#morning elvis acoustic

[lesbiandemondaddy]

Now I know y'all aren't forgetting to play the acoustic and poem versions of Dance Fever songs and their cover of Search and Destroy for Dance Fever's anniversary 🤨

[physalian]

List of “I need to calm the fuck down” music

(please reblog your own)

Most Trance Music if this list is intimidating- Usually not something you dance to, doesn’t have a lot of percussion and erratic noise. It’s supposed to entrance you.

This list spans the following genres: Pop, folk, grunge, cinematic, and rock.

Maybe I’ll make a Spotify playlist or something with all of them, idk. These are not in alphabetical order but I tried to keep multiple artist entries grouped.

I had the whole thing color-coded but Tumblr didn't like that so here's it in boring text (I still have the colored one if anyone wants it)

WITH LYRICS

Good for Me - Above & Beyond

On a Good Day - Above & Beyond

Blue Sky Action - Above & Beyond

The Hollywood Bowl Show - Above & Beyond

I Love You Always Forever - Donna Lewis

I Will Follow You Into the Dark - Death Cab for Cutie

Through the Eyes of a Child - AURORA

Retrograde - Pearl Jam

Run Boy Run - Woodkid

The Night We Met - Lord Huron

Would That I - Hozier

After All These Years- Journey

Let it All Go - Birdy

Holocene - Bon Iver

Home I/II - Dotan

Outro - M83

Flares - The Script

O - Coldplay

Fly On - Coldplay

Strawberry Swing - Coldplay

Midnight - Coldplay

Lovers in Japan (Acoustic) - Coldplay

Clocks - Coldplay

Every Teardrop is a Waterfall - Coldplay

Up & Up - Coldplay

Fix You - Coldplay

Oceans - Seafret

Dice - Finley Quaye

Medicine - Daughter

Wash Away - Joe Purdy

Upside Down - Jack Johnson

Heartbeats - Jose Gonzales

Teardrop - Massive Attack

I Still Haven’t Found What I’m Looking For - U2

Where the Streets Have No Name - U2

Beyond the Sea - Bobby Darin

Life is a Highway - Rascal Flatts

Something I Need - OneRepublic

Dead in the Water - Ellie Goulding

Mr. Brightside - The Killers

Morning Elvis - Florence + The Machine

End of Love - Florence + The Machine

What the Water Gave Me - Florence + The Machine

Sky Full of Song - Florence + The Machine

Free - Florence + The Machine

Choreomania - Florence + The Machine

Walls - Kings of Leon

While My Guitar Gently Weeps - Tom Petty/Prince

Silver Spring - Fleetwood Mac

Big Love - Fleetwood Mac

Landslide - Fleetwood Mac

Everywhere - Fleetwood Mac

Don’t Look Back in Anger - Oasis

The Albatross - Taylor Swift

The Archer - Taylor Swift

You’re On Your Own Kid - Taylor Swift

Clean - Taylor Swift

On My Way - Phil Collins

Hoppipolla - Sigur Ros

I Shall Not Walk Alone - The Blind Boys of Alabama

Send Me On My Way - Rusted Root

Manic - Cloves

Dorian - Agnes Obel

Down to Earth - Peter Gabriel

Shine On You Crazy Diamond I-IV - Pink Floyd

On the Turning Away - Pink Floyd

High Hopes - Pink Floyd

Wish You Were Here - Pink Floyd

Comfortably Numb - Pink Floyd

Take it Back - Pink Floyd

November Rain - Guns n’ Roses

Breathe Me - Sia

They’ll Soon Discover - The Shins

Just a Kid - Wilco

Evenstar - Howard Shore

Just Like Heaven - The Cure

Angela - The Lumineers

Scotland - The Lumineers

Nobody Knows - The Lumineers

Sleep on the Floor - The Lumineers

The Ink from Books - Sleeping at Last

Lightning Crashes - Live

Disarm - The Smashing Pumpkins

Glitter in the Air - P!nk

Silhouette - Aquilo

Water Under the Bridge - Adele

Golden Hour Album - Kygo

Stole the Show - Kygo

Wake Me Up - Avicii

Heaven - Avicii

Hope There’s Someone - Avicii

Fade Into You - Mazzy Star

WITHOUT LYRICS

Flow State (Continuous Mix) - Above & Beyond

Memory Gospel - Moby

Immanuel - Tony Anderson

Define Dancing - Thomas Newman

Haiku/Nemo Egg - Thomas Newman

American Beauty - Thomas Newman

Chasing Ice - J. Ralph

One Day - Hans Zimmer

Thunderbird/The Decision - Hans Zimmer

1917 - Thomas Newman

The Mighty Rio Grande - This Will Destroy You

The Minecraft OST - C418

The World of Goo OST - Kyle Gabler

Tessa - Imagine Dragons

Forbidden Friendship - John Powell

Experience - Ludovico Einaudi

The Aviators - Helen Jane Long

Once There Was A Hush Puppy - Benh Zeitlin

On the Nature of Daylight - Max Richter

The Beginning - Factor 8

End of An Era - Zach Hemsey

I Walk With Ghosts - Scott Buckley

The Chasing Coral OST - Dan Romer

The Luca OST - Dan Romer

Arrival to Earth - Steve Jablonsky

Tower of Joy - Ramin Djawadi

Light of the Seven - Ramin Djawadi

Into a Nighttime Sky - Jeremy Zuckerman

Greatest Change - Jeremy Zuckerman

Your Hand in Mine/Home - Explosions in the Sky

Ori, Lost in the Storm - Gareth Coker

Arrival of the Birds - Cinematic Orchestra

Fireflies - Mychael & Jeff Danna

Across the Stars - John Williams

The Soul OST - Trent Reznor & Atticus Ross

The Queen’s Gambit OST - Carlos Rafael Rivera

[hooked-on-elvis]

"Early Mornin' Rain" (1971-1972) + "Aloha From Hawaii" bonus performance (1973)

Recorded by Elvis Presley on March 15, 1971 at RCA's Studio B in Nashville, Tennessee · First released on the album Elvis Now on February 20, 1972.

RECORDING SESSION Studio Session for RCA March 15, 1971: RCA’s Studio B, Nashville. With a three-album agenda before him, Elvis arrived on the first day of the sessions with a runny nose and aching eyes. Yet he was determined to go ahead, and his enthusiasm seemed inspired by an unlikely source: contemporary folk music. The spate of home taping he’d done during the soundtrack years reveals that Elvis had been tuned in to the folk boom since the mid-’60s, and it was through the sweet harmonies of Peter, Paul and Mary that he was introduced to songwriters like Bob Dylan and Gordon Lightfoot. With Charlie and Red he’d harmonized for hours on songs like “Blowin’ In The Wind” and “500 Miles”; now Elvis had been listening to Peter, Paul and Mary’s interpretations of songs like “The First Time Ever I Saw Your Face,” “Early Morning Rain,” “(That’s What You Get) For Lovin’ Me,” and Dylan’s “Don’t Think Twice, It’s All Right” and “I Shall Be Released.” Eager to work with similar textures himself, Elvis picked up on a suggestion from Charlie Hodge and brought in a male-female quartet, the Nashville Edition, to help on the sessions. The rest of the evening was devoted to Peter, Paul and Mary’s two Gordon Lightfoot numbers, “Early Morning Rain” and “For Lovin’ Me,” both grounded in the same sound: Restrained brushes from Jerry Carrigan’s drums, blended with a simple, effective bass line from Norbert Putnam. “Are you gonna play something with me?” James Burton prodded Chip Young, initiating a friendly duel between the two on acoustic guitar licks. Charlie McCoy (“the fastest harp in the West,” as one of his later solo albums dubbed him) took the solos. Each of the songs was true to its genre, but they lacked the feel the singer brought to any song when he was at his best. Elvis was having trouble. “Give me a Kleenex or something,” he asked Charlie, snorting in every pause, struggling to keep his nose clear and his voice open. After the evening sessions he checked into a Nashville hospital for treatment of what turned out to be secondary glaucoma. Elvis had been having problems with his eyes for the last few years, and no one who watched him record that night was surprised at his hospitalization.

Excerpt: "Elvis Presley, A Life in Music: The Complete Recording Sessions" by Ernst Jorgensen. Foreword by Peter Guralnick (1998)

--

"Early Mornin' Rain" PRIOR RECORDINGS AND RELEASES Gordon Lightfoot wrote “Early Morning Rain” in 1964 but only recorded the song himself later, releasing his recording on the 1966 album "Lightfoot."

Before Lightfoot released his own recording, the song was recorded and released in 1965 by Ian and Sylvia, a Canadian songwriting and performing duo. Source: thesongbook.org

Peter, Paul and Mary, also folk revival stars, had a hit with Lightfoot’s song that year, as it reached No. 91 on the Billboard Top 100. Source: thesongbook.org

Peter, Paul & Mary - Live on the "Tonight In Person" Show (1966)

HONORABLE MENTIONS Going to more experimental recordings, more Rock and Roll was put into the tune by the groups The Grateful Dead and We Five. The Grateful Dead recorded the song in 1965 but their recording was only released in 2001 on the album The Golden Road (1965-1973) and again on the album The Birth Of The Dead in 2003. Here's their version:

We Five released their cover still in the 70's on the album Catch The Wind (1970).

ELVIS' VERSION (1972) With Elvis’ version, Gordon Lightfoot’s most famous song features the male-female quartet The Nashville Edition. The studio version was recorded in March 1971 and released almost a year later in February 1972 on the album Elvis Now.

ALOHA FROM HAWAII (1973 — U.S. AIRING) "Early Mornin' Rain" is one of the inserted songs on the Aloha From Hawaii TV special. A live performance of Elvis' 1972 release was specially taped onstage at the H.I.C Arena, Honolulu, Hawaii, following the January 14, 1973 concert, with no audience at the venue anymore. The footage - along with 4 more bonus tracks - was requested for the US airing by NBC (April 4, 1973). In total 5 songs were live performed by Elvis in January 14, 1973 in addition to the concert setlist itself. They were almost all Hawaiian-themed songs taken from the soundtrack album "Blue Hawaii" released in 1961 ("KU-U-I-PO", "Hawaiian Wedding Song", "Blue Hawaii" and "No More") with the exception of one, "Early Mornin' Rain". However when the concert aired in the U.S. on April 4, 1973 (NBC), the live performance of "No More" was left unused while "Early Mornin' Rain" apparently was a definitive track for the American airing of the 1973 Elvis special, for some reason. Director Marty Pasetta used split screens to show Elvis singing (he is alone on screen, no musician was shown behind him as usual for his live performances) while the rest of the screen was completed with scenes filmed in Hawaii - from staged romantic scenes to Hula dancers - showing the peaceful beauty of the island. Below we have the raw footage and then the final edit that aired in the U.S. television post concert.

MUSICIANS: Guitar: James Burton, John Wilkinson, Elvis Presley, Charlie Hodge. Bass: Jerry Scheff. Drums: Ronnie Tutt. Piano: Glen D. Hardin. Vocals: Kathy Westmoreland, The Sweet Inspirations, J.D. Sumner & The Stamps, Joe Guercio and His Orchestra.

AUTHOR'S NOTE: Since "No More" was the only other non-Hawaiian-themed song to be taped for the Aloha From Hawaii airing in the U.S., I wonder what made Marty Pasetta decide to chose "Early Mornin' Rain" to complete the final cut of the Aloha special for the U.S. audience. Considering "No More" has the Hawaiian feeling present in its sound, which would make the song fit very well on that TV special and the vibe of the 3 other songs selected as - per say - bonus material, why it was left out? Perhaps it was a request from Elvis? Or either a request from the Colonel Parker and RCA Records, in a try to boost the sales of Elvis' last contemporary album released previously, in 1972, in which that song was released? I haven't read any books specifically about the Aloha From Hawaii yet, so if you happen to know something about the selection of the songs for this extra portion of the Aloha From Hawaii special, please, share it in the comments.

All I know it that I was really happy to see "Early Mornin' Rain" performed live on the Aloha From Hawaii special because I absolutely LOVE Elvis' recording of this song. I think Elvis' cover of that classic Gordon Lightfoot penned-tune remains oddly underrated.

[cootiekat]

The Best Medicine: Elvis

Warnings: None :)

Pairings: Eddie Munson x Fem! reader

Genre: Teeth rotting fluff

Summary: You aren’t feeling well, so Eddie plays you your favorite songs🥹 Blurb

A/n: I am currently writing a hella long fanfic retelling of the movie ‘10 things I hate about you’ so if you wanna be on the tag list lmk 🫣

☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆☆

You’ve been feeling down the past couple days, but today hit you like a truck. Usually in the mornings you are up cleaning and making breakfast before Eddie has to leave for work. Weirdly, Eddie woke up before you. He checked the clock to make sure it wasn’t super early and to see if he could get more sleep in before he really had to get up, but it was 9:30am. Which means not only did you not get up but he was running extremely late. Eddie went to give you a kiss on your head before he left and he knew something was not right because you turned away from his kiss and mumbled something about “not feeling well” and to “leave you alone.”

Eddie thought about you all day at work. Wondering if you got out of bed to take care of yourself, if you ate or showered, and if you needed something on his way home. Eddie called the house from the phone at work and you didn’t pick up. Eddie officially knew something was up, because you always picked up the phone for him no matter what.

On Eddie’s way home, he made a quick stop at the drug store to pick up some of your favorite snacks, a bouquet of flowers, and a new teddy bear. Eddie walked through the doors and didn’t hear you walking around the house, nor did he hear the TV. Eddie wandered back into the bedroom where you were still sleeping. He lightly shook you awake.

“Sweetheart? Are you feeling alright, I brought you some presents!”

You slowly opened your eyes to the soft sound of his voice. Your heart immediately warmed at the sight of your hardcore boyfriend holding a white and red teddy bear and a bouquet of roses. “Oh my gosh! Thank you, Eddie, I really was not feeling good today.” You explained to him.

“I know, Baby. That’s why I wanted to surprise you.” He says while brushing the hair out of your face.

“Thank you, Eddie , like seriously I don’t think you understand how much I love you.” You say getting teary eyed.

“Well, don’t waste those precious tears on this. I haven’t even played you my song.”

You were surprised at the fact Eddie was going to get his acoustic guitar off the wall, because despite him being an excellent guitar player you haven’t really heard him play just to you, he always wants to impress you so he never plays you anything unless he is 100% certain he won’t make any mistakes.

As he starts playing you hear the starting notes of your favorite Elvis Presley song, Love Me, you gradually start to hear Eddie’s sweet voice when he starts the lyrics.

“Treat me like a fool.”

“Treat me mean and cruel.”

“but love me”

“wring my faithful heart”

“Tear it all apart”

You start cheering for him as he hits the high notes. You love when Eddie plays songs like this for you because its his way of showing is love for you. You walk over the the chair Eddie is sitting in and place yourself on his lap and whisper in his ear.

“Elvis is the best medicine.”

Eddie smiles at you with his perfect teeth and kisses you passionately. You realize that you have everything you need right here.

[soisaidfine]

The artist and his producer. Writing a hit: Dancing in the Dark. (Bruce Springsteen and Jon Landau)

Pamela Springsteen, Bruce's little sister: Dancing in the Dark, live.

"Landau wanted a first single, and by that he meant more than just a guaranteed hit. “When I used the word single, in my own mind I meant it in a much bigger sense. The type of single I was talking about was a single that would truly represent what was going on. And I was also searching for a way to express the idea that I wanted something that was more direct than any one thing that was on the record. As I said to Bruce, a song where a person who is a Bruce fan, who stayed with you on Nebraska, even if it was mysterious to him, a song where that guy’s gonna say, ‘Yeah, that’s Bruce; that’s what he’s all about, right now, today.’” “I don’t have a song like that,” Bruce said. Landau persisted, arguing his case strenuously and in great detail. “I don’t know if I was doing it to be provocative or what. I was just doing it. I was saying things I hadn’t planned to say,” he remembered. Springsteen balked, then exploded. “Look,” he snarled, “I’ve written seventy songs. You want another one, you write it.” Landau took it on the chin but got in the final punch: The point wasn’t just that he wanted such a song—although he frankly admitted that he wanted this as much as Bruce had wanted Nebraska—but that the album needed it, that it would be artistically incomplete until such a song existed.

By the time they left for the studio, Landau and Springsteen had calmed down, but both found the experience “weird,” mostly because neither of them was given to such emotional roughhousing, at least not with each other. “It was a very explosive few moments, and it subsided very quickly and we went off and worked on the mix,” said Jon. “It was as close as we get to almost the atmosphere of an argument, but it didn’t hang in the air at all.”

But later that night, alone in his hotel suite, Bruce found himself replaying the discussion. Sitting at the end of his bed in those hours before dawn that he still treasured most deeply, he picked up his acoustic guitar and began to strum a simple riff. He’d already thought up an opening line: “I get up in the morning,” he sang and stopped. No, he thought, I don’t wake up in the morning. What do I do? “I get up in the evening,” he sang softly and thought, Well, how do I feel about that? “…and I ain’t got nothin’ to say/I come home in the morning, feeling the same way/Man, I ain’t nothin’ but tired, tired and bored with myself.”

Telling the story even a couple of years later, Bruce still seemed a little bit in awe of what happened next. “It was just like my heart spoke straight through my mouth, without even having to pass through my brain,” he said. “The chorus just poured out of me.”

You can’t start a fire, you can’t start a fire without a spark This gun’s for hire, even if we’re just dancin in the dark

By sunup Landau had what he’d asked for: a song that summed up Bruce Springsteen’s life in that moment. It was exactly what the album needed. But it was more—the most directly personal excavation Bruce had extracted from himself since “Born to Run,” a song whose intimacies ran bitter and deep. Even the song’s quotations from rock and roll classics were cuttingly ironic: Bruce Channel’s mournful “Heeeey, baby!” and Elvis’s “Have a laugh on me/I can help” each mutated into a statement of frustration. In a way, the song was about everything Bruce had withstood since Nebraska. Through it all, Bruce’s songs remained stoically philosophical. In “Dancing in the Dark” he finally let his bottled-up confusion explode. Through its verses, “Dancing in the Dark” sounds not so much bitter or angry as just plain irked, ticked off at events. When he recorded the song, Bruce snapped off every line as if it were so brittle it might well shatter, and as if he didn’t give a damn. Lonesome as some of those lines were, they were aggressively sardonic, too. “I wanna change my clothes! my hair! my face!” he cries, bemoaning “livin’ in a dump like this,” attacking his own loathing and fear of aging and responsibility and competition and the unending tug of each of these things. “Dancing in the Dark” becomes a jeremiad, as well as a replay of his rancorous discussion with Landau, this time with Bruce playing both roles. Juxtaposed against “You can’t start a fire without a spark” is the rejoinder: “You can’t start a fire, worrying about your little world fallin’ apart.” This was a protest song worth keeping—a marching song against boredom, a battle cry against loneliness, and an accounting of the price the loner pays. And on top of that, it’s also the moan of an extremely physical person who can’t wait to hit the road again: “There’s somethin’ happenin’ somewhere/Baby, I just know there is,” he sings, and again, “I’m dyin’ for some action.” He was well on his way to finding as much as he—or anyone—could handle.

Landau asked for a song about how Bruce was feeling. Bruce responded with a record that was about how he felt the second the song was proposed. In a way, “Dancing in the Dark” is about being caged in by one’s own creation—its genesis is the desire to finish making Born in the U.S.A. Oddly, however, recording it proved difficult for Bruce. The session was one of the smoothest ever for the E Street Band—that day just Bittan, Weinberg, Tallent, and Springsteen, with Clemons’s saxophone solo added later. But it came out as a record dominated by Roy Bittan’s synthesizer and the supple drumming of Max Weinberg, while Bruce thought the song should be led by guitar. Over the next several days, he tried a variety of approaches to make it work that way. “In the end, it was just like any child,” he said. “It was gonna be what it was gonna be, no matter what I wanted.” Springsteen surrendered and the record was done."

Dave Marsh: Bruce Springsteen

[eptodaytommorowforever]

Events In The History And The Life Of Elvis Presley Today On The 21st Of March In 1976

Concert Review By Cliff Radel The Cincinnati Enquirer

By Cliff Radel : The Cincinnati Enquirer : Concert Date : March 21, 1976 (2:30pm)

Only Elvis Presley could elicit screams just by singing 'America, the Beautiful'. As he sang about 'amber waves of grain', at his Sunday afternoon Riverfront Coliseum, a chorus of girlish screams shot up from the sold-out audience of 17,540. The crowd's reaction to the next line was wilder. 'For purple mountains' majesty above the fruited plains', Elvis Presley sang. Upon reaching 'fruited' he momentarily let his gaze drop to the women seated in the first row. He quickly flashed them the patented Elvis Presley sneer. The women jumped out of their seats. Shrieking, they reached out with one hand toward the stage and with the other hit their heads in ecstasy. No performer, 20 years after attaining stardom, receives the response Elvis Presley does. If audience adulation was the determining factor, his title to the Ultimate Showman would be unquestioned.

The years have not been kind to Elvis Presley His eyes are puffy. His ample cheeks and fleshy neck overemphasize his surly lips. If he gains any more weight, they may be squeezed from his face.

Elvis Presley's girth is regal in the manner of Henry VIII. The man's legendary hip gyrations are there in spirit, but not in action. The enormous six inch wide belt which before Elvis Presley split a rear seam in his powder-blue pants was a matching blue number encircled with the Presidential Seal - and the equally enormous paunch drastically restrict his movements. The hips that once could never be shown on television are now only a memory.

The Singer takes these signs of being mortal in stride. Only a true star would be able to laugh at his physical flaws. After his third song, 'Amen', featuring the contrabass vocal glisses of J.D. Sumner, he held up a copy of Jerry Dowling's caricature which appeared in Sunday Enquirer 'This picture of me appeared in this morning's paper', Elvis Presley drawled. 'They captured me just perfect' he added, running his finger across his image's distended stomach. 'All I want to say is whoever drew this', the Singer paused and then said laughingly, 'I hate the (expletive deleted)', And then he broke into 'Love Me' with the opening line, 'Treat me like a fool...' 'Love Me' also ushered in another Elvis Presley tradition, the awarding of scarves to the outstretched hands of his loyal followers. In all he gave out 38 scarves throughout the afternoon.

What Elvis Presley gave the audience musically was mostly memories. He did 'Hound Dog' and 'Heartbreak Hotel', 'Love Me Tender', 'Burning Love', 'All Shook Up', and 'Let Me Be Your Teddy Bear.' In all he appeared disinterested and on 'Burning Love' he forgot the lyrics. He seemed to delight in garnering screams with the slightest lift of an eyebrow. He only played acoustic guitar in the concerts first three songs. He did not even touch the instrument, the electric guitar, with which he started a revolution. Despite the jokes about his weight and ambivalent delivery, Elvis Presley is still capable of putting across a song. His renditions of 'This Time You Gave Me a Mountain' and his new single 'Hurt' revealed a powerful voice and wide range all too often tragically obscured by the kind of events that occurred at the concert's conclusion.

As Elvis Presley sang his traditional closer, 'Can't Help Falling in Love', from his 1961 movie 'Blue Hawaii', hordes of women rushed down the aisles. Yellow-jacketed Coliseum ushers were sent sprawling.

private policemen tried in vain to stop the onslaught. With the crowd rushing the stage and reaching for those scarves, Elvis Presley cautioned them to 'take it easy and don't get hurt'.

Outside the Coliseum after Elvis Presley's 65-minute show the crowd, clutching Elvis Presley scarves, posters, buttons, and Souvenir folios, poured onto Cincinnati's streets. Lashed to the building's side was an immense banner proclaiming the 'Ringling Bros. and Barnum & Bailey Circus - Alone in it's gratness'. To 17,500 people the circus they had just witnessed was for them the greatest show on earth.By The Greatest Entertainer In History Elvis Presley

Rare Candid Photos Taken Here Of Elvis Presley Wearing The Rainfall Jumpsuit From This Show By Reporter Cliff Radel For The Cincinnati Enquirer Newspaper

[naturesfirstgreenisgold]

Camila and Billy Dunne Type Love

“…Give me all the platinum albums you want, all the drugs and all the Cuervo and all the fun times and successes and the fame and all of it, I would hand them all back to you, just as the cost of my memories with her….”

505- Artic Monkeys

Afterglow- Taylor Swift

All of Me- John Legend

The Archer- Taylor Swift

Aurora- Daisy Jones & The Six

betty-Taylor Swift

Blackbird- Remastered 2009- The Beatles

By Myself- Daisy Jones

Can’t Help Falling In Love- Elvis Presley

The Chain- 2004 Remastered- Fleetwood Mac

The Chain- Demo - Fleetwood Mac

The Chain- Live 1977 - Fleetwood Mac

champagne problems- Taylor Swift

Changes- Cam

Cornelia Street- Taylor Swift

cowboy like me- Taylor Swift

Daylight- Taylor Swift

Death By A Thousand Cuts- Taylor Swift

Do You Wanna Know?- Arctic Monkeys

Don’t- Ed Sheeran

Don’t Be Cruel- Elvis Presley

Don’t Stop- 2004 Remastered- Fleetwood Mac

Don’t Stop- Live 1977- Fleetwood Mac

Don’t You (Forget About Me)- Simple Minds

Dream- 2004 Remastered- Fleetwood Mac

Dream- Live 1977- Fleetwood Mac

Dreams- Take 2- Fleetwood Mac

False God- Taylor Swift

Flip The Switch- The Dunne Brothers

Forever- Remastered 2009- The Beach Boys

Gold Dust Woman- 2004 Remaster- Fleetwood Mac

Gold Dust Woman-Early Take; 2013 remaster- Fleetwood Mac

Gold Dust Woman- Live 1977; 2013 remaster- Fleetwood Mac

gold rush-Taylor Swift

Good Luck Charm- Elvis Presley

Go Your Own Way- 2004 Remaster- Fleetwood Mac

Go Your Own Way -Early Take- Fleetwood Mac

Go Your Own Way - Live 1977- Fleetwood Mac

Go Your Own Way- Live at Warner Brothers Studio In Burbank, CA 5/23/97- Fleetwood Mac

Graceland Too- Phoebe Bridgers

Have Love Will Travel- The Dunne Brothers

Heartbreak Hotel- Elvis Presley

Heaven- Bryan Adams

Hey! Baby- Bruce Channel

Hey Stephen (Taylor’s Version)-Taylor Swift

I Bet You Look Good On The Dancefloor- Arctic Monkeys

I Can See You(Taylors Version) (From The Vault)- Taylor Swift

(I Can’t Get No) Satisfaction- Mono Version- The Rolling Stones

I Don’t Want to Know- 2004 Remaster- Fleetwood Mac

I Don’t Want to Know- Early Take- Fleetwood Mac

I Forgot That You Existed- Taylor Swift

invisible string- Taylor Swift

Iris- The Goo Goo Dolls

I Think He Knows- Taylor Swift

It’s Been a Long, Long Time (with Harry James & His Orchestra)- Harry James, Kitty Kallen

It’s Nice To Have A Friend- Taylor Swift

I Wanna Be Yours- Arctic Monkeys

I Want To Hold Your Hand- Remastered 2009- The Beatles

Keep Me There- Instrumental; 2013 Remaster- Fleetwood Mac

Keep Me There- With Vocal; 2013 Remaster- Fleetwood Mac

Kill You To Try- Daisy Jones & The Six

the lakes-bonus track- Taylor Swift

Leather and Lace (With Don Henley)- Stevie Nicks

Let It Be- Remastered 2009- The Beatles

(Let Me Be Your) Teddy Bear- Elvis Presley

Let Me Down Easy- Demi Lovato, Daisy Jones & The Six

London Boy- Taylor Swift

Long Live- Taylor Swift

Look At Us Now (Honeycomb)- Daisy Jones & The Six

Look At Us Now (Honeycomb)- Maren Morris, Marcus Mumford, Daisy Jones & The Six

Look At Us Now (Honeycomb)-Single Version- Daisy Jones & The Six

Look Me In The Eye (feat. Daisy Jones)- Live from Diamond Head Festival- 1975- Daisy Jones, The Dunne Brothers

Love Me Tender- Elvis Presley

Lover- Taylor Swift

Lover- Recorded at Air Studios, London- Niall Horan, FLETCHER

Love Story- Taylor Swift

Love Story (Taylor’s Version)- Taylor Swift

The Man- Taylor Swift

Miss Americana & The Heartbreak Prince- Taylor Swift

Monday Morning- Live 1977- Fleetwood Mac

More Than A Feeling- Boston

More Than Words- Extreme

Mr. Loverman- Ricky Montgomery

Mustang Sally- Wilson Pickett

Never Going Back Again- remaster 2004- Fleetwood Mac

Never Going Back Again- Acoustic Duet- Fleetwood Mac

Never Going Back Again- Live 1977- Fleetwood Mac

New Year’s Day- Taylor Swift

Nights in White Satin- The Moody Blues

November Rain- Guns N’ Roses

Oh Daddy- 2004 Remaster- Fleetwood Mac

Oh Daddy-Early Take- Fleetwood Mac

Paper Rings- Taylor Swift

Rhiannon- Live 1977- Fleetwood Mac

The River (feat. Simone Jackson)- Live from Soldier Field-1977- Daisy Jones & The Six, Simone Jackson

Second Hand News- 2004 Remaster- Fleetwood Mac

Second Hand News- Early Take- Fleetwood Mac

She’s Always a Woman- Billy Joel

Silver Springs- 2004 Remaster- Fleetwood Mac

Slow Dancing- Aly & AJ

Songbird-Remaster 2004- Fleetwood Mac

Songbird-Demo - Fleetwood Mac

Songbird- Instrumental, Take 10- 4- Fleetwood Mac

Songbird-Live 1977- Fleetwood Mac

Star Treatment- Arctic Monkeys

Sweet Caroline- Neil Diamond

Sweet Child O’ Mine- Guns N’ Roses

Sweet Emotion- Aerosmith

Sweet Nothing- Taylor Swift

Time After Time- Cyndi Lauper

Timeless (Taylor’s Version) (From The Vault)- Taylor Swift

Tiny Dancer- Elton John

What A Time (feat. Niall Horan)- Julia Michaels, Niall Horan

When Emma Falls in Love (Taylor’s Version) (From The Vault)- Taylor Swift

Why’d You Only Call Me When You’re High? - Arctic Monkeys

Wildflowers- Tom Petty

Wildflowers- Recorded at Spotify Studios NYC- Miley Cyrus

World Turning- Live 1977- Fleetwood Mac

You Make Loving Fun- 2004 Remaster- Fleetwood Mac

You Need To Calm Down- Taylor Swift

You’re My Home- Billy Joel

You’re So Vain- Carly Simon

(You’re The) Devil in Disguise- Elvis Presley

Playlist Master list

[lilacerull0]

THEE SONG ♡

[silverjetsystm]

𝑆𝑃𝐸𝐿𝐿 𝑂𝑈𝑇 𝑌𝑂𝑈𝑅 𝑈𝑅𝐿 𝑊𝐼𝑇𝐻 𝑆𝑂𝑁𝐺 𝑇𝐼𝑇𝐿𝐸𝑆 - 𝑇𝐻𝐸𝑁 𝑇𝐴𝐺 𝐴𝑆 𝑀𝐴𝑁𝑌 𝑃𝐸𝑂𝑃𝐿𝐸 𝐴𝑆 𝑇𝐻𝐸𝑅𝐸 𝐴𝑅𝐸 𝐿𝐸𝑇𝑇𝐸𝑅𝑆 𝐼𝑁 𝑇𝐻𝐸 𝑈𝑅𝐿 :

Stillness (Way Beyond) - Silversun Pickups I'm Not Afraid - Emigrate, Cardinal Copia Lebn Zol Palestina - Kapelye Voodoo Child (Slight Return) - Jimi Hendrix Ekh Lyuli Revisited - Daniel Kahn | Lyrics Rx (Medicate) - Theory of a Deadman

Jamais Vu - BTS | Translation Eternal Sunshine - Epik High | Translation Two Graves - Anberlin

Sit Down, Stand Up - Radiohead You're Gonna Go Far, Kid - The Offspring Short Change Hero - The Heavy The Hand That Feeds - Nine Inch Nails Eternal Blue - Spiritbox Morning Elvis - Acoustic - Florence + The Machine

tagged by: @lalamoon

tagging: If you haven't been tagged, steal it XD XD XD

[leam1983]

On Ageism, Part Something

Walt's looking a little wistful this morning, lost somewhere behind his bifocals, coffee mug and jelly toast. When prompted, he parts with a short and wistful sigh.

"Gordon Lightfoot's dead," he said. "Guy's had his tracks covered by dozens of artists - some of his covers are more well-known than the actual songs. He's had Elvis and a few Disco acts covering him, along with other gigs contemporary to the Stones."

Sarah shrugs lightly as she works on her eggs. "Doesn't ring a bell. It sucks, sure, but he's done something right if his covers get more mileage than the actual songs."

Walt turns to me like I'm expected to sing the praises of 1966's Early Morning Rain, but he forgets he's speaking to a 39 year-old French Canadian. In my mind, Lightfoot's in the same ballpark as Jean-Pierre Ferland, a little more folksy and a little less rock-infused than Robert Charlebois. I've always equated his output to Diet Country, or to the idea I used to have as acoustic music good for D&D campaigns. The guy sang about relationships, the open sea, rolling countryside hills, pretty girls and the occasional reference to local folktales.

"I know of him," I admit, but I can't say I have a detailed appreciation of his repertoire. The closest my parents ever got to the Canadian Anglo circuit maybe involved the McGarrigle Sisters - and they mostly sang in French."

Walt bugs his eyes, and I see him scrambling to find something on the Anglo circuit that we dastardly Frenchie Millennials might latch onto. "Rufus Wainwright?!" he blurts, as though the name might serve as a question.

I shrug. "Too whiny. I liked his cover of Across the Universe, but I'm just not a fan of his timbre."

That gets him to admit defeat - and to feign an bite into his toast.

"You Québécois Millennials," he says in French, then adding a smirk to the fake slur.

[bitsandbobsandsuch]

My Untitled Elvis x Fem!Reader Fic

You’re fine.

You're fine.

You keep telling yourself that even as you sit, sprawled on the tile floor with the top-half of the your body draped in an inelegant, heap across the open toilet bowl. You're sweaty and shaky in equal measure and let out a mournful chuckle and briefly ponder if this is what death feels like.

But no, no you are absolutely fine.

After all, you reason, there was that flu bug going around last week that went through the "Memphis Mafia" like it was out for blood.

It was so bad, you heard Charlie Hodge weeping as you passed the kitchen one afternoon. Sweet, ol' Miss Jenkins wondered aloud how she ended up a nurse-maid to a bushel of grown men when she already raised four children of her own. You're pretty sure you heard the words, "Lord, all mighty give me strength." Or something to that affect.

Anyway, you’re fine.

It’s that flu! It just took a little longer to trickle down to you is all. With a little rest, some ginger ale and maybe a cracker or two to settle your stomach you’ll be right as rain.

You hope. You hope so very, very much.

With a weak, “Up ya get.” and a palette-cleansing spit into the toilet you close the lid, grip her tight and push yourself to your feet.

You feel yourself teeter a bit when you reach over to flush the toilet, so you grab for the sink, to your right to steady yourself.

“Woah now, stay on your feet,” you tell yourself sternly as you step up to the basin and look into the mirror. Your eyes widen in shock at the face staring back at you.

That’s not you.

Or at least that wasn’t you up until about an hour ago when a wave of nausea and dizziness hit you like a one-two punch to the solar plexus. Sending you head-long into the Graceland, downstairs bathroom. Leaving you wavering back and forth like a willow tree in the breeze, till your knees thunked to the floor. Your head nearly spearing the toilet tank in your haste to lift the lid and empty your stomach.

You shake your head, turning on the tap as cold as it would go washing your pale, drawn face and rinsing your mouth.

“You’ve seen better days, Y/N.” You grumble to yourself, pulling a hand towel from the rack to dry your face and hands. “Better hours, better minutes even,” You trail your off softly.

Y/N! Where on earth did you run off to sweetheart?!"

You startle at the sudden boom of your name and the concerned thump, thump on the door as it ricochets off the walls like a loud clap of thunder. A gentle, loud clap of thunder, of course, because it's Sandy.

Boy, the acoustics in this place are something!

Resolutely pulling yourself together you take one last look in mirror, tuck your hair behind your ears, smooth your dress and throw the towel in the hamper.

"I'm coming Sandy!"

"Nothing to see here.” You mumble to yourself, crossing the room.

"Hey Sand. I just, uh-had to use the powder room.” You say as you walk out to greet your friend, closing the bathroom door behind you.

Your admittedly faux-brite smile falters a bit as Sandy’s assessing gaze pins you where you stand. Her blue eyes panning back and forth, to and fro, from the top of your head to the tips of your Keds.

“Think I was born yesterday?!” Sandy harrumphs, planting her hands on her hips. “Ya tore out of that office like the law come calling after ya girl!” She shifts her weight and reaches out to tip your chin up in the cup of her hand. “There weren't no powdering going on in there. You're still green around the gills.”

You wave her off and pull away embarrassed and lead the way back to the office. Slowly. You’re still a bit unsteady. Like a good, stiff breeze could bowl you over.

You turn back to look at Sandy as she follows close on your heels.

“Jerry always says you could be a detective. You don't miss a blink!” You both chuckle as you retake your usual seats across from one another at the larger-than-average, mahogony, desk.

Sandy pulls forward the abandoned financials folder they'd been working on for Vernon all morning.

“Darling, somebody in Jerry’s life has to keep ontop’a things. He sure don’t!” She crows. Last night we sat down to supper and he spent 10 minutes peacocking ‘round that kitchen looking for the ketchup! It was in the side-door of the refrigerator Y/N! Plain as day!” She says with a fond, exasperated smile born of a marriage filled with familarity, comfort and heaps of love.

You giggle, grabbing up your red pen to mark off the invoices she’s passing to you as you chat.

“Yeah, well Eddie ain't to far behind.” You smile but it isn't out of fondness. You and Eddie aren't like Jerry and Sandy. Familiarity? Once upon a time. Comfort? If you beg. Love? You're not quite sure what that's supposed to feel like anymore.

Sandy knows.

She flicks her gaze at you in sympathy then quickly turns her attention back to the spreadsheets. “Yeah. I dunno hon, Eddie seems pretty far behind on most things these days Y/N.”

You start to protest and defend him but it’s mostly out of habit you suppose.

Sandy stops you short. “Come on Y/N you know it's true! I bet he didn't even notice you was feeling poorly today ‘fore he went on some fool errand for EP! Tell you true I think Elvis gets a kick out of snapping his fingers just to see how high that man will jump for him. “

She drops her folder to the table, leans back in her cushy chair and sets her scary focus on you again. Gaging your reaction closely.

You try to side step the subject of EP entirely. Lord knows, you have no idea what the hell going on there yourself. You couldn't explain it to anyone else if you tried. Even Sandy.

“Aw, Sandy I didn't even know I was feeling poorly until 10 minutes before I was praying to that toilet bowl! You’re being unfair!”

What you don't know is, Sandy knows what you're trying to do. Things between you and EP have been off for weeks.

Everyone sees it. The Bobbing and weaving around each other like that Ali fella the boys are so fond of. She's got some ideas. She's got some puzzle pieces. Don't you worry. Just a little wiggling of the edges and a little time and she’ll make it fit together.

You feel Sandy’s hand squeeze yours across the table to in a comforting gesture.

Alright, alright now, Y/N.” She soothes. “Don’t go getting all worked up hon. You're gonna make yourself sick again and I don't think your little body can take anymore!”

She's right, you know. You need to take it easy. You take a deep breath, centering yourself and nodding your head in agreement. “You're right.”

[cantquitu]

Yup agree he really does well on tour. I keep on seeing his tour videos on my fyp and he sounds good in them. I think it's to do with promo cycle. His entire day is so packed that it affects his performance. His team should know how to schedule him tbh when vocals is clearly not his strength.

Like he played some NYC show for his first single at night, he went partying after that and next day he had that Elvis Duran studio performance at 6 in the morning. He was hungover and it was so bad yikessss.

Well that's nothing to do with his team's scheduling, that's Louis not prioritising his vocals. His schedule is no different to other artists on the promo circuit and Louis knows how it works. Those morning shows are in the morning, they're not gonna move :) That Elvis Duran performance was so bad they didn't release it afterwards. Though I don't think acoustic performances work well for him in general, even at his best.

[sansculottides]

for the music game! florence and the machine :)

yesssssssssss.......u make me talk about my PRECIOUS........................

Favourite Song: WHAT THE WATER GAVE ME (my #1 forever), what kind of man, mother, queen of peace, which witch, drumming song, breaking down (especially the acoustic one), daffodil, cassandra (that live one from the madison square garden recording is so good), the morning elvis duet with ethel cain (actually ethel slayed this she needs her own version just her...sorry she took the song its hers now....)

Least Favourite Song: shake it out, dog days are over, kiss with a fist

Favourite Album: how big how blue how beautiful - god i love this album so much. the only thing thats missing is that my #1 favorite song isnt on it lmao... the first few songs are the best album openers ever in my book, theres so much variety in the album too yet it still sounds and feels very coherent, and the last song mother, with how it ends on such a resigned/frustrated/exhausted feeling, yeah that always gets me....

Least Favourite Album: ok i like them all but if i had to rank them high as hope is my least liked....sorry just wish it had more! even if that was the point

Song that got me into them: what the water gave me! previously i only knew like, dog days are over, kiss with a fist, yknow, the ones that are in fanvids and shipping playlists lmao. those arent really my type so i thought i wouldnt like fatm! BUT I WAS WRONG!!!

Seen Live?: yes ONE TIME!!!!!!! i still cant believe it....im from the philippines so you it seemed impossible i thought it would never happen to me lol....

Rate: 10 :D of course....

[idlestories]

Hi!! Number 8 👀

morning elvis (acoustic) - florence + the machine! <3

[singlegoldendove]

a playlist that just has these two songs called ‘angie there’re demons in the swimming pool’

[independentartistbuzz]

Indie 5-0: 5 Questions with The Furious Seasons

The Furious Seasons are an acoustic trio with stories to tell. Living inside these songs are tales of persons in desperate situations, chronicles of life in 21st century Los Angeles, and stories of quietly heroic individuals, often told with a nod towards the inexorable passage of time. Acclaimed songwriter, singer and guitarist David Steinhart fashions songs that lyrically live on the hopeful side of melancholy, with an approach to songwriting by turns stark and ethereal, and perfect for an acoustic treatment. The supple accompaniment from this small string orchestra generates a surprising tonal lushness, in the end creating a hypnotic universe in which the listener can lose themselves. These songs reveal new depth with each repeated listen. Veteran Los Angeles songwriter David Steinhart has distilled decades of songwriting on nearly 30 album releases, and with his brother Jeff has toured the U.S. and Europe in the '90s and ‘00s in bands Smart Brown Handbag and Pop Art. Their new single "Every Morning at Five," is an enticing release that will have you craving more from the band who are slated to released their latest album later this month.

On September 29, 2023, the band will release Every Morning at Five, its 5th album with the trio as its core. Much like the previous four albums, the trio gets stellar assists from supporting players on a number of the tracks. Luis Conte (James Taylor, Phil Collins) adds percussion and William Gramling (Rickie Lee Jones, Shelby Lynn) soars on piano. Alfonso Rodenas sings and plays keys.

We caught up with The Furious Seasons, below.

The Furious Seasons' music has been described as a blend of various genres. How do you approach genre boundaries, and do you intentionally seek to cross or challenge them in your music?

We grew up with a lot of different influences. My folks always had music playing in the house. Some of their favorites were the crooners of the 50’s like Billy Eckstine, Sammy Davis Jr., Mel Torme, and then more contemporary artists of the time like Neil Diamond and Simon and Garfunkel. The first stuff that Jeff and I got into on our own was the Beatles, Dylan, Bob Seeger, Jethro Tull, and Elton John, and a little later the English acts, particularly Elvis Costello, Lloyd Cole and Prefab Sprout became favorites. I think that all of those influences have seeped into our music over the years. Paul played in cover bands for a living in Santa Barbara and is really adept at playing a lot of different styles.

I don’t write with a particular eye toward genre and as an acoustic trio we can only color the music so much. I think the additional instruments and players that we use on each record gives each album it’s sort of genre flavor. On “Every Morning at Five” Latin Percussion legend Luis Conte played with us as well as an awesome piano player, William Gramling. This moved the album to have less of a folky, Americana feel and into a more contemporary feel for us.

Can you give us a sneak peek into the songs on "Every Morning at Five"? Are there any particular tracks that hold a special place for each of you?

I really like the title track “every Morning at Five” and the video for it. The song goes “when do I fall in love? /every morning at five. The video shot by Kai and Ray Chang shows three couples just going about their day togehter. I have tended to write more acerbic and melancholy lyrics over the years, but this album has a bunch of unabashed love songs. I might have thought that that kind of writing was sappy years ago but when it comes from first-hand experience the lyrics just seem really nice.

There are a few other standouts to me as well. “Up the Coast” is about a family event where I was surprised that I had only met about half of the family that showed up. “Abstract Art” equates dating to the cacophony of a Jackson Pollack painting, “The Shortest Day of the Year” is about my wife’s birthday falling on the same day as the Winter Solstice and “Watered Down” is a good old fashion drinking song.

Looking forward, how do you envision the band's musical journey evolving, especially after the release of your upcoming album?

There is talk of adding a piano player and a drummer to the band for the next recording. Probably some strings and even horns. I think we’d like to test getting bigger, more orchestrated, and more dramatic without losing the intimacy of a three-piece acoustic band. Wish us luck!!

"Every Morning at Five" marks your 5th album release as a trio. How has the band's dynamic and approach to music evolved since your earlier releases, and what aspects of continuity do you strive to maintain in your sound?

The biggest change is that we know each other really well as players now. On the first trio album “Look West”, Jeff was new to the upright bass and Paul had just joined the band. I had been making albums with full bands and loud drummers for years and transitioning to playing solo and acoustic was challenging. After five albums we have the confidence together to know what our strengths and weaknesses are and to try different ways to find something that is cool and new.

A reviewer wrote about us early on that we sounded like a small orchestra, and we took that to heart. That’s the feel that we consistently try to maintain. Three players listening to each other and trying to honor the negative spaces as much the notes. There are instrumental passages in a lot of our songs that I think are the most affecting moments on each album and that I believe define our sound more than anything else about us.

Lastly, how can fans and new listeners engage with your music and stay updated on your latest releases and performances?

We are everywhere! (haha). The best place to stay updated on all things The Furious Seasons is our website thefuriousseasons.com and Instagram.