Ty Segall

Some fringe and rimshot stations are shown depending upon signal strength and location The success of AM radio after the advent of television can be attributed to the late Gordon McLendon, who started station KLIF in KLIF became a trendsetter that was reportedly the most copied station in America. McLendon was one of the creators of Top 40 playlists, a staple of programming that continues today. Whether you knock AM radio today for its relentless static or its lack of music, this is where it all began. The early 20th century brought the first radio stations to the Dallas-Fort Worth area: AM started out as a freewheeling, ‘throw up a transmitter and go with it’ gamut of radio waves in its earliest days, with a couple of assigned frequencies kc [primarily news and weather] and By mid , all five DFW stations agreed to a timesharing plan on each frequency. November 11, was declared “National Frequency Allocation Day,” when the Federal Radio Commission FRC, predecessor to the FCC brought organization to the dial by assigning dedicated frequencies to the strongest stations, and culling out many of the small-time opportunists who weren’t serious about broadcasting. Powerhouse WBAP was awarded a clear channel position on the dial; it is one of only a small handful of stations in the nation that’s allowed to blast its signal to a reported 42 states!

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But other than Justin Bieber, has there really been a true pop music wunderkind in the past ten years? If you can’t think of one, meet San Francisco garage rocker Ty Segall. At the fresh young age of 23, Segall has already released five full-length LPs of sun-drenched, fuzzed-out, psychedelic pop, including ‘s Melted which landed on a slew of year-end best-of lists , and Live in Aisle 5 a vinyl-only recording that just arrived in record stores last week.

If you weren’t able to secure passage on the sold-out ship, you can catch Segall’s rave-up live show at the Mercury Lounge in New York on March 8, assuming the cruise ship doesn’t capsize. PAPERMAG caught up with Segall before he embarked on the high seas to discuss the impending cruise, his breakneck work ethic, and if it’s ever appropriate to use the word “hella. Have you ever been on a cruise ship before?

The duo performed songs like “Swipe & Go” which levies a satirical swipe at online dating, causing more than a few chuckles in the crowd. The comedy continued on with the ballad “It Could Be Right” featuring internet meme Sergio Flores AKA “Sexy Sax Man” playing saxophone as Arens and Black sang their overly-romantic duet.

Friendly guy with a good sense of humour. Creative High powered mutant of some kind , never intended for mass production. Musician and Engineer Secret artist , paints things that often perplex the viewer but leaves them with comfortable warm fuzzy feeling. Also , ex lobster farmer and water champion. Big fan of cat’s , thunderstorms , Avocado’s , bat’s , “aztec chess ” , Wim Hoff and industrial motor’s.

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Album: Singles by Ty Segall

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He’d be way too busy making music to stop long enough to pose for one of those cool old black-and-white illustrations. As if his album-based output over the years spanning and weren’t enough, Segall also put out lots of singles, recorded covers, and basically never stopped working. The mighty “Spiders” kicks things off with Segall in full garage sludge mode, with guitars that sound like they’re being fed through cement mixers.

From there, it goes in all sorts of directions, from the tightly wound cover of the Groundhogs ‘ classic rocker “Cherry Red” to the acid folk ballad “For Those Who Weep,” from a bunch of raucous, Segall-y rockers like “Hand Glams” and “Mother Lemonade” to a song that sounds like it should have been on the soundtrack of an AIP biker film back in “Music for a Film”.

The biggest surprise is his sprightly cover of the Velvet Underground ‘s “Femme Fatale,” which turns the song into a snarling, snaky garage jammer that would have fit in well on a Back from the Grave compilation. What’s not a surprise is that a collection of Segall ‘s weird one-offs and spare songs is better than most garage noise practitioners’ best albums.

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Tweet I was raised in a time when bands and musicians would take, on average, anywhere from two to seven years to release an album. What I do know is that prolificacy is generally taken as an outlying artistic production mode, as indicated by the sense of surprise when such events of prolificacy occur. The nature of a guitar solo is to ruin a song; it deviates the melody and egotistically takes precedence over everything else.

Twins shows Segall in greater command of his craft.

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Denee Segall Ty Segall. Everyone is quick to call Ty Segall “prolific,” and only now is the unofficial prophet of psychedelia learning to accept it. This assessment isn’t completely off base, though, considering the year-old multi-instrumentalist and master of fuzz recently released his tenth album in 10 years, the double LP Freedom’s Goblin — a frenzied dive into his many minds. His cult success is not easily explained in numbers or lengthy, colorful descriptions of his trippy arrangements. Perhaps his steady climb to indie fame is best validated by Goblin’s opener, “Fanny Dog,” a jittery ode to his dachshund which bleeds into the slower ballad “Rain,” where Segall confesses he is “waiting for the sky to die.

Segall went on to explain why being subversive works for him and why he will never write a sequel to Love’s Forever Changes no matter how badly he may want to.

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You’re basically in a Spanish-style church, witnessing what was once considered “the Devil’s music. This is the ideal venue to see an intimate gig, tap into the occult, or see Johnny Ramone’s restless ghost. The Smell The Smell is the kind of venue where you can see a guy running around in tighty-whiteys, handing out unwrapped Halloween candy and screaming unintelligible words into a microphone, then douse himself in lighter fluid and roll around on the ground with his ass on fire that was my first experience.

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Ty Segall

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Near the end of last year, Ty Segall put a bunch of new songs out online, which is a bit like saying water is wet. But even for a guy who has spent the last decade setting the pace for indie-rock.

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Ty Segall discography comprises 36 official albums. The latest album “Emotional Mugger” was released in Albums and Songs.

These rom-coms will make you laugh, might make you tear up, and will certainly have you rooting for love to win the day in its epic, underdog struggle with loneliness and disconnection. Girls will meet boys. Budding relationships will be in jeopardy due to unfortunate miscommunication. And there will be mad dashes to the airport. Pick a movie, make some popcorn, pour a cheap glass of wine and grab the Kleenexes.

Two have come to rekindle their sex life, while another couple grapples with how a prestigious grad program will force them hundreds of miles apart. But while the serene backdrop seems like the perfect place to soften the blows of their difficult issues, the tension that boils may be enough to end each relationship altogether.

With irrepressibly appealing performers playing flawed characters, he strikes a chord that resonates, even if some of the notes are a bit familiar. The writer and director of Once and Sing Street traverses the pond to return to the music world, this time substituting Dublin for a romanticized version of New York City. In the midst of a bender, Dan stumbles into an East Village bar during an open mic night. Gretta Knightley has reluctantly been ushered onstage by her friend, Steve James Corden , to perform one of her latest songs.

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