maybe my favorite song from this album

3

journal pages from this week — a quote by john muir, things to do whenever i’m in san francisco, songs that are on my summer playlist, a list of some of my favorite albums, a list of nice words, and a page inspired by the raven cycle

this is my first shot at journaling! i’m hoping to do an entry every day until i run out of pages ( ́•ૢ⌔•ૢ ̀)

ok so i went to the listening session earlier and now im gonna try to type out everything i remember from each song. dont expect this to be too coherent as im still extremely overwhelmed from it all. im putting this under a read more bc spoilers obviously but yeah here we go!!!!!

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Track-By-Track Guide to 'How To Be A Human Being'

“Life Itself”
This one actually started off as a dark, slow, moody track. Quite insular. But eventually we realized there was a cheekiness to the lyrics that we hadn’t really explored, so we injected a sense of optimism into the music. The character that this track is about is a sci-fi obsessed dude who spends most of his time alone inventing strange things and writing stories about ray guns or looking for aliens on Google maps. We made him a website. But that’s what the chords and sound effects were inspired by. Old sci-fi films/series. I also got a bit obsessed with Lollywood music (music from Pakistani films), and thats where the idea for the drums came from.

“Youth”
The idea for this one came from a story someone told me once. They were telling me about their child, and something awful had happened to them. She was crying—but at the same time the memories that they had from that previous life made her so happy—so she was also smiling. That combination of emotions kind of made me feel like my heart was being ripped apart but also optimistic in a weird way. She had found a way to see happiness in this awful thing that had happened to her. That combination of emotions is what this song is getting at. Have a look at this character’s website, too.

“Season 2 Episode 3”
Everyone knows someone like the character from this song. If you don’t, then it’s you. But there are lots of references to different psychedelic cartoons in this one—sonically and lyrically—including Adventure Time. That show is crazy.

“Pork Soda”
I heard a homeless man talking to someone once and say ‘pineapples are in my head.’ In retrospect, I’m pretty sure it wasn’t actually those words, but I thought it was at the time, and it kind of stuck with me. The opening of the song is meant to sound like you’re outside on the street, and you can hear a group of people chanting this song. The drum sounds are made from old bins and trash pieces of metal I found around the studio. Kind of like those street drummers use. All that is meant to set the scene for the story.

“Mama’s Gun”
I don’t use samples very often. I only like using them if they bring something to the table, aside from just music—a context and a further depth to the actual meaning of the song. This song is mainly about mental health, and I remembered this song by The Carpenters called “Mr. Guder.” It fit the atmosphere musically, while the song “Mr. Guder” itself was about an odd character of sorts, and then on top of that, Karen Carpenter’s story added another dimension to the lyrics. if you don’t know the story, you should look it up. It’s important and very sad, and it started a general social dialogue about mental illness which is to this day still a subject matter that we avoid far too much.

“Cane Shuga”
This is the only track on the record that didn’t start with lyrics and vocal melody. It started with the beat and the heavy drums. I let the beat spin and wrote stream of consciousness lyrics through a vocoder for this one to try to capture a certain mentality you might have when you’re a bit fucked up. When you start speaking what seems like gibberish—but maybe that gibberish is actually quite revealing.

”[Premade Sandwiches]”
This is a spoken word interlude. My favorite word in the album is in this: “McFuck.” It’s something that someone’s gotten at McDonald’s. Here it is used in a sentence: “What the McFuck are you eating?”

“The Other Side Of Paradise”
This is musically my favorite track on the record, I think. The chords are quite bizarre, and there are some mad arrangement and structural things going on. And the beat was super fun to make. It’s gonna be fun live!

“Take A Slice”
This track is about someone with a lot of lust. It’s as sleazy as I’ll ever get in lyrics. But everyone has that inside them somewhere, even if it’s only a tiny bit. And it comes out from time to time. For some people, it’s out all the time.

“Poplar St”
This song is meant to open with a kind of musical/lyrical image of a place. A little guitar hook and a floating vocal line that all seems quite peaceful, but things get more and more twisted as the song goes on. The guitar starts doing weirder things, the music builds tension, and then the whole thing flips on it’s head at the end. And you find that maybe that place isn’t what you first expected it was.

“Agnes”
As soon as I started writing it, I knew it would be the album closer. This is my favorite song on the record. And the saddest song I will ever write.

The one where Harry meets the Missus

He dated a bit during his late teens and early twenties, but he never found the person he was looking for. He found girls who wanted him for his physique, name, lifestyle, and some who were genuine but could never figure out how he liked to be loved. He was the affectionate type but with his work schedule, it became difficult to show physical love to his significant other. Harry found ways to show them that he was thinking of them by sending them texts throughout the day to know he was thinking of them, making sure they ate, or were comfortable during tough weeks. It seemed that after a while, they became bored and in the end he was left broken hearted; just like this last time.

He was a person of routine on his days to himself in London town: up by 7am, ate a light snack, run, shower breakfast, work, and repeat. At least, that’s what it has been like the past few weeks and he had grown tired of it. Harry decided to get back into running through the neighborhoods to change things up rather than in the confines of a stale, smelly gym. Working out was his therapy when things got to be too much and he needed the time to focus on himself and his well-being. Running from his home in Hampstead right into Primrose Hill was his favorite route. There was character in London. He loved seeing the little ones and their parents walking to school, the opening of his favorite café where he could choose his own mug, and the delicious smell of bread in the bakery near his home.

It wasn’t until a few weeks ago when he had his Aha! moment siting in that very café looking out into the colorful homes that lined the street adorned with vines of blooming flowers where realized he had been looking for love in all the wrong places. He needed to fall in love again with himself and the life he built rather than in a person. In his journal he wrote “Finding love within myself, in friends, family, and through experiences rather than forcing companionship. The one will come. Give it time” with a latte stain adorning the top of the page. So he waited, and ran, and worked his bum off, waiting for her to show up.

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Missed Birthday Surprise

request: hey so this is gonna sound really weird but last night i had a dream that my family and i planned a surprise birthday party for shawn and he didn’t show up until it was completely over. do you think you could do an imagine based on that please. ily💛💛💛


Shawn’s birthday was in a few, but you weren’t going to be home due to a work event, so you wanted to throw him a party in advance. You had called Karen, and asked what day would work for her and Manny, since you had already talked to Aaliyah.

A surprise party? For his twentieth?” Karen asked.

“Yeah, I figure it’s probably been a hot minute since he’s had a surprise party, and I just wanna throw one, really. Do you think you guys could come down on the 4th? It’s the Saturday before, and it’s the last Saturday I’ll be home before I leave for work.”

Um,” Karen flipped the calander in their kitchen, and you saw Shawn pull into his parking space in front of the apartment building. “That day’s fine! See you then!” She said, and you promised to send her the time and everything later.

Shawn walked into the apartment, and you smiled at him. “Good evening, Shawn.”

“Hey, how was your day? Do anything exciting?” He asked, kissing you.

“No, just a little cleaning.” You said. “How was your day? Record anything good?” You asked, knowing he was having trouble with his album.

Shawn perked up, and nodded. He got out his phone, and played a voice memo for you, saying it was a song he was working on, “It doesn’t have a prechrous, or a title yet, but I think it’s going to be my favorite one from the album!”


The day came for Shawn’s party, and his sister and parents got there first. “So, what time is Shawn supposed to come home?” Aaliyah asked, texting some boy she’s been talking to lately.

“Fourish, maybe closer to five.” You said, looking out the window. “Why?”

“Because I have a date at six.”

“Ooh!” You teased the teenager, and she blushed. “I’m happy for you, Liyah.” You hugged her, and waved to Brian and his girlfriend as they walked in.

It didn’t take long for everyone to get to the apartment, aside from Shawn. It was nearing four o’clock, so you escaped to the balcony and called him. “Hello? Babe?” Shawn asked, answering the phone.

“Hi, hun, do you know when you’re going to be home?” You asked, looking out over the Toronto skyline.

Should be like, another half hour? Why? You got something planned?” Shawn asked, and you thought he knew about the parrty.

“No, just wanna cuddle my boyfriend. It’s been a while since we had a movie night, maybe we can have one tonight. Double feature if you leave soon enough.” You tried to persuade him.

Shawn laughed through the phone. “I’ll be home soon enough, love. I’ll send you a text when I leave.” He said, before hanging up.


It was eight-thirteen when Shawn walked through the door to the apartment. Everyone aside from Shawn’s parents had left, and that was only because they were helping you clean up. “What’s gonig on?” Shawn asked, dropping his keys into the ceramic dish next to the door.

You frowned, looking at the discarded “Happy Birthday!” banner on the floor. “Nothing, don’t worry about it.”

Shawn looked at his mom, who walked over, and handed him a card. “It’s from your sister.” She said, before she and Manny left, both saying goodnight to you.

The singer looked at you, and you felt your lower lip tremble. “Baby, is this- did you throw me a party?”

“Tried to.” You whispered, setting the garbage bag on the floor. “Wanted to surprise you. Since I won’t be home for your birthday.”

Shawn felt his heart shatter into a million pieces when he saw a tear running down your cheek. “Baby, no, don’t cry.”

“I just- I just wanted to surprise you! B-but you didn’t come home, and I felt so stupid, surrounded by all of your friends! They probably think I’m such a ditz now!” You couldn’t stop the tears, and Shawn wrapped you up in his arms, hands rubbing your back.

“They don’t, honey. They don’t think that.” He whispered, glancing in the kitchen. He saw the cake sitting on the counter, and his frown deepened. “Why don’t you go take a shower, hm? It’ll make you fell better.” Shawn said, knowing how you always perked up after a shower.

“I need to finish cleaning-”

“I got it, darling. Just go shower, ok? Think you can do that?” Shawn asked, kissing youre forehead.

You nodded, wiping away your tears. Shawn made sure he heard the shower start before he started cleaning up, and throwing out cups and plates. He put the lid back on the cake, and slid it into the fridge, before sitting on the couch, and looking at the small book on the cushion next to him. He opened it, and felt his heart constrict when he saw it was full of Polaroids, notes, normal photo prints- all labeled underneath, dated. You had been making a small photo album for Shawn, documenting your relationship, so when he went on tour, and missed you, he can open this.

“It’s my gift, had the photos printed specially on smaller photo paper so they would fit.” You said, and Shawn jumped, he didn’t even hear you come down the hall.

“Baby, thank you.” Shawn hugged you, and you smiled. “I’m so sorry I missed the party, but this,” he held up the album, “is the greatest gift you could ever get me.”

You hugged Shawn once more, happy he liked the birthday gift.


a/n: :( but also :) 

American
Lana Del Rey
American

“American” x Lana Del Rey

One of my favorite songs from one of my favorite artists! Lana is such a deep and inspiring artist and her music is perfect. 

This song makes you wanna sing and dance and sway in the breeze in the warm California sunset. 

At this point, this song is the only reason why I am happy/proud to be an American. The song is that great…. or maybe I’m just that much of a stan… but whatever the fuck…

On Buckingham Nicks, 44 years later

About six months ago, I submitted a proposal for a book on Buckingham Nicks for the 33 1/3 series. Nothing came of it, but I’m really proud of the work I did, and I love these words about this album that I love so much that I couldn’t just put them in a drawer, never to be read by anyone else again. I hope you enjoy reading them as much as I enjoyed writing them.

“Let me ask you a question first,” producer Keith Olsen says not even three minutes into our first phone call. It’s a warm, beautiful spring day in Lake Tahoe; he’s spent most of it trying to place tom-tom drums on a mix he’s been sent. It’s been tedious work — like Photoshop with a bad picture, he explains — but he’s worked with worse. In the meantime, my call is a welcome distraction.

“Sure,” I respond, caught a little off-guard at how quickly he jumps into things. I thought I was the one who was supposed to be asking the questions.
“Why?” he asks.
“Why?” I repeat his question back.
“Yeah. Why? Why are you writing about Buckingham Nicks? Why do you love this album?”

It’s a simple question, one I don’t have a simple answer to.

I first heard Buckingham Nicks when I was 21 years old, nearly four decades after it was released. I was home from college for a weekend, and though I didn’t even have a turntable of my own yet, I was still trying to build my personal library to have something to play when I did. My father’s seemingly endless record collection that sat untouched in our basement was — and continues to be — a reliable and plentiful resource, one I can sift through countless times and still find something I hadn’t noticed before.

“You’ll really like that one,” my father said when I showed him my selections. He wasn’t singling out his copy of Berlin or Excitable Boy, not Some Girls or Combat Rock or More Songs About Buildings and Food. He pointed to the old, faded LP from 1973 with a wind-blown, half-naked, young unknown couple on the cover, the album that you’d likely never see on a Pitchfork list of must-have albums. The corners were tattered, the inner sleeve torn, but when I pulled it out, the record itself was in perfect form. “It’s Stevie Nicks and Lindsey Buckingham before they were in Fleetwood Mac.”

I had known about Buckingham Nicks for a few years, but it seemed like a myth. Later, I would find bootleg digital rips on the internet, but at the time, I only knew it as a cult favorite long out of print on vinyl, never made available officially on cassette, CD, or any streaming service, and rarely talked about. It seemed like the holy grail of records, one that you were either lucky enough to find and hear or not.

Maybe that’s part of its enduring magic. It’s elusive. There’s no instant gratification, no shrink-wrapped copy at Urban Outfitters or quick download on iTunes or stream on Spotify. It isn’t music that presents itself to you. It has to be found, the same way I found it digging through crates of old records in a damp basement one day.

Buckingham Nicks isn’t technically remarkable. Its music and lyrics, at times, sound juvenile, show how young Buckingham and Nicks are, both in life and in art. There’s no clear focus; some tracks could belong on an entirely different project. But, still, I fell in love with it. I fell in love with it because it’s pure. It’s raw. I fell in love with it because, when I hear it, I don’t hear Lindsey Buckingham and Stevie Nicks, rock icons. I hear Lindsey Buckingham and Stevie Nicks, two kids my age, completely in love with each other, completely determined to become successful, however success may present itself, and not quite sure of much else.

I fell in love with it because it was unexpected, because it changed the way I looked at the Buckingham Nicks we know now, the ones I was first introduced to as a teenager, who had, until then, lived in my mind simply as two parental figures of rock and roll:

Lindsey plays the role of the aging father: there to tell tales of hedonistic glory days — the stories you can listen to and think of the way you think of your own parents in their youth, both impressed and embarrassed that they were once that cool — with a newly-mellowed and romantic outlook. There’s less of a sting to his art now. He’s less bitter, more sure of himself, but always eager to keep a hand in the game, still wanting to understand what it is the kids are doing these days.

Stevie Nicks is the great maternal comfort, the self-proclaimed fairy godmother to thousands of women and girls who find safety and comfort in her music, whose voice consistently serves as a lighthouse when feel like you have lost your way. Her words offer their guidance and encouragement, whisper confidence in your ears, sing you a soft lullaby when you can’t sleep at night.

By and large, Lindsey Buckingham and Stevie Nicks seem like two people who have, for the most part, figured their shit out.

But for 37 minutes, I can slip this record on and those figures disappear. For 37 minutes, they are two young 20-somethings, forever suspended in time and acetate as my peers. For 37 minutes, we are the same: kids masquerading as grown-ups while trying to figure out how to exactly be grown-ups, as we try to figure out how to be heard in this world, looking at others doing what we want to be doing with a mixture of admiration, envy, determination, and fear. For 37 minutes, they’re just two kids trying to make something happen, knowing where they wanted to be and still trying to figure out how to stumble towards a finish line that seems to keep move further and further away.

It’s odd to think of two icons as my peers, but when I’m lying on the floor of my small New York apartment, exhausted and exasperated and wondering “what am I doing with my life?” yet again, it’s comforting — and almost too easy — to fish this record, this record that my father bought as a 17-year-old kid and unexpectedly passed down to his 20-something daughter, out of its safe spot, put it on the turntable, and think of them as anything but.

Because it’s about life — life at a very specific, tumultuous time — and all of the passion and fear and frustration that comes with it. It’s about that feeling that every 23 or 24 or 25-year-old gets and they think that they’re the first to have ever felt it: Like life is both euphoric and terrifying. Like your brain is moving a million miles a minute and everything is happening and there’s so much to do, but you don’t have the time to do it all. Like you just can’t stop thinking about time. Time is of the essence. I’ve got nothing but time, no time for living. There’s too much time. There’s not enough.

It’s about being that age where you realize that everything you’ve been told as a kid — that you are good, that you are talented, that you can do anything you want if you just work hard — might not be true. You get out in the real world and realize you’ve got competition. Suddenly, life is a race and you’re looking around at everyone else trying to do what you’re doing — so many different kinds of people trying to be the same — and you question if you’re good enough, question if you can keep up. Races are run; some people win, some people always have to lose — and you’re praying you’re not the latter.

It’s about making decisions that will affect the rest of your life. Do you always trust your first initial feeling? Special knowledge holds true, bears believing. It’s about the uncertainty of it all, about wanting independence, but wishing for a little bit of guidance once you suddenly get it. It’s about the overwhelming love you have for those rare people you find who stick by your side in the trenches — I turned around, and the water was closing all around me like a glove, like the love that finally found me.

In a few years, this feeling may no longer be true. It is not lost on me that I am now the same age Stevie was when Buckingham Nicks was released; it’s not lost on me how many times I’ve found myself inadvertently using her timeline as a barometer of my own success. It’s okay that I’m not exactly where I want to be just yet: Look where Stevie was at 23, 24, 25; don’t worry about it too much — Stevie didn’t even join Fleetwood Mac until she was 27.

In a few years, I will likely become like every other adult I’ve spoken about this album with: forever unable to separate it from this specific time in my life, forever unable to listen to it and hear anything other than my youth. I’ll probably hear memories. I’ll probably think “God, was anyone so young?”

Sometimes you love things so intensely for no reason other than because they have become a part of you, and maybe that’s why I’ve come to call Buckingham Nicks my favorite album. It’s not that it’s ahead of its time or profound or perfect. It’s just that, as much as I have wanted to crawl inside its world and stay there, it’s actually managed to do the opposite: it’s latched its claws in my skin, dug in, and embedded itself in my DNA.

*****

“So, we are going to play for you the oldest song we’ve ever played on stage. It’s from the Buckingham Nicks album and—”

Stevie Nicks is on her 19th solo date of 2016. The majority of the audience at Madison Square Garden have no idea that this isn’t her usual greatest hits tour. Most of them came for “Edge of Seventeen” and “Stand Back.” They are blissfully unaware that this tour is different; they haven’t trolled Twitter or message boards or set list sites. They don’t know that, for the two months she’s been on the road, Nicks has been filling the night with deep cuts — one, in particular, deeper than others. And yet, for such a little known album, the mere mention of it draws such screams from the crowd that she has to pause before she can continue.

Nicks continues that this song was intended to be the single, but the record didn’t sell well, so it, and the potential single, was dropped.* “We never played it. We went and joined Fleetwood Mac and we never played this song again, ever.”

In 1973, Nicks was a maid and a waitress, driving a car that was constantly breaking down and perpetually without reverse, trying to support herself and Lindsey Buckingham. Forty-three years later, as a 68-year-old woman — not a Beyoncé or a Rihanna or an Ariana Grande — she sells out Madison Square Garden as a headliner, one of few women in her demographic to do so as a solo headliner in this decade,** and she performs “Crying in the Night” live for the first time since it was recorded 43 years before.

“There were a lot of firsts with them,” Keith Olsen says.

Olsen had not heard from Buckingham and Nicks since Fritz’s demo session at Sound City in 1970 until he got a call from Stevie nearly a year later. Lindsey came down with mononucleosis and quit the band; Stevie had been nursing him back to health, she explained. They had begun writing songs together, cut their own demos on a four track machine, and wanted to visit Olsen in LA to play them for him.

“They came to my house with their four track machine and their little mixer and they set it up and pressed play and I was astounded. I said, ‘Yeah. Yeah, I think we can get a deal.’ So, I took those demos and I started shopping around. I got them, Waddy Wachtel, and Jorge Calderon all signed to one thing,” Olsen says.

In the span of six weeks, Olsen secured a $35,000 budget and a backing band that would find itself switched up more than once throughout the recording process. Wachtel was a staple, lending additional guitar parts and harmonies. Ronnie Tutt and Jerry Scheff, known at the time as Elvis’s rhythm section, snuck into sessions when they had spare time, but eventually had to leave to tour, only to be replaced with musicians like Warren Zevon collaborator Jorge Calderón and Jim Keltner, who had been building a reputation as a go-to session player for everyone from George Harrison to Carly Simon. With a brand new Neve console arriving at Sound City around the same time, Nicks, Buckingham, and Olsen were ready to start recording.

The sounds that have come out of Sound City studios defy the looks of it — even before it became better known for being a grimey, run-down hole-in-the-wall with stained brown shag carpets and chipping paint. For starters, it simply wasn’t built to be a studio. The layout has been compared to a barn — empty and cavernous, too open to contain sound. Somehow, the studio has produced an impressive list of albums, from Tom Petty and the Heartbreakers’ Damn the Torpedos to Nirvana’s Nevermind, all recorded on the same magical analog Neve console that captured drum tracks like no other could and gave warmth and depth to an otherwise empty space.

Buckingham Nicks was the first album ever recorded on that Sound City console. The very first one,” Olsen explains. “I mean, it came out of the box, we plugged everything in that afternoon and into the early evening and it looked like everything was okay. I called in the guys and we cut ‘Crying in the Night.’ When we came in and listened back at the first playback, I remember Lindsey looking at me with a smile on his face saying, ‘Oh my God!’ Because that’s the Neve console. That was that English sound that we wanted to get really bad and there it was.”

Given the album’s stature as not only the first music recorded on the now iconic Neve board, but as the springboard for Buckingham and Nicks’s future careers with Fleetwood Mac, the question of how it has possibly remained “lost” work for 44 years astounds even their closest friends and colleagues.

“I don’t know that anybody really has an answer,” says Lori Nicks, Nicks’s friend, sister-in-law, and backup singer who first met Buckingham and Nicks in 1973 when visiting the studio with then-boyfriend and promoter Gordon Perry, and has worked with Nicks since 1978. “It’s the $64,000 question. I think that Keith would probably have a version of what happened or why it hasn’t happened yet. I think Lindsey would. I think Stevie would. And then their managers, probably, would have something to say about it, as well.”

It turns out, that’s exactly how it is: everyone involved with Buckingham Nicks meets the question of its still unreleased status with a different take, the only similarity between stories being a fuzziness recalling details of deals worked out decades ago and uncertainty of what has happened to the rights or the master tracks or the personal and professional relationships since then.

There are a slew of unanswered questions, but, at the end of the day, what matters most is this: This is a love story. This is a love story in its earliest form, before it burnt to the ground and was rebuilt and branded as a Love Story™. A love story about two kids from San Francisco, new to LA, bouncing checks at IHOP and falling behind on their rent, trying to make it as a duo, both in love and in music. A love story about Buckingham Nicks before they were Buckingham Nicks, America’s favorite musical soap opera.

This is a love story about love in its rawest, most genuine form, the kind that still lives on today when Buckingham Nicks, no longer a couple in real life, join hands and play one on stage, built from 50 years of shared history, a lowercase love story, there to give a sliver of veracity to their stage performances.

This is a love story about youth, about what it’s like to feel very young and very old at the same time, about the love you have for that time period both when you’re in it and when you’re looking back.

This is a love story about the kind of music that rattles your cage, that may not be the best album made, but crawls under your skin and lives there somewhere next to your heart. This is a love story about music that requires playing at every important moment in your life, music that makes you feel like someone else knows exactly how you feel.

Mostly, though, it’s a love story about a lost story. The Fleetwood Mac we know today, the band that has given pop culture not only a wealth of music, but a wealth of soap opera-worthy drama, would not exist without Lindsey Buckingham and Stevie Nicks. Buckingham Nicks was just the beginning, the catalyst for everything to come. Yet little known is about it, both its creation and its legacy. For years, and for what seems like years to come, its significance has been reduced to footnotes or mere paragraphs in articles and biographies that focus more on gossip, sensationalism, and rumors than music. 

Time moves forward relentlessly and though the music itself is not finite, the vinyl that exclusively houses it is. One day the few mentions the album manages to get now will become shorter and shorter. The opportunities for future generations to discover the album, to fall in love with or identify with some bit of it and be curious about its story, will become increasingly rare. It falls to us to tell this story now, before time extinguishes too much of its light.

*Rare copies of a single version of “Crying in the Night” with “Stephanie” as the B-side have made occasional appearances online, and once, a few feet away from me at Bleecker Street Records, selling for the reasonable price of $120, which a not-so-reasonable 22-year-old me nearly bought before a more responsible 22-year-old reminded me that things like rent and student loan bills exist. 

**Being a woman over the age of 60 to play as a solo artist Madison Square Garden is a rarity in and of itself. Since 2010, only Nicks, Bette Midler, Blondie (co-headlining with Morrissey), and Patti Smith (supporting Neil Young and Crazy Horse) have done so. 

My Favorite Songs from 2016 (Playlist)

Hey all! I have once again carefully crafted a playlist of my favorite songs of the year! Lots of good stuff to fill your ears, and maybe some gems that might have passed you by!

I think I would have to say Your Best American Girl by Mitski was my favorite song, and my favorite album was probably Hitch by The Joy Formidable. It’s a close race this year, though!

Here are my favorite 50 on Spotify!

Here are my favorite 10 on Spotify!

And here’s the whole list for browsing, and nodding at, and going “hmm”, or whatever:

Hades Pleads – Parker Millsap

Magic – Gungor

Born Again Teen – Lucius

Katchi (feat. Leon Bridges) – Nick Waterhouse, Leon Bridges

Awoo (feat. Betta Lemme) – Sofi Tukker, Betta Lemme

Cheap Thrills – Sia

Conqueror – AURORA

Wheat – Wilderado

Ways to Fake It – CRX

Loudspeaker – MUNA

Crying in the Sunshine – Miniature Tigers

Brazil – Declan McKenna

Hurt Like Hell – The Heydaze

Shake This Feeling – Switchfoot

Way Down We Go – Kaleo

Swings And Waterslides – Viola Beach

Classic Masher – Pixies

Strange – LP

Cleopatra – The Lumineers

Anywhere – Passenger

White Flag – Joseph

Heart Is Black – Escondido

Whatever – The Beths

Anything – Catfish and the Bottlemen

Thank God For Girls – Weezer

So Alive – The Goo Goo Dolls

Laugh About It – Paper Route

I’ll Be Around – The Growlers

Stop Desire – Tegan and Sara

Diamonds and Gold – The Gray Havens

I Hope – Har Mar Superstar

Lowlife – That Poppy

Heathens – Twenty One Pilots

OBLIVIUS – The Strokes

Paracetamol – Declan McKenna

Your Best American Girl – Mitski

Ophelia – The Lumineers

Spirits – The Strumbellas

Kiss the Night – Gungor

Victorious – Wolfmother

Liana – The Joy Formidable

House On Fire – Sia

Youth Without Love – Har Mar Superstar

All Day All Night – River Whyless

Rest In Peace – Yellowcard

Shadows of the Dawn – The Gray Havens

Titus Was Born – Young the Giant

While My Guitar Gently Weeps – Regina Spektor

Half The World Away – AURORA

Endless Bummer – Weezer

-Aaron

Please Swifties: I desperately need your help to send this letter...

Taylor,

I know you probably get thousands upon thousands of messages and letters a day, but if you have time, it would mean the world to me if you could read this when you come back to Tumblr. Even if you don’t see this, if you don’t respond, at least I know these words are out there, and maybe these words will resonate with others. But first, I think I should introduce myself. My name is Sarah, I am eighteen, I study English Literature and I want to go into academia researching medieval literature. I’m oh so slightly introverted and shy (and wheat intolerant). I love the countryside and old things (especially Polaroid cameras and vinyl records- I don’t have one though), I love to bake, I love to read, I love to learn, I love to write. I’ve been listening to your music since I was ten years old, ever since I heard Love Story on the radio on the way to school. I didn’t stop dancing around to ‘Fearless’ for 6 months straight after my parents bought it for me. Then I Went out and bought ‘Taylor Swift’. Thus begins this magical saga.

'Fearless’ was the first time I realised the truth in your words “people haven’t always been there for me, but music has”, because I had a very odd passion for a ten year old, I loved to read and learn, I loved to be alone and write poetry. And people thought it was weird, I remember listening to your music, your first two albums and I saw myself. I saw my own insecurities and desires in 'Taylor Swift’, I felt like you knew what it was like to stand on your own, to take the high road. I saw my own romantic fairytales in 'Fearless’, I knew all too well the lessons learned. I remember when it felt like I was alone, I could feel close to you, like you could understand my ten year old self. I felt like you had rummaged through my journal and written them into 3:30 minute songs, The Outside, Tied Together With A Smile, Love Story, Breathe, White Horse, Change. Those are the songs I will always go back to when I’m having a tough day. I still remember how when I was twelve, I realised I didn’t fit in, even more so now that 'cliques’ were becoming a thing, I didn’t get invited to parties, I didn’t even have a clique. I would read at lunchtimes, I was ostracized because I didn’t like what everyone else wanted to love… And 'Speak Now’ showed up just in time. For the next one and a half years it was all I listened to, YOU were all I listened to. You gave me your shoulder to weather the storm. You were on my side, fighting my corner when I felt no one else was.

I remember when I was fifteen, the friends I had made at the start of upper school had drifted away from me, I had lost my grandfather to cancer. I felt so lost and so heartbroken, and like some miracle, there was 'Red’. And I remember I played that album for months when it came out, for what seemed like years when I fifteen. I would always start at 'All Too Well’. It’s one of my favorite songs…. I don’t know who got me out of that, maybe it was you, my family, I think it’s a bit of both. Let’s just say you both helped build the rungs to the ladder.

When I was 16, my relationship with my biological father (our relationship has always been strained because… nevermind) it wavered on the verge of falling apart, little did I know that two years later I would make the decision to part ways with him. I thought my life was over, I thought that I wasn’t strong enough to get through it and just like that, you did it again. 1989 came out. It was summer. It was strong. You had come alive, into your own. It showed me what I could be, if I let go of what I couldn’t change, what I could be if I believed in myself. Rather than my mirror, you became the person I wanted to be. You quite literally saved my life. 'Clean’ saved my life. 'I Know Places’ saved my life. Every. Single. Song. On. That. Album. Saved me. And I can never thank you enough for that. I remember going to see you in Hyde Park with my best friend and it was one of the best nights of my life. I came into my own. I came away with a confidence I hadn’t felt in months. I remember listening to that most magical clean speech with the desire to fight harder than ever.

I feel like you are a constant in my life now. I feel like, every time you release an album… It’s always in the nick of time to save me from disaster, or to help me through something, or to make me wanna get up and dance. And I will never stop thanking you for that. You have inspired me to love myself. To be confident. You have helped me become patient with others. You have made me stronger because you believed in me. You believed in me the way my Mum and Step-Dad do. You love me the way I love my three little sisters. You have embedded yourself into my life, and I haven’t even met you, in truth I don’t actually know that much about you… But I feel like I do. Is that weird? Thank you Taylor, for being here all this time. Thank you endlessly. I will never stop thanking you. And I will never stop loving you, and if I ever get the honor of meeting you one day I will tell you this myself. And yes I shall probably cry doing it.

I hope to God you hear this. I hope, through whatever means, that this finds you, it’s like a message in a bottle, right?

Love, Sarah :)

GOT7 Music Recommendation

So, if you’re new to kpop or got7, here are some of my favorite tracks from this group. Some of them are not really popular, but still a jam. please know that this is my personal opinion, all of got7’s songs are great, but these ones are really great (at least for me lol)

READ!! I only putting the korean songs in this list, but if u want a japanese songs recommendation, ask me to do it!

If u want to read the info of this group click here

masterlist

Originally posted by letaliabane


(the albums are not in order or maybe yes it depends and these are not all the albums so check out the others too)

· Got Love

- A (TOYO Remix)

· Identify 

- Stop Stop it

Originally posted by got7markbum

· Just Right - EP

- Nice

· MAD - EP:

- GOOD

· Fly

- Fly

Originally posted by nevertrustkpop

- FISH

- Begging on My Knees

- Something Good (one of my favorites)

· Flight Log: Turbulence

- skyway

- Hey

- Who’s That

· FLIGHT LOG: ARRIVAL

- Paradise

- Sign (my favorite)

- Go Higher

my thoughts: I’ve been listening to Harry’s album and wanted to know more about it meaning so, i think that: 

Meet Me In The Hallway and Only Angel are about Kendall

Ever Since New York and Two Ghosts are about Taylor (sorry,larries,Not really)

Carolina - definitely about that fan girl Townes. (good for you girl, made H write song about you by meeting him once) and NOT about drugs!

Kiwi - as Harry said this song started as joke first, so i don’t think it’s about anyone, but just in general, and random hookup or something like that.

Woman - same about woman, I’m sure it was inspired more from some of the romantic comedy movie they watched on netflix, more than some real events or person.

Sweet Creature - I’ve heard many version about this one, harry once himself said, its maybe not be romantic and also rumours how it can be about Gemma, so maybe, don’t know for sure.

From The Dinning Table - I think, this is the only song I have no idea who is it about and somehow still kinda my favorite one.

Sign Of The Time - I don’t think this one need much explanation, it’s about life, and how it has bad and good days and how we should get away while we can. 


what do you think,guys? 

vimeo

Mexican Wine // Fountains of Wayne

I have a ton on my mind right now. Baseball, parenting, music, family, tech, career, feelings. I can’t find the focus to write about any of it (and of course one of those topics [guess which] should just be silently endured and never dealt with or spoken of). A lot of stuff went on hold for the last two months but none of it went away. It’s all gonna boil out soon enough. I’ll put it under a Read More, promise.

For those of you who are new here, before there was Dawes, I obsessed over FOW. In case you were wondering just how white/male/bougie one person could be, I’m hoarding it all. Anyway, this album (Welcome Interstate Managers) pretty much changed my life and this is one of my favorite songs on it. The video is preposterous, of course, and I find the timing of it all very cheeky. This was the end of the record company era for alternative music—every band now has their own broke-ass label that gets maybe $3/week from Spotify, so they all make their money from touring—and it feels to me like this video was a goodbye kiss to the previous era. I wonder what they spent to rent that yacht? 

Music nerds attempting to look cool while surrounded by models having pillow fights crack me up every time, too.

Top 10 kpop songs released in August 2017

 It’s still busy on kpopland and I know there were other popular artist like Hyuna, NCT dream and Samuel releasing music but for me, this songs were the standouts in August.

H.M. Henry-That One. This song is technically not a kpop song because the lyrics are in english so even if Henry is part of the kpop music industry I’m leaving this one out of the list. Having said that, lately I like everything that Henry is putting out. I hope people pay more attention to him so we can listen a full album soon. He works so much, he deserves it. 

10. Jeong Sewoon ft Sik K- Just u. Another Produce 101 alumni. I wasn’t expecting to like this and even if the tone is recognizable I think it’s a chill nice song with a bit of edge provided by Sik-K and Groovy Room. 

9. Babylon ft Chungha - La, la, la. Babylon (aka that guy with nice vocals from Zico’s Boys and Girls) realesed a new song today. When I paid attention to the lyrics it threw me off because of all the tacky cliches like La vida loca. olé or talking about La Bamba which points to me they have no clue what La Bamba is (it gets on my mexican nerves). Plus I’m personally not crazy about the chorus because it’s the tropical house that has been overdone this summer in kpop, however the vocals and the beat save the song for me.

8. WANNA ONE-Energetic. Even though I still believe this song is not unique enough to make me excited I have to acknowledge that it’s really catchy and despite of my better judgement I’ve fallen into its charms.

7. Heize- In the time spent with you. A dramatic break up ballad with Heize’s special colours in them. Love the small rap in the middle.

 6. 10 cm - HELP. I don’t follow many korean indie bands but 10 cm came to my attention last year and for me there’s so many interesting songs by them. This one is no different. A beautiful slice of life song. As usual the lead vocalist voice shines.

5. VIXX LR-Whisper. This song was not what I was expecting from this comeback and believe me I’ve been fantasizing about this comeback for over a year. I just loved VIXX LR’s first mini album that much. I do like the song but the chorus was a bit like something I’ve already heard somewhere before so not my favorite of the album. For me, Beautiful Night, Chocolatier and Today were the best in the album. I wish it had donde better on the charts though.

4. 행주 - Red Sun (Feat. ZICO, Swings). Hangzoo was not on my radar of contenders to win season 6 of Show Me the Money -even if he did really well in the first couple of rounds- until this performance. The first part is so electrifying and when the beat hits it’s such a highlight. Swings gives it a nice change of pace. The track is produced by Zico and Dean. 

3. 행주, 양홍원(Young B), Hash Swan, 킬라그램(Killagramz) - 요즘것들 (Feat. ZICO, DEAN). For me this is the best song of season 6 of Show Me the Money. I get why Nucksal’s songs have done better but I personally liked this one more. Maybe I’m just biased to the chorus sang by Dean.

2. Taeyang-Darling. A straight forward break up song by Teddy with Taeyang’s beautiful vocals. I went back and forth between  this title and Wake me up because they’re both so good in different ways. Amazing and Tonight (ft, Zico) are my favorites of the album.

1. WINNER- LOVE ME, LOVE ME. So these days I might as well be an Inner Circle because I’ve been so obsessed with WINNER. Actually the only thing that’s preventing me from joinning their fan club is that being an EXO-L takes too much of my time. Joking aside, everything they’ve released this year has been amazing and this song is no different. A great catchy summery song that along side their other title Island, sticks with the tropical trend and makes you happy. Surprisingly, the japanese version also sounds really good.

It feels YG is doing what they did with BIGBANG’s MADE, instead of releasing a whole album they are giving us two songs at a time and since they’ve hinted they will be coming back in winter I’ll be impatiently waiting to hear more from them.

Just Perfect (Robb Stark)

I’m maybe a little bit in love with Ed Sheerans new album and his song perfect really is perfect, so I came up with this little story sort of based from that song.

Word Count: 1985

Baby, I’m dancing in the dark with you between my arms
Barefoot on the grass, listening to our favorite song
When you said you looked a mess, I whispered underneath my breath
But you heard it, darling, you look perfect tonight

Baby, I’m dancing in the dark, with you between my arms
Barefoot on the grass, listening to our favorite song
When I saw you in that dress, looking so beautiful
I don’t deserve this, darling, you look perfect tonight

Keep reading

pigland3  asked:

GREAT COMET ALBUM. THOUGHTS.

CURRENTLY LISTENING TO IT. Pierre and Natasha was my favorite song from the Original Cast Album, and I was not disappointed with the OBCR. I. am. in. loooooove with Groban’s Pierre.

Unpopular opinion, maybe, but I prefer Groban over the other Pierres…Malloy’s included. *shield up*

But that’s the main difference that I notice. I love how more “crisp” this version is. Is that the right term? Idk. Something about the new album is more cleaned up and clear and it allows me to hear all the details of the instruments.

The Abduction is another favorite of mine. LUCAS STEELE. Let’s all admire his talent. Two wonderful versions of the same song are now in my possession and I am LIVING.

And The Note™. Is it just me, or did he hold The Note™ longer in the new recording? It’s glorious.

Denee, in my opinion, has the voice that I imagine an “Electropop Natasha” would have 😂. Something about her voice. I love Pippa’s - don’t get me wrong - but Denee has a tone to her voice that allows her to be more vulnerable as a character. Just me? Maybe? idk. I prefer her over Pippa in this respect though.

Both Casts. Both Albums. I love them both. I have a playlist with them both and I feel like I’m playing Great Comet Roulette when I hit shuffle. I’m thoroughly entertained.

Originally posted by tuhvates

anonymous asked:

What song do you think is both Jared's and his daughter's favorite song from 30 STM.

Hmmmm that’s a tricky one. I couldn’t say for sure. He seems to really really love playing conquistador or night of the hunter. But that’s just me observing since he plays those a lot. As for the daughter that’s totally up in the air (pun intended) in my own personal headcanon I like to think that their first album will always be special in her heart. Maybe Capricorn since it’s her dad’s zodiac.

You know whats underrated but still cute as shit? Dedications.

The concept of someone being so deeply moved by another person that they create something for them is just so beautiful? Like it has to come from such a place of deep admiration for someone to be monumented in someone else’s achievement.

idk when i see a dedication on one of my favorite albums or movies it just gives it a sweeter meaning

thats the dream man