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#tobias jesso jr
mr-styles · 1 year
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Congrats to Tobias Jesso Jr on his first ever Grammy for Songwriter of the Year, Non Classical!
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ramonaflow · 11 months
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May music check in!
Thanks for the tag @rainbowcoloredpalmtrees 💖
I did last week aswell as last month just to show that I don't just listen to noah lol
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Tagging @saraminia @flowertrigger @smblmn @lizzie-bennetdarcy @a-noble-dragon @njwoman @mammameesh @jesuisici33
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cantquitu · 1 year
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Tobias Jesso on his role in the creation of "Boyfriends", from Rolling Stone.
To go over some of your work this year, I think Harry Styles’ “Boyfriends” was actually from something you had originally written for his previous album, 2019’s Fine Line, right?
I went into a session on the previous album, and I sat down with Harry and Tom [Hull, a.k.a. Kid Harpoon] and we were just playing around in the studio and getting to know each other. Harry just said to me, “Can you play me some songs of yours?”
I had a chord progression when I played it, I thought, oh, this is very much what I imagined would be like a Harry Styles sort of chord progression. And then the next day he sent me a text message and he said, “Could you send me those chords that you were playing around with?” So I sent him the chords and I didn’t hear anything about it. Then he hit me up [two years later] and he wrote me, “Hey man, just wanted to let you know I used some of those chords.” He changed it to suit the song that they wrote, and I really didn’t have anything to do with the melody or the lyrics. It’s a rare thing to have somebody like Harry take the time to reach out to a songwriter after two years.
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Track of the day // Dua Lipa - Houdini
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thaskyeisthelimit · 8 months
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Harry Styles • Harry’s House • Songs’ Credits
Sammy Witte - wrote Cherry & Fineline
Amy Allen - wrote Adore You
Tobias Jesso Jr - has worked with artists as Niall Horan & Adele
*Daydreaming contains a piece from The Brothers Johnson’s We Ain't Funkin' Now so the writers of that song are credited
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not-poignant · 1 year
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Hii can you tell me what #23 is on your spotify wrapped?
Omg yes.
23 is actually one of my favourite songs OF ALL TIME, and has been top 5 and number 1 in previous years. This is a song I also listen to on repeat while writing sometimes, I actually listened to it a lot while writing the epilogue for Gwyn and Augus: All That We Were, All That We Will Ever Be (or something like that, I always get the wording wrong).
And it's:
Without You - Tobias Jesso Jr (Spotify link here)
Really lovely piano riff. Really lovely voice. Really poignant lyrics. And pining. So much pining. But to me it's one of the loveliest love songs out there. It's one of those 'lying down in the dark and listening to it through headphones' songs. It's one of those 'watching the sunset at the beach' songs. It's one of those 'miserable grey and rainy day songs' while you tend your pot plants and think of all the big feelings you have. This song does things to me.
Meme is here!
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flight-128 · 2 years
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this fckn song 🖤
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Marianne, I lost you in a dream
Then, the dream came true
Marianne, tell me every little thing
That you're going through
There's got to be something I could do
I can't stop thinking about you
I can't stop thinking about you
I can't stop thinking about you
Marianne, I know I made you cry
All those lonely tears
Marianne, I'm scared to apologize
After all these years
There's got to be something I could do
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flavorednarry · 1 year
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stellarskull · 2 years
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The songs used in Jared's shows are always so good. That scene with True Love by Tobias Jesso Jr. during their last game towards the end of Shoresy was beautiful
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X Tobias Jesso Jr. has writing credits on Boyfriends
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sweetiepie08 · 2 years
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Okay folks, which songs make you cry purely because of a scene they were in in a tv show or movie?
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narrie · 2 years
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sm to unpack
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sinceileftyoublog · 2 years
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Orville Peck & The Nude Party Live Preview: 6/1, Riviera, Chicago
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BY JORDAN MAINZER
On his sophomore album Bronco (Columbia), Orville Peck is ready to show who he is, as unrestrained as the titular bucker. If on Pony, he was, as contributor Lauren Lederman wrote when the album made our top albums of 2019, “a masked queer cowboy with a secret identity,” on Bronco, he’s more open, both about his past and about his feelings. While he hasn’t revealed his name, he’s arguably shared much more. For one, his upbringing: though he lived in Canada for a while, he’s actually from South Africa, and Bronco is littered with references to cities and mountain ranges in his native country just as much as to classic country singers on a first name basis. More notably, he’s been keen to share the real-life heartbreak and depression he suffered during COVID that inspired the album. “Buddy, we got major blues / Another suitcase in your hand / I hope you brought your walkin’ shoes / ‘Cause it’s quite a ways from what I understand,” he croons with classic country wordplay on opener “Daytona Sand”, his voice exaggerated and theatrical but undeniable. The song’s about a real-life cowboy he knew who was from Mississippi but grew up in Daytona, and Peck finds a kinship in him, somewhat lost, away from home, feeling lonely as hell.
Where “Daytona Sand” also contextualizes the rest of the album is in its stylistic variance. Bronco covers everything from glam country to bluegrass, and the opener, propelled by thumping, rolling drums and a harmonic acoustic guitar line, actually sounds like something from an Arcade Fire album or Ants From Up There. “Kalahari Down”, which sees Peck reflecting on his first crush, was written for Pony but didn’t fit, according to him: It was too big. As is the title track, an epic, stadium-sized electric guitar-laden gallop. On the flip side, Noam Pikelny (of The Punch Brothers) adds banjo to acoustic folk tunes “Iris Rose” and “Hexie Mountains”, Luke Schneider an expansive lap steel to “The Curse of the Blackened Eye”. That song is especially impressive in its multitudes, Peck’s falsetto in the chorus reminiscent of Chris Isaak, the backing band delving into country exotica while he admits to suicidal ideation after abusive relationships. It’s a fitting sonic mirror to his ever-altering emotions.
Still, despite his ambitions, Peck is most effective when he goes back to what he’s always done: imbuing the traditional country ethos with sensitivity and vulnerability. “Baby, don’t deny what your poor heart needs,” he sings on “C’mon Baby, Cry”, a Tobias Jesso Jr. co-write that displays Jesso’s trademark emotive songwriting stamp. “Outta Time” is also a surefire highlight, chock full of strummed acoustic guitar, lonesome, yet clever wordplay, and buoyant guitar solos. “Headed for the back, I meet a girl who’s tryna shoot the breeze / She tells me she don’t like Elvis / I say, ‘I want a little less conversation, please,’” he sings with a wink and nod.
On the penultimate track “City of Gold”, an acoustic sway where Peck looks back on where he’s from, he sings, “I’m told that Jozi [Johannesburg] is doing just fine.” From there, it sounds like he’s ready to move forward--from his past, from his depression, from COVID, from the toxic relationships he refers to when he sings earlier on the album, “I love when it rains but I hate getting wet.” Bronco seems like the beginning of that transition, an album where he shows all the tricks he’s learned, not quite yet ready to hone in on his craft.
Peck plays the Riviera Theatre tonight. Doors at 6:30 PM, show at 7:30 PM. Tickets still available at time of publication. Opening for Peck is North Carolina six-piece The Nude Party, who have released two very good indie rock records, including 2020′s terrific Midnight Manor (New West).
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