#dc comics#dc#batman#bruce wayne#tim drake#batfamily#batfam#dc fanart#dick grayson
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No one literally no one:
Jin: hey namjoon are you a parking ticket?
Namjoon: uh no why-
Jin: cause you got FINE written all over you ;)
Bts members: *slowly clap their hands*
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With all I’ve been talking about Don Airey’s influences, let’s start looking at some of the influences he’s had himself.
Jens Johansson:
Jens Johansson, keyboardist with Finnish power metal giants Stratovarius, Dio, Yngwie Malmsteen, and also the current iteration of Ritchie Blackmore’s Rainbow (1995, From Jens’ site) In an 2001 interview with DMME he states this: (regarding influences) First of all, Jon Lord, then I listened to the bands like RAINBOW with Don Airey, the best soloist of all. [...] I always liked Don Airey best of all their players, he was my favourite, for sure. It’s the choice of sounds and general feel. (regarding Rainbow keyboardists) And in another, where, both being under ear-music label (Stratovarius and Deep Purple that is), Jens had a chance to interview Don. He opens with: You're awesome and a huge influence and inspiration to me.. almost everything you had contact with over the years I have listened to, "enjoyed the shit out of" analysed, tried to suck up like a sponge and then enjoyed a little more the-shit-out-of. How did you become so awesome, what do you feel is your ratio between nature and nurture, inspiration and perspiration? Jan 5, 2014. Ear Music Jens Johansson’s 5 Questions to Don Airey *The link to the interview has since become dead. Though I do have it saved. Most versions on the web that refer to it, from what I’ve seen, are not complete.
You know I came into RWBY expecting some sort of wonderful co-op game where all the players would team up and beat up the bad guy after overcoming their differences with one another and learning to work together. Instead, Weiss was salty that Ruby was a DPS main and she couldn’t be one, and then Port was like, for a team to work you need support characters so Weiss embraced the support role. But then everybody else kept running off doing their own thing and Weiss had to keep supporting them even though they didn’t learn their own lesson of protecting their support.
Then Yang, the tank was doing her best to be team mom and protect everyone with Weiss, but then the enemy team focused down the tank so much she kept dying over and over again, and the support could only do so much. Blake kept running off trying to gank everybody and Ruby had no sense of teamwork either. The only reason everything was working was because they had a reliable support and tank that never had help from their DPS carries who were supposed to carry.
Then Ruby was like “GG SCRUBZ” and joined a new team, while Blake ran off to do it all by herself like she always did. Both the tank and support kept trying to teach Blake that she needed to be with her team if she wanted healing, but she kept letting them die and instead of facing her faults and improving on her play she decided she just had to do it on her own instead of letting her teammates down all the time. Yang carried the team so hard she had to be nerfed and nobody picked her anymore.
Meanwhile since nobody is protecting the support Weiss had to support and save herself.
"Endless blue sky fell steeply all around us like a bell. To have reached the peak was glorious, but the nearness of the sky was overwhelming."
K2: Tales of Triumph and Tragedy Track Overview by Don Airey
The album was produced by Don Airey and Stuart Taylor, re-mastered by Karl Adams at SRT Cambridgeshire, England, with new cover-art by Simon King-Underwood 1. K2 Overture (Airey) The savage mystery of K2 is evoked by the opening four chords of doom, TV newsreader Gordon Honeycombe’s sinister narration, the unusual 7/4 time signature, and the heavy pulse of Cozy Powell’s drumming. 2. Sea of Dreams Part I (Airey/Thompson) Refers to the twelve day hike from Skardu, Northern Kashmir, across rivers, over passes, and along the Karakoram glacier, to the foot of what Mallory called the most awful sight he had ever seen, “a mountain of inconceivable height”, K2. Vocal is by Manfred’s main man, Chris Thompson, the sublime guitar work by Gary Moore, and all underpinned by Cozy’s austere thunder. 3. Sea of Dreams Part II (Airey) Concentrates on the state of mind of the climbers as they approach the object of their obsession. Vocal is by Trapeze, and Whitesnake singer/guitarist, Mel Galley. The lyrics were written in the pub next to the studio, just prior to the session, whilst Mel warmed himself up over a large gin and tonic! 4. Voice of the Mountain (Airey) Being mainly an avalanche created on Minimoog 2. 5. Song for Al (instrumental) (Airey) Sets the scene as Al Rouse, perhaps England’s finest ever climber, contemplates the Gilkey Memorial at base camp, before setting off on the first stage of his climb. Laurence Cottle’s virtuoso 5-string fretless bass enters the fray, and Gary Moore surpasses himself on lead guitar. 6. Balti Lament (Airey) Sounds the first note of warning of the catastrophe to come, as the native Balti porters mourn the loss of one their number in an icefall. The vocal sound was created using a sample of Italian rock singer Georgio Veronesi, from my Casio FZ10 7. Ascent to Camp 4 Recreates on keyboards only, the penultimate stage of the climb, to Camp 4 at 26,000 feet. Solo is on Minimoog 1, heavy breathing comes courtesy of co-producer Stuart Taylor, and the ending is a tip of the hat to my old band Colosseum II. 8. Can’t Make up your Mind (Airey/Thompson) Loosely based on the argument at Camp 4 between Al Rouse and famed female Polish climber Dobraslawa Wolf, ( aka Mrufka), about the advisability of going the last 2,000 feet to the summit, with a storm imminent. Vocal and lyric are by Chris Thompson, and the solo was played on a Roland JX10 linked to a Yamaha DX7IID. 9. Summit Push (Airey) Hold on to your icepicks as Messrs. Powell, Cottle, and the brothers Airey, power you to the top of the mountain. Vocal is by Keith Airey, and the solo was played on a Roland RD300 piano. 10. Close to the Sky (Airey) Evokes the mystical (and short-lived) high engendered on reaching the summit of K2. Strictly a family affair this, with brother Keith on lead guitar, my son Michael (then aged 8) on glockenspiel, and his Uncle Cozy on timps and cymbal. 11. Blues for J.T. (Airey) A solo piano piece, recorded unbeknownst to me, by engineer Renny Hill, as I messed around on the studio’s 9ft. Bosendorfer. “J.T.” is Julie Tullis, who became after Al Rouse, only the second English climber to conquer K2. 12. Julie If You Leave Me (Airey) The lyric assumes the persona of legendary Austrian climber, Kurt Diemberger, Julie’s partner. They both fulfilled their main ambition together August 4, 1986, by standing athwart ‘the mountain of their dreams’. Vocal is by the equally legendary Zombies’ frontman Colin Blunstone, and the solo played on Memorymoog 1. 13. Death Zone/Whiteout (Airey) Death Zone refers to anything above the altitude of 26,000 feet where the lack of oxygen can have dire consequences. Atmospherics are courtesy of various Moogs, and Laurence Cottle’s bass. In “Whiteout” the vocal is by Genki Hitomi, lead singer of Japanese rock outfit Vow Wow, and the extraordinary double-tracked lead guitar solo by Keith Airey. The instrumental passage that follows conjures up the five-day blizzard at the peak of the mountain, in which Al, Julie, Mrufka, and three other mountaineers who had just reached the summit of K2, died. Cozy adds to the chaos with a marvellous drum break, Gordon Honeycombe reads the obsequies as the four chords of doom re-appear, and the guitar in the coda is unmistakeably that of Gary Moore. 14. Song for Al (vocal) (Airey/Newsinger) The key to the allegory implicit in the whole work is contained in Betty Newsinger’s plangent lyric. Chris Thompson handles the vocals, and Gary the guitar. BONUS TRACK 15. Take Me Home (Thompson/Airey) The song speaks for itself. This track was recorded at Sonet studios in 1987, features Cozy, Keith and Laurence, with Chris Thompson on vocals, and is my adaptation of an upbeat country song Chris originally wrote for Crystal Gayle. The 2-track master had been lost for ten years and duly turned up in Stuart Taylor’s garden shed, none the worse for wear this March. ~DON AIREY, MAY 1999
Don Airey Comprehensive Discography (WIP)
An attempt. Ongoing. (cit. I note that the discography on his site is not up to date and appears to derive from discogs.com) I will organise it differently and have separate posts for live appearances, and for a chronology. This tracks appearances ‘on record’ (performances in some capacity, not including arrangements/conducting - I will put the footage portions into a separate post once I get the information more organised) This excludes compilations/singles(which overlap with albums) I KNOW I missed stuff/Some dates could be a bit wonky. Hence WIP. Live only stints (i.e. ELO...) are not included.
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shh this the last fangirling gush post i swear
PGSM is still the grand champion of everything I look for in a show. It’s what I wish RWBY was. I would legitimately trade all that beautiful and badass fighting for the three-dimensional characters and relationships PGSM put so much of its effort into. The first anime, manga, and other iterations (that I’ve seen, so I have no comment on the musicals) pale in comparison to PGSM’s writing. I don’t even care about deep or meaningful plot or an interwoven world/lore, I just want characters who care about one another and the conflicts they run into with one another. It would be ultimately built on the theme of friendship, and anything outside of it that is secondary.
I ship Mercymaker. You know the ship where one is canonly married to the guy she murders and the other is canonly shipped to the guy that murders her.
