crucial album

anonymous asked:

I have a bit of an odd thing to ask I think? Do you have or do you know where I can get a list of all the songs that GOT7 members took part in or completely composed themselves, as in wrote lyrics for? Also, do you know of a list of all the songs that GOT7 members have recommended from their own music or from other artists?

I can’t answer your 2nd question because I haven’t seen a list like this and there are members who recommended so many songs (for example JB, Junior or Youngjae) that it would be difficult for me to list them.


As for the first question, I’ll try to do it myself. 

Mark: 

Got it album: wrote rap part in Follow Me with Jackson

Just Right album: wrote rap part in Back to Me with Jackson

MAD album: wrote rap part in Good Feeling and Good with Jackson

FLIGHT LOG: Departure: co-wrote rap in Can’t

FLIGHT LOG: Departure: co-wrote lyrics for See The Light, co-wrote rap in the same song.

GOT7′s First Concert: co-wrote lyrics for Higher

FLIGHT LOG: Turbulence: co-wrote lyrics and co-composed No Jam

FLIGHT LOG: Turbulence: co-wrote lyrics and co-composed My Home

FLIGHT LOG: Turbulence: co-wrote lyrics for If

FLIGHT LOG: Turbulence: co-wrote lyrics for Sick

FLIGHT LOG: Turbulence: co-wrote and co-composed Dreamin

FLIGHT LOG: Arrival: co-wrote lyrics to Shopping Mall 

FLIGHT LOG: Arrival: co-wrote lyrics to Go Higher  


JB: 

Got Love album: wrote lyrics for Bad Behavior

Just Right album: wrote rap for Mine

MAD Winter Edition: co-produced and wrote lyrics for Everyday

FLIGHT LOG: Departure: co-composed and co-wrote lyrics for Fish

FLIGHT LOG: Departure: co-wrote lyrics and rap for Something Good

FLIGHT LOG: Departure: co-composed and co-wrote lyrics for Home Run

GOT7′s First Concert: co-wrote lyrics and co-composed 1:31AM

FLIGHT LOG: Turbulence: co-wote lyrics for Skyway

FLIGHT LOG: Turbulence: wrote the lyrics and co-composed Prove It

FLIGHT LOG: Turbulence: co-wrote and co-composed Dreamin’

FLIGHT LOG: Arrival: co-wrote lyrics to Shopping Mall

FLIGHT LOG: Arrival: co-wrote lyrics and co-composed Go Higher

FLIGHT LOG: Arrival: co-wrote and co-composed Q


Jinyoung: 

MAD Winter Edition: wrote lyrics for To Star

FLIGHT LOG: Departure: co-composed and wrote lyrics for Can’t

GOT7′s First Concert: co-wrote lyrics and co-composed Higher

FLIGHT LOG: Turbulence: wrote lyrics and co-composed MAYDAY

FLIGHT LOG: Arrival: co-wrote and co-composed Paradise  


Bambam:  

MAD Winter Edition: wrote rap for JB’s Everyday

FLIGHT LOG: Departure: co-wrote rap in See The Light

FLIGHT LOG: Departure: co-wrote rap for Something Good

GOT7′s First Concert: co-wrote lyrics for WOLO

FLIGHT LOG: Turbulence: co-wrote lyrics for No Jam

FLIGHT LOG: Turbulence: co-wrote lyrics for If

FLIGHT LOG: Arrival: co-wrote lyrics to Shopping Mall

FLIGHT LOG: Arrival: co-wrote lyrics to Paradise 

FLIGHT LOG: Arrival: co-wrote lyrics to Go Higher


Jackson: 

Got it album: wrote rap part in Follow Me with Mark 

Just Right album: wrote rap part in Back to Me with Mark 

MAD Winter Edition: wrote rap parts for all members in Confession with Crucial Star 

MAD album: wrote rap part in Good Feeling and Good with Mark

MAD album: wrote rap part in Tic Tic Tok

Identify album: wrote rap part in: Just Tonight

Identify album: wrote rap part in: Moonlight

GOT7′s First Concert: co-wrote lyrics and composed for WOLO

GOT7′s First Concert: composed and wrote lyrics for I Love It

FLIGHT LOG: Turbulence: co-wrote and co-composed Boom x3

FLIGHT LOG: Turbulence: co-wrote lyrics for No Jam

FLIGHT LOG: Turbulence: wrote rap for Sick

FLIGHT LOG: Arrival: co-wrote and co-composed Shopping Mall

FLIGHT LOG: Arrival: co-wrote Go Higher

FLIGHT LOG: Arrival: co-wrote and co-composed Out

Go Fridge Season 3: composed theme song for the show

He also composed a song GOT7 performed at A showcase (it was never released, don’t know the title)


Yugyeom:

FLIGHT LOG: Departure: co-wrote lyrics for See The Light

GOT7′s First Concert: co-wrote lyrics for WOLO

FLIGHT LOG: Turbulence: co-wrote lyrics and co-composed No Jam

FLIGHT LOG: Arrival: co-wrote and co-composed Don’t Care


Youngjae:

FLIGHT LOG: Departure: co-wrote lyrics and co-composed Rewind

GOT7′s First Concert: co-wrote lyrics and co-composed 1:31AM

FLIGHT LOG: Turbulence: co-wrote and co-composed HEY

FLIGHT LOG: Turbulence: co-wrote lyrics for Sick

FLIGHT LOG: Arrival: co-wrote and co-composed Sign

Can`t Take My Eyes Off You
크루셜스타 (Crucial Star)
Can`t Take My Eyes Off You

Crucial Star - Can’t Take My Eyes Off You

K-Hip Hop Recommendation List Part 2

Beenzino- “How Do I Look” and “Break” 

Cheetah- “My Number

Choi Sam- “Enemy” 

CODE KUNST- “Parachute (Feat. Oh Hyuk and Dok2)” 

Crucial Star- Entire Midnight Album 

Dok2- “니가 없네 (Feat. Junggigo)” (there were quite a few songs I liked off the MULTILLIONAIRE album, would check it out) 

Dynamic Duo- Entire Grand Carnival Album 

Epik High- Entire “Shoebox” Album 

Gaeko (Dynamic Duo)- “No Make Up (Feat. Ha:Tfelt and Zion T.)” from the Redingray Album

Gary- “허해 (Feat. 영준 of Brown Eyed Soul)” from the 2002 Album 

Geeks- “Is You (Feat. Lena Park)” 

Giriboy- “2000_90″ from the 외롬적인 4곡 Mini album

Gray “하기나해 (Just Do It) (Feat. Loco)” 

Louie (Geeks) - “그냥가요 (feat. Wheein)” also “니 얼굴” that he did with Lee Hyun Woo

MFBTY- Entire WondaLand Album

Olltii- “설레 (Excited) (feat. 백예린 Of 15&)” from the 졸업 Album

The Quiett- “Love People, Love Music (Feat. Tasha)” from The Real Me (Remaster) Album

Sik-K- “What the Hell (Feat. Donutman and Elo)” from the Untitled Mini album

Simon D- “Lonely Night (Feat. ELO) (GRAY Remix)” from the ₩ & ONLY Album

Verbal Jint- Entire GO HARD Part 1 : 양가치 Album

Yezi- “쎄쎄쎄 (Feat. Gilme, Kitti B, Ahn Soo Min)” from the Foresight mini album

Again, I make these lists/recommendations by going down my iTunes library. Enjoy~

My Mum’s Final Act Of Love Was To Throw All Her Stuff Into A Skip

Right in the middle of all that brouhaha about sloping bridges and Eeny, Meeny, Miny, Moe, my mum died.

So there I was, in Russia, in the middle of a Top Gear tour, trying to organise her funeral and tell the children and sort out all the legal stuff, with the BBC moaning at me in one ear and a reporter twittering on in the other, and I knew that if I wept, which is what I wanted to do, because I was very close to my mother, the Daily Mirror would run pictures and claim they were tears of shame. It was a gruesome time.

And I knew that when I came home the BBC would still be bleating and the reporters would still be calling, and I’d have to go to her house and start sorting through her things. And where do you start with a job like that? Where did she keep her pension details, the deeds to her house, her insurance certificates? How do you cancel a Sky subscription? Did she have any shares? Premium bonds? And how do you find out if you haven’t got a sister who’s a lawyer?

Luckily, I do have a sister who’s a lawyer, but even though she could handle the paperwork, I’d still have to go through my mum’s things, and that would be a nightmare because I’m such a sentimental old sausage I even find it difficult to throw away an empty packet of fags. I think of the fun I’ve had smoking them and the people I’ve shared them with and I want to hold on to the wrapping as a keepsake, a reminder of happy times.

So what in God’s name would it be like in my mum’s house, surrounded by everything that made it hers, except her? And there’d be all those childhood memories. At some point it would be inevitable I’d find the egg cup I’d used every morning as a child and the cereal bowl with rabbits on it. That would tear my heart out.

At one stage I received a call from a middle-ranking BBC wallah saying they’d had a letter from some MPs, asking if I was going to be sacked, and I really wasn’t paying much attention because I was wondering what on earth I’d do with the mildly fire-damaged Dralon chair that my dad had bought for £4 in 1972.

Even by the standards of the time it was a truly hideous piece of furniture, and the years had not been kind to it. Any normal person would give it to charity or use it as firewood. But it was the chair my dad used to sit in. It had a cigarette burn in the arm from the time when he’d nodded off while smoking. I couldn’t possibly give it away, or burn it. And I sure as hell didn’t want it in my house. So what would I do?

There is no single thing in the house of anyone’s mother that isn’t infused with a gut-wrenching air of sentimentality. It’s not just her jewellery or her clothes. It’s the little things as well. Her kitchen scissors, her bathroom scales, her flannel. Every single thing in each and every drawer is as impossible to discard as a first teddy bear.

I would need a very big lorry to handle all the stuff I’d need to bring home. I’d also need at least two months to go through it all. And I’d need about 4,000 boxes of Kleenex.

However, here’s the thing. My mum did not die unexpectedly. She’d known for some time that the cancer was winning and had therefore had time to put her affairs in order. A job she had undertaken with some gusto.

I’d always assumed that “putting your affairs in order” meant writing a will and remembering to reclaim your lawnmower from the chap at No 42. But in the weeks since my mum’s death I’ve learnt that actually there’s a lot more to it than that.

First of all, she had left many helpful instructions about what sort of funeral she wanted. No friends. No flowers. And no mention of God or the baby Jesus. My sister and I didn’t even have to guess what music she would have liked because she’d told us: Thank You for the Music, by Abba.

All the financial stuff was in a neat box with everything clearly labelled. And she hadn’t stopped there. Before she became too weak, she’d had a massive clear-out. Pretty much everything she owned had been thrown into a skip. “It’ll save you the bother when I’m dead,” she had said.

But by far and away the best thing she did in those last few months was to sort out a lifetime of photographs, putting the ones that mattered into albums and, crucially, writing captions. So now I know that the time-faded sepia image of a stern-looking woman in a nasty hat is my great-aunt and that the blurred picture of what might be a corgi was my grandad’s dog.

Ordinarily, I’d have thrown away the endless pictures of what appear to be a building site, but thanks to my mum’s diligence, I now know it was the house in which I was born. And how it had looked when she and my dad bought it in 1957.

I don’t know how long she had worked on her downsizing and the clear-out and the organisation of her things, but it’s something we should all try to do when we know the Grim Reaper is heading our way. Because not only does it spare our loved ones from the hassle of going through every single thing we’ve ever owned but also it spares them from the grief of deciding that the horse brasses and the Lladro figurines really do have to go to the tip.

The only trouble is that there’s one thing my mum did not sort out. Back in 1971 she made my sister and me two Paddington Bears. They were the start of what became a very successful business and they were very precious, but over the years one was lost.

I maintain the sole survivor is mine. My sister insists it’s hers. And she’s the lawyer … so I have the cereal bowl with the rabbits on it, and the Dralon chair.

Watch on behindthegrooves.tumblr.com

On this day in music history: October 7, 1989 - “Miss You Much” by Janet Jackson hits #1 on the Billboard Hot 100 for 4 weeks, topping the Club Play chart for 2 weeks on the same date, also topping the R&B singles chart for 2 weeks on October 14, 1989. Written and produced by James Harris III and Terry Lewis, it is the second pop and fifth R&B chart topper for the youngest member of the Jacksons musical dynasty. After the huge commercial success of her third album “Control”, there is some doubt as to whether producers Jimmy Jam and Terry Lewis will produce the crucial follow up album. Jam & Lewis go through extended contract negotiations with Jacksons’ label A&M Records before both sides come to an agreement. Finally in September of 1988, sessions begin on “Rhythm Nation 1814”. “Miss You Much” is the first song written for the sessions, inspired by Jimmy’s then girlfriend. Needing to get back in proper shape vocally after a long layoff, Janet records the background vocals for “Miss You Much” and several other songs for the album before returning to Minneapolis in December of 1988 to begin recording lead vocals. By the time sessions for the album wrap in February of 1989, all agree that “Miss You Much” is the perfect track to launch “Rhythm Nation”. Issued on August 22, 1989, it is an immediate smash. Entering the Hot 100 at #42 on September 2, 1989, it rockets to the top of the chart five weeks later. “Miss” becomes Janet Jackson’s biggest selling single at the time of its release, selling more than a million copies by the time it falls off the chart. The song also receives two Grammy nominations in 1990. “Miss You Much” is certified Platinum in the US by the RIAA.

K-Hip Hop Recommendation List

When I make these lists, I literally go down my iTunes list, so if you guys want to make other suggestions in the replies/reblogs that’s awesome too ^^

Beenzino- Dali, Van, Picasso  (Also check out the “24:26” album)

Crucial Star- The entire “Drawing #2: A Better Man” Mixtape

Dok2- No More (G-Mix) (Feat. Crush and Loco) (Also “Good Vibes Only” from the same album “Ruthless”) and Girl Girl (Remix) (Feat. The Quiett)

Droplet- 어떻게 지내

Dynamic Duo-  Just about everything they’ve done, especially their most recent album “LUCKYNUMBERS

Epik High- You Don’t Deserve Her (Feat. Gaeko) and Over 

Gary- Shower Later (Feat. Crush)

Geeks- 유언 - Also everything on the “Backpack” album

Giriboy- 다른꼴 (feat. Crucial Star)

Jazzyfact- Friday Move (TGIF)

Kanto- What You Want (Feat. Sunggyu)

Loco- Hold Me Tight (Feat. Crush)

Louie- Where You At (Feat. Young Luffy)

Mad Clown- 바질 (Feat. BrotherSu) 

Olltii- 31035

Outsider- Luv Business (Feat. Bizniz A.K.A Young Gm, J`kyun) (the “Maestro” album is my favorite)

Paloalto- 드디어 만났다 (feat. Junggigo

The Quiett- Welcome to the Show (Remix) (Feat. Dok2 and Beenzino)

Swings- Would You? (Feat. Seo In Guk) 

Tablo- From the Bottom (Feat. Bumkey)

Tasha (Yoon Mi Rae)- Black Happiness - Literally everything by Tasha >.<

Verbal Jint- Walking in the Rain (Feat. Bumkey) 

Zico- No Limit and Wake Me Up

MFBTY- Sweet Dream

Tiger JK- True Romance 

올티 & ORGN/MRDN- 1113 (for Christmas)

Simon D- Stay Cool and Romantic Sense (Remix) (Feat. Lady Jane)

ONE- O (feat. 1Kyne of Electro Boyz & One Star of Monday Kiz)

Primary- ? (Feat. Choiza and Zion T.)

Gray- Summer Night 

ELO- Parachute (Feat. Gray)

10 albums from my childhood

I was tagged by sirsnickerdoodles, oliviaswolfe, and andribbonsofeuphoria. I’m going to attempt some kind of chronological order.

  1. Nick Gilder-City Nights. “Hot Child In The City” was my very first jam. Definitely set a precedent for my predilection for guys who sang in high androgynous voices.

  2. AC/DC-Back In Black. Like I had a choice. I think there was some kind of rule that if you lived in the period, you had to listen to this one.

  3. Kiss-Destroyer. When I was 7 or 8, a cousin gave me a big stack of Kiss records. Warped my fragile little mind. This was the one that comes to mind firstI wonder I.

  4. David Bowie-Let’s Dance. Going to recycle a post I made not long ago. This was in the first batch of cassette tapes I bought myself in the third or fourth grade.Though I didn’t know who he was at the time, Stevie Ray Vaughn blessed this record with some hot, hot, fire. And the sax on Modern Love got me by the short hairs.

  5. Men At Work-Cargo. This was also in that first batch of tapes I bought. Those crazy Australians had some jams.

  6. Pete Townsend-Scoop. Also in that first batch of tapes. I loved The Who. I preferred Pete to Roger Daltrey, I think I related to him better. Plus he did that crazy windmill thing.

  7. Dire Straits-Brothers In Arms. Money For Nothing. Man, that song and video were something new and different when it came out. I still go back and listen to the full album sometimes. The title track might have been the first song to consistently give me goosebumps.

  8. Pink Floyd-A Momentary Lapse Of Reason. Learning To Fly was my jam. On The Turning Away is still powerful and relevant lyrically. Solid album all the way through.

  9. Robert Plant-Now And Zen. Ship Of Fools man. Ship Of Fools.

  10. Guns & Roses-Appetite For Destruction. I’m skipping Run DMC-Raising hell for good reason. This is the one that ruined me. I was at the mall wanting to get Led Zepplin IV, but it wasn’t in stock. I asked what they were playing over the speakers and it was this. Took it home, and I swear not a week later I was getting busted for smoking in the middle school bathroom.

I didn’t even get to the truly formative sounds of my teenage years, but these are the soundtrack of my childhood. Tag. You’re it. If you want.

Watch on damnablescience.tumblr.com

slint - spiderland lp

1. breadcrumb trail
2. nosferatu man
3. don, aman

4. washer

5. for dinner

6. good morning captain

anonymous asked:

I think they are not gong to push a lot a lot until they have something to sell, so probably november though I think they want to rise the profile of the 3 that are not Harry. What it would help them this next weeks is to go and visit James Corden on his new show. The other shows have them if they have something to sell/introduce but James can have them just as friends. I think they may be going.

They still have a lot of OTRA tickets to sell, but on the other hand there is also the crucial fifth album to monopolize and milk. Ultimately, it’s up to the powers that be (which may include the boys, but that’s for another post) to decide what strategy they will benefit from most.

I agree that they want to raise certain profiles and keep Harry in the background, however I think the avalanche of media exposure that Louis has suddenly undergone is very surprising and leads me to two possibilities:

1. They are laying the foundations for an even bigger public image (for record label purposes)

2. They are building an image fast, purely so people can recognise him (I wonder why…)

When you look at the way the image is being built, it includes very quick, very dirty image-building tactics, like the het narrative of ORGIES AND GIRLS AND PARTY. Although it’s an incredibly annoying stunt tactic, the reason the het narrative is being used is because (straight) sex sells, and quickly. You only have to look at Harry’s womaniser image being forced upon him at a disturbingly young age to see how quickly the sensationalist het narratives pick up steam. Image profiles rise quickly as a result.

Anon, you are actually psychic???!!! Just after you sent me this, People posted this article  confirming the boys appearing on James Corden. I definitely agree with the advantage of appearing on the show, it would present a united OT4 front, something which the fandom still needs to dispell any last doubts about possible breakups. 

Personally, considering the extremely rapid nature of his image shift/ buildup and the fact that Louis is now stateside, I definitely expect a repeat of the UK pap walks and hopefully some introduction of Harry and Louis as good friends again.

Watch on damnablescience.tumblr.com

dinosaur jr - you’re living all over me lp

1. Little Fury Things
2. Kracked
3. Sludgefeast
4. The Lung
5. Raisans
6. Tarpit
7. In A Jar
8. Lose
9. Poledo
10. Just Like Heaven

Last Hope
Paramore
Last Hope

#12 - Paramore - Paramore [spotify]

(feat. track - “Last Hope" [spotify])

You know how, sometimes, an album is made up of so many great tracks that, on first listen, none of them really stand out, and so you make the mistake of thinking the record is just kind of average? That’s how I felt about Paramore at first.

It’s like mistaking a plateau for a plain – it’s hard to see the difference when you’re looking downward. Only when you spot external reference points, when you gain context, does which one you’re dealing with suddenly become apparent. Paramore has so many peaks – that electrifying moment when the Hayley Williams suddenly finds herself surrounded by a gospel choir in the coda of "Ain’t It Fun”; Ilan Rubin’s accelerating drum fills as “Part II” builds to its roaring apex; the gorgeous, Jimmy Eat World-esque wave of chimes and strings (arranged by Roger Joseph Manning Jr., natch!)  that washes through “Hate To See Your Heart Break”’s outro; the moment following the false ending where “Future” comes galumphing back in a sludgy wash of overtone-punctuated fuzz* – that it almost begins to feel like level ground. It was only after many months of listening to it in between other albums; of hearing its singles on late night TV, at the gym, on PAs between sets at shows, on PAs between shoe stores at the mall, seemly everywhere; of twice bearing witness to the strongest iteration of the band yet perform most of its tracks live, masterfully; and most of all, of seeing how deeply it effected some of my friends and peers and inspirations, that I really began to realize just how high Paramore towers over the pop landscape.

Part of my slow uptake is due to what I see as a small flaw in the album itself – at 17 tracks** totaling 64 minutes, it’s overstuffed, to the point where songs start to blend together. Some self-editing would have made for a release with a little more punching power, though even as I write that, I have a hard time figuring out what exactly should be cut. Perhaps the band saw the same dilemma I did; turning a few of these tracks into B sides would have been the move to make, but there’s really no B material here. Regardless, it’s ultimately an issue of digestibility, not quality, and Paramore is the sort of album that really merits (and rewards!) being chewed on for a while. 

And really, that’s the worst flaw I can come up with for Paramore – the sort of flaw that lands an album at the back-end of a Top Ten Twelve instead of the front-end, but no worse. With what are easily Hayley Williams’ strongest set of lyrics to date, Paramore is a marvel of emotional maturity, a grown-up record full of grown-up feelings and grown-up ways of dealing with them.*** It’s sonically diverse yet remarkably consistent, catchy and unpredictable all at once, inspiring, enthralling and endearing. It’s easily the best album Paramore have released to date. I’m glad that, though it didn’t click at first, I still found a little something that dug in – just a spark, but enough to keep me going. I’m glad I let it happen.

*Though you’d have a hard time coming up with two more different bands, I’d love to play “Future” to everyone who loved Deafheaven's Sunbather this year just to see what they’d think of it.

**Granted, three of those tracks are short ukulele-centric “Interlude"s, but that name is a bit of a misnomer – they’re all standalone songs, and while they take a different sonic tack to the rest of Paramore, they’re not mere snippets, nor breaks from the action. "Moving On” and “I’m Not Angry Anymore”, in particular, are two of the strongest songs here from a songwriting standpoint, and they’re absolutely crucial to the album; they’re the pivots on which the rest revolves.

***This for a band that had supposedly already made their “mature” album with 2009's Brand New Eyes; listening to the two back to back, that album sounds positively adolescent in comparison.

anonymous asked:

but dudee whenever phils is mentioned in an interview they all get a little excited like omfg ya feel?

i feel and i will never forget this:

A: We actually were… we were coming to you to play… was it 4 shows?
M: Yeah
A: We were coming to the Philippines to play 4 shows and what happened was we had two really important recording and writing sessions which were crucial to the album and stuff like that so we couldn’t come but it was planned that we were actually gonna head there on the way back to Australia and play 4 shows. But do not feel sad because we will come there
L: Don’t feel sad… don’t be sad
A: Don’t be sad
(x)

it’s been over a year and i am sad

Looking back on AP 202 // Weezer // May 2005 for #AP30

“#AltPress gets the exclusive on the mysterious and mirthful world of WEEZER, as the band prepare to share their crucial fifth album with the rest of the world. It’s a TALE fraught with meditation, power trips, reconciliation, hundreds of demos, and the demands of “little bitches” all over the post-emo landscape.”