#solo albums

[rocklive44]

Recently whipped up these four on my tablet. Had a lot of fun drawing these!!!♥️♥️🔥🔥🔥🎸🎸🎸 Which one's your favorite???

[geminicollisionworks]

An interlude in my posting of albums by the great surreal audio comedy group (and biggest influence on Life With Althaar) The Firesign Theater.

Kind of.

After Bozos, the Firesigns went through a bit of an internal crisis, breaking up and getting back together several times in a year. They put out a 2-LP collection of short pieces from their 1970-71 radio show, Dear Friends, hoping to get the radio airplay that had eluded their longform records (some excerpts from that coming soon), and another album, Not Insane, which threw together bits from an aborted studio-recorded Shakespeare parody, Anythinge You Want To, and a live performance, Martian Space Party. This album was not well received -- understandably, it is, as one Firesign wrote, "noisy and unfocused," though a few pieces of it have become classics.

While not breaking up again, the group decided to separate for 1973 to make a bunch of solo albums (though two of them still featured all the Firesigns as performers), all of which continued the dystopian science-fiction style and musings of Dwarf and Bozos. Frankly, Phil Austin's Roller Maidens from Outer Space is the least interesting by far, so I won't bother linking it, but the other two records are very special to me, and BOY did I lift many sonic ideas from them for Althaar, so I share these whenever I can.

First up here is Philip Proctor and Peter Bergman's TV or Not TV, which takes place in the then-future world of 1985. Making some fairly accurate prophesies about the future of televisual entertainment, the album shares a "charged viewing cycle" of cable channel 85, bought by two children with their daddy's stolen "charger card." During their pay-per-view period, we get a number of shows, serials, PSAs, ads, and government announcements painting a fairly bleak picture of this future world -- including a talk show hosted by an AI hologram that changes face, voice, and costume based on audience desires. Interrupting the regular programming however are break-ins on the signal by a group of chaotic teenage pirate transmitters, with no apparent specific agenda but to tear apart the overly regimented society they're living in.

This was my favorite record in the world from age 5 through grade school, and absolutely started me on a love of comic audio science-fiction (though I didn't understand the vast majority of it; I just liked the funny voices and cool sounds). Here's Act One and Act Two:

Meanwhile, David Ossman's album, How Time Flys, takes place in the then-even-more-future year of 1999, as New Year's Eve 2000 approaches (a day the Firesigns would revisit on their 1998 CD, Give Me Immortality or Give Me Death).

Here, Mark Time, an astronaut sent on a 20-year space mission to Planet X in 1979, returns to Earth in 1999 to find himself ignored and forgotten in a USA now apparently practically government-less and run entirely by large entertainment corporations, one of which wants to steal Mark's classified data recordings of aliens from Planet X to turn into holographic viewing for paying customers. However, Mark's struggle to make his statement to the world may be sidetracked by a black hole heading for Earth...

Besides featuring all four Firesigns, the cast of this album includes familiar voices Wolfman Jack, Richard Kind, and Harry Shearer. Here's the whole LP in one piece:

Back with more Firesign material soon...

[dig-jules]

this might get me exiled but George Harrison’s solo discography clears Lennon’s and mccartney’s so easily it’s embarrassing.

With all things must pass ALONE we got the title track, run of the mill, behind that locked door, isn’t it a pity, beware of darkness, apple scruffs, what is life, and that’s just off the top of my head

Then there’s stuff like dark horse which was still pretty good, and stuff like dark sweet lady and give me love (give me peace on earth) that really stood out

Even the throwaway b sides like Miss O’Dell are some of my favorites and are just better than Imagine and maybe I’m amazed flat out

Pure Smokey (best solo Harrison song) to me is a more likeable song than most Beatles Lennon-mccartney things

Then we get to cloud 9 which is gas all the way through like catch me listening to someplace else and That’s What it Takes ANY DAY

Dude wasn’t even done either because he went on to do the wilburys thing with his buddies and put out end of the line like it was nothing.

Then BOOM again because brain cancer be damned boy could still lay down a tune like Pisces fish and Any Road and Marwa blues and DEVIL AND THE DEEP BLUE SEA

also I just think Lennon and mccartneys solo stuff is only acclaimed because people wanted to cling to the idea that they could still put out stuff like they did in the band (except I do give a pass to the band on the run album and watching the wheels…) so there it is

[zebrarainblowpopcorn23444976]

[dragonmama76]

Eddie and Steve had a will they/wont they going on for years while Eddie did the whole famous rockstar thing. And now he’s on a break. Two platinum records with Corroded Coffin behind him, Eddie can finally concentrate on Steve. And the miracle is that Steve never resented Eddie for focusing on his career. That wasn’t a problem for him. He waited (sometimes patiently and sometimes not) until it was his turn, and when they got together, it was just as incredible as both had expected it would be.

So you can’t blame Eddie for writing his first solo album all about Steve. He’s done hiding in the closet for his career, so it’s he/him pronouns and filthy imagery. Shockingly it sells like you wouldn’t believe. In fact, he’s getting picked up in markets he never reached before. And when he gets the numbers for radio stations, he’s killing it on stations totally unfamiliar to him. But he’s still completely wrapped up in Steve so he’s not paying a lot of attention and he lets his manager take care of everything.

The mystery is revealed the day they get a package from Wayne. It contains clippings from newspapers and magazines, and a note that just says, “Something you want to tell me, boy?” All the headlines are some variation of “Former Satanist Eddie Munson Releases Worship Album quietly signaling his conversion to Christianity”

Eddie is furious and Steve has to watch him throw a tantrum yelling and screaming. When he eventually calms down Steve reminds Eddie that doing zero press and releasing songs like, “On My Knees in Worship” and “He is my Sunrise and my Salvation” might in fact be a little misleading.

They spend the rest of the night giggling about all the good Christians listening to songs about their sex life.

[realangelahernandez]

🎵I’m a feminist obviously but I really wouldn’t mind him saving me🎶

[btsjk-biased]

Happy Birthday, Jimin! ♡ (1995.10.13)

[raplinenthusiasts]

↳  6/30

[halt-yall]

Hawaii Part II mock album covers! All by me!

[sabbathbloodysabbeth]

Eddie who gets kicked out of corroded coffin due to his drug/drinking problem and being replaced by Steve Harrington, who has only been singing pop for the last couple years but surprises everyone (including Eddie) with his first corroded coffin album. As a congratulations gift, because Eddie isn’t on bad terms with the boys or Steve but is still a little petty, he fucks the hell out Steve to the point his moans/screams give his vocals a slight rasp. Let’s just say the next album Steve does doesn’t leave the charts for months and him and Eddie now have a pre show ritual that involves Steve being wrapped around Eddie’s cock one way or another at minimum two orgasms and two hours.

[jeonsupershy]

sorry guys we do NOT joke about these sensitive topics 😒

[koingks]

they pyonpyon-ed their way to success. proud of them so much <3

[rsier]

[silusvesuius]

[thedragonqueens]

ROSÉ - TOXIC TILL THE END M/V ICONS

[kookjinnies]

special Q&A with Jin via TikTok click on the source to send your questions to seokjin ♡