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185/365 Preparing for a minor battle this evening...wanted to get this posted before I start actually working.
Another for the Musically Challenged;
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I pick up my smile put it in my pocket
Hold it for a while try not to have to drop it
Men are not to cry so how am I to stop it
Keep it all inside don't show how much she rocked you!
musically challenged.
okkkk this is abit short but i haven't done anything like this in a while so it was just a bit of fun :)
Pete Frame Reproduced by kind permission of ZIGZAG Together! Issue no 1 April 1971
Mick Softley
TALKING ABOUT THE OLD TIMES, WHERE DID THEY GO? LIKE 1963-65 ... the folk era I like to call it. I was a weekend beatnik then, coming home from work to change my charcoal grey for denim and donkey jacket. The image.
Walking round the streets of Luton playing Dylan riffs on a Hohner Super Vamper, smoking a pipe though I found tobacco more repulsive than pleasant, sitting in Henekeys drinking unappetising wine and talking about painting, bragging that I actually knew someone who had once smoked pot, hanging around with various stereotyped birds as uniform in their bizarre (they reckoned) thoughts and dress as a crowd of parking wardens, making sure that either a Steinbeck or a Kerouac paperback protruded from my pocket. Musically what was hip and what wasn't was very important in those days - like Dylan was O.K. until he plugged in - electrified folk music was just too outrageous for words, Woody Guthrie was God, and so on. I was pretty straight in those days, and I guess, due to age, environment and the feel of that period, that most people were. One of the few people that did have it sussed out, even in those days, was Mick Softley.
Ian and I used to go to all the folk clubs - to the Festival Hall concerts to Pete Seeger and Bob Dylan. Then, together with Rod (our ex-photographer) we ran a folk club in Luton - Tom Paxton played there, Julie Felix, Donovan, Paul Simon and so on. And one of our favourite singers was this same Mick Softley. We'd come across him in the Cock, a pub in St. Albans where Donovan, Maddy Prior (from Steeleye Span) and the hardcore of Herts heads used to congregate - everyone would be singing and Softley's voice, ringing out like a bell, roared over the rest. It was all the standard numbers of the romantic beatnik dream period ... 'This land is your land', 'San Francisco Bay Blues', and stuff, but than Softley would start singing some of his own works - 'I'm a leaping man' and 'Roll your leg over the man in the moon' for instance and parodies of current hits like 'Sweets for my sweet' with the chords purposely misfingered ... amazing songs filled with laughter, barefeet and spilled beer. It seemed like he'd rolled any troubles he may have had into a ball, and simply cast them to the winds - everywhere he went he saturated the place with laughter. And the more we saw him, the more we dug his brown and laced jollity, the wild thoughts of his bearded mind, his singing and the harsh ringing of his flat picked Gibson. That was, like I say, 1965. But Mick Softley had already been a head free troubadour for 6 years.
"In 1959 I went to France ... I was going to go to Formentera for the winter on an old motorbike combination, but it didn't make it past Barcelona, so I came back to the Pyrenees. I really got to love the part of France from Ceret down to the sea, and I lived in this concrete hut for a few months - till my money ran out in fact.
I was working as an apprentice engineer until I got kicked out for absence ... and that was it - I didn't want to know about work after that. I was 18, I'd done a year and a bit of my apprenticeship and that was it - all over. So I just took a job filling in the air bubbles on the surface of concrete castings until I sprained my wrist clocking in, and off I went with £50 I'd saved.
Well, I spent 3 days, literally, trying to hitch hike to Paris, but couldn't get a lift, so I caught a train in the end, and I moved into a room over this bookshop called The Mistral, which was really owned by an American cat. In those days I really wanted to be a writer. I moved into the heart of the late 50's Paris literary circles ... they were all going in one door and out the other, muttering exactly the same sort of things, so I thought hello and goodbye. They really pissed me off, they were so pretentious ... I'd got in with them because I was trying to find out where I was at, and I thought I should get in with a crowd of writers, poets and painters and really dig it ... and I dug it, and got out of it.
So I moved out of that and onto the streets with my guitar. I could only play a few chords, but I could sing OK and I stood behind a tree, with my hat on the other side, trying to collect some money. Of course I didn't. Then I went out playing and singing and really hustling people and I started to make quite a bit of bread.
Not long after that I met a great saint, Alex Campbell - who couldn't play, but was totally real - and he got me along for a beer and I got into a much better circle of people, real people. I stayed on the Continent for 3 years, just playing.
Then I came back to England. I had this idea of riding a horse to America - across Europe and Russia, across the frozen Bering Straits, down through Alaska to the States ... didn't get it together. Got stuck here ... well and truly stuck. I went into the folk circuit here, playing in clubs and pubs and in 1964 I started my own folk club at the Spinning Wheel in Hemel Hempstead, which was really wild - the best folk club England's ever had without a doubt. It was to be open to 3 or 4 in the morning, with everyone jugging it up, sweating like hell ... well that was shut down after about a year, but it was really good while it lasted.
I decided that I'd have a go at starting a business; it was disastrous - but it got rid of the whole of the business scene for me. So I just walked out of the shop, locked the door and forgot it. After a 4 year absence, I got back to music, starting off completely from scratch again, going through a lot of hells and no heavens, a terrifying amount of personal pain, and got a bit of it back together. I wasn't interested in playing for money - I just wanted to play again and have people listening to me.
I started playing in pubs and clubs again until just after last Christmas Donovan said 'What publisher are you with now'? and stuff like that, and I told him I'd scrubbed all that scene. He said 'But you've got to record, man - it's your job to get your music on record', and I started thinking it might not be such a bad idea. So I went to CBS, and they arranged for me to make an album. I don't know whether it was something new or not, but CBS virtually gave me a direction contract, whereby I directed the whole issue, and approved everything.
I'm really pleased with - it everyone who was on it played beautifully. There was none of this coming into the studio and saying 'Yeah man isn't it beautiful, it's all so beautiful' - it was 'Right, let's get on with it' and they were really good, they knew exactly what and when to play.
I wouldn't have any drugs on the sessions at all. If people want to smoke, let them go and smoke - I've got nothing against that - but they can't smoke and work on my sessions because the two don't go together. I've been through all that stuff, and I know for certain that any form of art is a natural gift. it's not something you can induce by drugs, alcohol or anything else - they won't make you any more artistic.
The songs on the album are ones I've written comparatively recently - since about the middle of last year. I work very hard at songs. I don't just pluck them out of the air; I like to think of myself as a craftsman, particularly when working with words, because writing is one thing I hold in the highest respect."
The Donovan song 'Poke at the Pope' is one of the few songs Mick didn't write but frequently sings. I asked Mick about his education which I seemed to remember had a religious background.
"Yes, it was important, but what is more important is that the first 16 years of my life were spent living right next to Epping Forest, which had a far greater influence on me than anything else - it was my playground.
When I was 5, I went to a school where all the teachers were nuns - and I remember on the first day, one of them picked me up by my ears and shook me because she'd seen me kissing Margaret Richardson. Then later I went to a Jesuit College which had a phenomenally high standard of education. The object of the school was that all the boys should take the cloth, or if they didn't then at least they'd have been well educated in the ways of priesthood. What I really am interested in is girls - I love them. I love a feminine woman who's prepared to use her femininity to get exactly what she wants ... and usually she wins. It's a very strange time we're living in ... getting stranger all the time."
Mick Softley, living in the Transit which is his present home, with enough tales to fill several autobiographical volumes which someday he just might write, walking the earth's crust, soaking up Britain, the countryside which is vanishing as the builders propagate the urban sprawl, thinking about the meaning of life - his life, taking his music seriously and using his huge voice and his guitar to ease his feelings. I often think he's at this best sitting on a bench outside his local, sipping mild between songs, laughing and lolling, playing and singing.
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
Ricky Martin~She Bangs
Talk to me
Tell me your name
You blow me off like it's all the same
You lit a fuse and now I'm ticking away
Like a bomb
Yeah, Baby
Talk to me
Tell me your sign
You're switching sides like a Gemini
You're playing games and now you're hittin' my
heart
Like a drum
Yeah, Baby
Well if Lady Luck gets on my side
We're gonna rock this town alive
I'll let her rough me up
Till she knocks me out
She walks like she talks,
And she talks like she walks
And she bangs, she bangs
Oh baby
When she moves, she moves
I go crazy
'Cause she looks like a flower but she stings
like a bee
Like every girl in history
She bangs, she bangs
I'm wasted by the way she moves
No one ever looked so fine
She reminds me that a woman only got one thing on her mind
Talk to me
Tell me your name
I'm just a link in your daisy chain
Your rap sounds like a diamond
Map to the stars
Yeah, Baby
Talk to me
Tell me the news
You wear me out like a pair of shoes
We'll dance until the band goes home
Then you're gone
Yeah, Baby
Well if it looks like love should be a crime
You'd better lock me up for life
I'll do the time with a smile on my face
Thinking of her in her leather and lace
Well if Lady Luck gets on my side
We're gonna rock this town alive
I'll let her rough me up
Till she knocks me out
She walks like she talks,
And she talks like she walks
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
For Musically Challenged:
Crowded House - Not The Girl You Think You Are
You're not the girl you think you are
Someone's standing in your place
An early Zoogz recording (1978) and his best musically.
Restrooms of Erotic Fantasies - 0:39
The Great Apes Ate Grapes - 4:05
Lobotomy 4 - 0:35
Feeling in My Bones - 3:42
The Night They All Came out - 3:13
Lazy Susan - 3:05
Ostriches Have Sex too You Know - 4:05
I Did so - 1:27
Idiots on the Miniature Golf Course - 0:28
Golden Showers - 2:37
Judge Bludge, the Hangin' Judge - 1:34
Lobotomy 2 - 0:37
The Rabbit and the Lady - 3:00
You Can Go Fuck Yourself - 2:12
Dinkle Dance - 3:00
We're All Born on Little Planets - 4:59
What Can We Feed too the Lions - 4:02
I know it doesn't seem that way
But maybe it's the perfect day
Even though the bills are piling
And maybe Lady Luck ain't smiling
But if we'd only open our eyes
We'd see the blessings in disguise
That all the rain clouds are fountains
Though our troubles seem like mountains
There's gold in them hills
There's gold in them hills
So don't lose heart
Give the day a chance to start
~Gold In Them Hills, by Ron Sexsmith
for Musically Challenged
for projectSoulPancake, week 12 - Stand in the rain and get drenched
I'm a day late on taking my shot, and posting. I've been considering stopping the project as a whole for no other reason than just dealing with other things in life.. we'll see.
I've been waiting for REAL rain to do that week's challenge even though I kept thinking I should do my back-up idea. Today I went to the mall and got myself an early mother's day gift. Well, 2. A watch and a box set of studs b/c I've been earring-less for a bit now. Thankgoodness for prime real estate corner parking spot under the garage's first floor which allowed me to set up my camera and have me go out in the parking lot.
i needed this. i need to be in the rain.
Amelia Neville
Cha Dooky Doo
Celebration of Art Neville
Tipitina's, 11/15/2014
New Orleans, Louisiana
ART NEVILLE
If you're lucky enough to be born in New Orleans, you've automatically inherited a lush tapestry of traditions, of which the richest, most varicolored and enduring motif is music. Arthur Neville came into that inheritance in 1937, but in his case the real luck fell to New Orleans, where he has spent most of a lifetime enhancing and expanding that tapestry. It's open to debate exactly where Art learned to weave such glorious new colors into such an already-vibrant fabric of sound - parents who supported and encouraged his musical quest? A childhood curiosity about music in general, and the keyboard in particular? Simply the intense and heady musical environment of the city itself?
What can't be argued that even as a kid he had already begun to shape the sumptuous patterns that the world now recognizes instantly as the Nevilles Sound. As a teenager, no amount of music - even in New Orleans - was too much for Art. He worked for a time in a record shop, where he absorbed the great doo-wop groups of the day: Clyde McPhatter's Drifters, The Orioles, The Clovers, as well as local piano rockers Professor Longhair and Fats Domino. In time he formed his own doo-wop group, and after school, after work, they would sit on a park bench in the crazy half-moon city and sing to the night.
In 1953, Art joined the Hawkettes, who recorded the classic "Mardi Gras Mambo" in 1954. That song turned out to be more influential to other musicians - and to the City of New Orleans - than even Art could have imagined. Listen to the music of his reflections on that historic (and now, very traditional) piece of pop culture:
"I became involved with the Hawkettes, I don't even remember the exact year but it must have been in '53. A friend of mine, one of the members of the Hawkettes at the time, George Davis. He was taking saxophone lessons from Alcee Wallace, one of my friends that we had the doo-wop group with. Mr. Wallace, Alcee's father, was teaching George Davis saxophone and so he told him about me and he needed a piano player."
"And so he came to my home and asked me would I be interested in playing with the Hawkettes. I didn't know who they were at that point and I said "sure," and my mother and father said 'Yeah, go ahead.' And the rest is really history. We went on, and we were the hottest band in New Orleans and the surrounding area we played for every function like sororities, fraternities, and different other functions around New Orleans: Night clubs, little small clubs, large clubs."
"We recorded this song, 'Mardi Gras Mambo,' I don't even remember the year, I think 1953 or 1954, something like that, and lo and behold! 'Mardi Gras Mambo' is still here today."
Most of the Hawkettes went off to college and other pursuits after the recording was made, but Art kept the Hawkettes together, finding musicians where he could. And did. The Hawkettes got such a wide reputation that by 1957 they found themselves touring with Larry Williams, whose "Short Fat Fannie" and "Bony Maronie" had also gone into the pop canon, and remain there. Art came home from this tour (which included the Spaniels), to be drafted into the Navy Reserve's active duty for two years.
"N.A.S., Oceana, Virginia Beach. Aviation," he remembers. "It was a good experience." In a recent discussion, Art remarked, "I was in the Navy Reserve - and I wasn't making the meetings that I should have been making - I was playing Rock 'n Roll.. So they drafted me on Active Duty and that must have been '59 or '60."
Brother Aaron hung in there with the Hawkettes, and when Art returned he rejoined his old friends. "Meanwhile, we started changing players, and we ended up with the guys who wound up being the Meters: Zigaboo, Leo, George," he says.
At the same time, Allen Toussaint and Joe Banashak approached Art with a song that's long since been a New Orleans staple: "All These Things." Art jumped at the chance to record it. "I can see it now," he says fondly.
By 1966, he was touring with brother Aaron in support of the hit single, "Tell It Like It Is." Another classic. Soon after the tour, Art took the first shot at a Neville Brothers grouping with "Art Neville and the Neville Sounds." The band consisted of Leo Nocentelli on guitar, George Porter on bass, Art on piano and organ, Zig Modeliste on drums, brothers Cyril and Aaron Neville and, on saxophone, Gary Brown. It was strictly a labor of love, and the band wasn't making money. But they were getting tighter, more streamlined musically, the sound was getting around. Eventually Art was offered a chance to play the Ivanhoe bar in New Orleans' French Quarter - a coveted gig among local musicians, except that the venue could only accomodate four musicians onstage. Cyril, Aaron and Gary Brown bowed out and went on to pursue their own musical paths, but what remained was a white-hot quartet with a solid rhythmic vision. There at the Ivanhoe, the Meters were born. The band developed a funk-infected R-B sound characterized by subtle shadings and the loose interplay among guitar, bass and Art's Professor Longhair-inspired keyboard figures.
Producer/writer Allen Toussaint took one listen and wanted the Meters for session work.
With Toussaint at the boards, the band released The Meters (1969), featuring the signature instrumentals "Cissy Strut" and "Sophisticated Cissy." By 1972, big fish were circling and the Meters recorded their first of several albums for Warner Brothers. On the strength of this work, the Meters opened for the Rolling Stones' "Tour of the Americas" the following year. In 1976, the Neville brothers' revered uncle George Landry called the boys together to work on an album entitled "The Wild Tchoupitoulas," an aural documentary of sorts of the Mardi Gras Indians. Landry told Art then that the Neville's parents had always longed to see the four brothers work together, and in 1977 that dream became reality for everyone. With Art on keys, Charles blowing sax, Cyril slapping congas and Aaron, well, playing Aaron on vocals, the Neville Brothers groove at last wove itself indelibly into the tapestry. The Neville Brothers was released on Capitol, but so unique and unclassifiable was the sound that the corporate thinkers didn't quite get how to market it.
Not black or white, not strictly soul or R-B, not exactly pop but not rigidly rock either, the problem wasn't so much that the Neville Sound was neither here nor there as that it was here, there and everywhere imaginable. It was off the label's graph and therefore out of its grasp. Things got better. Radio, the national and then the international audience began to blossom with A-M's Fiyo on the Bayou and later Neville-ization. By the time of Uptown Art and the boys were sending their New Orleans sound around the world and back again, and they followed with more of the family groove in albums like the nearly flawless Yellow Moon. The basics stitched together by Art and his keys have created ripples of soulful patterns across every curve in the musical sphere, influencing artists as diverse as Santana, and the Rolling Stones. And Art weaves on. Maybe only the lucky get to be born in New Orleans. But Arthur Neville's vision has made it possible for the rest of us to share a little bit of the grand fortune he's given back to his city.
tipitinas.com/bands/a/art-neville
Art Neville Discography:
For More Videos Follow Our Youtube Channel
For FUNKARO: www.youtube.com/channel/UCMzuYuaMNzBLNWi5yVBioiw
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
For More Videos Follow Our Youtube Channel
For FUNKARO: www.youtube.com/channel/UCMzuYuaMNzBLNWi5yVBioiw
Fonte official FB Pallbearer page:
Pallbearer’s third album, Heartless, is an inspired collection of monumental rock music. The band offers a complex sonic architecture that weaves together the spacious exploratory elements of classic prog, the raw anthemics of 90’s alt-rock, and stretches of black-lit proto-metal. Lyrics about mortality, life, and love are set to sharp melodies and pristine three-part harmonies. Vocalist and guitarist Brett Campbell has always been a strong, assured singer, and on Heartless, his work’s especially stunning. This may in part be due to the immediacy of the lyrics. Written by Campbell and bassist/secondary vocalist Joseph D Rowland, the words have moved from the metaphysical to something more grounded. As the group explains: “Instead of staring into to the void—both above and within—Heartless concentrates its power on a grim reality. Our lives, our homes and our world are all plumbing the depths of utter darkness, as we seek to find any shred of hope we can."
Pallbearer emerged from Little Rock, Arkansas in 2012 with a stunning debut full-length, Sorrow and Extinction. The record, which played like a seamless 49-minute doom movement, melded pitch-perfect vintage sounds with a triumphant modern sensibility that made songs about death and loss feel joyfully ecstatic. Pallbearer possessed what many other newer metal groups didn't: perfect guitar tone, classic hooks, and a singer who could actually sing.
For their 2014 followup, Foundations of Burden, the band worked with legendary Bay Area producer Billy Anderson (Sleep, Swans, Neurosis) for an expansive album that was musically tighter and especially adventurous. Armed with a more technical drummer, Mark Lierly, Foundations feels like it was built for larger shared spaces—you could imagine these songs ringing off the walls of a stadium. It was a hint of things to come. While the debut earned the band a Best New Music nod from Pitchfork and rightly landed the band on year-end lists at places like SPIN and NPR, along with the usual metal publications, Foundations of Burden charted on the Billboard Top 100 and earned the band album of the year from Decibel and spots on year-end lists for NPR and Rolling Stone.
Returning to where it all began, the quartet recorded their third full-length, Heartless on their own in Arkansas, and it’s grander in scope, showcasing a natural progression that melds higher technicality and more ambitious structures with their most immediate hooks to date. The collection, which follows the 3-song Fear & Fury EP from earlier this year, was captured entirely on analog tape at Fellowship Hall Sound in Little Rock this past summer and then mixed by Joe Barresi (Queens of the Stone Age, Tool, Melvins, Soundgarden).
From the gloriously complex, sky-lit opener “I Saw the End” to the earth-shaking (and heartbreaking) 13-minute closer “A Plea for Understanding,” the entire group puts forth the full realization of their vision: More than a doom band, Pallbearer is a rock group with a singular songwriting talent and emotional capacity. Heartless finds the group putting forth their strongest individual efforts to date: Campbell and Rowland, along with guitarist/vocalist Devin Holt and drummer Mark Lierly, turn in peak marathon performances. Both Campbell and Rowland also handle synthesizers alongside their normal duties, and there are plenty of gently strummed acoustic guitars amid the crunchy electric ones, adding a moody, ethereal spareness to the towering metal. The almost 12-minute “Dancing in Madness” opens with dark post-rock ambience and moves toward emotional blues before exploding into a sludgy psychedelic anthem. A number of the seven songs feature a humid rock swagger.
By fusing their widest musical palette to date, Pallbearer make the kind of heavy rock (the heavy moments are *heavy*) that will appeal to diehards, but could also find the group crossing over into newer territories and fanbases. After having helped revitalize doom metal, it almost feels like they’ve gone and set their sights on rock and roll itself. Which doesn’t seem at all impossible on the back of a record like Heartless.
365 - The 2010 Edition * November 26, 2010
For the Musically Challenged group. Forty-oneCrush's taste in music and mine seem to be a lot alike. I've always liked Collective Soul's music, and when I saw that she had included "The World I Know" by Collective Soul - and why, I wanted to add my interpretation.. One interpretation..
Like all really good music, each listener brings his or her own experiences and memories to the party, and the same song, the same lyrics, will mean something slightly different to each.. There are many 'edges' - and many 'worlds below'..
Has our conscience shown?
Has the sweet breeze blown?
Has all the kindness gone?
Hope still lingers on.
I drink myself of newfound pity
Sitting alone in New York City
And I don't know why.
Are we listening
To hymns of offering?
Have we eyes to see
That love is gathering?
All the words that I've been reading
Have now started the act of bleeding
Into one..
So I walk up on high
And I step to the edge
To see my world below.
And I laugh at myself
As the tears roll down
Cause it's the world I know
It's the world I know...
"Musically sophisticated and immensely talented, wildly unusual and diverse in material and presentation, a Dada-esque circus carnival run amuck, and just plain good 'not-always-so-clean' fun" - Boston Survival Guide
Those masters of SteamCrunk have done it again! Click the links on the right to order the NEWEST FULL LENGTH ALBUM by your favorite SteamCrunk superheroes.
"Sickert and the Toys broadcast the sound of hapless, doe-eyed innocence gazing into the abyss - which counterintuitively makes for highly enjoyable listening." - The Boston Phoenix
"Walter Sickert and the Army of Broken Toys (or, if you're feeling concise, the Army of Toys) brings a big, baroque sound that makes emotional desperation the stuff of epics and sea-chanteys." - The Weekly Dig
edrie@armyoftoys.com
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"Walter Sickert & The Army of Broken Toys" Abstract Photography, Rock & Roll, Cabaret, abstract, photography, Cambridge, MA USA, Hans, Wendland, Hans Wendland, hanswendland, Lilypad, Cabaret, music, performance, nightclub, live performance
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
Day 299 Year 3 Hats for Haiti
An easy enough request. Post a photo wearing a hat before Saturday and fabulous people will generously donate money to the relief effort.
Bravo!!
"...Roxanne, you don't have to put on the red light
Those days are over..."
Oh the important info :
Wear a hat for Haiti! For every newly taken photo dedicated to Haiti that gets added before Saturday, I will donate to Haiti. Go here to find out more:
www.flickr.com/groups/1294132@N25/
1 - 100 photos = £1 each photo
101-200 photos = 50p each photo
201+ = 20p each photo.
All you need to do is post a photo of you or a friend in a hat before Saturday and mention Haiti somewhere in the description.
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
Two musically gifted women’s lives overlap over the boundaries of time in Rosalyn Story’s novel Sing Her Name. With racism barring her way, a nineteenth century concert artist can never achieve the place in history she deserves. Then, long after her death in poverty and obscurity, a 21st century waitress, talented but musically untaught, has a chance to revive this singer’s name and reach her own success–if her family ties don’t hold her back. Photos made at The Center at Belvedere during the Festival of the Book on 3/23/23.
Photo by Pat Jarrett/Virginia Humanities
A sailboat on Lake Michigan (I believe it is the "Friends Good Will"), near South Haven. yet another shot from last year.
The poor cook he caught the fits,
And threw away all my grits...
And then he took and he ate up all of my corn.
Let me go home.
Why don't they let me go home?
This is the worst trip I've ever been on.
So hoist up the John B's sail.
See how the mainsail sets.
Call for the captain ashore
Let me go home, let me go home
I wanna go home, let me go home
Why don't you let me go home?
Beach Boys for #28/52 in Musically Inspired set
Trying something very different today for Musically Challenged.
It's for the song Give it up by 8mm.
This is what came to me while listening. I'd love to hear what you think of this!
(It also fits TOTW - Get Your Freak On!)
Two weeks in NOLA for the mardi gras 2017
Founded in 1993, the Krewe of Orpheus takes its name from the musically-inclined son of Zeus and Calliope. Founding members included Harry Connick, both the junior and senior.
In New Orleans, the krewe established themselves as a superkrewe with their first parade in 1994, which rolled with 700 riders. They were the first super Krewe to allow both male and female riders.
The Krewe's throws include a number of popular items including emblem beads, stuffed animals, signature beads, light-up Orpheus medallion beads, cups, three different types of doubloons, and 4-foot-long stuffed dragons.
They have a number of notable floats including the Dolly Trolley, the horse-drawn bus that was used in the opening of Hello Dolly with Barbra Streisand, the Smoking Mary which is a six unit float that looks like a steam locomotive, a Trojan horse and the Orpheus Leviathan Float, which is a three unit, 139-foot float, and the first Carnival float to use extensive fiber optic lighting.
Rock and Roll Hall of Fame inductee Fats Domino wass the honorary grand marshall for 2014. His eldest son, Antoine Domino III, rode in the parade and perform his 85 year old father's music.
In addition to Fats Domino, Quentin Tarantino reigned as the krewe's celebrity monarch.
Bowling For Soup at Manchester o2 Apollo on their Get Happy Tour 2018 playing Drunk Enough To Dance in full.
Tamara was a musically gifted girl and holder of the Heart Stone. She trained three baby magical animals - Cleo (a unicorn), Sugar (a dragon), and Spike (a panther). In the second season, she got her own zebracorn named Shadowsong.
Poor Tamara's arm bands are probably the most fragile accessory I've ever seen. I'm amazed even one is intact.
Amelia Neville and Chris Mule
Cha Dooky Doo
Celebration of Art Neville
Tipitina's, 11/15/2014
New Orleans, Louisiana
ART NEVILLE
If you're lucky enough to be born in New Orleans, you've automatically inherited a lush tapestry of traditions, of which the richest, most varicolored and enduring motif is music. Arthur Neville came into that inheritance in 1937, but in his case the real luck fell to New Orleans, where he has spent most of a lifetime enhancing and expanding that tapestry. It's open to debate exactly where Art learned to weave such glorious new colors into such an already-vibrant fabric of sound - parents who supported and encouraged his musical quest? A childhood curiosity about music in general, and the keyboard in particular? Simply the intense and heady musical environment of the city itself?
What can't be argued that even as a kid he had already begun to shape the sumptuous patterns that the world now recognizes instantly as the Nevilles Sound. As a teenager, no amount of music - even in New Orleans - was too much for Art. He worked for a time in a record shop, where he absorbed the great doo-wop groups of the day: Clyde McPhatter's Drifters, The Orioles, The Clovers, as well as local piano rockers Professor Longhair and Fats Domino. In time he formed his own doo-wop group, and after school, after work, they would sit on a park bench in the crazy half-moon city and sing to the night.
In 1953, Art joined the Hawkettes, who recorded the classic "Mardi Gras Mambo" in 1954. That song turned out to be more influential to other musicians - and to the City of New Orleans - than even Art could have imagined. Listen to the music of his reflections on that historic (and now, very traditional) piece of pop culture:
"I became involved with the Hawkettes, I don't even remember the exact year but it must have been in '53. A friend of mine, one of the members of the Hawkettes at the time, George Davis. He was taking saxophone lessons from Alcee Wallace, one of my friends that we had the doo-wop group with. Mr. Wallace, Alcee's father, was teaching George Davis saxophone and so he told him about me and he needed a piano player."
"And so he came to my home and asked me would I be interested in playing with the Hawkettes. I didn't know who they were at that point and I said "sure," and my mother and father said 'Yeah, go ahead.' And the rest is really history. We went on, and we were the hottest band in New Orleans and the surrounding area we played for every function like sororities, fraternities, and different other functions around New Orleans: Night clubs, little small clubs, large clubs."
"We recorded this song, 'Mardi Gras Mambo,' I don't even remember the year, I think 1953 or 1954, something like that, and lo and behold! 'Mardi Gras Mambo' is still here today."
Most of the Hawkettes went off to college and other pursuits after the recording was made, but Art kept the Hawkettes together, finding musicians where he could. And did. The Hawkettes got such a wide reputation that by 1957 they found themselves touring with Larry Williams, whose "Short Fat Fannie" and "Bony Maronie" had also gone into the pop canon, and remain there. Art came home from this tour (which included the Spaniels), to be drafted into the Navy Reserve's active duty for two years.
"N.A.S., Oceana, Virginia Beach. Aviation," he remembers. "It was a good experience." In a recent discussion, Art remarked, "I was in the Navy Reserve - and I wasn't making the meetings that I should have been making - I was playing Rock 'n Roll.. So they drafted me on Active Duty and that must have been '59 or '60."
Brother Aaron hung in there with the Hawkettes, and when Art returned he rejoined his old friends. "Meanwhile, we started changing players, and we ended up with the guys who wound up being the Meters: Zigaboo, Leo, George," he says.
At the same time, Allen Toussaint and Joe Banashak approached Art with a song that's long since been a New Orleans staple: "All These Things." Art jumped at the chance to record it. "I can see it now," he says fondly.
By 1966, he was touring with brother Aaron in support of the hit single, "Tell It Like It Is." Another classic. Soon after the tour, Art took the first shot at a Neville Brothers grouping with "Art Neville and the Neville Sounds." The band consisted of Leo Nocentelli on guitar, George Porter on bass, Art on piano and organ, Zig Modeliste on drums, brothers Cyril and Aaron Neville and, on saxophone, Gary Brown. It was strictly a labor of love, and the band wasn't making money. But they were getting tighter, more streamlined musically, the sound was getting around. Eventually Art was offered a chance to play the Ivanhoe bar in New Orleans' French Quarter - a coveted gig among local musicians, except that the venue could only accomodate four musicians onstage. Cyril, Aaron and Gary Brown bowed out and went on to pursue their own musical paths, but what remained was a white-hot quartet with a solid rhythmic vision. There at the Ivanhoe, the Meters were born. The band developed a funk-infected R-B sound characterized by subtle shadings and the loose interplay among guitar, bass and Art's Professor Longhair-inspired keyboard figures.
Producer/writer Allen Toussaint took one listen and wanted the Meters for session work.
With Toussaint at the boards, the band released The Meters (1969), featuring the signature instrumentals "Cissy Strut" and "Sophisticated Cissy." By 1972, big fish were circling and the Meters recorded their first of several albums for Warner Brothers. On the strength of this work, the Meters opened for the Rolling Stones' "Tour of the Americas" the following year. In 1976, the Neville brothers' revered uncle George Landry called the boys together to work on an album entitled "The Wild Tchoupitoulas," an aural documentary of sorts of the Mardi Gras Indians. Landry told Art then that the Neville's parents had always longed to see the four brothers work together, and in 1977 that dream became reality for everyone. With Art on keys, Charles blowing sax, Cyril slapping congas and Aaron, well, playing Aaron on vocals, the Neville Brothers groove at last wove itself indelibly into the tapestry. The Neville Brothers was released on Capitol, but so unique and unclassifiable was the sound that the corporate thinkers didn't quite get how to market it.
Not black or white, not strictly soul or R-B, not exactly pop but not rigidly rock either, the problem wasn't so much that the Neville Sound was neither here nor there as that it was here, there and everywhere imaginable. It was off the label's graph and therefore out of its grasp. Things got better. Radio, the national and then the international audience began to blossom with A-M's Fiyo on the Bayou and later Neville-ization. By the time of Uptown Art and the boys were sending their New Orleans sound around the world and back again, and they followed with more of the family groove in albums like the nearly flawless Yellow Moon. The basics stitched together by Art and his keys have created ripples of soulful patterns across every curve in the musical sphere, influencing artists as diverse as Santana, and the Rolling Stones. And Art weaves on. Maybe only the lucky get to be born in New Orleans. But Arthur Neville's vision has made it possible for the rest of us to share a little bit of the grand fortune he's given back to his city.
tipitinas.com/bands/a/art-neville
Art Neville Discography:
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For FUNKARO: www.youtube.com/channel/UCMzuYuaMNzBLNWi5yVBioiw
Not only did she talk this gentle into letting her play his drum she also talked Heinrick into letting her play his Violin.
“I am an excitable person who only understands life lyrically, musically, in whom feelings are much stronger than reason. I am so thirsty for the marvelous that only the marvelous has power over me. Anything I cannot transform into something marvelous, I let go. I only believe in intoxication, in ecstasy, and when ordinary life shackles me, I escape, one way or another. No more walls.”
- Anais Nin
Many thanks to LuPi75 for inspiring me with his beautiful photo...
image transfer, pastels, watercolor pencils
There is no pain, you are receding
A distant ship smoke on the horizon
You are only coming through in waves
Your lips move but I can't hear what you're saying
When I was a child I had a fever
My hands felt just like two balloons
Now I've got that feeling once again
I can't explain, you would not understand
This is not how I am
I have become comfortably numb
~Comfortably Numb, by Pink Floyd
for Musically Challenged
Instead of working, I take quick selfies for my project. haha!
I missed taking my picture yesterday b/c I had family over in the evening and the hubs wasn't home until later, so I was with them. This is a make-up shot for yesterday.
& HBCCT too!!