#there are 2 other spots in the verses that has a bit of the chorus beat too but it's not *as* clear as in the chorus

[hongjoongpresent]

the entire essay I could write about the background vocals in terrible man. you don't understand

[deadcactuswalking]

REVIEWING THE CHARTS: 29/06/2024 (Coldplay, Charli xcx/Lorde, Post Malone/Blake Shelton)

Her second week for her second #1, Sabrina Carpenter stays at the top of the UK Singles Chart on an otherwise… interesting week, reflected in pretty much aspect, so… welcome back to REVIEWING THE CHARTS!

content warning: language, misogyny, alcohol

Rundown

As always, we start with the notable dropouts, songs exiting the UK Top 75, which is what I cover, after five weeks in the region or a peak in the top 40. This week, we bid adieu to a surprisingly small selection of “Feather” by Sabrina Carpenter, “Gata Only” by FloyyMenor and Cris Mj, “As it Was” by Harry Styles and of course, since we haven’t fared well at the Euros, “3 Lions”.

As for our notable gains, since we don’t have much in the way of returns outside of Disclosure’s “You & Me” featuring Eliza Doolittle back once again at #65, we see boosts for “Mind Still” by Sonny Fodera and blythe at #68, “NIGHTS LIKE THIS” by The Kid LAROI surprisingly up big to #47, “Kisses” by BL3SS and CamrinWatsin featuring bbyclose at #44, “the boy is mine” by Ariana Grande at #39 off of the remix with Brandy and Monica (cheap idea, bad execution), “KEHLANI” by Jordan Adetunji at #29 which is a decidedly unslizzy occurrence, “DEVIL IS A LIE” by Tommy Richman at #21, “Not Like Us” by Kendrick Lamar riding the high of The Pop Out at #14 and really, the biggest story: Chappell Roan. Not only are “Red Wine Supernova” and “HOT TO GO!” up to #40 and #33 respectively, she gets her first ever top 10 hit with “Good Luck, Babe!” hitting #7.

As for the top five, we see much of the expected. “BIRDS OF A FEATHER” by Billie Eilish is at #5, Eminem’s “Houdini” is at #4, Shaboozey’s “A Bar Song (Tipsy)” is at #3 and of course, both Sabrina Carpenter songs in the top 10 stick to the top two: “Espresso” at #2 and the newer “Please Please Please” at the top spot. As for what’s below it… thankfully not a lot in sheer quantity but a lot of interest so let’s try and make sense of it.

New Entries

#69 - “Tears” - Perrie

Produced by Ido Zmishlany

These “extended” versions are a bit ridiculous recently: personally, I’d prefer my songs come complete in the package and I don’t have to find booster packs. With that said, the aforementioned extended version of this newest single from Little Mix’s second-to-most recent solo breakout, Perrie Edwards, is very good. We’ve had a lot of smooth, lounge-esque 80s pastiches on this show, but this delves so fully into glitzy synth-funk that it’s really admirable. The groove, though a bit plastic and muddy in the mix as you kind of expect from cheaper UK pop production, is undeniable and the easy guitar melody has been in my head persistently since I first heard it. Most importantly, Ms. Edwards actually plays with the instrumental and its composition as a vocalist, she doesn’t just sit afloat in the way many other singers would, and that includes, say, a Dua Lipa. The weirdly fast-paced tumble of a chorus displays that messy breakup so well and rings alarm bells in the posturing that she’s really over it, guys, she’s totally not been thinking about him, within the verses, but she’s still rightfully angry and the chorus isn’t that awkward of a tumble that it can’t carry the same swagger the instrumental from Mr. Zmishlany commands. It’s no surprise to me that this guy has worked before with people like Shawn Mendes and Sabrina Carpenter given how breezy of a listen it is, though Perrie doesn’t stumble over her own writing in the way those two do: she shares the command of the song with the funk behind her. It truly is a brilliant pop song, yet it turns out to be the one that’ll probably flop. I understand that the Little Mix girls have had, so far, very ephemeral solo stardom, but the quality is really there for a lot of them, so it’s a damn shame that the girl group fame hasn’t rubbed off more than it probably should have.

#60 - “misses” - Dominic Fike

Produced by Dominic Fike

Ah, Dominic Fike. I remember when I knew that one song which was a pretty good song, and never even needed to think about him for a second song, let alone an acting career that I couldn’t care about but have heard… not so great things regarding, as well as of course pushing out some of the most insufferable indie pop of the last few years, of which some has been covered here. This new track… okay, are you fucking kidding me? This is one minute and 14 seconds. I get Fike has gained virality more for his demos than his completed songs, and that sometimes this is valid, but you can tell how inauthentic and tacky the “distortion” here is, and the fact that it’s all packed into barely more than one minute shows me two things: 1.) the writers and producers are lazy, 2.) they’re chasing some of that success he got from dumping some, at least honest and interesting, demos onto streaming services. Oh, and a third thing: it was written and produced solely by Fike himself. That’s not particularly impressive, of course, when it’s somehow completely forgettable despite being so concise and insistent on drilling that one chorus melody into you, but he also devolves into vocal riffing midway through over an unchanging garage rock plonker that couldn’t pick up any momentum if it tried. And of course, because it’s Fike, I don’t need to tell you that the lyrics are condescending towards women. Calling her his “miss” is already off to a rough start without some needed context, and he doesn’t grant us that, instead going onto consider the relationship dead and reassuring her that she’ll be “grieved” - as if the woman in any given relationship actively wants their ex-boyfriend to grovel about them instead of just going their separate ways - before pinning the blame on her because he’s just a man who loved too much too quickly, right? The verse later basically berates her for being useless, and that when she’s not with him, she’s misguided and invisible, despite the fact that she’s so beautiful, yeah, piss off. This is a barely-constructed song with nasty attitudes on an album seemingly full of these shitty, malformed interludes and I don’t see any value in it sticking around.

#41 - “Wave” - Asake and Central Cee

Produced by Magicsticks

Nigerian singer Asake, who I’ve praised before on this show but mostly in the lower rungs of the chart and off of it entirely, is finally getting a real UK push, given the Cench feature, and whilst I liked “Lonely at the Top” largely for lyrical and performance reasons, this if anything is more of an exhibition for his producer, Magicsticks, as this is a genuinely unique instrumental here. It’s got an Afrobeats rhythm for sure, but not only is the drum pattering shakier but it’s accompanied by what I can only describe as a groan stick, which follows as weedy a melody as the later flutes. This is largely a chill song about relaxing and flexing, but the flatter sense of groove that exists here, the way the drums never embrace their full punch into long after Asake had meandered beyond the chorus, and only when Central Cee comes in, and still in a slightly staggered, stuttering way, it’s a really interesting decision that works out very well. It almost reminds me of Brazilian funk sometimes, especially with its cacophonic approach and that later screeching synth. As for content, it doesn’t really matter, but I do wish there was a little more substance or at least a less generic Cench verse, but really, the weird note the very busy and tense instrumental carries when placed against the Afrobeats genre’s use of choir vocals is really fascinating. It doesn’t fully hit, but it’s a risk that is pulled off by ensuring other elements of the mix, like Asake’s drowned out vocals or the general blandness of Cench’s cadences, are kept to the sidelines, which doesn’t lead to a fuller song but still an interesting one that is still developing on itself with extra choir harmonies and even uglier synth fuzz at its last moments. Maybe it’s not one I’ll go back to - it’s not particularly catchy - but it’s an interesting way to grab a different audience’s attention.

#37 - “us.” - Gracie Abrams featuring Taylor Swift

Produced by Aaron Dessner, Gracie Abrams, Taylor Swift and Jack Antonoff

So, Gracie Abrams, daughter of J.J. of course, released her let’s-pretend-it’s-adebut record, The Secret of Us, and surprisingly to me, despite pretty much no traction before this, it went to #1 on the albums chart: here is your golden ticket as to why. Not particularly this song, but the idea of Taylor Swift being behind this specific young singer and project, as well as making a direct appearance, absolutely helped. It also makes perfect sense considering that both of Abrams’ prior songs I had heard that charted were basically less self-realised Taylor Swift leftovers. She even got both Dessner and Antonoff on here because of course, and well, firstly, I don’t understand why this is a duet - and barely at that. Abrams derives from both her own older tracks and Taylor’s to create some unsubtle metaphors and oddly fragmented verses about a former relationship, and Taylor is here for decoration as far as thematics are concerned as there isn’t a clear attempt at implementing her vocal presence into the narrative. That’s… fine, if not lazy, but once you get to the lyrics themselves, it’s all kind of a shambles that apes Taylor’s style of writing without actually making all too much sense. I would appreciate the fantastical, forelorn imagery of “Babylon lovers hanging lifetimes on a vine”, if she didn’t ask her ex if they “miss[ed hers]”… what exactly could they miss here? If the point is that the vine represents a “lifetime”, then in what sense does it make for someone to “miss” a “lifetime”? Abrams could say that the relationship felt like a lifetime, or took a lifetime out of her, that would make sense, but it gets confused with the use of the Babylon imagery - also, the hanging gardens of Babylon are disputed to have even existed at all, but not in a concrete way where we know exactly what it’s being confused with or who exactly fabricated it, so “Babylon lovers” and the “vine” conceit feels like a cheap use of imagery without really understanding its origin, especially since Abrams makes “us” - I.e. the relationship - solid and established in that chorus.

The verses may be a bit of basic word salad, but when you try and make connections between certain ideas, they start to break down - what does being 29 years old actually have anything to do with being welcoming or open with your younger partner? If you’re going to include the “so”, there should be a connection but it’s never explained. It gets worse and worse throughout the song also: I know the “prophets”/”profits” homonym was probably just an inescapable cliché for our gang of four - even if it actually muddles the flow of that bridge - but what actually ARE the “false profits they make in the margins of poetry sonnets”? Who’s “they”, book publishers? How are the profits in any way “false”, or the exact “margins” of a sonnet relevant? Oh, and thanks for specifying “poetry sonnets”, not to be confused with the other types of sonnets that aren’t poetic, all zero of them. You could argue that part is purposefully meaningless as it criticises the guy for his misunderstanding of literature, sure, but I think to pull that off, one needs to 1.) show an understanding of the unnamed poetry he supposedly misconstrued and 2.) not, in your own poetry, express yourself in obtuse ways acting as rhythmic filler.

If you’re going to bring up Robert Bly and the irony that this guy gifted you his work without understanding its reference to masculinity and not representing the values in Bly’s work, how is this guy in any way “incomparable”? You just made a comparison! The condescending lyric from Taylor that he never “read up on” any of the literature he cared about and that he “could have learned something”, sounds really hypocritical in this song full of adding complexity and faux-poignant takes or, well, comparisons into a song ultimately lacking any nuance, because what does adding any of this meaninglessness really contribute to the general picture Taylor will paint of any ex-boyfriend in a typical song? I’m a sucker for detail lyrically but detail that actually gratifies the listener for looking carefully, not punishing them once the cracks are realised. This sounds nit-picky but is genuinely incredibly distracting for a song wherein I’m supposed to reeled into the narrative on display… and Hell, I’m always being told that Taylor is one of the greatest songwriters, so I’m not sure why I can’t nit-pick for every detail.

Obviously, this is not my only problem with the song. Dessner’s acoustic guitar is twiddly and oddly tense as well as feeling copy-pasted throughout the song, Abrams sounds like a BTEC Lorde on a chart week where we get the real deal taking genuine artistic risk - more on that later - and the chorus is a sludge of a lead vocal melody covered in feathery vocal layers that really emphasise how little is being said. If I were right-wing, I’d probably take even further offense in the sheer amount of pronouns Abrams is shoving down my ears, and honestly, I still am, because outside of the bridge, what is “us”? Why should he miss that? The bridge has all the plastic cinematic swell of a video game trailer, full with swooshing effects and some of the worst drums I’ve heard in pop this year just because of how staggered and dire they feel, they really contribute to a complete tonal clash with the supposed electricity and pure emotional feelings that the two sing about. I know this review is incredibly wrong for a song I don’t really like, but I did come into this with the idea that it’d probably be a good fit for the two to collaborate given Abrams’ influences and the potential for a really interesting narrative as a result, potentially playing off of that dynamic… yet what I get is a white, null void of platitudes that shatter at any scrutiny. Sorry, Swifties… or Abramites I suppose - this is one of my least favourite songs of the year so far.

#34 - “Pour Me a Drink” - Post Malone featuring Blake Shelton

Produced by Louis Bell and Charlie Handsome

Post Malone has yet to truly convince me on the straight-up country pivot. Sure, elements of folk and country have been vaguely reflected in his music for a while, if much lesser than the pop rock influences that have practically always been there and still largely are, but his producers are still his main guys - which I guess I can respect - and he decided Morgan Wallen wasn’t a seasoned enough veteran of Nashville so he went and bagged Mr. Gwen Stefani for the feature on yet another country drinking song… and I guess it’s fine. It’s exactly what you’d expect from a 2000s country-pop track, particularly one with some more organic fiddle but more canned drums and rock instrumentation, and I realise that I’m just describing a Blake Shelton song. Bizarrely, he fits less here than Post, who is a natural fit in his warble for this kind of casual country radio sing-a-long. Much like “I Had Some Help”, which this very much resembles, there’s a quicker pace to some of the songwriting, especially the chorus, that Shelton finds himself a bit behind sometimes, especially in that rough first verse to chorus transition. The second verse has some cool idea of chemistry between the two but it seems very forced. I can’t imagine a situation where Blake Shelton would be calling Post his “buddy” at an old bar as Post is trying to get with some girl. I think something is missing there, optics-wise… as well as a proper bridge, or any real harmonisation between the two, which also has no reason to be a duet, really. That really shows to me that Post or his label have little confidence in his ability to sell country, by lodging these veterans onto the track without any thematic relevance, and also not realising just how charismatic Post is on his own. I can imagine the dumb grin on his tatted-up face as he records the song, I’m not sure I can really imagine Blake Shelton feeling anything at all. I also don’t really buy either of these guys trying to “keep up with the Joneses” - you ARE the Joneses, fellas - but that’s beside the point of the song. It’ll work in the right context, but it’s not like there’s not plenty of these types of songs and the inclusion of Blake Shelton here detracts from it quite a bit too.

#28 - “Girl, so confusing” - Charli xcx

Produced by A.G. Cook

Yeah, I prefer the solo version. Whilst it’s clear that Charli is talking about someone, probably Lorde, on “Girl, so confusing”, which is now confirmed, the more self-contained story of Charli misunderstanding cues and overthinking certain interactions she has with women in general, as well as the more specific showbiz talk, is much more compelling to me than knowing that it’s just about one woman in particular. That doesn’t mean the Lorde version can’t be that as well, but when I first listened to BRAT, “Girl, so confusing” really resonated with me, in part because of the anthemic nature of the chorus, with the scattered vocal stuttering very much in A.G. Cook’s wheelhouse, but also because, I mean, yeah. It is confusing sometimes to be a girl, and that general thesis, as well as applying the lyrics in the verses to everyday interactions, is something I can get behind and see a lot of value in, especially since it uses such a universally humanising statement to bring the album’s themes back home. Unfortunately, here comes Lorde, coming off the strength of her worst album, and making a song already about her… not very easily about anything else.

I’ve said this before with acts like Doja Cat and Ye, but when it gets too absorbed in gossip, I tend to tune out, and I can’t find many universalities in Lorde’s new contributions, to the point where that main lyric starts to sound closer to “It’s confusing to be Lorde”, which I don’t doubt but I also don’t care about hearing unless I spin a Lorde album, which, well, I do. I love Melodrama. What I don’t love is the awkward implementation of Lorde into the Auto-Tuned club-pop cacophony. She gets to the point - are you sure this is still Lorde? - but it’s through a breathless delivery that name-drops specific elements about Charli that take the song even further away from universality for the sake of the “moment”. I didn’t even realise people cared about a Lorde and Charli feud, one I didn’t know existed until this album dropped, and I honestly doubt this lasts much longer thanks to what is arguably a novelty aspect. I still do like the song, and yes, I will count the original in the conclusion because the Official Charts Company doesn’t credit Lorde, but I wish I could connect to it much more, and the way a lot of people really are gravitating to this viral moment at least gives me some solace in knowing it did do that for other people. The funniest end result for me would be if the song is actually about Marina and the Diamonds and this was all grade-A trolling.

#25 - “feelslikeimfallinginlove” - Coldplay

Produced by Max Martin, Oscar Holter, Bill Rahko, Daniel Green and Michael Ilbert

So, Coldplay are releasing their second weirdly-stylised, Max Martin-penned space album of the 2020s. Sure. These guys can do anything they want at this point and whilst it frustrates me that they don’t take the risks they have with that freedom, or at least in more compelling ways because there definitely are some… choices on the last few albums, some genuinely experimental and out-there, I know I’m not going to find that in a lead single, and hey, the band’s given us some great music in the past, with singles and deep cuts so there’s a level of expected quality and polish to everything they put out. Unexpectedly, however, I love this song. Yeah, I was surprised too, not been a fan of much Coldplay for a while, but this reminds me of the muted Ghost Stories, where its swell came from a genuine push and struggle to express those emotions, rather than the careening easiness of stumbling into orchestras or guitar overdubs like they usually do. If there’s any song in particular I feel that it’s reminiscent of, it’s probably that record’s big single, “Magic”. The difference here is that this is far from a divorce record, it’s a childishly lovestruck anthem, but one that starts with a piercing, glittery distortion that peters away for Damon Albarn-sounding synths and flickering drum sequencing that is as monotone as Chris Martin’s pained attempts at “la-la”s. He’s so tedious in his delivery that he ends up having to harmonise with a pitch-shifted version of his own vocal take, and all of that is a compliment, this is a really interesting song in terms of where it lies emotionally: he’s in love, but seemingly some of that love is coming out of a pity, a hand being lent to a guy who considers himself born to destroy everything good that comes to him. This is his one attempt to pull on those hands in full sincerity, acknowledging that it’s probably a mistake for him to do so but putting his heart and hope where his hands are: in the trust of a new partner who lets the windows open in spite of all that. Fitting for a Glastonbury performance, there are some lush synth and stringwork in the sing-a-long chorus, and it’s definitely a sing-a-long chorus given the simple melody and platitude lyrics that still do reflect some of the song’s conceits - “You’re throwing me a lifeline” is a great lyric to add to ensure that’s still embedded within each crack of the song’s premise, and yes, he rhymes it with “lifetime” and this time, it makes sense. I don’t usually say, “Take notes from Coldplay,” but we might have to start revising their back catalogue. There’s a certain restraint to the song’s true capabilities too - it’s in full slow build-up Coldplay territory of course, but all we have to really reflect on that other than the expected instrumentation is a guitar line so far to the left channel that it’s borderline communist, and a sputtering of lovestruck gibberish from Mr. Martin that’s honestly kind of adorable. It reminds me of when he performed lyrics from the Crazy Frog live on television as part of an instrumental break, it’s a cute and endearing way to end the song. Surprisingly enough, I do thoroughly enjoy this new Coldplay single. Been a while since I’ve said that with as little hesitation.

Conclusion

It’s tough. Who wasted my time the most? But whom did I clearly at least have something there to tussle with and find some value in outside of novelty? As controversial as this probably is, I’m ultimately going to grant Worst of the Week to “us.” by Gracie Abrams featuring Taylor Swift, because at least Dominic Fike’s vapid garbage is as transparent as it is, and yes, “misses” gets a very close Dishonourable Mention. As for the best, it’s also pretty evident here that it’s a toss-up between a few great songs, but ultimately I’ll actually lend it to Coldplay for “feelslikeimfallinginlove” because it sounds great in what might be a more unique emotional balance than the others, though I’m still giving a tied Honourable Mention to the girls, those being Charli xcx for “Girl, so confusing” and Perrie for “Tears”. As for what’s on the horizon, we’ll see whatever tangible impact Glastonbury and Headie One have, as well as that mess of a Camila Cabello album, Jason Derulo’s team-up with two prominent English DJs and maybe more K-pop than you’d think. Time will tell, however, and for now, thank you for reading, rest in peace to Shifty Shellshock - sugar! baby! - and I’ll see you next week.

[sailor-artemis]

5 Songs I'm Into Right Now

Thanks to @riftdancing for the tag! I love talking about music so this was perfect :)

1. acloudyskye - Surface

I decided to check out this album after seeing it pop up in RYM's new music since I'd heard one of acloudyskye's previous albums, and this song just sunk its hooks into me and won't let go. That guitar line. The piano chords backing it up. The production. The lyrics. The vocal delivery. The vibes. The main guitar riff and the chorus ("If you're there, can you hear it?/They're shooting flares in the distance/They won't find a trace of us/We'll be gone when morning comes") both live in my head rent free. This is a song that ends a character playlist I'm working on, and that spot is well earned.

2. 2hollis - all 2s

Fitting to go at number 2, I stumbled on this while trying to find more electroclash in the vein of Justice and decided to give it a spin. That first 30 seconds or so is what grabbed me: the simple synth line & choppy vocals that becomes a Wall of Noise after 16 bars. Don't know what it is about it, but that kinda noise just scratches some part of my brain the right way, and this song does it like few else. The synths in this are also fun, and I love the hype energy this has. Just a banger.

3. Fever Dolls - Gennifer Flowers

You can blame @reversalsun for this one, I got it from their playlist for one of their OCs (Anja, the one I made a drink for, as it happens), and it's wormed its way right into my brain. I love the very "theatrical" delivery of the verses with a lot of meat to unpack in the lyrics that's counterbalanced by the shouted chorus: "And if I've got the power to take it (got the power to fake it)/Gennifer Flowers got the power to shake her debasement". Basically, I wanna see the musical this is from, and the fact this band has only a handful of singles is a crime. Thanks Sam!

4. The Hives - Tick Tick Boom

A classic garage rock tune that made its way onto a playlist I put together for Lehon'a's time in Shadowbringers. In my head this soundtracks the final fight with Emet-Selch, with Lehon'a lording her superiority over Emet in the lyrics: "Yeah, I was right all along/Yeah, you were tagging along/Exhibit A: on a tray, what you say as I throw it in your face/Exhibit B: what you see, well it's me I put you back in your place". And that main guitar riff and the iconic "tick tick tick tick tick tick tick BOOM" where everything cuts out just make this song.

5. The 8-Bit Big Band - Can You Feel The Sunshine? (originally from Sonic R)

This one is YouTuber Adam Neely's fault. I decided to rewatch his video on how Video Game Music has spawned its own jazz scene and how it fits into the culture of jazz at large, and this is one of the songs that he helps perform. Just from the snippets in the video, the main hook managed to get trapped in my brain, and now I'm obsessed. The original song is a fantastic eurobeat adjacent track, but this jazz version just adds some extra spice. I especially love the vocalist really showing off towards the end of the number. Highly recommend watching the YouTube video which shows all the performers in the studio playing (and the Adam Neely video too), it's super cool!

Tagging (though no pressure to do it if you're busy or otherwise don't wanna): @reversalsun @zylphiacrowley @ga-keaton @ferrocyan @gatheredfates and any other passers-by who wanna share some cool tunes!

[thenixkat]

CLIPPING - Nothing Is Safe

[Verse 1] Everyone safe and sound; this how family do Only homies around, everyone here is crew Somethin' foul in the air, somethin' feelin' askew Wind is in the pipes, is that whistle callin' for you? Don't holler; it's cool Windows boarded and sealed, doors are bolted and locked Product cookin' on pace, weaponry fully stocked Bodies sleepin' in shifts, other bodies keep watch Bullets are for anybody caught runnin' up in the spot, the pop, the pop Drop the lights, so drop low, something shot from the trees Went straight through the front door, homie drop to his knees Blood seepin' from his neck, as he struggle to breathe Wooden floors stained wet, gets soft the more that he bleeds, he leaves, believe

[Pre-Chorus] Didn't no one summon what was comin' But it creepin' on a come up Now it's right up in your face Face it, let it resonate up in your bone a minute When you shiver, make a sliver Big enough for it to have a space Ripped life slipping away Maybe you can make it out with just a little bit of grace But it truly doesn't give a fuck about the fear you feelin' It is here to make you understand that nothing is safe

[Chorus] Nothing is, nothing is safe Nothing is sacred Nothing is safe, nothing to pray for, nothing is safe, nothing is Nothing is

[Verse 2] Cut the light and stay low; all is quiet and still Peerin' through the window, starin' over the field Scent of death in the air, nothing out there looks real Close the homie's eyes, now is not the time to be feelin', really load up Furniture to the walls, barricade you inside Lose the lights in the hallways, everyone gon' be fine Phone that no one should call starts to ringin' one time All the homies' eyes slide to it then the walls split from the outside The air rushes in; it's cold as fuck, bullets slappin' like hail, more homies struck down The mission has failed; the wood is split, splintered chandelier falls and smashes hard Glass and steel everywhere in every throat, screams in protest You all are dyin', and really will anyone care? Truth, like death, comes for everyone

[Pre-Chorus] Barely had to summon what was comin' It was creepin' on a come up Now it's right up in your face Face it, let it resonate up in your bone a minute When you shiver, make a sliver Big enough for it to have a space Ripped life slipping away Maybe you can make it out with just a little bit of grace But it truly doesn't give a fuck about the fear you feelin' It is here to make you understand that nothing is safe

[Chorus] Nothing is, nothing is safe Nothing is sacred Nothing is safe, nothing to pray for, nothing is safe Nothing is Nothing is

[Verse 3] Death is comin' for you, but you already knew that Thought the clique up brought you some safety up in this pack But that didn't add up, back up, stand up, strike a pose With your gat up, that's what they like, you suppose They gon' rack up, stack up that stuff that you stole But the fact of status wrapped up in black cold Caskets cannot be ignored; runnin' so fast should had an award Homies got gassed for cash from that score Y'all could have made a dash just after one more So your foot up on the gas and smash 'round the corner Only one man was sent to the coroner Wasn't part of the plan, but damn, the fast foreign Whip was too quick to flip and fast-forward The past smashed every wall, pillar and floorboard Ashes to ashes, dust in the lung Fire now on everything, gasoline been poured Last piece of action 'fore you succumb Just catch a glance of what could have done this Somethin' 'bout how he walks remind you of someone You look and see a gun, a man with no face A golden halo that could be the sun

[Pre-Chorus] Long ago, you summoned what was comin' It was creepin' on a come up Now it's right up in your face Face it, let it resonate up in your bone a minute When you shiver, make a sliver Big enough for it to have a space Ripped life slipping away Maybe you can make it out with just a little bit of grace But it truly doesn't give a fuck about the fear you feelin' It is here to make you understand that nothing is safe

[Chorus] Nothing is, nothing is safe Nothing is sacred Nothing is safe, nothing to pray for, nothing is safe, nothing is Nothing is

[lovesongbracket]

Reminder: Vote based on the song, not the artist or specific recording! The tracks referenced are the original artist, aside from a few rare cases where a cover is the most widely known.

Lyrics, videos, info, and notable covers under the cut. (Spotify playlist available in pinned post)

Dancing in the Dark

Written By: Bruce Springsteen

Artist: Bruce Springsteen

Released: 1984

The first single off of Springsteen’s seminal album Born In The U.S.A., this track was written two years after most of the other songs on the album. Producer Jon Landau thought the new album lacked a guaranteed hit and pushed Springsteen to draft one more song. The two men got into a brief altercation, after which Bruce wrote “Dancing in the Dark” about his ‘difficulty writing a hit single and his frustration trying to write songs that will please people’. Its music video contains an early appearance by actress Courtney Cox. It also helped introduce Springsteen to a younger audience, setting the stage for a seven-single run of top 10 hits from the album. “Dancing In The Dark” became Springsteen’s highest charting single the Boss has ever had, spending four weeks in the #2 position of the Billboard Hot 100 in the summer of 1984, held from the top spot by Duran Duran “The Reflex” and Prince “When Doves Cry”. It also spent six weeks at #1 on the Mainstream Rock chart. This single is also Springsteen’s only to be certified platinum.

[Verse 1] I get up in the evening And I ain't got nothing to say I come home in the morning I go to bed feeling the same way I ain't nothing but tired Man, I'm just tired and bored with myself Hey there, baby I could use just a little help [Chorus] You can't start a fire You can't start a fire without a spark This gun's for hire Even if we're just dancing in the dark [Verse 2] Messages keep getting clearer Radio's on, and I'm moving 'round my place I check my look in the mirror I wanna change my clothes, my hair, my face Man, I ain't getting nowhere I'm just living in a dump like this There's something happening somewhere Baby, I just know that there is [Chorus] You can't start a fire You can't start a fire without a spark This gun's for hire Even if we're just dancing in the dark [Bridge] You sit around getting older There's a joke here somewhere, and it's on me I'll shake this world off my shoulders Come on, baby, the laugh's on me [Verse 3] Stay on the streets of this town And they'll be carving you up all right They say, "You gotta stay hungry" Hey, baby, I'm just about starving tonight I'm dying for some action I'm sick of sitting around here trying to write this book I need a love reaction Come on now, baby, give me just one look [Chorus] You can't start a fire Sitting 'round crying over a broken heart This gun's for hire Even if we're just dancing in the dark You can't start a fire Worrying about your little world falling apart This gun's for hire Even if we're just dancing in the dark [Outro] Even if we're just dancing in the dark Even if we're just dancing in the dark Even if we're just dancing in the dark Hey, baby [Outro Saxophone Solo]

Monster

Written By: Half Shy

Artist: Olivia Olson & Half Shy for Adventure Time (alternate version by King Princess)

Released: 2020

Cover included: King Princess, 2020

“Monster” is a song from the second episode of Adventure Time: Distant Lands, “Obsidian”. This love song was composed by Marceline while living with Bubblegum and sung to her while they were stuck in a cave in the Glass Kingdom.

[Verse] I know we'll never grow old together 'Cause you'll never grow old to me You're the pink in my cheeks And I'm scared 'cause that means I'm a little bit soft [Pre-Chorus] But don't beat yourself up, Bonnie It wasn't just the sun that I was hiding from We were messed up kids who taught ourselves how to live And I'm still scared that I'm not good enough [Chorus] I've always felt like a monster Long before I was bit But only seen as a monster Let's just say I'm used to it And I grew tough 'cause love, it only hurt me back But loving you's a good problеm to have And I'm used to that, but I could get usеd to this Yeah, I'm used to that, but I could get used to this [Outro] And I know we'll never grow old together 'Cause you'll never grow old to me You're the pink in my cheeks And I love that it means I'm a little bit soft You're the pink in my cheeks And I love that it means I'm a little bit soft

[firewoodfigs]

🎵 i have to do it for our girl riza 😌

shameless self-promo but the first song I have about our best girl riza is a WIP -- I recorded a very sloppy demo acapella here and am still toying around with the chorus, but I'm quite happy with how the lyrics turned out so far :)

I was waiting for change / in that same old spot when the midnight train / brought you to the porch

A rose garden, snowed under by any other name, and I

came to you like a moth to flame never knowing dust would be our end

But in this dream, we were bending time carved our names in the fading light and you were once more, and hence forth, forever mine And in this dream, you were shimmering Aurora in spring, chasing brass rings wasn't worth our weight in gold

verse 2 (unrecorded) goes something like:

Now I sit and weep before stone-faced graves Haunted by the weight of unwanted legacies Mother used to warn me of beautiful fools I should've known you were one too But I choked on pearls of wisdom And turned in a kingdom / just to flirt with freedom

the bit in bold is supposed to be Riza's response to an old song I wrote from Roy's perspective (this time/old-time lovers), where the chorus goes: but I promise I'll be a better man, be a bit less of a fool, someone wise / this time, I'd like to make you mine (except Riza has the discernment to know that they can only exist as lovers in a dream ahahaha I feel like Roy would have a harder time reigning his desire because he's just so passionate about every single thing, probably about carrots as well).

----

on to the actual playlist!!! to nobody's surprise, dr. swift features heavily:

(1) You All Over Me - Taylor Swift feat. Maren Morris) (2) Dreams Tonite - Alvvays (3) The Great War - Taylor Swift (4) epiphany - Taylor Swift (5) Time Lapse - Taeyeon (this is a Korean song but the English translation of the lyrics cut so deep aaaahhhh)

[jaxs-beanie]

Hadestown Tour Notes 2!

I saw Hadestown on tour again today (technically yesterday lol, February 17 2023) and it was just as amazing, if not more so, than the first time! We had no understudies, so Orpheus was Chibueze Ihuoma, Eurydice was Hannah Whitley, Hades was Matthew Patrick Quinn, Persephone was Brit West, Hermes was Nathan Lee Graham, the Fates were Dominique Kempf, Belen Moyano, and Nyla Watson, and the Workers were Courtney Lauster, Jamal Lee Harris, Eddie Noel Rodriguez, Jordan Bollwerk, and Lindsey Hailes.

ACT 1

 No understudies and had front-row seats on orchestra left, could see the whole right of the stage! Hades’ leather coat hung on a coat rack on the far right wall. Jamal’s chorus member has a green beanie! Courtney looked kinda sarcastic at Orpheus at first, Jordan’s chorus member was very excited, Orpheus was bopping to RTH, Hades clapped by slamming his hand on the balcony railing. Eurydice and the Fates shared A Look, and she seemed to recognize Jamal’s worker when she came in the door.

The Fates scared Orpheus away at first in Any Way the Wind Blows, then he got stronger and tried to approach Eurydice again, and was right to the right of her when she asked for a match but was too late to give it cause she saw Hermes first. Clotho enjoyed teasing Eurydice a lot while Lachesis made a bit of a motherly gesture on her final verse. Hermes was soft and sweet about hearing Orpheus sing.

Hermes couldn’t help but laugh when Eurydice called Orpheus crazy, Courtney seemed to agree at first but by the end of Wedding Song she was totally shipping Orphydice. Lindsey has the red dishrag, and Jamal and Eddie were the table workers for the birds verse. Chibueze’s Wedding Song was smooth and bluesy kinda like Justinpheus. I got the feeling Jamal’s worker was really into it too, he felt like Eurydice’s friend.

Eddie briefly looked curious about Hermes in Epic 1, then got bored. Hermes drew out ‘Hades…’ like ‘Orpheus, you should know this already.’ Orpheus really enunciates every word on the Epics compared to Wedding Song, which was more breezy, and started a lil shy, then got strong. Eddie, Jordan, and Lindsey looked awed at Orpheus’s singing and very interested, plus Eurydice. During the final Epic 1 verse—down below and up above—Hermes had a small dance and look with each of the Fates in order. Eddie was back to his table spot on ‘that was long ago’ and looked sad.

In Living it Up, Jamal was the first to take off his jacket and was eager for spring, Courney was shipping Orphydice and encouraged Eury to dance, Eddie caught the flowers and spun. Tour workers have a new line; after ‘Anybody want a drink’ they all go YEAH! Lindsey danced first, then Jordan and Courtney danced, then Eddie and Jamal. Lindsey was a dance machine! Eddie and Jamal’s workers felt like a couple, especially down below. Jordan yelled ‘YEAH, ORPHEUS!’ followed by Lindsey. Orph was teary during the toast, especially with Persephone ‘asking nothing in return’, also felt a lil drunk. Then Hermes gargled on his toast and we all laughed, Eddie held and spun Seph to end the song.

Hermes looked kinda protectively at Persephone during All I’ve Ever Known and guarded Eurydice’s candle, while Jordan took Orpheus’s guitar. Eurydice was cautious at first and Orpheus matched that energy, and his legs wobbled when she pushed him backwards. When they stargazed at the end they raised their hands to the sky and held each other’s hands.

Persephone’s ‘OH, COME ON’ was hilarious, Jordan put guitar back, Eurydice was curiously watching Seph before she started dancing, and when Hermes mentioned hound dogs she moved to protect Orpheus, who looked terrified and scrambled into her arms. Hermes was repeatedly scaring Orphydice apart before they danced, then laughed and cuddled before Hades showed up. Courtney and Jordan got Persephone’s coat, the audience laughed at ‘You’re early’, Orpheus hugged Eurydice on the last note.

Courtney gave Eurydice her jacket and Eury gave Orph a shoulder brush goodbye, and the Fates blocked him from hearing her—the wind drowned her out.  Orpheus held ‘king of oil and cooooal’ a very long time, and the Workers did some really cool spins as Epic 2 ended. Hades was super duper proud of himself and Persephone was upset, while the workers were scared and kept protecting their faces from the balcony, where they’d be seen. Orpheus felt like he was swimming through a sea of fog in Chant, and when Eurydice saw Atropos she ran for her life. Hermes was calling for Orpheus like he couldn’t see him. Eurydice put her hands in her pockets to try and save the coat but failed. Persephone felt sad for the workers and Eurydice on her last verse.

Hades saw the light, shielded his eyes with a hand, then put on sunglasses. He felt confident and secure that Eurydice would follow him, and was dripping with scorn on the ‘hand to mouth’ verse. The Fates looked like they were measuring Eurydice’s thread on the intro to Chips, and Hermes looked stoic, almost like a statue. Eurydice was scared and felt desperate to avoid her fate but gave in.

Orpheus heard Hermes playing with the coins and got curious. Hermes didn't blow out the candle during Gone I'm Gone...he blew it out around the 'you'll find another muse somewhere' line and was holding it when Orpheus came by. Orpheus’s ‘no’ was broken and kinda sounded like a ‘nope.’ Hermes was a drama king as he gave directions, Workers right behind Orpheus with the lamps. Orph ran straight into one center stage but I think it was planned. When the Fates caught him the Workers were working, and at the end the lamps raised into the ceiling. The Workers were still and quiet for Why We Build the Wall, Jordan prepped Hades’ microphone. Hermes looked upset at Hades, while Jamal looked really into the song. Hades loosened his jacket early, where Eury could see, but undid his tie when only Seph was looking. The band hung around onstage a bit after the act break.

ACT 2

For Our Lady of the Underground Hermes looked worried about Seph and her drinking, he made a tsk motion as he watched her drink like he was warning her to be careful. Persephone looked right at me before the sky verse, and we have a new ship, Hermes and trombone man (first name Tim). He had a cowboy hat on and Hermes was swaying and laughing to the music with him, holding the flowers before handing them to Seph. Hermes looked scandalized on the final OLOTU moments ‘tell my husband to take his time’ and backed away a bit.

Way Down 2 felt like Persephone was seeing the workers’ and Eurydice’s conditions for the first time on the ‘floor’ as it were and she didn’t like it. Eddie was the Fates’ model worker and he didn’t even blink when they presented him. He and Courtney felt like the workers’ leaders, the others physically leaned on him for support later in the song. Clotho felt like she was enjoying it the most.

In Flowers Persephone was facing Eurydice for the whole song, but her eyes were closed as she and the workers slept. The air was smoky and hazy from fog, it felt like you were drifting just like Eurydice was. She was broken and scared for herself and her life, and by the end she really felt like she was dead and had resigned herself to it. Orphydice did a HUGE hug and spin and the biggest laugh was Orph’s blunt ‘No!’ when she asked if he heard. Hades shows up and is lit in blue on ‘No you can’t’ before revealing himself.

Persephone was reaching out to Orpheus like she wanted to hug him in Papers and even when Hades shut her down it took a while for her to stop reaching. Clotho took the guitar and Orpheus sounded so broken when he asked Eurydice if what Hades said was true. Eddie and Jamal led the charge in beating Orpheus up, Hermes, Hades, and Persephone all watched, Eurydice ran to the side I think, Eddie pinned Orph down. Hermes and Persephone watched Nothing Changes while the workers all gathered in a clump.

Afterwards Eurydice was scared to approach and Orpheus was scared to let her. Eurydice reached out a few more times and gave up while Persephone looked distressed and Hermes watched him with pride as he found his footing again. It felt like a lot of this If It’s True was directed at Persephone, and Orpheus was crying for a lot of it. Courtney rose first, then Eddie, Jamal, Jordan, and Lindsey, Eurydice ran for the door and barely made it. She took Orpheus’s hand as they went through the door together.

Hades felt frustrated and defensive in How Long while at the same time trying to understand and comfort Persephone. When they reached an impasse he felt very bitter and defensive, shouting ‘the song people sing’ sarcastic and upset. He watched the piano guy play for a bit.

Hermes was super happy about the rebellion going on while Hades lounged on the stairs like a predatory animal. Courtney and Jordan hugged, then Jamal and Lindsey clasped hands, then Eddie and Courtney held one another’s shoulders. Hades did the finger guns again while Orph’s ‘raise my voice’ was angry and proud, determined to make a change. Jamal and Lindsey high fived while Eurydice and Courtney did a secret handshake. Hades’ ultimatum was playful at first but the Great Beyond was snarled, there was stunned silence for a bit from how epic it was. Eurydice gave Orph a soft, scared hug before Epic 3.

Hermes prayed for Orpheus just like Andre did, he seems a bit more fatherly to Chibueze. Hermes looked right at me when Hades said ‘Awww, it’s about me?’ Orpheus got really strong on ‘I know how it was because he was like me’ and Hades got distressed at the first lalas. Orpheus looked at Eurydice, who stepped forward when he began to cite AIEK, and when Hades yelling at the workers didn’t work he started yelling at the band to quit it. Persephone was shocked as Courtney, Jamal, Lindsey, Eddie, and Jordan all took off their caps while Eurydice looked so proud of them—I feel like she made friends. Orpheus looked so sad singing about Hades, did the Damon riff on ‘see how he laaaabors beneath that load’ and was crying for the back half of Epic 3.

There was a huge gasp when Hades made the flower. Lindsey and Jordan and Jamal and Eddie stood in pairs while Courtney stood alone. The workers all hugged and Hermes took the mic, Eddie and Jamal felt super close and I feel like their workers were a couple or maybe related. Big laugh on ‘but how?’ and lots of sniffles as Hadeseph embraced through Promises. Orpheus suddenly backed away scared at first like he felt like he didn’t deserve Eurydice and pleaded his case. When he was done Courtney was ready to go and she and Eurydice shook hands, then Eury held arms with the other Workers.

Someone laughed really hard on ‘I dunno’ and the Workers were SO upset :( Clotho indicated Orpheus on ‘men are frail’ and it really looked like Hades was going to smite him as he slowly walked over and suddenly pounced, with Orpheus holding his guitar in front of him for protection. Orph looked totally convinced that he was gonna die and was surprised he wasn’t dead. HTKR was very unhinged especially on ‘freedom… FREEDOM’ and the ‘idle hands’ verse. He looked at Persephone who was protecting Orphydice and then beckoned Hermes over, who seemed to be trying to steady him so as not to do anything rash. He scared Orphydice again at the end of the song for no good reason, and then chilled by the band while Hermes relayed the news.

Courtney was ready to book it when Hermes said they could go, Hades was still looking at the band and the way he was standing showed off his butt for about a whole minute. Then he watched the workers when they were singing about leaving, and both couples were pulled apart at the same time by the turntable, it was really affecting how neither wanted to let go but were forced apart inch by inch. Clotho got in Orpheus’s face and he was super scared. Then Hermes got her back by indicating the Fates on ‘the dog to dread’ lines. Orpheus approached Hades for the handshake and Hades felt insecure about it. Eddie led the Workers on the ‘walk’ out.

Doubt Comes In gave me the timeless feel from Edmonton as they walked through the mist. As soon as the violin came in, Eurydice shrunk and fell back, out of sight, and Orpheus was alone for the moment. Atropos put herself and sisters between Orph and Eury, they couldn’t hear one another, and the Fates raised their lanterns only on their own lines. Courtney led the workers’ chain as Orphydice walked out, Orpheus sounded very scared of Hades on his second verse, then got angry. The fates scurry like mice to prepare for the turn, which got a ton of big gasps. Orph’s ‘Eurydice’ was so desperate and he reached for her to no avail.

Hermes began RTH 2 with his hands on his head, then cooled from distressed to sad as the fates and chorus watched. He was really sad on ‘from way back… when.’ Courtney, Eddie, and Jamal feel like their characters remember the reset as they were happy to see Eurydice back and ready to try again. Persephone brings spring flowers and Eurydice takes out the red carnation at the exact same time. Jamal and Eddie were a pair again. We gave another standing ovation, and in Cups I noticed Hades has steel-toed shoes. Jamal passed out drinks to the Fates and Hades, and Persephone and Eurydice were next to each other singing. Clotho looked right at me at the end of Cups, and Hades waved goodbye to us :) And we all went ‘WOOOOO!’ at the end of the instrumental after!

[narrativelysignificantturtleduck]

the greatest earthbender in the world!

i don't think i went as deep with this one as i did with the others, but i feel like toph might appreciate just having some bangers.

1. sleep to dream - fiona apple

this mind this body and this voice cannot be stifled / by your deviant ways

an extremely grounded song, sonically and in the imagery of feet on the ground, while also being about breaking free and refusing to be stifled. that tension of her character makes it a bit hard to find songs sometimes.

2. army of me - björk

and if you complain once more / you'll meet an army of me

toph's no-nonsense, no whining teaching style. she very much believes in being self-sufficient, to a fault.

3. song of the traveling daughter - abigail washburn

probably my fave on this playlist, and just an extremely cool song in general imo. bluegrass artist abigail washburn lived in china for a few years, and adapted a poem called the song of the traveling son to be about a traveling daughter (like herself) and set it to music. i imagine it as the soundtrack to toph's globetrotting adventures. you can read the translation on genius.com.

4. the bullpen - dessa

forget the bull in the china shop / there's a china doll in the bullpen

a recommendation from the write-in question on this uquiz i made. one of the few answers that wasn't about zuko.

5. rebel girl - bikini kill

they say she's a dyke / but i know she is my best friend, yeah

this is what i mean when i don't feel like i went as deep with this one. this is a great song, but it's kind of an obvious choice for a powerful female character playlist. toph is a dyke, though. this song is more fitting for her than, say, katara.

6. cherry bomb - the runaways

hello world, i'm your wild girl

8. paradisin' - rina sawayama

same as previous.

7. just a girl - no doubt

i'm just a girl in the world / that's all that you'll let me be / i'm just a girl / living in captivity

same as the previous two, but also it legitimately does fit toph's relationship with her parents. "i'm just a girl, all pretty and petite" - "my daughter is tiny and blind and helpless"

you say i'm misbehavin' / but i'm just a kid so save it / let me have an unforgettable time of my life

toph in "the runaway". the details in the verses don't fit, but the chorus is spot-on.

8. river road - crystal gayle

i grabbed some clothes and ran / stole five dollars from a sugar can / a twelve-year-old jailbreaker running away

obviously the bit about marrying a man doesn't fit but "twelve year old jailbreaker running away" is so toph. i first heard this song on the muppet show btw. that version doesn't apply to toph as much bc it also has a bit about coming home but it is charming.

9. glory and gore - lorde

you could try and take us / but we're the gladiators

a song about kids changing the world, with the metaphor of violence-as-spectacle. fitting for our child heroine who spent time as a pro-wrestler

10. comeback kid - sharon van etten

yeah, i'm the runaway / i'm the hardly stay / let slip away

about toph trying to come home and reconcile with her parents.

[a-moth-to-the-light]

Comeback Celebration: Current Top Ten Purplekiss Songs

I've spent basically the entire summer waffling about the order of this list (only my top two have stayed solid this whole time), but I know I have to post this now, before I get too attached to the songs from the PERFECT single album they just released and have to knock even more of my old favorites out of the top ten.

For my Purplekiss stan cred: I've been a fan since "Ponzona", and a mega-fan since the "memeM" album--it's been so fun to watch them get more and more attention over the years!

1. Love Is Dead

That beat is something ELSE, and layered on top of it is yet another solid horror-concept Purplekiss song--the combination is killer.

2. Ponzona

The instrumental is such a standout--it's a luxury version of G-IDLE's fantasy concept music, which was already like my favorite thing ever.

3. Cast pearls before swine

mera from YouTube got me into this one, and I haven't looked back since! It's so full of catchy, joyful moments that make it super sweet on first, and second, and third, and infinite listens. Even after a couple of years, when I really should be at least slightly bored, I still find this song a bit overwhelming, though not really in a bad way!

4. So Far So Good

I still don't like the cabin fever album very much--most of it doesn't even feel like Purplekiss to me--but this month, I've finally been able to admit how much I love "So Far So Good". I have a feeling the chorus will be instantly recognizable to me for a long time to come, like my favorite songs from my childhood.

5. Hate me, Hurt me, Love me

There is absolutely no reason I should like this song as much as I do--the production is unusually sloppy, but my addiction to its chorus probably (and embarrassingly) makes it my most-listened Purplekiss song. No other chrous does it quite like this one!

6. Can We Talk Again

I didn't get it when it first came out, but I get it now. This is just a very well put-together song, neat and tidy but given life by the group's vocal style (and a super-catchy rap verse).

7. Pretty Psycho

This took over my life for a good while when the album dropped--it's such a great balance of their horror concept with a fun dance track, though the production feels a tad bit too shallow. It still has some really great qualities, but I feel like "Love Is Dead" does the same thing better, so it's fallen from the #1 spot over the past year.

8. Can't Stop Dreamin'

One of my comfort songs--like "Can We Talk Again", this is a great reminder that Purplekiss have some incredibly solid vocalists to match their (usually very impressive) production quality!

9. Oh My Gosh

Speaking of production quality!!! A new discovery, but I just couldn't leave it out--it's a perfect pop song, neat and tidy and addictive.

10. Twinkle

This one might have beaten "Sweet Juice" for the tenth-place spot solely because of my leftover affection for Mamamoo's "Starry Night", but I can't pretend I haven't listened to it an embarrassing amount of times--and the raps are pretty great, too!

[brettyimages]

Forgot to do an Electric Ballroom night 1 journal entry so whole story:

Did half a shift at work on Tuesday then travelled down to London because of the strikes on Wednesday. Got to the station and someone had been hit by a train so we sat there for 2 hours before they gave up and put us on another train which we had to get off again before London. Finally got into the city 8.5 hours after leaving home and instead of going to the hotel I headed to Kennedy's aka the Metal Mickey pub to meet up with the Insatiable Ones. Stayed there for a little while, said hi to old friends and new, listened to some Suede, took the long trip out to my Heathrow/Hounslow hotel and finally got into my room at midnight.

Wednesday morning and I woke up well-rested and ready for Suede. Headed back on that long tube journey up to Camden Town and arrived some time between 12:30 and 13:00 to be greeted by the Suede fans who had already arrived - position 46 in the queue. Had lunch, sat in the light rain, got the bus out to my hotel as there was a downpour which I was very lucky not to be caught in. More queuing and finally 7pm. I rushed to Richard's side which was quieter and got a 2nd row spot. The band played Autofiction from start to finish, highlight as always for me was Drive Myself Home but I also enjoyed Brett dropping his mic off the stage during TOWICLY and him tripping over a cable and almost falling over too. Caught Richard's eye a few times during the set I think, which was cute. They had a little break then came back out to play hits - biggest surprise being Heroine but they also did The Drowners, Flashboy, Snowblind and not Animal Nitrate. I got to touch Brett 3 times in total I think, during TOYBAY and a couple in the 2nd set. crowd was a bit shitty which meant I didn't enjoy it as much as usual. Afterwards we saw the band leave, Brett almost walked straight into traffic so I'm glad he has people who stand either side of him and stop him from stepping in front of cars.

Today for the second show I got up earlier, in time to get presale tickets for Leeds next year, then headed to the venue for around 10:30 and was 50th in the queue, the earliest I've turned up and the worst position I've had! It was a lovely day though so nice to sit in the sunshine and chat to people, had some lunch and a little trip to the stage door to see the band arrive. This time I went to Neil's side, since I wasn't going to be so close to the front I wanted to be able to see Brett walking into the crowd. I got 3rd row though which was perfect, right in front of the Brett steps. Again they did Autofiction in full, with Brett in the crowd for WAIWY so I got plenty of opportunity to put my hands on his back and his arms as he walked around. Other highlight was at the end of Personality Disorder or TOWICLY, I forget which, he sank to his knees in front of me, holding the mic out at his crotch like it was his dick, and held it there for a while so we all definitely saw what he was up to. 2nd set opened with This Hollywood Life which stunned me, then Pigs and Outsiders. During Starts and Ends Brett forgot we were still on the second verse and was ready for the outro choruses but realised the band were going into the solo, got up and watched Richard, turned to Simon with his tongue hanging out as Brett is so keen to do right now, and Simon just stuck his tongue out back at him, very cute. We got Can't Get Enough and Brett offering a "very old song we used to play in the Underworld in 1991": To The Birds!! He dedicated it to his flatmate Alan who was at the gig. Life Is Golden meant he came back for a walk through the crowd again and as he hugged the girl in front of me, he sang to me over her shoulder and as he left again I stroked his hair. He did a final visit to the barrier for the Beautiful Ones encore and sang a line to me one more time as he thrust the mic out over the crowd for them to sing the chorus for him. One of my favourite ever Suede shows, I think! Afterwards we saw everyone leaving, they were in a rush to get going although they left one at a time and by the end there were only a dozen of us left to see Richard, who was last to go, so we got a photo with him which turned out really cute.

Sad to have to wait 5 months now until the next Suede shows but these two have been super fun ❤️

[natromanxoff]

Queen live at Groenoordhallen in Leiden, Netherlands - June 11, 1986 (Part-1)

(x)

This is the first of ten Magic tour shows to be held indoors (with Brussels, Munich, Zürich, and Vienna being the other cities).

Before the show begins, the audience sing a Dutch football song.

After the second song, Freddie is dripping with energy, shouting, "How are you bunch of cocks?" The audience then begin to sing their football song again upon Freddie's request, and the band join in, much to the delight of everyone on hand. They would sing the football song a few more times tonight, and at the two Leiden concerts in the near future.

Freddie delivers what is undoubtedly his definitive live version of A Kind Of Magic tonight, while Brian adds some very tasty guitar lines in the extended end section. Then, after a lengthy and adventurous vocal exchange with the audience, Freddie simply says, "Beautiful."

After Under Pressure, he tells the jubilant crowd, "Without a doubt, you must be the best singers around, really." He goes on, "I don't say... oh, you want a beer, darlings?" He complies and hands it to someone in the front row. "Don't drop the fucking thing! Pass it around, you bugger. There's enough for everybody."

Roger wants to go into the breakdown of Another One Bites The Dust a bit too soon, but realizes that the jam is continuing onward. At the same time, Freddie insists, "Keep going!"

The impromptu sounds more like the 1985 versions tonight, and it would generally be played like this for the remainder of the tour. Naturally, since it is an improvisation, it will have its differences from night to night.

Brian has a bit of trouble with the chording towards the end of the first verse of Now I'm Here.

The audience sing along to Love Of My Life at an astounding volume, as per the Live Killers version they have all heard. An audience member even adds "Beautiful" after the first verse, just as Freddie did on the live album at that spot.

After he gets to the piano to start Bohemian Rhapsody, Freddie makes the first of many chilling comments on this tour about his health (the benefits of hindsight make it seem so, anyway): "This is what happens when you get too old. Your fucking energy runs out half way through the set!"

Freddie, before Crazy Little Thing Called Love: "You know what this guitar means, right? It can only mean one song because it's all I know on this damn guitar. But... let's try and do it."

Friends Will Be Friends is played for the first time at this show, and it is placed between We Will Rock You and We Are The Champions, something which surely surprises people who have seen Queen on previous tours. For these two nights in Leiden (contrary to the well-known Wembley and Budapest versions) the band perform the complete song. Freddie struggles a bit on the final "Friends Will Be Friends" of each chorus, as he has pushed his voice to its limit all evening. The band have trouble figuring out how to end the song, resulting in plenty of choruses before they finally lead into We Are The Champions.

The b/w shots are from an amateur photographer named "Ruud." The rest of the first set were taken by Arne van der Zande; prints of his fine work are available at roeldijkstra.nl.

Pro pics can be seen at http://www.spaarnestadphoto.nl (thanks to Raf Foubert for the link).

(x)

Part-2

[theji]

Xiao Zhan Song Performances Part 2

Since it's the long weekend, I thought I'll continue with my recommendations list, focusing on Xiao Zhan's performance in [Our Song]. You can view Part 1 here if you're interested.

I highly recommend everyone to watch [Our Song] if you haven't already. The format is refreshing and there are many great performances on the show. Of course my bias is towards Xiao Zhan, though I have to concede he's not the best singer there. Special mention goes to Zhou Shen and Ayunga. Go check it out, you won't regret it. It's available on YouTube.

Sharing a few of my favourite moments of adorkable GG on the show: him doing his nerdy spongebob voice and giggling when he finally guessed the correct phrase during a game.

So..back to my list.

My Top 5

1) 阳光下的星星 The Stars Under the Sunlight

This isn't part of Xiao Zhan's competition repertoire. He performed it during the Lunar New Year special. There's no particular reason why I ranked it first in my list; I just love everything about it. The music, lyrics, the meaning behind it, his soulful and heartfelt rendition. It's just my favourite of the lot and I go back to it very often.

2) 爱上你等于爱上寂寞  To Love You Is To Love Loneliness

What I love most about this performance is the raw emotions conveyed. The accompanying music is soft and light, so XZ's vocals really shine through. Both his and Na Ying's voices really complement each other here. Especially as the song heads towards its climax in the second part after the chorus. XZ also does quite a fair bit of harmonising in this song, which is not an easy thing to do as one has to be really focused in order not to be pulled away by the main melody. It is pretty impressive considering that he's not professionally trained and isn't even a full-time singer.

3) 呐喊 Shout

This was one of my favourite songs by Angela Chang back then (original version here) so I was excited to hear their rendition. And I was not disappointed. GG really showcased his vocal range here and he managed to hit the high notes almost perfectly. It's a demanding song and you can tell that he really put in almost his all. The power in his voice is undeniable. See the veins in his neck popping!

4) Faded

Xiao Zhan in a faux ponytail and leather jacket, singing in English and DJ-ing. Enough said!

While Xiao Zhan and Na Ying makes a great duo, his performances with Angela Chang brought out another more explosive side of him that is rarely shown, one that I secretly love. And judging from the reactions of the other teams and the audience, I'm not the only one.

5) 恼人的秋风 (chinese version of ABBA'S Gimme Gimme Gimme)

I was contemplating between this and 心动 Tempting Hearts for the 5th spot. It's not an easy choice but I picked this in the end cos of the performance on a whole. The retro and infectious vibes, Xiao Zhan's attire, his (dorky) dance. It's not something that he would have picked on his own but I'm glad being on the show pushed his out of his comfort zone. He clearly enjoyed performing the song. And his adorkable dance moves towards the end? Priceless!

Bonus

跟着感觉走 Following Your Feelings

I have to give a special mention to this performance cos it really highlights how well Xiao Zhan and Na Ying complement each other. This was their first performance together, the song that cemented their partnership. Na Ying literally pushed the button to confirm her choice after the first verse. That's how good they are together. At this point of the competition, they didn't know who they are paired with, they didn't even rehearse together.  The song was assigned on the spot. And even with little to no prep, they managed to put out an impressive performance.

And that's the end of my Xiao Zhan song list. I love every bit of him but Singer XZ will always have a special place in my heart. Feel free to share your favourite performances with me.

Maybe I'll do a Wang Yibo song list next. I feel the need to defend DD against people who says he can't sing.

[mattmurdocksscars]

Just A Dream

Some Santiago angst with a hopeful ending. Might do a follow-up to this one, not too sure yet. This is based on and uses a cover of the song Just a Dream. I love this cover so much and I hope you enjoy it as well! 

Fair warning, I totally wrote this in one go so if there are grammar issues, spelling issues, etc. I’m sorry 😂

Pairing: Santiago Garcia x Reader

Word Count: 2508

It didn’t matter that it had been over 2 years since the last time you saw Santiago Garcia, you still missed him every day. He had been your everything, the one you thought you were going to spend the rest of your life with… but then he’d told you he was going to Columbia. The two of you had fought bitterly. You, wondering why you weren’t enough to keep him here, and him, wondering why you wouldn’t let him do this one last mission. Words of anger had poured from both of your lips, wounding the other easier than a blade or bullet ever could. Santi had slept on the couch that night and was gone by the time you woke in the morning. You had instantly regretted the words you’d said, the feeling intensified by his refusal to answer your calls or texts. You found out from Frankie that he had left immediately for the airport and was already in the air by the time you’d found him gone. Frankie had then held you as you’d broken down, angry and broken over the fact that he hadn’t given you a chance to fix things.

So, for over two years, you missed him. You saw him in strangers on the streets or in coffee shops. You looked for him in every vaguely familiar face you passed. Yet never once was he there. Santiago would contact Frankie occasionally, but never you. You would ask Frankie to pass a message along for you whenever he spoke to Santiago, but it was never answered. Santiago would simply gloss over it. It broke you down, turned you into a shell of the woman you used to be. It took Frankie, Will, and Benny finally sitting you down and giving you tough love for you to snap out of it. You still missed him, oh did you miss him, but you started doing the things you loved again. You started spending time with the boys again and even made some new friends.

When Frankie told you that Santiago was back in town to recruit him and the other boys for some recce, you had waiting with bated breath, hoping he would reach out or swing by. He never did and the five men left to complete one more mission together. When Frankie called you on his way back into the country, you had cried in relief and in sadness. Tom and you had never really gotten along, but he was important to the other boys. You knew that Santiago would be blaming himself, knew that Frankie, Will, and Benny would be too. You met them in the airport when they came back, crying again when you saw the three boys who had become like brothers to you. Despite your joy at seeing them, your heart still didn’t feel whole. Santiago was nowhere to be found and when you had turned inquisitive eyes to Frankie, he had simply sighed and shook his head. Santiago was still not coming home.

You buried yourself in distractions. You worked, taking overtime whenever possible, spent time with the boys, started going out with your new friends. They’d convinced you to start meeting with them every Saturday night and then eventually convinced you to sing karaoke with them. You were no star, but you could carry a tune and had a decent voice and you found that singing was an incredible way to release all of your pent-up emotions. The boys had even come to see you a few times, cheering you on obnoxiously loudly. It was one such night, that your whole world flipped upside down.

Frankie had text you earlier that day to tell you that Santiago was back in town. Your hands had shaken as you texted him back, asking him the same question you always did: Will he talk to me? Frankie was honest, told you that he wasn’t sure, but he would try. When you didn’t hear anything further from him, you continued with your usual ritual of getting ready and heading to the bar with your friends. You lost yourself in the music, singing a few songs with your friends and on your own. It was as you were getting ready for a solo that you looked up and everything stopped. Entering the bar was the boys, one Santiago Garcia in tow. Your name was called, and your attention snapped over to the announcer, your heart pounding as you remembered your song choice. Wiping your sweaty hands on your jeans, you walked up and took the mic, the crowd cheering you on. You took a deep breath and smiled, determined to force the knowledge of Santi being in the same room as you for the first time to the back of your mind. The music started, a piano medley to begin, and you closed your eyes, waiting on your time to come in.

I was thinkin about you, thinkin about me

Thinkin about us, what we gonna be?

Open my eyes

It was only just a dream

Travel back, down that road

Will you come back? No one knows

I realize, it was only just a dream

Opening your eyes, the lights helped blind you to the audience, helping you forget just who was watching you. Swaying gently, you poured your heart into the performance.

I was at the top and now it’s like I'm in the basement

Number one spot and now you found your own replacement

I swear now that I can't take it, knowing somebody's got my baby

And now you ain't around, baby I can't think

You sang through the rest of the verse and the chorus with no problems, but the start of the second verse had your eyes stinging as you fought back tears.

When I be ridin, And I swear I see your face at every turn

I'm trying to get my usher on, but I can't let it burn

And I just hope you know that you're the only one I yearn for

More and more I miss him, when will I learn?

Didn't give it all my love

I guess now I got my payback

Now I'm in the club thinking all about you baby

Hey, you were so easy to love

But wait, I guess our love wasn't enough

I'm goin through it every time that I'm alone

And now I'm wishing that you'd pick up the phone

But you made a decision that you wanted to move on

Cuz I was wrong

It took every bit of strength in you to make it through the verse without crying. This part had always hit you so hard, feeling it so strongly due to what had happened in yours and Santiago’s relationship. Singing through the second chorus, you took a deep breath as you headed into the third verse, opening your eyes again to look out at the crowd. They were like shadows to you but even still, you would recognize your boys anywhere. Forcing your eyes away from them and back to the main crowd, you slowly raised one of your hands.

If you ever loved somebody put your hands up

If you ever loved somebody put your hands up

And now they're gone and you're wishing you could give them everything

Said if you ever loved somebody put your hands up

If you ever loved somebody put your hands up

Now they're gone and you're wishing you could give them everything

You drug the last word of the verse out, adding your own flair as you always did. Singing the last two chorus, you continued to adjust it and put every ounce of heartbreak and longing you had into it. As your last note faded out and the music finished, you were greeted with thunderous applause. Laughing in shock, you quickly gave the mic back to the announcer and headed back over to your friends. They were ecstatic, congratulating you and telling you about how this was the best one you’d done yet. You grinned, blushing at their praise.

“Hey! Aren’t those your other friends? Who’s the cute new guy with them?” And just like that, your good mood tanked. You looked over at their table, Benny waving enthusiastically at you as he always did, and turned back to your friends before the others could look over.

“Yeah, yeah. That’s them. Umm.. you remember me telling you about my ex?”

“Yeah, the jackass that left you after a fight and has been gone for two… years… Fuck.” Realization had dawned on the groups face and you smiled tentatively at them. Immediately, an arm was wrapped around your shoulders and you were pulled roughly, but lovingly, into one of the girls’ sides.

“Fuck him. If he thinks he can just walk back into your life after the shit he put you through, he’s dead wrong.” Ah yes. That was Zoe. Fiercely protective, she was like a sister to you. Taking a deep breath, you patted her hand that was on your shoulder.

“Relax. Let’s just enjoy the rest of the night and I’ll deal with it later.” You told her softly. She looked at you, checking to make sure you were actually alright, before nodding. With a mischievous grin, she flagged down your waitress and ordered the two of you shots, much to your amusement. When they arrived, she handed you yours and held hers aloft. You matched her action and clinked the glasses together, tapped them on the table, and tossed yours back.

“To a good rest of the night.” She told you and you grinned, nodding in agreement. For the first time ever, you never went over to the boys’ table. You stayed with your friends but despite your best efforts, you couldn’t stop your eyes wandering every now and then. The first time you caught Santi’s eye, your breath caught in your chest as you tried to figure out what to do but Santi solved it for you, tipping his head and giving you a tentative smile. You had taken a deep breath and given him a shaky smile before your friends had called your attention back to them.

The two of you spend the rest of the night like that. Sneaking glances at the other and looking away shortly after locking eyes. A part of you so desperately wanted to cross the bar and jump into Santiago’s arms, but a bigger part of you was afraid and a little angry. Your friends were right to an extent. He didn’t deserve to just waltz back into your life. You also had no idea if that was even what he wanted. For all you knew, he had moved on.

As the night came to an end, you helped your friends out and got them into their rides safe and sound. Watching the last one leave, you took a deep breath and let it out. Closing your eyes, you stood in the darkness for a few moments but jumped as a voice broke the silence.

“It’s pretty dangerous to stand outside of a bar this late at night, you know.” Every muscle in your body locked up, your spine going ramrod straight, and your breathing halting. Walking towards you was Santiago, hands shoved into his pockets. You stared at him wide-eyed for several seconds, giving him time to approach you and stand across from you. His eyes flitted over your form, seeming to drink you in. It gave you time to get your brain back online and formulate a response.

“Luckily for me, I know three knuckleheads who would kick the ass of anyone who tried to hurt me.” You told him. It was your turn to let your gaze wander over him, and you were surprised when he seemed to be hurt by what you said.

“Just three?” He asked you, voice soft and questioning. Your eyebrows shot up and you stared at him in shock before you furrowed your brows, a spark of anger igniting in your chest.

“You tell me, Santiago.” This time he actually flinched, the use of his full name causing him to look down at his boots. You watched his jaw clench, and it was so hard to keep yourself from reaching out to comfort him. You shoved your traitorous hands into your own pockets and continued to stare at him, waiting for his response. He took a deep breath and dragged his gaze to up to meet yours and you were shocked at the amount of emotion in them.

“I’m sorry. I never should have left the way I did. I regretted it the second that plane took off, but I was too much of a coward to fix my mistake.  Every time I called Frankie, I hoped he would give me an update on you-“

“So why the hell didn’t you call me?” You asked, voice wavering as you felt the past two years’ worth of hurt boil over, tears slipping down your cheeks. The pain on your face was mirrored on Santi’s as he watched you break down, his own tears welling up.

“I knew if I heard your voice, heard how much I had hurt you… nothing would have stopped me from coming back to you but I… I was afraid. How was I supposed to face you after leaving like I did?”

“So what? You think you can just come back after over two years and think all is forgiven?”

“No! I… I want you to give me a chance. I’m not asking for things to go back to the way they were. I’m asking you to let me win you over again. Let me spend every day making it up to you and proving to you that I will never leave you again.” His stare bored into yours, both of you crying now. You looked at him and you saw all of the pain you’d been through in his absence, but you also saw the potential you’d always seen. A bright future, one full of love. Taking a deep, steadying breath you stepped closer to him. Pulling your hands out of your pockets you reached for his, tugging them out of his pockets and holding them. Looking down at them, you marveled how they fit in yours like they used to.

“One chance, Garcia. One. Don’t make me regret it.” Santiago immediately tugged you into his arms, holding you close to him. You clung to him just as tight before pulling away slowly. You put one hand on his cheek, running your thumb over his skin, before stepping back. You nodded to him and smiled.

“You better come at this with your A game. I expect nothing less.” Pressing a kiss to his other cheek, you let your hand fall and turned away, walking away from him, and feeling lighter than you had since before he left.

“I will, mi alma. I swear it.” He whispered, watching you walk away and feeling like he might finally be righting his wrongs.

[miserablesme]

The Les Miserables Changelog Part 2: 1985-1986 West End

Hello, everyone! This is the latest edition in my attempt to chronicle all of the musical and lyrical changes which the show Les Miserables has undergone over the years. Today, we look at the differences between the later of the two available Barbican preview audios (more on that in Part 1) and the West End variant of the musical as it existed in 1986. Only one rather poor quality audio is available of the show's pre-Broadway, post-Barbican form (though a friend of a friend has multiple masters from the era that she apparently keeps meaning to digitize). It is known to come from 1986, but the exact date remains a mystery. As such we cannot know when exactly most of the changes might have been made.

Reportedly (according to The Complete Book of Les Miserables) the majority of these refinements were made between the closing of the Barbican show and the opening of the West End one. However, some further refinements were doubtless made during the Barbican previews, and some likely were made between the opening of the West End production and whenever the audio was recorded. With all that cleared up, let's get started!

As I mentioned in Part 1, the very early Barbican previews of the opening "Work Song" featured this chain of lyrics (no pun intended):

I’ve done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn’t care

I killed a man

He tried to steal my wife

Look down, look down

She wasn’t worth your life

I know she’ll wait

I know that she’ll be true

Look down, look down

She’s long forgotten you

As has also been established, later previews removed one sequence of lines to create the following exchange:

I’ve done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn’t care

I killed a man

He tried to steal my wife

Look down, look down

She wasn’t worth your life

However, by 1986 another sequence was removed and the originally removed one was added back then. Thus, the still-current lyrics as of today are as follows:

I’ve done no wrong

Sweet Jesus, hear my prayer

Look down, look down

Sweet Jesus doesn’t care

I know she’ll wait

I know that she’ll be true

Look down, look down

She’s long forgotten you

A much better choice of cuts in my opinion. The point of the opening scene is to present the prisoners sympathetically, as comparatively innocent victims of an overly brutal and elitist police system. Establishing a member of the chain gang as literally being a murderer doesn't really help send that message!

Everything stays the same until "Fantine's Arrest". The Barbican previews feature this sequence:

(FANTINE)

There's a child who sorely needs me

Please monsieur, she's but that high

Holy God! Is there no mercy?

If I go to jail she'll die

(TOWNSPEOPLE[?])

Take this harlot now this minute

Let there be a full report

Let her go back in the morning

Let her answer to the court

(FANTINE)

Gentle Jesus! Won't you save me?

Are there tears enough to cry?

(JAVERT)

It's the same pathetic story

Please monsieur, my child will die!

I have heard such protestations...

By the 1986 recording, everything between "Take this harlot" and "Please monsieur, my child will die!" has been totally removed. I have a bit of a soft spot for that sequence, though I can't earnestly say the musical lost anything by removing it. Indeed Javert comes across as unbelievably heartless there!

As Part 1 pointed out, the earlier Barbican preview had Valjean shout "You know where to find me!" at the end of "Who Am I?", while the later preview did not. The 1986 recording interestingly reinserts that line, but now Valjean speaks it much more casually, without the slightly cheesy passion of the first recording. This makes me wonder whether or not it was initially removed because it was hard to take seriously, and a calmer rendition was reinstated as a compromise? Who knows.

A subtle change occurs at the beginning of the "Confrontation" sequence. During the Barbican previews, the number opens with a few notes being played and then repeated. However, by the 1986 recording the notes do not repeat. It goes straight into Javert's announcement (which Roger Allam has now learned to sing on time!) after the notes play the first time. The sequence would stay this way for quite awhile before being further shortened - more on that in a later edition!

We now go to the subsequent number, Little Cosette's famous "Castle on a Cloud" song. The Barbican previews give her a few lines before the main number starts (sung in a similar tune to her remarks about Mme. Thenardier's arrival at the end of the song):

They’ll come back any minute

And I’m nowhere near finished

Sweeping and scrubbing and polishing the floor

It’s the same every day, oh please!

Don’t let Madame hit me again

I should be used to it, but then

I know a place where nobody has to work too hard

And where I won’t be lonely again

These lines, taken closely from the original French concept album, don't really add much to the number plot-wise that won't be stated later except for more explicit confirmation that Mme. Thenardier is abusive. Perhaps partly for this reason, by the 1986 recording these lines are removed, and after the opening instrumentals it goes straight into the number we all know.

As I previously mentioned in Part 1, the later recording I have of the Barbican previews cut out the following lines during the preamble to Master of the House. I originally mistakenly claimed that the cuts occured after Thenardier's verse, but in actuality that verse too is removed.

(THENARDIER)

My band of soaks, my den of disollutes

My dirty jokes, my always pissed as newts

My sons of whores spend their lives in my inn

Homing pigeons homing in

They fly through my doors

And their money's good as yours

(CUSTOMERS)

Ain’t got a clue what he put into his stew

Must’ve scraped it off the street

Hell, what a wine

Châteauneuf de Turpentine

Must’ve pressed it with his feet

Landlord over here

Where’s the bloody man

One more for the road

One more slug of gin

Just one more or my old man is gonna do me in

By the 1986 recording, they are back in all their glory. Indeed, as you can read in Part 1 of this series Trevor Nunn himself has confirmed that the crew decided the number didn't work as well without the full preamble (an exception being, shockingly enough, Cameron Mackintosh).

During the Barbican previews, "Master of the House" was followed by a beautiful Well Scene between Valjean and Little Cosette:

(LITTLE COSETTE)

There is a castle on a cloud

I like to go there in my sleep

Aren’t any floors for me to sweep

(A FEW SECONDS OF INSTRUMENTALS)

(VALJEAN)

Don’t be afraid of me, my dear

Tell me your name and have no fear

How cold it grows when the sun has set

(LITTLE COSETTE)

I’m not afraid

Monsieur, my name’s Cosette

(VALJEAN)

Nor will you be afraid again

I come to take you from this place

There is a better world, you’ll see

(LITTLE COSETTE)

Give me your hand, and walk with me.

This leads into the humming duet between Valjean and Cosette. However, in what I consider the biggest mistake of this era's adjustments, the Well Scene was totally excised from the West End version and "Master of the House" is following directly by the humming duet. Trevor Nunn remarked a degree of regret about this in 1990's The Complete Book of Les Miserables. I don't have the book on hand right now, but I'll put down the exact quote later.

Of course, the Well Scene would later return in a much different form, but let's not get ahead of ourselves.

Perhaps to compensate for the deleted scene, another scene is added after the "Waltz of Treachery" number. During the Barbican previews, Valjean's "It won't take you too long to forget" is followed by a lot of vamping and eventually a reprise of Valjean and Cosette's humming duet. The West End production slightly reduces the vamping from about one minute to about forty-five seconds, and adds a scene (sung in the tune of "Castle on a Cloud", specifically the "there is a lady all in white" part at first and the main chorus for "Nor will you be afraid again" onwards):

(LITTLE COSETTE)

We're going home right now, monsieur

What is your name

(VALJEAN)

Now my dear

I've names enough, I've got names to spare

But where I go, you always will be there

Nor will you be afraid again

There is a sun that's shining yet

(LITTLE COSETTE)

I'm going to call you my Papa

(VALJEAN)

I'm going to call you my Cosette

The normal humming duet follows. This is a fascinating scene which seems to be exclusive to the brief era after the Barbican previews but before Broadway. It's interesting how it incorporates elements both of the opening Well Scene and of the more well-known later closing scene to the "Waltz of Treachery". It's also intriguing how it incorporates elements not really touched upon this directly in any other version of the musical, specifically just how mysterious and secretive Valjean is to the world in general as well as the fact that Cosette, in fact, is not truly Cosette's given name.

Everything seems to be the same from this point until "The Attack on Rue Plumet". In the Barbican previews, this is how the opening goes:

(EPONINE)

'Parnasse, what are you doing

So far out of our patch?

(MONTPARNASSE)

This house, we're gonna do it!

Rich man, plenty of scratch

You remember he's the bloke wot got away the other day

Got a number on his chest, perhaps a fortune put away

Took off like a guilty man, why would he want to disappear?

Now we're gonna do him right, this time no one will interfere

Everything from "Took off like a guilty man" onwards is removed from the West End version. Later in the number, we hear approximately the following exchange in the Barbican show. Fans have debated what exactly some of the lyrics are, but this is how I hear them:

(CLAQUESOUS)

What a palaver, what an absolute treat

To watch a cat and his father pick a bone in the street

(THENARDIER)

Not a sound out of you

(EPONINE)

What do you care if things scare me

(THENARDIER)

Listen 'Ponine, there might be jewels inside

There could be something for all

There could be bruises enough

You will have your share

(EPONINE)

Well I told you I'd do it, I told you I'd do it

The West End production reduces the vamping prior to this scene. Additionally, everything between "What do you care" and "You will have your share" is removed, meaning the "I told you I'd do it" is a direct remark to "Not a sound out of you". This is a much more linear and succinct way of moving the plot in my humble opinion!

That's it for act one! Act two begins largely the same, up until the scene where Gavroche reveals Javert to be a traitor. First off, Javert's original claim that they will "play their games" is changed to "spoil their games".

Next is probably this version's biggest change in the entire musical up to this point. Originally Gavroche sung approximately the following lines (once again, the recordings aren't as clear as would be desirable) in a unique tune heard nowhere else in the musical:

Good evening, dear inspector, lovely evening my dear!

A charlie for a copper who pays a call

I know who you’re supposed to be, Inspector Javert

Who never showed no mercy to no one at all

So don’t believe a word, none of it will wash

This time you’re reckoned without Gavroche!

The West End version scrapped this sequence and replaced it with "Little People" (which originally appeared in a much longer form later in the musical). This is how it went:

Good evening dear inspector, lovely evening my dear

I know this man, my friends, his name's Inspector Javert

So don't believe a word he says 'cause none of it's true

It only goes to show what little people can do

And little people know, when little people fight

We may look easy picking but we've got some bite

So never kick a dog because he's just a pup

You'd better run for cover when the pup grows up!

This edited placement of "Little People" is often attributed to the original Broadway production, but in fact it made its debut in the West End show. I'm not sure when exactly this was, given that the original cast album uses the long version. However, by the 1986 recording this is how it goes. It should be noted that it's not quite in its Broadway form, however; most notably, "We'll fight like twenty armies and we won't give up!" is not present.

A minor difference occurs during the First Attack sequence. In the Barbican production, this is how the students respond to their victory:

(GRANTAIRE)

By God, we've won the day

(LESGLES)

See how they run away

The West End production swaps the two students' lines, allowing Grantaire's slightly incredulous spirit to have a more poignant and/or amusing effect depending on your perspective.

Consequently given the new placement of the song, the show obviously had to be edited to remove the original "Little People" number. Originally, this is the way the show transitioned between the First Attack and "Little People":

(ENJOLRAS)

Courfeyrac, you take the watch

They won't attack until it's light

Everybody stay awake

We must be ready for the fight

For the final fight

Let no one sleep tonight

(GRANTAIRE)

Only little boys may sleep

For little people need their rest

Little tucks are quickly drained

And little grapes are quickly pressed

Come on little mite

It's time to say goodnight

Cue the original "Little People" number in all of its long, silly glory (in case you somehow don't know it, here are the lyrics). The West End production (and everything afterwards) cuts Grantaire's verse, so that the scene transitions straight from Enjolras' announcement to "Drink with Me". As much as I love the full-length "Little People" number (and I really do love it), I admit removing it was definitely the right choice. It's just so sweet and optimistic, it feels out of place in a musical as tragic and cynical as Les Miserables. It doesn't help that its placement is between a high-stakes action scene and a somber, slightly drunk reflection on the nature of friendships, sex, and romance. It's a wonderful song but a terrible Les Mis song. I do love it, though, and I also love how Grantaire manages to make his pre-song metaphors alcohol-related.

In the sewers, the Barbican recordings feature a unique tune not heard anywhere elsewhere in the musical (it can be heard here) before transitioning to the final Valjean-Javert confrontation. Apparently, this music was accompanied by a short chase scene. However, by the time of the 1986 recording there is instead what is essentially one repeated note which then transitions into an instrumental version of "Look Down". This is followed by the same Valjean-Javert confrontation as before.

And that just about sums this part up! If I missed anything feel free to let me know, as my goal is to create a changelog as thorough and complete as possible. I plan on making more parts in the near future covering all the changes that have been made in the show up until this day (discounting concerts). Any feedback and constructive criticism is very much appreciated.

As a side note, both for this project and my own enjoyment, I want as complete a collection of Les Miserables audios as possible. I already have most of what’s commonly circulated, but if you have any audios or videos you know are rare, I’d love it if you DMed me!

Until the turntable puts me at the forefront again, good-bye…

[t-underneaththeradardancing]

pudding proof

post performance post mortem - see bee low for not exactly encore but set already done and gone - shood we put post modern in the mix - so created a new preset that has some sustain but not too much distortion - a bit of reverb and echo but not over the top and maybe some chorus - i  dont really remember - its very quiet and should mic well 

wuz prepared - had 4 or 5 possible songs chosen - started w the weight cuz im not bob dylan - then sunrise a couple verses bridge chorus - tried out some solos that dont require a rhythm guitar and felt like doing a salvation day song - and st james infirmary  - so its a sing along crowd dont even have to ask - and yah got some background on the weight - the others nobody really knew - 1st 2 came off pretty well - made up for lack of singing ability by delivering like a motherfucker on the 1st 2 - played guitar casual but mostly spot on - and while i dont “perform “ much i throw it all out there always and when i connect i knock ppl out - and 50 plus years finally not 2 much stage fright and a certain confidence - ffs i have played absolutely wretched more than once - still - i push thru and sometimes  recover and transcend  - and it ever more is about just casual fun after everybody has done their official set 

so on st james - ok - wuz 1st actual time playing /performing - and - fear just a little - setting off ego - and a couple lines i havent actually worked out phrasing so its comfortable - both vocal and guitar - and its a natural for a little overplay virtuoso - but - instead of t being t - tried to b someone else that plays it often - a little jivey camp but pulls it off - i  wuznt real  - yah i guess i played some notes but mostly felt - idk - icky  - i mean not totally - in and out but never really flowed - got good response from a very friendly crowd that would applaud regardless  and prolly wuznt wretched - i didnt hate myself after and as a total performance was happy enuff 

when almost everyone signed had played - while someone wuz playing a punk song -  i thot of lazy af - witch i had not played in years except 1 time in dining room for someone so told josh i had a burning desire - had it recorded - posted it so u can here 4 urself - i wuz happy enuff 

closed eve out w some casual playing / jam w anyone who felt like - fun 

[lovesongbracket]

Reminder: Vote based on the song, not the artist or specific recording! The tracks referenced are the original artist, aside from a few rare cases where a cover is the most widely known.

Lyrics, videos, info, and notable covers under the cut. (Spotify playlist available in pinned post)

THATS WHAT I WANT

Written By: KBeaZy, Blake Slatkin, Omer Fedi, Ryan Tedder & Lil Nas X

Artist: Lil Nas X

Released: 2021

On “THATS WHAT I WANT,” Lil Nas sings about his desire for love, which is often a struggle to find as a gay black man. “THATS WHAT I WANT” debuted at #5 on the Rolling Stone’s Top 100 Songs Chart during the week ending September 23rd, 2021. During the week ending October 2, the song debuted at #10 on Billboard’s Hot 100 chart. During the week ending February 26, 2022, the song peaked at #9. On July 26, 2022, “THATS WHAT I WANT” was certified 2× platinum by the RIAA.

[Intro] One, two, three, four [Verse 1] Need a boy who can cuddle with me all night Keep me warm, love me long, be my sunlight Tell me lies, we can argue, we can fight Yeah, we did it before, but we'll do it tonight An afro, black boy with the gold teeth With dark skin, lookin' at me like he know me I wonder if he got the G or the B Let me find out and see, comin' over to me, yeah [Pre-Chorus] These days, I'm way too lonely I'm missing out, I know These days, I'm way too alone And I'm known for givin' love away, but [Chorus] I want someone to love mе I need someone who needs me 'Causе it don't feel right when it's late at night And it's just me in my dreams So I want someone to love That's what I fuckin' want [Verse 2] Look, you know it's harder to find in these times But I got nothin' but love on my mind (My mind) I need a baby with love in my prime Need an adversary to my "down and marry" Like, tell me "That's life" when I'm stressin' at night Be like, "You'll be okay" and, "Everything is alright," uh Let me in that thing, 'cause I'm not wanting anything But your loving, your body, and a little bit of your brain [Pre-Chorus] These days, I'm way too lonely I'm missing out, I know These days, I'm way too alone And I'm known for givin' love away, but [Chorus] I want someone to love me I need someone who needs me 'Cause it don't feel right when it's late at night And it's just me in my dreams So I want someone to love That's what I fuckin' want [Bridge] I want someone to love me I need someone who needs me [Chorus] 'Cause it don't feel right when it's late at night And it's just me in my dreams So I want someone to love That's what I fuckin' want

Dancing in the Dark

Written By: Bruce Springsteen

Artist: Bruce Springsteen

Released: 1984

The first single off of Springsteen’s seminal album Born In The U.S.A., this track was written two years after most of the other songs on the album. Producer Jon Landau thought the new album lacked a guaranteed hit and pushed Springsteen to draft one more song. The two men got into a brief altercation, after which Bruce wrote “Dancing in the Dark” about his ‘difficulty writing a hit single and his frustration trying to write songs that will please people’. Its music video contains an early appearance by actress Courtney Cox. It also helped introduce Springsteen to a younger audience, setting the stage for a seven-single run of top 10 hits from the album. “Dancing In The Dark” became Springsteen’s highest charting single the Boss has ever had, spending four weeks in the #2 position of the Billboard Hot 100 in the summer of 1984, held from the top spot by Duran Duran “The Reflex” and Prince “When Doves Cry”. It also spent six weeks at #1 on the Mainstream Rock chart. This single is also Springsteen’s only to be certified platinum.

[Verse 1] I get up in the evening And I ain't got nothing to say I come home in the morning I go to bed feeling the same way I ain't nothing but tired Man, I'm just tired and bored with myself Hey there, baby I could use just a little help [Chorus] You can't start a fire You can't start a fire without a spark This gun's for hire Even if we're just dancing in the dark [Verse 2] Messages keep getting clearer Radio's on, and I'm moving 'round my place I check my look in the mirror I wanna change my clothes, my hair, my face Man, I ain't getting nowhere I'm just living in a dump like this There's something happening somewhere Baby, I just know that there is [Chorus] You can't start a fire You can't start a fire without a spark This gun's for hire Even if we're just dancing in the dark [Bridge] You sit around getting older There's a joke here somewhere, and it's on me I'll shake this world off my shoulders Come on, baby, the laugh's on me [Verse 3] Stay on the streets of this town And they'll be carving you up all right They say, "You gotta stay hungry" Hey, baby, I'm just about starving tonight I'm dying for some action I'm sick of sitting around here trying to write this book I need a love reaction Come on now, baby, give me just one look [Chorus] You can't start a fire Sitting 'round crying over a broken heart This gun's for hire Even if we're just dancing in the dark You can't start a fire Worrying about your little world falling apart This gun's for hire Even if we're just dancing in the dark [Outro] Even if we're just dancing in the dark Even if we're just dancing in the dark Even if we're just dancing in the dark Hey, baby [Outro Saxophone Solo]