#Gene McDaniels Songwriter

[suetravelblog]

Museum of Contemporary Art Kraków Poland

[bm2ab]

Arrivals & Departures

12 May 1928 – 08 February 2023

Burt Freeman Bacharach

Burt Freeman Bacharach (/ˈbækəræk/ BAK-ə-rak) was an American composer, songwriter, record producer, and pianist who composed hundreds of pop songs from the late 1950s through the 1980s, many in collaboration with lyricist Hal David. A six-time Grammy Award winner and three-time Academy Award winner, Bacharach's songs have been recorded by more than 1,000 different artists. As of 2014, he had written 73 US and 52 UK Top 40 hits. He was one of the most important composers of 20th-century popular music.

Bacharach's music is characterized by unusual chord progressions, influenced by his background in jazz harmony, and uncommon selections of instruments for small orchestras. Most of Bacharach and David's hits were written specifically for and performed by Dionne Warwick, but earlier associations (from 1957 to 1963) saw the composing duo work with Marty Robbins, Perry Como, Gene McDaniels, and Jerry Butler. Following the initial success of these collaborations, Bacharach went on to write hits for Gene Pitney, Cilla Black, Dusty Springfield, Jackie DeShannon, Bobbie Gentry, Tom Jones, Herb Alpert, B. J. Thomas, and the Carpenters, among numerous other artists. He arranged, conducted, and produced much of his recorded output.

Songs that he co-wrote which have topped the Billboard Hot 100 include "This Guy's in Love with You" (1968), "Raindrops Keep Fallin' on My Head" (1969), "(They Long to Be) Close to You" (1970), "Arthur's Theme (Best That You Can Do)" (1981), and "That's What Friends Are For" (1986).

A significant figure in easy listening music, Bacharach is described by writer William Farina as "a composer whose venerable name can be linked with just about every other prominent musical artist of his era". In later years, his songs were newly appropriated for the soundtracks of major feature films, by which time "tributes, compilations, and revivals were to be found everywhere. He influenced later musical movements such as chamber pop[8] and Shibuya-kei. In 2015, Rolling Stone ranked Bacharach and David at number 32 for their list of the 100 Greatest Songwriters of All Time. In 2012, the duo received the Library of Congress Gershwin Prize for Popular Song, the first time the honor has been given to a songwriting team.

[latestinbollywood]

Burt Bacharach Wiki, Bio, Age, Career, Parents, Education, Relationship, Death, Net Worth, Nationality And More

Burt Bacharach Wiki:- Burt Freeman Bacharach was an American composer, songwriter, record producer, and pianist who lived from May 12, 1928, to February 8, 2023. From the late 1950s to the 1980s, he wrote hundreds of pop songs, frequently in collaboration with lyricist Hal David. Bacharach, a six-time Grammy Award winner and three-time Academy Award winner, has had more than 1,000 different musicians record his songs.

Burt Bacharach Wiki

Burt Bacharach had penned 52 UK Top 40 hits of 2014. He was a key figure in 20th-century popular music composition. Burt Bacharach's work is distinguished by odd chord progressions, influenced by his training in jazz harmony, and unusual choices of instruments for tiny orchestras. However, prior collaborations (from 1957 to 1963) saw the songwriting team team up with Marty Robbins, Perry Como, Gene McDaniels, and Jerry Butler. Dionne Warwick performed and recorded the majority of Bacharach and David's hits.

burt bacharach wiki

Parents And Education

Bacharach was raised in the Kew Gardens neighbourhood of New York City and received his high school diploma from Forest Hills High School in 1946. He was born in Kansas City, Missouri. He was the child of Irma M and renowned syndicated newspaper columnist Mark Bertram Bert Bacharach. Bacharach was forced to learn the piano as a child by his mother, an amateur painter and songwriter. He claims that although his family was Jewish, they did not practise or pay much attention to their faith. But the youngsters I knew were Catholic, he continues. "Even though I was Jewish, I didn't want anyone to know."

burt bacharach education

Career

Bacharach and lyricist Hal David started writing together after meeting at the Brill Building in New York City in 1957. They experienced professional success when Marty Robbins covered their song "The Story of My Life," which peaked at number one on the U.S. Country Chart in 1957. Soon after, Perry Como recorded "Magic Moments" for RCA Records; it peaked at No. 4 in the U.S. Bacharach and David hold the distinction of being the first songwriters to have produced back-to-back No. 1 UK singles with these two songs (Michael Holliday sang the "The Story of My Life" version that topped the British chart).

burt bacharach career

Relationship

Bacharach had four marriages. Paula Stewart was the subject of his first, five-year marriage. Angie Dickinson, an actress, was the subject of his second marriage, which lasted 15 years. Nikki Bacharach, an autistic daughter of Bacharach and Dickinson, committed herself on January 4, 2007, when she was 40 years old. Bacharach's third marriage, which lasted nine years, was to lyricist Carole Bayer Sager. In addition to adopting Christopher, Bacharach and Bayer Sager worked together on a number of musical compositions. The Meaning of Life by Monty Python makes reference to this union. In 1993, Bacharach wed Jane Hansen, his fourth wife; the couple has two children: Oliver, a son, and Raleigh, a daughter.

burt bacharach relationship

Death

Burt Bacharach, a dapper pop composer, arranger, conductor, record producer, and sporadic performer whose popular songs captured the romantic optimism of the 1960s, passed away on Wednesday at his Los Angeles home. He was 94. The death was verified by Tina Brausam, his publicist. She chose not to give a reason.

Net Worth

Burt Bacharach has a $150 million to $200 million net worth. Though he was raised in Queens, New York, he was actually born in Kansas City, Missouri. Burt attended Forest Hills High School and has a passion for music ever since he was a young child.

Nationality

American INSTAGRAM Read Also: Yahaya Bello Wife Read the full article

[fantasticvewor]

Breezin george benson youtube

BREEZIN GEORGE BENSON YOUTUBE CRACK

Listen to I Hear You Knocking or Memphis, Tennessee to hear a jazzman’s take on the fathers of rock. Here, George returns to his early influences with versions of Fats Domino, Chuck Berry and others. Produced by Quincy Jones, Give Me the Night won three Grammys and dropped another hit with its title track that scored in discos worldwide.īenson sailed on to great heights before things wound down a bit in the 21st century, His tribute to Nat King Cole in 2013 was a natural fit for the crooner in him, but our final pick here is 2019’s Walking to New Orleans. This Masquerade, composed by Bobby Womack and Leon Russell, brings Benson’s vocals upfront, helping to push the LP to triple platinum and a Grammy nomination for album of the year. He rolls out cool melodies and fast, fluent licks with a bright and clear sound. With Breezin’, George Benson hits his instrumental stride. With the aid of producer Creed Taylor and an orchestra in the tradition of Montgomery, George spins on the Fab Four alongside the likes of Herbie Hancock, Bob James, Ron Carter, Freddie Hubbard and Ray Barretto. Check out the take of Donny Hathaway and Gene McDaniels’ evocative When Love Has Grown.Ī few years after Wes Montgomery’s A Day in the Life, Benson followed with his own interpretation of The Beatles songbook. The title track says it all, a physical romp showing off Benson’s soul-jazz stylings in a funky setting with an all-star backup band, including the introduction of Earl Klugh on second guitar. By 1973, Body Talk shone the spotlight onto this still emerging talent in six lingering cuts. George Benson began his recording career in 1964. But if you’re looking for an entry into his repertoire, these are five fine examples of Benson’s exemplary ability to cultivate crossover appeal while still honouring the spirit of jazz. With a career as vast and deep as George Benson’s, narrowing it down to five essential recordings is just scratching the surface. Word of this virtuosity spread, and soon he was offered the chance to record. Benson’s own path to fame involved gruelling nights on the road away from his hometown of Pittsburgh. This chestnut almost ran the brilliant career of guitarist and vocalist George Benson into the ground once the backlash of all. Each took their blues-infused jazz to sophisticated new heights. There’s a direct line from Charlie Christian through Wes Montgomery to George Benson. Pictures from his youth show George Benson holding the instrument like a lad who was born to play. It was then that two love affairs were born: Tom Collier became George’s stepfather and first musical mentor, and young George Benson fell hard for the guitar. Originally recorded by singer-songwriter Leon Russell, This Masquerade comes from George Benson’s 1976 album Breezin’, which was a major critical and commercial success for the guitarist.Benson’s firs ever single, the song would eventually reach as high as No. As soon as the man left the room, George ran to the instrument. One day, a man came calling and told George not to touch the guitar he’d brought to serenade the boy’s mother. Growing up with a single mother, the young George knew he loved music but couldn’t warm up to the old piano in their living room. Looking back to his earliest days, Benson seemed destined for greatness as a child prodigy. George Benson first made it to the top of the pops in the 1970s, scoring multiplatinum with his smooth singing and superb musicianship. By Danny Marks George Benson Austin Hargrave These five albums show his exemplary ability to cultivate crossover appeal while still honouring the spirit of jazz. In the greater scheme of Benson's career, Breezin' is really not so much a breakthrough as it is a transition album the guitar is still the core of his identity.George Benson was born to play the guitar. The attractive title track also became a minor hit single, although Gabor Szabo's 1971 recording with composer Bobby Womack is even more fetching. Yet it is the sole vocal track (his first in many years), Leon Russell's "This Masquerade" - where George unveiled his new trademark, scatting along with a single-string guitar solo - that reached number ten on the pop singles chart and drove the album all the way to number one on the pop (!) LP chart.

BREEZIN GEORGE BENSON YOUTUBE CRACK

Most of Breezin' is a softer-focused variation of Benson's R&B/jazz-flavored CTI work, his guitar as assured and fluid as ever with Claus Ogerman providing the suave orchestral backdrops and his crack then-working band (including Ronnie Foster on keyboards and sparkplug Phil Upchurch on rhythm guitar) pumping up the funk element. All of a sudden, George Benson became a pop superstar with this album, thanks to its least representative track.

[grapevynerendezvous]

The Yardbirds - Yardbirds’ Greatest Hits

As the mid-sixties were in full-swing I was paying more and more attention to the music of the day, and rock music was winning me over. 1966 was the year I fully turned the corner and The Yardbirds’ Shapes of Things definitely was a major factor. I was aware of their other songs that had been playing on the radio. I spent a lot of time looking at records in stores when I’d be with my mom while she was shopping for other things. I rarely bought anything though. I would look at the Yardbird albums but I was weary of what the other songs were like and didn’t bite the bullet. 

When Epic Records decided to do an anthology of The Yardbirds in the U.S., it gave me an opportunity to get what mostly I wanted, those songs I had been hearing and especially Shapes of Things. I can clearly remember standing in an aisle at Gemco in Palo Alto one evening. I was near the record section and there was music being played on the store system. Shapes of Things came on, and while I am not exactly sure it was the first time I ever heard it, I do remember standing there in awe. I recall thinking to myself that it was one the most amazing things I’d ever heard and I knew I would get it someday. Just not that day, or anytime too soon because I was only thinking LPs at the time and it was not on any of the Yardbirds current albums. As it turns out the Greatest Hits album was to be its’ first time on LP, and it never came out on a Yardbirds studio album, in England or the United States. Their other U.S. hits up to that time are also on the Greatest Hits album, along with other songs that will be noted later.

The original Yardbird members were Keith Relf on lead vocals and harmonica, Jim McCarty on drums, Chris Dreja on rhythm guitar and later bass, Paul Samwell-Smith on bass and also producer, and Anthony “Top” Topham on lead guitar. Topham left the same year the band formed in 1963. Following that The Yardbirds became known for having three lead guitarists that are all ranked in the top five of Rolling Stone Magazine’s 100 Greatest Guitarists list, Eric Clapton, Jeff Beck and Jimmy Page. Beck and Page played with the band at the same time for a period of time, but  little was recorded with the two of them together in the studio or live. They first received notice when they replaced The Rolling Stones as the house band at the Crawdaddy Club in the suburban town of Richmond.

The first hit record for The Yardbirds was For Your Love which was written by Graham Gouldman when he was eighteen years old. He was influenced by The Beatles to give songwriting a try. He was with a band called The Mockingbirds and they were with a record company. He had two songs that he had written and submitted to the company for use, but the one they rejected was For Your Love. The Yardbirds picked it up and it became a smash hit. This was actually the bands’ third single effort, the first two being primarily blues-based. One had failed to chart and the other, only issued as a single in England reached No. 49 on the UK Singles Chart. For Your Love, recorded in February 1965 and issued in March in the UK, and April in the U.S on Epic Records, reached No. 3 on the UK chart and No. 6 on the Billboard Top 100. This was the only hit single that Eric Clapton played on. He was a blues purist and had expressed his displeasure with this more commercial venture. For that, and other reasons as well, he suddenly quit the band the day the single was released in England. As it is, he and Chris Dreja only performed during the double-time middle break section. The rest of the piece was performed by Keith Relf, Jim McCarty and added musicians Ron Prentice on double-bass, Denny Piercy on bongos, and Brian Auger on Harpsichord.

On the heels of the hit single For Your Love, the eponymous album was an American release on Epic records in July 1965. Three of the cuts were recorded in March and April shortly after Clapton had departed and Jeff Beck had come on board. The balance of the album contained recordings from as far back as March 1964, while Clapton was the lead guitarist. It included all three singles plus their B-side tracks. Producer Giorgio Gomelsky selected all the numbers. Group chronicler Gregg Russo notes, "The cover was somewhat of a joke, as Jeff Beck was humorously seated in front of a keyboard that he did not play on the album.” Eric Clapton was not included on the cover, nor was he mentioned anywhere on the album. It was The Yardbirds first album to chart on the Billboard Top 100 at No. 96.

One of The Yardbirds most popular songs, Heart Full of Soul, which was another Graham Gouldman composition, was recorded in April 1965. Gouldman had followed his first success with the band with another demo that they immediately picked up. Music critic Richie Unterberger described Gouldman as "a genius at effectively alternating tempos and major/minor modes”. Martin Power noted that the tempo shifts and use of double-time, as in Heart Full of Soul, was a feature of Yardbirds live performances and became known as a “rave up”. This was the first hit with Jeff Beck on lead guitar, a guitarist who had more varied style influences. He experimented with guitar effects such as feedback, and the fuzz box that he used to create a sound that, as described by music writers Pete Lavezzoli, Alan di Perna, and Martin Power, introduced Indian influenced guitar style to rock music. This occurred after it was originally attempted to have an Indian sitarist play that part. The band didn’t feel it worked and Beck tried out a new fuzz box that was a prototype developed by Jimmy Page. It has been indicated by Alan di Perna that Beck's playing helped introduce "the psychedelic sub-genre known as raga rock’”, which became popular over the next two years. It was released in the U.K. in June and cresting on UK Singles at No. 2, and the U.S. in July reaching No. 9 on Billboard Top 100.

Heart Full of Soul was included on the American album Having A Rave Up (with The Yardbirds). The A-side of this album contained more studio material recorded in 1965 while the B-side had live recordings from 1964 with Eric Clapton on lead. Giorgio Gomelsky was once again the producer. I’m A Man, their third single, was recorded in September and released in November. It peaked on  the Billboard Top 100 at No. 17. The B-side cut was Still I’m Sad which was part of a double-side hit with Evil Hearted You in the U.K. neither song of which was released as a single in the U.S. Still I’m Sad and the live Smokestack Lightning from the Rave Up. album are on the Greatest Hits album as well as I’m Not Talking, which was from For Your Love.

I’m A Man was written by Ellas McDaniel aka Bo Diddley and was a hit for him in 1955. The Yardbirds had recorded a live version for their first album in the U.K., and it is included on the B-side of the Rave Up album. I’m A Man as a single is definitely one of the songs that got me very excited about the band. Beck played a percussive effect on his guitar, termed “scratch-picking” by Gene Santora, which provided the double time beat and the instrumentation (“that builds to a crescendo“) climax on the studio version. I’m A Man is “perhaps the most famous Yardbirds rave-up of all” according to critic Cub Koda. Later versions of the song by bands like Chicago and The Coffis Brothers have paid great homage to that rave up style. It is also felt to be an early example of both psychedelic and hard rock styles.

The aforementioned Shapes of Things was called by Jeff Beck “the pinnacle of The Yardbirds”. It was the first recording in which he incorporated sustain, and guitar feedback which he had discovered through experimentation and began using in his playing. Producer Giorgio Gomelsky arranged for recording to be done while The Yardbirds were in the U.S. on tour at Chess Records Chicago studio in December 1965. Beck was not completely satisfied with the guitar solos he did at Chess so they did the finishing recording at Columbia studios in Hollywood in January 1966. It was simultaneously released in both countries near the end of February topping out on the UK Singles Chart at No. 3 and at No. 11 on the Billboard Top 100 on May 14. It appeared in the U.K. on a various artists collection in September ’66, while its’ first album appearance in the U.S. was Greatest Hits. The concept and development of the song is at least partially summarized by what Jim McCarty had to say. “We were really coming from not trying to create a sort of a 3-minute piece of music, it was just something that seemed natural to us. We started with the rhythm, we used a bass riff that came from a jazz record, got a groove going with that and then added a few other bits from elsewhere, other ideas that we'd had. And I think it was a great success for us, it was a good hit record that wasn't really selling out. And it was original.” With Beck’s ground-breaking techniques,, Paul Samwell Smith’s desire to use a bass line idea from jazz icon Dave Brubeck’s song Pick Up Sticks, and Keith Relf’s lyrics and melody the song for many, as Cub Koda wrote, “represents the Yardbirds' creative peak”. Relf’s lyrics were described by Beck biographer Martin Power as pro-environmental or anti-war. Jim McCarty felt that it more reflected opposition to the U.S. involvement in the Vietnam War. Those words seem timely from an environmental point-of view, even more so today:

“Now the trees are almost green, but will they still be seen, when time and tide have been

Fall into your passing hands, please don't destroy these lands, don't make them desert sands”

They will always be timely from an anti-war perspective as well.

Over Under Sideways Down, the next hit single and was inspired by “Rock Around the Clock by Bill Haley & His Comets. Recorded in April 1966 in May in both in the U.K. and U.S, t peaked at No.10 and No. 13 respectively. Jeff Beck played both the guitar and bass on the record. It was the only single on the album that followed, and was backed by, the instrumental, Beck’s Boogie. That album, called The Yardbirds, was recorded in England in April and May and released on Columbia in the U.K. on May 14  It was produced by Paul Samwell-Smith and Simon Napier-Bell. It was the only album in which Jeff Beck was lead guitar on all tracks. All songs in the album were written by all five band members. It became known semi-officially as Roger the Engineer based on Chris Dreja’s cover drawing of audio engineer Roger Cameron. It was their only studio album released in the U.K. and the only one on the UK Album Chart, reaching No. 20. Meanwhile the American version of the album was titled Over Under Sideways Down. Released on Epic three days after the U.K. version, it reached No. 52 on Billboard Top 200. Two of the songs were omitted and there was slightly different placement on the record for the rest. While the album wasn’t among the best at the time,  American music critic Stephen Thomas Erlewine said that it was "the Yardbirds' best individual studio album, offering some of their very best psychedelia”.

Happenings Ten Years Time Ago was recorded following the Yardbirds/OUSD release in July, September and October, and after the departure of Paul Samwell-Smith, who became a producer on other projects. Jimmy Page had come aboard, first filling Samwell-Smith’s bass role, and then as an additional lead guitarist when Chris Dreja moved to bass. In  the recording however, John Paul Jones was on bass. Happenings took a deep dive into psychedelia and this description in an AllMusic review by Matthew Greenwald sheds light on it: “Led by a dark, Middle Eastern/psychedelic guitar riff, the song is quickly transformed into a frenetic, almost psychopathic rhythm, giving the whole affair a weird and powerful atmosphere. The idea of going back and forwards into time is paramount here, and was certainly one with the overall psychedelic ambience of the time”. Released as a single in October in the U.K. and November in the U.S., it failed to rise to the level of the previous six (including Evil Hearted You/Still I’m Sad released only in the U.K.) top 20 singles. It crested at only No. 43 on UK Singles Chart and No. 30 on Billboard Top 100. Happenings Ten Years Time Ago made its’ album appearance on the Greatest Hits Album.

It wasn’t until some years later that I learned more about The Yardbirds roots in blues music. Of course the Greatest Hits album had a few blues tunes on it, including the Bo Diddley’s blues-rocker I’m a Man. Primarily though they started to become more mainstream in an attempt to be commercial. Along the way they became cutting edge in other recording and performance styles. What attracted me to their music in particular was that it had a harder edge to it than most of the songs on the air. That rave up factor I suppose. In fact, the Yardbird sound was a conduit to yet-to-come Hard Rock music. Also, they started experimenting, particularly with Jeff Beck and later Jimmy Page, with different instrumentation and techniques. Shapes of Things, and the later hit single Happenings Ten Years Time Ago, are now considered important examples of the psychedelic music that became a primary form of music in the rock scene for the next few years. Shapes of Things, says Richie Unterberger "can justifiably be classified as the first psychedelic rock classic”.

I have never seen The Yardbirds, although the opportunity to see the recent group reformed with new players by Jim McCarty and Chris Dreja (who had to drop out due to health issues) was available to me in the past few years, but I was unable to do so. Of course I have had the honor of seeing Eric Clapton, Jeff Beck, and Jimmy Page in some of their other reincarnations. Guitar rock at its’ best.

https://en.wikipedia.org/wiki/The_Yardbirds#Discography

https://en.wikipedia.org/wiki/The_Yardbirds_discography

https://www.allmusic.com/artist/the-yardbirds-mn0000489303/biography

https://ultimateclassicrock.com/yardbirds-band-history/

Shapes of Things https://www.youtube.com/watch?v=-OjcB-D5Yy4

LP30

[thatsnotcanonpodcasts]

Millicent Patrick, Mad Max & PS5

This episode we have an amazing guest re-joining us, the fantastic Shaun from Comics2Movies and XCT. So you know straight up it is going to be a great show! Also the DJ is on fire this week and makes us laugh till we cry. We begin with a look at an upcoming book release that is the biography of Milicent Patrick, the lady who designed the creature from the Black Lagoon. She has an amazing story that is sure to inspire many of us. It also looks at the harassment she faced and the ongoing issues in Hollywood today. Also discussed is the reaction of various law enforcement agencies in response to undesirable behaviours such as cyber-bullying. The topic is the 40th anniversary of Mad Max! That’s right the original movie that created a legend is 40 years old. There was a party in Victoria to celebrate with fans even coming from America. Of course this means we have to discuss the amazing films in the Mad Max franchise (even the recent Fury Road – which is suggested is not Mad Max, but you decide and let us know). Also this is when the DJ makes us laugh till we cry, listen out for it, believe me, it is amazingly funny. Next up is the Professor with some information about the PS5 and VR. Things are getting better with improved technology on the VR/AR front with arcades opening up around the place, but what is happening in the home? We then have the regular shoutouts, birthdays, and remembrances. Concluding with a chat about what Shaun is up to in terms of new projects to look forward to, so if you are planning on going to any of the comic conventions you will have to stop by and say G’Day, and check out what he has on offer. Particularly with his new graphic novels, so go along and check out his website and be amazed by the wondrous collection of artwork in the various comic books and graphic novels available for purchase alongside the extensive offering of various memorabilia there. So grab yourself a cup of tea and strap in for our latest instalment of Nerds Amalgamated.

EPISODE NOTES:

The Lady from the Black Lagoon: Hollywood Monsters and the Lost Legacy of Milicent Patrick

                - https://www.publishersweekly.com/9781335937803

                - https://www.goodreads.com/book/show/34993030-the-lady-from-the-black-lagoon

                - https://www.amazon.com/gp/product/1335937803/ref=as_li_ss_tl?ie=UTF8&linkCode=ll1&tag=bustle-13212013-20&linkId=4eb67e222b74ad35b9b57f4e9dda23c0&language=en_US

Mad Max turns 40

- https://www.abc.net.au/news/2019-02-03/mad-max-40th-anniversary/10775336

                - https://www.thecourier.com.au/story/5450660/mad-max-anniversary-event-ditches-clunes-location/

PS5 VR/AR - https://gamingbolt.com/sony-knows-vr-ar-is-the-future-ps5-will-support-it-says-dev

Games Currently playing

Buck, Professor & DJ – Apex Legends - https://www.ea.com/games/apex-legends

Shaun – Star Wars Jedi Knight: Jedi Academy - https://en.wikipedia.org/wiki/Star_Wars_Jedi_Knight:_Jedi_Academy

Other topics Discussed

Millicent Patrick’s biography

- https://en.wikipedia.org/wiki/Milicent_Patrick

Black Fury aka Miss Fury character bio

- https://en.wikipedia.org/wiki/Black_Fury_(comics)

- https://www.abc.net.au/news/2019-02-05/miss-fury-the-most-famous-superhero-youve-never-heard-of/10777988

Cyberbullying in American and Australia

- America - https://edition.cnn.com/2018/01/23/us/florida-cyberstalking-charges-girl-suicide/index.html

- Australia - https://www.abc.net.au/news/2018-01-10/dolly-everett-nt-suicide-cyber-bullying-campaign-launched/9317056

MAD MAX Fan Magazine – Silver City on Kickstarter

- https://www.kickstarter.com/projects/467328161/mad-max-fan-magazine-silver-city

Mad Max Franchise

- https://en.wikipedia.org/wiki/Mad_Max_(franchise)

George Miller wants to make more Mad Max movies

- http://collider.com/george-miller-new-mad-max-movies/

Amount of dialogue in Mad Max Fury Road

- https://www.reddit.com/r/MadMax/comments/4eveny/full_dialogue_for_fury_road/

Quentin Tarantino praises Mad Max Fury Road

- https://www.indiewire.com/2015/12/quentin-tarantino-says-mad-max-fury-road-was-the-best-movie-he-saw-in-2015-95821/

Playstation 5 will be backwards compatible

- https://gamerant.com/ps5-backward-compatible/

Playstation Eyetoy

- https://en.wikipedia.org/wiki/EyeToy

Wonder Boy (video game)

- https://en.wikipedia.org/wiki/Wonder_Boy_(video_game)

Ghouls and Ghosts (video game)

- https://en.wikipedia.org/wiki/Ghouls_%27n_Ghosts

Hungry Hungry Hippos the movie poster

- http://i.imgur.com/dU5gS.jpg

Fortnite & PubG are banned in China

- https://www.pcworld.idg.com.au/article/650828/fortnite-pubg-could-banned-china/

Kate Miller-Hidke (Australian singer-songwriter and actress)

- https://en.wikipedia.org/wiki/Kate_Miller-Heidke

Shoutouts

24 Feb 2019 - Congrats to all the Oscars 2019 winners

- https://en.wikipedia.org/wiki/91st_Academy_Awards

- https://cometoverhollywood.com/2016/02/05/hollywood-capers-stolen-academy-awards/

26 Feb 1935 - RADAR (Radio Detection and Ranging) first demonstrated by Robert Watson-Watt - https://www.wired.com/2008/02/dayintech-0226/

29 Feb 1504 - Crafty Columbus plays a Leap Year Trick, many people born on February 29th curse their luck, but it can also bring luck and benefits as explorer Christopher Columbus demonstrated over 400 years ago. - https://www.onthisday.com/articles/crafty-columbus-plays-a-leap-year-trick

Rememberances

21 Feb 2019 – Stanley Donen, American film director and choreographer whose most celebrated works are On the Town (1949) and Singin' in the Rain (1952), both of which starred Gene Kelly who co-directed. His other films include Royal Wedding (1951), Seven Brides for Seven Brothers (1954), Funny Face (1957), Indiscreet (1958), and Charade (1963). He died of heart failure at 94 in New York City - https://en.wikipedia.org/wiki/Stanley_Donen

21 Feb 2019 – Peter Halsten Thorkelson or Peter Tork, was an American musician, composer and actor, best known as the keyboardist and bass guitarist of the Monkees. He died from complications of a rare cancer known as adenoid cystic carcinoma, a rare, slow-growing form of head and neck cancer at 77 in Mansfield, Connecticut - https://en.wikipedia.org/wiki/Peter_Tork

25 Feb 2019 - Maeghan Albach, American voice actress known for her extensive work with English dubbing. The actress worked with Funimation Entertainment for 13 years and brought her voice to dozens of titles. Most notably series such as Evangelion: 1.0 You Are Not Alone, One Piece, Fairy Tail, Attack on Titan, Fullmetal Alchemist: Brotherhood, A Certain Magical Index, Princess Jellyfish, and many more. Died on 22 Jan 2019 with no known causes of death - https://comicbook.com/anime/2019/02/25/fullmetal-alchemist-attack-on-titan-actress-maeghan-albach-death/

2 Mar 2019 – Katherine Helmond, American film, theater, and television actress and director. Over her five decades of television acting, she was known for her starring role as feisty mother Mona Robinson on Who's the Boss? (1984–1992). She also voiced Lizzie in the three Cars films by Disney/Pixar. She died of February 23, 2019, from complications of Alzheimer's disease at 89 in Los Angeles, California

- https://en.wikipedia.org/wiki/Katherine_Helmond

- https://www.abc.net.au/news/2019-03-02/whos-the-boss-actress-katherine-helmond-dies-in-los-angeles/10864718

Birthdays

26 Feb 1802 – Victor Hugo, French poet, novelist, and dramatist of the Romantic movement. Hugo is one of the greatest and best-known French writers. Outside France, his most famous works are the novels Les Misérables, 1862, and The Hunchback of Notre-Dame (French: Notre-Dame de Paris), 1831. Born in Besançon,Doubs - https://en.wikipedia.org/wiki/Victor_hugo

26 Feb 1908 – Tex Avery, American animator,director, cartoonist and voice actor, known for producing and directing animated cartoons during the golden age of American animation. His most significant work was for the Warner Bros. and Metro-Goldwyn-Mayer studios, where he was crucial in the creation and evolution of famous animated characters such as Bugs Bunny, Daffy Duck,Porky Pig,Elmer Fudd,Droopy,Screwy Squirrel, George and Junior, and Chilly Willy. Born in Taylor, Texas - https://en.wikipedia.org/wiki/Tex_Avery

28 Feb 1901 – Linus Pauling, American chemist, biochemist, peace activist, author, educator, and husband of American human rights activist Ava Helen Pauling. He published more than 1,200 papers and books, of which about 850 dealt with scientific topics. Pauling was one of the founders of the fields of quantum chemistry and molecular biology. In his later years he promoted nuclear disarmament, as well as orthomolecular medicine, megavitamin therapy, and dietary supplements. For his scientific work, Pauling was awarded the Nobel Prize in Chemistry in 1954. For his peace activism, he was awarded the Nobel Peace Prize in 1962. He is one of four individuals to have won more than one Nobel Prize (the others being Marie Curie,John Bardeen and Frederick Sanger). Of these, he is the only person to have been awarded two unshared Nobel Prizes, and one of two people to be awarded Nobel Prizes in different fields, the other being Marie Curie. Born in Portland, Oregon - https://en.wikipedia.org/wiki/Linus_Pauling

Events of Interest

26 Feb 1616 – Galileo Galilei is formally banned by the Roman Catholic Church from teaching or defending the view that the earth orbits the sun. - https://en.wikipedia.org/wiki/Galileo_affair#Inquisition_and_first_judgement,_1616

26 Feb 1952 - Prime Minister Winston Churchill announces Great Britain has developed its own atomic bomb - https://www.nytimes.com/aponline/2019/02/26/us/ap-history.html

26 Feb 1949 – Lucky Lady II, a B-50 Superfortress begins the non-stop flight around the world from Carswell Air Force base in Fort Worth, Texas - https://www.history.com/this-day-in-history/lucky-lady-ii-begins-nonstop-global-flight

29 Feb 1940 - Hattie McDaniel becomes 1st African American woman to win an Oscar for Best Supporting Actress in "Gone with the Wind". The first Academy Award won by an African American entertainer  - https://en.wikipedia.org/wiki/Hattie_McDaniel#1940_Academy_Awards

Special message from Shaun about his upcoming works such as XCT: Breakout & Terralympus

- https://www.kickstarter.com/projects/2067957354/xct-breakout-graphic-novel

- http://www.comics2movies.com.au/shop/terralympus-vol-1-graphic-novel/

Intro

Artist – Goblins from Mars

Song Title – Super Mario - Overworld Theme (GFM Trap Remix)

Song Link - https://www.youtube.com/watch?v=-GNMe6kF0j0&index=4&list=PLHmTsVREU3Ar1AJWkimkl6Pux3R5PB-QJ

Follow us on Facebook - https://www.facebook.com/NerdsAmalgamated/

Email - Nerds.Amalgamated@gmail.com

Twitter - https://twitter.com/NAmalgamated

Spotify - https://open.spotify.com/show/6Nux69rftdBeeEXwD8GXrS

iTunes - https://itunes.apple.com/au/podcast/top-shelf-nerds/id1347661094

RSS - http://www.thatsnotcanonproductions.com/topshelfnerdspodcast?format=rss

Special thanks to Shaun from Comics2Movies, they have some cool stuff such as prints, comics such as XCT and T-Shirts - https://www.comic2movies.com.au

[topbeautifulwomens]

#Alan #Jackson #curl #fashiongram #fashionistas #girl #lifestylemodel #memes #pic #quotes #streetstyle #stylist

As the 1st artist signed to Arista Records’ country division, Alan Jackson’s first single, “Blue Blooded Woman,” peaked at a dismal No. 45 on the country charts in 1989. Clearly, things improved substantially with the next single — the title track from his debut album, Here in the Real World — and the hits haven’t stopped yet. Fifteen years into his career, the superstar has sold far more than 40 million albums and scored more than 30 No. 1 singles — 21 of which he either wrote or co-wrote.

Jackson was born Oct. 17, 1958, in Newnan, Ga., to a blue-collar family. Jackson’s father was an automobile mechanic. Caring for a household of seven, his mother served instill a sense of integrity and small town values. While in high school, Jackson met his future wife, Denise, at a Dairy Queen, and their lasting marriage has created three daughters.

Playing in country bands in Georgia, Jackson worked as a mechanic, used car salesman and forklift operator to pay the bills while writing songs. He and Denise moved to Nashville in 1985, but his first impressions of Music City were a tiny basement apartment and a genre whose radio prerequisites had almost practically nothing to do with his own songwriting. That same year, Denise met Glen Campbell in an airport when she was working as a flight attendant. She told Campbell about her husband and gave him a tape. Campbell gave her his business card and suggested that Alan should call his publishing company. Soon after, Jackson became a staff songwriter at Campbell’s music publishing company.

Jackson hit No. 1 three times in 1991, with “I’d Love You All Over Again,” “Don’t Rock the Jukebox” and “Someday.” In 1992, he released the spooky video for “Midnight in Montgomery,” which won a CMA Award. That same year, he returned to No. 1 with “Love’s Got a Hold on You” and “She’s Got the Rhythm (And I Got the Blues).” In 1993, he spent four weeks at the top with “Chattahoochee,” which propelled the corresponding album A Lot About Livin’ (And a Little ‘Bout Love) to sales of more than 6 million copies. “Chattahoochee” won a CMA award for single of the year in 1993 and song of the year in 1994. Jackson took his first CMA entertainer trophy in 1995, coinciding almost exactly with The Greatest Hits Collection.

Following a lot of novelty hits, like “I Don’t Even Know Your Name,” Roger Miller’s “Tall, Tall Trees” and Tom T. Hall’s “Little Bitty,” Jackson then located inspiration (and chart success) in more challenging material, such as Harley Allen and Carson Chamberlain’s “Between the Devil and Me” and Kieran Kane’s “I’ll Go On Loving You.”

Although Jackson’s albums emphasize his original material, he frequently tips his hat to the sounds that molded his music. Prime examples include “Summertime Blues” (a country version of Eddie Cochran’s 1958 rockabilly smash) and “Who’s Cheatin’ Who” (a remake of Charly McClain’s 1981 hit). He took an additional action with the 1991 album, Under the Influence, offering his versions of songs made famous by Merle Haggard, Charley Pride, Conway Twitty, Don Williams, Gene Watson, Mel McDaniel and others. The album netted Jackson another Top 10 single with “Pop a Top,” a Nat Stuckey song that was a major hit for Jim Ed Brown in 1967. Other highlights included Jackson’s take on Hank Williams Jr.’s “The Blues Man.”

Others have had major hits with Jackson’s compositions as well. Among his credits are Randy Travis’ “Forever Together” and “Better Class of Losers,” Clay Walker’s “If I Could Make a Livin'” and Faith Hill’s “I Can’t Do That Anymore.”

Already one of country’s most respected songwriters, Jackson ascended to yet a higher level at the 2001 CMA Awards show when he debuted “Where Were You (When the World Stopped Turning).” His song about the 9/11 terrorist attacks in New York City stunned the awards show audience and ultimately proved to be the most honest, heartfelt song written about the tragedy.

In 2002, “Where Were You (When the World Stopped Turning)” won Jackson his first Grammy, as best country song. At the 2002 CMA Awards, the song netted Jackson song of the year and single of the year honors. That same year, Jackson received the CMA’s album of the year award for Drive while being named male vocalist and entertainer of the year. He tied Johnny Cash for the most CMA wins in a year. Drive went on to sell 4 million copies, and the title track spent several weeks at No. 1 as well.

Jackson remains a favorite of the Nashville business community, but he has occasionally commented on the country music industry in songs such as the No. 1 hit “Gone Country” (co-written with Bob McDill), “Three Minute Positive Not Too Country Up-Tempo Love Song” and his CMA award-winning collaboration with George Strait on “Murder on Music Row.” By then accustomed to sold-out concerts at massive arenas throughout the U.S., Jackson gained rave reviews from the big city media in 2002 when he took his show to the tiny confines of New York City’s premiere punk club, CBGB.

By 2003, Jackson had achieved enough chart success to warrant the release of another retrospective of his recording career. It was released in two versions — the two-CD Greatest Hits Volume II and Some Other Stuff and the single disc Greatest Hits Volume II. The album’s first single, “It truly is Five O’Clock Somewhere,” was a duet with Jimmy Buffett. The No. 1 hit was named vocal event of the year at the 2003 CMA Awards and gave Buffett his first chart-topping single — and his first major music award. That same year, Jackson won his second male vocalist CMA award and his third CMA entertainer trophy.

In 2004, he hit No. 1 with “Remember When” (from the album What I Do and toured arenas with Martina McBride. He offered Precious Memories, a gospel album originally recorded as a gift to his mother and mother-in-law, in early 2006. Later that year, he offered the critically acclaimed Like Red on a Rose, produced by Alison Krauss.

Name Alan Jackson Height 6'4 Naionality American Date of Birth October 17, 1958 Place of Birth Newnan, Georgia USA Famous for

The post Alan Jackson appeared first on Beautiful Women.

source http://topbeautifulwomen.com/alan-jackson/

[hottytoddynews]

Starting today, September 14, I will feature a column each Thursday showcasing a famous artist from yesteryear and highlighting a Top Ten hit on Billboard. The column will be titled….”Thursday’s Top Tune Throwback.”

Let’s flashback to April 1961, when Gene McDaniels released his #3 classic, “A Hundred Pounds of Clay” on Liberty records. McDaniels followed this top five hit with another, seven months later….”Tower of Strength.”  McDaniels was also a songwriter in addition to being an outstanding vocalist. (Tower of Strength was co-written by Burt Bacharach and Bob Hilliard.)

McDaniels was born in Kansas City, Kansas and enjoyed a most interesting life. He died in 2011 at the age of 76. McDaniels studied music at the University of Omaha Conservatory of Music.  In 1968 he left the United States for a three-year songwriting sabbatical in Denmark and Sweden.

Returning to McDaniels’ songwriting successes, he penned a #1 hit in 1974 with Roberta Flack’s “Feel Like Makin’ Love.”

Steve Vassallo is a HottyToddy.com contributor. Steve writes on Ole Miss athletics, Oxford business, politics and other subjects. He is an Ole Miss grad and former radio announcer for the basketball team. Currently, Steve is a highly successful leader in the real estate business who lives in Oxford with his wife Rosie. You can contact Steve at sovassallo@gmail.com or call him at 985-852-7745.

The post “Thursday’s Top Tune Throwback”: Gene McDaniels’ “A Hundred Pounds of Clay” appeared first on HottyToddy.com.

[nihilhumani-blog]

The one where they raise the red flag over the Reichstag (summer mix 2017)

LINK HERE

1. Jorge Ben, “Meus Filhos, Meus Tesouro”, África Brasil (1976). A pretty simple song. Jorge Ben has this knack for investing the quotidian with a kind of profundity, and I just love it. The gist of the song is an imagined conversation with his children in which he asks them what they want to be when they grow up. The most poignant, beautifully-sung line in this song translates literally to “I want to be a soccer player!”

2. Philip Cohran, “The Minstrel”, On The Beach (1967). Massive Afrofuturist groove from ex-Sun Ra sideman. According to Allmusic, some of the people playing on this went on to gigs as diverse as the Agharta band (Pete Cosey) and Earth, Wind and Fire (Don Myrick). The thumb piano that anchors the groove is a creation of Cohran’s that he calls the frankiphone.

3. Gene McDaniels, “Tower of Strength”, Tower of Strength (1961). Great performance of a classic Bacharach and Hilliard tune. That falsetto is to die for.

4. Broadcast, “Goodbye Girls”, Tender Buttons (2005). Never got into this band when they were more popular (even though I probably should have). Those goofy antique synths are so joyously raucous, just barely in time, and Trish Keenan’s vocals are as delicately celestial as they’re cracked up to be. This flows nicely from the McDaniels tune — it falls somewhere between a Northern soul stomper and Young Marble Giants.

5. Amps for Christ, “Colors”, Circuits (1999). Glorious rendition of an ancient Scottish folksong. I have a real special spot in my heart for AfC — they got a good deal of attention in the indie rock press in the mid-oughts but, fairly unique among bands that won Pitchfork’s heart, they came not ought of the basement of some Chicagoland suburb but from the late 80s/early 90s SoCal powerviolence scene, a heterogenous outgrowth of US hardcore punk that took inspiration from British grindcore, Bay Area thrash, Sabbathian sludge and injected a much needed dose of good politics into the scene at a time when hardcore’s leading lights were sporting Fred Perry and Freikorps haircuts. Main dude Henry Barnes handled circuits for Man is the Bastard, who are simply one of the greatest bands the United States has ever produced: a heady mix of prog rock, US hardcore, the burgeoning “noise scene” (which was more-or-less in its infancy), thrash metal and god knows what else. As Barnes got older, his music got mellower in some ways, more intense in others, and remained fiercely committed to a better world (with a sardonic sense of humor to boot). It’s hard to say enough good things about them.

6. The Roches, “Runs in the Family”, The Roches (1979). Turns out that that all-women, multipart-harmony-heavy, Dustbowl-folk revival thing started not with Mountain Man’s terrific Made The Harbor (2010) but about three decades earlier with the Roches. This is a weird little record, kind of a mixed bag (and produced, bizarrely, by Robert Fripp, whose unmistakable Frippertronics fit surprisingly well). But some of the tunes are just stunningly beautiful, and this is one of them. The harmonies are heartbreaking and just unconventional enough to keep from turning into saccharine mush. Also I’m a big fan of any folk song that can organically work in a line as tearjerking but nerdy as “I can’t change the law of averages”.

7. Roscoe Holcomb, “I’m a Free Little Bird”, The High Lonesome Sound (1965). Listen, I know we’ve all had enough of that “white working class” mythology so beloved of both wings of capital, Trumpers and liberal imperialists alike. Think of this not in terms of “authenticity” or as a paean halcyon days of (white) class collaboration in America but as a virtuosic and joyous celebration of life that draws its strength from the well of the multinational US working class.

8. The Vibrators, “Whips and Furs”, Pure Mania (1977). From that corner of early punk that was self-consciously retrograde, a mud-caked revival of rock’n’roll, comes this nugget. It opens by quoting a Sly and the Family Stone classic — at that point already a decade old — and hits the heights of harmony with a line about a lothario who “drives a black Cadillac [with] whips and furs in the back”. Real fun pulp mag vibe here. Those ambitious little bass runs top off an already perfect song.

9. Godley and Creme, “Sandwiches of You”, L (1978). Restless, complex, delicate, sophisti-pop from the weirder half of 10cc. I really don’t even know what to say about this: it’s so accessible, funny and bizarre but it also sounds like Gentle Giant playing the Looney Tunes soundtrack. Amazing record. This will forever remind me of driving to rural Kernersville, NC in the middle of the night for work at the massive FedEx warehouse there.  

10. Todd Rundgren, “Long Flowing Robe”, Runt: The Ballad of Todd Rundgren (1971). For a guy who’s done some of the weirdest records in the pop music canon, his more straightforward tracks are remarkably approachable and familiar. Although even this song is, all things considered, pretty weird: it kicks off with a clavinet (more associated with Stevie Wonder than power pop), and it includes prominent bongos and cowbell, Rundgren’s infinitely-multitracked falsettos, and a strange combination of thudding proto-metal drumming and delicate fingerpicking. But it’s also simultaneously a perfect pop song about being lonely whose chorus you can memorize before you’ve heard the full song for the first time. My dad reports that this remained a huge jam at Southeast High in Wichita in the late 70s.

11. Jefferson Airplane, “Watch Her Ride”, After Bathing at Baxter’s (1967). The sound of the Summer of Love becoming heavy metal. A paranoid but tender freakout that clearly points ahead to NWBOHM-style metal while remaining somehow heavier than metal — there’s hardly any distortion on the guitars, but they’re so resonant, their jazzy chords seeming to linger in the air forever, that they end up sounding more powerful than the filthiest drop-tune. Spencer Dryden (nephew of antifascist film star Charlie Chaplin) turns in a great drum performance.

12. Squeeze, “Hard to Find”, Cool for Cats (1979). Underrated gem from Squeeze’s second record. There’s a marvelous contrast between the white-knuckle new wave of the verse and the brief intrusion of good vibes in the chorus with handclaps, lovelorn vox, Glenn Tillbrook’s throaty cry, and bluesy arpeggios that sound like nothing so much as King Crimson (!).

13. The dBs, “Love is for Lovers”, Like This (1984). Stellar, weird powerpop (from Winston-Salem!). This is from their third record, after one half of their great songwriting duo (Chris Stamey, who pops up later on the list) had left. Still, Peter Holsapple could write a mean tune on his own. His yelp in the chorus is magnificent, so full of boyish charm — even in recent live performances, he sounds exactly the same when he sings it. True story, he came into the restaurant that I used to be a cashier at (he still lives in the Triangle, if I’m not mistaken), and I immediately said “holy shit, you’re Peter Holsapple!”, and he goes “this literally never happens”. My dad has some good stories about seeing them live when he lived in Raleigh in the 80s.

14. Orange Juice, “Holiday Hymn”, The Glasgow School (compilation 2005, originally recorded live 1981). My favorite “indie-pop” group of all time. My listening diet when I was 15 was about 80 percent grindcore, 20 percent jazz and it became about 75 percent indie pop after my dad bought me this comp. on a whim. This isn’t actually a “signature OJ” song; it was unreleased for a long time (as far as I can tell), and it’s actually a cover of a Vic Godard song (member of the class of ‘77 punk group Subway Sect before he became a noted soul revivalist). But it’s a perfect song for them to cover; that needling soul bass and the angular Byrds-playing-funk guitars work so well. “Today all the girls / will see our fire begin to glow / today all the girls / will recite Jean-Jacques Rousseau” is a very pretty, if mysterious, little line.

15. Captain Beefheart, “My Head is my Only House Unless It Rains”, Clear Spot (1972). It’s a little unfair that Don van Vliet could be one of the most influential, pioneering rock musicians of all time (Trout Mask Replica 100 percent deserves its reputation) and also have penned a Van Morrison-style soul ballad so deep it makes Van Morrison look like the Bee Gees. This sounds like a slightly offbeat, if dark and powerful, ballad, until about a minute in, and then suddenly the tension that the verse and the pre-chorus bridge build...just goes awry, in the prettiest way. The chorus turns out to be not only not-a-chorus — it only occurs once! — but one of the most subtle, propulsive riffs ever crafted.

16. Kim Fowley, “Mom and Dad”, Automatic (1974). This guy is such a Hollywood sleazebag that his Wikipedia page literally lists his occupation as “impresario”. And yet, this gorgeous fingerpicked Lou Reed-ripoff is one of the most straightforwardly-affecting records I’ve heard in my life. I barely knew who this guy was when Jonathan Woollen announced his death via Facebook and posted this track, and I swear I could barely hold back the tears after the second playback. As much as I hated Lou Reed, I deeply loved Lou Reed, and this is maybe the most Lou Reed thing ever written by someone other than Lou Reed.

17 Kyu Sakamoto, “Sukiyaki” (single, 1961). According to Wikipedia, one of the few “non-Indo-European language songs” to ever crack the Billboard top 100. Even if you don’t speak a word of Japanese — I don’t — its virtues are manifest — an effervescent tune that apparently takes the generic form of a lovelorn pop song but was composed as an anti-fascist protest of the post-WWII US-Japan alliance.

18. Sneakers, “Like a Cuban Crisis”, Racket (1992, originally recorded mid-70s?). It’s hard to imagine something that appeals to me more in descriptive terms than an angular, punchy power-pop group from NC featuring Chris Stamey (dB’s, whom we heard earlier) and Mitch Easter (Let’s Active, feature on previous mixes). And they really live up to the description, from the sparkling twin guitars of the opening riff to the perfect (non-)chorus, and bonus for the genuinely funny satire.

19. Witchfynde, “Leaving Nadir”, Give ‘Em Hell (1980). A jammer from that brief period of the NWOBHM during which a gorgeously-arpeggiated, powerpop-ish intro like the one this cut sports and a pounding, palm-muted verse could comfortably co-exist.

20. Linda Ronstadt, “Heart Like a Wheel”, Heart Like a Wheel (1974). A classic country-rock record — the country-rock record?! — that was once immensely popular, even winning a grammy, but which has so fallen by the wayside amongst the cognoscenti that I don’t feel bad about putting it on a mixtape. It’s a subtly-weird track. After a vertiginous piano opening reminiscent of a solo Bill Evans date, Ronstadt begins the song by detailing, then abruptly disavowing, a simile for the human heart. The song never quite coheres….there’s a beautiful chorus, but one that’s cut short by an extended instrumental break featuring heart-rending cello (?) — but that makes it all the more addictive — how can you hear that (much-delayed) chorus just twice?! Another record that inexplicably reminds me of North Carolina, even though Ronstadt was the scion of a wealthy manufacturing family from Arizona who had, far as I can tell, no special connection to NC.

21. DJ Screw, “Every Day, All Day [South Circle]”, Chapter 226: Million Dollar Hands (1995). A change-of-pace superficially, but that melancholy melody line forms a natural transition from the Ronstadt track in my mind. Absolutely classic, unrelentingly-bleak mid-90s chopping and screwing. The South Circle track is a merciless g-funk cut to begin with, but the Screw remix is a monolithic thing of beauty.

22. The Brides of Funkenstein, “Disco to Go”, Funk or Walk (1978). Hilarious yet deadly-serious, powerful yet loose P-Funk spinoff. This reminds me of swimming at the apartment pool when my parents divorced dad moved to the heart of downtown Kansas City to be near his work; this record was one of the few that we could all agree on as a family to put on the boombox during afternooon swims. This was back when downtown was inhabited by the kind of straight-up phreaks who stuffed hardcore guy-on-guy pornography into their neighbor’s mailboxes apparently just for the hell of it (finding this sort of thing in the mail among the form responses from fan mail I’d sent to Vinny Testaverde is one of my first memories). E-I-O-diss-CO-to-GO!

23. Trinity and U-Brown, “Nice Up the Yard”, (single, 1982). My favorite riff on the “Boxing” rhythm ever released. Something about this just crackles with youthful energy and energy. Almost totally-unknown — this is off a comp I pulled off the internet called DUB HOT DUBS several years back, and I can’t find a single thing about either of the artists, but still, totally classic.

24. Linton Kwesi Johnson, “Fight Dem Back”, Forces of Victory (1979). Militantly progressive Black British reggae. One of the funniest and, yet, most deadly-serious songs ever recorded. 

25. The Dils, “Sound of the Rain”, Made in Canada (1980). Marxist-Leninist powerpop — nuff said. Name a catchier tune whose chorus begins “I don’t listen to the cops / I wish they all were dead”.

26. Fairport Convention, “Cajun Woman”, Unhalfbricking (1969). One of the slighter — but catchier — tracks from a top-10 record for me. Fairport, at that point featuring two of my favorite artists of all time (Linda Thompson and her husband Richard), turned in a massive, spiritual brit-folk-revival LP that was also stuffed with oddities like this zydeco-jammer. Like many Fairport tunes, the rapturous boogie is cut with a surprising gravitas. That slightly discordant note in the chorus is perfect.

27. Magma, “Üdü Ẁüdü”, Üdü Ẁüdü (1976). There are some of those “underground canon” records that are fun to listen to, that tickle your brain, that are intellectually exciting. And then there are some that, even though they’re sung in a made-up language and performed by a French band 32 years before you first heard it, feel so familiar that it’s as if they were written by dear friends. That joyous background whoop at 1:51 is one of my favorite moments in recorded music. A pulsating, polyrhythmic, deliriously joyous mass of music that seems to prefigure “Brothersport” down to the details.

28. The Fans, “Giving Me That Look In Your Eyes”, Giving Me that Look In Your Eyes EP (1979). Feckless, extremely-active Bristol new-wave-cum-powerpop. This reminds me of Vampy Weekend a little bit, actually, just in terms of how dizzily sucrotic this is. Unfortunately they didn’t realize very much other stuff but most “throwaway bands” manage only one great lost single — the Fans had several. If you dig this, have a listen to the equally-great “You Don’t Live Here Anymore”.

29. Alice Coltrane, “Sivaya”, Transcendence (1977). How are hipsters not all over this? Immediately accessible, burning-with-soul, post-apocalyptic prayers to god from one of the most respected jazz musicians of all time. It’s really hard to express how simultaneously and simple and deep this is; there’s something especially beautiful about this ragged, loose beauty when you know exactly how complex and brutal her music could be.

30. DJ Screw, “It Was All a Dream [Shaq]”, Chapter 11: Headed 2 Da Classic (1996?). Mention of the original Shaq record is something of a snarky in-joke amongst people that know anything about basketball or music, but this cut — while manifestly unoriginal — is genuinely beautiful and the Screw mix accentuates the deep vibes. Shaq’s not a great rapper but there is some real solid production on this and the big-workin-class-dreams-come-true bit tugs at the heartstrings.