#aaron gregory

[maddiesflame]

lily maymac x in five years layouts

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[singeratlarge]

SONG OF THE WEEK: “The Brakeman’s Dead”http://johnnyjblairsingeratlarge.bandcamp.com/track/the-brakemans-dead-early-mix —It was during a live show with The Rover Boys that these chords and lyrics suddenly burst out of my head, each verse beginning with the line “Maybe about this time next year…” I sang whatever flew into my head, with vocabulary from Biblical apocalpyse themes + current events + runaway trains as the Rovers kept up. I did this freeform tune a few more times and it hit with people. So I took it to Tom Mallon’s recording studio in San Francisco (with the late Aaron Gregory at the board), cutting it live without a lyric sheet. I thrashed an acoustic guitar through a stack of Marshalls (ala The Alarm) with Bennett Green and John Stuart on drums (separate sessions), and Adam Savetsky on bass. Later I asked Michael Miller and Chris von Sneidern to add guitar touches in one take John Cage-style without letting them hear what the other guy was doing. Last I sweetened it with percussion (bottles & junk) and violin. On a cosmic jukebox it would play next to Neil Young & Crazy Horse at their most raucous. Download here: http://johnnyjblairsingeratlarge.bandcamp.com/track/the-brakemans-dead-early-mix

#train #steamtrain #locomotive #brakeman #engineer #conductor #NeilYoung #CrazyHorse #SanFrancisco #TomMallon #ChrisvonSneidern #MichaelMiller #AaronGregory #TheAlarm #MikePeters #BennettGreen #JohnStuart #Marshallamp #JohnnyJBlair #singeratlarge #singersongwriter

[metalsongoftheday]

Thursday, November 2: Giant Squid, “Neonate”

For all its obscurity, Manilla Road proved a surprisingly durable influence on underground metal. Take Giant Squid, a band seemingly designed for The End Records: they didn’t actually sound like Manilla Road, but the vocal stylings of then-husband and wife Aaron and Aurielle Gregory were clearly informed by Mark Shelton’s esoteric yawp, and the music as a whole had an oblivious weirdness to it.  “Neonate” was a prime example, as it somehow went everywhere and nowhere at all, making pretty much no sense to anyone but its creators, which gave the tune a certain integrity.  Like most material released by The End, the song and Metridium Fields defied categorization, containing traces of prog, doom, psychedelia and pretty much everything else, while somehow managing to feel like an actual song.  “Neonate” turned out to be a mere prelude for what was to come, as Metridium Fields (actually a re-recording of their independently released debut) set the stage for a lengthy and similarly adventurous discography.

[reccon-island-rpg]