#Steve you truly are a lyrical genius

[28ratsinatrenchcoat]

Whenever the Sweeney Todd finale sequence plays, I am possessed by the spirit of Nellie Lovett. I cannot do anything until she dies, and then I get sad and nearly cry thinking about her.

#I love her #shes so fucked up but I love her #nellie lovett #ms lovett #mrs lovett #sweeney todd #stephen sondheim #sondheim #Steve you truly are a lyrical genius #Because I love you #I’d be twice the wife she was #I love you #could that thing have cared for you like me??? #Tears every time #Mrs Lovett apologist #sweeney todd revival #attend the tale #sweeney todd the demon barber of fleet street #The rats say something #The rats love music

[abominable-space-they]

Another Au centered around music & punk Steve(sorta) bc of Steddie twt talking abt switching it up to celebrity Steve & just some guy Eddie.

I do love a good trope reversal

Underground Metal Eddie x (pop)punk Steve

Eddie working at a guitar shop that mostly catered to metal & hard rock musicians with a preference for a certain crunchy sound.

Since he was into a very specific niche of gay power & thrash metal, Eddie didn't know Steve was a pop punk star when they meet

He knew who Stevie Dynamite was, of course he did, everyone did. He knew that the guy debuted at 15, was supposed to be some musical genius who could play any instrument.

Eddie remembered the early songs because they were so personal, haunting little folk proto punk songs w/ a glam pop edge about identity, isolation, & loneliness. They weren't his thing but they were better then the usual radio fare.

Three years later after a series of salacious magazine spreads, notoriously explosive deals with several different make-up and high end hair care lines, more scandals then you could count, public partying, public meltdowns, cancelled shows, article after article abt the King of Pop Rock losing his touch, a mediocre album full of bubble gum party till you drop songs, and open speculation abt the nature of his relationship with indie pop darling Birdie (but Eddie knows that's not what ppl think it is. Her music is wall to wall barely subtle sapphic yearning, if there's one thing he knows it's gay subtext)

The rumors got louder & more dramatic until, five years after he rocketed to superstardom Stevie Dynamite publicly sued his label & parents for control of his image & brand.

He won

Then he quietly disappeared.

Thus was the end of the bigger then life legend of Stevie Dynamite

So when Steve Harrington walked into the guitar store on some lazy Monday afternoon while Eddie was sitting behind the counter working on a song in his downtime. He had no idea who Steve was.

When the unknown hot guy in a Violent Femmes hoodie & a plain black beanie struck up a conversation about Eddie's lyrics he thought Steve was just another life long grind musician wanting to talk shop

When the guy introduced himself as Steve, Eddie didn't think anything in particular about it

When Steve seemed to be flirting a little Eddie chalked it up to the guy wanting a discount on whatever he was in to buy.

When he dragged Stevie Dynamite viscously for being an absolute fake from top to bottom, when one of his newer songs came on the shop radio, Eddie laughed and agreed.

When Steve asked Eddie for help choosing a guitar with a very particular pensive but angry victorious sound he was happy to help (Steve paid full price & if he was annoyed he didn't show it)

When the guy came in again next monday for a new amp, and the Monday after that for new strings Eddie was confused but happy to see him

When Steve came in the Monday after that asking for help with the writing of a song, a service he would be happy to pay for, Eddie said yes against his better judgement. He knew he was well and truly fucked by the happy burbling in his stomach at the thought of creating music with this incredibly hot man.

When they spent six months of Mondays holed up in the break room working on lyrics, Eddie tried not to examine what it meant.

And when Steve abruptly didn't come by one Monday, Eddie had no idea what the hell happened but he was disappointed.

When one Monday no show, became two, then three, Eddie decided he must've been ghosted, he picked his embarrassingly broken heart up off the floor and kept going, resigned to never knowing what happened with Steve.

In fact Eddie had no idea that Steve Harrington was Stevie Dynamite until the first royalty check came in with a $ number so high, Eddie thought he probably died without realizing it. He'd never even dreamed of holding that much money in his hand at one time.

The check was from Dynamite Records?!?!?! Stevie Dynamite's personal label?!?!

Through a haze Eddie remembered that a a few weeks ago Stevie Dynamite had released his first post corporate divorce album to a tidal wave of media fanfare and critical acclaim. Everyone who had an opinion about music swore the real Stevie Dynamite was back on top again. Eddie barely noticed it, he'd been to busy not caring that Steve ghosted him to pay attention to yet another meaningless corporate shill telling him to dance all night

He called the corporate number on the check

"Dynamite Records, Jonathan Byers speaking, how may I help you?"

"uhh yeah man, I think there's been some sort of mix up. I uhh-, Look my name is Eddie Munson & as much as I would love to keep this check. It couldn't possibly be for me and I really don't want to get sent to prison for check fraud so maybe someone should come and get it or something."

The man, on the either end of the line immediately relaxed into a more casual manner.

"Eddie hey man, I've heard so much about you. It's definitely not a mistake, he wanted you to have credit since you guys wrote the songs together."

"uhh not to seem totally clueless or whatever Mr Byers, but umm He who?"

"Jonathan is actually totally fine, we're all family here right? Stevie Dynamite of course"

"Ok, but how in the world does Stevie Dynamite know me & why would he want me to get writing royalties on his new songs?"

"... Fuck...He still hasn't told you has he?"

"told me what?"

Jonathan sighed a kindly exasperated sigh on the other end of the line.

"Eddie have you looked at the new Stevie Dynamite album?"

"No-, I uhh no offense or anything it's just glam rock pop punk isn't really my thing."

"it's fine, it's not mine either-, hmm well are you at work? No of course you are that's where we sent the check. He didn't know your home address. You know, I should've known he didn't tell you now that I think about it. Why don't you go take a peek, pay specifical attention to the dedication. I'll wait here."

Eddie heard some rustling as Jonathan leaned back, talking to someone else apparently.

"Argyle, babe, you wouldn't believe this. He still hasn't told Eddie."

Even further away he heard a good natured huff of laughter.

"Bro? No shit. Man... Babe, your ex is so beautifully weird. I wish I found out a pop star was in love with me w/ a fat check and an album full of love songs. Stevie boy has style at least... wanna hit this?"

What the hell was that all about? If they were getting high he might as well just go look at the album right? Right. No time like the present.

Eddie didn't know why he was so nervous

The album cover wasn't anything remarkable, tattoo flash art of a nail bat, a weird flower full of serrated teeth, and a guitar. It was called "Stevie Dynamite: Love, Death, and a Baseball Bat Named Baby"

Inside there was a lot of concept photography, Stevie Dynamite after a show, make-up smeared, staring into a mirror with empty eyes. Each page of lyrics had a new picture of Stevie with some of the glamorous accoutrements removed staring at himself in the mirror, first he took off his shiny rock and roll lace top, then he replaced his leather pants with sweats, the next he had on an old beat up violent femmes hoodie, lastly he took off all the flashy metallic glam rock make up.

The last picture was just Stevie Dynamite, No, Steve Harrington, his Steve Harrington fresh faced, staring into the camera with a note superimposed, written in loopy feminine handwriting, the dedication.

'To Eddie who's inspired me since the day I met him, who never gave a damn about Stevie Dynamite'a fame or reputation, who was kind to me because that's just who he is.

To Eddie who helped me find my love of music again, reminded me why I was here in the first place, and helped me write the most sincere and meaningful songs I ever have.

To the Eddie I was so afraid of losing to the gossip machine I couldn't quite tell the truth.

All those dumb love songs that you were always teasing me about writing were for you Eddie. No matter what, you deserve to know that. I'm sorry, I hope you can forgive me.

I love you,

Stevie Dynamite

(but you can still call me Steve if you want to)'

Eddie felt faint again. He picked the phone back up

"What the fuck Jonathan?"

"Yeah, man what the fuck. But that's our boy Stevie, passionate, loyal to death and back, more than a little impulsive, and terrified of his feelings. Once he decides he loves you, he's impossible to shake. I'm so sorry he sprang this on you like this man, but Argyle's almost done getting him ready. I'll send him your way when we're done ok?"

Eddie wasn't sure what he was agreeing to but he still agreed.

20 minutes later a leather clad pop rock god, slouched in, looked around from behind his dark sunglasses with disinterested affected distance, pushed those sunglasses up onto his head and magically transmogrified into Steve Harrington, the guy he'd been pining over for a month. They both sat in silence, each afraid to go first. Finally Steve cleared his throat and broke the oppressive quiet

"I'm sorry I stopped coming by, I was so afraid that once you knew you'd only see Stevie, not me anymore. I couldn't bear losing another person I loved to him. God he sucks."

"But... you're Stevie Dynamite right? I haven't hallucinated all this, right?

"No no, you definitely didn't. I mean, yeah technically I'm him, but he's still the worst. I kinda hate him"

"uhhh...."

"I know it's weird"

"No I get it-, I think,-, trapped in reputations of our own making and all-, but uhhh... You love me?"

"Yeah Eddie of course! How could I do anything else but love you? Didn't you listen to the album?"

"uhh-, well-, No? Glam Rock Pop Punk just isn't my thing"

To Eddie's surprise, Steve broke out in a radiant smile.

"Of course you didn't, what was I thinking? All that worry for nothing. I'm so-... Hey I'm about to go play a private vip show to celebrate the album's success, you want to come? I promise I'll explain everything-, No pressure though!"

Eddie still wasn't sure exactly what he was agreeing to, but couldn't even feel to bad about it when Steve blushed, radiant, bigger then life, like a rock god, as he pulled Eddie out the door.

Right then and there Eddie made a pact with himself to keep saying yes to Steve as long as Steve bothered to ask. He was to precious not to.

#stranger things #fanfic #steddie #eddie munson #steve harrington #steve x eddie #stranger things au #fluff #punk steve au #punk steve harrington #punk au #pop star au #rocker!eddie #punk!steve #slow burn #stranger things music au #steve stranger things #stranger things eddie

[infinite-orangepeel]

I’m so late to the party, but my god is Dirty Paws good 💜 Your writing is so beautiful. it has me viewing everything in my life as 🦅 Steve coded lol Was listening to Perfume Genius, and On the Floor felt like it could be his internal monologue (tbf, a lot of his songs feel kinda Steddie coded cos they’re unabashedly queer)

these lyrics in particular felt very 🦅 Steve

‘I pray and wait I cross out his name on the page

(How long 'til) this washes away? (How long 'til) my body is safe? (How long 'til) I walk in the light? (How long 'til) this heart isn't mine?

The rise and fall Of his chest on me I'm trying But still it's all I see’

oh this is so 🦅 steve coded WOW i love these lyrics, thank you for sharing with me 🥹 it makes me so happy to hear that dirty paws resonated with you and that you enjoyed the read!!! it’s the thing im most proud of and has been so fulfilling to create so it truly means the world to receive such high praise and feedback 🩷 much love to you!

#marissa’s asks #inbox #🦅 steve #dirty paws #steddie fanfiction #steddie fics #steddie fic rec #steddie angst #steddie au #steddie #steve harrington #eddie munson #steve x eddie #fruity four #stranger things #steddie brainrot #steve harrington/eddie munson #eddie x steve

[notebooks-and-laptops]

Hi, hello, I spent the last few days listening to your Izzy playlist and aaaah!! I don't know where to start so I'm sorry if this ask isn't very coherent but aaaaaah.

First of all I very rarely listen to people's playlists because I feel like other people's music tastes don't always merge well with mine but I already knew and loved a few of the songs in that playlist and a good half of the ones I discovered I love so much! So thank you for making me discover cool songs, notably but very much not limited to This is love, Girl with one eye, Genghis Khan and 505.

Also, I feel like the combo 'not always seeing the characters the same way' (which is normal obviously) and 'having different music tastes' makes character playlists a bit meh to me? But I'm so so glad I gave yours a listen because I kept hearing the lyrics of the songs and going 'oh yeah that's an Izzy mood alright', I think the most obvious ones for me are like King and This is love? Especially that part at the beginning of This is love, the 'shut up' in 'this is love, love, shut up this is love' every single time I hear it (and I've listened to it a lot) my brain just thinks of him and Ed (and also like King, I will never hear it without thinking of them this is an Izzy song forever for me now) And obviously when I heard like, You me and Steve, Girlfriend, The masochism tango or Jolene I was like 'oh obviously, of course (affectionate)'

Also, and this is more personal but Die together is !! I love that song because not only is it genius to have put it in that playlist it also makes me think of - in middle school I took ancient greek and latin classes and one time the teacher had us listen to an intervention by a teacher who talked about how immortality was truly achieved by dying young and in battle, so that your tales would be told far and wide and forever, and this theme of immortalising people forever through death has not left me since, so finding a song that connects to it is just !!! Anyway excellent job, our music tastes may not be the exact same but I kept the majority of the songs when I downloaded my faves to my phone and that's impressive. Thank you very very much for sharing!!

!!!!!

(For others who want context, my Izzy playlist can be found by clicking here)

This is so much of a complement omg. I spend so much time making fandom playlists for fun (I think I have around 80 playlists for Dragon Age alone) and they're not things that usually get shared around because of all the things you listed (music taste, people having different opinions on characters/songs, or even how I tend to listen to the lyrics and use those to assign characters, whereas I defo have some friends who do it on 'vibes' or what the character themselves would most likely listen to) which is fine but it IS really fun when other people do enjoy them/want to chat about them because music linked to fandoms is like. The main way I consume music and I consume a LOT of music.

But I'm glad that you enjoyed so much! Also King as an Izzy song is literally haunting like holy fucking shit (also a great Steddyhands song if you're into that with that little bit about climbing up the stairs to the light) and 'this is love' is I think the number one song to get into the core of Blackhands from Izzy's perspective like he just sees love that way as this violent deranged thing.

'Die Together' is YES that song holy shit. If you didn't watch it in Eurovision this year, I recommend doing so because the staging was stunning and haunting (it was my absolute fav of the night, so glad it got into the top ten, wish it had done even better) - you can find it here. Also as far as Izzy is concerned it makes me want to chew on things like this idea of a very toxic love that can't go on, but also the idea of it being the worst thing to imagine it ending because that love is also EVERYTHING, and so how are we going to fix this well maybe we'll just die together, and that way we can't lose each other and just dhjadhkjfgjkagfkgf BLACKHANDS HURTS MY SOUL.

Also, PLEASE if you haven't already go watch the Genghis Khan music video here! It's gloriously queer with the premise of 'if James Bond fell in love with the villian' SUCH a good music video

But thank you so much for this ask! It honestly made my day and I'm so glad you enjoyed the playlist as a whole!

#izzy hands #ask #ofmd

[ya-wah]

Analysis: Just Hold On -- Louis Tomlinson & Steve Aoki

So, I’ve been thinking of doing something like this for a while, because I really enjoy analyzing song lyrics and finding meaning in them for myself. I think all of the 1D boys are spectacular songwriters and especially Louis writes some of my favorite lyrics; there’s so much depth and richness in them and I’m really looking forward to taking a closer look at them! My plan is to work my way through his discography whenever I feel like analyzing something, and then hopefully start doing the other boys’ music as well.

Just Hold On is Louis’ very first solo single (and in my opinion one of his most underrated songs), so this is going to be my starting point. Obviously this is all just my personal interpretation and I’m not stating that any of this is a fact, but I still hope someone else can take something away from this as well!

So, Just Hold On is one of those songs that I never really consciously go back to, but whenever it comes on shuffle I always think to myself, “Wow, I really need to listen to this more.” Even though it is a very different sound than what we ended up getting on Walls, obviously also due to Steve Aoki being on the track, Just Hold On is definitely a solid first release from him, and I wouldn’t have been mad at all if he had continued in this EDM, dance track direction with his music. It suits him very well, plus this song is one of my favorite vocal performances from him, especially the chorus. I also really like that even though it is a more dance-y type of song and you would expect the focus to stay on the production, Louis still manages to sneak in some incredible songwriting.

(Just a little aside, I know the lyrics are generally attributed to Johannah dying, but he has said himself that that meaning just sort of happened later on and it wasn’t intended to be about that, which is why I’m going to leave that aspect aside in this interpretation. I’m not saying that he doesn’t want people to interpret the song that way, because he has definitely talked a lot about that double meaning himself, but I just don’t really feel comfortable talking about his mother in a context where he has said himself that he didn’t mean for the song to be taken that way.)

In general, the song has a very uplifting and comforting tone to it. The speaker is talking to someone who seems to be at a watershed in their life, saying “Hey, I know this is scary, but the things you’re worried about aren’t that important in the grand scheme of things. You’ll figure everything out and it’s gonna be okay.” For me personally, as someone who gets anxiety over the stupidest little things and is always fretting about making decisions and irrevocably messing things up somehow, this song feels very consolatory, and it’s a message that I definitely need to internalize and go back to more often.

Wish that you could build a time machine So you could see The things no one can see

This lyric could mean that the person the speaker is talking to in this song wants to go back in time to see the past, perhaps to find comfort in an earlier time where everything was easier and they didn’t have to worry about the things they do now. However, coupled with the “So you could see / The things no one can see”, it could actually (in my opinion more likely) refer to wishing you were able to go to the future, to see how everything is going to turn out, something obviously no one else can see, because it hasn’t happened yet. I can definitely relate to that -- I often find myself wishing that I was able to press fast-forward on my life and go to a utopian future where everything has already worked out for me, so I can skip the hard part of figuring things out and making mistakes, even though those things are essential to growing up and becoming your own person.

Feels like you're standing on the edge Looking at the stars And wishing you were them

The person being spoken to is standing on the edge, they’re at the cusp of something; perhaps they need to make a big, life-changing decision, or maybe something happened in their life that created a disruption of the status quo and now they don’t really know where to go from there. They look at the stars and wish they were them to be able to escape the uncertainty, another feeling I think a lot of people are able to relate to. Wishing you were a part of the stars, removed from all the hardships and hurt on earth, somewhere far away in the galaxy.

What do you do when a chapter ends? Do you close the book and never read it again?

Again, this lyric is referring to a turning point in the addressee’s life. When something happens to you or you make a decision that changes everything about your life (when a chapter of your life story ends, so to speak) what do you do with that? Do you go forward and never look back or do you continue to acknowledge the past, even if it might hurt?

Talking about closing the book after a chapter ends without specifying that it’s actually the last chapter of the book might also mean prematurely putting an aspect of your life behind you, when it might not be done yet. After all, who reads one chapter and closes the book? Even if it’s a chapter you don’t like, it just makes up a small part of the whole story and the best parts might be yet to come, however you won’t find that out unless you actually read the whole thing. Another interpretation could be that the person being spoken to thinks they’re done with their past, that they’ve closed that chapter of their life and have come to terms with it, when that’s not actually true and they still have a lot of work to do on themselves or on certain things they’re dealing with.

Where do you go when your story's done? You can be who you were or who you'll become

This one is pretty self-explanatory in my eyes. When your story is done, when you've closed a chapter of your life, you have the choice if you let your experiences shape you and make you grow as a person or if you cling to the past and want to go back to the way you and things around you used to be. I think it's important to note that even though the latter is generally regarded more negatively and seen as being stuck (even the way I just described it in the last sentence suggests that the correct decision would be to go forward and evolve) the lyrics don't issue any judgment. The choice is truly yours, if you want to become someone new and let yourself be changed, or if you want to stay the way you are now, and the speaker doesn't ascribe any moral value to one or the other.

Oh-oh-oh, oh-oh-oh oh, if it all goes wrong Oh-oh-oh, oh-oh-oh oh, darling just hold on

This is the most important part of the song, the part that Louis really wants the listener to take away from the song. It's repeated in the pre-chorus, the chorus and the post-chorus (going off of Genius here, I have no idea what these words mean lol), the song is named after this lyric, it's the phrase that turns up the most often.

It’s why I said this was a comforting song: yes, while there might be bad times in your life, times where you don't know where to go and feel like everything is going wrong and you would love to just give up, the speaker is telling you, the only thing you can do is hold on. You can apply that to a personal crisis, to your mental health, to a job, to creative struggles (I personally wouldn't really apply it to a romantic or platonic relationship, just because if everything in a relationship goes wrong the best thing to do is probably to let it end and not hold on). Again, an important point to make: if you hold on, there are no guarantees that it will actually get better, that life will become easier, but you still have to do it, because sometimes that's the only thing you can do.

The sun goes down and it comes back up The world it turns no matter what

This refers to what I said in the beginning about how none of the things that seem to be such giant obstacles and struggles in your life actually matter in the long term. The sun will still complete its cycle no matter what happens, the world will still keep turning. For some people, that might seem depressing; along the lines of “No matter what I do, it doesn't make a difference anyways”, but I think this... insignificance can also be comforting. You have all these issues and struggles that seem insurmountable right now, but when it comes down to it, you're just a small and insignificant part of history. For the tiny time span that humans have existed on this earth, for hundreds of years people have had to deal with similar things to you, very often with things that are much harder than what you're going through, so you'll be able to deal with this as well, no matter how daunting and scary it seems right now.

Oh-oh-oh, oh-oh-oh oh, if it all goes wrong Darling, just hold on Oh-oh-oh, oh-oh-oh oh, darling, just hold on Oh-oh-oh, oh-oh-oh oh

It's not over 'til it's all been said It's not over 'til your dying breath

Again, really driving home the notion of the book not being over, of sticking around and holding on, even if it’s hard and even if you don’t want to anymore. There have been so many times in my life where I messed up really badly, or where something so terrible happened and it felt like the whole world would just stop and my life would be over right there. But it never was, and, like it’s being said here, until everything has been said and you have actually taken your last breath, your world will keep going.

So what do you want them to say when you're gone? That you gave up or that you kept going on?

While I have personally not given a lot of thought to this (yet), because I’m in a phase where I don’t even fully know who I am yet, I know a lot of people place great importance on how they’re going to be remembered. At the risk of sounding like a huge emo, it’s like the song Leave Out All the Rest by Linkin Park: “When my time comes / Forget the wrong that I've done / Help me leave behind some / Reasons to be missed”. We all want to be remembered, we want to be missed, and of course we want to be remembered as a good person who did good deeds and who never gave up, even if things got hard.

What do you do when a chapter ends? Do you close the book and never read it again? Where do you go when your story's done? You can be who you were or who you'll become Oh-oh-oh, oh-oh-oh oh, if it all goes wrong Oh-oh-oh, oh-oh-oh oh, darling just hold on

The sun goes down and it comes back up The world it turns no matter what Oh-oh-oh, oh-oh-oh oh, if it all goes wrong Darling, just hold on

Oh-oh-oh, oh-oh-oh oh Darling, just hold on Oh-oh-oh, oh-oh-oh oh If it all goes wrong Oh-oh-oh, oh-oh-oh oh Darling just hold on

Oh-oh-oh, oh-oh-oh oh If it all goes wrong, darling just hold on

(Lyrics are from AZLyrics.com.)

So, there’s not really much I can say to the rest of the lyrics, as they’re just repeating what I already talked about. I also want to add that while doing this I rewatched the music video, probably for the first time since it came out, and I have to say, it’s honestly not one of my favorite videos that he’s done. For one, he’s not even in it; I don’t understand the weird time travel thing they’ve got going on (I even checked the time zones for London, Las Vegas and Kuwait in the hopes to get a better perspective on the whole thing, but they don’t even match the numbers they showed on the screen lmao); and I also don’t really see any connection between the song and the video. The couple is cute though, and I like the theme of living in the moment and having fun without a care for the world, it does fit with the upbeat, dance-y nature of the track, even if it might not match the lyrics that well.

I guess this is it then! This was a lot of fun and I definitely gained an even deeper appreciation of Louis’ writing on this song. If you want to, you can let me know if you would have interpreted anything differently, or in what specific way the song resonates with you. Listen to it, if you haven’t done so in a while, and I hope I’ll be able to do Back To You soon as well!

#louis tomlinson #steve aoki #just hold on #song analysis #louis #mine

[hag-lad]

14, 21, 23

Heyyy Skunk! Welcome back to the butthole of the internet! I love when you actually use tumblr, lmao

14. What are five songs you know all the lyrics to, and would go hard if they came on?

Dead to the World- Nightwish

Chemicals- Scars on Broadway

Rock for Sustainable Capitalism- Propagandhi

Darkest Hours- Stratovarius

Dethrone Tyranny- Gamma Ray

What are five songs you would put in a movie score?

Anthem- Steve Stevens

Danger Zone- Kenny Loggins

Mighty Wings- Cheap Trick

Take My Breath Away- Berlin

Playing With The Boys- Kenny Loggins

Five friends and the songs you associate with them. I haven’t put enough prog on any of these answers, so I’m limiting myself to only prog associations for these!

Julie: Soul of the Sea- Heart. Gotta have that rare jewel of female-fronted prog to represent my rare jewel of a life partner! She and I were obsessed with the Dreamboat Annie album when we were living in our first studio together, so I always associate it with her now.

Skunk: Deconstruction- Devin Townsend Project. Not only cuz we quote it all the time (see here’s my thing with the brain) but literally just the entire WILD RIDE of this song is 100% Skunk branding. This is Devin turned up to 11, like absolute pure chaotic bastard mode. It’s so good but so exhausting! JUST LIKE YOU, SKUNK!!!!

Domenico: The Great Chain of Being- King Gizzard & The Lizard Wizard. This song (this whole album tbh) has a super ugly, moody tone that I enjoy when I’m in a bad mood. But Dom literally just listens to shit like this 100% of the time, and I think that’s so funny and charming and ridiculous. I’m comforted by his predictability.

Michael Whelan: With the Love in my Heart- Jacob Collier. Michael’s shameless crush on Jacob Collier is truly the greatest thing in my life. Both of these kids are totally BONKERS musicians, I have no idea how they come up with such crazy music that’s still catchy and fun to vibe with. They are the same kind of genius.

Stephen Whelan: I’ve Seen All Good People- Yes. I really think this song influenced how Stephen writes. He used to sing this in the living room when he was like 7 years old and gush about how cool it was that the lyrics are about chess. I really see shades of this lyrical style in his prose to this day! It’s so cool.

[lux-astrorum]

BTS Remixes, Rated

Fake Love (Rocking Vibe Mix): probably just as good if not better than the original, and the instrument arrangement here is more successful than the original at evoking the intended emo aesthetics. had its own extended & re-cut version of the MV where they all turned out to be cultists, so it's got that going for it. 8/10

Fake Love - Japanese ver. / Remix: initially pleasing haunted vibes, but unfortunately lacks musical direction. reminds me of the start menu screens from those Nancy Drew PC games in the early 2000s. not for everyday listening but you could definitely find a niche for it in a Halloween-themed playlist. 3/10

DNA (Pedal to LA Mix): extremely unsettling. You would probably hear this at a NASCAR event if not for the fact that people who enjoy watching cars drive in circles are almost invariably xenophobic. the shounen anime intro aesthetic may have paved the way for “Dionysus,” but nevertheless this remix exudes cursed energy. 0/10

MIC Drop (feat. Desiigner) [Steve Aoki Remix]: a lot of people shit on this version for some reason, but I quite like it, despite the fact that I still can't tell what he's saying in the beginning. 9/10

MIC Drop (Steve Aoki Remix) [Full Length Edition]: THIS IS IT. NOTHING FURTHER TO SAY. HELLA TROPHIES AND HELLA THICC. 10000000000000000000000/10

Danger (Mo-Blue-Mix) (feat. THANH): the new piano-heavy instrumentation stirs up primal emotions in me I didn't know I had. the English lyrics at the end are pretty basic, but get the job done. that said, the line "so you like playing games? roll the dice again" absolutely SENDS me for some reason. raw poetry. 11/10

Euphoria (DJ Swivel Forever Mix): sounds like a sunday morning offertory hymn labeled "Special Music" in the bulletin. pass the plate, we’re taking up a special collection to buy jungkook a proper pillow so he can stop sleeping on a rolled towel. 10/10

Seesaw X I NEED U REMIX: a stroke of brilliance. Genius hitmaker Min Yoongi at his finest. the galaxy-brained simplicity of layering a BTS song over another BTS song and calling it a remix is truly mind-blowing. overall, a thrilling adaptation of a timeless BTS classic. she is dressed up & ready to hit the club. 10/10

Spring Day (Brit Rock Remix): gives you an extra minute and 44 seconds than the original track (49 seconds more than the MV) to process your emotions, cry, have a religious experience, or whatever you need to do, but the instrumentation gets progressively more jarring as the song goes on. 5/10

Awake (Christmas ver.): the new piano & harp bits have an understated charm that is quite appealing. Appropriately seasoned with chimes, which lends holiday appeal to a song that would otherwise have absolutely nothing about it to suggest the spirit of the season. it is difficult, however, to ignore the incessant sleigh bells in the background, which would have resulted in a significantly lower rating, except that Jin says "사랑해요, happy Christmas ARMY" at the end. 6/10

Young Forever (Unplugged ver.): short, sweet, easy listening. nothing groundbreaking here but there doesn't need to be. 7/10

Butterfly (Prologue Mix): a slightly extended version of the original with a few instrumentation changes so that the song leans more piano than guitar. it's nice but not different enough from the original that I would miss it. 5/10 (though I should point out as a song, it's 10/10; it's just not an innovative remix)

Butterfly (Alternative Mix): remember when EXO put like 3 "different versions" of 'Universe' on the album and they were all the exact same goddamn song? well BTS paved the way bc I literally cannot tell how this is different from the original. [disqualified]

I Need U (Urban Mix): gives me early 2000s Sting vibes, but I'm not mad about it. 6/10

I Need U (Remix): I would expect this to be playing in an instagrammable edgy bar-lounge with blacklights and lots of neon. I particularly like the sparkly synths and heavy driving beat. for me this is a musical reinterpretation of the angst of the original song, and it works. 8/10

Run (Ballad Mix): does not evoke running. it may not be unlistenable, but it is certainly confusing. 2/10

Run (Alternative Mix): I'm learning that "Alternative Mix" is just BH Producer-speak for "I made one indiscernible change to the track and idk I kinda think it should go on the album hbu?" [disqualified]

Make It Right (feat. Lauv) [Acoustic Remix]: I really enjoy this except for when the guitar plucks out that little synthy jingle bit from the original, which is annoying as fuck and ruins an otherwise perfectly good arrangement. 5/10

Make It Right (feat. Lauv) [EDM Remix] this has absolutely no business calling itself EDM. i cannot conceive of a way to dance to this, which makes it just E_M at best, I suppose. the break during the bridge when Yoongi raps does, however, slap. 3/10

#this has been sitting in my drafts for months lmaooo #// #bangtan #bts #bts remixes

[peppersjam]

My Top 10 Albums of 2019

2019 presented me with a handful of incredible events and memories (I turned 30, I got married, etc.), while also serving me a big challenge (my partner is temporarily living on the other side of the country). In a poetic world, these things would have a significant impact on the music that I listened to and loved, but no, not really. This year is pretty on the nose for me, music-wise. Oh, except that I got really into Taylor Swift in the second half of the year.

Before we hop into boring Steve's boring top 10 list, let's revisit the 2018 list. The only album on the list that I barely listened to in 2019 was Cardi's Invasion of Privacy. Everything else gets at least semi-regular spins, although I'd elevate Historian, boygenius, and Big Red Machine above these others.

My biggest disappointment this year was Charli XCX's CHARLI, which is a solid album, but it didn't grab me nearly as much as Pop 2 did a couple years ago. It hasn't stuck in my rotation.

Runners up:

Bon Iver - "i,i" (I love it when I listen to it, but for some reason I'm not often compelled to listen to it)

Ariana Grande - "thank u, next" (Staple of early 2019, but fell off)

Carly Rae Jepsen - "Dedicated" (Great, but I'd rather listen to E•MO•TION)

Taylor Swift - "Lover" (Some true standout tracks, like Lover and Paper Rings, but too many cloyboys and CRJ rip-offs)

Weyes Blood - "Titanic Rising" (I could see this growing on me over the years, like a Radiohead record)

And the pre-2019 albums that should've made my respective yearly lists:

Beyoncé - "4" (2011)

Beyoncé - "BEYONCE" (2013)

Big Thief - "Capacity" (2017)

Big Thief - "Masterpiece" (2016)

Perfume Genius - "No Shape" (2017)

Snail Mail - "Lush" (2018)

Taylor Swift - "Red" (2012)

10. Big Thief – U.F.O.F

Early in the year, I "discovered" Big Thief. I don't know how I missed them before. Specifically, the song "Masterpiece" got right up in my brain and has been hanging out there since. Then Big Thief gave us U.F.O.F. which was yet another great Big Thief album. See #3 below.

9. Andrew Bird – My Finest Work Yet

Look, I'll stop putting Andrew Bird records on my end-of-year lists when he stops making them.

Andrew Bird turned a corner with the release of Are You Serious where he basically acknowledged that he was now going to work with other people and write scrutable songs. It was a good album, but My Finest Work Yet refines this Andrew Bird 2.0 and delivers some of his... finest work yet ("Sisyphus," "Manifest," "Olympians"). While I still prefer earlier Andrew Bird (A Nervous Tic Motion into Fake Palindromes into Measuring Cups... my gosh, that's 10 incredible minutes of music), I understand why he's moved on to something else.

8. JPEGMAFIA – All My Heroes Are Cornballs

I've been in a rap rut. Kanye is putting out self-indulgent gospel albums. Chance and Drake are boring now. JAY Z is working with the NFL.

But the rut is mostly a lack of imagination on my part. There's a lot of rap out there that hasn't made it through my naive filter, and I want to seek more of it out in 2020. Case in point: JPEGMAFIA. He's weird, political, funny... all the things that the aforementioned rappers aren't (or at least, aren't anymore). All My Heroes Are Cornballs is the most hypnotic rap album I've listened to in years. The glitchy beats and effortless flow makes it impossible to turn off mid-album.

7. BROCKHAMPTON – Ginger

GINGER is a proper follow-up to the SATURATION trilogy. While Iridescence had some good tracks on it, the overall experience was jarring (not without reason, given what the group was going through with Ameer). GINGER reads (ok, plays) like an album in a way that the Saturations never did. While it may be spiritually linked to the Satursation, it's a complete departure sonically. Even though it's more constrained and less bombastic than their hits from that era, it feels much bigger and, ahem, More Important. That might not be to the taste of some of their fans, but I'm happy to have both versions of BROCKHAMPTON in my music library.

6. Lana Del Rey – Norman Fucking Rockwell!

Music publications couldn't get over the fact that on NFR!, Lana, yes LANA DEL REY, was wordsmithing at a high level. Is it that hard to believe that someone would become a better poet as they gained more life experiences, inching closer to the mystical 10,000 hours? Some of the praise may have gone a little overboard (and, frankly, seems rooted in a narrow, misogynistic view of Who Can Do Music Good™️™️™️), but I agree with the underlying principle of the praise: that this is a collection of well written and well performed songs. It has my favorite album closer of the year, "Hope Is a Dangerous Thing for a Woman Like Me to Have - but I Have It." I get chills just thinking about it.

5. Clairo – Immunity

I enjoyed my first listen.

On my second listen, I wondered if it was maybe too simple. I didn't listen again for several months.

But then, when I was working from Pittsburgh the week before Christmas, I listened again. And I couldn't stop listening. It's simpler music than many of the albums on this list, but it appeals to me for the same reason I had a fixation with Snail Mail's Lush this year: it's incredible that songs that sound so "simple" (and I truly do not mean simple in an insulting way) can still be different than anything we've heard before, and can still transfix us in new ways. Behold ye, the power of combinatorics!

4. Vampire Weekend – Father of the Bride

Channel Orange to Blonde was 4 years. There's nothing you can do to get your favorite artists to make music faster. There's some beauty in that... that if an artist is financially successful enough, they don't need to rush.

Modern Vampires of the City to Father of the Bride was 6 years (i.e., 20% of my lifetime). But at least there are no duds here, and "Harmony Hall" might sneak into my hypothetical favorite-songs-of-all-time pantheon.

3. Big Thief – Two Hands

Oh, but then a few months later, Big Thief gave us another album. They started working on it right after they finished U.F.O.F, which tracks based on every interview I've read with Adrianne Lenker. She talked about the insane touring and album release schedule they've been on in the past four years, but her point wasn't "I'm getting tired," but rather "let's see if I can do this forever." I saw them play at The Fillmore after they released Two Hands and I got the sense that Adrianne has to make and perform music. She was uncomfortable engaging in the standard nearly-identical pleasantries that artists share with the audience. She was shy. She was surprised to find that we were hanging on her every word and chord. It was relatable. She's the closest to a genius I've seen in an indie rock band in the last several years, although I'm sure she'd hate anyone calling her that.

That genius produced Two Hands, an affecting indie rock record that practically demands that you close your eyes because you need to experience it and only it.

2. Tyler, the Creator – IGOR

This year, I listened to IGOR over and over again. The hooks, verses, beats, and vibe are all infectious. Boring Steve says "hey, look, it's just a great album." I don't have a deeper thought about it. I eagerly await Tyler's next project.

1. Nilüfer Yanya – Miss Universe

This year, like 2009 a decade ago, was an exciting year to be an indie rock fan. Vampire Weekend and Bon Iver cemented their elder ("elder") statesperson statuses, Big Thief came into their own as a true force of nature, and acts like Clairo and Nilüfer made me extremely jazzed about the Ghost of Indie Future.

Nilüfer has a unique and delightful voice that punches through some really fun songwriting and arrangements. Like, what a dumb, awesome lyric:

Although I cannot tell if I'm paranoid

Or it's all in my head, it's all in my head

Miss Universe is her debut full-length album, and it's a lovable and off-kilter thesis statement for what I assume will be a lovable and off-kilter music career. I can better explain why some of the other albums on this list are great, but suffice it to say, the system rewards unique performances.

#big thief #andrew bird #jpegmafia #brockhampton #lana del rey #clairo #vampire weekend #Tyler The Creator #nilufer yanya #beyonce #perfume genius #taylor swift #snail mail #bon iver #ariana grande #carly rae jepsen #weyes blood #Charli XcX

[anarchist-caravan]

(My) TOP Discovered Albums of the year 2019 - - - - - - - - - - - - - - -

Here again, for the fourth year in a row! Ready to go through the list of discovered music that I have found this year. It has been quite a long year. The thing that is different from the other years is that I have felt a little bit more stressed about the list. I don’ t know why. Just is. And that is a good judgement of what my year has been about. Stress. Angst. Hardships. Fatigue. And Surprises.

I always think I won’t be able to find any new music each year. But I am always mistaken. Thousands of albums down the road. And ain’t that the best thing. Amidst the times. 

And thus, a lot of the music I found this year, that has been put on this list is of the more chill side. Not anything too harsh. Just.... a stream of consciousness.

As Usual, Albums I have encountered throughout the year are listed below -with only the last five in a true top order:

40.

Mad Doctor X - Picnic with the Greys (1997)

A picnic we should all attend, -don’t forget the Oui’d!

39.

Tomb Mold ‎– Planetary Clairvoyance (2019)

Dang, that’s death metal done well.

38.

Moor Mother - Analog Fluids Of Sonic Black Holes (2019)

Self-explanatory. 

37.

Darzamat - In the Opium of Black Veil (1999)

Good AF black metal. 

36.

karl sanders - saurian meditation (2004)

Darker than you think. Hypnosis.

35.

The Dolphin Brothers - Catch the Fall (1987)

Richard Barbieri and Steve Jansen plays wonderous synth-pop akin to something... I cannot remember right now. But they are good nonetheless. 

34.

Reiko Kudo - Rice Field Silently Riping In The Night (2019) 

(Dis)harmonious multi-instrumental live-recording’easque music with singing and (soft) noise. 

33.

Michael Stearns - M'Ocean

Michael Stearns makes the most chill music in the universe. Except for maybe that one U.F.O. trip album that can be chill in the scary cold sense. 

32.

Henryk Górecki - Kleines Requiem-Lerchenmusik

Classical album of the year. Górecki always delivers. 

31.

VOIGHT KAMPFF - MORE HUMAN THAN HUMAN (2012)

Fast techno-trash metal band. 

30.

Sopor Aeternus & The Ensemble Of Shadows - Death And Flamingos (2019)

Sopor Aeternus & The Ensemble Of Shadows is a band that will always have a special space in my heart. Their music got me through the most part of high school. The dark ambivalent songs. Yet, never forgetting the ironic twinkle in the eye. 

29.

Earl Slick - Zig Zag (2003)

That edge of the seat feel of rock; next stage to come, just: SLICK.

28.

Kooba Tercu - Kharrub (2019)

You will be grateful I rec’d this jammin’ piece of fast jumping action of absurdity and happiness. :)

27. 

Red Snapper - Making Bones (1998) 

Trip Hop Album of The year. Seeing to what trip-hop releases there were around the time of this album’s release, I am so fucking surprised I had never heard of these before. They are just as brilliant as the all too famous Portishead, if not with an upper edge in a lot of cases. 

26.

Supercar - Three Out Changes!! (1998)

Shoegaze of the year. Lovely. CHILL. Summer evening breathe’

25.

Anna Domino - East & West (1984)

Timeless synth-pop with rich textures of dreamy lyrics that ensnares you into a downtempo that.... goes up.

24.

Troy Gregory - XAVIERA (2018) 

Monumental Prog.

23.

shit & shine - bad vibes (2018)

It is What it Says. Yeah I am on Acid’

22.

Datarock ‎- Face The Brutality (2018) 

Norwegian indie masters. I love Datarock very, very much. I’ve listened to them since the 2007 release Red and I don’t know a band with as much coercive pop in each track. This album was a surprise find, since I was convinced they were out of the loop.

21.

HIZAKI grace project  - Curse Of Virgo (2008)   

Symphonic Metal. Hizaki is a master of the guitar. Such Riffs. If you need to drain your brain to metal and feel energized but still mesmerized, this is it. 

20.

Institut Für Feinmotorik ‎- Abgegriffen (2011)

Coolest Experimental Band of the year. Go check them out on youtube. The making of the music here is truly an Experience.

19.

Deafkids ‎- Metaprogramação (2019)

D-beat, Raw Punk, Downtempo ... band from Volta Redonda, Rio De Janeiro - Brazil. NOISE.

18.

 WipEout Omega Collection OST (2017)

The wipeout games are and will forever be my favorite way of anti-gravity racing. The music to Wipeout Omega Collection is as stellar as ever, a great list of electro and techno musicians. 

17.

Hammer Bros. - Police Story (1997) 

Imagine being at an underground hardcore noise rave party in 1997. Imagine the beat blasts. The speed. The energy. Just the grinding shouts, the beat, and you. Ready to dive. BURN. WATER. REPEAT.

16.

AFCGT ‎– Square Microphone Tapes 

Noise rock galore. Glory. Wonderful. Gnarly. Intelligent. Different. Moody.

15.

Future Of The Left ‎– Human Death (2013)

Great leftist lyrics. Another one of RIk’s rec’s. Just Awesome. Good Music. Hate on capitalism and its endless bringer of deaths. 

14.

Molchat Doma* ‎– Etazhi (2018)

Youtube rec of the year. Darkwave energies en masse!

13.

3.2 - The Rules Have Changed  (2018)

The follow up to the infamous To The Power Of Three album from 1986 by Emerson, Lake and Berry. The first record was hated on by many, but I love it. And this very late follow up is a huge accomplishment and honoring to the late people involved. A record my dad would have liked. I just love prog music. Sigh. 

12.

Saori Kobayashi - Terra Magica (2016)

Ethereal Game Music is not easy to make. Yet somehow, Saori manages it. No wonder really. She was behind Panzer Dragoon. Masterpiece album for what a tribute it is.

“Terra Magica is a love letter from Saori Kobayashi to her fans. Featuring the same rich, melodic tones that defined the iconic soundtracks of Panzer Dragoon Saga and Panzer Dragoon Orta, Kobayashi invites listeners to enter the world she has created, while encouraging them to create their very own story to match the progression of the music.“

11.

ENTROPY CREATED CONSCIOUSNESS - Impressions of the Morning Star (2018)

Symphonic Doom Metal of the year

10.

Sleaford Mods - Divide and Exit (2014)

Rec of the year by @planetsedge​ - Rik has served several discs on this list this year.

9.

Mobile Suit Z Gundam BGM Collection (Vol.1 - Vol.3)  (1985)

The title track to this animé, sung by Mami Ayukawa, and its subsequent soundtrack is probably one of the best I have heard. 80′s animé has the best soundtracks, mostly. 

8.

K2 - Iron Kulture 7' (1996)

Noise artist of the year.

7.

Klaus Dinger + Japandorf (2013)

Surprise find of the year in the sense of knowing the artist in other bands (NEU! and Kraftwerk) but totally missing this somehow. Late late find. Total love. Electronic mists will seep into your ears listening to this. 

6.

Beak - >>>

Pop-like krautrock. Laid back, but with thought behind it. Allé Sauvage is my fave track. Just the perfect amount of mystery and rhythm and synths. First list find of the year. 

5.

The Muffs - Alert Today Alive Tomorrow

20 years ago The Muffs released this album, and I wish... the years had been kinder. This album helped me a lot though when I found it. A lot of nostalgia will arise listening to this. 

Damned if you feel alright ~

4.

BIG STICK - LP (2019)

EARWORM OF THE YEAR!!! Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co Butter Calamari Co Co ButterCalamari Co Co Butttttttttttttttteeeeerrrrr. 

In the bodega. 

3.

Jesca Hoop - Stonechild (2019)

Indie folk niceties. Chill, interesting blend of rock and singing elements. Not mystical, but still with mysteries. Got third place because I kept remembering it so much. It penetrated my skull. 

2. 

Doji Morita - A Boy (1977) 

This album was an early find and should be my album of the year. Morita’s voice is amongst the softest and kindest I have ever heard. And she has all the wonderful aesthetics to boot! Acoustics with accompanying strings and pianos in most of the tracks. It isn’t, because the N’1 is such an explosion of a surprise. 

The third track, ふるえているネ (One who is trembling) is my favorite. I do tremble at the very thoughts expressed in this track. The bird wings at the end... yeah. Every track on this album is a masterpiece. 

Music as pulling one’ s strings of the heart. That is what this album is about. 

I will keep it at that with the words. No more has to be said. Just listen, you will understand. 

1.

Kagami - Star Arts (2002)

Explosive, Happy, Creative, Constantly Changing Originality.

 Techno. Disco. TeSco.

Toshiyasu Kagami was a genius in his genre. I’ve heard a lot of techno mixes and textures in my life, but not anything like this before. 

Each track slaps you in the head and forces you to the rhythm, only for you to go.... HMMMMMMMMmmmMmmMmMMmmMMM MMMMMMMMMMMMM when the flow enters its synergies of musical delight. What else is there to say when your ears are filled with such pleasant sounds. Just when you think it won’t change up, it will change up. Impossible to predict. Dancefloor killer. Intelligent Mixes. 

No philosophical analysis, only my body moving to the most energetic beat EVER.

Concrete Masterpiece. My album of the year in 2019. 

#Moi #Music #Top #Top Albums #Discovered #Albums #Personal

[fugandhi]

GOOD SOUNDS:

22. RX BANDITS

Hailing from various beaches in California, USA is the one and only Rx Bandits. Originally starting out as a Ska-Punk band, throughout the years this is a band that has had quite the adventure in musical stylings and transformations in sound (all while still maintaining loyal to their musical roots despite the changes). At one time having a horn section, the band is a very, very solid 4-piece.

Rx Bandits is one of the most under-appreciated bands in terms of their musicianship, lyrical content, and overall presence in the music community. Aside from being one of the hardest working bands out there in terms of sheer musical work, the band consists of some of the most down-to-earth, but totally bold-to-go-where-no-man-has-gone-before musical virtuosos I’ve ever had the honor of experiencing live (as any true RxB fan, at least a dozen times).

Although I do have a particular fondness for the band’s line-up with horns (long gone are the days of Chris Sheets & Steve Borth II) - there is no denying the amount of musical prowess the band maintains as a 4-piece. Few acts can sustain a level of total creativity while trimmin’ down the member count. The loss of horns does not have any negative toll on the band’s efforts in their albums, which is truly remarkable considering it’s very rare to find bands that can get better with each effort after having produced so many songs (of an advanced level of skills).

Matthew Embree (guitar/lead vocals) is the heart & soul of Rx Bandits, and Chris Tsagakis (Drums/Percussion/the only other member who has been in the band throughout it’s entirety) is the unbreakable backbone of the group. Steve Choi (guitar/keys/backup vocals) had joined up around the time ‘Progress’ had been released (which was the first album I had bought from them). The combination of Choi & Embree’s guitars, with Joe Troy’s sweet grooves (on Bass, respectively) has an unmatched level of not only melody, but experimentation, and overall awe-inspiring rawness mixed with a constant driving push forward (as they are always getting better and better).

Matthew Embree’s vocals are probably some of the most soothing you will ever encounter, ranging from heartfelt howls, to endearingly delicate falsettos, and very expressive vocals that truly open the floodgates of the soul. In this case, Embree has the ability to express the concerns of mankind (and mankind’s overall destiny), the technology take-over, love in all it’s glory, the tragedies found inherent in the developing apathy of the times, and everything else in between.

Embree’s vocals rest on top of guitars that have the ability to enchant as well as intimidate (due to the raw power, speed, and finesse combined with very challenging and a superior level of song-writing). The rhythm section shines bright with the counter-melody grooves and a drummer that knows no musical limitations.

The band’s strong core values and overall decency is the best part of the band - the fact that these are truly good dudes who just want to put some good out there (while carrying with them, musical genius) - it’s very rare to find such a level of compassion combined with expression. Rx Bandits is truly an anomaly in the music world, but more importantly, a true lesson that the best music comes from the underground.. OH! and also that some of the best musicians you will find at some point in time played a lot of really good Ska music. Aside from Rx Bandits - these dudes have all accomplished so many other side projects (I’m not gonna name-drop, I’m not gonna name-drop..ah screw it - The Sound of Animals Fighting, Love You Moon, C-Gak, Technology, Apotheke, The Bruce Lee Band (backing for Mike Park), Pebaluna, Seekret Socyetee, Coke vs Bills, Biceratops, Machines, The Chinkees; SEARCHING FOR A BRIGHTER FUTURE! YES!, and the list goes ON and ON hahaha). 

There is no band out there like Rx Bandits - this is a truly unique and one-of-a-kind band that has truly made a profound influence in the music world (while staying true to themselves and their fans). Seriously, one of the best bands in the world you will ever experience.

Happy Listening!

#RXBANDITS #RxB #RX #Ska #Punk #Experimental #GrooveTech #Rock #Reggae #Soul #Progressive #AWESOME #Totally #GOODSOUNDS

[lavila27]

Extra! Extra! Newsies explode off your screen! You heard it here.

Yes, this news is really not new at all but it’s my latest musical OBSESSION. I have followed Newsies very briefly from its beginning stages and have finally seen it! More specifically I just saw the recorded version starring Jeremy Jordan, Kara Lindsay, Ben Fankhauser, Andrew Keenan-Bolger, and Tommy Bracco. Sometimes I feel like recorded versions of anything can lack passion and feel like something’s missing but I honestly feel like I could never see this any other way. I’m so thankful that these Original Broadway Cast members decided to come back to reprise their roles. I can’t imagine better fits for these characters.

Okay so for anyone who doesn’t know, Newsies is based on the true story of the 1899 newsboy strike. Newsies went on strike against Joseph Pulitzer to be heard and to seek work fairness. In the musical, Jack Kelly is the main character who dreams of a better life far away from the harsh streets of New York City in beautiful, warm Santa Fe. I truly believe that timing is everything and personally I felt that this musical came into my life right when I needed it to. Anyone can be a dreamer at any point in their life but fighting your current life while simultaneously pleading for a new one is very challenging. The emotions I felt radiating through the screen through the highs and lows of their battle was riveting. I cried, I laughed, I cheered, I felt like I was with them every step of the way.

I want to explore and really shine a light on the amazing production that this is. I saw it 6 times in 4 days and can’t seem to stop thinking about it. First of all, this is a Disney on Broadway show therefore at a whole other level. This is probably the best filmed musical I’ve ever seen. The cinematography is fantastic, every scene beautifully shot, edited seamlessly, and polished to movie perfection. If it wasn’t for the tastefully added audience applause, I would’ve thought that this entire movie just happened to be filmed on a stage. So behind the scenes, the hard work is showcased right in front of you but it doesn’t end there. Perhaps I’m a technical geek but I cannot NOT give credit where it’s so deservedly due. The creative team behind this musical is absolutely incredible.

Let’s begin with the music composed by the legendary Alan Menken. I will always say that this man is a genius and one of the greatest composers of our time. I hadn’t previously heard too many songs from this musical but they are so catchy and dare I say, epic that they have not left my head since the moment I heard them. Just as so many Disney songs that Mr. Menken has stitched into our lives, this song list feels like it’s always been there. There is a fresh but familiar sound to them. They are perfectly suited to the story that it gives me chills each time I hear them. From anthems and fighting marches to victorious dance numbers and breathtaking melodies, each song really captures the emotions of the characters and explodes right into the audience’s hearts. Partnered beautifully of course is the lyrics written by Jack Feldman, quite brilliantly. As much as I really love the entire songbook of Newsies, my favorites are “Santa Fe,” “Carrying the Banner,” “The World Will Know,” “Seize the Day,” “Something to Believe In,” and “Once and for All.” Why? All of these songs have clever, inspiring, moving, and/or are heavy storytelling lyrics. I also appreciate the consistency of the time and location remaining in the songs. The accent and dialect reflect children growing up on the streets of late 19th century New York City. It never ceases to amaze me when music and lyrics weave together so well. Can you imagine how difficult it must have been to come up with “Watch What Happens?” Currently I have the “Santa Fe (Reprise)” on loop because the lyrics are very relatable and give me goosebumps every single time.

Now for what I believe is the true star of the show: the choreography. I honestly don’t think I have ever seen better dancing! The ensemble of men in this show are unbelievable. Combining ballet, tap, gymnastastics, and good ol’ fashioned Broadway flair, the dancing steals the show and makes you want to dance right along with them. These Newsies have so much energy and joy when they dance too! It is no wonder that Newsies won for Best Choreography at the 2012 Tony Awards. Christopher Gattelli’s steps was another element of masterful storytelling. The ripping and dancing on newspapers routine has become a modern icon in Broadway choreography.

As mentioned before, the stars shine in their roles. Jeremy Jordan leads the show with confidence yet vulnerability, showcasing the layers and complexities of an orphan boy becoming a man. I felt where he was scared, angry, sad, infatuated, determined and hopeful. Besides the fact that his acting and singing intermingle so beautifully together, his powerful voice stands out symbolically as his character’s courage. Kara Lindsay brings a fresh take on a leading woman, she’s defiant with playful strength. Katherine wants to be a serious journalist in a man’s world, following a story surrounded by men, and although slightly intimidated by the challenge, is eager to participate along the way. I had previously met Kara, years ago, when she played Laura Ingalls in Little House On the Prairie- the Musical, and she had a similar energy to her. I was delighted to see her hold her own as one of only five women in the whole production.

Unlike the previous two, I had never seen or heard of Ben Fankhauser prior to Newsies. He is fantastic as Davey! He plays boy to man very well too. I think he has the biggest transformation in the story. He begins as newbie and ends as a newsie. Ben has a smooth, practically angelic voice. Davey is smart, brave, and basically the moral compass of the story. I really felt drawn to his journey throughout the story, participating in this strike, being a friend and brother, and becoming a leader. Other standouts include Steve Blanchard playing a charming villain in Pulitzer, Aisha De Haas as Jack’s comforting friend Medda, Ben Cook as the newsie who stands out, Race and Ethan Steiner as the small but fierce force Les.

I can’t say enough about this show. I feel like everything from Harvey Fierstein’s book to the lighting and sets brought together a masterpiece of theater. I congratulate everyone who worked on this project. Unfortunately as of this writing, Newsies is no longer on Netflix but you can find out more about it as well as download it here. I strongly recommend you do so but be warned, you may want to don a cap and start leaping around streets afterward.

#newsies #disney on broadway #jeremy jordan #kara lindsay #ben fankhauser #seize the day #santa fe #watch what happens #the world will know #something to believe in #dancing #Alan Menken #jack feldman #harvey fierstein #jack kelly

[loyolahcmass]

Homily on Pretender by Steve Aoki

Here is the preview of Fr. Rossi’s homily about the song Pretender by Steve Aoki:

“Pretender” Homily “I'm a good pretender Won't you come see my show? I've got lots of problems Well, good thing nobody knows.” In case you’re not familiar with him, Steve Aoki is an American electro-house musician, record producer, DJ, and music executive.  In 2012, “Pollstar” named Aoki as the highest grossing dance artist in North America from tours. He’s collaborated with tons of different artists such as will.i.am and is known for his remixes of artists such as Kid Cudi.  __________ Aoki has released several Billboard-charting studio albums, notably “Wonderland.”  It was nominated for the Grammy Award for Best Dance/Electronica Album in 2013. He's the founder of the Steve Aoki Charitable Fund, which raises money for global humanitarian relief organizations. He cares worldwide! __________ Aoki wrote “Pretender” in 2018. It’s on his album “Neon Future III.” It’s about the problems of social anxiety and insecurity on Social Media.  There’s a lot of that going around, isn’t there? Well, I told you he cared. __________ It was a collaboration between Aoki, AJR, and the rapper Lil Yachty. Aoki says, “It made me feel a little better.” “I hope it helps you too.” __________ Which brings up a very interesting phenomenon. You may remember that last week I mentioned that Mac Miller’s very thoughtful, soul-searching song, “2009,” had 0 comments and no analysis on “Genius Lyrics.” Well, “Pretender” is the exact opposite. __________ Although “Genius” doesn’t spend much time analyzing this little-known Aoki song—sad—there are 850 comments about “Pretender.” Aoki got his wish. This song with its theme about faking it on Social Media really hits home with a lot of people.  __________ “I look happy in every picture Just so you'd think I am, I never say no to pictures 'Cause that's just the person I am.” One person said that “the meaning and the lyrics of the song relate to a lot of people.” “This is really scary,” she says. “But, it’s also great that you sung about it, because most artists wouldn’t write about something as real as this.” __________ “I’m a good pretender I’m not really cool. I’m a good pretender ‘Cause I’m just like you. I do not belong here, You all clearly do. But I’m a good pretender ‘Cause I’m just like you.” I was really touched by a boy in high school who wrote, “This helps me so much.” “I definitely relate to this song.” “Yesterday I told my teacher about it.” “He played it in class and explained social anxiety and stuff.” “Thank you for writing a song about the problems no one talks about.” “It seriously helps people like me who have them.” __________ Finally, a guy in college wrote, “As someone who has social anxiety, this song makes me feel better knowing I'm not alone.” “This is a collaboration I sure as hell didn't expect, but sure as hell needed.” “I wasn't expecting this song to get to me, but it did.” “I needed this right now.” __________ Guy, you certainly aren’t alone. There were hundreds of comments on “Genius” just like yours. The outpouring of feelings was amazing. Music really can have a healing effect. __________ “You are spirit and life, Lord.”                         John 6:63 And, so can the message of Jesus Christ. With Christ, we don’t have to pretend that we’re lovable. We're worth everything in the eyes of God. Each one of us has a unique value to Him. __________ With Jesus, God decided to save us even though we were sinners. Yeah, we fail all the time and make poor choices. But, remember, he created us in love and saved us even though we’re not perfect. __________ In fact, he saved us because we’re not perfect. We don’t have to pretend with him; why pretend on Social Media? If Social Media insists that we fake it, then it’s phony. We should stay as far away from it as we possibly can. __________ “In front of the camera screen, I make it look just like a movie scene.” As Steve Aoki says, “I’m trying to figure myself out. Social Media isn't helping." Guys, I have a degree in film. Take it from me, movies aren’t reality. __________ Aoki’s right! You’ll never know how much you’re truly worth by pretending!

#pretender #steve aoki pretender #pretender steve aoki #steve aoki #steve aoki music #homilies #homily #catholic homily #mass #Catholic Mass #hcm homilies #loyolahcmass

[tehnardier]

In A Crowd Of Thousands (Part I) —  Steve Harrington

Series: In A Crowd Of Thousands (other parts here)

Pairing: Steve Harrington x Reader, a little bit of Billy Hargrove x Reader

Words: 1434

Summary: Y/N asks her best friend since childhood, Steve Harrington, to be her fake boyfriend so she can make Billy Hargrove jealous. 

Request: “I was wondering if you could do a one where you get rejected by someone - maybe Billy - and you make him jealous by the help of Steve, you both start to slowly fall in love with each other but they don't admit it until billy gives in to the reader and Steve and you get together maybe smut or just fluff it's up to you” by @xxchloegrayxx (I changed the plot a little bit, I hope you don’t mind)

Warnings: none

A/N:  !! PLEASE READ THIS !!  Ok, I’ve got quite a lot to say on this author’s note, so bear with me. First of all, I’ve decided to make this into a series since I really love the fake dating trope and couldn’t possibly fit all my ideas into only one part. Second of all, I’m starting a tag list for this series, so if you want to be in it just let me know (I’m tagging this ‘iacot series’ if you don’t wanna be apart of it). And third of all, I inspired this fanfic on the song “In A Crowd Of Thousands” from the musical Anastasia and I completely encourage you to check the song out because it’s adorable and I managed to put some of the lyrics in this, so I guess it’ll be fun to know it while reading. As always, feedback is appreciated. Enjoy (:

“Steve!” Y/N called out, running after the boy in question. “I need your help with something.”

Steve stopped and turned to Y/N smiling. “Sure, what’s up?”

“Before you say no, remember that I gave you the answers to that chemistry quiz last week. You owe me.” Y/N told him, holding his gaze with such intensity that it almost looked like they were on a CIA secret meeting, not in the middle of a crowded hallway in between classes.

Steve chuckled and crossed his arms. “Saying ‘before you say no’ before even asking the favor increases the chances of me saying no in about 80%.”

“Ok, when did you start talking about percentages and using fancy words like ‘increase’, Harrington?” Y/N teased him, bumping her shoulders with his. “I didn’t know I was friends with such a genius.”

“Increase is not a fancy wor—” Steve stopped himself and shook his head, wanting to get straight to the point. “Just tell me what you need.”

Y/N grabbed his arm and dragged him to a row of empty lockers, which was probably the most privacy they would get in a hallway full of sleep deprived teenagers. “I need you to come with me to Timmy’s party.” she said in a hushed whisper, looking around to see if people were listening in.

Steve furrowed his eyebrows at her confusedly. “Timmy’s party? You know that thing will be packed, right? You hate crowded places, especially the ones with drunk and horny teenagers.”

“Maybe I want to be a drunk and horny teenager for once.” Y/N snapped at him loudly, earning an even more confused look from Steve and glances from other students passing by. She puffed her cheeks out and held Steve’s arm tighter, pulling him a little closer. “There’s this boy I’m interested in and I need you to be my pretend boyfriend so I can make him jealous.” she explained, looking at Steve between her eyelashes and and pouting her lips, knowing that acting like that had been a fool-proof plan to make the boy go along with any of her plans ever since they were kids. Just as expected, he let out a defeating sigh and ran a hand through his face. 

“You don’t have to do that to win a guy over.” Steve murmured, his voice muffled by the hand still in his face.

It was Y/N’s turn to sigh as she got hold of Steve’s other arm and brought his hand down. “For this particular guy, I do. And you’re the only one who can help me. Besides, half of the school thinks we’re dating anyway.” Y/N glanced down at their hands that had somehow found each other during their conversation, their fingers now intertwined. Steve looked down, too, and smiled a little, squeezing her hands tight.

They had always been like this: not afraid to be affectionate in public and never knowing the difference between acting like a couple and acting like best friends. It didn’t bother Y/N and Steve acted like it didn’t bother him. When Steve was only 10 years old, he learned what love truly was when Y/N gave him his first kiss and he couldn’t help but still think of that day now and then. It was a hot June afternoon in Hawkins and little Steve Harrington was out with both of his parents, which was a rarity on its own, to go to the park and get ice cream. Apparently, half of Hawkins had had the same idea, so the town was swarmed with happy families and friends walking around with huge smiles on their faces. 

Even from a crowd of thousands, Steve had been able to spot his best friend sitting in a bench and playing with her little sibling. Steve remembered how he just stared for a while, amazed by Y/N’s serenity as she carefully took the toy out of her baby brother’s grasp so he wouldn’t chew on it. Then, as any 10 year old would do when they saw their best friend, Steve had started to run towards her, calling out her name. Y/N had lightened up when she saw him, standing up and running to him as well. Right when they had reached each other, Y/N’s parents called her from where they still stood with her brother, telling her they had to go. The next thing Steve knew, Y/N had given him a little peck on the lips. With the sun in his eyes, he hadn’t her seen run off with her family right after it happened, only hearing her giggle as she walked away, but he could still remember the happiness and love he felt at that moment. Mostly because, even after all those years, he still felt the exact same way whenever he was around Y/N.

“Steve! Are you listening to me?” Y/N said, waving her hands in front of his face and breaking him out of his little daydream.

Steve shook his head and focused once again on the girl in front of him. “Sorry. What were you saying?”

“I said,” Y/N started again, looking at Steve impatiently, “would you please come with me to Timmy’s party as my pretend boyfriend? We’ll only do it until I can get the attention of the guy I like, then we can pretend break up and say we realized we were better off as friends.”

This broke Steve’s heart a bit. He knew he had no chance with her, but to hear her say it out loud was just a whole new spectrum of painful. He figured he had at least the right to know who had won her heart instead. 

“Who is this guy, anyway?” Steve asked in fake nonchalance, making his hands finally let go of hers and bringing one up to scratch the back of his neck self-consciously.

“It doesn’t matter.” she answered fast, avoiding eye contact with him. 

Steve squinted his eyes at her, confused as to why she didn’t want to tell him who it was. Then it hit him. There was only one guy Y/N knew Steve wouldn’t want her to be with. 

“Is it Billy?” Steve breathed out, trying his best now to let how disgusted he felt show on his face. The only response he got was a cringe from Y/N. He groaned loudly and looked up at the ceiling, wanting to just disappear in that moment.

“That’s why I didn’t want to tell you!” Y/N said, gesturing to him with her hands. “I knew you’d overreact like this.”

Steve abruptly looked down, his eyes wide like saucers. “Overreact!? Y/N, this is hardly me overreacting.” he raged at Y/N, raising his voice. 

Steve immediately regretted snapping at her that way when he saw her jump at the volume of his voice. He relaxed his posture and put his hands on his hips to keep himself from reaching out and hugging her.

“It’s just... Billy? Why him? He’s a douchebag and he doesn’t deserve you, Y/N.” Steve said weakly, knowing that he couldn’t hide the sadness in his tone even if he tried. Steve could only hope that Y/N would think that this was just her best friend expressing his concern and that he wasn’t being too obvious about his feelings towards her.

“It’s not like I like his personality or want to marry him, Stevie.” Y/N answered just as quietly. Steve’s face immediately softened when she used the nickname she’s had for him ever since they were little. “I just want to be a dumb teenager for once and hook up with a hot, even dumber guy. It doesn’t mean I have real feelings for him.”

What Steve wanted to say was that he would be more than happy to be a dumb teenager with her, but instead he settled for the answer he knew Y/N would want to hear, even if it hurt him the most. “Ok, I’ll do it.”

Y/N’s face lightened up just like it had that day in the park and she engulfed Steve into a quick hug. “Thank you, thank you, thank you.” she said into his ear before pulling away, her smile wide.

“You don’t have to thank me.” he told her, smiling back meekly.  Y/N didn’t seem catch on Steve’s lack of excitement. 

“Well, I’ll call you later and we can discuss our arrangements.” she told him giggling and wiggling her eyebrows before waving him goodbye and walking away, leaving Steve alone in the school hallway to wonder what the fuck had he just agreed to do and how it could possibly lead him to his inevitable doom. 

#please read the author's note!! #stranger things #steve harrington #stranger things imagine #stranger things imagines #stranger things x reader #stranger things x you #steve harrington imagine #steve harrington imagines #steve harrington x reader #steve harrington x you #billy hargrove #billy hargrove imagine #billy hargrove imagines #my writing #my-writing #iacot series

[shriekbackmusic]

Virtual Sleevenotes, Credits and Lyrics for ‘Barry Andrews: Lost Pop Songs 78-80’

TRACK LIST 1 Rossmore Road 2 Win a Night Out (with a well-known paranoiac) 3 Freak 4 Me and My Mate Can Sing 5 Mousetrap 6 Bring On The Alligators 7 Sargasso Bar 8 Feeding Time 9 Muscle & Movement 10 Opposite Way in the Rush Hour 11 Taking Over ICI 12 Vampyr Skinhead 13 Big Soft Safe Family

MUSICIANS 1-3 clarinet: Frank Abrams, trombone: Ian Bateman, guitar: Rob Hendry, Robert Fripp, Bruce Mcrae, bass: Dave Marx, drums: Richard Wernham, engineer: John Strudwick, backing vocals: Bruce Mcrae, Patti Palladin, Clara Harris, Steve New, Marion Fudger. Recorded at Rockstar Studios, Fitzrovia, Mixed at Regent’s Park Studios, St Johns Wood. 4-7 guitars and bass: Dave Marx, drums: Rob Wilford, engineer: Hugh Padgham, Producer: Martin Rushent. Recorded at Townhouse Studio 2, Goldhawk Road. 8-10 guitar: Jon Ellis, bass: Dave Marx, drums: Richard Wernham, engineer: John Strudwick, recorded at Pathway Studios, Islington 11-13 bass: Marion Fudger, guitar: Rob Hendry, drums: Richard Wernham, engineer: Eric Radcliffe, recorded at Blackwing Studios, Borough.

The songs on this album have been lying about for a looong time, as you see.  The reasons for this are twofold: 1- it’s juvenelia, really - undeveloped, derivative. Trying stuff on for size.  An artist not in complete control of his medium, if you like. So I was not in a hurry to expose it, I guess, for its flaws are obvious. 2 it’s precious, unrepeatable, unvarnished. Truly an account of Process as someone’s aesthetic develops. It’s fascinating to me, of course (‘each man loves the smell of his own farts’) and, I have to assume, as an article of faith, that it may be to others. So, as a one-time-for-all-time thing, I was hesitant to release it. Anyway, here they…are, these songs which are inextricably bound both to a critical time in my life and the interstitial flavour of the historical moment: the end of the 70’s in good old (post-war, now post-60’s) UK. The dingy, dark, money-strapped days of Callaghan and Heath on the cusp of the New (fake) Gold Thatcherite Dawn.

London still grubby, edgy and un-Developed in a lot of places (squats still available - for instance) and Punk, which had roared for a couple of years - having redefined pop culture, via getting Pissed and Destroying - was about to stagger off into the wings, fresh out of ideas.

the Roxy Club, Covent Garden in 77 (it’s a shop selling Speedos now. Out with the Bin Bags in with the New Shiny Pants!)

The Clash and Pistols albums of 77 had permeated, by 79, everywhere they were likely to go (surprisingly far) but their offspring - the ninety-to-the-dozen, political, permanently furious form of *Punk was on the wane. ‘New Wave’ as a catch-all term for anything that was neither hardcore (with a little ‘h’) Punk nor Old School Rock was becoming the mot du jour. Another strange little sub-genre was Power Pop (which my old firm XTC could be described as, although to be fair, we were doing it well before the term was coined). Blondie, The Rich Kids, the Rezillos: all were attempts to make ideologically (yes!) acceptable the idea of melody and upbeat themes in a landscape where (Iove this term) *Ramalamadolequeue was rapidly wearing out its welcome.

(the Rich Kids - ft. Steve New, the baby deer. They’re not signing on are they? They’re Rich.)

Personally, these tunes cover, as historians say, ‘the long 78-80’. Roughly from the end of my time with XTC to the beginning of Restaurant for Dogs which was (sort-of) the R&D for Shriekback, although definitely with its own sovereignty and aesthetic.

Rossmore Road                                                                                               source: 1/4″ tape                                                                                              This came to light in a box of old tapes (Lordy I wish I had more tapes). It’s the first mix John Strudwick and I did for the single but I wasn’t happy and, rather sportingly, Virgin let us remix it. This version, though, not only has the ‘son trouveé - ‘asking for directions’ elements at the beginning and end (hilariously furious posh guy who - you can hear - I have managed to wind up even in the few seconds it takes to ask where Rossmore Road was. How? I really was an annoying, chippy bastard in those days - you can see why I felt paranoid (see below).

I was playing with Robert Fripp’s League of Gentlemen at the time and Robert kindly offered to come down and bestow his guitar benediction upon my humble pop tune (skills which were to be deployed, rather more usefully, on Bowie’s ‘Scary Monsters’ later that year - which Robert had taken a break from rehearsals with us to do (‘I have redefined the parameters of modern guitar playing’, he self-deprecatingly declared, on his return).

We got off to a bad start and never got beyond it: we plugged Fripp in and played the tune - John the engineer had assumed, totally reasonably, that this was a ‘get familiar’ go-through before we started recording.

As producer I should have been clearer - very much so, as it turned out because Fripp threw a total hissy fit when told we hadn’t recorded his 1st take. He gave us a rant about Heroes etc - how all his most genius work had been 1st or second takes. I apologised. He made a somewhat passive/aggressive show of graciousness in spite of this clear affront and the atmosphere was kinda tense after that. Someone else who hated me. Just great.

And anyway, what we would have got (and, on the 2nd take, did get) was - Fripp fans forgive me - 70’s prog-hero solo guitar noodling (very good guitar noodling, but still) - which loftily ignored the song’s structure so entirely that you had to choose between either just showcasing Robert or actually crafting the song. On the remix we ended up using one note (at the top). I honestly couldn’t find anything else that properly fitted. On the present mix, however, if you listen carefully, you can hear Fripp doing his flash, busy thing - it’s mixed as loud as I dared but you can hear it doesn’t really work and, if it hadn’t been him playing it, it wouldn’t have been there.

An inappropriate and inelegant use of resources, as he might have said. Interesting to hear though, perhaps, in a vestigial tail/snake legs sort of a way.

conceptual stuff about RRd. 

ROSSMORE ROAD (NW1) The 159 runs along it Round the corner from Baker Street There's a dolls house shop on the corner Of Lisson Grove and

Rossmore Road Rossmore Road

Turn left at the DHSS in Lisson Grove You find yourself in Rossmore Road And there's a number of public buildings And a safety barrier down the middle of the road

In Rossmore Road In Rossmore Road In Rossmore Road

White and yellow lines and street signs And public phones and traffic cones And belisia beacons on the central reservation All humming now, all humming now, all humming now

To the north The Grand Canal Round the corner Regent's Park Next stop on the tube Marylebone Road And you can see Balcombe Street from Rossmore Road

The 159 runs along it Round the corner from Baker Street There's a dolls house shop on the corner Of Lisson Grove and

Rossmore Road Rossmore Road Rossmore Road Rossmore Road

In Rossmore Road White and yellow lines and street signs North of the river South of the circular Under the road Above the railway

All humming now, all humming now, all humming now All humming now, all humming now, all humming now All humming now, all humming now, all humming now All humming now, all humming now, all humming now All humming now, all humming now, all humming now All humming now...

Win a Night Out (with a well-known paranoiac)                                           sound source: 1/4″ tape

Very pleased with this, I am still. Sui generis as they come. Blur before Blur said somebody. OK I’ll take it. I was (I think) actually thinking about Patti Smith’s Piss Factory - and Land and Wave, those half-poem, half-song tunes of hers. This, though, suffused with the provincial UK, late 70’s consciousness you get when you perhaps smoke too much grim hash and take too much speed. Interesting sexual punishment element to it also. Because it’s two dates: one rustic and one urban, then an extreme post coital reverse followed by a horrific denouement (Nazi Vivisection! The worst kind) which shows that, as they say: ’just cos you’re paranoid doesn’t mean they’re not out to get you’.

This is, obviously, autobiographical (apart from the vivisection). This arsy, scruffy little bloke, oppressed by the forces of reaction and class, who seems to attract humiliation and brutality wherever he goes, even though his intentions are just to have fun and get laid.  It’s a little poem about fear and self doubt which, around ’79 there seemed to be lots of. So I made a record. More expensive than a therapist but it has a trombone player..

WIN A NIGHT OUT (WITH A WELL-KNOWN PARANOIAC)

We could rendezvous in a country pub I know in the heart of rural England where the landlord sports moustaches just like Jimmy Edwards and the crisps and pickled onions on the bar are numberless as the stars at night We're just about to order scampi in an Elizabethan basket when two neckless men in blazers and cravats approach our table and say - "sorry - this bar is exclusively for the use of Nobel prize winners, latter day saints, people who have seen God and selected relatives of our dear Queen, and furthermore, you worm, there is mud upon your plimsolls". I reply that I am a member of most elitist cliques you care to name and the blood which courses (at an ever increasing speed as it happens) through my veins belonged once to the Cuban royal family, but, they don't listen and they just pour my drink down the sink and say "this is not what we mean. In this life, one is either U or non-U and if I were you I'd make myself bloody scarce.” I even try to show them my credit cards but unmoved they say "OK sonny, it's time you were taught a lesson and there's only one thing that your sort understand"

Win a night out with a well known paranoiac Win a night out with a famous paranoid Win a night out with a well known paranoiac Win a night out with a famous paranoid

At an Iberian eatery in the west end, we could gaze at each other across saucers of yoghurt and bits of crusty foreign bread - and then - I could order a carraffe of Asti - we could have so much fun. We could discuss things like communism and chart positions with the lack of inhibitions that separate the truly liberated from the herd - but - I should mention that I talk quite loud as a casualty of inexpensive foreign wine and neither am I unaware of the restive noises from the party sitting close by. But as I'm in the middle of my funny story about the Arab and the underwater toilet, I can't stop now 'cause I'm in too deep, as I'm coming to the part where I say (in my best joke telling voice), "so the Arab says to the attendant, right...

‘Of course as we know five thousand pounds of pressure can suck out almost anything,’ and it all goes quiet and a little girl is saying: "Daddy, what a horrible man" and Daddy replies, "don't worry darling 'cause I've just made a phone call to your crypto-fascist Uncle Roger and he'll be here quite soon, and make quite sure he doesn't upset any little girls... little girls any more"

Win a night out with a famous paranoiac Win a night out with a well known paranoid Win a night out with a well known paranoiac Win a night out with a famous paranoid

Lying in your crumpled bed on Sunday morning, you said your Mum and Dad had gone away to a conference in Bath and I believed you like a fool. Now you get up, go to the window and you turn a pot plant round. I study your naked bottom with a twinge of lust but I'm not twigging that something's going down. There is a sound of the heavy boots upon the stairs and the door crashes open and in comes your Dad with some faithful retainers and some ex-Army mates from the Conservative Club. And I figure they must have been waiting all night because your Dad is clutching two reels of infra-red film and he's looking dangerously pale as he shows me the microphone under the bed, and I'm just about getting the message: all is not too groovy

As you stand there in your dressing gown laughing at me, then in comes your Mum in her nylon house coat with her hair hanging loose like a suburban Harpy and she advances towards me with an army surplus bush knife, clearly bent on wreaking havoc down below the navel and she's just about to get stuck in when I wake up... and yeah, it was all a dream

I'm really in a hospital bed. There is a smell of formaldehyde in the air, and a couple of doctors with swastikas on their arm are doing something to the brain of a sheep and in the corner is a huge zinc bath containing some sort of reptile and the nurse is saying "be a brave boy and drink it all up". And I realise I can't feel me legs and the shape in the bed isn't my shape at all and I wanna cry out but I can only bleat

Win a night out with a well known paranoiac Win a night out with a famous paranoid Win a night out with a well known paranoiac Win a night out with a famous paranoid

FREAK source: cassette So Funk was the thing - but let’s take it and fuck it up with our English voices and anti-slick playing. Let’s actually take the funk/fun out of it. Disco hatred was the tip, kinda. I recall saying in an interview that it was like scratching up a big lairy american limousine with the nasty, rusty keys of your squat (there’s also an unreleased Restaurant for Dogs version we recorded for Warners with Nick Launay which takes this approach to its theoretical limit: it’s pretty hard to listen to). We are, in fact, so alienated from the subject matter that I sing ‘just come on down to the fifth floor’ instead of ’54’ - the iconic New York club, me not having heard of it (though - quirky historical note - Shriekback did actually play there in the place’s last week - on the Sacred City tour).

Dave’s ‘confused Dutch person’ on the end is a nice random element. Like he’s wandered in off another session. 

4 Songs from Town & Country EP (Virgin 79) Me and My Mate, Mousetrap, Bring on the Alligators, Sargasso Bar sound source: vinyl Ah T&C - I sort-of despise thee. No-one was taking care of my career development - especially not me - after XTC so I got stuck in a posh recording studio with the Strangler’s producer way before I should have been. This you can hear from the ‘apprentice piece’ nature of this EP.  All influences fully on show and sellotaped together. A ‘band’ which, you can tell, has only so much in common and which was kinda thrown together.  An adolescent ferocity in the delivery not masking very well a slew of insecurities. ‘Calm Down’ I want to tell this snarling young herbert, ‘nobody thinks you’re cool anyway. It’s fine: do an album about a fish, why dontcha?’ As it is, we get a variety pack of New Wave/Post Punk styles and lyrical tropes: Me & My Mate (the Clash obvs: stage democracy, anti-rockist groupy exploitation, DIY fanzine-esque self-expression for the working classes, Patti Smith reference). Mousetrap A classically-trained-but-recently-listened-to-Elvis Costello/Joe Jackson Bitter Relationship song. I like the spoken word bit that deconstructs a Well Made Play in 4 lines though (for those who don’t know, The Mousetrap is the longest running show in the West End - since ‘52!). The ‘Darlings’ repeated hookline was a reference to my lovely Aunty Rene who worked many years in the box office of various West End theatres (the Adelphi and the Prince of Wales I think - and since you ask) and had adopted a fabulously camp way of speaking through long exposure to gay theatrical men. Her poodle Chico was ‘my little Treasure Island’ and everyone else was ‘Darling’.

Aunty Rene (2nd left) with her theatrical crew and actress Anna Neagle at the Coalhole on the Strand 1968)

MOUSETRAP Been playing Shaftesbury Avenue For a thousand years or maybe two - darlings Done plenty bum gigs in my time But everything's alright now

In the mousetrap In the mousetrap

We fall in love most every night We're quite ridiculously tight - darlings And yeah I feel some kind of freak Getting killed six times a week

In the mousetrap In the mousetrap

It's nearly half past three Gotta do a matinee I don't understand this game Why everything's the same

But as the show go on and on And on and on And on and on and on and on and on And on

I know the punters mustn't see How mundane it seems to me - darlings But sometimes I wish I could screw Someone else in Shaftsbury Avenue

In the mousetrap In the mousetrap

Curtain up - exposition Development of character Plot - unravelling slow Sustaining interest, gathering momentum

Till they unmask the killer Then a twist right at the end And it's all over till tomorrow night

In the mousetrap In the mousetrap

Sargasso Bar definitely the best of this bunch. Although the Small Town Observational style is a little irritating  (alright, Bazzer, you’re a Poet of the Everyday and you are so very alienated) it is here for the first time that a certain mock heroic, magical-realist aspect started to appear in my writing.  ‘they raise their glasses in 2/4 time and they study the latecomers as they slither in beneath the door’. XTC did a version of this which failed to get onto GO2.  Not too much different I think but I recall Andy Partridge’s objection to the line: ‘we’re surrounded by the Eels of Death’. He felt it was the sort of hippy, trippy kinda image which XTC Stood Against. I felt it was - well - mock heroic and magical realist. This conversation went nowhere, obviously, but it was instrumental in making my decision to leave the band. These people just didn’t get my shit…

SARGASSO BAR Couple in the corner Now she's crying on his shoulder Well they're a couple of Modern Lovers Sort of Kevin and Isolde She's embarrassed by his footwear He's embarrassed by her hair But he doesn't really care He says it's murder staying emotionally aware He's another Lost Soul But he's only come here to die And get high

In the sargasso bar, the sargasso bar, the sargasso bar In the sargasso bar, the sargasso bar, the sargasso bar

Big John in the wooly Football training in the evening Well he got married married married Now he only thinks of leaving And he's surrounded by the blubber Watch the terylene stretching As he makes a point about his car When you're on miles to the gallon You know where you are And he's here every night, he's such a regular guy He gets high

In the sargasso bar, the sargasso bar, the sargasso bar In the sargasso bar, the sargasso bar, the sargasso bar

We came in from the rain Now we're surrounded by the Eels of Death Everyone nervous and everybody couldn't care less We raise our glasses in 2/4 time We study the latecomers as they slither in beneath the door About this time of the night There's more and more and more and more Well, give them ten minutes then they all go home to die Cos they're so high

In the sargasso bar, the sargasso bar, the sargasso bar

Bring on the Alligators yeah, dunno about this one really. Clearly I’m really working the magic realist tip again but to what end? It’s clearly meant to be funny, what with the Polish ‘1234’ in the middle and the ‘cocktail bar’ quiet section at the end and all but it’s all trying a bit hard for my liking. The awfully Lahndun working class accent I have on all these tunes is also a bit abrasive. My estuarine whine is of course part of me but it is underlining, unecessarily and stridently I feel, the ‘prolier than thou’ ethic which I had bought into wholesale during Punk. Let it go, dude…

2 LOTS OF DEMOS source: cassette Well, now we were getting somewhere.. Listening back now, 40-odd years on it really does seem to me that the year (ish) between the EP and this first set of demos represented a huge leap in my - er - self development. The life in XTC - still living with Ma & Pa or on the road within the Mothership of the band - record company, management, everything being done for you (at the expense, as it turned out, of knowing what was actually going on..hem hem). It’s cosiness and material sufficiency came at a price I could no longer put up with. Time to go, clearly.

I remember leaving the last outpost of that world - the nice flat above the Townhouse, paid for by Virgin while we were recording the EP but now, since recording had just finished, off limits. So…I could go back to Swindon - or step out into the scary metropolis, where all the safety nets have been packed away, and see what can be made to happen. Me and a girlfriend (who had signed up when I was a (sort-of) pop star - she was in for a taste of the real musician’s girlfriend’s lot now alright) went over to my old schoolmate’s flat in the East End (he was at college in London) - it was pouring down of rain as we walked across Tower Bridge. No money for a cab - the XTC wages had long been cut off. 

Youth seeks a Rite of Passage, does it not? This seemed to be mine. I felt noble and scared and reckless and Hungry for Experience. So, these tunes were written after a year of London, of squatting, signing on, meeting loads of new people, getting sick, getting well, hanging round the ink well - no, actually, after a particularly avid speed binge and a dreadful mini-tour with the T&C band I developed serious chickenpox (more virulent in adulthood, it turns out). I was the Elephant Man for a while. The body was having its unignorable say about all this new input.  But the tunes were definitely better. More individual. Not trying so hard and, sometimes, there was a Showing Forth of something really quite juicy and new (and I don’t just mean the pustules, har har).

Feeding Time                                                                                                         I submitted this to Shriekback’s publisher when he asked if we had anything that might do for the Eurovision Contest. He never quite looked at me the same way again, I thought (nil points pour moi).

I had been working at London Zoo (west gate and Reptile House: taking money on the door) that year and eating in various Camden/Kilburn greasy spoons. These two experiences were to produce this little gem. A Meditation on Eating. I think it needed doing. 

Points of interest: Dave Marx’s great bassline which is really the hook and the armature. Jon Ellis’s glistening ‘egg’ chord. The ‘Taking Your Order’ on the fade (Prawn Cocktail! The 70′s are strong in this one...) I had earlier recorded this with some ‘opera’ singers (from the BBC West of England Chorus - including Mrs Evenett (contralto) my old French teacher) singing the ‘Feeding Time’s’ in fine bel canto stylee. Which I may release at some point.

FEEDING TIME Putting things into my body at Feeding Time White wine and little damaged bodies from the bottom of the sea inside me still feel hungry when I reach the end and I won’t  feel good when it’s Feeding Time again. I watch him from the corner at Feeding Time sometimes he is hideous to watch as he shovels his chops inside him and his belly is beginning to distend and I know he’ll feel great when it’s Feeding Time again

but in the meantime Eat - don’t stop Eat - don’t stop Eat - don’t stop

Biting Viscera and gristle at Feeding Time listen to the lobsters whistle crack their legs open suck out what you find inside The spaghetti as it glistens at Feeding Time like spirogyra on your wet lips munching masticated chips in your mouth with lots of wine Eggs! Eggs! Soft and warm romantically slipping down inside and I wish it could always be Feeding Time and I wish it could always be Feeding Time (let’s see what’s on menu.. I’ll get an onion bhaji.. …prawn cocktail …three more pappadums…)

Opposite Way In The Rush Hour You know, it’s a bit cheesy and self serving but I still dig this. Our hero is heading off to some gig (some horrible, low paid, nightclub-type gig - let’s say in Edgbaston. Or Stoke). He’s hitching his way up there to meet the band at the soundcheck and it’s just getting dark. He looks at all the Regular Folk coming home from work: old geezers on pushbikes, factory workers - UK manufacturing has still a few years in it at this point - young girls (that might have been mating/marriage material in his former life) wait at bus stops and the cosy tea (the evening meal not the drink - important class-related point) on the tables, visible through the shortly to be curtained windows and our man gets all Springsteeny-sentimental about his self-ordained High and Lonely Destiny. Noble chords, I think, and very clever drumming by Rich Wernham (he was bloody good, I must say - as Nick Lowe said - ‘you can get away with murder if you’ve got a good drummer’). The absence of traditional last chorus repeats, instead dissolving into a babble of voices was indicative of some creative, envelope-pushing Thort, I would say. The boy’s finding his feet..

OPPOSITE WAY IN THE RUSH HOUR Going the opposite way in the rush hour watching the cars going past in the night. Factory gates let out the day shift - they escape on their bikes. Daughters go home on the bus, see you’re not one of us. The sensation is sweet and it’s sour. Going the opposite way, opposite way, in the rush hour.

Closer to being a part of the big system: so near and far from all that you seek. Closer to where the big heart beats you into submission then rocks you to sleep. Curtains still open The news on the telly they’re making their tea and I want all they’ve got but somehow.. keep on going this way: opposite way in the rush hour.

Street lamps come on now, those front rooms look so warm now. Old men with empty lunch bags pedal homewards and the girls wait at bus stops as the weekend unfolds. Once it would have felt so right heading into the hot sticky heat of the night

…it’s not a question of honour or a question at all Just the way that we choose to live now Going our opposite way… opposite way… opposite way…

Muscle and Movement Painfully sincere (and unintentionally camp) credo from the Squat years. Fucking grim, mate. It was cold, self-flagellating and unecessarily unpleasant. Here is the mantra behind that lifestyle experiment ‘pain is knowledge and knowledge is wealth.’ Jeez, give this guy a cuddle...

MUSCLE & MOVEMENT Fed up of sitting around with my legs crossed Pretending and smiling and saying ‘yeah, cheers then’ avoiding the whites of their eyes. (and another thing) And another thing- don’t try and tell me you’re gonna get something together when everything’s going your way then the limit’s the sky. You can’t always hide on the side watching people who do things bigger than you. You can’t have a permanent stop to the things that displease you or give you unease. ‘Cos all that matters is Muscle and Movement flesh out all your fantasies with Muscle and Movement (ain’t no such thing as security, just Muscle and Movement Muscle and Movement

as you relax at the end of the day there’s another tomorrow staring at you as it stands at the top of the stairs time is a swine it just keeps coming at you battering you to the floor as you try and stand up yelling you’ve had enough save it for somebody free - don’t talk to me I got no symapthy pour out some more of that wine everything’ll be fine just stay drunk all the time but remember that Muscle and Movement is all that makes you what you are Muscle and Movement standing still don’t get you too far it’s Muscle and Movement Muscle and Movement

it’s hard but it’s true that there’s nothing to cling to nothing to belong to and nowhere is more important than where you are now and there is no rest for the wicked, no rest for the wicked or peace for the innocent or the don’t knows (this lines indecipherable) cos there ain’t nobody got the things they need (same) cos the things that you lack are what you never get back cs the only secret weapon is Muscle and Movement

Muscle and Movement nothing happens by itself Muscle and Movement pain is knowledge and knowledge is wealth

Vampyr Skinhead & Taking Over ICI Well, it’s here that I claim total responsibility for the Two-Tone/Ska Revival that was to occur later that year. No, honest - no-one else was doing this stuff at the time (or they were but no-one had heard of them yet). These two tunes were, moreover, direct descendants of my song ‘Super Tuff’ from the XTC album (btw, that title came from the strapline of a Bruce Lee movie ‘Bruce Lee - Super Tough - but also Tender,’ so I was also anticipating Tarantino and all that kitsch martial arts movie stuff from the 90’s - could I be any more prescient?) Actually, exciting self delusion aside, I claim only to have had my finger on an historical pulse which had been throbbing away since the 70’s and which obviously many others had also been party to. As I say somewhere else ‘it’s ok to have a great idea but you have to get off your chuff if you’re going to start a cultural movement’. I wasn’t dedicated enough, clearly, but I was quietly and briefly, a canary in that particular coalmine.

The idea of reggae as this parallel exotic, possibly dangerous sub-track to Pop/Rock had been around for quite a while and kept bubbling up out of the Zeitgeisty swamp to varying amounts of mainstream attention. Bob Marley (pretty much just him) had Broken Through to become the reggae artist that unitiated white people liked and played at parties to show Cool. U Roy, Big Youth, Scratch et al remained the province of hip white people (as we liked to think of ourselves). But, under the audacious banner of ‘Fuck Art, Let’s Dance’ the Ska revival, the Two Tone label, Madness etc were to mine the accelerated beats, fruity grooves and edgy vibes of Jamaica (along the lines of Desmond Dekker and Toots and the Maytals) to international chart success. Of which more in a minute..

Since Punk there had been this strange symbiosis (which is easy to forget, it’s so non-intuitive) of reggae with Punk which had continued, unabated since the days of the Roxy Club.  This, eventually, had permeated the wider scene.  So, when XTC would play, in 78, gigs in Birmingham or Leeds, the disco would always be alternating, say, the Drones, Chelsea or the Pistols with Althia and Donna, Steel Pulse or Culture. It was a tacit admission, I would say, that the Punk formula was a limited one and, while its brutal austerity had been bracing (and a welcome antididote to Old Fart music), people still needed melody and sensuality and Actual Dancing.

But, there had been, in my late schooldays (early to late 70’s) an earlier, more schismatic appearance of Reggae (in its proto form of Ska) which I had observed firsthand in my Comprehensive provincial schooldays with all its codes and brutalities (kinda charming and nostalgic now; fairly scary and intense at the time). There was a  2 tribes battle going on at my school and in the UK generally: the Skinheads and the Greboes/Hairies (vestigial, usually non-ideological Hippies, really, sometimes with a component of Biker). It was a pretty one-sided battle: the Skins were an embodiment of working class, unsmiling rage and violence (’Aggro’ and ‘Bovver’ were their coinages (graffitti in my town read: ‘S.T.A.B (= Swindon Town Aggro Boys) Kick to Kill’). It was a culture of fighting and machismo which picked on pretty much anyone (it became a white racist movement eventually of course: ‘Paki Bashing’ being one defining activity but, as is documented in ‘This Is England’ TV series, the Skins didn’t start out that way: look at all that ska and blubeat. Also, in Swindon in the 70’s there wasn’t much opportunity to get the ol’ racism going - there wasn’t a single black or Asian kid in my year at school; only one or two in the entire school - so the Hairies/Greebs would have to do as a Victim Class, I guess. 

The mostly docile, pacifist, great-coat/tie-die-wearing, patchouli-smelling, Topographic Oceans-carrying quasi-hippy was always good for a bit of a kicking (though I suspect, the lack of physical challenge made them a bit uninspiring - football hooliganism probably gave the Skins more of a work-out).  At any rate, the hirsute, messy look and, (NB!) the usually university-bound, middle class nature of the Hairies was a walking provocation to the neatly groomed, fashion-conscious, mostly working class (went to work instead of Sixth Form: fuck school and Uni, let’s make some short-term money - therefore doomed for life to the factory or site) Skinheads.

This schism was enacted in the music, as it often is: the long-winded, effete,  sexually inert tropes of Prog, the self-indulgent, solo-wanking, adolescent-boy mirror-gazing of hard rock versus the clipped, disciplined, concise sexy beats of Ska and pop reggae (showcased particularly in the ‘Tighten Up’ series of compilations). It really was chalk and cheese.

There was, btw, a whole genre of dirty ska songs, epitomised by Prince Buster’s Big Five single (‘funky spunky man in Big Five, screaming steaming night in Big Five…there will be water all over the bed…water all over her head..’ (!) 

One night after a Manfred Mann’s Earthband show at Swindon College (deep Hairy territory, obviously) when the crowd were reluctant to go home, the promoter stuck a Ska tune on the PA which cleared the room like tear gas. Hard to imagine now. Like I say, Tribal. So, when I started writing songs (Pop Songs! For Bands!) I felt I had struck a fruitful vein in observing the horrified yet strangely fascinated viewpoint of the oppressed Other (Hairy/Greeb/insert Ethnic Group) as he is subdued and brutalised by his natural predator, the Skinhead. 

Form following subject matter, this would, of course, be couched in a mutated form of reggae which, though, as a fledgling Hairy (with already insufficient hair, aIas!) I was forbidden to like - I must say it did exert a fascination. It was so alien. Alien is interesting. Thus, in Vampyr Skinhead we have, again, a randomly predatory hardnut - this time he’s going door to door terrorising people (‘no compunction as he hammers down your door - or elects to clamber in the window - he is swift and he is sure..’). The image really did come to me in a dream: this ferocious little fucker doing his rounds of the estate, like a Clockwork Orange version of the Man from the Pru. Definitely a Viz magazine character there, I reckon... The sound of a Ska beat still had, for me, the menace it did when the Skins at school danced their clipped, butch, slightly-ridiculous-but-I-fucking-dare-you-to-laugh, scary little dance to it.

Non Cultural Studies note: the riff is played on a WASP synth - I guess the 1st affordable synthesiser. Fairly horrible but it had one good sound so hey... No actual keyboard - a flat plate which was murder to play and ‘explains’ the really obvious cock-up on the intro which we didn’t have time to repair. It wasn’t mine btw (the WASP not the cock up).

VAMPYR SKINHEAD Vampyr Skinhead knock at your door Don’t sell brushes or Brittanica no more He no check for pushing leaflets through the door or collecting money for the football he lives outside the law. He’s just out on the street with his boots on his feet and I would give a lot to know what he’s got Vampyr Skinhead.. Vampyr Skinhead Vampyr Skinhead strikes again Vampyr Skinhead feel no pain gonna do it again and again and again

Vampyr Skinhead come down your way and he’s not from anywhere silly in the USA. Not religion that he’s peddling door to door he’s not looking for the meter (he wouldn’t know what it’s for). He’s just out on the street with his boots on his feet and your little sister’s crying but he’s not. Vampyr Skinhead Vampyr Skinhead Vampyr Skinhead

Somebody’s gonna get uptight, gonna get hot and they’re gonna make mincemeat of him someday... Somebody like Peter Cushing gonna wreck the curtains while he’s sleeping then they’ll be nothing left but a pair of Marten’s and a pile of dust…

Vampyr Skinhead come down your street he’s a monster and he’s got sharp litle teeth. No compunction as he hammers down your door Or elects to clamber in the window - he is swift and he is sure. Out and I would give a lot to know what he’s got Vampyr Skinhead…. Vampyr Skinhead…. Vampyr Skinhead……

V.S.’s Nemesis...

Taking Over ICI was an attempt at a pure pop reggae tune - with a socialist/punky spin. Lovely playing by Rob (gtr) and Marion Fudger (ex wife of Dave Fudger, charming chap who used to write for Sounds and now worked for Virgin Publishing - he got me the gig with Iggy Pop). Rich Wernham (also of the Motors). Cracking organ solo dontcha think? I had chops in those days - before Quantise fucked me up.

TAKING OVER ICI Alone I just didn’t dare make my move to trash organised laissez-faire but since you nibbled my ear Cadbury-Schweppes and Lever Brothers quiver in fear. All the multiples are whining. All the big nobs are resigning. Since I found out you loved me, I’m taking over ICI Taking over ICI Alone I couldn’t handle myself let alone the redistribution of wealth. But, since I found out you care, I could trash the System single-handed I swear. Can’t handle all their wheeler-dealing - prefer to hear rich people squealing… Since I found out you loved me, I’m taking over ICI Taking over ICI… Taking over ICI..

Big Soft Safe Family Rather as ‘Paranoiac’ was: a one-off, never to be repeated thing. Deeply and nakedly autobiographical. Musically quite original, I venture. Shmershy chords the like of which I hadn’t used before and a confidently slow groove. Vignettes of my respectable working class, late 60′s, Mike Leigh previous life suffused with the cheap cynicism of a young sprat who didn’t realise how lucky he was. They’re all gone now.. and - spoiler - I actually never had an aunt from Torquay (but she rhymed).

BIG SOFT SAFE FAMILY The relatives are all on their fifth cup of tea. Their rapid eye movements are something to see - all lying to each other and smiling alternately. Your mum and your dad and your aunt from Torquay they are none of the same as they once used to be but they’re all of them, gloriously in the Big Soft Safe Family

We all of us have a particular smell I know their’s and they know mine habitually well. They worry about me and I worry about them I’m surprised you can’t tell. We use the same toilet and eat the same food and we savage each other when we’re not feeling so good but blood is thicker than water and ultimately we’re a Big Soft Safe Family

We’re slowly aquiring the things  that we need they’re very pleased with our progress indeed. They were saying we looked very happy and of course we agreed. Respect due to father and love due to mum and the daughter is lovely and so is the son. Illusions die obstinately in the Big Soft Safe Family

#shriekbackmusic #Shriekback.com #xtc band #punk rock #roxy club #skinheads #two-tone #70s

[the-copperkid]

Hi! I’ve noticed some old fall out boy in steve’s playlist and i thought the song “7 minutes in heaven” feom under the cork tree suited steve/ maybe harringrove a bit? Especially the lyrics “Keep telling myself im not the desperate type but you got me looking through the blinds/sitting out dances on the wall, trying to forget everything that isn’t you/ im not going home alone, cause i dont do too well on my own”

Ooooh, damn I love this. that last line is so Steve. thanks for sharing

like, okay some faves:

“the truth hurts worse than anything I could bring myself to do to you” 

“I’ll be your best kept secret and your biggest mistake”

“I wonder if your therapist knows everything about me”

honestly “g.i.n.a.s.f.s.” as a whole

these lyrics are pure Billy Hargrove melodramatic genius.

also I’ve always been interested in FOB’s album title “folie a deux.“ I’m a fan of the whole insomniac Steve trope, and the “madness of two” thing kind of sets up this headcanon for me, following s2, where Billy gets pulled into helping Steve cope with his trauma, but then he starts to develop some of the symptoms Steve exhibits post-Upside Down. This weird, dissociative, borderline toxic kinda vibe going on. I just wanna see them unravel and then fix each other, it’s truly Why I Live

#if you didn't notice i'm a recovering FBR bandom girl #don't talk to me about it #(talk to me about it)

[itwas50yearsagotoday]

2/19/21:  It was 50 years ago today, February 19, 1971, Progressive Rock band Yes released their third album ‘The Yes Album.’  Words might fail me on this one, easily in my Top 20 albums of all time, containing two songs in my all time Top 20 songs ever.  First off I’d like to say that Prog-nerds get no respect... starting as early as the mid-1980s, Progressive Rock became sort of a laughingstock in Rock critic circles... this kind of bashing lasted well into the 1990s... usually, the argument against this music was that it was representative of the uber-professionalism that ran roughshod over early 70s Rock, effecting a loss of spark and/or spirit of Rock and Roll, only recovering in the late ‘70s with Punk and it’s enormous influence... these were the folks that say the Ramones first album is one of the best ever, or maybe the Clash’s first album, or even the Sex Pistols only album (2nd one doesn’t really count)... or maybe they go the other tack and say it’s all about Springsteen, who is a descendant of Dylan plus Rock, basically.  In general, in my humble opinion, I think these points of view are just as pretentious as they say Prog Rock is as a Rock type.  Just because Styx and Kansas suck, why throw it all out?! Why can’t we all have opinions of the music and not the ideas behind the music?  With this wall of backlash it’s no wonder that Yes didn’t get into the R&R HOF until 2017 (four years after Rush got in!!).  I would never say Prog Rock’s lyrics (very general statement) are truly deep... they’re mostly garbage.  But that’s not the point... the point is the music.  Is the music good?... or should I say, good enough to overcome the lyrics?  What about instrumentals?  Do they not count?  Jazz?  I don’t wish to go on a tirade, but I’ve gotten a lot of crap personally for liking this style of ‘wimpy’ music or ‘music for older white guys’.  Anyway, THIS record along with EL&P’s first record are the blueprint for the whole genre (tho the Crimson is the founder, see 1969)... as my favorite Russian Rock critic says, Yes is Prog Par-Excellence.  And this particular record, even before obtaining keyboard whiz Rick Wakeman, mind you, simply ROCKS and whether or not you dig the lyrics, the music does take you somewhere special.  Right off the bat, the very first track, just pounds your brain with the (recently added) Steve Howe’s guitar, Chris Squire’s bass, and fucking genius Bill Bruford’s drums with the first repetitive riff... I recently got surround sound in my house and you can hear all kinds of shit going on but the riffs are very clear... one problem that Yes would have (in like two-to-three albums) is when the pretentiousness would finally overcome the tunes, rendering them at best boring, at worst unlistenable (almost)... not here though.  Anyway ‘Yours Is No Disgrace’ is awesome, with ridiculous lyrics that I find myself singing in the car (’Battleships confide in me and tell me where you are’ indeed!)... but it’s Howe’s multi-channel solo toward the middle-end... at just the right time... it’s absolutely breathtaking.  After this first magnum opus (there’s like three here at least) it drifts perfectly into this little solo Howe ditty on acoustic guitar in front of a live audience ‘The Clap’... and it works!  Something about coming off all of the bombast (in a good way) on ‘Yours’ into this very spare but pretty feather fall... it just works, and as soon as it is over BLAM! right into perhaps Yes’ best song of all time ‘Starship Trooper’...  you just can’t tell me another song Proggier than this one... if I am ever actually old enough to go to space, I want this song playing inside my brain... I know that sounds dumb, but man is it true.  The song is awesome on its own for the first two parts, but the overlong coda that starts kinda slow and then starts building up with all of Yes’ instrumental might... goosebumps on goosebumps, and I’m not kidding.   When I was a kid I remember I had first bought the cassette for probably four bucks, and I would usually play the second side first, only because ‘Starship Trooper’ is one of the best ‘ending’ songs I’ve ever heard, bar none.  I’m not describing the music itself well, but just give it a chance.  I heard that back in the day they would play this song on KSHE here in STL... they shoulda kept doin that.  Anyway, if you have the CD (or Spotify) it then turns next to perhaps the most well-known song from this album ‘I’ve Seen All Good People’ which is basically two parts: ‘Your Move’ the lighter part that often did not get any airplay (but for fuck’s sake it should’ve)... and then the second part ‘All Good People’ was Yes’ actual first U.S. Top 40 hit... reaching #40!!  It’s a whole lot of Alice In Wonderland / Chess lyrics crap, mixed in with ‘Give Peace a Chance’... and then Squire’s fucking bass pops in on the second part and you’re a headbangin’ on the hook... don’t hide what’s inside!  So I know this is probably the longest review I’ve written so I”ll stop here by saying the last two songs are still very good, the shorter ‘A Venture’ has really nice piano (yay Tony Kaye!), and then the final song ‘Perpetual Change’ is a tad more generic than the previous mega-tunes, but it does have this awesome accelerating instrumental build up in the bridge... this record’s a lot to unpack.  Also, I failed to mention lead vocalist Jon Anderson... some of his best singing is here too, falsetto and all.  If you don’t like it, I get it... but no one’s critical viewpoint or opinion will ever sway me away from saying this is one of the best fucking Rock records ever.  Period.