#pulled from discogs

[skatalite]

[dorothygale]

I was inspired by @silkchifffon to post my vinyl collection 😛 click for full quality! (not included: my preorders of 1989 TV and The Rise and Fall of a Midwest Princess by Chappell Roan)

also here is my discogs lol

list ⬇️

Aly & AJ - Ten Years, Joan of Arc on the Dance Floor / Attack of Panic (single), Potential Breakup Song (single), a touch of the beat gets you up on your feet gets you out and then into the sun

The Beatles - Abbey Road, Hey Jude, Let It Be

Big Red Machine - How Long Do You Think It’s Gonna Last?

Billy Joel - Streetlife Serenade, The Stranger, 52nd Street, Glass Houses, The Bridge, A Matter of Trust / Getting Closer (single), An Innocent Man

Carly Rae Jepsen - Tug of War, Kiss (picture disc), Kiss (anniversary white vinyl), Call Me Maybe Remixes, Emotion, Emotion (anniversary blue vinyl), Emotion Side B, Dedicated, Dedicated Side B, The Loneliest Time

Carole King - Tapestry

Creedence Clearwater Revival - Chronicle: The 20 Greatest Hits

Dean Martin - The Dean Martin Christmas Album

Eagles - Hotel California

Elton John - Goodbye Yellow Brick Road

Fleetwood Mac - Fleetwood Mac, The Farmer’s Daughter / Monday Morning (single), Rumours, Dreams / Songbird (single)

Frank Sinatra - Merry Christmas to You

HAIM - Days Are Gone, Something to Tell You, Women in Music Pt. III

Halsey - BADLANDS

Harry Styles - Harry Styles, Fine Linen, Harry’s House

The Head and the Heart - The Head and the Heart, Let’s Be Still

Hootie and the Blowfish - Cracked Rear View

Hozier - Hozier, Wasteland, Baby!, Unreal Unearth (signed)

Huey Lewis and the News - Sports

Jackson Browne - Running On Empty

James Taylor - Greatest Hits

Jonas Brothers - Happiness Begins

Judy Garland - The Very Best of Judy Garland

Julie Andrews - Your Favorite Christmas Carols Vol. 5

Leonard Nimoy - The Touch of Leonard Nimoy

Lorde - Pure Heroine, Melodrama

mxmtoon - the masquerade, dawn / dusk (double EP), in the darkness (Flexi single)

Olivia Rodrigo - SOUR, singles 4 you (12” single, sealed)

One Direction - Up All Night, Take Me Home, FOUR, Made in the A.M.

Paul Simon - Greatest Hits Etc.

Sammy Rae & The Friends - Chapter One

Simon & Garfunkel - Greatest Hits

Taylor Swift - Taylor Swift, Picture to Burn (single), Fearless (Platinum Edition), Fearless (Taylor’s Version), Speak Now, Speak Now (Taylor’s Version), Red, Red (Taylor’s Version), 1989, reputation (picture disc), Lover, ME! (single), ME! BBMA rehearsal audio (single), Lover (Live From Paris), Christmas Tree Farm (12” single), folklore (stolen lullabies edition), cardigan / cardigan voice memo (single), cardigan (cabin in candlelight version) (single), evermore, Midnights (Lavender Edition)

Various/Misc - Camelot OBCR, Casablanca: Classic Film Scores For Humphrey Bogart, A Christmas Album, Christmas America, A Christmas Gift, Christmas Number 1’s, Cinderella (1965 OST), The Magical Music of Walt Disney, Free to Be… You and Me, Grease OST, My Fair Lady OBCR, The Sound of Music OBCR, The Sound of Music OST, Star Trek Stories, Star Trek III: The Search for Spock OST, West Side Story OST, The Wizard of Oz OST, The Wizard of Oz OST (Mondo)

[rosie-love98]

The More I've Looked Up On Irene Cara, The More She Reminds Me Of Michael Jackson:

I had already posted this on Reddit. But, I'll post it here too.

-Both Came From A Musical Family: Joseph had his own band, The Falcons, while Katherine wanted to be a country singer. Plus, on Katherine's side, Michael's related to Stevie Wonder. Then there's Irene's family; her father, Gaspar, was said to have brought merengue to the States thanks to being a saxophonist. Not only that but (according to Discogs: https://www.discogs.com/artist/6491165-Gaspar-Escalera ) he was also part of a record; Dioris Valladares's "Pa Bailar Na Ma". As for Irene's mother, Louise, she wanted to go into show business but her own parnets (Irene's grandparents) forbade it. Irene also had a brother who performed opera.

-Both Joseph And Gaspar Worked In Steel.

-Both families were of a struggling background.

-If Irene Really Was Born In 1959 (Her Birthday's Been Up For Debate Over The Years), She Would've Been 6 Months Younger Than Michael.

-They Were Child Prodigies: As small children, both Michael and Irene had showed their musical talents. Irene was able to play the piano by ear (like Lisa "Left Eye" Lopes did in her own childhood), went to classes for dancing and music. Meanwhile, Michael would show off his singing voice and join the Jackson 5 at around 5-6.

-The Wizard Of OZ: While Michael played The Scarecrow in "The Wiz" film adaption, Irene had played the role of Dorothy on the stage. Speaking of Diana Ross...

-The Supreme: As Michael was known for his relationship with Diana Ross, Irene had starred in "Sparkle", where the main musical group was loosley based off of The Supremes. Irene would also spoof the said trio in her "Girlfriends" video.

-A Connection To "Fame": While Irene's known as "Coco" from the original film, Michael's sister, Janet, was a part of the TV adaption, playing the character of Cleo.

-They Had Many Friends/Coworkers/Peers In Common: Andy Gibb, Stevie Wonder, Dom DeLuise, Sammy Davis Jr., James Earl Jones, Louis Armstrong, Donna Summer, Luther Vandross, Mr. T, Debbie Allen, DJ Bobo, Molly Meldrum, Laura Branigan, Tatum O'Neal and many more!

-We Are The World/Cantare, Cantaras: When, in 1985, Michael was doing "We Are The World" with Diana, Stevie Wonder, Cyndi Lauper and other known singers for charity, the performers of Latin America wanted in too. So, gathering at the very same studio as "We Are The World", A&M, they performed the song, "Cantare, Cantaras" ("I Will Sing, You Will Sing"). Jose Feliciano, Julio Iglesias, Cheech Marin, Menudo, Ricardo Montalban, Pimpinela, and Yuri were among the singers for this. Along with Irene, of course. Just to be clear, both songs were in 1985.

-Both Fell Victim To The Media: With Irene fighting for her royalties that her record company had withheld from her, she was ultimately blacklisted. Lies had spread saying she was a drug-addicted (while Irene did do cocaine brought upon by her proucers to help with her energy, she did kick the habit) diva who was difficult to work with. Then there's Michael who had the worst slander done to him. With all of this along with their respective court cases, both had seemed more tired, world-weary and arguably reclusive. That said, they still didn't lose their love for music.

-Shared Interests: Charity work, Old Hollywood/Old Movies, drawing, swimming, and song-writing. They also had interests directing their own films and writing stories.

-Shared Personalities: Shy, reserved, kind, down-to-earth, spiritual, silly, independent, creative, hard-working/(arguably) workaholic, private, stubborn and (in TVTrope terms) "adorkable".

-They Were Included In The 1985 Documentary, "That's Dancing".

-Both Were Nominees In The 1984 Grammy's.

-Were At The Top Of The 1983 Billboard Charts (Link: https://djrobblog.com/archives/17370 ).

-They Could Both Pull Off The Moonwalk!: Ok, with Michael, we all should be fully aware of his famous move. But Irene can pull it off too (and in heels!) as seen in her "Solid Gold" performance of "Breakdancing":

And in her performance at the '84 American Music Awards (attended also by Michael):

-As Mentioned By DJ Rob Blog: Michael Jackson’s death, June 25th, 2009, was on the 26th anniversary of “Flashdance” beating out “Thriller” on the Billboard Charts. Coincidently, Irene Cara’s own death, November 25th, 2022 was a week after “Thriller 40” album was released to the public.

-Snow White: It's no secret that Snow White was one of MJ's favorite characters. He even had her an the 7 Dwarves visit him back in the 80's:

Fast forward to 1989 where Filmation had made their (technically second) sequel to "Snow White" in the form of "Happily Ever After". There, Snow White was voiced by Irene.

That's all I can gather so far. Though, I want to added some disclaimers--

*I was going to include their ALLEGED eating disorders but I've left it out due to not being entirely sure if either of them had suffered from those ailments.*

*I was also going to bring up DJ Bobo's song "Man In The Mirror" (which, judging by the lyrics, seemed to have been about Michael). But I'm unsure if Irene was among the vocals. I could've sworn I heard her singing: https://www.youtube.com/watch?v=eEqMfk-xwks . *

@buckhead1111 @jamesmassino @forever70s @mabellonghetti @classicalallure @loveboatinsanity @eightiesgalaxy @yodaprod @ladyorlandodream @mydailyvintagephotos @s-k-e-t-c-h-y-artist @fallinlovewithevil @theladyofmylife

[omegaremix]

Academy (Manhattan), 2022.

I’ve never patronized a business so much in six month’s time. That business was Academy Records / LP’s. I had the urge to buy one single record that was on my mind (Boulders’ Rock And Roll Will Never Die) and pulled the trigger on that plus much more. I found more city-centric records and tapes on its’ other Discogs handle and in the turn of the year made two online purchases with them. For the final day of this past Winter, I took an impromptu visit to Academy’s Brooklyn (Greenpoint) location and bought more of that magic in person. Why? City stores have that specific charm that none of the other local stores on the island have. By that, I mean types of artists and sounds easily found there and nowhere else. Last year’s visit to Williamsburg’s Rough Trade made the best example of it and explains why I spent almost $420.00 there.

I read that they had another location on the lower East side of Manhattan (L.E.S.) which I’ve been meaning to go. After my check-up on Lexington Av., I could not miss the opportunity. I’ve already visited six island stores with four to go, so consider Manhattan’s Academy a ‘bonus round’ - one of two to be exact.

It wasn’t far from Lexington Av. taking the crowded ‘6’ line downtown to East 12th Street. It was a leisurely trek under the canopies, scaffolds and tree, walking past the everyday city life and numerous groups of people standing around waiting for the ride to take them to their next event. Across the street from Academy was the playground hopping with urban youth of all colors shooting hoops and getting loud with one another. Another few feet across the street and here I finally am. What I noticed on the front door before entering was a sign that said “masks required”. Luckily, I saved mine from the clinic.

I walk in and Academy’s Manhattan space isn’t as ratty and dingy as its Brooklyn spot. No crusty carpeting but a concrete floor partially painted blue and walls only in slight decay. There’s shelves and white boxes of stock all along the right side up until the cassette racks. More shelves opposite the entrance and over the small island of wooden crates. Walk past the counter on the left and opposite that was a listening station of two of three working turntables. More shelves and white boxes on each side in the back section of the store before reaching their office. Good news: $1.00 and $3.00 hip-hop / rap, rock, soul, synthpop and new-wave records were all for the taking.

I pick a spot, any spot to start digging. That was their small used-industrial section. Right off the bat I find Test Dept.’s “Machine Run (Compulsion)” e.p., a true metal-on-metal attack and one of my all-time favorite industrial works. I was happy to pay $12.00 for that one. Ω+ followers know that I always make my way to the used-jazz section and they didn’t disappoint there. That copy of Hank Crawford’s Tico Rico, the one with his ‘I-could-care-less’ face on it, was a win. Hubert Laws’ Then There Was Light Pt. 1 on CTI featuring Bob James, Ron Carter, Steve Gadd, Richard Tee, and brother Ronnie Laws was another must-have because of them. And I got my first Richard ‘Groove’ Holmes record Dancing In The Sun. No Onsaya Joy, but that song which still stayed in my head all these years was enough for me to pull the handle on him.

Though Academy wasn’t Riverhead’s Sunday Records, they had a small but great used-synth-pop / new wave section with many shelves of soul sitting next to them. That lead me to their hip-hop / rap bins and $1.00 records, where was never a shortage of obtainable low-cost 12” singles. I found plenty of golden-era scores from Kool Moe Dee, 3rd Bass’ Prime Minister Pete Nice & Daddy Rich, and Spoonie Gee’s Godfather Of Rap ($5.00). A few flips later and I find Original Concept’s Straight From The Basement Of Cooley High for only $1.00. Featuring Yo! MTV Raps’ T-Money and Dr. Dre, it was an essential piece of Long Island history I had to take. I was floored in finding Antexx’ “Understand Me Vanessa (Vanessa Yo)”, a single I remember hearing once on WBLS during my Brentwood era and which absolutely no one talks about. But for $5.00 for four different versions of the same song, did I really need it? Nah. Give Academy more points for having some real old-school artifacts such as some Z-3 MC’s and T.A.P. records.

I still had a thirst for used 7” records so I had to sift through their four-by-four formation right next to the counter; where marked boxes of punk, rock, soul, reggae, oldies, and even French lyricists were fair game. I took some singles from my Atari childhood (read, Eighties hits) and bought some gambles in punk and d-beat. Get this: the Vagra 2016 demo LP that I bought blindly from Academy’s Discogs mail-order? They had their Refuse 7” e.p. in-store. How funny life fucks with you like that. And without even looking for it: Shizuo’s “Sweat” b/w “Stop It”. It’s one of the very few DHR releases I don’t have since I already had those songs. Well, for old time’s sake…

Then I strayed off the beaten path to find another marked box of punk rock and d-beat 45’s under the bins where I scored some self-titled platters in Soaker (because Wharf Cat), the super-CMYK saturated Strutter, and Glam. That one was my first-ever find from the La Vida Es Un Mus label and I am all the happy for it.

I sifted through more LPs both new and used in all categories. That’s where I scored even more major wins. The Men’s Devil Music, one of the few not released on the Sacred Bones label, was mine. Speaking of fantastic New York City labels, there was Institute’s Readjusting The Locks on clear / bourbon swirl vinyl. Why not? And I had to take the biggest hit for one of my favorite artists: an unwrapped copy of Boy Harsher’s Country Girl (Uncut) for $18.00. I won’t complain.

Academy had plenty of used LPs in other categories. They had a section devoted exclusively to the Numero Group. A little to the right was more classic rock LP’s and even further were their Detroit techno, electronic and jungle / drum-and-bass sections. I had a laugh when I found a copy of Give Up’s self-titled e.p. on the Ambush label; the second Shizuo-based release I came across. I do have it in my library since I bought it from The Port Jefferson Music Den during DHR’s heyday.

CD’s? They barely carried any. They had only two columns of it tucked away deep in a corner before their tape section, and that they didn’t disappoint. Though they carried the usual universal duds, they did have some exciting finds in punk and golden-era hip-hop. It was the first time in ages that I bought a cassingle. That was Lord Tariq & Peter Gunz’ “Deja Vu”. In fact, they did have a few dusty cases of them where they were five for a dollar. For $7.00, Who’s The Man (motion picture soundtrack) was a must-grab.

But the real good stuff was kept behind the counter in a glass case. The girl dressed in black denims noticed I was eye-ing them. Of course I was. There were a few that caught my eye. One which was Ata Kak’s Obaa Sima; a personal Summer jam and the very album that kicked off the Awesome Tapes From Africa label. I asked her to get me the price on that, Subhumans UK’s 29:29 Vision,and Health’s Disco4::Part I.

“That’s fifteen, fifteen, and that’s thirty.”

I really wanted Ata Kak so I took it, but passed up on the Subhumans UK tape. And as much as I like Heath, I sure as fuck on a rainbow-winged pegasus on a golden horn won’t pay $30.00 for a blue cassette. To be fair, Academy had a case: Discogs’ sellers priced it at $35.00. Put that back.

She added up my purchase. It was a great $177.00 and two-and-a-half memorable hours spent in the city. I walked out the door and looked across the street to see an empty playground. All the yelling and camaraderie was over for the day. I turned the corner to catch the next ‘L’ and ‘C/E’ line to Penn Station. No rush, no fuss, no danger. I had just enough time to catch the Central Islip train for what would be another hour-and-five-minute ride east home. Do remind me never to board a peak train ever again. For four dollars more, you can play musical chairs competing for cramped seats and be packed like a twist-can of Iberia sardines with almost no leg room.

Kool Moe Dee: “Death Blow” 12”

Prime Minister Pete Nice & Daddy Rich: “Kick The Bobo” 12”

Professor Griff & The Last Asiatic Disciples: “Pawns In The Game” 12”

Kool Moe Dee: “They Want Money” 12”

Queen Latifah: “Ladies First” 12”

Public Enemy: “Give It Up” 12”

Kool Moe Dee: “Wild Wild West” 12”

Heavy D. & The Boys ft. various artists: “Don’t Curse” 12”

Spoonie Gee: Godfather Of Rap LP

Original Concept: Straight From The Basement Of Cooley High LP

The Men: Devil Music LP

Stepdad SS: Mad About It LP

Vaaska: Ruido Hasta La Muerte LP

Institute: Re-Adjusting The Locks LP

Test Dept.: Compulsion (Machine Run) LP

Boy Harsher: Country Girl (Uncut) LP

Hubert Laws: Then There Was Light LP

Hank Crawford: Tico Rico LP

Richard ‘Groove’ Holmes: Dancing In The Sun LP

Glam: self-titled 7”

Perdition: self-titled 7”

Soaker: self-titled 7”

Strutter: self-titled 7”

Hombrinus Dudes: self-titled 7”

Deformed Conscience: self-titled 7”

25 Rifles: History Of Flags 7”

Funeral Shock: Paint Thinner 7”

Vagra: Refuse 7”

River City Tanlines: “The Devil Made Me Do It” b/w “Nothing Means Nothing Anymore” 7”

Shizuo: “Sweat” b/w “Stop It” 7”

Code-13 b/w DS-13 split 7”

Billy Ocean: “Get Outta My Dreams, Get Into My Car” 7”

Stacey Q: “Two Of Hearts” 7”

Miami Sound Machine: “Bad Boy” 7”

Cameo: “Word Up” 7”

Lord Tariq & Peter Gunz: “Deja Vu” CS

Who’s The Man: motion picture soundtrack CS

Ata Kak: Obaa Sima CS

[librarycard]

would love your country music recs!! been trying to get into the genre but haven’t really listened to a whole bunch and would love some suggestions <33

YAY thnk u for reaching out. um most of these artists i havent trawled their entire discog but each has some things i really really love. many of them explore serious topics such as addiction, discrimination (racism, homophobia, sexism, classism, etc), and more (like a lot of less commercialized and more traditional country music does).

its important to note that there is a lot of crossover in country, soul, blues, americana, and folk, so some artists might be more leaning to one of the other genres but their relation to the country style compels me to include them.

i will also say that afaik these are mostly modern artists because nothing makes me fucking angrier than people saying that new country music isnt good. please pull yourself out of the country billboard top 100 for the love of god.

ok here it is: > yola (one of my faves, lots of crossover with soul in her style) > brandi carlile, maren morris, natalie hemby, and amanda shires are all good individually and are part of a collective called the highwomen (theyve collaborated with yola several times!) > robert finley (i could cry with how much i love his work, sharecropper's son 2021 is just fucking. perfect) > john fullbright > rhiannon giddens > gillian welch > shakey graves > charley crockett (his work all feels so fresh and unique to me, i never get sick of it) > courtney marie andrews > brown bird (one half of this duo has passed on so they havent made any new music since then, but i still suggest checking them out) > mary gauthier (drag queens in limousines is a total classic) > the war and treaty > sturgill simpson > allison russell > paul cauthen (he's collabed with orville peck, who im sure a lot of people here know! if not i rec him too ofc) > emily nenni > john r miller > lucette (shes had work produced by sturgill simpson iirc) > the secret sisters (very dear to me) > katie pruitt > shovels & rope (<3) > parker millsap > margo price ( i love her i love her i love her i love her what can i say. thats how rumors get started 2020 changed my life) > kaia kater > robert ellis (less familiar w him but i like what ive heard) > jaime wyatt > arlo mckinley (another artist i havent checked out extensively but ive heard good songs from him and like his voice) > the chicks (forever and ever <333333333) > amythyst kiah > mercy bell > justin townes earle (who has unfortunately passed away in recent years, i think 2020) > waylon payne > the devil makes three > evil > jason isbell and the 400 unit

i also dont want you to think i dont want people to listen to classics, i do. i love classic country music — if you havent checked them out, id especially recommend john denver, charley pride, dolly parton, willie nelson, hank williams, johnny cash, the carter family, glen campbell, kitty wells, robert johnson (hes blues, but hes mississipean blues and has influenced country music through and through), patsy cline, judy collins, waylon jennings, and marty robbins.

this isnt comprehensive but its what comes to mind right now. i hope it was helpful!!! <3

[brucespringsteen]

Part 2 - any new year resolution and wise words for the coming year ?

🍻

HI! these are less resolutions and more of a to-do list:

main goal for 2024 is to get my muscles back cos my health was wrecked this year. also want to finally try one of those adult ballet classes

revisit oc's from when i was a kid n see if i can still tell their story. could be funny even if i just keep it to myself

carry my old gameboy color around and pull it out instead of my phone when im waiting and stuff. use phone less in general

try a local competitive pokemon tournament

make a discogs account

stop spending money on anything stupid and frivolous that isnt beer or food or experiences

if i try to think of any wise words it wont be brief it will be word vomit. so instead its true you can do anything u want if u put ur mind and heart to it and stop running away from whatever it is and over and over knowing it might suck or it might be great and it could also be boring and unmemorable. but again try and try and try. just like the replacements said

[eurovision-revisited]

Eurovision 2002 - Number 16 - Zee - "Never In A Million Years"

Technicalities suck. You're happily submitting a self-written song for the UKs national final, and manage to come a clear second in the voting for the radio-only semi-final. There's going to be TV exposure and even the possibility of going to Tallinn and getting the whole country behind you. Then you find out that someone jumped the gun, and released your song in Hungary in 2001 (according to Wikipedia) or in the UK even earlier (according to Discogs) and by the rules, you get eliminated.

This is what happened to Zee Asha aka Zee Cowling in 2002. Whether or not she would have beaten Jess Garlick we never found out. Never in a Million Years is a fast, fun bit of house with Zee's stunning vocals shining over the top of it. She surely has the pipes to pull this off live and would have made what ended up a very lopsided national final into something more interesting at least.

Zee herself is one of those names the UK music industry love and had loved for several years prior to 2002. She's that voice you hear on all the EDM tracks that get into the charts and especially in the clubs, often without an up-front credit. She'd already started working with Boy George as well as other DJs and remixers. Her vocal talent was much in demand. A Song for Europe was her big opportunity to get her own name in lights, before someone at some record company blew it.

This song itself, possibly, holds the records up to this point for how many remixes and dubs were released and could be heard in clubs. I'm not even sure which remix is the official one as the single release is made up entirely of four different mixes, each with its own title. Which ever it is, it would have probably been the UKs most played Eurovision entry in clubland ever.

Zee did get an album released to go with this, but otherwise, she's now credited on 56 different single releases in the UK, she's been seen on almost every UK TV music programme singing backing vocals and has worked with everyone from Dolly Parton to Adam Ant to David Hasselhoff. Intriguingly last.fm claims she's credited as not only performing, but also writing some of the songs to have appeared on "The Wire", although I can't currently verify this. An extraordinary musical career even if you don't know her name.

[tenderlady]

I prefer let it be naked but I don’t like the lyric change in Long and Winding Road (though both can be read as equally heartbreaking just in different ways I guess)

I hate Phil Spector’s sound personally so it’s better to me

Sober enough to answer this now! (Don't drink with your mom, folks.)

As much as I hate Spector as a person, I largely fuck with his production choices. The whole wall of sound/Brill building thing really works for me, especially with the girl groups that he tortured into creating timeless pop bangers. The thought of pulling him onto a Beatles record--especially one conceived to be intentionally stripped-back and DIY--is kind of nuts to me. I especially hate what he did to Long and Winding Road; those goopy strings and canned choirs really distract from the emotional devastation of Paul's performance to me. Overall, I definitely think Naked SOUNDS better, and I wonder if more people were familiar with it, if it would rehabilitate the popular consensus around Let It Be as a minor work in the Beatles' catalog.

I find Let It Be...Naked to be kind of a fascinating artistic project; it was released over 30 years after that material was originally recorded. John was dead, and while George gave the project his blessing while he was still alive, he was dead too by the time it actually came out. The idea of reappraising that material with the benefit of age and hindsight is so interesting to me, particularly with the changes that Paul decided to make. I'm going to get more into psychoanalyzing this under the cut, because bless your heart anon, but this is going to be where I sort through all my Thoughts.

The idea of reapproaching Let It Be is one that really intrigues me. Aside from the aforementioned relative bad reputation of the album in the Beatles discog, it was also recorded at a time of some of the Beatles' greatest interpersonal enmity with each other, something that can very much be felt in the material. If Naked were just stripping back the Spector production, I'm not sure it would be stuck in my craw the way that it is.

The original track listing for Let It Be always seemed a touch odd to me. Opening with Two of Us makes a degree of sense, but closing with Get Back always felt kind of strange. The album doesn't have much of a sense of flow or narrative, which is especially odd considering Abbey Road and Sgt. Pepper, which are both masterclasses in album structure.

To me, Naked has both a very clear structure and a very clear narrative. To start, we open with Get Back rather than closing with it, foregrounding the whole experiment as a meditation on homecoming, which is what it was always intended to be.

Imagine returning to the material you and two of your dead pals (and one living pal, obv) recorded at one of the worst moments in your relationship, thirty years on. How do you metabolize that? To me, Naked is particularly concerned with recontextualizing the relationship between John and Paul, and not just because I've got my tin hat on. While Let It Be opens with Two of Us, which has its own unique significance as an opening track, Naked places Two of Us (the song nostalgically reminiscing about--whether Paul is totally aware of this or not--the relationship he has had with John, while acknowledging that its halcyon days are ultimately over ["you and I have memories LONGER than the road that stretches out ahead", something I always found kind of odd to say in a song that is supposedly about your new boo]) immediately after The Long and Winding Road (the song about the dissolution of that same relationship and the futility of trying to salvage it). Let It Be opening with Two of Us presents that relationship as tragedy: it used to be beautiful, but that was then and this is now. Placing Long and Winding Road BEFORE Two of Us flips that narrative: it may be crumbling NOW, but it is still something beautiful and we can reflect on that beauty with fond sentimentality.

So as for the swapped lyric in TLaWR: Let It Be has him singing "and anyway you'll NEVER know the many ways I've tried." Again: Lennon-McCartney as tragedy. This portrays the dissolution of their relationship as a breakdown in communication, something I think the fandom largely agrees upon. They no longer understood each other; like a people-pleasing girlfriend (speaking from experience here), Paul feels he has given all he can give and nobody knows how hard he he's worked to keep it together. He gave all he had to give it was both not enough, and went completely unnoticed to boot.

Naked, on the other hand, flips this too: "and anyway you've ALWAYS KNOWN the many ways I've tried." TLaWR is still fundamentally the same song, but this one change completely reframes it for me. It's still tragic of course--in this version, John fully understands the work that Paul has put in, and it still isn't enough to save them--but it isn't quite so bitter. Rather than the fresh burn of a breakup where you are blaming the other party for their negligence, this version is able to acknowledge that while they loved each other, it still wasn't enough. It's a more balanced, adult perspective to me. I suppose this is tragedy of a different flavor than Let It Be's; it's almost Shakespearean, placing Lennon-McCartney as starcrossed rather than disintegrating due to their own human failings.

Honestly, the whole run of tracks on Naked from TLaWR through to Don't Let Me Down (obligatory Naked Is Better If For No Other Reason Than Don't Let Me Down) seems to be reframing Lennon-McCartney. We've also got I've Got a Feeling, a joyous duet about not knowing what you need until you've found it and moving past a hard year into a place of communion and celebration. That's followed by One After 909, the oldest song on the record, and a joyous throwback to John and Paul's musical origins.

I have less to say about the placement of the George tracks on this record, but ending Naked on the back-and-forth of Across the Universe and Let It Be--both John and Paul trying to find metaphysical solace in a moment of personal crisis and isolation--is incredibly touching. I always felt that Let It Be should be the closer, and Paul proved me right here.

Anyway, thank you, anon, for letting me use your question as an excuse to get all my Thoughts about this down. Naked has been haunting me the last few weeks, and I think I've come down on the side that it's a better and more representative compilation of the material from the Get Back sessions than Let It Be. But, more than that, it's also a corrective for parts of the Lennon-McCartney narrative, ending in the more sentimental, fond place that Paul seems to have been in since the turn of the 21st century.

Tl;Dr: Let It Be...Naked good

[randomvarious]

Today’s mix:

Man Ray by Bruno Evin, Djamel Hammadi, & Julio Black 2001 Future Jazz / Trip Hop / Downtempo / Lounge / Bossa Nova

God, I am such a sucker for these cheap chillout comps and mixes, man. There was this huge global craze for these things, specifically in the late 90s and early 2000s, that ended up yielding such an absolutely massive goldmine of ephemeral electronic tunes. And many of these releases were intercontinental affairs too, with artists, DJs, and compilers taking bits and pieces of sounds from different cultures and blending them all together to generate these sonically Pangaeaic quilts. Acts like Washington, D.C.'s Thievery Corporation were pioneering masters of this specific artform.

So here's a stellar partial mix from 2001 that was put together by a trio of near-nobodies: Bruno Evin, Djamel Hammadi, and Julio Black. You look up either of these guys' profiles on Discogs and you're really not gonna find all that much on them.

But it doesn't matter. They were involved in the global chillout gold rush at the exact right time, and with so much excellent music to choose from, they were able to put together this amazing slate of tunes with ease for this first installment in Milan Records' Man Ray series. And it had some sweet exclusives on it too 😊.

The only truly very baffling thing about this release is that it has all these Japanese characters scrawled on its front and back covers, and despite the fact that these tracks touch on all continents except for Australia and Antarctica, there's not actually any Japanese music on it at all; nothing by any Japanese person and nothing that sounds even remotely influenced by Japanese music. And because of this album art, I don't think that you could fault anyone for thinking that *the whole thing* might have a Japanese sound to it, but it doesn't; in fact, it doesn't even have an East or Southeast Asian sound to it at all. So, the choice in album art here is definitely very strange!

But here's some of the places we do get to visit in some shape or form in this otherwise global smörgåsbord, with the artists either hailing from these various places themselves, or channeling sounds from them instead: Austria, India, London, Belgium, Canada, New York, Norway, Brazil, Germany, Glasgow, and Egypt.

There is a strong current of bossa nova-flavored future jazz here from European acts like Butti 49, Universal Principles, and Buscemi, but the mix is by no means dominated by it; Nitin Sawhney brings some tender, acoustic guitar-infused Indian trip hop, Kinobe delivers some silky-smooth 60s cinematic retro vibes, Esthero supplies a little R&B, Gabriel Roth, under his fake Ravi Harris persona, provides 70s-sounding coffeehouse sitar funk, Georg Levin pulls off some sexy vocal lounge nu jazz, the duo of Lemon Jelly gives us a breathtakingly unique piece of dreamy trip hop, Nickodemus laces his trip hop creation with some Egyptian flute, the long-lasting Brazilian entity known as Azymuth comes with some fantastic trip hop-jazz, and the anonymous Ivory Club pulls sounds from different regions of the world and fuses them all on one track.

Just phenomenal stuff here. There's so many great chillout comps and mixes out there, and this seemingly random one from 2001, with utterly confusing album art, provides a nice window into what it was all about: chill and loungey, globally united trip hop, future jazz, and downtempo vibes.

So many amazing tunes from this era with such unjustifiably small play counts. Dig yourself all the way in 😌.

Now, unfortunately, I couldn’t find most of these tracks on YouTube—at least not the exact versions as they appear within this partial mix—but it looks like someone made a YouTube playlist of almost all the full-length versions of these songs. (It’s missing Lemon Jelly’s “A Tune for Jack,” which you can find here.) However, the handful of tunes that *are* hyperlinked below are exactly as they appear on this particular release.

Highlights:

Nitin Sawhney - "Letting Go" Kinobe - "Slip Into Something More Comfortable" Sven Van Hees - "Seasonal Bounty (Smooth '94)" The Amalgamation of Soundz - "Droplets" Esthero - "Superheroes" Ravi Harris & the Prophets - "Path of the Blazing Sarong" Butti 49 - "Brazilikum" Azymuth - "Cuica Laranja Azeda (Sour Orange Cuica)" Georg Levin - "When I'm With You" Lemon Jelly - "A Tune for Jack" Universal Principles - "Latin Stroll" Nickodemus - "Cleopatra in New York" Ivory Club - "Taj'" Buscemi - "Ramiro's Theme"

[ihavenothingtosayandimsayingit]

Discography Deep Dive: GY!BE

Part 2

Yanqui U.X.O. (2002)

Label: Constellation

Producer: Steve Albini

Scores

Ranking: 8

Overall Score: 2.8

Mixing: 2

Pacing: 2.5

Track Ordering: 3.5

Orchestral/Textural variety: 2

Melodic Ingenuity: 2.75

Aesthetic Consistency: 4

Standout track: "Rockets Fall on Rocket Falls" (especially the first 6 mins)

Yanqui (or "yankee") U.X.O. ("unexploded ordinance") is the bookend to Godspeed's inexplicable early-career run as the most exemplary avant-garde post-rockists. Not only would it be their last record before a ten-year hiatus (critically-acclaimed 'Alleluia, Don't Bend, Ascend released in 2012), but it also marks a precarious foray into a more complex instrumental world that ultimately collapses from its own weight. Granted, Yanqui does hold true to the Godspeed aesthetic: Abstracted meta-narrative which meanders through the hyper-realist landscapes of neo-liberal and fascistic abjection while "infinitely yearning" (see E.T.A. Hoffman's  Beethoven's Instrumental Music) for some sort of hope and justice. 

Yet, compared to other records in the Godspeed discog, the necessary musical and technical prowess needed to meet such aesthetic standards collapses on itself. Most telling is the juxtaposition of the grungy and raw rock sounds with the pure and spare sounds of orchestral instruments. The wailing guitars and snarling drums, in isolation, exemplify GY!BE at its finest, especially in the first 5 minutes of "Rockets Fall on Rocket Falls" (the standout track of the record). Yet, when the acoustic instruments enter on their own, the contrast is jarring. I can understand the band pulling away from the avant-garde poetics of using field recordings and a smaller ensemble and moving into something more akin to a classical chamber orchestra. However, it doesn't quite land. 

What one hears throughout is almost two simultaneous records. One record that masterfully highlights the band's preternatural sense of "epic-ness" as heard from the swells of guitars, soaring strings and waves of crashing drums; while the other record mistakes the anemic and sparse textures of the acoustic instruments (clarinets, trumpets, strings) for something lyrical and sweet. It does make me wonder that bringing superstar producer, Steve Albini to the project is what ultimately led to this momentary lapse in the musicality of Godspeed's canon. If there was more care taken for the rehearsing, recording, and mixing of the acoustic instruments into the epic ocean of the whole album, Yanqui would easily be near the top of my rankings. 

[dustedmagazine]

The Reds, Pinks and Purples — They Only Wanted Your Soul (Slumberland)

They Only Wanted Your Soul by The Reds, Pinks & Purples

Don’t let the airy dream and drift of Glenn Donaldson’s Reds, Pinks and Purples fool you. This is an exceptionally prolific band, which sounds like an endless, sighing Sunday afternoon’s regrets and functions like a factory stamping out wistful pop in bulk quantities. This is the second Red, Pinks and Purples album this year, following Summer at Lands’ End, and if you missed that, or the lovely Uncommon Weather from 2021, well, time to shake off that ennui and get busy. Here’s another good one.

Not that Donaldson had to pull an all-nighter to come up with material. The core of this album is a four-song EP that Glenn Donaldson released in 2020 on the Swedish label I Dischi Del Barone. At the time, it barely made a splash, even in Sweden, but the EP has become a collector’s album. They Only Wanted Your Soul, which is the name of the disc as well as one of its most graceful, rueful tunes, makes the material accessible to U.S. audiences without a wad to blow on Discogs — and adds six more songs to the mix.

The title track is moodily, eerily wonderful, a scramble of acoustic guitars keeping time while serrated arcs of electric carve through the air. Donaldson sings in his airy, Brit pop icon voice about the most beautiful kind of stasis, crooning, “They only wanted your soul, they only wanted your name, but where would it start? You’d be a character from the old cliché with no part.” “I Should Have Helped” is another ace from the older cache, with its chiming guitars and watery, wavery psychedelic keyboards. “I…should have helped you…that’s what decent people do,” he sings, in a pastel C86 lament of his own character flaws. “Keep Your Secrets Close” rocks harder but without bravado, and “Unrequited” sneers at the MASH theme song in the softest, dreamiest way. The songs have that RPP way of blowing personal idiosyncratic admissions into spiralling romantic pop dreams. They are gentle but incisive.

The new songs are just as good, just as shadowy, just as radiantly morose. I’d pick “Is Your Mind that Free,” for tops. Its looping, loping guitar intervals sound like the Bats but preserved in amber, and its pensive trebly refrains floats like Ray Orbison over clean, lyrical foundations. Reds, Pinks and Purples sounds like the idlest musing, but it’s paddling furiously under the surface, and that’s to everybody’s benefit.

Jennifer Kelly

[explosionshark]

Since we are mentally preparing for the 10 year tour, No World For Tomorrow.

The best song on the album: "Mother Superior" - literally a perfect song, one of the best they've ever written. i mean i can't help but wonder what it feels like being josh eppard back in the band and getting put on blast like that but as a listener, as (regrettably) a fan, it fuckin owns. the ballads don't ALWAYS work for me but this one is so legitimately emotional and beautiful, i love the strings, i think the vocal performance is great. maybe bc it's so personal, it's some of their best lyrical work of all time too. "when you're sick to the stomach just pull out the knife" goes harder than any other line in the whole discog My favorite song on the album: okay actually it's mother superior but in the interest in talking about a different song "the end complete iii: the end complete" - like CLEARLY i love the stupid progheed bullshit the most - the rock opera feel really works for me here, unfortunately :( i love the different "characters" i love the stupid shredding, i love the callbacks to other songs (esp looping back to mother superior's "run rabbit run") it's just a huge song and i think even more than "the road and the damned" or "on the brink" it feels like the end of the album for me in a good way. if that makes sense. My least favorite song on the album: okay actually it might be "justice in murder" bc there's something kind of annoying about it but i'm gonna take the opportunity to talk about "the end complete v: on the brink" bc i think it's just. gilding the lily a little too much, y'know??? like the bluesy stuff is cool, but tbh "the end complete" + "the road and the damned" together make a way better ending for the record and brink feels a little tacked on all told :/ The most overrated song on the album: overrated by us only "the end complete ii: radio bye bye" tbh this is a protest pick bc i'm never not gonna rage and wail and gnash my teeth over the ratio of outright stupidity to goes fucking hardism. UH OH IT'S THE CURSE OF THE RADIO BYE BYE <- i don't deserve rights Most underrated: "The Road and the Damned" - AGAIN. STRINGS. The banger of all bangers: "the end complete: ii: radio bye bye" WE'LL LEAVE IT ON THE RADIO WE'RE CALLING ALL COWARDS NOW BOY THAT YOU MADE IT SO WHY ARE YOU AFRAID OF WHAT YOU'VE DONE Rate from 0-10: 0/10 no one listen to coheed

[notquiteaghost]

congrats on making a public inquiry on a line of interest situated in the middle of a venn diagram of like four things i've been thinking about a lot lately, your prize is this ask that is so long that in the time spent writing it and checking info someone less annoying may have directed you to some of it! this is all like easy enough to google but just in case it feels less uuhh to have someone with an approximate knowledge on some things offer you some pointers: here are some pointers

(i AM ALSO a thousands of CD's type of guy, but i've not done any big digital management of them since the last time i was regularly using ipods in the 2000s, n i am kinda Prepping for big digital management around my current standing main hyperfixation (participants of a season of an old korean idol reality competition show, a collection of Too Many Gotdamn People who have made Too Much Gotdamn Music) but i don't actually currently own a lot of the physical media there, so none of this are pointer from like. oh here is a workflow i am using etc, but)

answers to your two questions are 1) file sizes really depend on lots of factors but rule of thumb is that in a collection of 'normal song' mp3 file size averages out to 5-7MB a song, and a 3-4min mp3 file being >10MB is surprising

and 2) re: storage prices, 1TB (~1,000,000MB, so probably ~166,666MB 3min mp3's) in external harddrive will run at about £50 in western digital brands atm (western digital is what i've been occasionally looking at for my data management thing bc i've seen it mentioned specifically as more reliable than seagate, which i have had issues with; anecdotally, my mum's WD elements has lasted her about a year longer than her seagates kick the bucket). prices atm on curry's stack up at £80 for 2TB, £108 for 4TB, £180 for 8TB

refurbished is an option when it's 'rectified' and sold by the company itself; for WD, those prices atm stack up at £30 for 1TB, £35 for 2TB, £55-60 for 4TB (their page for these are https://www.westerndigital.com/en-gb/products/recertified) (i do not know enough about this area and would wanna look up specific reviews on a company's rectifying track record before purchasing myself, so obv do the same)

answers to questions you DID NOT ask but may have later on if you do set out on the CD Digitization Project that i have answered preemptively bc i am ANNOYING:

tagging music with correct info is often the most time-consuming part of this shit, so a tagger is your friend. the musicbrainz database should have a lot of stuff covered, so their tagger picard might well do (https://picard.musicbrainz.org/, also has some good plugins for like formating multi-disc albums etc if you wanna scan through those), but tagscanner (https://www.xdlab.ru/en/index.htm) can also pull from discogs if needed, though you may still need a discogs account + to make an api key do use that

i was like. spike will probably appreciate it if i provided ways in which their dad could still be autistic about music in a digital format, but i'm having a hard time pulling up music players that meet my vision / make it clear if they do re: you can see cd booklet, and also this info seems to not typically be in databases. i'll carry on looking for players in this area bc i ALSO want this, but suggested desktop windows players other than windows media player / grooveshark / vlc (which are all fine, but imo none are the most intuitive for regular heavy listening) are my best friend foobar2000 (https://www.foobar2000.org/, also has a tagger that pulls from musicbrainz and maybe discogs?), musicbee (https://getmusicbee.com/, tagger plugins available), and aimp (https://www.aimp.ru/); deadbeef (https://deadbeef.sourceforge.io/) is created more to get your hands into with the technical stuff, but it's got custom metadata fields. really after you've looked to see if you think your dad would want a particular feature, unless space is a major consideration then it is just well what looks nicest.

file backup! backblaze (https://www.backblaze.com/) allows an external hard drive to be added in an image backup of a machine, which is the only good way to do a (pseudo-)sync backup without paying for cloud subscription or setting up a NAS etc; at $70/year it is obviously A Cost but way less than premium cloud drive subscription, so if it feels useful to know,

if the NAS mention / video at the end of that post wrt turning an old computer or laptop into a media server (so thing that is plugged into a wall that has files on it + a media player --> other computers / phones / etc on the same network (which can be outside the home too) can connect to that player and files) was interesting lmk bc i've also been looking into that a lot mostly as like, storage nerd aspirations, it's just a whole other thing that's irrelevant if you're more interested in just bunging stuff on an external drive (i've send this as an ask with the intent for you to keep it On File, so sent me another or a dm to lmk!)

you are not at ALL annoying you are a godsend!!!!

the thing abt my father is he is actually better at tech stuff than me (he ran his school's website & also michael's website, in the 00s, when that meant he built them from scratch) (he's still a little bitter abt his school outsourcing their website to whatever service every school uses nowadays. he used to add little falling snowflakes in the winter n april fools jokes n such), so yes i was very much anticipating saying to him like. find a backup storage method you like and i will do the legwork of actually ripping n sorting everything

i did NOT know taggers even existed but holy shit yes i will definitely need one. i do not anticipate him ever actually getting rid of his physical copies – smth he has already done is buy a ton of plastic wallets n move the CDs & booklets into them so instead of ur standard plastic jewel case taking up all that space it's effectively as thin as the actual CD – & also he no longer has a computer (i do not get this decision either. he just uses his phone????) so i doubt he'll need music player software. my thought is really 'he needs backups spare CDs and a CD writer so if any die they can be replaced'

however i will definitely look into the music player software, and maybe also forward this info to my brother (if it's even news to him, he's the kind of music autistic who has a £200 pair of headphones). thank you SO much <3

edit: just saw ur second ask n shdgdhd yeah i am gonna bookmark this post, my askbox is a pit things vanish into forever

[mywifeleftme]

62: Anne Briggs // Sing a Song for You

Sing a Song for You Anne Briggs 1996, Fledg'ling A casualty of the “write about a record every day” pace I’ve shackled myself to is that, particularly with artists who’re new to me, I don’t have as much time to crack the books (read: lift sections of various Wikipedia pages wholesale) and trawl back catalogues to get a more complete perspective. That’s the case with Anne Briggs, an artist I was unfamiliar with prior to picking up Sing a Song for You after browsing the listing of a Discogs seller who had a few things I wanted. As often happens, the throw-in proved to be one of the best records of the bunch, and I’ll do my best to get down something coherent about her here.

Every scene has a few under-recorded figures who’re broadly agreed to have been as good or better than those who would become its stars, and Briggs was one who held down that role in the British folk revival of the 1960s. She was revered by many of her peers for her songwriting gifts and knowledge of obscure traditional numbers but, between her drinking and apparent distaste for the trappings of fame, it seems like it was a massive pain in the ass to get her into a recording studio.

Intended to be Briggs’ third full-length LP, 1973’s Sing a Song for You instead sat in a tape locker till it was licensed by British indie label Fledg’ling in 1996. I gather from the generous liner notes on my 2018 reissue that it was a victim of label indifference and Briggs’ dissatisfaction with her own performance. It was recorded just a few weeks before the birth of her second child, and she recalls it being “hard to find sufficient breath, and hard to play the bouzouki, with its convex bellied back pressing into my own convex bellied front; my arm seemed barely long enough to reach over to the strings and fingerboard.”

I’m not familiar enough with her prior work to say to what degree her performance suffers; on its own merits, Sing a Song for You is a gem. Briggs has a somewhat more girlish, unschooled quality to her voice than Sandy Denny (one of her few peers that I know well), but a similar boldness and gift for embroidering melodies with delicate melismata. Her talents shine on the LP’s three acapella numbers, but I’m fondest of the songs backed by Ragged Robin, a short-lived folk group from Kent. Briggs seldom recorded with a full band, but here they broaden her music’s expressive range. Backing vocals infuse “Summers In” with a joyous communal spirit, while the violin behind “Sing a Song for You” helps shade the lyrics’ portrait of a parent’s wonder and sorrow at a disappearing world.

Best of all might be “Tongue in Cheek,” a simple ballad arranged for two guitars that pulls at my heart with the directness and vulnerability of its lyrics about wanting to get to know someone, whether a lover or a baby to be: “Like to know what’s on your mind / Like to understand your kind / Only a little lonely / And a little afraid of you.” Without undue sentimentality, the lyric gets at the risk and yearning that come with offering yourself to someone who seems distant, which makes the pangs the song evokes all the more poignant.

62/365

[bunnywand]

omg fuck yess was looking for blur's "music is my radar" cd singles on discogs and someone had both versions for sale, but like.. they didn't sound in v good condition, and from the listing it wasn't even clear if they were in their original cases?? 😵‍💫

and i was abt 2 pull the trigger anyway but i thought i'd just check on ebay first.. and found someone else w/ them both, in gr8 looking condition, with pictures so i could actually see what was listed, And for less money?? another epic ellie win 😎

[rachelminetti]

september 2021 music!

it’s september 2022, i dug through the archives to post this before i type up this year’s september playlist. a lot has stayed the same, 2021 set the tone for the next few septembers, it seems.

everything is less intense, more settled in. great month of music for me, a lot of stereolab, autocollants, and homelife. very gentle, not necessarily subtle. i'm fully engulfed in this subgenre of twee - anything that's soft, a little dreamy, blue-tinted and slightly sedative. maybe this is rooted in nostalgia, for a time i only vaguely remember, yet crave without means to an end.

i know it's 7 days into october, but my music hasn't shifted quite yet and i put too much effort into these playlists to leave them without an audience. but first i'll list some of my favorite songs from last month, songs that still haven't been worn out, some that might make it into a favorites playlist. and then i will get into the smaller playlists i made to keep things organized, group genres/moods together, force a little cohesion into the mix. (i obviously did not get around to this. the playlists are made though! and can be found here: i learned a lot of good things this afternoon, still here?, too fast?, watch your step!, brain replaced by something, supreme nothing)

songs!

op hop detonation - stereolab

cobra and phases group play voltage in the milky night... // 1999

there is not a bad stereolab song. they are a group of utter consistency, everything just works, hits where it needs to. this song works well on a loop, like going down a factory line. maybe playing in an orange monochrome suburban bathroom that hasn't been updated since the 70s, maybe taking a moped down a twisting side street.

afterglow - pine*am

pull the rabbit ears // 2005

this song/album brought me to a days long deep dive into discogs and rateyourmusic, mostly while sitting up at the reference desk at the library, copy and pasting links into an email i'd send to myself at the end of the hour. it introduced me to picopop, shibuya-kei, brought me further onto this side of twee pop. this song feels like something, unnamed. the theremin (probably, maybe) is haunting, clear. i'll probably try to find a used CD sometime soon.

nothing at all - the autocollants

why couldn't things just stay the same // 1999

this album has given me so much, i could listen to it everyday, every drive to and from work. this isn't a stationary song, it's very much in motion, i must be going somewhere, moving along somehow. i'm sad about nothing at all.

on a rampant multi-tab google search at the circ desk at the library, i found a website that i will most definitely spend countless hours on in the future, TweeNet. a goddamn dream come true. this makes me want to plan another radio show, bless the columbia airwaves with this eternal tenderness.

est - greenscreen

greenscreen // 2019

can't find anything about this band/musician/group/whatever. kind of reminds me of boothe's gentle absurdity (though they're album is no longer available in my country? i miss eggs are 0's) (2022 update: bought the mp3 on bandcamp, all is well). this song is mesmerizing, a little hypnotizing, a little bit cryptic. definitely mysterious, but i'll keep it that way. i learned a lot of good things this afternoon.

one we kiss - jenny mae

there's a bar around the corner...assholes // 1995

god i love this song. maybe i was a college radio dj in the 90s in some alternate timeline or something. this just sounds like wusc on any given tuesday, tucked into the mundane.

east side glory - marnie stern

the chronicles of marnia // 2013

looking forward to continuing to gradually make my way through marnie stern's discography, though i'm saddened that this was her final album (for now maybe?).