Posts by unblinkingeye@www.minds.com
(DIR) Post #AwivVpFUdwkN1RZp8C by unblinkingeye@www.minds.com
2025-08-01T05:54:07+00:00
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Black Sabbath - #ItMustHaveBeenYears IV: Part I - Black SabbathAlright, let’s get this party started with the album that launched a genre: Black Sabbath, released February 13, 1970.This platter gets buried under heaps of superlatives already, so the goal will be to focus on the music as it is - sans mythology. The copy I’m reviewing is the US version, which omits a rather bland cover of “Evil Woman” by the band Crow which was both a B-Side and included on the original UK edition. Seriously, this cover was pushed by “The Management” (who will be the villains of this story from now until judgment day), and it’s easily the most dated and stupid sounding thing on this album… or possibly any Black Sabbath album ever. Since it’s my party and I’ll red ink something if I want to, that cover song is hereby banned from the discussion.Moving on, we need to address the general phenomenon I’ve experienced with Sabbath over the years, because it’s going to come up a lot in these reviews. Namely, most of the “hit” songs by Sabbath have been better recorded, better performed, and rendered in more gutsy, intense forms than those that exist on the original 8 Ozzy Sabbath albums. Those improved versions could have been performed by Sabbath themselves, Ozzy solo, or both over the intervening years. It doesn’t make the songs bad. Quite the contrary. In fact, I’d argue it points to their strengths since they hold up to repeat plays and improve over time regardless of who is playing them. However, it does point to the inherent flaws of the cheap and nasty production of these “historic” recordings – especially when we’re talking about early “heavy” music. While I’m sure this is blasphemy to some, the means to play and record these songs with sounds that do them justice simply weren’t there in the beginning. Think people who hate the sound of Bob Dylan’s voice but love his songs as performed by others and you’re close to what I’m talking about.All that out of the way, the title song of their debut does NOT fall prey to this syndrome and I’d argue that nobody, including the band themselves, has ever bested the original studio version. It’s menacing, it’s scary, the guitar, bass, and drums are coming from the depths of a crevasse in the Earth’s surface, and Ozzy sounds like he’s been sobbing out of fear for hours prior to laying down the vocal… In short, this is the uncut, weapons-grade good stuff and it has legendary status for a reason. Even among “the singles,” this track stands alone as an album opener, a song, and as a recording. Lightning struck and four dudes from Birmingham were lucky to have a bottle handy to capture it. (https://www.youtube.com/watch?v=vLC2qwFLbqc)Moving on, we have “The Wizard” (https://www.youtube.com/watch?v=u10t6yD6sUs), which might be my favorite song from Ozzy Sabbath. I don’t think any other tracks from this era utilized the harmonica, which is wild when one considers Sabbath started as a blues band called Earth. There’s not much more to say about this. It's a thrashy, bluesy little number that shares more DNA with early prog than anything else the band would lay down until Dio joined the ranks, and who doesn’t love getting their Tolkien-adjacent jam on? I must confess though, this is an early sign that Ozzy would wind up being the first native English speaker to require subtitles to be comprehended by other native English speakers…In what was apparently a ploy by record companies to make the public think more tracks were present on early Sabbath albums, songs on their early albums were often split up with short interludes or intros being given unique titles. It can make navigating different pressings a little tricky and nowhere is that more true than on their debut, which winds up looking like a compilation of medleys. For a fine example of this philosophy in practice, we have “Wasp / Behind the Wall of Sleep / Bassically / N.I.B.” More accurately, we have “Behind the Wall of Sleep” and “N.I.B.” with their respective introductions. “Behind the Wall of Sleep” is a heavy slab of blues which gives some indication to my ears that Tony Iommi’s brief tenure as the guitarist in Jethro Tull (yes, that happened) left at least a slight musical impression on him. Seriously, this sounds like a heavier version of JT’s This Was and really offers up the band’s blues origins for all to see. I can’t really talk this song up, but it’s got a solid, loping groove to it that I find infectious even if it’s still “just” an album track on a great album.If you don’t feel primed to leap out of your skin courtesy of the wah bass introduction to “N.I.B.” (https://www.youtube.com/watch?v=HFzDKTNLr2k), I would argue that you probably don’t have a soul to steal. I am prepared to talk all manner of shit on the predictable playlists of “classic” Sabbath tracks that get regurgitated endlessly because, as with most of my favorite bands, I think normies are unimaginative little dorks with questionable taste and defective ears who fixate on the least interesting parts of a band’s catalog, BUT this is another instance where the punters are 100% right to single this track out. I have nothing further to add here. Just listen to it.“Wicked World” opens side two and we’re back into the solid blues workouts. Between Geezer Butler’s bass and Iommi’s guitar tone, I don’t know who else could have made the blues sound like this, but there’s no denying what we’re hearing. The song does presage some of their more atmospheric flights towards the middle before we get another blues guitar workout from Iommi, whose “voice” on the guitar was already identifiable at this early stage. As I listen to this album, I’m seriously struck by how utterly bluesy everything from Ozzy’s vocal delivery to the music itself is and I’m perplexed that this flavor of the band’s sound is sort of ignored outright or hand-waved away with the focus instead given to sounds they pioneered later that dozens of bands have been aping with exacting detail ever since. Their blues aspect may actually be the most interesting part of their early sound. It boggles the mind because the history has it that they weren’t terribly well-regarded as a blues act when that was their primary stomping ground. Frankly, if this record is any indication, they were better at it than a lot of bands of the era. But, then again, blues in rock is always a tricky subject because we’re always playing the balancing game between safe middle class music that allows boomers to relive their youths and music played by people who understood the inherent grit and danger of the source material. Whether it was an accident or not, when Sabbath played the blues, it sounded dangerous and, as far as I’m concerned, that’s what it’s SUPPOSED to do.The album closes out with “A Bit of Finger / Sleeping Village / Warning” or just “Sleeping Village” with a lovely, but short intro and “Warning.” Considering that I dismissed one cover already, “Warning” actually speaks to the strengths of the band, but we’ll get to that in a minute.“Sleeping Village” is another good album track, but kind of jammy and meandering. No shame in the game, and hardly worth reaching for the skip button over, but it’s in much loftier company and I’d argue it goes on a little too long.The album closes out with “Warning.” I’ve never heard the original, so I can’t speak to how closely the band kept to the source. I’ll just focus on how it suits them and their debut album. Frankly, if I didn’t know this was a cover, there’s nothing in the music or performance to indicate someone else wrote it. It fits in perfectly with the rest of the repertoire on offer here. It’s probably the bluesiest track on the album bar none, but it falls naturally within the playing of the four members. At almost 10 minutes of runtime, it somehow avoids overstaying its welcome or sounding padded out. Iommi’s playing carries the day here and he shows that he can offer imaginative leads, even if he’s limited somewhat by his blues influences. His musical vocabulary would expand later, but he does not disappoint.For a funny aside, Ozzy apparently misheard the lyric and sang “I was born without you baby, but my feelings were a little bit too strong,” which I’ve never quite been able to understand – even if the words do sort of make emotional sense. Come to find, the original line was, “I was warned about you baby, but my feelings were a little bit to strong.” Speaks strongly for the power of rock to take nonsense and make it emotionally resonant, eh?So, on balance, what are we left with?Look, when I first got into Ozzy and Sabbath in my teens, I had no time for the debut. It was too jammy, the riffs weren’t catchy enough… And where were the familiar singles? The title track bored me and only “The Wizard” really held my interest. Coming back, this may well be the biggest upgrade I’ve experienced on playing through an album for IMHBY. This album is a blast and it was recorded over all of two days by four unwashed dudes who were just banging through their live set. It’s honest, direct, and a lot of fun even for all the heavy darkness lingering in the margins (or riding roughshod over the listener in the case of the title track). Stick a pin in this observation for when @airyaman gets to the reunion album, 13.Yes, the album lives up to the hype. I’d argue it doesn’t get enough attention when the early years of Black Sabbath are talked about because the blues live large in the heart of this cluster of songs and I think the average metal lunk doesn’t quite know what to do with that. Luckily, we’re in rarified company for #ItMustHaveBeenYears, so I don’t think anyone reading this suffers from that particular affliction.I’ve singled out tracks here (basically half of the album), but I do recommend that, if you listen to nothing else, check out this album in full (the US version, please) and see if it reaches you. I came into this write-up well prepared to be underwhelmed because I’ve heard it so many times before. Nay. This bastard brings the pain and remains interesting in ways I suspect albums to come won’t. Give it a listen. You will not be sorry.
(DIR) Post #Awn4eaihhtOqmuKmYa by unblinkingeye@www.minds.com
2025-08-03T03:01:30+00:00
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Harry Potter is overrated dog shit and the only redeeming value was that it got people to read.And then everybody fixated on the movies and no reading took place.See also: people forgetting that LotR was a book series and just re-watching the extended editions instead of re-reading the books.I mean, I'm one to talk since it's been ages since I read them, but I think I've read the trilogy a half dozen times since I was a teenager, so I think I'm still in the green.
(DIR) Post #AwxcJh9LwhCcfdbcW0 by unblinkingeye@www.minds.com
2025-08-08T12:38:04+00:00
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I find it really weird how much of a flashpoint that this set of shows has become. Leaving the creator out for a second since she seems to legitimately not want kids watching it and just wanted to tell a story...The right is freaking out because "it's a show about demons." Yes, who are almost all comically depraved and debauched and not depicted as dignified for it.Meanwhile, the left has turned it into some kind of endorsement of their own depravity and debauchery.Love or hate the material, we're firmly in the "people suck" part of the chart with this no matter what side you're on.
(DIR) Post #Ax43Me2bp8WFbmqGcC by unblinkingeye@www.minds.com
2025-08-11T15:20:15+00:00
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I'm definitely detecting a loss in IQ, but it's not where she thinks it is.
(DIR) Post #AxGz37NHBCb61yQBKi by unblinkingeye@www.minds.com
2025-08-16T00:12:14+00:00
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Black Sabbath - #ItMustHaveBeenYears IV: Part VII - Technical EcstasyI had a totally different intro written for this post until @airyaman’s highlighting of Sabotage got me to check that album out again. When asked about Sabbath, the average fan will really talk up the first four albums and maybe extend the “classic era” to the first six before two albums signalled the end by basically being unlistenable, experimental garbage. The tale has been told so many times that people think it’s fact, but I’m here to say that it’s beyond bullshit. So much so that I’ll go out on a limb and actually say that the best albums Sabbath did with Ozzy are Sabotage and this one. Contrary to accepted wisdom, the band’s songwriting improved as they went, the performances from all four members (in spite of their chemical extra curriculars) never stopped advancing, and they stopped playing it so safe and simple. Strap in kiddies, we’re in for a wild ride. Opener “Back Street Kids” (https://www.youtube.com/watch?v=UsZI8-9MM0U) might have a bit more of a gallop to it and a slightly more straightforward rock production than we’ve been used to from Sabbath, but if anyone heard this song and was confused, I’d tell them to get their ears cleaned. Ozzy sounds great, the rhythm section of Bill Ward and Geezer Butler are firing on all cylinders, and Iommi’s riff machine is in full swing. Some synths entering for a very Beatles-esque bridge are about the only sign of fiddling with the formula (also, is it just me or did Pete Steele rip off the bridge vocal melody for a ton of his own bridges in Type O Negative?).After a cold open, “You Won’t Change Me” does start to reveal that things are a bit… odd on this album. The song has a very dense, muddy production with the vocals partly buried in the mix. Organ and synth are slathered all over this song. Even for that, while the more left of field tracks on Sabbath Bloody Sabbath felt like they belonged on another band’s album in places, the core of the band’s identity is still intact here. It leaves the track sounding like a Sabbath song as produced by Phil Spector rather than a cover performed by Sabbath (or, worse, someone else entirely playing their own material). After reading the wiki article on this album and seeing quotes from the other band members insisting that Iommi was trying to make songs sound like X, Y, or Z, I genuinely don’t see it – at least if this song were to be held up as an examplar of that phenomenon. I don’t know who this is meant to emulate because all I’m hearing is Sabbath under a dense (and admittedly over-cooked) arrangement. The experiment doesn’t entirely work, but it has its charms and manages to be interesting without leaving the listener feeling like the band’s identity was left behind at the last rest stop.“It’s Alright” is a stark anomaly in the catalog, being a Bill Ward composition that the drummer sang himself. That sounds like it should be disastrous, but the song has a sort of homespun charm to it that’s hard to pin down. Ward isn’t convincing anyone that he should have been the frontman, but he’s got a solid voice and offers a nice counterpoint to Ozzy. Is it what one might want or expect from Sabbath? Not really. It’s basically your standard issue ‘70s rock ballad (for the record, I never understood the love “Changes” got either). At the same time, it somehow manages to be nowhere near as out of place on this album as some of the tracks on Sabbath Bloody Sabbath were. Its worst offense is sounding like the band is attempting to write a Queen ballad, but it’s far from an embarrassing attempt. Iommi even manages a sort of Brian May-ish solo for what it’s worth. It was good enough for Guns ‘n Roses to cover live, so take that as you will.The percussive opening of “Gypsy” (https://www.youtube.com/watch?v=NaNQgJXOnbE) is… different. Like, it’s not bad, but it’s… odd. Once again, I’m not sure what is being attempted here (other than Bill Ward having the cocaine zoomies and needing to burn off some steam). Once we get about a minute into the song, Sabbath goes into Sabbath mode and the song finds its legs and turns into a beast of a rocker. I’d like to point out once again that this is supposed to be the album where the band lost its metal bearings and delved into basic ‘70s rock-isms. Aside from sounding a bit like they’re attempting Alice Cooper style theatricality, the heavy guitar tone is still here in spades (I’d argue in far greater force than on the spotty but occasionally brilliant Sabbath Bloody Sabbath). Sonically, if there are any sins being committed here, it’s that Ozzy’s voice is constantly buried in these very dense mixes (probably what happens when you let the guitarist produce the album).“All Moving Parts (Stand Still)” (https://www.youtube.com/watch?v=z9DZidPQ2ms) is the tits! Seriously, if that opening riff doesn’t make you want to flip a table and start breaking shit with your face, heavy music of any stripe is NOT for you. I’d forgotten how great this song was, but from the opening riff, I was reminded and then some. The band are still getting fancy with the vocal harmonies, but it’s a much more standard issue Sabbath song. Butler even breaks out some borderline funky bass playing that would do John Deacon proud in parts of this song. The band sound like they’re having fun on this one. And, just in case the folks in the back rows didn’t get the memo, I’m deeply in love with Iommi’s guitar tone on this album. It’s heavy, but clear. The riffs are as ballsy as ever, but there’s also a spiky clarity on the high end that wasn’t always present on the early albums. Yes, at times it comes to the detriment of Geezer’s bass or Ozzy’s vocals, but this might be the best sounding guitar tracking Iommi had managed up to this point in a catalog often saturated with sludgy or muddy guitars. I will concede this is a “me” thing and your mileage may vary because that’s what some people consider the highlight of these early albums.No points for guessing what “Rock ‘n’ Roll Doctor” is about… The track offers a sonic curve, coming after a straight ahead song as it does. We’re back in that muddy “Phil Spector” sound that crops up from time to time on this album. In truth, I half wonder if the issue people have with this album is that it doesn’t have a unified sonic signature to it and waffles all over the place in terms of its production rather than out of any beef with the quality of the songs. This particular track is another great rocker, even if it does veer a little more towards conventional ‘70s rock (offering a bit of heavied up boogie-woogie in places) over Sabbath’s meatier fare. In common with the other “deviations” on this platter though, it’s still a solid song and avoids sounding totally out of character for the band, so – once more – I don’t quite understand why this album has the reputation it does if we’re judging by the strength of the songwriting.We’re treated to a string arrangement to open “She’s Gone,” which gives way to a gentle acoustic opening. The playing is stock Iommi though, so don’t be fooled into thinking this is going to turn into a Dan Fogelberg song. More than any other moment in Sabbath that I can think of, this track strongly predicts what Ozzy would wind up doing vocally on Blizzard of Ozz and Diary of a Madman, from the vocal melodies to his delivery. It’s different but gorgeous. Before anyone wonders how I could skewer a sacred cow like “Changes” and yet like an orchestrated ballad like this, it’s dark and gothic as hell and sounds anything but of its time to my ears. I can’t say the same for the more popular song. “Dirty Women” (https://www.youtube.com/watch?v=L6HbhiK4eKc) closes things out with another great riff. The only complaint I’d raise is with the decision to pair guitar and organ when a guitar army probably would have been punchier. Ozzy’s voice is once again muddled in the wall of sound, but not fatally. Personally, I merely like this song until we hit the up-tempo solo section about 2 minutes into things. Again at 3:30, that riff just crashes into the forefront and I’m sold. Just hit me straight in the veins with riffs like this, Tony! Ozzy singing over it for all he’s worth just ices the cake.Before we close out, time for art criticism with Unblinking.Look, I’ve got to be real here: this album has cover art by Hypgnosis who produced artwork for everyone from Genesis and Pink Floyd to Led Zeppelin and all points in between. This shit was DESIGNED to appeal to me, so I really don’t get the criticism – especially when this platter landed AFTER Sabotage. Yeah, I don’t know if I’m looking at two robots Bluetooth fucking on an escalator or what, but if you compare this to the muddy pig man on Paranoid, the drunken typography of Master of Reality and Vol. 4, or to the “Felt cute, might delete later” cover of Sabotage, this goddamn thing belongs in an art museum!As I’ve hit on before, I’m a prog fan before I’m a metal fan. My 18 year old self and I have just agreed to disagree on that front. That being the case, there are certain things I’ll be sweeter on that your average “metal or die” listener won’t have any time for. So, if I’m being gentle on this album, it’s because I honestly can’t figure out why it has the reputation it does. Sure, Iommi’s production and mixing are all over the shop, and some of what I can only think of as “Phil Spectorisms” could have been dialed back a bit (save some room for the fucking vocals, Tony!), but the lows never fall too far and the highs are both interesting and engaging. Frankly, after covering Sabbath Bloody Sabbath, I’m more surprised that SBS gets lumped in with the “classic” era because it came off far more spotty than I remembered with some very out of character clunkers in its track list. Nothing I heard on Technical Ecstasy ever sounded fully out of character for the band. Technical Ecstasy, at its core, points forward to a bunch of directions Sabbath could have gone if they’d kept Ozzy at the mic. They were moving forward with their sound, but this time they sounded like themselves while doing it (aside from maybe Ward taking lead vocals on a track).All in? Give this one a chance. I think it’s far better than its reputation would indicate. The decision to highlight four tracks rather than the usual three or less is down to wanting to prove that I’m not just cherry-picking the good stuff here.
(DIR) Post #AxJs1zs1TgJkGMCWQq by unblinkingeye@www.minds.com
2025-08-19T06:09:01+00:00
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Gm! Let's roll!
(DIR) Post #AxtrfJZ55BWENH5BcO by unblinkingeye@www.minds.com
2025-09-05T15:10:35+00:00
1 likes, 0 repeats
I'm torn on this because Waters' comments basically give the impression that he never heard a note of Ozzy's or Black Sabbath's music and only knew the media sensationalism and reality TV aspect of the man - which, to be fair, were fucking ridiculous. Didn't stop the family from cashing checks pushing that stuff forward for a few years. No points for guessing why nothing past '00 was played at the final show. Most people had given up on Ozzy as a musician by that point because he was the "reality tv guy who needed subtitles."So, I don't blame Waters for reacting the way he did or being mystified. Granted, I'd fucking love to take that guy on a walk through the musical landscape instead of listening to him talk about Bob Dylan and fucking Neil Young all the time like they're still vibrant young creative forces. Be nice to see him put out a new album that doesn't suck like his last one or put on a tour based around new material instead of re-treading a Floyd album too.At the same time, this is the guy who in '92 basically called Madonna a vapid slut in an interview and then casually told the woman interviewing him that she kind of looked like Madonna immediately afterwards, so... Yeah, I'm not surprised he's been married four or whatever times. Nobody would accuse Waters of winning the charm offensive.
(DIR) Post #Ay8wt9XOZf4YTJ6woS by unblinkingeye@www.minds.com
2025-09-12T21:55:09+00:00
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The English language lacks proper profanity to express the hatred I feel for these people.
(DIR) Post #AyQXTrydrvmSzZpocC by unblinkingeye@www.minds.com
2025-09-21T01:47:51+00:00
1 likes, 0 repeats
This Gman is more creative than fuckin' Shakespeare!
(DIR) Post #Aym6plWKwIMnT2Yc2y by unblinkingeye@www.minds.com
2025-10-01T19:25:31+00:00
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Well, that's not the best start to a night out!
(DIR) Post #AzXVFzVt4CQ5ivVAlU by unblinkingeye@www.minds.com
2025-10-24T14:56:29+00:00
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I think the component missing here is the human side. It's like a dude who gets super rich but has nobody around him that he actually likes and trusts. We're already seeing the whirlwind being reaped when it comes to thots who wonder why they "can't find a good man" or start a family or whatever. Women can get loads of cash and attention, but what the fuck is it worth if nobody will deal with them outside of the context of "I'd hit it?"Unfortunately, you're totally right in that most of the people who bitch about this on the right are shit at articulating the problem.
(DIR) Post #B05dhWR4d5oZXOG3Dk by unblinkingeye@www.minds.com
2025-11-09T05:23:28+00:00
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https://www.youtube.com/watch?v=df75dJYMw2QActually have something appropriate for #SundaysOfPioneers.Found this band via Rubellan Remasters who, sadly, are no longer with us due to the blackened nightmare hellscape that is the music industry in 2025. Basically, they did such a baller job updating the majority of the Oingo Boingo catalog that I decided to pick up whatever the dude felt like reissuing.Vivabeat were around for something like 18 months before ceasing to be in spite of Peter Gabriel being the reason they got signed after a demo impressed him. In fact, their song "Man from China" impressed him so much that he took the "whistled hook" idea from it and applied it to his own "Games Without Frontiers." Luckily, it was just an arrangement idea he borrowed and the two songs have nothing else in common.After listening to more or less everything this band recorded while it existed, this song is probably my favorite. Edgy, presumably Cold War tensions with some warbly synths and a video that clearly blew its budget near the end (you'll know what I'm talking about when you see it).
(DIR) Post #B0O2gTJWu369VUa2Bk by unblinkingeye@www.minds.com
2025-11-18T04:33:55+00:00
1 likes, 0 repeats
https://www.youtube.com/watch?v=umHzAWfQxi0Still a bit hit and miss on here, but wanted to check in.I hadn't listened to this CD in AGES and I was kicking myself for that when I gave it a spin today in the car. Yeah, I get it: the whole "first nations" thing has been ridden raw by shitty leftists over the last 20 odd years, but let's wind the clock back to when things like this just represented another flavor of musical cross-pollination and storytelling to keep histories alive.Goddamn, I want that back so bad. The title is apt. This is one of those songs that I used to just play on a loop sometimes and you'll see why when you give it a listen. The flute paired with Robertson's brilliant guitar playing just... *chef's kiss*
(DIR) Post #B0OWxz96nrAdmOyO9I by unblinkingeye@www.minds.com
2025-11-19T02:58:48+00:00
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https://www.youtube.com/watch?v=9-0AiRqvpMwWanted to drop a tribute of my own to David Coverdale, who announced his retirement this week.First off, if anyone hears the name "Whitesnake" and goes "Ugh, fucking hair metal!" as I once did, I can only suggest you park the preconceptions and dig into a huge catalog of great blues-based hard rock with some surprising touches that make their way in from time to time.Coverdale's one of those guys who could sing the phone book and I'd be there for it."Ain't No Love in the Heart of the City" was one of their big centerpieces live in the pre-1987 days when things were a little more gritty and blues-based. Personally, I love all eras of the band, but maybe this will convince anyone on the fence about the man's bona fides.Cheers, David. Enjoy the retirement.
(DIR) Post #B0g3e3Lbd5nzxOIfCa by unblinkingeye@www.minds.com
2025-11-25T04:12:55+00:00
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The question that arises more and more often for me - and no, I don't have an answer (at least not one that I like) - is, "How do we reconcile the fact that women vote for this shit in droves even as it hits closer and closer to home?" Sure, as some have pointed out, she could have learned and grown, but the sheer stupidity and irresponsibility of "It'll never happen to me" based on nothing more than good intentions and unicorn farts isn't a viable way to run a society.And, not for nothing, but these same women are the ones aiding and abetting riots and unrest when someone like the guy who set this woman on fire gets shot when some dude DOES stand up to protect... Again, we've got a problem beyond just "glom up with the rest of your race."Put another way: the white race has a big problem - namely that most of its women are fucking suicidal and seem hell bent on dragging the race into oblivion.
(DIR) Post #B14ztdoAoEfAW6q0cC by unblinkingeye@www.minds.com
2025-12-09T05:19:24+00:00
1 likes, 0 repeats
https://www.youtube.com/watch?v=ysj52q7m0lYLife is busy lunacy, but I hope you're all well and riding out the holiday season with appropriate festiveness.Had to share this gem. Byrne still sounds great and whatever this performance is... It's pretty cool. Could be pretentious trash, but it works.
(DIR) Post #B191uacr6X39TbxouG by unblinkingeye@www.minds.com
2025-12-10T21:25:56+00:00
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I'm fairly certain I'm a hallucination, but I have a lot of backstory.
(DIR) Post #B191ubKoT6DBfwWvQG by unblinkingeye@www.minds.com
2025-12-11T06:49:54+00:00
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@thinwhiteaxe This is going to turn into a Fight Club scenario where I'm your Tyler Durden. Except, instead of blowing up banks, you just go music shopping. 🤣
(DIR) Post #B1ADwDG2LmaSBmn6Fk by unblinkingeye@www.minds.com
2025-12-12T03:04:41+00:00
1 likes, 0 repeats
https://www.youtube.com/watch?v=tL9EVRrrNQgLuckily, my life is not currently in the straits described in this song, but even if it was, this would be one hell of a slick soundtrack for it. Hope the week is treating y'all gently.
(DIR) Post #B2PE0MZVZMNGvXrY2q by unblinkingeye@www.minds.com
2026-01-18T10:00:57+00:00
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Gm!