#the fearless guitar solo

[evilovesyou]

Literally inject the Fearless guitar solo into my fucking veins. Michael Blackwell what kind of drugs did you put in that ?!

[sunshineandlyrics]

A lot of musician salivating at the guitars but i like these comments

themichaelblackwell One for the guitar geeks!

For the last few years, these guitars have been my go-tos on the road with Louis Tomlinson:

1. Gibson ES-335 Custom Shop - My number one for over a decade.

2. Kersey Strat

3. Greco Les Paul Custom

4. Gibson SG Special

5. Fender Japanese ‘62 Tele- Had this since I was 15. It’s been through it all with me.

6. Eastman SB59

7. Taylor 417e

Big shoutout to @danely for keeping these working to their very best every night. 🎸❤️

[endurance1912]

eras tour setlist (detailed)

miss americana & the heartbreak prince (NOT full song)

cruel summer (chorus, bridge, chorus)

welcome/she's so happy to be on stage again + spoken introduction into

the man (full song)

you need to calm down (verse 2, chorus, bridge, chorus)

longer welcome speech, eras tour night 1, thanking fans for showing up & celebrating opening acts. telling crowd we're doing one era at a time!!!!

lover (full song) acoustic guitar

the archer (full song) + electric guitar solo for costume change

fearless (full song)

you belong with me (full song)

love story (full song)

video interlude - showing woods/trees - for costume change

'tis the damn season (verse 1, chorus, bridge, chorus)

willow (full song)

marjorie (verse 1, chorus, bridge, outro)

speech/ it's been so long that she's toured and so much has happened since (new albums + rerecordings) & she's missed us. says she loves evermore despite what people on tiktok think

champagne problems (full song) acoustic piano

introduction of new keys player

tolerate it (verse 1, chorus, bridge, 2nd chorus, outro)

snake video/visuals for costume change

...ready for it (full song)

delicate (full song)

don't blame me (intro, verse 1, chorus, bridge, chorus, outro) + extended outro leading into lwymmd

look what you made me do (full song)

snake visual + abstract pink/purple colors + enchanted audio intro for costume change

enchanted (verses 1 & 2, chorus, bridge, chorus, outro)

video interlude with red audio snippets

22 (whole song)

we are never ever getting back together (full song)

i knew you were trouble (verse 1, chorus, bridge, final chorus)

speech about the red album & taylor's version

all too well (full 10 minute song) acoustic guitar

interlude: spoken wildest dreams lyrics/spoken seven lyrics - for costume change

invisible string (full song)

speech talking about folklore album & wanting to do something different than autobiographical albums

betty (full song) acoustic guitar

the last great american dynasty (full song)

august (full song)

illicit affairs (bridge repeated twice, outro)

my tears ricochet (full song)

cardigan (full song)

interlude for costume change

style (verse 1, chorus, bridge, chorus)

blank space (full song)

shake it off (full song)

wildest dreams (verse 1, chorus, bridge)

bad blood (chorus, pre-chorus & chorus, bridge, final chorus)

interlude for costume change

speech - introducing surprise song & her goal is not to repeat any of these songs on tour

surprise song: mirrorball (full song) acoustic guitar

another speech at piano (my live cut out though so idk what she was talking about)

tim mcgraw (full song) piano acoustic

interlude - water/crashing waves turning into clouds

lavender haze (full song)

anti-hero (full song)

midnight rain (full song)

vigilante shit (full song)

bejeweled (full song)

mastermind (full song)

final song: karma (full song) + farewells & final bows

[amessofadreamer13]

My Collection of Taylor Swift’s rare demos! (Master List)

This has been sitting in my drafts for several months now, it might need to be updated.

Unreleased songs (full audio)

- A Little More Like You (Acoustic)

- All-Night Diner (Acoustic)

- American Boy (Acoustic)

- Angelina (Acoustic)

- Baby Blue (Acoustic)

- Beautiful Days (Acoustic)

- Bein’ With My Baby (Acoustic)

- Bein’ With My Baby (Studio)

- Better Off (Studio)

- Brand New World (Acoustic)

- Brought Up That Way (Studio)

- By The Way (Acoustic)

- Can I Go With You? (Studio)

- Cannonball (With Justin Bieber) (Studio)

- Check Out This View (Acoustic)

- Closest To A Cowboy (Acoustic)

- Cross My Heart (Acoustic)

- Dark Blue Tennessee (Studio Piano Demo 1)

- Dark Blue Tennessee (Studio Demo 1)

- Didn’t They? (Acoustic)

- Don’t Hate Me For Loving You (Acoustic)

- Down Came The Rain [Deric Ruttan Vocals] (Studio)

- Drama Queen (Studio Outtake)

- Fall Back On You (Acoustic)

- Fire (Acoustic)

- Firefly (Acoustic)

- 4 U (Acoustic)

- Gracie (Acoustic)

- Half-Way To Texas (Acoustic)

- Her (Acoustic)

- Honey Baby (Acoustic)

- Houston Rodeo (Acoustic)

- I Know What I Want (Studio)

- I Used To Fly (Acoustic)

- I Wished On A Plane (Acoustic)

- I’d Lie (Studio Outtake)

- In The Pouring Rain (Acoustic)

- Just South Of Knowing Why (Studio)

- Kid In The Crowd (Acoustic)

- Let’s Go (Studio)

- Live For The Little Things (Acoustic)

- Long Time Going (Studio)

- Look At You Like That (Acoustic)

- Love They Haven’t Thought Up Yet (Acoustic)

- Love To Lose (Acoustic)

- Lucky You (Acoustic)

- Lucky You (Ronnie Cremer Mix)

- Lucky You (Mr. Mig Mix)

- Made Up You (Acoustic)

- Making Up For Lost Love (Studio)

- Mandolin (Acoustic)

- Mary Jo (Acoustic)

- Matches (Acoustic)

- Me And Britany (Acoustic)

- My Cure (Acoustic)

- My Cure (Studio)

- My Turn To Be Me (Acoustic)

- Need (Studio)

- Need You Now (Studio)

- Never Fade (Acoustic)

- Nevermind

- Nevermind (Country Mix)

- One-Sided Goodbye (Acoustic)

- Perfect Have I Loved (Acoustic)

- Permanent Marker (Studio)

- Point Of View (Acoustic)

- Pretty Words [Scooter Carusoe Vocals] (Acoustic)

- R-E-V-E-N-G-E (Studio)

- Rain Song (Acoustic)

- Ride On (Acoustic)

- Same Girl (Acoustic)

- Smokey Black Nights (Acoustic)

- Smokey Black Nights (Studio)

- Songs About You (Studio)

- Spinning Around (Acoustic)

- Stupid Boy (Acoustic)

- Sugar (Acoustic)

- Sweet Tea & God’s Graces (What I Learned From You) (Acoustic)

- Sweet Tea & God’s Graces (What I Learned From You) (Studio)

- Tell Me (Acoustic)

- Tell Me (Studio)

- Ten Dollars And A Six-Pack (Acoustic)

- Ten Dollars And A Six-Pack (Studio)

- Tennessee (Acoustic)

- That’s Life (Acoustic)

- Thinkin’ Bout You (Piano)

- Thirteen Blocks (Studio)

- This Here Guitar (Acoustic)

- This Is Really Happening (Studio)

- ‘Til Brad Pitt Comes Along (Acoustic)

- Under My Head (Acoustic)

- Wait For Me (Studio)

- Welcome Distraction (Studio)

- What Do You Say? (Studio)

- What To Wear (Studio)

- Who I’ve Always Been (Studio)

- Why Do You Tell Me? (Acoustic)

- You Do (Acoustic)

- Your Anything (Acoustic Live)

- Your Face (Studio)

- Your Heart’s Somewhere Else (Acoustic)

Unreleased songs (snippet only)

- Do It Again (Studio)

Unreleased songs (lyrics only)

- Nashville (Chorus Only)

- I’m Looking Out For You (Mostly Complete Lyrics)

Album Demos (Full Audio)

- A Place In This World (2004 Mix)

- All Of The Girls (Alternate Mix)

- Beautiful Eyes (Unmastered Version)

- Blank Space (Voice Memo)

- Better Man (Studio Demo)

- cardigan (original songwriting voice memo)

- Cassandra (First Draft Phone Memo)

- Clean (Voice Memo)

- Cold As You (Studio Demo)

- Come In With The Rain (Unmastered Version)

- Crazier (Piano-Based Studio Demo)

- Crazier (Studio Demo)

- Fearless (Acoustic Demo)

- Forever Winter (Studio Demo)

- Forever Winter (Taylor’s Version) (From The Vault) (Early Mix)

- I Don’t Wanna Live Forever (ZAYN Solo Version) Studio Demo)

- I Forgot That You Existed (Piano Demo)

- I Heart Question Mark (Studio Demo)

- I Know Places (Voice Memo)

- Stella (invisible string) (Live) [Aaron Dessner Vocals]

- I Wish You Would (Voice Memo)

- I’m Only Me (When I’m With You) (Unmastered Version)

- Invisible (Studio Demo)

- Lover (Piano Demo)

- ME! (Studio Demo)

- Oh My My My (Studio Demo)

- Our Song (Acoustic Demo)

- Out Of The Woods (Voice Memo)

- Perfectly Good Heart (Unmastered Version)

- Picture To Burn (Acoustic Demo)

- Picture To Burn (Studio Demo)

- Red (Studio Demo)

- Shake It Off (Voice Memo)

- SuperStar (Acoustic Demo)

- SuperStar (Studio Demo)

- Ingrid (‘tis the damn season) (Studio Demo) [Instrumental]

Snippets only:

- It’s Nice To Have A Friend (Studio Demo)

- Love Story (Acoustic Demo) (Tagged)

-Only The Young (Studio Demo)

- Run (Studio Demo)

-Run (Acoustic Worktape)

Other songs (I also have plenty of live versions and remixes not listed here!)

-Both of Us (Alternate Version)

-Christmases When You Were Mine (Alternate Version)

-Picture to Burn (Alternate Version)

-You Don’t Have To Call Me

-You Don’t Have To Call Me (Alternate Version)

[kiki-de-la-petite-flaque]

Joan Jett, Chris Stein and Debbie Harry by Bob Gruen, Philadelphia, PA, 1978.

In 1978, the punk and rock scenes were flourishing, and three iconic figures—Joan Jett, Chris Stein, and Debbie Harry—were at the forefront of this cultural revolution. Photographed by Bob Gruen, a legendary rock photographer known for capturing the raw energy of the era, the trio embodied the rebellious spirit of the late 1970s.

Joan Jett, then known for her work with The Runaways, was carving a path as a powerful force in rock music. The Runaways, one of the first all-female rock bands, had gained a cult following, with Jett standing out for her gritty vocals and dynamic guitar skills. By the late 1970s, Jett was transitioning toward a solo career that would lead to massive hits like I Love Rock 'n' Roll.

Chris Stein, guitarist and co-founder of Blondie, was instrumental in defining the new wave and punk sound that captivated audiences worldwide. Blondie had begun to rise to fame with their unique blend of punk, disco, and pop. Their breakout album, Parallel Lines (1978), included hits like Heart of Glass and One Way or Another, cementing their place in music history.

Debbie Harry, Blondie’s charismatic frontwoman, was a style and cultural icon. Known for her distinctive voice and edgy glamour, she became a symbol of the punk movement’s intersection with fashion and art. Her fearless persona and magnetic stage presence inspired countless artists, making her a defining figure of her time.

This photograph captures the essence of a transformative era in music. Together, Jett, Stein, and Harry represented a blend of raw talent, innovation, and defiance, leaving an indelible mark on the history of rock and punk. Their legacies continue to inspire new generations of musicians and fans.

Source: Chronicles of Civilization

[till-death-us-do-part]

One of the earliest interviews of Chris about Lord of the Lost that I’ve found, sources and such at the end, originally in German

Lord

By Pamela Stahl - 6th December 2008

Chris "The Lord" Harms is no longer an unknown entity in the dark and colourful world of the alternative music scene. The former singer of Philiae has already performed on stage with Big Boy and is currently known as the guitarist of the glam rock band The Pleasures, as well as the voice of UnterArt.

But as if all that wasn't enough, multi-talented Lord has now come out with his latest music project of the same name. In an exclusive interview, the musician revealed how Lord was founded, what we can expect from the debut album "Not From This World", as well as the good news that the band will be appearing live on stage for the first time in early January as the support act for Big Boy.

Pamela: Hello Lord. The most important question for you is of course: How are you?

Lord: Oh, I don't think I've ever been asked that in an interview. I usually skip a question like that because nowadays it means nothing more than "hello", but obviously not in this case. So I'm fine, even if I'm very tired this morning.

Pamela: You seem to be a very busy person. Until four years ago you were the singer of Philiae, for a while you supported Big Boy as a guitarist and currently you are known as the voice of UnterArt and as the guitarist of the glam rock band The Pleasures. How and why did you come to form your new project Lord?

Lord: I just had to do something completely my own again. Strictly speaking, this is not my first album of this kind, I made an album under the project name Vagueness in 2004 and 2005, but this time there is a completely different seriousness, conviction and ambition behind it. I think that is what you would call pure passion.

Pamela: Lord was initially intended as a solo project, how and where did you finally find suitable collaborators?

Lord: It was a gradual process. At first I was just looking for a live band. At first I was fascinated by the idea of ​​having an all-girl band around me because it's a great contrast. But then it quickly became much more important to me to have people around me that I respect and have known for a long time. So I didn't cast them or anything like that, they are all friends of mine. I know Class from Just Music, where I always buy my guitars, Sebsta has been tattooing me for many years, Any was a crew member with The Pleasures on tour a lot, and everyone knows Sensai.

Pamela: Your debut album will be called “Not From This World.” What does this title mean to you personally?

Lord: That's the title of the first song I wrote, the unplanned start of this band. It describes the moment of falling in love so madly that you feel like the other person is not from this world. Total helplessness and blindness, fearless surrender. I can only recommend it to everyone ;-)

Pamela: Have you finished working on the album yet? If so, how long did the recordings take in total and how did they go?

Lord: Not quite yet. I still have to sing a lot of songs, Sensai is still working on a few additional guitar add-ons and this evening I'm going back to the studio to see Corvin, who plays piano on a few songs on the album. He's been arranging something on the album outro song "Sooner Or Later" and I'm really excited.

Pamela: You can already listen to two songs on your MySpace page. Both have a noticeably dark and slightly melancholic touch. Does Lord give you the opportunity to write the songs that you couldn't write in the same form with your other bands?

Lord: That's the point. But not only couldn't write them, but especially didn't want to write them, so that the bands remain what they are and what they stand for.

Pamela: Are these two songs and their general mood representative of the entire album, or are there still surprises in store?

Lord: The general tone is a bit harder. The two demos are more of an easy-to-digest fare. Don't expect black metal, but I've listened to Nine Inch Nails and Rammstein for too many years to hold back on the heavy riffs.

Pamela: What else can you tell us about the album at this point? What aspects of the content will it cover and perhaps the most important question: When is it likely to be released?

Lord: I actually managed to put 13 love songs in the broadest sense on one album. That's 100%... I don't know when we can release it. I hope before it gets warm again. I don't want to wait any longer!

Pamela: The music not only sounds dark and atmospheric, but also very emotional. It is reasonable to suspect that many personal experiences and events went into the songwriting. How was it in your case?

Lord: Yes, exclusively. I like to express myself metaphorically or in images, and I package everything in fictional stories, but the lyrics are all an absolute reflection of my emotional world. Musically, I didn't do everything on my own; Sebsta in particular composed a lot.

Pamela: What do you personally expect from a good song?

Lord: It has to convey an emotion in a tangible way, whatever it may be. That's all that matters.

Pamela: When you compose new songs, do you need a certain mood and atmosphere, or are you one of those musicians who get ideas in their sleep, so to speak?

Lord: The latter, sometimes even literally. The songs are just there and I go into the studio and put together a demo, like recording "Knockin' On Heaven's Door", which is just as easy to remember as a guitarist in my generation.

Pamela: What feedback have you received from your colleagues in other bands about your new project? Do they like what you're doing, or aren't they a little worried that you might even quit sooner or later to concentrate fully on Lord?

Lord: Musically they think it's good, more or less, not everyone is into this whining ;-) And of course they're behind me, and I'm behind them, as well as behind all the music I make, and as long as that's the case, nobody needs to be afraid. I don't think that will change any time soon.

Pamela: Compared to the music and your appearance with the Pleasures, Lord represents a contrast that couldn't be more extreme. Do you think that you can appeal to the same audience with Lord as with the Pleasures? Or to put it another way: Could it be that your existing fan base, who see you as the slightly offbeat and always colourful guitarist, is a little frightened by your new serious, almost serious image?

Lord: I don't think the difference is that drastic. A drastic difference would be if I had a death metal and an RnB band. In addition to my offbeat existence as a colourful diva, I have always represented a darker side with the Pleasures, which most fans know, both visually and musically. I don't think most people will be frightened, but it will certainly happen in isolated cases. I have to live with that, you can't please everyone, and I won't try to.

Pamela: Which image is more appropriate for the private Lord? The oddball a la The Pleasures, or the thoughtful person with a penchant for sentimentality?

Lord: Somehow both, but basically the latter.

Pamela: How did you come up with the idea of ​​calling yourself Lord? Sure, the band is called Lord because you are "The Lord". But how did you come up with that name for yourself?

Lord: That was my ex-girlfriend. I had the weird nickname Vivian back then, but that's another story. That was a bit too silly for me, and I said to her that I would like to have something in front of it for The Pleasures that somehow suits me. She then mentioned "Lord", and that was it.

Pamela: Was there a personal key experience that motivated you to become a musician? Or how else did you come up with the idea of ​​becoming a musician?

Lord: Several. Two decisive ones. My first concert on my mother's lap, I was 3 years old. Two years later I started learning the cello of my own volition. And later my first concerts by Die Ärzte. That's when I felt I had to get on stage!

Pamela: Not only is this interview coming to an end, but so is the year 2008. What was your best experience in 2008 as a musician and personally?

Lord: The UK tour with The Pleasures was a highlight. Personally, definitely my trip to Las Vegas and the unique experience of a “wedding drive-thru”.

Pamela: Were there any negative events this year?

Lord: Yes. But that was so annoying that I don’t even want to think about it anymore and would rather just ignore the topic of “former The Pleasures drummer”.

Pamela: Then a cautious look into the future. What can we expect from you in the coming year? What concrete plans do you have? And when are Lord's first live dates likely to take place?

Lord: Release the album, start on the next Lord album... and very importantly, on January 15th and 16th Lord will be on stage live for the first time, as the opening act for Big Boy, in Kiel and Schwerin!!

Pamela: Thank you very much for this interview and I wish you much success - with all your bands, of course.

[Source, originally in German]

[Archive]

[between-myself-and-me]

It seemed only a matter of time before Julien Baker would combust. Monday at the first of a sold-out three-night residency at Thalia Hall, the singer-songwriter performed with the kind of extreme intensity that can be difficult to watch and feels both thrilling and draining to witness. She made it impossible for anyone to look away, and matched the fervor of her lyrics with spontaneous body language and unfiltered banter that underlined her tightly wound passion.

Raw and unscripted, the 90-minute concert marked a memorable way to start a tour, Baker’s first headline outing in two years. Aside from sticking to an apparent setlist, the 28-year-old approached the show by refusing to trade in predictability or artifice. Backed by a five-piece band amid a spartan stage setup, and venturing deep into her catalog, she stood as the antithesis of most peers and predecessors with her degree of success.

Nervous, excited, jittery, sincere and occasionally unable to keep her focus, Baker operated on a wavelength that brought her to an eye-to-eye level with fans and established her as a relatable person rather than an untouchable, unknowable celebrity. That didn’t mean she didn’t take her craft seriously. Indeed, Baker’s recurrent concerns about getting everything right, her admitted apprehension over remembering words and playing tunes alone, demonstrated a heightened conscientiousness and unguarded honesty few entertainers openly share.

Yes, Baker and company erred at several points, though her worries about the hoarseness of her voice — she said she overtaxed it in rehearsals — largely proved unfounded when she opened her mouth to sing. The various missteps and imperfections felt as if they belonged and, oddly enough, enhanced the fearlessness and courage with which Baker addressed harrowing topics ranging from mental illness and violent abuse to debilitating doubt and loneliness.

For all the pain and anguish in her songs, Baker continues to enjoy an ascent that a majority of burgeoning musicians would envy. Her still-developing career is evidence that listeners can still suss out singular talent even in a pop-culture landscape overstuffed with countless options and here-today-gone-tomorrow hypes vying for attention.

A decade ago, using studio time given to her by a friend, Baker recorded what became her debut in just three days while studying to be a teacher at Middle Tennessee State University. Though she didn’t expect many people outside her immediate orbit to hear them, the songs became a word-of-mouth sensation. After an indie imprint signed her and formally released the material as the “Sprained Ankle” LP, Baker landed on record-label radars and major media outlets’ best-of-year lists.

Virtually overnight, the Tennessee native went from pursuing a college education to headlining a national tour. She shared a compelling backstory that included candid details about her evangelical upbringing, battles with addictions and decision as a teenager to come out as queer to her parents. Baker’s critically acclaimed sophomore album (“Turn Out the Lights,” 2017) further expanded her profile and, the following year, she formed Boygenius with Lucy Dacus and Phoebe Bridgers.

Despite releasing just two EPs and one full-length to date, Boygenius has won three Grammy Awards and cultivated enough interest that it finished touring last fall with a capacity show at the Hollywood Bowl.

Who knows, Baker’s own material might work in such settings, but its personal intimacy and intricate architecture — moody violins, atmospheric keyboards, spare guitars, chamber-inspired orchestrations — are better-suited for halls and theaters. Her three solo turns on Monday, which included the disarming “Guthrie” and a searing rendition of “Something” during which every utterance of the titular word registered as a self-inflicted gutpunch, benefited from the coziness of the mid-sized venue.

Wearing a white button-down shirt and jeans, with her hair pulled into a ponytail bun, Baker, too, appeared comfortable in an environment in which she could forge a close bond with the audience. Having previously dealt with stage fright, she revealed she no longer enjoys playing without a support band and encouraged anyone who knew the words to sing along. With rare exception, the latter request went unheeded. The hushed crowd treated Baker’s emotional outpourings with reverence of scripture.

During the faintest moments, the faint hum of amplifiers framed Baker’s delicate vocals. Expressed as whispers, asides, exhales and shudders, her gentle singing confirmed quiet moments can have as much volume as full-throated cries. Well-placed screams and howls also figured in Baker’s repertoire. She frequently delivered loud passages when standing feet away from the microphone stand or shifting her stance.

The movements altered her words’ pitch, and instilled the sensation that she was either trying to flee a bad situation, engaged in a heated confrontation or yelling into an abyss. Even with a guitar or keyboard shielding her rail-thin physique, Baker couldn’t disguise the physical impact the songs registered on her body or the anxiety they triggered in her mind.

Pointing at her temple, running her hands through her hair, covering her mouth with her forearm, shaking her head, squeezing her eyes shut, unconsciously transferring the weight from one leg to another: Baker looked as if she’d pull the bones out from beneath her skin as she chronicled traumas, faults and hurts with unsparing conviction. Far more dynamic live than on the studio recordings, the taut rhythmic structures of the songs accentuated the struggles with faith, forgiveness and optimism the singer explored via bruised, bloodied narratives.

Baker’s music is not generally fun or always easy to digest, particularly given the explicit references to suicidal thoughts, toxic relapses, self-destructive behaviors and all manner of failures. Yet it often sounded momentous and freeing — the balladic frameworks of fare such as “Crying Wolf” and “Funeral Pyre” beautiful and melodic, the crashing urgency of “Tokyo” and “Hardline” effervescent and cathartic — and spoke to vital issues without coming across as self-serving.

“I’m so (expletive) happy, you just can’t (expletive) tell,” Baker announced, typically subdued and aware of the irony, as she explained how much playing matters to her. She later gave a few clearer signs of her temperament. Baker climbed atop the drum riser to bash out punk-style chords on her electric guitar; stomped around and double-over her instrument during another explosive sequence and, ultimately, let her hair fall over her shoulders.

That, and led the band through two live premieres (the obscure seven-inch B-side “Conversation Piece,” the brand-new and unreleased “Middle Children”) and waged a conflicted war for snatching some semblance of goodness out of the jaws of despair. In the fractured episodes of “Ziptie,” “Appointments” and “Ringside,” Baker didn’t identify fixed solutions or guaranteed redemption. Still, the songs hit on the potential of mercy and hope, and of trying against all odds to conquer sensations of dread, sadness and emptiness.

For Baker, and everyone now struggling to reconcile the notions of kindness and decency against the evils that humans continue to do to one another and the planet, it’s a start to a long-overdue conversation.

[billboard-hotties-tourney]

David Gilmour (1946-) Pink Floyd - lead guitar and vocals Songs: "Fearless," "Comfortably Numb" Propaganda: none

Engelbert Humperdinck (1936-) solo Songs: "Release Me," "There Goes My Everything" Propaganda: "Have you SEEN him?? But more importantly. Have you HEARD him. The way that man sings is just insanely attractive his voice is so rich. Also he was my Nans celebrity crush so I gotta submit him for her, she had excellent taste."

Visual Propaganda for Engelbert Humperdinck:

[louismygf]

FEARLESS GUITAR SOLO ON STREAMING SERVICES god ive prayed for times like this

[soop-musical-fool]

Ok I said I would make a pin full of music so here it is

First off, I mentioned KNOWER. It's a long project that started a really long time ago, but their best stuff is probably coming out like right now. As in, they are just about to release a new album, KNOWER FOREVER. The singles on it are incredible, like I'm The President just comes right out the gate with the fattest walkdown I've ever heard from a horn section. The B section makes it feel like I'm enjoying a song like I would a multiple-course meal. Then Crash The Car just transfixes you. Yes, yes, you should listen to those, but don't neglect the fire they put out in 2017 because you owe it to yourself to watch the live sesh of Overtime:

Oh god this post is gonna make viewing my blog super annoying isn't it

Anyway the next thing I gotta mention is Vulfpeck. These guys are famous for scamming Spotify, basically. They released an album full of 30-second tracks of pure silence, just absolutely nothing, titled Sleepify. They got online and said "Yo guys, help us raise money for a free concert by listening to this on loop while you sleep." What they were actually doing was exposing a loophole in the way Spotify calculated royalties, and before they could pull the album (citing "content policy violations," of course), Vulfpeck had already bagged around $20,000, so they put on the completely admission-free Sleepify Tour, which was incredibly fucking based of them.

Vulf went on to become several spin-off projects, all entirely independently released and full of some of the stankiest funk fusion that I cannot stop listening to.

My favorite of these projects, The Fearless Flyers, is headed by Cory Wong, with a guitar idol of mine for 5+ years Mark Lettieri and of course the government subsidized active bass of Joe Dart, but the keystone of the group is no doubt Nate Smith on drums. Dude makes a three-piece set onstage sound like a full kit.

Like just look at what they can do with the added power of sax:

And yeah, I could just talk about those guys, but let's get weirder.

I'm talking modal. The kind of stuff that makes my choir-trained mother cringe inward at the dissonance. Let's talk about the crunchiest, most feral fucking harmonies and keyboard solos that make you question what you thought you knew about chord progressions and key centers.

Obviously anyone super into this stuff will have already heard of Jacob Collier, so I won't show him. But THIS:

I listened to this the first time and it was just.. too much. I put it in its own specific playlist titled "very complex shit" immediately. When I went back to it, enough time had passed and I had learned enough that after way too many listens I can actually follow along with this insanity. This track blew my fucking mind, dude. I have never heard a chorus use so many of the 12 chromatic notes and still sound heavenly. The groove changes add so much texture. The flute solo goes off way too hard. The slower final section is just disgusting syncopation when the drums come back in. Everything about it is incredible, and this album came out in 2007. I am staring back at years of my life I spent not listening to this and ruminating my lack of music theory knowledge. And when I wanted to see if some kind transcribing jazz grad student like June Lee had uploaded anything of System, I found a 2020 reboot with 24 musicians playing System for over twice its original runtime, and guess who did the showstopping final solo??

JACOB FUCKING COLLIER.

Look him up if you don't know. The other musicians I obsess over inspire me. This guy makes me want to quit.

[scouped]

DID SOMEONE SAY FAV SVT PERFORMANCES!!!!!! omg hii ok time to buckle in. i have a yt playlist full of my fav performances - svt moments of all time -but unfortunately half the videos have been taken down bc copyright 😭💔 fml truly..

- my life was probably changed forever by their 2021 AAA performance like hello!!! rock ver of rwy!!!!! the anyone outfits!!! THE DANCE BREAK!!!

- 2018 japan arena tour - habit and when i grow up perhaps the best singing ive ever heard…

- im also so fond of hit song - shining diamonds concert the seungkwan vocals oh my goddd hes just a baby And yet the most beautiful heartwrenching noises are escaping him.

- i also do really love highlight from 2019 kcon la performance unit PERFORMED!

- speaking of perf u their diamond edge concert !the theatrics are INSANE, the use of guitar solo instrumentals is gratuitous, and im SO here for it lmao

- this is getting really perf u heavy but bets moonwalker+wave is TOOO good (this specific video’s crowd is so funny 😭😭😭)

- okay okay last ones we of course cannot leave out jbtc fearless+left&right 2021 despite it being an empty crowd their energy was IMMACULATE plus hoshi minghao and dino/vernon dance break What more could u need seriously.

- kbs 2017 festival JUN PIANO! no more needed

stopping myself here before this really becomes a daunting wall of text 😭 a lot of these r classics/well known but u know u can never go wrong with those!!

if u got this far im soo sorry turns out this is a huge can of worms for me (nervous laughter) ! there are honestly hundreds of svt performances icould talk about for dayyyyyys i love love love their performances they are so SO unmatched in that area and even through a screen they are so captivating <3 what i would give to one day attend a svt concert……… alright thanks for letting me ramble maxogie 😭❣️hoping all those links work

OH MY GOD LEO i love this so so much pls know i appreciate u sending all this 😭 its like u read my mind!!!!!!

the 2021 aaa performance is sooo good. i also always watch the behind the scenes of that (that one's in my comfort playlist lolll)

that japan arena tour... im so mad i still havent found a full copy of it i wanna watch it so bad 😭 they all sound immaculate as always but WOW JEONGHAN SOUNDS FUCKING AMAZING

cried a little at the hit song mention. u think they still know this song?

I LOVE A PFU STAGE AHHHH !!!!!! this particular highlight stage was so good to watch bc theyre at the center of the stadium and you can hear the crowd singing>!?!??!?! and im a sucker for a dance break. instant addition to my live perf playlist

be the sun pfu stage is the bane of my existence. thats probably my most watched stage of all time. theres this stage mix of junhui during wave that is top 1 in my live perf playlist and i recommend u watch it

OH MANNN how could i have forgotten jbtc 2021 !!! we need to bring theaterteen back let them be dramatic again PLEASE

kbs 2017 is also woozi drums!!!! i wish there were subs of that video :( i wanna know what theyre yapping about

thank u again for doing this i love talking about seventeen's music so much 😭 i saved that playlist if you dont mind <3

tell me your favorite seventeen live performance

[izzyyys-world]

Sid Jenkins headcanons! (Cause he's my second fav)

1: Sid’s room is perpetually cluttered, but he knows exactly where everything is. His floor is covered in comics, band posters, and old snacks.

2: Sid is most productive at night, whether it’s listening to music, gaming, or sketching out random thoughts in a notebook.

3: He has a habit of overanalyzing everything conversations, decisions, and feelings. It leads to a lot of self-doubt, but he’s learning to trust himself more.

4: Sid has a passion for old-school gaming, tabletop role-playing games, and obscure indie movies. He finds comfort in fantasy worlds where he feels more in control.

5: He often zones out, imagining different scenarios or alternate realities where he’s more confident and fearless.

Creative Side

1: Sid makes personalized mixtapes for his friends, carefully curating each one to reflect their personalities or specific memories they share.

2: He’s surprisingly good at sketching. Most of his notebooks are filled with doodles of characters, spaceships, or even Cassie.

3: Inspired by Tony’s influence, Sid picks up playing bass guitar. He’s not great at first, but it becomes a creative outlet for his bottled-up emotions.

4: After Cassie leaves for New York, Sid gets into taking moody, black and white photos of everyday life, finding beauty in small, mundane moments.

5: Sid starts an anonymous blog where he writes about life’s frustrations, hopes, and awkward moments. It gains a small following, and he’s secretly proud of it.

Social & Relationships

1: Sid would drop everything to help a friend in need, even if it’s inconvenient or uncomfortable for him. He’s the ultimate ride or die friend.

2: Sid doesn’t realize it, but his shyness and honesty make him incredibly endearing to people.

3: Sid and Jal develop a deeper, sibling-like bond after everything they’ve been through. Jal becomes one of the few people he feels comfortable being completely honest with.

4: No matter where life takes him, Sid will always carry a part of Cassie in his heart. Whether they reconnect or not, she’ll remain one of the most formative people in his life.

5: Sid often plays the peacemaker when friends argue, using his empathy and calm demeanor to help smooth things over.

Adventures & Escapism

1: Sid eventually takes a solo backpacking trip through Europe to try and figure out who he is without Tony or Cassie. It’s a messy, eye opening journey of self discovery.

2: Sid finds peace in wandering around the city at night with his headphones on, watching the world in its quietest moments.

3: He writes his own comic series about an awkward, underdog hero who slowly becomes a legend basically a reflection of his inner world.

4: Sid has a secret spot by a riverbank where he goes to think. It becomes his sanctuary when life gets too overwhelming.

Growth & Healing

1: Over time, Sid learns to open up about his feelings instead of bottling everything up. He gets better at having vulnerable conversations with friends and family.

2: Sid begins working on his self esteem realizing he doesn’t have to be “cool” like Tony to be valued or loved.

3: He starts setting boundaries, especially with people who’ve taken advantage of his loyalty in the past.

4: Sid eventually finds small, meaningful hobbies like cooking, learning new instruments, or volunteering that help him feel more connected to the world.

5: After their ups and downs, Sid works toward mending his relationship with his father. They bond over shared music tastes and old memories.

[louisupdates]

LOUIS TOMLINSON HAS FESTIVALS DOWN AT SZIGET 2024

SUN 11TH AUGUST, 2024 | 4:56 PM

A fearless masterclass in unifying rock & roll.

Words: Ali Shutler. | Photos: Frances Beach.

“Festivals are a new thing for me,” Louis Tomlinson admits onstage at Sziget, but you wouldn’t know it. 2022’s ‘Faith In The Future’ was full of the sort of rowdy indie anthems that are perfect for a sunset slot on a festival main stage and today, he’s every bit the swaggering rock star. Kicking off with the thundering ‘The Greatest’, Louis delivers the soaring track with his arms outstretched, embracing the chaos that’s already unfolding in the heaving crowd.

There’s an urgency to every slab of guitar-driven music, but there’s a confidence in how Louis and his band allow each track to build. It means the hammering ‘Kill My Mind’, the tender ‘Bigger Than Me’ and the unifying ‘We Made It’ give the show a real sense of dynamic colour, while the dreamy ‘Holding Onto Heartache’ sees Louis slow things down without losing any of that energy.

Despite the hulking rock anthems, Louis hasn’t forgotten his pop chops either. Covers of One Direction’s ‘Drag Me Down’, ‘Night Changes’, and ‘Where Do Broken Hearts Go’ are all delivered with a newfound bite, but those stadium-ready choruses are as sugary sweet as ever. From the diehard fans who’ve been camping out at the barrier all day, to the impromptu dance parties that break out towards the back of the field, Louis’ set inspires a real sense of giddy community throughout the festival, and he’s there right alongside them. The entire thing feels like a celebration.

“I’m a big music fan, which is why I do what I do, and I love coming to festivals but I’ve not done this a lot,” he says, once again explaining how new the unpredictable beast that events like this are for him. “It’s an honour to play these spaces because I know how good it feels to be where you guys are,” Louis adds before breaking into the widest of grins, “Festivals are good, right?”

From the moment he released debut single ‘Just Hold On’, Louis’ solo career has been about taking risks and following his gut. It’s led him today, where he puts on a fearless masterclass in unifying rock & roll. Sure, it’s another leap into the unknown but from the euphoric ‘Face The Music’ through the playful funk of ‘Written All Over Your Face’ to the punk-fuelled catharsis of ‘Out Of My System’, today’s set is a total triumph.

[sinceileftyoublog]

Kamasi Washington Album Review: Fearless Movement

(Young)

BY JORDAN MAINZER

Kamasi Washington believes in the limitless power of imagination. On Fearless Movement, the jazz saxophonist's fifth studio album, Washington doesn't expand his sound, making room for guest rappers, just for the sake of it. Instead, he presents Fearless Movement as a step in an infinite evolution. If it seems like he's trying things out, that's because he is, and Fearless Movement is a tribute to the buoyancy of music.

Indeed, Washington has contextualized Fearless Movement as a dance record--not literally, say, a Chicago house album, but a collection of songs you can dance to, and more importantly, that suggest transitory states. He developed the record during a time of collective stillness--the pandemic--but of personal change, as his daughter was born. He exposed her to the teachings of Coltrane and Coleman, and by age 2, she was toying around on piano and came up with the melody for what would become "Asha The First". Washington's daughter's explorations are a microcosm for the approach he and his band took on Fearless Movement. "Dream State" formed out of an invitation from Washington for Andre 3000 to bring his flute to jam alongside co-writer and keyboardist Brandon Coleman, drummer Tony Austin, and producer Mono/Poly. The song starts with woodwinds over drones, as if the players are getting used to their new surroundings, before Andre's flute chops over a pulsating synth bass beat, the woodwind instruments eventually fluttering in syncopation. Meanwhile, "Lesanu" and "Road to Self (KO)" are two of the most dynamic tunes Washington's ever put to tape. The former, a prayer in the Ge'ez language of the Ethiopian Orthodox Bible, sees Washington, the new father, thinking about his own mortality in the wake of a friend's passing. The transitions, from shimmery drums and vocals into free clattering and swirling horns, then into post-bop with handclaps, are more sudden, but no less natural. The latter, on the other hand, is a 13-and-a-half minute epic that gradually changes tempo many times, in each instance led by a breathtaking line: arpeggio keys, elongated horns, Woody Aplanalp's raw lead guitars, and drums.

While many of the verses on Fearless Movement are perhaps less sophisticated than their musical counterparts, especially as they read on paper, they work in conjunction with the instrumentation. Taj and Ras Austin go back-to-back on "Asha The First", Taj waxing on the future and the cycle of institutional problems plaguing our world, Ras much more optimistic and spritely about the exponential benefits of learning. "Teach 'em the Afrocentric lens of this life that's upon us / Not just vices and charmer, give advice from the prices of karma / Deeds and action, laws and righteous rights and honors," he raps, atop a steady instrumental highlighting Thundercat's unmistakable bass noodling. Saxophone and organ solos bookend their verses, as if to present their words as chapters in an ongoing conversation. On neo soul standout "Lines in the Sand", singer Dwight Trible both stands up to and recognizes the reverence of borders, both physical and metaphorical, in this day and age: "Lines in the sand won't take my soul from me / Lines in the sand keep us alone and weak," he sings. The chorus of voices that pop in and out, nestled within the saxophone, Cameron Graves' piano, and organ, serve to bolster but also warn him.

There are a couple tracks on Fearless Movement that do grapple with modern dance music, to varying degrees of commitment. The one with the most star power is "Get Lit", which pairs funk legend George Clinton with rapper D Smoke on a bouncing track about partying and community. (Hearing D Smoke attempt to find biblical precedent for his hedonistic and horny verses is especially amusing). But album closer "Prologue" stands out. It interpolates Astor Piazzolla's tango into a propulsive and breathtaking swath of horns, piano, and drums, Dontae Winslow's trumpet solo perhaps the best individual moment on the album. By the end of the song, Washington's saxophone screams. In conjunction with the keys, it sounds like it's glitching. After all, sometimes, when you're experimenting, you'll break something. The key, as suggested by the record title, is to not be afraid.

[fearlessechoes]

Meddle (1971) part 1

Here are my thoughts on meddle! :)

1. One Of These Days 

The (bass) intro to this song is simply divine and iconic!! It’s also really creative and really sets an ominous but very cool atmosphere. Now Pink Floyd’s signature sound is very noticeable (the previous albums you don’t really hear much of their “signature sound” imo)! You get really pumped listening to this song for the rest of the album. And omg, is that the same synths I hear used in set the controls for the heart of the sun?? This song honestly reminds me of a video game intro cutscene soundtrack. Once the beat drop hits, the song gets even more badass and cool! I was really head banging! Also lovely piano/organ here. What a way to start the album! The best Pink Floyd intro song so far and one of my personal favorite songs on the album.

2. A Pillow of Winds 

And I love the transition here with the wind! The slide guitar and acoustic guitar are so freaking good here. Same with the melody. I can already tell Pink Floyd really stepped up their game here in comparison to their other previous albums. The song feels calming, but also slightly melancholy/creepy. I also really like the folky vibes here! Sounds reminiscent of The Beatles/Simon and Garfunkel. Also one of my personal favorite songs on this album!

3. Fearless

I love the guitar riffs here (both acoustic and electric)! The mixing of both here is very great. Same with the drums here (they make a great beat to head bang to). David’s voice is also very lovely here, and I love it. And I love the melody and lyrics against conformity/being true to yourself here as well! Also like the edition of You’ll Never Walk Alone! One of my personal favorites off the album as well! This song also feels very summery, which fits with the season currently as well :) (at least in the northern hemisphere).

4. San Tropez

I really like the chill/summer vibes of this song with the acoustic guitar! And I also really, really like Roger’s softer/higher voice here! The melody is very good and highlights the best aspects of his voice! And the slide guitar is a nice addition as well! It truly feels like you’re in San Tropez for summer vacation, just relaxing :) The lyrics here are so good here as well. The piano solo is also just lovely! One of my personal favorites off this album!

5. Seamus

Ok, this is just cute! I have a weakness for dogs, so I may like this song more than other people. The guitar is also cool! And I also think it’s funny to combine blues with a dog howling! It both fits pretty well together if you think about it. It reminds me of these videos on YouTube where people film their pets "singing.”

Ok so my analysis/thoughts of echoes is too long to include on this post (damn you text limitations!) … so I’m making a part two of my thoughts! :)

Edit: Here is the second part:

[weaversweek]

41 "Wuthering Heights" - Kate Bush

Written by Kate Bush

“There was a full moon, the curtains were open and it came quite easily.”

Part of the UncoolTwo50 project, marking the best singles from 1977-99.

Aged 18, young Kate took inspiration from one of the great Gothic novels, and fashioned a whole performance. It's the most audacious, fearless, quietly feminist art performance - possibly of my lifetime.

Musically, the song has a lot to unpack: harmonic progressions, vocal yelps going here and there, a guitar solo that fades in at the end and dominates everything. And nobody cares for the music theory.

Written in the first weekend of March 1977, Kate found herself channelling the spirit of namesake Catherine Earnshaw, and her forbidden love for Heathcliff. Committed to vinyl over the summer, backed by David Gilmour of Pink Floyd, and passed to Capital Radio in November '77, but a change in the artwork postponed release to January '78. The press got it wrong. "B-O-R-I-N-G", wrote Record Mirror. "Manufactured entirely to be consumed" said the New Musical Express (Incorporating Accordian Times). And nobody cares for the details.

We care for the emotion. Kate had taken lessons from mime artist Lindsay Kemp, she'd been dancing and theatrical since a very young age. She embodies the song, and the song is an extension of her.

Kate did Top of the Pops on 16 February, all flaring hair, sheer black top, red trews, and black stiletto heels. It's behind-the-sofa stuff, Kate is as scary and unnerving as a demented witch. This is "Wuthering Heights"? Blimey.

And the rest is history. Top-selling single two weeks later, and Kate had a level of superstardom we'd later associate with Duran Duran, Take That, or Little Mix. Unlike those others, Kate had the agency to take her career her own way: didn't tour after 1979, took long breaks to hone later albums. More in a future entry…

For the list, I've imposed a massive penalty on acts with more than one single - it's removed a second Madonna from the top 50 (goodbye "Open your heart"), ensured we only have one Alanis Morissette ("Hand in my pocket", farewell), a single Tori Amos ("Silent all these years" and "Crucify" both drop off). Kate Bush gets two into the top 50, the only performer to achieve the feat.