#dallas bass music

[freshthoughts2020]

#twerkin #twerk music #miami bass #miami #yung miami #caresha #caresha please #diddy #puff daddy #twerkin in the rain #JHarry #dallas #toronto #texas #canada #Esch-sur-Alzette #luxemburg #Murfreesboro #charlotte #Moberly #Beaufort #asheboro #detroit #memphis #salt lake city #utah #indianapolis #naptown #fayetteville #oxnard

[ourshadowstallerthanoursoul]

Interview to JPJ

(by Steven Rosen, Guitar Player - July 1977, Chicago)

It was shared on ultimate-guitar.com by Steven Rosen himself (link). I suggest going to read the introduction because there's a bit of angry JPJ which is quite surprising (to me at least). Enjoy!

What was the impetus behind becoming a bass player?

I used to play piano when I was younger, and there was a rock and roll band forming at school when I was fourteen, but they didn't want a piano player, all they wanted was drums or bass. I thought, I can't get the drums on the bus, bass looked easy, four strings, no chords, easy so I took it up. And it was easy; it wasn't too bad at all. I took it up before guitar, which I suppose is sort of interesting. Before I got a real 4-string, my father had a ukulele banjo, a little one, and I had that strung up like a bass, but it didn't quite have the bottom that was required. Actually my father didn't want to have to sign a guarant or to back me in the payments for a bass. He said, ‘Don't bother with it; take up the tenor saxophone. In two years the bass guitar will never be heard of again.’ I said, ‘No Dad, I really want one, there's work for me.’ He said, ‘Ah, there's work?’ And I got a bass right away.

What was your first bass?

Oh, it was a pig; it had a neck like a tree trunk. It was a solid body Dallas bass guitar with a single cutaway. It sounded all right though, and it was good for me because I developed very strong fingers. I had no idea about setting instruments up then, so I just took it home from the shop. I had an amplifier with a 10 speaker... Oh, it was awful. It made all kinds of farting noises. And then I had a converted television; you know one of those big old stand-up televisions with the amp in the bottom and a speaker where the screen should be. I ended up giving myself double hernias. Bass players always had the hardest time because they always had to cope with the biggest piece of equipment. It never occurred to me when I was deciding between that and drums that I'd had to lug a bass amp.

What kind of music were you playing in that first band?

Shadows, Little Richard, Jerry Lee Lewis stuff. I started doubling on piano. We didn't have a drummer at first, because we never could find one. That happened to another bass player, Larry Graham, Sly Stone's bass player. He started off in a band with no drummer, which is how he got that percussive style. You've got a lot to make up for once the lead guitar takes a solo because there's only you left. You've got to make a lot of noise. We got a drummer after a while whom I taught, would you believe. I've never played drums in my life.

That must have definitely had an influence on your playing.

I suppose it must have. I don't like bass players that go boppity boppity bop all over the neck; you should stay around the bottom and provide the end of the group. I work very closely with the drummer; it's very important.

How long did that first band last?

Not very long. I found a band with a drummer. This band also came along with really nice looking guitars, and I thought, ‘Oh, they must be great!’ They had Burns guitars so I got myself one, too. The one with the three pickups and a Tru-Voice amplifier. We all had purple band jackets and white shoes, and I thought, ‘This is it, this is the big time.’ But as soon as I got out of school I played at American Air Force bases, which was good training, plus they always had great records in the jukebox. That was my introduction to the black music scene, when very heavy gentlemen would come up insisting on Night Train eight times an hour.

What was the first really professional band you were in?

It was with Jet Harris and Tony Meehan (bassist and drummer with The Shadows). That was when I was seventeen, I suppose. And those were the days when they used to scream all the way through the show. It was just like now, really, where you have to make a dash for the limos at the end of the night make a sort of terrible gauntlet. In the days before roadies, you'd have to drag around your own gear, so we all invested in a roadie. We thought we owed it to ourselves, and this bloke was marvelous. He did everything, he drove the wagon, he lugged the gear, he did the lights... the whole thing.

What kind of bass were you using with Harris and Meehan?

Oh, I got my first Fender then. I lusted after this Jazz bass in Lewisham, and it cost me about $250, I think. It was the new one. They'd just changed the controls, and I used that bass up until last (1975) tour, and then she had to go. She was getting unreliable and rattling a lot, and I just had to leave her home this time.

What followed your working with that band?

I got into sessions. I thought, ‘I've had enough of the road’, bought myself a dog and didn't work for six months. Then I did start up again. I played in other silly bands. I remember that Jet Harris and Tony Meehan band, John McLaughlin joined on rhythm guitar. It was the first time I'd met him and it was hilarious. Here he was sitting there all night going Dm to G to Am. That was my first introduction to jazz when he came along, because we'd all get to the gig early and have a blow. Oh, that was something, first meeting him. And then I joined a couple of other bands with him for a while, rhythm and blues bands.

Do you remember the first session that you ever did?

No, I don't think so; it was in Decca Number 2 (studio in London). I was late, and I suddenly realized how bad my reading was. There was another bass player there, a stand-up bass, and I was just there to provide the click. It was nearly my last session.

Who were some of the people you were doing sessions with?

All kinds of silly people: used to do calls with Tom Jones, Cathy Kirby, Dusty Springfield.

The Rolling Stones and Donovan, too, didn't you?

I only did one Stones session, really. I just did the strings, they already had the track down. It was ‘She's A Rainbow’. And then the first Donovan session was a shambles, it was awful. It was ‘Sunshine Superman’ and the arranger had got it all wrong, so I thought, being the opportunist that I was, ‘I can do better than that’ and actually went up to the producer. He came around and said, ‘Is there anything we can do to sort of save the session?’ And I piped up, ‘Well, look how about if I play it straight?’ because I had a part which went sort of ooowooooo (imitates a slide up the neck) every now and again, and the other bass player sort of did wooooo (imitates downwards slide) down below, and then there was some funny congas that were in and out of time. And I said, ‘How about if we just sort of play it straight; get the drummer to do this and that?’

How did the session go?

The session came off, and I was immediately hired as the arranger by Mickie Most whom I loved working with; he was a clever man. I used to do Herman's Hermits and all that. I mean they were never there; you could do a whole album in a day. And it was great fun and a lot of laughs. I did all of Lulu's stuff and all his artists. I did one Jeff Beck single, and he's never spoken to me since. It was ‘Hi Ho Silver Lining’. I did the arrangement for it and I played bass. Then we had ‘Mellow Yellow’ for Donovan, which we argued about for hours because they didn't like my arrangement at all, not at all. Mickie stood by me. He said, ‘I like the arrangement, I think it's good’. It wasn't Donovan. He didn't mind either but he had so many people around him saying, ‘Hey, this isn't you.’ But he sold a couple of a million on it, didn't he?

Was the Hurdy Gurdy Man session when you first met Jimmy Page?

No. I'd met Jimmy on sessions before. It was always Big Jim and little Jim. Big Jim Sullivan and little Jim and myself and the drummer. Apart from group sessions where he'd play solos and stuff like that, Page always ended up on rhythm guitar because he couldn't read too well. He could read chord symbols and stuff, but he'd have to do anything they'd ask when he walked into a session. But I used to see a lot of him just sitting there with an acoustic guitar sort of raking out chords. I always thought the bass player's life was much more interesting in those days, because nobody knew how to write for bass, so they used to say, ‘We'll give you the chord sheet and get on with it.’ So even on the worst sessions you could have a little runaround. But that was good; I would have hated to have sat there on acoustic guitar.

How long did you do sessions?

Three or four years, on and off. Then I thought I was going to get into arranging because it seemed that sessions and running about was much too silly. I started running about and arranging about forty or fifty things a month. I ended up just putting a blank piece of score paper in front of me and just sitting there and staring at it. Then I joined Led Zeppelin, I suppose, after my missus said to me, ‘Will you stop moping around the house; why don't you join a band or something?’ And I said, ‘There are no bands I want to join, what are you talking about?’ And she said, ‘Well, look, I think it was in Disc, Jimmy Page is forming a group’, he'd just left the Yardbirds ‘why don't you give him a ring?’ So I rang him up and said, ‘Jim, how you doing? Have you got a group yet?’ He said, ‘I haven't got anybody yet.’ And I said, ‘Well, if you want a bass player, give me a ring.’ And he said, ‘All right, I'm going up to see this singer Terry Reid told me about, and he might know a drummer as well. I'll call you when I've seen what they're like.’ He went up there, saw Robert Plant, and said, ‘This guy is really something.’ We started under the name the New Yardbirds because nobody would book us under anything else. We rehearsed an act, an album, and a tour in about three weeks, and it took off. The first time, we all met in this little room just to see if we could even stand each other. It was wall-to-wall amplifiers and terrible, all old. Robert (Plant) had heard I was a session man, and he was wondering what was going to turn up some old bloke with a pipe? So Jimmy said, ‘We're all here, what are we going to play?’ And I said, ‘I don't know, what do you know?’ And Jimmy said, ‘Do you know a number called, The Train Kept A Rollin'?’ I told him, ‘No.’ And he said, ‘It's easy, just G to A.’ he counted it out, and the room just exploded, and we said, ‘Right. We're on, this is it, this is going to work!’ And we just sort of built it up from there. ‘Dazed And Confused’ came in because Jimmy knew that, but I could never get the sequence right for years; it kept changing all the time with different parts, and I was never used to that. I used to having the music there, could never remember. In fact, I'm still the worst in the band remembering anything. And the group jokes about it, ‘Jonesy always gets the titles wrong and the sequences wrong.’ Even now I have a piece of paper I stuck on top of the Mellotron which says: ‘Kashmir remember the coda!’

What were some of your early amplifiers?

I've used everything from a lousy made-up job, to a great huge top valve (tube) amp. We started off in a deal with Rickenbacker where we had these awful Rickenbacker amps; they were so bad. Our first tour was a shambles. For about a year I never even heard the bass. They said, ‘We've designed this speaker cabinet for you’, and I said, ‘Let me see it, what's it got in it?’ It had one 30 speaker! I said, ‘All right, stand it up there alongside whatever else I've got, and I'll use it.’ I plugged it in, and in a matter of five seconds it blew up. I thought the bloke was having me on; I said, ‘There's no such thing as a 30 speaker!’ And I had to take the back off because I couldn't believe it. Then we met the guy from Univox, and he came up with a bass stack, which unfortunately didn't last the night. But while it was going, it was the most unbelievable sound I've ever heard. It was at the Nassau Coliseum in New York, I remember, and the bass filled the hall. It was so big, it couldn't have lasted. I don't think I'll come across anything that sounded like that. But as I said, three numbers and wheel the Acoustics out again. I used two or three 360 standard Acoustics for quite a long time. They served me well.

You used the Jazz bass until just recently?

Yeah. Oh, I got a hold of a very nice Gibson violin bass (pictured in the little cut out wheel on the cover of Led Zeppelin III). That was nice, too, it's not stage worthy, but it gives a beautiful warm sound. I don't like Gibson basses generally because they feel all rubbery; I like something you can get your teeth into. But the violin bass was the only Gibson that was as heavy as a Fender to play, but still had that fine Gibson sound. I used it on Led Zeppelin III, and I've used it every now and again, usually when I'm tracking a bass after I've done keyboards for the main track. The one I have went through Little Richard's band and then through James Brown's band, and it arrived in England. In fact, I saw it in an old movie clip of Little Richard. It was probably about a '48 or '50 or something like that; it was the original one. Actually, I've also got an old '52 Telecaster bass. I used that on stage for a while, for ‘Black Dog’ and things like that.

Do you ever use a pick when you play?

Yes, when the situation demands it; on the 8-string it's awful messy with your fingers. On ‘The Song Remains The Same’ I use a pick to get that snap out of the instrument. It's fun, you play different. If I was just playing straight bass, I'd use fingers. When I first started I always used my fingers.

How has playing with Jimmy Page for the last nine years styled your playing?

That's hard. I play a lot looser than I used to. For instance somebody like John Entwistle is more of a lead instrument man than I am. I tend to work closer with Bonzo I think. But then again I don't play that much bass on-stage anymore, what with the pianos and the Mellotron. I'll always say I'm a bass player, though.

How do you develop a bass part?

You put in what's correct and what's necessary. I always did like a good tune in the bass. For example, listen to’ What Is And What Should Never Be’ (on Led Zeppelin II). The role of a bassist is hard to define. You can't play chords so you have a harmonic role; picking and timing notes. You'll suggest a melodic or harmonic pattern, but I seem to be changing anyway toward more of a lead style. The Alembic bass is doing it; I play differently on it. But I try to never forget my role as a bass player: to play the bass and not mess around too much up at the top all the time. You've got to have somebody down there, and that's the most important thing. The numbers must sound right, they must work right, they must be balanced.

You just picked a track from the second album, but there was something so gloriously unique about the first Zep record.

I know what people mean when they say the first Zeppelin album was the best. It was the first. I don't know what it was; we could never recreate those conditions it was recorded in. It was done in about thirty hours, recorded and mastered. There was a lot of energy in those days. But I liked (Physical Graffiti). I liked most of them actually. The funny thing was about the first album, when we got to about the third album (Led Zeppelin III) and started using acoustics everyone was saying, ‘Ahhh, Led Zeppelin has gone acoustic. They've changed their style.’ What everybody forgets is there were two acoustic numbers on the first album. Right? ‘Babe I'm Gonna Leave You’ and ‘Black Mountain Side’. The funny thing is people try to pigeon-hole you with all that heavy metal stuff. And if they ever listened to the fucking albums they'd realize it was never riff after riff after riff. It never was like that, you know? Peculiar... oh, well.

Do you practice?

In a word, no. I fool around on piano, but bass I never practice. Although again, with the Alembic, I'm beginning to feel, ‘Wouldn't it be nice to have it in the room?’ It really makes you want to play more, which is fantastic.

The band has always had a strange relationship with the press.

There is an amount of professionalism which must be retained. You can't go around canceling gigs and things like that. After Robert's accident there were rumors of, ‘Oh, they're afraid to come out’ and this and that which was really hard on us because we've always tried to be as professional as possible. And we take a pride in this. We've tried to turn up on time but it gets hard moving this amount of people. And that sort of thing hurts. Robert was in a wheelchair and we had to wait until he was healed. And then we were all ready to go and he got tonsillitis on this '77 tour. And he must have felt so bad. I tell you if this band ever drops from favor with the public, a load of people are going to come down on our asses so fucking hard. They're just waiting for us to drop. I don't know why, I honestly don't know. I always remember the first review of our first album in Rolling Stone and the bloke dismissed it out of hand. I don't even think he would listen to it and said as much. Then they dismissed us as hype.

Who do you listen to?

I don't. I used to listen to a lot of jazz bass players once, but jazz has changed so much now, it's hardly recognizable. I listened to a lot of tenor sax players: Sonny Rollins, John Coltrane and all those people. Bass players? Scott La Faro, who died. He used to be with (jazz pianist) Paul Chambers. Ray Brown and Charlie Mingus, of course. I'm not too keen on the lead bass style of some players. Paul McCartney, I've always respected; he puts the notes in the right place at the right time. He knows what he's about.

Who don't you listen to?

Ian [Anderson] is a pain in the ass. We toured with Jethro Dull [sic] once and I think he probably spoke three words to Jimmy or I at any one time. The band was nice but he was such a funny fucker. His music bores the pants off me, it's awful. Page came up with the greatest line about them. He had a title for a live album when Jethro was playing in Los Angeles: ‘Bore 'Em at The Forum’. (Ritchie) Blackmore is another guy I don't like. He was supposed to have been a big session man but he must have done demos because he was never a regular session man. I'm getting out all my pet hates.

There's nothing you'd like to do outside of Zeppelin in an instrumental context?

I always get the feeling I'd like to write a symphony. I like all music. I like classical music a lot. Ravel, Bach, of course, Mozart I could never stand, though to play it on the piano is great fun. If Bach had ever come across the bass guitar, he would have loved it. Rock and roll is the only music left where you can improvise. I don't really know what's happened to jazz; it has really disappointed me. I guess they started playing rock and roll.

So you're able to continually experiment in Zeppelin and expand your playing?

Yes, absolutely. I wouldn't be without Zeppelin for the world. What's it like being in Led Zeppelin? I don't know. It is a peculiar feeling; it intrigues me.

#john paul jones #jonesy #led zeppelin #robert plant #planty #jimmy page #pagey #john bonham #bonzo #60s #70s #70s rock #70s music #rock music #ourshadowstallerthanoursoul

[websitewizard2005]

A guide to my OCs!

hey guys, figured i’d make this post because i have a shit ton of OCs that i post a lot of and i haven’t really explained most of them. they’re all part of different stories/universes, so i’ll be listing them based off of that.

Rex Sucks at Bass

Rex Sucks at Bass, or RSAB, is my webcomic. as of making this post, i’ve posted the entire first chapter! i’ve been planning this comic since late 2021 and i’m holding myself accountable to finish it no matter what. it’s a supernatural/coming of age story that takes place in 2009 about young adult named Rex who has to deal with relationship issues, worries about his future, sexuality crises, and of course, the impending apocalypse. also all the characters are anthro animals but that’s mostly because they’re easier to draw than people. some prominent characters from RSAB are Rex Xavier, Frederick Zhansky, Henri Bal, Sylvia Rose, Alex “Cowboy” Lorenzo, Lola Ramon, Scott “Spott” Simmons, and Marvin Xavier.

We’re Just Young

We’re Just Young is a fake sitcom about teenagers making bad decisions and friendship. it has a bunch of storylines i’ve planned out, but i mostly just draw the characters out of context. its main character is Gilbert Quarters, who is a gay bass player just like every single other character i’ve ever created. its main story takes place in 1997-98, during the characters senior year of high school. there’s also a “spin-off” to We’re Just Young, which follows Gilbert and a few others in college as they form a band called The Halloween Goats and gain some mainstream success as both musicians and ghost hunters. some prominent characters in We’re Just Young are Gilbert Quarters, Gerry Dawson, Marzy Lee, and Jackson Jefferson. some more prominent characters in the spin-off are Raymond Emerson, Wallace Waxman, Leo Hall, Jimmy Nickel, and Sebastian Ingalz.

Untitled Space Story

when i was 13 i read The Hitchhikers Guide to the Galaxy and thought “I need to write my own sci-fi story” and then this past summer i got really into Star Wars and ELO and decided to revamp the whole thing. Untitled Space Story follows the adventures of a small crew assembled by infamous space pilot Sonya Blasmo, who is essentially the butch lesbian version of a cross between Zaphod Beeblebrox and Han Solo. she was “retired” because she accidentally turned her wife into a robot but nobody knows that! all they know is that she’s taking to the skies again! the other characters in Untitled Space Story are Alexis “AL3X15” Goldberg, Mindinoma Lycentine, Mariella Young, Sheldon Spinelli, and Casper “Capers” McFarlin.

Max Dallas is Not a Lesbian

a really shitty, simple love triangle story about lesbians at some sort of shitty boarding school in the mid-2000s. the only three characters are Maxine “Max” Dallas, Phoebe Jean Weathers, and Francesca “Frankie” Knight. i created this one like a week ago.

Friends of Daisy Harrisson

Friends of Daisy Harrisson is a musical i wrote, and i don’t draw the characters too often, but i figured i’d still put it on this list. it’s got a really vague story, essentially Daisy goes missing and her wife (Freyja Windsnap), ex-husband (Jim Hartley), and childhood best friend (Barneston Williams) are all brought together through her disappearance.

i have a few other miscellaneous OCs that i draw on occasion, but those are all the main ones! thanks for bearing with me on this long post. if you’re curious about these guys/their stories, feel free to check out their tags! i’ve posted a lot of other character/story info outside of this post. also feel free to send me asks about them like please send me asks about my OCs that is my dream.

fun fact: Rex Sucks at Bass, We’re Just Young, Friends of Daisy Harrisson, and Max Dallas is Not a Lesbian all take place in the same town! mostly because i do not want to create another town. the only reason Untitled Space Story does not take place in that town is because it takes place in space.

#long post #my ocs #rex sucks at bass #we’re just young #untitled space story #friends of daisy harrisson #making this post made me realize i have so much art of my ocs that i never posted #i need to stop creating universes #max dallas is not a lesbian

[rhapsodynew]

There are many stories in the world of rock music when the children of musicians continue the family tradition and become stage stars.

The new band BASTARDANE, which includes a drummer Castor Hetfield, son of METALLICA frontman James Hetfield

Bastardane is a wild mix of sludge metal, thrash metal, progressive and melodic rock. It consists of Jake Dallas (vocals and bass), Ethan Sirotsky (guitar) and Castor Hetfield (drums).

Slipknot

The cult metal band Slipknot featured 33-year-old drummer Jay Weinberg, the son of the famous Max Weinberg, who stood at the origins of the legendary E Street Band and worked with Bruce Springsteen. Weinberg Jr. was part of Slipknot from 2014 to 2023.

Suspect208

London Hudson, 21, the son of Guns N’ Roses guitarist Slash, is the drummer of the Los Angeles band Classless Act, as well as the founder of the band Suspect208.

"208 is my studio number, and it was here that Noah [Weiland] and I started composing music together. It was our refuge, where we could spend days and nights, composing, playing, sleeping. This was our secret place. And all the shit that's going on out there, it's very suspicious," London shared. And the word "suspect" just translates as "suspicious".

SWMRS

Joey Armstrong, the drummer of SWMRS, is the son of Green Day frontman Billy Joe Armstrong. The resemblance is striking!

As Lions

As Lions frontman Austin Dickinson is the son of the famous Bruce Dickinson from Iron Maiden. Austin noted that the main task of As Lions is to create "the coolest and heaviest hard rock they are capable of."

Inhaler

Elijah Hewson, vocalist and guitarist of Inhaler, is the son of U2 frontman Paul Hewson, better known as Bono. Hewson's parents hold the position that Elijah must achieve everything on his own. They don't help their son more than they need to: even when his hotel reservation was canceled during the band's first tour, his parents told him to sleep "on a park bench." Interestingly, the band's name, which translates as "inhaler", was given to the band because of Hewson's asthma.

The Wallflowers

54-year–old Jacob Dylan, the frontman of The Wallflowers, is the son of iconic singer and songwriter Bob Dylan. The Wallflowers became famous in 1996 after the release of the album "Bringing Down the Horse", which won two Grammy Awards, and the songs "One Spotlight" and "6th Avenue Heartache" became hits.

Motel 7

The Motel 7 line–up includes Anton Khabbaz and Dylan Jagger Lee, the son of Mötley Crüe drummer Tommy Lee and Pamela Anderson. The guys don't get hung up on any particular musical genre and experiment with different styles, combining them: from modern alt-pop and shades of hip-hop to the light sound of indie/alt-rock of the 2000s.

Taipei Houston

Taipei Houston is a new band featuring two sons of Metallica founder Lars Ulrich, Miles and Lane, who play drums and bass guitar respectively. After Lars heard them perform the classic Beatles' Eleanor Rigby, he said he was proud of his sons. In his opinion, none of the covers of this song were filled with such energy and madness of garage rock.

#Castor Hetfield #bastardane #james hetfield #sludge metal #thrash metal #progressive rock #melodic rock #slipknot #jay weinberg #max weinberg #Suspect208 #Slash #scott weiland #robert trujillo #my music #music #music story #history music #spotify #musica #music love #rock #rock music #my spotify #rock photography #star children #Youtube

[amiharana]

and even more revalink hcs from this post part 6

previous hc part 5 x i'm too lazy to tag the other ones, just go through this one 😭 i haven't done one of these in a bit so i'm doing this for funsies 😹

who's the primary protector of the two?

hard to say, since they're both warriors with protective instincts, and link had to have learned some survival skills & instincts in botw

neither of them ever rest really, constantly on their guard because they're not letting anyone get the slip on them

i imagine that maybe they bicker over who gets to protect the other, always insisting that they'll be the one to save the other 😹

who sleeps in and who is the early bird?

i think we should know by now where i stand on this 😹

i am the self-proclaimed #1 sleepy link x coddler revali enthusiast. you know damn well i am tucking that blond twunk into a soft comfy bed (the bed being revali)

who is the least patient?

hard to pin down as a generalization, because it's circumstantial between the two of them imo

like we all know link would stare into a campfire all night just to be able to hunt the best game at the exact crack of dawn

but revali is very thoughtful and methodical to me. i just reviewed his diary and the cb memory, and it's clear that his dedication to the craft warrants a lot of strategy, perseverance, and patience. he can be incredibly patient for the things that matter most to him

(i also really like the idea that revali would be very patient with fledglings 🥺 gordon ramsey type beat)

that being said, both revali and link will have a breakdown trying to assemble a single chair from ikea. they insist that the furniture is cursed but zelda assembles it in less than five minutes

which of the two listens to old music and which one is more into the newer stuff?

to me, revali seems like he would enjoy classical music, and classic pop & rock in general. anything before the 2000's, revali can get into

projecting a portion of my own music taste onto revali, he fucks with songs like 'stitches and burns' by fra lippo lippi, 'i melt with you' by modern english, and 'true' by spandau ballet. i will not be taking any criticism at this time 🙏

meanwhile link's playlist is jumping from 'good lookin'' dixon dallas to 'planet of the bass' to 'ETA' newjeans. and he finds all of it unironically genius

who's the first one to quit a new hobby because they're not great at it on the first try?

my instinct was to say revali, but the thing is, revali holds a great insecurity in wanting to be the best, and it's difficult to do that when you're dating Mr. Link Master-At-Everything-He-Tries over here

so if he's not automatically good at it but link is, you better bet your entire ass that revali is learning that shit out of spite to be better or at least just as good at it as link is

bitches can't even have like a couple hobby, everything turns into a competition if it's revali and link ✋😭

who holds a grudge the longest?

revali of course

a while ago, i made a post about how i hc'd revali to be a capricorn sun virgo rising, and i kinda still stand by that. he'll take anything to be a personal slight against him, will block you on everything, and talk shit about you to anyone. petty ahh mf

link just doesn't seem like the type to hold grudges, he's kinda goldfish brain. he'll forget he was even mad at you 15 minutes later

who secretly knows all the lyrics to the other's favorite songs but refuses to expose themselves?

revali actually 🥺

link soaks up melodies and lyrics like a sponge, so he has no problem picking any one of revali's playlists and knowing every single song on there, he will sing his heart out to each song on that damned playlist

revali is a bit of a music snob and isn't always the biggest fan of link's taste in music (as per #4 in this list LOL)

but he tries really hard to memorize link's favorites even if he fucking hates the song, which results in revali practicing korean just to be able to sing fucking 'gangnam style' psy with link 😭

who's more likely to cry about a plant dying?

link hands down. this guy gets overly attached to inanimate objects fr

bro is the type to bump into the corner of a table and be like "oops, sorry mr. table, didn't mean to hit you"

zelda once sent link a bouquet of flowers she had grown herself, and link put them in a nice little vase, made sure they got sunlight and water every day, and gave each flower names

when one of the flowers started wilting, link was about to have a whole breakdown

revali comes home to link trying to perform surgery on a flower, like why it got a whole iv drip bag now???

which of the two is the most outspoken? which of the two is quick to speak and which one is quick to listen?

these were actually two separate questions but i decided to mix them, bc i think it's pretty clear who's who

revali is more outspoken and quick to speak, he's confidently opinionated and will mansplain to you unfortunately. he's not afraid to tell you what he thinks, because he thinks he's always right. very much the type to tell you he's just being brutally honest as an excuse to a dick skjdhfkdj

link is soft-spoken, reserved, and a listener, he'll let you take the lead on the conversation or listen you out completely before saying anything.

as such, revali is the one berating the cashier for putting pickles on link's burger when he said he didn't want any 😹

and honestly? link just likes hearing revali's voice, so he's content with letting revali talk his head off as long as they get to cuddle or hold hands.

#revalink #loz #botw #loz botw #legend of zelda #amihan's revalinkverse #amihan's headcanons #q #been a while since i did one of these #kind of just trying to get myself back into writing silly things and not taking myself so seriously #i've been having an unhealthy relationship with creation recently 😽 #revali being so soft and patient and considerate with kids is very important to me #never chastises them or raises his voice 🥺 #meanwhile he's verbally abusing link to hell and back KJHDFKSKHFJ #link on some jungkook shit i'm certain that he just excels at everything he tries #like he's real wacky goofy unserious but he's very clever and quick when picking up new skills actually #revali the type to overthink the nuance and underlying meaning of everything that's been said n wonder if link even loves him #and link will just be like hehe. revali will love this random thingymabob #jungkookifying link by making him sing to his flowers bc he thinks it helps them grow faster <3

[my-chaos-radio]

Release: October 21, 2016

Lyrics:

If you get to hear me now

I know you'll get stronger

When you get older

Just don't shrug your shoulders

When you get older

Things aren't easy

So just you believe me now

If you don't keep it cool now

You'll never make a sound

If you get to hear me now

All the lights will guide the way

If you get to hear me now

All the fears will fade away

If you get to hear me now

If you get to hear me now

Leave excuses aside

Speak out your mind

Don't let in slide

You're not always right

Things aren't easy

So just you believe me now

Don't learn the hard way

Songwriter:

Just let me show you how

All the lights will guide the way

If you get to hear me now

All the fears will fade away

If you get to hear me now

If you get to hear me now

If you get to hear me now

If you get to hear me now

If you get to hear me now

If you get to hear me now

If you get to hear me now

Bruno Dalla Martha Martini / Marcos Zeeba / Alok Achkar Peres Petrillo

SongFacts:

"Hear Me Now" is a song recorded by Brazilian DJs Alok and Bruno Martini, featuring Brazilian-American recording artist Zeeba. The song was released on October 21, 2016 via Spinnin' Records.

Noiseprn described the song's genre as "Brazilian bass".

An official music video for the song was released on YouTube by Alok and Spinnin' Records. Directed and written by Caio Amantini and Rapha Pampiona. It shows a grown man visiting his parents' house, where he and his father relive their memories together. I dream that he was sleeping during the taxi ride on the way to his parents' house. He rushed to hug his father.

#new #new music #my chaos radio #Alok #Bruno Martini #Hear me now #music #spotify #youtube #music video #youtube video #good music #hit of the day #video of the day #2010s #2010s music #2010s video #2010s charts #2016 #pop #dance pop #electronic #house #tropical house #indie pop #dance electronic #deep house #lyrics #songfacts #1068

[dirtylowdown2]

Texas And Pacific Blues · Frenchy's String Band 

from Texas Black Country Dance Music (1927-1935)

Frenchie's String Band, which included Frenchie on cornet, backed by a banjo and bass, were from Texas and recorded just two songs in the April of 1928 in Dallas for Colombia Records. Here's "Texas & Pacific Blues", a wonderful little tune that'll get your toes tapping, named after a train line.

#youtube

[the-lone-writer94]

5 Minutes Alone

Rex Brown x Female Reader

Summary: You get to meet and interview your favourite band, but can you resist the quiet and sexy bass player?

Age rating: 18+

Word count: 1,933

P.S. I personally don't think this is my best work *ugh* I wrote this rather fast, and it is a shorter story compared to what I normally write. But anyway, I still enjoyed writing this

21st July 1990 

The thick layer of humidity hung in the air and the warmth grasped onto my body and clutching it in its claws. The air con in my shitty car was busted, and I could feel the sweat dripping down from the back of my neck. Flipping my hair aside, with one hand gripped on the steering wheel, I used my other to fan myself hoping it’ll cool me down. 

Another typical night in Dallas. 

Only, tonight was a huge night, after all, I was doing my first piece for Rip magazine. Right before I left the shitty motel the magazine had stuck me in. I had downed a couple of shots of tequila hoping to calm my nerves when I interviewed the band. 

Pantera had certainly made its mark on the music industry, and I was determined to do them justice by writing a piece that was able to capture the essence of the band. 

Glancing down at the map that was placed on the passenger seat beside me, I continued down onto Route 75. My gaze scanned the road ahead of me, dusk had slowly descended down upon us and a layer of twilight painted across the sky. I paused at the intersection, as I awaited for the traffic lights to flash. My thumb thumped against the steering wheel, and I chewed down on my lower lip. The anticipation was slowly consuming me. 

Once the traffic lights changed, I immediately stepped down onto the gas pedal. Taking a left turn, I continued straight ahead before the club came into view. 

Pulling up by the corner of The Basement, I switched off the ignition, with both my hands on the steering wheel I exhaled. 

You can do this.

I thought to myself. 

It’s just an interview, just stick to your notes and you’ll be fine. 

With a sigh, I pushed open the door and stepped out of my car, and seized my messenger bag. Sliding it onto my shoulder. 

As I descended down into the Basement, a thick layer of smoke clouded above me. A cluster of people had already formed. The lights were dimmed low, with neon red gleaming from the stage area. The sound of heavy riffs and drumbeats emerged from the speakers but the sound was drained out by the overlapping sounds of chatter that echoed through the club. 

I snaked my way through the crowd, as I drew nearer towards the entrance just adjacent to the stage. Before me stood a seven foot tall guy, he had a muscular figure and a shaved head with a tattoo of a snake on the side. His face remained expressionless as he guarded the door like a soldier. 

I swallowed the lump in my throat as our gazes locked, which he looked as if he was ready to grab me and throw me out of the club. 

My hand immediately fumbled in my messenger bag as I drew out my badge and flashed it in front of his face. 

“I’m with Rip magazine, and I’m here to do an interview with the band.” I yelled over the voices. 

He snatched the badge from my hand and drew it closer towards his face. “Can I see some ID?” He asked in a monotone voice. 

“Sure.” I responded, then took out my wallet and passed my driver’s license to him. 

Once again, he took it in his hand as he raised the card towards my face, then simply nodded and handed me my badge and license. He stepped aside and gestured to the door leading towards backstage. 

With each step I took, I could feel my heartbeat pacing. I gripped down onto the strap of my messenger bag, as the stench of sweat, whiskey and cigarettes seeped into my nose. 

Before me were an array of shirtless guys, I immediately averted my gaze as if somehow feeling as if I had walked into the forbidden locker room. 

Just then, I felt my body collide into something. Struck by fear, I flinched and stared up. Abruptly, I was deep in awe and desire. The man before me was beautiful, with his long brunette locks that almost reached down to his waist. His bare chest with dark hair running down below to underneath his waistband. 

Lost for words, I stood there completely motionless. 

“Hi.” He said, his voice was low and soft. 

It took me several moments to recollect my thoughts, as I shook my head. “Hi. I’m so sorry,” I responded, as I muttered my name to him, then added, “I’m with Rip magazine. I’m here to interview you guys.” 

“Oh cool, I’m Rex.” He said. 

“I know.” I answered and smiled. 

He smiled back at me. 

After that, I was formally introduced to each and every member of the band. We sat on a beat up leather couch, cracks had formed all over and resembled snake skin. I shifted in my position as I drew out my notebook and set the recorder down onto the coffee table that was in front of it. 

During the course of the interview, my gaze constantly drifted over to Rex, who was sitting at the far end. Multiple occasions our gazes had found each other and locked, I had hoped to hear his sweet voice seep into my ears once again, however he was overshadowed by his other bandmates. To which, I was not entirely surprised, after all, it was a common trait of the front man to take more of a lead. 

“Well, that seems to be it. Thank you.” I said, as I closed my notebook, shoving it back into my bag, along with the voice recorder. 

“Great, stay for the show?” Phil asked me. 

“Sure,” I said., barely able to contain my excitement. 

“Well, then you gotta have one of these to keep you going.” Vinnie said, as he spun around and raised a pitcher, pouring it into a red plastic cup. Which he then handed to me. 

Hesitantly, I took it and sniffed it. I flinched, and the sound of a chuckle emerged. “Oh god, what is that?” 

“It’s the band’s special,” he explained, then added, “it’s a bit of everything. Whiskey, vodka, rum.” He said, then in one swift motion poured the cup into his lips and gulped it all down. He crushed the red cup with his bare hand, the liquid running down the corners of his mouth, as he laughed maniacally. 

I took a few gulps of it, immediately feeling the rush of poison coursing through my veins. “Woah.” 

“Welcome to the Pantera show!” Phil exclaimed.

The contents of the liquid certainly had an effect over me. A sense of euphoria and lightheadedness waved over me. Being able to witness the show had truly been a dream come true, and nothing like I had ever imagined. 

But, during the course of the show, I couldn’t help but lustfully gaze at Rex. The way his body moved to the rhythm of the music. How he held the bass with such dominance, the way his elegant long hair flipped backwards and forth. The sweat covered every inch of his body. I found myself constantly chewing down on my lower lip, and a tingling sensation down below.   

Once the show had ended, I slipped away backstage as I packed away my things. If I were to make it back to the motel and immediately start writing my piece whilst my body still possessed the events of tonight, perhaps I would be able to capture every part of it. 

I knelt down in front of my messenger bag as I did another thorough check of the contents inside my bag. In the far distance, I heard the thunderous roar of the crowd, chanting for Pantera. 

Completely lost in thought, I had somehow missed the thumping of footsteps approaching me, followed by the sound of someone clearing their throat. 

“I hope you’re not leaving so soon.” The voice said seductively. 

Caught off guard, I spun around, trying my hardest not to drop my mouth wide open. Rex stood covered in sweat, he wiped his forehead with the back of his hand. “Oh, I figured I’d try to write the article.” 

“There’s an after party now, you should stay.” He said. 

My cheeks flushed. The temptation possessed my body, and I swallowed the lump in my throat. “Hmm-” 

Rex stepped forward closing the gap between us. “I didn’t mean to be cold earlier during the interview. It’s just,” he said and then paused. His eyes averted from me, “I don’t really like interviews.” 

“No, that’s fine. I didn’t take any offense to it. I’m just happy I was able to cover the show.” I responded. 

He smiled. “Well, I hope you enjoyed it.” 

“Definitely.” 

“Do you want a drink?” 

I shook my head. “Oh god no,” I protested, raising my hands in the air, “that drink Vinnie gave me almost put me into a coma.” 

I found myself drawing closer towards Rex, my eyes fixated upon his lips and then his bare chest. He towered over me, and I could feel my heartbeat quicken. 

Perhaps it was the mixture of the alcohol and my dark desires that possessed me to do such a thing. 

The moment I stepped forward, to my surprise, Rex embraced me. His hand gently wrapped around my waist as he pulled me in closer, before his lips descended down onto mine. He kissed me slowly and gently at first, before the passion consumed both of us, as he deepened the kiss, taking me hungrily. 

I wrapped my arms around his neck as I pressed my body against his, not giving a shit that his sweat had now matted onto my skin. My lips parted and Rex slipped his tongue. 

My fingers found its way nestled into Rex’s hair as I tugged at his beautiful locks. He moaned, as he pressed his lower body into mine, feeling the bulge in his pants. Our tongues continued to dance against each other’s, as he guided me towards the coach. 

Laying on my back, Rex hovered above me, his hair dangling down and tickled my face. He smirked, as he pushed his hair back. “Sorry.” He laughed. 

“I like it.” 

He lowered his head down, as he continued to kiss me. His fingers then traced up against my collarbone, then down my shoulders and caressing the side of my breast as he then cupped it into his hand. 

“I want to go down on you.” He said breathlessly, feeling his hot breath against my skin. 

“Oh god.” I moaned. 

Slowly, he lowered his head down against my legs. His fingers slipped into my waistband as he pulled down my denim shorts, revealing my pink lace underwear. He smirked, as he slowly removed my panties, before he shoved them into his pocket. 

It was at that moment that I realized the door was unlocked, and anyone could walk in here and witness us in our entanglement. Somehow, the forbidden act had triggered the arousal in me. 

Rex gently placed his hands onto my thighs as he spread my legs apart, then he lowered himself down, placing his mouth down onto me. 

I moaned as his tongue continued to massage me. My legs closed in, gently pressing down onto the sides of his head. My hands found its way in his hair, as my fingers curled around a fistful of his hair as I grabbed it and tugged onto it. 

He continued to eat me out, as I moaned. “Rex.” I cried out his name breathlessly. 

#fanfic #rex brown fanfic #pantera fanfic #rex brown x female reader #rock music fanfic

[daggerzine]

Laetitia Sadier- Rooting For Love (Drag City)

The album begins with “Who + What,” an eerie, moody keyboard-driven melody that builds with layers and layers of instruments and vocals. “I need to I want to I have to; Need to expand, want to expand; Embrace my Goddess; Escape the fortress; The walls are falling down, cultures are communing; Muses are converging; On the verge.” Track 2, ”Proteiformunite,” is the first of many French songs on this album. This time the bass gets the spotlight. Laetitia’s soft vocals take the listener away to another world. And then the band kicks in with a full-out jam! Next up, “Une Autre Attente," is another French track. Eerie keyboards and robotic piano are highlighted here, but the beautiful vocals truly add to this one. Check out the video:

Track 4, “The Dash,” is a soft, gentle, jazzy number complete with “Ba dee dup, Ba dee dup” Bossa Nova vocals. “Through the center; The discreet shine of your darkness; Eyes of children the heart of another; Things we fear are false; A current life; The place inside; Into the night slowly; Swells vitality.” Next, “Don’t Forget You’re Mine” has a stripped-down beginning, but eventually the music soars and swells with beats and strings. “Hey, don't scream with rage it’s vain. I’m not impressed, just exasperated again. A good slap is what you need; a good slap is what you want; take that take that, get up get up babe.” Track 6, “Panser L’inacceptable,” is another beauty of a song. It has a tropical feel to it. Love the horns here. Here’s the video:

Track 7, “The Inner Smile,” is possibly my favorite track with shifting flutes and a major jam near the end. It’s the most upbeat song on the album. “Smile at all parts of your being. Smile at the parts you’re aware of and those you’re not. Smile, smile and thank your whole body.” Next up, “La Nageuse Nue,” is a French-titled song with English lyrics this time. Laetitia gets deep with her poetry. “The dissolution beliefs; The singular world; Volunteers the ego. Social body, For a cleansing and healing, Experience. Which may turn the personality inside and out; Discloses the gold hidden within the heart.” Track 9,“ New Moon,” develops into a hypnotic blast of ambient sound. It actually came out way back in 2021. It’s one of those songs you just don’t want to end. A beautiful video directed by Laetitia and Tanya Small captures the song here:

   The album closes with “Cloud 6,” a repetitive outer space choral vocal exercise complete with blasting horns. “You have a power I haven't got. I have a power you don’t have. We need all the power we can get. Our psyches, well-being, brutalised, The world renounces its liberty because it is in fear. Because it is in fear, because it is in fear.” More deep thoughts from Laetitia as we would expect. Another great one from Stereolab’s Laetitia Sadier from start to finish.  Make sure to check the tour schedule beginning in March to see if she’ll be hitting your part of the world. ERIC EGGLESON

Sat. March 2- San Francisco CA @ The Chapel

Mon. March 4- Portland OR @ Polaris Hall

Tue. March 5- Seattle WA @ Barboza

Wed. March 6- Vancouver BC @ Fox Cabaret

Fri. March 8- Salt Lake City UT @ Kilby Court

Sat. March 9- Denver CO @ Lost Lake

Mon. March 11- Minneapolis MN @ Turf Club

Tue. March 12- Chicago IL @ Empty Bottle

Wed. March 13- Detroit MI @ Third Man

Fri. March 15- Toronto ON @ Garrison

Sat. March 16- Montreal QC @ Bar Le Ritz

Wed. March 20- Brooklyn NY @ National Sawdust

Thu. March 21- Boston MA @ Arts at the Armory

Fri. March 22- Philadelphia PA @ Johnny Brenda's

Sat. March 23- Washington DC @ Songbyrd

Mon. March 25- Atlanta GA @ EARL

Tue. March 26- Nashville TN @ Blue Room

Thu. March 28- Houston TX @ White Oak Music Hall Upstairs

Fri. March 29- Dallas TX @ Club Dada

Sat. March 30- Austin TX @ Parish

Tue. April 2- Phoenix AZ @ Rebel Lounge

Wed. April 3- Pioneertown CA @ Pappy & Harriets

Thu. April 4- Los Angeles CA @ Zebulon

Fri. April 5- Big Sur CA @ Fernwood Tavern

https://www.dragcity.com/products/rooting-for-love

(Photo credit: Marie Merlet)

#Youtube #Bandcamp

[putrefyingflames]

Okay so I haven’t been able to find this anywhere, I wanna make a record of everything that’s been painted on the bass drum at every show. I’m starting with North America and the ones I can easily find. If you can reblog and add any that are missing (or any that haven't happened yet as of first posting), that would be a big help! And any photos. I’ll make a separate post for Europe research and then a master post when I have them all!

EDIT: There's a tweet thread for all of these that can be found here and includes digital line art of every drum! thank you to @thatkindagirl for letting me know! There's also a list and lineart for all the Europe stops here.

Aug 20, Oklahoma City OK - BIG DEATH ENERGY

Aug 21, San Antonio TX - LIVE LAUGH LAUNCH

Aug 23, Nashville TN - I BET IT WAS YOU

Aug 24, Cincinnati OH - SMILE WITH YOUR EYES

Aug 26, Raleigh NC - FREE BUGS

Aug 27, Elmont NY - GET IN THE CHAIR

Aug 29, Philadelphia PA - BLOOM

Aug 30, Albany NY - MANHUNT

Sept 1, Uncasville CT - HOST ORGANISM

Sept 2, Montreal QC - I ONLY HAVE EYES FOR YOU

Sept 4, Toronto ON - BACK IN THE CAGE

Sept 5, Toronto ON - SURE (painted over back in the cage from the previous night)

Sept 7, Boston MA - "SPOOKY"

Sept 8, Boston MA - BEARS ON THE 405

Sept 10, Brooklyn NY - HAPPY BIRTHDAY YOU BEAUTIFUL MAN (mikey's birthday)

Sept 11, Brooklyn NY - DON'T EVER CHANGE

Sept 13, Detroit MI - SICK

Sept 15, St Paul MN - SOUNDS FUN, I'M IN

Sept 16, Riot Fest, Chicago IL - DESTROY

Sept 18, Alpharetta GA - YOU GOT THE JOB

Sept 20, Newark NJ - OFF LEASH

Sept 21, Newark NJ - THE HOUSE ALWAYS WINS

Sept 23, Firefly Fest, Dover DE - no writing, a printed out picture of a bouquet of pink flowers (roses? carnations?) was taped to it

Sept 24, Sunrise FL - WHERE ARE YOU?

Sept 27, Houston TX - FEELING GOOD

Sept 28, Dallas TX - HAIL

Sept 30, Denver CO - SWAN VARIATION

Oct 2, Portland OR - ATHENA

Oct 3, Tacoma WA - I WANNA WATCH YOU TURN INTO A WEREWOLF

Oct 5, Oakland CA - smiley face with a bullet hole in the forehead, like the comedian's bloody smiley face pin from Watchmen

Oct 7, Las Vegas NV - MY WHOLE HEART

Oct 8, Aftershock Fets, Sacramento CA - CHOKE ME

Oct 11, Inglewood CA - |

Oct 12, Inglewood CA - ||

Oct 14, Inglewood CA - a photo of Doug, a member of their team who died unexpectedly, wearing something fuzzy? Kinda looks like a fozzie bear costume lol, sitting at a music mixing station

Oct 15, Inglewood CA - ||||

Oct 17, Inglewood CA - ||||

(American style tally marks for 5)

Oct 22, WWWY, Las Vegas NV - cancelled for inclement weather

Oct 23, WWWY, Las Vegas NV - NOTHIN BUT THE BEST

Oct 29, WWWY, Las Vegas NV - KNIVES FOR DAYS

Nov 18, Corona Capital Fest, Mexico City - MUY FEVGO

(I’m editing the pinned version of this post every day with what I’ve found and new drums)

{in an act of preservation as twitter collapses, I have saved all the drum images and line art from the North America thread, in case it’s lost}

#my chemical romance #return era #mcr reunion #when we were young #gerard way #ray toro #frank iero #mikey way #mcr 2022 #mcr tour 2022 #meta

[ttexed]

Tim Buckey - I Can't See You 

Happy Birthday to Timothy Charles Buckley III, born on February 14, 1947. "I Can't See You" is the first song off his first album from 1966. From this album sleeve, he may look like just some random folksinger. The latest in a never-ending line of folkies at the time. But from the first crashing notes it becomes evident that no, this isn't your average 1960s folkie. Yes, it's semi-electric folk, but there's also jazz, punk, & avant-garde  elements here, in a tenor singing (his high school friend) Larry Beckett's  beautiful poetic lyrics. And as he did for the rest of his life, Tim Buckley broke the rules. Leading off this, his very first Elektra Records release with not the most commercial radio-friendly tune of the collection, but the least. Here is a youtube of “I Can’t See You” here: https://youtu.be/xDeE7TtoF1Q

I first heard Buckley at 13 years old, early in 1968, when my local Dallas "underground rock" station KNUS, the first of it's kind in Big D on the FM side of the dial that played at least one album cut from almost every new LP release of the time, & practically none of the Top 40, that dominated AM radio back then. It was where I first heard The Velvet Underground, The Jeff Beck Group, The Red Crayola, Elmer Gantry's Velvet Opera, Condello, The Ill Wind, & on & on. I'd save up my lunch money allowance all week, & on the weekend head over to Preston Record Center & pick out an album by the coverart & what I'd heard on KNUS radio. One week they were playing Tim Buckley's long epic, "Goodbye & Hello", the title song from his more psychedelic second album. So that was what I picked out to purchase with my hard-hoarded cash & was introduced to the varied music of Tim. For some reason I never went back to this first album until much later in the 1970s. Maybe it was that folksinger cover. After the obviously drug-induced cover photos of "Happy Sad" & the likes, that first album coverart never struck my fancy until I later realized just how brilliant & different Tim Buckley was. But once I finally did investigate further, Wow!

But on to my own musical career. When I was finally putting together my last & possibly final musical project in 2017, my damaged hearing required a lower volume, different approach that started out as just a trio with my pals Eric Hisaw & Dan Hoekstra on guitars, & turned into a combo simply called The T. Tex Edwards Group, when we later added JJ Barrera on bass & Shawn Peters on drums. It had started out as a songwriting project with Hisaw. After years of mainly playing covers of semi-obscure 60s Brit & off-kilter C&W nuggets, I wanted to see if I could still write some meaningful songs like I had years ago with Mike Haskins in The Nervebreakers & Click Mort in The Loafin' Hyenas. I had started writing things down during a month-long rehab torture at Austin Recovery, & upon my release, contacted Eric about possibly getting together & putting some music to my scribblings. We cranked out a few songs & added a Tim Harden tune, a Bob Dylan song, along with some reworkings of some of my earlier Nervebreakers & Loafin' Hyenas originals. Plus this song from Tim Buckley, that I absolutely fell in love with upon my first listening all those years ago. When we later recorded our batch of originals, this song, (along with Gary Stewart's "Single Again"), were the only two cover songs that we recorded at those sessions. Hopefully sometime soon, those recordings will see the light of day...

#youtube #tim buckley #t. tex edwards #KNUS_FM

[starscelly]

i’m the question asking anon from earlier and istg literally every time you share something about this au i just become more invested! i will read anything you post about them why do these boys have my heart

robo’s rebellion moment made me chuckle, it’s also so sweet that his mom helped familiarize him with the guitar!

i still don’t know what questions to ask so ig this is like another ‘ today i want to talk about [ insert thing here]’ (heck, it can be another 5 of those, however many you need/want)

i guess a question is how did roope find robo and otter? what made them realize that they fit/work together in that way?

the boys also have my heart and every single inch of space in my brain so i get it !!!! thank u again for ur like. investment and giving me space to blab abt them fudfkskldsfl i appreciate it sm <3 <3

i had to marinate and think a Lot on how robo, jake, and roope all meet bc obviously coming from 3 different places there has to be an element of chance but also. i dont wanna go completely batshit lmao. here's an Attempt at explaining my thoughts!!:

otter still goes to college but instead of bu. bc he's not pursuing hockey. he ends up going to ut austin (its a good communications school and he actually has a communications degree like. real life)

he doesnt rlly Love school but he’s figuring out what he wants in life and his parents wanted him to go. so.

robo and him meet at some random ass show in texas, where robo only is bc his family drove over in the rv for a Different show

they dont immediately run off together and play music lol but they do keep in contact via text and calls for a few months, rlly Bond and become super close

robo comes through texas with his family again eventually but theyre not performing in austin this time, just dallas. so jake goes out there to see them

they've kind of vaguely been talking abt forming their own band at this point but obviously there's the distance that both of them are kind of. scared to close on a whim for smthn that might not work. and also they want to get someone who can consistently do lead vocals and play bass etc

anyways. they have a couple free days so they go to random house shows and smaller venues around dallas

roope is in the area bc at this time he's playing in the NAHL but heavily considering dropping hockey for music (he Actually played for bismarck and for like 2 games but. for the au ive decided he played longer for the lone star brahmas lol) and is basically just trying to find out what he's heading for, what he Wants

they see roope performing with a band that is like. Not His but just kind of a random assortment of his friends in the scene fucking around having fun (the house show is at one of his friend's places)

and roope is not. a great singer. he's not professionally trained and amazing. but he has a really fucking unique and cool voice (they will later find out this is bc of his accent and aversion to having a clear throat) so theyre like. heavily heavily intrigued bc they think it could make for a sick sound . in their band. what a coincidence!!

robo. looking like the most average dude ever. walks up to him after like hey ... we saw u from across the punk house and rlly dig ur vibe. and otter is kind of mortified but also is like ^^ play music with us please just to see ^^

roope is in an . emotionally difficult time in his life trying to decide if he wants to take a leap and leave all he's ever known his entire life. so obviously he jumps at the first chance and is like. Fuck It let's do it

obviously there's more logistics - roope finishes out his season before fully committing to the band, robo has to have this whole discussion with his family and have this emotional ass move to dallas, otter doesnt drop out completely but does have to explain to his family that his band is going to be his first priority at some point and starts taking only online classes etc - but thats how those three kind of. Meet and Click

theyre also still having bassist woes and thats when roope calls miro etc but. this isnt abt him rn for once

its a weird mix of a lot of Right Place Right Time scenarios, but how else do two americans who have no reason to ever meet end up with two finns who have little reason to be in america in the first place!!

i also think at first there's not really. Issues necessarily. but it takes a while for otter and robo, who are both super friendly open people, to kind of figure out roope's whole thing so they can finally click. which he's not Unfriendly per se but also he's not going out of his way to make conversation. but once they figure out oh he doesnt hate us and he's not even like one of those mean snappy punks he's just. european.. it's all relatively smooth sailing from there lol . it also helps when miro finally arrives and is both much friendlier at face value and also has roope being overly affectionate and up his ass 24/7 (which eventually bleeds over into his interactions with the other two)

#ik it doesnt Quite work with their actual ages bc of juniors age limits etc but. let us stretch our imaginations . #un-oldmanifying roope by a year or two for plot purposes #the process of them fully committing to the band is a very long drawn out exhausting process that we dont need to talk abt. amen #thank u for forcing me to think out the logistics of smthn i kept putting off LOL genuinely made me Think which is why this took so long #flying stars band au #ask

[betweenthenotesblog]

My Favorite Music of 2022

I did a much better job of connecting with new music releases this year. So much so that I can identify my top albums of the year. That doesn’t happen every year. I won’t rank these since they are so different from each other. Instead, here they are in order of release date with a little bit of added commentary as to why each rose to the top for me.

Tim Kasher - Middling Age (4/15/22)

This is the Cursive front man’s submission to middle age. Made of mostly beautiful acoustic songs of self-reflection and about growing older, this is a touching album by one of my favorite niche alt-rock legends. As someone facing his mid-50s this album really speaks to me. But come on Tim Kasher, you’re only 48 years young! 

The Smile - A Light for Attracting Attention (5/13/22)

I was a bit skeptical when I heard that Thom Yorke and Jonny Greenwood were going to release an album under a new band name called The Smile. This showed more evidence that maybe Radiohead are done as a band and the thought of that makes me sad. 

That all changed after just a couple of listens. What a fantastic album with unimaginable hooks and progressions. If you enjoyed any of Radiohead’s sounds, you need to give this a proper listen. Seeing The Smile live in Dallas with my son Jonathan in early December only adds to my appreciation of this new musical direction for two of my favorite individual artists. 

Kevin Morby - This is a Photograph (5/13/22)

This appears to be Kevin Morby exercising some demons in Memphis, Tennessee where This is a Photograph was recorded. Songs about childhood memories and our collective mortalities echo throughout. Many with a side of strings and horns. It all fits so well. Kudos to the kid from Blue Valley, KS. 

Flume - Palaces (5/13/22)

“Future Bass.” That’s how Spotify and others label Flume’s sound genre. That makes sense to me because this album sounds like the year 2040. My son Jonathan gingerly walked me into modern EDM a few years ago when he was in college. I’m glad he did because it has opened my ears to a whole different world of music I would have never discovered otherwise. 

Fred Again - Actual Life 3 (10/28/22)

I found this EDM album late in 2022. Fred Again is a 29 year old singer/producer from London. He gained worldwide popularity after a video of his show at the famed Boiler Room in London went viral in July receiving over 5 million views in just one week. My son introduced this album to me in November while listening to music at our place. I try to fight the notion that you shouldn’t be into certain types of music at an older age by being open to new artists and genres. Jonathan has helped me to find new artists like Fred Again and that is a gift.

#KevinMorby #TheSmile #Flume #FredAgain #TimKasher

[fuckedprophet-arch]

Music thrums around them, deep bass seeping from huge speakers. " no -- no i didn't say you couldn't win, i just said are you sure you wanna do this? " the question is vaulted over the music playing, bright blue eyes light up with mirth as he looks to sabrina. There had been a long line of those who'd arm wrestled him and while many walked away tails tucked, seeing sabrina present herself as the next up only made dallas laugh. He wasn't mocking, but more so impressed -- every one before hand had been trying to prove something. " i'm game if you are, but if i win you've got to buy me a meal -- and if you win.. what are you terms? "

@ripsabrina liked for a snippet thing!

#//. threads #//. connections #//. sabrina spellman #YOU MENTIONED IT I RAN WITH IT! HI #wreck him brina

[rumble-aint-a-rumble-without-me]

I loaf forehead kithes

My first job! But i hope im free to go on adventures with Corvie when the wind calls our name. And when im off on breaks, I can break out my bass (or a banjo) and start playing music to draw in customers. Two-bit is amazing. I'd probably fall head over heels for him if he told me jokes. He'd probably come up with the funniest lyrics while im providing music outside/inside the saloon. Darry's the cutest. But he's a tired old man, and he'd come to the middle-est seat (probably right in front of the taps) just to talk to you. You know how people say that bartenders are people you can talk to? Yeah, thats you for Darry. He'd tell you how tough it is to keep the boys in line. Oh my gosh. Someone has definately tried to turn Dallas in, but our sheriff is an old man who cant see well. So, all Dally would have to do his mess up his hair and stick a pillow under his shirt (or put on a mustache) and our poor sheriff wouldn't recognize him. The person trying to turn in Dal would either A) Get arrested for a false report or B) Get arrested for trying to prove that Dallas is Dallas by ripping off the mustache, or taking out the pillow. The charges would be - Ripping off a good ol' mustache, assault, and wasting the sheriffs time. The person would be huffin and puffin and screamin somethin along the lines of 'How blind are you? why cant you see thats the man in the poster?' to which the sheriff gives another charge of 'insulting the sheriff'. (Can we pretty please call the sheriff Rango. Please. ) (me too, i love writing these things.)

Of course, of course, you’re free to go wherever whenever! All I require from you is a helping hand behind the bar and a little entertainment if you’re willing to play for us every so often <3

Literally that’s my issue- if any of the boys looked at me twice or actually talked to me, I’d fall in love with them so fast and be so sad when they finally leave town, it’d be so terrible-

HE WOULD JUDGE MY DRINK MAKING ABILITIES I KNOW IT. BUT WE WOULD LAUGH AND EVERYTHING WOULD BE WELL IN LIFE.

I vote yes for Rango! That’s such a specific situation and I hope you know just how much I adore it. Poor Dallas, assaulted in my saloon-

#dillo’s replies #insanityexistsalone

[jazzanews]

Oregon - Yet To Be - 1975 Ralph Towner - guitar, piano Collin Walcott - percussion, sitar Paul McCandless - reeds Glen Moore - bass  Oregon is an American jazz and world music group, formed in 1970 by Ralph Towner, Paul McCandless, Glen Moore, and Collin Walcott Towner and Moore had been friends and occasional collaborators since meeting in 1960 as students at the University of Oregon. By 1969, both were working musicians living in New York; while collaborating with folksinger Tim Hardin they were introduced to world music pioneer Paul Winter's "Consort" ensemble, particularly member Collin Walcott, with whom Towner began improvising as an informal duo. By 1970 Towner and Moore had joined the Winter Consort and met fellow member McCandless; the four began exploring improvisation on their own, while their contributions continued to be seminal in redefining the Winter Consort "#sound" in compositions like Towner's "#Icarus". The four musicians made their first group recording in 1970, but the label, Increase Records, went out of business before it could be released (it eventually was issued by Vanguard in 1980 as Our First Record). Oregon made its "formal" debut in New York City in 1971 (originally named "Thyme — Music of Another Present Era", the name change to Oregon was suggested by McCandless). The group's first release Music of Another Present Era was issued on Vanguard in 1972 (the four also recorded for ECM, though the recording, 1973's Trios Solos, was billed as "Ralph Towner with Glen Moore"). With those initial recordings and the follow-ups Distant Hills (1973) and Winter Light (1974) (all on Vanguard), Oregon established itself as one of the leading improvisational groups of its day, blending Indian and Western classical music with jazz, folk, space music and avant-garde elements.The group released numerous albums on Vanguard throughout the 1970s, also making three records for Elektra/Asylum between 1978 and 1980 (including the highly acclaimed Out of the Woods and a live recording taken from performances at #CarnegieHall and in Canada in late 1979). After a couple years' hiatus devoted to individual projects (including the birth of Walcott's daughter in 1980), the group reassembled, recording for ECM, releasing the eponymous Oregon in 1983 and Crossing in 1984. Before the latter's release, however, during a 1984 tour Walcott was killed in an automobile accident in the former East Germany. Oregon temporarily disbanded, but regrouped in May 1985 at a memorial concert for Walcott in #NewYorkCity, with Indian percussionist Trilok Gurtu sitting in (Walcott's own choice for his replacement should it become necessary). In 1986, Gurtu was invited to join Oregon; the band resumed touring and released three albums, #Ecotopia, 45th Parallel and Always, Never and Forever, during his five years as a member. After Trilok Gurtu's departure, the group continued as a trio, issuing two #albums during that period. The 1997 album Northwest Passage marked a return to the inclusion of percussion, featuring either drummer Mark Walker or Turkish Armenian percussionist Arto Tunçboyacıyan on most tracks; subsequently, Walker was taken on as a full member. In 1999, the ensemble traveled to Moscow, Russia, to record with the Tchaikovsky Symphony Orchestra of Moscow Radio, premiering orchestral compositions that had been in development for years, some dating back to their first days with the Winter Consort; that project's 2000 release, Oregon in Moscow, garnered four #GrammyAward nominations. 2002 saw the release of #Live at Yoshi's, recorded in San Francisco, the first live Oregon recording in two decades. In March 2015, it was announced that Glen Moore was departing from the group, with bassist Paolino Dalla Porta replacing him. As of 2019, Oregon has no further plans to exist as a touring ensemble. #RalphTowner #guitar #piano #CollinWalcott #sitar #PaulMcCandless #GlenMoore #jazzlegend #jazzfest #jazzmusic #oregon #worldmusic

#youtube #jazz video #ecm jazz #world jazz