#this song was LEGENDARY back in 2007

[veensa-koimon]

Tav's favorite things: Gale, messing with gods and p o e t r y (worst tavern songs included)

[lafemmemacabre]

My personal top albums of all time

If anyone who respects my music opinions is interested, IN NO ORDER because I can't choose between my babies. Also, warning, it's mostly gonna be albums from the 90s. Only the albums that are described as Gothic Rock, Darkwave (Neoclassical or not), Deathrock and Ethereal Wave are goth, the rest are some other flavor of dark alternative.

Aégis, by Theatre of Tragedy (1998)

Exquisite Gothic Rock, despite the band usually playing Metal, with themes of mostly Greco-Roman mythology with some other European folklore thrown in. The most angelic and soft soprano vocals delivered by Liv Kristine with baritone whispers delivered by Raymond. Ethereal yet complex atmospheres with soft guitars, strong bass, poetic lyrics in Shakespearean English.

Highlights: Cassandra, Venus, Poppæa, Bacchante.

Inferno, by Lacrimosa (1995)

Gothic Rock that flirts slightly with Metal in some tracks. This is when they made the jump from Neue Deutsche Todeskunst (basically late 80s/early 90s German Darkwave except it's a little weirder than most other Darkwave at the time) to more Rock-based styles of music, as well as the first album Anne Nurmi was featured in. Tilo's best studio vocal performance in my opinion. Beautiful lyrics about love, passion, devotion, and the end of the world, could only be written by a goth guy with a gift for poetry who just fell in deep love. Only iffy track is Copycat but even that one is still a classic among fans if only because of its high energy, and killer guitars, bass and percussion.

Highlights: Schakal, Vermächtnis der Sonne, No blind eyes can see, Kabinett der Sinne.

Passion's Price, by Diva Destruction (1999)

Diva Destruction's debut, from back when Darkwave was actually dark and dreary in sound. Songs about heartbreak, betrayal, abuse and love, in the band's most musically complex and hauntingly atmospheric album. A definite classic with nothing but great track after great track.

Highlights: The Broken Ones, Snake, Prey, Glare.

Selected Scenes from the End of the World, by London After Midnight (1992)

Some of the best Gothic Rock to have ever come out, in my opinion. Deep, rich, dark, mysterious, sensual, macabre, romantic (arguably too romantic even by 90s goth standards as the album apparently got criticized for being almost entirely love songs? Wtf). The song that introduced me to goth in February of 2007 is in this album and it's the reason why I never looked back.

Highlights: The Black Cat, Claire's Horrors, Sacrifice, Spider and the Fly.

Annwyn, beneath the Waves, by Faith and the Muse (1996)

Ethereal Wave royalty in maybe not their most iconic album, but definitely the one closest to my heart by them. Despite goth music being associated with darkness in the minds of most, this album is full of glittering light in the most poetic and heartfelt way possible. The vocals are soft and tender when they need to be, delivered by Monica Richards, or firm and epic when needed, as delivered by William Faith. The lyrical themes are full of Celtic folklore, love, hope, magic and a feeling of reclamation of nature and an ancestral past (but not in like, a white supremacist way, I promise).

Highlights: Annwyn, beneath the Waves, The Hand of Man, The Silver Circle, Rise and Forget.

Treasure, by Cocteau Twins (1984)

Walking a thin line between Ethereal Wave and Dreampop (as they're pioneers in both genres). Some tracks are darker than others, but they're all equally delightful, full of beauty and a dreamy gaze hovers over every single song, all of which contain some of the most heavenly vocals in the scene. One of Robert Smith's favorite albums (he also really liked Diva Destruction's debut!). If you're into more relaxing and atmospheric music, this might be your intro to goth.

Highlights: Beatrix, Persephone, Pandora (for Cindy), Lorelei.

Anthology, by Nosferatu (2006)

Legendary Gothic Rock band among those of us who enjoy a campier vampiric goth sound that takes itself too seriously, and deliciously so. Yes, I know I'm cheating by going with a compilation album, sue me. It's simply a collection of their best tracks and I honestly couldn't choose between all their actual albums, so there!

Highlights: Inside the Devil, Lucy is Red, Rise, Witching Hour.

Es reiten die Toten so schnell (or: The Vampyre Sucking at his Own Vein), by Sopor Aeternus & The Ensemble of Shadows (2003)

Probably the gothiest and most elite Neoclassical Darkwave out there. Deeply macabre, equally horrific and beautifully crafted, with expressive and dramatic vocals, themes of vampirism and death masking more human subjects such as social rejection (Anna Varney-Cantondea is a trans woman/transfeminine person who's battled suicidality and depression from a very young age), depression, gay/trans desire, and suicidality. It truly is a masterpiece of macabre and neoclassical goth.

Highlights: The Feast of Blood, Holy Water Moonlight, Baptisma, Dead Souls.

Blood Death Ivory, by Angelspit (2008)

Probably one of the few modern Industrial bands who have thoroughly kept the spirit of early Industrial alive, fashioned after greats such as Skinny Puppy and Die Form, especially in the 00s when the Industrial scene heavily turned to more superficial lyrics based on the aesthetics of cyberpunk art rather than its subversive content. The music is aggressive, simultaneously animalistic yet robotic with a touch of demonic, rarely ever without smartly phrased critiques of capitalism and consummerism. At this point in time the band was a duo between Amelia Arsenic/Destroyx and Zoog Von Rock. It's definitely some edgelord shit (affectionate), but by no means in a vapid, only-for-shock-value way.

Highlights: Skinny Little Bitch, Lust Worthy, Devilicious, Jugular.

Alles für dich, by Grausame Töchter (2012)

Some of the most dynamic, deliciously quirky, sexual, hyper and twisted Dark Electro bands currently making music. The lead vocalist and lyricist of the band, Aranea Peel, is a lesbian dominatrix, fetish model, trained ballet dancer, and lover of Weimar republic era artistry who absolutely imprints lots of dark flapper energy into the band's music and imagery. The lyrics are unabashedly perverted, kinky, sapphic and fucked up. Her singing is nothing short of chef's kiss worthy, always expressive and strange, but with pristine execution and technique.

Highlights: Tanz für dich, TABU, Therapie für dich, ICH DARF DAS!

The Astonishing Eyes of Evening, by Cinema Strange (2002)

KINGS of 00s Deathrock with touches of Dark Cabaret influences, as inescapable in the goth scene in the 00s as She Past Away and its many copycats are now, and for very good reason. Delightfully macabre, not the first to use ghostly androgynous vocals but certainly one of the bands who better utilize that style of vocals. Imo, this and their homonymous album are must-listens for people interested in the goth music scene in general, but especially those interested in Deathrock. Truly Halloween turned into an album.

Highlights: Tomb Lilies, Catacomb Kittens, 'Ere the Flowers Unfold, Legs and Tarpaulin.

Opheliac, by Emilie Autumn (2006)

Literally music for mentally unstable sapphic girls with a poet's soul and flare for both irony and intense earnest feeling. It's a very original combination of Synthpop, Punk Cabaret, and Neoclassical music, with influences of Industrial and Darkwave. It's all masterfully crafted by classically trained violinist, poet, writer, actress, and somewhat of a burlesque performer with a rich alto voice; Emilie Autumn. She wrote this album after suffering medical abuse at a mental hospital after a suicide attempt brought on by an abortion and emotionally abusive relationship. I'm not exaggerating when I say this album saved my life and also changed me as a person.

Highlights: Opheliac, Liar, The Art of Suicide, 306.

Of the Want Infinite, by Requiem in White (1995)

You don't often hear of bands combining Deathrock and Ethereal Wave as they're often perceived as the polar opposite ends of the spectrum of goth music; Deathrock being the goth subgenre closest in sound and idiosyncrasy to punk, and Ethereal Wave being one of the goth subgenres furthest from goth's punk roots. Add in an operatic soprano and you get... Some of THE best, most underrated goth bands of the 90s. Dramatic, ethereal, creepy, elegant, ghostly and complex, with incredible vocals. Truly a pity they only released one album and a couple of EPs.

Highlights: Everlasting Peace, Beneath the Leaves, My Shame, Acanthus.

Agony of the Undead Vampire Part II, by Two Witches (1992)

Truly another giant of vampiric Gothic Rock, absolute 90s legends and Finland's most iconic goth band. Themes of vampirism, occasionally anti-Christianity, sex, sensuality and kink abound. The vocals might put some people off, but it's definitely worth it.

Highlights: The Hungry Eyes, The Omen, Mircalla, We All Fall Down.

Mors Syphilitica, by Mors Syphilitica (1996)

Requiem in White may have disbanded after their first proper album, but two out of its three core band members, then spouses Lisa and Doc Hammer, went on to form pure Ethereal Wave act Mors Syphilitica right after and while it's generally less dark and spooky than its predecesor band, they're still a delight to the ears.

Highlights: The Woman Who Believed, Fell a Dance, The Vain Stroke, Below the Baleful Star.

Beyond the Veil, by Tristania (1999)

I've raved about this album so many times. Just... THE definitive Gothic Metal album to me. The lyrics, the choir of sopranos (aka all Vibeke Stene and her rich, sensual, dark, gorgeous voice), the perfect growling, the somber baritone vocals, the perfectly crafted guitar riffs (no guitar salad, all expressive and precisely timed), the exciting epic percussion, the piano, the violin solos, THE SYMPHONICS. Oh, my God. There's not one second wasted in the entire album, and I'm not being hyperbolic, I mean that. Truly the perfect Gothic Metal album.

Highlights: Beyond the Veil, Angina, Heretique, Opus Relinque.

Serpentine Gallery, by Switchblade Symphony (1995)

Tbh all of Switchblade Symphony's discography is fantastic, but their debut truly is a masterpiece. Creepy ragdoll vibes all over, great vocals, rich composition, poetic yet accessible lyrics. If you're into a more kindergoth vibe (Wednesday Addams, creepy dolls, child-like or even lolita-esque looks), this might be the band for you.

Highlights: Clown, Mine Eyes, Dollhouse, Bad Trash.

Vampyre Erotica, by Inkubus Sukkubus (1997)

The other band that introduced me to goth in 2007 and got me to never look back. Though the first song by them I ever listened to, Samhain, isn't from this album, this album is the one that truly got me hooked for life. Vampiric, sensual, decadent and dark. It has everything including really sweet vocals.

Highlights: Vampyre Erotica, Danse Vampyr, Hell-Fire, Heart of Lilith.

Link to a YouTube Playlist containing all the songs from all the albums above.

[jetspikepub]

HISTORY OF COWBOY BEBOP

Attention! This chronology is a mix of fiction and reality.

1965 - Shinichiro Watanabe was born

1994 - Faye was born

1995 - Shinichiro Watanabe debuted as a director in Macross Plus. First acquaintance with Keiko Nobumoto, Yoko Kanno, and others *1

*1 Macross Plus is still very popular

Cowboy Bebop project was initiated secretly. At first, the title was supposed to be Shooting Star Bebop *2

*2 Kawamoto's ideas and sketches as a project proposal at the very early stage of development

1998 4 - First airing of the show on TV Tokyo

6 - The broadcast on TV Tokyo finished with only 12 episodes aired. The final compilation-like episode, Mish-Mash Blues, was controversial

10 - The beginning of complete 26 episode ariring on WOWOW

11 - Masahiko Minami left Sunrise and established Bones animation studio *3

*3 Bones business card (back side)

1999 4 - The complete show broadcast finished on W0WOW. The question of Spike's fate in the final episode attracted a lot of attention *4

*4 Invitation to the launch party held on the night when the last episode aired

6 - Watanabe, Toshihiro Kawamoto, Keiko Nobumoto and others visited Morocco to gather materials for the movie *5

*5 In Morocco

8 - The Seatbelts live "Diggin' my POTATO Puti ~The Irresponsible Night to Dance~" was held at ON AIR EAST, Shibuya, Tokyo *6 (picture in brochure is missing 🤷‍♀️)

9 - A press conference dedicated to the movie production, later known as the "Phantom Lie Press Conference," was held at Blue Note Tokyo (at that time the movie release date was year 2000) *7

*7 Materials distributed to interested parties

2000 5 - The completion of the script

Autumn - Movie storyboard was done *8

*8 A storyboard by Nabeshin (Watanabe)

11 - Yoko Kanno's held the first recording of The Seatbelts in N.Y.

2000 12 - 2001 1 - The title "Cowboy Bebop: Knockin' on Heaven's Door" was chosen for the movie

4 - The launch of the official website

4-6 - The original novel СОЩВОЧ ВƐВОР Ц.Т. (Cowboy Bebop: U.T.) was published on the website; recording for the movie finished

7 - Ask DNA single release

8 - The completion of the movie, setting the preview at Kudan Kaikan, Tokyo *9

*9 Fans who came to the preview form lines

8 - The Seatbelts live "EARTH GIRLS ARE EASY Last Week End" at Shibuya AX, Tokyo

8 - Movie soundtrack "FUTURE BLUES" release

9 - Cowboy Bebop: Knockin' on Heavens' Door release

10 - Seatbelts FUTURE BLUES videoclip release

2007 - Faye recorded a video message to future self that was supposed to be delivered ten years later *10

*10 Young Faye in the video message

2013 - U.T. (Ural Terpsichore) was born

2014 - Faye was put in a cryogenic sleep after a spaceship accident outside Earth's atmosphere

2022 - An accident occurred at Astral Gate located between the Moon and Earth. Earth suffered catastrophic damage, the period known as Turbulent 20's (Roaring Twenties) began

2035 12 - Jet was born

2044 6 - Spike was born

Vicious was born

U.T., a journalist responsible for entertainment section, became a bounty hunter. A chaotic period immediately followed after the enactment of the Cowboy Law *11

*11 Younger days of the legendary cowboy revealed for the first time in this illustration for the novel

2048 - Debut of The Seatbelts

2056 - The Seatbelts song"Tank!" became #1 in music charts of the Solar System

2058 1 - Ed was born (however, it is unclear)

2064 - Jet resigned from ISSP after losing his left arm *12

*12 Jet before he lost his right arm, about 29 years old

2066 - Ed suddenly appears in an orphanage on Earth

2068 - Spike left the Red Dragon syndicate *13

*13 Spike from the Red Dragon era… he looks angry

Jet and Spike teamed up

Faye woke up from cryogenic sleep *14

*14 Sleeping Beauty?

Ed disappeared from the orphanage *15

*15 Edward made up her name, the real one is Françoise, isn't it?

Julia went missing *16

*16 The woman Spike was thinking about

Rashid (Dr. Mendelo) appears on Moroccan Street on Mars in a new guise *17

*17 Mr. Mendelo, isn't it a little too much for a tanning salon?

2069 - Ein was born *18

*18 He must have been a genius dog from birth

A record of Vincent's death in Titan War *19

*19 He had short hair when he was in the army

2070 - Spike left a lobster in the fridge on the Bebop and forgot about it

2071 - The main story of Cowboy Bebop

[paginate54]

Dave Lewis, LZ chronicler, on Robert's performance of Stairway. From Led Zeppelin Celebration Days FB page:

Some personal thoughts on this performance of Stairway To Heaven...

There was something profoundly moving watching the YouTube footage of Robert Plant performing Stairway To Heaven at the Andy Taylor concert.

This was the first live public airing of the song since the Led Zeppelin 02 Reunion on December 10 2007.

Before I delve in to this subject, Robert’s entire appearance was captivating. Thank you delivered with much emotion, Black Dog hammed up brilliantly and the version of Season of the Witch segueing into a reprise of Black Dog lyrics and Buffalo Springfield’s For What it’s Worth – as in the LA Forum 1970 Blueberry Hill bootleg.

Incidentally, bassist on the night Guy Pratt noted that he has now performed Black Dog with both Robert and Jimmy Page – he was part of the touring band on the Coverdale Page Japan visit in late 1993. The band line up on the night consisted of the aforementioned Guy, former Reef guitarist Kenwyn House (wearing a dragon patterned shirt shades of Jimmy perhaps), Rod Stewart’s drummer David Palmer, Andy Taylor plus Andy Taylor’s son Andy J Taylor on guitar, singer Anne Rani and musician Dino Jelusick on keyboard and backing vocals.

So back to Stairway To Heaven...

We have all had a journey with this song over the years. Mine commenced on April 4 1971 when I heard it on my radio listening to Led Zeppelin’s BBC In Concert performance on Radio One’s John Peel show. I’d heard Jimmy in an interview describing how it had come together in various sections building to a climax. Sure enough this tentative version did just that.

I first saw it performed live on Sunday November 21 1971 at the Empire Pool Wembley – an extraordinary night. It was of course one of the stand out tracks on their just released fourth album.

It went to attain legendary status – the most played record on American radio and from 1975 the rightful finale to every Led Zeppelin live performance.

Like many of their songs the arrangement was often toyed with, not least by the singer who over time added many an ad - lib to the lyrics. As it was performed on every Led Zep show, this enabled the song to retain a freshness.

The first ad-lib I recall was when he inserted the line ''you are the children of the sun'' during the version to be heard on the classic bootleg Going To California from their performance in Berkeley on September 14 1971. From 1973 onwards 'Does anybody remember laughter?‘’ was an expected insert after the line ‘’and the forest will echo with laughter.’’

By 1975, Robert had changed the line ‘’your stairway’’ to ‘’our stairway’’ adding the line ‘’that’s all we got.’’ As I witnessed in awe from the side of the stage during their 1980 Over Europe performances , Robert added ‘’I keep chopin’ and changin'’’ as they led into the climax.

Post Zep, Robert has sang Stairway To Heaven’’ it a mere four times – at Live Aid in 1985, the Atlantic 40th anniversary show in 1988, a sweet truncated version with Jimmy Page in a TV studio in Japan in 1994 and at the Led Zeppelin O2 tribute concert for Ahmet Ertegun where he proclaimed after the song ‘’Ahmet we did it!’’

Well now he has done it again….

The obvious question is why now and why on this occasion?

There’s no doubt it was a special occasion being a concert staged by the ex - Duran Duran guitarist Andy Taylor. Andy has had serious cancer health issues and staged this concert in aid of Cancer Awareness Trust.

As well as performing on the night, Robert donated his personal gold disc of Led Zeppelin IV for the auction –as he put it ''our not so difficult fourth album.'' A part of this was featured on the video stream and it had clocked an initial £50,000 bid.“I love this music and I still love it now very much although I get a bit coy and shy when I have to go near it because it was such a long time ago,” he said.

In an interview with Led Zep News guitarist Kenwyn House revealed that Robert Plant chose to perform Stairway To Heaven after a wealthy donor agreed to donate a six-figure sum to charity if he did so.

So, a special occasion deems a special song for a very worthy cause.

It says everything for Robert’s ease with the Zep legacy, that he could perform this once millstone around his neck with such dignity.

As we know Stairway To Heaven became much maligned and a victim of much parody – and let’s not mention that farcical version by a disgraced not so all round entertainer.

Although he was quick to decry it in the immediate post Zep years, I happen to think Robert is rightly proud of the song, as he is the whole Zep legacy.

Who can forget his tearful reaction to the Wilson sisters and Jason’s performance at the Kennedy Honours in 2012?

So, with none of the pressure of performing it on a big stage and at a pressurised Zep related occasion, he was able to slot it in at this charity event with little fuss.

It worked majestically….

With an ad- hoc line up with few rehearsals, the arrangement was always going to be more loose than tight. That mattered little, as his vocal phrasing was absolutely spot on and what a joy it was to hear him sing this song with a calm control. Some subtle backing vocals aided the tranquil mood.

Here’s the thing – Robert Plant sang it as though he really meant it – confident in his skin at revisiting a major part of his past. Looking good with the mic off held in that familiar pose we know so well.

I wonder what was going through his mind? I know for me it prompted so many precious memories.

There were no ad-libs this time in what was out a fairly straight rendering – the guitar solo was neat and compact and they were back in for the grand finale. Here, Robert slowed things down and the key with it avoiding any strained vocals and he even sang the last section ‘’To be a rock and not to roll’’ for a second time – making it a unique arrangement. He did retain the ''our Stairway'' sentiment.

It was also unique for being the only time he has performed Stairway To Heaven without Jimmy Page...

The final ‘’and she’s buying’’ line was delivered with a delicate finesse – watching it prompted some instant flashbacks.

Momentarily I was back at Earls Court as the mirrorballs spun above them, back in that field just outside Stevenage when they came back to reclaim their crown (''so many people who've helped us over the years - no more people more important than yourselves who who came here on a blind date -this is for you all of yer'') and at home in 1985 watching the TV as the camera panned out to 90,00 watching them re group in Philadelphia for Live Aid.

I also thought about all the much missed friends and Zep comrades who are no longer around to enjoy this special moment...

All that was enough to prompt a huge lump in my throat and a tear in my eye.

Then Robert really sealed it.

Firstly he dedicated the performance to Andy:

“I know that in this contemporary age of digital stuff there’s every likelihood that other people will see that,” he said, facing Taylor. “So if they do, I offer it up to you and your success and to the whole deal that has happened here today and the future of it all.

And also so it’s not just that, I offer it up to Led Zeppelin, wherever they are”

Andy Taylor replied ‘’God bless ‘em there’s a lot of drummers in the sky we love.’’

Let's ponder on that statement...

''I offer this up to Led Zeppelin wherever they are''

It felt like he was giving the song back to his former bandmates and back to his audience – To the privileged few who were lucky enough to witness this special occasion and beyond that to countless fans like me and you.

Deep in the heart of the Cotswold's on an October Saturday evening Robert reclaimed a major part of his history and ours.

It’s likely he may never ever sing Stairway To Heaven this song again and if he doesn’t, it’s had a suitably poignant send off.

There was none of the pressure of the previous post Led Zep performances. It happened for a great cause and for a great fellow Midlands based musician.

I am aiming to be up in the Midlands in a few days’ time for the Saving Grace featuring Suzi Dian gig at the Birmingham Symphony Hall.

I am eagerly looking forward to it, not least after witnessing the YouTube video of this Andy Taylor tribute. For at 75 he is singing so brilliantly and his enjoyment as to where he is at in these advancing years is both inspiring and infectious.

Knowing that Robert Plant is at one with Led Zeppelin’s most famous song makes it all just a little bit more comforting.

As the song states ‘’If you listen very hard the tune will come to you at last’’

I’m still listening to Robert Plant intensely – as are countless others…

Dave Lewis - October 27 2023

[0revengefulvampire0]

The legendary band, MY CHEMICAL ROMANCE.

In the beginning

Formed on September 12th 2002 was a band millions of people will never forget. Their band members in the beginning consisted of, Frontman Gerard Way, Lead Guitarist Ray Toro, Bassist Mikey Way, and Drummer Matt Pelisser. Their name was My Chemical Romance, Gerard stated that they were a rock band but they mostly got grouped with the emo and pop punk genre. Their first record was very harsh- second record was also harsh- third album was more of a mix of both harsh and sorrow- third record was more hyper, just different than the rest.

Bullets Era

The first album they came out with was called “I Brought You My Bullets, You Brought Me Your Love”; The album came out on July 23rd 2002. Before It was released Frank Iero joined as the rhythm guitarist and was featured on two tracks, "Honey, This Mirror Isn't Big Enough for the Two of Us" and "Early Sunsets Over Monroeville". Iero says he sold shirts at small venues they played at and he loved how they sounded. The band needed a rhythm guitarist and Iero was the perfect fit. The first song on the Bullets album “Skylines and Turnstiles," which lead singer Gerard Way wrote based on his experience during September 11, 2001.

This story of the album is two lovers running from an enemy (their sins) and getting murdered in the end, the track “Demolition Lovers” explains it all, being the very last song on the record explaining that they both die together. The next album explains the rest of the Demolition Man's journey. The story tells many things about the concept on most of the songs.

Revenge era

The second album they made was called “Three Cheers For Sweet Revenge”; It came out on June 8, 2004. That album Went Platinum and really boosted their fame. The most popular track “I’m Not Okay (I Promise)” with a music video that was set in a high school. The Frontman Gerard way really started experimenting with the band's look; wearing red eyeshadow, pasty white skin, black hair going down to his neck, and a black velvet suit with a dark red tie. The other band mates wore similar clothes and makeup.

The continued story of the album, the last track on the bullets album fades into the revenge album, Gerard titled the cover art “Demolition Lovers II”; it has two people on it covered in blood. The concept of the revenge album is the Demolition Man going to hell without his demolition love and the devil making a deal with him that if he goes up to earth and gathers the souls of 1000 evil men he will get his lover back. Again like the last album, revenge tells so many things about the whole story.

The Black Parade era

Now this album went crazy famous! It was their third record, “The Black parade”. It came out on October 20th 2006. It’s most famous tracks “Welcome To The Black Parade” and “Teenagers”. This album is about the reflections of a dying cancer patient. And it comes with a whole new look for the band. It goes from, the band members wearing marching band outfits and they’re all black and white, to military costumes for the music video “The Ghost Of You” and many other looks, but primarily the marching band outfits.

In this album it’s all about the dead- with the first track called “The End” that fades into “Dead!” On the “Welcome To The Black Parade” song’s music video it starts off with a man in a hospital bed in a small room, he dies and the curtain walls fall down and reveal this huge dystopian looking world. The band is on this huge parade float, all of the members are playing instruments and singing on it. The huge world has wrecked parts and it’s all black and white with a distant city in the background, Of course there’s a marching band of the dead and they have a bunch of cool costumes on. The song is all about sorrow and death, lots of sad melancholy sounding songs on there.

The Black Parade tour was completely legendary. It Started Feb 22nd 2007 and ended on May 9th 2008. (You can watch the very last tour they did on YouTube called “The Black Parade Is Dead!” )

Danger Days era

Their fourth and final album “Danger Days: The True Lives of the Fabulous Killjoys” it came out on November 22, 2010. This whole album is so different from the rest. Less “emo” and more colorful and “hyper” than all the others. It mostly has desert scenery in most of the music videos including, “Na Na Na (Na Na Na Na Na Na Na Na Na)” and “sing”. The whole album is super neat, going from fun to sad just like the rest of the albums songs. The band members' characters (killjoys) in the album are "Party Poison" (Gerard Way), "Jet-Star" (Ray Toro), "Fun Ghoul" (Frank Iero), and "Kobra Kid" (Mikey Way). The outlaws (killjoys) are outlaws in a desert outside of “battery city” where there are evil men.

Fun fact time: The last track on the record called “Vampire Money” (Gerard way claims) is about how the Twilight movie franchise wanted my chemical romance to do a song for them, and Gerard said they were just chasing money and he wouldn’t do it.

Gerard Way made comic books about “the True lives of the fabulous killjoys” the first issue came out on June 12th 2013.

Conventional weapons singles

a compilation album, released as a series of singles between October 2012 and February 2013. They were all unreleased songs that were made before “Danger Days”. There are a total of ten songs on each of the 5 compilations.

The tragic date.

On March 22nd 2013 my chemical romance made an announcement that the band was over, they had broken up. The post reads:

“Being in this band for the past 12 years has been a true blessing. We’ve gotten to go places we never knew we would. We’ve been able to see and experience things we never imagined possible. We’ve shared the stage with people we admire, people we look up to, and best of all, our friends. And now, like all great things, it has come time for it to end. Thanks for all of your support, and for being part of the adventure.

My Chemical Romance”

So many fans were devastated and shocked. They had been talking about a fifth album and everyone was so excited for it. The band members had lives outside of music, getting married, having kids, and just working on solo music.

My chemical romance never dies!!

From Dec 20, 2019 – Mar 26, 2023 the band made a comeback tour going all across the world.

The foundations of decay

On May 12th 2022, my chemical romance released a surprise single called “The Foundations Of decay” and changed MILLIONS of lives. It was their first song after the conventional weapons compilation album, which was almost a decade after they split.

There’s much conspiracy in the fan base about MCR5 and how they are all hinting that there might be a possibility that another album could come out!!

Go check out all of the band members solo work, About them, and make sure to stay safe out there on the internet, there’s lots of weird things!

Happy listening!

Skye Bourgeois-Gillis <3

EXTRAS:

[cherrylng]

Gears & Analysis - Manson Mirror M1D1 [STYLE Series #004 - Muse (August 2010)]

Mirror M1D1 Legendary guitar dedicated to the God of Destruction at Fuji Rock 2007.

This Manson guitar was introduced in 2006. The most distinctive feature is the MIDI controller located on the bottom of the body. This is the same touchscreen type controller used on the Korg ‘Kaoss Pad’ series, which allows the user to freely change the parameters of the assigned effects by intuitive finger manipulation of the panel. The model name ‘M1D1’ is a play on the word ‘MIDI’. The guitar itself follows the shape of previous Marsh models, with a mahogany body and a beautiful maple neck with raised bird's eye grain. The body top is treated in a crushed mirror finish similar to that of the ‘Laser Manson’ guitars. However, there is nothing on the sides and back, leaving the mahogany wood exposed. The pickups look like two humbuckers, but the front pickup is a Fernandes FSK-101 sustainer unit and the rear is a Bear Knuckle ‘Nailbomb’. Incidentally, the guitar has since left Matthew's hands and found its way back to Mr Manson. When Muse appeared at Fuji Rock in 2007, Matthew threw the guitar on stage for the last song ‘Stockholm Syndrome’, and the body broke into two (the equipment arrived late that day, so the sound production was unsatisfactory, and Matthew was in a very bad mood). Mr Manson repaired the broken guitar, which is now on display in the Manson Guitar shop.

Pickups The sustainer is a humbucker-sized FSK-101, rather than a single-coil FSK-401. There is a mini switch on the bottom right of the body to switch the sustainer on and off and to switch modes. The rear pickup is a Bear Knuckle Nailbomb high-gain humbucker.

Bridge & Controls The bridge is a fixed type, and underneath is a huge panel with a touch-screen MIDI controller. Matthew uses this to control the ‘Kaoss Pad’ under his feet. As can be seen from the two cables plugged in on the right side of the unit, there is a MIDI out in addition to the shielded cable for the guitar signal, and the MIDI signal is transmitted via this. This specification is the same for all Manson guitars equipped with a MIDI controller.

Translator's Notes: Yeah, this article matches up with what Musewiki had written about said guitar.

[danandphilchronology]

Jonathon and Mary Beth Argue + Blue Hair

Jonathon and Mary Beth Argue

Blue Hair

Happy New Year! Well, at least around the time these videos were posted on the 6th of January 2007. Lets see what we can find out about what was going on around this time! 

The song currently topping the charts in the US was “Irreplaceable” by Beyonce. But in the UK, Leona Lewis was on a three week streak at number one with “A Moment Like This”. 

Some Major Historical Events going on January 2007:

Bulgaria and Romania officialy join the EU

Steven Jobs announces the iPhone

She-who-must-not-be-named finishes the final book in the Harry Potter Series

Doomsday Clock set to five minutes to midnight in response to North Korea’s 1st Nuclear Test

Plenty of things going on at this time. Now, cheking back in with our buddy, way back machine (8 January 2007), top 3 featured videos were:

Ron Ronsmith and the Fake News by sxephil

Britethorn Responds! By britethorn

My Legendary Girlfriend by kee1000

But let’s talk about the videos…

Starting with “Jonathon and Mary Beth Argue", I have so many questions and after attempting to dig through the internet for answers I have come back with NOTHING! I am going to assume that this was a personal project with a friend, (whom I am assuming is Victoria who was mentioned in the previous video we watched). 

Premise: Mary Beth (Victoria) and Jonathon (Phil) are having an argument about his drinking on Christmas. Jonathan wields a sprite, takes a sip, and promptly turns into a frog the size of a chihuahua. All 21 seconds are a little cringy, but fit well into Phil’s branding that it just makes sense. Overall, this video was good and I think that it would have fit in very well this the other videos that were on youtube at the time.

EDIT: I have actually started watching the next set and I am currently editing my post, BUT I have discovered that the friend I assumed was Victoria is actual Anja! Sorry bestie!

Total Watch Time: 2m 28s

Blue Hair

Moving on to “Blue Hair”, Philip Lester, you need to tag your jumpscares. This video is simply 100 seconds of Phil messing with the settings on the camera he is filming with and documenting the changes in color and the camera's ability to film in the dark. This reminded me so much of a moment from his recent video on amazingphil where he reads his original buffy fanfiction where he says that he taught himself editing. It’s crazy to think that the 20-year-old we see playing with a camera in this video becomes the successful social media influencer we see today. 

Total Watch Time: 4m 09s

[memory-overload]

Random songs that are iconic to me

Volition - Randon Purcell

It took me so long to actually find the name/artist for this song since the only reference I had for it was the few lyrics I could remember from a single video of paintball highlights from Greg Hastings Paintball 2 on the Xbox 360

(Side note: God I miss GHP2 that game was so fun.)

Fucking legendary imho

https://www.youtube.com/watch?v=3xHQW4zU_uE One of two videos on YouTube featuring the song. It's not even on Spotify lol.

In the River - The Call

Another song that it took me way too long to find, though this one was based on a single memory I have back from 2007 or something like that, listening to that bass-line and the opening lyrics in the car with my parents on a road trip to... Colorado I think.

That bass-line can impregnate me it's so good.

https://open.spotify.com/track/3Ai8NdEYvHnJzavz65pnrK?si=47601ca99797411d

Superhero - Stereo Fuse

For once, I song I didn't forget the name to, though this one is legendary to me because of it being used in an "AMV" (in air quotes cause it wasn't really an AMV, but it wasn't really a fancam so idk what to call it) for the character Marco from the TV adaptation of the Animorphs series by KA Applegate and Michael Grant.

Here is that video, give it love: https://www.youtube.com/watch?v=YDbx-zeZBS8

Maschin - Bilderbuch

This song and the one after it are more legendary because of the memories I associate them with regarding the German classes I took in high school. My old teacher would always get so enthusiastic about his lessons and making sure that none of the students were being "schmoogles" (a word he made up that was nebulously defined at best), and I'll always remember him roasting the ever loving fuck out of the main singer in this song's music video. Bro has that right amount of punchable face. Peak backpfeifengesicht.

The music video in question: https://www.youtube.com/watch?v=9Ocyk0OgyWY

Frei Wie Der Wind - Santiano

This song is peak.

https://www.youtube.com/watch?v=sCxURbI2WVE

Alright that's it. Thanks for listening to me rant, okay be sure to drink water, pet your... pets, and remember to always measure once and cut twice.

[sunburnacoustic]

It’s embarrassing, but my dad’s band recorded Margaret Thatcher’s favourite ever tune and gigged with Rolf Harris. He was in a band called The Tornados and the song was called ‘Telstar’. They recorded it with [legendary ‘60s production maniac] Joe Meek. My dad told me loads of stories about working with him. He was a complete psycho. He was really schizoid and really moody, often quite violent with my dad’s band too. Apparently one time he threw a massive tape machine at them while they were running down the stairs, it hit the bass player and knocked him out. I suppose my dad got me into the idea of touring. He’d tell me stories about the things he would do and it sounded like such a weird life. It was way before I was born, but when I was growing up it was really interesting hearing about him doing gigs with Rolf Harris and The Beatles and all the bizarre stories he’s accumulated over the years. It was weird back then because it was different kind of touring world, you couldn’t just go and play around the world like you can now, so his experiences were a lot smaller - he even did a season at Butlins.

—Matt Bellamy, on his dad George Bellamy’s experiences in showbiz and the music industry in the ‘60s, NME Magazine, 9 March 2007

[cyarskaren52]

It’s not uncommon to find a great song from this legendary rapper

With a musical output that spans decades and quiet influence that’s helped shape an entire subgenre of emo-backpack rap, Common has one of the most illustrious careers in Hip-Hop. He started out in 1992 as “Common Sense” when he dropped his debut produced mostly by No I.D. Can I Borrow A Dollar?, a quiet album that showed sparks of his talent. But it was his two subsequent releases, also produced by No. I.D., 1994’s Resurrection and 1997’s One Day It’ll All Make Sense that cemented his arrival as one of rap’s top-tier emcees, known for his layered storytelling, emotional honesty, and lyrical charisma. 

Over the next two decades, he’d release a string of albums that established him as a unique talent with an enviable career, including the projects that would grant him the mainstream success that had alluded him early on kickstarted by 2001’s Like Water For Chocolate, helmed by the Soulquarian collective. But it was his Kanye West era that re-established Common as one of rap’s most talented emcees after his lackluster reception to 2002s Electric Circus. His time with Kanye also gave him his most successful run on the charts with 2004’s Be and 2007’s Finding Forever. 

In the 2000s, he expanded beyond Hip-Hop, jump-starting his film and television career, and now he’s only a Tony Award away from reaching EGOT Status, the only rapper to hold that distinction. 

#26

"LOVE OF MY LIFE (AN ODE TO HIP-HOP)" - ERYKAH BADU FEAT. COMMON [BONUS SONG]

Our BONUS SONG pick is a celebrated classic guest spot! In the early '00s, Common and Erykah were one of Hip-Hop's most high-profile couples—and collaborators. 

#25

“A SONG FOR ASSATA” FEAT. CEE-LO

Sure, the song from his 2000 album Like Water For Chocolate was very on the nose and maybe a little book report-ish but you can’t really diss a song that gives a history lesson about the activist hero, Assata Shakur.  

#24

“SWEET"

The No I.D.-produced banger featured on The Dreamer/The Believer sparked some controversy because people thought Common was taking shots at Drake. He denied it, there was a mini back-and-forth, and then it was over. Drama aside, “Sweet” is a solid fairly rare street-friendly entry into Common’s latter-era discography.

#23

“SOUL BY THE POUND"

One of the tracks that announced Common Sense to the game. A fresh-faced Com and No I.D. team up to help kickstart each other's illustrious careers on this verbose display from 1992's Can I Borrow A Dollar? 

DROP YOUR EMAIL

TO STAY IN THE KNOW

SUBMIT

#22

“GOOD MORNING LOVE” FEAT. SAMORA PINDERHUGHES

In 2019, Common teamed up with acclaimed drummer/producer Karriem Riggins and quietly dropped a sleeper jewel in his long discography, "Let Love Live." The album is jazzy and somber, anchored by Riggins’ production, and features vocalists/musicians including Jill Scott, and BJ The Chicago Kid. The album opener “Good Morning Love” featuring Samora Pinderhughes exemplifies the jazzy-soul direction of the album. 

#21

“THE 6TH SENSE"

Over melancholy DJ Premier production and accented by an aching hook from Bilal, Common delivers a strong offering from his acclaimed project, Like Water For Chocolate. 

#20

"BREAKER 1/9"

Over a loop of the Isley Bros' classic "Between The Sheets," a youthful Common Sense delivers rapid-fire, pop culture-referencing raps about trying to get laid and running into interference from outside forces. 

#19

“THE BITCH IN YOO”

Common drew a diss from Ice Cube and Cube's cohorts in Westside Connection for some lines he rapped on 1994's "I Used To Love H.E.R." (more on that later); and Com Sense fired back with this heater. The song first appeared on the Relativity Records compilation Relativity Urban Assault in 1996 and features Common going at Cube, Mack 10 and W.C.

#18

“G.O.D. (GAINING ONE’S DEFINITION)” FEAT. CEE-LO

Common is all about a good acronym and on this track from "One Day It’ll All Make Sense" he explores the concept of religion over a chill, piano-heavy track featuring distinctive vocals and a dope verse from Cee-Lo.

#17

“TAKE IT EZ"

The song that introduced him to the world. Young Common Sense had one foot in Leaders Of The New School-esque wiseassery and another in Das EFX-like wordplay. This is one of the best examples of his early style. 

#16

“TESTIFY"

Carried by a transcendent sample of "Innocent Til Proven Guilty" by 70s girl group Honey Cone, and one of Common's all-time best music videos; this classic track from Be is an early '00s winner from the tandem of Com and Ye. 

#15

“GHETTO DREAMS” FEAT. NAS

Common reminds everyone again that no matter how many TV appearances he makes, he’s still a skilled rapper when he reconnects with No I.D. and gets an assist from Nas on his ninth album, "The Dreamer/Believer." The song was also featured on the "Madden NFL 12" soundtrack. 

#14

“THE DREAMER” FEAT. MAYA ANGELOU

When Common reconnected with his longtime friend and early producer, No I.D. on "The Dreamer/The Believer" in 2011, people weren’t totally sure what to expect. Any doubts were laid to rest, however, as illustrated on the head-bobbing, mid-tempo album opener “The Dreamer.”

#13

“GO"

A Kanye West production featuring vocals from John Mayer, “Go” is a gem from the album that reintroduced Common as a top-level emcee, "Be," and a groovy addition to his catalog. 

#12

“THEY SAY” FEAT. KANYE WEST AND JOHN LEGEND

Kanye West did snap with this beat, so did John Legend with the hook. Once again, Common is at his height lyrically on this sleeper gem from "Be": “They say a nigga lost his mind/But in the scheme of things I never lost a rhyme/The thin line between love and hatred/”I’m the black pill in the Matrix, the saturated life.”

#11

“GETO HEAVEN PART TWO” FEAT. D’ANGELO

Common’s "Like Water For Chocolate" helped kick off the legendary Soulquarian era, and there might not be another song on the album that represents the collective’s sound more than “Geto Heaven” featuring D’Angelo on vocals over production by J. Dilla. Common delivers grounded verses about Blackness and survival. 

#10

“FAITHFUL” FEAT. BILAL AND JOHN LEGEND

Common is in his new lane when he’s rapping about relationships (both with himself and with women), and this track contemplates the idea of God being a woman and spins a tale about a man struggling with indiscretions is one of the best on "Be." It’s strengthened by the back and forth between John Legend and frequent collaborator, Bilal, at the end of the track.

#9

“I WANT YOU"

will.i.am samples Minnie Riperton on this mid-tempo jam from "Finding Forever" that ended up creating a lane for a lot of Common’s later work, which leans heavily into a mellow, grown man rap aesthetic. The video was pretty cool too, co-directed by Kerry Washington and starring Alicia Keys.

#8

“THE QUESTIONS” FEAT. MOS DEF

“Why do I need ID to get ID? If I had ID I wouldn’t need ID.” The Questions” from "Like Water For Chocolate" and produced by J. Dilla is one of the most comical, honest songs Common ever made, aided by a perplexed, but always lyrical Mos Def. 

#7

“THELONIUS” FEAT. SLUM VILLAGE

Whether you consider this a Common or a Slum Village track (it’s also featured on their album "Fantastic, Vol. 2"), there’s no question that this is one of the dopest Hip-Hop offerings of the past 20 years. J. Dilla was at his peak when he crafted what might be the best beat on Common’s fourth album, 2000’s "Like Water for Chocolate." 

#6

“THE PEOPLE"

Another Kanye West production, this time from the 2007 album, "Finding Forever," it’s Common in his element rhyming about the beauty of the Diaspora while Dwele throws an assist on vocals.  

#5

“RESURRECTION"

On his 1994 title track, Common’s flow is seamless over No I.D.’s piano-based production which samples David Axelrod, Ahmad Jamal, and the Whatnauts. DJ Mista Sinista’s scratches further help bring the track to life. 

#4

“THE LIGHT"

Produced by the legendary J. Dilla and featuring keys from James Poyser “The Light” is the most recognizable track from Common’s acclaimed 2000 album, Like Water for Chocolate. The semi-sappy love jam that samples Bobby Caldwell’s classic “Open Your Eyes” remains a radio favorite. 

#3

“THE CORNER” FEAT. THE LAST POETS

“The Corner” from his 2005 album Be,  is Common in top form over a Kanye West beat. And the iconic Last Poets elevate the track to something that's as spiritual as it is street. 

#2

“RETROSPECT FOR LIFE” FEAT. LAURYN HILL

The somber, beautiful track (produced by No I.D. and James Poyser and featuring a Donny Hathaway sample) is a great display of what might be Common’s greatest strength as an emcee—emotive storytelling. Lauryn Hill’s raw vocals on the hook interpolate Stevie Wonder’s “Never Dreamed You’d Leave In Summer” and are a perfect stamp on the standout rap classic featured on his 1997 album, "One Day It’ll All Make Sense."

#1

"I USED TO LOVE H.E.R."

It kind of has to be, right? Romanticized rap nostalgia before it was cool. Yes, it’s the source of one of rap’s most overused metaphors. It’s also one of the best rap songs of all time, and one of Common’s signature tracks from 1994’s Resurrection, as he creatively details his relationship with the genre he loves. 

Sent from my iPhone

[krispyweiss]

Sound Bites Presents His Favorite Archival Albums of 2022

What’s old is new again when classic albums are remastered and expanded; long-lost recordings are found; and/or artists just say, “Fuck it,” and put out something they’d long resisted.

All of those things happened in 2022. And here are some of the releases your humble blogger enjoyed the most.

For the six of you who are loyal readers, Sound Bites will publish year-end round ups of live and studio albums and a live-music year in review in the coming days. Please stay tuned.

The Beatles - Revolver (Super Deluxe) - Listening to Revolver Super Deluxe is like flipping through aural blue prints as the Beatles and George Martin construct the songs; adding and removing pieces atop the foundational backing tracks. Also, mono is where it’s at. Review.

Lou Reed - Words & Music, May 1965 - Fifty-seven years after the fact, Reed’s Words & Music, May 1965 is a fascinating glimpse at Lou Reed becoming Lou Reed and evidence he may have been the first, next Bob Dylan. Review.

Janis Joplin & Jorma Kaukonen - The Legendary Typewriter Tape: 6/25/64 Jorma’s House - This recording has long circulated among fans and Kaukonen sometimes mentions it when he plays intimate gigs at his Fur Peace Ranch in Ohio. Now restored and officially released, it's more than an aural glimpse of two pre-fame legends - though it certainly is that. Review.

Cat Stevens - Harold and Maude (Original Motion Picture Soundtrack) 50th Anniversary - Then a new artist, Stevens balked at a soundtrack album in ’71, for fear it would be greeted as a premature greatest-hits package. Not quite the greatest-hits album Stevens - who now goes by Yusuf - feared and certainly not music from ’22’s blockbuster of the year, Harold and Maude is nevertheless a treat for fans of the musician and the film alike. Review.

The Vince Guaraldi Trio - Jazz Impressions of Black Orpheus (Deluxe Expanded Edition) - Twelve of Black Orpheus’ 16, 60th-anniversary bonus tracks have never been released and the works-in-progress are mostly welcome glimpses into the trio’s in-studio creative process. Meanwhile, three takes of Fats Waller’s “Jitterbug Waltz” provide insight into the other music swirling around Guaraldi’s mind while the album was taking shape. Review.

Vince Guaraldi - It’s the Great Pumpkin, Charlie Brown (2022 Edition) - Expanded from 20 to 30 minutes and culled from recently discovered session tapes “once thought to be lost forever,” the updated original soundtrack recording contains previously unheard alternate takes and finally sounds as it should. Review.

Pink Floyd - Alternative Tracks 1972 - This quietly released-to-streaming LP seems to indicate all that road testing Pink Floyd did with the Dark Side of the Moon paid off by the time they got into the studio. An an interesting - if not essential - listening experience. Review.

Sam Moss - Blues Approved - Moss was a legend in Winston-Salem, N.C., - “our Guru of Groove, the Maharishi of Mojo,” as Rick Miller of Southern Culture on the Skids put it - revered for his club performances and promotion of the blues. He was one of those guys whom everybody thought should make a record. Turns out, Moss - who died in 2007 - did make a record. In 1977. It’s just been rediscovered. Review.

12/26/22

[x--daughters-of-darkness--x]

CHRIS DAUGHTRY And LZZY HALE Drop Video For Cover Of JOURNEY's 'Separate Ways (Worlds Apart)'

Multi-platinum rock act DAUGHTRY has released the official music video for its cover song, "Separate Ways (Worlds Apart)", a tribute to legendary rock band JOURNEY featuring vocals from Lzzy Hale, lead singer of HALESTORM.

The hit cover, which was originally made available in January, exactly 40 years to the day that the original song was released, is currently sitting at No. 6 on Mediabase's Active Rock chart. The track debuted at No. 1 on iTunes' All Genres chart. True to its roots with an updated grit, the single has racked up millions of streams on YouTube and Spotify, earning praise from heavy-hitters like Variety, Billboard, Consequence and American Songwriter, among others.

"This was an unexpected video in a lot of ways," Chris Daughtry admits. "I don't think either of us, Lzzy or myself, were actually 'dressed' for a video shoot. We were basically just trying to get some b-roll to capture the studio experience of recording this track. But when we got the footage back, it was like, 'Well… This looks way cooler than I expected, so… I guess we have a music video now?' Haha. It was the most low-key, low-pressure video I've ever done."

“There's a magic that happens when you decide to do a project with people you've adored for years," Hale adds. "We cultivated that chemistry into such a beautiful launch point, and 'Separate Ways (Worlds Apart)' is the result of that friendship. Thank you to everyone for giving this song wings, and thank you to the incredible Daughtry for inviting me to fly alongside!"

The visual comes hot on the heels of DAUGHTRY's sold-out show at London's Royal Albert Hall last week, where the band surprised fans with a performance of the duet, bringing Hale onstage as a musical guest.

When DAUGHTRY's cover of "Separate Ways (Worlds Apart)" was first released, Lzzy said in a statement: "Chris Daughtry and I have been threatening to unleash a duet for years. What better way to do that than by paying tribute to one of our mutual influences…. JOURNEY!" said Lzzy. "This song is not only part of the 'Stranger Things' soundtrack, but has been my go-to for karaoke for as long as I can remember! I'm so honored to have been a part of this and I hope it makes you smile as big as I did while recording it!"

Chris added: "I've always loved the song and I was wanting to do a classic cover and my wife and I were watching the 'Stranger Things' season finale and there's this incredibly intense scene and 'Separate Ways' was a big part of this scene. It was so moving just the way it was used, it felt so cool and epic and I was immediately like 'THIS is the one! We have to cover this song.' Then I was, like, 'How can we make this extra special? What if it was a duet? What if we got Lzzy on it!!??" Needless to say I was pumped she said yes and I absolutely love how it turned out."

DAUGHTRY, one of the most visible and best-selling rock bands of the 21st Century, has sold out concerts across the globe. Their debut album, the self-titled "Daughtry", was the top-selling album of 2007, and was the fastest-selling rock debut album in SoundScan history. It was also nominated for four Grammy Awards and won four American Music Awards and seven Billboard Music Awards, including "Album Of The Year". The subsequent albums, "Leave This Town" (2009),"Break The Spell" (2011) and "Baptized" (2013) have all gone platinum, with "Cage To Rattle" (2018) certified gold. In 2020, DAUGHTRY released its first single from the album "World On Fire", which marked a return to the band's rock roots and the top of the charts.

[boricuacherry-blog]

Nicole Camille Escovedo was born to father Peter Escovedo, son of Latin percussionist Pete Escovedo and brother to Prince collaborator Sheila E, and mother Karen Moss in Berkeley, California.

A musician himself, Peter was a member of Lionel Richie's band and they briefly toured together. It was around that time Peter met Nicole's biological mother Karen, a backstage assistant for Sheila E. Nicole was born not long after.

Nicole was actually on-stage at a show with Prince, at just 2 years old, playing a tambourine when Lionel learned that Nicole's family situation was "falling apart." Her parents were having financial and relationship issues, and couldn't properly care for her. He and then-wife Brenda decided to help.

"I think we decided that...what we'll do to kind of give you some stability was we'll be like legal guardians, but nothing more," Richie said.

However he grew more and more fond of little Nicole, returning home after tours to see her. It troubled him that she had "abandonment issues, for obvious reasons" so he told her 'I'm never, ever going to leave you.'"

"Nicole was actually a godsend. She was a little girl who needed a shot," said Lionel. "She was used to people coming and going. She had been handed around to every relative in the family. She looked at me and I'd say, 'I'm not going anywhere.'"

He stated, "It took about maybe a year for me to just fall in love [with Nicole]. Of course, by that time, I was 'Dad'...that's when I said, 'Let's adopt her.'"

And so Lionel and Brenda officially adopted Nicole when she was 9, and she became known as Nicole Richie.

Lionel and Brenda later split though, divorcing in 1993 after it was reported that Brenda "caught" Lionel with fashion designer Diane Alexander.

"Brenda and I went through a very interesting time," Richie mused. "We didn't agree on a lot of things, but we did agree on [Nicole]."

In the beginning, it was a challenge for Lionel to earn Nicole's trust. Despite being at the peak of his solo career, the legendary singer was determined to create stability for Nicole, who inspired him to write his hit song "Ballerina Girl."

For years, Nicole had felt heartbroken that her biological parents had left her, and she wanted nothing to do with them.

Everybody knows that her father is Lionel Richie, but many people skip the small print and miss the fact that she was adopted. And it's a unique story at that - in part because when the adoption was finalized, she was 9 years old - old enough to make sense of the world.

Nicole has publicly struggled with an eating disorder and substance abuse in the past, most notably when she was arrested for heroin possession in 2003.

She told Diane Sawyer in a 2007 interview, "I kind of took matters into my own hands and was creating drama in a very dangerous way. I think I was just bored, I had seen everything - especially when you're young, you just want more."

When Lionel and Brenda went through their bitter public divorce, they compensated by over-indulging Nicole.

"Their way of making me happy was to say, 'yes,' to everything I wanted," she said. "But I don't think a little girl should have that much freedom."

Following the divorce, Lionel remarried and had two more children, Miles and Sofia.

Nicole decided to get her life back on track for her child when she became pregnant.

Though she hadn't been close to her birth parents, she realized during that period she didn't want to keep resenting them, and that, in fact, she wanted them in her life.

Along with her stints on reality tv, including The Simple Life and Candidly Nicole, she was in the 2005 comedy film Kids in America, and has guest-starred on different television shows, as well as being the face of different advertising campaigns.

In 2008, she debuted a jewelry line, House of Harlow, named after her daughter with husband Joel Madden of the rock group Good Charlotte, who Nicole says is "very conservative." Madden has the face of Jesus Christ tattooed on his arm.

[chorusfm]

Silverstein Celebrate 15th Anniversary of ‘A Shipwreck…’

A new 15th anniversary pressing of Silverstein’s A Shipwreck in the Sand has been announced. Craft Recordings celebrates the 15thanniversary of Silverstein’s bestselling fourth album, A Shipwreck in the Sand, with a vinyl reissue and several color exclusives. The 2009 concept album remains a favorite in the band’s extensive discography, with such tracks as “Vices” (feat. Liam Cormier of Cancer Bats), “The End” (feat. Lights) and “American Dream.” Set for release on June 28th and available for pre-order today, A Shipwreck in the Sand can be found on classic black vinyl, as well as several limited-edition color variants, including Green Smoke (exclusively at Silverstein’s official store), Orange Smoke (CraftRecordings.com and VictoryRecords.com) and Translucent Forest Green (Brooklyn Vegan). Formed in 2000 in Burlington, Ontario, Silverstein have long been at the forefront of the hardcore scene, thanks to their dynamic blend of melody and aggression with the unabashed earnestness of emo. In 2002, the five-piece (whose name was inspired by a shared fondness of the poet Shel Silverstein) joined Victory Records, the storied rock, metal, punk and hardcore label, which boasts Thursday, Between the Buried and Me and Taking Back Sunday among its legendary alumni. Victory Records is now a part of Concord's independent label family, with its formidable repertoire managed by Craft Recordings.    Under the label, they released their celebrated full-length debut, When Broken Is Easily Fixed (2003), followed by Discovering the Waterfront (2005) and Arrivals & Departures (2007). By the time they released their fourth and final studio album under Victory, 2009’s A Shipwreck in the Sand, Silverstein were significant stars in the scene, having earned their first Juno nomination and traversed the world (including a sold-out headlining tour across Canada, runs across South America, Europe and the UK, plus two stints with the Vans Warped Tour).    Reuniting with the GRAMMY®-winning producer Cameron Webb (Disturbed, Kelly Clarkson, Motörhead), the band set to work on one of their most ambitious projects. Written as a concept album, A Shipwreck in the Sand tells the story of a ship’s crew who hope to discover new land. As their search becomes increasingly futile, the crew revolts against their captain. Comprised of four chapters—“It Burns Within Us All” (tracks 1–3), “Liars, Cheaters and Thieves” (tracks 4–7), “Fight Fire with Fire” (tracks 8–10) and “Death and Taxes” (tracks 11–14)—the album takes listeners through a dramatic musical journey: one that ranges from emotive, pop-forward numbers to some of the heaviest songs of Silverstein’s career.   Among the highlights is “Vices,” featuring guest vocals by Cancer Bats frontman Liam Cormier. Released as a single, the track showcases what Silverstein does best: blending cathartic vocals and urgent riffs with lyrical songwriting and anthemic melodies. Other standouts include the ominous opener “A Great Fire,” the hook-filled “I Knew I Couldn’t Trust You” and—on the other end of the spectrum—“I Am the Arsonist,” which delivers a blistering, all-out sonic assault. In addition to Cormier, the band is joined by Scott Wade (formerly of Comeback Kid) on the breakneck “Born Dead,” while singer-songwriter Lights lends her ethereal vocals to the soaring, aptly titled closing track, “The End.” The album also features a cameo by guitarist Paul Marc Rousseau, who became a full-time member of Silverstein in 2012.   In an interview for the 2010 live album, Decade (Live at the Mocambo), frontman Shane Told shared deeper insight into the album’s themes—all of which served as a metaphor for the era’s socio-political climate. “The reason I wanted to do a concept record was because of the way the world is right now, with the economy being messed up, people losing jobs and families losing their life savings, and not knowing what they are going to do in the future. . . . It’s a really scary time.”   He continued, “There’s also a lot of… https://chorus.fm/news/silverstein-celebrate-15th-anniversary-of-a-shipwreck/

[badpawz]

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[priokskfm]

MIX OF The DAY! Listen UP! - House Heroes | Todd Terry by House Salad Music House Heroes Todd Terry New York, USA | Inhouse Records Grammy Award nominated DJ/Producer Todd Terry has been engulfed in dance music since he first started listening to European dance music records while growing up in Brooklyn. Already devoted to turntables, he heard something different in those tracks, and he “went for the difference. I never got a break in New York, but England happened right away, so I catered to them.” In any event, the Todd Terry sound was born. By 1988, Todd Terry hit big in England and Europe, and his notoriety was making its way back to the U.S. In addition to DJ appearances, Todd was cutting his classic underground tracks A Day In The Life, Weekend, and Can You Party, released under monikers such as the Todd Terry Project, House Of Gypsies, and Royal House, all considered essential and ground breaking. In the mid 90’s, the Ministry of Sound’s eponymous UK label released A Day In The Life, a collection of Todd Terry tracks that had been causing dance floor panic. That then led the way to a deal with Mercury Records allowing him to set up a context in which to work with his favourite singers and performers. The first release, Keep On Jumpin’ on featured a vocal workout from super-divas Martha Wash and Jocelyn Brown, together for the first time ever. The song became a top 10 UK crossover pop hit and worldwide smash. Todd followed with the anthem ‘Somethin Going On’, a top 5 UK crossover pop hit. All the while, Todd continued to break new ground as a Producer/Remixer. From SNAP to Annie Lennox to George Michael to Bjork, Todd’s mixes bridge the ground between club cool and commercial accessibility. In 1995, his remix for Everything But The Girl’s Missing became a worldwide smash, giving the British duo their first ever hit. He then rode the charts with mixes for Garbage (Stupid Girl), The Cardigans (Love Fool), Everything But The Girl (Wrong), 10,000 Maniacs (More Than This), Jamiroquai (Alright), The Cardigans (Been It), and The Lightning Seeds (You Showed Me),.among others. He also produced a Robin S track (Givin’ You All That I’ve Got) for the multi-platinum Space Jam soundtrack. INK/Distinctive Records 2005 release The Todd Terry Trilogy: Past, Present & Future on 3 x CD & 10 x 12” vinyl has inspired Todd fans both old and new with over 30 Todd classics and 10 new Todd songs. Todd is also releasing a barrage of new singles on Blanco y Negro, Elementary Group, and Manifesto/Mercury (who are also re-releasing the ‘Keep On Jumpin’ and ‘Somethin Going On’ in 2006). Ministry of Sound has licensed Philippe B Vs. Todd Terry ‘Can You Feel It (Can You Party)’ for a major 2006 release, a new version of the Todd classic Royal House ‘Can You Party’. Todd Terry All Stars feat. Kenny Dope, DJ Sneak, Terry Hunter, & Tara McDonald’s ‘Get Down’ will be released in 2007 on Strictly Rhythm. This red hot single is the first proper original release on the re-launched legendary label. ‘Strictly Todd Terry’ compilation mixed by Todd Terry will be released in 2007 on Strictly Rhythm. Todd’s mix follows installments by Masters at Work and Tiefschwarz in this newly launched series. Todd is one of the world’s most celebrated figures in dance music. With almost two decades of dance floor domination under Todd’s belt the quality of his productions goes from strength to strength. Welcome to the church of house music presided over by Todd the God. Are you a believer? Tribute selected and mixed by Gabotron @https://ift.tt/QCHR5ST Listen here: https://ift.tt/ewQDj7l | www.priokskfm.online | https://ift.tt/yRvki4H