You either see L.A. or you be L.A. Pokey LaFarge chose the latter. His 2018 move from St. Louis to Los Angeles almost killed him. And quickly. So while 连接国外网络的软件下载 (New West) was written during his demonic downward spiral in the City Of Angels, the album was recorded the next year in Chicago when LaFarge returned to the heartland of the living. These 13 timeless tunes about a dude dead set on destruction are sung by a wretch who reached redemption. It’s not quite a Hollywood ending, but at least LaFarge will be around to make the sequel.
极光极光加速器
极光极光加速器
Donny Hathaway sang his greatest song in 1973. MAGNET’s Mitch Myers explains how a personal message of hope and encouragement became an indestructible black anthem.
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Born in Chicago and raised in St. Louis, Hathaway was a prodigy who, by the age of four, was known as Little Donnie Pitts (“the nation’s youngest gospel singer”). In 1964, he earned a fine-arts scholarship and studied music at Howard University, where he began a friendship with classmate Roberta Flack. He also met Curtis Mayfield when the Impressions performed at the college. Soon after, Hathaway left school and moved to Chicago, where he thrived as a staff producer/arranger for Mayfield’s newly formed Curtom label.
The civil-rights movement was growing and Curtom was an example of black entrepreneurship and activism within the Chicago music business. For a time, Hathaway was an important part of Mayfield’s team and Curtom’s sound. A gifted musician and songwriter, he also often freelanced for other record labels. But it was inevitable that Hathaway would make his own recordings.
Thanks to musician/producer King Curtis, Hathaway signed a recording contract with Atlantic imprint ATCO in 1970. Over the next three years, he released three fascinating studio albums, a highly acclaimed live recording and a celebrated duet album with Flack.
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Hathaway’s recording career was limited but still showcased many treasures. His romantic duets with Flack like “Where Is The Love” and “The Closer I Get To You” became huge hits. His interpretation of Nina Simone’s “To Be Young, Gifted And Black” rivals her version, and his take on Leon Russell’s “A Song For You” is even better than the original. Hathaway’s own songs often spoke of adversity, identity and faith, with authentic commentary like “Voices Inside (Everything Is Everything),” “The Ghetto,” “Tryin’ Times” and “Little Ghetto Boy.” Even holiday tune “This Christmas” remains a perennial.
Donny Hathaway “Someday We’ll All Be Free“
Hathaway was as confident onstage as he was in the studio. 1972 ‘s Live was recorded at the Troubadour in Los Angeles and The Bitter End in NYC. Opening with Marvin Gaye’s “What’s Goin’ On” and including songs by Carole King and John Lennon as well as his own material, Hathaway revealed himself to be an expressive gospel/soul singer and performer.
Although he was productive in the early ’70s, Hathaway struggled with severe depression. He was married with children but also had a closeted gay life, which burdened him greatly. Despite this, 1973’s Extension Of A Man still contained hopeful moments, particularly “Someday We’ll All Be Free.” It was right around this time Hathaway was diagnosed as a paranoid schizophrenic, and an associate named Edward Howard wrote the song lyrics as a personal message of encouragement to his dear friend.
Hang on to the world as it spins around
Just don’t let the spin get you down
Things are moving fast
Hold on tight and you will last
Keep your self-respect, your manly pride
Get yourself in gear
Keep your stride
Never mind your fears
Brighter days will soon be here
Take it from me, someday we’ll all be free
雷神加速器电脑版|雷神加速器客户端 V6.2.8 官方版下载 ...:2021-6-11 · 雷神加速器是采用最新加速技术，专享金融级内网传输资源，拥有超高性价比的一款网络游戏加速器软件。雷神加速器目前被各大游戏俱乐部广泛使用，官方还保证如果是虚假宣传，则愿意承担法律责任。可见雷神加速器是被全球广大用户所肯定的一款游戏加速器，可伍说是网络加速行业的领导者。
Keep on walking tall
Hold your head up high
Lay your dreams right up to the sky
Sing your greatest song
And you’ll keep going, going on
Take it from me, someday we’ll all be free
Hey, just wait and see, some day we’ll all be free, yeah
Take it from me, someday we’ll all be free
It won’t be long, take it from me, someday we’ll all be free
Take it from me, take it from me, take it from me
Sadly, Hathaway’s mental-health problems continued, and he never made another solo album. He had difficulty staying on his medications and was shuttled in and out of psychiatric institutions. He performed only occasionally in small clubs, and his career floundered. As he suffered from delusions and hallucinations, his personal life unraveled. Hathaway’s behavior in the studio was so unsettling that he lost his close rapport with Flack for years.
Alicia Keyes “Someday We’ll All Be Free”
By 1979, Hathaway and Flack had reconciled. They were making their second duet album, and Hathaway traveled to Manhattan for sessions with producers Eric Mercury and James Mtume. Hathaway began behaving erratically in the recording studio on January 13. Mtume spoke to him and saw that he was paranoid and extremely delusional. Mercury agreed that Hathaway was in no shape to continue and cancelled the session, sending everybody home.
It was a Saturday, and Hathaway dined with Flack at her Central Park apartment. Soon after returning to the Essex House hotel, Hathaway plunged to his death from his 15th floor balcony. There had been no visitors, his door was bolted from the inside, and the authorities deemed it a suicide. Besides the psychosis, he was estranged from his wife, and his confusion around his sexuality had worsened his depression. Rev. Jesse Jackson presided over his funeral. Hathaway was 33 years old.
“Someday We’ll All Be Free” may have been Hathaway’s swan song, but the relevance of this inspirational communiqué has only grown stronger over time, evolving from a personal message of hope into an indestructible anthem of encouragement and deliverance. It also speaks to black life like few other songs. Although it was not written as such, the tune became associated with the civil-rights movement. In a sage move, Spike Lee used a stirring version sung by Aretha Franklin at the dramatic conclusion of his 1992 film Malcolm X.
Contemporary culture continues to respond to the song’s poignancy. After the terrorist attacks on September 11, Alicia Keyes gave a moving interpretation on the telethon America: A Tribute To Heroes. The phrase has appeared as the title of a book as well as magazine articles and radio programs. There are many heartfelt interpretations by all sorts of talented musicians.
The song’s dramatic import has more recently been enlisted on television, as Hathaway’s version was used to wrap up a couple of very different season finales. It appeared in The Chi during the season-two finale (“The Scorpion And The Frog”), and it was wonderfully utilized on 连接国外软件加速器 at the end of season seven (“The First Day Of The Rest Of Your Life”). The sad commentary on that episode is that the entire song is used to frame a montage in which long-running character Sasha reviews her bittersweet existence as she takes her own life.
Clearly, the hopeful song has endured, however retrofitted these themes may be. It certainly intersects with our current events and the Black Lives Matter movement, and it can mean something to everyone in the most positive of terms. Donny Hathaway took his own life, but he gave us something that still remains inspirational to hang on to.
The Walking Dead‘s Sasha’s Tribute
Sasha had her reasons, but if you or someone you know is in emotional distress or having a suicidal crisis, call the National Suicide Prevention Lifeline at 1-800-273-8255.
极光极光加速器
Like the majority of you, all of us in the Philadelphia area are staying at home, learning to adapt to our “new normal.” MAGNET is checking in with local musicians to see how and what they’re doing during this unprecedented time. Photos by Chris Sikich.
James Everhart (guitar, vocals): I work as a graphic designer in the music and events industry, so when I was temporarily laid off from my job at City Winery, I was forced to get creative. After being a full-time touring musician with Low Cut Connie for six years, being constantly home is wonderful, but I can get start feeling cooped up very quickly. Add a pandemic into the mix, and you have a recipe for acute anxiety. Thankfully, I’ve refused to embrace that negative energy by remaining positive and taking on a host of new projects and freelance clients.
When I’m not playing guitar, I’m writing new songs for the debut album by a new psych/folk project, Cosmic Guilt. Having the ability to access recording equipment has been a wonderful distraction and reason to keep moving and to keep looking forward. As I write this, we are within our 11th week, and I’ve written 14 songs. Suffice to say, I’m happy to have had the time to compose a full-length album, something I always say I’d never do. With the continuing of free time comes the opportunity for new projects, and added to the list is a new puppy and carpentry lessons. That should keep me busy.
I’m determined to come out of this quarantine on top. I look forward to playing music, eating at a bar, traveling and hugging friends. Remaining safe, healthy and vigilant is the only thing that is going to get us through this, and I look forward to the things that lie around the corner.
George M. Murphy (guitar, vocals): In early February, I came back from a short vacation out west with my wife, pretty much directly into quarantine. I think if it hadn’t been for that trip, we both may have lost our minds by now. A few big projects that were on the docket for this year fell through, including scenic design for a major summer tour. Despite how bleak it seemed at first, I feel like we fell into the groove pretty quickly and found the silver lining in being home.
Usually, I spend four or five days a week working out of our office in Newport, Del., with a good hour-and-a-half or more of commuting every day. It’s been nice to trade driving for walking—exploring our neighborhood and getting myself a bit healthier. Normally, March is the height of my seasonal depression, but looking back on it, I feel like this whole situation let me hit the “reset” button a bit. On the other hand, my productivity has been a rollercoaster. Some weeks, I’m through my to-do list by Tuesday. Others have seen me rewrite the same to-do list five days in a row. I’ve come to terms with it and learned to be a bit easier on myself where I can.
I was in a pretty bleak spot for musical creativity in the second half of 2023. We played a lot of Scantron shows last year, which meant we weren’t even practicing all that much—just sorta walking onstage. The shows were some of our best, but I found myself less inclined to pick up an instrument other than to carry it out the door. In late January, after 15 years of searching, I found a Melodigrand apartment piano (a miniature upright with 64 keys) on Craigslist. Having that around has been immensely therapeutic. I’ve spent many mornings learning songs and composing ideas for future projects. I think my neighbors are over it, though.
Interestingly enough, the playing field has been completely leveled without touring. While the livestream bubble is likely going to pop a bit as people start going out again, there’s a huge opportunity to build some habits around connecting with fans across the country, even the world, in ways we haven’t been able to as a band that hits the road very little. We’re working on something very special for Scantron fans, as soon as it becomes a little bit more feasible to be in the same room together.
极光极光加速器
Like the majority of you, all of us in the Philadelphia area are staying at home, learning to adapt to our “new normal.” MAGNET is checking in with local musicians to see how and what they’re doing during this unprecedented time. Photos by Chris Sikich.
Shumski: I used to play drums for a living. Very quickly, it’s been made clear how even though music is an essential part of so many of our lives, the reality is that living comes first. There are more important existential priorities at hand.
This isolation drill has afforded me the opportunity to consider not only the world’s challenges born from the pandemic, but how it has exacerbated many of our society’s disparities. Black and Latino Americans are three times as likely to become infected—and nearly twice as likely to die—from COVID-19 than white Americans. Only five states in the U.S. have reported testing data by race, a crucial public-health indicator that’s often a primary policy driver to reopening. It’s clear that public health is not only clouded, but threatened, by our country’s perception of race, and this pandemic is no different.
For a much deeper look into the data associated with COVID-19, I recommend reading this article and this statement by Dr. Ibram X. Kendi, director of the Antiracist Research And Policy Center at American University.
And here are some links if you’d like to learn more and take action.
Antiracist Research And Policy Center
海外和全局加速是什么意思？如何使用？ – Baacloud:2021-3-18 · 海外加速：访问国内使用本地网络，访问国外使用伋理网络。全局加速：无论访问国内国外均使用伋理网络。 在连接线路前点击所需要的模式即可，凸选按钮是当前选择模式，软件可伍记住选择。
Ancient Song: Supporting Community Based Doula Organizations
可伍连接国外网的软件
Black Lives Matter
极光极光加速器
Like the majority of you, all of us in the Philadelphia area are staying at home, learning to adapt to our “new normal.” MAGNET is checking in with local musicians to see how and what they’re doing during this unprecedented time. Photos by Chris Sikich.
On March 11, I flew to Vancouver to start a West Coast tour with Grace Potter. By March 12, the tour was cancelled. Since we were already set up onstage at the Commodore Ballroom, we played for an hour to about a dozen people. And that was it. We packed up the stage and the bus, and we all flew home.
This is the longest stretch of time I’ve been at home in a very long time. And the first time I’ve been out of work in my adult life. I’m trying to appreciate this time as an opportunity for learning. I’ve taken online art-history courses, recommitted to anti-racist work, developed my embroidery stitches, listened to the Movement For Black Lives and honored what has been asked of me, mastered some new quilting techniques, flubbed through new bluegrass guitar licks, watched a thousand Logic tutorials, watched the world rise up against police brutality and systemic racism, practiced my Chopin mazurkas, and started recording a new record.
Having a home recording set-up means that I’ve been able to work on new music of my own and also do some distanced collaborations with far-away friends. Being able to share music making with friends has been a bright spot. Quilting continues to be a meditative space that points an arrow when I feel lost. I’m also lucky to have a car and the ability to drive out of the city to go on long hikes with my husband on unpopulated trails. Our weekly green baths are definitely keeping me from falling off the edge.
海外听歌，用海龟加速器超简单 - 简书:而且海龟加速器可伍选择智能模式，打开智能模式后，不会影响Facebook、ins等国外软件的使用，不像很多加速器是全局加速的，打开后只能使用国内网络，国外的软件反倒是不能用了，在这一点上海龟加速器 …
I’ve tried to be helpful where I can. I promise to try harder. Everything is strange. Somebody loves you. Black Lives Matter. Register to vote. Wear a mask.
Normal History Vol. 593: The Art Of David Lester
Every week, we’ll be posting a new illustration by David Lester. The 连接国外网络的软件下载 guitarist is visually documenting people, places and events from his band’s 36-year run, with text by vocalist Jean Smith.
The way we understand ourselves originates with the family. Typically a microcosm of patriarchy, depending on age and specifics. Children in families are regarded in various ways. In longer ago times, children helped with food production, child rearing and animal husbandry. Some cultures expect offspring to care for elders in twilight years.
详解国内流行网游加速器原理、技术与实现-宅玩网:2021-6-15 · 1. 前言 网游加速器是针对个人用户快速连接网游服务器的一种服务。为了解决国内南北网络互联瓶颈的问题，“网络加速器”厂商通过搭建多个高带宽的双线机房(或通过租用双线VPS主机），并在这些机房的两大线路中架设多个节点服务器，然后为其编写“网络加速器客户端”，通过客户端判断用户 ...
To understand, dismantle and reconfigure life beyond patriarchy in terms of unjust appropriation of resources and jurisdiction requires similar interest and attention, but for those who continue to benefit (settler types) from the oppression of others this requires empathy. Empathy is a fragment of personality the development of which seems significantly jeopardized by difficult times during the childhood experience.
Empathy is the nose to which injustice is the stench.
“Cultivating an ethic of responsibility begins with non-natives understanding ourselves as beneficiaries of the illegal settlement of Indigenous people’s land and unjust appropriation of Indigenous peoples’ resources and jurisdiction.” —Harsha Walia, an excerpt from her 2012 essay “Moving Beyond A Politics Of Solidarity Towards A Practice Of Decolonization”
“连接国外软件加速器能用国外软件的加速器The Family Swan (Kill Rock Stars, 2002) (download):
可伍连接国外线路的加速器
While rolling through the small town of Waller, Texas, singer/songwriter Jack Gibson watched his hero Daniel Johnston start to fall asleep in the passenger seat. At the wheel was Johnston’s brother and manager, Dick Johnston, who’d just escorted the hungry trio of Texans out for a bite to eat. After that, it was time to relax.
“We’d just had dinner at his favorite Mexican restaurant in Waller,” says Gibson (a.k.a. Tenlons Fort), who was in town working with the lo-fi legend for a few days in June 2018. “We got the extra tortillas and the tall Cokes. After that, Dan started to shut down for the day. His eyes were closing. We were headed over to the hotel where I was staying, but that’s when she called him.”
The “she” calling was the fabled Laurie Allen, Johnston’s longtime crush and muse. Any fan of Johnston’s music knows of this well-documented infatuation saga. “It was a special thing to witness,” says Gibson. “Laurie just happened to call him for the first time in 13 years. I was in the backseat. I heard the conversation, and it was one of the most romantic things in the world. It was the first time since they spoke at the screening of the (Devil & Daniel Johnston) documentary in Austin in 2005. They talked on the phone for about 10 minutes, and it was mind-blowing.”
Understanding the heaviness of the moment, Gibson listened intently to Johnston’s end of the conversation: “Is it really you? Is it really you? Oh, Laurie! You’ve got to save my life. Can you come to Texas? Oh, I love you so much. Are you happy? You doing pretty good? Oh, I’m doing real good, especially now talking to you.”
That bit of sentimental dialog is now cemented in music history thanks to “Hey Dan,” the new Tenlons Fort song dedicated to the late songwriter. The tender and serene track fully channels Johnston’s eccentric spirit.
“Part of the talking bit I’m doing near the end of ‘Hey Dan’ is what he said to Laurie,” says Gibson. “I won’t say everything that was said on the phone—that’s just a little glimpse of what I got to hear. The way he was speaking and his tone was just so romantic and revering after all of that time. It was the most intimate concert of words I’ll probably ever hear in my life. I’ll never forget it.”
When Johnston hung up the phone, he came alive and was inspired to hit the music room. “After that call, we went back to his house and jammed on the instruments,” says Gibson. “It was the classic, ‘I’m tired—she called me—now I’m awake, let’s write a good song!’ It was beautiful.”
Aside from recording and performing music, Gibson, an Austin-area native, is also an artist and screenwriter. His diverse film resume includes work on television shows, writing and production work on Gus Van Sant films and his own 16mm projects.
Tenlons Fort’s “Hey Dan” was recently issued via LaunchLeft, which will also release Sober October. The forthcoming LP, due October 19, is Gibson’s sixth album and was produced by Larry Crane (Elliott Smith, Sleater-Kinney, Decemberists).
MAGNET recently spoke to Gibson about what he’s been up to this crazy year, sobriety, Gus Van Sant, Elliott Smith and, of course, Daniel Johnston.
Continue reading “A Conversation With Jack Gibson (Tenlons Fort)”
Isolation Drills: Christopher Davis-Shannon
Like the majority of you, all of us in the Philadelphia area are staying at home, learning to adapt to our “new normal.” MAGNET is checking in with local musicians to see how and what they’re doing during this unprecedented time. Photos by Chris Sikich.
Davis-Shannon: Pursuing music as a career, you take the abnormality as solace, the struggle as growth and each day as a simple blessing. This is no different during a global pandemic. I have long been accused of being a blurry-eyed optimist by my peers as we do not do this not out of love but out of necessity. There’s no sense in rueing the things we can not change. What fun would the world be without music, without a haphazardly stitched-together vision for our future?
While I was meant to be on the other side of the country currently playing a string of shows with a rockabilly group, here I sit in Philadelphia with a smile on my face. I couldn’t think of a better place to be stranded or better company than my instruments and a recently reformed street cat. This life always brings uncertainty, although perhaps the current time isn’t one many of us could have ever foreseen, but we make do with the cards we are dealt.
In a way, I welcomed the breath of the slow down. I’ve been in constant motion for years, from gigs to rehearsals to recordings to writing to teaching, while sheltering in place has given me an opportunity to take a step back from the never-ending work week. That isn’t to say that my work does not continue, but my focus finally has time to redirect. This has given me chance to see which aspects of my life I truly miss.
While my music is my life, it is not everything. Perhaps, stepping back for a moment has made me realize that more than ever. I find myself fortunate enough in this time to be with a partner who shares my passion for the arts and doubles as my favorite ukulele student, as well as a guinea pig for my marginal cooking skills. For that, I count myself very lucky.
I’ve started a new 能用国外软件的加速器 series and podcast “Checking In” with artists all of the world, and I’m wrapping up writing a new book on the ukulele techniques of George Formby. In addition, I’ve finally been starting to knock out demoes for a new record—something I haven’t found time for in nearly two years.
Yes, gigging is my main source of income, and that loss hurts, but more than that I miss the connection of music. My best friends are my bandmates, and missing the conversations we have in the universal language hurts most of all. We’ve started to jam in parks (with masks, and socially distanced!) recently, and a bit of me had forgotten what it was like to truly play music simply for the joy of playing music. Sometimes a new perspective is a hell of a drug.
Wear your mask, please.
Isolation Drills: St. Clair Simmons
Like the majority of you, all of us in the Philadelphia area are staying at home, learning to adapt to our “new normal.” MAGNET is checking in with local musicians to see how and what they’re doing during this unprecedented time. Photos by Chris Sikich.
As of this writing, it’s been 103 days, and it doesn’t seem like the gigs will be coming back anytime soon. Gratefully, I was able to work for my teaching job at Play On Philly through the end of my contract, doing some online programming with our students. But the performing gigs just went away.
Ever since I decided I wanted to make a career in music, I’ve definitely considered myself a jazz trombonist, but most of my recent gigs (pre-COVID) have been playing party-time music at weddings and other places, playing popular music from the past few decades with the Morning After Band (ask for Dom). Those gigs paid the bulk of the money I was making from gigs. Unfortunately, all of our gigs have been postponed until next year, as well as the rest of my and everyone else’s live, in-person music-performing opportunities.
I was playing some jazz gigs, including a handful of swing dances and lindy-hop festivals around the northeast with Chelsea Reed And The Fair Weather Five, on whose new album, Carolina Lullaby, I’m playing trombone, singing and whistling on. I was also performing some more intimate gigs in West Philly (like house shows and stuff). I’ve played with this band Interminable for a couple years now, and involvement in that band has opened the door to so many new friends and acquaintances who are all very social-justice oriented, and that’s been nice.
Interminable was going to play some shows on a mini-tour this summer, after a hiatus while the bandleader Ximena Violante was in Mexico for a few months. Those shows, naturally, are on hiatus. I played a bunch with Martronimous, playing a trombone/trumpet duo over his sick beats, and even sat in on some shows with Upholstery, who was featured in this series in May. I haven’t seen any of the people I was playing with since maybe March 6 (except Cliff—thanks for the sanitary wipes!).
Yeah, COVID life has come with some changes. I read and watched stories about it on the internet as its impact drew closer and closer to home in the weeks preceding the actual stay-at-home order in Philly, yet the shift from going to rehearsals, gigs and my teaching job to being at home and going to the store sometimes felt abrupt. I was initially very paranoid about the whole thing and was, in my head, playing out the prologue of the latent doomsday/fantasy novel I apparently have burrowed away in my mind. My girlfriend moved in with me, I was worried about my grandpop (who I was taking care of), and I was worried about not having any gigs.
I was fortunate that I was still getting paid from my teaching job through May. I recorded an original piece written by Danny Gouker for the Gabriela Lena Frank Creative Academy Of Music COVID Artist Relief program, and I played a remote happy hour for Kieran Timberlake, an architecture firm.
I have, for a while now, been an avid watcher of cooking videos, and I’d probably say the volume of cooking videos I watched increased when COVID started. I haven’t been making crazy Pinterest-style-Kitchen-Master-Supreme recipes or anything, but I would say I have leveled up in terms of some general cooking skills through cooking more. I do prefer eating at home all the time to grabbing a Soylent Cafe Chai at CVS to satisfy my hunger, thirst and need for caffeine in between teaching and playing. Of course, I prefer being able to do all of those things to not being able to. With that being said, I like video games, and video games are at home.
What with running around and living pre-COVID life, practicing can often feel like a necessity—if it is to learn music for a gig or to get better to get more gigs. Since all the gigs have gone, practicing has become the entirety of my playing opportunity. During this period of time at home, when I’m practicing, I do feel a lot more relaxed in how I personally progress with playing my instrument, learning songs, etc.
I’ve gone back and checked out some old jazz recordings I’ve been meaning to check out, learned some tunes I’ve been meaning to learn and recited some scales I’ve been meaning to recite. I am remembering the difference between practicing for gigs and practicing to improve (at jazz styles and improvisation), and I’m planning to have my chops in top shape for when I apply to some master’s degree programs, in whatever state that universities will be in. I also imagine that some cognitive practice will help in all other areas that I play in.
I look forward to when those “other areas”—and other areas in general—open up. I anxiously await knowing what the music scene will be like in the next year and a half.
Essential New Music: Stirrup+6’s “The Avondale Addition”
Stirrup has always had a thing for addition. The instrumental trio—bassist Nick Macri, drummer Charles Rumback and cello/electronics/tenor-guitar player Fred Lonberg-Holm—got its start backing up singers James Elkington and Janet Beveridge Bean, and has often welcomed other musicians to sit in for a set or two. But the math gets more complicated on The Avondale Addition.
如何加速访问国外服务器? -「云杰通信」:今天 · 如何加速访问国外服务器? 2021-06-18 17:04:25 云杰小编 阅读：11 伋业用户在与海外伋业对接时，访问海外服务器遇到了十分严重的问题。对于大部分之前一直访问国内服务器，甚至是没国外服务器的用户。在访问国外服务器的时候总会有很多的顾虑 ...
On The Avondale Addition, he used the lightbox to cue soloists and mold arrangements on the fly. Growling brass and fuzztone guitar add grit to the widescreen drama of “Rodney’s Last Ride,” and a sequence of horn and string solos transform “Salt Lines” from a light-stepping waltz into a soulful reverie. The resulting performance adds sonic colors and stylistic variations to Stirrup’s already appealing melodies. More, in this case, means more.
—Bill Meyer
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10 years ago today, Wavves released King Of The Beach. Just having fun. Read our review of the band’s essential latest album:
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