#mellon collie era

[yoshinobuiha]

1997.

#james iha #smashing pumpkins #the smashing pumpkins #billy corgan #darcy wretzky #mellon collie era #1997

[devotioncomplex]

tagged by @trials-era-sam to list 10 of my favourite albums of all time and tag 10 people to list theirs. thank youuu MWAH <3 <3 <3 oh man, okay, so in no particular order:

boxer by the national

ok computer by radiohead

the fragile by nine inch nails

mellon collie and the infinite sadness by the smashing pumpkins

mar de noms by a perfect circle

this is a long drive for someone with nothing to think about by modest mouse

sustenance by new order

unknown pleasures by joy division

a broken frame by depeche mode (insane discography)

in the flat field by bauhaus

honorable mentions: blue lines by massive attack, dummy by portishead, & silent hill 2 ost by akira yamaoka (no i'm serious)

i tag @saltbind, @andimhome, @bloodyfinalgirl, @dogboymorty, & @replicated + anyone who wants to but isnt tagged :) i'm not tagging 10 people 😵💫

#🎲 #this was...Hard

[sadphoriac]

1995, Mellon Collie era.

#the smashing pumpkins #90s #alternative rock #grunge #billy corgan #james iha #d'arcy wretzky #jimmy chamberlin #alternative #indie rock #indie band #90s alt rock

[mywifeleftme]

196: Earth // The Bees Made Honey in the Lion's Skull

The Bees Made Honey in the Lion's Skull Earth 2008, Southern Lord (Bandcamp)

The most money I’ve ever spent on a vinyl record is on the stupid fucking quadruple LP Mellon Collie and the Infinite Sadness boxed set, but that was only because I allegedly scuffed the first track on the first side of LP1 of my friend’s copy while putting it away at a party, so I had to buy him a replacement and got his old dinged one—but I’ll write about that another time. The most money I’ve ever spent on a vinyl record I wanted was on Earth’s The Bees Made Honey in the Lion’s Skull, and specifically on one of the editions bound in faux Bible leather that Southern Lord reissues from time to time. From the first time I heard the record back in 2008, from the first time I read the title really, Bees has held a strange fascination for me. Despite being a broke college kid, I ordered a Bees Made Honey hoodie using my first credit card and hemmed and hawed over whether to snag the leather record, though I didn’t even know how to use a turntable. I didn’t end up actually scoring a copy till more than a decade later, by which time I’d already pretty well carved the thing’s grooves so deep in my brain I didn’t need to listen anymore to hear its contents.

The inner sleeve.

Still, there’s the pleasure of handling it, opening up the gatefold and reading the hoary language in elaborately-filigreed gold text:

“from strength sweetness from darkness light the bees made honey in the lion’s skull”

A1. Omens and Portents 1: The Driver A2: Rise to Glory B3: Miami Morning Coming Down II (Shine) B4. Engine of Ruin C5: Omens and Portents II: Carrion Crow C6: Hung from the Moon D7: The Bees Made Honey in the Lion’s Skull D8: Junkyard Priest

I grew up just religious enough to really fear God and love His language, especially as filtered through all the fantastical art that’s borrowed the diction of the King James Version to command a sense of gravitas. It’s a tone of voice that still compels me, and it’s the perfect dressing for this era of Earth’s looming, desertified music. Starting with 2005’s comeback Hex; or Printing in the Infernal Method, Earth has been working on a form of Western-inspired instrumental post-rock that looks to the Bible and fire-and-brimstone writers like Cormac McCarthy for words to match the weathered lurch of Dylan Carlson’s lithic guitar. Bees continues this direction, and it’s broadly considered the best of the band’s later efforts: something elemental captured in the songs; extra pristine production; sterling contributions from Steve Moore on a variety of pianos and organs, plus famed jazz guitarist Bill Frisell; and above all the languid pulse of drummer Adrienne Davies, the sheer weight of her pauses (best exemplified on the title track).

When Davies joined the band in 2002, she became the long-term musical partner Carlson had never really had, and her playing has become as distinctive a signature of Earth’s sound as his. In the exhaustive 2023 documentary Even Hell Has Its Heroes, her interview is the most enlightening from a musical perspective. An amateur when she began casually jamming with Carlson, she soon found that all of the drumming instructors and guides she consulted emphasized focusing on how to refine the angles of her playing, minimizing the time and effort required to play a beat. But for Davies, playing in a band whose rhythm swells and resides like the breathing of a massive steer, this advice ran counter: her arms wave in slow, swooping arcs, drawing out the tempo in the air before falling into the drums, letting gravity provide the consequential force.

Despite the band’s mugshot stares and stupendous volume, that signal phrase holds: “from strength sweetness / from darkness light.” There’s no violence in this songs, only some obdurate quality of endurance; no aggression, only flickers of the transcendent among the amps. That’s the notion embedded in its title, a nourishing work transpiring within sinister ruins.

196/365

#earth #halloweek #drone #drone metal #post-rock #ambient americana #dylan carlson #southern lord #'00s music #minimalism #music review #vinyl record #seattle music #adrienne davies

[ourladyofomega]

Smashing Pumkins’ The Aeroplane Fries High, a box-set of all singles from the Mellon Collie & The Infinite Sadness era.

#Smashing Pumpkins #Billy Corgan #D'arcy #James Iha #Jimmy Chamberlain #alternative #rock #Chicago #omega #our lady omega

[mitzo]

I'm sorry but mellon collie era billy corgan could get it

[sugaredge]

Sounds Like Teen Spirit, Frances Bean Cobain Has Great Music Taste

Written by Al Newstead on Jul 04, 2013

Being the child of a famous musician isn’t necessarily easy, particularly when said musician happens to be arguably the most important and influential figure of the grunge era, but if there’s one thing that’s almost guaranteed for muso offspring it’s that they’ll be brought up surrounded by good tunes.

Frances Bean Cobain, the daughter of Kurt and Courtney, may have only been a bub when her father was tragically removed from her life, but it seems that she’s inherited some of the Nirvana frontman’s alternative musical tastes.

The Huffington Post has put together a short playlist of Frances Bean Cobain’s favourite songs, building a playlist for music streaming service Rdio based on shout-outs and posts from the young Cobain’s Twitter account pulled from amongst her tweets about schlock movie icon Elvira and her public spats with other celebrity offspring (like labelling Kardashian kid Kendal Jenner a “fucking idiot”).

She might only be celebrating her 21st birthday this August, but the collection demonstrates that Cobain’s musical favourites certainly gravitate around the same era that Nirvana first came to infamy. The playlist, cheekily titled ‘Here We Are now, Entertain Us’, kicks off with alt-rock bizarros Butthole Surfers and their unlikely yet awesome 1996 hit ‘Pepper’, and takes in fellow 90s mainstays like the hazy dream pop of Mazzy Star and the deathless Pixies – a well-known favourite of her father’s. It seems that she’s inherited some of the Nirvana frontman’s alternative musical tastes…

Aussie music also gets pride of place with the inclusion of Nick Cave & The Bad Seeds’ PJ Harvey-featuring murder ballad ‘Henry Lee’, as well as a stone cold East Coast rap classic in ‘Hypnotize’ by Biggie. There’s also a hard-to-ignore allusion to Kurt in her mixtape with the inclusion of Jeff Buckley, another prodigious talent who was taken away well before his time was due.

Rounding out the list is Scottish shoegazers The Jesus & Mary Chain, with ‘Sometimes Always’ (featuring a duet with Hope Sandoval of Mazzy Star – must be a fan) and Finnish rockers Bloodpit’s cover of early Placebo single ‘Nancy Boy’ (nice one, Frances)!

The 90s fixation doesn’t stop at the playlist though, going over Cobain’s Twitter also reveals posts on Bikini Kill (“Nastolgia”), Veruca Salt (“so fuckin gritty”), Spacemen 3 (“one of the greatest bands”), and even Smashing Pumpkins (“becoming re-obsessed w/ Mellon Collie and the Infinite Sadness“).

Considering the young Ms Cobain was only 2 years of age when Kurt died, we may have to (slightly begrudgingly) give due credit to Courtney Love for her great taste in music, or as the 20-year-old girl puts it herself:

I'd like to thank my parents for providing me with a high IQ & I'd like to thank my grams for encouraging me not to be a self absorbed idiot

— Frances Bean Cobain (@alka_seltzer666) May 22, 2013

source

#frances bean cobain #frances cobain #fbc #frances bean #alka_seltzer666 #thespacewitch #spacewitch666 #2013 #article #tweets #twitter

[mp3-librarian]

1979 ⇾ The Smashing Pumpkins

This song was elusive to me for a number of years. I had heard it on the radio dozens of times, but never managed to catch the title or artist. It also resided on an unlabeled secondhand CD that someone had burned their playlist into, which I had received in a box of CDs that my mom picked up because someone was giving it away for free. I eventually uncovered the title years later, when I happened to stumble across The Smashing Pumpkins and decided to listen to Mellon Collie and the Infinite Sadness. Lo and behold, this song was among the track list. I think 1979 captures a nostalgic youth, full of doubt and misery, and somehow, hope and treasured memories at the same time. Worrying about the future, yet appreciating simple pleasures. The immortality of being a teenager, yet occupied with one's own mortality and the mortality of the world around them. It's such a unique mark of being a teenager. I think it transcends whatever era the teenager in question is from. I know I can anchor myself and my memories from that time in this song. I was born decades after people who were teenagers in 1979. But my first car was made that year. I look back on it fondly. I listened to this song in that car, and drove late nights into the horizon. I miss it all, and treasure those memories dearly.

#The Smashing Pumpkins #1979 #tracks #nostalgia #Youtube

[twunny20fission]

My thoughts on Pitchfork's 150 best albums of the 1990s; #100-#91

Reminder: three completely subjective criteria. 1: do I like it, yes or no? (Basically, is this for me?) 2: Would I recommend it to anyone, yes or no? (is this for anyone else?) and 3: Is it better than STPs "Core"? (The lowest bar. Few things are better than "Purple," but Core should absolutely be in the top 150, so that's the bar.)

100: Jim O’Rourke: Eureka (1999). Inoffensively boring and strange at the same time. It's one of those things that seems very familiar, but almost completely alien as well.

Like it: no. Recommend: no. Better than "Core": no

99: The Flaming Lips: The Soft Bulletin (1999). It's passable. Both in the "not a failure" sense and the "I'll pass on this" sense.

Like it: no. Recommend: no. Better than "Core": no

98: Smashing Pumpkins: Siamese Dream (1993). There are parts of this album that hit me very hard. I was never a huge fan of Pumpkins in the 1990s, and learning what a tyrant Corgan is makes his legacy tricky. I feel like he jerked around a lot of people and hissed at anyone else that he felt was absorbing even a sliver of his limelight. The music is good. There's that.

Like it: yes. Recommend: yes. Better than "Core": yes?

97: A Tribe Called Quest: Midnight Marauders (1993). I am listening to more hip hop as a result of this 1990s rabbithole I'm exploring. Call me biased because of my 16+ years in NYC, but I'm an East Coast rap enjoyer. And Tribe is great East Coast rap. I'm a babe in the woods when it comes to hip hop. I know I have a lot to learn, and I want to listen to more. So I will. And where I'm at right now: Tribe is great.

Like it: yes. Recommend: yes. Better than "Core": yes

96: Primal Scream: Screamadelica (1991). The only song of theirs I knew, I didn't know I knew ("Loaded" is on the "World's End" soundtrack.) This album is fine. It never blew me away. It's good driving around music, so it does evoke the 1990's for me. But I never heard what I would call "greatness." And there is like...no screaming at all?

Like it: yes. Recommend: no. Better than "Core": no

95: Ice Cube: Death Certificate (1991). I get why Ice Cube was important in his heyday. But listening with 2023 ears, this album is misogyny. I think that making songs about violence, drugs, profanity, excess, machismo, and systematic issues are vital to society and doubly so for the time and place this record emerged from. But the misogyny is so off-putting that I think this one is best left as an important influence, not something people should listen to for actual enjoyment in the modern era.

Like it: no. Recommend: no. Better than "Core": maybe

94: No Doubt: Tragic Kingdom (1995). It's hard to overstate how huge this album was. And hard for me to articulate why it is what it is. It is still full of great tracks. It's timeless, and energetic, and angry and funny and greater than the sum of its parts.

Like it: yes. Recommend: yes. Better than "Core": yes

93: Beck: Odelay (1996). It's so weird. Beck existed, and this album came out and I remember everyone saying "it's amazing! Groundbreaking! Album of the year! (though it lost to...let me see here...nominated against "Mellon Collie," "The Score," the "Waiting to Exhale Album," and it lost to Celine Dion?!?!?!?!?! Sweet merciful crap. I mean, I don't think Odelay should have necessarily won, but...come on.) Anyway. It's fun, it's weird, I like it. Probably like it more now than I did then.

Like it: yes. Recommend: yes. Better than "Core": yes

92: Autechre: Amber (1994). There were way more "lofibeatstostudyto" albums in the 90s than I realized. It's fine. Not mind-blowing.

Like it: yes. Recommend: no. Better than "Core": no

91: Weezer: Weezer (Blue Album) (1994). I don't like Weezer. I have never liked Weezer. I can tap my foot when they're playing. I know I'm supposed to like them. I'm white, I'm a geek, I'm lame. They just...meh. They're not worth the anger I like to whip up for other, more-overrated bands.

Like it: no. Recommend: no. Better than "Core": no

#jim o'rourke #flaming lip #smashing pumpkins #tribe called quest #primal scream #ice cube #no doubt #beck #autechre #weezer #pitchfork

[ibroughtyoumybullets]

cant put on my mellon collie tshirt without thinking ‘im entering my male manipulator era’ 

[yoshinobuiha]

#james iha #smashing pumpkins #the smashing pumpkins #gif #my gif #1996 #mellon collie era

[diceriadelluntore]

Storia Di Musica #161 - Mad Season, Above, 1995

La morte di Cobain fu lo spartiacque del movimento grunge. Per alcuni ne sancì la tragica fine. Nonostante l’evento colossale, era impossibile fermare l’onda musicale che si portava appresso, e se proprio vogliamo cercare un evento o degli eventi simbolo che ne sanciscono la fine, dobbiamo forse arrivare al 1996, quando i Soundgarden si sciolgono dopo il non eccezionale Down On The Upside, gli Alice In Chains suonano acustici all’MTV Unplugged e i Pearl Jam con No Code vogliono ormai far vedere che quell’etichetta grunge sta a loro stretta. Rimane un anno, il 1995, in cui escono due grandi album che per me sono l’estrema variante del Seattle sound: uno è un disco formidabile, uno dei più belli degli anni ‘90, ed è Mellon Collie And The Infinite Sadness degli Smashing Pumpkins (addirittura doppio, che esce nell’ottobre del 1995) e il disco di oggi, di un nuovo supergruppo, che nasce a Seattle con un preciso intento: evitare che qualcun altro faccia la fine di Cobain. Mike McCready, il funambolico chitarrista dei Pearl Jam, dopo Vitalogy (siamo a metà 1994) decide di disintossicarsi, e va ospite in una clinica in Minnesota. Li incontra e fa amicizia con John Baker Saunders, un bassista. Insieme decidono che una volta disintossicati, si sarebbero visti a Seattle e avrebbero messo su una band. E così successe: McCready e Saunders trovano l’entusiasmo del batterista e percussionista Barret Martin, già negli Skin Yard e batterista dei favolosi Screaming Trees di Mark Lanegan. I tre cercano un cantante, e McCready pensa ad un suo amico, in perenne lotta con l’abuso di sostanze, sperando che l’entusiasmo e il lavoro per questo progetto lo aiuti a superarle: Layne Staley degli Alice In Chains. Con questa formazione, solo con un paio di canzoni abbozzate, tengono uno storico concerto in uno dei locali storici di Seattle, il Crocodile Cafè, nell’ottobre del 1994. L’accoglienza è ottima, e il gruppo inizia a lavorare per un disco. Si scelgono come nome Mad Season, con riferimento alla stagione della crescita dei funghi che contengono psilocibina, comunemente conosciuti come funghi allucinogeni. Registrato ai Bad Animals Studios di Seattle, con la produzione di Brett Eliason, Above esce nel marzo del 1995: in copertina un disegno di Staley che lo ritrae con la sua fidanzata dell’epoca, Demri Lara Parrott. È caratterizzato da una qualità musicale che abbandona per lo più i ritmi e l’atmosfera aggressiva del grunge per influenze molto eleganti, che virano al jazz, al blues, persino alla musica di altre parti del mondo, e dai testi, scritti tuti da Staley, profondissimi e pregnanti, ispirati alla sua lettura, in quei tempi, de Il Profeta di Kahlil Gibran. Il trittico iniziale è magnifico: si parte con l’ipnotico e lunghissimo intro di Wake Up, dove il battito del basso apre alla voce, magnifica e dolente, di Stanley, che dice “Svegliati, ragazzo. È ora di svegliarsi. La tua relazione amorosa deve finire per dieci lunghi anni, dieci anni a raccogliere le foglie, un lento suicidio non è la strada da percorrere”. X-Ray Mind ha un ritmo delle percussioni quasi da danza tribale, da rito iniziatico, e vive tutto nel duello di fendenti tra la chitarra di McCready e la batteria di Martin. River Of Deceit è invece la ballata dolente del dolore, tema carissimo a Staley, che qui ne dà quasi una confessione: ”Il mio dolore è autoinflitto. Così diceva il profeta. Potrei bruciare o tagliare via il mio orgoglio per trascorrere un po' di tempo. Una testa piena di bugie è il peso da portare, legato alla cintura”. I’m Above è uno dei brani simbolo del disco (e ne dà il titolo): Staley è accompagnato alla voce da Mark Lanegan, che come una spalla saggia si alterna al canto. Il disco nella parte centrale più si avvicina al grunge “storico”: il blues dolente di Artificial Red, Lifeless Dead sembra presa dalla depressione allucinata di Dirt (capolavoro degli Alice In Chains del ‘93), I Don’t Know Anything è un brano quasi sperimentale, costruito su una serie di riff di McCready con il lavoro, stupendo, di Martin alla batteria e di Saunders al basso, per una canzone potentissima, che è la più granitica dell'intero disco. E dopo una così forte carica di impatto sonoro, c’è la sorpresa più grande del disco: Long Gone Day ha un ritmo jazz, acustico, che sa di samba, xilofoni, una atmosfera quasi da lounge bar che stride con il resto del disco. La voce di Mark Lanegan questa volta è la guida principale, mentre Staley canta nei cori e la seconda strofa, “È lungo il giorno trascorso, chi mai ha detto che siamo trascinati via con la pioggia”, con le incursioni di un sassofono, suonato da una delle figure principe dell’underground musicale di Seattle, Skerik (al secolo Nalgas Sin Carne), in uno dei brani più spiazzanti del periodo. L’atmosfera si rifà cupa poi nel lungo strumentale November Hotel, con chiarissimo tocco alla Pearl Jam di McCready, e si finisce con All Alone, poche parole su una nuvola di musica per definire in fondo come si sente Staley. Il disco non sarà mai un successo portentoso, ma rimarrà costante nel tempo, arrivando anche ad essere Disco D’oro certificato. McCready ritornerà ai Pearl Jam, Saunders si unirà ai The Walkabouts, Martin continuerà a suonare con gli Screeming Trees, Staley canterà ancora con gli Alice In Chains, in almeno altri due capolavori, Jar Of Flies e il toccante MTV Unplugged, dove canta già in condizioni preoccupanti. McCready proverà più volte a riunire il gruppo, anche mettendo mano a nuovo materiale con collaborazioni di peso (come Peter Buck dei R.E.M.) ma tutto diventerà inutile quando nel 1999 Saunders muore di overdose, seguito dopo 3 anni da Staley. A lui, Eddie Vedder, che alla fine è da considerarsi un sopravvissuto, dedicherà una canzone, una ghost track nel loro bellissimo disco Lost Dog del 2003, doppio album che raccoglie le canzoni scartate, quelle dei singoli, quelle pubblicate in altre compilation. La canzone si intitola 4/20/2002, la data della morte di Layne Staley. E contiene queste parole:

So all you fools Who sing just like him Feel free to do so now Cuz he's dead

Using, using, using The using takes toll Isolation Just so happy to be one Sad to, sad to think Sad to think of him all alone

Lonesome friend, we all knew Always hoped you'd pull through

No blame, no blame No blame, it could be you Using, you can't grow old using

So sing just like him, fuckers It won't offend him Just me Because he's dead

che è epitaffio perfetto alle storie che ho tentato di raccontare in questo mese, nate in una città che non è la prima cosa che si pensa alla parola USA, ma che ha regalato una delle ultime epopee del rock.

#mad season #above #1995 #recensione

[sadphoriac]

Daaamn

#jimmy needs more recognition #not only he is an absolute god of drumming he's hot af #and he's hot even today #like d'arcy is hot too but jimmy is hot on the male side of the band #jimmy chamberlin #mellon collie and the infinite sadness #mcis era #90s #alternative rock #drummer #alternative #the smashing pumpkins

[flamejob]

for ur band asks: the smashing pumpkins

favorite song: "mayonnaise" or "bodies" don't make me pick ughhhh

least favorite song: "being beige" it just gets on my nerves so bad

have i ever seen them live: yes!!! twice, once at a festival and also in a stadium. it was fucking magical and they played for like three hours. i probably cried for about half the show lmao

favorite band member: james iha (have you seen his modeling photos??? also he's in a perfect circle so brownie points there)

least favorite band member: billy (jk he's just too full of himself sometimes)

how many of their albums i have: almost the whole discography on CD, no vinyls as of now

favorite album: mellon collie + gish

favorite lyrics: "the tragedies reside in you / the secret sights hide in you / the lonely nights divide you in two / all my blisters now revealed / in the darkness of my dreams / in the spaces in between us / love is suicide" - amen.

favorite video: "zero" bc the aesthetic is so weird yet spot on to what they had going in the mellon collie era

ever met any members: no but my ex-stepdad knows james and i once stood next to a billy corgan saint shrine at a show

#the shrine is actually really creepy if you look up pics lmaoo #also sorry this took me so long twas at work #asks

[sibylvanereimagined]

35, 49, 51, 59

35. What are your favourite songs/soundtracks from movies?

David Lynch's soundtracks are always amazing especially twin peaks and lost highway and I also love in heaven from Eraserhead. Other favourites are marie antoinette soundtrack and Sky Ferreira easy cover from baby driver

49. What are your favourite album covers?

Utopia - Björk, Revelation - the Brian jonestown massacre, "Awaken, my love!" - childish gambino, heroes - David Bowie, the money store - death grips, M3LL155X - fka twigs, let love in - nick cave, Mellon collie and the infinite sadness - smashing pumpkins, ask the deep - sólely

51. How often do you listen to music?

Every day, probably too often, I'm actually trying to limit that a little bit. Also I listen to podcasts very often so I got something playing most of the day and that can't be healthy

59. What do you think the best "era" for music was?

Depends how you look at it. If we're talking about music that was made at that specific time then I can find something I like from each era/decade but in some ways it's the best now because of the accessibility - you can listen to everything that has ever been released and almost everyone can post their music. Then again I can't see most of the artists I like live and I don't think live shows are the same anymore. So in that mater anything from 60's to 90's, I think then live shows were the best!

#thank you so much hun🖤 #and sorry for taking so long!!! #asks

[unicornery]

Albums that came out the year I was 14 - tagged by @jessica-messica​

Insomniac - Green Day. I bought this on the day it came out! I also got some of that Nail Savvy polish in the square/rectangular bottles. Great day. This CD isn’t remembered as a stone cold classic like Dookie but I liked it a lot.

Pulse (aka p·u·l·s·e) - Pink Floyd. I didn’t get this until a year or so after it came out, so sadly my copy didn’t have the LED light. But I still listened to the shit out of it! I was very cheap about buying music as a kid/teen, possibly because I had no money, and so the idea of getting Dark Side of the Moon AND a bunch of other Pink Floyd songs appealed to me.

Joan Osborne - Relish. Were collages having a moment or what? I bought this from my friend Sharon and I really liked the tracks “Right Hand Man” and “Ladder.”

Collective Soul - S/T. I had this and then I sold it! This was not the one with “Shine.” I remember liking “Gel” but I have very little memory of the other tracks, good or bad. “Gel” still slaps. 

Stuff I didn’t have but I remember listening to with my friends or brother:

Sixteen Stone - Bush, Jagged Little Pill - Alanis Morissette, Mellon Collie and the Infinite Sadness - The Smashing Pumpkins.

Albums from this era that I got into way later:

Daredevil - Fu Manchu. I didn’t get into Fu Manchu until ‘99 and even then the early stuff was hard to come by. This is a great intro to the band if you’ve never listened to them, and “Tilt” is in my top 5 songs of theirs.

...And The Circus Leaves Town - Kyuss. I don’t think I even heard about Kyuss until the mid-00′s. For whatever reason this isn’t considered on the same level as Welcome to Sky Valley but there’s SO much good stuff on here. “Gloria Lewis” is one of my faves.

tagging @omahasnakes​ bc she helped me think of albums :3