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yjyt85r98r · 1 year

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Observations on different series’ composition styles

Aikatsu

They like to play around with sound effects, especially in gothic songs

In the anime version of songs, they sometimes put in more glitter noises compared to the game or CD versions??? Like, not just for the auras. Just overall as a kind of constant background noise. (If you want an example, compare ep 121’s performance of Light Pink Day Tripper to the official channel’s DCD music video. Or, Heaven forbid, episode 50′s performance of Moonlight Destiny.)

Pretty Rhythm Rainbow Live

They don’t overdo it. They know simple is best

These lyrics will give you so many insights into the characters’ minds

Pretty repetitive usually

So so so catchy. Stuck in my head

Number of key changes is either 0 or like 5 billion

Very clear climax/ending with the vocal melody. Usually it’s an English phrase being sung at a high note. (e.g. “point nine”, “gift”)

(me @ me) You can turn up the volume. Really. There are no surprise attacks.

Aikatsu Stars

Classical instruments anywhere and everywhere. Whether it’s pop, rock, a ballad, or anything else, there’s always going to be classical instruments.

Whenever a song is building up to the beat drop, there are about 2 seconds of techno noises added in to... assist... with building something up...?

Either the most beautiful voice I’ve ever heard, or... or Yume

Aikatsu Friends

Really repetitive chorus but it doesn’t even matter if they reuse the same melody 4 times in just the short version. It’s good enough to warrant repetition

Pseudo-rap

Verses, then chorus, then instrumental break, followed by a capella (ish) version of chorus, followed by beat drop. Pretty standard pop format.

Did they use a vocal compression effect or was the VA just singing weirdly?

Generally they put on vocal compression effects during build-up parts e.g. the verses or bridge. I think they do it to make the following lines sound better and fuller in comparison, but it’s such a cheap lousy trick. Like Come On

Noises that sound kind of big or echoing / generally just adding a lot of ‘texture’ and ‘dimension’ to the songs

Actually letting the girls hit low notes. Good.

Aikatsu Planet

An abundance of poorly-placed accidentals that just sound sour for no reason

What key is this even in?? Was there a key change, or does it just sound weird???

Children yelling (or are they children??)

At long last... songs for girls who can’t hit high notes

Very noisy, lots of messy-seeming sound

Excessive use and abuse of any given instrument

The backing music is always either too overbearing or too boring

stop

Waccha Primagi

Near the end after a character stops singing, there’s a second of silence followed by a burst of sound

Plucky little noises that would have distinct sound waves on a graph (idk how to explain it but like. like a marimba or plucking guitar strings)

Hissy-sounding percussion / frequent use of drum cymbals

The notes themselves don’t go particularly low, but they have a decent amount of songs that are in a lower range overall

Pitchy notes / difficult to identify the key

#it speaks #long post

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bonscottintheimpala · 4 years

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Can I make a request if it’s still open?💖what about something like y/n wants to seduce jimmy in the most effective way but she’s lost and asks other members of Led Zeppelin to give her tips and carry them out?😂 the result could be anything, like, some in vein others did great jobs, or he finds the attempts adorable, or he gets jealous or anything.

I think I did this already, so I'll copy and paste. 🙂

Moby Dick Is A Wonderful Song

(Word count: 1,567) EXPLICIT

You're with the band at the venue in Inglewood. It's March 27, the night of the band's final concert of the ‘75 tour. Tensions are pretty high in their dressing room; you can almost feel the anxiety and simultaneous excitement thick in the air. But, sitting on a sofa in the middle of the dressing room, you're distracted from the loud voice of Peter Grant shouting the time left before the show starts and Bonzo clashing on a tabletop by one very specific thing in the room.

Jimmy had come in slightly late, already wearing his dragon suit bottoms but not the top. And, of course, he had decided to put the intricately embroidered jacket on after you came into the room with Robert ten minutes earlier. You can't take your eyes off of the lean muscles moving over his shoulders as he takes off his shirt, tensing and relaxing when he replaces it with the dragon suit top. You jump when someone bumps your shoulder, and turn to find Robert giving you a knowing smirk.

"You aren't being very vague about that, (Y/N),” he teases, “If he was looking over here he'd tell that you were checking him out.”

You roll your eyes and smack him on the arm. “Shut up, Rob. If he was looking over here, I wouldn't be watching his back and dying about it. And besides, he doesn't really give off the air of being interested.”

“I've known him for a while. Trust me, (Y/N), he can look like he isn't interested even if he's just itching to get with someone.”

You sigh and turn back to Jimmy. He's sitting in a chair in the far left corner of the dressing room with his Les Paul in hand, tuning the strings carefully as not to break one. You notice his eyes flicker up to look at you for a fraction of a second, then he's back to his guitar. You know that Robert's right. You've only really known the band for two years, and Percy has been around Jimmy for a little over six. You're pretty sure the singer knows his bandmate well enough by now to understand how the guitarist works. Robert nudges you again to get your attention. The smirk is back on his face.

"I have an idea to see if he's into you. We try to be really cuddly and all that shit around him. Hopefully it annoys him enough to get him to do something.”

You raise an eyebrow, questioning the proposition. “Won't he think that I like you that way, though?”

Percy waggles his finger at you. “Yet another thing to tell you. If he wants someone and they don't seem interested, he'll end up letting them know that he's the interested one. Again, (Y/N), I've known him for a while.”

Yet another point well made. “Okay, then. How do we go about this? Just pretend that you're saying something risque to me and I laugh like a fucking idiot?”

"Exactly. Then at Moby Dick, you come back here and best case scenario he follows you, too.”

The plan seems to be working perfectly, because after a few moments of exchanging stories to make you laugh and Robert puts an arm around you, he brings his mouth closer to your ear. “Don't look now, but Jimmy just stared at me like he wanted to kill me. So safe to say it’s going very well.”

You nod. “So I’ll come back here right before Moby Dick?”

"It’d be a good idea to go back earlier. Maybe when he starts his solo during Trampled Underfoot. I'll tell him where you'll be and I'm sure he's going to come straight here.”

The two of you just knowingly smile at each other. Jimmy is actually into you.

It feels like ages until the solo of Trampled Underfoot finally starts. You and Robert had secretly decided on a signal for you to go back to the dressing room; he'd do his usual hair flip, but follow it instantly with a spin. Which, of course, was not exactly a major surprise. You've been watching the singer since there song started, hardly even blinking. Once he gives the signal, you practically run for the dressing room, but not before you just catch Jimmy looking at you as you do.

The wailing of Jimmy's guitar slowly fades when you get closer to the room, and it's completely silent once the door is closed behind you. It's kind of eerie; the lack of people and no hint of music gives you goosebumps that make you shiver. It's either that, or the anticipation of Jimmy hopefully joining you, but it's almost impossible to tell which. You lounge on the sofa where you had been sitting with Robert at least an hour and a half -maybe even two hours- earlier. Staring up at the ceiling is all you can really think of doing other than just pacing around.

If I'm just walking everywhere looking at things like I don't know what the fuck I'm doing, I'll look like a dumbass, you think to yourself as you keep your ears trained on the hallway outside, listening for any hint of footsteps that could be coming close. And then, after what seems like hours have passed, you can faintly hear the sound of someone almost sprinting down towards the dressing room door. Your heart starts to pound in your chest the louder they get, and it all comes to a stop when the door opens. Standing there, his long black hair sticking to his sweat soaked face, is James Patrick fucking Page.

Neither of you say anything for a minute, just stare at each other with wide eyes. Jimmy’s the first to talk.

“So…. Percy told me you’d be back here.”

"And did he say why?”

The guitarist steps forward so he can close the door behind him, still watching you. “He did. You two were pretty fucking sly about all that.” You stand up and can’t keep your breath from shaking as he gets closer and stands in front of you. “He didn’t, however, say exactly what the reason was for you to be back here.”

"I guess he thought it’d be nice to give us some time together. To just confirm if you actually do like me.”

"Do you think I’d be here if I didn’t? And after all,” he adds, his voice now slipping into a smooth and sweet tone that makes your breath hitch, “You know exactly what Bonzo’s drum solo gives time for. And which is why Rob will come here to let us know when it’s getting time for me to go back so I don’t miss anything.”

You nod before you start to move the dragon suit top from his shoulders with shaking hands. He notices because he asks, “Are you really sure you want to do this, (Y/N)?”

You laugh. “You have no idea how much. I'm mostly shaking because I'm so surprised you even came here.”

Jimmy holds your face. “We’ve taken up five minutes.” Your stomach goes light and your head seems to be an incoherent mess of thousands of words when Jimmy presses his lips to yours. The contrasting textures between his fingers is just as intense; the rough calluses on the fingertips of right hand tingle your skin as they trail up your spine under your shirt, while the opposite smooth of his left hand slide gently along your lower back.

It isn’t long until everything gets heavier. Your clothes are strewn on the rug covered concrete floor below the sofa, while Jimmy is on top of you with his hand between your legs. It’s obvious that he’s extremely skilled in the art of fingering, and you’re convinced without a doubt that it’s because of how much he’s played guitar.

He’s drawing out loud cries of his name from your mouth and has your legs shaking from the flow of sharp vibrations down from somewhere deep in your core that make the muscles below your stomach pulsate at a steadily faster pace.

And then everything is surging in strong waves out from the spot his fingers are inside of you and through your entire body.

The trembling that follows each flow of energy through you eases down to just intermittent aftershocks and then completely breathless relaxation that leaves your head light and eyes closed. You can’t help but only smile and sigh as Jimmy kisses you again with a sweet softness which makes your heart flutter. The guitarist turns his head towards the door as a knock echoes from the other side.

“Bonzo’s gonna be done in probably five minutes, Pagey, you should get in order and backstage as quick as possible.”

"Okay, Percy, I’ll be out in a bit.”

You open your eyes to look back up at him. “I think I’m actually calmed down enough to tell you that you’re very good with your fingers. Absolutely fucking incredible, I couldn’t even think straight for I don’t even know how long.”

Jimmy kisses your forehead before getting off of you and starting to redress. “And you’re quite loud, (Y/N). I’m glad I could satisfy so well.”

You sit up and pick your clothes up off the floor and begin to get somewhat presentable. “Would it be possible to continue after the concert back at the hotel?”

Jimmy shrugs the dragon suit top back on. “I think that’s a great idea that I will agree with. Now let’s get back to everyone else. And make sure to stay calm until we’re at the hotel.”

#buying the stairway queue heaven #led zeppelin #jimmy page #jimmy page fanfic #jimmy page fan fic #jimmy page fanfiction #fanfic #fanfiction #jimmy page x reader #smut #oneshot #oneshot requests

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tuwam · 6 years

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i don’t need.

@consilian for ahyeon! )

아예 원치 않는다 말해 꿈도 꾸지 말라 해 만날 일은 없다 해 Say it - DAY6

the event starts off like any other. mediocrity passed off for ingenuity.

in hindsight, he probably started this day off bitter. he had an early morning exam in macro, that he was unsurprisingly late to because he left the party at three in the morning. and he’s trying to settle on campus, twenty minutes late to his exam when his teacher conveniently tells him to pass the note that was sitting on his desk from before he arrived.

it’s a love confession, so there’s that.

he skims through everything, recognizes the name after a couple minutes, but zeroes in on the invitation to the festival. school-wide event and something he would’ve noticed had he paid more attention to what went on around him. he’s used to blocking what doesn’t interest him. seeing as only his guitar is of interest, nothing can really break through the bubble he creates for himself.

for daniel, it’s fine that way. makes things easier in an environment he already doesn’t feel comfortable in. he avoid, they whisper, gossip but avoid as well. he’s used to it all, used to people stepping out his way, head in his phone, headphones tucked deep so the music blares down to his chest. he’s used to the smiles and the whispers that seem almost louder than the music.

he finds his comfort in what he knows. for instance, he knows despite being late to the exam, he’s scored a 98 percentage. he knows that, he has no interest in this girl, miyeon or mihyun, whatever her name is, but he’s interested in the festival. interested in anything that allows him to feel less trapped in himself.

it’s been a minute since he’s been able to get on stage and before he knows it he’s tuning his guitar behind the stage, headphones still in but the world a little less muted. he wants to hear the other performers, wants to try and feel appreciation for other people in his craft. it’s hard when he’s surrounded by half-assed performances, people who wouldn’t know their way around a guitar if it was color-coded. he tries to be positive about this, tries to let the smooth texture of his guitar soothe him with each second that passes.

‘you came!” because his headphones aren’t that high, and one’s started to fall out his ear, he hears her before he sees her. and she’s bounding over, joy almost blindly.

daniel’s not used to people coming in his space, especially not willingly. he hasn’t decided if he likes it that way, or if it’s just convenient. because now there’s a girl before him, hair short, blue and face switching between familiar and unfamiliar. she’s a student he knows that, and he fixes her with a look, waiting for her to explain what she wants.

‘i didn’t think you’d show.’ she’s speaking a little quieter so he has to pull the earbud out completely. ‘did you get the letter?’ and that’s when daniel realizes who she is. “so you’re the reason I got chewed out halfway into my exam.” it’s actually not her fault, it’s hit fault for being late. for partying. but daniel’s never been good at this. ‘sorry - but I’m glad you’re here. did you want to hang out before your set? we could check out some of the booths and -’ “you see my guitar right? i’m obviously getting ready for my set.’ that stops her completely, puts the dent in her optimism. he sees her shoulders hunch just a tad, the smile faltering and from the corner of his eye he sees what looks like a flash of pink a few meters away. ‘you’re right, yeah. can we hang after then? i’ll stay to watch your performance!’ “you can do whatever you want. i’m here to perform and then i’m leaving. i don’t have any interest in hanging around you or your little crew.” he does give a small cant of his head towards the group of girls that are watching the two of them. he gets a pointed look, from the flash of pink from before. a severe look and she looks ready to run at him. daniel won’t meet mihyun’s eyes, who hasn’t looked up since. he has no reason to, he’s really only come here to perform and has no interest in getting involved with people or activities. he doesn’t want to need it, and therefore doesn’t seek it out.

the last set starts to come to a close and he’s finishing the last tune of his guitar. she’s quiet, fidgeting and daniel’s listening to the final strings of his guitar and the closing of the band on the stage. ‘see you around?’ it’s a squeak, sounds like the noise someone makes on the verge of tears. “doubt it.” is all he says before he’s nodding in the direction of the last band and making his way on. because he won’t see her after this, he usually doesn’t see people after this, not the good ones. and mihyun’s a good one, she squiggles her lines when she’s nervous, and writes with a slant. she always smiles in the morning even though everyone hates macro, and always tries. he won’t see her after this, he doesn’t expect to, and he doesn’t need to.

he’s on stage finally. he’s got a decent reputation around these corners so he’s drinking in the cheers and the final echoes of his guitar strings. he sees mihyun’s hair in the crowd, sees the glimmer of a few tears and gets ready to glance back at his guitar. not before seeing the flash of pink from the same girl, another glare, and then her tongue’s sticking out at him.

daniel for whatever reason gives her a longer stare, fingers already starting the first riff of the song. she holds the gaze too, he can feel the anger from his place on stage and he doesn’t move. he likes holding it, likes the fire that starts to spark and the annoyance that most people never dare to give him directly.

then he starts singing, and forgets about it all. about the whispers, the exams, the broken hearts and the healing ones. forgets about his own heart, what it longs, what people say it needs. and plays. plays until his fingers sting, his throat burns and the crowd is in rapture.

he looks up and they’ve gone. the pin one, the blue one. everything’s a blur as he stays stuck in his high.

he prefers it this way.

he learns later on, that the pink one’s name is ahyeon. and that’s she taken to expressing her dislike for him so vehemently that it’s almost as if he’s slighted her instead of her friend.

daniel walks through the halls, headphones still snug and mind still anywhere else. he does however, lower the sound when he passes by a certain group and hears a scoff so loud he can’t help but to entertain it with a smile. never one for rumors, he thinks, he quite enjoys this one.

“hey mihyun.” the girl jumps at her name, face still red and ahyeon’s quick, pulling her off and practically hissing in his direction.

yeah, he can entertain this one for a bit.

#{ w: daniel. }#aka asshole #consilian

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betterdaysareatoenailaway · 3 years

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Out on the Interstate: S’more Thoughts on Neil Young

I don’t have any fentanyl stories today, so I’m writing another Neil Young post. (Don’t worry. I’ll find a way to mention heroin. You’ll see.) I still have a ton of fent stories, don’t worry bout that. I just don’t feel like mining my memory for any right now. Instead, I wanna talk about my favourite Neil Young song ever. It’s called “Interstate.” This performance was recorded at Farm Aid 1985. Young’s backing band at the time were called the International Harvesters, which is a funny joke (International Harvester was a company that manufactured tractors and other agricultural equipment). Young was on a roll in the 80s with clever band names. Later on he would front Neil Young & the Restless. Anyway whoever is playing piano with Young was the perfect choice, plucking individual keys instead of slathering big chords all over the descending minor chord progression. Young’s guitar is tuned to drop D, a favourite tuning of his throughout his career, from “Cinammon Girl” to “World On A String” to “Be the Rain,” and you can hear the low D buzzing throughout, giving the song a raw off-the-cuff feel. Of course, Neil Young is known for his raw performances, especially on albums like Tonight’s the Night, but by the time the 80s rolled around he was making albums with a lot of processing and production like Landing on Water, along with silly genre exercises like Everybody’s Rockin’ and Old Ways.

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Young would eventually be sued by his own record label, Geffen, for making “uncharacteristic music.” David Geffen would eventually apologize to him, but he wasn’t wrong that Young’s early 80s records were a bit of a disaster. This performance, however, shows that Young hadn’t lost a single step when it came to live performance. His vocal is clear and convincing, world weary but still kinda defiant, like all his best songs. And whether those are real or synth strings, they sound great, and really tug at one’s heartstrings. They have the spook, that high lonesome train whistle feel. To my ears, all the best Neil Young songs are haunting and plaintive. There is a loneliness at the heart of most of Young’s best work (ever hear “Albequerque”? Prolly the saddest song to ever mention the eating of ham?) Neil Young doesn’t write carefree party music. Hell, he once recorded an entire album about the death of his friend and former bandmate Danny Whitten - and to a lesser extent, former roadie Bruce Berry who was fired for pawning instruments to buy heroin...told ya I’d find a way to mention the drug ;). What I’m saying is, Young is no stranger to sad songs. As to which song is his saddest, there are many contenders, but as Young’s biographer himself admits, “Interstate is Neil Young’s loneliest song.” I agree.

Young’s longtime producer David Briggs, who knew damn well that “Interstate” was a rare gem, tried to get Young to record it for 1991′s Ragged Glory, but in typical fashion, “[Young] acceded, but perversely,” eschewing the full-band format and recording a solo acoustic version instead. That particular version would eventually see limited release on the vinyl version of Young’s 1996 album Broken Arrow, a forgettable affair that was hammered by critics and disavowed by most members of Crazy Horse. You can find the solo acoustic “Interstate” on YouTube but I’m not gonna post it, simply because it is so freakin’ disappointing.

I love the line “I can hear a soft voice calling...telling me to bring my guitar home.” In the tradition of the Rolling Stones’ “Moonlight Mile,” "Interstate” is one of the all-time great I’m-A-Lonely-Rock-Star-On-Tour song. A more modern version of this idea can be found in Kurt Vile’s unimaginatively titled “On Tour,” a song where Young’s influence can be identified, especially in the way Vile tunes his lower strings to let them buzz, a technique pioneered by Young in the abovementioned song and most prominently in “Bandit.”

Thank God for YouTube, so that you can hear "Interstate” in all its gorgeous majesty. You can hear Young play the same guitar solo he’s been playing his whole career in minor key masterpieces like “Hey Hey My My,” “Like A Hurricane,” “Goin’ Home,” “Be The Rain.” Every time Young returns to it, you can feel the long shadow of his past, echoes of former greatness, the shambolic glory of his band bashing away at the chords, always emphasizing emotional delivery over technical proficiency. It’s a really really beautiful song, a song I treasure, and I hope you like it.

I’m also posting a rare version of “Shots.”

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In “Shots,” Neil Young returns to a technique previously used on “Cortez the Killer,” where he switches from a third person omniscient voice describing trauma and violence to a first person voice describing personal emotion. In Zuma’s “Cortez the Killer,” Young spends two or three verses describing the endeavours of genocidal explorer Hernan Cortes, and also the Aztecs: people worked together/they lifted many stones/they carried them to the flatlands/they died along the way/but they built up with their bare hands what we still can’t do today/and I know she’s living there and loves me til this day. Now, that’s not Shelley, but it’s an effective and jarring switch. Young tries it again in “Shots,” and for me, the effect is even better. For whatever reason, maybe his sharp right turn when he became an outspoken Reagan supporter, or maybe because of the Iran-Contra Affair, Young’s lyrics took on a particular preoccupation with crime, border zones, and desert iconography in the 1980s, manifestations of which can be heard in “Crime in the City (Sixty to Zero Part I)” “Rockin’ In the Free World,” “On Broadway,” and “Eldorado,” all songs that ended up on Young’s last album of the 1980s, Freedom. But because of the remarkable internal consistency of Young’s discography, you can also hear such sentiments in one of his first 1980s releases: “Shots.” Children are lost in the sand, building roads with little hands Trying to join their father's castles together again Will they make it? Hey, who knows where or when old wounds will mend? Shots ringing all along the borders can be heard Striking out like a venom in the sky Cutting through the air faster than a bird in the night But I'll never use your love, you know I'm not that kind And so if you give your heart to me I promise to you Whatever we do...that I will always be true To jump from depictions of border violence to gooey Hallmark card sentiments shouldn’t work, yet it does. The words might look silly written down, but the sheer conviction they are sung with, and the sheer power of Young’s loon-like vibrato, is what sells them, at least to my ears and heart. I’m not the first to make the loon comparison, Young’s biographer Jimmy McDonough has done so too. Young’s father Scott was the first writer to compare his son’s unique voice to the sound of the loon cry, a very Canadian sound, associated with Muskoka nights in summer, nights often soundtracked by Young’s vast and varied discography.

Disappointingly, the album version of “Shots,” which appeared on 1981′s Re-ac-tor, is pretty fuckin annoying, with its overblown machine gun affects (done by Young on the Synclavier), and Ralph Molina’s incessant marching beat. The song is already called “Shots,” Neil. You didn’t have to add machine gun sound effects. This isn’t audio verite. I’m not gonna post the album version here but you can find it easily. The album iteration has its fans though. Canadian blue-collar rockers The Constantines would cover “Shots” on a vinyl-only release with The Unintended, in which the Cons covered Neil Young and The Unintended covered Gordon Lightfoot. The Cons picked some weird songs, “Shots” among them, and you can tell they are referencing the Re-ac-tor version, not the superior one posted here. I’m not sure why Young slathered so many effects over the album version of “Shots.” The 80s definitely saw him taking his heavier music in an unpalatable direction. The Eldorado EP, in particular, has one of his most savage recordings ever, a song called “Heavy Love” where Young blows his voice out completely by the end of the song in an attempt to sing louder than the savage pulsing thrust of the band (the abovementioned Young & the Restless). The drummer on Eldorado was Chad Cromwell, not Steve Jordan who’d played with Young on his legendary SNL appearance where he played “Rockin in the Free World,” the definitive performance of that song, where Young tore all six strings from his guitar at its denouement. Unfortunately, SNL guards its content as jealously as a rabid guard dog, so I can’t post it. Maybe one day I’ll find a gif. I’ll leave you with two strong cuts from Eldorado. The first is “Heavy Love,” which is obviously a sister song to “Rockin In The Free World,” with its similar sonic texture and E minor riff. Listening is worth it just to hear Young’s voice go to pieces a la “Territorial Pissings” at the end (3:58 if you don’t wanna wait).

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And this is the title track “Eldorado,” which ended up on Freedom. Young employs a fingerpicking style redolent of 80s megastars Dire Straits, and he sings of mission bells and senoritas and golden suns rising on runways and Mariachi bands while playing the A minor chord, a chord strongly associated with Mexican music and Mariachi styles. It’s a cool verite approach, one that works much better than the machine gun effects of “Shots,” especially when the gun violence Young has been hinting at the entire song finally explodes in a shower of distortion at 4:40. Have you ever heard something so loud compared to the backing track? I remember showing “Eldorado” to my friend/bandmate James, and I told him to prepare himself for how loud it is. Afterwards, James said, “even though I was ready for it, that scared the shit out of me.” It is so fucking loud. Check it out @ 4:40. Don’t say I didn’t warn you.

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One last point I’ll make...the Spanish-influenced guitar lick you can hear at 1:06 is really similar to the pre-chorus guitar riff Young plays on “War of Man” from Harvest Moon. I don’t consider stuff like that to be self plagiarism. I think it shows a consistency, but also it’s a way to reward fans for paying attention. Frank Zappa was known to do the same thing, re-introduce little musical nuances he’d recorded years or decades before. It’s cool. It’s what makes a discography live on long after the artist has burnt out or faded away. If you’re interested, here is a wonderful live early version of “Eldorado” titled “Road of Plenty” recorded with Crazy Horse in 1986: https://www.youtube.com/watch?v=By6_oLYfrYk

#betterdaysareatoenailaway #neil young #interstate #shots #ronald reagan #1980s #re-ac-tor #1981 #David Briggs #Scott Young #ralph molina #synclavier #steve jordan #SNL #bruceberry #danny whitten #heroin

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bonscottintheimpala · 4 years

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Oneshot plot: Reader is a close friend to all members of LZ but she secretly has a big crush on Jimmy but Robert knows it and she cooperates with Robert to find out what Jimmy thinks of her snd Jimmy gets jealous. Smut in the later part too? Btw your writing is so good! Keep it up!

Tbh I stan a good wingman Percy. 😂 And thank you so much for the compliment! 💖

Moby Dick Is A Wonderful Song

(Word count: 1,567) EXPLICIT

You jump when someone bumps your shoulder, and turn to find Robert giving you a knowing smirk.

“You aren't being very vague about that, (Y/N),” he teases, “If he was looking over here he'd tell that you were checking him out.”

“I've known him for a while. Trust me, (Y/N), he can look like he isn't interested even if he's just itching to get with someone.”

You know that Robert's right. You've only really known the band for two years, and Percy has been around Jimmy for a little over six. You're pretty sure the singer knows his bandmate well enough by now to understand how the guitarist works.

Robert nudges you again to get your attention. The smirk is back on his face. “I have an idea to see if he's into you. We try to be really cuddly and all that shit around him. Hopefully it annoys him enough to get him to do something.”

You raise an eyebrow, questioning the proposition. “Won't he think that I like you that way, though?”

Yet another point well made. “Okay, then. How do we go about this? Just pretend that you're saying something risque to me and I laugh like a fucking idiot?”

“Exactly. Then at Moby Dick, you come back here and best case scenario he follows you, too.”

The plan seems to be working perfectly, because after a few moments of exchanging stories to make you laugh and Robert puts an arm around you, he brings his mouth closer to your ear.

“Don't look now, but Jimmy just stared at me like he wanted to kill me. So safe to say it’s going very well.”

You nod. “So I’ll come back here right before Moby Dick?”

“It’d be a good idea to go back earlier. Maybe when he starts his solo during Trampled Underfoot. I'll tell him where you'll be and I'm sure he's going to come straight here.”

The two of you just knowingly smile at each other.

Jimmy is actually into you.

You've been watching the singer since there song started, hardly even blinking. Once he gives the signal, you practically run for the dressing room, but not before you just catch Jimmy looking at you as you do.

You lounge on the sofa where you had been sitting with Robert at least an hour and a half -maybe even two hours- earlier. Staring up at the ceiling is all you can really think of doing other than just pacing around. If I'm just walking everywhere looking at things like I don't know what the fuck I'm doing, I'll look like a dumbass, you think to yourself as you keep your ears trained on the hallway outside for any hint of footsteps that could be coming close.

And then, after what seems like hours have passed, you can faintly hear the sound of someone almost sprinting down towards the dressing room door.

Your heart starts to pound in your chest the louder they get, and it all comes to a stop when the door opens.

Standing there, his long black hair sticking to his sweat soaked face, is James Patrick fucking Page.

Neither of you say anything for a minute, just stare at each other with wide eyes. Jimmy’s the first to talk.

“So…. Percy told me you’d be back here.”

“And did he say why?”

“I guess he thought it’d be nice to give us some time together. To just confirm if you actually do like me.”

“Do you think I’d be here if I didn’t? And after all,” he adds, his voice now slipping into a smooth and sweet tone that makes your breath hitch, “You know exactly what Bonzo’s drum solo gives time for. And which is why Rob will come here to let us know when it’s getting time for me to go back so I don’t miss anything.”

You nod before you start to move the dragon suit top from his shoulders with shaking hands. He notices because he asks, “Are you really sure you want to do this, (Y/N)?”

You laugh. “You have no idea how much. I'm mostly shaking because I'm so surprised you even came here.”

Jimmy holds your face. “We’ve taken up five minutes.”

Your stomach goes light and your head seems to be an incoherent mess of thousands of words when Jimmy presses his lips to yours. The contrasting textures between his fingers is just as intense; the rough calluses on the fingertips of right hand tingle your skin as they trail up your spine under your shirt, while the opposite smooth of his left hand slide gently along your lower back.

And then everything is surging in strong waves out from the spot his fingers are inside of you and through your entire body.

“Bonzo’s gonna be done in probably five minutes, Pagey, you should get in order and backstage as quick as possible.”

“Okay, Percy, I’ll be out in a bit.”

Jimmy kisses your forehead before getting off of you and starting to redress. “And you’re quite loud, (Y/N). I’m glad I could satisfy so well.”

You sit up and pick your clothes up off the floor and begin to get somewhat presentable. “Would it be possible to continue after the concert back at the hotel?”

Jimmy shrugs the dragon suit top back on. “I think that’s a great idea that I will agree with. Now let’s get back to everyone else. And make sure to stay calm until we’re at the hotel.”

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