It's Obikin time! Let's celebrate our favourite ship! Reply with a random headcanon, a fic or art rec, or just why you love Obikin! Feel free to tag people!
Always happy to celebrate Obikin!
I could flood this with my favorite Obikin art and/or fic recs, but I’ll just limit myself to my top five.
1. Sith!Obi and Sith!Anakin, by @dis4daria. OMG, I could stare at this piece all day and still never get tired of it. I love the smirk on Obi-Wan’s face, and hos his hand rests ever so suggestively on Anakin’s chest. You can just imagine what he’s thinking - ‘Yes, he is mine, and yes, we get up to lots and lots of kinky sexy times when we’re not planning to take over the galaxy.’ And Anakin just smiles, all, ‘Fuck, why did I ever waste time on the Jedi? Being a Sith is a zillion times better. Kinky sexy times!’
2. I call this one FML, by @oekakixoekaki. Because you have Obi-Wan trying to be competent and do his job, and Anakin… *snickers* So funny!
3. Reunion of the Fallen, by @amarielah. (NSFW) This one is a WIP, but I really, really hope @amarielah comes back to it someday because it is just so effing awesome. Suitless!Vader AU, so really it’s Vaderwan, but it still totally counts. ;)
4. Fever, by TheCrackedKatana. Another WIP, but still so amazing! Sick!Anakin, Comforting!Obi-Wan, and Obikin galore. So amazing!
1969 Chicago Soulful Psych group, four white boys featuring Ron Stockert playing a powerful Hammond Organ in the vein of Vanilla Fudge. Stockert went on to play with Carl Carlton (Everlasting Love) and Rufus & Chaka Kahn…………
This one’s fairly rare (good luck finding another online review of it), but hasn’t exactly set the collector world on fire. The main reason for that lack of interest probably has to do with the fact this short-lived Chicago outfit was more interested in doing white boy covers of classic soul numbers, rather than your standard deep dives into blues, psych, or rock. Moreover, by the time “Assorted Shrubbery” was released in 1968, the age of integrated musical enjoyment had already begun to exit stage left. The result was these guys were simply too pop-oriented for R&B and soul audiences, and too soul for pop and rock audiences. Those were the perfect ingredients for instant obscurity which is pretty much the fate met by the short-lived Bushes.
Bushes featured the talents of lead guitarist Al Johnson, keyboardist/bass player Ron Stockert, singer Joel Wilson, and drummer John Zefo. Their sole album was recorded at Golden Voice Recording Company and as you can tell by Johnson’s liner notes, the band seemed pretty hot on themselves:
“The music in this album is a product of all environments know to mankind. The controversial sounds of today, as well as the treasures remaining from yesterday. Music for those who hope for those who dream, and music for the sad. Here is a polyphonic portrayal of the proud happiness and the stumbling failures so common, so well-known to all. Here is the music for everyone because it was born in the minds of artists representing everyone. That alone makes this important music. Important to those who created it, and important to those who interpret it correctly and understand it fully.” No idea what that all meant, but it certainly sounded like Johnson could have enjoyed a career as a politician …
So what’s this puppy sound like? Well as you could tell by a quick scan of the ten songs, these guys had a deep affection for Chicago and Detroit soul. In fact, five of the tracks were popular soul covers, with one well known Chicago blues cover thrown in (T. Bone Walker’s ‘Stormy Monday Blues’). They exhibited good taste in their covers (George Clinton, Curtis Mayfield, Smokey Robinson), but no matter how good, their largely rote covers simply couldn’t come close to the source material. At the same time the album included a couple of band originals; the best being the atypical psych-rocker 'Most Girls’ and the worst being a brief Frank Zappa inspired belch of freak-out experimentation ('Polyphony’). So that encapsulates the dilemma with this one. If you enjoy blue-eyed soul this is probably an album you’d like. Wilson and Stockert were both pretty good singers and as a band these guys were quite talented with Johnson showing some fine lead guitar moves when he was given a shot at the spotlight. Stockert was similarly good, bring a deft Vanilla Fudge keyboard sound to much of the material. If you weren’t a soul aficionado, then there was less to interest you here.
- 'The Way You Do the Things You Do’ started out with a nice garage-tinged edge, but went downhill when Wilson’s falsetto vocal kicked in. If you’ve ever wanted to hear someone singing in an uncomfortable key, this is a good one to check out. The poor guy literally sounded like part of his anatomy was stuck in an ever tightening vice. rating: ** stars - Give them credit for a suitably earnest stab at the Curtis Mayfield classic 'I’ve Been Trying’. As mentioned above, it won’t make you forget the original, but they did pretty good for a bunch of suburban kids. rating: *** stars - With Stockert turning in his best David Thomas-Clayton impersonation (he sounded as if he’d been gargling with sandpaper for a week), their cover of BS&T’s 'I Love You More Than You’ll Ever Know’ was actually quite nice. Sans-horns, they elected to give the song a cool Vanilla Fudge-styled keyboard edge (kudos again to Stockert) and the backing vocals were a hoot. rating: **** stars - Opening up with some tasty Johnson slashing lead guitar, they gave George Clinton’s 'Testify (I Wanna)’ a nice garage edge. I’d still rather hear the original, but this version wasn’t half bad. rating: *** stars - Clocking in at 30 seconds, 'Polyphony’ was a sound collage that sounded like Jan Akkerman hanging out with a bunch of drunk friends who were simply goofing off in the studio. rating: * star - Another band original, 'The Hopes, The Dreams, The Tears’ - Kicked along by some stark Stockert keyboards, their bluesy cover of T. Bone Walker’s 'Stormy Blues’ was professional, if somewhat loungey; especially when Wilson decided to try to turn on the vocal afterburners. rating: ** stars - Penned by Stockert and Wilson, Most Girls’ was easily the album’s best performance … it sounds kind of strange but the result was an intriguing soul/garage hybrid with a killer Johnson fuzz guitar solo thrown in. Even Zefo’s short drum solo made sense in this one. Hum, picture James Brown trying to record a garage rocker and this is what you’d come up with. rating: **** stars - 'Ooh Baby Baby’ found the band returning to their creative mainstay - another rote soul cover that found the whole group singing in an uncomfortably high key. rating: ** stars - Well, 'Function at the Junction’ made it clear that funk wasn’t a genre they were particularly good at. In spite of Zefo’s frenetic drums and Stockert’s stabbing keyboards, this was one of the stiffest Motown covers you’ve ever heard. In spite of his best efforts, Wilson sounded like he was channeling The Talking Heads David Byrne while hearing the rest of the band robotically singing the “cornbread, hot nuts and chicken” refrain was pretty funny. I’ll give it an extra star for the bizarro factor. rating: *** stars
Stockton remained active on the Chicago music scene. He became an in-demand sessions player and in 1971 joined Rufus where he replaced James Stella as one of the band’s lead singers. He left the band in 1975, briefly joined Three Dog Night, and returned to sessions work…..by….RDTEN1 ………
Personnel: Ron Stockert — Hammond organ, piano, bass, vocals Al Johnson — guitar, bass, vocals Joel Wilson — vocals, percussion John Zefo — drums, vocals
Tracklist A1 The Way You Do The Things You Do 3:54 A2 I’ve Been Tryin’ 1:27 A3 I Love You More Than You’ll Ever Know 6:03 A4 Testify (I Wanna) 3:50 A5 Polyphony 0:30 B1 The Hopes, The Dreams, The Tears 4:30 B2 Stormy Monday Blues 5:38 B3 Most Girls 2:22 B4 Ooh Baby Baby 1:43 B5 Function At The Junction 3:27
Mama Grif was often away from home forcing Grif to take care of Kai. While she told them she joined the circus as both the fat lady and the bearded lady, she was actually working for PLF as Agent Hawaii.
Beggars’ Hill folk-rock album from 1976 which is now much sought-after by record collectors is finally out on CD for the first time. Beggar’s Hill fall into the bracket of rare and collectable music like Mellow Candle who on their first time round only had a very limited release on vinyl and nowadays making it a very collectable piece. Guest musicians of the time include John Rodd (Albion Band) and Neil Stanford (Fiddlers Dram& Everly Brothers guitarist on “When Will I Be Loved?”. Beggar’s Hill have had something of a cult following over the years and is sure to appeal to the avid folk collectors of today……………
A large, semi-electric UK folk band from Croydon, Surrey, whose line-up comprised Chris Walker (vocals, guitar), John Davis (guitar, dulcimer, banjo, vocals), Dave Frohnsdorff (bass, concertina, autoharp, vocals), Peter Sharp (guitar), Pete Roberts (drums, percussion), Marc Isherwood (bass), Jo Battley (vocals), Laura Dixon (flute), Neil Stanford (guitar), John Rodd (concertina) and Robin Hamilton (fiddle, mandolin). The band made one album of traditional and contemporary material in 1976. It now commands a high price from serious record collectors…………..
Remember, the album was released in 1976 as a private pressing of 500 copies and was for sale for £2.60, which was just a little below the price in those days for albums bought in record shops. By late 1977, with no members of the group in the local area to promote it at gigs, the venture had quietly faded away, so I closed the business, de-registered for VAT and claimed back an income tax rebate due to the business loss.
In 1976 there had been 500 copies of the album, of which about 100 were sold and another 15 or so given to newspapers, magazines, libraries etc. for review purposes to assist with promotion, so that left me with about 385 copies, at first …………… But by the end of 1977, I was getting married to Janice and we were buying our first house. It’s probably hard to imagine, but 385 copies takes up a huge amount of space. Each box held 40 copies of the record and inner sleeve, and was about 12 inches x 12 inches x 4 inches (or 300 x 300 x 100 mm in metric), and there must have been 10 boxes of records, and then 10 more boxes of the same size for the covers. That takes up a lot of space which we did not have available in our first house. So I kept a box of records and a box of covers and took the rest to the local rubbish dump. After all, there was no chance of selling any more, was there? The group all had separate lives, careers and families, and I heard nothing more until ………
Only album by British Folk-Rock group Beggars` Hill, which was for years one of the most sought after LPs of the genre, finally sees a CD reissue. The band was a pretty lose collection of singers and players, but the core of the band consisted of Dave Forhndorff and John Davis, who are present on all the eleven tracks of the album. Stylistically very similar to other British Folk-Rock outfits of the day, like Pentangle and Fairport Convention, the album is a classic of the genre. The original LP was privately pressed in 500 copies only and in time obtained a legendary status of a lost gem. In retrospect it still sounds great and is a pure delight for fans of the genre. Wholeheartedly recommended!…..by…..Jazzis ………..
With only 500 pressed, original 1976 vinyl copies of the sole album by unsung Surrey-based folk-rock foundlings Beggars’ Hill are failsafe wallet-lighteners these days, fetching anything up to £250 – ie, £247.40 more than the initial asking price. Had the album contained any original compositions you could arguably double its true value. Beggars’ Hill – gimlet-eyed sleuths will notice a wandering apostrophe on the CD spine and on the disc itself – were a young, open-ended collective who specialised in diligent, dignified rearrangements of worthy folk fare, whether drawn from traditional sources (Jack Hall, Here’s To The Last To Die) or from then-contemporaries (New St George and Poor Ditching Boy by Richard Thompson; If You’d Been There by Bridget St John). In the main, their poised and painstaking approach works a treat – notably so in their commendably gentle, lyrical interpretation of the Robin and Barry Dransfield arrangement of The Wild Rover. Folk-ophobes may admittedly find all of their prejudices confirmed – everything is sung straight down the nose, with a palpable sense of real ale retention, finger-in-ear earnestness and beard/jumper interdependency – but just as strong is the sense of warm, familial, humanistic conviviality which any decent folk club provides. Inessential, perhaps, but no less pleasurable for that……………..
Tracklist A1 New St. George 2:29 A2 Cannily, Cannily 1:57 A3 Jack Hill 5:21 A4 Here’s To The Last To Die 2:40 A5 Let It Be Me 2:05 A6 Who Knows Where The Time Goes 5:36 B1 When Will I Be Loved 2:21 B2 The Sailor Home From The Sea 2:53 B3 If You’d Been There 3:40 B4 Poor Ditching Boy 4:42 B5 Wild Rover 5:38