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On this day in music history: February 28, 1972 - “Something/Anything?”, the third solo album by Todd Rundgren is released. Produced by Todd Rundgren, it is recorded I.D. Sound Studios, Runt Studios in Los Angeles, CA, The Record Plant in New York City and Bearsville Studios in Woodstock, NY in Late 1971. After parting ways with his band Nazz in 1969, musician Todd Rundgren re-thinks his approach to the creative process his first two solo albums. An accomplished musician on several instruments and frustrated with studio players inability to properly interpret his musical ideas, Rundgren opts to take matters into his own hands. For his third solo release, he plays all of the instruments on the majority of the album. Working without any outside interference from his record label, Rundgren is able to focus and create freely, producing new material at a prolific rate. Cutting numerous tracks while in Los Angeles, he moves east to record the final vocals and overdubs at The Record Plant and manager Albert Grossman’s Bearsville Studios. For the album’s fourth side, the songs are recorded live in the studio with session players, with no additional overdubs. Issued as a twenty five track double album, the original LP’s four sides are divided in to various “moods”. Side one is subtitled “A Bouquet Of Ear-Catching Melodies, side two "The Cerebral Side”, side three “The Kid Gets Heavy”, and side four “Baby Needs A New Pair Of Snakeskin Boots (A Pop Operetta)”. It is released to enthusiastic critical acclaim, becoming Todd Rundgren’s most successful album, and is widely regarded as one of his finest works. It initially spins off two singles with “I Saw The Light” (#16 Pop, #12 AC) and “Couldn’t I Just Tell You” (#93 Pop). The track “Hello It’s Me” (#5 Pop, #17 AC), originally recorded with Nazz in 1968 on their first album, is only a minor hit peaking at #66 on the Hot 100. Rundgren re-cuts it with a new uptempo arrangement and it is released as the third single in November of 1972. The song becomes a pop smash the second time around, becoming one of his most popular and frequently covered songs. “Hello” is also recorded by The Isley Brothers, Matthew Sweet and Susanna Hoffs, The Grip Weeds, Mary J. Blige, Gerald Levert and Lani Hall. Finally, more than two and a half years after the album’s release, “Wolfman Jack” (#105 Pop) is belatedly released, with the single featuring the legendary DJ added to the track. The original vinyl LP is issued with an 11 x 11 quad fold poster lyric sheet. Originally released on CD in the late 80’s, it is remastered and reissued by Mobile Fidelity Sound Lab in 1994 as an audiophile 24K gold double CD set. A 180 gram vinyl set is also issued in 1995. The vinyl LP is remastered and reissued by Rhino Records in 2011, replicating the original packaging. “Something/Anything?” peaks at number twenty nine on the Billboard Top 200, and is certified Gold in the US by the RIAA.

I’m either paranoid thanks to marble hornets and wtnv or weird things really do keep happening to me

anonymous asked:

Did you watch Heathers (movie) as well as the musical? I'm not sure if I should watch the movie first then the musical

I saw both and I was not satisfied with the movie but the musical my opinion was decent

5

봄날 / spring day - bts (lyrics)

Alright I’ve already seen criticism that Percy has not been cast as a twelve-year-old and I’m going to list two good reasons why he’s not:

1) Child Labor Laws. For the musical Matilda they had to cast four girls to play one role so that they didn’t overwork them. They could do that here, except you have many, many twelve-year-olds to cast. Quadruple that amount, at least for the leads, and thats a lot of extra money to pay. It’s easier to just hire a few adult actors.

2) They would have to cast a girl to play Percy, or at least not a cis boy. Because twelve-year-old cis boys are just at the beginning of puberty, and you know what happens then? Their voices drop. Often, overnight. Imagine if the kid’s voice droppedjn the middle if a preformance? You know how hard it is to sing when your voice ISN’T on the fritz because of hormones? Cause I do.

It is so much easier to hire an adult, especially for a live musical. Movies, you can get around stuff like that, because it'a not filmed in order. You can film with your child actors up to the limit each day and make a movie in a decent amount of time, movies have no excuse. Live musicals are harder to make, they have to preform EVERY NIGHT. Usually MULTIPLE TIMES. Give them credit for the work they’ve done so far!

Things from musicals that are so perfect they are borderline erotic

When Jonathan Groff first comes in in The Bitch of Living.
The third and fourth “burn"s in Burn and like Phillipa Soo’s voice all the time. Shoutout to the final “mine” too; that’s gorgeous.
Timothy Omundson’s voice in Goodnight My Friend. Also in Finally.
Pia Douwes’s voice, and how it is somehow simultaneously smooth and pure and beautifully rough.
The harmonies at the end of Make Up Your Mind/Catch Me I’m Falling.
“Would you think so badly of me” in Sonya and Natasha.
That thing in The Bitch of Living when they are all jumping around chaotically and then suddenly are frozen singing “do they think we want this?” (start at 2:40 for the full effect)
That thing Karen David does in like every song in Galavant where her voice changes pitch slightly and damn.
The way “sadness” is sung in Don’t Do Sadness.
The harmonies in Boote in Der Nacht.
JD’s part in Our Love is God.
Magaldi’s verse in On This Night of a Thousand Stars.
Renée Elise Goldsberry rapping. Also Daveed Diggs.
When Eva starts singing in High Flying Adored.
The instrumental part at the beginning of Wen Ich Tanzen Will. And the way they say "tanzen” it is amazing.
Natasha singing both “nothing, it was nothing, I didn’t lead him on at all” and “back in the theatre full of light” in Natasha Lost.
How syrupy and rich Jasmine Cephas Jones’ voice is in Say No to This.
That part of Seventeen when JD and Veronica are singing “seventeen” together and he’s singing higher than her.
The end of My Eyes. Vocally, and the choreography.
“Sing a song of forge-e-e-ting”
Everything about Sophie McShera’s voice, especially when she’s singing her parts of A Happy Ending for Us.
The slight roughness in John Gallagher Jr.’s voice.
How drowsy and sexy Idina Menzel’s voice is in As Long As You’re Mine.
Also when she sings “it well may be” in For Good. (It’s nice for different reasons of course.)
Chris Jackson’s voice in One Last Time. And in every other song.

8

Because I miss you, my friend.