#legendary guitar duos

[rocknrollflames]

Izzy and Slash

I just need one for 2023 to go below the top three!

; )

These guys mean a lot to me.

For many it's Keef and Ronnie (or Keef and Brian, or Keef and Mick, lol). For some it's Kirk and James. For others it's Angus and Malcom, or Dave and Marty, or Duane Allman and Dickey Betts, or Don Felder and Joe Walsh, or Dave and Adrian .... the list goes on and on (as it should, lol).

But for me, it's these guys.

As much as I wish they had stayed together, what matters most is the music they made together. The music we're still listening to today.

[izzystradlindoesitforme]

Slizzy Appreciation Day

Part IV

"I was working in the Hollywood Music Store the day a slinky guy dressed like Johnny Thunders came up to me.  He was wearing tight black jeans, creepers, dyed black hair, and pink socks. He had a copy of my Aerosmith drawing ... This guy had been inspired enough to seek me out, especially when he heard I was a lead guitar player."

Izzy and Slash

Slizzy Appreciation Day

Part IV

Slash was drowned, he was washed up, left for dead.

Izzy was crowned with a spike right through his vein ...

But it's all right now, in fact it's a gas.

Yes it's a-a-a-a-all ri-i-ight, I'm Jumpin' Jack Flash, it's a gas, gas, gas.

Ooh, yeah! Sha-na-na-na-na-nah, honey!

I love and miss these guys together. I also understand time changes things and people move on. I still appreciate and enjoy all the great music they made together. Here's to my favorite guitar duo of all time - Slash and Izzy Stradlin.

Slizzy.

(Above quote from Slash's 2007 self-titled autobiography)

[unholyverse]

waterparks // marvin magazine issue #10

(full transcript under the cut)

Waterparks

WORDS by HOLLY SOLEM

PHOTOGRAPHY by DANIEL PRACOPCYK

Waterparks are places you go for fun; both pools and slides and the gloriously buzzy, pop punk band featuring members Geoff Wigington (lead guitar), Otto Wood (drums), and singer/guitarist Awsten Knight, whose neon energy matches his hair. Their music leads you down sonic chutes and up rainbow ladders with four albums, countless tours, millions of listeners and a recent signing with Fueled By Ramen, the label under which they are about to drop their highly anticipated 5th studio album. MARVIN had the good fortune of catching up with Knight—who is busy prepping for a European tour, a US tour and the release of the band's new album—to talk about all that goes into creating the bubbly world of Waterparks.

The new album titled Intellectual Property features eleven legit bangers filled with anthemic choruses. psychedelic experimentation and hooky melodies all polished to a sheen. There are hints of megalithic rock bands like Muse, inspiration from The Beach Boys and the pop punk sounds we have come to expect. But as for the "pop" part, this record goes in hard with collaborations with the likes of blackbear and songwriter/producer Julian Bunetta.

I love pop music and we got an offer to write with this dude, Julian, who has credits on 95% of One Direction's discography. I fucking love One Direction. I don't want to be dramatic but let's say I've got a top 60 favorite songs, I think four or five are One Direction songs. And Julian's written on all of them. I was just like, 'I want to do what I do but with him too.' And then I made "FUNERAL GREY", "BRAINWASHED", and "FUCK ABOUT IT", with him.

For this album, the band brought in more outside alliances than on previous albums, with Knight saying. "I think I was more open to [collaborations] on this album. Other people's opinions and thoughts and stuff like that. Normally, I don't really love writing with people that I don't know very well because it can feel very sterile. You walk in and they're like, 'what do you want to write about? You're like, 'oh fuck'—because it's a personal thing." And when it comes to getting personal, Knight is also realizing that to his surprise, the more personal he gets-the more vulnerable lyrically—the more universal the message.

I feel like I used to be kind of freaked out by [vulnerability], especially earlier, on album one. I was really nervous about it and it sounds so lame in retrospect but I didn't even want to do any acoustic songs. I liked burying myself a lit- tle bit behind a big instrumental. [The song] "21 Questions" for example. I sent that along with all the other demos to Benji because I wanted his opinion and he was like, 'this is one of the best ones.' Those wind up being the favorites, which seems counterproductive because songs are supposed to be relatable. And I never feel like I'm being relatable but I try to be less selfish with the writing. I want this to be for someone else.

When Knight refers to "Benji" he is talking about Benji Madden, one half of legendary pop punk duo Good Charlotte. Benji, along with his brother and bandmate Joel, manage Waterparks after discovering them on YouTube and DM'ing them on Twitter back in 2015. Knight received the news of the Maddens' invitation to fly to LA for a meeting while working as a babysitter who gave guitar lessons.

I called the guys and we're like, 'holy shit.' So we all went and bought swimsuits because…California. And yeah, that was it. After we met them, we went back to our hotel and were just like, 'what is happening? A week ago we were still passing out flyers outside of other people's shows. And we're right here, right now. This is the weirdest shit.'

A literal dream-come-true for Knight and the band, who eventually would make the move to LA from Houston while missing its Tex-Mex and Thai food, and of course, his family. But when it comes to the weather, he's all about California. He doesn't even mind the earthquakes. He was in a rooftop hot tub during one and actually found it rather exciting. For a man who has toured the world, there's a bright-eyed innocence and almost childlike wonder to him. His seeming lack of cynicism is as refreshing as freshly fallen snow which he admits he only saw for the first time not that long ago. But now, Knight talks about having stress dreams as he and the band get ready to embark on a European leg, followed by an extensive US tour.

Here's the thing, I like to play shows and I like to meet people. The other 22 hours of the day, I like having my space. I'm pretty particular, you know what I mean? I like my zone where I can sit and just do stuff. You go from peace and quiet and doing what you want all the time to sharing a small living space and a bus with twelve people. It's basically having twelve people in your living room for two months. And you're just like, 'ah, but the shows are great' as long as the shows are fun and everyone is having a great time, that makes it worth it to me.

He's also superstitious. Around his apartment there are crystals, there are obsidian and selenite wands in front of all the mirrors. He has a healer-type person come in and energetically clear his space, insisting he throw away objects that may have "dark entities" attached. "I'm luckier than people I know. They're like, 'why is the light always turning green when you go to it? Why do you always get the front spot at the store?' I'm like, it's because I don't split the pole, you know? Can't split a pole when you're walking. There's a bunch of superstitions. But I follow them and I'm crazy lucky."

In addition to music, he recently penned a well-received book of personal essays called, You'd Be Paranoid Too (If Everyone Was Out to Get You). He plans to write a novel next and has also started a clothing line called HiiDef. that fabricates small collections that sell out fast. His enthusiasm for the line is on par with music. "If everybody made the songs that I wanted to hear, I wouldn't have to do this. The same thing applies with clothing." Passion abound, he is all smiles when discussing plans for the future of Waterparks.

How do I get to the fucking moon? I think anyone who hears this album is going to love it. Cause I think it's incredible. I'm looking at the songs right now. I'm just like, 'man, straight slappers.' Even the last song, which I know wouldn't be a single or anything-that's probably one of the best accomplishments of a song that we've ever been able to pull off. I see this album in plaques on the wall. All right, we're manifesting now.

He names his goals out loud, as one is meant to do when calling them in, mentioning things like how much he'd like to play the Redding and Leeds Festivals at sunset. Then he pulls up the Waterparks US tour schedule online while musing, "I want one of those big "Sold Out" things across all the dates. It's getting there dude. Yeah, actually, it's going crazy right now." In real time, he seems to discover that the banners that cross nearly all of the show dates do indeed read, "Sold Out". And then it's clear. Awsten Knight is lucky. But luck is really about preparation meeting opportunities and he has definitely shown up to the game prolific and prepared. Five albums in, it's clear that Knight and Waterparks have only just begun.

@waterparks

[dustedmagazine]

Dust Volume 10, Number 11

Photo of Alan Licht by Stu Lax

One of the oddest, most disturbing developments in recent years is the devaluation of expertise. If a souped up auto complete program can write a screenplay, who needs writers? If scientific guidelines about how to stave off a plague make us angry or confused, who wants them? Anybody can be anything, given enough cash in their pockets, thought, evidence and fact be damned. So, it is somewhat unfashionable that Dusted continues to seek out artists who are good at what they do, whether they are conservatory trained or DIY, steeped in historical tradition or trying something new. Our monthly Dust highlights another batch of them. Bill Meyer, Andrew Forell, Tim Clarke, Jennifer Kelly, Jonathan Shaw, Ian Mathers and Bryon Hayes contributed.

John Butcher / Florian Stoffner / Chris Corsano — The Glass Changes Shape (Relative Pitch)

This autumn, English saxophonist John Butcher celebrated his 70th birthday. For the occasion his fellow musicians donned t-shirts proclaiming, “You can only trust yourself and the first ∞ John Butcher albums.” Yes, he puts out quite a few, and no, I’m not up to date. The completist’s task is even more daunting when one considers just how much music is packed into each of the nine improvisations on this concert recording, his second with guitarist Florian Stoffner and percussionist Chris Corsano. Timbres, volumes and modes of attack change from second to second, living up the album’s title; not even the music’s form I fixed. No one’s resting on laurels here. Corsano plays with rare spaciousness, and Butcher often seems to be playing up the contrasts between his horns’ tonal fluidity and the jagged edges of Stoffner’s contribution. Pardon the paradox, but each track is a subdivision of ∞, and there’s no end to the time you could spend getting profitably lost in one.

Bill Meyer

Cybotron — Parallel Shift (Tresor)

in 2019, legendary Detroit producer Juan Atkins rebooted his 1980s electro project Cybotron with Laurens van Oswald (nephew of Basic Channel founder Moritz) and Tameko Williams (Detroit In Effect). Atkins takes the technological matrices of his hometown’s now largely defunct manufacturing plants and Kraftwerk’s “Autobahn” and twists them through an afro-futurist wormhole. The trio’s latest 12” single “Parallel Shift” sets Atkins’ robotic vocals and lockstep machine beats against melodic synths and warm bass tones. As Atkins insists on a “parallel shift”, smuggled elements of Clintonesque funk and drifting reverie suggest subversion of strictly linear time. The B-side “Earth” is a more straightforward piece of electro with the emphasis on syncopation. The track flickers with sci-fi synths as Atkins posits human rhythms as a form of cosmic consciousness. Volume up and eyes closed, you will be transported.

Andrew Forell

Dean Drouillard — Mirrors and Ghosts (self-released)

This instrumental solo album by Canadian guitarist Dean Drouillard is a series of hazy noir scenes. At its brightest and most melodic, as in “Portland” and “Gorgasuke,” it’s reminiscent of the vivid, playful miniatures of Opsvik & Jennings’s A Dream I Used to Remember. Elsewhere, the album is decidedly more atmospheric and ambient, akin to the widescreen explorations of Daniel Lanois’s Flesh and Machine. The album’s largely introspective nature is no surprise when you learn Drouillard played and recorded all the instruments himself. His guitar playing in particular is evocative and tastefully restrained. At once intimate and widescreen, Mirrors and Ghosts feels both eerily melancholic and gently uplifting.

Tim Clarke

Fievel Is Glauque — Rong Weicknes (Fat Possum)

Though Fievel Is Glauque are technically a duo — songwriters Zach Phillips (Blanche Blanche Blanche) and Ma Clements on keys and vocals, respectively — for new album Rong Weickes they assembled a crack team of six other players. Musicians on drums, bass, electric guitar, woodwinds and brass flesh out a dizzyingly complex and gratifyingly daft soundworld. Think 1970s prog-folk; think Napoleon Murphy Brock–era Frank Zappa; think Julia Holter spiraling down a jazz-fusion black hole. Rong Weicknes is a LOT. Tellingly, many of the album’s most accessible songs, including singles “As Above So Below” and “Love Weapon,” plus the beautiful and relatively calm “Toute Suite,” arrive early in the track list. Opener “Hover” is perhaps the best example of the band’s bonkers “live in triplicate” working method, in which multiple takes are stacked one on top of another, then chiseled down to reach a final mix. It’s chaotic, like multiple candy-colored Escher staircases spiraling off in different directions at once. In this realm of music-making, too much is never enough, and the line between virtuosic brilliance and over-the-top absurdity bends and blurs. Given the chaos is cumulative, listening to the album from front to back tends to result in ear fatigue during the second half, no matter how many brave attempts it takes to tackle it all in one go.

Tim Clarke

Helena Hauff — Multiplying My Absurdities (Tresor)

Hamburg DJ and producer Helena Hauff’s debut EP for Tresor is three tracks of full-on throwback acid trance. Expertly structured over 22 minutes of build, crescendo and release, Hauff combines thumping beats and bass tones with a detached darkwave cool and a healthy smear of analogue soot. Think Roland drum machines & 303 bass, squelching synths, arpeggio runs and all nature of odd grimy ghosts grumbling in the machines. Hauff reaches her apotheosis on “Punks in the Gym”, named for an Australian rock climb known as the hardest in the world (and now closed as an Indigenous Heritage site). It starts hard, with the bass in the red zone and the drums not far behind, and arpeggiated synths screaming like a drill sergeant. The plateaus, when they come, are mere toeholds for the next ascent. It’s a relentless, punishing piece. And when, near the end, Hauff drops everything but the kickdrum, it’s like watching the sun rise at an outdoor rave to, hearing nothing but your beating heart.

Andrew Forell

Rafael Anton Irisarri — Façadisms

Rafael Anton Irisarri creates music with the grandeur of a vast, wasted landscape. He brings his experience as a mastering engineer to bear on all his recordings, rendering them dense and immersive, stacked high with thick waves of guitar and synthesizer tone. Façadisms is no exception and features two highlights. “Control Your Soul’s Desire For Freedom” features searing cello from Julia Kent and angelic vocals by Hannah Elizabeth Cox, and “Forever Ago is Now” features string arrangements from T.R. Jordan, which carry the album’s most anthemic chord progression. Façadisms’ blasted textures are never less than compelling, but these tracks are twin peaks within the record’s glowering sonic geography.

Tim Clarke

Charlotte Jacobs — Atlas (New Amsterdam)

Charlotte Jacobs’s songs are a little shy. They lurk in corners and grow up from cracks. They venture fluidly out of empty space, eddying and cascading through echoing caverns, with just a little glitch beat or a surge of synth tones to ground them. Jacobs is a conservatory Belgian composer and singer here making her first solo album. Her voice comes in breathy flutters, a little like Mirah at her most acoustic and spare, but she hedges that fragile bloom in masses of digital sound. A devotee of Ableton, she makes the synth sound like all kinds of instruments, a quacking oboe in “Celeste,” a ghostly choir in CYTMH.” Records seldom sound simultaneously this bare and this layered. There are many elements in play, but all scrubbed clean and hemmed in by silence.

Jennifer Kelly

Alan Licht — Havens (VDSQ)

With Havens, Alan Licht flips the attack-decay-sustain-release envelope of the guitar on its head, folding notes and chords over each other in waves. He does this with a heft to his tone, so that chord progressions become waterfalls and melodies emerge like vine-like shoots, growing in many directions simultaneously. Licht’s songs mesmerize with repetition, but the tones resonate such that they fold back on themselves, creating entirely new patterns for us to discern. The cover art reflects his steel string sorcery, as a dull-colored house surrounded by twilit swirling clouds emits beams of red, yellow, and orange light from its many orifices. A variety of energy levels and frequencies are represented here, and they reveal themselves in surprising ways. Throughout his career, Licht has straddled the worlds of indie rock and the avant-garde, and Havens tugs at both sides, creating a new universe entirely: one where resonance rules over everything else.

Bryon Hayes

Longobardi + Cecchitelli — Maloviento (LINE)

Italian sound artists Ernesto Longobardi and Demetrio Cecchitelli create minimalist environmental works built from droning sub-oscillations that emerge from a haze of white noise. The four pieces on Maloviento, titled by duration, are arctic. Slow, evocative of shifting ice and wind swirling across bleak landscapes.. 14’24” is frigid amalgam of staticky cracks and sheets of white noise that rise and fall with increasing intensity. The duo intersperses these with sounds of dripping stalactites and pings of some distant beacon signaling into the abyss. It immerses the listener in an alien and alienating environment in which you find yourself clinging to these noises as the only way to get your bearing. 21’18” is slightly kinder. More recognizably human sounds emerge. Breath labored by cold, a trudge of footsteps and a muttering voice culminating in the introduction of a flute. Tentative at first, it gathers strength and warmth before being absorbed into the ice. Riveting stuff.

Andrew Forell

Man/Woman/Chainsaw — Eazy Peazy (Fat Possum)

Young London sextet Man/Woman/Chainsaw emerged from the scene that includes bands like Black Midi and Black Country, New Road with whom they share a similar omnivorous musical DNA. Vocalists, bassist Vera Leppanen and guitarist Billy Ward have been playing together since they were 14. Now approaching 20, and joined by contemporaries Emmie-Mae Avery on keys, violinist, Clio Harwood violin, Ben Holmes on guitar and drummer Lola Waterworth, M/W/C play punk infused theatrical rock, not quite as knotty as their near contemporaries, but fully embracing the chaotic energy of musicians pushing themselves to fit all their ideas into songs that dance delicate and furious. The acutely observed kitchen sink dramas of “The Boss” and “Sports Day” burst from the speakers, withering in word, and balanced by Harwood’s sawing violin and Avery’s delicate keys. Leppanen a powerhouse on the former, Ward all snarling self-deprecation on the latter. In contrast “Grow A Tongue In Time” is almost dainty with its curlicue of violin, bass, and keys tempered by Leppanen’s rasp that speaks of a desperate frustration echoed in the washes of cymbals that swarm towards the end. A band with space to grow and one to watch out for.

Andrew Forell

The Modern Folk — Primitive Future III (Practice)

This expansive collection spans 20 songs and nearly as many years for the folk centric but ambi-curious guitarist Joshua Moss (who, full disclosure, recently started writing for Dusted). His music here takes many forms, from the blues rock chug of “Shiver Shaker,” which could pass for an alternate universe outtake from Jon Spencer’s Heavy Trash to the cosmic twang of “Hippy Sandwich,” running closer to Ripley Johnson’s Rose City Band or the Heavy Lidders or whatever Matt Valentine is doing this week. There’s room, too, for lucid, radiant blues-folk picking, twined with bowing in “Braided Channels” or abetted in shimmery gossamer by Jen Powers on dulcimer on “You’ll Have That,” or left to strike out unadorned on luminous (and aptly titled) “Subdued.” Some artists try something different to prove they can. Moss lets the change grow out of old roots, supple, green and lovely. One other item of note: all proceeds are earmarked for hurricane relief.

Jennifer Kelly

Paprika — S/T (Iron Lung)

Paprika had already released the excellent, caustic Let’s Kill Punk LP this year, so this new EP is an unexpected November surprise. Are you thankful? It’s pungent and nasty stuff — Paprika sounds like the grittiest elements of NYC punk rawk, c 1976, partying with the hepped-up hardcore of Government Issue or Dirty Rotten EP-period DRI. If that sounds like fun, it sort of is, if you can listen past the nihilistic sentiments expressed in tunes like “Catatonic Pisser” and “Wasting Time.” This reviewer especially likes the self-lacerating qualities of “Supply Chain Wallet,” which explores the ways in which even filthy, greasy punks have a variety of fashion sense, implicating them in capital’s machinery. The band is more direct: “I’m chained to my wallet / Don’t you fuckers know? / Money is dirt.” Word.

Jonathan Shaw

Rock Candy — Swimming In (Carbon)

Rock Candy is Krysi Battalene (Mountain Movers, Headroom) and Emily Robb. Both are guitarists of just renown who, if they decided to open up an optical shop, would specialize in third-eyewear. Together, they refrain from six-string calisthenics in order to focus on nuanced expressions of motion. “Swimming In” is all about drift, albeit with enough surface tension for a stuttering guitar figure to loom over the undulating organ-scape. “Across A Mirage” sets slide vs. reverb, each fighting for footage on a mechanical Clydesdale beat. The cost of vinyl being what it is, some folks might question the point of picking up singles. This year, Rock Candy is the angle that dispels such faithless notions.

Bill Meyer

Sif — Aegis of the Hollowed King (self released)

If you were going to make solo instrumental doom metal about video games, Dark Souls is certainly one of the few that feels like it actually fits. What makes the second LP from New Orleans-based Sif work as well as it does, though, is how much Aegis of the Hollowed King engages with what’s actually compelling about the FromSoftware series beyond any surface level trappings of swords, monsters and boss fights. Here focusing on what even they admit is an “understandably maligned masterpiece,” Dark Souls II, these four tracks don’t try to overwrite the game’s fantastic actual soundtrack (by Motoi Sakuraba and Yuka Kitamura). Instead they invoke how much of the experience of painstakingly making your way across Drangleic is suffused with melancholy horror (yes, occasionally leavened with moments of brutally-won success). That atmosphere has been translated into a doom metal idiom, but that just means even the most elegiac elements here continue to crush.

Ian Mathers

Sulida — Utos (Clean Feed)

The phrase “good old-fashioned free jazz” could be applied to this Norwegian trio’s album, no disrespect intended and none dealt. Marthe Lea’s gruff tenor sax balances the unbridled emotion and considered poise of Ayler and Tchicai, and Jon Rune Strøm and Dag Erik Knedal Anderson negotiate points of structure vs. flow in ways that would do Hopkins and McCall proud. There are also moments that bring to mind Don Cherry if he had given full allegiance to the Swedish woods instead of the world. And yet, the character of each musician shines through, so that this music feels alive rather than merely reanimated. Ready to rumble by unfailingly lyrical, Utos is a friend in unfriendly times.

Bill Meyer

[rhapsodynew]

#everything you need to know about rock

Keith Richards.

The whale had to literally "grow up to be an instrument." Grandpa Gus, a jazz musician, teased his grandson's interest by hanging an acoustic guitar on a higher wall with the words : "When you get it, I'll let you play."

UK rock musicians are a friendly community where everyone knows each other. Every talented guitarist became famous two or three weeks after his appearance in London. John Wetton did not stay idle for long after the collapse of King Crimson. One day he received an envelope with an invitation to attend a rehearsal of the famous band "Jurai Hip", which needed a professional bass guitarist. In early 1975, Yuri Hip lost one of its musicians, Gary Thane, who died of a drug overdose. John Wetton replaced him, and very successfully. The appearance of an experienced musician in the band changed the atmosphere radically. John, a powerful generator of new ideas, became the real leader of the group.

John Anderson's most famous project after the Yes band was the duo Jon and Vangelis — with the legendary keyboardist and film composer. They first crossed paths back in the mid-70s, and then we'll give the floor to John:

So, I got Vangelis's phone number, he lived in Paris, I went and called him. He said (feigning a rude Greek accent) "Hello." I said, "My name is John Anderson." He asked: "What?" I replied: "I sing in a band called Yes." He said: "Are you a singer? Well, come on over." And I came. I was greeted by a tall and sturdy man in a long caftan. He had a bow and arrows slung over his shoulder. I followed him to a luxurious apartment that was located near the Champs-Elysees. We walked down the long hallway leading to the living room. And then Vangelis took out a bow, pulled the string and shot an arrow along the corridor — it hit the open window exactly. I said: "Vangelis, you could have killed someone." He said, "Oh, don't worry, I'm Greek." I said: "I know you're Greek, but damn..." And he was already busy at the stove. In general, I was crazy about this reaction."

The story of the song "The End" by The Doors.

According to the band members, this song was conceived as an ordinary farewell song after Jim Morrison broke up with his girlfriend Mary Werbelow. During the creative process, however, it gradually became more complicated and modified, overgrown with universal images.

The album version consists of two glued parts. The second, which appeared later, the "Oedipus" part was added to the first directly from the words "The killer awoke before dawn", which can be detected by changing the sound when listening carefully. The song was recorded the morning after Morrison's next "frenzy", possibly still under the influence of drugs. Morrison replaced the censored "fuck you" in the "oedipal" part with an inarticulate mumble.

The song is included in the list of the top five hundred according to Rolling Stone magazine (No. 328); the guitar solo of the song is ranked 93rd in the list of the 100 best guitar solos according to Guitar World magazine.

Richie Blackmore.

During his school years, Richie was actively involved in javelin throwing and swimming. Richie hated his studies and teachers for their formalism and suppression of non-standard thinking among students.

Roger Taylor and his mini-replica, drawn using words from his songs.

[randomvarious]

1990s Downtempo Playlist

Well, ya just knew that after doing a bunch of trip hop playlist posting over the past few weeks that I was gonna start adding fresh coats of paint to my downtempo playlists too. And this week I've got some 90s gems from a same trio of albums I've been posting a lot about lately on these Sunday nights: Ninja Cuts: Flexistentialism from UK electronic powerhouse Ninja Tune, Parisian Kid Loco's brilliant DJ-Kicks mix, and then a pretty damn obscure comp from late 90s South Africa called ReRooted: Beatz From Da Ground Up.

And I think my absolute favorite of these new adds this week comes from that Flexistentialism comp, with a lovely piece of blissed-out, mid-90s, reverberating, softly bonging and throbbing dubbiness by legendary Austrian duo Kruder & Dorfmeister called "Shakatakadoodub." These guys are better known as top-flight DJs and remixers, and their own DJ-Kicks mix is often ranked as one of the greatest DJ mixes that's ever been made, period, but "Shakatakadoodub," which is not an obscure track by any means, as it currently has over 1.11 million Spotify plays, is seven-plus minutes of light, hazy perfection 😌. K&D don't release much music of their own creation, and so, this merely made its debut on Flexistentialism, but if they'd ever been more committed to releasing more material, this definitely would've been a stand-out track on whatever they were fixing to release; it's so good.

Next up, from that ReRooted comp, we've got something from a band that hailed from Johannesburg called Sugardrive, who deliver "Girl You Made Me Bad," which is also sort of this vocal indie pop crossover hybrid too. Excellently soothing bits of trumpet, choppy psychedelic synths, and electric acoustic guitar strums. Looks like there's another version of this song on Spotify that has 31.8K+ plays, but this one appears to be cruising somewhere below 1,000 right now...

9 Lazy 9 - "Spoonful of Slow" Kruder & Dorfmeister - "Shakatakadoodub" Funki Porcini - "Venus" Sugardrive - "Girl You Made Me Bad" Boards of Canada - "Happy Cycling" Kid Loco - "Flyin' on 747"

But the YouTube version of this playlist contains all those adds and a handful more too that can't be found on Spotify, which is where some of the songs from Kid Loco's DJ-Kicks mix come into play, like a 1999 song called "Slo Jo" by a guy from Vienna named Stereotyp, who was signed to Kruder & Dorfmeister's own G-Stone Recordings label at the time. And true to that label name, this one is definitely stoned 😵. Very trippy and chill tune, with slow and syrupy synth zaps, a crunch-dusty drumbeat, and vocals delivered by someone named Le Bubu, whose only credits ever came from the Stereotyp 12-inch that this wonderful song first originated from: Stash It. Currently under 2,300 YouTube plays, and deserving of a lot more.

Hacienda - "Diskoking" Tongue - "Culture Consumers" Thievery Corporation - "Lebanese Blonde" Stereotyp - "Slo Jo"

And this playlist is also on YouTube Music.

So this latest update now brings the Spotify version of this playlist up to 40 songs that clock in at 4 hours and 7 minutes, but over on YouTube, we're up to a total of 69 songs (nice!) that clock in at 7 hours and 14 minutes! So if you want a shit-ton more of excellent 90s downtempo, do check out the YouTube one!

And if those playlist lengths sound way too long, consider checking some shorter ones out, which are segmented by year:

1993 Downtempo: YouTube / YouTube Music 1996 Downtempo: YouTube / YouTube Music 1997 Downtempo: YouTube / YouTube Music 1998 Downtempo: YouTube / YouTube Music

And you already know that there's gonna be more downtempo next week, but just to make it official: more downtempo next week.

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

[reasonsmandy]

You're adorable, you know?

Josh Whitehouse x Fem!Reader

✧.* requested by four anon — ¹ hello!! i want request a one shot with josh whitehouse where him and the reader falling in love during filming djats!! 🥰

² hey! can u write a fic about Josh!Reader where they they fall in love during filming djats, and josh ends up asking reader to date him!

³ Prompt 22 for Josh whitehouse (djats), PLS PLS

⁴ A fic where josh and y/n falling in love while they are filming daisy jones & the six 🥹

✧.* summary — Life has always surprised you, but you never expected to see Josh again on the set of another project. But that was definitely the best surprise.

✧.* warnings — Sam & Sebastian being the best duo.

✧.* word count — 4.2k

✧.* 🏡 — Josh Whitehouse masterlist

✧.* mandy's notes — My first time writing about Josh, I hope you like it. Just to remind you that if you would like to be tagged when one of my fics comes out, my taglist is at the end of the story. Good reading 🫶🏾

Band camp was an explosion of sights and sounds—a melting pot of talent and passion, where the cast of "Daisy Jones and the Six" gathered to transform into a legendary rock band. As you set foot on the buzzing set, a mix of excitement and nerves pulsed through your veins.

The camp exuded an electric energy, with guitars wailing, drums pounding, and voices harmonizing in a symphony of anticipation. Every corner seemed to vibrate with the essence of creativity, and you couldn't help but be swept away by the infectious enthusiasm that surrounded you.

Amidst the chaos, your eyes locked onto a familiar face, his fingers gracefully strumming a guitar. Recognition washed over you, and a smile tugged at your lips. It was Josh—someone you had crossed paths with before, a person who had left an indelible mark on your heart.

With a skip in your step, you approached him, your heart pounding in anticipation. When his gaze met yours, a spark ignited between you, as if no time had passed since your last encounter. His face lit up with surprise and genuine joy.

"Y/N?" He feels your eyes on him and approaches you. "My God how long! What are you doing here?"

"What are you doing here?" You smile opening your arms to hug him. "Well... turns out that I was cast in this series, pleasure Pietra Loving." You extend your hand after the hug, pretending to introduce yourself.

"I can't believe we're going to be working together again." He looked genuinely cheerful, and it warmed your heart to know that he was happy to see you again.

You and Josh had already worked together on Game of Thrones, although your scenes weren't shared most of the time, you had already talked during breaks and of course, during events as well. In fact, you didn't expect to run into him again, working with people you already had contact with always made the work environment more pleasant, you felt freer in the presence of actors you already had some kind of contact with and you were very happy to have him there to share and get to know each other more.

The two of you fall into a comfortable silence, taking in the bustling set around you. You can feel the familiar camaraderie between you, a sense of ease that only comes with working alongside someone you know and trust.

You find yourself gravitating towards Josh, drawn to his infectious energy and easy laugh. You work well together, each of you pushing the other to new heights of creativity and artistry. And so the months passed, you never imagined that Josh and you were so much alike that you two had so much in common and interesting differences to share with each other.

...

During a rehearsal of a particularly poignant scene, you and Josh found yourselves completely immersed in the emotions of Eddie and Petra Loving. The air in the room was thick with tension as the characters confronted their deepest fears and vulnerabilities.

As the scene reached its climax, your voices intertwined, and the intensity of the moment hung in the air. You could feel the weight of the emotions emanating from both of you, creating an electric charge that seemed to crackle in the space between you.

In a brief pause, Josh's eyes locked with yours. His gaze was filled with a mix of admiration and understanding, mirroring the emotions you poured into your character. Without a word, his hand slowly reached out, hesitating for a moment before gently brushing against your arm.

The simple touch sent a shiver down your spine, a tender connection that transcended the lines of the script. In that moment, you felt the unspoken language of your body language come alive. Your shoulders naturally angled towards each other, creating an intimate space where the characters and your own hearts intertwined.

The scene continued, but the unspoken connection remained, growing stronger with each passing moment. Your movements mirrored each other, synchronized as if guided by an invisible force. The chemistry between you was palpable, evident in every subtle glance, every shared breath.

After the scene concluded, the room fell into a reverent silence. You and Josh exchanged a knowing look, a silent acknowledgment of the deep connection you had just experienced. It was a moment where the lines between fiction and reality blurred, and you both knew that something profound had shifted between you.

As the rehearsal continued, the unspoken language of body language continued to weave its spell, strengthening the bond that had formed. It was a language only the two of you shared, a silent conversation that spoke volumes about the unspoken desires and growing affection that simmered beneath the surface.

Little did you both know that this dance of body language would become the foundation of a love story that would unfold beyond the confines of the set, intertwining your lives in ways you never anticipated.

During a rehearsal of a deeply emotional scene, the room filled with an atmosphere of vulnerability and raw intensity. As you, fully immersed in the role of Pietra Loving, allowed the character's pain and frustrations to consume you, tears welled up in your eyes, your voice quivering with anguish as you poured your heart out to Josh's character, Eddie.

"You just don't understand, Eddie," you cried, your voice choked with emotion. "I feel useless in this band. It's like I don't belong."

Josh, captivated by your performance, couldn't help but be drawn closer to you. He stepped towards you, his hand extending gently, as if to offer comfort. "Pietra, I know it's tough, trust me I understand this more than anyone else in this band, but you have so much talent. You bring a unique energy to every song. You belong here, more than you know."

As the scripted dialogues came to an end, the weight of the scene still hung in the air. You and Josh locked eyes, an unspoken understanding passing between you. The intensity of the moment lingered, and without thinking, you leaned in slightly, the distance between you narrowing.

In that charged moment, the room seemed to fade away, and it was just the two of you, on the precipice of a forbidden connection. Your lips were tantalizingly close, the unspoken desires hanging in the air like a delicate thread.

But before the thread could be pulled any tighter, the sound of approaching footsteps disrupted the spell. Sebastian, entered the room, oblivious to the charged atmosphere that had enveloped you and Josh.

Startled, you and Josh quickly pulled away from each other, a mix of surprise and unfulfilled longing lingering in your eyes. You exchanged a knowing look, silently acknowledging the powerful connection that had almost taken you over the edge.

Sebastian greeted you both with a cheerful smile, unaware of the near-miss encounter. "Hey, sorry to interrupt! Just wanted to grab my drumsticks. Carry on, carry on!" he exclaimed, reaching for his belongings.

You and Josh tried to compose yourselves, your hearts still racing from the near-kiss. In a hushed tone, you whispered, "We should get back to rehearsing."

Josh nodded, his voice filled with a mix of regret and longing. "Yes, let's continue."

...

Late into the night, after the long hours of recording had come to an end, you and Josh found solace in the music that intertwined your souls. The dimly lit studio provided an intimate space where your shared passion for music could flourish.

As the soft glow of the studio lights illuminated your faces, Josh picked up his acoustic guitar and began to strum a soulful melody. The sweet, melodic notes filled the air, resonating with a touch of vulnerability that mirrored your budding connection.

You watched in awe as Josh's fingers danced effortlessly across the strings, his voice carrying the weight of his emotions. The lyrics spilled from his lips, weaving tales of love, heartache, and the complexities of life. With each strum and lyric, Josh bared his soul, offering you a glimpse into the depths of his being.

The melodies enveloped you, casting a spell that left you mesmerized. You couldn't help but be drawn to the raw honesty and vulnerability in Josh's music. It was as if he had unlocked a hidden part of himself, sharing it with you in the most intimate way.

As the song reached its poignant climax, you couldn't contain your admiration any longer. "Josh, that was incredible," you whispered, your voice filled with awe. "You have such a gift for capturing emotions through your music."

A smile tugged at the corners of Josh's lips, his eyes reflecting a mix of humility and gratitude. "Thank you, sunshine. It means a lot coming from you. I've always believed that music has a way of bringing people closer, and sharing these moments with you... it's something special."

Encouraged by your shared love for music, you felt the urge to contribute to the creative exchange. "Do you mind if I join you?" you asked, your voice laced with anticipation.

Josh's eyes lit up, and he eagerly gestured for you to take a seat at the piano. "Please, I'd love that."

As your fingers gently caressed the keys, a delicate melody began to flow. The notes danced harmoniously with Josh's guitar, blending together in a seamless union. Your voices intertwined, carrying the weight of your emotions as you sang in perfect harmony.

In the intimate space of the studio, your music became a language of its own—a conversation between your souls. You effortlessly responded to each other's cues, your melodies reflecting the ebb and flow of your unspoken connection.

As the night wore on, you experimented with new sounds, allowing your creativity to flourish. Laughter and shared stories punctuated the breaks between your melodies, deepening your bond beyond the confines of the characters you portrayed.

In a moment of quiet contemplation, you turned to Josh, your eyes filled with gratitude, for all this you two were living together. "Thank you for sharing your music with me, Josh. It's a privilege to create and collaborate with someone as talented as you."

Josh's smile radiated warmth as he replied, "No, sunshine, the privilege is all mine. Your talent and passion inspire me. I couldn't have asked for a better musical partner."

As the music swirled around you, you felt a growing sense of connection and attraction. The barrier between your characters, Eddie and Pietra Loving, began to blur, and the lines of reality became intertwined with the melody of your shared emotions.

Little did you know that these late-night jams would become the soundtrack to your love story—a melody that would echo in your hearts long after the cameras stopped rolling. And in that moment, as Josh strummed his guitar, he looked at you with affection in his eyes and whispered, "You truly are my sunshine."

...

In the midst of a brief break on set, you found yourself engaged in a lighthearted conversation with Sam and Sebastian, your fellow cast members. Laughter filled the air as you exchanged playful banter, creating a camaraderie that had grown throughout the production of "Daisy Jones and the Six."

Just as you were lost in the moment, Sam and Sebastian exchanged knowing glances and shared mischievous smiles. "Hey, Y/N," Sam said, unable to contain his grin, "we've got something important to tell you."

Sebastian chimed in, adding a playful tone to his voice, "Yeah, it's about Josh. He's been talking about you nonstop, you know?"

You raised an eyebrow, a mixture of curiosity and amusement dancing in your eyes. "Oh, really? And what has he been saying?"

Sam leaned in conspiratorially, his voice barely above a whisper. "He's been going on and on about how amazing you are, how he can't imagine his life without you around."

Sebastian nodded, a mischievous twinkle in his eyes. "Yeah, he's head over heels for you, Y/N. It's time for him to make a move."

Your cheeks flushed with a mix of surprise and delight, a realization dawning upon you. The connection you had felt with Josh, the unspoken chemistry, suddenly became crystal clear. A flutter of anticipation stirred in your chest as you considered the possibility of something more.

Before you could respond, a familiar voice interrupted, causing your attention to shift. It was Josh, approaching with a gentle smile on his face. "What's all the secrecy, guys?" he asked, his eyes darting between Sam, Sebastian, and yourself.

Sebastian couldn't contain his excitement any longer and playfully nudged Josh. "It's time to spill the beans, man. We've been waiting for this moment." Chacon sits in the nearest chair and pulls Sam into the one beside him, he pretends to be eating an imaginary bag of popcorn like he's watching a movie he's been waiting on for a long time. "Come on tiger, get your girl."

Sam bursts out laughing and tries to compose himself when he sees Josh rolling his eyes, he whispers "Sorry" and pats Sebastian lightly on the chest indicating to stop.

Josh's gaze shifted towards you, his expression a mix of nervousness and anticipation. He took a deep breath, gathering his thoughts, before turning his attention back to the group. "Alright, alright," he said, his voice filled with a newfound determination. "I've got something I need to say."

As the playful banter subsided and a hush fell over the conversation, all eyes were on Josh. You felt a wave of anticipation wash over you, your heart beating a little faster.

In that intimate moment, Josh's gaze met yours, and he took a step closer, closing the distance between you. His voice was filled with sincerity and vulnerability as he spoke. "Y/N, I can't deny the way you've captured my heart. Every day, I find myself drawn to your warmth, your talent, and the way you make me feel alive."

He reached out, gently taking your hand in his, his touch sending a surge of electricity through your veins. "I know this might not be the most extraordinary setting or the grandest gesture, but it's sincere. Y/N, would you do me the honor of being my partner, both on and off the screen?"

"Woah, man," Sebastian exclaimed between fits of laughter, wiping a tear from his eye. "That was even cheesier than I thought possible!"

Sam playfully nudged Sebastian's shoulder, shaking his head with a smile. "Come on, Seb, show a little respect for love," he teased, his tone filled with warmth and amusement. "Let the man have his moment."

Sebastian tried to stifle his laughter, his face turning slightly red. "Alright, alright," he said, finally composing himself. "But seriously, Josh, that was beautifully cheesy. Well done."

Josh couldn't help but grin, his eyes twinkling with a mixture of amusement and affection. "Thanks, Seb. I guess cheesy can be good sometimes."

As the laughter subsided and the playful teasing faded into the background, a sense of joy and camaraderie filled the air. It was a testament to the bond the cast had formed, where even the lighthearted moments were cherished and celebrated.

With a nod of appreciation, Josh turned his attention back to you, his eyes reflecting the sincerity of his words. "So, Y/N, what do you say? Would you do me the honor of being my girl?"

You couldn't help but smile at the playful banter and the genuine happiness radiating from those around you. It was a reminder of the support and love that surrounded your budding romance.

Gently squeezing Josh's hand, you replied, "Absolutely, Josh. I wouldn't lose what we have for nothing."

"We'll leave you two lovebirds alone." Sam says smiling at them, and pulling Sebastian's hand to get him up.

"We will?" Sebastian asks, not understanding the statement, receiving a serious look from Clafin. "Oh, sure... We'll leave you alone." Chacon says going out with his friend.

Your eyes locked with Josh's, and an unspoken understanding passed between you. In that moment, the world around you faded away, leaving only the two of you in a realm of your own. It was as if time stood still, granting you a pause to embrace the depth of your connection.

Josh's hands gently cradled your face, his touch conveying a mixture of reverence and desire. As his lips met yours, a rush of sensations enveloped you, stirring a potent blend of emotions. The kiss was soft and tender, a testament to the longing and affection that had been building between you.

In that delicate moment, Josh's kiss spoke volumes. It revealed his adoration and his recognition of your worth, as if he saw you as someone precious who deserved to be treated with care and tenderness. Every caress of his lips against yours was infused with a deep sense of intimacy and protection.

For you, the kiss was a transcendental experience, as if all your thoughts and desires had finally come alive before your eyes. You reveled in the sensation of Josh's hair against your fingertips, cherishing the proximity and connection you shared. It wasn't about possession or control, but rather a mutual longing to explore and deepen your bond.

As your lips slowly parted, your gazes met once again, and the world slowly came back into focus. In that shared moment, you both realized the profound significance of what had just transpired. It was the beginning of an extraordinary journey, where your hearts and souls would intertwine, both on and off the screen.

With that lingering kiss, you knew that you had found something truly special, a love that would blossom and flourish, nurtured by the genuine affection and unwavering support you shared.

…

The interview room buzzes with anticipation as you and Josh take your seats. Mark Stevens, a charismatic interviewer, leans forward, captivated by your presence.

Mark can't help but be drawn to your magnetic charm, and his eyes light up with admiration as he speaks.

"Y/N, may I just say that you look absolutely stunning today. The camera doesn't do justice to your beauty," Mark says, his voice laced with flirtation.

You blush, appreciating the compliment, while Josh subtly adjusts in his seat, a silent reminder of his presence.

The interviewer leans in closer, his playful demeanor intact.

"So, Y/N, you've had quite a journey in the entertainment industry. How do you manage to stay grounded amidst all the fame and attention?" Mark asks, genuinely intrigued.

You smile, grateful for the question.

"It's definitely a challenge," you reply, "but I have an incredible support system—family, friends, and my fellow cast members, like Josh here. They keep me grounded and remind me of what truly matters."

Josh nods in agreement, his gaze filled with admiration for your humility and grace.

Sensing the flirtatious undertone of the interview, he decides to subtly shift the conversation.

"Speaking of me," Josh continues, raising an eyebrow, "the chemistry between us on screen is undeniable. How do we manage to create such convincing romantic tension?"

Your smile widens as you respond, choosing your words carefully.

"Well, it's all about trust and connection," you say. "Josh is an incredibly talented actor, and we've built a strong rapport over the years. We trust each other's instincts and push each other to deliver our best performances."

Josh listens intently, his gaze fixed on you, appreciating the depth of your connection.

Mark, ever the charmer, grins mischievously.

"Ah, trust and connection. Those are essential ingredients, aren't they?" he says, his words laced with flirtation.

You maintain your composure, responding with grace.

"Absolutely, in every aspect of our work," you reply, emphasizing the professional nature of your relationship.

Josh, sensing the flirtation becoming more pronounced, decides to gently steer the conversation back on track.

"Mark, we're incredibly fortunate to have such a supportive cast and crew," he interjects with a warm smile. "The collaborative atmosphere on set allows us to explore the dynamics between our characters in a genuine way."

Mark catches the shift in tone and refocuses his attention, still maintaining his charismatic charm.

"Fair enough, fair enough," Mark concedes playfully. "So, Y/N, tell me, what's the most memorable moment you've had on set with Josh? Any fun anecdotes you can share?"

You chuckle, delighted by the question.

"Oh, there are so many!" you exclaim. "One that stands out is when we had a spontaneous jam session during a break. Josh brought out his guitar, and we ended up singing and laughing together. It was a beautiful moment of connection and shared passion for music."

Josh's eyes light up with fondness as he remembers the magical impromptu jam session.

Mark grins, clearly entertained.

"Sounds like a memorable bonding experience indeed," he says. "Well, thank you both for your time and for sharing these insights. Daisy Jones and the Six truly captivates audiences, and your performances are a testament to that."

You and Josh exchange a grateful smile, a silent acknowledgment of your shared journey and the connection that has blossomed between you. The interview concludes on a positive note, and Josh almost involuntarily takes your hand and caresses your fingers, something was bothering him and soon you would ask what it was.

…

Josh's hand held yours gently, it was like connecting your hands with his sent an electrical wave through your body and you loved how that feeling felt just right. The restaurant chosen by the blonde next to him was quiet and cozy, the lighting made his eyes more beautiful than they already are which you never expected to be possible.

He accompanied you to a more reserved area of the place, where you sat down until someone arrived and took your order. Josh looked thoughtful and you just wanted him to speak at once what was going through his mind.

"Come on honey, are you actually here?" You ask laughing at him, he smiles at you but doesn't say anything. "So, not in the mood for talking?"

"I'm sorry sunshine, I got a little distracted." You bring your hand to his as he answers you, conveying comfort.

"What's on your mind pretty boy?" You ask quietly and he takes a deep breath.

"Did you see how that guy hit on you?" Josh says with a straight face and you manage not to smile. "It's like I wasn't even on that fucking interview."

"Oh my love, was that so brazen?" You pat Whitehouse's hand across the table. "I thought it was just me, but he was really into it."

"How dare he? I was there, by your side." He looked sullen, and you loved the way he got a little jealous. "You're mine, all mine…"

You arch your eyebrows and crack a small smile, he widens his eyes afraid he said something wrong. "But not in a possessive way, dammit, that sounded like an asshole, right? I was trying to be cute. Nevermind."

He rests his face in one of his hands, his grimace showing that he is upset about the whole situation. You get up and sit down next to him, he watches your every move with his eyes.

You hold his face in your hands and kiss him calmly, he relaxes with your contact and reciprocates the kiss with passion, and you feel that somehow for a moment the world was just yours. He holds your waist gently, you were so surreal to him, he was afraid of waking up from some kind of dream and not having his best thing by his side.

After the kiss you kiss his cheek, resting your head on your boyfriend's shoulder, he holds your hands wanting you closer.

"You're adorable, you know?" You whisper, and he can't help the way his eyes get smaller as the smile on his face causes dimples. "I don't want you to feel pressured to say anything, but, I think I love you."

As you uttered the words "I love you," time seemed to stand still for Josh. Your heartfelt confession sent a jolt through his body, igniting a flurry of sensations. His heart skipped a beat, then began to race, its rhythm echoing the thunderous excitement within him. A rush of warmth surged through his veins, suffusing him with a euphoric glow.

A fluttering danced in his stomach, delicate as the wings of butterflies taking flight. Your words stirred a mix of joy, relief, and a profound sense of belonging deep within him. He realized, in that very moment, just how profoundly he cared for you, how your presence had become an integral part of his happiness.

With a voice brimming with awe and tenderness, Josh mustered his reply, "Sunshine, I... I love you too. More than words can express. You've captured my heart in a way I never thought possible."

He reached out, his hand gently caressing your cheek, his touch tender and vulnerable. "You make me feel alive, Y/N. Being with you feels like coming home, like finding the missing piece of my soul. I am immensely grateful to have you in my life."

His words carried an unfiltered honesty, the intensity of his emotions radiating through each syllable. He couldn't help but let his gaze linger on you, taking in your beauty and the depth of your love. In that magical moment, you both knew that your connection was something truly extraordinary.

...

Hi, I hope you enjoyed it... If you wanted to ask for something my requests are open, and if you want to ask and don't have any ideas check out my prompt list :) xoxo

Want to be tagged when new stories come out? REASONSMANDY'S TAG LIST

taglist: @lantsovcolors

[lovejustforaday]

Shoegaze Classics - Doppelgänger

Doppelgänger - Curve (1992)

Main Genres - Shoegaze, Alternative Dance

A decent sampling of: Industrial Rock, Ethereal Wave, Dream Pop, Neo-Psychedelia

The common story of the origins of the term "shoegaze" itself is often told in a way that would suggest the term's meaning is twofold.

The more literal meaning comes from the heavy usage of multiple guitar pedals for bands to achieve their signature swirling, washy, dense guitar sounds, the guitarists spending more time at live shows staring down at their feet as they prepared to adjust their pedal board.

But it is also often implied that the idea of these bands coming to be known as "shoegazers" is for the generally introverted, shy, wall-flower disposition of the performers. I suppose it doesn't help that long bangs that hide the face, and baggy clothes were common fashion choices for the scene at the time. Of course, your mileage with this stereotype will vary depending on the band.

Next on my shoegaze classics retrospective, I wanted to take a look at a band that defies the wall-flower stereotype of the shoegazers, by taking the genre's signature heavy guitar reverb and turning it into the most bewitching, trancey, and euphoric 90s dance music. Today, we will be discussing Curve.

The Band

Curve emerged onto the London alternative scene in 1990 as a creative duo, comprised of the mysterious, semi-goth and generally badass vocalist and guitarist Toni Halliday, and the guitarist, bassist, drummer and programmer Dean Garcia, a signature lover of wearing sunglasses even at night.

It's easy to say that Toni Halliday had a considerably more memorable stage presence than almost any other frontman, woman, or person in the shoegazing scene. Her performances were animated, but in a very transfixed sort of way, her eyes casting a piercing gaze, with a dark and commanding, but nonetheless ethereal contralto voice coming out of what seems like a rather small woman.

Aesthetically, Curve were kind of in a separate category from most other shoegaze bands. They seemed to have more of a sleek, futuristic, and dare I say sexy image as a band. This was also reflected in their sound, which was decidedly much more intertwined with uptempo 90s dance music and industrial rock, their performances more frenetic and adrenergic.

Unfortunately, Curve is a band whose legacy has been obscured by tired comparisons (and the surrounding discourse) to garbage. *cough* that is, as in the band Garbage. So much so, that I feel compelled to take a minute of my own review to chime in with my own two cents on this ridiculously clichéd fan dispute. For those not in the know, Garbage were a frankly much more commercially successful and mainstream alternative rock outfit from the 90s, started by legendary Nevermind and Siamese Dream producer Butch Vig and a couple of his buddies, plus the 90s most iconically sullen yet outspoken Shirley Manson. The band already started out with connections to some of the biggest 90s alternative bands, most notably Smashing Pumpkins and The Foo Fighters.

Garbage has often been accused of ripping off Curve's sound and style, and at the very least, there are some undeniable similarities. Both bands took a maximalist approach to their sound, making layered, dancey alternative rock that incorporated many of the emerging subgenres of the time, and both with a moody "sad chick" contralto vocalist.

I'll be transparent: Garbage was (along with Smashing Pumpkins and The Cranberries), the band that really got me into 90s alternative rock. There was a time in high school when I was much less versed, and considered them to be one of, if not my #1 favourite band. Like many of my generation, I first learned about Curve THROUGH these comparisons.

And so I imagine it's hard for OG Curve fans not to look at Garbage's success, notice how a decent part of that success was tied to Butch Vig's industry connections, and not become very resentful towards Garbage and the band's many fans.

But let's also be fair: neither Curve nor Garbage were the first band to have a glum, sardonic female vocalist (Lydia Lunch and Kim Gordon come to mind almost immediately). Neither band invented the alternative dance subgenre. And to their credit, Garbage has acknowledged the comparisons to Curve over the years while only having nice things to say about the smaller band. Lesser people with bigger egos from that time (*cough* Billy Corgan *cough* Courtney Love) probably would've taken the opportunity to shit on the band.

Moreover, as their inclusion in this list would suggest, Curve were and are a shoegaze band first, which is a pretty clear distinction. Garbage's sound was never really shoegaze at all; at best, there's a lot of noise pop on the first Garbage record. But Garbage's brand of alternative rock is a lot more poppy, and sometimes trip hoppy (which was hugely successful in the 90s). Likewise, Curve's sound was almost certainly never going to go as mainstream as Garbage. And that's okay, because most great music doesn't go mainstream.

But honestly, even having to acknowledge all of this is kinda lame. It's beating a dead horse that's already been dead for at least 20 years, and Curve's legacy as a band should not be "the band that was Garbage before Garbage".

Instead, Curve should be understood as shoegaze pioneers, being one of the first shoegaze bands to experiment with fusing electronica elements, and playing around with more studio-based guitar sound layering. They are the studio nerds of the original scene, and they deserve to be celebrated for their gorgeously crafted, methodical 90s hybrid sound. Shoegaze walls of sound had never felt this pristine.

The Record

Doppelgänger is Curve's debut record, released after a string of EPs and subsequent compilation LP, as per usual for 90s first wave British bands. It is by all means a very stylish sounding record, co-produced with the famed alternative producer Flood, who's impressive resume of collaborative work spans from electronic bands like New Order and Depeche Mode to abrasive alternative rock like P.J. Harvey and The Jesus And Mary Chain.

As I've hinted at already, this is one of the most 'produced' albums of the first wave of shoegaze records. Far from being a negative, I really enjoy this approach. There is a lot of layering of different tracks happening in the mix, and the whole project comes together as this really punchy, roaring, and technicolor shoegaze that feels very urban and dancefloor ready for your local goth club.

The album's second single "Horror Head" is, put simply, one of the many masterpieces of the first wave of shoegaze. Among the trippiest and most surreal songs of its era, with dazzling, iridescent guitar feedback, sparkling drum machine sounds bouncing off of thin metallic sheets, and sonic colours of violet and indigo. Toni's haunting refrain of "heys" guide the listener to an enchanted nowhere like little forest fairies, while her deliciously dark lead vocals peek through all the many layers with the sense of a delirious protagonist in the songs' swirling universe. Like having the most unusually pleasant sensory overload headache.

As the second track on the record, this is frankly an incredibly hard act to follow, and I'd be lying if I didn't say that some other tracks feel like an attempt to recapture the godlike production of "Horror Head".

Oh, and for some odd reason, the version of the track that I downloaded off of Bandcamp is compressed and a little bass-heavy, versus the version on most other platforms. It would be a bit unfortunate if it is indeed an album/single discrepancy, since the mastering of the version up on YouTube is definitely superior. Regardless, I will judging this based off of the superior version, because its my blog and I can do what I want. Plus, in the age of mp3 files you can just go in and switch it out anyway.

Another standout moment is "Lillies Dying", the most rhythmic song on the record, with a groovy semi-baggy bassline, a descending, melting vocal lead, and a grainy sandstorm of guitar soundscapes. Music for a rave in a barren wasteland, makes me feel like spinning in circles.

I also really like the other single "Faît Accompli", less of a shoegaze track and more of a jagged, darkly erotic industrial rock dancefloor banger. Feels very intended for accompanying a light bondage session in a dimly lit BDSM dungeon.

The record eschews the dance beats for closer "Sandpit", a more atmospheric and introspective song featuring a more traditional combination of dream pop and shoegaze. The track is a nice palette cleanser, bringing a night of Dionysian wonders and relentless dancefloor madness to a definitive close with soft headphone sounds to acompany the bleary transit ride home.

What Came After That?

Curve had a longer original run than most first wave shoegaze bands, releasing 5 LPs from Doppelganger up to their last record in 2002 titled The New Adventures of Curve. I have not heard any of these records in full, but it seems like the band largely continued to do their thing, sometimes veering more into industrial rock territory.

Since then, the band has remained largely inactive save for a few archival releases. Curve are not among the many bands like Slowdive and Ride whom have gotten back together to record and release new records in the 2010s and 2020s.

Toni Halliday started a solo project in 2008 called Chatelaine which has also been mostly inactive, meanwhile Dean Garcia has been in and contributed to about a dozen bands since Curve finished.

But then not every band should have to keep putting out records indefinitely. Curve has a respectable discography, and I've heard bits and pieces from Cuckoo and the more overtly electronic Come Clean that assure me I would thoroughly enjoy those albums as well.

As it stands, Doppelgänger is inadvertently probably one of the most prescient shoegaze records of the 90s, even if it isn't nearly as acclaimed as any of the big three. There were several bands that blended with electronic dance music during the 2000s Nu-Gaze revival that owe a bit of influence to Curve whether they know it or not.

I also feel like this record broke ground for a lot of late 90s records in the alternative scene that were getting darker and dancier, like Smashing Pumpkins' Adore and Tori Amos' From The Choirgirl Hotel.

So here's to Curve, the too often unsung pioneers and studio witchcraft makers of the 90s first wave of shoegaze.

8/10

Highlights: "Horror Head", "Lillies Dying", "Faît Accompli", "Sandpit"

[izzystradlindoesitforme]

Slizzy Appreciation Day

Part III

'... What Izzy played was the simple heart of the songs, no matter who wrote them; if everything else was taken off one of our songs, you'd hear the grace of Izzy's simple scratch rhythms.'

Slizzy

Appreciation Day Post

Part III

That old man - he's a real mother fucker - gonna kick 'em on down the line.

I love these guys.

[ikjun]

do you have a must listen for tvxq songs? thank u!!

i do !! i am gonna go with mostly tvxq duo songs but if you want to know some recs pre-split lmk (or just check some of the most popular songs on their artist pages on streaming services)

the chance of love: their last album release in korea (it's been years rip) but it's literally the best song ever. like absolute smash hit banger kings of adult pop and suit concepts

keep your head down: their comeback song after the split. bad bitches uniting, they had one chance to not be kicked to the curb by sm too and they took it. reinvented music as we know it.

humanoids: actually the best repackage of any kpop album ever and this song blueprinted anything you see 4th gen boy groups do nowadays. fathers and kings of noise music of edm !!!!

viva: legendary iconic incredible killer most amazing b-side from the humanoids album. she has legend status in the fandom for good reason!

light my moon LIKE THIS: yunho and changmin made two separate solo songs for their jpn releases and then those songs got combined to one tohoshinki song and it's the gayest things they've done in years. happy pride month

before u go: rnb excellence from the vocal kings. the second half of this song is just both of them going off the hinges with their voices, which is perfect. people always mention changmin's vocals (rightfully! the king of kings) but yunho is always matching him on these songs bc he is that good.

jealous: my favourite tvxq / tohoshinki song from my favourite album XV. this song has everything. strong guitars, vocal harmonies that go crazy where yunho gets the lead harmony, asinine horny lovesick lyrics ... a toho classic!

the reflex: b-side from their tohoshinki summer release last year and another song of the century. whoever @ avex chose for them to sing about pining after your long lost now married ex-flame ... i owe you millions for the spectacle

spellbound: another legendary song in the fandom .... for many their best album title track / best era overall. it's definitely up in the top 5 minimum bc their music is so damn good. spellbound i love u no one can be u and that is ur power

disvelocity: a hidden gem !!!! the legend the most iconic. my personal favourite tvxq b-side it goes so crazy. it is legit just so good and one of my fave songs ever

hope this little list helps you check them out heheeee <3333

[influencermagazineuk]

Musical Masterpieces: Songs with the Most Awards in History

In the vast and diverse landscape of music, certain timeless songs have transcended genres and eras, earning accolades that reflect their profound impact on the industry. These musical masterpieces stand out not only for their artistic brilliance but also for the numerous awards they have garnered throughout history. Here's a closer look at some of the songs that hold the record for the most awards, making them iconic symbols of musical excellence: 1. "Thriller" by Michael Jackson:Michael Jackson's "Thriller" is a legendary composition that has amassed an impressive collection of awards, including multiple Grammys. The song's groundbreaking music video, choreography, and cultural impact contribute to its status as one of the most awarded songs in history. 2. "Someone Like You" by Adele:Adele's soulful ballad "Someone Like You" resonated with audiences worldwide, earning her numerous awards, including Grammys and Brit Awards. The song's emotional depth and Adele's powerful vocals have solidified its place as one of the most celebrated songs of its time. 3. "I Will Always Love You" by Whitney Houston:Whitney Houston's rendition of "I Will Always Love You" from the movie "The Bodyguard" remains an iconic ballad that garnered multiple awards, including Grammys. Houston's breathtaking vocals and the song's emotional intensity make it a timeless classic. 4. "Rolling in the Deep" by Adele:Adele's powerful voice strikes again with "Rolling in the Deep," a song that earned her numerous accolades, including Grammy Awards. The song's anthemic quality and emotional resonance established Adele as a dominant force in contemporary music. 5. "Hotel California" by Eagles:The Eagles' "Hotel California" is a rock anthem that has stood the test of time, earning the band various awards and accolades. The song's intricate guitar work, captivating storytelling, and enduring popularity contribute to its recognition as one of the most awarded rock songs. 6. "Formation" by Beyoncé:Beyoncé's "Formation" is a groundbreaking song that addresses themes of race, identity, and empowerment. The song and its accompanying visual album earned Beyoncé numerous awards, including MTV Video Music Awards and Grammys. 7. "Smooth" by Santana featuring Rob Thomas:The collaboration between Santana and Rob Thomas resulted in the chart-topping hit "Smooth." This fusion of rock and Latin influences earned the duo multiple awards, including Grammys. The infectious melody and guitar riffs make it a standout in music history. 8. "Hello" by Adele:Adele's soul-stirring ballad "Hello" made a massive impact, earning her additional awards and accolades. The song's poignant lyrics and Adele's emotive delivery contributed to its success on a global scale. 9. "Billie Jean" by Michael Jackson:Another masterpiece from the King of Pop, "Billie Jean" showcases Michael Jackson's unparalleled talent. The song's innovative production, memorable bassline, and Jackson's electrifying performance earned it numerous awards, including Grammys. 10. "Shape of You" by Ed Sheeran:Ed Sheeran's "Shape of You" became a global phenomenon, dominating charts and earning the artist multiple awards. The song's catchy melody, clever lyrics, and Sheeran's distinctive style contributed to its widespread acclaim. These songs represent the pinnacle of musical achievement, having not only captured the hearts of millions but also earned critical acclaim and industry recognition. Each composition stands as a testament to the enduring power of music to transcend boundaries and leave an indelible mark on the world. Read the full article

[burlveneer-music]

Molly Lewis - On the Lips - don't know if I'm ready for a full-on lounge/exotica (re)revival, but it's the perfect milieu for a whistler

Consider this your invitation to Café Molly, a lounge bar like they don’t make them anymore. The lights are low, the martinis are ice cold, the banquettes are velvet, and the stage is set for the electrifying talent of whistler Molly Lewis. Molly’s soft-focus cocktail music conjures up visions of classic Hollywood jazz clubs, Italian cinema soundtracks and lingering embraces between lovers. After the exotica stylings of The Forgotten Edge EP and the tropicalia-indebted Mirage EP, Molly wanted to encapsulate the sound of Café Molly for her debut album On The Lips, a dreamy tribute to classic mood music. That spellbinding sound, which usually comes to life in Los Angeles, has also popped up in Mexico City dancehalls, graced the runways of Paris and London Fashion Weeks, and made a magical appearance at a children's fairyland. Molly Lewis’s love for this smoky corner of the world doesn’t end with her songwriting. She is a devotee and an archivist, capturing and enlivening the pieces that endure. She was a regular at the legendary shows by Marty and Elayne, the lounge duo who spent almost 40 years playing LA’s Dresden bar. The duo came to global fame after an appearance in 1996’s Swingers and kept going long after that spotlight faded, finally finishing their nightly residency after the death of Marty at the ripe age of 89 last year. “That felt like the end of an era,” says Molly. But there are still flashes of that world to be found, and she finds them. “I’ve been spending a lot of time in New York lately, where there are a lot more of those moody, classic jazz bars,” she explains. Over the past few years Molly has flexed her one-of-a-kind musical skill alongside Mark Ronson on the Barbie soundtrack, as well as with Dr Dre, Karen O, actor John C Reilly, Mac De Marco, fashion houses Chanel, Gucci and Hermes, and folk rock royalty Jackson Browne. After a performance with longtime friend Weyes Blood on Burt Bacharach’s The Look of Love during a Café Molly evening at LA’s Zebulon, Molly supported the singer on a US tour, introducing her sound to a brand new audience. “I forget sometimes that what I do has that factor of surprise and uniqueness – it is something that most people have never seen before,” says Molly. She too might never have entered the idiosyncratic world of whistling had she not as a teenager seen the 2005 documentary Pucker Up, which details the International Whistling Competition. Equally amused and bemused by the eccentric event, in 2012 she competed herself. Spending her early twenties in Berlin she then moved to LA to work in film – and returned to the contest in 2015 to take home first prize. One evening Molly did a turn at an open mic at the Kibitz Room, a tiny late-night bar inside historic LA deli Canter’s. Her display led to appearances at performance art happenings across the city, and she soon caught the ear of independent record label Jagjaguwar. On The Lips was recorded with producer Thomas Brenneck of the Menahan Street Band, Budos Band, Dap-Kings and El Michels Affair, at his newly-built Diamond West Studios in Pasadena. The pair bonded over the work of 1960s soundtrack composers Alessandro Alessandroni and Piero Piccioni, and, with something of an open door policy during the sessions, a stream of acclaimed musicians ended up across the album’s 10 tracks. With her intoxicating compositions, and wry brand of stagecraft (she might not be singing up there, but she can sure tell a joke) Molly Lewis looks set to join her heroes in the storied lore of the Los Angeles lounge scene and beyond. So pull up a chair, order your favorite drink, and prepare to fall for On The Lips.  PERFORMER LINE-UP: On The Lips Molly Lewis - Whistle, guitar, vocals Joe Harrison - Flute, bass Eric Hagstrom - Drums, clave Thomas Brenneck - Organ Written by: Molly Lewis

[mywifeleftme]

139: Richard & Linda Thompson // Shoot Out the Lights

Shoot Out the Lights Richard & Linda Thompson 1982, Hannibal

Richard Thompson has a reputation as a songwriter’s songwriter despite not having much flair as a lyricist, and he’s the sort of guitarist’s guitarist whose solos don’t necessarily jump out at listeners raised on raunchy blues licks and widdly neoclassical runs. Like his vastly wealthier guitar god contemporary Eric Clapton, he has a thin, nasal voice that is only occasionally roused to genuine passion, and many of his finest moments have been as a versatile sideman non pareil on his friends’ records. (There are differences though: for example, Thompson is a practicing Sufi Muslim, while Clapton believes Muslims should be driven into the English Channel.) Despite the relative subtlety of his gifts, and because of it, Thompson is one of the finest musicians to emerge from the English folk revival, and I’ll join the consensus that Shoot Out the Lights is his masterpiece.

The last of his excellent series of albums with first wife Linda Thompson, Shoot Out the Lights was recorded during a period of intense stress. By the late ‘70s, the couple had lost their record deal following a series of commercial failures and an interlude living on a Sufi commune. Admirer Gerry Rafferty fronted (and lost) a significant amount of his own money recording the Thompsons, but his sensibilities clashed with Richard’s and he was unable to interest any labels in the results. Eventually the legendary folk producer Joe Boyd, who’d helped give Richard and his band Fairport Convention their start in the late ‘60s, bailed the duo out and signed them to his own label. For financial reasons, the Thompsons’ second stab at recording these songs had to be banged out in a few days. Recording quickly suited Richard’s predilections, but matters were complicated by the fact that the very pregnant Linda, expecting their third child, was experiencing breathing difficulties that limited her singing, forcing Richard to take on a greater than usual share of the lead vocal duties. (It’s worth comparing Linda’s original lead vocal on “Don’t Renege on Our Love” from the Rafferty sessions to Richard’s from the final LP.)

By the end of the subsequent (reportedly hellish) American tour for Shoot Out the Lights, the Thompsons’ marriage was over. Given the circumstances, it’s hard to read a record with titles like “Don’t Renege on Our Live,” “Man in Need,” and “Did She Jump or Was She Pushed?” as anything other than a loose concept album about a decaying relationship. Although many of these songs predated the worst of their infighting, the album is undoubtedly a more affecting listen with this narrative in mind, and it does seem to capture the wild range of conflicting emotions when love goes bad: the desire to offer your partner some promise of comfort (“Just the Motion”), juxtaposed with the spiteful urge to make them feel terrible (“Back Street Slide”); morbid fascination at how bad things have gotten (“Did She Jump or Was She Pushed?”) versus fatalistic abandon (“Wall of Death”).

Reviews of Shoot Out the Lights have a tendency to paint it as a gloomy listen, but if anything the stress manifests itself musically as a nervy energy that charges the performances. Boyd surrounded the Thompsons with Richard’s old Fairport running mates David Mattacks, Simon Nicol, and Dave Pegg, and even the Watersons on backing vocals. The ease of playing with musicians they knew so well helps the Thompsons return to the form that made their early work together like I Want to See the Bright Lights Tonight and Pour Down Like Silver such vital listens. The call and response vocals and reflective jangle of “Wall of Death” make it feel like the song is playing over a TV series’ final moments, and as far as the Thompsons’ career together went, it was. Brawling and infidelity aside, there are worse ways to go out.

139/365

[randomvarious]

1990s Breakbeat Playlist

Well, it's Mother's Day here in America, so be sure to show mom how much you love and appreciate her by giving her this 90s breakbeat playlist as a very special gift! 🥰 This week I've added a couple tunes from Ninja Cuts: Flexistentialism, a 1996 sampler that was put out by Ninja Tune, one of the greatest electronic labels to ever specialize in breakbeat, breaks, downtempo, trip hop, hip hop, and more.

And the first add happens to come from the legendary founding duo of Ninja Tune itself, Coldcut, who deliver pure, totally frenzied, retro-futurist, Cold War-styled havoc and panic in a song called "Atomic Moog 2000." This uptempo, psychedelically funky sweatfest first appeared on Flexistentialism in 1996 before appearing the following year on the Atomic Moog 2000 12-inch, and it's also *not* to be confused with an entirely different version of the song that was included on Coldcut's first Ninja Tune album, Let Us Play!, in 1997. Strap in for this one, folks, 'cuz it's a pretty fuckin' wild ride! Around 77K Spotify plays.

And immediately following that one is something a bit jazz-loungier called "Do You Believe in Love?" by Ashley Beedle presents the Uschi Classen Band. The last update I made for this playlist back in November of last year included a Beedle tune too—his phenomenal "Sun Barrio Break Mix" of Takada's "Ola-Le"—and now he's back with another one, with this one-off song he did with fellow Londoner Uschi Classen. True-blue hip hop junkies might notice the tone-setting sample at the beginning of this one too: Smokey Robinson's "Theme From Big Time," which was then used the following year by Company Flow for their underground cult classic, "8 Steps to Perfection." And I'm thinking El-P probably got the idea to use that sample from this very Beedle/Classen tune itself, because "Do You Believe in Love?" appears to be the first song that ever sampled Smokey's "Big Time" theme in the first place. Currently at around 73K plays.

Coldcut - "Atomic Moog 2000" Ashley Beedle Presents the Uschi Classen Band - "Do You Believe in Love?"

But in addition to those two gems, I've got a couple more on the YouTube version of this playlist too, both of which can't be found on Spotify. First among these is another one from the guys from Coldcut, specifically their alias/side project, DJ Food, which still exists, but doesn't contain either member anymore. In 1992, DJ Food released the third volume in their something-along-the-lines-of-a-DJ-tools-series, Jazz Brakes, and on there is a sweet and funky, hand-drum-and-flute-laced groove called "Ninja Walk," which would also then appear on the triple-vinyl version of Flexistentialism some years later too. This one's nearing 57K plays on YouTube.

And then for something that has nothing to do with Flexistentialism at all, we have a remix of alternative multi-instrumentalist Lisa Germano's "Lovesick" that was done by London's Underdog in 1997. The official version of this remix is of way more of a trip hop bent than it is breakbeat, but the version that I'm supplying you all with this week is the one that appeared on Parisian Kid Loco's fantastic DJ-Kicks mix in 1999. This one appears to be blended with the beat from the preceding song in that mix, whose official version I can't even find on YouTube, called "Culture Consumers," by a short-lived duo called Tongue. Like much of the rest of that mix, this song makes for some truly heady and totally stoned trippery, but it also comes with some pretty dissonant guitar noise too! Currently around 72K YouTube plays.

DJ Food - "Ninja Walk" Lisa Germano - "Lovesick (Underdog Rmx)"

And this playlist is on YouTube Music too.

So with this update, the Spotify version of this playlist is now at 16 songs that total 90 minutes, but over on YouTube, we've got 36 songs that clock in at 198 minutes! So if you want a lot more 90s breakbeat goodies that are a bit rarer and harder to find, you should definitely give that YouTube one a look!

More breakbeat next week 😎.

Enjoy!

More to come, eventually. Stay tuned!

Like what you hear? Follow me on Spotify and YouTube for more cool playlists and uploads!

[garudabluffs]

Bill Janovitz goes deep to tell the story of Leon Russell, a rock showman teetering on a tightrope March 9, 2023

"Bill Janovitz is best known as the singer-guitarist of the guitar-rock trio Buffalo Tom, the celebrated alt-rock band he formed in 1986 with his UMass Amherst schoolmates Chris Colbourn and Tom Maginnis. Though Janovitz has been working his second career as a real estate agent in his hometown of Lexington since 2001, the band still stays busy recording and performing.

But in recent years, one of Janovitz’s side gigs has become more and more prominent: author. Specifically, of two books about the Rolling Stones: the “33 1/3″ series entry “Exile on Main St.” (published in 2005, about the epochal 1972 album) and the more expansive “Rocks Off: 50 Tracks That Tell the Story of the Rolling Stones” (2013).

Now comes “Leon Russell: The Master of Space and Time’s Journey Through Rock & Roll History” (Hachette), out Tuesday. In this, his first full-length single-subject biography, Janovitz traces the trajectory of the protean pianist/singer/songwriter/bandleader/arranger/producer through myriad musical highways and byways: from his formative years as a Tulsa teen playing with Jerry Lee Lewis to ace L.A. session man, a member of the legendary Wrecking Crew, on countless record dates with Phil Spector as well as the Beach Boys, Herb Alpert, Frank Sinatra, and scores of others. Then come Russell’s star turns as musical director of Joe Cocker’s “Mad Dogs & Englishmen” tour and subsequent live album and film, two classic albums under his own name, the cofounding of Shelter Records, top-grossing tours, and an eventual fade from the spotlight until a duo album collaboration with Elton John, 2010′s “The Union,” and Elton’s campaign to elect him to the Rock & Roll Hall of Fame."

"There are few artists today who can claim the stature of Russell at his peak in every category: virtuoso instrumentalist, singer, songwriter, bandleader, producer, arranger, and stadium headliner."

READ MORE https://www.bostonglobe.com/2023/03/09/arts/bill-janovitz-goes-deep-tell-story-leon-russell-rock-showman-teetering-tightrope/#bgmp-comments

This 1971 gem shot to #17

Leon Russell And The Shelter People

Track Listings

1 Stranger in a Strange Land 2 Of Thee I Sing 3 It's a Hard Rain Gonna Fall 4 Crystal Closet Queen 5 Home Sweet Oklahoma 6 Alcatraz 7 The Ballad of Mad Dogs and Englishmen 8 It Takes a Lot to Laugh, It Takes a Train to Cry 9 She Smiles Like a River 10 Sweet Emily 11 Beware of Darkness 12 It's All Over Now, Baby Blue 13 Love Minus Zero/No Limit 14 She Belongs to Me

[voice-of-anarchy]

10 legendary metal musicians we'd love to see rejoin their former bands (even if only for one night)

Michael Amott / Carcass

Michael Amott and Bill Steer remain possibly the finest guitar duo in the history of extreme metal. The pair were the creators of some of the finest riffs ever put to tape on 1991’s Necroticism – Descanting the Insalubrious and 1993’s Heartwork albums, and when Carcass reunited for the first time in 2008, they were there, together again, during one of the most rapturously received reformations in the history of metal. We know Amott is a busy man with Arch Enemy and even occasionally Spiritual Beggars, but Carcass are currently a trio and in need of a second guitarist. This is a no-brainer.