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What are you listening to Ventiquattro - Dont let Life pass you by.


DireWolfSpirit

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  • 2 weeks later...
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40 minutes ago, Theda Baratheon said:

EHat the heck!!! Thought id posted this. Been listening to both thesesongs loads recently

Really? hehe

Yeah, about Duffy I was just remembering how great her songs were now ten years later, and this one is just amazing and calm. And ABBA are just so good, and I'm in mood for Abba's songs recently.

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2 hours ago, Meera of Tarth said:

Really? hehe

Yeah, about Duffy I was just remembering how great her songs were now ten years later, and this one is just amazing and calm. And ABBA are just so good, and I'm in mood for Abba's songs recently.

I love ABBA 

 

and that whole Duffy album is solid. Love Rockferry.

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12 minutes ago, Theda Baratheon said:

I love ABBA 

It's probably one of the groups from which I love almost all their songs. Time passes by but their are all gold. They were even suitable to create a musical...

12 minutes ago, Theda Baratheon said:

and that whole Duffy album is solid. Love Rockferry.

Indeed. Not many singers nowadays with voices like hers.

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All week, listening to ... Aretha, of course, just like a whole of this town as well as many others in this nation.  Yesterday, wherever I walked in dowtown and uptown NYC her funeral was broadcast in the restaurants, on the streets and sidewalks, with radios, tvs and other devices.  People were singing her music themselves in the streets and dancing to it.

Why we are still listening, and why she matters in so many contexts in this nation including and maybe even in some ways most of all the political one, please read this last in depth and beautiful felt and written music article from the very last days of the Village Voice, written by someone I'm proud is a long-time friend:

https://www.villagevoice.com/2018/08/17/aretha-the-voice-of-america/

Here are two samples from this beautifully, heartfelt tribute to Aretha Franklin:

Quote

 

 . . . . As the “civil rights decade” transitioned into the “black-power decade,” all music became more political. Singer-songwriters like Isaac Hayes and Curtis Mayfield produced protest and empowerment anthems. Marvin Gaye’s What’s Going On and Stevie Wonder’s Where I’m Coming From took Motown into the political arena.  White pop musicians from Elvis to Joni Mitchell included anti-war and ecological themes in their set lists. Within this increasingly topical and diverse musical atmosphere, Aretha’s signature renditions of “Respect,” “Don’t Let Me Lose This Dream,” and “Young, Gifted, and Black” were especially valued for their political subtexts as well as an ability to encourage fallen fighters not to give up hope. As a child in the Sixties and Seventies, I watched nightly news broadcasts in which political violence seemed to be everywhere, at home and abroad. People were frightened and angry. But the musical response to my trepidation was not the destructive rage of N.W.A’s “Fuck tha Police,” but softer, sweeter, more constructive songs. Aretha’s choruses exhorted us to have courage, to endure. Lyrics like “Baby, baby, be strong/Baby, baby, hold on” would thread their way through “Lose This Dream” like the balm of Gilead. . . . 

. . . . Two years ago, the Knowles sisters put out two albums attempting to set new standards for contemporary post-hip-hop soul. Like Kendrick Lamar and Childish Gambino, they want to deepen the lyrical discourse. Maybe even discuss some kind of social revolution. To focus attention on mood and meaning, both Beyoncé’s Lemonade and Solange’s A Seat at the Table apply a skeletal approach to melody and harmony. But the feeling conveyed within the compressed scales and digitized atmospherics Solange uses throughout A Seat at the Table is as stark and moving as anything heard on Aretha’s first live album, Aretha in Paris. It’s almost as if both women studied the palpable acoustic space surrounding the tiny combo on that stage and found a way to re-create those aural textures in a digital setting. Lemonade, in its themes and ambition, may have reminded listeners of Lauryn Hill’s deeply personal 1998 opus The Miseducation of Lauryn Hill, or even Alicia Keys’s solo debut. But what I hear in all three productions are aspects of Aretha channeled through each performer. They are heirs to Aretha and the black church in the best possible way, in that they haven’t forgotten that healing comes from not being afraid to reveal your naked heart. . . .

 

 

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Went to a concert last night, Five Finger Death Punch, Breaking Benjamin, Nothing More, and Bad Wolves.

I have been to my share of concerts and have to say I was pretty surprised at the strength of this line up. I had only heard of Bad Wolves from the Cranberries cover, Zombie, which they closed their set with and absolutely killed it and the crowd loved it. Which brings me to my point. There were 4 acts and the show started an hour earlier than normal, on a rainy stormy day and yet the place was damn near full (outdoor amphitheater) for the opening act. I haven't seen that before and was nice to experience.

Nothing More was next and they also brought a lot of energy. The lead singer has a real Jim Morrison thing going on, not the voice but the look, at least to me and my wife.

Breaking Benjamin was good but ehh,....not my thing. I think the part of the show I enjoyed the most was a tribute set they did, touched on Metallica, Nirvana, Tool, and a few others I can't remember right now.

Five Finger rocked it as always. It was a different show from when we saw them in Toledo last time around. After that show the lead singer went to rehab and apparently was legally dead for a few minutes. You could see a difference in him and their performance now that he is clean.

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