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hunieday · 8 months ago

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Momo i-HAKE! Rabbit TV - Part 1: i-HAKE! ~Momo’s episode 1~

Episode 1 - Episode 2 - Episode 3

Please note that I am not a professional translator and I'm only doing this to share the side materials to those who cannot access them, if you notice any mistakes please let me know nicely. Enjoy!

Momo: Yahoo, everyone~! It's Momo from Re:vale!

Momo: Today I'm visiting a community center in Momoharu Town for the “i-HAKE! ~Idol dispatch~" project!

Momo: This town has a big port nearby and is famous for its seafood bowls~

Staff: Momo-san, you sound like you know a lot about this town. Have you been here before?

Momo: I saw its market featured on TV before and thought it looked nice. The rumors were right, it sure is a lovely town!

Momo: Don’t tell me, is the request related to “that”?

Staff: What do you mean by "that"?

Momo: Fish! I could try my hand at butchering a tuna fish for example!?

Staff: Ohh! That would be worth witnessing…!

Momo: Oh, that reaction… Did I actually get it right!?

Momo: Ah, but wait, don’t you need a certificate to process tuna?

Momo: In that case, if Momo-chan needs one... does that mean I’m gonna be shooting here long-term!? Then I’m gonna guess my support guests are either the intelligent Iori or Sougo!

Staff: Momo-san, your deductive skills are sharp!

Momo: Fufu, you can call me the Great Detective Momo-chan!

Staff: Well then, let's call your two support guests on stage to answer your question!

Nanase Riku: Hello, I'm your support guest, Izumi Iori. I like cool and sharp things.

Yaotome Gaku: Likewise, I'm Osaka Sougo. Nice to meet you...Is this how Osaka acts...?

Momo: Yay! bingo! ...or not, it's Riku and Gaku!

Momo: You two found your groove right from the start!

Nanase Riku: Ehehe, that was a good Iori impression, wasn’t it? I’ll introduce myself properly, I'm Nanase Riku! I'll do my best to support you, Momo-san!

Yaotome Gaku: Ahaha. Sorry my impression didn’t go through as well. I'm Yaotome Gaku, I’ll be your support guest.

Momo: Thank you for being here with us today! I feel like I have the strength of a hundred men with you two here!

Momo: By the way, is the request to process tuna...

Nanase Riku: No it’s not!

Yaotome Gaku: Definitely not that.

Momo: You shot it down immediately!? You junior idols are ruthless...!

Yaotome Gaku: Personally I'd like to try it, even if it sounds challenging.

Momo: Seeing Gaku dismantle a fish on screen sounds exciting!

Nanase Riku: I wanna see that!

Momo: Let me know if you decide to take on that!

Yaotome Gaku: Ahaha!

Momo: Alright, let's get back to the real request... What is it?

Nanase Riku: Alright! On the count of three...

Nanase Riku & Yaotome Gaku: "We want you to perform a traditional Japanese drum dance at a festival!"

Momo: A Japanese drum dance!?

Staff: Yes! Now, let's call the leader of the local youth group who made the request! Please come in!

Youth Group Leader: Heya, nice to meet you! ...Whoa! It really is Momo-san from Re:vale! Amazing! Your idol aura is off the charts!

Youth Group Leader: Woah, Riku-kun and Gaku-kun look so cool too! Can I please take a picture later?

Nanase Riku: Wah... Y-Yes! Sure thing!

Yaotome Gaku: Haha, aren’t you quite energetic.

Momo: He's so friendly!

Youth Group Leader: Thanks! It’s not just me, all the guys in our youth group pour their souls into this festival!

Momo: Wow! And you’re inviting us to a festival this spirited? I'm even more excited now!

Momo: Riku! Gaku! Let's make it more exciting together!

Nanase Riku & Yaotome Gaku: Yeah!

Momo: First of all, could you tell us what kind of festival it is?

Youth Group Leader: It's an annual festival in our community! It's called the "Autumn Leaves Festival," and it's a traditional event we hold in autumn.

Momo: What, the day after tomorrow!? So we only have two days left!?

Youth Group Leader: I'm sorry it's right around the corner...!

Yaotome Gaku: We can handle it. Men burn brighter in the face of adversity.

Nanase Riku & Momo: So cool...!

Youth Group Leader: Everyone in town looks forward to the Autumn Leaves Festival even if it’s not a huge one with fireworks. The Japanese drum performance is the highlight of the event and it gets the crowd excited every year!

Momo: Sounds awesome! But can we really be in charge of such an important part of it?

Youth Group Leader: That's exactly why! This year is the Autumn Leaves Festival’s 100th anniversary so we wanna make it even more spectacular than ever.

Youth Group Leader: Momo-san, you're great at hyping up the crowds either at concerts or on TV. So everyone’s energy is surely gonna skyrocket if you’re there performing at the festival!

Youth Group Leader: We'd be very happy if you could help us...!

Nanase Riku & Momo & Yaotome Gaku: ...!

Momo: I can't help but get fired up when you put it like that!

Nanase Riku: Yes! And a Japanese drum performance sounds like it’s gonna be a lot of fun anyways…!

Yaotome Gaku: yeah, I’m pumped!

Momo: Alright then, let’s give it our best for the big performance the day after tomorrow! Let’s fire up the Autumn Leaves Festival with the best performance!!

Nanase Riku & Yaotome Gaku: Yeah!!!

Momo: Oh, these outfits look really cool!

Momo: Don’t they look like we could put on a live performance wearing them?

Nanase Riku: Wow...! Momo-san, it looks so good on you! You too, Yaotome-san!

Yaotome Gaku: You too, Nanase. I think it’d be quite the artistic portrait to play Japanese drums in these fits.

Youth Group Leader: Everyone looks great in those outfits! So cool!

Momo: Thank you!

Youth Group Leader: Wow... I felt my heart race when you winked at me...! I’m kinda nervous...!

Yaotome Gaku: As expected of you, Momo-san. Your fan service is top-notch.

Momo: Wearing this outfit activated my switch.

Youth Group Leader: The outfits are fantastic, but the drums over there are what’s making me really excited!

Momo: I'm itching to practice already!

Youth Group Leader: I’m glad to see you so motivated, Momo-san! I’ll call the drum instructor right away.

Youth Group Leader: The Autumn Leaves Festival would be nothing without him! He's been playing the drums for 50 years! Here’s our instructor, Gen-san!

Gen-san: Nice to meet you all. I'm looking forward to working with you.

Nanase Riku & Momo & Yaotome Gaku: Nice to meet you!

Nanase Riku: The fact that you’ve been playing for 50 years is seriously impressive…!

Gen-san: No, it's nothing. I just happened to pick up the drumsticks at my first Autumn Leaves Festival, and before I knew it, I reached this age.

Youth Group Leader: Everyone who performs the Japanese drum in this town learned the basics from Gen-san. I was still a kid when he first taught me...

Nanase Riku: It has quite a long history...!

Youth Group Leader: Of course! It's a traditional performance that’s been passed down through generations during the festival after all!

Yaotome Gaku: It's a big responsibility...

Momo: Yeah, but it makes me even more motivated. We'll put our hearts into playing the drum!

Gen-san: Thank you. I'm glad to hear that.

Gen-san: By the way, have any of you played the Japanese drum before?

Momo: I played a little during an elementary school sports festival... But I’ve never been taught properly.

Yaotome Gaku: I'm on the same boat over here...Oh, I did practice while playing a few rounds of taiko games before though…

Momo: I'm good at those games!

Yaotome Gaku: You like playing games, don’t you?. ...But this might be different from the real deal…?

Momo: I seeeee! Yuki is complete ass at playing racing games and often ends up driving in reverse, but his real-life driving skills are top-notch…

Nanase Riku: I used to play with toy drums we had at home when I was little...

Gen-san: I understand. Let's start by learning how to stand.

Gen-san: Each one of you stands in front of a drum.

Gen-san: Momo-kun, you stand in front of the large drum in the center. Riku-kun and Gaku-kun, please stand in front of the medium-sized ones on each side.

Nanase Riku: Momo-san's drum is huge...!

Yaotome Gaku: It’s really impactful! It really feels like the main one.

Nanase Riku: Momo-san is in the center!

Momo: The center, huh! Re:vale doesn't really have that so it’s refreshing, I’m kinda happy!.

Nanase Riku: Well, us three are a special unit right now so we'll support you, Momo-san!

Momo: Thanks, Riku! Since I have you two supporting me, I need to do my best too.

Gen-san: Hmmm... I was going to teach you how to stand but you already look graceful. Maybe you should pull your shoulders back a bit to open your chests?

Momo: Opening our chest, huh…Like this?

Gen-san: Ah… Yes, exactly. Your posture is good and so is your intuition. Riku-kun and Gaku-kun have a very upright standing posture, too.

Gen-san: And now, first bow to the drum before holding the drumsticks...

Nanase Riku & Momo & Yaotome Gaku: ...

Gen-san: ...Oho. You've already done it.

Nanase Riku: Ah...! I’m sorry for doing it without your instruction...!

Yaotome Gaku: My body moved on its own...

Momo: Ahaha... I just wanted to greet the drums properly since they'll be helping us at the festival.

Gen-san: Fufu. No need to apologize… There's nothing more to say about your readiness.

Momo: ...Thank you very much!

Gen-san: Well then, you can finally pick up the drumsticks and start playing.

Gen-san: I apologize for the lack of practice time, but I'll teach you everything I can. So please look forward to the Japanese drum performance.

Nanase Riku & Momo & Yaotome Gaku: Yes! We're looking forward to working with you!

Momo: I'll pour my heart and soul into it so that the townsfolk can also call this year's Autumn Leaves Festival a good one!

End of Episode 1.

#idolish7 #i7 #ainana #idolish7 translation #sunohara momose #momo re:vale #nanase riku #yaotome gaku #i-hake #rabbitv

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innervoiceart · 4 months ago

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SEPTEMBER 1970 (54 YEARS AGO)

Curtis Mayfield: Curtis is released.

Curtis is the debut album by Curtis Mayfield, released in September 1970. Produced by Mayfield, it was released on his own label Curtom Records. It topped the Billboard Top R&B LP's chart, and reached #19 on the Billboard 200 Top LP's chart.

The musical styles of Curtis moved further away from the pop-soul sounds of Mayfield's previous group The Impressions and featured more of a funk and psychedelia inspired sound. The album's subject matter incorporates political and social concerns of the time.

After leaving the Impressions, Mayfield began to write lyrics that were more politically charged. With the 1970 release of Curtis, he became one of the most important socially conscious artists of his generation. The album's opener, "(Don't Worry) If There's a Hell Below We're All Going to Go" uses racial epithets openly, as Mayfield asserts the shiftlessness of America. Set to a funky groove, with smart horn arrangements and wah-wah guitar, this song is a brazen attack on social mores, racism, the Vietnam War, religious impropriety, and Nixon-era politics.

"We the People Who Are Darker Than Blue" is another track that poignantly examines the race and class struggles of urban America. This song is made up of more than just a static groove; its tempos shift midway through and powerful brass figures, timpani punctuations, and harp glissandos soon dominate the mix. Also featuring the powerful "Move On Up," Curtis is a classic soul record, and its relevance is amplified by its quest for racial harmony and its bold anti-establishment stance.

__________

ORIGINAL ROLLING STONE REVIEW

Here's a Curtis Mayfield (of the Impressions) solo album; so far as I know, the first. Most of the eight cuts are distinctly Impressionistic, and one, "Miss Black America," includes Sam and Fred singing choruses. There are really no surprises in this album. It's just eight more Mayfield tunes, sweet music to Mayfield maybe, but not what I'd call the best demonstration of the man's talents.

For the past year or so, a lot of Mayfield's tunes have seemed die-cast and lacking in character. He appears to be unable to develop either a musical or lyrical theme to fullness these days, and many of his songs are fragmentary, garbled and frustrating to listen to. Lyrically, his songs are a whole lot more rhyme than reason; which isn't so uncommon, except that he tries to deal with some pretty serious and complex subjects by stringing together phrases that end with the same sound—whether they make sense together or not. Sure, it's all subjective, but I can't myself see that what we need is "Respect for the steeple/power to the people."

The arrangements are all pretty uninspired, a little bit halfhearted—maybe largely because there's so little melodic meat to most of the tunes. A few of the songs move well, mainly on the backs of the conga, bass and guitar men; but the long tracks (six to eight minutes) are a mighty long way for three men to try and carry all that weight.

Five of these cuts may get some airplay and popularity, for one or more of three reasons: because they were written by Curtis Mayfield of Impressions' fame; because they have a good dance beat; or because they deal with "social issues" in a nice, bland, inoffensive, inconclusive way. "(Don't Worry) If there's a Hell Below We're All Going to Go" is a pretty good example. It's jumpy, it's got words like "nigger" and "cracker," "hell" and "Nixon," and it says no more than the title. "The Other Side of Town" presents a grim view of a black man's life and feelings in the ghetto. "We the People Who Are Darker than Blue" is the only song on the album that does some gear-shifting, rhythm-wise; but it doesn't go anywhere, messagewise. "Move On Up" has some life to it, but not eight minutes and 50 seconds' worth. "Miss Black America" strikes me as a good musical commemorative stamp, complete with an authentic black girlchild saying she wants to be a sex-object when she grows up.

Mayfield has written good material in the past. I'm hoping that he's just in a slump, and that he'll soon be writing tunes with real life in them again. This album, though, is pretty much just disjointed skeletons. (RS 71)

~ Wendill John (November 26, 1970)

TRACKS:

All songs written and composed by Curtis Mayfield.

Side one

1. "(Don't Worry) If There's a Hell Below, We're All Going to Go"

2. "The Other Side of Town" - 4:01

3. "The Makings of You" - 3:43

4. "We the People Who Are Darker Than Blue" - 6:05

Side two

1. "Move on Up" - 9:00

2. "Miss Black America" - 2:53

3. "Wild and Free" - 3:16

4. "Give It Up" - 3:49

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2dkapsddr · 1 year ago

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April 25th, 2023 - ProSeka, CHUNITHM PARALOST, Phigros, Groove Coaster

11113

anyways back to playing chunithm!!! got a good rhythm going! (and a lot of new rating increase woa)

also got my first 15 clear by technicality? clears don't mean anything consistent in chuni, but still Impressive...

but overall neat session, entered with 14.07 rating and continued cementing it with a +0.08 rating increase to leave with 14.15!

now, let's see what i've got going on phigros! ...seemingly trying to ace chapter 5 now (except NYA!!! is SUCH a shit chart honest to god)

did a bit of waiwai as well and got an FC on Senbonzakura Master 12!! along with trying to get decent acc by playing a 7 (wah)

#2dkaps 2023 #2dkaps proseka #2dkaps chunithm #2dkaps phigros #2dkaps gc #2dkaps chunithm paralost

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sinceileftyoublog · 4 years ago

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Delvon Lamarr Organ Trio Interview: Fo Sho

Photo by Francis A Willey

BY JORDAN MAINZER

No album from 2021 so far has me anticipating the return of live music more than Delvon Lamarr Organ Trio’s (DLO3, for the insiders) I Told You So (Colemine Records). The band’s second full-length expands upon their first LP Close But No Cigar in all the best ways: propulsive grooves, soulful moods, and an active imagination. Opener “Hole In One” introduces all the elements--funky, prickly guitar lines, confident drumming, and soulful organ--before first single and second track “Call Your Mom” and third track “Girly Face” reveal a gentler kind of sway without losing any of the sharpness. After “From The Streets” slows things down even more with a lurching rhythm and trailing reverb, the album turns it up a notch again with “Fo Sho” and “Aces”, upbeat struts with guitar and drum solos. In between that and the Stax-inspired closer “I Don’t Know” are perhaps the album’s two best tracks: a remarkably faithful, emotive cover of George Michael’s “Careless Whisper” and “Right Place, Right Time”, a solo-laden jam that begins with spontaneous studio chatter embracing the chaos of live recording. Moreover, the album contains all the elements of and is almost structured like a terrific live set, with ample virtuosic dynamism and ideal pacing.

The band on I Told You So is founding members Lamarr, on organ, and Jimmy James, on guitar, with drummer Grant Schroff (The Polyrhythmics) filling in for what was at the time a permanent drummer to be named later. (Schroff went on a European tour with DLO3 right before the recording of this album, so they decided to go with him.) Since then, drummer Dan Weiss has entered the fold; he joined as a permanent drummer last year and even toured a little bit in Canada and Montana before COVID-19 abruptly ended the tour. But while the drummers have rotated, it’s James’ guitar and especially Lamarr’s organ that have remained the foundation of DLO3, one that gives me confidence they could switch drummers every time and still one-up themselves.

I spoke with Lamarr earlier this year from his home in Spokane, WA about the various releases under the DLO3 belt (two albums and singles/live releases) as well as working virtually with a new drummer, Colemine Records, and Chick Corea (who passed away right before our conversation). Read our conversation below, edited for length and clarity.

Since I Left You: What about I Told You So is unique as compared to anything else you’ve ever released under this trio?

Delvon Lamarr: We have more musical influences in I Told You So. The reason why Close But No Cigar felt kind of reserved--we weren’t getting too deep into it--was because it was unplanned. We didn’t even have music to record at the time. But this one features more diverse musical influences of ours. “From The Streets” has that hip hop, Ohio Players feel. “Careless Whisper”--you never hear an an organ trio play that. It digs deeper into our musical knowledge.

SILY: What was the process for composing and arranging these tracks? How much improvisation was there?

DL: It’s like 90% improvisational. Pre-pandemic, we toured a lot, so we hardly ever had a chance to get in a room and write music. Plus, we all live pretty far away from each other. We basically write music during soundchecks, and when we’re on the road, we come up with these ideas and put them together. Usually, we write these melodies, and things like that, but outside of the melody, the solo areas are pretty much gloves off. Whatever happens happens. One of the things we’re known for is intertwining music with other music, different genres of music within the one song. It keeps the music fresh and keeps people engaged. It’s a free for all for most of it. [laughs]

SILY: There’s a good balance on here of songs where everyone has equal weight versus songs really led by one person or instrument. Was it important for you to achieve that balance across the whole album, or did it just end up naturally like that?

DL: It’s just how it ended up. When we write music, we pretty much write grooves. Take “Call Your Mom”: That whole song was built around Jimmy’s guitar riff, so that is the melody. When we wrote that, we actually wrote it on the road during soundcheck. I think it just naturally happens. Whatever instrument we think sounds good, we’ll play that melody.

SILY: Has Dan been learning the tracks?

DL: Oh yeah. We’ve been writing music together. Right now, we multi-track our ideas or sing it into a phone and try to build it that way. A lot of these new tunes we haven’t actually played, because we can’t get in the same room, so we just go for it, man.

SILY: What about “Call Your Mom” and “Careless Whisper” made you want to release them as singles?

DL: That was a decision between my wife [and manager Amy Novo] and Colemine Records. I probably would’ve chosen “Call Your Mom”, too. It has a certain feel and groove to it, man. [laughs] “Careless Whisper” is funny, too, because I wasn’t even gonna record that tune. My wife really likes when we play it--she requests it at the end of shows. She convinced us to record that. I was like, “Nobody wants to hear ‘Careless Whisper’ by an organ trio.” She said, “Dude, just do it, it’s gonna be really good.” We did it, and I was wrong. The reception from that tune has been pretty amazing, actually. I thank her. She’s the reason we recorded it.

SILY: You play a lot of covers live--on the KEXP release, you did “Move On Up”, and last year, you released a cover of “Inner City Blues”. What’s your general approach to covers: Be faithful, or put your own spin on it?

DL: The spin of playing a cover tune just happens naturally. Take “Careless Whisper”: We try to play it like the recording, like the original. I work on phrasing the melodies like George Michael sings it. The way we end up doing that automatically puts a certain feel to it that naturally happens. I feel that way about all of them, even when we do “Move On Up”. I play the melody like Curtis Mayfield sang it. I try to get all of his nuances.

SILY: “Fo Sho” was released on the same single as “Inner City Blues”. Why didn’t you include “Inner City Blues” on the record? Is two covers too many?

DL: Not at all. Close But No Cigar had 4 covers on it.

SILY: That’s true.

DL: We just had a lot of original music we wanted to get out. I Told You So is part of a session that had 27-28 songs recorded. We have another album or two, or an album and a couple 45s worth of music just in that recording alone. We’ve done more recording since then, so we have more music in the can right now. We just wanted to get original tunes out. We did record some more covers that will be out later on, either as 45s or something else.

SILY: The record’s really crisp, but on “From The Streets”, the trailing reverb of the guitar is a hazy contrast to the rest of the album. Can you talk about that track?

DL: The history of that track--basically, I grew up in the streets. I was a rough child. [laughs] I had that music in my head that reminded me of my childhood of running the streets. When we recorded that, you never really hear an organist in an organ trio play a bass line. I don’t play chords in that tune at all. A lot of that magic is Jimmy James. He doesn’t use guitar effects. I actually recently got him to use a wah in a show, and it took him five years to do that. He’s straight guitar and amp. He’s always been that guitar player. That tone, that sound, that reverb is just him and his amp.

SILY: Was that actual studio chatter at the beginning of “Right Place Right Time”?

DL: [laughs] I was wondering when somebody was gonna ask me about that. The song we recorded before, we played the whole thing start to finish, absolutely perfect, without a single flaw. Grant, maybe the last four or five seconds, completely bites it. We were playing, and he forgot to do a break right at the end and kept playing, so it was an unusable take, so he screamed, “Fuuuuuuuuck! Fuuuuuuck!” That’s what we were referencing at the front of it. Jimmy James was like, “Remember that time you were like, ‘Fuuuuuuuuck,’ and then I started copying Jimmy.” It was pretty funny. We listened back to it, and my wife was like, “We gotta leave that in there.”

SILY: Is there an extra guitar on that track?

DL: There is. The guitar player from the Polyrhythmics, Ben Bloom. It’s funny how that worked, because he came to see Jason [Gray], our studio engineer, and I asked him whether he had his guitar with him, and he did, so I said, “Grab it, let’s record something!” He said, “I got about 20 minutes, I gotta be somewhere.” I just started messing around with this bass line, and everything started falling into place. We did two takes of that song. Over about 15 minutes, we wrote that entire song and recorded it. At first, it was just one quick bass line, like a short bass line that I had the idea for, and we started building on it. Ben came in, put his magic on it, and it was a wrap, man. I love that solo, too. It’s dope.

SILY: What’s the story behind the record title?

DL: When our original drummer left the band, people were worried about the sound of Delvon Lamarr Organ Trio, because he had such a distinct style of playing. People assumed we’d sound different. I kept telling people, “As long as the music is good, people are gonna like it. It might feel different, but it’s gonna feel good and sound good.” That’s why I called the album I Told You So. Because it sounds good!

SILY: What about the album art?

DL: People are always wondering what I’m doing on the front of that album. I was shadowboxing--I used to be a boxer in my youth. We were taking photos in Cincinnati, and it was one of the photos everybody liked.

SILY: What does it mean to you to be on a label like Colemine Records, diverse in terms of genres but a wholly old school vibe.

DL: Our relationship is really good. They’re cool cats, man. It’s truly an honor to be a part of what they do. Since we’ve been with that label, I’ve met a lot of the artists on that label. It’s a gift to be a part of what they do. One of the big reasons I really like them is that it’s managed by two brothers that run it who are just normal dudes. They ain’t corporate. I talk to them like we talk to each other. It’s like family. I really respect these guys and what they do. It’s amazing being a part of what they do.

SILY: For sure.

DL: That’s “Fo Sho”. Just kidding.

SILY: Are you planning on doing any live streams or socially distant shows down the line, or are you waiting for things to calm down more?

DL: We’ve done a few live streams so far. We have more coming up. We’re working on some stuff. A lot of the tours we had scheduled last year got rescheduled to this year, so we’re seeing what happens, but right now, we’re still trying to book shows and see if it can be done safely. If it ain’t gonna be safe, we’re not gonna do it. We’re just hanging in there still, trying to keep things on the books.

SILY: What else is next for the Trio?

DL: We’re working on a new project that we’re gonna call DLO3 and Friends. Basically, Delvon Lamarr Organ Trio is gonna be the basis for the band but we’re gonna incorporate musicians we’ve met on the road all over the world that we’ve liked and start collaborating with people. We just went in the studio a couple weeks ago and laid the foundation. It’s comin!

SILY: Anything you’ve been listening to, watching, or reading lately that’s caught your attention?

DL: I’ve been back in my old school traditional swinging jazz, Kenny Dorham, Johnny Griffin, Coltrane, Miles, all those guys. I was originally a straight up swinging bebop player and haven’t been able to do that in a while.

SILY: Speaking of Miles, did you hear that Chick Corea passed away?

DL: I did. That was a pretty sad moment. We have the same booking agent. I never got to meet him. I was hoping to.

SILY: Do you have a favorite piece or recording of his?

DL: Yes. The Blue Mitchell album The Thing To Do. I remember listening to it; Chick was burning on it. One of the other things I realized on that album was how high pitched Al Foster’s toms are. But yeah: huge loss for the scene.

SILY: Anything else I didn’t ask about you want to say?

DL: Support your local record stores. There may or may not still be our limited pink vinyl at your local store, since those were only sold at record stores. Support your local record stores and local music.

I Told You So by Delvon Lamarr Organ Trio

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classicliteraturehoe · 6 years ago

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cool instrument things that happen in beetlejuice the musical (act 1)

aka danielle geeking out over Kris kukul’s orchestrations for a long time

Prologue/Invisible:

-is that a THEREMIN?! anyways. the synth slays

-the chromatic buildup ft. the trumpet right before the slow part.

-violin solo!!!!!!!!!?!!!!!!!! ugh 🙌🙌🙌🙌

-the cello on the low note before Sophia comes in

-when yoooou’re “sad” PIANO CHORD + Choir

-the violin when she says “say my name”

-the violins right before she says “folks carry on”

The Whole “Being Dead” Thing (ohhhh boy lets go)

-the brass intro!!!!

-The drum groove at the very beginning!

-BELLS

-every time the guitar does its descending call and response thing with Alex.

-the guitar riff right before the first “being dead thing”

-the trombone’s notes right after the first “being dead thing”

-when the trumpet harmonizes a third up from the guitar on the descending motif

-the TROMBONE’s line when Alex says “I’ll kill you myself”

-the descending bass line when Alex says “never gonna see em”

-the piccolo trill during the buildup when he says “just relax you’ll be fine.”

-the trumpet’s line right before the first “welcome to a show about death”

- BELL TOLL after “death”

-OBVIOUSLY the entire ukelele into death metal back into ukelele

-wah wah trumpet followed by synth theremin in the second verse

-the theremin synth playing the Beetlejuice motif at “you’re just gonna love the folks)

-the trumpet line during “nobody is bulletproof”

-the bass line at “we’re all on a hitlist”

-the giant snake here interlude!!!!!!

-trumpets in the Sinatra style “you’re gonna be fine”

-JAZZ KEYS

-WALKING BASS LINE!!!!! BIG SEXY

-violin line under “death is taboo”

-the trumpets and trombone when Alex says “if you die while listening to this album”

-VIOLIN TREMOLOS during “gosh it’s awful”

-the brass playing with Alex on “I have mastered the art”

-the guitar during that entire sequence

-DIES IRAE!!!

-the guitar just WAILING on that HIGH ASS E FLAT WHILE ALEX SINGS AN A FLAT ON THE “WHOLE”

- THE DRUMS! THE DRUMS! THE DRUMS JUST GOING BUCK WILD ON “BEEEEEEIIIIIIINNNNGG”

-THE CHOIR AND THE BAND ON THE BEETLEJUICE THEME AT THE END

-ALSO THE CHANGING DRUM GROOVES DURING THE WHOLE SONG.

Ready Set, Not Yet

-the brass right after Rob sings “come on”

-the harmonic rhythm underneath rob’s panicked suburban rapping

-when the strings come in on “make room for a kid, ADAM!”

-the bass line. just the whole bass line”

-the strings tremolo on Kerry’s “are you willing to..”

-the string line under “here we stand” for that enter part

-key change on “not yet”

-creaky floor boards instrumental interlude

-the drum’s part under the Spanish

-TRUMPETS starting at “so let’s go slow” all the way until the end. Just. SO GOOD!

-scatting

The Whole Being Dead Thing Pt. 2

-the bass line under BJ’s “Hi I’ll be your guide” chant.

-the trumpets during “the good news is you and your spouse died in your own house”

-the strings when BJ says “this guys happened to be passing by”

Dead Mom:

-bells plus piano after “are you here Dead Mom”

-the guitar line under “I’m tired of trying to iron out all my creases...”

-bass line under “hurry up get happy”

-strings + guitar after “daddy doesn’t wanna feel”!!!!!!!!!!

-the drum phrase under “like a performing seal”

-the keys under “and I’m your clone..”

-the strings under “you held my hand”

-KEY CHANGE on all I’ve done

-the instruments in unison under “I’ll be in my bedroom”

-the chorus in call and response on “ahs” during “mama will you send a sign” and so on

-trumpets under “go insane”

Fright of their Lives:

-the use of the rhodes synth!!!!!!!!

-the strings under “instinct and skill”

-the drum part during the chorus

-the strings under “farmers markets behind you”

-bass line under “living person to say my name” in the bridge

-synth under the 2nd “Beetlejuice x3”

-the strings descending arpeggiating under “surviiiiiiive

No Reason:

-FLUTES!!!!!

-the bass line “be like I knowww!!!”

-the violin going into “time to take command”

-SITAR?????

-the wind chimes! Sparkle sparkle!

-flutes harmonizing on “listen to the melody”

-ALL THE INSTRUMENTS during “the universe sings!!”

-SUS CHORD RIGHT BEFORE SOPHIA COMES IN!!!!

-THE WINDS FLUTTERING AFTER “cause you’re bored”

-CELLO SOLO UNDER DELIA SINGING IN THE BRIDGE and the violins joining and then the flutes!!!

-THE BRASS AND VIOLIN BUILD UP AND THEN PLAYING IN UNISON ON “AGING ASS WILL HAVE TO BELIEVE THAT”

-DRUM FILL BEFORE “EVERYTHING EVERYTHING HAPPENS FOR A REASON!”

-trombone at the very end

Say My Name:

-the drum + bass line at the beginning

-sitar!!!!!

-vibes under “i don’t know your name”

-sitar under the charades

-the trombone in the “Beetlejuice.....Beetlejuice....beeeee”

-trumpets at “beeeee cause!”

-bass under “being young and female”

-the high violin notes!

-the brass during the entire Lydia / Beetlejuice back and forth from “spare the lecture” to “lost my mind”

-the bass line under that back and forth

-clarinet solo under “just wanna make sure i know who I’m working with”

-the drums for the whole song

-the trumpet punches during BJ’s solo after Lydia goes “what do i need you for”

-the strings going into “we don’t need that demon”

-the brass after Lydia says “freak when we possess him”

-drums under “I’m gonna make him say my name

-when they bring the sitar motif back at the end

Day-O ( The Banana Boat Song)

-the percussion the entire song!!!

-the violins on “come mr. tally man tally me banana”

-the trumpet line on the last “daylight come and me wanna go home” before Charles freaks out

-the trumpets punches at the key change!

-the trumpets going into the second “6 foot, 7 foot, 8 foot BUNCH”

-piano run! at “me wan go”

-CALYPSO BRASS

-Beetlejuice takeover sequence!!!!! Looooooove

#yes its on main because #music #beetlejuice #beetlejuice musical #broadway music #musical #broadway #orchestra #musician #violin #alex brightman #theater #musicals #be more chill #bmc #the prom #song #songs

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zolozeuhlzowie · 5 years ago

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Dad rock. Boomer Rock. Blues Rock. We are all familiar with this label, and the bands associated with it. Led Zeppelin, Black Sabbath, Cream, Jimi Hendrix, the Rolling Stones, Deep Purple, The Yardbirds. But what about some of the bands the collective consciousness of the masses seemingly forgot? Are they all just lesser versions of the bands that existed? Surely, they weren’t forgotten for a reason! UFO is one of those bands. Formed in 1968, and supposedly named after the UFO club which many underground British bands played at. So, they got the scene credit for rubbing elbows with Syd Barrett. After being discovered, they recorded two studio albums, one live album, and then the lineup changed. This initial band struggled with popularity in their own nation, but found success in Japan and Germany.

Star Storm is off of UFO2: Flying. The opening of the song starts with some what of an eccentric blues rock jam with typical British blues rock fills driven through wahs, and a singer that could of easily stood in for just about any other jam band of the period. The song gets interesting as it goes on, going into instrumental territory with lengthy, frantic solos, tape loops getting dangerously close to Hawkwind’s space experiments, and various interludes chained together that range from playful to sounding like a military march. Eventually the main song comes back, exploding with the opening line we thought the band totally forgot. Through it all, although not Funkadelic, Pete Way’s bass is the groove holding it together. Occasionally, the lead guitar of Mick Bolton will chime in, answering to a bass line, or suddenly remember he’s playing a song and reference a riff or melodic idea from earlier instead of his incessant blues guitar ramblings. It sounds kind of amateur describing it, like a band who wants to play prog or space music but doesn’t quite understand what it is. And, yeah, it is kind of amateur. Kind of raw. But that’s the appeal to it. It’s a fun, dated piece of blues music with some surprising highs despite defying what would normally be considered conventionally appealing. Given that description, it makes sense that the home of krautrock would be fans of this band. Check it out, and try to not fault it for not confining itself to the standard 32 aaba pop affair. If you like this, honestly, check out their first 2 studio albums and then their live album. Otherwise, there’s plenty of other obscure bands from the same scene. Arcadium, which made only one album, and GUN who Judas Priest later went to cover their song race with the devil.

#UFO #blues rock #blues #rock #70s #70s rock #space rock #space #psychedelic rock #review #opinion

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6ad6ro · 5 years ago

Text

Got tagged by @thequantumranger to do 21 questions. Thanks! I tag... uhhhh nobody... bc i can’t remember who likes doing these things. @yoshis i guess? WAH sorry send me a msg or do it anyways if we’re mutuals and u love this stuff! i’ll try and keep a list next time i’m sorry lol!

Nickname: robert Zodiac: fish Height: 5′10″ Last thing I searched: why google was ruining net with .webm/.webp format lol. also grandia 1 stuff. also pc88 stuff. Favorite bands: yellow magic orchestra, boards of canada, cibo matto, capsule, deerhoof, fatboy slim, boris, denki groove, rammstein, todd rundgren, towa tei, etc... Song stuck in my head: denki groove - mononoke dance If I had a time machine would I go to the past or the future: sometimes i think i would commit horrible acts to be able to go back in time and fix my childhood. i’d wanna fix other more important things but i’d be afraid to screw everything else up. it’s incredibly selfish but... Do I get asks: sometimes! i really love them like please send me asks! Following: hah idk i tend to grab ppl who post old pxel art/anime or who followed me and seem v cool. Rich or famous: neither? though with money i could help people and with fame i could point out places that need help... i guess rich tho i’d be giving most of it away. Amount of sleep: horrible. i have a major sleep issue. recently pills have helped a little tho. Lucky number: 42 (IM SUCH A DORK SRRY I RLY VIBE W HHGTTG), 2099. What am I wearing: just plaid pajama pants bc it’s so HOT. and black and neon yellow (ohh) silk (ahh) boxers (ooo) idk why i’m telling you this lol... Dream job: musician. artist. that whole not working thing is a good idea too? Dream trip: japan. or like? everywhere. i almost never get to travel but i love it... If you were an animal, what would you be: crow. annoying. smart n all but only uses it for dumb things that other ppl find pointless. Favorite food: pizza! fruit (even tho i’m allergic to many). actually my fav ever is just water. i genuinely adore water so much! What are some favorite books/films/shows/games:

Manga: air gear, monster musume, jojos, yuuna and the haunted hot springs, akira, love hina, bnha, goodnight punpun, ghost in the shell, cromartie high school, evangelion, knj, junji ito stuff, rumiko takahashi stuff, JUST A LOT MORE SORRY.

Books: the hitchhiker's guide to the galaxy, 1984, brave new world, discworld, i’m blanking srry...

Games: final fantasy vii, castlevania sotn, jet set radio future, earthbound, vb wario land, mario64/smw, zelda lttp/64, resident evil 3, mystical ninja, silent hill 2, sonic 3 and knuckles, snatcher, killer7, phoenix wright, hotline miami, undertale, shin megami tensei, etc etc etc etc etc.

Shows: peep show, arrested development, father ted, trailer park boys, curb your enthusiasm/seinfeld, the office (us/uk), star trek, twin peaks, more i’m forgetting. (anime): nichijou, evangelion, fist of the north star, jojos, flcl, kemonozume, azumanga dioh, tenchi muyo, etc etc etc.

Films: blade runner (and 2049), 3-iron, jurassic park, lethal weapon, my name is nobody, scott pilgrim, phoenix wright, toy story. (anime): ghost in the shell, akira, miyazaki stuff, a lot more i’m forgetting...

Play any instruments: piano/kb (not great but trying), guitar (worse), harmonica (who cares tho lol), drums (awful). just a lot of things but i never get good weh. Languages: sadly only english. i’ve tried japanese and german etc but i’m bad at learning em! Aesthetics: anime girl, pixel, techno, neo-futurism, old japanese computers, virtual boy, manga, vaporwavey, vhs, looks normal or even punky or “tough?” irl but goes home to a room covered in cutesy moe anime girl merch.

#thequantumranger #questions #ty!#i spent too long on this tho lol...

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timetrickster · 6 years ago

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Living W/ Immortality: Episode 4: The Dance Battle To Save The World (Final)

FINN now in an ancient temple sees LUCIAN was moving around near an altar in a circular room. TAVEN & ATHENA are wrapped in ropes and stuck toward walls somehow. Faint music is heard from the entrance and FINN slowly walks in. The ceiling had this magical view of the moon and moonlight showered the room.

LUCIAN/NARRATOR (V.O)

And so it’s the final episode… jeez, that was quick. The author didn’t have time to expand? Whatever here we are the final act of the story, this time it’s hero vs villain! I hope there’s a fight involved. But anyways, let’s hope, Ms. Plant, Ghost Person, and the Two-faced dumbass are up for a challenge. Ready for the show?

As FINN walks in, the music gets louder. The song “I Think We're Alone Now” by Tiffany is playing. LUCIAN was dancing to the music.

LUCIAN

The one thing you humans did right was music. God, this song is amazing!

FINN stars at him awkwardly. Then looks toward TAVEN & ATHENA with a confused look and they shrug as well. LUCIAN turns off the song off at 1st Chorus.

LUCIAN (V.O)

Anyways, I should do my whole villain monologue, right? It’s the right thing to do. Nice to finally meet you all. Anyways, let’s get straight to the point! I’m starting a war where humankind and the magical fight each other. Just for the hell of it all. And I want you three to join me. You three are the only…

A random noise is heard as LUCIAN says his villain monologue.

You three are the only ones that can…

LUCIAN (cont’d)

(Looks around hearing the random noise)

What is that noise?

LUCIAN looks around then looks at FINN sitting on the floor of the room.

LUCIAN (cont’d)

Are you… are you eating?

FINN was holding and eating his plate lunch from earlier while sitting down and stops after being awkwardly caught.

FINN

Yes…

(He says with food in his mouth)

LUCIAN

You are seriously eating food while I’m trying to tell you about my plan.

FINN

(swallows food)

But I’m listening… you don’t have to get angry.

LUCIAN We’re in an ancient temple for God’s sake how did you even get your food here?

(Looks are the food with interest)

What do you have?

FINN

Fried rice, uhhh lemon chicken, crispy pork belly, tocino, and I think duck? I think.

LUCIAN

That sounds really delicious. Where did you get that?

FINN

Chun Wah Kam. Lovely place, lots of variety. Really good.

(Looks at watch)

Closes at 7… and it’s 7.

LUCIAN Thank you, I’ll be sure to find that when I’m done and…

Son of a bitch, what the hell am I saying?! We’re a hundred feet underground! There isn’t a food court here!

Shouting from LUCIAN in the background.

TAVEN

(whispers to ATHENA)

Seriously how did he get that plate lunch? He didn’t even have a bag.

ATHENA

(whispers back to TAVEN) I have no clue but that’s impressive that he brought that with him without a bag and being captured.

LUCIAN (V.O)

(Inner thoughts)

As much as I am mad at him for rudely eating during my monologue. I’m just curious how he has that with him.

LUCIAN

You three have powers passed down to you by the previous immortals. Life and Time died to keep the world spinning, Acheron ran away and was promoted to a higher rank. Now you three are capable of wielding their power for whatever you desire. And the big man upstairs won’t do shit.

FINN

You’re gonna start a war just so to see the world burn?

LUCIAN

Was it not that obvious? Of course, I’m bored. I’m an immortal sociopath who lived for eons and killed generations upon generations of your past incarnations. Just felt it was time to shake things up, ya know? What do you say? Want to join me?

FINN

(Sarcastically)

Yeah, I want to join you on a chaos and mayhem fueled war and pit humanity and magical creatures for the hell of it.

LUCIAN

I’m aware of your sarcasm and knowing you three having good hearts.

He snaps his fingers. All of a sudden FINN begins to scream in pain. Holding his head, until ERIN is brought out and separated from FINN’S body. They both look at each other and realize their situation.

FINN & ERIN

Oh, fuck me.

LUCIAN

Let’s have some fun. Weapons or fists?

FINN & ERIN

Weapons! Fists!

They both look at each other.

LUCIAN

Eh, why not both?

LUCIAN throws them a katana. ERIN nudges FINN to take it and he does so. The two stand up ready to fight. LUCIAN steps onto the floor ready to fight as well. He snaps his fingers and two monsters appear. A Kaupe & Kappa.

LUCIAN

I’m not much of a fighter. I’m the type of character that you fight at the end when you kill the penultimate boss with immense power. Meet Konane and Kuzenbo.

LUCIAN snaps his fingers and KONANE & KUZENBO become even more monstrous. Turning both magical creatures into even more horrid versions of themselves.

FINN & ERIN

Fuck.

FINN

You know what this feels like?

ERIN

What?

FINN

Teenage Mutant Ninja Turtles II: Secret Of The Ooze. Remember there was a mutated wolf and snapping turtle?

ERIN

Oh yeah… we’re so fucked. Since Michelangelo and Donatello are hanging on the wall.

LUCIAN

Hold on, let me play that Vanilla Ice song!

FINN

Can we make a request?

LUCIAN

Of course.

FINN & ERIN

Let’s Groove by Earth, Wind & Fire!

LUCIAN

Let’s dance!

The song “Let’s Groove” by Earth, Wind & Fire plays as LUCIAN snapped his finger. A fight ensues between the duos. Two immortal dumbasses and a magically mutated wolfman and turtle man. FINN & ERIN make the first move as they charge at the towering monster. ERIN punches KUZENBO’S face a couple of times and FINN cuts KONANE on one of his arms.

KUZENBO & KONANE are unphased by their simple attacks.

FINN

I’m sorry.

KONANE punches FINN in the face and he falls to the ground. KUZENBO does the same and ERIN follows FINN. Both groan in pain. The song pauses for a moment.

FINN

I think I’m dead.

ERIN

Just give us a minute.

LUCIAN/NARRATOR (V.O)

Really? This is what the author does.

FINN & ERIN get back up and go for round 2. LUCIAN snaps his finger and the song continues. They last longer this round, as ERIN’S skill in boxing comes into play beating and bruising KONANE. FINN suddenly gained sword skills out of nowhere and was fast enough to block the razor-sharp claws of KUZENBO.

FINN

How am I doing this?!

As he holds the katana from top to hilt from the claws of the monstrous Kappa. ERIN tackles the Hawaiian wolfman down and gets back down.

ERIN

Muscle memory?! We both love samurais and ninjas growing up.

The song stops playing. FINN the gigantic turtle man away and kicks him down, knocking him on his shelf. The song finishes thus ending round 2.

LUCIAN

Crap… songs over. Um, any req…

They interrupt him immediately.

FINN & ERIN

DANCING IN THE MOONLIGHT!

The song “Boogie Wonderland” by Earth, Wind, & Fire plays. Round 3 begins and the monsters are back on their feet.

LUCIAN

Let’s make this interesting!

LUCIAN snaps his fingers and the music begins to play. Each duo on their side ready to fight. Suddenly FINN starts dancing with a sword in hand.

ERIN

Finn? What are you doing?

FINN

I’m not doing this!

KONANE starts to dance too and to the rhythm of the song. ERIN looks at LUCIAN who is dancing then starts laugh.

ERIN

What did you do?!

LUCIAN

Oh… I turned this battle into the dance battle to save the world.

LUCIAN snaps his fingers and ERIN & KUZENBO start to dance suddenly.

ERIN

Son of a bitch…

The duos do their dances to the song and ERIN punches KONANE in the guy. KONANE tries to scratch him but does a backflip and dodges his attack.

FINN

Dance Battle! I get it! We can still fight, we just have to keep dancing while we fight!

FINN swings his sword and rushes toward KUZENBO stabbing him. Then kicking him by doing a backflip, then jumps toward him and knocks him down with a punch from the air. He lands kneeling and looks at ERIN.

FINN

You gotta dance dude!

ERIN

FINE!

KONANE is the only one left standing since KUZENBO had just easily fallen. LUCIAN snaps his fingers again and the ground rises up.

LUCIAN

Keep dancing boys and girls!

ERIN starts to break dance and trips KONANE onto the floor. He gets back on his feet and punches the back of his head really hard. The floor returns to the ground and LUCIAN is applauding them.

LUCIAN

You two are amazing at what you do. You know I was wrong about you two. The Dual Faced Immortal. You have won fair and square. So I will now return myself to my prison and wait another few hundred years to kill this world.

LUCIAN holds his hand out.

FINN

That’s it?

LUCIAN

Psyche!

LUCIAN snaps his fingers and the ground rises and holds FINN & ERIN in place.

LUCIAN

Did you really think, the villain plays fair?

His eyes begin to glow. As well as ERIN’S eyes too.

LUCIAN

What?! No! This wasn’t in the script! Author!

FINN

Erin, what’s happening?!

ERIN

I don’t know?!

LUCIAN rises between them and realizes what’s going on.

LUCIAN

Your Deus Ex Machina.

FINN & ERIN

WHAT?!

LUCIAN

When the main characters are in an unsolvable problem. The plot device saves you.

Both FINN & ERIN look confused again. LUCIAN smiles.

LUCIAN

Your time powers.

They both realize that their time powers had just begun to develop.

LUCIAN

Like I said. Deus Ex Machina. That sneaky little bastard. He planned this all this time.

FINN & ERIN break out their dominant hands and blast LUCIAN with blue and red time energy. They both look at their hands unscathed from the blast. LUCIAN gets up weakly from the blast. His face is broken some more and shows he’s hollow inside. They are frightened by this.

LUCIAN

This isn’t over.

FINN & ERIN grab each other’s hands and a purple portal opens behind them. And drags them in. Both still holding their hands and swirl into the unknown of the portal. Eventually, they’re thrown out of the portal and land on a sidewalk.

They both get up and wipe off the dust off their clothes.

FADE IN: FINN’S NEIGHBORHOOD

FINN

Where are we?

ERIN looks around.

ERIN

We’re home. It’s morning. Did we win?

FINN

I don’t know… Erin. Look.

He points at the person he sees. Far in the distance, it was someone he recognized.

ERIN

What?

ERIN looks in the same direction and what follows is a scared look on his face.

ERIN

No fucking way.

In the distance they both see FINN putting his headphones on. FINN’S phone suddenly starts playing “Crocodile Rock” by Elton John.

FINN & ERIN

Oh shit…

FINN

Erin? What the hell just happened?

(Intensely worried)

ERIN

I have no fucking clue.

(Intensely worried)

CUT TO: BLACK

(End of Episode 4. End of Season 1)

Tags: @cometworks, @cookiecuttercritter, @coloursintheblur

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earthnashes · 6 years ago

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so a wounded twi crash into the woods near shy place is there was snow on the ground does shy have a warm spot for spike

Fluttershy doesn’t find Twilight near her woods, but she does feel a strange sense of waning aura and the critters all around her are chittering frantically about. Shy doesn’t quite know what to make of it at first, but she can understand the jist of what her critters are saying.

“Dragon!” they caw and howl and bark, gathering at her large paws in fright. “Big Dragon! Fell from sky! Danger!”

Fluttershy initially decides to try to ignore it; the last thing she wants to do is face another dragon, a large dragon at that. She wouldn’t stand a chance, it’s safer to just stay near her den…

But a few of her bird friends fly to her and squawk at her, having actually seen the dragon falling through the moonlit sky, and they cry “blood! Blood! Dragon bleed!” Some are eager: a possibly dead dragon will feed the scavengers for months. But some seem concerned: blood attracts unwanted visitors, draws unwanted attention, and it is something that must be dealt with.

The yellow dragon draws a deep quivering breath to herself. Besides… she may not prefer the company of other dragons, but if this one was hurt… well, she couldn’t just leave them there on good conscious. So with a quick instruction to her more brave critters to check the perimeter for any other threats, she uncurls herself from her den and gracefully slinks her way between the trees, following a few of the birds who have witnessed the crash landing.

It doesn’t take long before she can find her own way; the stench of blood becomes sickeningly strong once she clears the edge of the forest and begins ascending the beginning hills that roll into mountains. And it takes shorter still to find the source once she crests one of the many hills, stopping just short with a startled gasp.

Lying in a small pool of its own blood was a lavender dragon, the only indication it remained alive being the violent shivering it exhibited. It laid on its side, trapping one wing beneath it and the other to lie torn and limply at its side. It didn’t seem to be awake; the gasp Shy released was by no means quiet, but it barely twitched or even seemed to register her presence. What perplexed her more, though, was a tiny little pegasus colt pushing futilely at the dragon’s muzzle, his wails of panicked frustration echoing into the night air.

Fluttershy felt unease prickling at the back of her neck and took a single step back, for a moment at a loss of what to do. Her momentary consideration to leave was broken when the pegasus collapsed to his arms and knees, his shouting turning into choked sobbing. Her heart ached at the sound, and with a moment to compose herself, she took a few careful steps forward.

She was startled backward soon after when the colt snapped his head up at the sound of her approach, fear entering his stricken expression for less than a second before he got up and fluttered his wings in what she assumed was a threatening display. He tried to curl his face into a snarl, but he got no farther than a weak grimace. “H-hey! Don’t come closer! O-or I’ll…”

He seemed a bit lost at that: what exactly could he do to a creature who’s claws were as big as he was? Whatever it was, he’d try it, but Shy took another slow step forward (which he responded to with a step back, closer to the fallen dragon) and lower her head to his level. He made another choked sound.

“Shhh, it’s okay, it’s okay…” She soothed, lowering herself to a full-on crouch. Anything to make her appear smaller to the boy. “I won’t hurt you, it’s alright. I just want to help.”

The colt stared up at her, seeming unwilling to relax and wings fluttering nervously. Shy tried again:

“What’s you’re name? I’m Fluttershy.”

At that, the colt finally started to ease is posture bit by bit, and he answered, “I… I’m Spike. Y-you said you can help me?”

Fluttershy’s eyes flickered up to the dragon laying just behind Spike, her heart hammering in her chest. She was close enough to see the fangs only partially hidden from a half-opened mouth, the strong claws of its paws, curled horns. It certainly had more mass to it than she did; she never did feel comfortable around larger dragons…

But the colt touched a brave hand to one of her own claws, making her look down at his pained expression as he forcibly repeated, “You can help us, right?”

Another nervous glance at the unconscious dragon before she drew in a calming breath. On its exhale, “I’ll try,” and she moved forward to get within reach. She placed a careful paw onto the dragon’s chest, mindful of the wound there, and reached out with her magic, wincing in sympathy at what she felt.

Magic’s almost completely drained… Broken ribs, broken wing… Multiple lacerations… spells? She feels so cold…

“What’re you doing? Is she gonna be okay?”

Shy was broken out of her examination by the questions and she looked down at Spike, who eyed her glowing paw wearily. She pulled away and cleared her throat. “She’s… um, she feels… cold.” Shy grimaced when Spike’s face went pale; a dragon being affected by the cold was never a good sign, and he seemed to know that.

“I’ll uh, I’ll try my best. But we need to get her out of the snow, okay? I-I have a den, um, it isn’t too far.” Fluttershy let her eyes trail over the dragon’s for a moment before looking off to the side, worried. “B-but I don’t think I can carry her myself…”

The two fell silent at that. Shy could probably drag her back, but not without worsening injuries, and Spike helping was out of the question. There had to be…

“Oh!” Ears perked as an idea leapt forth in her mind. Summoning her magic, Shy placed a paw before the dragon, and after a few seconds of silence the ground beneath them rumbled. Spike squawked as trees, growing horizontally, formed directly beneath Twilight (and in proxy, himself), lifting them up off the snowy ground as they grew. Soon after vines followed, threading themselves smoothly through and around the trunks of the strange-growing trees, before wrapping forward in a looped end.

The glow around the flora didn’t dissipate even when it did from Shy’s paw, and she grabbed the end of the vines to tie it snug around herself in a makeshift harness. Momentarily forgetting himself, Spike gawked at her with an awed expression. “Wh-wah? How’d you…?”

Fluttershy looked back and gave a shy grin, a small blush forming on her face. She’s never gotten such a reaction from her magic before. “I-it’s nothing really, just flora magic. But stay away from the ledges, okay? I d-don’t want you falling…”

At that, Spike seemed to remember himself and sat close to the groove to Twilight’s jaw, pressing as close as he possibly could. Fluttershy grimaced as his childlike wonder faded in the face of the situation, and without really thinking she asked “w-would you like me to explain it?”

Spike looked up at her, and she said “my magic. Do you want me to talk about it?” He seemed to understand what she was doing, and answered with a wearily grateful nod.

Shy gave an experimental tug on the vines and took a few strained steps forward. The makeshift sled came smoothly with the pull, and satisfied, Shy began her heave back toward her territory, filling the air with her quiet chattering and Spike’s equally quiet questions.

—————————————————————-

Bruh writing’s hard, I need more practice. :/ But there you go. uwu

#au #slayer!au #reverse dragon!au #asks

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oumiyuki · 6 years ago

Note

If you're still the prompt request, could you do no.35 for ChiKananYou?

YOU HEARD ME. TAKE. IT. OFF.

Heyllos, Parana! Yes, I am taking prompt requests~ (I know I still have some others from you to answer too but I write on inspiration. Gomen!)

And well. Here it is~

May you enjoy~ XD

Summary: It’s Winter. It’s below 5 degrees Celsius. Kanan, You and Chika are cuddling on the sofa when the power trips and You does what a “normal” person would do – rush for more clothes. Chika and Kanan had a different opinion.

Pairing: Chika x You x Kanan (Chikanayou)

Genre: Romance, Fluff, Comedy (maybe)

Words: 1076

A loud switch tripping sound echoed in the house followed by a short shriek and the ash-brunette who’s panicking was quick to leave the spot on the sofa where she was cuddling with her two girlfriends to go to their room for all that she needs.

“Mou, You-chan! Where’d you go off to~?” Chika whines as she gets up reluctantly, following her older girlfriend to check on the switches.

Kanan chuckles before shaking her head at both the state of the power supply and her missing girlfriend, sure to be donning on a whole lot more fabric than necessary right now.

“No good?” Chika frowns.

Kanan shakes her head again. “We just gotta wait awhile and it’ll be back on. No biggies.”

Chika smiles at that. “As expected of Kanan-chan! Super knowledgeable!”

The bluenette chuckles as she heads towards the room too; she’s internally thankful that the power tripped in the middle of the day and not in the night, else she’d be rushing off to elsewhere like You is – except for her case, it’s not clothes but light source.

You breathes out a sigh of relief just as Kanan and Chika enter their shared room, that breath barely heard as she had a mask over her face for that extra warmth.

Chika gestured at You in disbelief while Kanan raises her eyebrows as she looked the ash-brunette from up and down twice.

“What the heck, You-chan! It’s not that cold!” Chika moves to grab You’s arms but You knew what her best friend was trying to do, and she certainly wasn’t going to let the orangehead strip her so easily.

“It is cold! Don’t you try to remove my defences.” You waves her hand back and forth and side to side to make Chika step back, though the orangehead was as adamant as ever, not letting go.

Kanan blinks a few times before having to comment too. “You… Even I think that’s overdoing it.”

You had a scarf wrapped around her neck, a thick brown coat thrown on, the face mask still there to muffle her voice and supposedly protect her face from the cold air, a turtle neck above another tee-shirt and thick wool socks for her toes.

“Noooo…Kanan-chan help me. Stop pulling off my scarf and coat, Chika-chan! It’s cold!” You protests as she wrestled with the upset orangehead.

“Y-o-u-cha-n..! Mou! We were cuddling just fine earlier. Just because the power went down, it doesn’t mean the temperature plummets right away, you know!” Chika didn’t like You wearing so many things, so many layers, so… Chika glares at each article on You. She especially didn’t like it since she was happily touching You’s thighs and about to put her hand under You’s shirt to hug her directly before the power went out. Now how is she supposed to get to You’s skin with all those clothes on!? “Take it off, You-chan!”

“I can’t help you here, You. I’m on Chika’s side this time.” Kanan strides over to pull You’s mask off.

“Wah! Hey!”

“Yay! Kanan-chan’s on my side. You’re going down, You-chan!” Chika cheers as she tugs the scarf off You.

“Ah!” You tries to reach for her scarf but Chika threw behind her, out of You’s reach.

Kanan leans close to You’s face, then smiling when You’s eyes were on her. “You shouldn’t hide your face, You. It’s illegal to hide away such a pretty face.” Kanan winks as she throws the mask behind her too.

This time You couldn’t react in protest as her cheeks burned a strong red at Kanan’s out of the blue sweet nothings. “Meanie…”

You mumbles. Chika and Kanan exchanged a brief knowing glance before going on the attack. Kanan easily tips You off balance from the shoulders, making You fall backwards onto the bed her coat off her shoulders; Kanan grins at the vulnerable position she has You in. “Eh- Kanan-chan-”

Chika was quick to follow, lifting both the turtle-neck and the t-shirt up at the same time, licking her lips at the sight of You’s skin, fingers pressing on You’s smooth stomach. “C-Chika-chan!”

You didn’t even notice Kanan moving away and plucking her comfy socks off. “I had then on earlier!” You flails but Chika had her hands at the waistband of You’s pants, an evil smirk on, wagging her eyebrows at You when the ash-brunette looked over. “Y-You won’t!”

Chika laughs loudly. “Oh, I will~”

Kanan waves the socks at You before throwing it over her shoulders and steps closer to You again, sitting on the bed to help tug the coat off. “Don’t even bother, You. The lesser you struggle, the less pain you have to be put through.”

You bites her bottom lip, accessing her situation – pushed onto the bed, Chika cornering her and Kanan hovering right beside and above her…She had no way of getting out of this clothed in the right amount of fabric she desired.

“You heard me, You-chan.” Chika shifts, her fingers ghosting over You’s skin instead of tugging at You’s pants. “Take. It. Off.”

Chika’s red eyes with a glint in them meant business, her half-smile told You she wasn’t going to go easy on her at all (and You already experienced it), and now she even lowered her voice in such a seductive and demanding purr…You could only gulp, feel a shudder go through her spine which she likes to think it’s because it is cold but knows it’s because of the orangehead. It didn’t help her case that her older girlfriend was removing her coat in the evilest way possible – pulling it down in a slow and sensual manner, all while smiling at her.

“Ahhh, alright, alright. I’ll take it off. Mou. Stop stripping me forcefully. Mou!” You’s face was a good enough substitute heater for the one that went off with the power as the ash-brunette scrambled inwards to build some distance between her and her girlfriends on the assault.

Chika was back to her usual carefree grin while Kanan leans backwards with a hearty laugh. “Told you, you can’t win us, You-chan.”

“As planned. You’re warm now and we get you naked. All’s well that ends well.”

“I’m not removing all my clothes, Kanan-chan!” You throws the coat at Kanan. Noticing Chika’s smile morphing into a perverted one, You throws her turtle-neck blouse at the orangehead.

“What kind of girlfriends do I have…Mou…” You grumbles, red-faced but certainly not feeling the winter’s cold.

Author Notes

It’s like I don’t know what a drabble is. –chuckles- But hey, it’s normal for the story to be longer when there are more than two people~ XD

I need to write more for them to get a good groove and flow though. :) I think? Did I portray them well~? Hehe~ ^w^

Leave me comments if you like! I wanna know how it was for y’all. *O*

#chikanayou #watanabe you #takami chika #matsuura kanan #fanfiction #fanfic #writing #drabbles #love live! sunshine!!#parana42 #chikayou #kanayou #chikanan #youchika #prompts #prompt ask

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whitejeweler · 4 years ago

Video

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Welcome to Music Monday when we bring you fabulous songs with jewelry, gemstones or precious metals in the title or lyrics. Today, Pink shows off her style in the 2001 international blockbuster, “Get the Party Started.” In the first verse of her good-time, signature anthem, Pink gives a nod to her fashionable jewelry.

She sings, “I got lots of style, check my gold diamond rings / I can go for miles if you know what I mean / I’m comin’ up so you better get this party started.”

Released as the first single from Pink’s wildly popular second album called Missundaztood, “Get the Party Started” charted in 24 countries, including an ascent to #4 on the U.S. Billboard Hot 100 and #14 on the Canadian chart. The album sold more than 13 million copies and is her most successful to date. In 2019, digital media company About.com (currently dotdash.com) placed “Get the Party Started” #1 on its list of “The Top 100 Best Party Songs of All Time.”

Although “Get the Party Started” is considered Pink’s signature song, songwriter Linda Perry revealed in 2019 that she had originally offered the song to Madonna, who turned it down.

Perry also described how the song quickly came together while she was trying out her new Pro Tools recording equipment, which included numerous virtual instruments, sound effects and mixing capabilities.

“‘Get the Party Started’ was just me figuring out what all this stuff does,” Perry told Rolling Stone magazine. “I came up with that beat, laid it down, found all these weird chords and sounds and put in the horns. Then I went back to my guitar for the wah-wahs. I was just having fun.”

“I literally came up with the song in 30 minutes,” she told Mix magazine in 2019.

Alecia Beth Moore (better known as Pink) was born in Doylestown, PA, in 1979. Originally a member of the girl group Choice, Pink launched her solo career in 2000 with the single, “There You Go.” The rest is history, as she has gone on to become one of the most successful and influential artists of her generation.

“When Alecia Moore debuted in 2000, pop was dominated by long-locked blonds like Britney Spears, Christina Aguilera and Jessica Simpson,” wrote Glamour Magazine. “Pink changed the game.”

Pink has earned three Grammy Awards, seven MTV Video Music Awards, seven Billboard Music Awards and one Emmy Award. She has sold more than 90 million records worldwide.

We invite you to put on your dancing shoes and rock out with Pink as she sings “Get the Party Started.” The lyrics are below if you’d like to sing along. And, yes, this is the family-friendly version of the song…

“Get The Party Started” Written by Linda Perry. Performed by Pink.

I’m comin’ up so you better get this party started I’m comin’ up so you better get this party started

Get this party started on a Saturday night Everybody’s waiting for me to arrive Sendin’ out the message to all of my friends We’ll be looking flashy in my Mercedes Benz I got lots of style, check my gold diamond rings I can go for miles if you know what I mean I’m comin’ up so you better get this party started I’m comin’ up so you better get this party started

Pumping up the volume, breaking down to the beat Cruisin’ through the west side We’ll be checkin’ the scene Boulevard is freakin’ as I’m comin’ up fast I’ll be burnin’ rubber, you’ll be kissin’ my ends Pull up to the bumper, get out of the car License plate says Stunner #1 Superstar

I’m comin’ up so you better get this party started I’m comin’ up so you better get this party started Get this party started

Making my connection as I enter the room Everybody’s chilling as I set up the groove Pumpin’ up the volume with this brand new beat Everybody’s dancing and they’re dancing for me I’m your operator, you can call anytime I’ll be your connection to the party line

I’m comin’ up so you better get this party started I’m comin’ up so you better get this party started I’m comin’ up so you better get this party started I’m comin’ up so you better get this party started Get this party started Get this party started right now Get this party started Get this party started Get this party started right now

Visit our website at whitejewelers.net

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Credits: Image by Andemaya, CC BY-SA 4.0, via Wikimedia Commons.

Visit our website at whitejewelers.net

Find us on Facebook

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gregoryjdillerblr · 4 years ago

Text

Ranking all 15 Pink Floyd studio albums, from worst to best.

Those that know me well know Pink Floyd is my all time favorite band. I grew up listening to classic rock, thanks to my parents. My childhood band was Van Halen, and my mother pretty much bought me the entire Van Halen collection, both Roth and Hagar eras. I then went through phases when I was around 12 years old, and I began to listen to a lot Metallica more. And at 15, I began to listen a lot of of more of 80s New Wave, particularly A Flock of Seagulls, which most people in my personal life always picked on me for it, asking “How the hell did you go from Metallica to A Flock of Seagulls?” I’ve always heard Pink Floyd songs, but because my parents were huge fans, that meant I wasn’t a huge fan. I grew up that way: whatever your parents don’t like you don’t like.

But of course, you find your identity while growing up, naturally liking art that you actually once hated because of your influence. I didn’t really listened to Pink Floyd until I was around 17ish, liking the songs from the Whale (a radio station based in Binghamton, NY) that played classic rock songs. It was here that I’ve heard songs like “Run Like Hell,” “Mother,” “Time,” “Comfortably Numb,” “Learning to Fly,” and the more obscured, underrated PF track “One Slip.” It wasn’t until I was 18 (I was still in high school) when I got home from school that my mother had bought The Wall for me, a more surprised gift. From then, I was really hooked from Pink Floyd, asking my mother to get me The Dark Side of the Moon, Wish You Were Here, and The Division Bell, all on that order. By that time I got The Division Bell, I knew Pink Floyd was becoming my new favorite band. Though I explored bands like Led Zeppelin and The Church and Rush afterwards, Pink Floyd, to this very day, 11 years later, are still my favorite.

They opened the sub rock genre Progressive Rock for me. I explored bands like Yes, Rush and Genesis, despite I’ve heard their songs on the radio and seen some of their videos on VH1 Classic, but never bothered to dig into their catalogue till a few years later after listening to Pink Floyd.

I’ve listened to all their 15 studio albums, and this list is about the albums that I keep going back to. Please keep in mind this is my personal taste. There is no right or wrong answers to ranking albums. It’s all about opinions and what you like in the end. I know I might piss off other PF fans with my ranking, but, guys, we all have our favorites, don’t we? Every PF fan has their own album rankings, of course. Here is mine.

15. Ummagumma, 1969. Ummagumma is perhaps Pink Floyd’s most experimental album, and one I truly distaste. It’s a double album, with the first disc is a set of live tracks (which, honestly, I barely listen to because of the sound quality) while the second disc is the actual studio album. PF was lost without Syd Barrett, the true original founder of the band. Each band member then produced their own songs without the influence from the other members. What we get is a mess, and some songs are either boring to listen to or just God awful. Most of it is instrumental, but the ones I like are Roger Water’s “Grantchester Meadows” and David Gilmour’s “The Narrow Way, Pt.3,” which happened to be the only two songs on the entire album that have lyrics. Roger’s other track, “Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict” is a bizarre tune that is only done by sound effects by Water’s voice, making chipmunk like noises, and tapping on the microphone at various speeds, with Roger speaking in an exaggerated Scottish burr near the end of the song. The tune is more amusing because it’s rather a funny track to listen to, while Richard Wright’s tracks “Sysyphus (parts 1--4)” and Nick Mason’s “ The Grand Vizier's Garden Party (parts 1--3)” aren’t a joy, just a mess of sounds that I find skipping over and never listen to.

14. A Saucerful of Secrets, 1968. Pink Floyd’s second album, one that introduced David Gilmour after Syd Barrett was beginning to take too much LSD and became very unpredictable. What we get with this second album are lost musicians without a leader, and the sound often jumps around, from forgettable piano driven tracks to the more washed out, space like organ sounds that really isn’t a joy to listen to, to a very bizarre track full of jazz instruments that Syd Barrett sings his only track at the very end of the album. Roger’s track “Set the Controls for the Heart of the Sun” (this song is the only one that has all five members playing, according to Gilmour) and “Corporal Clegg” are the two standouts for me, with the latter hinting of what’s to come with Roger’s anti war lyrics, and Gilmour’s choppy, wah guitar effects hints of what’s to come.

13. More, 1969. Yes, Pink Floyd’s 1968 and ‘69 albums don’t really do anything for me. More is a soundtrack to the French film of the same title. However, More hints of a more calibrated work of the group, and despite that some tracks are more over the place than others, what we get with More is a much more standard album than a band trying to experiment. Songs like “The Nile Song” and “Ibiza Bar” are two heavy hitting PF songs while “The Crying Song” and “Green is the Colour” are softer ballads. Perhaps the best known track from this album is “Cymbaline.” “More Blues” and “Dramatic Theme” just scratch the surface of Gilmour’s incredible, Blues inspired guitar playing style. The album can do without the seven minute track “Quicksilver,” which is nothing but Rick Wright coming up with eerie organ soundscapes that are rather boring than they are affective.

12. The Final Cut, 1983. The post Wall album, The Final Cut sees Roger Waters in complete control, who has become a very egocentric, over baring bastard that this album was PF’s most difficult album to record. Roger has kicked Rick Wright out, since he felt Rick wasn’t contributing anything to the band. What we get with The Final Cut is the only PF album without Richard Wright, and a mess of an album that is trying to find its identity after the success of The Wall. In fact, most of these tracks were based of cut out tracks from the previous album, with David Gilmour arguing Roger that these songs weren’t any good at the time, why should they be good now. Gilmour himself only sung one track, the epic, hard hitting “Not Now John” that has the most f-bombs in any PF song, though Roger does take over in certain spots here and there. For me, the best songs on this album are “Your Possible Pasts,” “The Final Cut,” “Not Now John,” and the album closer “Two Suns in the Sunset” (this song was difficult for Nick for its odd timing, and Roger brought in a session drummer to fill in the spot) while the other tracks don’t do anything for me. Roger felt this was the last PF album, but I honestly glad it wasn’t.

11. The Endless River, 2014. For twenty years, The Division Bell was truly the last PF studio album. However, David and Nick went through their secret vault of recorded but unleashed tracks from The Division Bell. Their focused was to bring Richard Wright’s playing more in the forefront, wanting their audience to hear how important his sound was for the band. David and Nick rerecorded and modernized some parts on these songs, including David adding more guitar and lyrics to their farewell, goodbye song “Louder Than Words,” which I honestly still feel it’s a very underrated track. 99% of this album is instrumental. Majority of this album makes up from one plus minute tracks, which seem more filler than anything. Nevertheless, another song that shines is “It’s What We Do,” which is the most “Shine On You Crazy Diamond” inspired track PF has done in years, and one that brings Wright’s sound to the forefront as Gilmour and Mason intended.

10. The Piper at the Gates of Dawn, 1967. Pink Floyd’s first album, and the one that only has Syd Barrett as a lead singer and without David Gilmour. This album was recorded at Abbey Road Studios, where The Beatles was recording Sgt. Pepper’s Lonely Hearts Club Band next door, which Pink Floyd visited, and the two bands influenced each other. Syd Barrett was a much more character driven lyricist, and his songs were more based of fairy tales, hence the title of the album. The album itself is a bit unbalanced, as the later half becomes a folky, acoustic guitar driven album as the first half was a psychedelic rock trip. Most of the songs here was sung by Barrett, while Wright provides some second lead vocals in certain songs. This album showcases that the band is indeed experimenting, playing walls of sounds, but a bit more focused compared to their three follow ups. My favorite tracks are “Astronomy Domine,” “Lucifer Sam,” “Matlida Mother,” “Pow R. Toc H.,” and “Chapter 24.”

9. Atom Heart Mother, 1970. It is here, in this spot, where it’s difficult for me to rank, as these albums are my personal favorites from the Floyd. However, I feel this album is right for it’s spot, since I find myself drawn to the other top 8 more in the recent years. I still believe this album is underrated and underappreciated. Even the band themselves have stated that they hate this album. Atom Heart Mother’s concept is soundtrack to a film that doesn’t exist. The epic, 23 minute title track sounds exactly like a movie, with full on brass sections and choirs that were composed by Ron Geesin. “If” is a Roger Waters’ ballad with a beautifully haunting slide guitar from Gilmour and slowly becomes a rock driven tune near the end. Richard Wright takes turns to lead in “Summer ‘68,” which is about a one night stand Rick had with a groupie, perhaps haunted by the very act he’s done. The song starts with a piano ballad structure that goes on full horn and funky acoustic chops by Gilmour. Gilmour than leads “Fat Old Sun,” which every instrument was done by Gilmour, including the drums. It’s another acoustic ballad that slowly becomes a rock oriented track, with Gilmour reflecting on summer. The album ends with “Alan’s Psychedelic Breakfast,” which the whole concept centers around Pink Floyd’s roadie, Alan Styles, making breakfast. The middle song of this three part based track, in itself calls “Sunny Side Up,” is my personal favorite part of the entire song, with David overdubbing two beautiful acoustic guitars as well as a another haunting slide guitar work. The whole song was inspired by water dripping out of a faucet.

8. Obscured By Clouds, 1972. Another soundtrack for a film, Obscured By Clouds is the often forgotten, underrated album that is stuck between ‘71′s Meddle and the most successful PF album, The Dark Side of the Moon. By Meddle, Pink Floyd has found its sound after the downfall of Syd Barrett. Obscured By Clouds showcases Gilmour’s guitar in the forefront. Both Gilmour and Waters become the two leads for the band, though Rick Wright does offer the wah driven, piano balled, “Stay.” “Burning Bridges” is sung by both Gilmour and Wright, who duet in “Echoes” on their previous album but now take turns for the lead, hinting the song “Time” on DSOFTM. “The Gold It’s in the...” is one of the very few PF tracks that doesn’t have Rick Wright playing, as it is a funk, harder driven track sung by Roger. Gilmour offers “Childhood’s End,” which is loosely based off a 1953 science fiction novel of the same name by Arthur C. Clarke. “Free Four” is a “Spirt in the Sky” inspired track with dark undertones. Part of it is an antiwar song, where Roger sings about the death of his father for the first time, an reoccurring theme that will play out in future albums like The Wall and The Final Cut. “Mudmen” is an instrumental track that is very similar to “Burning Bridges,” but here David provides some haunting guitar riffs and slide effects. The album closes with “Absolutely Curtains,” which Roger provides an incoherent shout as the song slowly builds and fades into one of Wright’s most beautiful organ textured sounds.

7. A Momentary Lapse of Reason, 1987. Some fans will put this as their worst PF album, but it’s honestly one of my absolutely favorites. It was originally going to be David’s third solo album, but with the disappointed sales of his first two, EMI wanted to be a Pink Floyd album. Most of the tracks were pre recorded by the time Gilmour called Mason in. It marks the return of Richard Wright, who Gilmour had to fight for because of the contract that Roger had written he shouldn’t return in the band. Gilmour was also battling Roger Waters, who was fighting to have the name Pink Floyd remove, thinking the band was done for good. Obviously, Roger had lost, and David had the right to use Richard as a “guest” musician and kept the Pink Floyd name. Like I’ve said, most of these songs were already developed. Nick and Richard provide their sounds in rerecordings. David has had admitted he isn’t a lyricist, and though he might not be as good as Waters, he nevertheless provided a couple of radio classics, such as “Learning to Fly” and “On the Turning Away.” “Dogs of War” and “One Slip” are underrated gems, and “Sorrow” became a live favorite for Gilmour’s heavy fuzz guitar riffs in the beginning of the track. While I do agree the overall sound is a bit outdated and heavily influenced by the current 80s music, AMLOR is nevertheless an album, for me at least, that showcases that Gilmour kept the band going full speed ahead.

6. The Division Bell, 1994. Originally titled as “The Big Spliff,” which was thought to be a near full instrumental double album, Gilmour, Mason and Wright find themselves doing old school ways of how they used to do songs back in the early 70s: by working together. Though other musicians did help the Floyd, the three find themselves coming up riffs that they soon realized it was just too good to be just instrumentals. Polly Samson, a novelist who would become David Gilmour’s wife, provides a lot of lyrics for the album. What we get with The Division bell instead is a reflection of looking back. Not only lyrically but musically, as the Division Bell is full of sounds that PF has done in the past. “Marooned” is a Bluesy guitar driven track that haunts after a listen. “A Great Day of Freedom” is indeed about the collapse of the Berlin Wall, however, one can view that it’s also about David moving on from Roger, suggesting the opening line “On the day the wall came down” may be David singing he feels free from Roger’s toxin influence. “What Do You Want From Me” is the heaviest, Blues inspired track on the album that is about no matter how hard you try to please a certain person, you really can’t, and you have to wonder if Polly wrote this for David on his history with Roger. “Poles Apart” is a beautifully written, DADGAD ballad with slide guitar and a killer solo at the end. Though the song may have a carnival like music in the middle that may drag the song, it’s still nevertheless a brilliant, underrated track. “Take It Back,” “Coming Back to Life” and “Keep Talking” are perhaps the three highlights, back to back, while “Lost For Words” is a “Wish You Were Here” inspired ballad that reflects past relationships. Of course, the album epic closer “High Hopes” is really about looking into the past and try moving forward, without the consequences of your past haunting you in the near future. Till this day, I still feel this album is underappreciated, as for twenty years it was PF’s last studio effort.

5. The Wall, 1979. My first Pink Floyd album, and one that really got me into the band. To be honest, I have a love and hate relationship with The Wall. It’s a classic album, nonetheless, but I cannot help but feel that without the key classic tracks, The Wall is actually a poor album with a lot of filler. Of course, with classic songs like “Another Brick in the Wall, Pt.2″ “In the Flesh?,” “Mother” “Goodbye Blue Sky,” “Young Lust,” “Hey You,” “Comfortably Numb,” “Run Like Hell” and “Waiting for the Worms” really save this album for me, as I tend to think most of these tracks are filler, practically the under two minute tracks. Nevertheless, I did grow into liking a couple of songs. “The Show Must Go On” is a very underrated track that should have been longer than it is. “The Trial” was a difficult track to listen to for the first time, but over the years I grow to like, somewhat. The Wall isn’t a bad album, but I do agree that the first half is stronger than the second half. Now knowing it tells a story (rather a strange one), it tells the story of Roger Water’s father’s death in WWII, and how the main character, Pink Floyd, becomes a drug addict whose behavior becomes unpredictable, which was based off seeing Syd Barrett’s downfall. The album is full of history, one that is inspired of Roger spitting on a fan after the fan threw beer on him. Roger than wanted to isolate the band from the audience, and the idea of The Wall was born. However, Richard Wright didn’t like the idea of having a wall being built between the band and the audience, Roger grew hatred for Wright, accusing him not to come up with any material, eventually firing him from the band. The Wall is indeed a classic, though I do find certain tracks bring it down while the radio classics really help the Floyd to be one of the biggest bands they are today.

4. The Dark Side of the Moon, 1973. The most well known and successful Pink Floyd album. Dark Side of the Moon was influenced when the band finally found their sound from 1971′s success, Meddle, particularly the 23 minute track “Echoes.” The band then wanted to further explore, with Roger coming up the band’s fully first concept album. The concept itself is about life, with the album starting out with Nick Mason mimicking a heartbeat with the bass drum. “Breathe (In the Air)” is a brief track about existence, while the heavily synth driven “On the Run” deals with fear, often about a man running away from an airplane. “Time” reflects how live itself is short, and you should use your limited time on Earth wisely. “The Great Gig in the Sky” is about death, as Clare Torry sings her finest, wordless roar as a grieving woman. “Money” is about greed and how corporations and governments are always thirsty for money while those that work hard are often struggling to make end’s meet. “Us and Them,” one of my all time favorite Floyd tracks, is another antiwar song that is sung by David in a haunting and beautiful delay effect that makes his voice echo. “Any Colour You Like” is another instrumental that is about existence while Roger takes turns to lead in the closing tracks, “Brain Damage” and “Eclipse,” with the former song about Barrett’s descent into madness and the latter about everything you see, touch, taste, smell, and feel is what you make of life and what life has to offer. This album is a classic, yet I still feel, like The Wall, a bit overrated in PF’s amazing catalogue.

3. Wish You Were Here, 1975. With the success of The Dark Side of the Moon, Pink Floyd found themselves overwhelmed to come up with a follow up. Originally titled as “Household Objects,” Roger Waters thought it’d a be a good idea to find household objects to make music noises with. However, the idea soon became too time consuming, and Pink Floyd find themselves back at square one. It was the idea of Gilmour’s now famous guitar riff that spark. Roger recorded Gilmour in a giant empty studio, with Gilmour playing the well known riff in what soon became the classic “Shine On You Crazy Diamond.” It became apparent that, because of the success of DSOTM, Pink Floyd should pay tribute to their original founder, Syd Barrett. Roger also reflected lyrics on the music business as a whole, how their company is forcing them to come up with a successful follow up. “Welcome to the Machine” and “Have A Cigar” reflect on those themes. “Shine You Crazy Diamond” is a tribute to Syd, who, one day, came in the studio, overweight, his hair and eyebrows completely shaven off, and barely unrecognizable. It was David who then saw this stranger was indeed Syd Barrett, and the man quickly left soon afterward, shocking the band. Wish You Were Here met some criticism when it was released, stating that the band didn’t find any new ground. However, it soon gain an occult following. David has stated this is his personal favorite PF album.

2. Animals, 1977. Another concept album. By this time, it became apparent that Roger was the leading lyricist, and this album shows that Roger was beginning to take over the sound of PF as well, as he leads most of the songs instead of David. Roger saw the punk rock movement, their hatred in Progressive Rock sound, and knew the band should get heavier and grittier. He took this idea and based it off the George Orwell’s classic novel Animal Farm, giving certain types individuals and classes animalistic metaphors. We got the backstabbing businessmen as “Dogs,” a seventeen minute track which Gilmour receives the only other song writer in a Roger Waters driven album. Gilmour in fact sings the first half of the song, providing his only sung lyrics of the entire album. “Pigs (Three Different Ones)” is about the rich men and their greed, an eleven minute Bluesy track with Wright’s eerie keyboard tunes and Gilmour’s haunting guitar-scape sounds, as well as cattle bells from Mason. The most heaviest is the ten minute epic “Sheep,” about the followers who don’t want to lead, how they are mocked by the dogs. Here, Roger gives it all in his delivery while Gilmour provides funk like, edgy guitar chops that explode in the end. The album begins and end with the two parts “Pigs on the Wing,” which Roger strums an acoustic guitar and talking to listeners that we know that both we and him should care about each other, waiting for influencers to arrive, the pigs on the wing. Besides The Wall, Animals is perhaps Pink Floyd at their most “street” sounding album. It is a gritty album compared to the DSOTM and WYWH, hinting of what’s to come. Yet I am more drawn to this album because it is one of the very few PF albums that doesn’t sound like any other Floyd album. Despite I choose Gilmour over Waters, it is in Waters emotions and delivery that are highlights for me for this album, as well as the darker, grittier sound PF has ever put out.

1. Meddle, 1971. Because of their hatred of the previous albums, Pink Floyd find themselves to look for influences around them. What we got is Pink Floyd’s most folky album they ever put out. Meddle is my personal favorite Floyd album for that very reason, yet there are some harder rock stuff in songs like the opening “One of These Days” and in certain sections of “Echoes.” “A Pillow of Winds” is my all time personal favorite Floyd track. A slow acoustic ballad with slide guitar and beautifully textured organ sounds, there’s something about this song that strike it as my all time favorite from the Floyd. It’s a beautiful and a bit eerie track, which is a rare love song for the Floyd. “Fearless” is another great obscured track that is much more folk rock driven with Gilmour’s delivery on guitar riffs near the end that is a highlight for me. “San Tropez” is a Roger Waters driven track that sounds perfect in a California setting. It has that surf vibe for sure. “One of These Days” is one of the best instrumentals the Floyd has put out, with double basses done by both Gilmour and Waters, with Gilmour then kicking it overdrive with the lap steel. “Echoes” is an epic twenty three minute track that put Floyd on the map. An eerie yet beautiful track, “Echoes” is the song that the Floyd found their sound in, and got inspired by, and the rest is history. “Echoes” provides some funky moments, as well as some hard rock, and an some ambient soundscapes. The real highlight for me is when, within the 18:14 mark, is Gilmour’s most beautifully haunted arpeggio riff. I love it every time it kicks in. While Meddle was the album in which the Floyd found their sound, it is my personal favorite Floyd album, one I still think it’s very underrated in their entire catalogue.

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superrichlads · 8 years ago

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about Niall: the solo era

HITS DAILY DOUBLE, SEPTEMBER 2016: ″Niall Horan is indeed inking with Steve Barnett's Capitol following another fierce signing derby… The word from people who’ve heard Niall’s record is that it’s outstanding.”

HITS DAILY DOUBLE, SEPTEMBER 2016: “Coming just after UMG’s A&R meetings in Hampshire, UK, Horan’s release is the first offering from a very important worldwide signing for the company and one of the top records of the meetings, according to many of the attendees.”

AMY WADGE, NOVEMBER 2016: “Niall’s a cracking writer, he’s got a great voice, he’s kind of got a Paul Simon thing going on, so I think there’ll be elements of country within [his album], because that’s what he likes, but at the moment he’s recording, and he’s smashing it, he’s doing so well.”

DON WAS, BLUE NOTE PRESIDENT & RECORD PRODUCER, DECEMBER 2016: "He showed up with a bunch of really great songs he wrote, he sings really well… He was thoroughly professional, humble and sweet. He spent time talking with all the musicians, hung out -- everybody loved him… He's the real deal, man. I'm so impressed with this guy."

CHRIS MARTIN, (COLDPLAY), DECEMBER 2016: “I really honestly feel that everything is a touchstone. Whether it’s Chopin or Niall from One Direction, if it’s good I’ll listen to it, and I’ll love it.”

JOE RAINEY, CAPITOL RECORDS VP PROMOTION, MARCH 2017: “I’m excited for what he’s gonna be creating, because in the few times I’ve met with him, that’s a remarkably talented man.”

GARY TRUST, BILLBOARD CO-DIRECTOR OF CHARTS, MARCH 2017: “Even if This Town is not a number one record at Top 40, it sound like to me, because it’s so intimate, I have a feeling that it’s a lot of people’s favourite song… it seems like it could really hit people on a really deep level.”

GOLF DIGEST, MARCH 2017: “One of the music industry's biggest stars—the first artist to debut at No. 1 on Billboard's Social 50 Chart with his single This Town late last year.”

LINE OF BEST FIT, MAY 2017: “Niall Horan's new track ‘Slow Hands’ wipes the floor with all the other solo sounds that have emerged since the demise of One Direction. It's one of the year's first proper Song Of The Summer contenders and sees Horan ditch balladeering for slinky riffs and proper raunch. He's shed his squeaky clean onesie and donned a crooner coat, giving us one of the coolest, catchiest choruses of 2017 in the process.”

BILLBOARD, MAY 2017: “Slow Hands doesn’t just put his voice in a bit of a new light, the grittier, funkier tune also presents Horan’s versatility as a solo artist."

ELVIS DURAN, Z100 MORNING SHOW, MAY 2017: “When we saw you, way back at - was it Jingle Ball, in New York City? And of all the people I talked to that night and interviewed, you were the nicest, you were the nicest guy. And I just wanted - I’ve been waiting all these months to say thank you.”

RYAN SEACREST, MAY 2017: “Niall, when he comes in, to me he has the most charisma of all of them… he’s got that, he’s super-nice, and super-normal for being in One Direction and having the solo thing.”

DON HENLEY, MAY 2017: “Niall is a solid guy whose focus is right where it ought to be: on songwriting. He’s got the Irish charm and a healthy, self-effacing sense of humor, which is an essential survival tool in this business. I think that Niall will evolve into a resonant, thoughtful voice for his generation.”

DON WAS, MAY 2017: “Niall’s got the stuff… He drove himself to the studio, carried his own guitar, stepped up to the microphone and was great every take. If they do the Desert Trip festival in 50 years, he’ll be headlining.”

STEVE BARNETT, CAPITOL RECORDS CHAIRMAN & CEO, MAY 2017: “The absolute top in terms of professionalism, thoughtfulness, work ethic and appreciating what he’s got. You’d be proud if he was your son.”

SHAWN MENDES, MAY 2017: “I’m pretty nervous in front of other celebrities still, but he’s so calm and chill… We just started jamming out, and it didn’t feel like, ‘Oh, I’ve got to be good in front of him.’ It was complete fun, no ego, like the reason you play music in the first place.”

ELVIS DURAN, MAY 2017: “I’ll never forget this moment, when This Town - when you first released This Town… this was the first time I’d seen you perform solo, and you came out on stage - Madison Square Garden, not a bad room… you came out on stage by yourself, you and your guitar, it was just you, your guitar, and one little light shining on you, in this huge, huge arena, and you sang that song, and I was thinking: this is probably the most pure, wonderful performance we’re going to hear in a long time. I still, I still - look, I get goosebumps. When you sung the song earlier today, it took me back to that performance… you came out and sang that song and I was thinking: this guy is it, that was it, and that was the perfect song to launch with… that song, it speaks volumes about you, because it’s such a gentle, wonderful song.”

ELVIS DURAN, MAY 2017: “You sound so fantastic that no one believes that it’s live, they think we’re playing a track.”

CLARA AMFO, BBC RADIO 1, JUNE 2017: “I’ve been saying to the listeners, I do appreciate the approach you’ve taken with your solo stuff. No shade to the other guys, but you didn’t really make a big fuss, there wasn’t like these big teasers, you just kind of slyly did it, just casual, you were just chilled with it, I rate that.”

TMRW, JUNE 2017: “For a man so adored and so blindingly good at what he does, he’s modest as anything. Except for golf, he knows he’s good at golf.”

TANYA KIM, ENTERTAINMENT NOW, JUNE 2017: “This Town is one of my favourite songs of all time. Ever. In the existence of music. I have to say it’s so beautiful.”

NOTION, JUNE 2017: “Having travelled around Asia and relocated to LA, Niall is more than ready to re-enter the world of pop, and he’s doing it with surprising finesse. When he released his second single, ‘Slow Hands’, at the beginning of May, the world was taken aback. It wasn’t some radical departure from his work in 1D, it was a more mature, nuanced version of that same guitar music meets pop sound they’d come to specialise in, and more importantly it was great.”

SHANIA TWAIN, JULY 2017: “He's really wonderful. He's very organic and natural... He's a sweetheart and we get along really well. We need to write together. I think that would be a really successful, creative time.”

JULIA MICHAELS, JULY 2017: “He actually told me he was going to cover [Issues] when we did a show together in Minneapolis and I was so flattered, and then when I heard his kind of organic approach to it I was like: oh, this is so magical. Plus, his voice is everything.”

STEVE BRAUNIAS, SPINOFF, JULY 2017: “Is Niall the best solo artist to come out of One Direction? Yes, yes he is... Life after 1D has seen Harry playing Jesus to the lepers in his head, walking on water in that endless video to his endless ballad, looking all profound and troubled and beautiful. ZZZZZZZZZZ! But good old Niall packed up his 1D bag containing a bottle of peroxide remover and got on with the business of making simple, awesome pop. ‘This Town’ was Niall as the sensitive singer-songwriter picking on his guitar. Follow-up ‘Slow Hands’ is Niall laying down a sexy falsetto to a sexy lyric, although it does include the weird line, “like sweat dripping down our dirty laundry”. There’s a raunchy version on Ellen featuring a cat on wah-wah guitar, and the one on One Love Manchester is even better – it shows Niall in his element, a relaxed cat in a hat, in total control of his art. If it wasn’t for ‘Bad Liar’, this would have been the best song of 2017 so far.”

RAISA BRUNER, TIME MAGAZINE, SEPTEMBER 2017: “For a small country, Ireland is on a roll lately bringing out talented, moody male solo artists. First there was Hozier. Then there was the grown-up Niall Horan.”

DAVE FAWBERT, SHORTLIST, OCTOBER 2017: “Niall, all round top lad who, in every single interview that I’ve read, has never failed to come across as anything other than a nice bloke. Having somewhat been in the shadow of Harry and Zayn in the band, his solo career has seen him move from unfancied outsider to the man most likely to be the biggest of all of them. ‘This Town’? Delicate, beautiful track. ‘Slow Hands’? Legit brilliant song. And the rest of Flicker, his debut album? Genuinely really really good.”

ZOE GILLESPIE, CAPITOL RECORDS SENIOR MANAGER, DIGITAL MARKETING, OCTOBER 2017: “talent hard work integrity respect patience hard work talent.”

CHARLES KELLEY, (LADY ANTEBELLUM), NOVEMBER 2017: “I think I may have to head up the Niall Horan fan club after tonight! Killed it at the Ryman... One of the best concerts I’ve seen in a long time, Niall Horan. Thank god for good musicians in this world.”

DAVE FAWBERT, SHORTLIST, DECEMBER 2017: “[Slow Hands] is an absolutely bloody brilliant song. Great groove, great chorus, an absolute giant earworm and no mistaking. And the rest of the album’s great too.”

KATIE LOUISE SMITH, POPBUZZ, DECEMBER 2017: [Flicker] is fucking brilliant and dare I say it, the BEST One Direction solo album so far... it was a bold move to dive head first into this ‘not-quite-pop, not-quite-rock, little-bit-country, little-bit-folk’ genre and many wondered if his fans would follow along with him. (Spoiler alert: They did. In their millions.) While you can clearly hear the influences on the album, it doesn’t sound like a who’s who of Niall paying tribute to his favourite bands… it sounds like a Niall Horan album. He’s not trying too hard. It’s cohesive. It feels genuine. It feels authentic. And you know what, it just feels right. ‘Slow Hands’ is without a doubt one of the best songs the year, he puts Ed Sheeran’s penchant for an Irish folk bop to shame on ‘On My Own’. Even his foray into country music with Maren Morris on ‘Seeing Blind’ had the entire population of Nashville inviting the Irish Prince round for Thanksgiving.”

CHRISTOPHER BUSCHER, ARTMAG, DECEMBER 2017: “[Niall] doesn’t waste time trying to be so edgy and so raunchy and just concentrates on making properly good folk-pop music.”

ANDY CUSH, SPIN, DECEMBER 2017: “No one expected the blonde and boyish Niall Horan to emerge as the breakout artist after the breakup of One Direction last year, not from a band that also included two ridiculously good-looking born stars in Zayn Malik and Harry Styles... but neither has released anything quite as good as “Slow Hands,” Horan’s sexy and soulful second single. He brings convincing grit to a track that bends the industry’s current fetish for the sounds of the ‘70s a little further from Studio 54 and closer to Muscle Shoals, with a simple but swaggering rhythm section and infectious blues guitar line.”

DAN JACKSON, THRILLIST, DECEMBER 2017: “Who will be the biggest star to emerge from One Direction? It's still too early to say -- post-break-up careers are a marathon, not a race -- but Niall Horan makes a convincing play for the grownup John Mayer zone on "Slow Hands," an acoustic guitar-driven R&B track about his skills as a lover.”

TAYLOR WEATHERBY, BILLBOARD, DECEMBER 2017: “Bringing out his sexy side with daring lyrics, sultry vocals and a thumping, bluesy guitar hook was definitely worth the risk, as [Slow Hands] landed Horan his first No. 1 Pop Songs hit as a solo artist, and set the scene for his debut LP Flicker to arrive atop the Billboard 200 in October.”

STEVE BARNETT, CAPITOL RECORDS CHAIRMAN & CEO, JANUARY 2018: “We had the support of [Niall’s manager] Richard Griffiths in buying into the idea that we’re going to be three singles deep before we release the album, and he’s going to go around the world three times and try to touch those fans. Niall is really a unique young man, who’s developed a great relationship with the whole company. He’s beloved at this label. There’s a vulnerability and an authenticity about [Niall’s music]. The band’s fans could relate to that. Those transitions [from boy band to solo star] aren’t easy.”

JOHN BIRD, FEBRUARY 2018: “[One Direction] was obviously an incredible experience for him, he got to see the world… I think he really embraced it, you know, his personality allowed him to enjoy it, and yeah, he just seems very, very happy that it all happened. I don’t feel any negativity towards it at all, and like I said, we’re just lucky to get a little part of that experience, you know.”

RON HART, BILLBOARD, APRIL 2018: "There’s no denying the Knopfler-isms of ‘On the Loose’, perhaps the strongest single off Niall Horan’s thoroughly impressive and organic solo debut Flicker."

LEWIS CAPALDI, JULY 2018: "I say this in a few interviews, but Niall Horan is the nicest guy I’ve met in music, just the way that he carries himself is ridiculous. He’s just so nice."

JOSEPH BRYANT, OUT & ABOUT NASHVILLE, JULY 2018: “Heartfelt and honest, Horan shows a soft, sentimental side. His maturity as a musician really comes through [on So Long]. Reminiscent of those best parts of John Mayer, Horan is making his mark as the smooth charmer the soft rock/pop genre this generation is lacking. He has a fantastic career ahead of him.”

GERRY MORGAN, 180 DRUMS PODCAST, SEPTEMBER 2018: “The first time I heard one of his tracks I was driving – a car, believe it or not, and it came on the radio – it was called This Town, and I pulled over on the side of the road and I remember listening to it and I went – that is a beautiful song. And I kept on listening and at the end the DJ went, in usual DJ fashion, ‘and that was a little song by Niall Horan’, and I just texted him and said, ’This Town, I didn’t realise that was you, that’s a beautiful song and singing’. And yeah, it was a very innocent – not innocent, that’s the wrong word, there was a very pure and authentic style of writing there that I really loved from a songwriter that kind of really ticked all of the boxes for me. So yeah, I met him, we did a lot of stuff just the two of us, went out and did a lot of shows, a lot of promo runs and such, some studio stuff, and we had a really great time I’d jump at doing [anything with him again…] I was just really super-excited to represent him – I was excited because he was coming from such a pop background, like boy band vocal group pop to becoming a legit singer-songwriter, standing up there fronting his own band, with a guitar and a great voice, and he’s Irish as well, and I was just really proud and excited for people to hear what he was going to come out with – because I knew what he was going to come out with, and it was legit, and I just thought that people – other musicians and friends of mine were dubious because of maybe where he had come from, but I was like – nah, wait until you hear this. And the record has done so well, and I’m super proud of him.”

MUST MUSIC, DECEMBER 2018: “At the start of this year, Irish singer Niall Horan scored another success with Too Much To Ask, third single from his album Flicker. A remix of this ballad topped the dance club chart, and Niall also charted on Pop & AC radio. Many doubted Niall as a solo artist, but in the end he has proven to be the strongest – commercially speaking – of the members of boy band One Direction.”

RUTHANNE CUNNINGHAM, DEEP DIVING WITH EOGHAN MCDERMOTT PODCAST, MAY 2019: “I remember when they played me what they had started [Slow Hands], I was like: this is different from the rest of the record, not too far away. I knew it was something good, but I don't think any of us thought it would be number 1 on American radio or anything like that. But Julian was smart, he was like: OK, we have all these songs, but we need that one. And a lot of people have asked me about the production, about the way the vocals sound, and the way the instruments sound, and I really feel like Niall nailed it in the way of just taking that risk, knowing that it was a great sound for him, and not being afraid of that edgier sound, because he had done a lot of more acoustic-folksy stuff for the album. For me, whenever now I see it live and everyone's singing it, I'm like: oh, that's his song. And it's so hard, when you've been in One Direction, you know, you're like, are the fans going to be wanting to hear Best Song Ever or Story of My Life, but they're not, they want to hear Slow Hands. That's what you aim to do when you work with an artist, is to have that moment.”

JULIA MICHAELS, AMERICAN EXPRESS 5 DAY WEEKEND SHOWCASE, MAY 2019: “This next song [What A Time] I did with an incredibly talented human being from Ireland. He's the most amazing dreamboat of a person and I love him to death."

RUTHANNE CUNNINGHAM, MAY 2019: “I wrote with Niall in February, can I just say the new music is sounding amazing, I got to hear what he’s been doing with Julian and Tobias and stuff, it sounds amazing, and I think we wrote two really great songs... I love the songs that we did.”

THOMAS RHETT, IHEARTRADIO, MAY 2019: “We’ve written a couple of songs together, I wrote with him about a month ago when he was in Nashville. Niall is such a sweet dude. I met Niall through my producer, Julian, I got to meet Niall through him, and it’s such a cool friendship.”

MAREN MORRIS, ET, JUNE 2019: “Niall and I became such great friends. Our bands became friends on the road last year. I would love to write with him and do something in the future. He's such a great guy. He's a badass."

RUTHANNE CUNNINGHAM, SONGWRITER UNIVERSE, JUNE 2019: "Niall had such a vision for his album—he knew what he wanted the album to sound like, and he had this book of ideas. So as a writer, it was a dream collaboration because it was so easy for me to fill in the blanks for him. And we’ve been writing together for his next album.”

JULIA MICHAELS, UMUSIC, JUNE 2019: "The first time I heard Niall sing 'we didn't end it like we were supposed to' I remember just breaking down in the studio and he coming out and giving me a hug, the minute he sung it I knew he was perfect for [What A Time] and it had to be him."

CARA CROKE, THE WHISP, JULY 2019: “We appreciate Niall Horan for more reasons than one. He was the dark horse of One Direction, his solo album was a banger, he’s Irish (duh), and he’s absolutely hilarious on Twitter. Niall isn’t afraid to speak his mind online."

RUTHANNE CUNNINGHAM, JULY 2019: “Niall is one of my faves to write with because he’s very involved; he knows who he is as an artist – and he’s Irish, so we always have a laugh as well. It never feels like work when I’m writing with him."

JULIA MICHAELS, LADY GANG PODCAST, JULY 2019: “Niall's one of my best friends... we have such similar personalities, we're super stupid and goofy. If I had to be stranded on a desert island with someone, I'd want it to be someone I could be super silly with.”

BEATA MURPHY (KIIS FM ASSISTANT PROGRAMMING DIRECTOR & MUISCDIRECTOR) & CONNOR HATCHEY (IHEARTRADIO LA DIGITAL PRODUCER), ADD THIS PODCAST, JULY 2019: “'You know who might be in the studio that we'll hear stuff from soon? Niall.' 'Really? Oh, awesome! He was the 1D member that I— it wasn't that I didn't think he was going to put out music, but he seemed perfectly fine golfing & just chillin after they split. But then he ended up putting out This Town which was an amazing song and following it up with Flicker —and he's been like the most successful— ahaha yes! out of all of them. It's not that no one expected it— it's just that everyone put all their eggs into the Harry basket.’”

#niall horan #solo Niall #Niall has the best friends

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