Monday, June 19, 2017

i'm simple as a matter of fact

This show wasn't supposed to happen, but it did, and for that, I thank everyone who made it possible -- particularly Dr. Judy and the Tweedys, as well as all the old friends who filled out the audience and have brightened the day over the last 10-plus years.

Jeff Tweedy, Chateau du Polpettino, May 13, 2017: A dozen (!!!) years ago, 20 of us gathered for the first Jeff Tweedy basement show following the Second City/Letters to Santa auction. In 2017, 30 faces, some of them newer and some of them not, showed up under similar auspices, and it was like barely a day had passed. In fact, Susan Tweedy called us "OG," a label I proudly embrace.

As I've reported before, Jeff has crafted a template for these shows, so I sent in my requests on time and waited to see which would shake out. (I had a strong inkling of which would make the cut, but I held out hope for both alternatives.) Some of the gang hadn't been to the show for several years, and funny enough, they stuck with their favorites. Heck, there's no right request, especially if you're paying good money for the privilege, but I can't help but giggle at our consistency.

You always expect the gems and classics, and they came through as beautifully as ever, but of course after all this time, I'm going to point out the surprises. Our friends did well with newer tracks, including songs from the Tweedy and Mavis Staples albums, as well a new unreleased track. Even Wilco Schmilco showed up! I'm also going to talk up my selection, "Whole Love," mainly because I love listening to Jeff attempt the falsetto.

But Jeff's covers tend to leave you gasping, and this time out, he chose the Replacements, the Beatles, and Neil Young. Jeff jokingly spoke of his jealousy toward the Replacements for their prescience in writing "Androgynous," and I know it was especially sweet for the Replacements fans in our group. I apologize for going total dad rock, but the Beatles and Neil Young two-fer was a stunner. It sounded like the entire room sang along to "I'm So Tired" (long on Jeff W's wish list), myself included of course, and let me tell you -- whether or not you realize it, the song is cathartic and therapeutic. In a basement full of friends, it's even better.

Jeff then followed it up with "Cinnamon Girl," which I don't even know very well, but I could see, hear, and feel its effect on the room. The joy and cheers were a treat of their own.

Chicago 2017

In the mix, Martin stepped up to lead Jeff through Bill Withers' "Use Me," and we closed with the customary "Candyfloss."

To wrap up the Tweedys' portion of the evening, Jeff autographed the commemorative woodprint poster and we remembered to take group shots, among other fun pictures. That's the minimum for a successful show.

Fortunately, the fun extended several hours beyond as we enjoyed the generous selection of refreshments and snacks, as well as each other's company. Chicago rolled out perfect conditions for the weekend, so we were able to linger on the rooftop under the bright moon; the roaring fire pit didn't hurt either. By the way, shout-out to Tamala for not only the Replacements request but for bringing the Wisconsin delicacy known as torte. Thanks for letting me clean up the pan!

I've run out of words to discuss these shows, except to note I do everything in my power to attend and mark my calendar whenever the date is announced. The music brings us together, but it's worth remembering Jeff's set comprises only a couple of hours out of a long, delightful evening. But they all go hand in hand for what often amounts to one of the best weekends I get to enjoy every year. I'm thankful for each and everyone one of them.

The full history
» name me a song that everybody knows
» i wish that i knew what I know now
» people say i'm crazy doing what i'm doing
» the message
» all the ladies and gentlemen
» that year
» springtime comes
» turn our prayers to outrageous dares
» every day is dreamlike
» it's been a while

Saturday, June 17, 2017

long shot

Use it or lose it -- and I need to maintain my editing skills now more than ever. Though I'm lagging, it's never too late for Aimee Mann at the Fillmore.

Aimee Mann, the Fillmore, May 12, 2017: Aimee Mann's records kind of sneak up on me. Mind you, she's my favorite lyricist, but her arrangements and production haven't soared to the same heights as I enjoyed in the past. But often a few years after their release, her albums are on my mind again, and this tour was no different. I've dived back into Lost in Space and The Forgotten Arm, and they haven't disappointed. Lost in Space, especially, is so beautifully crafted and a pleasure to rediscover. At this rate, it may take me a few more listens to truly appreciate Mental Illness, though that's more a comment on my attention span than on Aimee's skills.

The changes from tour to tour and album to album are subtle, but Aimee has a way of building on each iteration of her career. Mental Illness is notable for Jonathan Coulton's contributions, and if you've paid attention to Aimee's career, you know he was in the cast of her last round of Christmas shows. On this record, he co-wrote a few songs, including one in which he purposely tried to mimic Aimee's tone, starting from the very first line -- which Aimee took as a compliment and an insult. Otherwise, Aimee's band remained the same, though I didn't recognize the drummer.

The show somewhat favored Aimee's new record, but I was more struck by the old singles and album cuts she chose. In fact, she opened with a couple of classics: "4th of July" and "Little Bombs," both of which I happen to love. She sort of sprinkled the newer tracks among the older tunes, and only now has it hit me that it probably had to do with bringing Jonathan Coulton into the show (more on that later).

Aimee Mann, the Fillmore, 5/12/17

Nonetheless, the selections from her back catalog were stellar. I could go on about the older tracks all day, but I'll single out three: "Humpty Dumpty" because as soon as they struck the opening notes, I realized it had been in in my head for the previous week and my subconscious had been yearning for it; "Long Shot" because it's so rare on her setlists; and "Deathly" because it's often overshadowed by more famous tracks from Bachelor No. 2, and it has my absolute favorite backing vocal (read: Jon Brion) on all of her songs. OK, consolation prize goes to "The Moth," another dirge dressed up in pop splendor from Lost in Space.

Jonathan Coulton joined the band for a good section of songs on the new album and to chat with Aimee. It's no surprise that they get along so well as two of the brainier songwriters around. Aimee has come a long way from her self-proclaimed awkward early days; her dry wit is a treat if you can keep up. Aimee had joined Jonathan during his opening set for a few songs and to remind everyone that her label was releasing his new album. Hey, we all gotta pay the bills, but it's gotta be nice if you can do it with friends.

The concert drove me to the perfect outcome: I've been reacquainting myself with Aimee's records -- I mean, more than usual -- and guess what? They're fantastic! Thanks, Aimee, for framing our darker thoughts in the shiniest chords.

See also:
» winter wonderland

Thursday, June 01, 2017

someone's gotta help me dig

This blog bears witness to my adventures in rock tourism, but believe it or not, I have a lot more wisdom and knowledge (hahahahaha) from life on the road that I can't share in written form. However, I now get to impart some of these pearls to my best friend, as she has contracted the same condition. Thus, we both made our way to Humphreys by the Bay in San Diego for Father John Misty, ahead of his Coachella appearances.

Father John Misty, Humphreys by the Bay, April 12, 2017: I might as well play the music snob card and mention the time I saw Fleet Foxes open for Wilco in Boise, Idaho -- a great trip, by the way. As you may recall, Fleet Foxes were the It Band of that moment, but to tell you the truth, they never did it for me. I have my own preferences in Beardy Harmonizers (tm), though I loved witnessing the affectionate bond between the Fleet Foxes and Wilco. Since then, I recall seeing notices for Josh Tillman's solo career, but have mainly stayed away from the hype. As I've mentioned many times before, it's not a criticism on my part. My lizard brain simply can't handle as much music as it used to.

But when he became my best friend's favorite contemporary artist and ignited her own rock tourism bug, you know I had to be there! In fact, I'm sure I would've joined her earlier, but other events come up. Thus, the road led to San Diego.

I've seen Humphreys by the Bay has come up in itineraries for other bands, but every time I've checked, the shows have been seated, which is a no-no for me. Father John Misty was not, which was the first indicator I had to be there. It's a small outdoor courtyard in a resort-style hotel. Imagine a concert venue at the edge of an apartment complex. Got it?

Even better, it turned out the soundboard was stationed on our hotel room patio. Again, imagine your hotel room with a sliding glass door leading out to a wide patio shared by three other rooms. Then picture the soundboard sitting there. Yes, we did watch the soundcheck from the deck. I wonder what it would've been like to watch the entire show from there, but we had other plans.

Father John Misty, Humphreys by the Bay, April 12, 2017

As I indicated above, I haven't seen Father John Misty before, so I didn't know what to expect. I assume the setup (including a 7-piece string section) was a new development, as necessitated by the new record. From what I could tell, the new songs are mellower, but in my humble opinion, the 13-minute acoustic epic was the best tune of the night. I also loved one of the rockers, which I was later informed was his big hit "Hollywood Forever Cemetery Sings."

As an impartial observer, I'm here for the human drama, and one scenario I've never before witnessed played out: Apparently, some guy in the audience was pissing on people?! FJM interrupted the show to comment on it and to send security at him. I'm happy to report we were on the other side of the audience during this episode.

As for FJM himself, he wasn't particularly chatty, which isn't a concern for me, but longtime fans may have their own opinions. He did tell a funny story about a line he likes to throw out when he goes to other people's shows ("someone's been listening to Radiohead") -- it could be worth stealing.

The biggest revelation to me came toward the end of the set, as he prepped for his solo segment. As the other band members left the stage, I finally recognized some faces: Four of the members were the Section Quartet, whom I've seen at Largo several times. In fact, I saw group leader Eric Gorfain drop by Largo last April for a fantastic podcast taping. I probably shouldn't be surprised by the continued appearance of Largo-associated talent in my life, but it always warms my heart.

One of the other highlights of the night was in fact the opening act, Tim Heidecker. I have to admit I was never a "Tim and Eric" fan, but Tim's musical side was more straightforward than I expected. His songs verged on parody, but you could take them at face value too. Less ambiguous was "I Am a Cuck," for which FJM joined Tim for a rewrite of Simon and Garfunkel's "I Am a Rock." I liked it!

By all indications, I'm committed to attending more FJM shows for moral support. Those reports will come in down the line.

See also:
» i try to stay busy
» i was dreamin' when i wrote this

Monday, March 27, 2017

ain't that enough

Pioneertown was a lovely refresher, but Teenage Fanclub at the Great American Music Hall back in San Francisco turned out to be the main course. What a feast it was.

Teenage Fanclub, Great American Music Hall, March 21, 2017: Before the show, I reviewed the previous Teenage Fanclub posts on this blog and found only two (from 2005 and 2010). Because the Fannies don't tour here often, I figured I might as well recap a few of my preblog memories since I don't know when I'll get to do this next.

Teenage Fanclub

• Teenage Fanclub has toured with a number of bands that kind of leave you gasping if you didn't already know (Nirvana and Uncle Tupelo, to name two). I happened to catch them when they opened for Radiohead on the OK Computer tour, but we locals got an extra treat: a free show at Jupiter in Berkeley sponsored by Mod Lang Records. I actually videotaped the gig on a nice little video camera I had at the time, but don't ask me where the tape is now. Anyway, the most memorable moment of the day came when someone in the audience passed around a bottle of Buckfast. (I think Norman was the only band member who actually drank it.) I then learned a new refrain, though I can't do it justice. The gist of it goes, "Buckfast makes you fuck fast." Since then, I've shared this nugget of wisdom at every possible opportunity.

• As for the Radiohead gig itself, I sat in the balcony at the Warfield and felt myself getting more resentful as the show progressed. The Fannies' set was good, albeit sparsely attended, and I still can't tell you what happened during Radiohead's portion of the show.

• On another occasion, I saw Teenage Fanclub at Slim's. Per usual, I had arrived too early and, this time, ended up hanging out with a dude who was equally twitchy. We probably weren't the only two people there, but that's how it feels in my memory. Anyway, as we waited, he earnestly relayed his concerns for the Fannies and their livelihoods. As I recall, he was less worried for Raymond, whose wife was a lawyer (maybe?), but he had devoted a significant amount of thought to their prospects. Mostly, I recall his consternation and a real hope on his part that they would do OK.

• I think at the same show, a small group of us (random fans) ended up discussing who was the best songwriter out of the group. After much friendly back and forth, we were kind of surprised to land on Gerry as the favorite. I still believe this to that day.

I had a wonderful time at Pioneertown, but this was more in line with how I do a Teenage Fanclub show. There was no rush, but tonight was not a night to hang to the side. Instead, I took my place alongside Lila and Noreen at the front. The crowd for this sold-out show filled out nicely, and only once did it feel anything like a crush, but that was entirely due to a drunk dude who threw himself at the front of the stage. We were OK, but Noreen got the worst of it.

Teenage Fanclub

I've never followed the Fannies' setlists, and in fact, Pioneertown was the first time I've traveled to see them. For some reason, I assumed they stuck to one order, so I was thrilled to hear different songs at this show. I mean, the good stuff was still there, but for one, they finally brought in Man-Made. The most memorable changes were in the encore, where they did the fast version of "Starsign" (as opposed to the slow version at Pioneertown) and brought in "Everything Flows," which got us all jumping up and down.

However, the biggest difference for me at this show wasn't the song selection, but rather the general spirit of being back at the front. We sang along, we cheered like maniacs, and we egged on the band at every turn. Norman has always been the charming and cool one, and he made us smile with a few awkward moments, such as when his guitar didn't work right away. In fact, I loved being so close to the stage to hear each guitar lead. I'm going to sound like a complete idiot, but I haven't appreciated Raymond's guitar skills enough. Also, Norman's big chords on "About You" are gorgeous.

Teenage FanclubThere are no bad songs in a Teenage Fanclub set, but tonight's encore was extra special. As mentioned earlier, we got "Starsign" and "Everything Flows," as well as a Grant McLennan cover, "Easy Come Easy Go." They had done this at Pioneertown, but I hadn't heard it well. In San Francisco, it came through in all its glory, and holy cow, the guitar intro sounds so much like Wilco's "Always in Love"! I've since gone back and listened to the original, which is more distinct, but in the Fannies' hands, it offered a familiar ring -- I mean that in the best way possible.

This account does no justice to the ridiculous elation I've enjoyed since leaving the show. Teenage Fanclub is always in rotation to some degree, but I've been listening to them nonstop since the gig. I'm going to ride this wave for as long as I can, but I hope I get to live it again whenever the band returns to the West Coast.

I should probably also mention Ben Gibbard was hanging out to the side during the show, but alas, he didn't join the band.

Britta Phillips opened for all the shows on the tour, and it was the first time I've seen her live. She was kind of the reason Evonne wanted to see the Pioneertown show, but no matter. She was fantastic, and I now totally understand how she and Dean Wareham have earned a devoted following. For whatever reason, I never got into Galaxie 500 or Luna, but on the other hand, I recall very clearly driving down Beverly Boulevard on the way to Largo and seeing Dean and Britta get out of a car (hahaha). They make great music together, and it doesn't hurt that they're both still insanely cool.

Britta Phillips

p.s. I hope that guy from Slim's is smiling somewhere and maybe even singing along.

See also:
» start again
» we get older every year
» if these things make your day

Sunday, March 26, 2017

start again

All hail the evergreen Teenage Fanclub, forever and always the greatest Scots in songdom. The band's return to the West Coast also offered the perfect opportunity to hit a rock 'n' roll destination I've been dreaming of: Pappy + Harriet's out in Pioneertown. I'm beyond glad I made the trip.

Pappy + HarrietsTeenage Fanclub, Pappy + Harriet's, March 18, 2017: I've said it a million times on this blog, but I'll say it again: I love LA! I was already excited about this trip, but it turned out to be a perfect weekend with all the flavors that comprise the ideal Southern California experience. For me, it covered comedy, food, nature, and friendship -- and a celeb sighting, to boot.

It was also a decidedly nontwitchy weekend. That is, we rolled out of Los Feliz at a reasonable time, drove out to the desert, stopped for beverages and a breather, and wandered around a perfectly temperate Joshua Tree all before pulling up to Pappy + Harriet's. I love Teenage Fanclub, but I knew very well this was not a venue I'd need to sweat over. In fact, we ended up eating dinner there, and our table was exactly the vantage point I wanted for the evening.

Let's back up, though. As a rock tourist, I have to talk about the venue. Pioneertown itself is about three hours east of Los Angeles, depending on traffic, so I guess it counts as a tertiary market. But if you read the New York Times story, you probably know Pioneertown is no longer a secret. Still, it's almost everything I imagined. Basically, you drive out on 29 Palms Highway, take a left on Pioneertown Road, drive a few miles down a two-lane road, and there you are. The obvious parallel from my travels is Marfa, though not as remote, but it also brought to mind the Cellar Door in Visalia, where I saw British Sea Power.

Inside, Pappy + Harriet's is basically a rustic bar. The stage inside is tiny and a few inches off the ground, though there's an outside stage for bigger acts. After last year's headlines, it's hard not imagining Paul McCartney on the stage. I sort of wondered how it compared to, say, the Beatles' Hamburg days. But I digress!

As I mentioned, I felt no need to get to the front, so I hung out to the side. The room was small enough that it didn't particularly matter. As a bonus, the staff ended up pushing our dinner table to the wall to create a walkway out to the back patio bar (for smokers, I guess). The surprise and delight is that they actually enforced the rule, thanks to a huge staffer that we decided to call Hagrid. He was incredibly vigilant for the first half of the set, shooing the interlopers back to their previous spots, until he decided to partake of the nicotine as well. By then, our dear Evonne had taken it upon herself to keep the sight line clear, and trust me, she's quite effective.

The only downside to our spot was the sound, as I couldn't understand much of what the band said. On the bright side, the songs needed no translation, and I was jumping and hollering for all my favorite tracks. We made the acquaintance of the couple seated next to us, and I ended up talking to the guy for a long time. He had loved the Fannies forever, but had never seen them live. I'm happy to report that he too agrees Gerry Love is the man, and I reminded him of our consensus with every Gerry tune. In fact, they opened the set with "Start Again," and my biggest whoop might've gone out for "Don't Look Back." However, there was plenty of love for such Raymond and Norman tracks as "Your Love Is the Place Where I Come From" and "Mellow Doubt," to name two.

Another benefit from watching the show from our spot: We had a nice view of about half the room -- or more accurately, the joy therein. No surprise, there were plenty of singalongs, and Evonne and I appreciated the guy on the other side of the stage playing air guitar and air drums to a number of songs. Britta Phillips and her band flitted in and out, enjoying the gig as well. In fact, Britta took a quick run around the perimeter of the crowd, videotaping the proceedings on her phone.

Funny enough, I left the gig with a greater appreciation for the venue than for the concert. Don't get me wrong -- the Fannies were exhilarating, but due to our spot and maybe the sound, the music wasn't the top draw for me that night. Instead, I was thrilled to finally see Pappy + Harriet's for myself, and I loved sharing the experience with Evonne, as well as our new friends. We listened to Grand Prix on the relatively speedy trip home, but the true impact had yet to set in. I guess in a way, it was merely an appetizer for the San Francisco show.

Still, one takeaway was clear: If any of your favorite bands ever play at Pappy + Harriet's, do everything in your power to get there. You won't regret it.

See also:
» let your helmet warm your skull
» fans of alcohol

Tuesday, January 24, 2017

purple rain

I have no idea why it took me so long to blog this, but here you go, in case you were wondering how Jon Brion's last show of the year at Largo went.

Jon Brion, Largo at the Coronet, December 23, 2016: I managed to hit only two Jon Brion shows this year, so obviously I've missed a lot of developments at the club, but there was no way I could've predicted that two other women in the front row would also be taking notes. Is this where I mention I've been doing this for more than 10 years?? Deep breath, serenity now, namaste. Anyway, welcome to the crew, ladies!

By now in California, we're almost used to the return of rain after so many years of drought, but I have to admit this night in LA was as rainy as I've ever seen. And thanks to the city's inadequate drainage system, whole intersections (I'm looking at you, Melrose and La Cienega) resembled shallow lakes. It was a sight to behold. Largo wasn't exempt, as small puddles gathered in the entryway. Thankfully, the inner sanctum was nice and dry.

In a nod to the Largo legacy, Bobb Bruno opened the show in his customary bunny suit. His set was lovely, morphing from dreamy and melodic to hip-hop beats and ending with Mariah Carey. It's always great to see him at Largo.

Once upon a time, everyone at Largo knew Bobb on sight, but when Flanny took the stage, he helpfully supplied an intro and mentioned Bobb's gig with Best Coast. Flanny also mentioned Largo's upcoming 20th anniversary, which conveniently gives me a chance to link to my first Jon Brion show. (Yes, I've been doing this for a while.) I recall that Flanny promised good things to come in 2017 (at Largo, anyway), but you can say that about the club at any time.

Finally, it was Jon's turn, and per usual, he went to the piano, where he eventually drew out "Punch-Drunk Melody" and "Someone Else's Problem Now," at which point I knew it was going to be a good night. I don't go to Largo as often as I used to, so it's an extra treat to hear the older songs. He ended the opening run at the piano with "Over Our Heads," adorned with Moog and vocoder.

He next picked up an acoustic guitar, kicking off with a decidedly satirical "Hail to the Chief," along with a quick mention of the "incoming totalitarianism." In fact, Jon would sprinkle several comments about the new president through the performance, alternating between gallows humor and encouraging us to stay strong. At this juncture, it led to the more traditional fare of "It Looks Like You" and "Why Do You Do This to Yourself."

Jon returned to the piano, and later in the night, he would explain his guitars were reacting badly to the weather. But at that moment, all we heard was "Happy With You," as Jon's feet kept time.

As I said above, I haven't been to many Largo shows recently, but on the whole, Jon now seems to favor a sparse setup, and tonight was hardly the overload we've seen in the past. However, the video mixers were back, apparently for the first time in a while, and Jon made sure to put them to use. He called up clips of Andres Segovia, Maria Callas, and Leopold Stokowski, and eventually, they chipped in for "Strings That Tie to You." I'm going to be honest -- I'm not entirely sure what they brought to the song. Then again, Jon admitted he was a little rusty on the video mixers, though he showed a defter hand as the night wore on.

Jon finally opened the floor to requests, and as you can imagine, the floodgates opened. He started with Bowie, but the Prince requests also gained steam, to the point where Jon took an unofficial poll to gauge interest. It sounded like a draw to me, but Jon proceeded regardless, starting with a video of a drummer counting off, then joined by another clip of guitar lessons and an orchestra. The payoff was "Moonage Daydream" and, after more video magic from Jon, "Purple Rain." I heard Jon cover this song a while ago, and I recall the absolute thrill of recognizing the tune. But it's a good thing I keep notes -- according to my post, it was a wordless Les Paul-style cover, not a rousing singalong as I wanted to believe.

Tonight, we belted it out, though not quite as smoothly as some of us probably hoped. As a group, we pretty much forgot everything but the first verse and the chorus. However, in Los Angeles, the audience is bound to include people who not only know all the words but can sing the harmonies too. One of the night's heroes happened to be sitting in the row right behind me, and because of his proximity to the stage, his words actually reached Jon to guide him. You're the real MVP, buddy!

The next tune was a request for "Everybody's Gotta Learn Sometime," featuring footage of Eric Clapton. This was another classic I was so happy to hear and was glad to be reminded of its brilliance in Jon's hands. Jon then hit on "Same Mistakes," before entertaining a request for "Ignition Remix." I thought I heard Jon mention Paul McCartney, but a Google search turns up R. Kelly, and my notes offer no further illumination. If you have more information, I'd love to hear it. The counting drummer made another appearance for "Misty Mountain Hop."

Jon moved over to the electric guitar for, at first, "Waterloo Sunset," which continues to wow. I don't know how many times I've heard Jon cover this song, but it still sounds so damn good. Jon followed up with "Raindrops Keep Falling on My Head," a no-brainer for the evening. Jon sort of vocalized the Bacharachian horns, and the audience clapped along to keep the beat. Thus, the main part of the night drew to an end.

I'd like to mention that our semi-typical Largo gang (Evonne, Paul, and me) welcomed a couple of new faces for the show: my best friend Doreen and her six-year-old daughter Penelope. With this in mind, when I finally managed to get in a request at the start of the encore, I made sure it was a good one, a song that was not only treasured by Doreen, Evonne, and me, but that (duh) Jon could and probably would do. Mind you, I'd been throwing out requests all night, but this one happened to stick. Jon prefaced the song with the comment that he'd been doing it a lot lately, but I was glad he went in anyway. The song was, of course, "More Than This," featuring clips of a Latin band, Percy Grainger, and Jacques Brel. If I've mentioned listening to Roxy Music as a teenager, let me say now that Doreen was playing and listening to them with me.

Jon closed the night with his own "Please Stay Away From Me."

In case you were wondering, there were no guests tonight and barely a mention of the yuletide, not even a bar or two of "Jingle Bells," as Jon has snuck in before. Even for Jon Brion, this was the least Christmas-y show I may have ever attended at Largo. However, we got a great night, with Jon in good spirits, and we were up for several hours afterward, discussing the gig. No wonder it's my favorite way to ring in the holidays.

-- Bobb Bruno opener
-- piano
-- Punch-Drunk Melody
-- Someone Else’s Problem Now
-- Over Our Heads
-- Hail to the Chief
-- Looks Like You
-- Why Do You Do This to Yourself
-- Happy With You
-- Strings That Tie to You
-- Fantastic Voyage
-- Moonage Daydream
-- Purple Rain
-- Everybody’s Gotta Learn Sometimes
-- Same Mistakes
-- Misty Mountain Hop
-- Waterloo Sunset
-- Raindrops Keep Falling on My Head

-- More Than This
-- Please Stay Away From Me

Ghosts of Christmas past:
» i'll be a rock 'n' rolling bitch for you
» let your heart be light
» i'm offering this simple phrase
» it's been said many times, many ways
» with soul power
» it's the end of the things you know
» you could say one recovers
» a really good time
» the things you do to keep yourself intact
» i've heard a rumor from ground control
» strangest times