Album Song Quotes

You crossed the water, left me ashore It killed me enough, but you wanted more You blew up the bridge, a mad terrorist Waved from your side, through me a kiss I started to follow but realized too late There was nothing but air underneath my feet" —from the song "Bridge" on the Collateral Damage album

So when your hopes on fire, But you know your desire, Don't hold a glass over the flame, Don't let your heart grow cold, I will call you by name, I will share your road.

I wrote the song 'Down to Earth' a few years ago, and i was really excited to record it for My World album. It's a huge fan favourite. So many people feel where i'm coming from. It doesn't need any spectacular stage effects in the touring show; the best thing i can do is just sing it straight from my heart. I'm not afraid to show my emotions; if you love someone, you should tell them. If you think a girl is beautiful, you should say that. Usher says some songs work best when there's a sob in the singer's voice. You gotta let that deep feeling come through. And that's how i felt about this song. Sometimes the emotion of it is enough to bring tears to my eyes.

It was a full Spears album, apparently, and each song was as ridiculous as the one before. They were catchy, yes, but so was the plague.

Taylor Swift’s early albums that summer, and there was this one song

That’s why all those records from high school sound so good. It’s not that the songs were better—it’s that we were listening to them with our friends, drunk for the first time on liqueurs, touching sweaty palms, staring for hours at a poster on the wall, not grossed out by carpet or dirt or crumpled, oily bedsheets. These songs and albums were the best ones because of how huge adolescence felt then, and how nostalgia recasts it now.

Music shouldn't be just a tune, it should be a touch.

A song isn't a commercial for an album. It isn't a tool to build name awareness or reinforce your brand. A song is a bullet that can shatter your chains.

See, the thing is I didn't think that that song would get much attention because it's such a personal song to me. I just wrote it about my childhood, and I didn't know how that would read on an album. But it's been everybody's favorite song. I didn't tell my mom. It was a total secret. So I wrote it in secret and then decided to record it secretly, so she had no idea that the song was recorded. My producers sent me the track and I synched it up to all my baby videos and I played it for her one Christmas Eve, and she bawled her eyes out. She didn't even think that it was my song. She didn't think there was any way for me to record a song without her knowing.

I wrote a song called 'Red' and thinking about what that song means to me and all the different emotions on this album they're all pretty much about the tumultuous, crazy, insane, intense, semi-toxic relationships I've experienced in the last two years. All those emotions fanning from intense love, intense frustration, intense jealousy, confusion, all of that in my mind, all those emotions are red. There's nothing in between, there's nothing beige about those feelings and so I called my record that.

Music is the fastest motivator in the world.

In many ways an artist is his work. It's difficult to separate the two. I think I can be brutally objective about my work as I create it, and if something doesn't work, I can feel it, but when I turn in a finished album — or song — you can be sure that I've given it every ounce of energy and God-given talent that I have.

You can love a song, but you can form a bond with an album, a relationship that evolves as organically and beautifully as a marriage.

Whenever I get dumped, I nail the door shut so that no one can come inside, get a towel and clip it around my neck so it's like a Superman cape, take off my shoes so I can slide across the room, and...get a fake mic, like a celery stick or a pen, and I play any record that features the vocalist Ronnie James Dio. And you can just pretend you're Dio, because on every album he does, he has minimum one, usually three, *EVIL WOMAN LOOK OUT!*- songs. And if you wanna point like Dio, it's a three-finger point. (heavy metal voice) 'The exit is that way. Evil LURKS! Evil lurks in twilight! Dances in the DARK! Evil woman! Just WALK AWAY!

Be my secret. Be my joy. Be a miracle to me." From the song MIRACLE TO ME, from the album LIONS, by THE BLACK CROWES.

Heartbreak can definitely give you a deeper sensibility for writing songs. I drew on a lot of heartbreak when I was writing my first album, I didn't mean to but I just did.

To me, love is like listening to an album. Some people skip to their favorite songs and ignore the rest. Other people listen to the entire album over and over until it's familiar and cherished and they know every note by heart. That's how Dr. Bennett and I loved each other. He was music I could listen to forever.

Mind you, you don't get albums written about really good people like Gandhi or Nelson Mandela, do you? Good people's places in Heaven may be assured, but nobody's going to have a chart-topping album full of songs about someone's good deeds.

It’s the only album I have where I can listen to every song with equal enjoyment.

And then I think of the Velvet Underground's doleful song "Jesus," from their third and least renowned or appreciated album. It is my favorite. "Jesus / Help me find my proper place / Help me in my weakness / 'Cause I'm falling out of grace." The only words in the song, repeated repeatedly, composed by Lou Reed, a Jew. You see, in the hour of darkness, it is easier to turn to the Son of God than to God Himself, for some reason. I'm not sure why.

reality has too many heads

Oddly, I had never thought of myself as a feminist. I had been denounced by certain radical feminist collectives as a ‘lackey’ for men. That charge was based on my having written and sung two albums of songs that my female accusers claimed elevated and praised men. Resenting that label, I had joined the majority of black women in America in denouncing feminism… . The feminists were right. The value of my life had been obliterated as much by being female as by being black and poor. Racism and sexism in America were equal partners in my oppression.

I let that swim around in my aching head for a few minutes - "the arsenal of megadeath...the arsenal of megadeath" - and then, for some reason I can't quite explain, I began to write. Using a borrowed pencil and a cupcake wrapper, I wrote the first lyrics of my post-Metallica life. This song was called "Megadeth" (I dropped the second "a"), and though it would never find its way onto an album, it did serve as the basis for the song "Set the World Afire." It hadn't occured to me then that Megadeth-as used by Senator Cranston, megadeath referred to the loss of one million lives as a result of nuclear holocaust-might be a perfectly awesome name for a thrash metal band.

Whoever the shoe fits, let them adorn with. [From the song Shoe Fits off Am BLACK album].

Sarah had introduced us to Taylor Swift’s early albums that summer, and there was this one song I played from dawn till dusk and even sang in the shower. I just couldn’t get enough of it. Now I hummed the tune softly as if I still listened to it daily.

And now a song for Jesus Christ and since this seems to confuse people I'd like to simply say that I mean what I sing although the theme of endless endless on this album is not based on any religion but more in the belief that all things seem to contain a white light within them that I see as eternal

I’d been at Lyla and Marissa’s apartment long enough for the Taylor Swift album that Lyla was playing to get to a song about someone’s tears ricocheting, which seemed to be a favorite of hers with the way she mouthed the lyrics. It was a sad fucking song.

I think of you when I hear Rod Stewart's Face's album. Maggie May in particular. Everyone has a song, you have an album.

I have always measured my life in musical increments rather than months or years. My mind faithfully relies on songs, albums, and bands to remember a particular time and place.

Daisy and I had the album almost done. And the songs were complicated and nuanced and a little dark.

I clenched my jaw with determination. “It won’t work, Angel. I have to sing about love, relationships, and sex. You know, bullshit like that. A song about my fucking heart being ripped to shreds because my mother is dying isn’t going to make an album, least of all a single.

Loving a band with all your heart is something you understand when it happens to you. On the surface, others can see its a petty obsession, but they'll just never know the feeling of putting so much fail into a few people on the other side of the world. It's hard to explain it to them, the listening to a song after song on repeat, the waits for new albums, the excitement and surreal sensation when you finally see them live. They don't understand why the lyric books give you a sense of comfort, or why you paste photos of them on your bedroom walls. And they can't understand why one band could matter to you so much. And you think to yourself ‘Because they saved my life’. But you say nothing, because thy wouldn't understand.

Everyone plays for someone, and Kris didn't play for the big dogs like Sabbath and Zep, she didn't play for the ones who made it, for the wizards who figured out how to turn their music into cars and cash and mansions and an endless party where no one ever gets old. She played for the losers. She played for the bands who never met their rainmaker, the musicians who drank too much and made all the wrong decisions. The singers who got shipped off to state hospitals because they couldn't handle living in the shadow of Black Iron Mountain. She played for the ones who recorded the wrong songs at the right times, and the right songs when it was wrong. The ones who blew it all recording an album that didn't fit the market, the ones who got dropped by their own labels, the singers who moved back home to live in their mom's basements.

Why did you come back?” It felt like a trick question. My hard-won hermitage — begun by me, secured by Jeremy — was no small thing. It was a chance to be someone else, and how many of those do you get? And yet I’d left it behind. I came back because I had to. Because there was nothing wrong in the world except that I was getting older in it. Because Sam and Grace had told me I should go if that was what I wanted. What I wanted was: I wanted. Isabel — I wanted to make something. At the beginning of all of this, I had just been a kid with a keyboard. It was less the game of it, and more those hours I spent falling from song to song. “I want to make an album,” I said. “I miss making music.” I could tell he approved of my answer.

Music can dig, you know? It can take a shovel to your chest and just start digging until it hits something. That night, singing that, just reaffirmed that I wanted to put out an album of my own songs.

You can curse the moon Curse the day your’re born But the pilot of your plane is you We’re all in this world, by a greater plan Look up, lift your wings, Because you can The Light Said (The First Song album)

To me, love is like listening to an album. Some people skip to their favorite songs and ignore the rest. Other people listen to the entire album over and over, until it's familiar and cherished and they know every note by heart. That's how Dr. Bennet and I loved each other. He was music I could listen to forever.

Music has become more pervasive and portable than ever. But it feels less previous in the bargain. I don't want to confuse artistic and commercial value, but it's just a fact that some kid who rips an album for free isn't going to give it the same attention he would if it cost him ten bucks. At what point does convenience become spiritual indolence? I realize this makes me sound like an old fart, but sometimes I get nostalgic for the days when the universe of recorded sound wasn't at our fingertips, when we had to hunt and wait and - horror of horrors - do without, when our longing for a particular record or song made it feel sacred.

BALLROOMS OF MARS" "You gonna look fine Be primed for dancing You're gonna trip and glide All on the trembling plane Your diamond hands Will be stacked with roses And wind and cars And people of the past I'll call you thing Just when the moon sings And place your face in stone Upon the hill of stars And gripped in the arms Of the changeless madman We'll dance our lives away In the Ballrooms of Mars You talk about day I'm talking 'bout night time When the monsters call out The names of men Bob Dylan knows And I bet Alan Freed did There are things in night That are better not to behold You dance With your lizard leather boots on And pull the strings That change the faces of men You diamond browed hag You're a gutter-gaunt gangster John Lennon knows your name And I've seen his

Renée and I met at a bar called the Eastern Standard in Charlottesville, Virginia. I had just moved there to study English in grad school. Renée was a fiction writer in the MFA program. I was sitting with my poet friend Chris in a table in the back, when I fell under the spell of Renée’s bourbon-baked voice. The bartender put on Big Star’s Radio City. Renée was the only other person in the room who perked up. We started talking about how much we loved Big Star. It turned out we had the same favorite Big Star song – the acoustic ballad Thirteen. She’d never heard their third album, Sister Lovers. So naturally, I told her the same thing I’d told every other woman I’d ever fallen for: “I’ll make you a tape!

What's coming out of the stereo is like a genre unto itself, a charming, fucked-up fairy tale that immediately breaks my heart in all the best ways. I stretch out on the floor with my ear parked next to the speaker, in a trance. I place the album cover over my face to block out any interruption as "I'll Be Your Mirror" seduces me. I immediately add the song to my mental list of top ten songs ever. And as I'm bobbing my head with dreamy abandon, I hear a voice. "Nice choice, DJ," it says. I slowly slide the album cover down past my eyes and look up. My eyes spy his shoes first--paint-splattered brogues. My heart stops when I look at his face. Pale skin, messy black hair, emerald eyes...Senor Smolder! He's eighteen, maybe nineteen. And no, my imagination didn't lie, he is just as devastating now as he was the first time I saw him. Only even more, because he just complimented my taste in music.

I liked him as a bloke, and I like a lot of their songs. I like “Girls On Film,” and I can’t pretend otherwise. I don’t have hatred for different forms of music, in fact I’ve got a great deal of love and openness to everything done by anybody. Christ, I have to: I’ve got two Alvin Stardust albums.

Watching the painter painting And all the time, the light is changing And he keeps painting That bit there, it was an accident But he's so pleased It's the best mistake, he could make And it's my favourite piece It's just great --- excerpt from the song "An Architect's Dream" from the album Aerial

Teddy had told me I could write my second album and this felt like that chance. And I wanted to be clear out of the gate, that’s what I was chasing. I wanted to stand up in front of a crowd, like I had that night singing “When You Fly Low” a cappella. I wanted to sing songs from my heart right to the people in front of me

I see a cathedral, for instance, one that’s stood for centuries and I marvel and I wonder... How many people passed through the doors? What did they pray for? How many wars did they wish to see ended? How many christenings, weddings, and funerals? Same thing with a record, I guess. Who bought it? Did they ever make love while it was playing? How many times did they read the notes in the cover? Did a song on the album change their life? I suppose it's odd to think about things like that.

Sienna's Pick for Best Pink Floyd Combined Song and Album Title Ever: "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict," Ummagumma

My favourite songs from literally all my favourite albums are usually always track 10. Coincidence? Conspiracy? Illuminati? Time will tell.

Sarah had introduced us to Taylor Swift’s early albums that summer, and there was this one song I played from dawn till dusk

MIDNIGHT RIDER THE ALLMAN BROTHERS Originally released on the album Idlewild South (Capricorn, 1970) Written by Gregg Allman and Robert Kim Payne

The first noble truth, suffering, represents idealism. When you look at things from an idealistic viewpoint everything sucks, as the Descendents said in the song called “Everything Sucks” (from the album Everything Sucks). Nothing can possibly live up to the ideals and fantasies you’ve created. So we suffer because things are not the way we think they ought to be. Rather than face what really is, we prefer to retreat and compare what we’re living through with the way we think it oughta be. Suffering comes from the comparison between the two.

And you’ve screwed me up, Lib, because now I’m thinking in lyrics instead of original thoughts. I’m looking at you and trying to find the words to convince you to be with me, and do you know what comes into my head? You showed me colors you know I can’t see with anyone else. They aren’t my words, I don’t even know what song or album they’re from, for God’s sake, but it’s exactly how I feel. And you taught me a secret language I can’t speak with anyone else—like, I can’t remember who wrote that, but I feel it down to the marrow in my bones. Being with you has changed the threads of my existence, I swear to God, so now being without you makes everything quieter, dimmer, and duller. So. Much. Smaller. And I fucking hate it.

Walter Benjamin, in his prescient 1923 essay “One Way Street,” said a book was an outdated means of communication between two boxes of index cards. One professor goes through books, looking for tasty bits he can copy onto index cards. Then he types his index cards up into a book, so other professors can go through it and copy tasty bits onto their own index cards. Benjamin’s joke was: Why not just sell the index cards? I guess that’s why we trade mix tapes. We music fans love our classic albums, our seamless masterpieces, our Blonde on Blondes and our Talking Books. But we love to pluck songs off those albums and mix them up with other songs, plunging them back into the rest of the manic slipstream of rock and roll. I’d rather hear the Beatles’ “Getting Better” on a mix tape than on Sgt. Pepper any day. I’d rather hear a Frank Sinatra song between Run-DMC and Bananarama than between two other Frank Sinatra songs. When you stick a song on a tape, you set it free.

Indie; I think the ten-minute song is going to be really good. Jenna: I hope you didn't tell him that. Indie: No, I told him it's unmarketable. Hudson: And what did he say? Indie: He said I sounded like a Suit., specifically like Jenna Holden, and that Jenna Holden was hired to get him Balmain deals and negotiate fat deals with record labels, not produce his next album. He also said he'd once caught you nodding your head at a Maroon 5 song, and the fact that you're not dead to him after that is a miracle in itself, so you should not push your luck. Again, his words, not mine.>/b>

WOMEN’S LIBERATION ROCK BAND This real (yes real) band formed in New Haven and Chicago in the 1970s and released an album of songs that included “Ain’t Gonna Marry,” “Dear Government,” and “So Fine.

One, you know it’s good. Two, you were just saying the other day we need something hard, something less romantic. This is that. Three, we need at least one more song. Did you want to write another one together? Because I’ll tell you right now, I sure don’t feel like writing together. Four, it’s written to the melody of that blues shuffle you’ve been working on so it’s already on its way to a finished song. And lastly, five. I relooked at the track list. This album is about tension. If you want it to have movement, thematically, you need something to break. So here you go. It’s all broken now.

SPACEBALL RICOCHET" "I'm just a man I understand the wind And all the things that make the children cry With my Les Paul I know I'm small But I enjoy living anyway Book after book I get hooked everytime The writer talks to me like a friend What can I do We just live in a zoo All I do is play the spaceball ricochet Deep in my heart There's a house That can hold just about all of you I bought a car It was old but kind I gave it my mind and it disappeared I love a girl She is a changeless angel She's a city it's a pity that I'm like me I said how can I lay When all I do is play The spaceball ricochet I'm just a man I understand the wind And all the things that make the children cry With my Les Paul I know I'm small But I enjoy living anyway, yes too Deep in my heart There's a house That can hold just about all of you How can I lay When all I do is play The spaceball ricochet Oh Baby, the spaceball ricochet Oh Mama, the spaceball Oh, do the spaceball ...

they did not tell me it would hurt like this no one warned me about the heartbreak we experience with friends where are the albums i thought there were no songs sung for it i could not find the ballads or read the books dedicated to writing the grief we fall into when friends leave it is the type of heartache that does not hit you like a tsunami it is a slow cancer the kind that does not show up for months has no visible signs is an ache here a headache there but manageable cancer or tsunami it all ends the same a friend or a lover a loss is a loss is a loss - the underrated heartache

I wrote about everything I didn’t write on The Fame. While traveling the world for two years, I’ve encountered several monsters, each represented by a different song on the new record: my ‘Fear of Sex Monster,’ my ‘Fear of Alcohol Monster,’ my ‘Fear of Love Monster,’ my ‘Fear of Death Monster,’ my ‘Fear of Loneliness Monster,’ etc. I spent a lot of nights in Eastern Europe, and this album is a pop experimentation with industrial/Goth beats, 90’s dance melodies, an obsession with the lyrical genius of 80’s melancholic pop, and the runway. I wrote while watching muted fashion shows and I am compelled to say my music was scored for them.

The only nineties performer I see worthy of wearing the Bee Gees mantle of grandiose love hurried on by an eternal wind is Seal. Seal informs the lady that she is "the light on the dark side of me." He goes on: "And did you know that when it snows my eyes become enlarged and the light that you shine can't be seen?" Well, no, I didn't know that. As with the Bee Gees, I'm not sure what Seal is trying to say, but it sounds so traumatic and interesting that I immediately imagine the song is about me. "You remain my power, my pleasure, my pain," Seal is telling me. I like to be talked to like that! I can't wait for his next album to come out so I can find out what else I am.

like it. It sounded almost disco, and he gloomily argued that Dylan had been going downhill since Blood on the Tracks. So Hertzfeld moved the needle to the last song on the album, “Dark Eyes,” which was a simple acoustic number featuring Dylan

ONE All the best things in my life have started with a Dolly Parton song. Including my friendship with Ellen Dryver. The song that sealed the deal was “Dumb Blonde” from her 1967 debut album, Hello, I’m Dolly. During the summer before first grade, my aunt Lucy bonded with Mrs. Dryver over their mutual devotion to Dolly. While they sipped sweet tea in the dining room, Ellen and I would sit on the couch watching cartoons, unsure of what to make of each other. But then one afternoon that song came on over Mrs. Dryver’s stereo. Ellen tapped her foot as I hummed along, and before Dolly had even hit the chorus, we were spinning in circles and singing at the top of our lungs. Thankfully, our love for each other and Dolly ended up running deeper than one song. I

Drew is the opening song on my favorite album. He’s the song that everyone loves, the song that draws me in and makes me want to listen to the whole album without stopping. He’s the catchy song with the great hook, fancy guitar solo, and soaring vocals. But Shane … Shane’s the hidden track. He’s the song I don’t listen to until I’ve devoured the whole album. He’s that quiet song with the unbelievable melody. The song that makes me understand myself a bit better. Once I discover a truly special hidden track, I never get sick of it.

Small towns blossomed by elevators and the trains Once every 14 miles along the prairie veins We were born of progress, now progress will decree That we’re no longer viable, and should no long be… Still Standing about Canada’s Prairie Elevators (The First Song album)

they did not tell me it would hurt like this no one warned me about the heartbreak we experience with friends where are the albums i thought there were no songs sung for it i could not find the ballads or read the books dedicated to writing the grief we fall into when friends leave it is the type of heartache that does not hit you like a tsunami it is a slow cancer the kind that does not show up for months has no visible signs is an ache here a headache there but manageable cancer or tsunami it all ends the same a friend or a lover a loss is a loss is a loss - the underrated heartache

On a 2013 album Jay-Z, one of the country’s richest and most popular rappers, referenced one Wayne Perry in a song. Perry was a hit man in the 1980s for one of Washington, D.C.’s most notorious drug lords. He pleaded guilty in 1994 to five murders, and received five consecutive life sentences. In an interview with Rolling Stone magazine in 2010, President Barack Obama expressed his affinity for rappers like Jay-Z and Lil Wayne, whose lyrics often elevate misogyny, drug dealing, and gun violence. At the time of the president’s interview, Lil Wayne was imprisoned on gun and drug charges.

The soundtrack of our time togeter, our short life together, has faded away as the last song on the album ends. All I can hear anymore is the smooth vibration of silence coming from the speakers. I feel like all I want to do us reach out and start it over again, but my hand won't move to press the button.

. . .when the album was done I loved it. It was a mixture of electric and acoustic solo performances with dubs. I called it Le Noise, after Dan. It was a French Canadian joke, a very English was of saying Lanois. I was doing a show that introduced a lot of the songs, and things were going great. I was very happy.

There was a Ringo album coming down the pike, and a reunion, at least by the three of them (Harrison, Lennon, and Starr), that was all planned out. That was going to be Lennon’s next move after the world tour,” Douglas continues. “He talked fondly about McCartney every night, and he always wanted to redo certain Beatles songs, but he really spoke more like he really loved those guys. The only person that he was pissed at was George, because George put out this memoir [I Me Mine] and John was really, really pissed about that. I remember him saying, ‘How do you write about your life and not talk about the guy whose band you were in?

When I placed the album cover side by side with the screenshot of the game screen, the two symbols matched exactly. 2112’s title track is an epic seven-part song, over twenty minutes in length. The song tells the story of an anonymous rebel living in the year 2112, a time when creativity and self-expression have been outlawed. The red star on the album’s cover was the symbol of the Solar Federation, the oppressive interstellar society in the story. The Solar Federation was controlled by a group of “priests,” who are described in Part II of the song, titled “The Temples of Syrinx.” Its lyrics told me exactly where the Crystal Key was hidden:

my best friend tell me that to her the concert wasn’t about the band—it was about us, it was about the fact that we were there together, that the music itself was secondary to our world, merely something that colored it, spoke to it. That’s why all those records from high school sound so good. It’s not that the songs were better—it’s that we were listening to them with our friends, drunk for the first time on liqueurs, touching sweaty palms, staring for hours at a poster on the wall, not grossed out by carpet or dirt or crumpled, oily bedsheets. These songs and albums were the best ones because of how huge adolescence felt then, and how nostalgia recasts it now.

Stevie thought that “Silver Springs” would be her dominant song on the new album; it couldn’t fail. The only problem was that Lindsey hated the song. He said it was too much in his face, and he gave Stevie a very hard time about working on the song in the studio. To Lindsey Buckingham, “Silver Springs” was not a prophesy. It was a curse.

That’s why analogies can be such a useful tool in storytelling. They create a shorthand for complicated concepts—a bridge directly to a common experience. That’s another thing I learned from Steve Jobs. He’d always say that analogies give customers superpowers. A great analogy allows a customer to instantly grasp a difficult feature and then describe that feature to others. That’s why “1,000 songs in your pocket” was so powerful. Everyone had CDs and tapes in bulky players that only let you listen to 10–15 songs, one album at a time. So “1,000 songs in your pocket” was an incredible contrast—it let people visualize this intangible thing—all the music they loved all together in one place, easy to find, easy to hold—and gave them a way to tell their friends and family why this new iPod thing was so cool.

Like I told you, Sam and Patrick love their big song, so I thought I'd read it to have something to discuss with them. In the end, the magazine compared him with John Lennon from the Beatles. I told that to Sam later, and she got really mad. She said he was like Jim Morrison if he was like anybody, but really, he isn't like anybody but himself. We were all at the Big Boy after Rocky Horror, and it started this big discussion. Craig said the problem with things is that everyone is always comparing everyone with everyone and because of that, it discredits people, like in his photography classes. Bob said that it was all about our parents not wanting to let go of their youth and how it kills them when they can't relate to something. Patrick said that the problem was that since everything has happened already, it makes it hard to break new ground. Nobody can be as big as the Beatles because the Beatles already gave it a "context." The reason they were so big is that they had no one to compare themselves with, so the sky was the limit. Sam added that nowadays a band or someone would compare themselves to the Beatles after the second album, and their own personal voice would be less from that moment on.

Harrison brought along a copy of a new record he was obsessed with, The Freewheelin’ Bob Dylan. On only his second album, Dylan turned in an all-original breakout with meteors like “Don’t Think Twice, It’s All Right” and “A Hard Rain’s A-Gonna Fall.” Lennon and McCartney sponged it up as only two songwriters could while they hammered out sound-track songs for their movie, which would begin filming in March.

On the radio a DJ was going through the best albums of the century, and somewhere, I think around number thirty, was Joni Mitchell's "Blue". The DJ played, "River," and said that its greatness lies in the fact that no woman ever said it so clearly and unapologetically before: "I'm so hard to handle, I'm selfish and I'm sad." Progress! I thought. Then came the song's next line: "Now I've gone and lost the best baby the best baby that I ever had. ".,

Expanding further on his own observations of Prince’s writing style(s) during the course of the album’s recording, fellow Paisley Park engineer Eddie Miller, who engineered the recording of ‘Electric Chair’ among other Prince recordings during the Batman era, recalled that “he would write all sorts of ways. I have to admit that I listened to some of his cassette demos that he would sometimes bring into the studio to reference (as I remember, he would hold the cassette player up to his ear, so you couldn’t really hear it.). They were fascinating. His cassette demo technique was extremely crude but ingenious—it’s like something you’d do if you had no access to any equipment. He’d use two cheap cassette recorders. If he wanted to hear drums, he’d record a human beat box rhythm for the length of the song—and most likely, he’d have the form of the song in his head while he was recording this. By the way, it was the same in the studio when he’d do his one man band approach to recording a song. He’d know the song in his head, and start out recording the drums for the song (it would essentially become the ‘click track’—the way a click track should be). Back to the cassette demo—he’d then play his beat box groove over the speaker on the cassette recorder and sing the bass line while recording all this onto the second cassette machine. He’d build up a rhythm track this way, and then add vocals. And there’s your demo.

I Feel Love,” by Donna Summer, and this had a profound influence on how I perceived music from that point on. Additionally, it led me toward a greater appreciation of disco; Chic were now filed next to the Clash in my album collection. These elements, merged with many other stylistic references, formed the basic blueprint for Duran Duran: the raw energy of punk, disco rhythms, electro pulses, and the panache of glam rock, which was already deeply embedded in our consciousness.

Such unexpected details carried over onto the blues rocker ‘Mr Lacey’ on their second album, What We Did on Our Holidays. Dr Bruce Lacey was an inventor of robots and automata who lived next door to Hutchings in the mid-1960s, and the hoover-like whooshing noises that take a ‘solo’ in the song’s middle eight are made by three of Lacey’s robots, which he transported down to the studio in south London, their inventor gleefully prodding them into life while dressed in a space suit.

Carl Franzoni perhaps summed it up best when he declared rather bluntly that, “the Byrds’ records were manufactured.” The first album in particular was an entirely engineered affair created by taking a collection of songs by outside songwriters and having them performed by a group of nameless studio musicians (for the record, the actual musicians were Glen Campbell on guitar, Hal Blaine on drums, Larry Knechtel on bass, Leon Russell on electric piano, and Jerry Cole on rhythm guitar), after which the band’s trademark vocal harmonies, entirely a studio creation, were added to the mix. As would be expected, the Byrds’ live performances, according to Barney Hoskyns’ Waiting for the Sun, “weren’t terribly good.” But that didn’t matter much; the band got a lot of assistance from the media, with Time being among the first to champion the new band. And they also got a tremendous assist from Vito and the Freaks and from the Young Turks, as previously discussed.

I’ve sat at the piano for hours already, looking for lyrics and melodies, but everything sounds the same and I feel as uninspired as ever. Does it mean I’m finished? A more sobering thought: if I’m finished, would I miss it? But the truth is, I’ve been here before. Many times. We all have. So how do we find the faith to press on? Remember. Remember, Hebrew children, who you once were in Egypt. Remember the altars set up along the way to remind yourselves that you made the journey and God rescued you from sword and famine, from chariots and pestilence, that once you were there, but now you are here. It happened. Our memories are fallible, residing in that most complex and mysterious organ in the human body (and therefore the known universe), capable of being suppressed, manipulated, altered, but also profoundly powerful and able to transport a person to a place fifty years ago all because of a whiff of your grandfather’s cologne or an old book or the salty air. As often as you do this, do it in remembrance of me. Remember with every sip of wine that we shared this meal, you and I. Remember. So I look at the last album, the last book, and am forced to admit that I didn’t know anymore then than I do now. Every song is an Ebenezer stone, evidence of God’s faithfulness. I just need to remember. Trust is crucial. So is self-forgetfulness and risk and a measure of audacity. And now that I think about it, there’s also wonder, insight, familiarity with Scripture, passion, a good night’s sleep, breakfast (preferably an egg sandwich), an encouraging voice, diligence, patience. I need silence. Privacy. Time—that’s what I need: more time. But first I need a vacation, because I’ve been really grinding away at this other stuff and my mental cache is full. A deadline would be great. I work best with deadlines, and maybe some bills piling up. Some new guitar strings would help, and a nice candle. And that’s all I need, in the words of Steve Martin’s The Jerk. This is the truth: all I really need is a guitar, some paper, and discipline. If only I would apply myself.

The twenty-seventh was Blackstar, or simply (the symbol of blackstar) - a suggestion that the A-Z was over, but there was more to come, beyond the known alphabet, beyond ordinary language; a second set of letters, communications, a rebirth. Inside the A to Z, and all the possible combinations of songs, styles, secrets, themes, discoveries, redirections, emotional climaxes, sheer drama, tension, relief, beauty, there was all you needed to know in order to construct and understand the language of Bowie (re morley's alphabet of bowie albums)

Pegi just recorded "I Don't Want to Talk About," written by Danny Whitten, the original Crazy Horse guitar player and singer who's all over Early Daze, an album of songs from the beginning of Crazy Horse that I have been working on compiling recently. Danny was every bit the artist I am, but he died of a heroin OD in the early seventies. Every time I hear Pegi sing that song, it makes me tremendously sad. She sings it so beautifully, phrasing it to break my heart. She does it justice. You can see I have some unfinished business with Danny.

Out of necessity, Lewis accepted Margaret C. Finnegan as his companion. From the start, Lewis did not care for her personality - at all. Margaret would not answer to anything but Margaret C. Finnegan in full, because her name was all she had left of her parents. Also, she talked constantly. And if Margaret wasn't talking, she was singing, and to Lewis's complete vexation, the only songs in her repertoire were snippets of three hits from the early 2000s ("Bootylicious," "Get Ur Freak On," and "Hot in Herre"), as well as Avril Lavigne's first two albums, which she knew by heart.

In relation to “Killing Me Softly,” I was surely a poseur, the kind of coward to whom crossover albums were marketed or, worse yet, someone co-opting someone else’s bad experience. And yet, now, in the Tower Records, I understood that there was a sense in which “Killing Me Softly” was just a song—it itself wasn’t the cursive font in which the titles were printed, which made me think of a tattoo, and caused me to feel sheltered and useless. I ended up buying the cassette single, because it was only two dollars, and because it seemed more honest about just being into the most popular song on the album.

many ratty Kmart bras I needed to replace with ones that could actually hold my tits up; so many albums with actual liner notes to replace the ones my friends had dubbed for me. Finally, I could read the lyrics to all those Portishead songs I was kind of making up in my head! I wish I could say that I bought some fly shit and a fancy ride, but really I just bought a lot of Gap shirts and name-brand sodas. I’ma assume some broke people are reading this and you know what I mean. I was making it rain dollar bills as I worked my way through the aisles at the Jewel, filling my cart with grape Crush and DiGiorno pizzas and CINNAMON TOAST MOTHERFUCKING CRUNCH.

Have you ever listened to a song from a long time ago; from your past; a song that was filled with so many memories tied to it, that you felt it so deeply- that it made you cry? And did you listen to it again, intentionally, for a second time? So you could travel back in time through that song; back when everything seemed so much simpler, basic, carefree? Those are the songs that are the soundtracks of our lives… the ones that bring back childhood memories, deep feelings, snapshots of our lives (or short videos), best friends, first loves, first heartbreaks… births, deaths. Our lives are like the record albums that we used to play just a few years ago; just yesterday. We played some of the songs over and over again- to the point of which we can sing along with every word as we play it. Other songs seem somewhat unfamiliar, as we rarely go back to listen to them; we skip over them or we barely listen to the start of it before we turn off the record player. But just like on a record album and just like in our memories, you can't cut a song out off an album... just like you can't cut out a memory. The songs and memories remain there, side by side; the good ones, the bad ones, the ones that thrill us and the ones that hurt. Those are the songs that our lives are composed of. Those are the songs that we chase back, back into our our own memories in our private and personal musical time machines.

42. What is the name of her first EP? Title 43. When was her first EP released? September 9, 2014 44. What was she nominated for at the 2014 American Music Awards? New Artist of the Year 45. What was she nominated for at the 2014 MTV Europe Music Awards? Best Song with a Social Message 46. What was she nominated for at the 2014 NewNowNext Awards? Best New Female Musician 47. What was she nominated for at the 2014 Capricho Awards? Revelation International 48. What was she nominated for at the 2015 People's Choice Awards? Favorite Breakout Artist and Favorite Song 49. What was she nominated for at the 2015 Grammy Awards? Record of the Year and Song of the Year 50. Which albums of hers are self-released? I'll Sing with You and Only 17

Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock. Christy, get down on your knees so Sabrina can see your asshole. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.

Both the date of Lennon’s murder and the careful selection of this particular victim are very important. Six weeks after Lennon’s death, Ronald Reagan would become President. Reagan and his soon-to-be appointed cabinet were prepared to build up the Pentagon war machine and increase the potential for war against the USSR. The first strike would fall on small countries like El Salvador and Guatemala. Lennon, alone, was the only man (even without his fellow Beatles) who had the ability to draw out one million anti-war protestors in any given city within 24 hours if he opposed those war policies. John Lennon was a spiritual force. He was a giant, like Gandhi, a man who wrote about peace and brotherly love. He taught an entire generation to think for themselves and challenge authority. Lennon and the Beatles’ songs shout out the inequalities of American life and the messages of change. Change is a threat to the longtime status quo that Reagan’s team exemplified. On my weekly radio broadcast of December 7, 1980, I stated, “The old assassination teams are coming back into power.” The very people responsible for covering up the murders of President John F. Kennedy, Senator Robert Kennedy, Reverend Martin Luther King, for Watergate and Koreagate, and the kidnapping and murder of Howard Hughes, and for hundreds of other deaths, had only six weeks before they would again be removing or silencing those voices of opposition to their policies. Lennon was coming out once more. His album was cut. He was preparing to be part of the world, a world which was a worse place since the time he had withdrawn with his family. It was a sure bet Lennon would react and become a social activist again. That was the threat. Lennon realized that there was danger in coming back into public view. He took that dangerous chance and we all lost!

As we mixed down the song “Rocket Queen,” Axl felt that the bridge needed something; some other element to elevate the drama. He suggested that Adrianna Smith, who was with us in the studio that day, fuck him in the live room so that we could record her vocals and layer them over the breakdown. We’d been drinking Jack pretty heavily all day, so it seemed like the most natural thing in the world. I was all for it; I knew too well what she was capable of vocally—she had kept me up for the past three nights. So we lit up some candles for atmosphere, then she and Axl went out into the live room, got down on the floor by the drum riser, and we recorded Smith’s performance in all of its honest moaning and groaning. Enjoy it—it’s right there in the final mix. That breakdown said it all; I couldn’t think of a better song to close the album and I couldn’t think of a more telling slice of our lives at the time to hand to our fans.

Invisible Touch (Atlantic; 1986) is the group’s undisputed masterpiece. It’s an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. It has a resonance that keeps coming back at the listener, and the music is so beautiful that it’s almost impossible to shake off because every song makes some connection about the unknown or the spaces between people (“Invisible Touch”), questioning authoritative control whether by domineering lovers or by government (“Land of Confusion”) or by meaningless repetition (“Tonight Tonight Tonight”). All in all it ranks with the finest rock ’n’ roll achievements of the decade and the mastermind behind this album, along of course with the brilliant ensemble playing of Banks, Collins and Rutherford, is Hugh Padgham, who has never found as clear and crisp and modern a sound as this. You can practically hear every nuance of every instrument.

The Beatles were particularly prominent examples, and Dylan’s central position in rock history is rooted in that brief period when he and the Beatles were running neck and neck. He released Bringing It All Back Home in the spring of 1965, Highway 61 Revisited that summer, and Blonde on Blonde a year later. Rubber Soul, the first Beatles album conceived as a cohesive artistic statement, was released in December 1965, followed by Revolver seven months later. In commercial terms the Beatles were in a different league: on the American market, they released four LPs of new material in 1965 and two in 1966, and each spent more than five weeks at number one on Billboard’s album chart, while Dylan would not have a number one album until the mid-1970s. But they were evolving from teen-pop hit-makers into mature, thoughtful artists, with Dylan as their acknowledged model. McCartney recalled playing him a tape of their new songs when he came through London in the spring of 1966: “He said, ‘O I get it, you don’t want to be cute anymore!’ That summed it up. . . . The cute period had ended. It started to be art.

In his earliest memories he was sitting on the floor in the family room, in front of the giant stereo his parents had bought themselves as a wedding present, his face pressed into the padded fabric of one speaker. The fabric was prickly against his forehead but his nose fit perfectly into a little groove, and he could feel music spilling like molten gold through his entire body. He'd sit back on his heels when the song was over and his father, an accountant and amateur drummer whose (still-unrealized) dream was to open a jazz club and coffee house, would say, "Order up!" and put another record on the turntable. Rabbit's favorite albums were by Earth, Wind & Fire (syncopation made his brain feel like it was laughing) and Also sprach Zarathustra, its opening rumbling like an earthquake. And he loved The White Album, and when his mother played ABBA on the piano and they'd sing together (though Alice couldn't do it without being a total showoff), and the Star Wars soundtrack, and of _course_ Zeppelin. For six months in 1984, he had asked his parents to play "Stairway to Heaven" instead of a bedtime story.

One has to imagine the impact of Paddy on an old count from eastern Europe, barely able to live off his much-diminished lands and keep the roof on a house stocked with paintings and furniture that harked back to better days. His children might take a certain pride in their ancient lineage, but they also made it clear that the world had moved on and they planned to move with it. Then a scruffy young Englishman with a rucksack turns up on the doorstep, recommended by a friend. he is polite, cheerful, and cannot hear enough about the family history. He pores over the books and albums in the library, and asks a thousand questions about the princely rulers, dynastic marriages, wars and revolts and waves of migration that shaped this part of the world. He wants to hear about the family portraits too, and begs the Count to remember the songs the peasants used to sing when he was a child. Instead of feeling like a useless fragment of a broken empire, the Count is transformed. This young Englishman has made him realize that he is part of living history, a link in an unbroken chain going back to Charlemagne and beyond.

I open the door to see him on my doorstep and he doesn’t even say hello. He says, “Let’s cut the crap, Daisy. You need to record this album or Runner’s taking you to court.” I said, “I don’t care about any of that. They can take their money back, get me kicked out of here if they want. I’ll live in a cardboard box.” I was very annoying. I had no idea what it meant to truly suffer. Teddy said, “Just get in the studio, love. How hard is that?” I told him, “I want to write my own stuff.” I think I even crossed my arms in front of my chest like a child. He said, “I’ve read your stuff. Some of it’s really good. But you don’t have a single song that’s finished. You don’t have anything ready to be recorded.” He said I should fulfill my contract with Runner and he would help me get my songs to a point where I could release an album of my own stuff. He called it “a goal for us all to work toward.” I said, “I want to release my own stuff now.” And that’s when he got testy with me. He said, “Do you want to be a professional groupie? Is that what you want? Because the way it looks from here is that you have a chance to do something of your own. And you’d rather just end up pregnant by Bowie.” Let me take this opportunity to be clear about one thing: I never slept with David Bowie. At least, I’m pretty sure I didn’t. I said, “I am an artist. So you either let me record the album I want or I’m not showing up. Ever.” Teddy said, “Daisy, someone who insists on the perfect conditions to make art isn’t an artist. They’re an asshole.” I shut the door in his face. And sometime later that day, I opened up my songbook and I started reading. I hated to admit it but I could see what he was saying. I had good lines but I didn’t have anything polished from beginning to end. The way I was working then, I’d have a loose melody in my head and I’d come up with lyrics to it and then I’d move on. I didn’t work on my songs after one or two rounds. I was sitting in the living room of my cottage, looking out the window, my songbook in my lap, realizing that if I didn’t start trying—I mean being willing to squeeze out my own blood, sweat, and tears for what I wanted—I’d never be anything, never matter much to anybody. I called Teddy a few days later, I said, “I’ll record your album. I’ll do it.” And he said, “It’s your album.” And I realized he was right. The album didn’t have to be exactly my way for it to still be mine.

For attractive lips, speak words of kindness. For lovely eyes, seek out the good in people. For a slim figure, share your food with the hungry. For beautiful hair, let a child run his fingers through it once a day. For poise, walk with the knowledge you’ll never walk alone. ...카톡【ACD5】텔레【KKD55】 We leave you a tradition with a future. The tender loving care of human beings will never become obsolete. People even more than things have to be restored, renewed, revived, reclaimed and redeemed and redeemed and redeemed. Never throw out anybody. ♥물뽕 구입♥물뽕 구매♥물뽕 판매♥물뽕 구입방법♥물뽕 구매방법♥물뽕 파는곳♥물뽕 가격♥물뽕 파는곳♥물뽕 정품구입♥물뽕 정품구매♥물뽕 정품판매♥물뽕 가격♥물뽕 복용법♥물뽕 부작용♥ Remember, if you ever need a helping hand, you’ll find one at the end of your arm. As you grow older, you will discover that you have two hands: one for helping yourself, the other for helping others. Your “good old days” are still ahead of you, may you have many of them 수면제,액상수면제,낙태약,여성최음제,ghb물뽕,여성흥분제,남성발기부전치유제,비아,시알,88정,드래곤,바오메이,정력제,남성성기확대제,카마그라젤,비닉스,센돔,,꽃물,남성조루제,네노마정,러쉬파퍼,엑스터시,신의눈물,lsd,아이스,캔디,대마초,떨,마리화나,프로포폴,에토미데이트,해피벌륜 등많은제품판매하고있습니다 원하시는제품있으시면 추천상으로 더좋은제품으로 모시겠습니다 It is a five-member boy group of YG Entertainment who debuted in 2006. It is a group that has had a great influence on young fashion trends, the idol group that has been pouring since then, and the Korean music industry from the mid to late 2000s. Since the mid-2000s, he has released a lot of hit songs. He has played an important role in all aspects of music, fashion, and trends enjoyed by Korea's generations. In 2010, the concept of emphasizing exposure, The number of idols on the line as if they were filmed in the factory instead of the "singer", the big bang musicality got more attention, and the ALIVE of 2012, the great success of the MADE album from 2015 to 2016, It showed musical performance, performance, and stage control, which made it possible to recognize not only the public in their twenties and thirties but also men and women, both young and old, as true artists with national talents. Even today, it is in a unique position in terms of musical performance, influence, and trend setting, and it is the idol who keeps the longest working and longest position. We have made the popularity of big bang by combining various factors such as exquisite talent of all members, sophisticated music, trendy style, various arts and performances in broadcasting, lovecalls and collaboration of global brands, and global popularity. The big bang was also different from the existing idols. It is considered to be a popular idol, a idol, because it has a unique musicality, debut as a talented person in a countless idol that has become a singer as a representative, not a talent. In addition, the male group is almost the only counterpart to the unchanging proposition that there is not a lot of male fans, and as mentioned several times, it has been loved by gender regardless of gender.

My mother never seemed to listen to much music, but she loved Barbara Streisand, counting The Way We Were and Yentl as two of her favorite films. I remembered how we used to sing the song "Tell Him" together, and skipped through the album until I found it on track four. "Remember this?" I laughed, turning up the volume. It's a duet between Babe and Celine Dion, two powerhouse divas joining together for one epic track. Celine plays the role of a young woman afraid to confess her feelings to the man she loves, and Barbara is her confidant, encouraging her to take the plunge. "I'm scared, so afraid to show I care... Will he think me weak, if I tremble when I speak?" Celine begins. When I was a kid my mother used to quiver her lower lip for dramatic effect when she sang the word "tremble." We would trade verses in the living room. I was Barbara and she was Celine, the two of us adding interpretive dance and yearning facial expressions to really sell it. "I've been there, with my heart out in my hand..." I'd join in, a trail of chimes punctuating my entrance. "But what you must understand, you can't let the chance to love him pass you by!" I'd exclaim, prancing from side to side, raising my hand to urge my voice upward, showcasing my exaggerated vocal range. Then, together, we'd join in triumphantly. "Tell him! Tell him that the sun and moon rise in his eyes! Reach out to him!" And we'd ballroom dance in a circle along the carpet, staring into each other's eyes as we crooned along to the chorus. My mom let out a soft giggle from the passenger seat and we sang quietly the rest of the way home. Driving out past the clearing just as the sun went down, the scalloped clouds flushed with a deep orange that made it look like magma.

Ever since the 1960s, upon the urging of Dr. T. Berry Brazelton and the all-knowing Dr. Spock,* mothers have been encouraged to read to their children at a very early age. For toddlers and preschoolers who relish this early diet of literacy, libraries become a second home, story hour is never long enough, and parents can’t finish a book without hearing a little voice beg, “Again… again.” For most literary geek girls, it’s at this age that they discover their passion for reading. Whether it’s Harold and the Purple Crayon or Strega Nona, books provide the budding literary she-geek with a glimpse into an all-new world of magic and make-believe—and once she visits, she immediately wants to apply for full-time citizenship. “We tell ourselves stories in order to live.” —author Joan Didion, in The White Album While some children spend their summers sweating on community sports teams or learning Indigo Girls songs at sleep-away camp, our beloved bookworms are more interested in joining their local library’s summer reading program, completing twenty-five books during vacation, and earning a certificate of recognition signed by their city’s mayor. (Plus, that Sony Bloggie Touch the library is giving away to the person who logs the most hours reading isn’t the worst incentive, either. It’ll come in handy for that book review YouTube channel she’s been thinking about starting!) When school starts back up again, her friends will inevitably show off their tan lines and pony bead friendship bracelets, and our geek girl will politely oblige by oohing and aahing accordingly. But secretly she’s bursting with pride over her summer’s battle scars—the numerous paper cuts she got while feverishly turning the pages of all seven Harry Potter books.

My interest in comics was scribbled over with a revived, energized passion for clothes, records, and music. I'd wandered in late to the punk party in 1978, when it was already over and the Sex Pistols were history. I'd kept my distance during the first flush of the new paradigm, when the walls of the sixth-form common room shed their suburban-surreal Roger Dean Yes album covers and grew a fresh new skin of Sex Pistols pictures, Blondie pinups, Buzzcocks collages, Clash radical chic. As a committed outsider, I refused to jump on the bandwagon of this new musical fad, which I'd written off as some kind of Nazi thing after seeing a photograph of Sid Vicious sporting a swastika armband. I hated the boys who'd cut their long hair and binned their crappy prog albums in an attempt to join in. I hated pretty much everybody without discrimination, in one way or another, and punk rockers were just something else to add to the shit list. But as we all know, it's zealots who make the best converts. One Thursday night, I was sprawled on the settee with Top of the Pops on the telly when Poly Styrene and her band X-Ray Spex turned up to play their latest single: an exhilarating sherbet storm of raw punk psychedelia entitled "The Day the World Turned Day-Glo" By the time the last incandescent chorus played out, I was a punk. I had always been a punk. I would always be a punk. Punk brought it all together in one place for me: Michael Moorcock's Jerry Cornelius novels were punk. Peter Barnes's The Ruling Class, Dennis Potter, and The Prisoner were punk too. A Clockwork Orange was punk. Lindsay Anderson's If ... was punk. Monty Python was punk. Photographer Bob Carlos Clarke's fetish girls were punk. Comics were punk. Even Richmal Crompton's William books were punk. In fact, as it turned out, pretty much everything I liked was punk. The world started to make sense for the first time since Mosspark Primary. New and glorious constellations aligned in my inner firmament. I felt born again. The do-your-own-thing ethos had returned with a spit and a sneer in all those amateurish records I bought and treasured-even though I had no record player. Singles by bands who could often barely play or sing but still wrote beautiful, furious songs and poured all their young hearts, experiences, and inspirations onto records they paid for with their dole money. If these glorious fuckups could do it, so could a fuckup like me. When Jilted John, the alter ego of actor and comedian Graham Fellows, made an appearance on Top of the Pops singing about bus stops, failed romance, and sexual identity crisis, I was enthralled by his shameless amateurism, his reduction of pop music's great themes to playground name calling, his deconstruction of the macho rock voice into the effeminate whimper of a softie from Sheffield. This music reflected my experience of teenage life as a series of brutal setbacks and disappointments that could in the end be redeemed into art and music with humor, intelligence, and a modicum of talent. This, for me, was the real punk, the genuine anticool, and I felt empowered. The losers, the rejected, and the formerly voiceless were being offered an opportunity to show what they could do to enliven a stagnant culture. History was on our side, and I had nothing to lose. I was eighteen and still hadn't kissed a girl, but perhaps I had potential. I knew I had a lot to say, and punk threw me the lifeline of a creed and a vocabulary-a soundtrack to my mission as a comic artist, a rough validation. Ugly kids, shy kids, weird kids: It was okay to be different. In fact, it was mandatory.

Sam was about to travel to Asia with her boyfriend and she was fretting about what her backers would think if she released some of her new songs while she was 'on vacation'. She was worried that posting pictures of herself sipping a Mai Tai was going to make her look like an asshole. What does it matter? I asked her, where you are whether you're drinking a coffee, a Mai Tai or a bottle of water? I mean, aren't they paying for your songs so that you can... live? Doesn't living include wandering and collecting emotions and drinking a Mai Tai, not just sitting in a room writing songs without ever leaving the house? I told Sam about another songwriter friend of mine, Kim Boekbinder, who runs her own direct support website through which her fans pay her monthly at levels from $5 to $1,000. She also has a running online wishlist of musical gear and costumes kindof like a wedding registry, to which her fans can contribute money anytime they want. Kim had told me a few days before that she doesn't mind charging her backers during what she calls her 'staring at the wall time'. She thinks this is essential before she can write a new batch of songs. And her fans don't complain, they trust her process. These are new forms of patronage, there are no rules and it's messy, the artists and the patrons they are making the rules as they go along, but whether these artists are using crowdfunding (which is basically, front me some money so I can make a thing) or subscription services (which is more like pay me some money every month so that I can make things) or Patreon, which is like pay per piece of content pledge service (that basically means pay me some money every time I make a thing). It doesn't matter, the fundamental building block of all of these relationships boils down to the same simple thing: trust. If you're asking your fans to support you, the artist, it shouldn't matter what your choices are, as long as you're delivering your side of the bargain. You may be spending the money on guitar picks, Mai Tais, baby formula, college loans, gas for the car or coffee to fuel your all-night writing sessions. As long as art is coming out the other side, and you're making your patrons happy, the money you need to live (and need to live is hard to define) is almost indistinguishable from the money you need to make art. ... (6:06:57) ... When she posts a photo of herself in a vintage dress that she just bought, no one scolds her for spending money on something other than effects pedals. It's not like her fan's money is an allowance with nosy and critical strings attached, it's a gift in the form of money in exchange for her gift, in the form of music. The relative values are... messy. But if we accept the messiness we're all okay. If Beck needs to moisturize his cuticles with truffle oil in order to play guitar tracks on his crowdfunded record, I don't care that the money I fronted him isn't going towards two turntables or a microphone; just as long as the art gets made, I get the album and Beck doesn't die in the process.