#it is apparently unreleased (both versions)

[silvergreenseraphim]

A Twitter user pointed this out and so I made an example video. Um. There is a weird musical connection between The First Soldier and Remake. I am not sure if this is coincidence or if they are trying to create a connection. Does anyone know where either theme originated?

[sledbedar]

Today is March 2nd, Or if you will, the day we celebrate The Brobecks song March 2. It's one of my favorite tracks of theirs. So in celebration here's every version of the track kicking around my hard drive.

The original recording the band made in 2007, going unreleased until Matt & Mike decided to toss this song and Aeroplanes out there. Little known fact that both tracks were produced by Jon Siebels of Eve 6! Apparently him and Mike are buddies

Mikes remaster of said 2007 recording he made in 2021.

This acoustic recording of the track Mike made way back in 2018, that I think isn't on bandcamp anymore

This new recording he gave the song in 2021, for the same release he remastered March 2 and Aeroplanes 2007 recordings.

And lastly this tape recording of the song Mike made in...2022? I just wrote this down for the spreadsheet like a week ago but I forgot. Either way this is everything i've got. Enjoy the many flavors this song has with your ears or perhaps other sensory organs. I too will enter a deep spiral this fine March 2

[tapingthedative]

THE EXTRA LENS (or Glenns)

So, early on I chose to include The Extra Glenns' shows in the google sheet listing all Mountain Goats live shows (pinned post) and where to download them.

Why did I make that choice?

if you're unaware of The Extra Lens (formally The Extra Glenns), it's a collaboration between John Darnielle of TMG and Franklin Bruno of Nothing Painted Blue. The project pre-dates The Mountain Goats but the majority of their known live shows are often partially also Mountain Goats shows. There are 23 shows Extra Glenns shows listed on the wiki, 12 of them are also Mountain Goats shows.

So, Because it's a John Darnielle project, there are so few known Extra Lens shows, and half of them are also Mountain Goats shows, I opted to include those shows on the list.

...But before the list, I hadn't listened to The Extra Glenns. And now I've only heard one.

I do wanna dive into them, but every time I consider it I think "I'll do it once I account for their live stuff and see what unreleased songs we do and don't have"

And now I've done it. Of the 23 shows (which are either fully Lens or partially), 10 of those shows have a recording of every Glenns song from it somewhere on the internet. 10 of them have none. and three of them have only a small portion (two of them have 1 song, one of them has two.

I'm not gonna list those shows in this thread because that would make it much longer. But I will list their overall catalogue real quick.

First off, in rare early versions of the TMG tape Transmissions to Horace, there are 7 songs from The Extra Lens back when they were The Extra Glenns. four of which did not get re-released somewhere

those four are:

Greasepaint Friday

The Moon (outside of the Horace tape. it was played live in '95 and '98, both of which are on the internet)

Sliding Down the Right Pathway

Bird on the Wire (a Leonard Cohen cover)

someone has posted that Horace tape to the internet archive

These recordings apparently pre-date The Mountain Goats

After that, they released 8 songs to 7 compilations from 1992-1996, an EP called Infidelity in 1993, and 2 albums. The first album was released in 2002 and is called Martial Arts Weekend. The second one is called Undercard and came out in 2010. Both have 12 songs apiece.

So, it looks like everything is accounted for. I can dive in. Right?

wrong.

There are four songs of theirs that have only been played live.

All Frosting has been played three times, two of which can be found online.

Alpha Aquae has the same situation

Brilliant Disguise has been played twice, one is online.

...

...

and then we have Going to California. which has been played once. the lyrics are online and there is no recording. it's the only lost Glenns song.

The google sheet is a constant reminder that we don't have everything, I wish we did but we're not entitled to everything. However, I am disappointed.

I did the research on these unreleased/Horace songs and I was getting excited "Wow, we have everything" and then we got to the last one... and it's gone. If Going to California were the first one, I would probably feel relieved that we are only missing one song.

but, that's everything Lens. I'm gonna dive in and let you folks know what I think.

If you've gotten this far, track 7 of this taping is the origin story of The Extra Glenns. it's hilarious. Sorry about the clapping and the whistling lessons, that part hurts like hell.

one day I'll find a good signoff.

[dustedmagazine]

Robbie Basho — Snow Beneath the Belly of a White Swan: The Lost Live Recordings (Tompkins Square)

Snow Beneath the Belly of a White Swan : The Lost Live Recordings by Robbie Basho

The rediscovery of the guitarist, composer, and singer who presented himself to the world as Robbie Basho continues with this release of more than four hours of live recordings from his too-brief career (1965-1986). Snow Beneath the Belly of a White Swan is a major achievement, equally successful as documentation of the underappreciated composer and performer and as vital and beautiful music. Like Song of the Avatars (2020), which gathered unreleased demos and studio recordings, this collection, also released by Tompkins Square, expands significantly the amount of Basho’s music that is available. Packaged with archival photos and images of concert posters, the 30 live tracks (presented over five CDs in the physical release) provide a fascinating perspective on Basho’s music and its context.

Basho’s often lengthy excursions on acoustic guitar, at times accompanied by powerful and eerie singing, came to the attention of John Fahey, whose Takoma Records released a series of his albums in the mid to late 1960s. Featuring eclectic mysticism and showcasing stunning, if unorthodox, guitar and vocal technique, none of these albums sold particularly well. However, constant shows at coffee shops, bars, and college campuses across the country managed to land Basho a contract with the celebrated Vanguard label for a few years in the early 1970s. His Vanguard recordings also failed to attract a large audience, though, and he soldiered on with touring and small-batch releases on his own or on obscure new age labels until his death from overly aggressive chiropractic treatment in 1986.

Basho lived precariously on the edge of the music industry, a professional musician who was shy and socially awkward, a product of hippy culture who eschewed drugs (“I’m completely straight,” he declares before playing “Autumn Nocturne”) and was apparently devoid of guile or irony. As Robbie Dawson discusses in the liner notes, in the pre-digital era, Basho was never represented by an agent and had to rely on word of mouth, the post office, and phone calls to schedule his tours and market his recordings, usually with little or no support from a label. The unfavorable reviews that Dawson quotes and tepid applause following some of the tracks documented here suggest the difficulty that Basho experienced finding and connecting with audiences. All the more remarkable, then, are the passion and commitment that he demonstrates onstage.

Such challenges aside, these recordings demonstrate how accomplished a musician Basho was. Largely self-taught, his approach to the guitar and singing tends toward maximalism without being overblown. His fingerpicking on the six- and 12-string (it is sometimes difficult to tell which he’s playing) ranges from delicate (e.g., “Silver Curls”) to ferocious (“Charles Ives Paints Modern America”), sometimes within the same tune (“Portrait of Fahey as a Young Dragoon”). His influence is so pervasive in modern Takoma school guitar music (Jack Rose, Glenn Jones, James Blackshaw, Daniel Bachman, etc.) that its revolutionary character is easy to forget, and Snow Beneath the Belly serves as a reminder of his uniqueness.

The standout tracks include what seem to be the longest recorded versions of “Cathedrals et Fleur de Lis” and “California Raga,” both of which unfurl with stately majesty and offer insights into Basho’s thinking as a composer. Some tunes, such as “The Golden Shamrock,” which crackles with energy, are close to the studio versions, showing evidence of careful polishing. Other live versions differ from the studio versions in interesting ways. “Orphan’s Lament” on guitar —  rather than piano, as it appears on Visions of the Country (1978) — sounds every bit as mournful and a little more emotionally raw; “Chung Mei” sounds a little more conventional without the wonderful whistling that features on the studio recording; and the live version of “Green River Suite” appears as an instrumental rather than vocal number.

There are also a fair number of previously unknown or unpublished titles that will delight Basho-philes. At least some of these seem to be earlier or alternative versions of known tunes. “In the Meadows,” for instance, is reminiscent of “The Dharma Prince,” and the title track bears a passing resemblance to “Pavan Hindustan.” “Bear Medicine,” on the other hand, starts out with harmonics and a riff suggestive of John Fahey’s “America” before going off in a different direction.

Fahey is, in fact, a recurrent background figure in Snow Beneath the Belly. To begin with, two of the tracks are covers of his tunes (one each from his first two albums), being among the very few covers in Basho’s recorded output, and Fahey’s name appears in one of the song titles. Also, Basho repeatedly mentions Fahey in his stage banter. For instance, after crediting Fahey with the cover songs, he says proudly, “John Fahey is my friend,” and he repeats this claim at the end of “Song of God,” though it is difficult to imagine the sarcastic and irascible Fahey similarly describing the earnest and gentle Basho, of whom he once said “I never hung out with Robbie personally much. Nobody did. You couldn't.” Basho also introduces “Himalayan Highlands” as intended for Fahey’s wedding. It is fortunate for the development of guitar music that these two young men — both transplants from the Northeast to California shaped in part by childhood traumas and driven by idiosyncratic artistic visions — found each other, and Fahey deserves credit for recognizing the quality of Basho’s work (including his singing), releasing six of his albums, and helping revive interest in him through the release of the Bashovia collection on CD in 2001.

Basho’s banter is a delight throughout, showing him alternatively confident and diffident. In the introduction to “Chaconne Fandango” (which indicates that the title should read “Chicano” rather than “Chaconne”), he describes the tune as “a fun number” (though “Fahey said I was too serious”); interestingly, this peppy tune is greeted by fairly thunderous applause. He acknowledges making mistakes, for instance, declaring “I’m three for four this evening” before “Cathedrals et Fleur de Lis,” and reflects on his process, introducing “California Raga” as “a new type of music I’ve been working on for some time.” His devotion to the Indian spiritual teacher Meher Baba is also on display in the dedication of his performance at the beginning to “Song of God.”

Some of these recordings have been released previously. This version of “A Song of Kings,” for example, appears on the Live at St. Mary’s College of California set recorded in the mid-1970s, and “Charles Ives Paints Modern America” is included in the Portrait of Basho as a Young Dragoon collection, both released in 2010s by the apparently now defunct Grass-Tops Recordings. “Kowaka d’ Amour” appeared on the Tompkins Square compilation Imaginational Anthem 2 (2006), and “Chaconne Fandango” is the same as “Fandango” found on the 1/29/75 demos, also released by Grass-Tops. In every case, the sound quality of the Snow Beneath the Belly version is superior. This collection is not, however, comprehensive; for example, the Reed College bootleg recordings from August 4, 1967 are not represented.

Over all, the sound quality is remarkably good given that these recordings were mainly sourced from Basho’s decades-old personal tape archive. The remastered digital files come across warm and full, and the vocals and guitar are well-balanced. The few tunes, such as “Wonder Song,” that are of sound low quality are worthy of inclusion, in this case because this specific title is not found elsewhere and the playing and singing are prime Basho (and, indeed, the tape distortion of Basho’s voice serendipitously contributes to the power of this performance).

Tompkins Square deserves praise for cleaning up this trove of material and making it available in an attractive passage with well-written liner notes. Robbie Basho was a singular talent whose music, like Fahey’s, seems certain to find an audience in every new generation, and his live recordings, as this collection shows, are a vital part of that legacy.

Jim Marks

[seraphirism]

Hallo again! (●’◡’●)ﾉ I’m the Falin anon...maybe I should choose a different name but that’s for another day. And man I’ve been gone for a while. I’ve heard that there’s a Sanrio collab apparently??? WITH EVERYONE???? AND ITS LIMITED TIME?!? Welp there goes my wallet.

Aside from my poor spending habits I’ve just recently caught up on the most recent main story chapter and…well yeah I’m crying. Though it does kinda leave me wondering who the remaining butlers could be since there are only two (?) slots left according to the prophecy. Maybe Zepal (The butler Flure admires) or if Studio Wasabi really wanted to throw us a curve ball, maybe an angel? Ahhh the possibilities are endless!!!

Sorry for the rambling but I hope you have a good day and thanks so much for all your contributions to the eng Akuneko community!!

(P.S. I heard Senyjushi is getting a switch version which will have the completed main story +_+ so there’s some hope there. Hopefully all the antagonists will be able to be voiced along with the unreleased musketeers such as Minie and Mauser)

hiya, Falin-anon! long time no see! (plus, let me know if there’s something else you want to be called by :D) I agree! the sanrio collab came out of nowhere. I expected it to happen some day but this soon 😭? the cards are lovely though and the time is little (actually the event is decently long, this whole month to be specific?)

this chapter is going to become more emotional my friend, these first two parts were just a preview lol! though, I wonder what’s going to be the huge ‘turn’ that the devs talked about (about chapter 5)?

we have no known candidates (for becoming possible butlers) this time, i think. like in the case of villa butlers we did have Teddy + Yuhan (npcs at the time.).

the possibilities really are endless this time! they can do anything! I’m not sure though whether it’s going to be like early next year or later—technically it should be later since we had 2 more butlers that were added this soon.

in case of angels, we will have another angel added! the number of angels (intelligent) will become 4. i wonder what the 4th angel will be like?

also, please don’t apologise for rambling! I love it when people come into my inbox and talk—about aknk or anything. it’s nice having people to talk to about something I like (*^▽^*)!

(and thank you, I made this account on a whim in late July because I noticed the fandom was slightly active here. I thought it would be nice to interact with people about it; and it was good damn decision since it’s been very enjoyable posting about aknk and talking to people about it 💗)

you’re a senjyushi fan too \(//∇//)\ ?! i can’t believe I’m meeting senjyushi fans long after the game is over 😭 who was your favourite character by the way 👀?

the game should be fully voiced! i agree! we deserve this after both games ended this services (T-T) also, how far did you get in the main story of Rhodoknight? i hope the main story ends on a good note. i heard (from jp fans) that the older game mc had a not-so-satisfactory ending in the new game; since the new game is set quite some years after the older one.

unfortunately, I think we won’t get another game from the senjyushi universe again after this; it feels like the story will end for good after this 😭 since both games ended services in the end.

I hope the game generates enough traction that we another game from this same series with the old characters 🙏 (delusional) senjyushi is way too good and has us too emotionally invested to not get another game ✨

[mcrmadness]

This week has been a go-through-MCR's-discography-when-driving-to-work-and-back kind of a week. I finished all of the studio albums and listened to Conventional Weapons twice.

Idk, Conventional Weapons just still is superior to me. I did discover Danger Days differently than ever before, but it still won't go past Conventional Weapons. It's also super fascinating how this album simultaenously sounds like a mix of all the previous MCR albums and you can also clearly hear how it was building up what eventually became Danger Days. This album has also been playing in my head the whole day.

These also made me wonder that how much does the nowadays' fandom and the younger fan generation know about past MCR. Like, do they know about the early version of The World Is Ugly? It's quite different from what ended up on CW, I still have the mp3 file someone ripped from a video or audio recording back in the day because they played it at some concert back in the day and it was the first time this then-unreleased song was shown to the public. At the same time, probably on a different gig, they also performed another unreleased song that we kept calling as "Stay", but which later got the name "Someone Out There Loves You", but I got so used to calling this song as 'Stay' that I didn't even remember this name and had to look it up elsewhere. This one never got a studio recording and the best quality version is the one on The Black Parade Is Dead! DVD, but the file I have, was from an even older concert recording/video by fans. Even older = around the same time, I think it was in maybe 2007 or 2008 when they performed these two songs live. (Checked Setlist.fm - apparently they have played these two songs more than once or twice, but the first ones were in 2007 and 2008.)

I've also been thinking back at the two concerts I attended back in the day - in 2007 and in 2011. I have videos from both concerts, tho the first one's videos were filmed with my phone of the time and in secret because filming was prohibited, but I still filmed. The videos are short, mostly just pixels and bad audio but you can still recognize the songs, and even tho you can't really see anything, these videos are still very dear to me because it was still my first MCR concert ever, and my first concert ever in general. At the 2011 concert I had two cameras with me somehow, but the quality is not the best either. The other camera had very crisp video but the audio is just awful, and the other camera had good audio but not so good video. Now that I know things about video editing, I maybe one day could see if I can do something about the audio in those other videos - it's mostly just extremely sharp so very uncomfortable to listen to, but if I just could somehow make it less sharp and add some bass, it might become actually listenable. Maybe I'll try to see if I can do something about those one day.

Also yeah, it would be a dream come true to see this band live again eventually. Who knows, maybe I will do some traveling at some point if they ever decide to tour in Europe again and skip my country as what's very common for bigger bands especially today.

[leopardom]

the live is not even geoblocked so how is it a bad thing sharing the song after? were u mad at people who shared videos of ssol from the nordic tour before the release date? are u going to police everyone who livestream the new tour because they can spoil unreleased songs?

let me break this down for you as quickly or not as possible:

a radio station playing the song for the first time and only once is one thing. screen recording it and posting it publicly is another. the radio station has rights to the song, geoblocked or not they can play it. we have no rights to it yet and until it's officially released. if you have it screen recorded then idk, keep it to you DMs at least

on this note, an official release date has been set for a reason

in the same sense, the people close to jo who have already listened to the final master of the song should be able to spread the word about it. do they do it even if they can? no. it's a matter of respect towards the artist

jo did let us know the song was gonna be played on the radio. they didn't explicitly say it, but we all guessed it immediately. their intention was for us to hear it and start talking about it more. even if they're probably more than aware that someone may end up recording it, i guess this wasn't their ultimate aim. again, a matter of respect towards the artist

playing a song live for the first time to a whole audience, no matter how big or small it is, and playing a song on the radio is different. not only because songs sound different live than their studio versions, but because on a live show the artist is fully aware people are going to record that and maybe post it online. if they don't want this to happen they'd probably have people sign contracts about not recording anything unreleased at live shows (yes, this is a thing and it happens)

that being said, in both cases the artists are fully responsible for this. the difference is that since any unreleased content belongs to them, they give the rights to radio stations to play it, there's legal action behind it. they "give us the right" to use the song however we wish as soon as they release it to the world themselves, may it be via streaming platforms or live performances

if you think this is policing then okay. i think this is called common knowledge but apparently i'm wrong

[theredtours]

Speaking of unreleased stuff, since you like Red so much do you have State of Grace radio version? There's a fanmade one on YouTube but I'm curious about the official one. (Also Highway don't care apparently has a radio edit I haven't ever found either, if you know anything about that.) Thanks even if you don't have it!

I do actually have both of these, having purchased their DJ-only discs about a thousand years ago. 😂

Unfortunately, I don't presently have access to them in lossless quality right now, since the majority of my CD collection is packed away in storage (it's a long story but the short version is I'm living on a friend's couch right now), but here are the HQ lossy copies I have readily available!

[imfrom-neptune]

So I was talking with my love about how some of the songs in PORTALS seem to reference K-12 and Crybaby and that ofc put the idea in my head to go find every reference I could-

So here’s a master list of everything that other people have found as well as some of my own personal takes lmao

-DEATH: “life is death is life” etc could reference Crybaby and Angelita’s convo in the K-12 film (“I don’t know why people are so afraid of death.” “I agree, it’s just another part of life.” “You start in the womb and you end up in the tomb.”)

-VOID: the lyric “I’m tryna find a doorway” could reference an unreleased song also called Void. One of the lyrics from this version is “Think I got a key but I don’t see a door”. (I never would’ve known this lmao)

-FAERIE SOIRÉE: this one’s a personal take, but “lips of sugar” could be a parallel to the lyrics in Cake, “your kiss is sugary sweet” or “you taste like buttercream”.

-BATTLE OF THE LYRINX: could refer to Alphabet Boy with the lyric “Your daddy could never bestow you, while bloody, they’ll tell you you’ve won.” being similar to “But you’re not my daddy and I’m not your dolly, and your dictionary’s destroyed.” (I don’t know about this one but.. okay)

-THE CONTORTIONIST: “I’m done, I’m done” / “it’s no fun, no fun” are both used in the chorus of Bittersweet Tragedy: “I’m done” / “it’s no fun”. (I am very proud that I found this myself). Also, again, personal take, but “caught you like a cold or a flu (achoo), praying that someday I’ll be immune” feels like a Nurse’s Office reference.

-NYMPHOLOGY: the spelling element also being used in Dollhouse. Idk. Also the line “Get your image off my back” could be referencing a song on Melanie’s SoundCloud called Piggyback. “Push your penis into your mouth” could be a more mature version of “pacify(ing) her”.

-The ending part of NYMPHOLOGY is actually a shortened version of a song called AMULET, which is very similar to an unreleased song called Emerald. The clearest similarity is the lyric “So rare it is offensive, I think you will agree” in AMULET, which is basically the same as “Rarity I am, it’s offensive” from Emerald.

-EVIL: personal take but “now I’m stop-drop-rolling over all your jokes” could be referencing Fire Drill. Not directly, but y’know. Stop/drop/roll being a fire thing. Then ofc, “hope you slip on soap” is obviously referencing Soap.

-WOMB: Again referencing the “you start in the womb, end up in the tomb” line from the K-12 film, just like DEATH did. Also the “no more, no more” lyric being the same as High School Sweethearts.

-POWDER: the whole thing is sort of being mad at her ex for not getting help for his addiction to drugs (powder) apparently?? Could relate to Sippy Cup: “just another shift at the drug company”

-PLUTO: “some friends that I thought were forever, now I wanna sever their ties” reminds me of Lunchbox Friends. Could be the end of “friendship that will last forever”.

I’m done sorry lmao

Let me know if there’s more!!

[black-arcana]

AMY LEE Shoots Down Rumor She Is LINKIN PARK's New Singer, But Says She 'Might' Be Willing To 'Do It Part Time'

In a new interview with Canada's iHeart Radio, EVANESCENCE's Amy Lee was asked about the recent rumors that LINKIN PARK has recruited a female singer and some LP fans' desire to see her step in as the replacement for that band's late vocalist Chester Bennington.

"That is an incredible compliment," she said after being told that she was a fan favorite to fill the slot (as transcribed by BLABBERMOUTH.NET). "I have not heard that. No, I have not been contacted [by LINKIN PARK] or anything like that. But [I'm a] huge fan feel like our worlds, our fanbases are a lot of the same people."

She continued: "That's really sweet. We never… Well, did we play shows [together]? I don't know if [EVANESCENCE and LINKIN PARK] were on a festival together or whatever. We met. We were in the studio at the same time. When we were making 'Fallen', I just briefly got to have a conversation or two with Chester. He was really sweet.

"But no, it's not true," she clarified in regard to the rumors that could be LINKIN PARK's new singer. "But that's awesome. They should ask me about that. I don't have a ton of free time, but I might do it part time."

The rumor about LINKIN PARK recruiting a female vocalist was apparently started by ORGY frontman Jay Gordon who mentioned during a radio interview that he had "heard" that they were working with a "girl singer now". When pressed, Gordon continued by saying: "Don't quote me on that. I'm not sure who the singer is going to be, but I heard it was gonna be female. They might just try to move on like that. That ought to be interesting." Jay later seemingly walked back his comments, writing in a Facebook post that he knew "nothing about any of that" and accused "people" of taking his words "out of context."

During EVANESCENCE's 2022 tour with HALESTORM, Lee and HALESTORM frontwoman Lzzy Hale performed a cover version of LINKIN PARK's "Heavy" at every stop. Lzzy spoke about the decision to cover the track in an interview with the 105.7 The Point��radio station. She said: "[Amy and I] were lobbing a couple of ideas back and forth and then, all of a sudden, we landed on LINKIN PARK. And [we thought], you know what? That would be really cool because inadvertently it would be a tribute to Chester, but also, everything that this song has been about, we've all been through that — everybody. And so it's almost this like very church moment where you walk out onstage and you're, like, 'All right. This is my church. These are my people. We're all doing this together.'"

LINKIN PARK has just released a career-spanning greatest-hits album, "Papercuts (Singles Collection 2000-2023)". The record also features a previously unreleased track with Bennington, "Friendly Fire", which was recorded during the sessions for the group's final studio album, 2017's "One More Light". Bennington died later that year.

In a 2004 interview with Revolver magazine, Chester talked about meeting EVANESCENCE in the studio, and how Amy explained to him that her record label tried to make them sound like LINKIN PARK.

"I met [EVANESCENCE] in the studio when they were recording their record. We were both recording in the same building. I was talking to [Amy]. And she was nice. She said, 'We're having these problems. Everyone at our label wants us to be you.' I told her that's lame. She agreed. She said they went as far as wanting to ask [LINKIN PARK's] Mike [Shinoda] to do a part on a song. She said, 'We knew he wouldn't do it.' So they're running around trying to get guys in other bands to do it like he would. ' I told her to be herself and tell the label to put it where the sun doesn't shine. But the next thing I heard was 'Bring Me To Life' with a guy that sounded just like Mike. It was a little upsetting."

In a 2018 interview with SiriusXM, Shinoda spoke about how he was asked to guest on "Bring Me To Life" and explained why he turned it down.

"I remember when EVANESCENCE first came out, somebody from the record label said, 'Do you want to be on this other band's song? They have this song with a singer — a female singer — and there's like, a rap part.' And I turned it down without having even known anything about the band," he said. "I didn't know anything about the band, and we didn't have anything to do with them. But I just — I just knew that, like, I did my thing in my band, and I didn't want to do my thing in another band. And when I ended up hearing the song, I went, 'Oh, I get it. I get why they wanted me on that song. Like, that would have sounded cool.' I still — I didn't want to do it, because I think, like, they have their own thing and the hardest part for EVANESCENCE was probably growing out of that moment, which they did gracefully. Part of it is just due to the fact that at the time, you know, they were writing cool stuff, and Amy's voice is just a great voice. I mean, she's just got a very powerful voice."

[lilith-devi-nyx-elsword-theorist]

Hear me out, this is a far stretched idea. what if we get Johto remakes, but we get the unreleased Spaceworld demo Pokemon to fill the Johto dex.

Make the Johto Pokemon, MORE available in Johto instead of locking them to National Dex.

Increase the wild Pokemon level's in Kanto because mind you, those level gaps were abysmal.

The idea is how many Pokemon in the Johto dex from Johto is available.

So we can maybe have a few pokemon that evolved or had recently gotten a new typing in Gen 2 still be available in Gen 2, the Baby Pokemon who were available in Gen 2 as well So we'd get

Scyther, Onix, Magnemite,, Bellsprout (because of the Tower) Pikachu, Clefairy, Jigglypuff, Zubat, Golbat, Poliwag, Poliwhirl, Slowpoke, Slowbro, Eevee, Hitmonlee, Hitmonchan, Magmar, Electabuzz, Jynx, Oddish, Chansey, Porygon, Horsea, Seadra, I'll still leave in Magikarp for the Red Gyarados. and Dragonite (Because Lance and Claire has that line tho one uses Dragonairs but you get the picture.) and the fossils, I'll leave in Gengar line.

So the Dex is around 154 (Celebi is still a Johto mon) and still has some Kanto mon's. but if we split them we'd also get 47 Kanto Pokemon!

now to make sure this Johto dex is still a Johto Dex, is 107 Johto Pokemon now let's rank up that number.

We need the scrapped solo pokemon that was attached to Slowbro, make it a Water/Steel type.

the unreleased "branch" evolution of Weepinbell. it still a Grass/Poison

the Seal with a fireball. I like to see it being a mirror of Seel.

we need Kotora and Raitora they're cute electric types.

Norowara and Kyonpan these two would be fun for Morty being a Ghost type gym leader as he doesn't really use ANY Johto pokemon the first time not even a Misdreavus! also, GIVE HIM A MISDREAVUS!

Urufuman and Waaurufu, they're actually cute looking Yeti? I see a yeti in it, and it's an Ice type, so Pryce would definitely have these.

I also would like to add the unreleased 2 Starters making them become freely available but but! there's a better idea, if you visit Celebi's shrine there should be a Kimono wearing NPC who often visits the Ilex Forest Shrine and they simply challenge you with both of these Pokemon, and then they exclaim that after the battle they give you a choice of the 2 pokemon saying that " They're old Pokemon I've recently found, and I assure you would want to show them the world outside of my home, I'll give you a choice. The Fire Bear (Honooguma) or The Mystery Water Pokemon (Kurusu). " but there will be a reward where if you're a champion and you come back to the shrine, you will find a Pokeball, of the other Pokemon that you didn't choose but the NPC is gone, we won't know where they went.

These can be bred for multiples but this is to show us not only a little nod to the demo, but they're returning.

And if we go this route if we have a Chikorita line, and we visit the shrine with it, we get an event where Chikorita finds a mysterious Pokeball that has a Hanamogura. (the demo version before it was changed to be Bayleef) but it get's a second evolution since it will have around 415 BST, I know it's a little too high, but let me explain the evolution will have 552 BST.

Okay without counting the Kanto Pokedex that's still involved is 124 (even though Weepinbell branched evolution is a maybe but if we dont count it, its 123.)

the Pokedex now has 171 Pokemon in Johto when we add back the Kanto Pokemon.

Unless I miscounted so maybe around 170-174.

Edit!!!

there was more Pokemon that were cut I may of skipped over, so back at 124 Johto Pokedex.

So we have a ghost pokemon with a Hitaikakushi this one could represent well enough in Johto

A ball looking rabbit? could be interesting,

Gargoyle

the Drill looking Squid,

A literal Squirrel Ninja

the flaming Tanuki

there's a odd looking skeleton Pokemon so I guess we can have it as an "exclusively" rare fossil Johto Pokemon.

a Pokemon that is apparently a Flying Fish but with bird wings and legs.

the Scarecrow pokemon, I would like to say it scares off or taunts Murkrows.

a plant pokemon that's a ball? then it says here to evolve to Ball Sprout, with branched evolutions?

so 136 Johto Pokemon, add that, now we have 183 of a completed Dex, not counting Kanto if we didn't unlock Kanto, with Kanto unlocked

[vinylspinning]

Crushed Butler: Uncrushed (2009) [Recorded 1969-‘71]

A+ for the name, D- for the music ...

Chances are you’ve never heard of, let alone heard songs by, Crushed Butler: a scruffy London power trio that worked the local club circuit between 1969 and ‘71, and opened shows for future luminaries like Slade, Atomic Rooster, Mott the Hoople, and others.

But because Crushed Butler’s raw and primitive sound has more in common with The Stooges and MC5 than Black Sabbath or Deep Purple, modern-day vinyl reissues of their unreleased recordings such as ‘09’s Uncrushed collection turn the revisionist history, hype, and just plain bullshit up a few notches.

Its simple economics, folks: tenuous, even downright unfounded references to “proto-punk” simply offer greater commercial upside among vinyl geeks (once bored rock critics writing for hip websites get wind of them) than “proto-metal” -- see Detroit’s similarly “rediscovered” Death, for example.

Alas, even Death were far more deserving of rediscovery than Crushed Butler, which consisted of drummer Darryl Read, vocalist and guitarist Jesse (née Ray) Hector, and, initially, bassist and namesake Alan Butler, though he was at different points replaced by Stan Aldous (later of heavy proggies Aardvark), and Barry Mitchell (who also played in the pre-Queen outfit Smile).

Be that as it may, Crushed Butler duly found a manager willing to blow his life’s savings (and clearly lacking common sense) on their fledgling career, as evidenced by the results of several, low-budget demo recording sessions compiled for this LP.

Unfortunately, these are nothing to write home about, as the oddly Latin-rhythm-ed “It’s My Life” owes more to Ritchie Valens than Iggy Pop, and “High School Dropout” (both, God-awful versions found here) ditto to Chuck Berry versus Wayne Kramer or Fred ‘Sonic’ Smith.

In fact, I’d say that only three of these tunes are deserving your precious time: the genuinely wild, out-of-control “Factory Grime,” the nearly-as-urgent “My Son’s Alive” (both echo The Litter and MC5), and the plodding, not-exactly-doom eligible “Love Fighter.”

Not surprisingly, none of these attracted any record label interest, and despite a positive mention in the music weekly Sounds, which said “their music is heavy, with three ugly, heavy musicians to match,” by the end of 1970 the band had been dropped by their management.

According to drummer Read’s rather hyperbolic but also entertaining liner notes, new backers and a temporary name change to Tiger yielded more demos and unfulfilled brushes with major industry players (Don Arden, Terence Stamp) but by ‘71, Crushed Butler were officially, errr, crushed.

Total obscurity beckoned, but the hustling Read apparently landed odd jobs with Stamp’s Track records while playing with few more bands (e.g. the Hammersmith Gorillas) and in small-time acting roles, before spearheading these Crushed Butler reissues, and perishing in a Thailand road accident in 2013.

Or did he?

One never really knows when it comes to these archaeological rock ‘n’ roll ‘digs,’ and, as I intimated overhead, I myself would recommend over a hundred alternate ‘70s hard rock rarities ahead of Crushed Butler, but hey, at least they had that amusing moniker.

More Obscure Early ‘70s Heavy Rock: A.K.A.’s Do What You Like, Alamo’s Alamo, Asterix’s Asterix, Atlee’s Flying a Head, Bang’s Mother/Bow to the King, Birtha’s Birtha, Blackwater Park’s Dirt Box, Bloodrock’s Bloodrock 2, Blues Creation’s Demon & Eleven Children, Bolder Damn’s Mourning, Boomerang’s Boomerang, Buffalo’s Volcanic Rock, Bull Angus’ Bull Angus, Cactus’ Cactus, Captain Beyond’s Captain Beyond, Charlee’s Charlee, Copperhead's Copperhead, Cradle’s The History, Curly Curve’s Curly Curve, Fanny Adams’ Fanny Adams, Flied Egg’s Dr. Siegel’s Fried Egg Shooting Machine, Flower Travellin’ Band’s Satori, A Foot in Coldwater’s A Foot in Coldwater, Fuse’s Fuse, Gift’s Gift, Hard Stuff’s Bulletproof, Haystacks Balboa's Haystacks Balboa, Head Over Heels’ Head Over Heels, Heavy Cruiser’s Heavy Cruiser, Highway Robbery’s For Love or Money, Incredible Hog’s Volume 1, Jericho’s Jericho, Jerusalem’s Jerusalem, Jody Grind’s Far Canal, Kahvas Jute’s Wide Open, Leaf Hound’s Growers of Mushroom, Lucifer’s Friend’s Lucifer’s Friend, May Blitz’s May Blitz, Night Sun’s Mournin’, Nitzinger’s Nitzinger, Orang-Utan’s Orang-Utan, Pink Fairies’ Never Neverland, Pluto’s Pluto, Poobah’s Let Me In, Power of Zeus’ The Gospel According to Zeus, Road’s Road, Rumplestiltskin's Rumplestiltskin, Sir Lord Baltimore’s Kingdom Come, Sky’s Don’t Hold Back, Steel’s Steel, Stray’s Stray, Stray Dog’s Stray Dog, Tapiman’s Tapiman, Tempest’s Tempest, Thundermug’s Thundermug Strikes, Tiger B. Smith’s Tiger Rock, Tin House’s Tin House, Titanic’s Sea Wolf, Toad’s Toad, Trapeze’s Medusa, Truk’s Truk Tracks, Tucky Buzzard’s Tucky Buzzard, Ursa Major’s Ursa Major, Warhorse’s Warhorse, Warpig’s Warpig, Weed’s Weed, White Witch’s A Spiritual Greeting.

[rachelbethhines]

60 Years of Doctor Who Anniversary Marathon - Cushing 10th Review

"I'm Gonna Spend My Christmas with a Dalek" And Other Novelty Songs - Spin-Off

"I'm Gonna Spend My Christmas with a Dalek" was a novelty song released at the height of Dalekmania, and in researching it for the marathon I went down a rabbit hole of various Who themed music, for which I compiled a playlist of.

To kick the playlist off we have a jazz cover of the main theme by Eric Winstone & His Orchestra. There are other covers scattered throughout as well, including an avant-garde experiment by Don Harper, and finally the composer's, Ron Grainer, own disco version.

Then we come to the titular "I'm Gonna Spend My Christmas with a Dalek" by the Go-Gos. Someone commented on youtube that this song was originally mean to be "I'm Gonna Spend My Christmas with a Martian" and I would believe them. Not because the Dalek in question says 'I LOVE YOU" and "HAPPY XMAS" instead of "EXTERMINATE" but because the lyricists has apparently never seen a Dalek. The song's physical description of the alien involves "hanging a Christmas stocking from his big red toe". But besides the inherent silliness, the music does slap. If only because it's a blatant rip off of the Peter Gunn theme. 

After that we get a few more Dalek songs. But we only know they're about Daleks because of the titles, otherwise they just kickass jazz instrumentals. Two songs by The Earthlings at least go out of their way to evoke a sci-fi feel with added sound effects however.

Now we come to the actual Cushing related portion of the playlist. Susie's actress, Roberta Tovey, recorded two tie-in songs for the films. The first is "Who's Who?", which is clearly about the Doctor himself, while the B side is a cute song about a little girl's first crush called "Not So Old".

From there we follow on with some selected scores from both Dr Who and the Daleks and The Dalek Invasion of Earth 2150 A.D. At least three of these were released as singles, "The Eccentric Dr. Who", "Daleks and Thals", and "Fugue For Thought". The other two I added in because they're awesome.

Back to the main show, Frazer Hines (Jamie) also released a single. Much like with Susie before, the A side is a song about the Doctor himself, "Who's Dr Who?" while the b-side is an unrelated song about a puppeteer called "Punch And Judy Man". The compilation album Who is Dr Who? also gave us the previously unreleased "Time Traveller".

Not be left out, John Pertwee also published a single; "Who is the Doctor". Seeing a theme yet? The B-side's "Pure Mystery" however might just be the best lyrical song out of the whole bunch. Its a bittersweet song about an aging stage magician and his bygone glory days. "Who is the Doctor" also later got a re-release with a B-side by the band Blood Donor titled "Dr...?"

As we move into more modern times we find perhaps the most successful of the Who novelty songs "Doctoring the Tardis" by The Timelords, also known as KLF. I've actually heard this one on the classic rock stations from time to time. And due to its popularity, there was later an underground edit that went viral on the internet. A mashup with Green Day called "Dr. Who on Holiday".

Following in classic companion footsteps, Captain Jack also released a parody song "The Doctor and I" as part of John Barrowman's third studio album.

We end things with Murray Gold's own 'Song for Fifty' written for the series birthday concert but never officially released.

And of course, no Who playlist is complete without the greatest song ever, "Doctor In Distress"! 

Enjoy!

[raptorrobot]

you are opening horrible floodgates that mankind has never seen the likes of before

ok its hard to choose just one point of focus but i'm going to talk about the soundtracks of what's colloquially known as the 'trilogy of life' (walking with dinosaurs, walking with beasts, & walking with monsters) + the spinoff series because the soundtracks for most of them are considered lost media and the kids love that subject

in an official capacity, the full soundtrack of *only* walking with dinosaurs was ever released. walking with beasts only had tracks from half its episodes published, and walking with monsters + all the spinoffs never had their soundtracks officially released at all. the reason that this is is the topic at hand is because these soundtracks are fucking GOOD. they're REALLY good. like OUTSTANDINGLY fucking incredible. and the small community of likeminded individuals as i have been trying to find ways to uncover these soundtracks in their full glory for years because they're just That Good

there's countless youtube uploads trying to edit out background noise and render these unreleased tracks into a listenable state from documentaries that are over two decades old at this point, with varying levels of success and quality. the main provider of these has been the youtube user Unreleased Score, who is an absolute saint in this regard and will become Very Important in a moment.

i lay out all of this for a reason; because there has been one of the most insane stories of lost media recovery that i've ever seen in this little community and i need to tell people how happy it makes me that this happened. okay

so; one of the spinoff series for the trilogy of life, chased by sea monsters, is beloved and well renowned in this circle as one of the best paleo documentaries ever made. it's fucking timeless. genuinely incredible piece of media, both from an entertainment and educational standpoint. and, as previously mentioned, the soundtrack is beyond peak. unfortunately, for a very long time, the soundtrack fell victim to the problems the others had; only being available through best attempt but still of undesirable quality audio edits.

but, there was a glimmer of hope; a light in the darkness; a tall tale spun through whispers of potential recovery. according to some accounts, the spanish dvd release of this documentary apparently allowed you to mute certain parts of the audio separately -- which means, hypothetically, you could mute everything but the music, and extract it directly from the dvd in high quality. this was only a rumour, though -- as even if this apparent holy grail copy of chased by sea monsters existed, it was a version that was never widely distributed, and it would be unlikely if any copies were able to be recovered or discoversd.

but. do you want to know what happened in our lord's year of 2020?

they fucking found it.

an absolute motherfucker (affectionate) known only as Battlechampion47, in a joint effort with Unreleased Score, were able to recover a dvd copy of this version of chased by sea monsters, and lo and behold -- it delivered exactly as it was fabled to do so. a soundtrack from a 2009 documentary that was once thought unrecoverable is now available to listen to in its full, high quality glory on youtube Right Now. and it makes me . so fucking happy

out of all the soundtracks that could have been recovered, this was definitely the one that deserved it the most. every day i yearn that some big youtuber who covers lost media stories picks up on this one day just so that this soundtrack can be revered by even more people as it so righteously deserves

a little fun side fact, also; the surviving dvd copies of the spanish version are so so scarce to the point where the one these two found was actually slightly damaged. there was still like a 99% success rate in extracting the audio, with the only exception being a brief audio glitch in the track named 'the biggest carnivorous fish' (which is one of the most well-loved tracks, so it kinda sucks that it was the one that got hit) due to a scratch in the disc. fun !!

sigh . okay. rant done. i feel normal again. thankyou for enabling me

why does god grant his silliest autists the most insane special interests. who the fuck am i going to talk to about early 2000s paleontology documentaries . the human mind was not built for this