Love love love song 2017

A Course in Miracles

2010.10.21 08:28 A Course in Miracles

A subreddit for students of A Course in Miracles. From "This self-study metaphysical thought system is unique in teaching forgiveness as the road to inner peace and the remembrance of the unconditional love of God."

2010.03.03 21:13 PatternPrecognition triple j - Australian Youth Broadcaster

triple j brings the latest, greatest music and the stories that matter to listeners all over the world. The triple j community loves a wide variety of music; with a passion for sharing great tunes from all over Australia, as well as discovering new talent.

2018.02.28 21:43 CharlesWoodson2 Fans of the best band in the world, Lawrence!

Official fan club of Lawrence!

2020.09.29 13:59 TheDamnedMod Song of the Week: "Neat Neat Neat"

\"Neat Neat Neat\" on Supersonic (1977)
“Neat Neat Neat” was The Damned’s second single, released 18 February 2977 on Stiff Records, and the first track on their debut album Damned Damned Damned.
It was written by Brian James and was the last song recorded for the album. While the lyrics reference crime, cops and guns, Brian says that lyrics are just a series of phrases that connected with him.
The video provided features The Damned performing “Neat Neat Neat” on Supersonic music television show in 1977, which was the first performance of a punk band on a national, mainstream program. Cliff Richard also performed on the show that night and was asked to introduce The Damned but refused as he did not want to be associated with a punk act.
“Neat Neat Neat” is featured in the 2017 film Baby Driver, with the full song accompanying a heist and get away scene. Edgar Wright, writer and director of Baby Driver explains, “I loved the song, and thought that the menacing bass riff that opens the track would be a great song for a robbery scene…”
Edgar Wright first heard The Damned when they performed “Nasty” on The Young Ones and subsequently became a fan in his teens. Edgar explains that he wrote the scene in Baby Driver specifically with the song in mind: “It’s a very dynamic track. Great guitars, bass, drums and with that nagging Dave Vanian verse. It’s just got a sinister groove that explodes into a raucous chorus and feels like a great action scene waiting to happen. So I had to write the scene to match the coolness of the single.”
Edgar Wright further explains, “…when I had finished the first edit, I was watching The Damned documentary, Don’t You Wish We Were Dead, and at one point Dave Vanian was grumbling backstage about The Damned not being used in any 70s documentaries or in any movie soundtracks. When he said that I leapt up and was so excited for the band to see the scene. So I hope they are very happy.”
The song has also been featured in:
Thanks to u/HempKnight1234 for request this weeks song. If you have a favourite song you would like featured, please feel free to suggest it below.
Credit to ScottishTeeVee for the excellent video and to Screen Rant for the Edgar Wright interview.
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2020.09.29 10:22 Zhanteimi An Anaïs Mitchell Primer

Personal interaction with the artist

I remember searching for new music one day, and I ran across an album called Child Ballads and thought to give it a try. I usually throw on new stuff while I'm having a leisurely breakfast, so I don't really intently listen at first. Anaïs Mitchell's music (or rather her rendering of these traditional folk ballads) seized my attention at once. Even my wife, who likes to sleep in, raised her sleepy head from the pillow and paid attention. After this initial exposure, my wife went digging and got a hold of the 2010 studio version of Hadestown, and that was us basically tripping and falling into the rabbit hole... though it's not very deep. Like Tom Waits, Anaïs Mitchell is a family favorite. My daughters practically worship her music.

Overview of the artist

Anaïs Mitchell's claim to fame at this point is her Tony- and Grammy-award winning Broadway musical, Hadestown. As far as I see, she treads the line between confessional lyrics and political commentary with the skill of a mountain goat. And that's a large part of her charm. She can criticize Bush's war and the Patriot Act with as much honesty and intimacy as she can ponder her lover's eyes as they watch the ships coming into the harbor. It's no wonder her songs are so well-crafted, her lyrics so intelligent and thoughtful: her novelist father raised her on books, on words, on creative expression. It's clear from her lyrics and her Vermont upbringing that she's a liberal American who bleeds blue. But I'd expect nothing less from a folk artist like her, one who can effortlessly blend her politics into the greater tapestry of songwriting that runs the gamut from romantic love to religion to the historical continuity of music inherited like sin, drunk in like mother's milk.
You might like her if...
  • you want overtly political music
  • you like Baez and pre-electric Dylan
  • you want music with traditional folk themes
You might not like her if...
  • you like a lot of percussion and heavier sounds
  • you like vocal range in your singers
  • you want music to pump you up

Similar artists and influences

Her father, about whom Mitchell sings so intimately on Young Man in America, has to have been the earliest and most profound influence on the girl's young and growing mind. As a late teenager and into her early 20s, she found inspiration in the bold songs of female (folk) singesongwriters such as Ani DiFranco (whom she later signed with), Tori Amos, and Dar Williams. provides a list of similar artists, none of whom, in my opinion, meet Mitchell on her elevated level. Laura Marling, Jesca Hoop, Ani DiFranco, Laura Veirs, Joanna Newsom, The Mountain Goats, and Bon Iver. I'm not really sure about the Newsom correlation. Both are female and folk, but that, in my mind, is where the similarity ends. They're just so... different.

The Albums

This album list does not include singles or compilation appearances. Links added where found.
The Song They Sang When Rome Fell (2002). So why did Rome fall? Well, the short answer is: because it didn't want to stand. Romans forgot the freedom of nakedness as they wrapped themselves in heavier and heavier robes of work and school, strangling them like a slave's chain. They fell because they had everything to lose. ...anyway, can I just ask, Anaïs: how the fuck do you dance to Leonard Cohen? Album art
Hymns for the Exiled (2004). This is (for me) her delicate, intimate debut, despite its dark subject matter of war and Orwellian politics. The production is simple and elegant, and her songwriting is superb. She tells stories as the government tells lies: that is, boldly, easily, unflichingly. Album art
The Brightness (2007). She continues her understated magic on this album, simultaneously being intimate yet keeping us at arm's length. We get a few glimpses into her life, but she still seems to be the kind of artist who plays her cards close to her chest. Album art
Country (2008). This short, five-song collaborative EP (with Rachel Ries) contains a bit of country charm from women known more for their folk, and though there are some similarities in the consciously poetic lyrics and turns of phrase, the music is constructed along traditional country lines. There are really no surprises here, but it's a beautiful, comfortable EP. Back cover art
Hadestown (2010). This one needs a walkthrough. To bring the listener up to speed: Orpheus is a penniless artist living in the city. Eurydice is the girl he wants to marry, but there's no work, and she's afraid how they'll live. There's work in Hadestown, and that promise has lured a lot of people into Hades' trap. Album art, full art experience
  • Wedding Song
Orpheus and Eurydice have a conversation about how they're going to live. With every objection Eurydice brings up, Orpheus confidently answers with the wit of a poet.
E: "Who's going to buy the weddings bands?" O: "When I sing, the rivers will break their banks and lay their gold at my feet."
E: "Who's going to lay the wedding table?" O: "When I sing, all the trees will bend their branches down for me to lay their fruit around my feet."
E: "Who's going make the wedding bed?" O: "When I sing, the birds all sing along, and they'll fly down to me and lay their feathers at my feet."
  • Epic (Part I)
Orpheus has heard of Hades, and he detects Eurydice's desire to go get a piece of his wealth. But Orpheus tells her what it's really like in Hadestown: dirt, sweat, back-breaking toil. Hades is "a king of bricks", living in a land built by hands not his own. Orpheus is wise to Hades' game, and he's the only one not fooled or tempted.
  • Way Down Hadestown
Eurydice doesn't listen, though. She seeks out Hermes, a harmonica-playing, blues-singing conductor who operates a night train straight to Hadestown. He welcomes Eurydice aboard, but there's another passenger: Persephone. Hades is calling his wife home for the winter. Eurydice sits back amazed at everyone with their pockets full of gold.
Orpheus makes one last plea, calling Hadestown a graveyard. His wife doesn't listen, and she leaves on that one-way train while Orpheus is at work.
  • Songbird Intro
Eurydice meets Hades. A haunting violin plays.
  • Hey, Little Songbird
Hades entices Eurydice with an offer her empty belly cannot refuse: food, shelter... security. This underworld king guesses she's married to some poor minstrel, and he warns her against idealism. Love can't feed you or keep you warm.
"Why not fly south for the winter?"
  • Gone, I'm Gone
Eurydice loves Orpheus with her heart, but her empty stomach cannot be ignored. She accepts Hades' offer.
  • When the Chips Are Down
What would you have done in Eurydice's situation? Love is unconquerable! Love is all you need! That's what you might say, right? Well, that's easy to say when you're well fed. It's easy to have principles when your belly is full. But when the chips are down, what would you really do?
  • Wait For Me
Orpheus returns from touring or a gig or whatever he's been doing to try to scrape a living together and finds Eurydice gone. He finds a guide who's willing to show Orpheus a secret way into Hadestown... not the train, but by his own two feet. "There ain't no compass, there ain't no map."
Undaunted, Orpheus follows some old telephone line. He climbs the razor-wire and cinder-block walls. He's hungry, too, just like everyone else, but he goes after Eurydice anyway, risking all. All for love. "Wait for me," he cries to his absent wife.
  • Why We Build the Wall
Why do they build the wall in Hadestown? To keep themselves free. How does the wall keep them free? It keeps out the Enemy. Who do they call the Enemy? Poverty. Others outside the wall want what they've got... What've they got that others want? They've got a wall to work upon. They have work, and others have none.
  • Our Lady of the Underground
They may have food in their bellies in Hadestown, but it's a dreary state of affairs. Because there's none of the old things the people used to love. No moonlight, no smell of flowers, no warm sunshine on your face, no music, no autumn leaves, no wind or rain.
"When's the last time you saw the sky?"
No worries. Persephone runs a bootleg operation. She can get whatever you miss from your old life. She's the Lady of the Underground, the Lady of Ways and Means.
  • Flowers (Eurydice's Song)
Eurydice walks away from that night in Persephone's tavern, where weeping workers were spending their hard-earned wages on brief glances into the simple pleasures of their old lives, and she realizes what she's done. She's signed her soul away. She remembers flowers, fields of flowers. And she remembers... someone. Someone by her side. He turned his face to hers, but she turned and walked away.
Whoever that stranger is, she wants to see him again. She sings alone, begging him to come find her in the shadowy mess she's made of her life.
  • Nothing Changes
The Fates tell Orpheus he cannot win. He cannot change what Eurydice has done. Her fate is sealed. No one escapes Hades' grasp.
  • If It's True
Orpheus ignores them. He doesn't care. He's going for Eurydice anyway. If she's gone for good, so is his heart. He might as well die. His voice and hands would be worthless. Music would be meaningless to him.
"The ones who tell the lies are the solemnest to swear. And the ones who load the dice always say the toss is fair."
He refuses to play a fixed game.
  • Papers (Hades Finds Out)
This is an instrumental, but it captures the hubbub in Hadestown at the arrival of the indefatigable minstrel. Having taken the secret way down, he did not have to pass through death to arrive.
  • How Long?
Hades' and Persephone's pillow talk consists of the only topic in Hadestown: Orpheus. Persephone tells of the minstrel's song, of his passion, and of his desire to reclaim Eurydice.
But Hades remains pitiless. "Nothing comes of wishing on stars."
  • Epic (Part II)
We hear Orpheus sing to the miserable denizens of Hadestown. And he sings specifically of their king, Hades. He pulls back the curtain and reveals the man behind the throne. Hades is king, aye, but Orpheus paints a picture of the moment Hades first saw Persephone. In that moment, he was thunderstruck by love and was nothing more than a man.
And that's what Orpheus is: a man. A man in love. Just as Hades once was when he saw Persephone with "the sun on her shoulders, the wind in her hair". The pitiless king had tasted nectar that day, and all Orpheus wants is what's his.
  • Lover's Desire
Another instrumental evoking the turmoil Orpheus' music is causing in Hadestown. People are flocking to him, for in him they see hope, beauty, love, freedom--all the things mere gold can't buy.
  • His Kiss, The Riot
Hades has to get rid of Orpheus before he ruins everything the king has built (upon the backs of others). So he concocts a plan: he'll give Eurydice back, but only on one condition. Orpheus cannot look back to make sure Eurydice is following him. He must trust that she is there with him, though he is not be allowed to confirm that she is indeed with him. Only when they are out of the Underworld can he turn to look at her.
Hades is hoping Orpheus will turn back. After all, "she's out of sight, and he's out of his mind".
  • Doubt Comes In
The long march back to the sunlit realms begins, but Orpheus feels as if he is going alone. Where is Eurydice? Is she there? Is she really behind him? She left him once. Could it be that she would be faithful and strong this time, when she failed and abandoned him before?
Eurydice calls to him, but as a shade, her voice does not carry to Orpheus' ears. She begs him to be strong and carry on, but he cannot hear her. At last, doubt gets the best of him, and he turns back.
And Eurydice is forever lost.
  • I Raise My Cup to Him
The workers, Eurydice included, are all sitting in Persephone's tavern, drinking to the memory of Orpheus. They toast him and wish him well.
I find this track to be poignant, for in the original myth, Orpheus, after losing Eurydice, travels the world singing his sad songs until one day he is torn apart by Dionysus' maenads. What this means is: in his sorrow, he drank himself to death.
Orpheus: Justin Vernon
Eurydice: Anaïs Mitchell
Hades: Greg Brown
Persephone: Ani DiFranco
Hermes: Ben Knox Miller
The Fates: Tanya, Petra, and Rachel Haden
Daytrotter Session (2011). Another tiny, five-song EP by the Mistress of Folk, but on this one she brings material that has shown up or will show up on other albums, specifically from Hadestown and from Young Man in America. Bringing Rachel Ries and Jefferson Hamer in to guest was a brilliant move, and it's such a delight to hear Hamer's warm guitar tones on "Why We Build the Wall". Album art
Young Man in America (2012). This is a really evocative album, painting pictures of America of a certain time. In this case, she follows the coming-of-age of her father. She also touches on a very Americana feel in songs like "Shepherd" and "Dyin Day". And the way the album ends, with the harbor bells tolling at the end of "Ships", brings about a perfect unresolved resolution to a storybook epic. We really are just children wandering in the wilderland. Album art
Child Ballads (2013). I've heard many folk artists cover Child ballads. Folk's my thing, both avant and traditional. It depends on my mood. This album is full of traditional English folk songs. The thing is, they're Child ballads, which means they're some of the 305 old folk songs "from England and Scotland, and their American variants, anthologized by Francis James Child during the second half of the 19th century". There are lyrics but no music, so each folk artist who comes to these ballads has to interpret them in his/her own way, and of all the Child ballads I've heard, Anaïs Mitchell's (and Jefferson Hamer's) interpretations are superlative, better than anything done by Dylan, Baez, Strawbs, Renaissance, etc. etc... and those are really good, too! Cover, inside 1, inside 2, inside 3
Xoa (2014). I'm just going to assume, based on what Mitchell said about this collection of new songs and re-recorded songs from her catalogue, that XOA stands for "sending kisses and hugs to my audience". This limited release was intended as a personal thank-you gift to her fans. "Any Way the Wind Blows", "Now You Know", and "The Pursewarden Affair" are the three new tunes written for this album. As far as I'm concerned, this could be a live studio performance, and that's the way I'm going to think of it, since the recordings were all made for the same purpose. "Now You Know" is a perfect example of Mitchell's ability to associate disparate elements of life together and weave all of the vagaries and happenstances of life into a tapestry, from childbirth to death, from making love to making war, from loneliness to pillow-confessions. All in all these stripped-down, intimate, acoustic recordings of beloved songs are simply charming, an album made for the fans and nothing more. Album art
Why We Build the Wall: Selections from Hadestown (2016). This EP is four songs selected from the Original Cast Recording (to be released the following year), and they break the story down succinctly into its unskippable plot points: Eurydice's temptation and Orpheus' objection to Hades and all he represents, Eurydice's protestations of self-confidence and -reliance and how Orpheus' love just isn't enough in hard times, Orpheus going after her despite her faithlessness, and a grim look into Eurydice's fate, everlasting life as nothing more than everlasting overtime.
Hadestown: the Myth. the Musical. (Original Cast Recording) (2017). This live recording lacks much of the singsong banter that would be expanded in the Broadway version. Although "Any Way the Wind Blows"--first appearing as a new song on Xoa--was reimagined as part of the opening of Act I, it's not included on this recording. I assume it was performed on the stage before the show reached Broadway, though. The songs I love from the 2010 studio version of Hadestown are not as embellished or digressive, thus making this whole performance feel more like a folk opera than the overblown show tunes of Broadway. You can hear the crowd not only cheering but laughing in reaction to bits here and there, highlighting the intimacy of the live setting and the audience's familiarity with the subject matter. Certain indispensable lyrical phrases later abandoned are preserved here, much to my delight. I feel like this recording, in its song choice and editing, focuses more on the Hope Springs Eternal motif, what with this performance ending on "Road to Hell II" (celebrating Persephone's return to the world) instead of "I Raise My Cup to Him" (mourning the loss of Orpheus). By the way, that reminds me: changing the song from "I Raise My Cup to Him" to "We Raise Our Cups" is clear evidence of injecting solidarity politics into a love story. Moreover, we raise our cups "to them", not "him", thus making the song not so much about Orpheus but about the listener, who can delude himself into identifying as an oh-so special and unique bird that sings in the dead of night or an oh-so special and unique flower that blooms in the bitter snow.
Hadestown (Original Broadway Cast) (2019). I'm not going to do a breakdown of the songs/plot here, since I already did that on the more mythical-leaning 2010 studio version of Hadestown. I want to look at just the differences between the two. As a Broadway musical, this one's penchant for embellishment and throw-your-hands-up song-and-dance ecstasies are forgivable, but though I adore Anaïs Mitchell's creative genius, I have the tiniest little bit of distaste at certain points of this production. I'm not saying that the plight of the poor shouldn't be brought to the forefront, discussed, and struggled against, but when its intimated that the downtrodden workers are following Eurydice, who is in turn following Orpheus, I feel like, suddenly, the politics of the show get in the way of the love story, and thus the myth. In fact, I'd say the myth itself is in the service of politics here, unlike in the 2010 studio recording, which focuses almost purely on the mythical to-hell-and-back love story. It is love itself that is struggling against all odds, not the working class rising up against their oppressor. That's just a side effect, something Orpheus thinks about less than this stage production does. There might just be the slightest bit of pandering here. But whatever. It's a brilliant show and suffers only if one first fell in love with the myth long before ever having heard the music. It comes down to this: the stage production trades "suddenly Hades was only a man, with the taste of nectar upon his lips" for "you gotta keep your head low if you wanna keep your head".
Woyaya (2019). This collaborative EP with UK folkette, Kate Stables, is five versions of the same song. Unfortunately, the lyrics are rather trite and repetitive, not at all what I expect from the ever-thoughtful and -creative Mitchell. Of course this is nothing more than cover of an 70s afro-pop song from Ghana, so I guess the only blame I can lay at these ladies' door is bothering to cover the tune in the first place. Basically this handling of the song is like frolicking on a beach full of landmines when you should be in school. The instrumental version of the eponymous song is a form of folktronica, which leads into the "flipped dub" version. You know, that kind of spaced-out folk that people on drugs put on their Awesome Chill Mix Vol. 1 playlists. Album art
There's a folk-singing girl out there who was a livewire long before her Broadway fame, and if you tune in your shortwave radio, you might just be able to pick her up.
All Music
Other Primers
Tom Waits
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2020.09.29 09:42 ngdaniel96 When your childhood star took his own life, life just feels different

It's been 3 years since Chester Bennington took his own life, and I don't blame him. But as a starry eyed youngling at 2017, it was devastating. I was just starting Uni when it happened and I never had the time to really grief, my dad also suffered from dementia that year so I had too many things going on in my mind.
But his death really impacted me, and I'm sure I can say the same for all Linkin Park fans out there.
He was my childhood hero, I took up guitar for him. Hybrid Theory and Reanimation was my go-to teenagehood music, I listen to them while gaming and while having my emo phase. Each time they release an album, I was entering a different phase in life.
Like, from Meteora, life was rough, I was bullied and was a social reject so songs like Somewhere I Belong and Numb helped me to get in touch with my feelings.
Minutes to Midnight was when things seems to be somewhat better and finally A Thousand Suns is when life has improved a lot, I remember that I couldn't stop playing Iridescent on my guitar, I always pictured it as my credit song if life is a TV show.
Linkin Park, especially Chester was like an older brother to me that I never had and whom I look up to, and every song is like words of comfort from him to me. I loved him.
The news of his suicide was devastating, it didn't really hit me until mid 2018 when I was idle from university and have the time to fully process the shock. I remember going on a bender one whole night by myself just singing out loud to every songs from Hybrid Theory all the way to A Thousand Suns while drunk, high and crying.
I feel terrible for him, I wanted to be there for him. He was my hero and now he's gone. His death definitely made life feels very different, I couldn't really say how, but I find it harder and harder to relate to my teenage self now.
Rest in Peace, Chester. You're my hero.
Thanks for reading.
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2020.09.29 06:27 Yomamasuckedthisdick Album of The Year #??: Lil Uzi Vert - Eternal Atake / Lil Uzi Vert vs. The World 2

Album of the Year #??: Lil Uzi Vert - Eternal Atake / Lil Uzi Vert vs. The World 2
Artist: Lil Uzi Vert
Albums: Eternal Atake / Lil Uzi Vert vs. The World 2
Apple Music
Symere Bysil Woods was born on July 31, 1994. Symere seems to have had a rather normal childhood. Like many children, Symere’s parents were split up, but he had a healthy relationship with both sides. Overall, he had a a loving, yet somewhat strict family, attended school and enjoyed cartoons and anime’s. In high school, however, Symere became a bit of an oddball. He enjoyed unconventional music, such as his idol, Marilyn Manson and Paramore among other things, wore fox tails to school and often wanted to stand out in a crowd. Bullied and teased for his music taste and weird tendencies, Symere was as happy as could be, taking pride in being a bit different. Symere’s love for music would even inspire him to play the trumpet in his marching band. Symere would eventually decide to try his hand in hip hop, after seeing the attention and popularity other people, including his friend, William Aston, got from it. Symere would find that he actually was pretty decent at spitting, so Aston invited him to join a rap group he had made with another friend. This group would be known as “Steaktown”, believed to be called that due to Philadelphia’s reputation for cheesesteaks. From here, Symere’s life would forever change. Symere, now going by the name “Steaktown Verticle”, actually going that he enjoyed rapping and the type of attention he got with it. Though he loved rapping and had gotten very into the genre, Steaktown broke up, putting a bit of a damper on Symere’s plans. However, don’t let that fool you into thinking he had given up on a hip hop career. Symere knew he had it in him and would not give up on the dream. Symere doubled down on his efforts to become a star, including dropping out of school, quitting a job as a bag boy after four days and even getting a tattoo that said “Faith” on his face (the first of many). Symere moved into his grandmother’s place within a nursing home. His grandmother was very supportive of his dream and Symere would constantly upload songs to Soundcloud. One day, a listener to his music on Soundcloud would tell him he sounded like a “Lil Uzi” since he rapped so fast, leading Symere to taking that and combining it with Vert, short for Verticle. From here, Lil Uzi Vert was born.
Uzi’s hard work would finally pay off when DJ Diamond Kuts would hear one of his songs from his first project, Purple Thoughtz Vol. 1. This would lead to Uzi getting one of his songs played on Philly’s Power 99 Station. At this time, Don Cannon was driving around Philly and he would eventually run into this song on the radio. Cannon reached out to Uzi and produced his first mixtape, The Real Uzi. After the release of The Real Uzi, Uzi signed to Atlantic Records through Generation Now. From here, he would go on tour with Fall Out Boy and Wiz Khalifa and feature on many artists’ songs. He had done it. He had achieved the fame he wanted. However, Uzi still wanted that superstar status and would take his next big step towards it by releasing his first big project, Luv Is Rage.
Luv Is Rage was released to a much wider audience then Uzi normally got and instantly drew many new people to him. It got very positive reviews and earned Uzi the title of being a breakout star of 2015. The project did feature a much different character then Uzi previously portrayed however. Now, instead of focusing mostly on hip hop exclusively, he set to combine it with styles of other influences he had, such as My Chemical Romance or Nirvana. This new style was very melodic and had a rockstar vibe, which many would gravitate forwards. Life was great for Uzi. He was making it big, had a hit project, a loving girlfriend by the name of Brittney and an all around solid fanbase. But this wouldn’t be all, as a few months later, he would release his biggest song yet, Money Longer. Immediately following that, he would release his second big project, Lil Uzi Vert vs. The World, strongly inspired by Scott Pilgram vs. The World.
Vs. The World was a big hit. For many, it’s the defining project of 2016 and, among many younger people, is hailed as one of the best mixtapes ever made. Hell, back in 2016, people I knew were only listening to this tape as far as music went and were constantly quoting it. Uzi, his purple hair, eccentric fashion choices, melodies and, of course, his girlfriend, Brittney, were and still are absolutely iconic to the year 2016. However, this was only the beginning to an absolutely insane year. Next, Uzi would take part in what is possibly the most legendary XXL Freshman Cypher ever, alongside Denzel Curry, Lil Yachty, 21 Savage and Kodak Black. Though the Cypher was a blast, many agreed that Uzi and Curry were the standouts and many new fans were drawn to Uzi from it. Also around this time, he was featured on Migos’ smash hit, Bad and Boujee, and also on Future and DJ Esco’s hit, Too Much Sauce. Things wouldn’t be all good though, as around this time, Uzi would break up with his girlfriend and find that he had many fake friends around him. Regardless, he would then go on to release his second mixtape of 2016, The Perfect Luv Tape. This tape focused much less on vocals and melodies and was mostly a return to rapping. It was a fun and light hip hop tape, that featured many hit songs such as Do What I Want and Erase Your Social. This hype train was far from over, however, as three months later, Uzi would drop a collab tape with trap legend, Gucci Mane. This tape would be a bit of a spin off of Lil Uzi Vert vs. The World, called 1017 vs. The World. To cap off his legendary 2016, Uzi had a tour with The Weeknd to look forward to. Little did we all know just what that tour would bring and how what would happen next would propel Uzi to absolute superstar status.
You see, Brittney and Uzi’s break up affected him more then he let on. He went through some troubles afterwards, even worsening his drug use. During these hard times, he wrote much more somber songs. One of said songs would find its way to an EP called Luv Is Rage 1.5 (a prequel to his upcoming album, Luv Is Rage 2). The song, called XO Tour Lif3, as a reference to the tour he was on with The Weeknd, would be an absolute smash hit and possibly one of the most iconic songs ever made. This song would popularize what is now known as “Emo Rap”. The style wasn’t new, as it was being done by other artists, such as Yung Lean, Lil Peep and Bones, among others, but it had never been popular on this scale before. After this, Uzi would run with the emo aesthetic as a way to hype up Luv Is Rage 2. Taking massive inspiration from Marilyn Manson, he would put on a devil worshipping front and would go all in with the punk rockstar aesthetic. When released, Luv Is Rage 2 was everything this new aesthetic promised. We got deep cuts detailing his broken relationship, such as The Way Life Goes, songs that showed how much of rockstar he can be, such as Early 20 Rager, personal cuts about his family, such as Dark Queen and even new iconic bangers, such as 20 Min. This album was a hit with the numbers, received positive reviews and is well loved by many. It even would get him nominated for best new artist at the Grammy’s. Uzi was on top of the world. However, some pretty rough times were coming up.
Uzi has a fairly mundane 2018 at first. There were some positive moments to come out of it, such as his hilarious verse on Lil Tracy’s Like a Farmer remix, teasing many iconic snippets and him getting clean after the death of Lil Peep, an artist he greatly admired, but it was mostly a year of us riding the high that 2017 Uzi provided. Uzi would set the rap world on fire when he revealed the cover art for his next album, Eternal Atake. Immediately, everyone was hyped due to the very interesting concept the cover had, in that it was modeled after the Heavens Gate logo. Uzi then started going with a new alien/cult leader type aesthetic, abandoning the Marilyn Manson aesthetic of 2017. That October, Uzi released, what was at the time, the first single from the album. This song, called New Patek, was a six minute banger teased in an iconic snippet and was universally praised and hailed as one of his best songs. The world was watching. Everyone was expecting a legendary album to dropped.
Then we waited. We waited a long time. Well, turns out there was tons of behind the scenes drama going on with the making of this album. Uzi, DJ Drama and Don Cannon all had a falling out, as they wouldn’t let him release it. On top of that, the remainder of the Heavens Gate cult was threatening Uzi with a lawsuit. Uzi even briefly retired from rap. Hell, recently we learned there was an album he was making with Pharrell that was scrapped in all this chaos. It was a mess. This would all cumulate in Uzi dropping a track called “Free Uzi” which turned into a campaign supported by multiple people. Worst part is that a lot of tracks, many of which are hailed as Uzi’s very best songs, from the Eternal Atake sessions leaked, pretty much destroying any chance of getting the OG album. Two of those leaks, Sanguine Paradise and That’s a Rack, were eventually officially released, however. 2018 and early 2019 were hard on Uzi. Many wondered if he’d ever be able to get back on his feet. Fortunately, JAY-Z stepped in and “freed” Uzi, signing him to Roc Nation. After this, Uzi still withheld the album. He teased it many times, but it never would release. Fans then wondered if it’d ever drop. Most just gave up hope that it was even real anymore. Eternal Atake was looked at as the new Detox. Dead in the water, just another scrapped album.
Then something happened. Uzi dropped a new song, Futsal Shuffle 2020, claiming it was Eternal Atake’s first single. Yeah, okay. He’s probably capping. Then a couple months later he dropped That Way, a song with an amazing Backstreet Boys sample and said it was from Eternal Atake. Again, yeah sure. Then in February of 2020 he said Eternal Atake would drop in two weeks. Nobody really took it seriously. Then he dropped a high budget trailer, returning to the alien cult leader aesthetic in the process. Okay, it’s getting interesting. He then let the fans pick out the new cover for Eternal Atake. Could this be real? Then three days later he dropped it early. Eternal Atake was not only real, but it was here. Then, the next week, Uzi promised a deluxe with all the grails people begged for. He then revealed that it was not only a deluxe, but a second half to Eternal Atake, this half being a sequel to his album Lil Uzi Vert vs. The World. Two Uzi albums in one year. One being one of the most hotly anticipated albums ever and the other a sequel to a beloved mixtape that some consider a classic.
So here we are in present. Symere Woods is one of the most iconic artists in the game. Known for his many face tattoos, constantly changing hairstyles, crazy outfits and wide ranging music. He is an icon, he stands out in the crowd, he has a very... interesting look, a unique sound and he has a devoted fan base. Uzi is now the king of the world. But in a new world where COVID-19 ran rampant, Uzi thrived as a major source of entertainment in these times. He is often said to have carried 2020 on his back even. But is this statement true? Were the releases that good? Did they live up to the hype? Are they even worth a listen? Well, I think I can offer my two cents.
Review Part 1: Eternal Atake
I think I should clarify this. I was a pretty big hater of Uzi’s this time last year. I thought his music was subpar and had not heard a whole lot of it. However, Eternal Atake changed that. When I went in not expecting something that had a massive concept and lyricism, I was greeted with a very versatile, yet consistent body of work that had a pretty slick concept and story. I would later find more music of Uzi’s with some substance and more to say on other projects, but I think here he very smartly just sticks to having a blast and taking the audience on an upbeat trip through his world. This is not a darker project with some deeper cuts in there like Luv Is Rage 2, this is just Uzi is his most fun loving form yet. Some fans will not like that, as they wanted a more hard hitting Uzi like we got last time around, however, I think it was the way to go for this project, as it not only creates a nice parallel to Uzi’s last major release, but it also helped to have some upbeat music amidst the Coronavirus, racial injustices, riots, etc. It was the album I felt we needed and to make life a little bit better in the trying times.
The album does have a story to it that is told through skits. The story is about Uzi being abducted by aliens, encountering a cult on the ship, while trying to escape. The cult may symbol how he has a “cult following”, which is hinted at in a song in the second half of the album. It’s a pretty unique concept and is fun, I also appreciate that he put the extra effort in. While Uzi is messing around in the ship, he travels to different world trying to make it home, each one he travels to introduces a different persona.
We start the album with the persona of “Baby Pluto”. Baby Pluto is the persona Uzi has seemed to have stuck with for most of 2020 as well, especially on then upcoming his collabs with big Pluto himself, Future. Baby Pluto is the Uzi of 2012-2014. Focused on fast flows, this version of Uzi has very little melodies and is just focused on making fast paced and breakneck bangers. The standouts of this section of the album include the Baby Pluto title track, the very catchy Lo Mein and You Better Move, which, in classic Uzi fashion, samples Space Cadet Pinball. Baby Pluto is a much more traditional rapper then the upcoming personas. Another key to this persona is that it’s production feels very over the top and very frantic. Uzi claims this is sound like a spaceship blasting off which I can definitely see. This persona ultimately concludes once we reach Homecoming, a banger of a track consisting of disco type production. Also, before I forget, we have to mention POP and it’s infamous “Balenci” lyrics. I mean, hey, the album wouldn’t be complete without a meme arising from it, so I think it can slide. And just like that, the album starts with a bang, or perhaps a pop (sorry I had to). All the songs are memorable and all of them are hits. After this, Uzi travels to a new planet, entering his new persona, Renji.
The Renji persona has a higher pitched voice, combines faced paced rapping and some melodies and goes over much more cartoonish production. In this section, we are greeted to some absolutely fantastic tracks such as Celebration Station, which seems to be a sound Uzi likes replicating on other songs post Eternal Atake, Prices, a Travis Scott sampling epic, which is by far the best song on here to me and also Bust Me. This Renji persona seems to exist as a way to satisfy all types of Uzi fans. The ones who want melodic and more emotional Uzi will enjoy Chrome Heart Tags and I’m Sorry, while fans of faster paced and more fun loving Uzi will enjoy Celebration Station, Prices and Bust Me. Speaking of I’m Sorry, Uzi briefly returned to his emo roots for that song, which is sure to be enjoyable for fans of that style, however I appreciated how he kept it cheeky, as it seems he was apologizing to his fans for the long wait as well. The production on this section of the album is much more relaxed sounding ranges from light and bubbly, such as on Celebration Station, to downright epic, such as on Prices, but I never feel that it doesn’t feel consistent, as none of them are beats that feel overly aggressive. With the end of Prices, Uzi crash lands back on Earth. This time we enter a new persona, the one and only, Lil Uzi Vert.
Lil Uzi Vert is the Uzi we all know and love. High pitched melodies, such as Venetia, mixed with more raspy melodies, such as Secure The Bag. This is classic and also new melodic Uzi presented together in a nice harmony. However, the standout to me is Urgency, an absolutely fantastic song with a feature from Syd), a very talented singer who was a member of legendary hip hop group Odd Future, along with the likes of Tyler The Creator, Earl Sweatshirt and Frank Ocean. Here we get every type of melodic Uzi presented in one song. We hear the raspy voices one, the high pitched one and the more mellow sounding one. Uzi presents all his vocal ranges here, presenting an insanely catch hook and also a pretty solid rapping verse. Syd then stops by for a pretty nice verse as well as harmonizing with Uzi. To me, this song feels like a spiritual successor to The Way Life Goes, but I can’t place my finger on why. Secure The Bag also sticks out, with Uzi’s yelling raspy voice, taking us back to the Luv Is Rage 1 days. Then we conclude with Uzi making it to shore and saying that he has to drop the album as he was missing for too long on that ship, a cheeky way of explaining why he hasn’t released, and then we go to the next track, P2. P2 is the sequel to XO Tour Lif3, bringing us full circle back to Uzi’s big breakout hit. This time, however, Uzi seems content with the breakup, he seems happier with it. I think this song shows us that Uzi has accepted that him and Brittney didn’t work and that he’s done with the hard feelings he held in the first part, while also presenting us with a full circle conclusion for the album. The album then ends with Uzi thanking his fans.
The next two bonus tracks are the singles released, That Way and Futsal Shuffle 2020. I like that they’re here as bonuses. Both are very good, however I think That Way could’ve fit into the Renji section. As for Futsal Shuffle, I dig the track. It’s a very weird song that sounds like a trashy 2007 pop track, but Uzi makes it work as a nice throwback. The dance it inspired was alright too I guess, glad to see people had fun with it. I’m glad both songs still made the tracklist, as I feel they both are worthy enough to be on it, even if it’s be hard to place them in one of the album’s sections.
A fantastic album. A great sampler or what Uzi has to offer that also feels consistent and like a coherent album. All going along with a pretty engaging story. The album actually reminds me a good bit of Uzi’s XXL Freshman classmate, Denzel Curry, in that it is structured very similarly to his album, TA13OO. I think Uzi took some inspiration from him there and it is very cool to see another artist succeed with that structure. Anyway, there isn’t a single dull moment here. For some, 18 tracks can be very cluttered, but Uzi manages to make all the songs sound fun and even if some maybe a bit similar, they are oozing with character that makes them still stand out enough to work. With this album, Uzi proves that this is his world and we are all just tourist in it.
But we’re not done yet. As I said, there is a second half we must talk about.
Review Part 2: Lil Uzi Vert vs. The World 2
The second half of this album, a “deluxe”, would end up starting a major trend. Now it seems every artist has hopped on the wave of having a second half as a deluxe album. The influence of this album is already present. This second half is already iconic. That really says something in my opinion. Anyway, influence aside, this half is pretty great as well. LUV vs. The World 2 is labeled as a sequel to Uzi’s most beloved tape, because it has all of Uzi’s most hyped up grails. The songs the fans have begged for on a sequel to their favorite tape only seems right. For many, THIS is the part they’ve been waiting for.
If Eternal Atake was a trip through space, Vs. The World 2 is a trip through time. We begin our trip in 2018 through Myron, Lotus and Bean, all of which were among Uzi’s most anticipated snippets, especially Lotus. Now, I wasn’t the biggest Uzi fan before, as I stated, but I’d be lying if I said I wasn’t looking forward to Myron after the snippet he dropped of it right after New Patek released.
As I said before, I was hyped for Myron. Hell, Myron is the song I was even looking forward to Eternal Atake for, before my time as an Uzi fan. At first, I wasn’t a fan of the actual song, as it’s slowed down a good bit from the original snippet, however, I’ve grown to really enjoy it. The more slowed down voice fits as a strong opener to this sequel project, as Vs. The World 1 was done almost entirely with that voice, so it makes it easier to jump right into here once you finish that one. The song has Uzi spitting over some Christmasy production, all while testing his vocal range with some especially dry yells near the end and also some high pitched vocals sprinkled in. Concluding Myron are some, ahem, pretty objectifying lines about a girl that would make Future shed a tear, talking about calling a girl “migraine” while she gives Uzi head. Next up is Lotus, which was perhaps the most anticipated hip hop snippet in history. A lot of people were disappointed with it and said the mixing was off, but I personally fucking love Lotus. The song is catchy as fuck and the vocals are very loud on it, which I personally like, as that is the main draw to the song for me. The last verse especially is great, as it fits hand in hand with the hook before. All of this going over some pretty mild, yet spacey production makes for an amazing track. Next up is Bean, or Kobe, as it includes a reference to the now late basketball player and sports legend, Kobe Bryant. This was a song long anticipated and another snippet that fans had been begging for nearly two years for. This song contains the deep voiced and menacing Chief Keef going hand in hand vocally with Uzi’s childlike screeches and high pitched voice. The energy Uzi carries on the song feels a lot like the energy he delivered on Lotus, making it a very consistent transition. This three track trip to 2018 delivered us with three straight knockouts, instantly drawing the audience back into Uzi’s colorful world. However, right as we get comfortable, we’re transported back further into the past. We’re taken to the 2016 XXL Cypher, where we reunite with an old friend, 21 Savage.
Yessirskiii is possibly my favorite song from this project, it’s between it and another track we will get to in a bit. This song reminds me of the 2016 XXL Cypher not just because of 21 Savage on it, but also because Uzi’s elated flow and vocals mixed with 21 Savage’s dry and unenthusiastic vocals make for a similar experience to that legendary cypher, while also being wildly entertaining. 21 Savage glides effortlessly on the production dome by Pi’erre Bourne, in what is, in my opinion, one of his best beats yet. Savage also delivers one of my favorite hooks of the year so far as well, one that is very simple, but very catchy. Uzi then comes in with his signature high pitched rapping style and if Savage glides over the beat, Uzi rides it, presenting us with a completely different style of rapping over it that also feels consistent with what Savage did. The track concludes with Savage’s hook, leaving you wanting an instant encore. Immediately following this high, we’re taken to the future to a song with none other then Future himself. Wassup is a song that acts as a teaser to Uzi’s many upcoming collabs with Future. Uzi presents his signature melodies and long stretching of words in an insanely catchy hook. He then delivers a very strong verse, humbly flexing that he can’t win every time, but does most of the time at least. Among that are also some alien references, tying into the first half of the album nicely. Future then comes in and gives another solid verse, not his most memorable, but still solid nonetheless. The track concludes and what we’re left with is a great little glimpse into the future that we didn’t know was coming at the time, here Baby Pluto x Pluto was truly born. After this, we are taken back to the present, at least for two tracks.
Strawberry Peels is a short, yet very sweet, collaboration with Young Thug and Gunna. Thugger gives us a breakneck hook over some wild production, Gunna drops a solid enough verse then Uzi comes in perfectly matching Thugger’s energy. Uzi rapping over the frantic production before going into Thugger’s last hook is the perfect reminder of why these two work so well together. I Can Show You presents us with some classical(?) sounding production with Uzi delivering some Celebration Station types flows over it. It’s an Eternal Atake track vocally, but a new sound production wise. I like it a lot. It feels familiar yet new at the same time.
After our time in the present, we are transported back to 2017, when Luv Is Rage 2 came out. Moon Relate, a banger with some lyrics dealing with “pain” and a vibe that is similar to 20 Min. Based off of another much anticipated snippet, the song more then lived up to the hype. The song has super high pitched vocals and feels like Uzi at his most unhinged, a stark contrast from the vibe of the first Vs. The World, but adding tons of character to this new project. Even if you never heard the much anticipated snippet, you can tell this track is from that Luv Is Rage 2 era with its sound and it is a great revisit to that era. Next up we have what is the best song on the tape and what is, in my opinion, one of Uzi’s best songs period. Come This Way is absolutely fantastic. For it, we are taken back to 2016, when the snippet of it was first previewed. This song sounds exactly like something that’d be on the first tape and is definitely able to compete with the best songs from that tape, such as Grab The Wheel and Money Longer. The song has 2016 Uzi’s classic raspy voice and has modern Uzi’s more high pitched voice at different points throughout the song, making it a satisfaction for those who prefer one or the other. It is clearly a transition track from a transition era in Uzi’s career, that being late 2016, and it sounds absolutely fantastic. The song shows Uzi’s vocal range, all while providing what may be my favorite hook of the year. People have begged for 2016 Uzi to return and its only right that we get the perfect 2016 Uzi track in the sequel to his defining project of that year.
Next up we go back to late 2018 where we get Trap This Way, a song previewed in another wildly popular snippet from that time. First off, I appreciate this track coming after Come This Way since they have similar titles, but beyond that, this is a great track. The hook it catchy, the verses are good and the song is an all around banger. This song and the last represent my two favorite Uzi eras, 2016 and 2018, solidifying this as a great project even before we reach the end.
Next up is the Lil Wayne sampling banger, No Auto. which features Lil Durk. The song is mean, it’s vicious and it’s classic “murder” music. The sample is great and brings us back 2004, the days of Tha Carter 1, but the sample does not go to waste, as it provides a very hard hitting beat for the harsh lyrics. The song just all around bangs, even if it’s not quite as good as the best of this tape. For the next song, Money Spread, we go to the year 2019, to the day Sli’merre was released. The production by Pi’erre sounds ripped straight from Sli’merre and the feature by Young Nudy is great, yet very foul and nasty. Uzi is great and does very well on the strange production, but Mr. Nudy is who really shines here, with him telling us that he will put his white stuff on our girlfriend’s butts and that she’s promoting his nuts. It is absolutely absurd. Besides that, the song feels a bit like a spiritual successor to the Sli’merre track, Extendo, the last collaboration between Pi’erre, Nudy and Uzi. All of it is a nice throwback to one of 2019’s best tapes. For Got The Guap, we are returned to the week before this tape came out, with another song that has a very similar vibe to Celebration Station. Uzi has a much more muted and calm voice then usual on here and I really like it, it’s nice when he does new things with his voice. Uzi gives us a catchy hook and good verses, touching on how God has helped him and how his accomplishments. I also enjoy the melodies he puts in his first verse. Thugger then stops by for another feature, effortlessly matching Uzi’s energy. The song is a ton of fun.
And finally we conclude the album with the NAV featuring song, Leaders. NAV makes up most of the song, but gives a solid performance. The song is meant to lead right into Eternal Atake, as it focuses on cult followings and relating them to cult leaders, which is a theme in Eternal Atake as we know by the Heaven’s Gate marketing. Nav relates his status to Jim Jones, while Uzi does to Marshall Applewhite, leader of Heaven’s Gate. I think this song is a great Segway into Eternal Atake and concludes this album on a nice note. I think this whole album being before Eternal Atake on the track list makes sense, as it feels like it shows us what songs preceded the album and the road that lead us there.
A great album. Not only that, a fantastic double album overall. Uzi shows every bit of talent he has across these 32 tracks and on every one of them, he brings his eccentricity to the forefront and shows the world why the weirdos now run the music industry. Everything he set out to do when he took inspiration from William Aston in high school has now come to fruition and Uzi is now one of the kings of hip hop and music in general.
Favorite Lyrics
One eye open, ‘Luminati like Fetty Wap.
  • Lil Uzi Vert on Silly Watch
Balenci Balenci Balenci Balenci Balenci
  • Lil Uzi Vert on POP
Get money like Anthony Hop. Silence the lamb and your ass’ll get chopped
  • Lil Uzi Vert on Prices
They laugh at me because I’m emo, I killed my girlfriend that’s why I’m single
  • Lil Uzi Vert on That Way
No, statistically I can’t win everytime, but you know the score is probably like 10-3. And them three times I had to take an L, I remember them boys tried to finish me. Said we roll a Wood, I roll like 50 L’s.
  • Lil Uzi Vert on Wassup
Strawberry Peels, Strawberry Peels, Strawberry Peels, Strawberry Peels
  • Young Thug on Strawberry Peels
  • Lil Uzi Vert on Moon Relate
I got your bitch over here promoting my nuts. Your hoe is a slut, hit it from the back, n*gga, put it it in her guts. Yeah, slap it on her butt, whole lotta white stuff on her butt
  • Young Nudy on Money Spread
We from the same hood , that’s a nickel and dime. That’s all we know. God gave me the opportunity to open doors
  • Lil Uzi Vert on Got The Guap
No, I’m not Marshall Applewhite, but I’m tryna phone home
  • Lil Uzi Vert on Leaders
• Did Eternal Atake live up to the hype for you? If not, did you still enjoy it?
• Do you think the version of Eternal Atake we got is better or worse then the one we could’ve gotten in 2018, based off what you heard from leaks? What songs do you feel should’ve been kept on?
• What do you think of this deluxe trend? Do you think that it will last? Do you think Uzi handled it well on this project?
• Did the full songs of snippets live up to the hype for you?
• Which half did you like more, Eternal Atake or Lil Uzi Vert vs. The World 2?
• Fans that consider Lil Uzi Vert vs. The World as a classic or even just as a great tape, did the sequel live up to the first one for you?
• This project received critical acclaim, do you think that acclaim was warranted?
• Do you miss Uzi’s old 2016 style like many others or are you satisfied with the direction he is taking?
• Where do you think Uzi will go from here?
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2020.09.29 03:30 CyrusWaugh Every Taylor Swift Song Ranked (2006-2020) Part 1

The final post of the first first appreciation week, overall its been a blast writing about this, there's been some ups and downs as the week went on but I've stayed the course and you've all enjoyed it and in the end that's all that matters. Now I can't rank every single song she's ever written and sung, when she was 16 I believe she wrote 250 songs. So I'm only going to be ranking every song she's ever recorded in the studio which is 134, and since there are so many, I'll only be describing them with 2 to 3 sentences, I'm only going into detail with the deluxe version songs I didn't talk about and the top 30. Some songs have moved up since then and some have moved down, please remember this is my personal opinion and there is 134 songs, just because your favorite is at idk 40th place doesn't mean it is terrible in my eyes, there are just so many songs on the same level as it or better. So let's close out this great week on a high note shall we. I've provided links to my previous posts in case you want more context of what its about and what I like and don't like about it.
Taylor Swift-All Songs Ranked
Fearless-All Songs Ranked
Speak Now-All Songs Ranked
Red-All Songs Ranked
1989-All Songs Ranked
Reputation-All Songs Ranked
Lover-All Songs Ranked
folklore-All Songs Ranked

134. The Man (Lover)
A friend told me this song is Popstar: Never Stop Never Stopping 2: Taylor Swift Edition, he is mostly accurate. Sure its fun but lyrically I can't stand this song.

133. I Think He Knows (Lover)
It honestly feels like a 2018 radio country song. And we all know how bad of a time that was for mainstream radio.

132. I Forgot You Existed (Lover)
Pretty similar thoughts, here, another song to the pile of songs defending her reputation. Except this isn't fun in anyway.

131. You Need To Calm Down (Lover)
Apparently this about defending and celebrating LGBTQ pride, did anyone catch that, it feels like another reputation defense song, besides that one out of place line that adds the word gay, I don't see it, still it's pretty fun to sing along to.

130. Hey Stephen (Fearless)
I find this one too cheery and annoying, pretty similar response to how I view the song Call Me Maybe by Carly Rae Jespen, still the lyrical rhyming is fun.

129. Dress (Reputation)
I think for a sex jam, it feels too out of place. It is vocally awkward and the trap beat doesn't help it's case. Pretty decent imagery though.

128. The Best Day (Fearless)
Like I've said plenty of times before, I don't see the emotional hype of the song, and if it's there, the sound of the track doesn't fit well. However the 2nd verse and on I thoroughly enjoy.

127. King Of My Heart (Reputation)
I don't like Game Of Thrones, so I'm not getting the references, also Bass is too loud on this track. Some might see this as a jam but not me.

126. This Is Why We Can't Have Nice Things (Reputation)
It highlights her feud with Kanye West fairly, well but the melody is a big fat no from me, she has a fun time singing along so bonus points for that

125. A Perfectly Good Heart (Taylor Swift)
I find this track very weird vocally, it's still great, but it is very simple in their descriptions, and her songwriting skills have improved much more in later years.

124. Better Than Revenge (Speak Now)
I'm not a fan of punk rock, never has and never will. But still great lyrically, and it is such a good burn to Joe Jonas and Camilla Belle.

123. Starlight (Red)
Pretty fun song, but this one is on the more repetitive and vague end of the spectrum. This would've been better with real drums like a lot of the other pop tracks on this record.

122. If This Was A Movie (Speak Now: Deluxe Edition)
This is my least favorite of the deluxe tracks but that doesn't mean I don't enjoy it, it sounds great instrumentally, and the simple concept is great, but I love songs that use simple concepts and use great imagery. This one doesn't really do that, but I think the melody is great, it's a classic Taylor Swift song, checking off a lot of the boxes of what makes a great swift song, sincere vocals, great melodies, and one hell of a bridge. It only really falls flat in terms of lyrics.

121. False God (Lover)
This grew on me a lot, blending soft jazz and R&B, a solid sex jam, unique concept, and verses are really interesting rhythmically.

120. Invisible (Taylor Swift)
Invisible feels like a prototype version of narratives and themes she's perfected over time. I'm not a big fan of this lyrically to a degree, and vocally/melodically, it doesn't really hold up to my modern standards, but instrumentally it makes up for it.

119. I'm Only Me When I'm With You (Taylor Swift
I think it blends the rock sound she was experimenting with pretty well with country, but it isn't really outstanding lyrically. It is a good song regardless for the road, at least for me.

118. The Way I Love You (Fearless)
I think it is pretty sweet, and how she loves someone, but still a lot of fearless is lacking in great lyricism with adjectives and metaphors compared to other songs and records.

117. Death By A Thousand Cuts (Lover)
The song's intro annoys the living daylights out of me. I think the message she is trying to perceive and calling it a thousand cuts is pretty excessive. But a lot of the instrumentals have a lot interesting stuff going on.

116. I Did Something Bad (Reputation)
I did something bad is great song to see live, if you want to party and feel a rush of excitement, I can't recommend this song enough, but I'm really an introvert and these songs aren't my style.

115. Untouchable (Fearless: Platinum Edition)
I think the song should've been way shorter as the lyrics are incredibly short. And one verse is literally 2 lines, and for the message she's trying to convey it needs to be longer. I think it sounds overall pretty well, nothing truly special or interesting like fiddle or steel. It plays it pretty safe. Another simple song done perfectly.

114.Cruel Summer (Lover)
I think it is really good lyrically, but the verses aren't that great as the chorus melodically, Cruel Summer really summarizes my opinion of Lover as a whole, a mostly unbalanced track with great moments.

113. Sparks Fly (Speak Now)
I think it draws a fine line with traditional sounds and rock sounds. An iconic chorus, with great verses to accompany it. The bridge is great as it should be, chorus and bridge lyrically aren't anything truly special but that isn't really what I come to this song for.

112. Gorgeous (Reputation)
Pretty fun overall, solid lyricism, if not pretentious in terms of production and melody. I'm glad it wasn't this bombastic anthem like a lot of the record is.

111. ...Ready For It (Reputation)
Definitely a personal preference for how high I ranked it, some interesting lyrics here and there, but this definitely for the more palatable pop ears, if you're a traditionalist don't listen to this.

110. Should've Said No (Taylor Swift)
Definitely a lot of inspiration from Carrie Underwood, and unlike Gabby Barret, this is good. She's not really trying to sound like her, but imitating her classic instrumental and melodical style. A classic jam, that for Traditionalists I do recommend.

109. Afterglow (Lover)
It's one of her more unique ones vocally and melodically. My first listen I thought it was an Ariana Grande song, if Ariana Grande actually wrote smart songs. It's her taking responsibility for the bridges she's burned throughout her career.

108. Wonderland (1989: Deluxe Edition)
I think there is a lot of interesting stuff going on in this track, but the chorus really drags it down as it overly repetitive, regardless of how well I like it instrumentally. I think the concept of the song is interesting but it really fails to convey it with details that don't really deal with Wonderland. It's not as fun or as interesting as the rest of 1989

107. You're Not Sorry (Fearless)
I love how it starts out with just piano and slowly more instruments come in and we build up to this dramatic conclusion. But like a lot of Fearless, nothing of outstanding lyricism.

106. Come Back...Be Here (Red: Deluxe Edition)
The core message of this track is about the problems of a long distance relationship, but I think it has trouble portraying the image of this story, it briefly mentions New York & London, it's pretty on the nose for most of the progression and it's really hard to realize the time gaps within the track. Still it is great in emotional vocals as is a lot of Red as a record.

105. You Are In Love (1989: Deluxe Edition)
I love the little details like burnt toast in the morning, little obscure details, are what drive me crazy about a song, I do prefer this one for the ears rather than for the brain mostly because the chorus is really dull. But we get the gut wrenching reveal that this isn't her describing her relationship, its about Jack Antonoff and his girlfriend who have maintained the closest there is to a perfect relationship and how she's still no there yet but she keeps trying. Excellent twist, and elevates this song a lot more.

104. Girl At Home (Red: Deluxe Edition)
This is all about a douche trying to start an affair, and she knows he's in a relationship and shuts him down before he can even begin. And how she describes this girl who she doesn't know, because she was that girl at one point in her life. I think the drum loop is unnecessary, regular drums would've sufficed, there aren't many songs like this in her catalog, and that's a good thing, it keeps this track fresh.

103. Seven (Folklore)
Seven is my least favorite from Folklore because of its vocal performance. I appreciate the childish lyrics now because of the fact that this is in the perspective of a 7 year old. You Need To Calm Down was praised for it's defense of queerness, which it doesn't in any way whatsoever, 7 does it a whole lot better and it is incredibly vague.

102. Everything Has Changed ft. Ed Sheeran (Red)
This is my dream duet for pop, but they could've handled this a lot better, it's played pretty safe in almost every aspect, vocally, lyrically and instrumentally, it's really only this high up, for how great they sound together.

101. Stay Beautiful (Taylor Swift)
It's a sweet little harmless song, its fun, solid instrumentation, good vocals, I don't really understand how people can hate this song, it's like a kitten.

100. Jump Then Fall (Fearless: Platinum Edition)
I think with a lot of the platinum edition bonus tracks, you can tell they weren't that well produced, they feel more like demo tracks, some ways that works it doesn't, This is somewhere in between. I think it's neat concept brings it this high, as it is pretty safe in all other aspects. The bridge is great as usual, basically expect a hell of a bridge from her second record and beyond, even on songs and records that aren't as good.

99. Holy Ground (Red)
Red's main style of instrumentation feels like a blend of contemporary rock and lighthearted pop. Some adore this track's every aspect, meanwhile I question a lot of it, especially with what she considers Holy Ground.

98. Superstar (Fearless: Platinum Edition)
This is just a sweet little song about being in love with a famous person, it's pretty cheesy, which is why I love it, most infatuation for famous people is pretty corny, and that captures this emotion so well. The instrumentation is great, and vocals are good as usual.

97. London Boy (Lover)
You are really only going to like this song if you are here for lyrics, if you have a vendetta for modern pop, this is not for you. The imagery for how she describes London is some of her best descriptions, but I'll agree, I'm not as big of a fan of it melodically, especially when she does a fake British accent.

96. The Story Of Us (Speak Now)
The day I enjoy punk rock style is when hell freezes over, and this song makes it pretty close to happening as it is so good in every other aspect, but the instrumentals really takes your mind off all of the better stuff going on.

95. Hoax (Folklore)
Hoax, lyrically doesn't feel like its on the same speed of the instrumentals. It is well sung and written but this would work a lot more, if the song was at a slower tempo, or if she added more details in it.

94. ME! ft. Brendon Urie (Lover)
Another song that's pretty harmless, it was my jam of 2019, I played this over and over as much as I did for songs like God's Country or Beer Never Broke My Heart. Brendon is a fantastic vocalist on the track, its a fun pop record and really nothing more.

93. 22 (Red)
Another really fun jam song, with a bit more a catchier melody as well as fun imagery. It's was a club anthem of 2012, and a great real start out in the pop world.

91. Sad Beautiful Tragic (Red)
This song blows me away so much in the verses but then the chorus lets me down. I love all the simple chords, apparently this is Trigger's favorite song from her, agree with his views towards it but the chorus is a major disagreement.

90. The Outside (Taylor Swift)
Unlike SBT, this doesn't disappoint me in the middle of a track, it holds pretty steady in all of the main factors of the song, and how the outside of something is the loneliest feeling there is, I 100% agree, with the message. Some might this one a little tedious, and yes I admit it's really this high for the messaging more than anything.

89. It's Nice To Have A Friend (Lover)
It's a pretty simple story about different places of time, and how the person you're in love with is your best friend, its simple in sound, melody and lyrics, so its perfectly balanced, its like a lighthearted version of Mary's Song.

88. Fearless (Fearless)
Pretty wholesome message of how your partner helps you lose your insecurities. It really leans into this Pop/All American sound people like Taylor and Miley Cyrus were known, for obviously I prefer Taylor.

87. Cold As You (Taylor Swift)
It has this haunting opening that is unforgettable. The acoustics are as is a lot of her first record. It is pretty simplistic lyrically, there's nothing truly clever about how cold this person is. It's just blatantly saying he is cold, and that isn't really compelling.

86. Daylight (Lover)
The closing track of Lover, is how she sees Alwyn as her daylight, in a forever dark night with touring, recording and the media. It's very laid back compared to the rest of the record, which is great, a lot of the songs have candy like style production, and like eating too much candy, you can get sick.

85. Forever & Always (Fearless)
The first of many songs going after Joe Jonas . Highlighting the 25 second dumping phone call. And this now famous quote he told her, of loving her forever and always. It's a burn that feels more like a sting that gets worse over time if that sounds right.

84. Treacherous (Red)
Treacherous has very interesting lyrics, like slopes quick sand among others. But it does tend to fall flat melodically, and the line of I like It feels kinda lazy, but that's just a personal issue honestly.

83. The Lakes (Folklore: Bonus Track)
The lakes highlights her escape from the world, where she wont be bothered by the media, angry social media haters, or anything that can bring her day down. It's beautiful and I believe references a poet named William Wordsworth so bonus points for classic references.

82. Don't Blame Me (Reputation)
Man we haven't touched Reputation for like 20 songs, this reminds of the style of Imagine Dragons, a lot of Reputation has this bad ass song I love, tracks like this will turn off a little people, it really is a personal preference, Taylor is really all about making the same record over and over, every record has significant differences, and I'll take different over copies every time whether its good or bad.

81. I Wish You Would (1989)
I think this leans into the lyricism of a bro song. But I'll take this over 80 or 90% of the bro songs from 2014. Like a majority of 1989, it blends the classic synth 80' sound with modern sound, it is one of my least favorite of the 1989 tracks for how tedious it can't get.

80. The Last Time ft. Gary Lightbody (Red)
What a beautiful duet, we get these 2 perspectives in a relationship, how for the dude this is the last time he's doing this, and in the girl's this is the last time she will give him a chance, I just think this song drags on for a little bit and the build up could've been faster and it loses points because of that.

79. Out Of The Woods (1989)
It's a great time, but yes it is mostly for the ears not the brains, but that doesn't mean there isn't anything clever about it, there is, the chorus is arguably the most repetitive one she's ever done.

78. New Romantics (1989: Deluxe Edition)
My favorite of the 1989 bonus tracks, its a club anthem, and normally I dislike them, but there's something about New Romantics that keeps me coming back to it, maybe its how fun it is to sing along, or my love for the synth, I can't really describe it.

77. Peace (Folklore)
I don't understand why this wasn't the final track, it closes the book on another chapter of Taylor's career, and opens the way for a wide range of possibilities. I think she is a bit too loud and should let the instrumentals shine a bit more. It's a great message overall, highlights how far she's come in her 14 year long career.

76. The 1 (Folklore)
While not my favorite album opener from her, still is pretty great, nice little details and directly tells you this record is nothing you've ever seen from her. It doesn't need to get into vivid details as that's not really the intention of the song, so as a whole I give it a big thumbs up.

75. Invisible String (Folklore)
The little details of places they've been to, referencing old singles, culminate into one of my favorite tracks of Folklore. It's stripped back a lot, and the story telling and imagery are allowed to take center stage.

74. End Game ft. Ed Sheeran & Future (Reputation)
If you can tolerate rap, then give this a listen as there is a lot of interesting stuff going on, Future isn't anything special, I'm really here for Ed and Taylor who actually bring it lyrically and rhythmically.

73. Mine (Fearless)
It is one of her most iconic melodies, I can sing this over and over, but it isn't great lyrically, End Game is better in terms of writing, I will not take that back, I only really prefer this for its incredible melody and how it's sound is better than Endgame.

72. Stay Stay Stay (Red)
It's fun, silly, a simple song. If you hate it, you're heartless. I can get saying it's nonintellectual, or how it isn't interesting in instrumentation but you can't call it trash.

71. I Almost Do (Red)
Really compelling messaging, of how she wants to run back to this person so bad, but she doesn't want to risk another painful goodbye. I think she just overuses the phrase I Bet, it really sounds like a gimmick.

70. The Moment I Knew (Red)
This song is a little weird for me, while I see the lyrics as emotional and heartbreaking, I don't really feel it like most songs like this, maybe I'm heartless idk, still it has great progression, and uses the phrase the moment I knew very well, and it doesn't feel gimmicky.

69. All You Had To Do Was Stay (1989)
I'm so glad one of her sex jams didn't end up here, or I wouldn't take this as seriously as I do. Stay is a jam, that talks about the ultimate test of relationships, and how often most partners fail it, and it most relationships are trial and error until you find the 1 for you.

68. The Last Great American Dynasty (Folklore)
While this has great messaging, metaphors and story telling, percussion is too much of an issue, I think it is at too fast of a tempo, but those issues don't hurt the fact that this song is amazing.
submitted by CyrusWaugh to CountryMusicStuff [link] [comments]

2020.09.29 01:43 BoldnessofTrolls I listened to over 250 girl group debut songs. Here are my ratings for all of them.

Baby Vox- Hair Cut 7
Diva- Yeah 8
S.E.S- I'm your girl 10
Fin.K.L- Blue Rain 5
As One- Only You Wouldn't Know 7
Cleo- Good Time 9
T.T.Ma- My Baby 5

Papaya- Listen to my word 6
Chakra- Han 9
Jewelry- I love you 9
KISS- Because I'm a girl 6
M.I.L.K.- Crystal 3
Isak N Jiyeon- Tell Me Baby 7
LUV- Orange Girl 6
Shinvi- To My Friend 5
Sugar- Sweet Love 7
Big Mama- Break Away 8
Shyne- Too Late 6

LPG- Can Can 6
The Grace- Too Good 6
Gavy NJ- Happiness 7
SeeYa- A woman's scent 7
Brown Eyed Girls- Come Closer 8
Wonder Girls- Irony 5
Cats- Baby Cat 8
Kara- Break It 6
Girls' Generation- Into the New World 10
Black Pearl- I can't help loving you 7
Davichi- I love you though I hate you 6
Miss $- Don't Cheat 7

2NE1- Fire 10
4Minute- Hot Issue 7
After School- Ah 4
f(x)- La Cha Ta 9
HAM- T.T Dance 6
JQT- I fell for you 8
NIA- My Everything 7
Rainbow- Gossip girl 5
Secret- I want you back 4
T-ara- Lie 6

Girl2School- Let's Play Dance 1
Girls Day- Tilt My head 2
GP Basic- Game 2
J Rabbit- Take One 7
Miss A- Bad Girl Good Girl 10
Nine Muses- No Playboy 6
Orange Caramel- Magic Girl 9
Rooftop Moonlight- Okdal 8
Sistar- Push Push 4
VNT- Sori (Ye Ye Ye) 3

2Boram- 2love 9
Apink- I don't know 10
Aprilkiss- Hello Bus 4
Blady- Spark Spark 7
Brave Girls- Do you know 9
C-Real- No No No No No 6
Clinah- Come on Boy 5
Chi Chi- Don't Play Around 2
Chocolat- Syndrome 2
Dal Shabet- Supa Dupa Diva 6
Elizabeth- Ppa Ppa Pierrot 3
F-ve Dolls- Lip Stains 7
New.F.O- Bounce 6
Piggy Dolls- Trend 5
Rania- Dr Feel Good 9
SpinEL- Chu Chu 8
Stellar- Rocket Girl 2
Swincle- Shake Ur Body 4
Woman Power- Hate you hate you 8

15&- I Dream 9
84ly- Girl Talk 5
AOA- Elvis 9
BBde Girl- Messing Around 6
Bikiny- Dance Party 3
Crayon Pop- Saturday Night 7
D-unit- I'm missin you 9
E2RE- Deep night sad song 6
Exid- Who'z That girl 6
Evol- We Are a Bit Different 4
Fiestar- Vista 9
Flashe- Drop it 5
Gangkiz- Honey Honey 6
Glam- Party XXO 8
Hello Venus- Venus 8
HeyGirls(Black Queen)- Good Girl 3
Jevice- I'll Love 6
LXIA- Sexy Brown 3
Pandora- Bad Boy 4
Ruby- Get Down 3
Queen B'Z(P.O.P Con)- Nol Ja Go 5
She'z- My Way 7
Six Bomb- Chiki Chiki Bomb 4
Skarf- Oh! Dance 4
Spica- Russian Roulette 8
Sunny Days- Take Away 8
Tahiti- Tonight 5
Tiny-G- Tiny G 5
Two X- Double Up 7
Vivid- You're Busted 6

2Eyes- Don't Mess With Me 7
Bestie- Pitapat 8
Delight- Mega Yak 1
Global Icon- Beatles 3
Ladies' Code- Bad Girl 9
Pungdeng-E- Al-tang 7
Purplay- Love and remember 5
Switch Berry- Shaken 6
TINT- Love at First Sight 7
Wassup- Wassup 1

4L- Move 7
4Ten- Tornado 7
Badkiz- Ear Attack 5
Berry Good- Love Letter 6
Bob Girls- No Way 6
D. Holic- I don't know 6
Hi Suhyun- I'm Different 8
Kiss&Cry- Domino Game 9
Laboum- Pit a pat 6
Lip Service- Yum Yum Yum 3
Lovelyz- Candy Jelly Love 8
Mamamoo- Mr. Ambiguous 8
Melody Day- Another Parting 8
Minx- Why Did You Come to My Home? 4
MOA- I'll Call Ya 3
Pritz- Go girls 5
Red Velvet- Happiness 5
Scarlet- Do Better 9
Smile.G- DoBiBoBob 6
Sonamoo- Deja Vu 5
The Barberettes- Little Gals 8
Wings- Hair Short 7
Year 7 Class 1- Oppa Virus 7
Ye-a- UP N DOWN 6

April- Dream Candy 9
ATT- Temptation 6
CLC- Pepe 9
Cupid- I feel good 5
DIA- Somehow 8
GFriend- Glass Bead 8
Girls Girls- Girls Girls 3
Hotties- Bam Bam Bam 6
I.C.E. Over U 7
Laysha- Turn up the music 8
MyB- My Oh My 9
Oh My Girl- Cupid 9
Playback- Playback 5
Pocket Girls- Bbang Bbang 6
PPL- Rush 5
Rubber Soul- Life 7
Twice- Like Ooh-Ahh 9
Unicorn- Huk 5
Vividiva- Service 4
Wanna.B- Attention 7

Blackpink- Boombayah 6
Bloomy- Blooming day 7
Bolbbalgan4- Fight Day 7
CocoSori- Dark Circle 8
Cosmic Girls- Mo Mo Mo 7
Gugudan- Wonderland 8
Heymiss- Number.1 3
Highteen- Boom Boom Clap 5
HUB- Girl Gang 6
IBI- Molae Molae 6
IOI- Dream Girls 5
Matilda- Macarena 7
Mixx- Oh Ma Mind 6
Momoland- JJan Koong Kwang 7
Moxie- Ketch Up 5
OHBliss- Bunny Bunny 5
SOL-T- Curveball 5
Unnies- Shut Up 7
Various- I only want you 7

Bebe6- Shot Me 7
Blah Blah- Good Job 5
Bonusbaby- Urikiri 7
Busters- Dream On 7
Chloris- Friday Night 7
Dreamcatcher- Chase Me 9
Elris- We First 6
Favorite- Party Time 7
Girls' Alert- Sonyeo Jimong 8
Good Day- Rolly 6
Hash Tag- Hue 6
LipBubble- Popcorn 4
Marmello- Puppet 8
Pit a pat- Sign 8
P.O.P- Catch you 8
Pristin- Wee Woo 9
Ramisu- Oh! Boy 7
S2- Honeya 7
S2U- ZZZ(I can't sleep) 5
S.E.T- Nalari 8
S.I.S- I've got a feeling 7
Viva- Tough Girl 6
Weki Meki- I don't like your girlfriend 4
Yellow Bee- Hiccup 6

A Train To Autumn- That Season You Were In 7
AiRiSU- Oppa 4
Alike- Summer Love 6
Aqua- Log In 6
Camila- Red Lips 5
Destiny- Like a Bomb 7
Dream Note- Dream Note 5
Fromis_9- To Heart 10
(G)I-dle- Latata 8
GBB- Kemi 5
Girlkind- Fanci 5
GWSN- Puzzle Moon 9
Honey Popcorn- Bibidi Babidi Boo 7
Iz*One- La vie en rose 9
Loona- Hi High 8
Maywish- Hello 7
My Darling- Dramatic 6
Nature- Allegro Cantabile 9
NeonPunch- Moonlight 9
PinkFantasy- Iriwa 6
PRISM- Chok 5
Purple- Maemmaeya 7
Rose Finger- Hibidi Pop 3
Saturday- MMook JJi BBa 7
SHA SHA- You & Me 7
Shafla- dduruddupparappa 7
Sugar Tint- Heart Ppyong 6
Tropical- Mwah 5
Uni.T- No More 7
We Girls- On Air 5
WJMK- Strong 7
YJIG- Wangjanim (Prince) 8

3YE- DMT 4
4carat- Nanly 5
A-feel- Dance over night 2
API(Ho1iday)- Fantasy 5
ANS- Boom Boom 5
Ariaz- Moonlight Aria 7
Bvndit- Hocus Pocus 5
Cherry Bullet- Q&A 8
Coco- Talk Talk 3
Everglow- Bon Bon Chocolat 5
Fanatics- Sunday 6
Girl Crush- Memories 5
Gloss- Blah Blah Blah 7
Hinapia- Drip 4
ICU- Cupid 4
ILUV- Got it 3
Itzy- Dalla Dalla 8
Melody Pink- Hey U 5
The Pink Lady- God Girl 8
Purplebeck- Crystal Ball 6
Rocket Punch- Bim Bam Bum 7
Venus- Turn signal 8
Violet- PangPang 7
Whiteday- Shine on light 7

Areal- Wake me up 6
Blastar- One way 6
Botopass- Flamingo 7
Byulzzi- Bbibbo Bbibbo 8
Chic&Idle- 3! 4! 6
Cignature- Nun Nu Nan Na 7
Craxy- Aria 9
Daydream- Numnum 6
Episode- Open My Door 2
Floria- Chitty Chitty 7
Label Up- Beautiful Tomorrow 5
Like me- Like me 1
Lunarsolar- Oh Ya Ya Ya 7
Maka Maka- Burning Power 8
Red Square- Color Full 8
Secret Number- Who Dis? 5
Weeekly- Tag me 6
Woo!ah!- woo!ah! 6

Best girl group debut of the year
90s S.E.S- I'm your girl
2000-2004 Chakra- Han
2005-2008 Girls' Generation- Into the New World
2009 2ne1- Fire
2010 Miss A- Bad Girl Good Girl
2011 Apink- I don't know
2012 15&- I dream
2013 Ladies' Code- Bad Girl
2014 Kiss&Cry- Domino Game
2015 MyB- My Oh My
2016 Cocosori- Dark Circle
2017 Dreamcatcher- Chase Me
2018 Fromis_9- To Heart
2019 The Pink Lady- God Girl
2020 Craxy- Aria
submitted by BoldnessofTrolls to kpoppers [link] [comments]

2020.09.28 10:49 twistedcherrystems This song reminds me of you.

LONG STORY, Please give advice tho, lol. I had an ex girlfriend I dated for about two years from 2015-2017, and I dumped her in the worst way possible. Ghosted her. We will call her Cam. Others didn’t know we were dating, so our mutual friends would tell me “Cam kept asking why you blocked her?” I didn’t block, I just deleted. Throughout the years we’ve seen each other a bunch of times, but we don’t talk unless it’s in a group with others around. I know it’s one of those “it never happened” kind of things. about two years ago we were at a party and we were all very drunk and she told me away from others she dreamt of me. i still think about how she told me this, and then said have you heard this song? it reminded me of you. and began to play the song and vibe out. with me she was herself and all her love. but around others she’s someone else. This previous May, we were with a few friends and when it was just her and I she got up and walked away she said “if i don’t leave i’ll do something i regret.”i would really want to be her friend again, but things are weird. she’s kinda rude now and i don’t know her anymore. i knew the old her. i requested to follow her on insta, and she hasn’t accepted or deleted. I know she’s leaving it there to be petty so I know she knows. I’m completely at fault and a bitch for leaving her like that but I was immature, and didn’t think it would happen the way it did. My friend was telling me “Cam told me she’s gonna always be hoe and never wants feelings again. That she doesn’t have a heart anymore, but idk who broke her heart.” Ive seen her lose herself over the years and her hurt herself mentally. She even got a tattoo after something I had told her many years ago. When it’s her and I it’s SO awkward and there’s so much weird tension. I really want to know her again, but i’m not sure if I want to know the new her or if she’ll even let me.
submitted by twistedcherrystems to relationship_advice [link] [comments]

2020.09.28 07:48 worldsnative [TOMT] [SONG] 2016ish SoCal pop Radio Hit Male Jamaican Singer With notable French line

The song came out around 2016 (coulda been 2015-2017). The singer is male and sounds Jamaican. There is a notable French line in the song .. for the life of me I can remember what the words are but I can only remember the tune of that line! Maybe he says “we-we or missiour.. some very basic French words. It’s definitely a up beat poppy love song. The song reminds me of Omi - Cheerleader, only because they have the same poppy vibe. I need to know what it is!
submitted by worldsnative to tipofmytongue [link] [comments]

2020.09.28 07:27 ratchetchan every Meiko Nakahara lyric* from every Meiko Nakahara album and single, compiled and romanized (+ long-ass backstory)
so this is the result of about 10 years of "work". if you have some time here's the story because SOMEBODY should know about it:
in 2002, I got into anime (via rediscovering Sailor Moon. being that this was before file sharing and before broadband was widespread, this just meant that I started watching whatever was on cable at the time. so, I saw that Dirty Pair aired on Showtime Beyond and I got into that. I liked the theme songs, and downloaded them all, even the ones that weren't airing. I particularly LOVED the opening and ending to the TV series, and I noticed that, as radically different songs they were, they were done by the same artist... who wrote and composed them herself. that stuck with me.
fast forward to some random day in 2010 when I finally thought to look up that artist beyond those two songs. the first song that came up was "FANTASY"....... naturally, thus began an obsession.
I set about finding all her albums (online - no money for international shipping I could. I found Mint, Routosu no Kajitsu, CHAKI CHAKI CLUB, PUZZLE, and Kagami no Naka no Actress pretty easy. I don't even remember what sites I found them on, there was NO kind of City Pop community or anything. I remember I had a loud, distorted vinyl rip of FRIDAY MAGIC for forever. A friend found 303, On the Planet, Coconuts House, HI ENERGY, and MOODS (!!!! for me and had to give them to me on a DVD-RW (it was 2010.)
once I got em all together, I uploaded them to MediaFire. ( if you have some Meiko files that are tagged like "Romaji title \Kanji title]" *hug*, you have my files :D) I guess somehow I knew somebody else might want to listen, *someday*...
of course once I had all this music, I at least wanted to sing along. sooo then I started trying to find the lyrics. literally had to figure out how to type in Japanese (with a LOT of copying and pasting so I could Google them, used some old raggedy website to transliterate them, then fixed the machine mistakes by manually listening and "correcting", based on all the Romaji lyrics I'd read over the past 8 years. sad, I know.
I uploaded the lyrics to SongMeanings.... then to LyricWiki. kanji and romaji. mainly as a way to back up ALL THAT SHIT I did lmfao. that was 2013/2014. and that was kinda it.

but then City Pop just fuckin exploded. I never thought I would see the day, mane. I used to get such weird looks and reactions listening to Meiko and Miki, especially being black (my sister asked once "Do they just be covering American songs?". I always thought it was my own little private weirdo musical paradise, so it cracks me tf UP to see stuff like Meiko FAN ART and how the views on my one Meiko live upload just multiplied like rabbits in 2017. I remember the process of finding the lyrics to "FANTASY" just so I could sing along, and now people are translating her lyrics. like.
when I noticed that City Pop Translations was translating her songs BY EAR (they were missing a line in "Paradise Island", I figured I could finally use my powers for good. so, I finally decided to go through my romaji and CORRECT THEM, then put them and the kanji up on LyricsTranslate. been working at this for about the past month or so and now I'm done\. enjoy!)

* to my knowledge... Meiko Nakahara released 10 albums containing 98 songs with lyrics and one instrumental ("Daybreak in N.Y. (reprise)"). additionally, she released three non-album songs: "FUNKY CHRISTMAS", "PASSION", and "DESTINATION". I have kanji lyrics to all of these songs save "Number 1" and "New York de SARUSA [New Yorkでサルサ]" from MOODS and "What's going on" and "CASANOVA" from Kagami no Naka no AKUTORESU. I'm still looking. especially for New York de Salsa. I couldn't find "Lonely Woman" but somebody posted the kanji in the YouTube comments, and now somebody translated it!!!
additionally, to complete the Meiko collection, I'm looking for a rip of Reservation Calendar by Sunset Hills Hotel. it has a song called "CONNECTED ROOM" by her. anybody seen it anywhere?
submitted by ratchetchan to citypop [link] [comments]

2020.09.28 06:45 gamewiz7 Anyone else feel like it takes a lot of time to “get” certain songs and albums

I got into Dir En Grey in 2017. For example, DSS has always been a very challenging album front end to back end at least for me. I liked a handful of songs but yesterday the whole album just clicked for me and it was amazing. I find this is a common occurrence with DIRU where 1-3 listens isn’t enough for me to truly “get” the song. No doubt, DIRU always rewards the listener with multiple replays. What I didn’t vibe with first couple listens is now a favorite song. Love this band and can’t believe I got to see them live. Any songs you can’t believe you didn’t “get” initially but now love?
submitted by gamewiz7 to DEG [link] [comments]

2020.09.28 00:49 Y0sephF4 The ИF Journey

Hey ИF Family, I would like to have your opinion on this text, if y'all think this would be a proper list of The Journey. Tell me if you think I should add or remove any songs, or maybe change the order.
The ИF Journey 🎤 -> audio only 📽️ -> music video
ИF Mansion 2015
*📽️All I Have❓
*📽️Wake Up❓
No Album 2015 *📽️Warm Up❓
Marty ft ИF 2016 -
*🎤The One With My Friends❓
ИF Therapy Session 2016 -
*📽️Intro II❓
*📽️Therapy Session❓
*📽️I Just Wanna Know❓
*📽️How Could You Leave Us❓
Futuristic ft ИF 2017 -
ИF Perception 2017 -
*📽️Outro ❓
*🎤Intro III❓
*📽️Let You Down❓
*📽️Green Lights❓
*📽️If You Want Love❓
*📽️Remember This❓
ИF Side Song 2018 *📽️No Name❓
ИF The Search 2019 I think you should do EVERY song on this album in the order I posted below. Maybe a live reaction? The album is just too great not to listen to the whole thing!
*📽️Why ❓
*📽️The Search❓
*📽️Leave Me Alone❓
*📽️When I Grow Up❓
*🎤My Stress❓
*🎤Let Me Go❓
*🎤Hate Myself❓
*🎤I Miss The Days❓
*🎤No Excuses❓
*🎤Like This❓
Paid My Dues is in response to some articles that were written after he dropped Here are the articles ⬇️
The NY Times -
Rolling Stone -
No Album 2019 : *📽️Paid My Dues❓
submitted by Y0sephF4 to nfrealmusic [link] [comments]

2020.09.27 21:03 tutetibiimperes Nugu Roundup #58 - Call them ASSA - 200927 + Album Giveaway

Hello and welcome to the latest Nugu Roundup!
What is this?: This is a weekly feature designed to highlight the unknown/underappreciated groups and soloists working hard in the Kpop world that often fall under the radar. Please share your own information, favorite performance videos, fanmeet stories, or anything else relevant below!
Last week we took a look at another set of groups who debuted and disappeared. This week let's check out a group who rose like a phoenix from the ashes of such a group, let's get to know Cignature!
Look at the first comment below for the winner of the twelfth Nugu Roundup Album Giveaway, plus details on this week's album up for grabs!
What is Nugu?: While in Korean it literally means 'Who' in the broader Kpop context it refers to groups that are generally unknown amongst the greater public. It doesn't have to mean they're extremely new, though it can, and there are of course varying degrees of 'unknown' which some groups having very strong niche fandoms and others being almost invisible. I take a fairly broad view and will include groups that may be known to some, but who don't have widespread name recognition.
Let's get on with the show...
Who are they?: Cignature is a seven member girl group under J9 Entertainment. Five of the members are former members of the group Good Day. Their name means that they will be the 'Signature of the music industry'.
Company: J9 Entertainment is a subsidiary of C9 Entertainment designed to manage the company's girl groups. Cignature is the only group signed to J9 at the moment, but C9 held the group Good Day, Cignature's predecessor group, and also manages the boy group CIX as well as hip-hop group Jacoby Planet, and soloists Younha and Juniel. They were previously the home of female rapper Cheetah and now defunct band Drug Restaurant which disbanded during the fallout from the Burning Sun scandal.
Full Group Interview
Debut: February 3rd, 2020 with Nun Nu Nan Na (MV) Live Stage (Link) Dance Practice (Link)
Most Recent Comeback: September 22nd, 2020 with Arisong (MV) Live Stage (Link) Dance Practice (Link)
First Comeback: April 5th, 2020 with ASSA (MV) Live Stage (Link) Choreography Video (Link) Dance Practice (Link)
YouTube Channel: Cignature_J9
Random Stuff
Trivia: The group was the first girl group debut of 2020. The group has two Ji Wons, and their predecessor Good Day had three, including two Kim Ji Wons. One Kim Ji Won redebuted with Red Square. The group has an unusual structure in that there is no official leader. For their debut showcase they received assistance from their company's senior artist Younha.
Soloist of the Week
Ha Minwoo/Minwoo
Who is he?: A male soloist under KMG Entertainment, and the main dancerapper of the on-indefinite-hiatus group ZE:A.
Solo Debut: September 7th, 2017 with I See You (feat. Young Cut) (audio) Live Performance (Link)
Most Recent Comeback: October 2nd, 2019 with Let Me Love You feat. Lee Youngji (MV) Live Stage (Link)
First Comeback: January 1st, 2019 with Trouble (audio) Live Performance (Link)
YouTube Channel: Minooha
Trivia: He is from Yangsan, a small city set in the mountainous region in southeastern Korea. He chose to enlist early to get it out of the way and was discharged from his mandatory service in 2017. He owns and runs a cafe with fellow ZE:A member Lee Hoo. He passed auditions for both JYP and Star Empire and chose to sign with Star Empire. He has been a part of a special project Japanese Visual Kei group called 3Peace☆Lovers (Virtual Love (MV), Illusion (MV), Love Evolution (MV)). He has appeared on a number of variety shows including After School Club, We Got Married, Hidden Singer, and Hello Counselor. He has appeared in Kdramas Prosecutor Princess and Gloria and the Japanese movie Ronin Pop.
Who were they?: A four member boy group under Poong Entertainment. Their name stood for "Brilliant Heart".
Debut: December 8th, 2016 with Sad (audio) Live Stage (Link)
Final Comeback: August 4th, 2017 with Summer Night feat. Eunji (audio)
Other Releases
Active Between: December 2016 - Late 2017
Reasons for Disbanding: Poong Entertainment appears to be defunct, with their only other artist, soloist Jung Yihan, now apparently indepdenent.
Trivia: The group faced some controversy early on in their career because of accusations that their songs Sad and Realistic had plagiarized the BEAST (now HIGHLIGHT) songs Butterfly and 12:30. Producer Stay Alone maintained that while there were similarities they did not rise to the legal definition of plagiarism, to which the producer of the BEAST songs, Kim Tae-Joo, replied that such claims were shameless.
That's it for today, let's get the discussion on!
As always, if you have any suggestions for groups, content, or things you'd like to see, please let me know in the comments below.
Also as always, a big shout-out to u/not-named-in-credits for founding nugutown and u/sharnaranwan for continuing the work over there.
submitted by tutetibiimperes to kpop [link] [comments]

2020.09.27 20:46 IndieheadsAOTY Album of the Year 2014 #26: Death Grips - niggas on the moon

Album of the Year 2014 #26: Death Grips - niggas on the moon
Hello everyone and welcome back to Album of the Year 2014, the throwback write-up series where the users of indieheads talk their favorite albums of 2014. Sorry for the day delay on this one, as we had a lot of shakeup with our schedule and needed a day to figure out our final plans to end the series off. Up today though, we'll be re-publishing ReconEG's For Your Consideration entry on Death Grips' 2014 album, niggas on the moon (Disc 1 of their double album, 2015's The Powers That B).
June 8th, 2014 - Third Worlds
Apple Music
Background by ReconEG
niggas on the moon is the name of Disc 1 of The Powers That B, the fourth and first double album from experimental hip-hop band Death Grips. Death Grips are frontman Stefan Burnett (otherwise known as Ride or MC Ride), drummeproducer Zach Hill, and produceengineer Andy Morin. Coming off the release of their third album Government Plates, the band dropped the first half of an upcoming double album, entitled The Powers That B, that they were in the process of working on and planning on fully releasing by the end of the year. Being a Death Grips was already a wild journey at this point but the cycle between this album and the release of Disc 2, Jenny Death, was well.. especially crazy.
A few weeks after the release of niggas on the moon, the band announced that they were "over," posting this note on their Facebook page which said:
we are now at our best and so Death Grips is over. we have officially stopped. all currently scheduled live dates are canceled. our upcoming double album ‘The Powers That B" will still be delivered worldwide later this year via Harvest/Third Worlds Records. Death Grips was and always has been a conceptual art exhibition anchored by sound and vision. above and beyond a "band". to our truest fans, please stay legend.
The "breakup" was a shock to many fans, and had people wondering what was going to happen with their next album, which seemingly now was going to be their last. What followed next was a hailstorm of confusion, which included the release of the first single from Jenny Death, “Inanimate Sensation,” fans finding the band’s secret Twitter account which posted photos of the 3D-rendered arena featured in the music video, the band not dropping the album before the year ended with fans theorizing release dates, the release of Fashion Week, a self-described soundtrack where all the tracks were named Runway and a letter after it, with all the letters spelling out “JENNY DEATH WHEN,” a meme created by fans waiting for the album, more fake release dates as found by record stores/retailers, a rehearsal video, and finally announcing the album’s release date, along with a tour… to a random girl on Twitter commenting on another girl’s MC Ride skirt.
Of course, the band’s breakup never ended up happening as they’ve released two more albums since Jenny Death in Bottomless Pit and Year of the Snitch, one EP, a song with Primus' Les Claypool, a 22-minute long single that might as well be an EP, and the somewhat official release of Gmail and the Restraining Orders, a soundscape that was used for the opening of the band's live shows during the The Power That B tour, released exclusively via an NTS Radio session celebrating Warp Records' 30th anniversary.
Review by ReconEG (Originally published on November 14th, 2018)
I should acknowledge that before I continue this review, this is the second time coming back and reviewing this album, as I wrote about this back in 2015 as the first ever entry to the Album of the Year series. However, it's been over 3 years since I first wrote that and I'm horribly embarrassed by anything I've made pre-2017, and since this write-up niggas on the moon’s favor has only increased in my mind, as for me, this is Death Grips' peak. While I've enjoyed their output since this record, NotM sees the band at the ultimate peak of their creative powers.
Before we get into that whole deal though, let’s talk about the music, huh? The album starts off with "Up My Sleeves", which for my money, is the best intro track to any Death Grips album ever. With the sound of an Simon XT Security System saying “Doors and windows on / Motions on” and some beeps, the song goes into a refrain by MC Ride repeating the title to an almost nauseating degree, before the real hellscape of the album kicks into full motion, with almost tortured vocal samples (that are mostly Björk, which, if you forgot, this entire album is filled with her voice throughout. Do you know how insane the hype cycle to Jenny Death was that we mostly forgot that Death Grips made a pseudo-collab album with motherfucking Björk?) and warlike drums pounding before Ride comes in for a verse that literally fetishizes suicide/death, a common theme throughout the album with the sliders between death and sex shifting throughout the whole album.
Right off the bat though with this verse and the second, something feels… off. You can tell that Ride wants to get back into the normal Death Grips zone, with wild visuals to imagine of the world’s most depraved, but there’s a creeping sense of reality that’s about to set in, as his fetishizations of death feel repetitive, almost too much so. Behind a creeping ambient piece, Ride calms his vocal delivery as he imagines his own grave, unmarked at Sacramento City Cemetery, also known as the Broadway Cemetery due to its location on the Broadway street. Before we have a moment to relax and sit back though, an evil laugh cuts through the fog as Ride’s voice unravels about a terracotta army that begins to dis-arm and dis-own him, which could easily be interpreted as about the fans, which a lot of this album could potentially be about in a lot of ways.
Then though, that sense of reality hard cuts into the frame when Ride delivers the lines “My dead mother in my dream, remember when December / Blew her ashes 'cross my jeans, off these jeans.” On previous albums, we’ve seen bits and traces of Ride’s reality behind his usual hyperbolic sensational visions, but this isn’t that. This is reality. Ride’s mother is dead and he is grieving. It’s hard to go back into the usual Death Grips mode when real death has stared at you, right in your face. And in this harsh reality setting in, so does Ride’s vocal delivery, as he literally sounds deranged as he screams “Used to know who I was, fuck if I knew who that was / Pay no mind, illogical, just don't die in a hospital/ Oh, yeah, I should be worried, oh, yeah, I'm temporary.”
He further descends into chaos by the short, fourth verse, as his deranged yells grow even further, before the refrain comes back in and out once again before a short outro with the Björk samples in full turbulence mode, with Ride’s vocals sounding almost like he’s trapped inside a computer program. This then perfectly transitions into “Billy Not Really”, which takes the sliders further into the levels of sex, with onomatopoeias all over the place in the chorus and some seriously out there imagery like being “buried in frozen Jheri curls” and “She tune in telly through your shriveled button pressed jaundice yellow.” Complete nonsense right? Most likely, but it’s this almost seemingly nonsense throughout the song that makes the hits of reality all that more powerful, as vulnerable lines like “Visits some medium, won't come near me / Treats me like a meteor, she scares me” and the vice versa switching of “She's your experience, you're her experiment” and “You're her experiment, she's your experience” catch you off guard.
This detachment but over-reliance on sex is further expanded on in “Fuck Me Out,” with the main hook of the song being “Death, fuck / Let's fuck / Just don't touch me / Just fuck-fuck me / Fuck-fuck me out / Why don't you just / Fuck-fuck me out.” The entire song is filled with short bursts of disarray, with Ride literally blabbering gibberish by the end of the track, as he doesn’t care to articulate his way into sex. He just wants to fuck and that’s that. And you know this as Ride uses the word “fuck” 86 times in this song, so really it's a perfect song to play on the radio if you ask me.
Moving back into the album, another theme on this album which I don’t really qualify too much to talk about is Ride reclaiming his black identity, which is seen mostly on “Black Quarterback.” There was a conspiracy a few months after this album came out that the entire record, and specifically this track, was a diss at Kanye West for him ripping off Death Grips’ sound for Yeezus. I should state that this conspiracy is overall dumb as fuck and we should instead focus on the fact that this song is an ACAB anthem and for that, it is good as hell.
Another thing I want to focus on real quick before we go back into Ride’s mental health spiral of terror, is how god damn good the production on this album is. While Zach Hill’s use of the v-drum kit throughout this album is awe inspiring, it’s Andy Morin’s engineering work that keeps it from descending into unlistenable territory, as seemingly enough, Morin has been the glue that’s kept Death Grips together, as his engineering work is possibly the most important element that’s made Death Grips stand out, and this album is possibly his finest work yet. While Hill and Burnett had discussed starting Death Grips for years, it wasn’t until Morin got on board that the group fully came together.
Back to the album though, “Say Hey Kid” features one of Death Grips’ most bonkers intros yet, as despite his breakneck pace, Hill is able to turn these rapidfire beats into tangible, catchy melodies. Along with the Björk vocal samples spread throughout, there’s also a lot of woodwind samples used as drum beats on Hill’s v-drum kit. As previously mentioned, but let me state this with more emphasis: a majority of the album’s beats were done by Zach Hill on an electronic drum kit. That is still insane to me. But to the song itself, it’s scathing critique of capitalism and herd mentality. The set of bars of “Don't it feel good to drive a bus / People need to get picked up / Pride your uniform and stunt / You do what my people would grunt” encapsulates this perfectly, as doing a public service like driving a bus should be something’s that’s praised, but Ride’s people (which you could interpret as other black people, but once again that is a convo I am very much not qualified to talk about) dismiss this, choosing to look up to people higher on the totem pole.
However if I do have any critiques about the album, the second half is notably weaker than the first half. While I appreciate what it has to offer more than I did in 2015, the run from “Up My Sleeves” to “Say Hey Kid” is one of the most impressive feats I’ve seen in music this decade. “Have a Sad Cum BB” is nice little Government Plates-esque refresher that establishes the depravity in “Fuck Me Out,” and “Voila” is a creepy little track that bounces between esoteric criticisms of organized religion and mental health specialists. However, “Voila” has probably grown to be my least favorite track on the album as it is the calm before the storm. The production more than makes up for it with some Hella-esque drum fills and the Björk vocal sample chaos during the refrain.
Then there’s “Big Dipper.” Good lord, what a fucking outro. You got Ride spitting out some of his most cryptic lyrics yet intercut with some of his most personal and vulnerable, as the hook of “I'm a bullshitter / I'm a shitty stripper / I'm a silhouette lifter / I'm a struck stuck off kilter / I'm a bent bewildered / I'm a fucking downer / I'm a binge thinner / I'm a Big Dipper” hits on not only every ounce of criticism people have thrown at Ride’s way, but also whatever bits of self-loafing left unsaid. And then there’s a set of lines like “(I'm a) Scarecrow dialect dispatch on that shit kommando mix / Matte moxy subwooferish junkie maxi mumbai lit” that I still do not understand at all but it sounds really cool coming out of Ride’s mouth so it doesn’t matter much to me.
And then the ending to this song and the album? “It's my pyre, agoraphobe if I want to, afford to be / Consumed / This pyre's my costume; get too close, it'll lick you / Like it likes you, cause it loathes you even more than I do” are the final sets of bars Ride says as he fades out of the mix, with only Hill’s v-drum kit left in the wake as the machine of the album completely falls apart. Not to repeat myself from the last time I talked about this album, but this part might be Hill’s finest moment as a member of Death Grips. Similar to how his old band Hella would end their sets with the track “Earth's First Evening Jimi Hendrix-less and pissed Movement 8”, Hill just goes to fucking town on that drum kit for an incredibly powerful end to an incredible album.
Now, I said earlier that this was Death Grips at their creative peak, as to me, this is before they ran out of their most interesting ideas. I made this comment about two weeks ago on the subreddit to a lot of people who ended up being mad at me. Sadly though, this is their last album that feels totally and utterly unique, sounding unlike anything that’s come before or after it since. While I still think Jenny Death is mostly great fun and features a barnburner of a track with “On GP”, it doesn’t quite compare to the cold and unforgiving atmosphere they created on this album. And then there’s Bottomless Pit, which is by far their worst album and their laziest release thus far, taking the manic energy of The Money Store but not putting any interesting ideas behind them (2020 update: it's not their worst to me now). Year of the Snitch on the other hand is a solid entry into their discography, but this is late period Death Grips and like them when they’re more maximal than minimal, which YOTS falls into the latter category of for some critical points of the album. I’ll elaborate on this a bit further in a couple of weeks when I take on YOTS in hiphopheads’ AOTY series (2020 update: this didn't end up happening and my opinion on Year of the Snitch has only worsened), but let’s tie this current review in a nice little bow.
This album is almost pure, nonstop energy, leaving you very little room to breathe in its claustrophobic environment. And yet, I’ve kept coming back to it. A lot, actually. I’ve probably listened to this album well over 100, maybe 150 times since its come out. It’s an album that balances vulnerability and mysticism in a way that I still have a lot of fun analyzing. It’s my favorite Death Grips album that seriously deserves a critical re-evaluation as there’s so much to dig into and love. Or maybe I’m looking too into things, “Ursa Major, significance minor” and all that. Nonetheless, I love this album, and you should too.
Favorite Lyrics
My dead mother in my dream
Remember when December blew her ashes 'cross my jeans
Off these jeans
Somethings only I have seen
Some people only I have been
Used to know who I was
Fuck if I knew who that was
Pay no mind illogical
Just don't die in a hospital
Oh yeah
I should be worried
Oh yeah
I'm temporary
  • “Up My Sleeves”
All my palm lines running, stretching
'Cross my palm like blind cross etching
Palm mummified chimera filming
Bronze my palm now, all brown palm now
Visits some medium, won't come near me
Treats me like a meteor, she scares me
  • “Billy Not Really”
She tune in telly through your shriveled button pressed jaundice yellow
She's your experience you're her experiment
Her box limbo fine print in obese sharpie so sorry falsetto
You're her experiment she's your experience
  • “Billy Not Really”
Your wife has a lovely neck
But what would my people suck?
If they would I could I guess
I guess her neck's the best
Her neck's just the best
Hello there, hello there
I'm perfect now and then
  • “Say Hey Kid”
I'm a bullshitter
I'm a shitty stripper
I'm a silhouette lifter
I'm a straight up off kilter
I'm a bent bewildered
I'm a fucking downer
I'm a binge thinner
I'm a Big Dipper
I'm a
  • “Big Dipper”
Talking Points
  • How about them lyrics, huh? Is there meaning behind the thing’s Ride says or is it all just mostly nonsense that sounds cool? Or is it both?
  • What do you think about the Björk vocal samples featured throughout? Do you think they perfectly add to the album’s sound or just sound annoying?
  • A lot of people think this album is a meditation on Ride’s relationship to the band’s fanbase? Do you think there’s any merit to these interpretations?
  • Do you prefer this or Jenny Death when comparing the two halves of The Powers That B?
  • Overall, where do you rank this album among the Death Grips discography?
  • And finally, where does this rank in your 2014 list?
Thank you to me, ReconEG, for the write-up two years ago! Up tomorrow, we'll have BornAgainZombie talking Kishi Bashi's Lightght. In the meantime, discuss today's album in the comments below.
submitted by IndieheadsAOTY to indieheads [link] [comments]

2020.09.27 19:37 TriCarto I left Berserk when Vol.19 was released, two days ago I came back and I've devoured Vol.19 to Vol.40 directly in two nights. It's been worth waiting so many years instead of following it monthly. What a fu—MASTERPIECE.

For no apparent reason a few days ago while I was reading articles in internet and redirecting from one to another, I saw that the band 9mm Parabellum Bullet released a new single: 白夜の日々 ("Byakuya no Hibi", translated to "Midnight sun days") and I remembered that I hadn't followed Berserk for many years since the 2016-2017 series, I didn't even remember what volume I left the manga until I looked for it.
I heard this new song and I loved it, not only the music, but the lyrics too, they are very close in meaning to the ones from "Sacrifice" -another masterpiece song- (despite I know they are unrelated because Sacrifice was written and created for the 2017 series). It's simply the curiosity of the coincidence, this new songs fits very well too for an opening. Beyond that, thanks to this I remembered everything again and I thought it was time to come back to Berserk.
Before starting with the manga I watched again the 1997 + 2016-2017 animes and the 3 movies, and then I got in. I remembered too that in 2016 I bought in CD the new album "Ash Crow" by Susumu Hirasawa because he mixed new versions of FORCES («BERSERK-Forces 2016» and «FORCES II»).
And that's it, in two nights I finished the manga from Vol.19 until Vol.40 (Dark Horse as source, in digital edition). Probably two of the best nights of my entire life.
I can't say something that you don't already know regarding the quality of this manga, but now I understand why it's so hard to go forward (and more after reading the interview with Kentaro Miura in the Berserk Official Guidebook 2016), not only the story itself is very well written (at least from my own personal opinion and point of view) but the amount of effort in each panel is simply abysmal, this can be seen and appreciated better in the digital edition with giant pages and a vertical computer monitor. I was amazed when I saw his drawing of the ships in double-page in the Solitary Island part, but when the walls of Falconia appeared opening the Vol.38 pages, my head exploded.
I don't know how much more time it will take to finish the manga, but I know the wait will be worth it, liking or disliking the ending, I don't care, because the voyage will have been the most important thing, like in Shadow of the Colossus whose story reminds me a lot of Berserk. I can't say anything negative of this manga because for me right now is perfect, I like everything of it. When this finishes, we will have a giant Bible of one of the best stories of all times of the entire anime history, what a fu—MASTERPIECE.
I will miss potato Casca though, I couldn't stop laughing every time she did something.
Sorry for this confessional, I felt I had to share my emotion. And now I'm gonna pray HAI YAI FORCES until I pass away.
submitted by TriCarto to Berserk [link] [comments]

2020.09.27 18:06 CyrusWaugh All Taylor Swift Albums Ranked (2006-2020)

And now we've reached the beginning of the end of CountryMusicStuff's first appreciation week, I loved every bit of this process, even when I was stressed out with deadlines, I kept pushing forward for you guys as a community, this has been the most fun I've had with the sub in a long time and I can't wait to explore other big and underappreciated artists. After 8 albums its time to answer the big one, which album stands tall above the rest, I'd love to know your opinion, even though I'm not touching Taylor Swift for a long time after this, I'll give a little shoutout here and there when I see it fitting. A lot of people this week have come together to appreciate all the music she's put out, and I don't want it to fade away. I'm gonna announce the placements Drum Corps style because this has built up a lot of momentum over the past week, also this was not easy, a lot of these albums were highly competitive, some rose in placement, some did not, a majority of the scores were really tight, and I'm being as critical as can be, because the fanboy in me would put all these albums around 8 or 9 out of 10.

In 8th Place With A Score Of 6.9/10:

8. Lover (2019)
Lover is last for me, as I feel like it has a lot to offer, but it fails to be cohesive, the sound ranges from candy sounding pop, to 80's synth style, to the style of Reputation and country, it's a mess in terms of lyrics and production. There a few instances where we get the peak of Taylor's vocal performance and writing skills, but mostly it feels contrived and lazy. Also this isn't last for my disdain of the trash that is the man, the album score is the average of my song ratings, so The Man only counts for 5.5% of the score. 1 song doesn't determine where I place a record. I've seen records where I give one song a 1/10 and the rest are 8,9 or 10 out of 10, and I give it a high score. The writing and sound for a lot of the record, is kind of dated, to be honest, songs like ME! or You Need To Calm Down's sound was already done 2016 and 2017, and in 2019, the sound of music changed drastically, either trap songs by DaBaby, or mellow pop songs by Billie Eilish and Post Malone trended, I'm not saying it failed as it has sold 4 million worldwide which in the streaming era is huge, and it still landed to be the most popular album of 2019, but chart wise this album didn't land, for an artist a few years back was a head of the times it feels on this record she's playing catch up.

In terms of the tracks themselves, this is the only record where I actually hate some of the tracks, them being The Man, I Think He Knows, and I Forgot That You Existed, one being dishonest lyricism and the other 2 being lazily produced and sung, normally I can pick up on something I like but not on Knows or Existed, out of context The Man is fun, but using my brain I can tell its the worst of the 3. Then we get into the decent section which is, Miss Americana, False God, You Need To Calm Down, and Death By A Thousand Cuts, these tracks are give or take, you may like the lyrics which are clever or honest, while you get bad production, like on Death By A Thousand Cuts, which is pretty descriptive but it suffers from a lot of the production concerning her vocals or in You Need To Calm Down where it is a jam, but the lyrics are lazy, and pandering, and how she keep's singing to haters and critics, why? There was a whole record dedicated to this, why do you keep bringing it up. And if you are going to, be clever about it, like Blank Space or Delicate. Then there's the good tracks that have a decent balance of both, like ME!, or Paper Rings, these tracks are often silly in their lyricism, which is okay, I'm cool with dumb silly songs, and the production really reflects the seriousness these songs lack, there are some tracks where the lyrics are so dumb and the instrumentation is advanced and beautiful, they don't fit together usually, so these tracks offer the middle lane.

The great tracks are the ones where we get to see inside her head, her personal stories, such as The Archer, which actually does a good job in describing the battle of her reputation, not addressing the haters but her own personal perspective, her relationship with Alwyn is on full display with Lover, which is one of the biggest standouts of the record, where get arguably the best bridge of her career, Luke Combs does pretty good ones, but Taylor is on a whole other level, even on tracks that aren't as great, she puts a lot of effort into bridges. Her matured view point of relationships in Cornelia Street, how this relationship is getting so good, and how if they fail, she's afraid to walk that street because its a scar. And the crown jewel of the album, Soon You'll Get Better, which is dedicated to her mother diagnosed with a terminal illness, beautifully written, I can hear every emotion going through her head, and it is heartbreaking. The record offers some of her best songs, my favorite melodies and lyrics, Just because it is barely misses a 7/10, doesn't mean don't listen to it, still 80% of this record I still listen to, I judge songs intellectually, so in terms of fun, this is around 7.5 or 8, if you are getting into pop for the first time after listening to country all your life, this is a good way to enter the genre and what to expect.

In 7th Place With A Score Of 7.4/10

7. Reputation (2017)
Reputation is considered by many to be her worst album, and majority of the people who say that, only listened to the singles, this album's opening is supposed to break your perspective, I think it is also dated, this sound of EDM, Trap was big with people like The Chainsmokers and Imagine Dragons and they were already on the decline, but while it doesn't hold up compared to the other records, there is a lot I like on it, Taylor's songwriting skills are still here, even if vocally and instrumentally it isn't, even on the bombastic EDM I Did Something Bad, there is still quality, and personally I like the production, the overall package isn't as intelligent as I'd like it to be but by the second chorus it brings it. Even on my least favorite track This Is Why We Can't Have Nice Things, while pretty forgettable melodically, is really raw in the writing, detailing how people have betrayed her over the years, and highlights her feud with Kanye West, also if you're interested in the context for a majority of the songs, I highly recommend the Netflix Documentary, Miss Americana, I skip over the political nonsense, but you get to see her mind set in her modern songs especially in Lover and Reputation.
The singles themselves are bombastic like Look What You Made Me Do and ...Ready For It, people's complaints are valid, it really comes down to personal preference, most people when listening to pop, tend to go for their ears rather than their brains, its easier when listening to country music, as the best of it reflect both instrumentation and lyrics, pop is a lot harder as songs for casual listeners are carried by the production, so she has my respect, for putting intellectualism in this style, the only other artist I think that used to be able to do something similar, was 21 Pilots but they've turned into a joke imo. The record really is divided into 2 parts, the dark and heavy sounding side which is all about her reputation and the other is her personal stories, which has a lot lighter production style, with songs like Gorgeous, if I were to put a song from Lover and Gorgeous together, you'd probably think they came from the same album, I tried it once, and that is what got a friend of mine to check out Reputation. Also quick side note, Her concert at Metlife Stadium 2018, is arguably the best concert I've been to, then again I've only been to 4 or 5, which were Toby Keith, Midland, Florida Georgia Line, and I wanna say David Allen Coe, I can't really remember, I was pretty young at the time and it was raining that day in Metlife.
The remainder songs actually highlight her new style or throwback to previous styles from older records, my favorite of the new style being So It Goes, its semi-dirty, and I gag to That's My Kind Of Night, but So It Goes is my jam. Don't Blame Me, has a electronic bass drop gospel feel to me, and while not that great lyrically, makes up for how much on an ear worm it is. Getaway Car is a fantastic metaphor, and is a great throwback to 1989, how she talks about a man, being a getaway car, and her guilt of using him like that. Dancing With Our Hands Tied is another great example of her growing skill of unique storytelling in describing relationships. Delicate is my favorite of the entire album, and highlights how she sorta disappeared for a year in the media's eyes, and how all eyes are on her, and you get a sense of freedom when there's no one watching you, the vocals are so soothing, and the drum loop blends in so well, and according to Grady, he calls it his "Chill Jam" I completely agree, then there's the elephant in the room, Look What You Made Me Do at the time really divided the fan base, but overtime this became a beloved piece of pop culture, it is lyrically so interesting, the chorus is a turn off for people, but after listening to this track tens of times, it's become on of my favorite tracks in her entire catalog. Then the closing track New Years Day, without a doubt the best track, highlighting how true love isn't in kissing, their body, or sex, its in their actions, how something as small as cleaning up after a party does so much, Overall yes I enjoy Reputation, I encourage those scared of checking out this record, give it a listen in its entirety, it's better than you think.

In 6th Place With A Score Of 7.5/10

6. Taylor Swift (2006)
To all the traditionalists before you downvote this because her countriest record is placed 6th, hear me out. Yes sonically her first record is the best. As is the case for a lot of artists in Nashville during the 2000's. But lyrically, this certainly isn't her greatest. Arguably this album is revolutionary for its key role in the start of the bro era, now I'm not comparing her to bro artists, but if you pay close attention, after 2006, you begin to see a rise in her more bro like songs charting slowly. And in this record, you get all the bro tropes, like Trucks, someones eyes, jeans, dirt roads. I certainly think she did a better job at describing adjectives than most artists, I'd put her around the same level of HARDY in that aspect, but simple adjectives are simple adjectives and there's no getting around that. And while there is a lot of traditional country sounds, to help make up for this issue, around 25% of this record leans in the 2000's pop rock trend, and that lowers my opinion of a lot especially with songs like Invisible which sounds awkward vocally for me, or A Perfectly Good Heart, I think the 2 styles in both the lyricism and instrumentation don't blend together great, and similar to how I view songs like Hey Cowgirl by Randall King, the sound might be beautiful but the lyrics are still pretty simple. She was starting to write songs at 16, she hasn't really sharpened her skills yet, this is evident on tracks like I'm Only Me When I'm With You, its sweet and fun but arguably besides the instrumentation and vocals, this is a 7/10 song, and others songs like this include Cold As You, The Outside, Stay Beautiful, all great, but I think we can agree these aren't masterpieces.
But while I approach this brutally in some of your eyes, there is still a lot I adore on the record. Our Song is a jam and while simplistic, that's the intention, the melody is as iconic to me as say something like Toes By Zac Brown Band. Picture To Burn is just a blast all the way through, that offer a lot more than a majority of the other tracks on the record, they let the instruments shine more often, you can tell she had a lot more fun with these 2 tracks than the others. The more mature songs signaled that the best of Taylor Swift was yet to come, Teardrops On My Guitar, A Place In This World, are the standouts for me as these are the stories I connected to more, I'm in my final year of high school and I this record feels so nostalgic. Teardrops captures a feeling we've all felt at one point of our lives, it's not that big lyrically, but it has so much emotion, it feels so raw and pure. Then there's Tim McGraw which was the prequel to one of the most iconic tracks of the 2010's Springsteen, who knows, maybe Eric Church was inspired by it to write his own perspective. Tim McGraw is captures every element I love and brings it all together, the great lyrics, the fantastic instrumentation and emotional vocal performance. Her first record may be your favorite, like I said almost all of them are close in striking distance for me, originally I had this in 5th place, but after listening to it 3 more times I came to accept that while the sound is gorgeous, there was just as much quality in her later years.

In 5th Place With A Score Of 7.6/10

5. Red (2014)
Red as I've said before is her most important record, which was her smooth transition of genres from country to pop, as you can tell by the ratings is a pretty good album, but while this does have the least amount of 6/10's for me, it is overwhelmed with 7/10's. 63% percent of this record is 7/10 for me. And for a pop record which I view it as, that's pretty good, it's extremely hard to make an intellectual pop record in this day and age. Most artists like Camila Cabello or Shawn Mendes while great performers don't put much brains into their songs and you're left with a 5/10 record. Red played it safe in terms of it leaning into the pop genre further than it ever did with songs like 22 and I Knew You Were Trouble. It's what I like to call a wholesome album, which is an album which intellectual and casual listeners can enjoy, songs with so much heartfelt moments, and fun moments people can universally enjoy.
So the fun moments for me are definitely songs like 22 and We Are Never Ever Getting Back Together, 22 is more of a bubblegum anthem, and those never really have vivid imagery, but this does put me in scenarios I've been in, like breakfast at midnight, however I will never EVER!!! go to a club. So there goes the relatableness. But still that melody is impossible not to enjoy (unless you're trigger) We Are Never Ever Getting Back Together is my favorite of the pop tracks, I don't think she's had as much fun in a recorded track, its a jam, still had a grudge as it was pushed to country, but still a lot of 2013 singles weren't country. Stay Stay Stay, is another fun little jam that border lines pop with modern country. It is harmless, hilarious and a good time throughout all of it. The S Tier of this record lies within the the opening and ending track, which is State Of Grace, and Begin Again, State Of Grace, shows the beginning of the end for her country career. I regret never seeing this song live, I adore it, and Begin Again, is her farewell to the genre, we get everything I love in a mature Swift song, beautiful instrumentation, compelling lyrics and sensitive vocals. And then imo the best track of the record: All To Well, so well written, beautifully sung, so perfectly built up to this dramatic conclusion. Red, is the safest record she's done, but the best of the record, is some of the best Taylor Swift has to offer.

In 4th Place With A Score Of 7.6/10

4. Fearless (2008)
This is what I call the golden age of Taylor Swift, drawing a fine line between mature lyrics and great instrumentation. This is the second time I've seen an album average out the same score, so to break it , I counted which album had the most 9/10's and here we are. Fearless brings back to a time, where I didn't have to worry about college, who I'm going to be, all I had to worry about was band and maintaining good grades. Her voice is slowly getting deeper and I got a feeling idolism. It is was my first record Taylor Swift record and I cherish it as much as I do for Chief By Eric Church, arguably 3 records broadened my perspective of the potential of country music, them being This One's For You and these 2. I've talked so much about my love of the album and I've yet to highlight why the album is good.
Definitely the simplistic parts of her writing haven't been fleshed out yet, so you have a hand full of 6/10's but they are improvements from her first record. Like Hey Stephen, to me it is clever but I find the melody extremely tedious. The Best Day, I'm sorry if you guys love this one I just don't see it, it feels too perky and you guys describe this to be over emotional, but I can't be on the same page with this. The Way I Loved You, is a bro song, her first 3 albums heavily inspired the lyrical aspect of the bro era, and I don't know whether that's a good or bad thing. Still all of these songs are good especially when I compare it to songs today. This is also her 2nd best single output for her 8 records. The singles here aren't just great for radio, their great overall. You Belong With Me is impossible not to sing along to when it comes on when we play music on the bus after a competition. This was the peak of 2000's pop. Like Robert California from the office, I don't like the Blacked Eyed Peas, I wasn't a fan of the output for a majority of these artists like Usher, or Eminem, so to hear this everywhere was amazing. White Horse is arguably the best lyrically, with how it progresses the story, but Love Story is the perfect balance those 2 songs possess. Great story production, unforgettable melodies and the best sounding song on the record. Fearless for a long time was my favorite record, it was my childhood (the parts I can remember)

In 3rd Place Receiving My Bronze Medal With A Score Of 7.8/10

3. Speak Now (2010)
Speak Now had the highest expectations from me, given how much I loved the previous record and for a long time I always viewed it as inferior to Fearless, it wasn't till this even where I realized its slight superiority. My only real complaint is how I'm not a big fan of the punk rock sound a few tracks had, but still the tracks were good nonetheless. For a long time I viewed this as her most mature record, where we got to see more of her life as a celebrity rather than stories from her past. There was a lot of innovation with the record as she also experimented with orchestras for the tracks Haunted and Back To December, both capturing the theme the lyrics capture, Haunted obviously bring out haunting melodies and Back To December, bring out sincereness. You could tell she relied less and less on the high school narrative, she really uses it 2 or 3 times imo.
A lot of the stories are so unique and feel interconnected in what I think the album's theme is which suppression of emotion. Speak Now the title track is about expressing love to some one who is about to marry the wrong woman, this is a perfect example of suppressed emotion as she does consider this is wrong, but she's tired of hiding it. Back To December is about swallowing pride rather than making a song about the man in the relationship being the wrong, this track is about how she was. Never Grow Up show's her side that never wished she grew up, how everything that matters to her aren't selling out shows, making millions but her family, I can tell I'm in the minority when say it's my favorite track, Better Than Revenge is her unleashing all her bitterness on Joe Jonas. Mean doesn't really convey the them of suppression, but still it's MEAN. The sound of it is amazing, it's pretty goofy, but that's why I love it. Dear John is the longest and most emotional roller coaster out of any Swift song, perfectly paced, unleashing all of her emotions about what I assume to be John Mayer, but I still have my doubts, take him out of the context, doesn't do a darn thing, I love this song just as much. Normally long songs eventually get me bored, but not Dear John I am moved by its haunting somber melody, the build up to her powerful vocals and one of her most compelling stories. Dear John while not my favorite, is what universally unites all fans of this record. This is currently the best country record she's ever made, who knows, Red is creeping up in appreciation, I learn a new detail every time I listen to a Taylor Swift record, so a year from now this record could be 5th or 6th or 2nd or 1st.

Receiving My Silver Medal With A Score Of 8/10
2. folklore (2020)
I don't think many people realize how much of a game changer this record is. I've argued Taylor has played catch up with Reputation and Lover, but once again she's ahead of the game. This blends several genres at once, country, soft jazz, rock, folk, pop and it doesn't feel disjointed. Without a doubt the most mature and well written record of her career as of now. If folklore was a country album, and given today's standards it is, I'd put it as the #1 album in the mainstream even above Never will by Ashley McBryde, the current leader of this year. Every single song is a fantastic album cut, it has changed the game for how she writes her songs, she's taken new perspective when singing about how she keeps up with appearances, new perspectives in break up and high school songs. The Saltbox House Chapter is a story line the spans off 4 songs, I don't remember the last time something like this has been tried, I'm sure it has but it's been a hell of a long time.
The weakest song on this track is still something with so much effort put in, Seven's only major issues are vocal and melodical, lyrically it tells the story of a forgotten friend, and she can remember everything but her physical details. One great example of new ways of writing about her reputation, is The Last Great American Dynasty, instead of talking about herself which she's prone to do a lot. She sings about others and in this case, her Rhode Island home's previous owner. It's very compelling and one of my favorite lyrically, but similar to how much I love Round Here Buzz, the percussion here is too big of a problem. The 1 definitely feels like an outlier, as it doesn't really go in the theme of the saltbox house story line, or her new perspective of her appearance. But still it's fun to listen to. I can picture myself walking through grey skies in downtown for school listening to this record. When I walk alone, I like to be alone with my thoughts and this record allows me to reach that state, even simple songs like this one.
Her songs about her and Alwyn are so wholesome, Invisible String is all about how an invisible string tied them together and they didn't know it. Little details of where they would've met earlier, places they've been to. Peace is about how while they are together, people will always look for cracks to get a story, and he doesn't are if its peaceful. Alwyn seems like the one for Taylor and I hope they last, he's better than everyone she's ever been with. I wouldn't be shocked if an engagement would be announced in the next few months as this song has finally brought her full circle as she's finally ready to commit, after everything she's been through. Mirrorball tugs at my heartstrings more than any song on the record, how she's giving everything she has in her songs, and each detail of heartbreaking her life is a crack in a disco ball. The world of music is heading into 2 directions, the trap path, which is a young generation singing in vulgar.
The Saltbox House Chapter is undeniably the best part of the record, Cardigan, is a great lead single, while not my favorite, it deserves a Grammy nomination, as does the record, most can agree 2020, was mostly a trash year for pop/r&b/hip-hop/etc, and country music is actually getting good, with quality returning more and more with people like Maddie & Tae and Ingrid Andress. August my 3rd favorite track, fills the gaps left in cardigan. We get the details of how James was seduced, how this unnamed lover felt, her joy, her guilt, and sadness. This is Taylor Swift in her prime, something she's hasn't really been in for 6 years. Betty, which is climbing faster than New Years Day, or Soon You'll Get Better ever did, is becoming a defining part of country music for 2020. Betty was the entire reason appreciation week happened, after I was done smashing stuff after the load of crap that was the ACM awards, I reminded myself of how perfect Taylor's return was. Betty in terms of structure is 2020's love story, great storytelling and the key change implies a happy ending. But Illicit Affairs takes it over the top where we get the perspective of James and the unnamed girl, every dirty vivid detail on full display. Folklore brought back the Taylor I knew as a kid, she's changed drastically in the past 14 years, and this is a sign of maturity I can respect, I do have my problems with her but this isn't the place to discuss them nor do they damage my perspective of how talented and heartwarming she is. Folklore isn't going to be for everyone, this is an intellectual album, there isn't a jam piece like ME! or Delicate, its her being the best version of herself on full display for the world to see.
And Finally In First Place Receiving My Gold Medal With A Score Of 8.8/10
1. 1989 (2014)
To put it simply 1989, is one of the greatest records ever made, I use 3 lines when I describe my praise in reviews like this and that's favorite, best and finally greatest, favorite is pretty simple, I like this song in a non-intellectual manner, it's great not in critical aspects and mostly relies on earworm melodies and licks. Examples are Tequila, or Marry Me. Best is what I use to describe what is critically great. How good is the instrumentation, the lyrics, vocals, production, examples of Best are Mr. Misunderstood, Seneca and Heartache Medication, Greatest is a combination of both but with a 3rd factor, and that is revolutionizing music all together. 1989 broke music, starting a trend that would bring me back into the pop world after I abandoned it around 2009. 1989 would change the songwriting styles and production value of many albums for years to come, in away its the here's to the good times for pop music, difference is this would improve the genre over time, not damage it. 1989 simply is a perfect pop record. Now I say perfect pop record, not perfect album there are problems with it, but a perfect pop album, to me is an album with an engaging sound, unforgettable melodies, rhythmically well tuned lyrics, and great vocal production. 1989 even its weakest moments accomplishes everything.
The opening track Welcome To New York, engages you into a thrilling setting, I'm about 15 minutes away from NYC, and while most of it is a rat hole, my first real experience by myself was this song, it is an instant classic, and I'm still mad it wasn't pushed as a single. When I take off for college this is my theme song when I leave as chances are I'm moving to New York to study Music Education. Up until folklore 1989 handled her songs about her you know what (I'm sick of using that word) Out Of The Woods, is about her wondering if she can finally relax with whoever she was dating at the time, as the paparazzi made it their mission to sniff around her personal life. I Wish You Would, while my least favorite is still a great song that probably would've hit #1 like every other single released on here. The irony of song feels so realistic, as the awkwardness and fear of a breakup can make our minds run wild of what the other is thinking, yes both Woods and Would are pretty repetitive in their melody but still they are great pop songs, compared to other songs trending in 2014, Ariana Grande is not my cup of tea, I'll never listen to her unless it's a song from Victorious. Bang Bang was mediocre at best, the literal garbage that is Anaconda. The only artists that really caught my interest was Maroon 5 and Ed Sheeran, and really only their singles did, this whole record captured me.
All You Had To Do Was Stay marks the line from the good to the great pop songs, those are jams, but Stay highlights realistic issues in a fun manner, the toughest part of relationship is arguably enduring. And by leaving you show you're not ready and not the one. This Love, could arguably be called a country song, if you use 2010 standards, its beautiful if not a bit repetitive. The only real issue the record has is how repetitive the record can get in terms of lyrics. Clean is my least favorite in terms of production and percussion, but still great lyrical messaging of how going through a breakup is like ripping off a band-aid, it will hurt no matter what, the best you can do is endure the pain and once it passes you'll clean and free of most of the pain. I Know The Places was the first hint of the reputation era, and it's all about escaping the media vultures. Pretty simple messaging, but pretty descriptive in it's rap verses. Her metaphors are well put, how they are foxes, and they will hunt them down. How You Get The Girl is another synth smash, giving simple dating advice, for both short and long term. It's a jam and honestly nothing more, with a little bit story driven details sprinkled in.
But the biggest reason this record is #1 and stands tall above the rest is the big 5: Shake It Off, Blank Space, Bad Blood, Style, and Wildest Dreams. One of the greatest single outputs ever in the history of music. Most lead singles sell around 2-3 million, and the other generic ones make around 800k. In 1989, 1 surpassed 12 million 3 surpassed 5 million and 1 passed 3 million. The only record last decade to surpass it in numbers was 21 by Adele, and it's Adele, who is extremely tough to beat, and in terms of single output I still prefer this over 21. The only album that I probably enjoy more in terms of singles in the pop world is ÷ by Ed Sheeran, and even then, you can tell in terms of a lot of the album process this record was heavily inspired by 1989.
Bad Blood is my least favorite as its the most repetitive of the bunch and while Kendrick Lamar spiced it up it didn't change my view as much. Still that opening intro is fantastic, it's what Reputation wish it could be in terms of sound. Still salty we didn't play this in Marching Band. And even so lyrically a lot of interesting stuff is going on especially in the bridge. Shake It Off while never holding up to its standard is one her best jams, alongside New York, 22 and Delicate. Some people don't like the douche like bridge, I can understand and respect that, but I act like such a kid when singing along to it. For once I thought she's rising above it all, (boy what a lie that was!) Wildest Dreams restructured the sound of a lot of slow tempo contemporary ballads. It's beautifully sung, and gives off the emotion of pleasurable guilt, I can see the influence of Lana Del Rey, and that and this 80's synth remaster give the perfect combination. Style is the best song in terms of production, nothing over the past 14 years has been able to claim that title. For about 3 years it was my favorite pop song only being surpassed by Castle On The Hill. But still I listen to this track more than any Luke Combs song, Eric Church song, or any other song from indie and Texas artist. Style gives me an emotional rush, some of y'all will be pissed with how high I rate it tomorrow, as the lyrics I admit aren't substantive, but the production is something I haven't let go of for 6 long years, Blank Space is the best of the 5 and the record as while not a return to form sonically, it is a return in terms of storytelling. Brief little details of how she behaves, her next boyfriend, highlighting and summarizing every relationship she's ever been up till 2016. No one has truly escaped her wrath in songwriting, it is arguably her peak in pop, and I'm still considering where it will end up on my list.
I do acknowledge when I praise this record it has it's problems, most are in terms of lyrical maturity, I gave it a 8.8/10, if I wasn't as critical as I was put this record around 9.3/10. There are better records out there like Pageant Material by Kacey Musgraves, The Tree by Lori McKenna, but while they are better critically in my eyes, I'll be honest, I would choose this record a thousand times. This record has one thing they don't, this record is unforgettable, if I live to 70 or 80, the 3 records that will always stay with me are Mr. Misunderstood, Seneca and 1989. Fearless is the golden age of Taylor Swift, Red is her most important record, Folklore is her most mature record, but 1989 is her Magnum Opus. It defied all of my expectations with how she handled Red, Mr. Misunderstood is the best mainstream country record of the decade in my eyes, 1989 is the not only the best pop record of this decade, but one of best of the century regardless of genre. It revolutionized the sound of music, changing it for the better, brought me back to a genre I abandoned for shallowness in every aspect, it somehow reignited that spark it had missed for several years. And that's why to me it is the crown achievement of Taylor Swift.
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2020.09.27 11:49 000sleep what songs got u hooked on each member of sadboys/d9

i got into yung lean when i heard him on yoshi city back in like 2017 but i was introduced through kyoto and hurt. i loved ecco as soon as i heard his feature on af1s and when i heard gardian angels he became one of my favorite artists of all time. for bladee it took me a little bit to get into him i would occasionally listen to sugar, be nice 2 me and into dust but my ears didnt start to adapt to his entire sound until i listened to side by side on icedancer, after that i listened to the entirety of eversince and icedancer, i loved every song. for thaiboy i listened to tiger and haters broke is an amazing intro song to an album, every single song on that album hits bro.
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2020.09.27 10:17 SemiliquidIce Additional Non K Pop Song Highlights (September 2020 - Week 3 & 4)

Welcome to the next iteration of the Additional Non K Pop Songs bi-weekly highlights for September 2020 (Week 3 & 4)!
What is this?
This feature will highlight some of the best releases that I have come across whilst curating the ‘Additional Non K Pop Releases’ table for the ‘Upcoming Releases’ feature! This feature will cover weeks 3 & 4 of September 2020.
You can view the full Additional Non K Pop Songs list here.
Here are some of the stand out songs I have come across so far this month!

BONA - Take Me
Label: Self Managed
Genre: Electronica
Streaming: Spotify / Apple Music / YouTube Music
This is BONA's debut! BONA is very fresh on the scene and doesn't appear to even have any socials which I would be able to show you!

Knave feat. Soovi - Hotcake
Label: Self Managed
Genre: R&B/Soul
Streaming: Spotify / Apple Music / YouTube Music
Knave was a trainee for a little over 5 years! Knave has also worked with Double K since he debuted back in 2017!

YELLA feat. sznae - Bloom
Label: Irelevant Co., Ltd.
Genre: Rap/Hip Hop
Streaming: Spotify / Apple Music / YouTube Music
sznae (also known as Kim Sun Jae) is under Amoeba Culture. He originally occurred on High School Rapper back in 2017. sznae has collaborated with Gaeko & J.Yung since debuting back in 2019.

eAeon feat. Swervy - Mad Tea Party
Label: Motmusic
Genre: Rap/Hip Hop, Indie Music
Streaming: Spotify / Apple Music / YouTube Music
eAeon is a member of the rock band Mot! Mot originally appeared on EBS Space, and from around 2012 they were considered 'mainstream' in Korea.

ReVorn - Road View
Label: Bridge Entertainment
Genre: Ballad
Streaming: Spotify / Apple Music / YouTube Music
ReVorn is a male duo. Gyunseong Kang was formerly under the direction of Park Jinyoung. Gyunseong Kang blood type is B, he is also 177cm tall and weighs 62 kilograms!

Byeol Eun - Certainty
Label: Interpark Entertainment
Genre: R&B/Soul
Streaming: Spotify / Apple Music / YouTube Music
This is Byeol Eun's debut! The music video was produced by H3, Musee Neuf was also in charge of the hair and makeup for the music video. Choi Jun-Han also co-starred in the music video.

W-NIC - Galaxy
Label: CiNiC
Genre: Rap/Hip-Hop, Indie Music
Streaming: Spotify / Apple Music / YouTube Music
W-NIC debuted this year! He has subsequently came back three times back since then. He is also part of hip hop duo called CiNiC. CiNiC debuted back in 2019.

Wildberry feat. EunBii - Sunrise
Label: Dynasty Music
Genre: R&B/Soul
Streaming: Spotify / Apple Music / YouTube Music
Wildberry is part of duo called VIEW. Along with being an R&B artist, Wildberry has produced songs alongside her own solo work. Wildberry has been active in K Pop since 2017.

besisi feat. SUMIN - Ideal Type
Genre: R&B/Soul
Streaming: Spotify / Apple Music / YouTube Music
SUMIN has stated that Michael Jackson, Prince, Quincy Jones, Earth, Wind & Fire, Toto, and Pomrad are her influences in terms of music. SUMIN also states that Jinbo, Sultan of the Disco, Viann, Balming Tiger, Hoody, PEJAY, and Xin Seha are her favourite Korean artists.

LUAMEL - Covet
Label: Universal Music Ltd.
Genre: Indie Music, Rock/Metal
Streaming: Spotify / Apple Music / YouTube Music
LUAMEL is an alternative rock band. They are also bandmates with DEAN! In 2020 alone LUAMEL has had a total of three comebacks. LUAMEL aim to have a melancholic and fantastical feeling of their music.

Rakon - Broken Chair
Label: YTC4LYF
Genre: Rap/Hip-Hop, Indie Music
Streaming: Spotify / Apple Music / YouTube Music
Rakon is part of the Young Thugs Club, the members of Young Thugs Club are Rakon, Zene The Zille & Dawn Dox. Rakon also appeared on "Show Me the Money 777" and gained attention, and released his first solo EP called 'Rock on 24'.

Minit feat. AVOKID - What You Did
Label: Mksm_universe/ Beyond Love
Genre: Rap/Hip-Hop, Electronica
Streaming: Spotify / Apple Music (currently unavailable) / YouTube Music
Minit (along with being a singer) is a producer and has worked alongside many well-known names such as Giriboy, Han Yohan, PENTAGON & JBJ95! He is known mainly known for his dance and EDM sound. Minit debuted back in 2018.

Hey Men - Gatsby
Label: Self Managed
Genre: Rock/Metal
Streaming: Spotify / Apple Music / YouTube Music
Hey Men (who were formerly known as Oil Band), Hey Men have won various awards since debuting their first was back in 2015 at Munives University Song Festival. They also received the Excellence Award at the 2016 Dongpyeongtaek National Band Contest. Their latest award that they won was Indistance X All That Music Competition in 2018.
Feel free to leave any feedback on how I can improve upon this for the next feature as it is very much appreciated!
submitted by SemiliquidIce to kpop [link] [comments]

2020.09.27 08:13 FearlessStarlight My personal Collection! (In List Form)

Here’s a List of my collection, I collect all kinds of things, not just a specific item type!
I love finding things I don't have or haven't seen before!
If you have any questions I can try my hardest to answer for you and if you want to see any specific item I can post a photo for you! (except most of the folklore merch for obvious reasons lol) Just let me know!
CD Collection:
Taylor Swift Era:
Fearless Era:
CMA Consideration
Speak Now Era:
CMA/ACM Considerations
Speak Now World Tour
Red Era:
1989 Era:
reputation Era:
Lover Era:
Folklore Era
Taylor Swift Era:
Fearless Era:
Speak Now Era:
Red Era:
1989 Era:
Reputation Era:
Lover Era:
Folklore Era:
8x10 Photos/8x10 Magazine Photos:
Meredith, Olivia & Benjamin Collection:
Tour Stuff: (other stuff is in other categories)
American Greeting Cards:
Wonderstruck Enchanted
Taylor by Taylor Swift
Taylor by Taylor: Made of Starlight
Incredible Things
Locker & Planners
Slim Calendars
Collector Magazines:
Other Stuff:
submitted by FearlessStarlight to TaylorSwiftMerch [link] [comments]

2020.09.27 02:51 FurkanE17 Many completions, more words [September Report '20]

I: A lot to say

Let me warn you beforehand. In this progress post, I have a lot (!) to say. I have beaten 5 games this month and abandoned almost as many. The completion amount is actually my highest since MARCH 2019 (!) apart from January, which is a month that is always inflated with completions as I get to work on my "new year resolutions". I don't know what happened but something clicked in my brain in a way for the first time since probably the beginning of 2019 in terms of me wanting to play single player games a lot again. I've never really stopped playing them since Jan' 19 but if you look at the past 5 months before September for example, I've only beaten 4 games in that time.
Or check this stat out, I actually abandoned more games than I have beaten this year, also a sign that I wasn't really feeling single player games that much so far. I didn't really follow gaming news or releases either. This month though, oh boy. Apart from playing and beating a bunch of games, I've added every game I'm interested in to my PC, Playstation, XBOX and Switch wishlists and have now compiled about 200 wishlisted games on all platforms combined. At the end of August, I had even added a bunch of games I had previously abandoned back to my backlog because I got the urge to give them another shot.
I'm also following gaming news closely again, playing coop games with my two brothers, watched the Playstation Showcase etc. So yeah, long story short, I love gaming again and I have a lot to say about my progress in September. Hope you enjoy!

II: Games I've Quit 4

As someone who enjoyed Borderlands (solo) and disliked Borderlands 2 (played it for 10 hours each with two different coop mates), I decided to try out the only Borderlands game I had yet to play (currently playing Borderlands 3 in coop). Borderlands: The Pre-Sequel was a game I thought would be at least as enjoyable as my solo playthrough of the original but it wasn't to be, as the setting just wasn't for me. And what kept me hooked long enough in the original (graphics, gameplay loop) didn't really impress me this time (graphics are still fine). Hopefully Borderlands 3 will get more enjoyable though.
Saints Row: The Third. The game that cost me fucking 1300 €... Anyway, that was a while back now, so I went into this with an open mind. It did cost me a ridiculous sum, so I could at least try to enjoy it, right? Wrong. I didn't like it. It's not my type of humor (99% of the time) and gameplay was annoying because you'd get shot at by hundreds of people at all times. That's of course the intent in this game but it's not for me. I'll still try IV and Gat out of Hell because I enjoyed what I had played of IV in coop but I'll have to officially "retire" my most expensive purchase ever... Didn't even get a fucking collectible.
The first game I abandoned this month was Shiness: The Lightning Kingdom and it took me about 30 minutes to come to that decision. The game didn't look terrible (it didn't look good either) but the visual design immediately put me off. That definitely has more to do with me than with the game but the game didn't do anything to hold my interest. It just puts you into this world and throws approximately 200 "lore verbiage" at you and has just the most basic characters ever. A dumb friend who gets lost and a "cute little companion". So yeah, not impressed and saw no reason to continue after the introductory parts.
Now this game that calls itself Vampyr... oh boy. What a giant fucking mess this game is. First the positive: Atmospherically (graphics, sounds) this game is very solid and I like the early 20th century setting in London as well. The XP system is also pretty nice: Every NPC is unique and has its own backstory and it's up to you, if you want to "embrace" them (kill them) to gain a bunch of XP in order to upgrade your skills. This in turn has "consequences", which I came to understand means that there are more things that want to kill you (?). I've played it for about 6-7 hours and embraced one NPC, so I'm not totally sure about those consequences.
But here come the negatives: First the slight negative. Combat isn't great. You can either have one two-handed weapon or one "on hand" plus one "off hand" weapon. Your on hand weapon can be something like a "Used Bludgeon" and the off hand weapon can be a "Used Stake" or just a normal revolver. That's fine. It's just unfortunate that the camera is in the way a lot. Not all the time but often enough that it becomes noticeable. You can also lock onto an enemy but once you face two enemies, the camera just constantly switches who to lock on to and you're left striking at air whenever you do press "Attack". It's not too bad though. The bad part? The dialogue system. I've played Fallout 4 and I have never ever seen such a terrible dialogue system. Example. You're in a hospital and you meet an old lady who is bedridden. You talk to her. This opens up dialogue options. You can ask her about who she is, what her thoughts are and a bunch of other personal stuff that opens up as you find out more about her. You can ask her quest-relevant stuff as well. As we talk, she gets a bit upset, so I'm presented with three choices: "Shut Up!", "Please calm down" or "I will kill you". I choose the "Please calm down" option. Her reaction? "Oh, threatening an old lady, are you?" Bruh, what? And this is not a one-time occurrence. It happens regularly. And it's not the worst thing. So many times, my question and an NPC's answer just don't align at all. And whenever I choose one of the "unlocked dialogue options", the main character decides to shout at the NPC, even if I ask something like "You're best friends with this guy, right?" or something like that.
Also, there was this couple that blackmailed patients for money. I found out, talked to them and they immediately confessed and were like "so what?". Like it's not a big deal. And that's that, the dialogue doesn't continue after that. Two hours later, I talk to the same person and a dialogue option pops up: "Have you heard anything about these blackmails?". I don't know how or when, but I ask and she says "No..". So the main character responds with: "You seem nervous". And I'm like BRO OF COURSE SHE DOES, YOU ALREADY FUCKING KNOW SHE DID IT. And then it never resolves itself. You can ask every NPC that question and nothing comes of it. You just move on with the questline. Like, what is this mess of a game? Rant over. Some of the dialogue is OK (whenever it's not broken) but for a company like DONTNOD, who are known for Life is Strange, I would've expected more from the story part.

III: Games I’ve Added 6

I got Into The Breach, Watch Dogs 2 and Where The Water Tastes Like Wine for free through Epic. All three were on my wishlist, so I'm very happy that these were given away. Though none of these are high on my "to play" priority list (don't have such a thing actually), especially Watch Dogs 2, as I still have yet to play the original.
My brother purchased Need for Speed: Payback a while back and I've decided to add it to my backlog. Been a while since I've played a racing game and this one seems to have some kind of a story. Will at least check it out at some point, why not.
Victor Vran and Viscera Cleanup Detail: Shadow Warrior are games I got years ago and for some reason decided to hide in my Steam library. Both games I'd like to give a try at some point, so I've decided to add them to the backlog.

IV: Games I've Beaten 5

A quick overview of all the games I've beaten this month. Reviews are in alphabetical order. (Bold = Game of the Month)
Owned Since: April 18th, 2020
Beaten: September 1st
Platform: PC
Playtime: 3.5 hours
I'm not really the type of person who has a lot to say about GRIS because 1) I'm (thankfully) not someone who went through what the main character is going through (depression) and 2) colorful, vibrant worlds don't really affect me much. I do however know a few people who go or have gone through depression and having listened to their stories and seen a bunch of people online talk about depression, I can definitely empathize with everyone going through depression and other mental disorders. What I can say about GRIS is that I love how the story was portrayed and how you slowly add color to the main character's world and how each level stands for the different stages of grief (I think?). And I really liked the ending as well, though unfortunately there was no audio for the cutscene. Hearing the beautiful soundtrack would have added a lot to the scene obviously, so I had to "re-experience" it on Youtube. I'm giving it a 7 because gameplay was pretty bland mostly but if you like the look of the game, you should 100% check it out.
Rating: 7/10
Owned Since: February 10th, 2020
Beaten: September 5th
Platform: PC
Playtime: 7 hours
Eliza is an artificial counselor and you play as Evelyn. Evelyn works as a proxy, someone who voices the lines in therapy sessions that the AI generates. You talk to a bunch of different patients and listen to their problems (mostly interesting conversations) and ultimately give them the help that the AI recommends (relaxation programs, medicine).
Next to all of this, you get to know Evelyn, her boss, her friends and her other contacts. They all have some kind of connection to Eliza (Evelyn does too) and it all culminates to you making a choice.
I've played through the game once and enjoyed my time with it. It's not really among the better ones I've ever played though. I never really started to find the characters Evelyn talks to interesting, so making my choice ended up being about "which choice sucks the least". You might like it more than I do and some conversations are pretty interesting to be fair, not to mention the game centering on an artificial counseling program, so check it our for yourself if you have it on your wishlist (or your library).
Rating: 6/10
Bioshock Infinite
Owned Since: September 5th, 2015
Beaten: September 17th
Platform: PC
Playtime: 12 hours
I've already typed up my AC 2 review at this point because I had so much to say about that game, so I don't know how many characters I have left in this post, which is why I'll keep this a bit shorter.
Bioshock Infinite is amazing. There is probably only one thing that keeps it from being a perfect 10 and that is the combat. It's not that it is bad but 1) after playing the first two, the third is mostly more of the same apart from not fighting big daddies and having worse plasmids/vigors. More weapon variance would have been nice as well, as a lot of weapons just felt very similar to each other.
Bioshock Infinite plays in Columbia, which is a city atop the skies (so basically the opposite of Bioshock 1 and 2) and in my eyes, Columbia is just as beautiful as Rapture. Not only is it extremely intriguing because, holy fuck we're atop the skies, but some of the landmarks are just eye popping. There is a rail system in place as well (sky-lines), which is just amazing because it's such a thrill to not only get on them but also to fight enemies, have an awesome view at the landmarks and just be in the FUCKING SKIES all at the same time. The best part involving them comes early on in the game, when you escape the Monument Tower. I've never experienced such an epic moment in a game. The music that plays when you escape, oh my god! It's just too good. You watch the Tower crumble, a huge bird flies after you, you hang on to those rails for dear life and just get goosebumps to that music pumping in your headphones. 10/10 would escape again. Just check it out on Youtube if you don't plan on playing Bioshock Infinite, it's worth watching.
The story in this game is worthy of a Bioshock plot, as it's just on another level for a video game, yet again. It starts innocently enough. You play as Booker DeWitt and have a debt. "Bring us the girl and wipe away the debt" is a line you hear over and over again in this game. Your objective is to get to Columbia, find Elizabeth and bring her to New York. What follows, and I don't want to spoil anything major, is an epic storyline with twists and turns I never saw coming. Would I want to have a sequel some day? Sure but I don't know what would come after this. Ken Levine and Irrational Games, hats off to you.
Rating: 9/10
Viscera Cleanup Detail: Shadow Warrior
Owned Since: July 17th, 2017
Beaten: September 18th
Platform: PC
Playtime: 1.5 hours
Yes, this game has the same rating as AC 2 but both games try completely different things, so it's not comparable really. This game is more for relaxing while you mindlessly clean up after Lo Wang slicing up a bunch of dudes while AC 2 tells you a story semi-successfully and pads its playing time with repetitive content.
VCD: Shadow Warrior is fine for what it is. I would never try another one though because man, is it infuriating when I can't properly see my bucket, run it over and have another huge mess to clean up after. Better controls and I'm back in, maybe, for another freebie like this.
Rating: 5/10
Assassins Creed II
Owned Since: 2016
Beaten: September 26th
Platform: PC
Playtime: 20 hours
Oh man, do I have A LOT to say about Assassins Creed II. Where do I even begin? I guess, as always, with my previous experiences with the series. When I really got into gaming back in 2015, one of the first games I bought was a used copy of Assassins Creed for my PS3. It's one of the most famous gaming series out there, so it was one of the first games that came to mind. It didn't take long for me to abandon it, mainly because I played The Witcher 3 and Skyrim at that time as well but also because the game wasn't all that great. Years later I retried it, beat it and didn't touch the series for a while. I've since tried AC: Origins, played AC: Freedom Cry (expansion to Black Flag) and had started and abandoned AC 2 in (let me check) March 2018. Wow, it's been that long, damn. Anyway, I then decided that I'd ignore the series from now on because I don't like it but recently, I just had the urge to give the series another shot.
So here we are. I gave it another shot. And let me start with something positive: I definitely will play later releases of this series and will definitely check out Assassins Creed: Brotherhood next. I mean, I own every single game of the series apart from AC: Rogue, so why not. But that's not the only reason. While my review of AC2 will not be amazing (I'm going to give it a 5, which in my rating system means "OK" or "Just about average"), I've seen gameplay of games like Unity and they just look soo much better in terms of graphics and controls.
Let's continue with the positives, shall we? The soundtrack is really good. There is one song called "Ezio's Family", which plays at the beginning (and at other parts as well) when you race your (Ezio's) brother atop a building and the camera pans out to show a shot of Florence. Other songs also fit well with what's on the screen at all times but "Ezio's family" is on another level in my opinion.
Talking about Florence though, the settings of Venice, Tuscany and Monteriggioni (and Florence) are ones that are not usually used in games and I can't imagine how awesome it must have been to experience them, if you've ever been to any of these locations, especially Venice and Florence. Though the game is 11 years old now, so the graphics don't really do those cities justice. Also, while Venice looked really nice, I kept falling into the river - because there's water everywhere - so I don't know how well Venice lends itself to being a setting in games, though that doesn't seem to be something anyone really was bothered by but me.
In terms of story, I thought that the first sequence and how the rest of the game is set up by the events in that sequence was awesome. It's a tired trope (Ezio's brothers and father get killed) but it definitely helps you sympathize with the main character and aid him in his revenge. Was it perfectly set up? No. It happens 30 minutes into the game. You don't really build a relationship with your family up to that point.
I'm also not too opposed to Desmond's story like so many people seem to be. It adds an overarching story to these early AC game and I don't know if the stories about the pieces of Eden could be as well told, if not for a connection to modern day events. The ending went a bit overboard I thought but there is a lot still to be cleared up, so I'll hold off on any further opinions on that for now.
Let's now get to the negatives. Now first up: The game is 11 years old. I get it. I never expected it to hold up to today's standards of gameplay. I didn't expect it to be this bad though.
Let's start with the controls. OH MY GOD THE CONTROLS! The amount of times I just wanted to climb up and would jump into my death. The amount of times I would want to jump on a ledge and miss it for no conceivable reason whatsoever. These things also happened multiple times: Running after someone only to jump on a helpless civilian. Running after someone just to walk into a wall slightly and Ezio just holding on to a ledge for 2 seconds, even though I tell him to let fucking go. Wanting to walk faster only to pickpocket someone unintentionally. Trying to get on a platform just to constantly fall down because some enemy walked into me. There were like 100 other things I can't remember but it was damn infuriating. This imperfection I can at least put on the game's age and it mostly didn't diminish the experience. Wall climbing and parkouring were probably pretty new and different back then, so I can see how people probably weren't bothered by the controls that much.
The side content was boring and repetitive. I know it's a Ubisoft game but AC 2 was on another level. This too I can put on the game's age. The series grew with each iteration, so I'm not too annoyed that the earlier games aren't that good when it comes to side content. For example: There are a handful of races, where you need to beat someone else's time. The quest giver always gives you the same speech and there isn't much else to it. Then there are a bunch of wives who tell you that their husbands cheat on them, so you go beat them up. That's it. There is nothing else to it, no substance and no proper reason why Ezio would give a fuck, especially later in the game. Then there are many assassinations where you randomly assassinate people. Those are fine. Again, there isn't anything else to them but if you enjoy assassinations so much, enjoy. Other than that, you need to collect 330 (!) chests, climb 73 (!) watch towers and find 100 (!) feathers (among other things) to reach 100% synchronization. That's just too many chests and feathers. The watch towers wouldn't be too bad if there wouldn't often be two of them right next to each other for the sole purpose of just adding more watch towers. I guess future titles have even more of them? Man.
Is there any good side content? Yes, the Assassins tombs. There are six of them. In each, you basically turn into the Prince of Persia, do a lot of parkouring with sweaty hands because you don't want to fall off that final ledge because the controls suck and you get rewarded with a seal. Six of those seals you will need to unlock Altair's suit, which is awesome and gives you an actual incentive to explore the tombs, which are nice to explore on their own anyway.
Also, you have the Auditore villa in Monteriggioni. There, you can use floren (currency) to upgrade the villa and its surroundings, put codex pages that you can find in the world on a wall and collect money from a chest that increases based on how far you've upgraded the villa. You can also add feathers that you collect inside a box in your mother's bedroom, who, FOR THE ENTIRE DURATION OF THE GAME, just kneels next to her bed and prays. That's it. That's her whole contribution. And remember, the game takes you from about 1476 to 1499, so who kneels for 20+ years and doesn't age at all? The same goes for Ezio's sister, who's bookkepping in the villa and still looks the same in 1499 as she did in 1476. I know it's a game but that's the kind of detail that you should and can pay attention to, whether your game released in 2009 or 2020.
I've been writing a lot about this game so far, so let me get into the story to end this. And a story is 100% something that either is or is not good. Especially if it's, in its premise, as unique as the Assassins Creed storyline. As I said already, the starting point is pretty strong, though with a lot of potential for more. Ezio is introduced as this free spirit who's only interests are women and having fun. And I get it, if you go from Altair, who is rather stoic to a charismatic and extroverted character like Ezio, it's understandable why people immediately liked Ezio. Do I like Ezio? Yeah. Do I think he's an incredible character? No, not really. In my opinion, his character isn't really developed that well. He just goes from being a naive kid to a naive kid who is also an assassin to a grown man with similar traits to when he was still a naive kid to ultimately someone who can hold introspective speeches in front of crowds and finally can somewhat live in peace with the death of his father and brothers. There isn't really much else to him and the mentioned character development really happens out of nowhere. Within a sequence (chapter) you jump up to foufive years and don't really notice it at all (until he gets all grown up and grows a beard).
The game in my opinion makes the mistake of prioritizing quantity over quality. Instead of focusing more on Ezio, who doesn't really get to talk about himself and his experiences apart from a couple short conversations (the speech, talk to Rosa and five second interactions with his victims), the devs just thought: "Hey, why don't we add 400 targets, so that the game takes longer to beat." And by doing that, two things happened. 1) The sequences focus on building up a target you've previously never heard of before. This means less focus on developing Ezio. 2) The targets come and go as you assassinate them, so there isn't much time to develop them either (apart from the main antagonist of course). Due to that, you are left with a bunch of generic old dudes who all have just about the same reasons for why they are the bad guys (power).
It's a common thing with Ubisoft from my experience. For example, Pagan Min in Far Cry 4 was such an interesting antagonist to me (because of his connections to the main character's mother for example) but at the end, he is just being shown in a handful of cut scenes and heard through a half dozen or so phone conversations. Same goes for Vaas in Far Cry 3, who's so beloved but ultimately also rarely appears in the game. I don't get it but at the same time I do. If you got a year or two between games, it's easier to create content by duplicating boring side missions 10 times than writing up intricate storylines and interesting or well developed characters.
The worst offense happens in Sequence 13, where in order to assassinate the main guy, you're tasked with assassinating NINE (!) of his lieutenants, who you've obviously never heard of before. And the main target? Didn't appear before Sequence 12 and had literally two appearances. When you meet him and when you kill him. It's so bad and it's not easily justified with saying (oh it's an old game). Assassins Creed 1 wasn't a masterpiece by any means (though I might have a different appreciation story wise for it today) but the introspective, long conversations between Altair, his "task-giver" and especially his targets, who mostly had at least different motivations here and there, made for a much more believable and understandable development of Altair's character.
So all in all, AC 2 is rightfully a well-acclaimed game for its time, though it has aged terribly mostly and never really prospered in some aspects to begin with.
Rating: 5/10

V: Currently Playing

Playstation 4
Xbox One
Nintendo Switch

VI: 12in12 original list 10/12 completed

Yessir, one more completion with Bioshock Infinite beaten. For my Year in Review post, I'll be taking a look at the average rating I gave to these games to see how successful I was in putting good games into this list. Spoiler: The rating will be very high. Only bad game in there is Pokémon Sword, which is definitely a candidate for Worst Game of the Year. Oh well.
Looking ahead, I'm confident of beating Batman Arkham City but not so confident about Mass Effect 2, as my playing time will dramatically be reduced once uni starts in November. We'll see.

VII: My Stats

If you're a patient gamer, these past few years have been really good to you. About 25 games out of the 54 I added where games I previously owned, abandoned and then readded. But paying 53€ for the other 30 games is pretty good I must say. Just look at this month: I got Into the Breach, Watch Dogs 2 and Where The Water Tastes Like Wine for free! If you'd stop buying games and just play the ones you get for free you'd be a very busy man. So with all the shit going on in 2020, we at least got that going for us.
Anyway, thank you for reading and best of luck to you all for next month! :)
submitted by FurkanE17 to 12in12 [link] [comments]

2020.09.27 01:44 Albert__Zweistein Nobody seems to share my passion.

First off I have to state that I am not obsessive over my passion, I still lead a normal life, but my hobbies include collecting vinyls and photo restauration.
I am 18 and madly in love with the 60s-80s. The music, fashion, TV shows, movies, way of talking - it has mesmerized me. Ever since the pandemic hit, I had a lot of spare time and I spent it in front of my turntable. Old german Schlager and Chanson really have a special place in my heart, as well as some distinct stars of this era. (For example Margot Werner, Elisabeth Volkmann or Hildegard Knef are some of the most beautiful women to me, alongside having such distinct wonderful voices.) The fact that really hurts my heart is that I cannot share my love and admiration for these amazing actors and actresses, the classic beauties, the music with anyone! Sadly, a lot of them already passed away and I can’t write them a letter / thank them anymore. (I plan on visiting some graves to lay down some flowers though.) What bugs me the most: You might think that YouTube or the internet in general would hold enough data to satisfy my curiosity. Instagram alone holds millions of photos that look identical and lack creativity, everyone can look for anything at any given time. But songs or even film productions as a whole are lost, dammed to rot in an archive. I know that there are rules and copyright restrictions, but it feels like I am on a treasure hunt for pictures and videos, I get super close to my destination and then somebody tells me that had I asked for the video in 2017, they could have given me a copy without any problem at all! These amazing pieces of TV history and old Dias sit in the archives of television companies, nobody wants to watch them, but because I am not researching anything, I too cannot access them.
Maybe somebody on Reddit has advice for my ongoing search. Maybe somebody feels similar or shares my passion, feel free to chat, I’d love to talk to you!
Tldr: Can’t really identify with modern pop culture, longing for long gone celebrities.
submitted by Albert__Zweistein to offmychest [link] [comments]

2020.09.26 18:11 SnowyEssence MigoThuggin Songs

I posted this in the Young Thug Sub figured I should post it here too. Here’s a copy and paste.
Here’s a list of songs from that era that you guys can listen to if you were ever wondering what the mixtape would sound like. Most of them are leaks, some of them from the studio sessions around that time (late 2015/early 2016).
Add It Up - Young Thug, Offset, Solo Lucci
Crime Stoppers - Young Thug, Migos, Skippa Da Flippa
The Stoe - Young Thug, Migos
Five Guys - Young Thug, Migos (released through one of Zaytovens album)
Clientele - Young Thug, Takeoff, Quavo, Duke
All Of My Bitches Love Me - Young Thug, Quavo, Offset
Money Talks - Young Thug, Quavo, Offset (idk if this is from the same era it was probably made during Im Up or Jeffery)
My Choices - Young Thug, Offset
Get It On My Own - Young Thug, Offset
Snippets from that era
Booty Shorts
Big Boy Choppa
I Won’t
Here’s some more songs that they made together in 2015-2016
Cocaina - Migos, Young Thug
Special - Young Thug, Offset, Solo Lucci
F Cancer - Young Thug, Quavo
Cocoon Remix - Migos, Young Thug
Stiff Arm- Young Thug, Offset, Quavo
Guwop - Young Thug, Offset, Quavo, Young Scooter
Whole Lotta - Young Thug, Duke, Quavo, Lil Yachty, Takeoff (2017)
Sadly we probably wont ever hear the rest of this album since Migos and Thug probably moved past it
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2020.09.26 17:24 zombie_wonderland A list of strong military fantasy books

The best military fantasy isn’t just a bunch of castle sieges and knights hacking at each other (although those are fun). The most interesting books also examine what life in the military actually involves, and what combat can do to a person’s mind.

13. The Red Knight by Miles Cameron - 2012

Book 1 of 5 in The Traitor Son series
Twenty-eight florins a month is a huge price to pay for a man to stand between you and the Wild.
Twenty-eight florins a month is nowhere near enough when a wyvern’s jaws snap shut on your helmet in the hot stink of battle, and the beast starts to rip the head from your shoulders. But if standing and fighting is hard, leading a company of men—or worse, a company of mercenaries—against the smart, deadly creatures of the Wild is even harder.
It takes all the advantages of birth, training, and the luck of the devil to do it.
The Red Knight has all three, he has youth on his side, and he’s determined to turn a profit. So when he hires his company out to protect an Abbess and her nunnery, it’s just another job. The abbey is rich, the nuns are pretty, and the monster preying on them is nothing he can’t deal with.
“Literate, intelligent and well-thought-out…a pleasingly complex and greatly satisfying novel.”
―SFF World

12. The Darkness That Comes Before by R. Scott Bakker - 2003

Book 1 of 3 in The Prince of Nothing series
In a world scarred by an apocalyptic past, evoking a time both two thousand years past and two thousand years into the future, thousands gather for a crusade. Among them, two men and two women are ensnared by a mysterious traveler—part warrior, part philosopher, part sorceress, and a charismatic presence from lands long thought dead.
“[An] impressive, challenging debut, the first of a trilogy… [that will] please those weary of formulaic epic fantasy.”
—Publishers Weekly

11. Deed Of Paksenarrion by Elizabeth Moon - 1988

Book 1 of 2 in the Paksenarrion series
This book contains the first three books of the Paksenarrion series.
Paksenarrion, a simple sheep farmer’s daughter, yearns for a life of adventure and glory, such as was known to heroes in songs and story. At age seventeen she runs away from home to join a mercenary company and begins her epic life . . .
Book One: Paks is trained as a mercenary. She is introduced to the life of a soldier, and to the followers of Gird, the soldier’s god.
Book Two: Paks leaves the Duke’s company to follow the path of Gird alone—and on her lonely quests encounters the other sentient races of her world.
Book Three: Paks the warrior must learn to live with Paks the human. She undertakes a holy quest for a lost elven prince that brings the gods’ wrath down on her and tests her very limits.
“Brilliant . . . the excitement of high heroic adventure . . . will enchant the reader.”

10. The Rage of Dragons by Evan Winter - 2017

Book 1 of 2 in The Burning series
The Omehi people have been fighting an unwinnable fight for almost 200 years. Their society has been built around war and only war. The lucky ones are born gifted. One in every 2,000 women has the power to call down dragons. One in every 100 men is able to magically transform himself into a bigger, stronger, faster killing machine. Everyone else is fodder, destined to fight and die in the endless war.
Young, giftless Tau knows all this, but he has a plan of escape. He’s going to get himself injured, get out early, and settle down to marriage, children, and land. Only, he doesn’t get the chance.
Those closest to him are brutally murdered, and his grief swiftly turns to anger. Fixated on revenge, Tau dedicates himself to an unthinkable path. He’ll become the greatest swordsman to ever live, a man willing to die 100,000 times for the chance to kill the three who betrayed him.
“Winter’s stunning debut fantasy epic is rich in complex characters and a well-wrought world with both European and African influences.”
―Publishers Weekly (starred review)

9. The Sword of Kaigen by M. L. Wang - 2019

Born into Kusanagi’s legendary Matsuda family, fourteen-year-old Mamoru has always known his purpose: to master his family’s fighting techniques and defend his homeland. But when an outsider arrives and pulls back the curtain on Kaigen’s alleged age of peace, Mamoru realizes that he might not have much time to become the fighter he was bred to be. Worse, the empire he was bred to defend may stand on a foundation of lies.
Misaki told herself that she left the passions of her youth behind when she married into the Matsuda house. Determined to be a good housewife and mother, she hid away her sword, along with everything from her days as a fighter in a faraway country. But with her growing son asking questions about the outside world, the threat of an impending invasion looming across the sea, and her frigid husband grating on her nerves, Misaki finds the fighter in her clawing its way back to the surface.
When the winds of war reach their peninsula, will the Matsuda family have the strength to defend their empire? Or will they tear each other apart before the true enemies even reach their shores?
“This companion novel to a YA series tells the story of a mother and son caught up in a shadow war… Wang’s novel mixes sci-fi technology with the martial arts lore of East Asia to create a fantasy realm that is intricate and original.”
—Kirkus Review

8. The Way of Kings by Brandon Sanderson - 2010

Book 1 of 4 in The Stormlight Archive series
Roshar is a world of stone and storms. Uncanny tempests of incredible power sweep across the rocky terrain so frequently that they have shaped ecology and civilization alike. Animals hide in shells, trees pull in branches, and grass retracts into the soilless ground. Cities are built only where the topography offers shelter.
It has been centuries since the fall of the ten consecrated orders known as the Knights Radiant, but their Shardblades and Shardplate remain: mystical swords and suits of armor that transform ordinary men into near-invincible warriors. Men trade kingdoms for Shardblades. Wars were fought for them, and won by them.
One such war rages on a ruined landscape called the Shattered Plains. There, Kaladin, who traded his medical apprenticeship for a spear to protect his little brother, has been reduced to slavery. In a war that makes no sense, where ten armies fight separately against a single foe, he struggles to save his men and to fathom the leaders who consider them expendable.
Brightlord Dalinar Kholin commands one of those other armies. Like his brother, the late king, he is fascinated by an ancient text called The Way of Kings. Troubled by over-powering visions of ancient times and the Knights Radiant, he has begun to doubt his own sanity.
Across the ocean, an untried young woman named Shallan seeks to train under an eminent scholar and notorious heretic, Dalinar’s niece, Jasnah. Though she genuinely loves learning, Shallan’s motives are less than pure. As she plans a daring theft, her research for Jasnah hints at secrets of the Knights Radiant and the true cause of the war.
“I loved this book. What else is there to say?”
―Patrick Rothfuss, author of The Name of the Wind

7. Furies of Calderon by Jim Butcher - 2004

Book 1 of 6 in the Furies of Calderon series
For a thousand years, the people of Alera have united against the aggressive and threatening races that inhabit the world, using their unique bond with the furies—elementals of earth, air, fire, water, wood, and metal. But in the remote Calderon Valley, the boy Tavi struggles with his lack of furycrafting. At fifteen, he has no wind fury to help him fly, no fire fury to light his lamps. Yet as the Alerans’ most savage enemy—the Marat horde—return to the Valley, Tavi’s courage and resourcefulness will be a power greater than any fury, one that could turn the tides of war…
“At the start of Butcher’s absorbing fantasy, the barbarians are at the gates of the land of Alera, which has a distinct flavor of the Roman Empire…”
—Publishers Weekly

6. Gardens of the Moon by Steven Erikson - 1999

Book 1 of 9 in the Malazan Book of the Fallen series
The Malazan Empire simmers with discontent, bled dry by interminable warfare, bitter infighting, and bloody confrontations with ancient and implacable sorcerers. Even the imperial legions, long inured to the bloodshed, yearn for some respite. Yet Empress Laseen’s rule remains absolute, enforced by her dreaded Claw assassins. For Sergeant Whiskeyjack and his squad of Bridgeburners, and for Tattersail, their lone surviving mage, the aftermath of the siege of Pale should have been a time to mourn the many dead. But Darujhistan, last of the Free Cities, yet holds out. It is to this ancient citadel that Laseen turns her predatory gaze.
However, the Empire is not alone in this great game. Sinister, shadow-bound forces are gathering as the gods themselves prepare to play their hand…
“An astounding debut…has the potential to become a defining work.”
—SF Site

5. Promise of Blood by Brian McClellan - 2013

Book 1 of 3 in the Powder Mage series
Field Marshal Tamas’s coup against his king sent corrupt aristocrats to the guillotine and brought bread to the starving. But it also provoked war with the Nine Nations, internal attacks by royalist fanatics, and the greedy to scramble for money and power by Tamas’s supposed allies: the Church, workers unions, and mercenary forces.
Stretched to his limit, Tamas is relying heavily on his few remaining powder mages, including the embittered Taniel, a brilliant marksman who also happens to be his estranged son, and Adamat, a retired police inspector whose loyalty is being tested by blackmail.
Now, as attacks batter them from within and without, the credulous are whispering about omens of death and destruction. Just old peasant legends about the gods waking to walk the earth. No modern educated man believes that sort of thing. But they should…
“McClellan’s debut packs some serious heat…A thoroughly satisfying yarn that should keep readers waiting impatiently for further installments.”
―Kirkus (starred review)

4. The Thousand Names by Django Wexler - 2013

Book 1 of 5 in The Shadow Campaigns series
Captain Marcus d’Ivoire, commander of one of the Vordanai empire’s colonial garrisons, was serving out his days in a sleepy, remote outpost, until a rebellion left him in charge of a demoralized force clinging to a small fortress at the edge of the desert.
To flee from her past, Winter Ihernglass masqueraded as a man and enlisted as a ranker in the Vordanai Colonials, hoping only to avoid notice. But when chance sees her promoted to command, she must lead her men into battle against impossible odds.
Their fate depends on Colonel Janus bet Vhalnich. Under his command, Marcus and Winter feel the tide turning and their allegiance being tested. For Janus’s ambitions extend beyond the battlefield and into the realm of the supernatural—a realm with the power to reshape the known world and change the lives of everyone in its path.
“A spectacular epic fantasy debut.”
—Fantasy Book Critic

3. His Majesty's Dragon by Naomi Novik - 2006

Book 1 of 9 in the Temeraire series
When HMS Reliant captures a French frigate and seizes its precious cargo—an unhatched dragon egg—fate sweeps Capt. Will Laurence from his seafaring life into an uncertain future–and an unexpected kinship with a most extraordinary creature.
Thrust into the rarified world of the Aerial Corps as master of the dragon Temeraire, he will face a crash course in the daring tactics of airborne battle. For as France’s own dragon-borne forces rally to breach British soil in Bonaparte’s boldest gambit, Laurence and Temeraire must soar into their own baptism of fire.
“Terrifically entertaining.”
—Stephen King

2. The Black Company by Glen Cook - 1992

Book 1 of 4 in the Black Company series
Some feel the Lady, newly risen from centuries in thrall, stands between humankind and evil. Some feel she is evil itself. The hard-bitten men of the Black Company take their pay and do what they must, burying their doubts with their dead.

1. World War Z by Max Brooks - 2006

This book is a series of vignettes from people across the world experiencing the Zombie War. There’s no central protagonist, which makes the reading a little more difficult, but makes the whole book feel more real.
I realize putting zombies in a fantasy book list is a bit of a stretch, but it's close enough for me. I also loved the book.
The Zombie War came unthinkably close to eradicating humanity. Max Brooks, driven by the urgency of preserving the acid-etched first-hand experiences of the survivors, traveled across the United States of America and throughout the world, from decimated cities that once teemed with upwards of thirty million souls to the most remote and inhospitable areas of the planet. He recorded the testimony of men, women, and sometimes children who came face-to-face with the living, or at least the undead, hell of that dreadful time. World War Z is the result. Never before have we had access to a document that so powerfully conveys the depth of fear and horror, and also the ineradicable spirit of resistance, that gripped human society through the plague years.
“Will spook you for real.”
—The New York Times Book Review
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