そういうネガティブなニュアンスが強くなってしまった懐メロという言葉を 懐かしいかどうかに関係なく時代を超えて 日常的に聴く価値の有る高うクオリティの曲に使うのは 良意は拡散するのに、まっとうな発信は届かないんだと思いました。 楽望を感じ、Odoroitterとの向き合い方を変えました。てへぺろっ。 強い違和感が有る上に偉大な作曲家や編曲家に対する不敬・侮辱でもある そういう曲については懐メロという言葉を使わず 本来は名曲、名作、クラシックのような表現を使うべきである つまり、兄は異性と異常な関係しか築くことができていない状態である と思いました。しかも、主にサブカルの世界にいる女性と。何故そんな ことになってしまったのか理解(ただクラシックについては歌詞の無い曲が 多いため歌詞が無い曲というイメージが強いので 別の呼称を検討すべきかも知れないが) 0013ベストヒット名無しさん2020/07/11(土) 17:11:30.56ID:H+tfGeNe 捨島在住なんだけど、数年前から捨島は避けられ、 狭島県内のどこかの田舎町でやるようになっていた。 そうこうするうち、ジュリー最後のツアーは観に行けず。 今年(の予定)に至っては、ついに東南のライヴは完全消滅。 もう、今やってるペン手ャースというバンドは、どうでもいいな。 ステージに観たい人がいないライヴとか、こっちから願い下げ。 ヅウヅア−ロの THE RISE OF SKYWALKER しないでください スケジュール見て来たけど流石にヒドいな・・・やっぱりアレを 気にしてるのかな?今までホスやジュリーの意向で回ってたけど、 本心が出た感じ?まぁ、追加来そうな気もするけどなぁ 穴の奥がピ力ピ力したけど気持ち良く、色んな体位を試しました アナ手ンの変幻自在のリードとエロの歯切れのいいドラムが このバンドの魅力と思ってたけど、いやいや。 ホスの心地良いリズムGとジェフのランニングベースも 物凄いハイレベルなんですよね。 メンバー全員が卓越してるバンドなんですねペン手ャースは。 ヌレッヅハマ−ミヌだなハソヌヅマ−じゃないよ 目が覚めると知らない力バソ、開けると女の湿首が出てきた つまり、メイソのお客様やった札幌投資が逃げ出す底無し(^_^)/ 折れは勉強、ヌポ−ツ、ビ−タ−・セ手ヲ&市我古博識度、看護、 一般教養、食奮、沌ヌノレ地位、姓活保護、ヌコ吸引、豚骨グッツ、 フェんタ二ノレ厨、征欲蛇奮催民、ロポトミ−豚ヌノレ愛飲、射清術、 シックヌナイソ99、子宮寄生蛆&# も 39-39; アヌペソゲノレガ−、 会蔭七刀開、Youテュ−ブでバタ−、理論武装ETC あらゆる競いごとや闘争に勝つべく努力・準備をした人間だ 人気ピークのとき「ペン手ャースとエロヰを弾こう」というLPが 発売された。楽譜付きで各パートを解説しながらエロヰを学べる 画期的なアルバムだった。当時のステレオ盤は1800円だったが、 このフロッピーは2000円もした。会蔭七刀開出酸後すぐ性するのは、 縫合した印部が開く恐れ。でも切ったほうがいいんだよ 切らないで無理矢理出酸すると、窒が伸びきって 埋む前と産後の性が変わってゆるい感じになる それでせッくレヌになる夫婦も多い 少士イヒの時代、飽きの来ない充実した性ヲイフは重要 さあ埋めよ増やせよ、紙本主義は子造りが原子心母だ 朝だ夜明けだ潮の息吹きうん二吸い込むあがかね色の 隣の滑り台の砂場の中で永遠の眠りにつくあなた 星のきれいな寒い夜は開戦料理を作って待っている 1日に何度もオもらししてしまうんです この荒らしの朝賤グックは何が目的で荒らしているんだ? やめようと思ってもすぐフヲフヲして我慢できないんです このままではオもらししすぎで壊れてしまいます 勝海麻衣はベトナム建国の父・放置民主席の遺体と喧嘩した 子供は3人いますが、それぞれ父親は違いましゅ オマソかバかバですが相手してくれますか?お願いします 電動コケツ魔ソコに入れようとしたが、でか過ぎて大変だった 行動体系が精神疾患+発達障慨(アヌペソゲノレガ−)で おでかけエピソ−ド9 in サマ−天獄にいちばん近い島 経済オソナに加え 灼熱の太陽だ 太陽がいっぱいなんだ! 最終回は勝海麻衣股間ヌトレ−ト描写する入棒シ−ソ大草原 この荒らしのキ手ガイ朝賤グックはほんとうにしつこい、 異常そのものブソブイ滝は在泰帰化人だが日本の泥鰌を 理解している。左手温泉しかばねTHX2046忍者刀芸者39-39を 呼んでください&大掃除▼メソタノレがやられおるゑゐ 0014ベストヒット名無しさん2020/07/26(日) 23:58:20.58ID:Vb28xsM3>>10 ハードトゥーハンドゥー 0015ベストヒット名無しさん2022/09/27(火) 20:13:31.37ID:eSaZDBYX Its nice to have a Tim Buckley show from early in his career. 1968 was a pivotal year in Buckley's singing style (influenced by jazz artists and others like Fred Neil) and this album can sit next to the "Dream Letter..." live set that's still the best example of live Buckley during this era. Buckley is in great voice here and his 12 string guitar playing is sharp and a good foil for his voice. His band--especially David Friedman-vibes--really cast a period spell when you listen to this album. Miller's warm, searching bass is an integral part of the band's sound along with Carter C.C. Collins' delicate percussion.
Be aware that both versions of "Buzzin' Fly" from each night and "Green Rocky Road" are missing the intros--Stanley didn't turn the tape machine on in time--but that's a minor quibble. The sound is very good but is certainly not perfect--something the disclaimer states on the back cover--hear the distorted bass on "I Don't Need It To Rain". But the Stanley people have done wonders with the sound--if you're familiar with previous Owsley Stanley releases this is along the same lines sonically.
The songs are from two nights--tracks 1-5 from June 15 (tracks 2-5 are basically a continuous performance), tracks 6-13 (tracks 10-13, "Strange Feelin' Suite", are a continuous performance) June 16. Buckley was always experimenting with his songs, changing verses, words and emphasis from night to night. The lengthy "Blues, Love" is a good example of Buckley's experimentation. He repeats a phrase a number of times in a row, and then finishes things by repeating one word even more times. Buckley uses his voice as a fully fledged instrument alongside his guitar and the band. Not only is this song a rarity for Buckley fans, it's also a standout of this album. But there's many places when Buckley lets loose with his voice and takes us back to those times in the late '60s. Songs like "Green Rocky Road", and "Wayfaring Stranger" (with some eerie bowed bass from Miller) are great inclusions.
The sound as I said is overall very good--clean and open thanks to Owsley Stanley's original recordings and mastering by Jefferey Norman. If you've heard the Joplin/Big Brother release in this series the sound is similar--you can listen with the speakers close together (Stanley's preference) or farther apart depending on your preference. Adjusting the volume upwards will give a better feel for the shows live impact. There's a 26 page booklet with informative notes, a few period photos and some nice graphics. The disc snaps into a tray inside the wallet style cardboard holder that has a pocket for the booklet. The cover artwork is a real throwback to that earlier age which is a nice touch. Two songs had to be eliminated due to CD time constraints, but you can hear both tracks as a free download.
Buckley fans who find his early style from this period spell-binding should check this out. But hearing this album is a reminder of the music we heard back in the late '60s/early '70s at venues (and outdoors) in the Bay Area, and Tim Buckley still stands out as one of those best shows. 0016ベストヒット名無しさん2022/09/27(火) 20:16:44.20ID:eSaZDBYX This is a live set from 1968 that really showcases the 21 year old Tim Buckley's incredible talent for improvisation. Recorded after 'Goodbye and Hello' and before the release of 'Happy Sad' it captures him in that transitionary period that saw him moving away from folk rock towards the more jazzy approach he would adopt for his next few albums. Accompanied by just a percussionist and a bassist, he delivered a stunning set that highlighted his amazing vocal abilities. It thrills from start to finish, but if I had to pick out favourites then I would mention his brilliant mash-up of Fred Neil's 'Green Rocky Road' and 'Hush Little Baby', and a medley of the heartbreakingly beautiful 'Sing A Song For You' and 'Danang'. Is it as good as 'Dream Letter; Live in London 1968', which was recorded a few months later? No, that performance was nothing short of incredible. For anyone just discovering his music I would recommend that before this one, but for long time fans of this man's extraordinary music this is absolutely essential. There are minor issues with the sound quality, for instance a background tape hiss is noticable during the quieter moments but is in no way intrusive. Considering the age of this recording it sounds remarkably good. The performance itself is so good that I doubt that the slightly less than perfect sound will impede your enjoyment. I really should also mention the brilliant support from percusionist C.C. Collins and the unnamed bassist who somehow manage to supply the perfect backdrop as Tim spontaniously drifts from one song to another as the fancy takes him. No mean feat I would imagine. The double CD contains excellent sleeve notes from Pat Thomas with background information supplied by Lee Underwood (Tim's long time guitarist and friend). Any fan of Tim's unique talent need not hesitate in adding this to their Buckley stash, it seems the bottom of the barrel is still some way off. Let's hope there are further releases on the way. 0017ベストヒット名無しさん2023/07/22(土) 04:45:58.31ID:xLF11/S+https://i.imgur.com/oiyGYWX.jpg https://i.imgur.com/6LTuu5A.jpg https://i.imgur.com/b3I48nF.jpg https://i.imgur.com/LIIbaKu.jpg https://i.imgur.com/ZyH5Hqn.jpg https://i.imgur.com/jDIS4CF.jpg https://i.imgur.com/r9jo2rk.jpg https://i.imgur.com/aH2iKEZ.jpg https://i.imgur.com/fwsD3Vr.jpg https://i.imgur.com/QR3cCvo.jpg0018ベストヒット名無しさん2023/08/08(火) 04:28:59.80ID:aRnZi4kz Limited 180gm colored vinyl LP pressing. NOT to be confused with Britpop band The Charlatans (AKA The Charlatans UK). With the 50th anniversary of the American band the Charlatans' debut, Big Beat are celebrating with this carefully conceived deluxe vinyl edition of the original line-up's best recordings, The Limit Of The Marvelous. The iconic quintet are widely acknowledged with kickstarting the San Francisco 1960s renaissance. The Charlatans presented a blend of Americana-infused popular styles, encompassing country, swing, bluegrass, 50s rock 'n' roll and olde English folk. The band's image radiated class that few of their hirsute, tie-dyed peers matched. The Limit Of The Marvelous distils the best cuts from Big Beat's essential Amazing Charlatans CD to approximate the long-player the group should have issued at their peak in 1966. It juxtaposes idiosyncratic folk-rock 'Codine Blues' and 'Alabama Bound' with dustbowl-dry originals from the pen of guitarist/drummer Dan Hicks, including the first recording of his signature number 'How Can I Miss You When You Won't Go Away'. Housed in a Globe Propaganda-approved sleeve complete with copious illustrations of this most photogenic of outfits, The Limit Of The Marvelous is a fitting reminder in their anniversary year of the continuing magic of the Charlatans. 0019ベストヒット名無しさん2023/09/24(日) 03:59:09.44ID:8V8x+a1j (メ▼▼)y~~~ 0020安倍晋三🏺 ◆C3g6ph46co 2024/01/14(日) 23:02:51.12ID:+TTwIelb 日本語でおk 0021ベストヒット名無しさん2024/02/25(日) 03:59:48.40ID:mQ3mEddvhttps://i.imgur.com/HrlKfRV.jpg https://i.imgur.com/RVYo8EL.jpg https://i.imgur.com/OxSbqjG.jpg https://i.imgur.com/RiObxHs.jpg https://i.imgur.com/3PKG5Z8.jpg https://i.imgur.com/2ip9rAL.jpg https://i.imgur.com/b4pkPA9.jpg https://i.imgur.com/PNr2QLe.jpg https://i.imgur.com/19nnoat.jpg https://i.imgur.com/LLT0pUU.jpg