One Last Kiss) P!nk 13. Better off with Him A 14. Let Her Rip Dixie Chicks 15. Don't Think Twice It's All Right Bob Dylan 16. Shut Up Black Eyed Peas 17. I Hate Everything About You Three Day's Grace 18. Eden Sara Bareilles 19. Amsterdam Guster 20. Erase Me Ben Folds Five 21. Good Day The Dresden Dolls

Disc Twenty.Five: Keep Your Hands off Will You Damn Fancy Cannibal(Static Cling) 1. Goldberg Variations: Aria Glenn Gould 2. Sympathy for the Devil The Rolling Stones 3. Fee Fi Fo The Cranberries 4. Civilized Man James Marsters 5. A Place Called Home Kim Richey 6. Gravity The Dresden Dolls 7. For Reasons Unknown The Killers 8. A Formidable Marinade Mikelangelo and the Black Sea Gentlemen 9. Your Own Worst Enemy They Might Be Giants 10. Temptation VAST 11. Exterminate, Regenerate Chameleon Circuit 12. Thankless Job Anthony Stewart Head 13. Demons Guster 14. Let's Kill Tonight Panic at the Disco 15. Crime and Passion Duran Duran 16. Polly Nirvana 17. Hello, My Treacherous Friends OK Go 18. I Know Things Now Danielle Ferland 19. Monster Lady Gaga 20. One Tiny Thing 8in8 21. Stand By Me Mona 22. Vide Cor Meum Patrick Cassidy 23. Hannibal (Censored) oswinlost

Disc Twenty-One: The Oklahoma Legacy OR Musical Anachronism(Static Cling) 1. Girl in a Country Song Maddie & Tae 2. Mister Nice Guy Invisible Inc. 3. You Don't Know What Love Is (You Just Do As You're Told) The White Stripes 4. What You Call Love Guster 5. Because It's Not Love (But It's Still a Feeling) The Pipettes 6. Upside Down Barenaked Ladies 7. Lasso Sister Sparrow and the Dirty Birds 8. Bang Bang (My Baby Shot Me Down) Nico Vega 9. If Your Kisses Can't Hold the Man That You Love Rasputina 10. Epiphany Chrisette Michele 11. Wishing He Was Dead The Like 12. Stunner dan le sac Vs Scroobius Pip 13. Forgot to Laugh Bridgit Mendler 14. Delayed Devotion Duffy 15. Switch TLC 16. I Love It Icona Pop feat. Charli XCX 17. Leaving You Behind Amanda Blank 18. Love Don't Love You En Vogue 19. Drowning Banks 20. Building a Wall Brian d'Arcy James 21. Truce The Dresden Dolls

Disc Twenty-Two(Static Cling) 1. Dickhead Kate Nash 2. Love Is Like a Bottle of Gin The Magnetic Fields 3. Same Old Love Selena Gomez 4. Burn Phillipa Soo 5. Turn Me Loose Loverboy 6. So Long Guster 7. Free Fallin' Tom Petty 8. Love Sick Bob Dylan 9. Look for the Woman dan le sac and Scroobius Pip 10. Opposite of Blue Raining Jane 11. Leave Barenaked Ladies 12. L.A. Devotee Panic at the Disco 13. How to Be a Heartbreaker Marina and the Diamonds 14. The Sad Truth Shauna Carrick 15. Here Alessia Cara 16. Hungover Heart Gary Allan 17. Cupid's Got a Shotgun Carrie Underwood 18. Ex's & Oh's Elle King 19. If This Is It Huey Lewis and the News 20. You Rascal You Hanni El Khatib 21. Merry Happy Kate Nash

Disc Twenty-Three(Static Cling) 1. Casanova (Your Playing Days Are Over) Ruby Andrews 2. You Finally Said Something Good (When You Said Goodbye) Teddy Thompson 3. Allez-vous En Kate & Anna McGarrigle 4. By the Sea Helena Bonham Carter and Johnny Depp 5. One Night Stand The Pipettes 6. You Can't Go By That Ricochet 7. Goodies Ciara feat. Petey Pablo 8. Neutron Dance Pointer Sisters 9. Trouble Avicii 10. Smoke Rings in the Dark Gary Allan 11. So Gone John Legend 12. You're Easy on the Eyes Terri Clark 13. Better to Leave Jordan Brown 14. Second Chance Shinedown 15. Ballad of Mr. Steak Kishi Bashi 16. Hunter's Kiss Rasputina 17. The Jeep Song The Dresden Dolls 18. My First Stalker Watsky 19. Parasites San Fermin 20. End Love OK Go

Disc Twenty-Four(Static Cling) 1. Doin' It By Myself Guster 2. Me, Myself, and I G-Eazy feat. Bebe Rexha 3. Duct Tape Heart Barenaked Ladies 4. Instant Pleasure Rufus Wainwright 5. Please Don't Tell Her Jason Mraz 6. Mr. Know It All Kelly Clarkson 7. Set Me Free Leela James 8. Turning Tables Adele 9. Hard Hearted Hannah Bea Arthur 10. Here I Go Again Whitesnake 11. 455 Rocket Kathy Matea 12. She Had the World Panic! at the Disco 13. Heartbeat Childish Gambino 14. Your Love Is a Lie Simple Plan 15. Flake Jack Johnson 16. Little Rock Reba McEntire 17. Four Little Diamonds Electric Light Orchestra 18. What Makes You Cry The Proclaimers 19. The Fog Overcoats 20. Sorry Beyonce 21. Motherfucker Got Fucked Up Folk Uke

Disc Twenty-Five(Static Cling) 1. Welcome to Hell Saoirse Ronan, Cecliy Strong, Kate McKinnon, Aidy Bryant 2. A Kiss Is Not a Contract Flight of the Conchords 3. Leave Me Alone The Veronicas 4. Simple Machine Guster 5. I'm Moving On Chyvonne Scott 6. Daddy Lessons Beyonce 7. As the Crow Flies Gary Allan 8. Five Minutes dan le sac vs. Scroobius Pip 9. Love Will Tear Us Apart Joy Division 10. Now I Know Lari White 11. That's My Girl Fifth Harmony 12. Bling Bling Junglepussy 13. Bye Bye Bye *NSync 14. It Was a Shit Show Santino Fontana 15. Paper Mache (Single A.F.) Miss Eaves 16. Daria Cake 17. Sleeping Beauty Helen Trevillion 18. Justice for Lavender Shauna Carrick 19. Philosopher San Fermin 20. No Means No (But So Do Other Things, Too!) Grumpy Princess 21. Flirtin' El Pus 22. Pink Lemonade Watsky with Invisible Inc. 23. Stake a Claim dan le sac vs. Scroobius Pip

#anti-love #music #music I love

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lynfantasy · 6 years ago

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Lotor?

(For this character ask challenge)OOF. Alright, prepare yourself for salt, because I absolutely love this character no matter what, and that is precisely why I am very mad at the official crew about him. (Though I swear this isn’t ALL salt.)

The last time I did this ask challenge, I answered these questions for Lotor here, but that was before season 5 even came out. Now…

(Putting this under a read-more because this is LONG – there’s two long playlists under the “song” section, and I added a ton of screenshots at the end.)

Favorite thing about them: I loved how complex and out-of-the-ordinary he was. He wasn’t a hero, he wasn’t a villain, and he wasn’t even a traditional antihero. He wasn’t good, but he was altruistic; he wasn’t bad, but he was willing to do things that no one else would. He was neutral, and he didn’t need to be redeemed into goodness. He certainly didn’t seem to have any reason to fall or rise – he already knew what he wanted and how he was going to get it, and both his motives and means were shockingly pure.And then…Least favorite thing about them: Season 6 just completely ruined him. That colony thing?? I’ve vented to many friends about this, and there’s a post I have half-written that I might put up sometime, but it just doesn’t make sense to me. The creators of the show said that they wanted him to be a morally gray character, but then they had had him commit a truly evil act? And he doesn’t even seem repentant for it? I just can’t forgive them for doing this to him. This wasn’t some “cool plot twist.” I’m not sitting here, thinking, “Wow, I really fell for that, didn’t I?” I don’t feel like Lotor betrayed me. I feel like the writers betrayed him and did him a disservice.Favorite line: “All I ask is that you judge me by my actions rather than your preconceptions of my race.” This line was just… wow.Also: “My father’s blood is not just in my veins. It’s also on my sword.” Damn.I also still very much love his opening speech in season 3, and a special shout-out goes to his speech in the beginning of season 6 until Sendak interrupted it.BrOTP: Mmmm, well, Team Sincline forever. In a better universe, they’re all still getting up to their own shenanigans together.I also still wish that Lotor and Keith had gotten a chance to bond. It could have been great.But let’s all take a moment to acknowledge what a great and supportive friendship Lotor and Shiro had in season 5. That was good. Good on you, (clone) Shiro.OTP: Lancelot. I can’t really explain why, but this is my favorite ship. In a close second place comes Polycline, the ship of Lotor and his generals all together in a romantic sense, which just warms my polyam-loving heart.As for what I would like to see in canon, well, I was pretty happy with Lotura, and I’m still holding out hope that they might have some dramatic redemptive reconciliation.NoTP: Eh, I don’t really do NoTPs. I can’t say I’m fond of Lotor/Throk, though.Random headcanon: I think Lotor’s ships are perfectly capable of making it through the Quantum Rift without being subjected to the time dilation effects. I also think that, on more than one occasion, Lotor has purposefully turned down the protection against time dilation because he can’t afford to take time off but he really needs a break, and what better way to accomplish that than to take a trip that will give him weeks or months to himself but will only cause him to miss about a week in regular time?Unpopular opinion:

FANWORK CONTENT CREATORS CAN STILL MAKE CONTENT WITH A SOFT CHARACTERIZATION FOR LOTOR. SHIPPERS CAN STILL SHIP LOTOR/PALADIN SHIPS. CANON SHOULD NEVER LIMIT CREATIVITY.

Song i associate with them: Hoo boy, I have not one but two playlists for him… Instead of linking a playlist, I’ll just list the songs for you all to find at your leisure, since everyone uses different music services (and honestly, I just pirate off of YouTube 99% of the time).

My “canon” playlist, in chronological order, is:

Natural by Imagine Dragons – I’m so glad this came out recently, because if there’s any singular theme song that fits Lotor in every canonical aspect, this is it.

Who We Are by Imagine Dragons – Team Sincline. Need I say more?

Best Day of My Life (minor key) by Chase Holfelder – If you only know this song in its major form, you might very well be wondering why it’s here, but Chase Holfelder’s minor key version has a very different tone to it, and I think it fits Lotor quite well for season 3.

Gold by Imagine Dragons – This works for his rise to power in season 3 and fall in season 4, as well as hinting at his eventual rise and fall again in 5 & 6 and that final snap at the end of 6. It could honestly go at the end, but I thought it fit best here, as the season 4 song.

Icarus by Bastille – I associate this song with both Keith and Lotor in seasons 3 & 4. Honestly, if you listen to the chorus, it sounds like them both at the end of season 4. Icarus (Lotor) is flying too close to the sun… Icarus (Keith) is flying towards an early grave.

Blame by Bastille – This isn’t a perfect fit, but it reminds me of Lotor’s pleading with the Paladins at the beginning of season 5 to not hand him over to Zarkon. Honestly, I sort of picture Lance as the one singing the scathing verses. There’s no room for you here.

I’m So Sorry by Imagine Dragons – This could also go anywhere, but I can picture this as a backdrop to Lotor’s final confrontation with Zarkon. It’s so scathing and sarcastic, except for the bridge. I imagine the bridge as being addressed to Lotor’s generals.

White Blank Page by Mumford and Sons – Canon Lotura. Just… just listen to it. It’s so tragic and fits them so well for season 6.

This Is Gospel -> Emperor’s New Clothes by Panic! At the Disco – Initially, I was going to put just Emperor’s New Clothes on here for Lotor’s breakdown in season 6, but I listened to these two back-to-back, and I thought that This is Gospel fits in a tragic way if you think of it as the sane part of Lotor’s mind trying to warn Allura, knowing that he cannot fight the corruption of Quintessence.

Wolf In Sheep’s Clothing by Set It Off – …I mean, in light of season 6, how could I not include this one. The bridge is basically a summary of that final confrontation.

Viva La Vida by Coldplay – Initially, I had this as a song for season 4, but I couldn’t leave this playlist on such a bitter note. I like to picture that Lotor will eventually come out of the Quintessence field and, alone and without resources, will have to hide out somewhere and rethink a lot of things, and this song is perfect for that.

I’ll Be Good by Jaymes Young – Following the thread of an eventual redemption from the previous song, I think this would suit a redeemed, post-s6 Lotor very well. It’s also simply a very bittersweet and beautiful song to end off on, and it stands in very strong contrast against Natural, the first song on the playlist.

My other playlist is for miscellaneous songs that don’t fit into the canon timeline and for ship songs. In no particular order:

Stay Frosty Royal Milk Tea by Fall Out Boy – This is such a Lotor song, but it technically doesn’t fit canon, since he did become emperor. However, I’ve got an AU story that this fits perfectly, and I think it suits a lot of other Lotor-centric AUs I’ve seen. Besides, thematically, it really does fit Lotor pre-s5.

Broken Crown by Mumford & Sons – The meaning of this song is ambiguous, but if you interpret the “crown” here as literal, it could suit Lotor pretty well, especially in an AU where he refuses to rule.

Therapy by All Time Low – I think this would fit a human AU best, but it could work for any version of Lotor who is introspective about his own flaws and problems.

Battlefield (Meet Me on the Battlefield) by SVRCINA – I’m a little iffy on this one, but someone else recommended it to me as a Lotor ship song, and I do think it could fit a few different Lotor ships quite nicely. The song is primarily about revolution and altruism, both of which fit Lotor, and the romantic aspects would work well for a Lotor/paladin ship.

I Walk the Line by Halsey & Walking the Wire by Imagine Dragons – These two songs work well as two sides of the same coin. I particularly imagine them for Lancelot. Lotor sings I Walk the Line, talking about the difficulty of maintaining a balance between his relationship and his loyalties in the war but declaring that he will be true to Lance above all, and Lance sings the far more optimistic Walking the Wire, saying that although this balancing act is difficult, they will come out on top, together. It could theoretically work for another Lotor ship, but Walking the Wire is such a Lance song that I really picture it for the two of them.

Hold Me Tight or Don’t by Fall Out Boy – Funny story, I pictured this as a Sheith song first, but then @noirsongbird recommended it to me as a Lancelot song, and… yeah, it fits. It also specifically fits one of her (very good!) fanfics, so that’s cool.

King and Lionheart by Of Monsters and Men – Technically, this could sort of work for any Lotor/paladin ship, but I think it would work better for Keitor, Shotor, or Lancelot. It was recommended to me by @noirsongbird as a Lancelot song, and I have to agree that it fits them very well.

I Don’t Know Why by Imagine Dragons – Again, this could work for multiple Lotor/paladin ships, but I picture it for Lancelot. It’s a great forbidden love song, so it would suit a secret romance across battle lines quite nicely.

So… yeah. A lot of music. Sorry? I’m sure this isn’t even everything, haha.

Favorite picture of them: Oh gosh, how could I choose…

Like… damn.

But also…

He’s so cute and pretty??

I mean, just look at him.

For favorite fanworks, I’ve got to put this one up, of course (and please follow this link to the post for it and give it a like!):

This was a gift to me for my very recent 20th birthday by my amazing friend @honestlyprettychill (thank you again babe)!!

There’s a lot of other really good Lotor fanart out there. Check out @itsnotdoneyet and @invidiaesc for some great stuff.

Annnnd that’s it! Sorry this took so long. I hope I answered the questions to everyone’s satisfaction! I have an ask for Keith that I’ll work on next, but I don’t have any after that yet, so please feel free to send in more!

#voltron #lotor #lotor appreciation #lotor ships #s6 salt #meta #lotor meta #voltron meta #music #playlist #voltron playlist #lotor playlist #screenshot #answered ask #my post #mod speaks

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aion-rsa · 3 years ago

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How Charlie Watts Defined The Rolling Stones’ Sound: A Musical Exploration

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Charlie Watts’ drums were the foundation of The Rolling Stones. Mick Jagger and Keith Richards wrote the songs, got the most press, and were the most visible members, but Watts dictated the style. Besides being named to Vanity Fair’s “Style” Hall of Fame, Watts kept the Stones’ sound intact and impeccable, regardless of whatever the songwriters brought into the studio.

There is an incident recounted in the 2010 memoir Life, by Richards and James Fox, about a mid-1980s party which hits the nail on the head. Mick drunk-dialed Charlie’s hotel room in the middle of the night to invite him to a party which was raging. Jagger demanded to know “Where’s my drummer?” Watts showed up. He’d showered, shaved, put on a suit and a tie, beautiful shoes, freshly shined, and “you could smell his cologne.” He walked up to the Rolling Stones’ frontman, grabbed him by the lapel, and told him “Don’t ever call me your drummer again. You’re my fucking singer,” and punched Mick in the face.

Charlie Watts, the now, sadly late, great drummer for the Rolling Stones, didn’t capture the spotlight of his bandmates, and never became as iconic as some of his iconic contemporaries. Led Zeppelin’s John Bonham had power, and a double bass sound which could reach the bowels of the earth. Keith Moon was as much a shooting star over his kit as he was in his rock and roll life. Neal Peart had almost as many individual drum heads as Rush’s songs had time signatures, while Ringo Starr made complicated time changes sound easy.

Watts didn’t take solos, wasn’t a bombastic or showy player, and never graduated from the basic four-piece drum set, usually Gretsch in basic black, and preferably circa 1957. Even Ringo’s later Ludwig kit had five pieces. But Charlie leads the band from the bottom of his 22″ x 14″ bass drum, 16″ x 16″ floor tom, 12″ x 8″ mounted tom, and 14″ x 5″ snare. No gongs, no double bass drums.

Watts was not flamboyant. He was solid, laying down methodical beats with minimal fills, and only basic rolls. He could do them, and effortlessly, but he saved them for meaningful moments like 1968’s “Jigsaw Puzzle.” Ever-present, Watts never got in the way, even dropping eighth-note hi-hats to give room to snare. He moves seamlessly through shuffle, psychedelia, disco, reggae, or funk. Charlie drummed in riffs and hooks. They were simple, unique, and got stuck in your mind. His jazz training put a swing feel to strict patterns. He made regular rock-and-roll beats dance and bounce.

We’ve chosen an album’s worth of hot rocks that showcase Watts at his understated best. Turn it up, and appreciate a master at work.

“Come On”

The Rolling Stone’s first single, a cover of Chuck Berry’s “Come On,” was released in June 1963. Just when you think Watts will never deviate from his boogie woogie shuffle, his drum fills counterpoint the song’s break, and give the key change more importance. He rides the cymbal for just a few sparse bars before he brings the song to an almost surprised stop.

“(I Can’t Get No) Satisfaction”

Richards’ fuzzed out lead is the standout hook, but the tambourine couplets proved to be the key to the band’s first Number One, (“I Can’t Get No) Satisfaction,” from June 1964. Watts pounds the beat so relentlessly we know he will never be satisfied. This is four on the floor at its sexiest until disco, and Watts’ brief moment alone just pounds it harder.

“Get Off My Cloud”

Watts serviced the song and the unified sound. He was the one of the most restrained beat-keepers of his generation, but that didn’t mean he couldn’t drive a song through the simplest of iconic and aggressive repetitions. For the verses, Watts plays exactly the same fill every two bars, and defines the movement. He simplified Chris White’s beat on the Zombies’ “What More Could I Do” to its most propulsive framework on “Get off of My Cloud,” for a run which could be considered the song’s most recognizable hook.

“19th Nervous Breakdown”

After the initial stumble over Brian and Keith’s guitar opening, Charlie lays down a jazz feel for most of “19th Nervous Breakdown,” from 1966. But he takes the choruses to another level with cymbal crashes and rolling toms. Wyman brings his own individual bass rumble to bridge the strings and skins, but when Watts lets out with break intros you feel an oncoming breakdown in your nervous system.

“Paint It Black”

“Paint It, Black” from 1966 might be the most insane performance from the steadiest drummer in rock. Watts rolls, spins, fills, triplets, paradiddles, and marching bands like he’s an army of percussive attackers. This might be his answer to Ringo Starr’s performance on “Rain.” Even among the sitar, Hammond B3, and Mick’s magnetic menace, Watts cannot be denied nor ignored. He’s playing like he’s got an extra palm and we can only imagine how many red doors he could paint to drive the point home.

“Sympathy for the Devil”

Seemingly complex, because of the congas by Rocky Dijon and Wyman’s African shekere shaking, Watts’ drums on “Sympathy for the Devil” are amazingly low-key. They propel the song, and give it that hypnotic insistence. But listen as Watts restrains every urge to fill an empty space. He plays the emptiness, suspense comes between the beats, and Watts never gives in to temptation. He sticks to the basic samba rhythm, which was loosely inspired by Kenny Clarke’s “A Night in Tunisia,” and lets the evil rise to the surface with subtlety a man of wealth and taste could appreciate.

“Street Fighting Man”

“Street Fighting Man” (1968) is an auric nightmare, especially for anyone trying to recreate the sound. Watts used a 1930s practice drum kit, and mounted tambourine-sized skins to small brackets. The “marching charging feet” can almost be heard in the hollow reverb. He gets a large sound, and yet it sounds squeezed in from another room, or coming in through the windows.

“Gimme Shelter”

“Gimme Shelter,” from Let It Bleed (1969), is masterwork of suspense and exaltation. It opens with guitar licks which sound muted by an apocalyptic overcast. Jimmy Miller’s guiro lets the audience know this is no day at the beach, as opposed to the scraped wooden agogo of The Drifters’ “Under the Boardwalk.” Then Watts rains down over everyone in a thunderous downpour. While Mick looks for shelter, Watts brings the storm. Lightning doesn’t even have to strike twice, as the drums continue the same relentless current the band drowns in. The only life preserver in site is the snare. Watts is on full restraint, which makes it all the more menacing.

“Honky Tonk Women”

“Honky Tonk Women” has a more identifiable cowbell than any song other than “Mississippi Queen.” But don’t fear the reaper, death is the furthest thing from the Stones’ mind in this sordid sip of southern comfort. Charlie is so loose on this song, it feels like he’s using a love seat as a drum stool. He takes his time catching up to the band from the very beginning. It honestly feels like he has to be reminded to come in on the three-note-fill before he kicks into the groove.

“Fingerprint File”

“Fingerprint File” is not a well-known song from the band. It closes the Rolling Stones 1974 album It’s Only Rock ‘n Roll, and is the funkiest Watts has ever sounded. Richards leads through the wah-wah, Jagger is on the heavily phased rhythm guitar, Mick Taylor is on bass to free Wyman up for synthesizer. Also at the sessions are the funkmaster Billy Preston on clavinet, and Nicky Hopkins on piano. The Beatles got their title for Rubber Soul from an insult which was hurled at the Stones at the time. This song proves they are capable of more than plastic soul. Watts’ hi-hat work should be studied at Julliard.

“Emotional Rescue”/”Miss You”

A lot of bands “went disco” in the 1970s and 1980s. But The Rolling Stones produced it organically. This is mainly because of Charlie Watts. He was always a master at four-on-floor, and had already proved he’d been listening to the soul sounds of the same period. For “Miss You” from the 1978 Some Girls album, he and Wyman take the most iconic of the genre’s cliches and make it their own. Between the bass octave jumps and the Philadelphia-inspired drumming, this and “Emotional Rescue” were dance floor naturals.

The Charlie Watts Orchestra – “Stompin at the Savoy”

Charlie Watts is known as a one band man, but he’s been playing with jazz ensembles on the side almost throughout the Rolling Stones’ later periods. He’s toured and recorded with his own big band jazz unit, the Charlie Watts Orchestra, which included Jack Bruce on cello. As you can hear in “Stompin at the Savoy,” Watts is an expert ensemble player, who really lets go when having a good time.

Casual mentions

Watts drives “Not Fade Away,” a Stones cover of a Buddy Holly classic, with a tumultuous take on the Bo Diddley beat. He completely reinvigorates its already-electric rhythm, and tops from the bottom. The live version of “Midnight Rambler” contains a very subtle duet between Charlie and Mick. “Can’t You Hear Me Knocking,” from Sticky Fingers, might be the tightest riff from the rhythm section.

Charlie Watts has laid his last grooves, but he’s left volumes of inspiration.

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your-dietician · 3 years ago

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DESTIN EVENTS AND ENTERTAINMENT June 26

New Post has been published on https://tattlepress.com/entertainment/destin-events-and-entertainment-june-26/

DESTIN EVENTS AND ENTERTAINMENT June 26

Please send your events, meetings, etc., to [email protected] at least 2 weeks in advance.

Destin City Hall

All city meetings are being held at the City Hall Annex, 4100 Indian Bayou Trail, until further notice. All meetings are subject to change or cancellation. To virtually view the meeting, https://www.cityofdestin.com/. To view/stream is www.youtube.com/CityofDestin.

Family Fun Day

The Studer Family Children’s Hospital at Ascension Sacred Heart will host a Family Fun Day in Santa Rosa Beach from 9-11 a.m. June 26. The location will be the new Ascension Sacred Heart building at 179 Mack Bayou Loop. The event is free of charge and celebrates the expansion of pediatric services to the Emerald Coast. Outdoors, masks are encouraged, but not required. Inside the building, masks are required.

Rock the Docks

Rock along the docks at HarborWalk Village and under the stars for a free live concert from 7-9 p.m. June 26 with Frank Fletcher.

• July 3: 18 Miles Band

• July 10: Flash Flood

• July17: way Ja Vu

• July 24: The Hoodoos

• July 31: Scenic Heights

• Aug. 7: FIinga Faya

• Aug. 14: TBA

Sunday Cinema

Grab a lawn chair or blanket for the free movie “Moana,” a featured film on the big screen at 8 p.m. June 27 on the Events Plaza Lawn at Baytowne Wharf.

• July 11: Hotel Transylvania 3: Summer Vacation

• July 18: Pete’s Dragon

• July 25: Sing

Rosemary Beach Summer Concerts

Bring your chairs and blankets and enjoy the night on St. Augustine Green in Rosemary Beach with music of Totally Awesome 80’s from 6:30-8:30 p.m. June 28.

• July 5: Ocean’s Nine (boat Pop)

• July 12: Kool Kats (50’s & 60’s)

• July 19: British Invasion (Beatles and Stones)

• July 26: Flying High (Bryds to the Eagles)

• Aug. 2: Fais Do-Do (Cajun & Zydeco)

• Aug. 9: Totally Awesome 80’s!

ACT Workshops

Workshops to assist students in Okaloosa, Escambia and Santa Rosa County high schools who will be taking the July 17 ACT tests will be held in Gulf Breeze. The workshop will be from 9 a.m. to noon July 12, 13, 14 and 15. Registrations must be postmarked by June 28. All materials, snacks and drinks are furnished. Students will need to bring calculators. If you have any questions, email [email protected] or call 615-585-2401.

Wednesday Night Concert Series

Enjoy free live entertainment with Dion Jones & The Neon Tears from 7-9 p.m. June 30 on the Events Plaza stage at The Village of Baytowne Wharf.

July 7: Boukou Groove

July 14: Forrest Williams Band

July 21: Six Piece Suits

July 28: Rust & Gold

Summer Storytime on the Lawn

Cuddlers and Toddlers Storytime is continuing through the summer at 10 a.m. every Thursday and run approximately 20 minutes. Come enjoy Tails & Tales themed stories while waiting for the weekly Summer Reading events to begin at 10:30 a.m. Get more information at cityofdestin.com/655/Summer-Reading. If you have any questions, call 837-8572 or email [email protected].

Summer at HarborWalk Village

• Monday: Dance to your own beat with a silent disco experience in front of the main stage from 7-10 p.m. Sanitized headphones provided.

• Tuesday: Carnival comes to HarborWalk Village with live music on the main stage at 6:30 p.m. and the Fat Tuesday Parade at 8:30 p.m. Catch beads as the floats roll through the Village. Want to celebrate on a float with you and your krewe or promote your business? Email [email protected] or call 850-424-0600.

• Thursday: All American Thursday is from 6:30 – 9 p.m. Celebrate the USA with a one-of-a-kind vintage airshow, hero salute, live entertainment, fireworks and a fire spinning show with Hero Salute and Vintage Air Show 6:30 p m. and fireworks at 9 p.m.

Rosemary Beach Moonlight & Movies

Bring blankets and lawn chairs for a movie night under the stars in Rosemary Beach July 1 with “The Secret Life of Pets 2” on the Western Green. Balloon art starts at 6 p.m. and movie at 8:15 p.m. Enjoy popcorn and hot dogs on the beach from DogManDu.

• July 8: Toy Story 4

• July 15 Moana

• July 22: Sonic the Hedgehog

• Aug. 5: Tom and Jerry

• Aug. 12: Trolls World Tour

Let Freedom Ring

HarborWalk Village’s 4th of July celebration, Let Freedom Ring, begins at 7 p.m. July 2 with The Two Hoo Doos. The Miles Band performs July 3 at 7 p.m. and The Manly Hero July 4 at 7 p.m. Fireworks and fire spinning by Autumn Lyfe begin at 9 p.m. Sunday. On-site parking $10.

Movies & S’mores Series

The free Movies & S’mores series will be at 5 p.m. July 3 in Camp Helen State Park Recreation Hall with food and fun. Seating will be provided. Programs begin at 6:30 p.m. with an interpretive table of activities, a merchandise table, prepackaged smores around the bonfire and a souvenir cup. Movie, “The Lion King (2019),” begins. at sunset. Donations are accepted and will go directly to the Friends of Camp Helen State Park to be used to benefit the parks resource management, projects and interpretative programs.

• July 22: Onward with a special treasure hunt/guided tour throughout the park

Smoke on the Coast

Destin Commons will host 15 local non-profit organizations at the 10th annual Smoke on the Coast BBQ & Fireworks Festival from 5-10 p. m. July 3. Each non-profit organization teams up with a restaurant or BBQ aficionado. Cast your vote for $1 for your favorite BBQ team, support their mission, and enjoy a day of family fun.

Seaside 4th of July

Seaside is hosting a day of patriotic activities from 9 a.m to 9 p.m. in Central Square, with storefronts decorated in red, white, and blue. While there will not be a parade along 30A, Seaside will feature second-line-style patriotic music performances around town throughout the day, with a special performance by the Rep Theatre. All of this will culminate into what will be the largest fireworks show not only in Seaside but along the entire Gulf Coast.

Red, White & Baytowne

The Red, White, and Baytowne celebration takes place from 7-9:15 p.m. July 4 with music from Donovan Keith on the Events Plaza Stage at Baytowne Wharf. A fireworks display will light up the night sky at 9:15 p.m. The Village will also host kids activities including kids crafts, face painting, and balloon sculpting.

Foster Gallery

The public is invited to a reception celebrating both the Summer Rotation and upcoming Juried Special Exhibition artists at Foster Gallery from 5-7 p.m. July 14. Enjoy tasty sips and snacks while perusing all the works on display and available for purchase.

Summer Pop

The Emerald Coast Theatre Company presents Jordan and Michelle’s “Back to Broadway” show, a fun-filled, high-energy tribute to the Broadway music of today and yesterday. July 17 at ECTC’s performance space, 560 Grand Boulevard, upstairs, in the Grand Boulevard Town Center in Miramar Beach. Tickets are $30/person at www.emeraldcoasttheatre.org.

• July 24 – Frank & Friends with Peter Lake. Enjoy tunes from Frank Sinatra, Giacomo Puccini, Andrew Lloyd Webber and many more favorites.

Mattie Kelly Arts Center

Jesus Christ Superstar is the 2021 Summer Musical at 7:30 p.m. July 21-24 and 2 p.m. July 25 on Mainstage. at the Mattie Kelly Arts Center Amphitheater in Niceville. Doors open at 6 p.m. Tickets are $20. Call the Box Office for tickets at 729-6000 or visit https://mattiekellyartscenter.org/.

Billy Gray Testimony

Billy Gray, who ministers to people around the world and is former pastor at The Gathering, will give his testimony at First Baptist Church, 201 Beach Dr. in Destin, on July 27 at 10:30 a.m. All are welcome.

Hydroflight Monday

Enjoy shows from fly-board extraordinaire Ben Merrell over the lagoon at The Village of Baytowne Wharf at 6:30 and 8:30 p.m. Mondays through Aug. 2.

Boomin’ Tuesday

Turn your eyes on the sky at Baytowne Wharf and watch as the sky lights up with a fireworks show over the Lagoon at 9:15 p.m. Tuesdays through Aug. 3. Also, a DJ Dance Party with DJ Mike Whitty begins at 7 p.m. in the Events Plaza.

Magical Thursday

Magic, music, and mayhem with Baytowne Wharf’s featured pirate Captain Davy takes you on an adventure with two magic shows at 7 and 8 p.m. Thursdays through Aug. 5.

Destin Woman’s Club

The Annual Fashion Show held by the Destin Woman’s Club has been cancelled this year due to the Covid virus. The Fashion Show for 2021 has been scheduled for Nov. 5. As their major fundraiser, net proceeds go toward the Club’s Family Assistance Fund designed to help local families and a local charity.

RECURRING EVENTS

Destin Community Center

All activities are at the Destin Community Center, unless noted. Call 654-5184 or email [email protected] information and to register. Persons with disabilities who require assistance are asked to notify the center 48 hours in advance.

Pickleball: Sessions are Mondays from 12:30-3:30 p.m. Wednesdays from 1-2 p.m. and Fridays from 10:30 a.m. until 1:30 p.m. Fee is $3/session. Racquets and balls are available, just bring your gym shoes.

Table Tennis: Play from 10 a.m. to 1 p.m. Mondays, Wednesdays and Fridays. Paddles and balls provided. Fee is $2/resident and $3/non-resident.

Senior Programs

All activities are at the Destin Community Center, unless noted. Call 654-5184 or email [email protected] for information and to register. Persons with disabilities who require assistance are asked to notify the center 48 hours in advance.

— Destin Senior Membership: Join the Destin Seniors to enjoy multiple festivities including the senior lunch bunch, potluck, casino trips, cruises, bingo, chair exercise, knitting, scrabble, and Mexican dominoes. Members must be a Destin resident.

— Senior Book Club: The Destin Senior Members meet at 10 a.m. the 2nd Wednesday of the month at the Destin Library, 150 Sibert Ave.

— Senior Drop-In Hours: The Destin Senior Center at Buck Destin Park, 724 Legion Drive, offers senior drop-in hours from 9 a.m. to noon every Tuesday and Thursday for Seniors (50 years and older) to meet and enjoy each other’s company, participate in games such as Mexican Train Dominoes, Scrabble, cards, etc.

— Senior Walking Club: The Destin Senior Members walk around the Destin Community Center’s gymnasium from 8-9 a.m. Monday-Friday. All of the miles that you walk will be added to the “team map” as we travel from one region to the next. The team’s miles are reported on the 4th Friday of each month at the Destin Senior Membership’s Potluck.

— Destin Senior Chair Exercise 50+ years: Monday and Wednesday mornings from 10-10:45 a.m. at Buck Destin Park consists of performing light exercises to help improve balance, flexibility, strength, and circulation. Free/residents.

Book Club

The Destin Library’s Novel Idea Book Club is open to adults and meets every fourth Thursday of the month at 11:30 a.m. via Microsoft Teams. Club members can submit book recommendations – primarily fiction with the occasional non-fiction title – and the club will vote on which ones to read. Membership is open to everyone; however, you will need an Okaloosa County Public Library card to check-out materials. Members will need an email address and internet access to join the discussion.

City of Destin Annual Passes

Full-time residents (within the incorporated city limits) are encouraged to submit their request for a 2021 Annual Pass at https://www.cityofdestin.com/342/Annual-Passes. For those who do not have internet access, beach parking passes are only available at City Hall. Henderson Beach State Park and Joe’s Bayou Boat Ramp passes are available at both City Hall and the Destin Community Center. For questions, call 837-4242.

Adopt-A-Street

The City of Destin’s Adopt-A-Street Program allows local families, businesses and community groups to perform a valuable community service by adopting sections of a street to keep clear of litter and debris. Groups who participate in this program will have their name listed on the City’s website and signage installed on their adopted street. For more information, call 837-6869 or email [email protected].

Grand Boulevard Farmers Market

Grand Boulevard Farmers Market takes place every Friday and Saturday from 9 a.m. to 1 p.m. at Grand Park in the heart of Grand Boulevard in South Walton. Bring your shopping bag and load up on local produce, eggs, jams and pies. Homemade soap, good olive oil, and pickled things are all there for the taking.

Rosemary Beach Farmers Market

Come browse the 30A Farmers Market in Rosemary Beach on Sundays from 9 a.m. to 1 p.m. The local farmers market takes place on Sundays year round, and Thursdays throughout the summer months, in North Barrett Square along Scenic 30A.

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thisisheffner · 5 years ago

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The Clash's 40 greatest songs – ranked! | Music | The Guardian

A historical artefact, not for the proto-punk music, but because the lyrics epitomise the new wave’s perceived threat to the old guard. “No Elvis, Beatles or the Rolling Stones / In 1977,” sang Joe Strummer, hardly about to let his love of such pop greats get in the way of punk’s declaration of year zero.

39. White Riot (1977)

Guitarist Mick Jones now dislikes the first Clash single, its lyrics written by Strummer after the band were caught up in the 1976 Notting Hill riots and he concluded white people needed “a riot of our own”. The sentiment hasn’t aged well, but the song exemplifies the amphetamine-fuelled punk the band would leave behind.

38. What’s My Name (1977)

A Clash curio in that it’s the only one of the group’s songs to bear a writing credit for Keith Levene, the band’s original guitarist. Levene showers melodic gold dust all over this otherwise shouty punk stomper, but is better known for his work with John Lydon in Public Image Ltd.

37. Know Your Rights (1982)

From Combat Rock, the final album by the classic quartet of Strummer, Jones, bassist Paul Simonon and drummer Topper Headon. The tank was getting emptied, but Strummer’s black humour brims through lines such as “You have the right to free speech / As long as you’re not dumb enough to actually try it.”

36. I’m So Bored With the USA (1977)

This hugely anthemic track on debut album The Clash began life as I’m So Bored With You, a song about Jones’s girlfriend, before Strummer’s ad-libbed “… SA” took it in a new direction. The blistering critique of US imperialism and exported culture (“Yankee detectives are always on the TV”) didn’t stop the Clash’s love of American iconography, cars and clothes.

35. Janie Jones (1977)

Original Clash drummer Terry Chimes – uncharitably credited as Tory Crimes on The Clash – propels the debut’s storming opener, a eulogy to a 60s pop celebrity and libertine who had been jailed for vice offences in 1973. On release, the convicted madam returned Strummer’s affections in the song Letter to Joe.

34. Charlie Don’t Surf (1980)

By the epic three-disc fourth album, Sandinista!, the Clash arguably had too many ideas for their own good, but within the 36-song sprawl are undoubted treasures. Titled after a Lt Col Kilgore quip in Apocalypse Now, there’s an element of the doo-wop era to this sweet song about, well, cultural imperialism.

33. Brand New Cadillac (1979)

This bracing cover of a 1959 Vince Taylor and the Playboys track refers to the early Brit rockers’ glamorous dream car (when most of them probably had to make do with a humble Ford Anglia). From the double album London Calling, the Clash’s creative zenith.

32. The Guns of Brixton (1979)

Brixton boy Simonon wanted some songwriting cash and so penned this memorable song about police harassment and discontent in his London neighbourhood, two years before the district exploded into rioting. In 1990, Simonon received an unexpected windfall when Norman Cook (later Fatboy Slim) sampled the groove for Beats International’s hit Dub Be Good to Me.

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31. Clash City Rockers (1978)

Year zero meant many punks hurriedly buried their pasts in pub rock bands with long hair, but this 1978 single reworks a song from Strummer’s old pub rock band, the 101’ers, around trademark Clash self-mythology. The shift from aggressive guitars (surely copied from the Who’s I Can’t Explain) to something more mournful suggest musical adventure to come.

30. Rudie Can’t Fail (1979)

According to long-time Clash associate Don Letts, this London Calling gem is the fruit of a long hot summer that the Clash spent smoking herb and going to reggae clubs. It’s a horns-drenched homage to Caribbean culture, “drinking brew for breakfast” and the “chicken skin suit”.

29. Tommy Gun (1978)

A great single from the not universally adored second album, Give ’Em Enough Rope. Strummer is scathing about the idea that terrorists see their cause as glamorous, yelling: “You’ll be dead when your war is won”, while Headon’s snare drum rolls resemble gunfire. This didn’t stop the singer posing for photos in a T-shirt honouring Italian-based violent leftist organisation Brigate Rosse (the Red Brigades).

28. Police and Thieves (1977)

This cover of the Lee Scratch Perry-produced Junior Murvin hit stands out a mile on The Clash. It’s their first attempt at reggae, played punkier, with a new, Jones-penned intro. That summer, Bob Marley (working with Perry) acknowledged the burgeoning punk/Jamaican music love-in with Punky Reggae Party.

27. London’s Burning (1977)

Also from the debut album, this most captures those punk rock summers of 1976 and 1977, with its bone-crunching verse and rabble-rousing chorus. The imagery is a comprehensive list of the band and movement’s inspirations, from high-rise living above the Westway (where Jones lived with his gran) to a capital city “burning with boredom now”.

26. Somebody Got Murdered (1980)

According to Pat Gilbert’s superb book Passion Is a Fashion, the Clash were approached by producer-arranger Jack Nitzsche to provide a song for the William Friedkin movie Cruising, but he never called again. Thus, the song lit up Sandinista! with its effervescent tune and film noir-ish imagery about a random killing.

25. Career Opportunities (1977)

The limited youth employment of the 70s is timelessly skewered (“Career opportunities, the ones that never knock”) in this gem from the debut. The line “I won’t open letter bombs for you” refers to an actual job once held by Jones, checking government mail for explosive devices.

24. Pressure Drop (1979)

The B-side of the slightly hackneyed English Civil War and one of the Clash’s great covers, of Toots and the Maytals’ 1970 reggae/ska classic (as heard in the 1972 film The Harder They Come). Later, Strummer was at pains to point out that they recorded it in 1977, hence it pre-dates 2-Tone.

23. This Is England (1985)

Headon and Jones had been sacked by now (for heroin abuse and behavioural issues, respectively) as a remodelled, five-piece Clash made a sixth album. The otherwise unloved Cut the Crap did herald this final terrific single. Keyboards and guitars drive Strummer’s withering take on our national strife.

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22. Gates of the West (1979)

The Clash had been singing about the US since I’m So Bored With the USA. Based on Rusted Chrome, an early Jones composition, this stormer from the Cost of Living EP describes their New York experiences, the characters, imagery and anthemic tune all reminiscent of Bruce Springsteen.

21. Hitsville UK (1980)

From Sandinista!, this eulogy to pop is a bubblegum delight that namechecks the UK’s emerging independent labels and argues that a great “two minutes 59” single can triumph over industry sharp practice. With its Motown (the original “Hitsville”) groove and sugar-coated duet between Jones and his girlfriend, Ellen Foley, the Clash’s remaining hardcore punk fans hated it.

20. Police on My Back (1980)

Another terrific example of the Clash’s ability to cover a song (the original was by Eddy Grant’s old band, the Equals) and make it sound as if they had written it. Jones’s guitar wails like a siren, and the song has all the adrenalin rush of a police chase.

19. Lost in the Supermarket (1979)

In the tradition of the Rolling Stones’ (I Can’t Get No) Satisfaction and the X-Ray Spex back catalogue, this is a great Strummer-penned/Jones-sung song about the dehumanising effects of advertising and the consumer society. (“I came in here for that special offer / A guaranteed personality.”)

18. I Fought the Law (1979)

The band reputedly heard the Bobby Fuller Four original on the studio jukebox in San Francisco while recording Give ’Em Enough Rope. Writing credits aside, this is a trademark Clash smash, full of outlaw rebel posturing and laden with Headon’s six-shooter drum cracks.

17. Death or Glory (1979)

Strummer’s ferocious blast at ageing, sellout rock stars builds to a hurtling climax on a lyrical twist as he fears a similar fate himself. Presumably it was ruled out as a single because of the infamous, hilarious line: “But I believe in this and it’s been tested by research / He who fucks nuns will later join the church.”

16. Safe European Home (1978)

Strutting around Kingston, Jamaica, in full punk regalia (in theory to stir the creative juices for Give ’Em Enough Rope) proved a rude awakening, but did produce this untypical example of Clash self-mockery. “I went to the place where every white face / Is an invitation to robbery / And sitting here in my safe European home / Don’t want to go back there again.”

15. Clampdown (1979)

Strummer’s view that capitalism was endangering people and the planet was sharpened by the Three Mile Island nuclear accident, which inspired this London Calling highlight. The Clash were exploding with musical ideas by now, and packed rock, funk and disco into this fiery, timeless anthem.

14. Garageland (1977)

The rock critic Charles Shaar Murray’s dismissal of the Clash as a “garage band” in an early live review prompted this defiant riposte, which also reflects the band’s fretting that signing to a major label would be selling out. It’s a furious but somehow melancholy anthem: “People ringing up making offers for my life / But I just wanna stay in the garage all night.”

13. The Card Cheat (1979)

Surely channeling Jones’s love of Mott the Hoople, this is the sort of thing that presumably inspired the Libertines. Horns, drum rudiments, a sublime piano hook and vivid imagery (“To the opium dens and the bar room gin ... The gambler’s face cracks into a grin”) combine in a song about a card sharp who is shot for cheating.

12. Spanish Bombs (1979)

A favourite of the late INXS singer, Michael Hutchence. The melody is glorious and Strummer’s lyrics contrast the freedom fighters of the Spanish civil war with modern tourists. The singer partly sings it in what he called “Clash Spanish”. Olé!

11. Rock the Casbah (1982)

Headon wrote and played most of the music on Combat Rock’s club/chart smash, which innovatively combines rock, funk and a slightly eastern feel. Strummer’s lyrics are inspired by Iran’s post-Islamic revolution ban on pop music, the singer’s idea being that the people would rise up and “rock the casbah”.

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10. Train in Vain (1979)

After a planned NME flexidisc fell through, this sublime Jones unrequited love song was added to London Calling too late for listing on the initial sleeves. Pete Townshend’s favourite Clash tune, this is the band at their unashamedly poppiest. Headon’s killer drum intro fires one of the rhythm section’s funkiest grooves.

9. Stay Free (1978)

Jones’s sublime, heartfelt eulogy to his old Strand school friend Robin Crocker, who became known as Robin Banks after a sting of heists landed him a stretch inside. Some fans were delighted to discover that Banks subsequently punched the song’s producer, Sandy Pearlman, who had previously worked with Blue Öyster Cult and is largely blamed for Give ’Em Enough Rope’s not exactly punky gloss.

8. The Magnificent Seven (1980)

Having rattled through punk, reggae, ska, dub and rockabilly inside five years, our boys assimilate the emerging hip-hop sounds they heard while in New York, and Strummer turns white rap pioneer. A terrific groove forms the platform for daft-but-inspired wordplay: “Italian mobster shoots a lobster.”

7. The Call Up (1980)

Following the Russian invasion of Afghanistan, as the US geared up to reintroduce the draft, the Clash spearheaded the resistance with this fantastic Sandinista! single. “It’s up to you not to heed the call up / I don’t wanna die ... I don’t wanna kill,” cries Strummer, over a magnificently eerie reggae-ish backdrop.

6. Bankrobber (1980)

So many great songs poured out of the Clash that this Mikey Dread-produced gem was almost thrown away as an import-only 45, which didn’t stop it making it No 12 in the UK charts. It’s dub music with folk storytelling – Strummer’s “daddy” wasn’t really a bank robber, but a diplomat.

5. London Calling (1979)

The Clash’s highest-charting UK single, until Combat Rock’s rather banal Should I Stay Or Should I Go reached No 1 in 1991 after being used in a Levi’s ad. Years before the climate crisis and flooding sparked public concern, Strummer fears an imminent biblical apocalypse, hence “London is drowning and I live by the river”.

4. Armagideon Time (1979)

The flip of the London Calling single, this superb reworking of Willie Williams’ social justice anthem is the definitive example of the Clash playing reggae. Strummer’s “OK, OK, don’t push us when we’re hot” is his shouted rebuff to then-manager Kosmo Vinyl, urging him to scrap the allotted three-minute length and keep the tapes rolling.

3. Complete Control (1977)

After CBS infuriated the Clash by releasing Remote Control as a single against their wishes, the band responded with their punk-era high watermark. Lee Perry produces, and Strummer’s yelled “You’re my guitar hero!” during Jones’s blistering guitar solo is one of many goosebump moments.

2. Straight to Hell (1982)

Headon’s bossa nova rhythm and a haunting hook (later sampled by MIA for 2007’s Paper Planes) power Combat Rock’s finest. The band’s unity was already fracturing, but Strummer rightly called this vengeful tirade against imperialism and American soldiers in Vietnam who left local women pregnant (“Go straight to hell, boys”) “one of our absolute masterpieces”.

1. (White Man in) Hammersmith Palais (1978)

Any of the Clash’s best songs could grace the top spot without too much argument, but this edges it. The collision of reggae (verse) and rock (chorus) epitomise what the critic Lester Bangs described as the Clash’s fusion of “black music and white noise”. Lyrically, a disappointingly lightweight reggae gig (in the Hammersmith Palais) triggers Strummer’s blistering state of the nation address, in which he considers everything from music (“Turning rebellion into money”) to racism and rising nationalism (“If Adolf Hitler flew in today, they’d send a limousine anyway”). Forty-two years on, it remains a tour de force and as relevant as ever.

Various 40th anniversary super deluxe editions of London Calling are out now on Sony.

This content was originally published here.

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myrecordcollections · 5 years ago

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Trax

Watch Out

@ 1977 HK Pressing

*******

One of the great lost disco classics, Trax is Keith Forsey on drums and Pete Bellotte on bass, better known as the the rhythm section employed by Georgio Moroder at his studio in Munich. They appeared on all of Moroder's disco productions, most notably Donna Summer's mainstream success. Trax, however, is Bellotte's contribution to the throb of the cocaine-infused nightlife, tailored for the club rather than the radio. The centerpiece of the album is the sprawling tech-disco classic Watch Out For the Boogeyman, which, if this album weren't so obscure, would be a staple at all Halloween parties. A 14-minute long disco workout with vocoded vocals, the song seems to dare the listener to resist getting out on the dance floor and cutting a rug. There is a lot of underground disco that is criminally unappreciated, and this album is one of those not-so-rare gems. After all, disco was at its core an authentic movement, regardless of how it has been portrayed and remembered since its heyday; as glossy cynical corporate product. The rest of the album features more tasteful disco arrangements by Thor Baldersson in shorter doses, one of which, Any Way You Want It, on the B-side, features Moroder himself helping his buddies out. This is an album that has been begging for a CD re-release for ages, so hopefully some enterprising label exec will stumble across this priceless artifact and give it the re-issue treatment it deserves, sooner than later. By the way, the other albums listed in the Trax discography here are NOT from the two boys from Munich we see decked out in silver racing suits on the cover of Watch Out; they're from some other outfit entirely.

#Trax #Disco #Watch out #1977 #polydor

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disappearingground · 5 years ago

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The Life Is Beautiful Interview: Jenny Lewis

Las Vegas Weekly October 20, 2014

Jenny Lewis on Las Vegas: “It’s where I’m from. I have that working-class show-business blood coursing through my veins.”

By Leslie Ventura

Your parents lived in Vegas and used to perform at the Sands. I read that your mom went into labor onstage there. Is that true? Best first question ever. Yeah, my mom says that she went into labor onstage at the Sands in the lounge where they played. I was born at the women’s hospital—I don’t know if that’s still around. I was born in the same hospital as Ryan Ross from Panic! At the Disco. (WHAT?????????????)

When did you move away? I was quite young. Three years old, maybe. My parents got divorced, and we moved to the San Fernando Valley. … My first memory ever is of my baby sitter at the time—we were living at this apartment building with a swimming pool in the middle and she was a female Elvis impersonator called Ellis.

Do you like playing here? I do. And you know, there wasn’t a great venue in Vegas for a long time. It was like, you’re playing in a casino, which is cool, but I feel like in the last 10 years some new spots have popped up. Like playing at the Cosmopolitan. Jonathan Rice and I made a record called Jenny and Johnny and we wanted to play the lounge at the Cosmo ’cause that’s what my parents did. So it was a very conscious effort to play in the lounge, old-school style.

You mention Las Vegas in the Rabbit Fur Coat song “Rise up With Fists.” Does this city symbolize something specific to you? It’s where I’m from. I have that working-class show-business blood coursing through my veins. That is the inception of my journey as a creative person—it happened in Las Vegas. That’s where my parents met. They were both auditioning for a band, they fell in love and made music together. They made me. And let me just tell you that my hair looks so good out in the desert, it’s unbelievable. It’s like perfectly not frizzy. (laughs)

You played Hannah in the 1989 film Troop Beverly Hills. Do you remember anything vividly from that experience? Do you keep in touch with any of the cast members? I have seen a couple of the girls over the years. Once in an exercise class I saw Kellie Martin, I was like “Omigod, Troop Beverly Hills!” But you know, I haven’t kept in touch with them, and the memories are vague. But it’s amazing how that movie has endured and how people love it. Generations of women love that movie, and some boys too. (laughs)

Two of the Haim sisters, who played Life Is Beautiful last year, played with you on a previous tour. What was that like? Danielle played on guitar in my band for the Acid Tongue tour. She was in my band, and then Este played with me as well a little bit later on. I did a bunch of shows with Danielle. It was her first tour ever. [She’s] such a sweetheart and such a badass, and I’m so very proud of them. They’re my friends. You know, we’re all Valley girls. Whenever I have a party or jam or whatever at my house, they’re always there, ’cause they’re really close by.

Tell me about the rainbow pantsuit. It’s on your album cover, in the video and you wear it onstage. I wanted to offset some of the darker themes on the record with colorful imagery, and in some ways, upbeat sounding music. But my friend Adam Siegel was a graffiti artist in the ’90s, and he painted on that suit for me. I work with this woman Autumn de Wilde, who’s taken all my album cover photos, so it was a big think tank on that rainbow suit.

The Voyager is a little bit poppier and has more ’80s undertones than your previous solo albums. Was that your intention, or did that come out more when you started working with Ryan Adams and Beck? It’s their production. I think Ryan loves ’80s, chimey-sounding guitars. I love Teenage Fanclub and Johnny Marr, so I think that feel comes from his guitar sound. But that’s the cool thing about collaborating; you really get someone and all of their influences.

I read that you wrote “She’s Not Me” after reading Keith Richards’ autobiography. How did that song evolve? In his book, Life, he talks a lot about this open tuning that he became quite famous for. So I tuned my guitar to this Keith tuning and started writing the music to “She’s Not Me.” And it got sort of buried in my hard drive. Jonathan [Rice] was like “Where’s that thing you were writing when you read that book?” And then we kind of brought it back from the dead. But Keith is just one of my favorite guys of all time, top three favorite guitar players. His are my favorite Stones songs. I’m more in the Stones camp than the Beatles camp.

Will we hear some Rilo Kiley songs at Life Is Beautiful? Yes, for sure. It always depends on how long my set is, how much I can fit in from the past and the present and the future, but for sure. It’s pretty up for grabs at this point. I think the more people get to know The Voyager songs, the more I want to play them. There’s just a lot to pull from. There’s so many songs from so many different records that sometimes I forget about them.

The last song on The Voyager ends with the line, “If you want to get to heaven, get out of this world.” How do you suggest people “get out of this world?” What do you mean by that? I think in some ways, it’s a reference to the cosmos or meditation or escape through whatever means—being more connected, a sort of spiritual assent in a way. I was reading a lot of Carl Sagan’s Cosmos, and I think it informed some of that stuff. I was sort of pondering those big questions, like, where do you go?

The question. Yeah, exactly. The number one big one.

#publication: las vegas weekly #album: the voyager #year: 2014 #mention: las vegas #mention: parent's origin #mention: troop beverly hills #mention: cover art #song: she's not me #song: rabbit hole #mention: the beatles #song: the voyager

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yesterdaysanswers · 4 years ago

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(Thank you so much, @vibesfromepicforest for translating this article!)

At the beginning of the 80s it seemed to be that the music of the previous decade died of natural causes leaving a place for the phenomenon called "new wave". However, the history repeats itself. When the young generation following the greatest traditions of progressive rock (Marillion, Pallas, Twelfh Night, IQ) proceeded with the attack, the audience reacted with a great ovation. Together with rehashing old sounds and old emotions, the dinosaurs awoke too – first there was Yes, then Deep Purple and finally Emerson, Lake and... Powell.

The fans were sceptical about the comeback of these last ones. Experience showed that such initiatives do not always go well. The stars of the 70s are not doing well in this decade – John Wetton and Carl Palmer are wasting time in a trivial band Asia, Steve Howe and Steve Hackett play in a twin "supergroup" GTR, Phil Collins changed Genesis into an accompanying band and Yes conquered discos with the hit "Owner Of A Lonely Heart". Against such a background the comeback of an excellent keyboardist Keith Emerson and guitarist Greg Lake together with a new drummer Cozy Powell cannot be good.

However, it turned out to be different. Released in summer in 1986 album Emerson, Lake and Powell is the greatest positive surprise in recent years. Nothing has changed - the compositions are performed with the same engagement, keyboards sound like those from several years ago and the music is astonishingly fresh. The albums sounds as if it was recorded in 1974 – in the ELP's discography should be placed right after the famous Brain Salad Surgery (1973).

Let's briefly describe the story of the band. Emerson Lake and Palmer played for the first time together in June in 1970. In those times it was popular to create supergroups – bands gathering famous artists who played in other important bands. Keith Emerson gained experience in The Nice, the band looking for inspiration in classical music, Greg Lake went down to history as a singer on first two King Crimson albums and Carl Palmer was the drummer in The Crazy World of Arthur Brown and Atomic Rooster. As ELP they became incredibly successful recording a series of well done and highly-rated albums. Among other bands playing – as described by Peter Frame, the author of Rock Family Trees – techni-art-rock with the elements of classical music, ELP's original sound, where keyboards were the most important element, stands out.

Emerson made sythesizer popular by using it as his main instrument. The concerts of the trio were changed into breathtaking shows; mainly thanks to Emerson's expressive play who frequently threw instruments on the stage to obtain particular sound effects. In the repertoire of the group there were complex suites (Tarkus, The Endless Enigma, Karn Evil 9, The Three Fates), interpretations of famous symphonic compositions like Pictures At The Exhibition by Musorgsky, Copeland's Rodeo, toccatas and preldes by Bach; jazz-rock pieces (Tank, The Barbarian) and poetical ballads (Lucky Man, Still You Turn Me On, From The Beginning).

After releasing a triple live album in 1974 the band withdrew from active work for a few years. Its members planned to record solo albums, but eventually they decided to record a double set Works (1977), on which first three sides were dedicated to each musician separately and on the fourth one they played together. However, the promotional tour with a large orchestra and a choir ended in bankruptcy – the last studio album Love Beach (1978) did not save the day and the album In Concert, which was the documentation of this unfortunate tour, turned out to be the epitaph of the band. In spring in 1980 Emerson Lake & Palmer announced the end of their cooperation.

Keith Emerson started composing film music (among them Inferno can be distinguished; the music for a poor Italian horror), Greg Lake released two solo albums and Carl Palmer first started his own band PM and then became a drummer in a new supergroup Asia. When Emerson and Lake decided to record an album together and they were looking for a drummer, Cozy Powell (Rainbow, inter alia) accepted the offer. During the rehearsals the idea of reactivation of the band occurred. The initials remained the same – ELP. Music too.

Maybe younger listeners will be surprised by the positive review of Emerson Lake And Powell album because it is not a trailblazing longplay. Despite the rebirth of progressive rock, ELP's sound is a bit outdated – but the album is intriguing. It is simply well-played music: full of verve The Score and The Miracle, the hit songs Touch And Go and Love Blind, subdued and reflective Lay Down Your Guns and finally a traditional remake of the classical theme – this time it is Gustav Holst's Planets. Apart from the last piece, Keith Emerson is the author of the music. Summing up, the whole thing is the real-life representation of a humorous saying "an old man, yet he still can". Please don't laugh; there are things in this world the philosophers didn't dream of...

Magazyn Muzyczny 1987

#whoa this critic really doesn't like asia for some reason!?#elpowell #Emerson Lake and Powell #Emerson Lake & Powell #keith emerson #greg lake #cozy powell #80s #1980s #article #translation

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biofunmy · 5 years ago

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‘The Voice’ crowns its Season 16 winner. Team Shelton or Team Legend?

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Spoiler alert: This story contains details about the outcome of Tuesday’s finale of “The Voice.”

John Legend just became a V-EGOT winner.

Maelyn Jarmon was named the Season 16 champ of “The Voice” during Tuesday’s finale, handing Legend a win in his first season as a coach.

“This journey with John has been incredible, it’s been a dream,” Jarmon said. “This has gone above and beyond my expectations. … I owe it to everyone who voted and streamed my songs.”

The feeling is mutual. “Maelyn makes me feel at peace. … Everything’s right when I get to listen to her voice,” Legend said. “I’m just so grateful I got to work with you this time.”

Last night on ‘The Voice’:The Top 4 lay it all on the line during finale performances

“The Voice” Top 4: Maelyn Jarmon, Gyth Rigdon, Andrew Sevener and Dexter Roberts. (Photo: NBC)

Jarmon, 26, who is deaf in one ear, earned a four-chair turn during the Blind Auditions after wowing all the judges. She was the first member to join Team Legend and ultimately handed him the trophy that will join the Emmy, Grammy, Oscar and Tony awards on his mantel.

Rookie “Voice” coach John Legend celebrates his first win with Season 16 champ Maelyn Jarmon. (Photo: Trae Patton/NBC)

The Texas native beat overwhelming odds: She was the sole singer standing in the way of Blake Shelton, who had a 75% chance at the title with three of his singers in the finale.

When the votes were tallied, Gyth Rigdon finished in second place; Dexter Roberts came in third; Andrew Sevener in fourth.

The two-hour season finale felt like a concert, with more than a dozen guest performances and post-competition duets with the Top 4 and their musical heroes.

Sevener opened the festivities, singing “T-R-O-U-B-L-E” with Travis Tritt, just days after the country star’s tour bus was involved in fatal crash in South Carolina that left two people dead and another injured.

Jarmon and Sarah McLachlan offered a stunning duet of “Angel.” Roberts and Toby Keith brought the heat with “That’s Country Bro,” while Rigdon and Hootie & The Blowfish tackled “Hold My Hand.” The finalists may have been singing with their idols, but they held their own with the professionals and looked right at home onstage.

Related: Country star Travis Tritt’s tour bus involved in fatal crash in South Carolina

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Some fan-favorite contestants who were eliminated throughout the season got another chance in “The Voice” limelight.

Mari Jones and Kim Cherry lit up the audience with a soulful rendition of Lizzo’s “Good as Hell,” before LB Crew, Shawn Sounds, Jej Vinson, Kalvin Jarvis and Domenic Haynes tore into Bobby Brown’s “My Prerogative,” channeling a boy band in their colorful suits and in sync (no pun intended) choreography.

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Betsy Ade, Celia Babini, Lisa Ramey and Presley Tennant gave the boys a run for their money with their own rocker girl group. They performed a fiery rendition of Stevie Nicks’ “Edge of Seventeen.”

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The Jonas Brothers performed their new single “Cool.” Khalid, who served as an adviser for Legend during the Cross Battle round, returned with his smooth “Talk.” Taylor Swift brought her massive butterfly wings during a performance of “Me!” with Panic! at the Disco’s Brendon Urie, while the K-pop group BTS broke the internet (literally) with their single “Boy With Luv.”

“BTS stole all their dance moves from me,” Shelton quipped.

Other guest performances included OneRepublic (“Rescue Me”), Hootie & The Blowfish (“Let Her Cry”) and Halsey, who debuted her new single “Nightmare.”

Although Rigdon, Roberts and Sevener didn’t walk away with the title, they did get a pricey consolation. Each will be able to drive home in his own new Toyota RAV4.

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filmsandmusiccritic-blog · 6 years ago

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Bob Dylan concert. 2018. Melbourne, Australia.

‘Bob Dylan live with his band, Tuesday, August 14, 2018. Margaret Court Arena, Melbourne, Australia.

Bob Dylan and his band opened with "Things Have Changed" - from the Michael Douglas film Wonder Boys from which Dylan received an Oscar, and for some inexplicable reason was displayed on stage, as a kind of homage—as there was an ornamental bust as well – to the album cover, Bringing it all Back Home. The crowd was expectant and clapped loudly when the main guitarist tuned up his Martin to an acoustic melody fromDesolation Row. But there would not be any acoustic melodious music throughout the show - that would only be interspersed. I feel in this critique like I am channelling Pete Seeger; “It’s not that I didn’t like Bob going electric, he just wanted to play with the Paul Butterfield Blues Band, but the music was distorted, and you couldn’t hear the lyrics!” to paraphrase, badly, but he literally said in later years. “He was singing a great song, “Maggie’s Farm,” a great song, but you couldn’t understand it. And I ran over to the soundman, said, “Fix the sound so you can understand him.” But I am wondering, why I didn’t get the memo – ‘Dylan has gone disco’!

The band would have been a credible outfit at a fiftieth or sixtieth birthday party for a semi successful person, but as the backing band for the great Bob Dylan a lot was lacking. The man is a genius and that was apparent hiding behind his miniature grand piano, but how it came to the music being taken over by an average white band, I can’t explain; even the solo mainstay manufactory worker on stage, who played both organ, guitars and apparently ukulele [I never saw that – but I did see one of those mini guitars – come on they have to be a gimmick!] The band would have been more suited to screechers like Peter Garrett or Jiminy Barnes or the overseas equivalent Bon Jovi - they might even help fill out the sound for the likes of a Tom Waites but the interspersed reaching for electric guitars to drown out Bob Dylan was amateurism. And the person mixing the music also didn’t have a clue – it’s Bob Dylan he’s 78 years old, get a voice enhancer ! And don’t just say he now mumbles. Van Morrison was using voice enhancers as early as the 1980s! Some of the drumming and the guitarists’ disco phrasing would have been more suited to Sly and the Family Stone and the drummer wouldn't be out of place in Cream or Band of Gypsies. And if Dylan needs to channel someone like Frederick Knight (Leonard Cohen did) and his soulful singing and writing - well I would bring back some backing singers - evenCarol Grimes from London, who basically hasn’t worked since the 1980s – and as she is now a two volume memoirist but interprets black-soul like no other singer she would do his Frederick Knight styled songs due credit.

The song run-through, though not an exhaustive list and in my random order was as follows; Desolation Row with fantastic nuanced piano, from Dylan, something he did not move from all night – channelling Jerry Lee Lewis, Keith Jarrett and Thelonius Monk; but hiding behind it really, I guess. Highway 61 Revisited which admittedly the band were suited to, but where were the whistles, sirens and Al Kooper’s 2 note organ. He did his arcane “Mr Jones” and as I had just been reading George Johnston’s Clean Straw for Nothing (1969), where he mentions this song “Mr Jones”, as a literary phenomenon of the 1960s. George Johnston who lived on the island of Hydra in the late 1950s and early sixties and had bought a house for 50 pounds as had the singer/songwriterLeonard Cohen and who was part of this poetry/literature group during their stay. From the book (Johnston, 1969: 101):

There is one of Bob Dylan’s songs that they keep playing and replaying, a kind of esoteric diatribe against a certain ‘Mr Jones’ who seems to symbolise the ‘oldies’ and ‘squares’ of my generation and the hoarsely reiterated refrain is a taunting, ‘Something is happening here, and you don’t know what it is – do you, Mr Jones?’ But neither do you, Mr Dylan. Nor they. Nor ye

We learned in the documentary Ladies and Gentleman, Mr Leonard Cohen circa 1965, that Cohen’s fame had come very quickly and from various websites that he had always kept his residence there on Hydra. And it is my opinion thatLeonard Cohen should have been the recipient of the rock stars’ Nobel Prize for Literature, instead of Robert Zimmerman with the controversy of his acceptance speech being plagiarised. And if you read his speech to the Academy, he sees himself as the ultimate ‘song and dance’ man akin to Shakespeare both more worried about bums on seats and which actor or musician would take their part in the staged event of their work. Dylan explains in his acceptance speech, to make a real living out of words, the mundane aspects of life still have to be managed. He says: when he was starting out, he thought the prize would be a recording deal, but never a prize as big as really the ultimate bestowment– the Nobel Prize for Literature. Cohen wrote for the page as well as in song. And ‘workers in song’ was one of his refrains. But I get off the point, back to the matter at hand, a live concert with Bob Dylan which only comes around every decade or two.

My favourite track of the night was an abridged version of Tryin’ To Get to Heaven [Before They Close the Door], was actually worth the admission price [$159 – only for Dylan my friend, only for Dylan].

When I was in Missouri

They would not let me be

I had to leave there in a hurry

I only saw what they let me see

You broke a heart that loved you

Now you can seal up the book and not write anymore

I've been walking that lonesome valley

Trying to get to heaven before they close the door

Blowin in the Wind, was an askance version with up and down registry singing. Tangled Up In Blue, was a completely lame version, it is an acoustic guitar song [only], not a friggin’ rock song. I had gone expecting rock yes and then an acoustic set after an interval, but no interval and no acoustic set where we could hear the songs, yes with unique tempo changes, but hearing that fact clearly and not drowned out by a rich man’s party band. The style of the band was suited, however to the song Gotta Serve Somebody– whose lyrics:

They may call you doctor or they may call you chief

But you're gonna have to serve somebody, yes you are

You're gonna have to serve somebody

Well, it may be the devil or it may be the Lord

But you're gonna have to serve somebody

But when he changed the lyric of:

You may be a construction worker working on a home

You may be living in a mansion or you might live in a dome

To:

You may be a construction worker working on a home

You may be living in a mansion or you might live in a “nursing home”.

You knew he was talking to the audience he had, and the interesting thing is, there was criticism of Dylan for not communicating with his audience, well they just don’t get Dylan do they? [Mr Jones], as he was certainly communicating with the person who brought the smell of some kind of ointment when he sat down in our row.

But all in all, those times in my youth when I listened to his first album (Song to Woody: - Here's to Cisco and Sonny and Leadbelly too, and all the good people who travelled with you). Or playing Sad Eyed Lady of the Lowland as a private ecstasy, Bob Dylan has been my solace in hard times, but don’t ever forget Wood Guthrie got their first:

Oh, I've been havin' some hard travelin', I thought you knowed.

I've been havin' some hard travelin', way down the road.

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ricardosousalemos · 8 years ago

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Pet Shop Boys: Behaviour

Pet Shop Boys arrived in the second half of the ’80s to out-gay essentially everybody. Combining Oscar Wilde-ian wit, compositional and lyrical sophistication that harkened back to Cole Porter and Noël Coward, sartorial style that split the difference between uptown chic (singer Neil Tennant) and downtown rough trade (keyboardist Chris Lowe), and a command of ’80s club music that soon proved itself far more comprehensive than most of their contemporaries, this North England-raised/London-based synthpop duo aestheticized gay life long before Tennant came out in 1994. Every LGBT person knew exactly what the pair meant in the chorus of “It’s A Sin,” arguably the angriest and certainly most overtly anti-Catholic chorus ever to top the UK pop chart and reach the US Top 10:

“Everything I’ve ever done

Everything I ever do

Every place I’ve ever been

Everywhere I’m going to

It’s a sin”

But after becoming one of the most internationally prominent acts of the ’80s with hits like their UK/US #1 “West End Girls,” Tennant and Lowe entered the ’90s knowing their “imperial phase�� of uninterrupted success was over: Setting “Ché Guevara and Debussy to a disco beat,” their quintessential manifesto “Left to My Own Devices” stalled at #84 on Billboard’s pop chart in late ’88; their ’89 collaboration with Liza Minnelli, Results, pretty much flopped in North America beyond gay dancefloors, and the ’90 comeback they helped helm for Dusty Springfield, Reputation, didn’t even get a US release—despite all of them doing quite well in the UK.

Following these alternately sunny and frosty records, they released their decidedly autumnal fourth album Behaviour in the fall of 1990. Like the Cure’s Disintegration, Depeche Mode’s Violator, and George Michael’s Listen Without Prejudice, it would transition their creators into the new decade by both refining and breaking from the past. The time was right, for the duo and indeed much of its following were now in mourning. Singer/lyricist Tennant’s longtime best friend had recently died of AIDS. So had Robert Mapplethorpe, who shot some of their Please-period publicity photos, and Keith Haring, who similarly intersected fine art and the club scene. Reported US AIDS cases were well over 100,000, with millions on the way globally, and despite the earliest AIDS drugs like AZT, which in those days often made people sicker, an HIV-positive test result was still pretty much a death sentence. Created in resistance to a mainstream that treated LGBTs as subhuman, the queer culture of defiance and liberation that shaped ’70s disco and much of ’80s pop—particularly PSB’s hybrid of both—was literally dying.

Unfolding like an elegy for much of what had gone before, Behaviour shifted the Boys from sly commentators to reserved-but-pained participants, with its understated but devastating lead track, “Being Boring.” The first verse presents the singer looking through keepsakes, as one does after losing a loved one. He finds a party invite paraphrasing Zelda Fitzgerald’s “Eulogy on the Flapper,” specifically the line “She refused to be bored chiefly because she wasn’t boring.” Boredom was a prickly subject for the pair: Their early deadpan videos and TV appearances were routinely dismissed by clueless critics as generating it.

Set in the ’70s, the next verse depicts the singer leaving his hometown, a mandatory rite of LGBT passage. He softly declares, “I’d bolted through a closing door,” an image evoking both the end of his closeted adolescence and the beginning of fully realized adulthood. By the third verse, which is set in the ’90s, the singer is self-actualized, but reflective: “All the people I was kissing/Some are here, and some are missing.” That simple rhyme still reduces gay men who lived through this era to tears, for AIDS had sorted our intimates into these two categories—those who died young, and those who might soon follow suit, including ourselves. If you hadn’t seen your gay neighbors and friends and former sexual partners around town, chances were they were dead, had gone home to die, or were nursing the dying just like you. “But I thought in spite of dreams,” the survivor sings of his fallen pal, “you’d be sitting somewhere here with me.”

Fashion photographer Bruce Weber shot the song’s lush B&W video, which features models enacting a fantasy version of the parties Tennant attended in the ’70s. The tension between the freedom of Weber’s imagery and the sadness of the third verse makes the eulogy even more devastating, but some fleeting nudity meant that MTV in America had an excuse not to show it. Still, “Being Boring”—ostensibly a dance track, but one featuring fluttering rhythms, a Larry Heard-style deep house bassline that appears only as the album version fades out, a subtle upward chorus modulation that adds sweetness to the sorrow, and a whirring plastic tube conjuring spectral cries—eventually earned its rightful acclaim. A fan site solely devoted to it dwarfs the official web presence of many bands, and on its 20th anniversary, a Guardian critic proclaimed it the greatest single of all time. Even Axl Rose allegedly bemoaned its non-appearance during the duo’s 1991 tour.

That tour, Performance, their first in North America, transformed the staginess of their videos into opulent theater just as Blonde Ambition did for Madonna the year before; in the Pets’ case, it was so over-budget that the well-attended trek still lost half-a-million dollars. And just as the autobiographical Like a Prayer fed Blonde Ambition, the personal nature of Behaviour lent Performance pathos. The dirge that opened the show, “This Must Be the Place I Waited Years to Leave,” affirmed that, like Madonna, Tennant suffered major Catholic damage. The tune is hummable, but the tone intersects opera and Joy Division as it evokes Catholic mass, freezing rain, and grey architecture. No wonder the Pets eschewed the church for wit and disco.

True to their queer sensibility, PSB are intrinsically contrary, even with themselves, and just as their previous release, 1988’s Introspective, is all 12”-length dance numbers, Behaviour is mostly ballads. Even on overt club cuts, its lead single “So Hard” and “The End of the World,” the dance grooves that defined the duo are muted: No more big ’80s drums, no electro rumble or hi-NRG clatter, even if “So Hard” ramps up the trademark orchestral blasts of their previous hits. Rather than the sample-heavy rave bleeps that ruled 1990 UK pop, the album favors analogue synths overseen by co-producer Harold Faltermeyer, the Munich synth whiz who’d been Giorgio Moroder’s key player and had scored with Beverly Hills Cop’s “Axel F.”

But though the instrumentation is mostly as synthetic as before, it’s less pointedly so; the future was no longer as inviting as it had been in the duo’s formative years, when they dreamt of man-machines and home computers. Embracing their humanism to mirror their messages, the pair often blur the boundaries between synthetic and natural sounds: Mirroring the instability of post-communist Russia, “My October Symphony” fuses banging Italo-house piano, “Funky Drummer” syncopation, Marvin Gaye-esque yearning, and the classical strings of Balanescu Quartet, which all blend with the Prophets and Rolands and Marr’s wah-wah guitar so seamlessly that the hybrid suggests Shostakovich going Blaxploitation. You certainly couldn't call it just “synthpop.”

In the booklet for the album’s 2001 deluxe reissue, Tennant paints the unabashed love aria “To Face the Truth” as the story of a man who cannot acknowledge his girlfriend’s infidelities. But like so many PSB songs, it makes more sense in an LGBT context; that his lover is a bisexual who dodges their emotional bond. Having same-gender sex dictates that you’re homosexual, but loving someone of your own gender makes you gay—a step too far for some. “I wonder if you care and cannot bear the proof/It hurts too much to face the truth,” Tennant croons at the top of his tenor. Having just worked with Liza and Dusty, he’d suddenly become a more expressive singer, one here as adept at conveying sincerity as he’d always been at generating irony. The programmed rhythms hail from ’80s R&B, but his vocal is ’70s Bee Gees; had this been on the Saturday Night Fever soundtrack, we’d all know it.

Lyrically the most old-school PSB-y song of the lot, “How Can You Expect to Be Taken Seriously?” roasts sanctimonious rock stars who claim to hate fame’s machinations but nevertheless align themselves with the trendiest causes. There’d been plenty of those in the wake of Band Aid, Live Aid, Farm Aid, and “We Are the World,” and they pretty much wiped out the more subversive and often queer “New Pop” movement that spawned the Pets. The album version is set atypically to a New Jack Swing beat, the kind that gave even Boy George a US R&B radio hit with “Don’t Take My Mind on a Trip” the year before, but the seldom heard single/video version remixed it into a more flattering Soul II Soul-style shuffle. Back home, its critique was bolstered by appearing on the flipside of their newly recorded medley of U2’s “Where the Streets Have No Name” and the Four Seasons’ “I Can’t Take My Eyes Off of You,” which echoed Boys Town Gang’s shamelessly camp disco-ization of the latter. Bono, who spotted the satirical finger being pointed in his direction, quipped, “What have we done to deserve this?”

As straightforward as “Seriously” is skewed, album closer “Jealousy” goes furthest in a quasi-symphonic direction. Played on keyboards but booming like a massive orchestra, it’s fraught with romantic angst like their earliest work, yet it suits their new phase of unfettered emotionality. The scene-setting opening conjures the outsized ardor of 19th-century art song: “At dead of night when strangers roam/The streets in search of anyone who’ll take them home/I lie alone…” And the rest similarly picks up where Scott Walker’s covers of Jacques Brel left off.

A crooner, not a belter, Tennant sets his vocal understatement against the over-the-top nature of his blinding passion for an unrequited love. This conflict mirrors the LGBT experience itself: You’ve got all this desire that must somehow be contained to a small percentage of the population, lest you find yourself making a pass at someone who might not share your sexuality and who might respond with condemnation or even violence. So you keep your outer voice small and whispery like Tennant’s, but that constant monitoring and muting only intensifies your inner life, and so you bear the burden of these feelings—here represented by the grandness of the orchestration the despair of the descending vocal melody, the processional horns that bear a stubbornly regal retreat. There’s no apology implied—quite the opposite.

Simpatico women understand this proud juxtaposition: Liza Minnelli considers Tennant and Lowe geniuses akin to Broadway maestro Stephen Sondheim or her dad. Pet Shop Boys critique masculinity the way classic rock bands exude it, but rather than the flamboyance that’s intrinsic to the gay pop star from Little Richard onward, PSB offer the calm control of the outsider looking in, their noses pressed against the shop window.

Having experienced worldwide eminence exactly when their people fell into deeper crisis than ever, they rarely took the easy path, and on subsequent releases like Very’s “Dreaming of the Queen,” they imagined a world in which there were no more lovers left alive. Fortunately, people kept dancing, and Pet Shop Boys still supply their nocturnal soundtrack. Last month, Billboard announced PSB as the all-time top male act on its dance club chart: With last year’s “The Pop Kids,” they landed their 40th hit on that list in 30 years, and 11th No. 1. That they did so with a song as wistful as those on Behaviour makes this achievement truly singular. Embracing disposable pop, they’ve created lasting queer culture just as it was in danger of disappearing. They celebrate the melancholia of being gay.

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