#and the bass guitarist left for a bit because the recording of this album was so mentally taxing

[riaaanna]

INTERVIEW WITH BRIAN MAY - TOTAL GUITAR CHRISTMAS 1998

From the excessive majesty of Queen to his solo career successes, Brian May’s irrepressible desire for pushing the boundaries of melodic rock in unrivalled. Joe Bennett gets the lowdown from one of rock guitar’s greatest innovators.

You’d think people like Brian May could take it easy, wouldn’t you? With 18 Queen albums under his belt and two of his own, he could be forgiven for sitting back and feeling at least slightly pleased with himself. Not a bit of it. The words ‘perfectionist’ and ‘workaholic’ seem scarcely adequate for a man who has taken six years to record his latest album, and doesn’t plan to take any time off from touring for the rest of the years. And his enthusiasm for gigging is obvious:

“We’re touring Japan, by way of Russia, and that takes us up to the middle of November and then I’m not sure how long I want to be out for. The temptation, once you’ve started, is to keep going ‘cause you’re all geared up, you’ve got all the right people and you’ve rehearsed.”

Tragically ‘all the right people’ lacks one individual. Drummer Cozy Powell died in a car accident earlier this year. “Cozy was such a great guy and a close friend – it’ll be really strange to look behind me on stage and not see him there. For a time we even did a few gigs without a drummer but after a lot of thought and heart-searching we all thought we should use one. We found Eric Singer; he’s blinding, but it’s tough to fill Cozy’s shoes. I’d built a lot of my style round him – he’d been a hero of mine for years. I judged my writing by how it sounded when Cozy played it. The idea is not to replace him though, just to move on. Eric comes from the right place, you know?

“Somebody once told me when we started out that a band is only as good as its drummer. I thought that was crap but over the years I’ve realized it’s true. You can get away with a crap guitarist quite easily – and a lot of people do! – but you can’t get away with sloppy drumming. It makes the whole thing sound really amateurish. The level of energy the upper limit, is set by the drummer.”

Playing Live

Brian crafts his gig set lists very carefully, and he sees the gigging experience as much more than simply copying the original recording. “You’re supposed to be finding new moments with the audience, so each gig should be unique. With the recognizable Queen stuff, I do tend to settle for something that sounds a lot like what I did in the first place – some audiences want that. You’re always treading that line between keeping yourself fresh and giving people something they want to hear.”

And Queen, of course, had an additional practical problem to deal with when playing live – how to recreate the band’s heavily-produced sound in a guitar/bass/drums format. “We tried out a lot of songs two or three times and they just weren’t made for the stage – stuff from Flash Gordon springs to mind. We also didn’t do stuff that Roger or I sang on the albums because we wanted to use Freddie as the frontman as much as possible. I mean, when you have the greatest frontman in the world you don’t want to waste his time!

“Some of the rock songs stayed in the live set just ‘cause they were cracking played live. Tie Your Mother Down, for example, never left the live set and it probably never will. Certain songs just have that chemistry… you want to play them ‘til you die.”

But despite the sadness that Brian associates with the end of the band, the last few years have given him freedom to explore new areas. “After Back to the Light tour I made the decision to head towards the second album, but on the way I would try and get out into the world and interact more. From the beginning of Queen there was such momentum that I never had any time to do anything else. My energy was 95% focused on the band. Then there was all that time when we knew Freddie was on the way out, we kept our heads down again. When he’d gone, my way of dealing with it was to get busy.”

One of these projects was the posthumous work to be one on Freddie’s final recorded tracks. “We had promised Freddie – and ourselves – that we would finish the album after he’d gone. He’d wanted us to give him as many vocal lines to record as we could, but even though we’d made that commitment, actually doing it was really hard. We only had scraps, sometimes vocals without anything else, to work on. It was an enormous task and it took literally two years out of my life. You can imagine the frustration because I had ideas in my head, but this was a labour of love because it was for Freddie. It was enormously exciting but enormously sad as well. And all this time my next album was gathering dust because I was pretty much focused on the Queen album.”

The three remaining members of the band still get on well, but they haven’t collaborated with Brian on his solo work; “I consciously wanted to avoid my second album being connected with Queen – that’s why Roger and John don’t appear on it. We have our own separate paths, we always did have, and I think that was part of our strength. It was a very strong partnership but we were always having to give something up and compromise. Four songwriters in a four-piece band – what can I say?”

Roger, John and Brian did, however, record one last song as a band. “The original plan was that we’d finish the last Queen album and then I’d get back to my own work. Then the Queen Rocks compilation came up. The record company wanted to put out a compilation album ad we thought it’d be a good idea to encourage people to remember the heavy stuff that Queen recorded – I’ve always had a fondness for the rockier side of things. Roger and John heard a track I’d done called No-one But You, which was originally going to be on my own album. Roger loved it and thought we should do it as Queen. I knew that the lyric was very much about Freddie, but Roger wanted to make it more general, change the tempo – so I lost a song, and Queen gained one!”

Brian and Beck

The songs which did eventually make it on to Brian’s latest solo LP, Another World, are a mixed bunch indeed. As well as covers of Brian’s own favourites – Hendrix’s One Rainy Wish and Mott the Hoople’s All the Young Dudes to name but two – he’s included material based on outside projects he’s been involved in. Cyborg (on this month’s CD) was originally written as a soundtrack to a computer game, and The Guv’nor was the theme to TV series which never made it to the small screen.

“The Guv’norwas a television programme about a bare-knuckle boxer in the original script, but it worked as a metaphor, and I started thinking – in our world, the world of guitar players, we have people like that, who we think of as our Guv’nor. Jeff Beck is like that, he’s great but he’s really unpredictable, spiky and frighteningly original. You feel small next to him, kind of wary. So I began to think the song was about him and I rang him up – which took a moment of courage from me! I asked him to play on it, and he turned up and did a recording session here at the house. Being the caring, professional player that he is, he wasn’t satisfied with his own guitar parts – although I loved them – so he took it away to work on it. I didn’t get it back until a year later!”

But apart from this one guest slot, all the other guitar parts on the album are Brian’s own, including the ubiquitous layered harmony parts that are his trademark. “I grew up with an obsession about harmony. Every record I heard I would wonder why certain harmonies and chords had certain effects on me. So it’s a habit I had of letting something wash over me, and then figuring out afterwards why it had moved me. I learned that the lines and the crossing points are the key points, really. I never studied harmony formally – it was mainly done by listening. I picked up a book on harmony once, but it just gave me the names for things, which I wasn’t really interested in. I believe in intuition more than anything. I mean I know something about the techniques of inversions and everything, but mainly it’s like, “What happens when I do this?”

May Gear

Suitably enough, this brings the conversation round to the inevitable subject of guitars and amplifiers. The question ‘Are you still using AC30s?’ is rendered pointless as we turn a corner and walk into a room literally filled with Vox combos. And Brian’s Red Special, affectionately known as the ‘Old Lady’ is still going strong, thanks to some fairly major repair work by guitar surgeon Greg Fryer. “The guitar was getting dangerously worn from 30 years of gigs, but I could never retire it. It’s a link with my dad, we made it together in the late ‘60s, and I don’t play anything else – apart from the excellent copies that Greg’s made for me, of course.”

Brian’s passion for his instrument was never faltered, and he’s happy to find that many TG readers still look to classic rock material for their inspiration; “I’ve always lived in that guitar world. I have noticed kids that I come across being more into the real essence of guitar music now. I walked into my friend’s son’s bedroom a couple of years ago and there were posters for Led Zeppelin and Hendrix all over the walls – I was expecting hip hop, rap and all that.”

“With all of that early rock stuff – and I suppose I can include Queen – there’s a certain directness and passion about it. It has that emotional intensity and unfettered quality. You’re always trying to capture those moments, and not always successfully… there are times when I’ve been feeling something and played a solo that I’ve never been able to repeat.”

Transcription Troubles

Perhaps surprisingly, Brian is unaware of the massive amount of Queen guitar tablature available, and he is far from up-to-date on recent developments in transcription quality. “I never took sheet music seriously. I remember getting some for The Shadows’ stuff, then realising it was nothing like the record and that I could do better myself just by listening to other people and using my own intuition.

“For example, I remember the first time I tried tapping, I actually got the idea from someone else in the early ‘70s. We were on tour in Texas, and a few beverages had been consumed while we were watching a bar band. The guitarist kept adding this high note as a single tap to his blues licks, and it sounded like a flute or clarinet or something. I told him I was going to nick it and he said, ‘fine’! He’d nicked it off someone else anyway. He said he’d heard Billy Gibbons do it on a ZZ Top album, but I’ve listened to all their stuff since and I still don’t know which track he means.

“So that’s how it happens – but it doesn’t always have to be a guitar that you get new ideas from. As a kid I listened to an arranged trad jazz band called the Temperance Seven, and they used a technique that they called ‘bells’, where every note is played on a different instrument and it’s all sustained, cascading with harmonic effects. Mantovani did it too – he was a great influence on me – and I did it on my first album. That’s the inspiration for the second half of the Killer Queen solo…”

Guitar Heroes

So how does he feel about players learning his own solos from transcriptions? “I think that’s really good. It’s great if players learn their craft by listening to how other people do it. Pick up everything that’s out there – there’s no shame in that at all. Individual style will emerge anyway, like Chinese whispers. George Harrison once tried to play Apache by The Shadows and he couldn’t remember it, so it came out as something completely different – and that’s fair enough. I go to see Joe Satriani or Steve Vai – those guys are way ahead of me and I pick up something new every time. I’m lucky in that I can talk to them because I’m in a privileged position. They say they listen to my stuff too, which is great but I’m under no illusions!”

“Ultimately, I think if I’ve got anything to say a s a guitar player it’s because I’m open and I listen, and I find my own way – but in the full knowledge of what other people are doing. How can you learn a language if you don’t listen to people speak? This magazine of yours would have helped me if it had been around when I was starting out, I can tell you!” Ah, thanks Brian…

The Deacy amp

Although Brian’s main amp is the Vox AC30, most of his harmony parts have been recorded using a home-made transistor amp, constructed out of cannibalised circuitry and an old hi-fi speaker by Queen bassist (and electronics graduate) John Deacon.

“How that amp works is a mystery to us,” admits Brian with a laugh. “John says he found the pre-amp circuit on a skip and that he just threw it all together, but then he’s a modest guy – he knows what he’s doing. It’s on loads of recordings. I remember definitely The Fairy Feller’s Masterstroke from Queen II, God Save the Queen and Good Company from A Night at the Opera – most of the layered stuff. All those trombone and clarinet sounds on that album, they’re just a combination of pickups, selection, treble booster, wah-wah and technique.”

Astronomy and Then Some

And so the time comes when we have to leve Brian to his schedule (with a couple of gratis copies of Total Guitar, natch). This afternoon he’s got a telephone interview with the local radio station. Then he’s got a meeting with his publicity person about cover artwork.

This coming weekend he’ll be on BBC Radio 4. Of course, Greg will be at the house tomorrow to continue working with Brian on the live rig. And there’s the radio mix of the new single to mix. Oh, and still he’s working on his book about 19th century stereo photography. Plus he’s got his PhD to finish too. Makes you wonder how he finds the time to pick up his guitar…

#queen band #brian may #interview #article

[greensparty]

Album Reviews: Jimi Hendrix Experience "Hollywood Bowl: August 18, 1967" / Scream "DC Special"

Jimi Hendrix Hollywood Bowl: August 18, 1967

Another year, another Jimi Hendrix Experience release just before the holiday season! Since beginning this blog, I’ve had the pleasure of reviewing loads of Hendrix albums including the posthumous album Both Sides of the Sky, the 50th anniversary Deluxe Edition of Electric Ladyland, the 50th anniversary re-release of his live album Band of Gypsys, his live box set Songs for Groovy Children: The Fillmore East Concerts, the live album and movie Live in Maui, 2021’s Record Store Day release Paris ‘67, and last year's Los Angeles Forum: April 26, 1969. This week Legacy is releasing a never-before-released (or bootlegged) live album of the Jimi Hendrix Experience's concert at Hollywood Bowl just before they became famous with Hollywood Bowl: August 18, 1967.

album cover

At this concert, the Experience were opening for The Mamas and the Papas. Attendees were mainly there to see the headliners. Jimi Hendrix Experience's debut album Are You Experienced would be released in the U.S. five days later on August 23, 1967 (it had been released in the U.K. on May 5, 1967). By this point, the band had played a legendary show at the Monterey Pop Festival and opened for The Monkees. This is literally the moment just before they got famous. The trio were bigger than the sum of their parts: Hendrix on guitar, Noel Redding on bass, and Mitch Mitchell on drums. There were quite a few songs from Are You Experienced, but there are also loads of covers including favorites by The Beatles (“Sgt. Pepper’s Lonely Hearts Club Band”), Howlin’ Wolf (“Killing Floor”), Bob Dylan (“Like a Rolling Stone”), The Troggs (“Wild Thing”) and Muddy Waters (“Catfish Blues”). A live album would pretty much be enough to please a lot of fans, but this one is cool because it's not some overly-bootlegged concert so there's a sense of discovery, but also the covers make this feel like you're getting something new and different. There's nothing like hearing a band the very second they became famous and here it is!

For info on Jimi Hendrix Experience

4 out of 5 stars

Scream DC Special

Bursting out the DC hardcore punk scene in the 80s was the legendary Scream. The Reagan administration gave the Washington DC punk community quite a bit to rant about in the 80s and Scream were among the biggest of that whole scene, along with Fugazi, Bad Brains and Henry Rollins (the list, of course, goes on). In my friend Scott Crawford's 2014 documentary Salad Days about the DC punk scene in the 80s, he interviewed multiple members of Scream. Singer Pete Stahl and his brother / guitarist Franz Stahl, bassist Skeeter Thompson were a tight knit unit with original drummer Kent Stax. After Stax left the band in 1986, his replacement was teenage drummer Dave Grohl, who truly brought it. I was a big fan of the band's albums No More Censorship and Fumble and I have them in my record collection. After the band broke up (as we all know), Grohl joined Nirvana and brought that punk energy he honed in Scream to the masses. The Fumble album had been recorded in 1989 but was finally released in 1993. There were a few reunions here and there and Grohl has continued to work with the members of Scream (i.e. Franz was in Foo Fighters from 1997-1999). In 2009, the original lineup of Scream reunited and they even recorded with Stax on drums at Grohl's Studio 606 for an EP. But we haven't actually had a studio album from Scream since Fumble, which was 30 years ago. This week, Dischord Records is releasing DC Special featuring the original lineup. In September Stax died at age 61, making this his final album with Scream.

album cover

With the Fumble album it felt like the band was really evolving. The punk sound was there, but there was also a post-punk sound coming through. With all of their collective outside projects, i.e. Franz in Foo Fighters and DYS, Pete and Franz in Wool, Pete in Goatsnake and Earthlings?, Skeeter's solo work, etc - this band is way more than just an 80s punk band. This album incorporates a lot more styles and even some melodic tendencies. It's a nice full circle moment that this album got recorded with Stax before he died and that Grohl made a guest appearance. There's loads of other DC punk veterans appearing here including Dischord Records founder and Fugazi / Minor Threat singer Ian MacKaye. This is album is a treat for fans and enough to make you want to, well, scream!

For info on Scream

4 out of 5 stars

#album reviews #jimi hendrix #jimi hendrix experience #live album #1967 #noel redding #mitch mitchell #scream #pete stahl #franz stahl #dave grohl #kent stax #skeeter thompson #dc punk #classic rock #music nerd

[lunapaper]

Album Review: 'So Much (For) Stardust' - Fall Out Boy

No one liked M A N I A. Not even Joe Trohman, it turns out… 

In an interview with Rolling Stone, the Fall Out Boy guitarist spoke about his frustrations with the band’s 2018 record, with a more rock-oriented album being scrapped early in the process. 

‘I’d say, ‘I’m gonna extricate myself from this. This is not what I want to do,'” he recalls. “‘When you have some stuff together, give it to me. If you want me to throw some ideas on there or whatever, I’ll do it in my recording studio.’ And I did that a little bit, but overall, I stayed pretty much out of it, more or less.  

‘Mania has some cool ideas and interesting stuff in there. But it didn’t work as well, and I can’t say I love it. That’s what leads me, hopefully, to go back to making a record… with guitars, bass, drums, vocal. I love synthesizers, synthesizers that we play. We can play music; let’s play the music. Let’s not go for samples. Let’s not try to reach for singles. At this point, we’ve had so many hit singles. Do we really even need to reach for singles anymore? I think we should just make a cool record.’ 

And he’s right: Fall Out Boy don’t need hit singles. As elder statesmen of the emo-rock scene, they’ve got nothing else left to prove. And were they ever a singles band? 

So, let’s cut to the chase: Fall Out Boy’s latest album, So Much (For) Stardust is nowhere near as bad as its predecessor. Probably because it’s super tame in comparison, mostly returning to the chart-friendly rock roots of Save Rock and Roll and 2015’s American Beauty/American Psycho.  

‘Hold Me Like a Grudge,’ easily the album’s best track, goes full ‘Another One Bites the Dust’ with its tense, bass-fuelled groove, along with some MJ-style vocal inflections from Patrick Stump. 

So Much (For) Stardust is at its best when it’s delivering straight-up rock bangers. ‘Love From The Other Side’ has a belter of a chorus, along with moody strings to help heighten the intensity, while ‘Heartbreak Feels So Good’ harks back to the urgent, pacey riffs of the past, proving why Trohman is such a key ingredient to the band’s sound. 

But then, after such a promising build-up, the record takes a sharp nosedive in quality. 

‘Fake Out’ is pure corn, sounding like a rejected JoBros cut from 2008. ‘Heaven, Iowa’ and ‘I Am My Own Muse’ embody the same blustery melodrama found on M A N I A. ‘What a Time to be Alive’ is the obligatory COVID track that already feels pretty dated (‘Sometimes, you wonder if we're ever lookin’ back/At a picture of 2019/And sayin', "That's the way, the world, it used to be/Before our dreams started burstin’ at the seams"/We're out here and we're ready, we're here and we're ready/To livestream the apocalypse’).  

‘So Good Right Now,’ meanwhile, veers dangerously close into Viva Las Vengeance territory with its brassy horns and chintzy strings, bursting with that insufferable theatre kid energy. ‘And all of our wildest dreams, they just end up with a-you and me,’ goes the track, ‘So, let's drive until thе engine just gives out.’ Lyrics-wise, it’s basically just ‘Don’t Let the Light Go Out,’ Part 2. 

I grow more and more weary of Pete’s lyrics with each album, at his pseudo-intellectual worst on the pointless interlude ‘Baby Annihilation,’ the bassist reciting teenage-level verse over spooky keys and gloomy synths (’The first time I took the mask off, just had another one on underneath/I'm just melted wax on a birthday cake, another year fades away/Charcoal crushed, pixie fever, angel dust/Stuck in a wasteland we covered in glitter and broadcast just for a little serotonin’). The album’s other interlude, ‘The Pink Seashell,’ takes a snippet from the 1995 Gen X classic, Reality Bites, starring Maya Hawke’s dad, yet adds no real value.  

I kinda struggle to grasp what the overall theme of So Much (For) Stardust is supposed to be. At the beginning of the album’s promo cycle, the band sent out postcards to a select group of fans, hinting at a beach resort-style dystopia – something that actually left me rather intrigued. But other than the ‘The Pink Seashell’ interlude, it’s never referenced again on the record.  

Look, I get you gotta get fans’ attention somehow. But why bother coming up with a gimmick if you’re not gonna expand on it? The beach resort-style dystopia doesn’t even appear on the album cover!  

Despite a promising start, So Much (For) Stardust musters a ‘meh’ at best. It’s pleasant enough, but not all that memorable an effort.  

It was probably for the best, though, that the Fall Out Boy went back to safe and familiar territory after the complete shitshow that was M A N I A. That they can deliver such a body of work this far into their career is an achievement, and admittedly does feature some decently tight drumwork, blistering riffs and some of Stump’s strongest vocals yet. 

I’m no doubt going to be dismissed by some as just longing for the past and gleefully told to ‘stay mad.’ But as a longtime FOB fan, I’m tired. I just want more reliable and straight-up rock bangers like ‘Hold Me Like a Grunge.’ For fuck’s sake, I’d do anything for more of that chaotic Pax-Am Days-style punk. No more goofy experiments, no more cynical shots at mainstream appeal. We don’t need another Panic! on our hands… 

It doesn’t quite sparkle as bright as I hoped, but So Much (For) Stardust could’ve been a hell of a lot worse.  

– Bianca B. 

#music #fall out boy #so much (for) stardust #new #reviews #albums #Bianca B

[sinceileftyoublog]

NEU! Box Set Review: 50!

(Grönland)

BY JORDAN MAINZER

There’s an inherent stubbornness in krautrock, perhaps a hopefulness. Propulsive, repetitive beats keep on, even as wrenches are thrown into the routine, in the form of drum fills and guitar effects. Dusseldorf band NEU!, formed by drummer Klaus Dinger and guitarist Michael Rother after they left Kraftwerk, certainly added some sunny timbres to songs like “Neuschnee”, “Für Immer (Forever)”, “Isi”, and “Wave Mother”, but they also included some darkness. 50!, a new box set celebrating 50 years since the band released their self-titled debut, wonderfully illustrates the complexity of the band who would go on to inspire the likes of Stereolab and Tortoise. Consisting of their four studio albums and a tribute disk of bands that actually successfully adopt their own aesthetic to NEU!’s material, 50! truly show’s NEU!’s greatness and influence.

Listening to NEU! with contemporary ears, you have you constantly remind yourself that the music was made in the early 70′s. While it’s a bit hard to place yourself in the shoes of someone hearing “Hallogallo” for the first time and finding the motorik beat revolutionary, many of their songs shine for their effortless embrace of seemingly disparate sounds. Rother’s guitars on “Weissensee” are slow-burning and slinky, fuzzy and twangy at the same time. “Negativland” juxtaposes sharp, wincing noise with a plodding, bass-heavy beat that repeatedly drops and comes back. “Sonderangebot” is a spooky, gong-filled swamp of ambient noise, a daring 2nd track following “Hallogallo”’s legendary album 1, track 1 status. (Dinger’s painfully throaty singing on “Lieber Honig” closing out the album is equally risky and anti-climactic.) And the song that most traverses time and space is “Im Glück”, containing the first of many recordings of water NEU! would include throughout their discography. You can hear Dinger speaking with his girlfriend on a rowing boat, but his voice is below brooding fuzz. You feel like Gene Hackman’s Harry Caul in The Conversation, surveilling and trying to make sense of the haze; at the same time, the combination of field recording and instrumentation recalls contemporary masters like Grouper, Karima Walker, and Claire Rousay.

As much as NEU!’s first album is their most beloved and influential, certain aspects of their other three eerily predicted trends in the decades to come. You could say NEU! accidentally invented remix culture on their second album, whose second side is the infamous result of a lack of funds more than ingenuity: The band simply presented their already released single "Neuschnee/Super" manipulated at different playback speeds. Amazingly, the songs still sound intentional. “Neuschnee 78″ ends up a punk bop, while “Super 16″ could pass for doom metal. Their third album, Neu! ‘75, whose second side was bolstered by additional drummers (and future La Düsseldorf members) Thomas Dinger and Hans Lampe, sports bits of shimmery, heartland rock on the trilling pianos of “Isi” and “Leb’ Wohl”, Gang of Four and Public Image Ltd-esque power punk on “Hero”, and proto punk on “After Eight”, looking back and forward. Their fourth album Neu! 4, recorded in 1985 and 1986 but not released until 1995, is actually presented in its Neu ‘86 re-released/revised format from 2010. It’s the band’s aesthetic outlier, ranging from a muted instrumental of the German National Anthem to the chirpy, panning, extremely 80′s sounding “ Dänzing” and dance masterpiece “La Bomba (Stop Apartheid World-Wide)”. The last of the three is almost vaporwave thirty years too early, chopped and screwed samples, “Twist & Shout” vocal harmonies, and huge drum machines bordering on pastiche. 

It’s the tribute disc that truly impresses, simply because it could have been curatorially obvious, like choosing, say, Cut Copy to tackle the cascading synths of “Euphoria”. Instead, the choices are inspired and divergent. “Super” gets two more variations, the skyward, slow build of Mogwai and the controlled chaos of Man Man. IDLES leans into the churn and guttural nature of some of their best songs when taking on “Negativland”, the ultimate reminder that post-punk is as much “Shadowplay” as it is “Damaged Goods”. Yann Tiersen turns “Lieber Honig” into an abyss of flickering electronics and atonal glitches; when the song does find a beat, it’s crawling with warped bass and synaptic synths. The National add their trademark piano-and-horns brood to “ Im Glück”’s washy ambiance. English singer-songwriter Fink treats “Weissensee” with bluesy acoustic picking and breathy hums, the song distilled to its most powerful elements. Rounding out 50!, the tribute disc makes you wish the late Dinger was still here to hear it, and perhaps that the band would set aside their differences and record a 5th record, maybe even in collaboration with some of these artists. Ultimately, though, their legacy remains as wide-ranging as ever.

#neu! #album review #grönland #michael rother #50! #klaus dinger #kraftwerk #stereolab #tortoise #gene hackman #harry caul #the conversation #grouper #karima walker #claire rousay #neu! '75 #la düsseldorf #thomas dinger #hans lampe #gang of four #public image ltd #neu! 4 #neu! '86 #cut copy #mogwai #man man #idles #yann tiersen #the national #fink

[howaminotinthestrokesyet]

I Swear It’s True: Patrick Wilson

The future drummer of Weezer was born February 1, 1969 in Buffalo, New York. He would actually be raised in the city of Clarence. At the age of seven, he purchased his first record (Barry Manilow). His first concert at the age of 15 attending Van Halen did help to inspire him to become much more serious towards music. Immediately after the show, he began taking drum lessons. By his senior year at Clarence High School, he and friend Greg Czarnecki were teaching drums to younger students. He did attend college for a semester after graduation, but dropped out after one semester. “College is such bunk. Too much politics and jockeying for favor. I just couldn't do it. College is great if you want to learn, but that's not what college is about, it's about making your professor happy and getting good grades and getting into IBM. Any place that says that they're only accepting college graduates is not a place I'm very interested in being." At the age of 21, Wilson moved to Los Angeles after a bit of persuasion from his friend Patrick Finn. Shortly after the move, he joined a temporary band called Bush, but not the one fronted by Gavin Rossdale. Yet, he did meet future Weezer bass guitarist Matt Sharp while playing in the group. In early 1991, Patrick started another group with Finn called Sixty Wrong Sausages. At the same time, he played in another group called Fuzz with future Weezer lead singer and songwriter Rivers Cuomo. The drummer would later say in an interview, “By the time I had met Matt Sharp, and we were trying to figure out something to do. We had a lot of passion and interested in certain kinds of music, but we didn't know how that was going to translate into what we were going to do. So we met Rivers – 'He's got an 8-track, let's get with him' – and we convinced him to move into this apartment with us. Rivers was just starting to write songs and he asked me to play drums on a song for him. That turned into a band called Fuzz, with this girl bass player. That was pretty cool, but it had to die."

In 1991, Sharp would move north to Berkley, while Wilson and Cuomo moved to separate residences. Patrick began to play in a variety of groups including the Dum Dums and United Dirt. Around the same time, Cuomo and Wilson began what they called a 50 song project intending to write fifty songs no matter what. This project would produce tracks like "Undone—The Sweater Song," "My Name Is Jonas," "Lullaby For Wayne," and "The World Has Turned and Left Me Here." Eventually, Cuomo, Wilson, and Jason Cropper would run into Sharp once again, which led to him listening to the results of the fifty song project. He was so impressed that the guitarist moved back to Los Angeles to join the group.

In the course of his time with Weezer, Patrick Wilson not only played drums, but cowrote three tracks including "The World has Turned and Left Me Here," "Surf Wax America," "My Name is Jonas.” Patrick also had a penchant for performing crazy stunts throughout the years on skateboards, bicycles, and scooters. Many of these stunts would be recorded and can be seen on the 2004 dvd, Video Capture Device. He has also played acoustic guitar on tour most notable with the song “Photograph,” followed by the drummer leading the band into a cover of Blur’s “Song 2.” Wilson made his debut on the band’s third self-titled album with the track “Automatic.” He would go on to perform vocally on multiple b-sides for the Red Album including "Life's What You Make It" (a Talk Talk cover), a cover of "Love My Way" by The Psychedelic Furs, and Gary Numan's "Are 'Friends' Electric? During a performance in 2009, Wilson played guitar for the majority of their performance because Rivers Cuomo had expressed an interest in moving around more while on stage. The drummer also has his own band called The Special Goodness. He writes most of the music, sings lead, and plays most of the instruments in the studio. In 1995, he played drums for the Rentals on their debut release, Return of the Rentals. In the 2004 film Factory Girl, Brian Bell and Wilson recorded a cover of the Velvet Underground for the film. They were also given cameo roles in the film as John Cale and Lou Reed. In 1994, he married his wife Jennifer, who sadly passed away in 2013 from cancer. He has two sons Charlie (2004) and Ian (2008). The drummer would remarry in 2015 to his current wife Camille, which has since produced a son Cruz in 2016.

[party-lemon]

The concept of My Chemical Romance is so insane.

Here we have four nerds from Nowhere, New Jersey that are talented in so many ways but are all mostly shut-ins. One was born on Halloween, two are brothers, and the last one is fantastic at guitar but will play literally anything just to be in a band.

And then things happen and these greasy little nobodies release their first record, which is rough sounding and full of screaming and just sometimes so bad sounding, that it's good.

And then another couple years pass and these same greasy little nobodies make another record; a concept album about a man killing a thousand evil souls to be with the woman he loves. They change their look to red and black attire and the lead singer wears paper white foundation and red eyeshadow and the same, smelly black suit at every show. They get tangled up with another band and the two lead singers have some reckless romance and nobody knows what really happened but something did. And, through it all, this band makes it and is on covers of magazines, covered in blood and dressed in black.

And THEN these guys make another record; another concept album, this time about a cancer patient and his reflections on life and death. They recorded this in a literal haunted mansion where every member of the band had encounters with supposed ghosts. The lead singer had literal night terrors while sleeping in this mansion. And it was a long and grueling process to make this record but then it was released and it was their most successful record to date. The entire band dressed up as some Victorian marching band members and actually performed as the very thing they created; "The Black Parade." They make a music video where they set the set of a previous music video on fire and during this, the lead singer and the drummer are injured. And the lead singer and the rhythm guitarist start making out on stage, making people believe something else is going on between them. And it's all so dramatic and theatrical and then the lead singer makes it sound like it's their last album.

But THEN, a few years later, they make another concept album, this time about rebels in the desert who walk around in colorful clothes and give a middle finger to the government and drive fast and live recklessly. This album is so different from all their other ones and yet so similar, because it still has that underlying theme of impending death, it's just masked by color. And the band dresses up as the characters they created, again. The lead singer dyes their hair bright red and wears chemical burn looking makeup. Afterward, they release a short "album," ten songs released in five parts. And everything is so vibrant and fun and then it ends.

They release a last song. "Fake Your Death." Seems like an odd thing to title a song after the break up of a band. After the death of something so intense and great, something that made people feel less alone and realize that it's okay to not fit in. Something that saved lives.

Theories are made, in hope that, someday, this band, this idea, would come back because, even though it may have left some people feeling better than before, there's still so many people that feel lost.

And then, six and a half years after they left, they come back, bursting with the same amount of energy, as if they never left. And then, not long after they come back from the dead, leaving cryptic, witchcraft-esque videos in their wake, the world goes to shit and their plans get thrown out the window, leaving us and them in waiting. Waiting for shows that some of us have waited our whole lives to see.

It's kind of unreal, the story of this band. Some of it sounds made up. Maybe it's nothing special to most but it sure as hell is to us.

#like they recorded an album in haunted mansion?? #and got liza minnelli to come in for a song that is mostly comprised of screaming and chanting about death and hell #and the bass guitarist left for a bit because the recording of this album was so mentally taxing #like what?? #the story behind recording the black parade is so damn intense #they really didnt need to go that far but they did and then gerard went a step further and was like #hey. how bout we all dress like we're dead again #and he shaves his hair and bleaches it fuckin white and they decorate themselves in badass marching band costumes #and skull makeup #they did NOT need to go that far but they did and it was incredible #here i am. raving about the black parade AGAIN #mcr #my chemical romance #gerard way #frank iero #mikey way #ray toro

[blankiejacket]

When John says, "Sing, Paul!" in Get Back

Today I'm thinking about the part of Get Back episode 1 where Paul kind of spaces out during "I've Got a Feeling" and John says, midway through the song, "Sing, Paul!" And Paul jumps in again right away.

I mean, you know only one man on earth could talk to Paul McCartney like that when Paul was making music. John Lennon and only he in all the world could ever bark orders at Paul McCartney in a studio and know with total certainty they would be immediately followed. That bit on Anthology in the Beatles' early recording days when you hear John lambast Paul for his bass playing: "What the hell was that?" and Paul scrambles to explain that he hasn't got a plectrum (a guitar pick). That was John and Paul. There were a LOT of John-and-Pauls, that duo had like at least 125 different dynamics between them, but one of them was: Paul is such a gifted composer, musician, and singer, and he's a leader and producer and stubborn/headstrong, too, so no one but no one can boss him around when he's playing music -- except for one John Lennon.

And that tells me that part of the problem in the Get Back era and probably the White Album too was that John abdicated being the Leader of the Beatles, and the Leader of Paul. Paul led, too, led from beside John, led as the strongest #2 the world has ever seen, the biggest and most influential and best underboss or "second boss" as Paul himself says in Get Back, but he was so used to John being #1 that he didn't know what to do when John just...wouldn't. He says this in Get Back, when John and Paul try to talk out the George-quitting problem and Paul says, "The thing is, you were always the boss and I was sort of the second boss but YOU WERE THE BOSS," and Paul is trying to say, "I don't know what to do, I don't even know how this band is even supposed to work, I don't know my place in it or how far I can go or how I'm supposed to be with the others, if YOU JOHN ARE NOT LEADING THE BAND."

The whole dynamic changed when John gave up the top spot. When Paul says "we need a central Daddy figure" he wasn't (only) talking about Brian's death, he was talking about John's resignation from that job. Paul was awkward and ham-fisted often in the top job, but I think a large reason for that was because a) he didn't WANT that job, and b) he'd never done it before Get Back (if we presume that on the White Album it was more that George, Paul, and John all went off and led their own tracks, then played on each other's -- more like 3 band leaders and 4 band members).

I wonder what John thought would happen, or wanted to happen, when he gave up on leading The Beatles. For a while, he really wanted The Beatles to continue and stayed in -- let's face it, it would have been insane not to and arguably was totally insane that he and they let it end a year later -- but what did he think would happen when he more or less resigned his position and relegated himself to "just" being a composer/singer/guitarist and not the boss? I guess he probably wasn't thinking too hard about it. He just didn't want to do the job anymore. And that left Paul to do it.

The very last person who could talk *like that* to Paul in a studio, who could issue commands to him like, "Sing, Paul!," was John. Paul has never had that person for the 52 years since that he's been making music. Paul missed John's direction then and, as great (fantastic, fabulous, amazing) as he's been between 1969 and 2021, I'm sure he's missed it all along and misses it even now. Because the only person that Paul knew for a fact was as strong as him, musically, and could be better than him, sometimes, and could be trusted to know when Paul was off the rails and needed to step up his game, was John. Only John.

#mclennon #john and paul #get back #the beatles #paul mccartney #john lennon #beatles

[maraudereestauderelb]

Touched

A Duff McKagan smut One Shot

Prompt: You go to a concert with one of your friends and band mates, who's having a thing with no other than the band's guitarist Slash. After the show you get to meet Duff McKagen and somehow end up having your first time with him.

MASTERLIST

Warning: sex (duh)

"They're good aren't they?", Y/F/N shouted over the loud music. "Amazing!" "Told ya!"

We were dancing along to the loud music and enjoying ourselves. It had taken her quite some time to convince me to come with her instead of heading for the Troubadour with our other two band mates. Apparently coming with my bassist had been the right choice though.

After a world tour, a successful album and quite a bit more money in my bank account than before we had left LA, I still felt more at home right here. In a rundown club on the strip with a still upcoming rock band on stage.

Y/F/N and I had fit in perfectly. Nobody would recognize just the two of us having a great time and getting drunk. Except maybe the group of aspiring musicians and rising rock bands of the strip. In this circle everyone knew everyone, knew in which bands they had played, who they were associated with, had partied together before and so on and so forth.

That was exactly the reason why we had ended up here. The lead guitarist used to play in a band called Road Crew and had surely attended one of the parties at our trailer before. Y/F/N knew him and she had told me he was in a new band that was very close on getting a record deal. "You gotta check them out! Heard they're fuckin good", had been the argument that had won me over in the end. Not so much her initial reason to come here. That being the fact that apparently the guy had been an awesome fuck and she wanted to get laid by him again.

Now being here, I didn't regret it. I was having fun! And I was back in my usual habitat and in a situation that was familiar. If after the concert she wanted to leave with her black haired curly-head she was free to do so. Either I'd bump into someone I knew or would simply head home and call it a night.

The singer seemed familiar as well and if I remembered correctly Nikki had left his ass outside at one of their parties.

"Yo, what's the lead singer's name again?", I asked Y/F/N. "Oh that's Axl. Hollywood Rose, remember?" "Oh yea, right!"

I got why those boys were apparently very close to making it. Shit, was Guns n' Rosesgood!

Y/F/N had successfully gotten us all the way through the crowd to the stage, where we danced and sang along some more until the band was finished.

A few moments after the last song had ended the club put on some generic rock music and blasted them through the speakers.

"You gonna head backstage or wait here?" This wasn't the type of club in which the band would go off stage and head backstage never to be seen again. They had a small room for all of them to change and would then most likely come out to party. I knew, because we had played here before.

"He saw me, so trust me, he's gonna come to me", she grinned, and I once again admired her confidence.

It didn't take too long before Slash really showed up. He greeted me as well and congratulated on our album, so I told him what a sick guitar player he is. I give credit where it's due.

But I also understood that it was probably best for me to piss off now. So that's what I did. I figured I'd get one last drink and keep my eyes open in case of seeing anybody I knew. And for real I spotted a few people I knew from college who quickly waved me over.

After telling them the generic shit everybody wanted to know coming back from tour, it actually turned into a lot of fun to party with them. No coke but sure as hell a lot of alcohol.

It was hours later when they decided to leave and I had actually planned to leave with them

when I spotted a barkeeper, I knew. He had also attended a bunch of our parties and was a cool guy. So I sat down at the bar and joked around with him some more as the club kept getting emptier.

The club surely was anything but empty at one point, neither was it packed. It wasn't so crowded anymore, and I had completely lost track of time when someone sat down on the barstool next to me.

I didn't pay much attention and simply took another sip from my vodka lemon until he said: "You know, your friend's already gone, right?"

I turned to face him and recognized him as one of Slash's band members, right after I had been speechless for a moment because of how handsome he was.

"Yea, I know", I nodded and added grinning: "So is your guitarist, right?" "Obviously", he answered laughing: "Should've seen him backstage after the concert, couldn't get to her fast enough!" I joined his laughter, finished my drink and looked around. "Your remaining band member's left with a groupie as well, huh?" "No, fuckin idea where they are", he smiled and waved over to Jimmy, the barkeeper: "Another one of these for the little Rockstar here and I take whatever she has."

"Thank you", I told him with a soft smile. He waved it off: "I'm Duff McKagan by the way." "Y/N Y/L/N", I replied. "I know, was at one of your trailer parties before ya guys became famous." "Oh were you?", I asked surprised. I would've bet I'd recognize such a pretty face. Blond, tall, bassist. I was in fuckin heaven.

"You then ones with the trailer with the IV in the living room, right?" "Yupp, that's us", I nodded with a smirk: "Then I'm sorry for not recognizing you..."

"Don't worry bout it", he smiled: "Doubt we got the chance to talk...not that I wouldn't have wanted to..."

"We should have! Then I probably would've listened to you guys sooner! And Oh. My. God. You're amazing!", I gushed excitedly. "Thanks! Hoping it'll get us where you are now." "You'd have to be a complete idiot not to fuckin sign you!"

"I fucking hope so", he sighed and took a big gulp from his vodka: "You the song writer, right?" He suddenly changed the topic.

"Yes, why?" "I dunno", he shrugged: "When I first saw your music video on TV I couldn't help but fuckin wonder what complete asshole hurt this beautiful girl..."

His words hit me like a fucking train, because they reminded me of my former best friend Nikki Sixx, whom I had been stupid enough to fall for, but soon my drunken brain focused on something else: He thought I was beautiful...

"An asshole that's no longer a problem", I laughed. "Well cheers to that", the blond guy smirked and clicked our glasses: "Lucky me."

I returned his smirk and soon felt his hand on my thigh.

"How come you didn't leave with a groupie?", I tease him and sip on my glass. "Not my thing..." "What an utter liar", I thought. "And also", he went on: "I saw you in the crowd dancing next to your friend and knew exactly who to go for."

The way he looked into my eyes send chills through my body and I quickly took another sip from my drink.

"You alright?", Jimmy asked from further away to make sure I was fine, and I quickly nodded.

"You're pretty confident, huh?", I asked Duff. "Why?" "Well, what if that one girl you decided to go for wasn't interested?", I teased him.

Was I interested? I mean...damn he was hot and watching him on stage had been hot! His touch on my thigh made me feel hot! But for fuck's sake I didn't knowhim!

"That would be pretty sad for both of us", he shrugged and winked at me before looking at his glass and away from me.

Was he right? God, I could already feel the heat inside of me rising and a quiet voice in the back of my head reminded me that I had seen him shirtless on stage and wondered what it would feel like to touch him.

But damn it, I was drunk!

He lit a cigarette and I gave my everything not to stare at his lips for longer.

"I liked you better when you were funny and not seductive", I shrugged as well with a smirk and made him laugh. "Ouch, thanks!", he replied smiling: "In that case you'd have loved to see me lookin like an idiot when I got to Slash and your friend hours ago just to realize your gone."

"Maybe you should've hurried more, you know, the way your friend Slash did", I teased him more and calmed my nerves.

"He's just a funny guy", I told myself: "Joke around with him some more and then get your ass back home."

"Well, in the end you waited here for me anyway." "Rockstars don't wait for anyone", I joked and took the cigarette from him to take a drag as well. I could tell he was staring at my lips this time but was ripped out of his thoughts when I handed it back.

He cleared his throat and said: "Always wanted to fuck a rockstar."

I almost choked on my drink. That was my sign. The cards were on the table. I should tell him that this certainly wouldn't be the night he'd get what he wants and leave! But I was curious... so damn curious...

I couldn't deny that I was attracted to him! Maybe I could at least make out with him...find out what his lips felt like...there was nothing wrong about that.

"That's what the girls always tell you?", I tried to mock him but was too nervous to sound convincing. "You're quite a joker, huh?" "At least tryin to..."

"It's cute", he admitted. "Good, because I never run out of stupid jokes..."

"Trust me, I'd know a way or two to shut you up", he grinned to himself and took a last drag before he stubbed the cigarette out.

God, his words went straight to my core and put pictures in my head I hated but at the same time desperately wanted to happen. I wanted to find out what he wanted to do!

"Ya know what I always wanted to find out?", I asked without thinking about it twice. "What is it, gorgeous?" "If it's true that bass players don't just have skilled fingers when it comes to playin instruments."

I cracked the joke before I had thought about it. Why? Because I always had to listen to idiots tell me that and because I somehow really wanted to find out.

His smirk grew winder than I had seen it all night and it made me knees weak. "I can definitely show ya that."

"How about you first make me shut up?"

I had barely finished my sentence before I felt his free hand in my neck and soon enough his lips on mine.

I felt like melting right then and there! His lips moving against mine felt so good! But what started as a rather innocent kiss quickly became more heated. I grabbed the hem of his leather jacket, not to pull him closer but because I needed to hold on to something, anything."

His lips were moving against mine before he gently captured my lower lip with his. It was hard not too moan on the spot! And even harder when I tasted his tongue.

I damned those stupid barstools! I wanted him closer, needed him closer.

When we finally separated again my entire body was totally antsy!

"Speechless?", he asked teasingly. God, he was so damn hot!

I tried to think of something witty and fun, but I couldn't summon a single proper thought.

"You know...to prove the other thing we should probably move this somewhere more private...", he whispered into my ear and hadn't goose pumps already covered my entire body they definitely would have after he seductively kissed my neck.

I should tell him no. I should move my fucking ass back home.

But when he leaned back again and all I could think about was how I buried my fingers in his blond hair, I just nodded...

He had his arm around my waist when he let me out of the club and down strip. It was still dark and it wasn't hard to tell that there were still a bunch of parties going on in other places as well. Like I said, I had long lost my sense for time.

"My place ain't far from here", he told me and I nodded. Excitement was bubbling inside of me and gosh, I couldn't wait to kiss him again!

All worries and negative thoughts had been long gone as we walked through the cold night. I kept looking at him from the side and tried to hide the excited smirk on my lips. But

damn, he was even taller than I had guessed and looked so handsome in the dim glow of the streetlights.

I didn't know what to say. Where words needed?

I realized how he eyed me as well and a smug smile appeared on his lips. Shit, I wanted him. I had never felt this need for someone before, but I had also never allowed myself to get this carried away.

I bit my lower lip and tried to clear my thoughts but that attempt was quickly thrown completely over board when he suddenly pressed my back against the closest wall and kissed me. The kiss almost took my breath away.

Here I was standing on the strip with my back against the wall of some club and making out with a complete stranger. And it felt so right.

"Duff", I whimpered against his lips in a needy tone. "We should probably keep going, huh?", he smirked a little out of breath himself. "Except you consider this somewhere more private", I said with a grin on my lips but felt how he led me on with his arm around my hips once again.

"Wouldn't mind", he shrugged and lit another cigarette: "But I wanna take my time with you."

I swallowed hard and accepted the cigarette he wanted to share with me.

The next five minutes of us walking passed mainly without much talking but then I found myself in his one-bedroom apartment.

Alone with him now I felt the nervousness set back in.

So this was how it's gonna be?

"You want somethin to drink or anything?", he asked from behind me and I shook my head. Soon I felt him against my back with his arms around my body and his lips on my neck and shoulder.

I suppressed the low moan that had wanted to escape my lips and simply leaned back against him.

He had soon gripped the hem of my dress and pulled it over my head. A shiver ran through me but his warm hands that travelled my body soothed me and quickly found the clasp of my bra and opened it.

He was still kissing my neck when he whispered: "Turn around to me." I obeyed immediately.

The sight of my bare breasts exposed before him made him fight to contain his arousal as he hardened in his boxers. He lowered his head and wrapped his lips around my nipple. He sucked gently and I failed to find something to hold onto.

It was weird to be almost naked in front of him while he was still fully dressed, at the same time it made me feel excited.

"Get on the bed, I got something to prove", the blond haired told me smirking and I nodded. I tried not to run to the bed and could barely believe how caught up in the moment I was. My entire mind was foggy!

I watched him take off his leather jacket before he walked over to me and moved my thighs apart so he could lay down between them.

I could feel him hard against my center through our clothes but before the nervousness consumed me he had his lips on mine again and consumed my senses instead.

His body was pressed against mine and he traced his fingers down my body. He stroked over my thighs and spread them even more before moving to my panties.

Through the fabric he pressed his hand against me and gently rubbed me. A soft moan left my lips and I stirred underneath him and spread my legs further. Duff smirked against my breats and took my nipple in his mouth again as he began to rub me through my panties. His fingers ran over my slit as heat began to pool and I whimpered.

"Duff", I moaned softly.

He pulled away from my titts and brought his lips to mine while his fingers rubbed at my clit.

My eyes were closed, and I was lost in the moment, but I managed to bring my hand to his head and tangled my fingers in his blond, long hair. My lips parted as another soft moan left them and Duff pushed his tongue inside my mouth, massaging my tongue with his own.

His fingers were moving in circles over my clit and I whimpered against his lips as my panties became more soaked with each move he made.

I moaned and writhed on the bed as his hand travelled beneath my panties. Both of us moaned as he ran his middle finger between my folds, feeling how wet I was.

I whined his name again and lifted my hips to meet his hand.

He pushed his erection against my thigh and instinctively I reached down and stroked him through his pants.

"God you’re so wet for me", he growled in in my ear.

I bit my lip and raised my hips when suddenly he pulled away from me.

He knelt on the bed and smirked at me before ripping my panties down my thighs and tossing them to the floor.

My heart felt like it was about to pump out of my fucking chest.

He moved between my legs and crashed his lips against mine.

His fingers made their way back to my core and he pushed his middle finger inside me with ease, making me gasp.

"You want me to fuck you?", he pulled his finger out teasingly slow.

I bit your lip and without thinking I nodded as he pushed his finger back in.

He added a second finger, stretching me slowly: "But not yet."

He pulled his fingers away and I whined at the emptiness. But before I could protest Duff spread my legs apart and laid between them.

He ran the flat of his tongue along my slit, making me gasp and clutch at the sheets.

His tongue ran over my clit in two slow strokes.

I quickly covered my mouth with my hand and let out a moan.

His tongue ran over my clit in slow circles and he reached his hands up to squeeze my breasts. When he sucked at my clit I let out another moan into my hand and Duff pulled away.

"Oh No, baby", he told me and moved my hand from my mouth: "I wanna hear you."

I bit my lip and watched as he went back to his slow licks and his eyes never left mine as he ran his tongue over me. I felt like I was burning.

I squeezed my eyes shut and reached down, wrapping my fingers in his blond hair and raised my hips to meet him. He pulled back, only slightly and ran his fingers over my slit. He let out a growl as he watched, pushing two fingers into your throbbing pussy.

"Duff", I gasped and already felt extremely full. "Don't panic", I told myself and threw all worries away when he began to pump his fingers in and out of me, slowly at first before he increased his speed.

"You like that, baby girl?"

I moaned in response and he stopped his movements. He sucked at my clit and the change in pleasure made me squirm.

I whined and lifted my hips to meet the strokes of his tongue.

He moaned against me and the vibrations sent pleasure soaring through my veins. He began pumping his fingers once more, curling them against my wall and rubbing against my gspot.

I writhed on the bed, clutching at the sheets because of the amount of pleasure.

"Fuck..."

"You gonna cum for me doll?", he growled against me.

I sunk my teeth into my bottom lip as my orgasm coursed through me. MY walls clenched around his skilled fingers and his tongue didn’t stop running over your clit, making my legs tremble.

When my orgasm started to slow down he got up and took his clothes off, throwing them anywhere. Before he sat back down between my thighs, I watched him put on a condom through barely open eyelids.

Without a warning and therefor without giving me the time to over think this he plunged his cock into me. I gasped at his size and raked my nails down his back.

The pain was sharp and unknown.

"God you feel so good baby."

He crashed his lips against mine, stifling my moan as he pulled out of me slowly.

"So tight." He pushed into me again. I was frowning and pushed my eyes closed as I was trying to adjust to him. Fuck, he felt so good at the same time this hurt so bad but in the best way possible.

I moaned and ran my hands over his back as he set a pace with deep and slow thrusts. He wanted me to feel every inch of him entering me and he lost himself in the little whimpers I made as he pushed into me. After a few more thrusts when the pain was starting to die down, he pulled out of me and knelt on the bed.

"Rollover", he ordered.

I bit my lip and obeyed, kneeling in front of him on all fours. Duff let out a breath as he looked at my ass.

I felt him run his cock over my center before he pushed into me once more.

"Duff...", I hissed.

His change of angle set a whole new sense of pleasure and he set a faster pace. It hurt but felt so good... His cock slammed into me and I collapsed against the mattress, falling onto my elbows, arching my back more in doing so.

He brought his hand down swiftly, slapping my ass and making me gasp.

Duff gripped my hips and I moaned between breaths as he picked up a fast and hard pace, slamming into me hard and fast. He leaned forward and pulled my hair into a ponytail, his thrusts never slowing down. With a gentle tug at my hair he pulled me back onto all fours and with his spare hand he reached under me.

His fingers found my clit and he rubbed clumsy circles. I bit my lip, trying to contain my moans and arched my back. He leant over me, his breath on my shoulder and hearing his staggered breathing sent me into overdrive. He released his grip in my hair only to wrap his hand around your throat gently and pull me back enough so he could turn my head around to kiss him. Just what I needed.

"You gonna cum for me?"

I attempted to nod, which proved difficult with his grip on my throat. He didn't wait for an answer though and rubbed his fingers over my clit faster.

"Cum for me, babygirl."

I lost all control, my eyes rolling back as the waves of pleasure rolled through me, sending shivers all over my skin. His pace was sloppy now and I knew he was almost ready as well. He slowly pulled away and turned on his back so I knelt down on wobbly legs. I removed the condom and licked along his throbbing cock and he let out a low moan. I took him as deep as I could and began to suck him off until he grasped his cock and pumped it a few times before coming in my mouth.

I swallowed his load and his deep moans send a few last chills through me.

Both of us collapsed against the sheets, a sheer layer of sweat covering my skin as I tried to catch my breath.

"Shit that was good", he exhaled and placed a lazy kiss on my shoulder. "Yes, it was", I thought and grinned to myself, trying to process what had happened.

#guns n roses #smut #duff mckagan #duff mckagan imagine #duff mckagan smut #duff mckagan x reader

[quirkysubject]

Too Much Love Will Kill You

May/Musker/Lamers; Made in Heaven, 1995

I grew up with the Brian May version of the song, and had no idea that Queen had done it too with Freddie Mercury on vocals. Needless to say, I was de-ligh-ted!

Apparently, the song was recorded for The Miracle, but because other songwriters were involved, it couldn't be credited to Queen, so they left it. The Miracle is the first album where they decieded to have joint writing credits, and immediately the decision gets put to the test - and the symbol of the band's unity wins, even at the cost of a commercially viable rock ballad. I find that beautiful, especially since the song is all about being torn apart by an impossible decision. Queen just went, nope, we'll leave it then 😄

The song is such a huge, eighties power ballad that it almost feels embarassing to admit that I enjoy it a lot. It's Brian's heartfelt lyrics that save it from being cliché. I'm usually careful with biographical readings of songs, but in this case I do feel like I'm getting a glimpse inside his soul. Also, the chord sequence has a beautiful flow that sends shivers down my spine every time.

Favourite Detail

Freddie's voice on "I used to bring you sunshine." You can hear him smile, as if recalling a fond memory.

Also: John's bass at the end of the first verse. It's so soft, yet so there.

Nitpicks

I wish they had used an acoustic piano instead of that electric thing. And I have to say, Brian's decision to go up an extra third on "bleed and scream crawl" in his solo version has a raw punch that I'll always miss on the Queen version of the song.

Special Versions

The live version that Brian sings at the Freddie Mercury Tribute concert. The fact that he chose this song to remember his friend, I just... 🥺😭💔

"As I was walking over to the piano I was thinking, ‘Should I really be doing this?’ So it was difficult, it really was. It’s so easy to do in rehearsal and yet, when that moment comes, something happens to your throat. Plus it really brought me back in touch with what was going on; suddenly there was only me doing my personal little bit." Brian May, Guitarist, 1992. Quoted in Georg Purvis: Queen - The Complete Works.

~~~

Anyone got special memories of this song? Opinions? Thoughts? Just feels? Tell me about it in the comments 💕

#quirky listens to queen #i might make that a series #dunno #but i was listening to the song had a sudden need to share #Youtube

[thepriceofbeingaroseisloneliness]

Die and Toshiya member talk at SENDAI GIGS 13th March 2021 Bits III

 Notes from twitter user botdv_304

- Question: Have you ever had a hard time because of your height?

Toshiya: When I go to grandpa and grandma’s house in the countryside…. the entrance is low, so I might hit my head?....

Die: Sometimes at exclusive/high class shop, isn’t there a place where the entrance is really low? Don’t you hate that? (laughs)

----

-Talking about a festival that left an impression on them. In Germany?

Die: Many things being thrown. Like crushed cans or tiny soccer balls. The stage was full of stuff like that.

Toshiya: I got hit by a stone that someone threw.

Die: Then I realized, something that fell off…. A bra…..it was quite big.

Fujieda: Eh….did they take it off and throw it?  What happened when they got back home?

Die: They were bra-less? ----

Fujieda: Die, what do you do for haircare?  What do you use? Like shampoo and so…

Die: Are you (asking this) unreservedly?

Fujieda: Yes….it’s the thing you are careful about the most!

Die: Well, I use shampoo, then the conditioner, then things like hair mask and so….

Toshiya: That takes so long, so long…. ----

Fujieda: Toshiya, where is Kaoru now?

Toshiya:  *laughs* at home, at home…..*laughs*

 ----

Fujieda: Toshiya! Kaoru and Shinya said that JEALOUS' B-melody is difficult. Is there any difficult song for you?

Toshiya: I forgot

  -----

Fujieda: Today you are feeling “on” or “off”?

Die: Well,  On! If it weren’t “on”, it would be bad (laughs)

 -----

-How difficult was  to shoot at ROCKMAYKAN?

Toshiya: I don't think we had any particular difficulties ... I felt like I was going to the actual performance after rehearsing as usual. It feels like a virtual live with no audience, but it was nice to be able to play the five of us.

  ------

*Toshiya looks interested in a paper . It’s a psychological test.*

Toshiya: Test yourself. Which is the place that you don’t want to go the most? 1.Dark forest 2. Abandoned and decayed House. 3. Cemetery 4. Tunnel Die chose the tunnel. Toshiya and Takabayashi chose the forest and Fujieda the cemetery.  The one you chose reflects what a person is scared about the most.

Tunnel (Die): The future. They are worried they can’t see their future. Forest (Toshiya and Takabayashi): Loneliness. They need to have someone nearby. Cemetery (Fujieda):  They are not scared. If they can live happily, that’s fine.

Die: I can’t see what lies ahead….I’m scared! Takabayashi: Loneliness? Toshiya: Well, one person is scared… Fujieda: Me? Toshiya: If you can live happily, that’s fine (laughs) -----

About their drinks.

Fujieda: Toshiya, is that coffee?  Toshiya: That’s it?  Fujieda: Die is drinking carbonated water…  Toshiya: Do you have that information?

Fujieda: Toshiya, what are you drinking, is it always coffee?

Toshiya: No,  it’s not that….sometime it’s tea. Coffee or tea.

Fujieda: Do you prefer warm drinks?

Toshiya: Warm…..cold….

Die seems to like the sound of the bubbles of the carbonated drinks.

----   -About Oboro

Toshiya: I can't say much right now, but ... I think it's the core song of the album, so please look forward to it.

Die: It's not finished yet ... it's at the final stage. It’s overseas now ... I think that once is completed and finished it will come back. (He seems to be talking about the mastering stage, the master engineer seems to be a new person?)

 ---- -The OP doesn’t remember the question, but it was about the Shinkansen train.

Fujieda: Toshiya, did you miss the shinkansen this time?

Toshiya: (I took the train) at the last minute *laughs*

Fujieda: It was really at the last moment *laughs* Just about 1-minute left…

Die: Ah, I thought he wouldn’t come  to this…

Fujieda: You made eye contact with Die…..You were late last time, right?

Toshiya: I…..I've been waiting in Shinagawa for a long time….

Die: Doesn’t make sense (laughs)

  -----

-About next concert with audience.

Die: I'm happy to be able to play in front of everyone. I can't say “please come " in a loud voice, but when Corona is over, I want to make a live that makes me happy to experience.

Toshiya: In 2020….I was like “what’s going on?”….I was frustrated. But I can't get that time back, so I guess the right answer is to move forward. I would like to have a live performance that shows us trying to move forward.

  ----

Fujieda: Toshiya, among the members, are there any Ameotoko (rain man)? *Ameotoko (rain bringer man) refers  to an unlucky person that seems to be jinxed to have the rain follow them wherever they may go, thus gaining a reputation for ruining special events such as weddings or sporting events.*

Toshiya: That would be…..that person…

Fujieda: Who is that person?

Toshiya: I’m not telling *laughs*

 ---

 Fujieda: It’s still cold in Sendai

Toshiya: Weren’t you like an energetic kid yesterday?

 -----

-Die about meeting the members for the first time

Kyo:

Kyo told Die to talk later but he thought Kyo was just being diplomatic, so he went home. They met at a venue about a week later and Kyo told him “You went home that day, right?”. So, they talked again at the emergency stairs and Die was invited to join his band. When Die thought about it later, Kyo wasn’t in a band anymore at that time, so he wondered if Kyo tried to contact him.

Die: Flyers at that time were black and white, and the image quality was poor, but I think he chose me for that (the flyer).

Kaoru:

Die: When I first met him, he was at another band. Kaoru was also a good guitarist. He told me “You often play lives here, right?”

Yamo-chan (Shinya)

Die: It was at a taiban ( band’s event) but I didn’t notice him at that time. Later I was like “Were you at the Taiban?”

Toshiya:

Die: I used to say hello to him at live houses, but we properly talked at a Sugamo’s coffee shop. Kyo was with me. It seems that Toshiya lived close to Sugamo, so Sugamo was fine. Kyo and me weren’t used to Tokyo so we didn’t know how to get to Sugamo. We got on the opposite Yamanote line and I said, "Isn't it the other way around ...?"  and Kyo replied "Maybe ..."

---- 

Fujieda: Die, have you had any fun lately?

Die: Today!

  ----

Notes from user rikr66603 at twitter.

 Die about meeting Kyo:

Die: I met Kyo for the first time at a toilet. Our bands were playing at a taiban (battle of bands/band’s event). Kyo was doing his hair at the bathroom and I passed behind him and say “nice to meet you”. He told me to talk after the live, but I thought he was just being polite. Like “Let’s drink someday”… I thought he was just being polite so I went home. *laughs* The next time we met, he told me  I went home after that and I told him “I thought you were just being polite” *laughs* He told me to talk later that day after the live. He invited me to do a band together at the emergency stairs. It was a big turning point. Kyo wasn’t in a band at that time so he was like “come and see me”.

Fujieda: Kyo said he saw you in a flyer and thought that your aura was different.

Die: I used to put a lot of flyers at live houses. They were black and white. The image quality was poor. It seems that he chose me among them." )

---

About Oboro.

Die: We used to shoot individually and combine them but this time the 5 members gathered and did the shooting…..5 members…or should I say 6? *laughs*

Fujieda: To be exact, there were 6 people *laughs*

Die: Did we shoot in January? Or was it at February?

Toshiya: February

Die: There was a woman and she couldn’t move even though it was cold. Or even if she got hungry, Kyo either. Kyo was very close to the woman (makes a hand gesture of about 30 cm). It seemed awkward. He/we were talking turning sideways.

Fujieda: They couldn’t move. Also, he was covered in a liquid…. the other members as well, right?

Die: it was a cold liquid

Toshiya: It felt gross when it got dry….

Die: It was dirty….

 ---- 

Highlights of the live footage

Die: JEALOUS. It’s embarrassing. It’s embarrassing from the intro. The recording was at a private house. Ah, didn’t we do it at a private house?

Toshiya:  I haven’t gone there.

Die: We used two rooms at a apartment house for the drum and bass. We pierced/ put through the wall a cord and recorded it. The guitars and Kyo were recorded at a private house. It was the engineers’ house. He lived in a normal residential area. Behind the house you could heard the dogs and the crows in the evening. The dogs were barking so you could hear the dogs at Kyo’s signing part. We waited for the dogs to stop barking so Kyo could record. I got fever and I felt asleep. I put a futon on the tatami floor and I slept but, there was the portrait of a deceased old woman that I didn’t know. While thinking that I wasn’t going to get better, I felt asleep.f Was it May? After that, we recorded for 3 weeks in New York. The difference from doing it in a private house was amazing.

#dir en grey

[endlich-allein]

Promo "Rosenrot" (2005), Olivier Riedel and Till Lindemann — Interview by Phil Lageat and Olivier Rouhet, 05-09-2005 (Rock Hard #048)

Rock Hard : [...] At the time of interviewing Till Lindemann (vocals) and Oliver Riedel (bass) - Paul Landers and Christoph Schneider are also present, but answer other stores - several questions are bothering us... because we are worried. We start by taking news of the band, which recently canceled dates in Asia and South America.

Oliver Riedel : Till injured his knee during the concert in Gothenburg (Sweden) during a collision with Flake, hence the cancellation of the Asian dates. Then Flake caught a childhood illness. He is currently confined to a hospital bed with mumps. Not exactly dramatic, but he could only hear with one ear, which was rather annoying. So we had to postpone the South American dates. Nothing serious...

RH : The fact of recording in Berlin, and not abroad, as usual, in a short period of time, has put on the shoulders of the musicians an increased and useless pressure ?

Oliver : Yes, absolutely ! It's the first time we've recorded in Berlin, at home, and I'm not sure, looking back, that it was a good idea. Our families living nearby, we might tend to look at our watches whenever we had a break : What am I doing ? Do I take the opportunity to drop by home ? As a result, we were necessarily less focused and it was almost impossible for us to be there 100%.

Till Lindemann : More pressure ? Yes and no. Usually we like to work in a relaxed and mellow atmosphere, which we did when recording Reise Reise in Spain. In Berlin, it was quite different, because we worked 12 to 14 hours a day. And we did feel time pressures. It was a pretty intense creative process, which is why this album is quite special and out of the ordinary. I wouldn't say I'm proud of this record - it might be a bit too much - but I'm very happy with it nonetheless.

RH : [...] It seems that this extreme fatigue is not just physical. Admittedly, lately, they do a lot of albums and concerts, but we remember the tensions born during the gestation of Mutter. How can we not think, for a moment, that the Rammstein machine did not exhaust the friendship that bound the members of the group, to the point that they feel the occasional need to no longer see each other ? Have they learned to manage their friction in order to get off to a better restart ?

Oliver : It's true, I admit, we are washed out, burnt out. This is the reason why we are considering this prolonged hiatus... During the Mutter era, we did face some personal problems and we had to distance ourselves from each other. Then, we got closer and managed the conflicts that opposed us. Today, the atmosphere within the band is excellent, but we want to take this break to rest physically. In theory, we're looking at a hiatus of almost a year. But, who knows, maybe we'll meet beforehand to rehearse if the urge arises. And it is already planned that we meet to shoot two or three music videos which should illustrate the next singles of the album. To summarize, these three days of promotion, a few videos, and basta ! I love surfing and I am thinking of going around the beaches with my little van, just to see the country. Is it still possible that we go on vacation together ? (smile) No, I don't think so... Two or three of us, yes, but not the others.

RH : But let's stop complaining, and let's go back, along with Till, to his texts, often encrypted and regularly tackling “taboo” subjects (homosexuality in “Mann Gegen Mann”, our primary instincts in “Zerstören”, etc.)

Till : Journalists always want to know what is the deep meaning of my texts. Personally, I find it much more interesting that my words appeal to the imagination of listeners, that they interpret them in their own way. It is for this reason that I don't wish to submit my point of view : it would then be rehashed, no room would be left to the imagination. But back to "Rosenrot" : it is a very old word. "Reise, Reise", which dealt with the life of sailors, was also intended to be a reference to Herman Melville's novel, Moby Dick. Our choruses are always composed of simple words, but very strong, like "Sehnsucht" or "Du Hast". "Rosenrot" is color as a sign. With the Brothers Grimm, it is about a girl : in the song, the latter drops a rose from a cliff and asks her lover to go and get it back so that he can prove his love to her. But the unfortunate falls... and kills himself. Outside of Rammstein, I write collections of poems. It has nothing to do with writing song lyrics. It's not going to sound very serious, but I'm saying it anyway. Writing a poem is actually quite simple : you just have to drink a few good glasses of wine and let your imagination run wild (laughs). Writing the text of a song is much more difficult : your lyrics must stick with precise stanzas, a chorus, a metric that is imposed on you. And a guitarist just has to tell me "wait, I'm going to slip three more notes over here, so you need three more words!" And everything has to be redone... It may be that these three fucking words require me three months of work. Poetry is pure pleasure, the text of a song is real work.

RH : If there is one title that emerges from Rosenrot, it is the excellent "Te Quiro Puta", sung in Spanish. Does Till have a soft spot for South American music ? The answer may surprise :

Till : Not that I like a particular song, it's those popist salsa beats that go straight into the blood, that your body can't resist, that I like. What artists like Joachim Sabena and Manu Chao are doing is fantastic. The others like it less, but recently, in backstages, I was making them listen to Sonora Palacio, classical Chilean music, with trumpets and everything. And gradually, I ended up making them totally addicted... When will a song in French ??? Very soon, I hope ! (laughs)

© Felix Broede & Mat Hennek (2005)

#rockhard magazine special rammstein 2021 #rammstein in press #rammstein interview #rammstein #rosenrot album #oliver riedel #till is love 🖤 #till lindemann #flake lorenz #paul landers #christoph schneider #richard kruspe

[rushingheadlong]

POP IN THE SUPERMARKET

Conveyer rock - is it all a hype? Colin Irwin looks at pre-packed pop and talks to the men behind new bands Queen (left) and Merlin

Hype. An ugly, unpleasant word frequently recurring in rock circles. 

Up in the boardroom of a vast record company the fat cigar brigade are scratching heads. Binn and Batman have come up with another surefire hit and they want somebody fresh to market it. They ponder a few names and finally decide on one with slight but clear sexual connotations - suggestively camp. 

Name settled, they work on the people who will be in this new band. They might be able to find a ready-made group to fit the bill but better to mould their own. There's a singer who has been around for a few years. 

He's not great but he knows how to throw himself around a stage, has a hairy chest and can hit the high notes. Give him a new name and he'll do. Somebody knows a lead guitarist who can play a bit and looks good. They can advertise for the others. 

They'll work out a sensational stage act, rig them up in some flash gear, buy them the best equipment and arrange a string of appearances in some influential venues. Plunge a few thousand quid in launching them with advertising and posters and "They'll be the biggest thing since sliced bread," chief fat cigar tells his underlings. 

Session musicians are employed to record the single and being a Binn and Batman special the radio stations label it "chart bound" and play it twenty five times a day. Seeing the glossy photos in the bop mags the kids gather up their pennies and buy it. 

VOILA, stars are born - or manufactured. An extreme form of hype. 

There's also a cliché commonly used in the business about people who have been around for many years and finally make it. It's called talent-will-out. An idealist phrase but there is still a popular belief that if a band is truly talented enough it will win through in the end. 

Yet even the greatest band in the world need a bit of pushing in the first place. When a record becomes a hit it's not always that easy to distinguish between hype and talent-will-out.

If a record company spends astronomical sums of money promoting a band, is it hype? Or is it a legitimate and necessary weapon in the music business? The argument is that the BBC's ever-tightening playlist and the effects on the industry of the three-day week have made it harder than ever for a new group to make it - talent or no. Without a big money machine behind it there isn't a hope. 

The situation is illustrated by two energetic new bands, who both look like breaking. 

Big money has been spent on Queen and Merlin, who have had new singles released during the last month. 

Queen's record, "Seven Seas Of Rhye," is already moving swiftly up the chart, while Merlin's "Let Me Put My Spell On You," is doing well enough to suggest it might follow suit. 

There is no suggestion that either band is a manufactured or manipulated product in the sense of the Monkees. They play the music on their own records entirely themselves and they are both hard at work on the road. 

Yet the question arises as to whether they would be doing quite so well without the resources of big companies behind them. 

In the case of Queen it's Trident Audio Productions and EMI and for Merlin it's Cookaway Productions and CBS.

The one common factor is that money and backing has been provided because the companies have a solid, unshakeable belief in the artists they are promoting. They are indignant about any suggestion of a put-on or that there has been any attempt to con the public. 

Listen to Merlin's producer Roger Greenaway for half-an-hour and there is no doubting his faith in their ability. "They are going to break, I know they are. I'm convinced the record will be a hit."

Nobody's saying exactly how much it has cost to launch either band. "Over a period of months between £5,000 and £10,000" has been spent on marketing Queen by EMI while the figure for Merlin is even vaguer. "A bit, but not a vast amount. Not a fortune by any means."

"Seven Seas Of Rhye" is Queen's second single and was recorded as part of the album "Queen 2" which has just been released. Things started to move for them about a year ago when they recorded their first album for Trident, who have a distribution contract with EMI. 

An advance was paid to them to help with the immediate costs of putting them on the road. 

Review copies of the album - about 400 of them - were sent out to everyone who might conceivably have any influence on the record buying public, from discos to the national press. Copies were personally distributed to radio and TV producers and extensive advertising space was bought in the trade papers. 

The launch for Queen was more concentrated than most artist are entitled to expect. 

Trident were completely behind them from the start and found them their American producer Jack Nelson. EMI promotions men Ronnie Fowler and John Bagnall decided they had a product with an exceptional chance of success and they went all out to exploit it to the full. 

Says Fowler: "Every record we release we work to a pattern of promotion. When I went round with the album it was normal procedure. It becomes un-normal when people start phoning you - that's when you put more effort into it."

Bagnall adds: "It became obvious after a week or so that it wasn't standard promotion that was necessary. We did a more complete promotion job than usual on Queen because we thought they were going to make it.

"They're all good-looking guys and I did a round of teeny papers and all the girls in the office swooned over them. Brian, the lead guitarist, had made his own guitar and a couple of the nationals picked up on that. It was good, gossipy stuff."

Queen's publicity machine was working from all angles because they were also getting external promotion from Tony Brainsby's promotion office. 

He had been involved with them from the time they had been trying to get record producers interested. The intensity of it all paid off when they were invited to do a spot on the Old Grey Whistle Test. Radio Luxembourg latched upon the single "Keep Yourself Alive" and played it regularly. 

Their first tour, supporting Mott the Hoople, got the full works. Local press was saturated with releases about this new band which was shortly coming to their town, elaborate displays were arranged at the front of the house on the night of the concert, local disc-jockeys were informed, and window displays were made in about 200 local record shops. 

"Trident and EMI committed themselves right from the start to this band, to make sure they had a PA which was better than other bands had and to make sure they had the right clothes. Some of their outfits cost £150 each," said Bagnall. "Spending money on a band isn't hype. It wasn't being flash or extravagant for the sake of building an image. It was making sure that everything else was as good as their music."

Not so far removed from the attitude towards Merlin, although it has been on a smaller scale in this case. 

The first Merlin tour, still underway, is rigorous. They are playing ballrooms and colleges all over the country on a lengthy round. 

An ambitious project for a new, unknown band, but it has already been successful in that it has launched them as a name people now know. A full-page advertisement was bought in the MM. That's the sort of treatment you might get if you're Bowie, or Ferry, or even Mick Ronson. But Merlin?

They have only been in existence in their present form since last May. 

They emerged as a result of discussions between Alan Love and Derek Chick about the possibility of forming a band with definite commercial appeal and a glamorous stage act. The idea reached fruition via a band called Madrigal, who had for some time been working the same circuit as Mud before "Crazy" broke for them. 

Madrigal disbanded but reformed with the same drummer and bass player, and Love as singer and Chick as manager. A couple more young musicians were found to join them and Chick started the usual hustling to get them going. 

In due course they came to the attention of Cookaway, and Roger Greenaway was hastily summoned to take a look at them. He had already seen Madrigal and when he saw the new model he immediately saw a big future for them. 

Greenaway says: "I'd been looking for a group of this type for three years - a young under-20s group who can present a good act. There's a lot more showmanship attached to bands now. I wanted an act with a slightly different approach. I was in New York producing the Drifters and I came back especially to hear them."

He quickly took them into a studio to see how they reacted there and among the tracks they recorded was "Let Me Put My Spell On You" which had been written by Greenaway in collaboration with Tony Macaulay. Like Queen, the best equipment and some fancy costumes were bought for them and the launching process was put into operation. 

My own experience of the Merlin project was a couple of weeks ago at Reading Top Rank - a bizarre mixture of precocious boppers, ageing teds, and stern-looking heavies. 

Posters and pictures of the group were plastered all over the place and by the time they eventually appeared late in the evening you had been informed quite thoroughly that Merlin had made a record called "Let Me Put My Spell On You."

Greenaway says of Love: "He's got star quality and he's a great charmer. The guitar player Jamie Moses has got a terrific potential too. I've worked with Jimmy Page and John Paul Jones but for me this guy at 18 is a better player than Jimmy Page was at the same age. He's the sort of player guys can follow - like Jet Harris - he had an incredible following with the guys."

He likens the Merlin launch to a military operation. The career of the group has been minutely planned since October. Accepting that it is almost impossible to get airplay for a new band on the BBC they decided the best way to break them was through a solid mass of live dates. 

The dates were booked, once again the best equipment, including a light show, was bought for them, and distinctive stage costumes especially designed. 

"By the time the tour has ended they will be a really tight band. We are getting support in the regions and you can break a record if you can get regional radio stations and disco plays. I believe this record is a hit and the signs are there. This is a ten-year job as far as I'm concerned."

Not that big money backing is any guarantee of success. 

One of the biggest projects of this type was the launching of young Darren Burn as Britain's answer to Donny Osmond. To their eternal credit the record-buying public didn't apparently want an answer to Mr Osmond and the campaign failed. 

The pop supermarket is not a new trend. The attractively packaged mass-produced record has been a part of the industry for a long time. The early releases of Love Affair, White Plains and Edison Lighthouse for example spring to mind. 

The whole thing is justified for the makers by the fact that they still become hits, thus proving there is a demand for made-to-order records. If the public is willing - or gullible enough - to pay 50p for music created in the boardroom. Well it must be OK.

The Merlin single is blatantly, unashamedly aimed at being a big hit - that seems to have been the one criterion in making it. It has all the ingredients and as the whole thing has been done with concentrated professionalism it will probably be a hit. 

Back to Roger Greenaway: "I don't want to present this as a Monkees type of image. It's not a manufactured group in any way - these guys have all been in other bands. 

"What Merlin are about is success - reaching people. It's so wrong for opposing people to criticise. If Chinn and Chapman go out to reach a particular market at the thing they do best, and they reach them, then they're doing their job. They've filled a gap.

"When this record happens it'll be called hype but we haven't hyped anybody. Not a vast amount of money has been spent on them. It would be silly to have a tour like this without some sort of advertising. All the money that has been spent on them so far has been towards getting them on the road. 

"It's expensive but it's minimal if you think of it as a along term thing."

It may be unfair to associate Queen with the pop supermarket. The group themselves were apprehensive about appearing on Top Of The Pops and the prospect of a hit record. 

They have always regarded themselves as an album band and were concerned about being connected with the chart groups. The fact remains that they have been on the receiving end of a giant campaign to create a best-selling single and album. 

The first album had sold far better than they had anticipated and there was great excitement around Trident and EMI as the second one was being made. Manager Jack Nelson came in virtually every day to play new tracks as they were completed and many discussions followed on which one should be released as a single. 

A special meeting was held between Bagnall, Fowler, marketing manager Paul Watts and a few others to discuss the approach to the release of "Queen 2."

"We talked about the possibility of boxing the album, and other various publicity and posters needed to produce an album we were convinced was going to be one of the biggest of the year. We set a high target for it. 'Seven Seas' isn't a housewives' record so with the daily shows like Edmonds, Blackburn and Hamilton, there's no chance of getting it played, we knew that from the start. But the weekend shows - Rosko, Henry, and D.L.T. - they all flipped over it. I took the records round personally because I felt so strongly about it."

The prime plug, however, is Top Of The Pops. If a record gets exposure on that there is a more than even chance that it will become a hit. He played it to the show's Robin Nash and a couple of days later Nash phoned him and asked him where Queen were. Later he rang back and invited Queen to do a session. 

The band weren't too sure whether they wanted to do it but eventually agreed although even then they didn't know until the last minute whether it would be used because they were half expecting a David Bowie film to arrive and take it's place. But in the end Queen were shown and "Seven Seas Of Rhye" moved dramatically from there. 

"A lot of people have invested an awful lot of time and money in this band but not as a hype," says Bagnall. "The only truth in the music business is that if a band isn't good, no amount of money will get them to make it."

Greenaway may be right that Merlin are one of the most exciting bands to merge since the Beatles. Fowler might be right that Queen are one of the best since the Who. But big business still remains one of the sadder aspects of the music industry today. 

----------

Huge thanks to the anon who brought this to my attention, since I’ve been looking for a copy of this article for ages now! 

Credit for the original scans goes to @Chrised90751298 over on twitter, though I stitched it back together into a single image for ease of posting over there. Open the image in a new tab to see the full-size version!

#queen band #queen #queenband #merlin band #long post // #text

[ifuckinglovestvincent]

St Vincent: “Pour a Drink, Smoke a Joint... That’s the Vibe”

Ding dong! Daddy's Home

By Johnny Davis

19/03/2021

Annie Clark, known professionally as St Vincent, picked up a guitar aged 12 after being inspired by Jimi Hendrix. During her teens she worked as a roadie and later tour manager for her aunt and uncle, the jazz duo Tuck & Patti. Originally from Oklahoma, she moved to Dallas, Texas when she was seven and later attended the Berklee College of Music in Boston, Massachusetts for three years, before dropping out.

Clark worked as a touring musician with the Polyphonic Spree and Sufjan Stevens, before releasing Marry Me, her first album as St Vincent, in 2007. By her fifth album, 2017’s Masseduction, she had become one of the most celebrated artists in music, the first solo female artist to win a Grammy Award for Best Alternative Album in 20 years.

She became unlikely Daily Mail-fodder around the same time, thanks to an 18-month relationship with Cara Delevingne, and later Kristen Stewart. Her ever-changing music, dressing up-box image and head-spinning well of ideas have seen her compared to David Bowie, Kate Bush and Prince. To complete the notion of her being the "artist's artist", in 2012 she collaborated with David Byrne on the album Love This Giant.

Indeed, she is surely one of few performers today who could stand in for Kurt Cobain with what’s-left-of-Nirvana, performing “Lithium” at their induction into the Rock & Roll Hall of Fame in 2014, as well as cover “Controversy” at a Prince tribute concert in 2020, with such guitar-playing fireworks its author would surely have approved.

Following the glam-influenced pop of Masseduction, St Vincent has performed another stylistic handbrake turn. Complete with a new image – part-Warhol Superstar, part-Cassavetes heroine – she has mined the textures of the music she loved most as a kid: the virtuoso rock of Steely Dan, the clipped funk of Stevie Wonder and blue-eyed soul of mid-Seventies' David Bowie, on her upcoming album, Daddy’s Home.

The title refers to Clark's own father, locked up in Texas for 12 years in 2010, for money laundering in a stock manipulation scheme, one in which he and his co-conspirators cheated 17,000 investors out of £35m. It is also, in typical Clark style, a bit of saucy slang.

Back on the promotional trail, Clark Zoomed in from Los Angeles one morning recently – fully caffeinated and raring to go. “My vices?” she pondered. “Too much coffee, man…”

What question are you already bored of being asked?

There’s not one that’s popping out. There’s no question where I’m like “Oh God, if I ever hear that again, I’ll jump off a building.” I’m chill.

I mention it because prior to releasing your last record you put out a pre-recorded “press conference”, seemingly to pre-empt every inane question the media would throw at you.

It’s so funny. It didn’t really occur like that. Originally that was supposed to be a legit green screen conference. Like, “I’ll just answer these questions ‘cos when they need to have me on ‘The Morning Show’ in Belarus they can have this and put their own graphics behind it”. But then when my friend Carrie Brownstein [collaborator and Sleater-Kinney vocalist-guitarist] and I started writing it and it became very snarky. For some reason it didn’t occur to me that “Oh, that might be off-putting or intimidating to journalists” I just thought "This is silly”. So anyway… I understand.

We're curious about your dad and the American legal system.

I have had a lot of questions about that. For some reason it didn’t occur to me how much I would be answering questions about… my hilarious father!

How do you view his time in prison?

Just that life is long and people are complicated. And that, luckily, there’s a chance for redemption or reconciliation, even after a really crazy traumatic time. And also anybody that has any experience with the American justice system will know this... nobody comes out unscathed.

You recently presented an online MasterClass: "St. Vincent Teaches Creativity & Songwriting". One of the takeaways: “All you need are ears and ideas, and you can make anything happen”. Who’s had the best ideas in music?

Well, you’ve got to give credit to people who were genuinely creating a new style – like if you think of Charlie Parker, arguably he created a new style. This hard bop that was just absolutely impossible to play. It was, like, “Check me out – try to copy me!” So, that’s interesting. I think Brian Eno, for sure, has some great ideas about music – and obviously has made some of the best music. Joni Mitchell – completely singular. I mean: think about that. There are some people who are actually inimitable – like, you couldn’t possibly even try to imitate them.

It’s a brave soul who covers a Joni Mitchell song. Although, apologies if you actually have.

No, I have not. And there’s a reason why not. Come on – Bowie. Bowie never repeated himself. David Byrne also didn’t repeat himself. He took all of his influences of classic songs and the disco that was happening at the time, and the potpourri of downtown New York music from the mid- to late Seventies… and synthesised it into this completely new, other thing. I mean, that’s impressive. Those are the ones we remember.

How hard is it not to repeat yourself?

It’s whether people have the Narcissus thing or not. Like, it’s always got to be a balance where you’re, like, “Well, I need to believe in myself to make something and be liberated. But I can’t look at that pond of my previous work and go ‘Oh you! You’re gorgeous!’” So I don’t go back and listen to things I’ve done. I finished Daddy’s Home in the fall and it was, like, “This is done” and it felt great. I loved the record and it was so fun to make. But what I did immediately afterwards was to write something completely different. But then I don’t know, ‘cos there are people who do the thing that they do just great. And you just want to hear more songs, in the style of the thing that they do great.

Right. No one wants an experimental Ramones album.

Exactly. Or, like, or a Tom Petty record. I don’t want a tone poem from Tom Petty! I want a perfectly constructed, perfectly written completely singalongable three-chord song.

The new album has a very “live” Seventies feel. I’d read that some of the tracks are first takes. Can that be right? It all sounds very complicated.

That’s not right. I should say [rock voice] "Yeah, that’s right, we just jammed…" But, you know, I’ll be honest. There are some vocal takes in there that are first takes. But it really is just the sound of people playing. We get good drum takes. And good bass takes. And I play a bunch of guitar and sitar-guitar. And it’s the sound of a moment in time, certainly. And way more about looseness and groove and feel and vibe than anything else [I’ve done before].

Amazing live albums, virtuoso playing, jamming – those were staples of Seventies music. Have we lost some of that?

I mean, I can wax poetic on that idea for a minute. In the Seventies you had this tremendous sophistication in popular music. Stevie Wonder, Steely Dan and funk and soul and jazz and rock…. and all of the things rolled into one. That was tremendously sophisticated. It just was. There was harmony, there were chord progressions.

What else from that decade appealed to you for Daddy’s Home?

It reminds me of where we are now, I think. So, 1971-1976 in downtown New York, you’ve got the Summer of Love thing and flower children and all the hippy stuff and it’s, like, “Oh yeah, that didn’t work out that well. We’re still in Vietnam. There’s a crazy economic crisis, all kinds of social unrest”. People stood in the proverbial burned-out building. And it reminds me a lot of where we are today, in terms of social unrest, economic uncertainty. A groundswell wanting change... but where that’s headed is yet to be seen. We haven’t fully figured that out. We’re all picking up pieces of the rubble and going “Okay, what do we do with this one? Where do we go with that one?” Being a student of history, that was one of the reasons why I was drawn to that period in history.

Also: that’s the music I’ve listened to more than anything in my entire life. I mean, I was probably the youngest Steely Dan fan. It didn’t make me that popular at sleepovers. People were, like, “I want to listen to C+C Music Factory” and I was, like, “Yeah, but have you heard this solo on [Steely Dan’s] ‘Kid Charlemagne’”? That music is so in me. It’s so in my ears and I feel like I never really went there [making music before]. And I didn’t want to be a tourist about it. It’s just that particular style had a whole lot to teach me. So I wanted to just dig in and find out. Just play with it.

Is there a style of music you don’t like?

That I don’t like?

You're a jazz fan...

I love jazz. Are you kidding me? I was that annoying 14-year-old who was, like, “Yeah, but have you listened to Oliver Nelson’s The Blues and the Abstract Truth?”

I love jazz. Are you kidding me? I was that annoying 14-year-old who was, like, “Yeah, but have you listened to Oliver Nelson’s The Blues and the Abstract Truth?”

That does sound quite precocious for a 14-year-old.

It’s annoying. Just insufferable. [Thinking aloud] What music don’t I like….? Here’s what can happen. And I feel like it’s similar to when an actor has some lines in a script and they’re not very good – not very well-written – so they overcompensate by making it very dramatic and really overplaying it. I would say that is a style of music that I don’t really like. Where somebody has to really oversell it and it all feels… athletic. Instead of musical or touching.

Did you put your lockdown time to constructive use?

If you need any mediocre home renovations done, I’m your girl. It was fun. I did – let’s see now – plumbing, electrical, painting. Luckily there’s YouTube, so you can more or less figure it all out. I did a lot of that stuff and I have to say it was such a nice contrast to working on music all day. Because when you’re working on music you have to create the construct of everything. You’re, like, “I need to make this song. But what is this song?” Everything is this kind of elusive castle in the sky thing. But then, if you go and sand a deck, you’ve done something. It feels really good. And it’s not, like, “What is a deck? And who am I?” You’re just, like, “This is a task and I get to do it and I can see how the mechanism works I understand it it’s not esoteric – it’s simply mechanical". I can do something mechanical. I loved it.

Which bit of DIY are you most pleased with?

Painting the kitchen cabinets. That’s a real job. We’re talking sanding. We’re talking taking things off hinges. We’re talking multiple coats. The whole lacquer-y thing at the end. That. I’m, like, “That looks pretty pro”.

What colour did you go for?

Oh, you know, it’s just a sort of… teal. But classy teal.

Of course.

Yeah. The wallpapering wasn’t as successful. But, you know, that’s fine. So that was really fun. And then I also went down a history rabbit hole. I realised I had some gaps in my knowledge about the Russian Revolution and life under the Iron Curtain and the gulags and Stalin and Lenin. So, I went down that hole. And then I was like “Oh I forgot – I haven’t read any Dostoevsky”. So I have been working on his short stories – which are great. And then Solzhenitsyn I really liked – I mean liked is a strange word to use for The Gulag Archipelago. I read Cancer Ward… All of them. I recommend all of it. And then, before that, it was a big Stasi kick. I can’t remember the last time I had time to brush up on the Russian Revolution.

There’s a lyric on “The Laughing Man”, “If life’s a joke… then I’m dying laughing”. It’s also on your new merchandise. What do you think happens when we die?

Nothing.

This is it?

Yeah. I mean, I understand that it would be comforting to think otherwise. That there might be a special place. It would be nice! The thought’s never really been able to stick for me. I would say that we are made of carbon and then we get subsumed back into the Earth and then eventually we become life again – in the carbon part of our makeup.

Well, that sounds better than an endless void.

I don’t think it would be an endless void.

In what ways are you like your mum and dad?

Let’s see. Well, my mother is a precious angel who has unwavering optimism. She is incredibly intelligent and also very nonjudgmental and able and happy to explore all kinds of possibilities. Saying that, though… it’s sounding not like me at all. I’m like my father in that I think we have very similar tastes in books, films, music and a very similar sense of humour. My mother’s so kind that it’s hard for me to… Her level of kindness and decency is aspirational to me.

How famous are you, on a scale of one to 10?

God, I mean, like, “TikTok Famous” probably a one, right? I’m gonna say – I don’t know about the number system – but I’m going to say I-occasionally-get-a-free-appetiser-sent-over famous. Which is a great place to be.

What do you look for in a date?

It’s been so long since I’ve been on a date. You know, I once read something, it might have been something cheesy on a card, but [it was]: if you don’t like someone, then the way they hold their fork will bother you. But, if you like someone – or love someone – they could spill an entire plate of spaghetti on your lap and you wouldn’t mind.

You play a zillion instruments. What’s the hardest instrument to play?

Well, I can’t play horns or anything like that. The French horn is supposed to be really hard. I don’t like to blag… but I’m an incredible whistler. Like, I can whistle Bach.

Is Bach a particularly tough whistle?

I think… yeah. It’s fast. And noodly.

What’s the first thing you’re going to do when we're out of lockdown?

I’m gonna get a manicure and a pedicure and a massage. Massage from a stranger. Any stranger.

What about a night on the tiles?

I will probably attend a dinner party.

That sounds quite restrained.

It sounds hella boring. Sorry.

Clubbing?

No, I don’t really go to clubs. I think in order to go to clubs you have to be a person who likes to publicly dance. And I don’t publicly dance. I mean I would feel too shy to dance at a wedding. But for some reason I will dance on stage in front of 10,000 people.

That’s why alcohol was invented.

Exactly! But I swear I would reach the point of alcohol sickness before I would be drunk enough to dance.

The effects of drugs on creativity: discuss.

Unreliable. Really unreliable. Sometimes after a day’s work in the studio you’re like, "I’m gonna have shot of tequila and then sing this a few more times, and then play". It’s okay but you peak sort-of quickly. You can’t sustain the level without getting tired. And then I would say that weed just makes me paranoid and useless. Every once in a while some combo of psychedelics can get you someplace. But, for the most part, you either come back to [the work] the next day and you’re, like, “This is garbage” or you get sleepy or hungry or distracted and you’re not really doing anything. I’ve never had opiates. Or coke or whatever. So I don’t know. I can’t speak to that. But with the slightly more G-Rated [American movie classification: All Ages Permitted] thing, it doesn’t really help.

What do you have too many of in your wardrobe?

I’m not a hoarder. I tend to have one thing that I get really obsessed with and then I wear it every day. Some people, having a whole lot of things gives them a sense of safety and security. It gives me anxiety. I can’t think if there’s too much visual noise. If there was a uniform that I could wear every day I would absolutely do that. And at certain times I have.

Like Steve Jobs?

Or, oh God, what’s her name? The Theranos lady… Elizabeth Holmes!

The blood-test-scam lady?

Well, I guess it was unclear how much of it was self-delusion and how much of it was, you know, actual fraud.

Another black turtleneck fan.

And – again, this is unconfirmed – she also adopted a very low voice like this in order to be taken seriously as a CEO.

Like Margaret Thatcher.

Did she have a low voice?

She made hers “less shrill”.

Oh yes. Yes!

What movie makes you cry?

The Lives of Others

That’s a good one.

Right. I rewatched that during my Stasi kick.

I’ll be honest, your lockdown sounds even less fun than everyone else’s.

I mean… Look, I had to educate myself. I went to a music college [Berklee College of Music] where I tried to take the philosophy class and the way that they would talk about it… it was taught by this professor who was from one of the neighbouring colleges in Boston. And it was very clear that he really disliked having to talk Kierkegaard to a bunch of music school kids. He was just so bummed by it. I’m trying to learn, “What’s the deal with Kant?” and he felt he had to explain everything only in musical terms [because he assumed it would be the only thing music students could relate to]. Like, “Well, you know, it’s like when Bob Marley…" I’m, like, “No, no, no! I don’t want that!” So I had to educate myself. This is where its led me.

Where should we ideally listen to Daddy’s Home?

Put it on a turntable. Pour yourself a glass of tequila or bourbon – whatever your favourite hooch is – and smoke a joint and listen to it. I think that’s the vibe.

Daddy’s Home is released on May 14

#have u covered Joni mitchell? Annie clarkson: ​‘I have not’ #OKAY MA’AM WHATEVER U SaY MA’am #st vincent #annie clark #interviews #marfa was a dream #Apparently #and that one time she posted her singing jm in the car #also that time at Newport folk festival with doveman #‘maybe that’s her shtick this time around’ #’to be full of shit?’ #’yah’ #that’s hot

[rpf-bat]

Rocking Out Just For The Dead

Pairing: Frank Iero x Male!Reader

Genre: Romance, Drama

Summary: Requested by @kpopchangedmylifesstuff. You’re playing Download Festival 2007 with your band, Paramore. My Chemical Romance are headlining the festival. After your set, Frank invites you onto his tour bus, for a friendly battle of Guitar Hero 2. But, when the hanging out turns into something more, your bandmate, Josh Farro, threatens to destroy whatever you and Frank have. 

You found yourself in Donington, England, playing your band’s brand new single, “Misery Business.” Okay - technically, Paramore wasn’t your band. You’d had no part in composing their new album, which would be dropping at the end of the week. But, their rhythm guitarist, Hunter, had recently quit, to go get married. Your longtime friend, Hayley, had called you up, and asked you to fill in for him, and you had jumped at the chance. 

You had done this once before. Paramore’s bassist, Jeremy, had randomly quit in 2005 - right before the start of Warped Tour. You weren’t sure what had caused him to leave, but you played bass and guitar equally well, so Hayley had asked you to join her and the Farro brothers on tour. You had the time of your life that summer. You had been eighteen then, and had felt more than a little star-struck, when you met people in “bigger” bands. 

Now twenty, you thought yourself older and wiser.  You were determined to be a professional this time around. No petty fights with your bandmates. No acting like a fanboy around the guys playing the Main Stage. Download Festival - the final stop on their Europe tour - was going to go off without a hitch, dammit!

Jeremy, now back in the band, stood to the left of you on the stage. Josh, the guitarist, was on your right. You tried your best to keep your guitar playing in sync with them, as Hayley belted out the final chorus:

Whoa, I never meant to brag

But I got him where I want him now.

Whoa, it was never my intention to brag

To steal it all away from you now.

But God does it feel so good,

'Cause I got him where I want him now.

And if you could then you know you would.

'Cause God it just feels so...

It just feels so good…

Zach played the final drum beat, bringing the song to a close. The crowd cheered. You took Hayley’s hand, and took a bow. She grinned at you, before addressing the crowd.

“THANK YOU, DONINGTON!” she bellowed into the mic. “YOU’VE BEEN AN AMAZING CROWD! GOOD NIGHT!” 

“It’s not really ‘night’ yet, you know,” you laughed, as you and the rest of the band walked off the stage. The sun hadn’t even set yet. 

“Yeah, I know,” Hayley sighed. “They put us on this super early time slot.” 

“Because nobody knows who we are,” Josh pointed out. 

“Yeah, the headliners get the later time slots, because they’re more famous,” Jeremy nodded. 

“Well, I think the crowd loved us,” Zach smiled optimistically. 

“He’s right,” you agreed. “Hal, I think you really killed it out there!”

“Thanks,” your friend smiled, brushing her sweat-soaked orange hair out of her eyes. “I really appreciate you coming on this tour with us, Y/N. I know it was really short notice.” 

“Wouldn’t have missed it for the world,” you smiled back. 

“I thought your guitar playing was great tonight, man,” Jeremy complimented you. “A perfect grand finale.” 

“Thanks, dude,” you beamed, as you grabbed a water bottle. These summer shows were way too humid. 

“I don’t know about that,” Josh mumbled, as he wiped his face with a towel. 

“What do you mean, you don’t know?” you frowned, setting your water bottle down. 

“I thought your timing was off during ‘Emergency’,” Josh said critically. 

“Oh….I’m sorry,” you frowned. “I tried to keep up with you…..”

“You should’ve tried harder,” Josh snapped, walking away from you, back towards the bus. 

Wow, you blinked. What’s his deal? 

The elder Farro brother had been needlessly rude to you, since the tour began. You honestly had no idea what you had done to get under his skin. But, you knew better, than to pick a fight with him. Zach was his brother, and Hayley was his girlfriend. You were just an outsider - a temporary, touring member of the band. 

“Are you coming back to the bus with us, dude?” Zach asked, snapping you out of the thoughts you had gotten lost in. 

“.....Nah,” you shook your head. “I think I’m gonna, um, walk around for a bit.” 

“Oh,” Hayley frowned. “Okay. See you later, Y/N.” 

You were pretty sure that she hadn’t heard what Josh had said. You saw no reason to tell her. It would just be starting drama. 

She seemed oblivious to a lot of the tension between you and Josh. He was always on his best behavior, when he knew she was paying attention. But, if it came down to it, you doubted she would side with her guy friend, over her boyfriend. 

It doesn’t even matter, you told yourself. This is the last show of the tour. On Monday, I’ll be heading home to Nashville. He won’t be my problem anymore.

You began wandering aimlessly around the festival grounds, with no real destination in mind. 

‘Hey!” a voice called out to you. 

You looked up, and saw a face you recognized - Frank Iero. 

You had met him on Warped Tour, two years ago. His band, My Chemical Romance, had been headliners, playing the main stage. Tonight, they were headlining this festival, too. His band had gotten even more famous after the release of The Black Parade.

“Hey!” you greeted. 

“Remember me?” Frank grinned. “I know it’s been a while.” 

“How could I forget?” you chuckled. Your heart had been racing the first time you met him backstage, but he had just shook hands with you, like the difference between your bands, was no big deal. You’d had to remind yourself that you were there to play a gig, not ask for an autograph. 

 “How have you been, Frank?”, you asked, trying to play it cool. 

“I’ve been good, Y/N,” Frank smiled. “How about you?”

Oh my god, you gulped. He remembers my name. 

“I-I’ve been great,” you stammered, hoping he couldn’t tell you were blushing. 

“I watched your set earlier,” Frank said cheerfully. “You were really good, dude.” 

“I-I was?!” you gasped. “You don’t think I was playing too slow, or….?”

“Huh?” Frank blinked, confused. “No, you were amazing, bro.  Your whole band was.” 

Ha, you thought. Suck it, Josh. 

“Thank you,” you said politely. “I’m probably going to go check out your band’s set, later, too.” 

“We’ve still got a couple hours before we go onstage,” Frank shrugged. “Since your band already played, you’re free for the rest of the day, right?” 

“Um, yeah,” you nodded, willing yourself to stop thinking gay thoughts about his new haircut. How did he get even better-looking after Revenge era? This is not even fair. 

“We have a PlayStation on our bus,” Frank revealed. “I was wondering if you’d like to play some video games with Mikey and I, for a little while?”

“Oh, sure!” you accepted his offer, trying not to sound too eager. You remembered playing a Donkey Kong bongos game with Mikey a couple years back. You’d lost pretty quickly, and he’d gone to find Zach, hoping that the drummer of the group would give him more of a challenge. You were determined to look less lame this time.  

You followed Frank to My Chemical Romance’s tour bus. He opened the door for you, and you followed him in. Mikey sat on the couch, holding a game controller. 

“Hey, Mikey,” Frank greeted. “You remember Y/N, right? From Paramore?” 

“Oh, hi, Y/N,” Mikey smiled. “Long time, no see, man!” 

“No kidding,” you laughed. “How have you been, dude?” 

“Pretty good,” Mikey replied. “The new record’s doing pretty well.” 

This was perhaps the understatement of the year. The Black Parade had sold more copies in its first week, than Three Cheers For Sweet Revenge, had sold in two years. You weren’t sure if your own band would ever have that level of success. 

“I bought a copy,” you confessed. “The day it came out.”

“Aw, thanks, bro, we appreciate the support,” Mikey smiled, sounding shockingly humble. 

“When’s the new Paramore record coming out?’ Frank asked. 

“June 12th,” you replied. 

“Oh, wow, so in four days,” Frank realized. 

“Yeah,” you nodded. “But, um, I didn’t help compose it.” You were just a touring member - not a full part of the band, as he was in his. 

“I’m still gonna buy it,” Frank shrugged. 

“Thanks,” you said awkwardly.

“So,” Mikey cleared his throat, “you’re gonna play Guitar Hero 2 with us, right, Y/N?” 

“He just finished playing half an hour of guitar onstage,” Frank laughed. “You think he wants to play more?”

“I don’t mind sharpening my skills some more,” you shrugged. 

“Whoa, you’re dedicated,” Mikey said, impressed. 

Nah, you thought. I just wanna prove that Josh is wrong about my playing being shitty. 

“Here,” Frank said, handing you the guitar-shaped controller. He pulled up the game menu, with the full list of songs. “We can do any track you want.” 

“You’re going to play against me, in two-player mode?” you realized. 

“Yeah,” Frank smirked. “What’s the matter? You scared of a little challenge?” 

“No way,” you smiled slyly. “I bet I can take you.” 

“Oh, wanna bet?” Frank raised an eyebrow. “Name the song. I’ll show you what I’ve got.” 

“How about this one?” you decided, making a selection on the screen. 

“Um, Y/N…..” Mikey’s eyes widened. “That’s ‘Dead’.” 

“So what?” you smirked. 

“So, that’s our song,” Mikey pointed out.

“I know what it is,” you said certainly. 

“Wait, Y/N, are you serious?” Frank stared, mouth open in shock. “Of all the songs in the game, you want to challenge me with that one? The one I fucking wrote?” 

“What’s the matter?” you asked, staring boldly into his hazel eyes. “You scared I’ll beat you at your own game?” 

“As if,” Frank snorted. “I’ll tell you what, Y/N. If you can actually play ‘Dead’, better than the guy who plays it for a living, I’ll give you one of my fuckin’ guitars.” 

“Seriously?” Mikey gaped. “You’d give one of those away?” 

“He’s not gonna win, dude,” Frank said, with an air of certainty. 

“You wanna bet?” you challenged. 

“Okay, it’s a bet,” Frank decided. 

“If I lose, you can have my guitar,” you wagered. Unlike him, you only had one. But, the tour was over, you considered. It wasn’t like you were going to need it again in the immediate future. 

“It’s a deal,” Frank nodded, extending his hand to you. You shook on it. 

“Well, this is going to be interesting,” Mikey said warily, as he handed Frank the second controller. 

“What level do you want to play on?” Frank asked. 

“Expert, of course,” you grinned. “We’re professionals.” 

“Alright,” Frank grinned. “Just don’t come crying to me when you lose.” 

“You’ll be the one crying when you have to give up your guitar, Iero,” you bantered, feeling cocky. You played Guitar Hero with Jeremy and Josh all the time, and you never lost. It always seemed to drive Josh fucking crazy. 

He hit START, and an animated guitarist in a top hat waddled onto the screen. You heard Gerard’s vocals begin the song with a scream. 

And if your heart stops beating

I'll be here wondering

Did you get what you deserve?

The ending of your life

And if you get to heaven

I'll be here waiting, babe

Did you get what you deserve?

You focused on the fret buttons on your controller. Your Rock Meter started at yellow, but the dial quickly went up to green. You didn’t miss any notes, but, of course, neither did Frank. 

And if your life won’t wait, then your heart can’t take this….

You glanced at Frank. He waggled his eyes at you suggestively. You reddened. If he was trying to throw you off your game, he was succeeding. You told yourself sternly to focus. Then, the chorus kicked in. 

Have you heard the news that you're dead?

No one ever had much nice to say

I think they never liked you anyway

Oh, take me from the hospital bed

Wouldn't it be grand? It ain't exactly what you planned

And wouldn't it be great if we were dead?

“Fuck!” you swore. You’d forgotten how fast this part was. Frank’s fingers were, of course, dancing over the “strings” with no problem. You knew you had to catch up to him. 

You noticed your Star Power meter was almost full, so you waited for just the right moment. 

Tongue-tied and, oh, so squeamish

You never fell in love

Did you get what you deserve?

The ending of your life

And if you get to heaven

I'll be here waiting, babe

Did you get what you deserve?

Just before the second chorus kicked in, you titled the neck of your guitar upwards, activating your Star Power. This meant you would get a quadruple bonus for whatever points you earned. You gave it your all on the chorus, and watched your score go up and up. 

“Whoa!” Frank gasped, seemingly thrown off. To your surprise, he missed a note. 

“Oh, man,” Mikey groaned, from his spectator spot on the couch. 

It was still a pretty close match, when you got to the bridge. But, by the time you got to the outro, Frank seemed to be sweating. As Gerard’s prerecorded voice sang his final “la-la-la”s, the outcome became certain to you. 

If life ain’t just a joke, then, why am I dead?

Oh, dead!

PLAYER ONE WINS!, read the screen, in bright, flashing letters. You realized, panting, that you were player one. 

“I….I did it?” you gasped. 

“Holy shit,” Frank gasped, dropping his controller in shock. “He actually won.” 

He sank down onto the couch, like he couldn’t believe it. 

“Are you….mad?” you frowned, wondering if you should have talked less trash. 

“No, that was amazing!” Frank praised you. “I wasn’t expecting that at all.” 

Despite your bravado, you hadn’t really been expecting to win, either. Whatever confidence you’d lost when Josh critiqued you, had been regained tenfold. Mikey gave you a slow clap. 

“Well, a bet’s a bet,” Frank said finally, standing up, and walking to the other end of the bus. 

“Where are you going?” you blinked. 

“Getting this for you,” Frank smiled, handing you a gorgeous, white Epiphone guitar.

“Frank, you don’t have to….” you gasped. 

“No, I’m a man of my word,” Frank insisted. “I’ll even help you carry it back to your bus.” 

“You serious?” you asked, incredulous. 

“Hey, man, you earned it,” Frank shrugged. He put the guitar in its case, and then put the case on his back. “Let’s go.” 

“Thanks for hanging out with us, Y/N,” Mikey waved. “That showdown was pretty fun to watch.” 

“See ya, Mikey,” you waved back. “Thanks for having me.” 

You still couldn’t believe this had happened. They seemed so much cooler than you.

Frank was quiet at first, as you walked back to the Paramore bus. You felt awkward, unsure what to say to him. 

“So,” he asked, “do you think that your bandmates are gonna be impressed, when they see the guitar you won?” 

“I’m sure Hayley will,” you replied. “Josh….maybe not.”

“Why not?” Frank asked. “He’s the lead guitarist of your band. Wouldn’t that make him more impressed?”

“I don’t know,” you sighed. “I feel like he’s never impressed with anything I do.” 

“What’s his beef with you?” Frank asked, looking annoyed on your behalf. 

“I’m not sure,” you confessed. “Maybe it’s because he’s super Christian.”

“And you’re…..not Christian?” Frank guessed. 

“And I’m gay,” you confessed. 

“.....Oh.” Frank stopped in his tracks for a minute, seemingly taken aback by this. 

Your face went red. Fuck. Maybe you shouldn’t have said that out loud. 

“Do you, umm…..do you mind that?” you asked nervously. 

“Pfft,” Frank scoffed. “Dude. You think I ‘mind’ gay guys? Have you missed the part, where I’ve spent half this tour, making out with Gerard, in front of thousands of people?” 

“Are you and Gerard…..together?” you asked uncertainly. 

“Oh, no,” Frank shook his head quickly. “I’m totally single.” 

Your heart began to beat more quickly, as you noticed he said I’m single - not I’m straight. Were you reading him wrong? You wondered if you had the balls to make a move. 

This is the last night of the tour, you told yourself. If I don’t say something right now, I won’t get another chance. 

“Frank….”, you said, taking a deep breath, and telling yourself to man up. “I, um, I think you’re really cute.” 

“Really?” Frank said, stepping closer to you. You felt the hot metal door of the bus against your back. “Y/N, I think you’re pretty cute, too.” 

“Y-you do?” you breathed, your cheeks going hot as he leaned in. Was this real life? Or had the June heat made you start hallucinating?

“I do,” Frank smirked. “How about you give me my guitar back, and I give you a kiss instead?”

“Sounds like we have a deal,” you purred, and grabbed him by the collar, pulling him into a kiss hotter than the summer sun. He responded, eagerly, pressing you harder up against the door as his tongue found its way into your mouth. You moaned….

But, just then, you were launched violently forward, as the door swung open behind you. You and Frank hit the ground, as Josh came storming out of the bus. 

“You guys are disgusting!” he growled. 

“Dude, what’s your problem?!” Frank demanded, getting up, and brushing the dirt off his pants. He gave you his hand, and helped you up out of the grass. 

“My problem is the display of perversion, that you two are putting on, in front of God and everybody!” Josh cried. “Do you have to do that in front of my bus?!” 

“You think we’re perverts?” you gasped, shocked and hurt by his words. 

“All gay men are perverts,” Josh sneered. “What kind of image are you setting for the band? A lot of our fans are Christian. They won’t buy our new record, if they see you behaving like this, Y/N!” 

“Not every Christian is a homophobic piece of shit like you,” Frank snapped, putting himself between you and the irate guitarist. 

“What did you just call me, you nancy boy?!” Josh hissed, and threw a punch in Frank’s direction. 

Frank caught the punch in his hand. “I called you a piece of shit!” he repeated, before throwing a punch of his own. Unlike Josh’s, it connected, sending your homophobic bandmate down into the dirt. 

“You’re gonna pay for that, Iero!” Josh yelled, wiping the blood from his nose. He tried to get up, but never made it off the ground, as Frank kicked him in the ribs. 

“Frank, stop!” you cried. “That’s enough!” 

“No, it’s not!” Frank said angrily. “You said it yourself, right, Y/N? This guy has been being a dick to you all summer, just because of your sexuality! That’s bullshit!” 

He aimed another kick in Josh’s direction. You were surprised, how defensive Frank had become of you, despite knowing you for such a short time. 

“What the hell is going on here?!” cried a familiar voice. You turned, and saw Zach approaching the bus, with Hayley close behind him. 

“Hal and I leave for two seconds to go get snacks, and some asshole starts beating up my brother?!” Zach gasped. 

“Josh, oh my god, are you okay?” Hayley gasped, running over to check out her boyfriend’s nosebleed. 

“He’s not an asshole,” you explained. “Guys, this is Frank, from My Chemical Romance.” 

“I don’t care what band he’s from,” Zach said angrily. “Why is he kicking Josh?”  

“Because Josh called me a pervert,” you explained. 

“A pervert?” Hayley repeated. “Why would he say something like that?” 

“I said it, because this freak had his tongue down Y/N’s throat!” Josh explained. 

“Wait, what?” Hayley blinked. 

“We, um, yeah, we were kissing,” you admitted, embarrassed. 

“You, um…..you like to kiss guys?” Zach asked awkwardly. 

“Um, yeah,” you said, feeling uncomfortable. You had never come out to him. You knew he was a devout Christian, too, and had assumed he would hold the same views as his brother.

“That doesn’t make you a pervert,” Zach said, surprising you. 

“But, what will the fans think?!” Josh demanded. 

“Some of our fans are gay, too,” Hayley pointed out. “And there’s nothing wrong with it. I can’t believe you would call Y/N names, just for something like that.”

“Yeah, Josh, I’m really disappointed in you,” Zach frowned. You were stunned. You never expected him to take your side. 

“You don’t think that what he and Frank are doing is a sin?” Josh asked. 

“I think God loves everyone,” Zach said plainly. “And only He can judge Y/N. I’m not going to.” 

“You guys can’t be serious!” Josh gaped. 

“I’m seriously reconsidering your position in this band,” Hayley said, narrowing her eyes. “And in this relationship.” 

“What? Babe….come on,” Josh pleaded. “Y-you wouldn’t dump me, and fire me, just because of this stupid fruit…..”

“Call him a fruit one more time,” Frank snarled. “See what happens, pal.” 

“Frank, it’s okay,” you said, putting a hand on his shoulder. “I have my band on my side now, and that makes….all the difference.” 

You were touched by their support. You had stayed silent this whole time, because you didn’t think you would have it. 

“Y/N, I’m sorry that my brother treated you like this,” Zach said quietly. “I want you to know, I support you, and your boyfriend.” 

“He’s not my boyfriend,” you shook your head. “We just kissed for the first time today, and….” 

“I could be your boyfriend,” Frank said softly. “If you want me to.”

“Wait, what?” 

“Do you want me to?” Frank asked, smirking at you. 

“I….I’m supposed to be going home to Tennessee soon,” you hesitated. “And you live in New Jersey, so….”

“I’m in the most famous band in the world,” Frank said smugly. “I have a private jet that can take me wherever you are.” 

“......Oh,” you blushed. 

“So,” Frank repeated, leaning in closer again, “do you want me to be your boyfriend, Y/N?”

“....Yes,” you breathed. “Yes, I do.”

You pulled him into another kiss, not caring that the rest of your band was watching. Or how much it pissed Josh off. The tour was ending, but your once-in-a-lifetime romance was just beginning. 

#frank iero x reader #male reader #frank iero imagine #fuck Josh Farro's homophobic bitch ass #homophobia tw

[howaminotinthestrokesyet]

I Swear It’s True: Patrick Wilson

The future drummer of Weezer was born February 1, 1969 in Buffalo, New York. He would actually be raised in the city of Clarence. At the age of seven, he purchased his first record (Barry Manilow). His first concert at the age of 15 attending Van Halen did help to inspire him to become much more serious towards music. Immediately after the show, he began taking drum lessons. By his senior year at Clarence High School, he and friend Greg Czarnecki were teaching drums to younger students. He did attend college for a semester after graduation, but dropped out after one semester. “College is such bunk. Too much politics and jockeying for favor. I just couldn't do it. College is great if you want to learn, but that's not what college is about, it's about making your professor happy and getting good grades and getting into IBM. Any place that says that they're only accepting college graduates is not a place I'm very interested in being." At the age of 21, Wilson moved to Los Angeles after a bit of persuasion from his friend Patrick Finn. Shortly after the move, he joined a temporary band called Bush, but not the one fronted by Gavin Rossdale. Yet, he did meet future Weezer bass guitarist Matt Sharp while playing in the group. In early 1991, Patrick started another group with Finn called Sixty Wrong Sausages. At the same time, he played in another group called Fuzz with future Weezer lead singer and songwriter Rivers Cuomo. The drummer would later say in an interview, “By the time I had met Matt Sharp, and we were trying to figure out something to do. We had a lot of passion and interested in certain kinds of music, but we didn't know how that was going to translate into what we were going to do. So we met Rivers – 'He's got an 8-track, let's get with him' – and we convinced him to move into this apartment with us. Rivers was just starting to write songs and he asked me to play drums on a song for him. That turned into a band called Fuzz, with this girl bass player. That was pretty cool, but it had to die."

In 1991, Sharp would move north to Berkley, while Wilson and Cuomo moved to separate residences. Patrick began to play in a variety of groups including the Dum Dums and United Dirt. Around the same time, Cuomo and Wilson began what they called a 50 song project intending to write fifty songs no matter what. This project would produce tracks like "Undone—The Sweater Song," "My Name Is Jonas," "Lullaby For Wayne," and "The World Has Turned and Left Me Here." Eventually, Cuomo, Wilson, and Jason Cropper would run into Sharp once again, which led to him listening to the results of the fifty song project. He was so impressed that the guitarist moved back to Los Angeles to join the group.

In the course of his time with Weezer, Patrick Wilson not only played drums, but cowrote three tracks including "The World has Turned and Left Me Here," "Surf Wax America," "My Name is Jonas.” Patrick also had a penchant for performing crazy stunts throughout the years on skateboards, bicycles, and scooters. Many of these stunts would be recorded and can be seen on the 2004 dvd, Video Capture Device. He has also played acoustic guitar on tour most notable with the song “Photograph,” followed by the drummer leading the band into a cover of Blur’s “Song 2.” Wilson made his debut on the band’s third self-titled album with the track “Automatic.” He would go on to perform vocally on multiple b-sides for the Red Album including "Life's What You Make It" (a Talk Talk cover), a cover of "Love My Way" by The Psychedelic Furs, and Gary Numan's "Are 'Friends' Electric? During a performance in 2009, Wilson played guitar for the majority of their performance because Rivers Cuomo had expressed an interest in moving around more while on stage. The drummer also has his own band called The Special Goodness. He writes most of the music, sings lead, and plays most of the instruments in the studio. In 1995, he played drums for the Rentals on their debut release, Return of the Rentals. In the 2004 film Factory Girl, Brian Bell and Wilson recorded a cover of the Velvet Underground for the film. They were also given cameo roles in the film as John Cale and Lou Reed. In 1994, he married his wife Jennifer, who sadly passed away in 2013 from cancer. He has two sons Charlie (2004) and Ian (2008). The drummer would remarry in 2015 to his current wife Camille, which has since produced a son Cruz in 2016.

[illfoandillfie]

Hey i hope you're enjoying your time off work so far! Id like to request a roger blurb please, it's not from a prompt list but I had a thought the other day I couldn't get out of my head! So I was reading something on The Cross and the other lads in the band were like 22, and I just imagined being one of their friends and they offer to bring you into the studio for a day because youre interested to see how they record but you're a bit nervous to meet roger and when are introduced you can't get over how hot he is in the flesh and he thinks youre really cute and takes a liking to you and theres a bit of flirting and loads of chemistry 😍 honestly would love to read a whole fic on this but a blurb would great! 😁 p.s sorry this is so long! 😂

This is such a cute idea! I hope I did it justice!

~~~

You’ve known Peter for years. Watched as he’s picked up the bass as a hobby and then got seriously into it. You went with him when he went to audition for a band, waited out the front of the building they held them in and asked him how it went when he was done. The rumour was that a musician who was already quite famous was looking for people to join a new band so your first question was actually…

“Who was it?”

“Roger Taylor!”

“Who?”

“From Queen! Y’know, the drummer,”

Less exciting than you’d imagined. If it had been Freddie himself you would have been more impressed. And the guitarist (whats-his-name, tall fellow with all the hair) might have been worth a exclamation and maybe tempted you to turn back and try and catch a glimpse. But the drummer? Who cares. But the good news was that Peter was in. Rodney or whatever his name was had clearly liked what he saw and you couldn’t blame him, Peter was the best bassist you knew, best musician you knew. You were proud of Peter and happy for him.

There were a few perks to being besties with the bassist in a proper band. He gave you copies of all their albums and you got to meet the rest of the band. Well most of them. The singer, the famous one, had never been able to make it, always busy with Queen or his family. But he seemed like a top bloke from everything you heard about him and you did like his style, his voice. You’d thought you might finally get to meet him when you went and saw them play on the tour but unfortunately you’d had to back out at the last minute after catching a flu-like bug.

It wasn’t until they were working on the next album that it happened. You were hanging out at Peter’s place, his first day off since they’d finished recording, when he got a phone call. As he put it, some fucking moron had fucked up one of the tapes and they had to go in and re-record a whole fucking song. He was apologetic for ruining your day together but you waved him off. You could see him again tomorrow or the next day or whenever.

“Unless you wanted to come with me? Hopefully it won’t take more than a couple of hours and then we can go see a movie or something. And you can see how we make an album.”

“All that shit you’ve told me about it might actually make some sense,” you laughed but agreed to the plan.

Spike was the first to see you, pulling you into a hug but the rest of the band was soon saying hi too and waving as they plugged in instruments and tuned them. Peter left you to find Roger and ask what had been lost so you ambled around the studio, looking at the records that hung on the walls and all the equipment. The numerous buttons and dials and adjustable slides made you feel a little like you were in a space ship in a sci-fi movie. You were just beginning to wonder where Peter had vanished to and when they’d be getting on with it when the door behind you opened and in he walked with Roger. You smiled and waved and he said something to Roger before they came over to your corner of the room.

“So you’re Y/N? I’m sorry I haven’t been able to meet you earlier, Peter’s told me so much about you.” He reached out to shake your hand as he spoke and you were struck by how charming he was.

“He has, has he?”

“All good I promise,”

“Of course it’s all good. He knows how much dirt I have on him.”

Roger laughed as Peter rolled his eyes.

“Sorry, I’m Roger by the way.”

“Nice to finally meet you Roger,”

“I’ll try not to keep your boy too long. But please, make yourself comfortable. There’s a couch over there or you can sit and watch what they do at the desk.”

You thanked him for letting you be there and wished them luck as they turned and went through the second door into the recording space. And then you kicked yourself for saying something so stupid. No one had told you Roger was hot. That was crucial information and no one had thought to inform you. You’d heard he was funny and a great musician and all this other stuff and not once had they said he was hot! You tried to remember if you’d noticed it on any of the record sleeves but you couldn’t say you’d really paid much attention. You’d been much more focused on Peter. But now, after having met Roger, you felt like you were regressing to a giggly teenager again and had to turn around so no one would see you grinning.

After a bit of discussion half the band left the recording space, leaving the drummer to lay down his part first. Peter came over to talk to you, but your eyes were firmly stuck on Roger as he bent over one of the mixing boards.

“Y/N, did you hear me?” Peter said, tapping you on the shoulder.

“Huh?”

“Can you stop drooling over Rog for a second,”

“I’m not drooling,” you wrenched your eyes away from Roger and turned to face Peter instead.

“Might as well be,”

“What’s his deal anyway?”

“Seriously?”

“I’m curious, sue me,”

“Divorced. Kids. Twice your age,”

“Any downsides I should know about?”

“Twice your age isn’t a downside?”

“Course not. Means he’s experienced and mature,”

Peter laughed and you took the opportunity to look over at Roger again, though you quickly brought your gaze back to Peter.

“Seriously though, is there any reason I should be wary?”

“I’ve known Rog for a few years now and he’s a really great guy, if a little busy. Plus, if Spike’s stories about Queen tours are to be believed, you’re right to say he’s experienced,”

You laughed and this time when you looked back at Roger your eyes met. You smiled, the sort of flirty smile the boys in the local pub liked. He smiled back before turning to the desk again.

 For the next few hours you watched as each band member took a turn in the booth, playing their part over and over and over until everyone was satisfied with how it sounded. It was a little boring, the novelty soon wearing off, but there were things to keep you entertained. Peter talked to you while he wasn’t preoccupied, sometimes joined by one or two of the others. Occasionally they’d interrupt whatever they were saying to comment on how the person playing sounded, and Roger would make adjustments based on the feedback, or talk into the little speaker and relay the advice. Mostly you amused yourself by fantasising about Roger, watching him over the shoulder of whoever was talking to you. You caught him look at you a few more times too. It happened more frequently once Peter was in the booth and you decided you might as well make a move. Afterall, how likely was it you’d see Roger again any time soon?  

He’d said you could sit closer to the desk if you wanted so you sidled up next to him and asked him to explain what you were looking at. He beckoned you closer still, wrapped his arm around your waist as he pointed out different slides and buttons and explained what they did. There was a definite tension between you, something electric, something that made your skin tingle where his hand lay. You nodded along, asked questions. He seemed impressed by that, happily answering everything in great detail. Until he turned back to watch Peter, his hand slipping from your waist and his voice becoming much more serious. When Peter was done, you hugged him and said he sounded great.

“I saw you practically sitting on Roger’s lap just now,” he whispered, double checking Roger himself wasn’t listening in.

“I think he likes me,”

“You’re young and pretty of course he likes you,”

“You’re the worst person to talk to about this,” you laughed, “But would you care if I…”

“What, seduced him?”

“I was going to say asked him out but same diff,”

“Y/N, you’re a grown woman and I’m not your keeper,”

“Okay but you’re in a band with him, I don’t want to like, get in the way.”

“If you want to go for it then go for it.”

“Even with the age gap?”

“It clearly doesn’t bother you and lord knows I hope that when I’m 40 something I can still pull 22 year olds.”

You laughed, your mind made up.

There wasn’t much chance to put your plan in motion inside the studio. Too many people and Roger became distracted as it was his turn to record his vocals. Hearing Roger sing what was obviously a love song made your breath catch and your heart race. If you’d felt unsure about him, those doubts were gone. You found yourself standing by the desk again, not to see how they adjusted the levels but just to be closer to the glass between you and Roger. He smiled at you between verses and you desperately wanted to be the person he was singing about. As he re-sang the final verse, adjusting based on feedback from the others, you felt like you needed some air. Slipping out the door you headed down the corridor and stepped out of the building. Two vending machines were there and you dug out your purse for some change. As you were crouching down to collect the bottle you heard the door open again. It was Roger.

“I’m sorry this is taking longer than we thought,”

“Oh, it’s fine I feel like I understand what Peter does now. But maybe can make it up to me after with a coffee?”

Roger opened his mouth to respond and then paused.

“Doesn’t have to be coffee…”

“I’m flattered but I’m not sure that’s a good idea,”

“Why not? Is it because I’m younger than you?”

“No, no, that’s not it. I’m just not in the habit of taking my bandmates girls’ out on dates,”

Realisation dawned on you and you began to laugh, even more so once you saw Roger’s confused expression, “Me and Peter aren’t together. We’re just mates,”

“Really? But he talks about you a lot and Spike said-”

“Spike doesn’t know what he’s on about. Did you not wonder why I was flirting so much?

“No, I definitely wondered. But that’s, that’s good.”

“Good?”

“Well, what I mean is, you’re cute. I would have asked you out already expect that I thought…But that’s by the by, um,” he scratched the back of his head, “So you still want to get that coffee?”

#my writing #my blurbs #roger taylor x reader #roger taylor imagine #look! somehing non filthy! #scorpiogemini