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ribcagecarnival · 4 years ago

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ADMIT ONE • VIOLET SKIES

I first heard Violet’s music while coping with heartbreak in January 2019. Her song “Cry For Me” is peak crying on the dance floor music, which is, frankly, the only genre that matters. A year later, she caught a set of mine at a house show, and we immediately linked up to write. Turns out we have great musical chemistry and we get along very well just as people, too. Her music often calls MUNA and Robyn to mind for me, but her love for folk titans like Joni Mitchell is also apparent. Check out this playlist of songs that move the wonderful Violet Skies (plus her reasons behind each selection). Her ticket to the Carnival is good for a lifetime.

A Case of You - Joni Mitchell The song I wished I’d written. The song I try to write. The lyrics, the melody - HOLY WTF. Unimaginable genius that she is, and the most simultaneously clear and vague expression of love’s totality. 14 year old me heard this through my Dad, who said Joni Mitchell was a true artist and made sure I listened to every single one of her albums. I will NEVER be over this song. Even the title is just insanely beautiful in its duality of meaning.

Zero to Hero - Hercules Hercules was my first true introduction as a child to gospel music (I grew up in Wales don’t judge me) and honestly the vocals on this film, insane. The runs, harmonies, energy - as a child it was nothing like I’d heard before and I learnt this song back to front and still to this day I think it’s insanely good songwriting, musicality is just *chef’s kiss* and the women on this song MAKE that entire film.

Can’t Help Loving That Man of Mine - Showboat Original Recording I sang this 3 times for my ‘show song’ portion of my singing grades. Everyone else usually chose something like Phantom of the Opera or something more classical, because it was a classical singing grade. So I’d sing like a few arias, something in German and then three years in a row I sang this because I thought it was (aged 12) the most wonderful song ever. Lyrically, it’s rather toxic for a 12 year old girl, honestly, but I was a hopeless romantic and having never kissed a boy at 12, the VIBES on this song were just so dramatic and I loved it. Also Showboat had me and my sister in tears the first time we watched it aged 6, I don’t think my Mam realised how traumatic it was when she put it on for us to watch.

Goodnight My Angel - Billy Joel Billy Joel, songcrafter extraordinaire, writes lullaby for his daughter, I die. I aspire to this level of craftsmanship and yes, this also makes me cry. Please go and listen to this song.

Make You Feel My Love - Adele’s version Bob Dylan wasn’t someone my parents played so I didn’t know he wrote this. Adele is just TONE and WARMTH and this song again, is so dramatic and over the top and also subtle in a way that moves my very being. I sung this so many times as a teenager and it began my love for Adele. Ballads never get old, the good ones age like fine wine (I don’t actually like wine but whatever) and they continue to be relevant and timeless in their message.

Samson - Regina Spektor Only recently did I realise that this song has affected my songwriting and is 100% behind my obsession with the chromatic 1-2-3-4 chord progression that is the PERFECT pre-chorus in my opinion. This song is just GENIUS. A song about a modern day relationship with Samson, iconic in its own way (Wonderbread!), paralleled with the original Biblical tale of Samson. Melody and lyric and piano come together in a way that really separates Regina from her peers and this song will live on for decades. The song is so specific, almost unrelatable-to in content, but it makes so much sense on an emotional level and that, that, is songwriting.

Kate Bush - Running Up That Hill She wrote it. She produced it. She’s a feminist searching for equality of experience. She’s exploring gender. She’s talking to God. She’s creating iconic sounds before her time. She is Kate Bush and I will not hear a word said against her. Big Boi does a whole interview on this song and he GETS IT. Go watch that because he explains it so well.

At Last - Etta James I sung this at every talent show I ever did and every shitty pub gig in my teens. This song! Her voice! Nobody sings like Etta. She is effortless. This song shaped my voice and I credit this song and Etta James with helping me learn runs, vocal control across my chest and head voice, and how to really sing something and mean it. When people talk about how music of black origin underpins all modern music, it’s songs like this and artists like Etta they are talking about. She is a foundation, a cornerstone in the development of the modern vocal.

Hide and Seek - Imogen Heap Imogen Heap is really tall in real life and even more wonderful. I heard this first through my sister who played it to me in the car and I lost my mind. THE VOCODER. The melody. I don’t ever know what she means really, completely, (like Bon Iver) but like, god i feel it. *That* moment in the song is so insane and I hear it all the time in my own music. Wild! It’s so wild how 30 seconds of a song can change the entire way you think about music and shape your own musicality.

I Love You More Than You’ll Ever Know - Donny Hathaway Amy Winehouse sings in Rehab “cos there’s nothing you can’t teach me…that I can’t learn, from Mr Hathaway”. She’s talking about Donny Hathaway and she’s right. Donny Hathaway’s voice is bottled soul, a depth of feeling most normal musicians will never in their lives. He ‘taught’ Amy and it shows. This song I covered and never released, but I also practiced production for the first time when I made it. The drama of this lyric too - admitting he isn’t perfect, knowing he doesn’t express his love properly but yet this song is the ultimate expression of love.

Wannabe - Spice Girls Changed my life. First album I ever got (from the tooth fairy). The Spice Girls were the soundtrack to my very early years and there are many videos of me doing dance routines to this song. If I wanted to be a pop star, this is where it started. Also don’t tell me that ZigAZigAHHH isn’t genius!?! This song is something a modern Kpop band would release. That iconic laugh at the start?! I went to their reunion tour with my sister, she was a few month’s pregnant and we both BAWLED because the nostalgia and full circle moment was just too much.

Love Is A Losing Game - Amy Winehouse Lyrical perfection. Real songwriting. Conceptually perfect. Amy Winehouse changed my life because I saw a woman with a guitar on stage singing lyrics I understood, lyrics I thought were clever and funny and vocally she just outshone everyone around her. When Amy passed away I was at a friend’s garden party, my Mam rang me and I cried in the toilets and no one could understand why I was so sad, she’s the only famous person I’ve ever really cared about like that. I felt I knew her and I owed her so much. The world owed her more and I miss her. I love to imagine what she would be like in today’s music world and what she would be writing. But the two albums were enough to keep me listening for a lifetime. This song won an Ivor Novello award and I think it is real art.

Jealous - Labrinth I’m jealous I didn’t write this song. I think this song is on most people’s I WISH lists and does it even need explaining!?!

33”GOD” - Bon Iver What do the lyrics mean? How do you pronounce Bon Iver? What does the title mean? How do you even arrive at this song when you start writing?! The production is so game changing and the Bon Iver SOUND is so unique and has affected the entire music industry, seeping in to pop and mainstream. Even Taylor knows. But this song is the one I played on repeat. I still don’t know the lyrics but I know I feel like a firecracker underwater when I listen to it and that can’t be a bad thing.

Rude Boy - Rihanna This is one of the sexiest songs ever. It changed how I thought about women and what it means to be comfortable in yourself and your own sexuality. I’m just gonna leave it at that.

Retrograde - James Blake “SUDDENLY I’M HIT” and my entire brain blows off. I played this on repeat when I moved to London and when I finally met him a year or two later I said probably nothing of consequence and likely made an arse of myself but what I should of said was “retrograde changed my life”. It shaped how I think about production, made me think about synths and the interaction between organic and synthetic sounds and the use of a songwriter’s song in a non traditional setting. James sets the bar so high for all of us and we just jump around trying to come anywhere close.

#admitone #admit one #ribcagecarnival #ribcage carnival #violet skies #playlist

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willowvinyl · 5 years ago

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RED - Taylor Swift | Track Ranking

Album: RED

Artist: Taylor Swift

Label: Big Machine Records

Year: 2012

Speed: 33 rpm

No. of Songs: 16

This is one of those reviews I may be judged for by some, but it doesn’t matter, because this album is fantastic in pretty much every respect, and ranking each song will be incredibly difficult.

Taylor Swift’s fourth studio album isn’t the most cohesive album she’s ever produced in terms of genre or style, but very alike when taking into consideration tone and theme. Below are my rankings for best to least best—because, in my opinion, none of these tracks are “worst.”

1. “State of Grace” — In terms of lyrics, I think this song has the best. Which, for this particular album, is saying a lot. It leads into the vocals-strong first verse with an almost U2-like drum intro. Between this, Swift’s powerful and unwavering vocals, and pure craftsmanship on everything from lyrics to production, this is the best song on the album. Best lyric: “Love is a ruthless game unless you play it good and right.”

2. “Holy Ground” — I would say this one nearly tied for first place. It’s lyrics are flawless and the music from the synths to the trademark acoustic guitar is just as perfect. It’s a well-written, poignant song about the best parts of a relationship that’s passed. Best lyric: “Tonight I’m gonna dance for all that we’ve been through, but I don’t wanna dance if I’m not dancing with you.”

3. “All Too Well” — Another song that could have been in first place, and heralded as her best song ever by many. Slowed down from the previous two, it tells the story of a relationship from start to finish, where Taylor remembers the good times just as much as the bad. Very simplistic in its instrumentation, it shines on the bridge with the vocals. Best lyric: “You called me up again just to break me like a promise, so casually cruel in the name of being honest.”

4. “Treacherous” — The verses in this song are some of my favorite things she’s ever written. Taylor truly shows her vulnerability in this piece, saying she’ll go to any length for this relationship. Best lyric: “All we are is skin and bone trained to get along, forever going with the flow, but you’re friction.”

5. “Sad Beautiful Tragic” — This song is on 99% of my playlists, even if I’m sharing it, because I like it that much, and I think other people will too. The lyrics are really special and reminiscent of a relationship that fell apart but had its magic moments. Her vocals are very low and bare, but it works with the gist of the song and it couldn’t have been done better. Best lyric: “You’ve got your demons, and darling, they all look like me.”

6. “The Lucky One” — This is a different type of song about an unknown celebrity from the start of her career to the unfortunate end. It’s very meta and sage from Taylor’s point of view—she started to get jaded. But she still had to reference her lucky number, 13, both in the times she says “lucky” and in the track number—such an Easter Egg Queen. Best lyric: “They tell you that you’re lucky, but you’re so confused cuz you don’t feel pretty, you just feel used.”

7. “Begin Again” — This song makes me a little sad, even though it’s meant to be hopeful, and that’s because of the things she had ingrained in her from her last relationship. But she made it out and wrote this beauty. Best lyric: “You’d throw your head back laughing like a little kid; I think it’s strange that you think I’m funny cuz he never did.”

8. “Red” — The title track (obviously). I hate that it’s seemingly so far down on this list, but it is what it is. This is a song full of similes, comparing a past relationship to being bright like autumn leaves—until they all fall and die. Best lyric: “Regretting him was like wishing you never found out that love could be that strong.”

9. “Everything Has Changed” (feat. Ed Sheeran) — The duet’s first collab (but not their last) was a sweet little dive into love at first sight. It’s a cute song with an even cuter music video. Best lyric: “Come back and tell me why I’m feeling like I’ve missed you all this time.”

10. “Stay Stay Stay” — SUCH a cute song. According to Taylor, it’s a song about the perfect relationship that she hoped to have one day. The ukulele and the claps in the instrumentation just sum up its peppiness; it’s just so cheeky and cute. Best lyric: “All those times that you didn’t leave, it’s been occurring to me, I’d like to hang out with you for my whole life.”

11. “The Last Time” (feat. Gary Lightbody) — I feel kind of bad because I always almost forget this song. It’s a sad, slow song with a big string section and good harmonies. Best lyric: “You wear your best apology, but I was there to watch you leave.”

12. “I Almost Do” — One of her last true country songs. It’s a sweet song about almost reaching out to call the one who you still love, but knowing it’s best not to. Best lyric: “I bet it never, ever occurred to you that I can’t say hello to you and risk another goodbye.”

13. “I Knew You Were Trouble.” — Unless you’ve been living under a rock, you know this song, whether it be the actual version or the goat-dubbed version. But it really does have its merits in its lyricism. It was Taylor’s first real try in pop music, and in my opinion, it was successful. Best lyric: “No apologies, he’ll never see you cry, pretend he doesn’t know that he’s the reason why you’re drowning.”

14. “Starlight” — This is a cute song written for and about Ethel Kennedy after Taylor met the famous American while dating Conor Kennedy. It has a very nostalgic, American Dream type feel to it, as well as a Bubblegum Pop-y vibe. Best lyric: “He was trying to skip rocks on the ocean, saying to me, don’t you see the starlight, don’t you dream impossible things?”

15. “22” — I really do appreciate this song for what it is: a celebration of being in your early twenties. It captures the restless energy that I know at least I’ve experienced, as well as all the possibilities that being twenty-two holds. Plus, it’s catchy as hell. Best lyric: “We’re happy, free, confused and lonely in the best way, it’s miserable and magical.”

16. “We Are Never Ever Getting Back Together” — It’s not that I don’t like this lead single, it’s just that every other song on the album is better than this one, in my opinion. However, it does have its merits, and I do appreciate the girl-power and sass behind it. Best lyric: “I’m really gonna miss you picking fights, and me falling for it, screaming that I’m right.”

Like I acknowledged before, it may be that you’re not a Taylor Swift fan, but I honestly believe it when I say that there’s something on here for everybody. Plus, that red-lipped cover is iconic. Give it a shot, have a listen!

#taylorswift #red #swiftie #wanegbt #vinyl #33 rpm #records #vinyljunkie #vinyllove #music #swifties #swift

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aion-rsa · 5 years ago

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Hamilton: Ranking Every Song from the Soundtrack

https://ift.tt/2YTCryx

Imagine the experience of being one of the first individuals to see Lin-Manuel Miranda’s now-classic Hamilton: An American Musical live.

The first thing you notice is the spartan, largely empty stage. Then as Leslie Odom Jr. takes the stage as Aaron Burr followed by Miranda’s Hamilton, you realize that this production about America’s founding fathers is made up almost exclusively of People of Color. That’s a lot to take in from the start. At a certain point, however, you’re bound to realize that the play is about 40 minutes in and The. Music. Has. Not. Stopped.

In addition to its many ingenious quirks and hooks, Hamilton is truly a musical musical. Miranda’s book and lyrics about one of the country’s most colorful and impressive founders has a lot of ground to cover. And it does so at a musical sprint with almost no expository time-wasting in-between.

As such, the Hamilton soundtrack is a staggeringly impressive piece of recent culture. At 46 tracks spread out over nearly two and a half hours, this album closely replicates the experience of a show most could never get a ticket to live. A passionate, thriving Hamilton fandom rose up out of that soundtrack and it continues through to this day.

Now, with Hamilton about to be more accessible than ever by joining Disney+, we decided to rank all 46 of those tracks.

46. Hurricane

The hurricane that ravaged Alexander Hamilton’s Caribbean island home of St. Croix was a crucial part of his life and led to him securing passage to the United States. But the song “Hurricane” uses the storm late in the play as a tortured metaphor for his turbulent public life. It’s undoubtedly the least energetic and weakest full song on the Hamilton soundtrack.

45. Farmer Refuted

“Farmer Refuted” does well to capture a young Hamilton’s rhetorical brilliance early on in the play but doesn’t hold up well against other, more fully crafted tunes. Hercules Mulligan mumbling “tear this dude apart” is certainly a soundtrack highlight though.

44. The Story of Tonight (Reprise)

What would any Broadway musical soundtrack be without a reprise or two? “The Story of Tonight (Reprise)” is certainly fun. But, ultimately, tales of Hamilton’s legendary horniness would have been better suited with a full song.

43. Schuyler Defeated

Just about every line of dialogue in Hamilton is sung… including heavily expository moments like Burr defeating Hamilton’s father-in-law in a local election. The subject matter and lack of true musical gusto makes “Schuyler Defeated” one of the least essential tracks in the show.

42. We Know

It’s a testament to how strong the Hamilton soundtrack is that a song like “We Know” could appear this low on the list. This account of Jefferson and company informing Hamilton of what they know is quite good; it just pales in comparison to the song in which they uncover Hamilton’s misdeeds.

41. It’s Quiet Uptown

This is sure to be a controversial spot on the list for this much-loved ballad. “It’s Quiet Uptown” is indeed composed quite beautifully. It also features lyrics that seem to be almost impatient in nature – as though the song is trying to rush the Hamiltons through the grieving process to get back on with the show.

40. Take a Break

Part of the miracle of Hamilton is how the soundtrack is able to turn rather mundane concepts and events in Hamilton’s life into rousing, larger-than-life musical numbers. “Take a Break” is charged with dramatizing the notion that Hamilton simply works too much with a sweetly melancholic melody. It does quite a good job in this regard but naturally can’t compete with some of the more bombastic songs on the list.

39. Stay Alive

Set in the brutal dredge of the Revolutionary War, “Stay Alive” is a song about desperation. And between its urgent piano rhythm and panicky Miranda vocals, it does quite a good job of capturing the appropriate mood. It also feels like one long middle with no compelling introduction or conclusion.

38. Best of Wives and Best of Women

Talk about “the calm before the storm.” “Best of Wives and Best of Women” captures one last quiet moment between Alexander and Eliza before Aaron Burr canonizes his one-time friend to the $10 bill. It’s brief, lovely, and effective.

37. The Adams Administration

Hamilton wisely surmises that the best way to introduce audiences to new eras of its title character’s life story is through the narration of the man who killed him in Aaron Burr (Leslie Odom Jr.). Odom Jr.’s real flare for showmanship turns what could be throw-away intros into truly excellent material. It also features a hilarious nod to Sherman Edwards’ 1776 musical when Hamilton says, “Sit down, John” and then adds a colorful, “you fat motherf***er!”

36. A Winter’s Ball

Again: Burr’s monologues are always a welcome presence in these tracks. And in “A Winter’s Ball,” he does some of his best work by setting up Burr and Hamilton’s prowess… “with the ladiessssss!”

35. Meet Me Inside

Despite a brief running time, “Meet Me Inside” is able to establish George Washington’s general bona fides and Hamilton’s daddy issues in equal measure.

34. Your Obedient Servant

“Your Obedient Servant” is Hamilton’s loving ode to passive aggression. In just two minutes and thirty seconds, you’ll believe that two grown men could somehow neg themselves into a duel via letter-writing.

33. The Reynolds Pamphlet

You know that old adage of “he could read out of a phonebook and it would be interesting?” Well Hamilton basically does that with “The Reynolds Pamphlet.” The ominous music injects real import into the simple act of writing that would upend the Hamilton family’s lives.

32. That Would Be Enough

Eliza’s refrain of “look around, look around at how lucky we are to be alive right now” recurs at the beginning of “That Would Be Enough” in a truly touching way. This song is a real tonal whiplash from the revolutionary battles and duels that precede it, but it is ultimately strong enough to bring the focus back to Alexander and Eliza and not just the hectic world they inhabit.

31. The Story of Tonight

“The Story of Tonight” is both a clever drinking song among bros and a subtle setup for the show’s larger theme of one’s story being told after they’re gone. The song is both affecting and effective, just a little too short to stand out and make big waves on our list.

30. Blow Us All Away

“Blow Us All Away” is a fun, jaunty little ditty from Anthony Ramos’ Philip Hamilton. It rather ingeniously incorporates the young Philip’s own musical motif before ending in tragedy.

29. Stay Alive (Reprise)

It’s hard for any song to emotionally contend with the death of a child in under two minutes but “Stay Alive (Reprise)” does a shockingly good job. There’s a real sense of urgency to the music before it settles in for poor Philip to say his final words.

28. Burn

Musically, “Burn” is not one of the better ballads in Hamilton. Lyrically, however, its power is hard to deny. Phillipa Soo does a remarkable job communicating Eliza’s pain at her husband’s betrayal. More impressive is how she communicates the only way to work through that pain, which is through burning all of his personal correspondences and writings to her.

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27. The Election of 1800

Hamilton is the rare musical where one character can sing “can we get back to politics please?” and the audience’s response is “hell yeah!”. The show is uncommonly good at dramatizing boring political processes, and “The Election of 1800” is no exception. The song builds up to a pseudo-reprisal of “Washington on Your Side” in a shockingly effective and cathartic way.

26. History Has Its Eyes on You

“History Has Its Eyes on You” is a powerful recurring phrase through the entirety of Hamilton. Each and every time the concept comes up in a song, it truly stands out. Strangely though, the song that bears its name is only in the middle of the pack in terms of the show’s numbers. Perhaps it’s because it occurs near the middle of the first act, before we can properly appreciate its heady themes?

25. Aaron Burr, Sir

One of Hamilton’s most charming traits is how readily it acknowledges what an annoying pain in the ass its lead character can be at times. “Aaron Burr, Sir” is literally the second song of the entire musical and helps establish its playful tone as much as the bombastic opening number establishes a deadly serious one.

24. Guns and Ships

Ballads are nice. “I want” songs are nice. Recurring motifs are nice. But sometimes you need a song that just goes hard. Thanks to “America’s favorite fighting Frenchman” that’s what “Guns and Ships” delivers. Lafayette actor Daveed Diggs faces an enormous challenge in Act One by filling out the character’s growth in bits and pieces. “Guns and Ships” is the reward, where a fully unleashed (and English-fluent) Lafayette makes it very clear what hell he has in store for the British army.

23. Washington on Your Side

Thomas Jefferson is such a dynamo of a presence in Hamilton that one could be forgiven for forgetting how infrequently he turns up. Jefferson (and Daveed Diggs) is operating at an absurdly high capacity in “Washington on Your Side.” Meanwhile the music has a ball keeping up with the increasingly incensed backroom scheming of Jefferson and his “Southern motherfucking Democratic-Republicans!”

22. Right Hand Man

Thirty-two thousand troops in New York Harbor. That’s uh… that’s a lot. While the second act of Hamilton has to work a little harder to capture the drama of the inner-workings of a fledgling government, the first act is able to absolutely breeze through some truly epic and exciting songs covering the Revolutionary War. “Right Hand Man” is one such ditty that really captures the frenetic urgency of a bunch of up-jumped wannabe philosophers trying to topple the world’s most powerful empire.

21. The Schuyler Sisters

Honestly, “The Schuyler Sisters” deserve better than its placement on this list. It’s just that everything that comes after is such a banger, that it’s hard to justify moving up the dynamic introduction of Angelicaaaa, Elizzzaaaaa… and Peggy.

20. Ten Duel Commandments

Imagine how insane you would sound in circa 1998 explaining that there would one day be a musical about the founding fathers that uses the framework of Notorious B.I.G.’s “Ten Crack Commandments” to describe the duel between Aaron Burr and Alexander Hamilton. Then imagine how insane you would sound when explaining that it was great. “Ten Duel Commandments” doesn’t cover the “big” duel of Hamilton. It’s a teaser for what’s to come. Thankfully it’s a hell of a good teaser.

19. Cabinet Battle #2

Hamilton’s two cabinet battles run the risk of being the cringiest part of the show. Every concept has its stylistic limit, and a rap battle between Alexander Hamilton and Thomas Jefferson should absolutely fly past that limit. Somehow, however, the novelty works and the creativity of Miranda’s writing shines through.

18. Cabinet Battle #1

The two Cabinet Battles are pretty interchangeable on the list. #1 gets the nod because of “we know who’s really doing the planting.”

17. What Comes Next

The trilogy of King George III songs is some of the most purely joyful songwriting on the Hamilton soundtrack. We can dive into the specifics of what really works about the songs in a later entry. For now, know that “What Comes Next” falls the lowest on our list due to featuring only one round of “da-da-da’s.”

16. I Know Him

“I Know Him” also features only one burst of “da-da-da’s.” But it still gets the nod over “What Comes Next” for King George III calling John Adams “that little guy who spoke to me.”

15. Dear Theodosia

Perhaps more so than any other character in Hamilton, Aaron Burr works best on his own. The character (and the man he was based on) plays things close to the vest by design. It’s only through his musical soliloquies that we get a real sense of the guy. That’s what makes “Dear Theodosia” so powerful in particular. Burr wants the same thing for his daughter that Hamilton wants for his son: “Some day you’ll blow us all away.”

14. One Last Time

George Washington owned slaves. Yeah yeah, you can bandy around the usual “bUt He ReLeAsEd ThEm AlL lAtEr In LiFe” all you want. At the end of the day, it’s an inescapable fact for the country to confront. It’s a hard thing for Hamilton, however, a show realistic about America’s flaws but still reverential to its founding story, to deal with. Hamilton presents the George Washington of American mythos for the most part and he strikes an undeniably impressive and imposing figure. To that end, “One Last Time” is one of the most unexpectedly moving songs in the show. Washington is committing one of the most important and selfless acts in American history by stepping aside. Yet there’s a real sense of sadness as the cast chants “George Washington’s going hooo-ooo-ooome.”

13. Non-Stop

“Non-Stop” is an extremely atypical choice for an Act-ender. Hamilton could have just as easily chosen to wrap up Act One with the rebels’ victory over Great Britain. Instead it takes a moment to process that then deftly sets up the rest of its story with “Non-Stop,” which is simply a song about Hamilton’s insane work ethic. The key to the track’s success is how relentless it is, as if it were trying to keep up with and mimic the title character’s pace. Then there are all the usual exciting Act-ending reprisals and recurring motifs to boot.

12. Say No To This

Just as was the case in Hamilton’s life, Maria Reynolds has only a brief role in the show, but her influence casts quite a long shadow. “Say No To This” is a real showcase for both Miranda and Maria actress Jasmine Cephas Jones. This is a devastatingly catchy jazzy number about marital infidelity…. as all songs about marital infidelity should be.

11. Alexander Hamilton

“How does a bastard, orphan, son of a whore / And a Scotsman, dropped in the middle of a forgotten spot / In the Caribbean by providence impoverished / In squalor, grow up to be a hero and a scholar?” our narrator Aaron Burr asks in Hamilton’s superb opening number. A play with so many moving parts, and such a high-concept needs an indelible opening track to convince audiences that the madness that is about to follow is worth waiting for. “Alexander Hamilton” is more than up to the task. This is an exhilarating starter that introduces its audience to all the important characters, themes, and sounds of the show. It also has its lead character spell out his full name in a rap, which somehow ends up being awesome and endearing rather than corny.

10. Wait for It

Just like the rest of us, Burr is the main character of his own story. And the show allows him to tell that story in songs like “Wait For It.” “Wait For It” is an exciting, downright explosive bit of songwriting. It’s every bit the “I want” song for Burr that “My Shot” is to Hamilton. And just like Burr and Hamilton are two sides of the same coin, so too are these two songs. Burr is alone once again in this powerful number. And he uses that privacy as an excuse to loudly… LOUDLY exclaim his modus operandi. He comes from a similar background as Hamilton and he wants mostly the same things as Hamilton. The difference between the two of them is that Burr is willing to wait for it all.

9. The Room Where it Happens

Bless this musical for having a song as brilliant as “The Room Where it Happens” only just being able to crack the top 10. There are hundreds of musicals in which “The Room Where it Happens” would be far and away the standout number. For Hamilton, it’s ninth. “The Room Where It Happens” is another example of the show taking a seemingly bland topic (backroom deal-making) and turning it into something transcendently entertaining for its audience and something transcendently illustrative for its characters. This is the song where the borders between Aaron Burr: Narrator and Aaron Burr: Vengeance-Seeker come down. Burr starts off as a patient observer of what kind of nefarious negotiations go into the building of a country before his frustration slowly builds into the recognition that he needs to be in the room where it happens.

8. Who Lives, Who Dies, Who Tells Your Story

Truly there is no more fitting ending to Hamilton than “Who Lives, Who Dies, Who Tells Your Story.” At its core, this is a play not only about legacy but about the fungible nature of legacy. Alexander Hamilton is gone and we know his story lives on. But who will tell that story? Like any good closing number, “Who Lives, Who Dies, Who Tells Your Story” knows the importance of bringing back many of the play’s core concepts and characters. And none of those are more important than Eliza’s assertion that she is ready “to write herself back into the narrative.” In the end, it’s not the revolutions or the pamphlets but the love. And that’s how one finds oneself in the absurd position of crying over the guy on the $10 bill.

7. What’d I Miss?

Lin-Manuel Miranda has described Thomas Jefferson as the show’s Bugs Bunny. Nowhere is that more apparent than in the ludicrously jaunty track that opens up Hamilton’s Act Two. There might not be a more joyful or outright hilarious three minutes in any of the soundtrack’s 46 songs. After several years spent living it up in France, Daveed Diggs’s TJ returns to the United States. The rest of his fellow revolutionaries have moved on to R&B and rap, but Jefferson is still stuck in full on jazz mode. “What’d I Miss” serves as the perfect introduction to a crucial character and the themes of the show’s second half.

6. The World Was Wide Enough

If “Who Lives, Who Dies, Who Tells Your Story” is designed to make the audience cry, then “The World Was Wide Enough” exists to make them gasp. This penultimate song is a truly stunning piece of work. This is a sprawling performance that brings back “The 10 Duel Commandments” in expected yet still emotional fashion. Then at the play’s climactic moment, it cuts out the music entirely to make room for Hamilton’s internal monologue – his one last ride through all the pages he won’t write. Finally it covers the grim aftermath of Burr and Hamilton’s duel as the survivor grapples with what he has done. There is a lot packed into these five minutes of song and each moment is more compelling than the last.

5. You’ll Be Back

If absolutely nothing else in Hamilton worked – if the characterizations were off, if the costumes were too simple, if the “Founding Fathers rapping” concept couldn’t be executed – the play’s two and a half hours all still would have been worth it for this one, tremendously goofy song. King George III (portrayed by Jonathan Groff in the original Broadway production) pops up three times throughout the show to deliver pointed little reminders to the American colonists about how good they used to have it. The first time around is by far the best, in large part because it’s so charmingly unexpected and weird. By the time King George III gets to the “da-da-da” section of his breakup song with America, it’s hard to imagine anyone resisting the song… or the show’s charms.

4. My Shot

While “You’ll Be Back” may go down as the most enduring karaoke song from Hamilton, “My Shot” is almost certainly the play’s most recognizable and iconic tune. Every musical needs an “I want” song in which its lead articulates what they want out of this whole endeavor. Rarely are those “I wants” as passionate and thrilling as “My Shot.” This was reportedly the song that Miranda took the longest to write and it’s clear now to see why. Not only is “My Shot” lyrically and musically intricate, but it does the majority of play’s heavy lifting in establishing Hamilton as a character. Just about everything we need to know about Alexander Hamilton and what drives him is introduced here. And the work put into “My Shot” makes all of its recurring themes and concepts hit so much harder in the songs to come.

3. Yorktown (The World Turned Upside Down)

In many ways, “Yorktown” benefits from the precedent that earlier songs like “My Shot” established. This is a song that puts energetic renditions of previous lines like “I’m not throwing away my shot” and “I imagine death so much it feels like a memory” to grand use. But for as much as “Yorktown” deftly invokes Hamilton’s past, what makes this song truly special is how solely focused it is on the present. To put it quite simply: “Yorktown” goes hard. It is fast, harsh, chaotic, and thrilling. This is the song that captures the moment that American troops defeated the British empire and “the world turned upside down.” It’s to the song’s immense credit that the music and lyrics capture the enormity of the moment. Also, there’s “stealing the show” and then there’s what Hercules Mulligan (Okieriete Onaodowan) does here in “Yorktown.” We’re in the shit now, and Hercules is loving it.

2. Helpless

“Helpless” might be pound for pound the best musical moment in all of Hamilton. It’s a simple, seemingly effortless love song that, even removed from the context of the show, would sound beautiful coming out of anyone’s car radio on a lovely summer day. Within the context of the show, it’s even better. It acts as a rare moment of celebration for all the characters involved before the Revolutionary War really gets churning and before a young America needs capable young Americans to guide it. What makes “Helpless” truly great, however, is the song that follows it…

1. Satisfied

Wait, wait… why is Angelica saying “rewind?” Why do we need to rewind? We had such a lovely night! The transition between “Helpless” and “Satisfied” is Hamilton’s greatest magic trick. The former presents a night of unambiguous love and celebration. Then the latter arrives to teach us that there is no such thing as “unambiguous” in Hamilton. In a truly remarkable performance, Angelica Schuyler (Renée Elise Goldsberry) teaches us what really happened the night Hamilton met the Schuyler sisters. Angelica will never be satisfied, and it’s because she’s “a girl in a world in which (her) only job is to marry rich.” Hamilton and Eliza’s story is a love story. But it’s also a story of Angelica’s loss. “Satisfied” imbues the musical with a sense of subtle melancholy that it never quite shakes through to the very end. “Satisfied” is the emotional lynchpin of Hamilton, and as such also its very best song.

The post Hamilton: Ranking Every Song from the Soundtrack appeared first on Den of Geek.

from Den of Geek https://ift.tt/2ZFRzyW

#aion-rsa #Den of Geek

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idasessions · 6 years ago

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Famous Muses & Groupies in Rock Music Pt. 47

GROUPIE: Reine Stewart

Bear with me because this is going to be one of those bios where I’m basing a lot of the info and details on a handful of online threads and comments since there’s never been a legitimate report on Reine; plus the fansite with the most info is now a dead URL. Like Audrey Hamilton and Queenie Glam, she’s been completely MIA since the ‘70s and apparently has no interest in letting anyone know what she’s been up to via social media. Supposedly, Reine—pronounced like ‘Ren’ and born in 1948—was part of the first generation of rock music groupies in the mid-1960s LA area (particularly Laurel Canyon in Reine’s case); and spent nearly all her free time with bands and other groupies when she was 16-20. She allegedly has a twin sister named Tracy and was close friends with fellow groupies Christine Hinton and Debbie Donovan. The bands Reine spent the most time with were the Byrds, the Monkees and Buffalo Springfield. Like 99% of groupies, Reine was sexually adventurous and partied a lot.

You know that beautifully haunting track ‘Triad’ from Jefferson Airplane’s album ‘Crown of Creation’ (1968)? Originally it was written and demo’d by David Crobsy when he was in the Byrds, but bandmates Chris Hillman and Roger McGuinn were like ‘bro, we’re not performing a song about your freaky sex life,’ so then JA ended up getting it (along with Grace Slick changing the pronouns, lol), and Dave was kicked out soon after. ANYWAYS, the lyrics and title of the song are believed to be directly inspired by a threesome Dave had with Christine (his girlfriend at the time) and Reine in 1966. Kinky. A little less than a year earlier in 1965, Reine was also a sometime groupie of Byrds bassist Chris Hillman and at one point she had a thing with Springfield bassist Bruce Palmer too. In 1968, Reine went from Byrd groupie to future Monkee wife when she met and quickly began dating Peter Tork (she was all about that bass apparently). Peter already had a rep for being a sexually liberated hippie like Reine, and he was also buddies with a lot of the guys in the Byrds and Springfield, so their mutual interests and friendships were really convenient. In a Rolling Stone interview from 2007, Peter says that Reine was also briefly with Hollywood actor Peter Fonda before they started living together.

Before the two met, Peter had become known as the bachelor in the Monkees because he hadn’t been seriously dating anyone since breaking up with Leah Kunkel in summer 1967. Supposedly Reine was the one who made him interested in being committed (hmm, really though?). Early in their courtship, Reine was at the filming of the Monkees’ movie Head (1968) and tagged along on their Australia/Japan tour in October ’68. She can also be seen playing drums during a scene in the band’s lame TV special 33 1/3 Revolutions per Monkee (1969). In Dave Crosby’s 2005 memoir Long Time Gone, he mentions that when the couple would throw house parties, Reine was in charge of moderating the weed and ecstasy.

After Peter quit the Monkees, he and Reine formed a new band in 1969 called Release, with Peter on guitar and lead vocals, and Reine on drums. There’s a quote from singer-songwriter Jackson Browne (couldn’t find a source for it though) where he says that he once went to one of Peter’s infamous parties and saw Reine playing drums naked. He also alleges that she wasn’t actually that good of a drummer and was only part of the band because she was hot (no surprise, lbr). When the ‘60s ended, Peter’s and Reine’s relationship went from far out to straight up terrible. Release originally demo’d with Atlantic Records, but never got signed to the label for a record deal, and would eventually only play gigs locally (and even then sparingly). By 1970, they disbanded and the couple’s daughter, Hallie Luia (Hallie…Luia…halle…lujah… 😒 *slow clap*) was born on January 25th that same year. At this point, they were living at Crosby’s place, which is actually where Hallie was born. Then Reine was basically a single mother for four months in 1972 when Peter spent time in jail for holding a small bag of hash in his pocket in Oklahoma after a trip through Mexico. Then for some reason Peter and Reine thought it would be a good idea to finally get married in October ‘72, but only to get divorced and separate two years later in 1974. Sometime during all this, they also made the switch from LA to northern California. When Reine requested a divorce, she cited her reasoning being infidelity, that Peter couldn’t keep himself employed, and he was wasted all the time (this was 100% the lowest period of his life, and I hate reading about it, tbh :( ). Reine was granted full custody of Hallie, and in 1975 they moved back in with Croz and she spent a couple of years as a CSN(Y) groupie. And…that’s the last anyone’s heard from Reine publicly. Peter regained custody in 1976, not long before landing a position as a high school teacher in Beverly Hills. Fortunately, the father and daughter successfully formed a good relationship with each other by the time Hallie was a teenager and he was sober.

#reine stewart #peter tork #david crosby #groupies #this was annoyingly the only solo pic of her i could find #anyways i posted 2 ficlets over the weekend fyi!!#@girlknownsomewhere on ao3 #musesandgroupiesseries

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rastronomicals · 6 years ago

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I am only just now beginning to recover from a weeklong Eno bacchanal brought on by the viewing of this 2-1/2 hour film. During this last week, I:

Listened to Here Come The Warm Jets straight through at least ten times

Purchased the 33-1/3 on Another Green World and read it over two successive nights

Purchased the Harmonia '76 reissue, and listened to it in full at least four times

Downloaded Cluster & Eno, ripped it to disc, and listened to it all the way through at least three times

Downloaded After the Heat, ripped it, and listened to it in its entirety at least six times

Used that YouTube to mp3 tool to make files of both sides of that "Once Away My Son" 12-inch with Kevin Shields from Record Store Day last year, then listened to 'em

Did the same thing with the files you can find on YouTube of the 1974 John Peel Sessions with The Winkies, listened to them, "Baby's on Fire," "The Paw Paw Negro Blowtorch," "Totalled," and "Fever."

Broke out the copy of More Dark Than Shark and especially pondered the lyrics to "Needles in the Camel's Eye" and "Tzima N'arki"

My conclusions other than Brian Peter George St John etc etc is a fricking genius?

"Needles in the Camel's Eye" is the first shoegazer song, a realization which certainly reinforced my listening of that joint with Shields

None of it was truly ambient as I define the term, although Cluster & Eno sure is by God soft

After the Heat is damn well underappreciated.

The funny thing about it all, the funny thing about my characteristically over-the-top reaction to seeing the film, is that the documentary itself is not itself perfect. Eno was not interviewed for the film, and even archived footage is used only two or three times. I'm not really surprised Eno didn't cooperate with the making of the film, but he has led a fairly public life, even if you limit yourself to the time since he for the most part quit making vocal based rock and roll.

It's surprising to me that more footage could not be dredged up. The film instead relies on still photos, and really, the ones you've already seen, that bounced around the screen while critics of more or less considerable credentials talked over them.

They interviewed the gal who wrote the 33-1/3 book, name of Geeta Dayal, and they interviewed David Shepherd, who wrote The Life and Times of Brian Eno, and they interviewed Eric Tamm, who wrote Brian Eno and the Vertical Color of Sound. And they interviewed Johnny Rogan, who wrote a bio of Roxy. These four plus this other annoying bloke whose name I didn't bother to notice were the meat of the movie, although I loved it the couple times they showed Christgau and Simon Reynolds, rock critics ftw!

Brian Turrington of The Winkies--and three of the four vocal albums--told the best stories (and the ones I didn't already know) while Jon Hassell was gone so fast you weren't sure he was there.

So lots of observations, lots of theorizing, and lots of headshaking at the oblique methods from observers and theorists and method actors. But not that much from the man himself, and that's what would have really capped off this properly-directed tribute most effectively.

https://lahistoriadelamusicarock.blogspot.com/2019/03/brian-eno-1971-1977-man-who-fell-to.html

#Brian Eno #Brian Eno 1971-1977: The Man Who Fell To Earth

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aci32 · 2 years ago

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WARDRUNA!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

Hey everyone, sorry for running 72 hours late but better late than never, here’s my 15th and 3rd last review of 2022, Wardruna! This was my first time seeing them and as well it would’ve been my 2nd time catching them had I gone to see them at Danforth Music Hall 4 years ago but I didn’t go because my workplace abruptly moving from downtown Toronto area of the Riverside neighbourhood to moving up to the suburban area of Woodbridge and being sandwiched in between North York and Vaughan, and that transition burned me out, turned me into a basket case, and it was all the motivation for me to hit the reset button as it took me 7 months to get fully adjusted at that time 4 years ago. But of course I’m well established after living at the current location for 4 years. Wardruna were supposed to play in 2020 but that show got rescheduled due to the pandemic and as well they were supposed to play last year but got rescheduled for the same reasons and as well last year was still at limited attendance, whereas this year full attendance was permitted.

Let’s get to the festivities!

After waiting for a good while it was time for WARDRUNA!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! As I had said earlier this was my first time seeing them live and they put on a phenomenal live show. This was the first time in a decade I had been to a non metal concert and that was when I saw NOFX play at Fort York. This was more than just a show, it was an experience like no other, to me a Wardruna show is a crossover of seeing both a concert and a play, I could even call it an atmospheric musical. The first time they ever came on my radar and as well with a majority of people in the metal scene was through the show Vikings, particularly the season 2 Blood Eagle episode, and it then progressed on from there. I will also say hearing the vocals of Einar “Kvitrafn” Selvik and Lindy Fay Hella was awesome and mezmerizing, the instrumental sections were outstanding, and the visuals were nothing short of spectacular. I will also say there was also some elements of comedy in the show especially when one fan yelled out “OH YEAH!” and the crowd laughed, plus as well Einar Selvik himself was a comedian with some of the banter he was saying in between songs like talking about “Culture dissing” and “My culture is better than yours bullshit” and he had said “We should get back to the days of where we would sing whether we’re working in the fields, or making maple syrup *cue crowd laughter*” I also remember him saying before he played the final song Snake Pit Poetry when the crowd gave him a standing ovation for a 3rd time “I take it that’s your way of saying you want one more song?” *Crowd roars in approval* He then granted the crowd their request, he also drew laughs when he asked “I’m sure it looks like you all want to do a wall of death or something?” He then proceeded to make reference to the TV show Vikings, in which he had composed a number of songs for that show, one of which Heimta Thurs was from their 2009 album that made it to the 2nd season of the Blood Eagle episode, he then also made reference to Ragnar Lothbrok and said “It means, the man with furry pants *crowd laughs*” he also made the crowd laugh when he said the Ragnar found it appropriate to write poetry before being executed via the snake pit. Here’s their setlist:

KvitravnPlay Video

SkuggePlay Video

SolringenPlay Video

BjarkanPlay Video

Heimta Thurs

TyrPlay Video

LyfjabergPlay Video

IsaPlay Video

Voluspá (Skaldic Version)Play Video

UruRPlay Video

GráPlay Video

Rotlaust tre fellPlay Video

FehuPlay Video

OdalPlay Video

HelvegenPlay Video

Snake Pit Poetry - Skaldic Mode(Einar Selvik cover)

Overall a great show and experience and it was even more better for me to see Wardruna 5 days after I turned 33, and funnily enough I got to see two different shows at two different venues in a span of 8 days. Iron Maiden 3 days before my 33rd birthday at Scotiabank Arena and Wardruna 5 days after my 33rd birthday. Funnily enough, I also look forward to seeing both those bands at next years Wacken Open Air, so that will be loads of fun.

WARDRUNA FOREVER!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

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still-we-go-pumpkins · 7 years ago

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An amazing fan tribute to Weiki. Unique facts compilation 👌🎃

I've just found the post on DeviantArt. As great Weiki fan also, I can confirm that he's really that marvelous just as the author describes him. This will make you feel warm and will set smile on your face as well as you will check Helloween vids/lives while exploring this facts. So, here we go.

Further credits : SamWeiki

100 Reasons I love Michael Weikath

Possible – scratch that, definite – Fangirling ahead (I tried to keep it to a minimum and I probably failed)

1. He has the most gorgeous blue eyes. [right off, I told you – Fangirling]

2. The songs he writes are so unique and AMAZING. Most of them mean quite a lot to me, as well. I’ve always been drawn to them. They just have a certain special quality to them that I love.

3. He wrote “Keeper of the Seven Keys” for cryin’ out loud!

4. His “thanks” section in the Unarmed booklet.

5. He’d pick Judas Priest over Iron Maiden in an instant.

6. The way he sometimes answers questions. For instance, he was asked about what fans could expect from The Dark Ride and his response was: “Well....hmmmm you can expect that it will be standing in stores and it’s very likely you can buy it when you find it there! hahahahahaha apart from that I don’t know if it’s going to say anything but you can go there and buy it, listen to it, and use it, because it’s a CD and it usually makes a lot of sound if you put it into a CD player......but probably doesn't work if you put it into a toaster.....hahahahahaha.”

7. If he wasn’t a musician, he says his life would be dedicated to cartoons.

8. He dedicated the Hammond version of “Burning Sun” to the great Jon Lord.

9. He’s an artist. His little skull and pumpkin drawing is beautiful.

10. He makes the best faces in concerts.

11. I love watching him in the High Live video, especially during “Steel Tormentor”. [I did not just say that]

12. He made the frog noises at the end of “Nothing to Say”.

13. So many people have blamed him for things over the years, when he did nothing wrong, just because they feel it's easier to blame him. I experience that quite a lot and have for several years, so I understand what it's like but he seems a lot stronger than me about it, as it's very hard for me to get over a lot of that stuff. He's sort of my hero about that because it seems like he hasn't let that really stop him.

14. How he totally told off that Phantom guy. His responses were awesome.

15. A part of “Do You Know What You Are Fighting For” is Deep Purple’s “Stormbringer” backwards. There’s actually a lot of Deep Purple in that song. Makes me love it even more – both songs.

16. He played on Uli Kusch’s cover of “Eyes of the World” from the Rainbow tribute album and he played all the guitar on that song. “Yeah I played on Eyes Of The World. So I did all of the guitar work on it. Uli told me that he did not expect me to have the guitar work as close to the original song as I had it.”

17. The seven pronged star on the cover of 7 Sinners was his idea. And what a damn fine idea it was because it makes a freaking sweet album cover! It was a lot of fun for me to draw, as well.

18. When writing “LAVDATE DOMINVM”, he called upon his old Latin lessons from school and actually got to work with his old Latin teacher on the lyrics. Weiki hadn’t worked with Latin for a bit, so he had to relearn a few things and he even managed to correct something his teacher had written.

19. His response to what animal he would be: “A lion, 'cause I could be lyin' round lazy and have my food brought to me by other people.”

20. Helloween would not be Helloween without him, plus Markus and Andi wouldn’t let him quit in 2000/2001.

21. He drew the logo and original pumpkin.

22. How beautiful the lyrics to “Windmill” are. Example:

"Don't feel alone and depressed

Someone will come, at last

To soothe your storming mind

To keep it away from the evil storms."

23. You can clearly hear the man singing in “White Christmas” and he’s the most fun to listen to.

24. “Introduction” never fails to make me laugh very loudly, especially the lyrics to “Rock n’ Roll All Day”.

25. He likes Spinal Tap.

26. The way he sang “Gorgar will eat you” in the Keeper Legacy interviews.

27. He was asked what his motto in life was and his response was: Be as friendly as it comes; have fun, make money and spend it on charity to help people. ~Sei so freundlich wie es geht; Spaß haben, viel Geld verdienen und es für wohltätige Zwecke ausgeben, um Leuten zu helfen~ (it was originally in German)

28. His black and white outfits in the ‘80s and ‘90s, especially those awesome star-printed pants.

29. The entire story of the Keeper of the Seven Keys and Master of the Rings.

30. The Jacuzzi scene in the Keeper Legacy Road movie.

31. He likes Aphrodite’s Child, Nektar, and Camel. He’s cool.

32. I really don’t think I’ve heard him say anything bad about anyone.

33. The moment when he switched his guitar off and “played” a solo after he was introduced in The Legacy concert.

34. “All right… That’s enough! Now, I want to hear Dani’s drum solo!” *rapid fire – BLAMBLAMBLAM!* The first time I watched the “Smoke On the Water” bit from Hellish Rock, I nearly fell to the floor laughing.

35. About the time Pink Bubbles Go Ape came out, in an interview, Michael Kiske said something about they weren’t Metal, they didn’t do that “Heavy Metal” thing and Weiki says, “I thought we were Heavy Metal”. And Michi completely just stopped talking for a second.

36. The way Weiki messed around with Michi and Roland during the interview mentioned above.

37. How much fun he looked like he was having in the “Kids of the Century” video.

38. Every time he dances around on stage.

39. His love for Gibson Les Pauls.

40. He was reading “A Hat Full of Sky” and even recommended it.

41. He says that his writing “Keeper of the Seven Keys” kept him alive and he considers it a major turning point in his life to have come up with the idea for it.

42. The hairspray scene in the Hellish Rock road movie.

43. He actually got involved with the DJ game when they were in Japan (Keeper Legacy road movie) – the whole arcade scene was great.

44. The way he just looks at a camera sometimes and doesn’t say a word – he just starts making faces and looking off in different directions. He can be funny without saying a single word.

45. His guitar solo in “Back On the Ground”.

46. He played most of the guitar on the Better Than Raw album.

47. Weikath Syndrome is the coolest thing to catch.

48. During the German Top 6 video (1993), he was drinking a Capri Sun. I think it may have even been Wild Cherry.

49. A Gibson Les Paul looks absolutely perfect on him. I also love the way he holds the guitar.

50. How his hair has always been shoulder length (at least) since the late ‘80s (and beautiful).

51. He thinks of the younger viewers/fans.

52. All the love for him in the Hellbook.

53. I don’t how much of the lyrics to “Dreambound” he wrote, but he has a credit on that song and OH MY GOD, is it flipping incredible! I must make special mention to how amazing “the Saints” is, too.

54. He wanted to talk to Michael Kiske when they met at a festival in 2012/2013, so they could try and work things out a little.

55. He wanted “Livin’ Ain’t No Crime” to be a single.

56. His song “Number One” and how uplifting and positive the lyrics are, especially the chorus.

57. When they were on the Ferris wheel, they didn’t start REALLY laughing until Weiki did.

58. How he introduces himself as “de Michael Weikath of Helloween” and he even got Dani to do it with him.

59. He contributed a guitar solo to the German Rock Project’s “Let Love Conquer the World” (the long Metal version) but went all incognito with it and is credited as “a member of the Seventh Key”.

60. The fact that he wanted a flute in “Raise the Noise” and it sounds totally awesome!

61. The sexy witch on the cover of Better Than Raw was Weiki’s idea.

62. His makeshift rocking chair.

63. His spoken part of the Dezperadoz song “First Blood” (and “Echoes of Eternity”, too).

64. How funny was in the two Nuremberg interviews from the ‘80s that are on YouTube.

1987 – He lights a cigarette, he passes it Ingo, Ingo passes it back, and Weiki passes it back to him. Ingo then proceeds to throw it on the ground and Weiki attempts to lightly hit him but only manages to hit his hair. xD

1988 – The FUNNY one! He was so frickin’ funny in that one. I won’t give away the end of it if you’ve never seen it, but it involves a balloon and a cigarette. (by the way, Michael Weikath takes his sunglasses off and puts them back on 13 times, 10 of which are in the first three minutes).

65. After an interviewer thanks him for being there, “Ja, that’s not so much I can do about it, because somebody put me on this Earth and I went out of my mother and suddenly I was there and now I have to deal with this crap.”

66. During the Indianapolis Hell On Wheels concert, during “Halloween”, Michi passes the mic over to Weiki and Weiki does the “I’ll show you power and glory” part. Michi then makes a disgruntled face at him and rubs the mic with his shirt, causing Weiki to make a face back at him!

67. Also from the same Hell On Wheels concert, during “A Tale That Wasn’t Right”, he was stepping on the skeleton and making Ingo laugh.

68. Speaking of “A Tale That Wasn’t Right”, that song is incredible and very powerful.

69. He let the other members of the band help out on “Mission Motherland”. That song is very quickly becoming my favorite song of theirs.

70. His backing vocals in the “Sea of Fears” demo.

71. All of his little pins that he wears: the pumpkin, the W, the stars…

72. This comment he made about the Hellbook: “With the hardcover you can better smash your naughty brother... and you can with the regular as well, just maybe not as effective.” I have actually made that joke to my brother before. xD

73. Someone at a meet-n-greet in 2008 showed the band an old picture of the guys, which they all signed. It was an old picture. Kai was stunned, Markus laughed his ass off, and Michael actually said he remembered where it was taken and when. The picture was taken in 1986, so that is kind of impressive.

74. He helped me become a big fan of Deep Purple. Yes, I will admit to only becoming a major Deep Purple fan after becoming a Helloween fan - and it was all because of Weiki. And now I'm really happy because I never realized how awesome Deep Purple is. Same thing with Wishbone Ash.

75. He’s given me several phrases to use whenever applicable.

- “Impressive, isn’t it?”

- “You have to listen with your ears.”

- “It’s nice, cold, windy, sunny weather.” (which pretty much describes Florida in the winter sometimes)

76. He can still sing with a cigarette in his mouth and not drop the cigarette.

77. The intro to “Halloween”. I’m not sure if he played it on the original recording, but when he plays it live… OH MY GOD.

78. His guitar solo in “First Time”.

79. He’s fun to watch in the “When the Sinner” video when he’s shown, especially when he’s playing those power chords in the beginning (even though he played no guitar on the song) and the part in the saloon.

80. How amazing “Les Hambourgeois Walkways” is.

81. He’s written a couple songs that he has dedicated to groups of fans ~ “LAVDATE DOMINVM” for the Latin speaking fans, and “Born on Judgment Day” for the people of Brazil.

82. How he’s so easily able to make Sascha laugh behind the camera.

More here 💜

#helloween #michael weikath #power metal #oldschool #classic metal #heavy metal #metal #oldschool metal #pumpkins interact #weiki

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ladyknight1512 · 6 years ago

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I’ve seen this 5SOS ask meme floating around a few times and I don’t do ask memes but I do love me a questionnaire so I decided to just fill it out, not that anyone else will care.

1. When did you first find out about 5sos?

The first time I remember hearing one of their songs was in 2016, but they didn’t properly come onto my radar until early 2018. I know, I know. I was super late to the party.

2. How did you find out about them?

In February/March of 2018 they were guests on the BBC Radio 1 Breakfast Show, which I listened to because I liked the host, even though I live on literally the other side of the world. I wasn’t familiar with the band at that point, beyond Want You Back, which had been on the radio pretty much every single day, and which I actually really liked. But hearing their interview made me want to look them up and find out more about them. And now I’m here, 8 months later, filling out a 50-question ask meme because apparently I have nothing better to do with my time.

3. What was the first song you heard by them?

She Looks So Perfect, in 2016.

4. Have you ever seen them live?

Yes, in Melbourne for the Meet You There tour. They were great and I would definitely see them again.

5. Have you ever met any of them?

Nope.

6. Who was your fave when you first started to like them? Are they still your fave now?

Ashton has been my fave from the beginning, and he still is now, but I like them all for their own reasons.

7. What is your favorite 5sos song?

Ghost of You.

8. What are your favorite lyrics?

I’ve got a jet black heart and there’s a hurricane underneath it – Jet Black Heart

9. What is your favorite music video?

I don’t really watch the videos much but I think Valentine is the most creative and visually interesting.

10. What is your favorite cover?

As in, song they’ve covered? No Roots, which they did in the BBC Radio 1 Live Lounge. I made it my ringtone I love it so much. Their cover of Stay for Spotify is fantastic too, though.

11. What is your favorite album/EP?

Youngblood.

12. What is your favorite bromance?

Probably Cashton.

13. What is your favorite livestream/twitcam/keek/interview /etc?

The Zach Sang interview they did in early 2018 is probably the one I’ve watched the most. It’s actually what turned my vague interest into proper obsession.

14. What is your favorite hair color on Michael?

Most of the colours were before my time but I am partial to his galaxy hair.

15. What is your favorite thing each of them has tweeted?

I don’t have fave tweets, but Ashton’s twitter in general is just a place of positivity and love, and I appreciate that.

16. How many of their albums/EPs do you own?

I own all three albums and various songs from the EPs, but none of the EPs in full.

17. Do you have any 5sos merch?

OMG, yes. Too much, considering I’ve only been a fan for 8 months. I think I’ve got 5 t-shirts, plus one more coming, a long-sleeve, a hoodie, the signed Youngblood litho (which I framed), three other posters (one signed – also framed) and the book. Yes, I bought the book, even though it precedes my time in the fandom by about 4 years. There might be other bits and pieces that I’ve forgotten about, but you get the gist.

18. Do you have any 5sos posters on your walls?

Yes, four. See above.

19. When they come on in the car/store/etc, what do you do?

I’ve never heard them in stores, but when they come on the radio I always cheer and get stupidly excited.

20. Who in the band do you think you’re most like and why?

Probably Michael. He likes cats, he’s a gamer, he seems more introverted than the others – all things that I definitely relate to.

21. Who do you think you’d get along with the most? What about the least?

I think Michael is either the one I’d get along with the best or the least. We’d either be too similar in a good way or a bad way.

22. If you could ask them each one question right now, what would you ask?

I’d like to ask Luke if he thinks he was too young when he got into all this. Personally I think he was, and I think we’ve seen the consequences of that, but I’d like to hear his thoughts on it.

I’d probably ask Ashton what his favourite cocktail is.

I’d probably ask Michael something gaming related.

I’m not sure what I’d ask Calum. He’s always been the one I relate to the least, so he’s a bit of an enigma to me.

23. What was you first impression of each of them?

I thought they were all generally pretty funny, but I actually thought at first that Ashton and Michael didn’t like each other. I think I just got a string of interviews and appearances where Ashton was particularly talkative and Michael was particularly quiet, and there seemed to be a lack of eye contact between them. I’ve since watched all these interviews again and I definitely see them differently and I pick up on more of the subtext now, but I was kind of confused initially.

24. How do you feel about the blonde in Calum’s hair?

Again, before my time, but I’m pretty indifferent.

25. How do you feel about the length of Ashton’s hair?

I prefer it short and I love the curls, but whatever he’s happy with is fine with me.

26. If you were trapped on a deserted island and could only bring one member with you, who would it be and why?

Probably Ashton. He seems like he’s got a good head on his shoulders, so he could potentially do something about getting us off the island, but he also likes to have a good time, so I think he could make our time there enjoyable, even as I was growing more and more dehydrated and sunburnt.

27. If you could switch everyone’s instruments, who would play what?

I love Ashton on guitar. It just does something to me. Also, that video of him on guitar when they did Teenage Dream? That was so cute? He was bouncing all over the stage, having the time of his life.

As for the others: Luke on bass, Michael on drums and I guess that leaves Calum with the other guitar.

28. Which Don’t Stop superhero would you prefer to be rescued by and why?

They all look pretty horrendous, but I think I’d laugh the least if I was in a bind and Mike-Ro-Wave showed up.

29. What is one song you really want the band to do a cover of?

I’d love them to do a country song with Ash on vocals, but that’s the most I’ve thought about it.

30. If you had 48 hours with your fave what would you guys do?

Oh god, I don’t know. It would definitely involve Ash and an acoustic guitar. I think I’d really just like him to take me to all his favourite places in LA and hang out with him and listen to him talk. I reckon 48 hours with Ashton would be the most fun and exhausting and exhilarating 48 hours of my life, but I’d be up for it.

31. If your fave were to propose to you right now, would you say yes? How would you want him to do it?

Well, it would depend on if this proposal were just out of the blue or if we’d been in some kind of serious relationship first. If the latter, then yes, probably. As for how: I feel like Ashton is the kind of person who would either go really big, super over the top with a proposal, or be really, really low key and just kind of ask at home while you’re doing something really normal and boring. Either would be fine with me.

32. If you could rename the band, what would you name them?

Luke and the Penguins? That’s literally the first thing I thought of. I’ve never thought about this before in my life. Seriously, though, I like that they seem to have embraced ‘5SOS’ as an identity, rather than just an abbreviation. ‘5 Seconds of Summer’ feels very much of its time and feels out of place in the current music world. ‘5SOS’ feels more true to who they are now.

33. What is your favorite thing about each of them?

I love the tongue thing Luke does. You know what I’m talking about.

I love Ashton’s sense of humour and his passion.

I love how Calum thinks Ashton is the funniest person alive.

I love how excited Michael gets about really nerdy things.

34. If you could change one thing about each of them what would you change?

I’d change Calum’s smoking habit, because it’s unhealthy and I worry for him, but other than that I wouldn’t change anything. They are who they are because of the choices they’ve made, good and bad.

35. What 5 words would you use to describe each of them?

Ashton: funny, passionate, driven, focused, storyteller

Luke: rockstar, vulnerable, electric, dorky, angel

Michael: adorable, quiet, genuine, caring, sweet

Calum: underrated (musically), solid, reliable, thoughtful, dedicated

36. If you could be the lead role in any 5sos music video, existing or not, what song would it be for?

Maybe Talk Fast?

37. If you could steal one thing from each of them (clothes, hats, etc) what would you take?

Ashton’s leather jacket, Luke’s black boots, Calum’s green hoodie and Michael’s necklace (that really long one he always wears).

38. If you were sharing headphones with your fave what song would you put on first?

Worry ‘Bout Nothin’ by Keith Urban.

39. Would you rather meet 4/4 but never get to see them live or see them live but never get to meet any of them?

See them live but never meet them. I’ve only been to one of their shows, but it was amazing and so fun. Plus, if I met them they’d forget about me pretty quickly because they meet fans all the time. If I can’t be special enough to remember, I’d rather have the full experience of a show than a quick hug and photo.

40. Would you rather catch Luke’s guitar pick or Ashton’s drum stick?

I’m an Ashton girl so definitely the drum stick.

41. Would you rather never be able to sing one of their songs again or never watch any of their music videos again?

Never watch their music videos. I don’t watch them much anyway, and half the fun of loving a band is getting to sing along. Honestly, one of the moments I’ve ever felt most alive was singing along to Jet Black Heart with thousands of other people at the MYT show.

42. Would you rather be brought on stage for an entire song or meet only 2 of them in public?

Probably meet 2 of them in public? I think I’d feel super awkward being on stage for an entire song. Everyone would be staring! I wouldn’t know what to do with my hands! Plus Ash would be behind the drums on stage and, therefore, unreachable. At least in public I’ve got a chance for a hug.

43. Would you rather play video games with Michael or go on a road trip with Ashton?

That’s super hard, because I’m a gamer but Ash is my fave. Hmmm… Probably road trip with Ashton, because that’s not something I would normally do anyway, and there would be plenty of time for talking and rocking out to whatever playlist he loads up.

44. Would you rather have Calum give you a tattoo or Luke give you a haircut?

I have more faith in Calum’s tattooing skills than Luke’s haircutting skills, so let’s go with the tattoo.

45. Would you rather date your fave but have the others dislike you or be friends with all of them but not be able to date/hookup with/kiss any of them?

Be friends with all of them. Definitely. I’m not sure dating them would be much fun anyway, in reality. They’d always be gone or going away. And they just seem like the kind of people you would want to be friends with.

46. Would you rather sing a duet with Luke or write a song with Calum?

Sing with Luke. More fun. Plus I’m already getting that tattoo from Calum.

47. Would you rather go to the fair with Malum or go stargazing with Lashton?

Stargazing with Lashton.

48. Would you rather touch Calum’s butt or Ashton’s biceps?

Ashton’s biceps. I am a girl who loves a nice set of arms, and Ashton’s are very nice.

49. Would you rather get high with Michael or drunk with Calum?

Drunk with Calum, but only because I’m not into taking drugs.

50. Would you rather have Luke give you his 'You Complete Mess' shirt or have Michael give you his denim jacket?

Michael’s denim jacket.

#5sos #5 seconds of summer #ladyknight1512 gets personal #long post

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jisungshotfirst · 3 years ago

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Toku anon: listened to the entire playlist today, and it's really catchy! Plus, it was a neat way to discover songs by different artists.

For example, that EXO song, Gravity. Those guys have some fabulous vocals. And the Everglow songs were very upbeat. And I noticed that Oneus song you were talking about before, Luna! I can see why you really like that song, it's a work of art. Then there was Sparkling Light by Pentagon; I don't know how they do it, but each of their songs has a very unique vibe to them, which I can't put into words.

And I loved Voice! I could recognize the similar beat if I listened closely, but it also sounds very different from Thursday's Child Has A Long Way To Go, and I think that's neat! The 80s vibes are here too, but the song has more of a lighter vibe? Like, "feeling like you are floating" kind of light. Also, it has that outer space sound that I love!

However, if I had to pick one favourite song from the playlist, it's the Dreamcatcher song, Starlight. It's got a mysterious and magical sort of sound to it. Especially with the way it ends without a last repeat of the chorus, kind of like a cliffhanger to a story. It leaves you wondering what happens next. I don't know how to put it into words, but hopefully it makes sense? Anyway, I think that auditory storytelling is really cool.

Ahh!! Thank you for telling me what you think<33 and thank you for listening I'm so glad you enjoyed it ! 💕

Gravity is an underrated song fr! Exo have such great bsides tho. Luna !!!!! She is one of my all time favourites, it is a work of art! Yes !! I agree with you completely, pentagon have a certain quality to all their songs that just make them so pentagon! Even if the song has a similar sound to others (sparkling light with the others on this playlist) it still sounds so pentagon Idk how they do it.

Yes I feel you about voice ! It does have a very light vibe, it's airy and floaty but has that 80s beat! It is one of my favourite loona songs, I love how delicate it is. I have it on this playlist of mine which is songs that bop but in a light, quieter, pretty way and voice is one of the songs that rly sum up those qualities !!

Dreamcatcher and their storytelling !!!! They truly know how to tell a story in their songs, all of their songs no matter how loud or quiet have drama and personality I love it so much of them. Mysterious and magical are Such good words to describe it !! Where songs like voice are delicate and have everything to the surface, starlight has layers and an air of mystery to it. Voice is a cloudless sky and starlight is full of cloudiness. I'm so glad you liked this song so much, the whole album is a gift god belss Dreamcatcher. But I'm so glad you mentioned the storytelling because I think it's something deukae do so well !!

Thank you for the ask I enjoyed reading your thoughts so much !!

#toku anon #anons

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grapevynerendezvous · 4 years ago

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Love - Da Capo

Love released their second album, Da Capo, in the same year as their first one, 1966. It was recorded in five days, and released in November. It was preceded by the release of the single 7 and 7 Is b/w No. Fourteen, which was an outtake from their first album. 7 and 7 Is was recorded in June and hit the stores in July, topping out at No.33 on the Billboard Top 100. That song was then included on Da Capo, which after its’ release reached No.80 on the Billboard Top 200.

The band consisted of five members when 7 and 7 Is was recorded, but was up to seven by the time they recorded the album. The five existing band members when the eponymous Love album was recorded were founders Arthur Lee vocals and guitar, Johnny Echols vocals and lead guitar, plus Bryan McLean vocals and guitar, Alban "Snoopy" Pfisterer drums, and Ken Forssi bass. While recording 7 and 7 drummer Pfisterer had a particularly difficult time with the frantic rhythm. After about 30 takes he was intermittently replaced by Lee, who continued to teach Pfisterer how to play the parts. It’s said that it took over seventy takes to get it done. Both Lee and Echols stated that Pfisterer is the drummer on the released version. Something that made the song particularly memorable was an explosion, toward the end, of a nuclear bomb. The use of this in the song is an example of what is called musique concrète; the utilization of recorded sounds in a music composition. The song then shifts to a peaceful bluesy fade to conclusion. According to Bruce Botnick, the sound for the explosion was “taken from a sound effects record”. ”He speculated that it was a recording of a gunshot slowed down.”

Once that was completed, musicians added to Love were Tjay Cantrelli (born John Barberis) on woodwinds and Michael Stuart on drums. Snoopy switched over from drums to harpsichord and organ. The now seven-piece band recorded the balance of Da Capo from September 27 to October 2 at Sunset Sound Studios in Hollywood. The producer was Paul Rothchild who had just finished with The Doors first album a few days before, but Da Capo was released two months before The Doors album. The two sides of the Love record couldn’t have been more different. The six songs on side one varied in style and delivery, and among them was what critic Robert Christgau called, “the perfect rocker”, 7 and 7 Is. Side 2 had one song, which was simply a long jam.

Instrumentally the band explored new concepts on Da Capo, some rarely seen in rock music up to that time. This included harpsichord, and the use of classical music, in what could be termed “baroque pop”. They explored jazz-driven jams and use of sax and flute blended into garage rock, folk-rock, psychedelia, blues, R&B and punk rock, not that all those had actually been defined yet.

Concerning the new band members, Michael Stuart (later Stuart-Ware), was playing drums with Sons of Adam in Los Angeles. The leader of that band was Randy Holden, an unsung guitar god in the ‘60s and ‘70s. Stuart made a point of seeing Love play live at a club called Bito Lito and appreciated them for their “distinctive raw energy”, as he called it. Having had a jazz background, Stuart was surprised when he joined up with Love, just after they had recorded the single 7 and 7 Is, “to discover the album was geared to have a kind of “jazz rock” flavor.” Tjay Cantrelli (born John Barberis) departed Love, after being its’ reed player, by the end of 1967. In the early ‘70s he was in the band Geronimo Black fronted by drummer Jimmy Carl Black of Mothers of Invention fame. On the band’s eponymous album, Cantrelli is the credited composer of two songs plus co-writer of two others. In the early ‘80s he was also associated with Black’s band, Grandmothers. Not much is known about Cantrelli’s life or career other than his stints with these bands. According to several sources Cantrelli/Barberis died in 1985.

TRACKS

Greeting the ears in the first cut is Pfisterer’s harpsichord proclaiming the rocker, Stephanie Knows Who. Immediately announcing a new direction for the band, they ripped through hard psychedelic rock with a flute-driven jazz interlude. While in most of Da Capo Arthur Lee vocalizes in softer tones, on Stephanie Knows Who he sings in a harsh style, similar to much of their first album. The song, written by Lee, is about a mutual friend of his and Bryan MacLean, for whom both had affections for.

Orange Skies comes next and is an immediate shift to the aforementioned softer tones. Sung by Arthur Lee, but written by Bryan MacLean, the song is the first he had ever written. Done so at the time he was a roadie with The Byrds, MacLean said he based the melody on a section of Roger McGuinn’s guitar arrangement of The Bells of Rhymney. It is built with jazz shadings using Latin rhythms, with a somewhat fanciful air about it. Critic Matthew Greenwald points out an influence of “Broadway musicals (such as Oklahoma and Carousel)”, as well similarity “to Stevie Wonder's My Cherie Amour.”

With the pop of a cork the mellowness continues into the next track, as does the latin jazz influence, this time a bossa nova rhythm. ¡Que Vida!, (What is Life, in Spanish) is the stated title, but the working title is With Pictures and Words. Several sources indicate that the melody is based on the Bacharach/David song Lifetime of Loneliness. Lyrically composer Lee speaks not only of life, but of death and reincarnation as well. The melody flows freely throughout, but as Matthew Greenwald indicates, “although the chords always resolve, they go in surprising directions. He also felt this was a "true groundbreaking composition for Arthur Lee”. Another pop of the cork and ¡Que Vida! finishes with quiet rustling sleigh bells leading into the crashing guitars of Seven and Seven Is. That song was addressed above. ¡Que Vida! was released in March 1967 as a single, b/w Hey Joe (off of the Love album), but didn’t reach the Billboard Hot 100.

Incorporating Bryan MacLean’s Spanish-style fingerpicking, flowing harpsichord ala Pfisterer, and precision percussion work by Michael Stewart, The Castle is, in effect, a mini-suite. Whether physical or in the mind, the theme of travel is something Arthur Lee explored in songs like this at the time. He does this for just over a minute into the song after which the rest of the journey winds through creative instrumental twists and turns. The ending note rests on a precipice, but not quite landing where one might expect.

The final number on side one has been suggested to possibly be “the best song Lee ever wrote” by Richie Unterberger. Arthur was inspired to write She Comes in Colors by a Love fan named Annette. According to bandmate Johnny Echols, “Annette came to shows “wearing these outrageous gypsy clothes.” The whimsical flute played throughout by Tjay Cantrelli, gives a flowing, almost airborne feel to it. The baroque pop meets folk-jazz melody incorporated many “strange chords”, per J. Emerson in his book Forever Changes: Arthur Lee and His Book of Love. Johnny Echols considered it the most difficult song on the album to record because of that. She Comes in Colors was released as a single b/w Orange Skies in December 1966. While it got significant airplay in Los Angeles and several other localities it failed to break into the Billboard Hot 100.

The final track of the album takes up side two. At just under nineteen minutes its’ length extended past the few other long tracks out there by seven or eight minutes. Revelation had developed into a concert showcase for the band. Originally titled John Lee Hooker, it is a blues/R&B jam that takes up the vast majority of the track. The brief intro however, is the Giga from J.S. Bach’s Partita No.1, which reprises for a slightly longer time at the conclusion. The early stages of the jam hold promise, but that only lasts about five minutes before it devolves into less exciting territory. Arthur Lee said that they did the long jam “so the musicians could express themselves.” What transpired is a run through by each musician, voice, guitar, harp, sax, bass, drums all bookended by harpsichord. As seems to be with many things, some say it’s “tedious” (Richie Unterberger) and some say, “I like 'Revelation', what of it?”, according to a RateYourMusic reviewer ‘acidballroom’. Generally Revelation gets panned, but it’s not the worst thing that ever happened on record.

There are those who say that if Revelation had been shorter, while concentrating on its best features, it may have been better received. In any case, long songs or jams, while not appealing to everyone, started being recorded more often. Longer tracks in general were appearing more as well. Radio, particularly the increase in FM availability, helped albums increasingly become the greater source over singles for the buying public. To this end Revelation was assuredly one of the very earliest examples.

Of the the three or four songs that exceeded ten minutes in length at that time, The Rolling Stones’ Goin’ Home, which was recorded for their artistic breakthrough album, Aftermath, was the true herald of what was to come. Goin Home, ‘only’ 11:35 in length, was recorded at RCA studios in Los Angeles in the midst of a Stones tour. Interestingly there has been some dispute about the relationship between it and Revelation. Tracks for Aftermath were laid down in December 1965 and March 1966. The record was released in April, seven months before Love’s Da Capo. Yet while the Stones were in LA they made the rounds of a few clubs. As Arthur Lee put it on the back cover of the 1980 Best of Love compilation by Rhino Records, “The Rolling Stones saw us play (Revelation) at the Brave New World, and they recorded a long song on their next album. After our album came out, I got the blame for copying them!”

Overall, the album fell just short of a masterpiece. The six-song first side is, at the very least, a full psychedelic potpourri. One could say that overall, the music hits just about everything but country music and the kitchen sink. The general consensus seems to be that some of the songs written by Arthur Lee (along with Orange Skies by Bryan MacLean), are the best, or among the best they’ve done. The follow-up, Forever Changes, is indeed considered among the best rock records ever issued. Still, at least some of the songs on Da Capo’s side one can stand toe-to-toe with many from Forever Changes. The decision to record Revelation had a definite impact on the fate of the album. However, the fact that the band chose not to tour mostly beyond the LA area may have caused the most damage to sales. This being true not only for Da Capo, but with all three of their first records and the singles issued from them as well. They did find their way up to San Francisco and thereabouts resulting in stronger popularity for their music in the wider Bay Area. —————————

My impetus for getting Da Capo was two-fold. I was quite excited about the single “Seven & Seven Is” being included in the album: the other being a nineteen minute song on one whole side. It was about the time I purchased it that I had started going to the record store conveniently located in the shopping center across from my high school. Usually along with my good buddy Dave, I spent many a day after school there, listening to records through earphones on the store’s turntables. Da Capo’s first side was immediately intriguing, while the second side seemed passable. Of course I never even came close to listening to that whole side and undoubtedly missed some of the less appealing aspects of it until listening to it at home.

I was struck by the eclectic nature of the material in Da Capo, which I was personally attracted to. It became pretty simple to listen to songs on side one, and just not flip it to side two. I believe I probably listened to those other songs more often that way. Looking back, I am pretty sure I only listened to Revelation a few times. It wasn’t until I got the CD years later that I did so once again, but that was about it for awhile. Once I began writing my original blog three years before this update, I listened to it in more depth than ever before. That turned out to be quite worthwhile because I finally was able to absorb the good things about the jam.

It’s fair to say that Da Capo is likely my favorite half album, because I truly consider the six songs on side one among the best ones I know, For most albums it’s rare to find all songs to be fully acceptable. With six out of seven songs, the rate of eighty-five percent favorability would make it a pretty incredible record, and well, Da Capo is.

I feel fortunate to have finally seen Arthur Lee play a few of these songs in person. After he had been released from prison when his 1996 weapons conviction was reversed, he renewed his relationship with the band Baby Lemonade. They had become his back up “Love” band in the early ‘90s before his arrest and conviction. In 2003-4 they did a Forever Changes tour in Europe and the U.S. When they played Great American Music Hall in San Francisco CA, on January 16, 2004, I was front and center. After completing the entire Forever Changes album live, they played some selections from the Love repertoire, which included Orange Skies and Seven and Seven Is. Within three years Arthur Lee died of leukemia. More recently Baby Lemonade joined forces with one of the Love founders, Johnny Echols, forming Love Revisited. I’ve seen them three times now, and on all occasions those two songs were included in the show. Great stuff, but the big thrill still remains the opportunity to have seen the amazing Arthur Lee in person.

https://en.wikipedia.org/wiki/Love_(band)

https://www.britannica.com/topic/Love-band

https://www.allmusic.com/artist/love-mn0000314600/biography

https://en.wikipedia.org/wiki/Da_Capo_(Love_album)

https://psychedelicsight.com/no-37-loves-da-capo/

https://ultimateclassicrock.com/love-da-capo/

https://www.allmusic.com/album/da-capo-mw0000195829

https://rateyourmusic.com/release/album/love/da-capo/

https://www.latimes.com/archives/la-xpm-2006-aug-05-me-lee5-story.html

https://www.dallasobserver.com/music/love-hurts-6401143

https://www.independent.co.uk/arts-entertainment/obituary-bryan-maclean-1044305.html

http://blues.gr/profiles/blogs/drummer-michael-stuart-ware-of-the-sons-of-adam-love-talks-about

Michael Stuart-Ware book https://recordcollectormag.com/reviews/pegasus-epitaph-the-story-of-the-legendary-rock-group-love

Tjay Cantrelli (John Barberis) died 1985 https://culture.fandom.com/wiki/Love_(band)

https://books.google.com/books?id=Ho5XDwAAQBAJ&pg=PT212&lpg=PT212&dq=john+barbieri+(tjay+cantrelli)&source=bl&ots=l0JhXoR2S3&sig=ACfU3U0x71ysvfzrWKNgu8iItLTVctPiSA&hl=en&sa=X&ved=2ahUKEwiitqzV6_fpAhURLK0KHWu5AE0Q6AEwAHoECAoQAQ#v=onepage&q=john%20barbieri%20(tjay%20cantrelli)&f=false

SF/Central Valley shows http://www.chromeoxide.com/love.htm

http://poisgoneforever.blogspot.com/2011/05/love-family-tree.html

https://www.love-revisited.com/about-2/

https://www.discogs.com/artist/48410-Love

https://www.youtube.com/playlist?list=PLVTsf1XlOneXNytPQnrcL-sg3fjackHIA

https://en.wikipedia.org/wiki/Arthur_Lee_(musician)

https://www.allmusic.com/artist/arthur-lee-mn0000932220/biography

http://arthurlee.phpwebhosting.com

https://en.wikipedia.org/wiki/Johnny_Echols

http://www.pennyblackmusic.co.uk/MagSitePages/Article/9244/Interviews/Love-Interview-with-Johnny-Echols

https://www.culturesonar.com/a-piece-of-love-an-interview-with-johnny-echols/

http://www.classicbands.com/LoveInterview.html

https://en.wikipedia.org/wiki/Bryan_MacLean

https://www.allmusic.com/artist/bryan-maclean-mn0000525687/biography

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