Whether it's your first Bonnaroo or you’re a music festival veteran, we welcome you to Inforoo.
Here you'll find info about artists, rumors, camping tips, and the infamous Roo Clues. Have a look around then create an account and join in the fun. See you at Bonnaroo!!
5.5/four tet, daphni b2b floating points, avalon emerson 5.12/neil young 5.19/mannequin pussy 5.21/serpentwithfeet 5.25/hozier 6.12-16/bonnaroo 6.28/goose 6.29/goose 9.17/the national + the war on drugs 9.23/sigur ros 9.27-29/making time 10.17/air
5.5/four tet, daphni b2b floating points, avalon emerson 5.12/neil young 5.19/mannequin pussy 5.21/serpentwithfeet 5.25/hozier 6.12-16/bonnaroo 6.28/goose 6.29/goose 9.17/the national + the war on drugs 9.23/sigur ros 9.27-29/making time 10.17/air
Post by Hector Salamanca on May 5, 2020 21:12:05 GMT -5
The snare drum coming back in after the record skip part in Let It Happen
Transition back to the intro riff in the outro of Bulls on Parade
Westside Gunn FINALLY starting his verse at the end of Gods Don't Bleed (extra points here because it's the first song on that album)
When the drums come back in after the first bars of Inspectah Deck's verse in Duel of the Iron Mic and it feels like they're going too fast for a second and then things even out
Les Claypool starting the bass riff to signal the transition out of the middle jam to the heavy chorus riff end outro of Groundhog's Day
The steel drums (or whatever they are) from the intro coming back in for the last chorus of Ultimate
The huge china cymbal hits and then tight hi-hat work in the "computerized clinic" part of Natural Science
Post by potentpotables on May 6, 2020 8:50:11 GMT -5
In Untitled (How Does It Feel?), the end of the interlude leading into to the final like 70 seconds of the song, D'Angelo just rips off a primal scream ending the crescendo of the interlude and leading to the coda. Gorgeous.
In Untitled (How Does It Feel?), the end of the interlude leading into to the final like 70 seconds of the song, D'Angelo just rips off a primal scream ending the crescendo of the interlude and leading to the coda. Gorgeous.
i saw "How Does It Feel? in your post and thought you were going to pick a moment from the smash R.E.M. hit "How Does It Feel (When You're In R.E.M.)".
i saw "How Does It Feel? in your post and thought you were going to pick a moment from the smash R.E.M. hit "How Does It Feel (When You're In R.E.M.)".
i saw "How Does It Feel? in your post and thought you were going to pick a moment from the smash R.E.M. hit "How Does It Feel (When You're In R.E.M.)".
FEELS GOOD!
agreed that is definitely the best moment of the song.
on the Live in Chicago DVD from ween, during the transdermal celebration Deaner plays this really screamer of a solo, and then at the end does these really quick hammer ons whiule moving up the neck and the bass follows it. it's like this disoriented coming back to earth moment
probably because i looked up the live in chicago video to post here, but this video pooped up on my youtube today.
it's a really fun watch; dude has no idea who ween is or anything and completely nerds out on the song/solo (it gets really guitar/music theory nerdy, if you're into that).
but the video turned me onto this little bit of trivia: deaner basically broke into a storage unit and used carlos santana's gear
I think enough time has passed where I can finally tell my favorite Ween story of all-time. The businesses and the people involved have long since closed their doors and moved on for good and hopefully the people involved (and Carlos himself, if it comes to that) will have a good sense of humor about this story.
In 2003 Ween released our album Quebec on Sanctuary Records. We worked on the album for two years in our beach house in Holgate, NJ, a rented house in the Pocono Mountains of PA, the garage behind Aaron’s house in Pt. Pleasant, PA, my upstairs guest room, and finally Andrew Weiss’s living room in NJ. We also worked at Water Music in Hoboken, NJ and Graphic Sound Studios in Ringoes, NJ. It was not a great period in our personal lives, Aaron was going through a divorce and I was partying way too hard myself — it was some dark shit. The record is one of my favorites, but it is a depressing album lyrically. It was not an easy record to make either, as evidenced by the amount of places we worked, trying to find the right environment. There are demos available online that I posted where you can hear the process at work, we racked up our normal batch of like 6 dozen songs or more before whittling it down to what was finally released, 15 tunes.
I am a huge fan of Carlos Santana. He is one of my favorite guitarists of all-time. He is playing better these days than ever before in my opinion. His music is more radio friendly, for sure, but as a guitarist he has aged like a fine wine. Only Neil Young, Prince, and a small handful of others can make that claim as they become members of the AARP.
We were working in Andrew’s living room on the song “Transdermal Celebration,” our drummer Claude Coleman had just gotten into a horrific car crash and left us without a drummer for the recording and ensuing tour. Eventually it worked itself out where the record took so long to complete that Claude made enough of a recovery to do the world tour with us supporting Quebec. In the meantime though, even though Claude had played on some of the demos, drumming on the album was left up to me, Josh Freese, and Sim Cain.
“Transdermal Celebration” had been recorded three times by this point, with a drum machine, with Claude playing drums, and the final take on the album which features Josh Freese. It was the eventual single from the album. So, we’re in the middle of this session and I get a phone call from my roadie (nameless) who also worked for a backline company (nameless) that supplied amps, drums, lights, etc. to bands touring in the Northeast. My roadie told me that Carlos Santana’s equipment (including his guitars) had arrived via a trucking company that night at their depot. Carlos was recording an appearance on “Good Morning America” the next morning and his equipment was to be delivered to the set in NYC in a few hours.
What needed to be done was immediately clear to me, I had an opportunity to play the solo on “Transdermal Celebration” through Carlos Santana’s amplifier and guitar. I had one shot at it, it meant taking a hard disk recorder to a storage space where all of Carlos’ stuff was sitting in transit. I arrived at 2 a.m. We (very carefully) unpacked his equipment and set up his stage gear and in one take I recorded the guitar solo for “Transdermal Celebration” (the one that appears on the album, playing through Carlos Santana’s guitar, pedalboard and amplifier. The whole thing took 10 minutes and we were terrified we were going to get caught. A lot of people would have lost their jobs. We got the fuck outta there really fast after that. So the solo on “Transdermal Celebration” was played through all of Santana’s shit in what resembled an early morning bank heist or something…
Of course a story like this requires visual proof, so here it is. Don’t tell anyone about these please.
on the Live in Chicago DVD from ween, during the transdermal celebration Deaner plays this really screamer of a solo, and then at the end does these really quick hammer ons whiule moving up the neck and the bass follows it. it's like this disoriented coming back to earth moment
probably because i looked up the live in chicago video to post here, but this video pooped up on my youtube today.
it's a really fun watch; dude has no idea who ween is or anything and completely nerds out on the song/solo (it gets really guitar/music theory nerdy, if you're into that).
but the video turned me onto this little bit of trivia: deaner basically broke into a storage unit and used carlos santana's gear
I think enough time has passed where I can finally tell my favorite Ween story of all-time. The businesses and the people involved have long since closed their doors and moved on for good and hopefully the people involved (and Carlos himself, if it comes to that) will have a good sense of humor about this story.
In 2003 Ween released our album Quebec on Sanctuary Records. We worked on the album for two years in our beach house in Holgate, NJ, a rented house in the Pocono Mountains of PA, the garage behind Aaron’s house in Pt. Pleasant, PA, my upstairs guest room, and finally Andrew Weiss’s living room in NJ. We also worked at Water Music in Hoboken, NJ and Graphic Sound Studios in Ringoes, NJ. It was not a great period in our personal lives, Aaron was going through a divorce and I was partying way too hard myself — it was some dark shit. The record is one of my favorites, but it is a depressing album lyrically. It was not an easy record to make either, as evidenced by the amount of places we worked, trying to find the right environment. There are demos available online that I posted where you can hear the process at work, we racked up our normal batch of like 6 dozen songs or more before whittling it down to what was finally released, 15 tunes.
I am a huge fan of Carlos Santana. He is one of my favorite guitarists of all-time. He is playing better these days than ever before in my opinion. His music is more radio friendly, for sure, but as a guitarist he has aged like a fine wine. Only Neil Young, Prince, and a small handful of others can make that claim as they become members of the AARP.
We were working in Andrew’s living room on the song “Transdermal Celebration,” our drummer Claude Coleman had just gotten into a horrific car crash and left us without a drummer for the recording and ensuing tour. Eventually it worked itself out where the record took so long to complete that Claude made enough of a recovery to do the world tour with us supporting Quebec. In the meantime though, even though Claude had played on some of the demos, drumming on the album was left up to me, Josh Freese, and Sim Cain.
“Transdermal Celebration” had been recorded three times by this point, with a drum machine, with Claude playing drums, and the final take on the album which features Josh Freese. It was the eventual single from the album. So, we’re in the middle of this session and I get a phone call from my roadie (nameless) who also worked for a backline company (nameless) that supplied amps, drums, lights, etc. to bands touring in the Northeast. My roadie told me that Carlos Santana’s equipment (including his guitars) had arrived via a trucking company that night at their depot. Carlos was recording an appearance on “Good Morning America” the next morning and his equipment was to be delivered to the set in NYC in a few hours.
What needed to be done was immediately clear to me, I had an opportunity to play the solo on “Transdermal Celebration” through Carlos Santana’s amplifier and guitar. I had one shot at it, it meant taking a hard disk recorder to a storage space where all of Carlos’ stuff was sitting in transit. I arrived at 2 a.m. We (very carefully) unpacked his equipment and set up his stage gear and in one take I recorded the guitar solo for “Transdermal Celebration” (the one that appears on the album, playing through Carlos Santana’s guitar, pedalboard and amplifier. The whole thing took 10 minutes and we were terrified we were going to get caught. A lot of people would have lost their jobs. We got the fuck outta there really fast after that. So the solo on “Transdermal Celebration” was played through all of Santana’s shit in what resembled an early morning bank heist or something…
Of course a story like this requires visual proof, so here it is. Don’t tell anyone about these please.
-Dean Ween 6/14
"That solo was straight bitchin'!" Haha the solo was great, and that guy's enjoyment of it made it even better.
Last Edit: May 7, 2020 1:26:16 GMT -5 by Jaz - Back to Top
5.5/four tet, daphni b2b floating points, avalon emerson 5.12/neil young 5.19/mannequin pussy 5.21/serpentwithfeet 5.25/hozier 6.12-16/bonnaroo 6.28/goose 6.29/goose 9.17/the national + the war on drugs 9.23/sigur ros 9.27-29/making time 10.17/air
Post by Jake Jortles on May 9, 2020 10:25:42 GMT -5
Beat drop / “My bitch a choosy lover never fuck with out a rubber” from Pimp C immediately following Andres legendary, beautiful poem about love and marriage on Intl Players Anthem.
Beginning of guitar solo on I Dont Want it By Ween
Climax of Ill Believe In Anything by Wolf Parade right after “look at the trees, look at my face, look at a place far away from here” through the next time he says “so give me your eyes, I need sunshine.”
As little Fame of Mop comes in over the U Don’t Know remix (Jay Z BP2) and scream “1, 2, 3... and mothafucker we comin, a hundred miles and gunnin” as basically the hardest hiphop beat of all time drops
5.5/four tet, daphni b2b floating points, avalon emerson 5.12/neil young 5.19/mannequin pussy 5.21/serpentwithfeet 5.25/hozier 6.12-16/bonnaroo 6.28/goose 6.29/goose 9.17/the national + the war on drugs 9.23/sigur ros 9.27-29/making time 10.17/air
Post by Nathan Fieldcяab on May 9, 2020 22:35:22 GMT -5
I haven't been listening to him a ton recently for reasons, but the back half of Runaway and the strings stuff leading back into Kanye's second verse on Gone are top-tier
Also love the TNGHT horns on Blood on the Leaves too