Piracy, the Trove and how they affect the Hobby

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Except it is okay to show a movie to your friends, even at a large gathering, as long as it's not considered open to the public. At least in the U.S.
Yea maybe I have the details wrong on that...

Hmm, can members of a fraternity watch a DVD together? Can you form a movie club to collect dues and allow the members to watch movies?

It's easy to find grey areas of what "open to the public" actually means.
 
One thing that drives my feelings about this is the fact that these days (and likely for the rest of my life), my gaming is online. With in person gaming, I can run a game with a single print copy of the game without any issue (and that's not like DVDs where technically showing it to your friends is not allowed) but online, everyone needs a copy. I have been on a kick of running original editions because I think they are still worthy games, but so many of them aren't available. I wish more folks were like Marc Miller or The Chaosium. I will probably never run Chivalry & Sorcery 1st edition because doing so would require my players to pirate, and I can't even remotely think of running Land of the Rising Sun 1st edition because I don't even have a legitimate copy myself.
I've ran online for the last few years, and my players have never bought a thing. When we started our current 5e game, I did give one of my PHB's to one of the players, but that's the closest we've got.
 
I'll freely admit I have no problem occasionally giving people rules PDFs for games I'm running. Always with the caveat that if you like, buy it, but that part is something I don't feel any responsibility for. It is much the same as sharing a physical book IMO.
 
My group has always shared the pdf. Whoever is running the game usually is the one that sends it out. Honestly, I’ve never thought twice about it. I assumed this was pretty common.


Edit: but I’ve been gaming with the same group for 10 years now. I guess it would be a little weird to send it out to total strangers over roll20.
 
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Yeah, I only buy full albums. And almost always in physical media, as well.

I always buy the albums too. I will listen to individual songs, but I don't feel like I have had the full experience until I hear that within the album.

I used to buy all physical media. However, I have found that harder to maintain with time (new cars no longer have CD players, my Cd player broke and I didn't get a new one, etc). So I started getting albums in digital format. I have to say it really is different. Number one, the sound quality is often far worse (I have had many albums in both digital format and in CD). Number two, there are often weird quirks between tracks in digital. Sometimes it just feels like they put it together in a sloppy way (for example sometimes when songs are supposed to smoothly transition into one another, some of the stuff I have digitally has an abrupt shift).

I have lately been thinking of getting a record player at some point, simply because I do want to get back to physical media, record players seem to be prevalent once again (most albums I am interested appear to have a vinyl version these days) and it is harder for them to muck with the the volumes of different parts of the track on the record versions (loudness wars stuff). Also I grew up on records and tapes and remember the feel of a record with a big slip cover. It is just a nice medium. Of course there is the skipping thing. But I may just get a CD player.
 
A man after my own Black Sabbath Heart.
One of the examples that sprung to my mind...then into Electric Funeral.
If there ever was an album for inspiring post-apocalyptic RPGs Master of Reality is It...with an escape to the stars at the end. :smile:
As I view Black Sabbath (the album) to inspire my fantasy RPGness.

Paranoid and Master of Reality are great albums. Volume IV, the debut, and Sabbath Bloody Sabbath are also wonderful albums (and Dio's stint with Heaven and Hell and Mob Rules are great if different). I think Paranoid and Master of Reality are stronger albums, but the debut has a very special place for me because it was the first Sabbath I heard and it feels like this cataclysmic record in rock music that changed everything (and it is sooooo creepy).
 
I always buy the albums too. I will listen to individual songs, but I don't feel like I have had the full experience until I hear that within the album.

I used to buy all physical media. However, I have found that harder to maintain with time (new cars no longer have CD players, my Cd player broke and I didn't get a new one, etc). So I started getting albums in digital format. I have to say it really is different. Number one, the sound quality is often far worse (I have had many albums in both digital format and in CD). Number two, there are often weird quirks between tracks in digital. Sometimes it just feels like they put it together in a sloppy way (for example sometimes when songs are supposed to smoothly transition into one another, some of the stuff I have digitally has an abrupt shift).

I have lately been thinking of getting a record player at some point, simply because I do want to get back to physical media, record players seem to be prevalent once again (most albums I am interested appear to have a vinyl version these days) and it is harder for them to muck with the the volumes of different parts of the track on the record versions (loudness wars stuff). Also I grew up on records and tapes and remember the feel of a record with a big slip cover. It is just a nice medium. Of course there is the skipping thing. But I may just get a CD player.
I actually bought a CD player for my office and a disc drive for my PC when I got it a couple of years ago. I'm clinging desperately to the past. :grin:
 
I agree with the sentiments above that sharing gaming materials with people in your immediate circle is totally normal and ethical. And in the modern era, when so much media is digital and so much communication, including gaming, is online, that means this kind of sharing can extend to distributing pdfs among a dozen or more people you know. I don't accept that this sort of activity damages anyone or should be considered unethical. The grey zone is how you draw the line between that sort of activity and broadcasting or posting to everyone on the internet. It is not obvious how you should decide because many of the simplest ways to share files (e.g., dropping a link into a forum thread) can leave them accessible to third parties. I think you should judge based on effects: if publishers can't make sales because of your activity then you did the wrong thing.
 
I agree with the sentiments above that sharing gaming materials with people in your immediate circle is totally normal and ethical.
I don't:shade:. Like, I'm going to pass a (legit) file only to immediate family members, and that's usually by passing the device along...though with shared devices, it doesn't matter much.
Then again, I seldom borrow books either, so it's probably just one of my peculiarities:thumbsup:. I am by no means saying that sharing is unethical, just to make sure you're not misunderstanding me!
 
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I have shared selections from materials with my players (like a single cult), but I ask my RQ players to acquire the rule book themselves, and Cults of Prax for the Glorantha campaign. Some have just bought the PDF, some have bought POD, and some already have it in some form.
 
Paranoid and Master of Reality are great albums. Volume IV, the debut, and Sabbath Bloody Sabbath are also wonderful albums (and Dio's stint with Heaven and Hell and Mob Rules are great if different). I think Paranoid and Master of Reality are stronger albums, but the debut has a very special place for me because it was the first Sabbath I heard and it feels like this cataclysmic record in rock music that changed everything (and it is sooooo creepy).

One of the reasons Black Sabbath stands out for me, is every album is different but there is some intangible aspect linking them. There is no question you are listening to a Black Sabbath album regardless of whether it is Ozzy, Dio or even Gillian (yes I'm the one guy who actually liked the Born Again album), but each album stands on its own with a unique sound.


Albums are an interesting thing. Concept albums of course have a distinct linkage Rush, Pink Floyd, Styx, and Queensryche being bands that really liked that kind of arrangement, but other bands are less obvious.

Black Sabbath is a good example of a band that does albums to fit a sound but usually without an obvious underlying theme. Although they are theoretically just collections of songs and you can certainly listen to Black Sabbath on shuffle, the individual albums would have been weaker as a random collection, the whole being greater than the parts.

A lot of bands do just that though and that can work, but those do tend to be the type where there are a couple of good songs with the rest filler. Of course good bands are going to have more good material to fill the album with. Some One Hit Wonders are just that, but many actually have a lot of really good stuff, just for some reason one song caught the charts, and the rest didn't despite being every bit as good. DEVO is a great band, with very listenable albums but for most they will forever just be the band that played Whip It.
 
One of the reasons Black Sabbath stands out for me, is every album is different but there is some intangible aspect linking them. There is no question you are listening to a Black Sabbath album regardless of whether it is Ozzy, Dio or even Gillian (yes I'm the one guy who actually liked the Born Again album), but each album stands on its own with a unique sound.

Born Again is one of the few later albums I got into (but I quite like Ian Gillan). I maybe should give the other later albums another try (I attempted with Tyr and at the time of its release it didn't really do it for me). I did like 13 though. And the Dio albums were great. What three post Born Again albums would you recommend out of curiosity ?

Black Sabbath is a good example of a band that does albums to fit a sound but usually without an obvious underlying theme. Although they are theoretically just collections of songs and you can certainly listen to Black Sabbath on shuffle, the individual albums would have been weaker as a random collection, the whole being greater than the parts.

Yes, I agree. I think the key thing is if the songs have a cohesive feel. It doesn't have to be full concept to be what I am talking about. An album can just be a good reflection of where the band was at the time, a reflection of the time the album was made, and if it is mixed well, if the songs have thought bending where they are placed on the album, it can work. A good example of that for me is Appetite for Destruction. That album feels like smoke, leather and whiskey to me. There is a texture to it, and granted there is a theme relating to title, but otherwise the songs range quite a bit and to me the thing tying everything together is the sound (that it ties together lyrically is a bonus).


A lot of bands do just that though and that can work, but those do tend to be the type where there are a couple of good songs with the rest filler. Of course good bands are going to have more good material to fill the album with. Some One Hit Wonders are just that, but many actually have a lot of really good stuff, just for some reason one song caught the charts, and the rest didn't despite being every bit as good. DEVO is a great band, with very listenable albums but for most they will forever just be the band that played Whip It.

Filler is always a problem. But sometimes I think people also have a tendency to mistake songs that are intentionally there to function as a bridge between other songs, as filler (I don't know if that makes sense, but I mean there is a difference between a song the band struggled to write in order to fill out an album, and a song that isn't meant to pop as much because it is more about paving the way for the song that pops). For me the measurement is if the songs start to pop more the longer you listen to the album. If you dread the songs in between, then I would probably consider them filler. If you start to grow more fond of them, then I think that means there is more to them and they just take a degree of familiarity to appreciate.

Also not every song has to be an ear worm or shake the ground you are walking on. It is sort of like how not every scene in a movie needs to be a dramatic and emotional set piece. If every scene in Goodfellas was like Tommy Shooting Spider, Tommy Getting Shot in the back of the head, or the frantic car sequence, it would not have time to breath. When I think about whether an album is well constructed, it isn't so much about is every song a 10 (if they are great, but that is rare). It is more about is every song strong, or does every song at least serve a function. For example some queen songs in their early catalog are weird, but help reset your ear for the next song, or they allow Queen to go off on some strange tangent for a bit and discover something (and they make the album a little more interesting on a second listen even if they aren't the big single). I especially like when songs feel like they are serving a similar function to scenes in a movie (not narratively but just in terms of taking you on a journey and understanding this is the moment of quiet, this is the build up, this is the big moment of catharsis, etc).
 
Born Again is one of the few later albums I got into (but I quite like Ian Gillan). I maybe should give the other later albums another try (I attempted with Tyr and at the time of its release it didn't really do it for me). I did like 13 though. And the Dio albums were great. What three post Born Again albums would you recommend out of curiosity ?



Yes, I agree. I think the key thing is if the songs have a cohesive feel. It doesn't have to be full concept to be what I am talking about. An album can just be a good reflection of where the band was at the time, a reflection of the time the album was made, and if it is mixed well, if the songs have thought bending where they are placed on the album, it can work. A good example of that for me is Appetite for Destruction. That album feels like smoke, leather and whiskey to me. There is a texture to it, and granted there is a theme relating to title, but otherwise the songs range quite a bit and to me the thing tying everything together is the sound (that it ties together lyrically is a bonus).




Filler is always a problem. But sometimes I think people also have a tendency to mistake songs that are intentionally there to function as a bridge between other songs, as filler (I don't know if that makes sense, but I mean there is a difference between a song the band struggled to write in order to fill out an album, and a song that isn't meant to pop as much because it is more about paving the way for the song that pops). For me the measurement is if the songs start to pop more the longer you listen to the album. If you dread the songs in between, then I would probably consider them filler. If you start to grow more fond of them, then I think that means there is more to them and they just take a degree of familiarity to appreciate.

Also not every song has to be an ear worm or shake the ground you are walking on. It is sort of like how not every scene in a movie needs to be a dramatic and emotional set piece. If every scene in Goodfellas was like Tommy Shooting Spider, Tommy Getting Shot in the back of the head, or the frantic car sequence, it would not have time to breath. When I think about whether an album is well constructed, it isn't so much about is every song a 10 (if they are great, but that is rare). It is more about is every song strong, or does every song at least serve a function. For example some queen songs in their early catalog are weird, but help reset your ear for the next song, or they allow Queen to go off on some strange tangent for a bit and discover something (and they make the album a little more interesting on a second listen even if they aren't the big single). I especially like when songs feel like they are serving a similar function to scenes in a movie (not narratively but just in terms of taking you on a journey and understanding this is the moment of quiet, this is the build up, this is the big moment of catharsis, etc).

Sorry I pretty much ended with Born Again. I also like Deep Purple which is probably why I liked the album. There was a pretty long break between it and the next album and I missed the following albums at the time. I've since heard some of the 90s stuff and it actually sounds decent (really hard to go wrong when you have Iommi playing on the album), but I don't have any of the albums and couldn't suggest anything. These are basically Iommi solo albums but the label insisted on releasing them as Black Sabbath albums. Not bad but like you they didn't grab me like the earlier (or later) albums.

13 was good and the Devil You Know album by Heaven and Hell (basically the Dio era Black Sabbath line up) is well worth checking out if you like Dio. These two albums basically picked up right where they left off which is a pretty amazing feat.


Agree with Appetite for Destruction, another example where it is hard to put a unifying theme to it, but there is definitely something holding the whole album together.

Pretty much the same regarding filler, every album has some favorites that may be the only thing to make it onto a general playlist, but some albums are enjoyable start to finish, others leave you wanting to hit skip other than a few good ones. Kind of where I was going with One Hit Wonders, some that is legitimately the only thing worth listening too, others I expect to just like the one song and end up listening to the whole album.
 
I'm a little late to the Sabbath convo but I just gotta say:

- I'm a die-hard Dio-Sabbath fan. He's a solid lyricist and rocks the D&D lyrics like no other. But then, I've been a Dio fan boy ever since my brother played me Long Live Rock and Roll back when I was a wee lad.

- Sabbath played some SOLID blues on their first couple of albums. They lost me after Master of Reality, though. Heaven & Hell was a total kick in the teeth when it first came out. I'd already been a fan of Dio's work with Rainbow and was skeptical that he'd pull it off. I am happy to say I was proven wrong in a big way.

- Appetite for Destruction was a PERFECT album. If they'd stopped right there they'd still be hailed as one of the greats. It's a real pity how Axl just fell apart. Nothing they released after Izzy left is worth listening to. (Ok, that last but was hyperbole ... but Izzy was THE riff master).

- One of my DM's from my university years played Sabbath in the background every time he ran a game. It really amped up the mood.

- I spent the last year buying all the Sabbath/Rainbow/Dio albums on CD. I had most of it on vinyl back when I was in university. One of the stupidest things I ever did was give it all to friends when I moved away. I'm still working on rebuilding my Judas Priest collection. I WAS DUMB.
 
I share pdfs of all relevant materials for whatever game I'm running via private google drive link with my players (note, these are personal friends, not random people at public games). I have my own hard copies of everything, and I have a couple players who will buy hard copies of any game we will be playing for an extended period of time.

I've always gamed in groups where the GM bought the books for the games they ran, and that didn't really change once pdfs became a thing. I've also typically had a number of casual players in my groups, who simply wouldn't bother playing if they were expected to buy rules for each new game (especially ones they weren't even sure they were going to enjoy yet).

I am unable to see my behaviour as unethical -- I own hardcopies of everthing when hardcopies are avaialble. When I ran last RM, even though I already owned everything in hard copy, I went out and bought pdfs of everything (at hundreds of dollars in total, and rather than just torrenting) so I had files to share. If I wasn't sharing pdfs, it's not as if my players would be out buying them (other than the players who already buy hardcopies anyway) -- it would just make playing a little more awkward.
 
I'm inclined to think that sharing PDFs with a stable group of players who are friends is reasonably fair.

With my running on Roll20 with people recruited from wherever, I think sharing full PDFs starts to be a stretch. And actually, I sort of take a willingness to invest at least 10 bucks (if some really balked I'd let them off of Cults of Prax) for the rules as indicating some commitment to the game. I'm getting tired of "drive by shooters" who message less than an hour before game start...
 
I only play with the same three players, but I don't share PDFs. Now, I do create handouts from PDFs at times, or spreadsheets (with things like Feats or Edges/Hindrances)...though, to be fair, that's about all my players WANT to read.

There's an astonishing amount of official game mechanics for D&D 5e (what we're currently playing) on the internet, so we can access stuff all the time in that game without me sharing a thing (not that I have 5e PDFs to share).
 
I'm a little late to the Sabbath convo but I just gotta say:

- I'm a die-hard Dio-Sabbath fan. He's a solid lyricist and rocks the D&D lyrics like no other. But then, I've been a Dio fan boy ever since my brother played me Long Live Rock and Roll back when I was a wee lad.

I agree that the Dio era was outstanding. And I also think Dio is the best vocalist and best lyricist in metal. I think Sabbath was really faltering when he came to them and he helped bring much needed chemistry to a bad that was on the verge of ruin

- Sabbath played some SOLID blues on their first couple of albums. They lost me after Master of Reality, though. Heaven & Hell was a total kick in the teeth when it first came out. I'd already been a fan of Dio's work with Rainbow and was skeptical that he'd pull it off. I am happy to say I was proven wrong in a big way.

I love early sabbath up to the Sabbath Bloody Sabbath (and still like Sabotage). I'd say the first four are the best albums for my taste. The first album is definitely a lot bluesier. But it is also so damn unsettling sounding. And I find them quite bluesy overall for the early albums (there are a lot of non-bluesy unravels that you would hear in later metal, but I feel like Iommi uses a lot of pentatonic blues scales in those albums in general). I think Paranoid though basically does establish much of the sound for the next few albums (and there is some blues there for sure). That deep heaviness and groove they had. Even with all the blues elements, that first album feels like it establishes the DNA of heavy metal with the song Black Sabbath, and the eeriness of songs like Sleeping Village. I always liked slower, heavier heavy metal, and those early albums forge so much of that sound. But I know a lot of people who feel as you do about those post Paranoid albums. Also, Ozzy is someone I have found to be a very divisive vocalist. One thing I hear a lot from people is they just can't get passed his vocal style. I like it, but I can see how his sound isn't something that appeals to everyone (and he is a much different kind of vocalist than Dio).

Heaven and Hell is amazing. And I like Rainbow as well (Ritchie Blackmore is one of my favorite guitar players).

- Appetite for Destruction was a PERFECT album. If they'd stopped right there they'd still be hailed as one of the greats. It's a real pity how Axl just fell apart. Nothing they released after Izzy left is worth listening to. (Ok, that last but was hyperbole ... but Izzy was THE riff master).

I agree 100%. I bought their albums up through Use Your Illusion 1&2, and while I liked much of the stuff on that and Lies, it felt like they never gave appetite a proper follow up (a tight album, with a lot of aggression and that sound). Also Use Your Illusion especially felt a little all over the map, like they could have edited that thing down a lot. It is the kind of album where I found myself waiting more for the moments I really liked. Whereas with Appetite I like every single song.

Izzy is a very good song writer. I always assumed he was largely responsible for the sound on appetite. I think between him and Slash's lead, that is one of the best guitar duo's in rock music. Slash is one of those guitarists, like Ritchie Blackmore, who can make the guitar sing (and like Blackmore, he has exceptional phrasing). And the band just had great chemistry in general on that album. Sometimes I think what made me less into something like Use Your Illusion was stuff like bringing in a new drummer and a keyboardist.

- I spent the last year buying all the Sabbath/Rainbow/Dio albums on CD. I had most of it on vinyl back when I was in university. One of the stupidest things I ever did was give it all to friends when I moved away. I'm still working on rebuilding my Judas Priest collection. I WAS DUMB.

I had an old record player in 7th and 8th grade, which I used to comb through my dad and uncle's record collections. I found the doors that way, and I found black sabbath that way (the first sabbath I heard I think was actually from the compilation album We Sold our Souls for Rock N Roll). It is also how I found Cheech and Chong. Most of the stuff I bought new for metal and rock was on either tape or CD (the majority of it likely on tape simply because that was more common and more cheap at the time if I recall).
 
I love early sabbath up to the Sabbath Bloody Sabbath (and still like Sabotage). I'd say the first four are the best albums for my taste. The first album is definitely a lot bluesier. But it is also so damn unsettling sounding. And I find them quite bluesy overall for the early albums (there are a lot of non-bluesy unravels that you would hear in later metal, but I feel like Iommi uses a lot of pentatonic blues scales in those albums in general). I think Paranoid though basically does establish much of the sound for the next few albums (and there is some blues there for sure). That deep heaviness and groove they had. Even with all the blues elements, that first album feels like it establishes the DNA of heavy metal with the song Black Sabbath, and the eeriness of songs like Sleeping Village. I always liked slower, heavier heavy metal, and those early albums forge so much of that sound. But I know a lot of people who feel as you do about those post Paranoid albums. Also, Ozzy is someone I have found to be a very divisive vocalist. One thing I hear a lot from people is they just can't get passed his vocal style. I like it, but I can see how his sound isn't something that appeals to everyone (and he is a much different kind of vocalist than Dio).

It's that unsettling sound that really makes Sabbath stand out. Geezer's lyrics are very well supported by the music. I feel that Ozzy does an adequate job singing but his melodies aren't terribly inspiring. I wish he'd been a little more adventurous and sang vocal melodies that went across the music rather than parallel to it. But I have to allow that these are the earliest albums in his career. I think he does better as a solo artist, actually. His albums from the 80's and early 90's are fantastic and show how much he'd grown as an artist.

But Dio? I didn't know it at the time but he'd been performing in the rock and roll world for nearly 20 years by the time he landed in Sabbath. He was already a seasoned pro. Really, it's kind of unfair to compare his stuff with Ozzy's early Sabbath vocals.

I agree 100%. I bought their albums up through Use Your Illusion 1&2, and while I liked much of the stuff on that and Lies, it felt like they never gave appetite a proper follow up (a tight album, with a lot of aggression and that sound). Also Use Your Illusion especially felt a little all over the map, like they could have edited that thing down a lot. It is the kind of album where I found myself waiting more for the moments I really liked. Whereas with Appetite I like every single song.

There's a thing I've noticed with a lot of young bands that storm right out of the gate. They somehow achieved that perfect synergy in music from the get go. And then, alas ... they turn into something different and I just can't stay in to them. Metallica and Def Leppard are both bands that I freakin' LOVED early on but then after a few albums I just couldn't keep on with them. Def Leppard's first three albums were all perfect. Hysteria was good but it didn't have that glorious stripped-to-the-bone metal riffage that the earlier albums had. As much as I want to like their later stuff it just pales. Same with Metallica. I say I'm a fan of Cliff Burton's Metallica because it's those albums that I really love. Kill 'Em All, Ride The Lightning, and Master of Puppets were all Lethal Bludgeoning Weapons of Pure Metal ... and then Cliff died. And everything after that just feels like paint by numbers.

Izzy is a very good song writer. I always assumed he was largely responsible for the sound on appetite. I think between him and Slash's lead, that is one of the best guitar duo's in rock music. Slash is one of those guitarists, like Ritchie Blackmore, who can make the guitar sing (and like Blackmore, he has exceptional phrasing). And the band just had great chemistry in general on that album. Sometimes I think what made me less into something like Use Your Illusion was stuff like bringing in a new drummer and a keyboardist.

Slash really shines when he's got a good band to back him up. His late-career stuff is really good. World On Fire (2014) is some solid rock and roll.

I had an old record player in 7th and 8th grade, which I used to comb through my dad and uncle's record collections. I found the doors that way, and I found black sabbath that way (the first sabbath I heard I think was actually from the compilation album We Sold our Souls for Rock N Roll). It is also how I found Cheech and Chong. Most of the stuff I bought new for metal and rock was on either tape or CD (the majority of it likely on tape simply because that was more common and more cheap at the time if I recall).

I had the same experience. I'm the youngest of 5 and my 3 older brothers all left their vinyl at home when they went off to college. I inherited Kansas, Sabbath, Van Halen, Doors, Judas Priest, Blue Oyster Cult, and a bunch of others. That set me up for life.
 
But Dio? I didn't know it at the time but he'd been performing in the rock and roll world for nearly 20 years by the time he landed in Sabbath. He was already a seasoned pro. Really, it's kind of unfair to compare his stuff with Ozzy's early Sabbath vocals.

I was suprised at some of his early work too:
 
Oh, yeah. It really took me by surprise when I first heard Dio's earliest stuff.

Here's another surprising origin story for another favorite of mine: Atilla - Billy Joel's first band and album.

 
THAT'S FUCKING LEMMY, BRUH

Back in the year of Our Lord 1983, 13 year old me walked into a Licorice Pizza in Escondido, California and when the clerk saw me flipping through the Sabbath records she approached. She was young, but not so young as I was. She exuded experience as she glided over to me. I began to sweat. She smiled and asked, "So, kid. You like Metal? I can hook you up with some real prime shit. You got the dough? I can set you right." And, Reader, she did wink at me. My knees began to wobble.

I knew I had to keep it cool because she was looking fine. So I shrugged insouciantly and replied, "Yeah, man. I like the Metal. Whatchu got?"

"Only the latest Motörhead album," she replied with a gloating look in her eyes. "Take a look at this..." and she showed me the cover of Another Perfect Day. She knew she had me hooked. I could see the hunger in her eyes. I can't say for sure but I think she might have licked her lips.

Now, I was only a young lad, still too young to leave his mother. But I knew a little bit about life. And one of the things I had come to learn in my few years on this benighted world is that any album cover that feature a hellbeast in full Satanic glory is an album that MUST come home with me.

So I ponied up the $8 for the album and gave her a wink. As I opened my mouth to ask this magnificent creature for her number, she laughed out loud and vanished in a puff of sulfurous smoke and sparks, leaving behind the slightest scent of skunkweed. There was nothing for it but for me to hop on the bus and go home to listen to my new favorite band.

Reader, my life changed that day.
 
Neat. All of the best music in my life was introduced to me by real cool women who were ahead of their time. Ages before hipsters were a thing.
 
Oh, I've been a Hawkwind fan FOREVER! They are so gloriously WEIRD!
I love the weirdness of Sonic Attack.

"If no wheels are available metal, metal, metal, metal
Metal, metal, metal, metal
Not organic limbs should be employed whenever practical"

But also love the the driving nature of there songs like Brainstorm...but also some sci fi-ness :smile:

"In this body of mine
I'm gonna get out of this void
Yes, I don't wanna be destroyed
And I don't wanna turn android
You gotta help me avoid that"
 
Neat. All of the best music in my life was introduced to me by real cool women who were ahead of their time. Ages before hipsters were a thing.
What Sodom and Gomorrah did you all spend your decadent teens in?

Most of my teenage music was introduced to me by the balding hippy who ran the local independent record shop.
 
I love it when bands or musicians have surprising past output. Here is a band that featured Rivers Cuomo from Weezer on guitar:





Or how about The New Yorkers, a prog/jazz outfit featuring drummer Gar Samuelson and guitarist Chris Poland, who would be in Megadeth's lineup for that band's first two albums:
 
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