#linernotes

[stochastique-blog]

Dont do that

Liner Notes - 35 years of Bigger and Deffer @llcoolj @defjam #llcoolj #bad #biggeranddeffer #defjam #goat #comic #webcomic #linernotes #compositionbookchronicles #cqcomics #conquesopublishing https://www.instagram.com/p/ClyRb0XO2hO/?igshid=NGJjMDIxMWI=

[folkimplosionmusic]

From Veit Stauffer on Facebook

JENS HAGEN (1944–2004) was a german photographer / journalist. Here in this group I met his wife, artist DOROTHEE JOACHIM. 💐🎩🎯She sent me this TIM BUCKLEY photo from Essener Songtage, Sat 28. September 1968, made by Jens Hagen.

When I later looked at my german pressing of "Starsailor" (1970), I found the linernotes in german/english by Jens. Beautiful coincidence. His well written text is not about "Starsailor" tough, but full of impressions Tim made on Jens, about his first four albums. Thanks alot Dorothee Joachim, for all your kindness and communication.

[newmasterpiece]

[nmpDATA065] takuya / KONDAK

Willowy、DJエリマキトカゲ、BeaverTozanなど多くの名義でテクノ／ヒップホップに多大な影響を受けた作品を発表するtakuya。完成の待たれる新作を目前に、なんと20年前に制作しお蔵入りになっていたアルバム音源が発掘！！

This is takuya's unreleased second album, produced around 2002, just after the release of his debut album "Phosphorescence" on Ze-Koo. It was distributed on MD to a few people involved in the project under the title "BLUE OPACITY," but it never saw the light of day and was lost for a long time, until it was suddenly unearthed from his house in 2023. It was released just before Electronica was developed in Japan, but some parts of it reminded me of Eccojam, the originator of Vaporwave, and sampled city pop, so I was convinced that there would be new discoveries when I listened to it in 2023, which led to its release on New Masterpiece.

LISTEN & DOWNLOAD: Bandcamp ////////

released 24 August 2023 CAT: [nmpDATA065] fee: ¥800.-

烽火 /02:12

Shin-Gyo /05:50

Unfinished Symphony /03:08

筧の水 /02:02

Physical Dub /05:46

走り出せさあ早く /03:20

Love Is Deaf /02:07

Hypnosis Phenomenon /05:47

江ノ島 /03:14

You Are My Angel /01:52

忍者Kの落とし物 /06:13

Theme From“Time Traveler” /02:53

Listen To This Sound On The Other Song /01:11

Mon Chemin /07:21

3:00 /03:00

情熱のかけらたち /03:09

all tunes composed, arranged and performed by takuya Jacket Design & Linernotes by hitachtronics

[thenichearchive]

Album Cover Artists

I'm working on an annotated playlist for a show, and it took me literal hours to find the cover artists of all of the albums. I learned, among other things, that if an artist is impossible to find, then the performers probably did it themselves (otherwise they would've credited someone). So here they are:

Queen's "Innuendo" (1991) album cover, designed by Richard Gray https://faroutmagazine.co.uk/freddie-mercurys-queen-album-innuendo-cover-art/

This one has a fun backstory, based off of an illustration by J.J. Grandville (colorized by Richard Gray).

Queen's "A Kind of Magic" (1986) album cover, designed by Roger Chiasson https://www.queenvault.com/linernotes/akomlinernotes.html

This artist also worked on Disney's Aladdin, in case the shapes seem familiar.

Phoebe Bridgers' "Punisher" (2020) album cover, photographed by Olof Grind https://ourculturemag.com/2020/09/12/an-interview-with-olof-grind-the-photographer-behind-the-artwork-for-phoebe-bridgers-punisher/

Florence + The Machine "High As Hope" (2018) album cover, photographed by Tom Beard https://x.com/florencemachine/status/992848907246813184

Bo Burnham's "Inside" (2021) album cover, designed by Alex Kalatschinow https://www.instagram.com/p/CXoR2wCrr5H/?utm_source=ig_web_button_share_sheet&igsh=MzRlODBiNWFlZA==

Hozier's "Unreal Unearth" (2023) album cover, photographed by Julia Johnson https://www.instagram.com/p/CsWTcpkoGqb/?utm_source=ig_web_button_share_sheet&igsh=MzRlODBiNWFlZA==

The Crane Wives' "Coyote Stories" (2015) album cover, designed by Rebecca Green https://www.myblankpaper.com/blog/2015/6/3/coyote-stories

The artist for this one documented their process on their blog, it's really cool!

AJR's "The Maybe Man" (2023) album cover, designed by Aaron Jasinski https://www.instagram.com/p/CxET2-HS3eb/?utm_source=ig_web_button_share_sheet&igsh=MzRlODBiNWFlZA==

Chappell Roan's "School Nights" (2017) single cover, designed by Abbey Lila https://www.instagram.com/p/BgXx1drDE3-/?utm_source=ig_web_button_share_sheet&igsh=MzRlODBiNWFlZA==

The link goes to Chappell Roan's post crediting the artist, who can be found on Instagram @/tobacco_and_leather

Noah Kahan's "Stick Season (We'll All Be Here Forever)" (2022) album cover, photographed by Patrick McCormack https://patrickmccormack.substack.com/p/stick-season-forever

I couldn't technically find a credit for this specific cover, since it's only for the WABHF release.

Patrick McCormack did the photoshoot for the original "Stick Season" release, and that was all that I could find when searching for this.

Everybody's Worried About Owen's "There Are Leeches in Denton Lake" (2021) album cover, designed by Emmy Kelly https://www.everybodysworriedaboutowen.com/listen

The twitter account associated with this cover doesn't really bring up anything, but this was all I could find for this (and other) covers.

dodie's "Human" (2019) album cover, photographed by Kyle Jones; designed by Sydney Emery https://www.discogs.com/master/1488493-dodie-Human

I'm going off of discogs, which can be a mixed bag, so take it with a grain of salt.

Kyle Jones is a photographer who does portraits, so that checks out. I still didn't find definitive evidence.

Sydney Emery is a designer who works with Vevo, and has been the Head of Design at Vevo since 2019.

Raynes' "Set Fire To The Foxes" (2021) album cover https://www.instagram.com/p/CPTbonDnKxd/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==

I could not find any credit for another artist on this design, but this was their debut EP, made during the pandemic, which I believe gives some weight to one of the band members designing it themselves.

The art from their most recent EP, "Bloom" (2025), was designed by Mat Charley, a multi-instrumentalist member and producer of the group.

fin's "Lost At Sea" (2017) album cover

I scrolled through 8 years of instagram tags to try and find a post crediting someone, but I never found anything. I believe this means that fin probably made it themself.

House Phone's "Drinking Song" (2021) single cover

Again, found nothing regarding another artist, but did find that Tumblr (shoutout) people wanted this song before the whole EP was done. So, I'm assuming that Carly Besterman took this beautiful photo themself.

I do not own any of these images!

If you found a mistake in this post, please let me know and I can update it!

[dakishimeteiku-dodoto]

蛍を宙に放すように self-linernote

　

　この曲の最初の欠片を思いついたのは、フランスに留学していた時に住んでいた寮のベッドの上でのことだった。

　学校終わりか休みの日かは忘れたけど、青い葉っぱの模様のシーツをかけた布団の上でごろごろしている時に、どういうわけか、「蛍を放すように抱きしめる」という言葉のイメージ？映像？が頭に浮かんで��たのだった。

　その瞬間はいいフレーズだなと思ってメモしただけだったけど、よくよく考えてみると、どうしていきなり蛍のイメージが出て来たのか不思議になってきた。それを今更ながら自分の中で問い直してみたところ、私の中での「蛍」の記憶はどうやらふたつあるらしい。

　一つ目は、本物の蛍。

　子どもの頃、毎年夏が来る前に家族で蛍を見に行っていた。私が住んでいる大阪市内に蛍がいるような場所はそうそうない。だから、毎年6月下旬ごろに、大阪北部の能勢の方もしくは京都の亀岡の方まで、家族で夕方からドライブに出かける日があった。暗くて静かな山際の水辺に着くと、ほわほわと光る蛍がいた。それを見るたび、作り物みたいな明るい光のひとつひとつに命が宿っているということが、頭では理解できても、なんだかよくわかないというか、実感が湧かないというか、とても不思議だった。とはいえ、いくら私がわからなくとも蛍たちが生きていることには変わりなく、だったら、捕まえたり傷つけたりするのはあんまりいいことではないな、と思っていた気がする。でももしかしたら今思い付きでそういうふうに書いているだけのような気もする。なんにせよ、そういう経験の記憶こそが私の中での「蛍」の原風景で、毎年の心の風物詩となっている、気がする。

　二つ目は、絵本の蛍。

　「はらぺこあおむし」で知られる作家、エリック・カール氏の作品に「さびしがりやのほたる」という作品がある。蛍が仲間を探して飛ぶ、というのが物語の大まかなあらすじで、横長の絵本の終わりには沢山の蛍が光って飛ぶ様を表現するべく電飾の仕掛けまで施されている。幼い私はその絵本を何度も読み、何度も母に読み聞かせてもらっていたのだけれど、それを思い出したのは、実はこの曲が先行シングルとしてリリースされた後だった。9月のある日、家の本棚にこの絵本の背表紙が並んでいるのを見て、急に「あっ」と思い出した。そして、久しぶりに本を開いてページをめくり、最後の見開きで、空一杯の蛍のおしりが埋め込まれたLEDでふわふわと光ったり消えたりするのを眺めながら、「私の蛍のイメージはここからも来てたんやな」と、ひとり腑に落ちたりした。

＊＊＊＊＊＊＊

　「蛍を空に放すように抱きしめる」。そのワンフレーズから曲を書きあげたのが2023年の6月、フルバージョンの弾き語りのデモができたのは、どうやら2023年の8月中だったらしい（よく覚えていないけど、デー��を見る限りそうみたい）。その時点では、今よりももう少しテンポが速かった。でもensembleでアレンジしていくうちに、というよりは、多分りっきーさんとふたりでスタジオに入って、初めてこの曲を演奏してみた時に今のテンポ・質感になり、だんだんとそれがしっくりくるようになった。

りっきーさんと演奏すると、私の曲の「素の状態の輪郭」が浮かび上がってくる。私に見えていなかったけど元々曲に備わっていたであろうものが、急にはっきり認識できるようになる、という感じ。それはこの曲に限らず、大体全部の曲に対してそう（前の音源に入っている「まばたき」とかは特に）。新しく書いた曲を初めてりっきーさんとする時、私は自分がやろうとしていたことにより自覚的になるし、「どう歌うのがいいか」、「この先どうアレンジしていけばいいか」というような見通しが、一気に「わかる」ようになる。これはすごいことで、だからこそ、甘えていたらだめだなあとも思う。

　それはそうと、この曲のデモをみんなに共有したのは、他のアルバム曲と比べてもだいぶん早かった。去年の九月には送っていたはず。ただ、なみきちゃんと一緒に演奏することを決めたのは去年の暮れのことだったので、彼女にこの曲を渡したのは他の二人よりももう少し後のことだった。（なみきちゃんとの出会いについては、「ここは蜂蜜」について書くときに、書きます。一生忘れないだろうなっていうような出来事があったので）今回の録音でいうと、2番の入りの、ベースの柔らかい音色が優しくて特にすき。歌ってて安心する音。

　今年1月、最初に皆でスタジオに入った時は、二番の後の間奏をどうするか決まっていなかった。それでも、何回か練習を重ねるうちに、あのとてもシンプルな形に落ち着いた。吉居君がああいうギターソロを弾いている楽曲って、彼の参加作品の中でも多くない気がするので、割と貴重なのでは、と勝手に思っている。それに、あのソロはこの曲にとって絶対に必要だったし、あのソロがあってよかったなと、聴き返す度に確信する。

　全体的には（ほの暗さではなく）ほの明るさ、みたいなところを目指してコードとメロディーをつけて、アレンジして、つくりあげていった（気がする）。

＊＊＊＊＊＊＊

　そんな感じです。蛍は初夏の季語ですが、この曲は初秋の方がしっくりくる気がします。気がする、ばっかりですみません。

　聴いていただけると嬉しいです。アルバム、楽しみにしててください！

各種配信はこちら

[hitachtronics]

20240719/// [nmpDISC008] takya / Domestic Science ///

Compact Disc Co-Produced, Linernotes + Jacket Design /// Jacket Artwork: 広岡ジョーキ /// Produce: takya ///

[porter-alternativerock]

Freitag, 5. April 2024 – unsere vierte Single aus „GENOSHA“ erscheint.

Natürlich sind uns alle unsere Songs wichtig. Die Songs von „Genosha“ in ihrem inhaltlichen Überbau vielleicht sogar noch einmal wichtiger.

>>> "Tout est pardonné" hören: https://ditto.fm/tout-est-pardonne

Dennoch gibt es Songs, die auch für sich Ihre Wichtigkeit, ihre Dringlichkeit besitzen. Nicht, weil wir uns für besonders toll halten, sondern weil die Message einfach wichtig ist. Und die ist dieses mal nicht einmal auf unserem Mist gewachsen.

Die Lyrics für „Tout est pardonné“ haben wir uns von Sophie Scholl entliehen. Es sind mutmaßlich ihre letzten Worte, kurz vor Ihrer Ermordung durch die Nazis am 22. Februar 1943. Es sind wichtige, wahre Worte.

Es gibt heutzutage weder einen Grund, noch eine Entschuldigung, angesichts der offensichtlichen Bedrohung durch faschistische Tendenzen in der Gesellschaft den Mund zu halten.

Fragen sich nicht viele von uns immerzu, was wir in den dunkelsten Zeiten anstelle unserer Vorfahren getan hätten, als die Faschisten die Macht in Deutschland ergriffen und das barbarischste System, das Menschen sich vorstellen können, zur Norm erklärten? Und noch realer: Was werden wir tun, wenn es wieder so weit kommt? Sind wir dann die feigen Mitläufer der Hassenden, die ein solches System zum Leben benötigt – oder gar aktive Täter und Täterinnen? Oder bleiben wir aufrecht, selbst wenn man uns alles, wirklich alles nehmen sollte?

Sophie blieb aufrecht! „Tout est pardonné“, die vierte Single der Alternativerockband PORTER aus dem Album „GENOSHA“, führt die Hörer*innen mit seiner luftigen musikalischen Eröffnung zunächst durchaus gewollt auf eine falsche Fährte. Die vermutet wohlig-melancholische, beinahe heiter einnehmende Stimmung des Intros wird gebrochen, konterkariert durch den einsetzenden Text, die letzten Worte der jungen Widerstandskämpferin Sophie Scholl, kurz vor ihrer Ermordung durch die Nazis in Hitlerdeutschland am 22. Februar 1943. Kraftvolle Worte, die einen noch heute erschaudern lassen, ob Ihres Mutes, Ihrer klaren Haltung gegenüber eines so unmenschlichen, wie übermächtigen Feindes, selbst angesichts ihres nahenden und sicheren Todes.

Dieser Song handelt von Mut.

Vom Menschbleiben in Zeiten der puren Unmenschlichkeit. Er ist eine Warnung in heutigen Zeiten, die sich anschicken, das Geschehene, das Unvorstellbare als vergessenswert ansehbar zu ermöglichen. Doch er handelt auch von der unabdingbar notwendigen Hoffnung, die selbst in den düstersten Zeiten menschlichen Daseins Bestand haben kann – Bestand haben muss, wenn wir alle eine Chance haben wollen gegen die sinnfreie Barbarei gewissenloser Diktatoren und ihrer Steigbügelhalter. Letztere lassen aktuell und unverhohlen ihre Masken wieder fallen, in Form von Influencer*innen, Parteien, Faktenleugner*innen. Das Spektrum ist unendlich groß. Sie reden von „Fliegenschiss“ und meinen 50 Millionen Tote. Sie reden von Remigration und meinen Deportation. Rassismus, Antisemitismus, Homophobie und sämtliche Spielarten des Chauvinismus haben wieder Hochkonjunktur – und abermals kommen sie im Tarngewand der Biedermänner daher.

Sophie Scholl glaubte bis zuletzt daran, dass die Barbarei überwindbar ist, dass das schiere Böse nicht alle Zeiten überdauern wird, dass die Freiheit für alle erreichbar ist.

„Die Zeit, die Dich braucht, die ist jetzt!“ (Fjort) Es gilt: Was werden wir, was wirst Du tun?

„May they continue what we have started.”

>> HIER kannst Du „Tout est pardonné“ hören! Das Video zum Song erscheint in den nächsten Wochen auf YouTube.

Und dann ist da auch noch der Radiotext vor dem letzten Refrain …

>>> Linernotes zum Song: https://www.derherrgott.de/porter-tout-est-pardonne-linernotes/

..... porter #alternativerock #rock #metal #newsingle #newrelease #single #nonazis #fightfascism

[snotty-freak-beat]

no*2023*complete

ok, ich höre jetzt auf.. ..also mit dem 2023

doch erst nach folgenden worten:

hallo liebe, every- respektive anywhere hier nun die end(lose)fassung 2023, teil 2 ist ungefähr gleich lang geworden, doch ebenso lauschenswert, auch da gibts wieder punk-&-wave-scherereien, im grossen ganzen entspannt bis melo, funkelig & rauhnächtig.. ich habe den bogen über, nun ja, exakt hundert songs gespannt (ja genau, wieder etwas reduziert zum extended vorjahr), klingt zwar immer noch viel, aber ist wiederum auch in ungefähr 6:42h zu schaffen (rauch-, trink- oder lärmpausen exklusive), auf die lebenszeit der meisten bezogen geht das ja noch.. (und wie immer unter dem obigen link ebenfalls verfügbar sind alle vorangegangenen jahre..)

btw linernotes: die meiste zeit brauche ich jeweils beim nachhören der eingedampften musikauswahl meines jahres, und dann vor allem für entscheidungen, welches stück ich aus meinen persönlichen favorites einer band auswählen soll, oft bleiben schlussendlich zwei stücke eines acts übrig, ich höre sie in verschiedenen stimmungen und tageszeiten, am ende hilft es mir meistens, einen der beiden in nen ordner zu werfen namens „adventure vorrat“ dieser ist nun in den jahren recht füllig geworden, dabei habe ich diesen vorrat bisher nie gebraucht oder genutzt, weil ja die musik immer weiter geht, und ich vermute, er würde so einfach immer weiter wachsen und wachsen, heute dachte ich, es wäre an der zeit, da mal radikal auszumisten, doch vorher zu stöbern und im laufe jahr mal ein extra outtakes-mixtape zu schustern.. ja richtig gelesen, der kalender ist zu einer art jährlichem mixtape geworden und als das bezeichne ich es gern, ich mag die zeiten als wir uns mixtapes zum geburtstag schenkten (später CDs, doch die tapes waren cooler..), irgendwann sind sie zwar meistens irgendwo an festival, tankstelle oder waldparty aus dem auto gefallen, als bandsalat mit matsch-dressing geendet oder sonstwie verschwunden, aber egal, gab ja immer wieder neue oder neu überspielte.. in zeiten von streaming und spotify-playlisten sind die mixtapes etwas obsolet geworden, doch eine meiner zeitlosen freuden..

ich hänge dabei auch nicht der vergangenheit nach, doch erinnere sie gern, anerkenne und wertschätze an ihr, dass sie jede* von uns individuell geprägt und herausgeschält hat, wie auch weiter formen wird, von zeit zu zeit sogar gemeinsam, eben immer dann wenn es am schönsten ist..

kisses are dying on lips no

[countrymusicandcher]

So I actually asked Richard on Facebook bc he was having a Q& A and the answer is awesome (I mean he amswered me!!!) But it also makes this even more confusing...

Because is Loudon & Richard got together proper in the 80s - when Kate was, by the way, seeing and indeed living with Pat Donaldsson - HOW did she meet Linda "through their partners"? The one explanation I can think of is that Richard mentions Pat in his memoir as having known him in the 70s, which could mean that Linda ment she met Kate via Pat and not Loudon...? I would have to go back to the Linda Sources (linernotes for "Won't belong now") but that would explain all of it I suppose???

I will never not be annoyed that Richard Thompson didn't talk at all about Loudon Wainwright III in his memmoir "Beeswing". It covers the period up to 1975 and we know for a fact they must have to have met before that.

Loudon and Kate had their final seperation in late 1976 and their divorce was finalized by 1979. When Richard & Loudon met Kate & Loudon were very much an item, because Linda Thompson has said she & Kate met through their partners. Kate would hardly have associated with Loudon after '76 because she met her new partner in '77.

So where's the story? I just want to knooooow

[isabeljkim]

LN: Homecoming is Just Another Word for the Sublimation Of The Self

DO NOT READ UNLESS YOU HAVE READ THE STORY HERE.

People assume that Homecoming is autobiographical or reflects my emotions in that the main character’s perspective is my own. I think this happens a lot when someone writes Immigrant Narratives, and I have a hard time saying “hey people shouldn’t do that” because I also think that a lot of time the application of the self into the story is true. But when people have talked to me about Homecoming, they’ve assumed a specific background/state of mind for me which isn’t necessarily accurate. 

It’s a pretty personal story for me in that I dropped a lot of cosmetic details about my history into the story, but not a personal story for me in that I don’t think it reflects any sort of immigrant angst that I feel, only sort of a clean desire to explain to those who have non-diaspora lives that diaspora is complicated and people don’t always feel the way you think they should feel about it. My goal with the story was to really just drive home the thesis that diaspora is messy, you don’t get to choose who you become, the line between foreigner and homeland is thin, America is like a worm that gets into your brain, please experience being uncomfortable for 6000 words, I am not here to play.

I feel a weird need to disclose that I’m not technically an immigrant. Everyone who reads this assumes I am, but I was born in NJ, and my parents lived in the states for 20 years before they had me…but I spent a lot of my childhood in Korea because my dad got a job in Korea right before I was born. I spent the first ten years of my life shuttling between California and Korea because he was a professor at universities in both countries, though I went to school in Korea. I call myself 1.5 gen, haha. I’m an edge case. 

This story was one of those cases where I wrote something kind of sad and I thought “this isn’t that sad” and everyone I showed it to was like “dude this is sad as shit” and I was like “oh is it sad?” because I considered the story more about the tension between the decisions about your life that you get to choose, versus the ones that are chosen for you, and I didn’t feel that was particularly sad as much as it is one of the clean realities of life: a lot of the choices that create who you are get made for you. 

I wrote this story because I felt that I hadn’t read any immigrant/second generation narratives that talked about the tension between the fact that we live in a global world and it’s not hard anymore to return places, held against the fact that you can never actually return to somewhere you last left, and the compounding fact the person you are has changed in the intervening time so that they would be unrecognizable to the self you left behind. 

I felt that there wasn’t a story for Guys Like Me, who went to Korea most summers after moving to the states until they stopped and then eventually realized that they had turned into someone who can confidently say “I’m from New Jersey” rather than tentatively say “I’m from New Jersey?” and what that means about loss and change. 

I also wrote this story because I thought “haha wouldn’t it be fucked up if immigration worked like github instancing?”

I don’t know if I’m going to write more things about Korea Stuff. This is my first bigboy publication (but check out my game at Sub-Q!! It’s good!!) and I don’t want to get pigeonholed as a diaspora writer/asian things specifically by the market. I am just some guy who likes wizards and lasers. I am kind of an ambivalent asian. i just go here. You just think I go here because I’ve got the eyes and hair and skin tone. 

The folktale about the knife, fisherman, is a bastardized version of a folktale I heard in elementary school, which I couldn’t find online even though I searched for it quite a bit. There’s a lot of stories about “guy goes to the fae court under the sea, comes back, oh shit, time has passed,” but I made up all the stuff about the knife, the killing of the self, etc. Based on a real story though! That’s real! 

I named Soyoung after my childhood best friend, who I’ve lost touch with for the last decade on account of her living in Korea and me moving permanently to the states. Don’t read too much into that. Claire Soyoung Ko if you’re out there…..

I accidentally named Jungwon after one of my cousins because I forgot it was his name because I always call him by his American name and now I can’t show him the story because it has his name in it. I swear this wasn’t on purpose.

In the first draft, Soyoung was bisexual, but I couldn’t fit that fact in the final draft. Know in your heart that this is true and canon, though.

The grandfather’s apartment, the Shinsegae department store basement, and the grandfather’s gravesite are all based on my actual human grandpa’s apartment/grave/places near it, and it was really just an exercise in nostalgic laziness that I described places I was pretty intimately familiar with. (If you want to know something meta that’s a little sad and strange related to the story: my family is talking about what to do with my grandfather’s grave now, because it’s too far from most of the family for them to visit. We’re trying to figure out where to take my grandparent’s ashes. I learned about this a month after my story was published and felt some kind of way).

Homecoming really is the best example I’ve written of how a story is sad or happy depending on where you end it. I ended it at the saddest moment. Soyoung’s life ends up pretty good! Soyoung ends up happy mostly, in the way that happiness is a mutable state for most people.

I cannot stress enough that Dr. Crouton, best cat, does get sent for and Soyoung DOES get her cat back. This is fucking crucial.

I always think about doing more with this story, because I think it’s an interesting concept that says a lot about migration/diaspora/immigration stuff, but I hesitate because I don’t know if I’m the best writer to write a story about this. 

[sofakingmanyrecords]

Alex Chilton "My Rival" 10" EP. Another RSD Omnivore sale piece. The "Like Flies on Sherbet" version of "My Rival" is actually my favorite Alex Chilton solo song. I'd love to have that on vinyl. And while I have been known to piss away large sums of money on some vinyl in the past, I rarely ever do it for one song. Anyway, this is a cool little artifact like that Nilsson LP. Probably wouldn't have bought this if it was a 12" as I lack the space but I do have space where I stash my 10" records as I probably have less than 40 of them. The liner notes alone, for the price I paid, are almost worth the price of admission. But then again, I love me a good liner note. #LP #Vinyl #Records #AlexChilton #MyRival #10InchVinyl #LinerNotes #OmnivoreRecordings https://www.instagram.com/p/ChWzHcSuSBd/?igshid=NGJjMDIxMWI=

[citylightsbooks]

5 Questions with Daphne A. Brooks, Author of Liner Notes for the Revolution

Daphne A. Brooks is the author of Jeff Buckley's Grace and Bodies in Dissent, and winner of the Errol Hill Award for outstanding scholarship in African American performance studies. A professor at Yale University, she has written liner notes to accompany the recordings of Aretha Franklin, Tammi Terrell, and Prince, as well as stories for the New York Times, The Guardian, The Nation, and Pitchfork.

Daphne Brooks is in conversation with Ann Powers discussing her new book Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound in our City Lights LIVE! discussion series on Wednesday, February 24

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Where are you writing to us from? I am writing to you from?

I am writing to you from New Haven, CT… but my heart, and I’m not kidding about this, is in San Francisco—and Berkeley and Oakland and Menlo Park/Palo Alto—my hometown turf!

What’s kept you sane during the pandemic?

Baking, late-night television (Trevor Noah, Seth Meyers, Jimmy Fallon—watched in the 2AM hour), I May Destroy You (more episodes, please!), The Forty-Year-Old Version, the Childish Gambino record nobody listened to but me, the Fiona Apple record that everybody listened to early in the pandemic, Arlo Parks’ debut album, our beloved and beautiful young chocolate lab Gibson who, so incredibly sadly, we just lost . . . 

What are 3 books you always recommend to people?

Ralph Ellison, Invisible Man; Toni Morrison, Jazz and/or A Mercy; Crime and Punishment (had to read it in the 6th grade)—plus one short story: James Baldwin, “Sonny’s Blues"

Which writers, artists, and others influence your work in general, and this book, specifically?

- Greil Marcus, Lipstick Traces: A Secret History of the 20th Century; - Alex Ross, The Rest Is Noise: Listening to the Twentieth Century; - Ann Powers, Good Booty: Love and Sex, Black and White, Body and Soul in American Music; - Albert Murray, The Hero and the Blues & assorted essays; - Ralph Ellison, Invisible Man & assorted essays; - Saidiya Hartman, Wayward Lives, Beautiful Experiments: Intimate Histories of Riotous Black Girls, Troublesome Women and Queer Radicals; - Toni Morrison, Jazz, Beloved, Playing in the Dark: Whiteness and the Literary Imagination; - Farah Jasmine Griffin, If You Can’t Be Free, Be A Mystery: In Search of Billie Holiday; - Gayle Wald, Shout, Sister, Shout! The Untold Story of Rock-and-Roll Trailblazer Sister Rosetta Tharpe; - Josh Kun, Audiotopia: Music, Race, and America; - Fred Moten, In the Break: The Aesthetics of the Black Radical Tradition, The Universal Machine, Black and Blur, Stolen Life

If you opened a bookstore, where would it be located, what would it be called, and what would your bestseller be?

BERKELEY, CALIFORNIA, full coffee bar, turntables and listening booths, extensive newsstand, extensive music books section, BIPOC sections, critical gender studies and queer theory sections, performance space, public library/donations space, extensive children’s lit area. It’s called: Words In Stereo. Bestseller: that’s a tough one! Maybe some kind of a book that hasn’t been conjured up yet, a collaborative endeavor by Amanda Gorman and Greta Thunberg.

[knittedknuckle]

I was avoiding you when I found him.

[birdsy-purplefishes]

I haven’t said it enough yet but #EverythingEverything’s #REANIMATOR is amazing. What other album has the #BicameralMind hypothesis, malevolent #fatberg gods, classic Twilight Zone monsters, lovelorn apes, a banger about the threat of global warming, and a deep reverence for the miracle of life and the wonder of human consciousness? Cats will tolerate it too! Buy it, stream it, love it, cherish it. #everythingeverythingband #E_E_ #vinyl #artrock #indiemusic #music #albumart #lyrics #linernotes (at San Diego County, California) https://www.instagram.com/p/CFv060_Dzja/?igshid=a4mzt0x8m8he

[hogzindandyland]

‪lyric sheet for the latest record, Dr. Grimm's Parade‬

[dakishimeteiku-dodoto]

銀を攫って self-linernotes

　8曲目は「銀を攫って」です。

　この曲もたぶん3年前くらいからありました。でもライブでは歌ったことがなかったはず。

　高校の頃、学校の行きしなにコンビニでお菓子を買うのが癖で、それをクラスの友達によくあげていました。私のお菓子袋から勝手に飴やキャラメルを食べている子がそういえば何人かいたな、と、その頃のことをなんとなーく思い出しながら書いた曲、だった気がしますが、思い出に浸るようなノスタルジックな曲ではないです。現在進行形。曲の中の一瞬の現在が、永遠に引き伸ばされているような、そんなつもりで歌っています。

　夕方の柔らかいオレンジの光と森永のキャラメルの包み紙の銀色のイメージ、それと、教室の木でできてる感じをなみきちゃんに伝えて、二人で3時間かけてみっちりアレンジを練りました。なみきちゃんと演奏していると、コントラバスの音からなみきちゃんの息遣いまで伝わってくるような感じがするのが楽しいです。録音の時は別の部屋で演奏していたのでお互いの顔が見えていなかったのですが、ヘッドホンから聞こえてくる音だけでしっかり合わせられたのがよかったです。私はそんなに心配していませんでしたが、なみきちゃんはわりと心配だったらしいです。結果、2テイク録りましたが、確か採用したのは1テイク目？だったような。なので、実質1テイクです。

　なみきちゃんはいつもお菓子袋を持っていて、スタジオや録音の日はみんなそれぞれお菓子をもらっていました。私は主にラムネをもらっていました。クッピーラムネっておいしいですね。久々に食べてみてしみじみと感じました。