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  • Ursa Major (Eng)

    19 Dec 2009, 23:29 by heavylione

    Ursa Major was a hard-rocking band that released one collectible album and may have been as well-known for its players as the music they made.
    The group's one and only album Ursa Major was issued in 1972. Two singles were pulled from the release: Liberty and Justice and Let The Music Play, both in 1972.
    While Ursa Major came and went in a relatively short period, the band's leader, singer and guitarist, Dick Wagner, would on to work with Lou Reed and Alice Cooper, helping write some of the shock rocker's biggest hits.
    Wagner also had worked with other bands before joining with drummer Ricky Mangon and bassist Greg Arama, who had earlier been in the Amboy Dukes, the raucos Detroit band fronted by outrageous guitarist Ted Nugent.
    Their manager Dennis Arfa managed to attract the attention of major label RCA Records who signed the band for the release of their self-titled debut album in 1972, produced by legendary producer Bob Ezrin (Pink Floyd, Kiss).
    In the mid-', Wagner had been in a Detroit band called The Frost. Their first two singles on Columbia Record's date division, Bad Girl and Little Girl, were credited to Rick Wagner and the Frosts. In 1969, as The Frost, they signed to Vanguard Records, a label previously noted for and acts like Joan Baez. They cut three albums, Frost Music, Rock and Roll Music and Through the Eyes of Love, in '69 and '70. In 1978 the label issued "Early Frost".
    In 1973, after leaving Ursa Major, Wagner was teamed up with fellow guitarist Steve Hunter to back Lou Reed. Wagner can be heard on both Rock 'n' Roll Animal and Sally Can't Dance.
    After moving on from Reed's group, Wagner began what would be the most successful phase of his career, playing guitar for and writing songs with Alice Cooper. Wagner joined Cooper in 1975 and they co-wrote the title track for his best-selling album Welcome to My Nightmare. A single of the song was a Top 50 success. Wagner and Cooper would team up for the hugely successful Only Women Bleed, which just missed the Top 10 in the spring of '75. They also wrote Department of Youth and I Never Cry, which went gold in the summer of 1976.
    Wagner, who was joined on guitar by his old Reed pal Steve Hunter, worked with Cooper through most of the rest of the ', collaborating on hits like You And Me and How You Gonna See Me Now as well as other popular album tracks. He also used his experience in the studio to work with Mark Farner of Grand Funk Railroad on some of his solo ventures.
    In the late '80s, Wagner teamed with Bob Ezrin, who produced many of Alice Cooper's most successful records, overseeing the debut album of the much-touted New York City band, The Throbs. The project, The Language of Thieves and Vagabonds, issued by Geffen Records, got some good reviews but the band was unable to deliver the same power in their live performances and soon broke up.
    While Wagner may be a good example of the talented sideman who helps other performers build their careers, he was also a strong leader, as his work with Ursa Major demonstrates.
    [From the booklet of the CD Ursa Major written by Mark Marymont]
  • Råg I Ryggen (Ita)

    29 Nov 2009, 01:55 by heavylione

    In Svezia nei primi anni 70 bands e artisti nascevano come funghi dopo la pioggia in agosto ed ogni cantina o garage aveva la sua versione di Bob Dylan, Led Zeppelin o Rolling Stones. Nel sobborgo di Stoccolma, Bromma, i compagni di classe Björn Aggemyr (chitarra) e Björn "Nysse" (guitar) Nyström cominciarono a strimpellare i loro strumenti quando erano appena dodicenni. Il tastierista Christer Sjöborg si unì e Kurt Persson suonò la batteria con loro per un breve periodo. Fu presto sostituito da Peter Sandberg e decisero di chiamarsi Goda Vänner & Musik (Buoni Amici & Musica). Questi quattro ragazzi provavano in una piccola stanza di 3,5 X 3,5 metri nello scantinato del padre di Nysse, e principalmente facevano pezzi delle band britanniche di del periodo come Deep Purple o Uriah Heep. Björn e Nysse riuscirono a persuadere il loro insegnante alla scuola Riksbyskolan di Bromma a permettergli di mostrare il loro talento agli altri scolari. La proposta fu accettata, ma avrebbero dovuto portare la propria strumentazione, problema che fu risolto invitando il fratello di Björn, Jan Aggemyr, nella band. Jan aveva la patente ed un'auto, una chitarra elettrica e la capacità di usarla, il che era proprio ciò che serviva. Poco prima del loro debutto i ragazzi avevano trovato un pacchetto di pane raffermo nella sala prove. La marca era Wasa Bröd e l'etichetta "ger råg I ryggen" (dà forza e coraggio) catturò subito la loro attenzione, e fu così che nacque il nome Råg I Ryggen.
    A quel tempo, nel 1974, i ragazzi nella band avevano tra i 15 ed i 20 anni, ma avevano già equipaggiamento musicale e attrezzature da non sfigurare di fronte a band ricche e famose, come Yes o King Crimson. I chitarristi Jan e Nysse suonavano chitarre Gibson o fatte da loro, Björn aveva un basso Rickenbacker, e Peter suonava un drum kit Rogers completo. Il tastierista Christer aveva una dozzina di tastiere, tra cui uno dei primi Mini Moogs svedesi e un Hammond A-100 con 2 speaker Leslie da 150 watt! Il suo materiale da solo avrebbe riempito per metà il pullman dei Råg I Ryggen, senza contare il problema di averlo sempre stipato nella cantina del padre di Nysse mentre provavano.
    Nel 1974 la band suonava regolarmente a Stoccolma e nei sobborghi nelle vicinanze, e parteciparono anche ad un concorso che serviva per scoprire nuovi talenti musicali. In quel periodo era Nysse il cantante della band, anche se circa metà del loro repertorio era strumentale. Nederlaget è il nome di un'altra band che si esibì quella notte e il loro vocalist, Jonas Warnerbring, fu notato dai Råg I Ryggen. E' il figlio del famoso cantante Östen Warnerbring che ha rappresentato la Svezia all'Eurovision Song Contest negli anni 60, tuttavia i loro stili vocali non sono né simili né comparabili. Jonas fu avvicinato da Nysse e Björn quella sera e fu presto convinto a lasciare i Nederlaget in favore dei Råg I Ryggen. Con il nuovo vocalist, la band si poteva concentrare maggiormente sul proprio materiale e riprese a suonare nella piccola cantina, a dispetto del fatto che i Råg I Ryggen adesso erano in 6 e più orientati verso sonorità , pur non tradendo le loro radici che affondavano nell' . I genitori di Nysse non si lamentarono mai della musica pesante che veniva da sotto, nemmeno quando una finestra si ruppe a causa del volume esagerato.
    Una sera quell'autunno Peter era uscito a bere con alcuni amici, e mentre aspettava il treno per tornare a casa fece amicizia con Kjell Gradin, un anziano gentleman che guarda caso gestiva un'etichetta discografica! Nel loro stato di alterazione alcolica si accordarono subito per un test recording e solo poche settimane più tardi la band aveva ordinato tutto il suo equipaggiamento in un piccolo studio di Sundbyberg. Råg I Ryggen aveva suonato Spångaforsens Brus ed una canzone ormai sconosciuta, ma né Kjell Gradin né il suo piccolo studio erano preparati per l'assalto musicale e questa registrazione fu rovinata dal suono pesantemente distorto. L'etichetta Rondo aveva precedentemente registrato solo Göingeflickorna ed altre band vocali molto soft, ma questo non scoraggiò Kjel che fece un altro tentativo di registrare i suoi nuovi apprendisti appena scoperti. Prenotò l'EMI-studio di Skärmarbrink - che era uno dei più moderni studios a 16 canali della Svezia a quei tempi - per due giorni interi per registrare un album con la band. Le date erano il 22 ed il 23 di febbraio e presto si presentò un altro problema. I testi di alcune canzoni erano di solito improvvisati sul palco, ma la band pensò che non avrebbe funzionato in studio. Il testo per Naked Man fu scritto il giorno prima della registrazione e il tocco finale per Queen Of Darkness fu dato nelle ore precedenti l'arrivo allo studio alle 09.00 AM. L'album fu registrato in 16 ore. Tutti gli strumenti, tranne il sintetizzatore, furono registrati live il primo giorno, mentre tutte le parti vocali e il mixaggio furono fatti il secondo giorno. Fu scoperto qualche piccolo errore, ma non c'era tempo per il redub, e tuttavia ascoltando l' album oggi queste piccole cose danno autenticità al groove ed alla musica.
    L'album eponimo uscì nell'aprile 1975 e qualcuna delle canzoni in lingua svedese fu trasmessa in radio. Rondo sembrava credere nella musica dei Råg I Ryggen così distribuì tra le 8000 e le 10000 copie dell'album e prenotò la partecipazione al Gröna Lund per il 3 luglio. L'album fu distribuito da EMI in Svezia ma non all'estero. Nel periodo in cui l'album fu preparato la band aveva almeno 2 esibizioni dal vivo alla settimana e provava 2 o 3 volte alla settimana mentre ognuno lavorava anche a tempo pieno (quattro di loro lavoravano in negozi di musica!). I fan dei Råg I Ryggen a Stoccolma crescevano sempre più e a volte loro regalavano dischi alle persone del pubblico che avevano il coraggio di salire sul palco e cantare con loro e questo accadeva abbastanza frequentemente. La band aveva il proprio tecnico del suono ed un amico che si occupava delle luci allo stesso modo di un rigido codice morale: non era permesso l'uso di alcol prima e durante l'esibizione, anche se il pubblico ne faceva uso per essere "carico". Le esibizioni di solito consistevano di 2 sessioni di 45 minuti, e di solito loro erano l'unica band della serata, anche se una volta ebbero un concerto assieme alla band Nature.
    Quando arrivò il giorno del concerto al Gröna Lund, l'arrangiatore disse che sarebbe stato loro permesso di suonare per mezz'ora al massimo, e dovettero pianificare una lista di canzoni adatta. Il volume fu regolato dalla stessa band e la loro performance fu la seconda più rumorosa mai registrata al Gröna Lund (solo i Wishbone Ash erano stati più rumorosi). Tutto fu molto bello con una grande connessione col pubblico, ma quando mancava solo il coro finale di Sanningsserum qualcuno tagliò la corrente! Questo era già accaduto a Jimi Hendrix circa sette anni prima, e quell'evento fa ormai parte del folklore del Gröna Lund, ma questo lasciò sia i Råg I Ryggen che il pubblico sbalorditi. Gli elettricisti del Gröna Lund inizialmente dichiararono che un fusibile era saltato, ma in seguito ammisero che avevano effettivamente tagliato la corrente per evitare che i Råg I Ryggen suonassero anche solo un secondo in più del consentito.
    La band suonava anche fuori Stoccolma, in posti come Norrtälje, Orsa e Gävle. La distanza non era mai esagerata e la band tornava a casa dei genitori di Nysse dopo ogni concerto, dove la attendevano dei panini o una tarda cena.
    Il contratto tra i Råg I Ryggen e Rondo diceva che sarebbero dovute essere registrate più canzoni, ma essere week end rockstar e allo stesso tempo avere lavori a tempo pieno - combinato con la crescita di differenze musicali - alla fine ebbe un effetto negativo sulla band. All'inizio del 1976 il cantante Jonas Warnerbring ed il batterista Peter Sandberg lasciarono il gruppo e furono sostituiti rispettivamente da Bo Lantz e Jonas Edgren. Questo portò nuove influenze e una nuova direzione musicale. Le canzoni divennero più complesse e i testi spiritosi vennero eliminati per lasciare il posto a discorsi più seri. Tristemente questo non funzionò molto bene e la band fece solo pochi concerti prima di sciogliersi circa sei mesi dopo. Non esiste materiale scritto dall' ultima line- up della band in studio, e c è solo un live di qualità mediocre. Questo è triste, anche perchè l' LP originale si può trovare ad un prezzo oscillante tra i 100 ed i 150 dollari, e l'album è considerato un classico tra i conoscitori del e dell svedese.

    [Dal booklet del CD Råg I Ryggen scritto da Tobias Petterson]
  • Råg I Ryggen (Eng)

    28 Nov 2009, 18:54 by heavylione

    In Sweden in the bands and artists sprang up like mushrooms after an August rain and every other cellar and garage had its own version of Bob Dylan, Led Zeppeli or Rolling Stones. In the Stockholm suburb Bromma classmates Björn Aggemyr (bass) and Björn "Nysse" (guitar) Nyström began banging away on their instruments when they were just twelve years old. Keyboard player Christer Sjöborg soon joined in and Kurt Persson played drums with them for a short while. He was soon replaced by Peter Sandberg and the band named themselves Goda Vänner & Musik (Good Friends & Music). These four kids rehearsed in a 3,5 X 3,5 metres small room in Nysse's father cellar, and mostly played songs by bands like Deep Purle and Uriah Heep. Björn and Nysse managed to persuade their teacher at school (Riksbyskolan in Bromma) to allow them to show their talents in front of the other pupils. The proposal was accepted, but they had to bring their own musical equipment, a problem which was solved by bringing in Björn's older brother Jan Aggemyr into the band. Jan had a driver's license and a car, an electric guitar and the knowledge to use it, thus fitting the bill perfectly. Shortly before this début performance the boys found a package of old bread in the rehearsal room. The brand was Wasa Bröd and his tag line "ger råg I ryggen" (gives strength and courage) immediately caught the band's attention, and the name Råg I Ryggen was born.
    At this time, in 1974, the boys in the band were between fifteen and twenty years old, but the band had assembled musical equipment and gear like a rich and famous groups like Yes or King Crimson. Guitarists Jan and Nysse playing Gibson guitars or homemade ones, Björn had a Rickenbacker bass and Peter thundered away on a full-fledged Rogers drum kit. Keyboard player Christer had six pairs of keys, including one of Sweden's first Mini Moogs and a Hammond A-100 with two 150 watt Leslie speakers! His gear alone would fill half of Råg I Ryggen tourbus, not to mention the trouble of having it all stashed in Nysse's parent's cellar while rehearsing.
    In 1974 the band would perform regularly at youth centres around Stockholm and its suburbs, and they also entered a talent hunt at Jarlateatern. Nysse was the vocalist around this time but about half of the band's repertoire was instrumental. Nederlaget was another band that performed that same evening and that band's vocalist Jonas Warnerbring caught the attention of Råg I Ryggen. He is the son of famous Swedish singer/performer Östen Warnerbring, who had represented Sweden in the Eurovision Song Contest in the sixties, although their vocal styles are neither comparable nor alike. Jonas was approached by Nysse and Björn that evening and was soon persuaded to quit Nederlaget in favour of Råg I Ryggen.
    With a new vocalist on board, the band concentrated more on their own material and kept rehearsing in the small cellar room despite the fact that Råg I Ryggen now consisted of six members and more sound developed, although the band still had his roots in . Nysse's parent's never complained about the heavy music almost coming from below, not even when a window broke due to the high volume produced in the enclosed quarter.
    An evening that autumn Peter had been out drinking with some friends, and while he waited for the train ride home he befriended Kjell Gradin, an elderly gentleman who appened to run a record label! In their drunken state they immediately agreed on a test recording, and only a few weeks later the band had lined up all their equipment in a small studio in Sundbyberg. Råg I Ryggen performed Spångaforsens Brus and a now unknown song, but since neither Kjell Gradin nor his small studio was prepared for the musical assault and this recording was ruined by a heavily distorted sound. The Rondo label had previously only recorded the likes of Göingeflickorna and other very soft vocal acts, but this didn't deter Kjel from making another attempt at recording his newly discovered apprentices. He booked the EMI-studio in Skärmarbrink - which was one of the most modern 16-channel studios in Sweden at the time - for two full days to record a full-lenght album with the band. The dates were the 22nd and 23rd of February, and suddenly a new problem came up. The lyrics for some of the songs where usually improvised on stage, but the band figured that it would not work out in the studio. The lyrics for Naked Man were written the day before the recording and the final touch on Queen Of Darkness were made in the early hours before Råg I Ryggen arrived at the studio at 09.00 AM. The album was recorded in 16 hours. All instruments, except for the synthesizer, were recorded live the first day, while all vocals and mixing was made the second day. Some small errors were soon discovered, but there was no time for overdubs, but while listening to the album today these small things only add authenticity to the groove and general feel of the music.
    The eponymous album was released in April 1975 and some of the Swedish-language songs were aired by the Swedish radio. Rondo seemed to believe in Råg I Ryggen's music and issued between eight and ten thousand copies of the album, as well as booking a gig at the big scene at Gröna Lund on the 3rd of July. The album was distributed by EMI throughout Sweden, but not abroad.
    At the time the album was released the band performed live at least two times a week, rehearsed two or three times while everyone held full-time jobs (four of them actually worked in music stores!). Råg I Ryggen's following in Stockholm grew bigger and sometimes they woul give records to people in the audience i they dared to ascend the stage amd sing with the band, and this would occur quite frequently. The band had their own sound technician and a friend doing the lightning, as well as a strict moral codex: no alcohol was allowed before or during a gig, although the audiences used to be loaded. The gigs would usually consist of two 45-minute sets, and usually they would be the only band of the evening, although they once performed alongside the blues-rock act Nature.
    When the day of the Gröna Lund gig came, the arranger told the band that they would be allowed to perform for half an hour at the most, and had to plan the track list accordingly. The volume was set by the band themselves and the performance was to be the second loudest ever measured at Gröna Lund (only Wishbone Ash had been louder). All went very well with a great connection between band and audience, but with only the final chorus of Sanningsserum left to play someone cut the power! This had previously happened to Jimi Hendrix some seven years earlier and that event is now part of Gröna Lund folklore, but this left both Råg I Ryggen and the visitors flabbergasted. The electricians at Gröna Lund initially claimed that a fuse has gone, but later admitted that they had actually cut the power to prevent Råg I Ryggen from playing as much as one second more than agreed.
    The band also played outside Stockholm, in places like Norrtälje, Orsa and Gävle. The distance was never too great though and the band always returned home to Nysse's parents after every gig, where sandwiches or a late dinner awaited them.
    The contract between Råg I Ryggen and Rondo stated that more songs should be recorded, but being week-end rock stars and full-time employees at once - combined with growing musical differences- finally took its toll on the band. In early 1976 vocalist Jonas Warnerbring and drummer Peter Sandberg left the band and they were replaced by Bo Lantz and Jonas Edgren respectively. This brought fresh influences and a new musical direction. The songs became more complex and the witty lyrics were brushed aside for more serious topics. Sadly this did not work out too well and the band made only a few live performances before breaking up about half a year later.
    None of the material written by the band's last line-up was ever recorded in a studio, and only a live performance with mediocre sound quality exists. This is sad, since the original vinyl version of Råg I Ryggen's only album currently swaps hands for about $ 100-150, and the album is generally considered a classic among connoisseurs of and h.

    [From the booklet of the CD Råg I Ryggen written by Tobias Petterson]
  • 30 quistions about your top 30 artists

    13 Oct 2009, 20:09 by leonie47

    1. How did you get into 29?
    Eagles of Death Metal - seing them live at the Zsiget-festival.

    2. What was the first song you ever heard by 22?
    Siouxie and the Banshees - Can't think of one...

    3. How many albums by 13 do you own?
    The Cure - Only 2 real ones

    4. What is your favorite song by 15?
    The Doors - Alabama song

    5. What is your favorite song by 5?
    Heather Nova - Fidelity

    6. Is there a song by 6 that makes you happy?
    Garbage - #1 Crush

    7. What is your favorite song by 10?
    Tegan and Sara - Living Room

    8. What is a good memory you have involving 30?
    Hedwig And The Angry Inch (soundtrack) - Seeing the Origin Of Love for the first time, and the entire movie for that matter. Fantastic!

    9. Is there a song by 19 that makes you happy?
    PJ Harvey - Hmm..Sheila Ni Nig

    10. How many times have you seen 25 live?
    The Beatles - hahaha, never, seen coverbands, though...

    11. What is the first song you ever heard by 23?
    Autumn - wow, that's a long time ago, I can't remember!

    12. What is your favorite album by 11?
    HorrorPops - Hell Yeah!

    13. Who is a favorite member of 1?
    Tori Amos - Well, Tori, or when we talk about the posse, Pip.

    14. Have you ever seen 14 live?
    The Birthday Massacre - Yeah, twice.

    15. What is a good memory involving 27?
    The Cardigans - Not specifically..

    16. What is your favorite song by 16?
    Carla Bruni- Quelqu'un M'a Dit

    17. What is your favorite album by 18?
    Ladytron - Eh, the first one, what's it called again?

    18. What is your favorite song by 21?
    Zombina and the Skeletones - I love Rock and Roll

    19. What is the first song you ever heard by 26?
    Evelyn Dark - There is no Runaway

    20. What is your favorite album by 2?
    Sarah McLachlan - I love Mirrorball, but that's a live-album, does that count?

    21. What is you favorite song by 3?
    Ani DiFranco - Wow, tough one, ehm...Whole Night

    22. What is you favorite song by 8?
    Regina Spektor - Chemo Limo

    23. How many times have you seen 17 live?
    Within Temptation - Around 30 times, I lost count..

    24. What is the worst song by 12?
    The Corrs - Irrisistible, I think..

    25. What was the first song you ever heard by 28?
    The Murmurs - Genius

    26. What is you favorite album by 7?
    Juliette & The Licks - Four On The Flour

    27. What is your favorite song by 24?
    Aimee Mann - Choice In The Matter

    28. Is there a song by 9 that makes you happy?
    Auf Der Maur - Lightning Is My Girl

    29. What is your favorite album by 4?
    Emilie Autumn - Opheliac

    30. How many albums do you own by 20?
    Peaches - None of them for real, all on my computer and Ipod, though..
  • Some Psychedelic Rock/Heavy Psych/Progressive Rock/Hard Rock great bands

    22 Mar 2009, 22:46 by heavylione

    Here is a list of great , , and bands of the 60s and 70s, all connections of the Sir Lord Baltimore group on :

  • ☺ New Friends Get Cookies ☺

    7 Jul 2008, 20:09 by Fulvian

    You know, the Cookie Monster is giving away cookies to his new Last.fm friends.

    First, cookies for myself...




    And cookies for <username removed>...




    Now, cookies for <username removed>...




    Enjoy, my friends! :D

  • ☺ Listening and Scrobbling Together ☺

    21 Jun 2008, 16:43 by Fulvian

    Overview
    Basically I'm gonna talk about how to scrobble Your music to multiple Last.fm accounts at once, I mean everytime You play a track, it'll be scrobbled to multiple Last.fm accounts, note that this only works on local tracks, currently there is NO way to scrobble radio tracks to multiple accounts at once. OK got it? If You're interested, please read on...

    Preludium
    Originally I was only gonna write this guide for my group Last.fm Couples, but I've read many threads asking about the same How-To in the Forums and thought there might be more people out there wanting to know how...

    In some circumstances, You and Your friend, dad, mom, daughter, son, brother, sister, girlfriend, boyfriend, spouse, or maybe even Your pet (if he has a Last.fm account) are listening together on a single computer and both of You have separate Last.fm accounts. In such occasion, a question will rise: "Could I scrobble the songs we play to her account too? not only mine?", normally the answer is "NO", but hey... Fulvian doesn't like such answer so he tried to find a way and succeeded...

    Before we proceed any further, the requirements are:


    (I know a lot of users also use Linux and Mac OSX, but I must admit that I have very little knowledge on those ), but users of those platforms are very welcome to comment on this.

    Setup
    First make sure Last.fm client and foobar2000 and its official plugin are already installed (if You just installed foobar2000, install the official plugin first: in the client, go to Tools ? Get Plugin...)

    All done? Now click here to download the 2nd foobar2000 Audioscrobbler plugin.

    (that plugin has a Last.fm group: foo_audioscrobbler)

    On that site there are two download options:
    Download foo_audioscrobbler 1.3.16
    Download foo_audioscrobbler 1.3.16 with installer


    Choose the first one (without installer).

    It's a ZIP file, so after downloading just use WinZip/WinRAR or whatever archiver You're using to extract the contents. The ZIP file contains a single file foo_audioscrobbler.dll, extract this file to a temporary folder or Your desktop.

    Now select the file foo_audioscrobbler.dll and press F2. Rename the file to foo_audioscrobbler2.dll. Press ENTER to apply the file name change. Now cut the file (Right-click on it then choose "Cut").

    Open Your Windows Explorer and go to the folder where You installed foobar2000, for example D:\Program Files\foobar2000. In that foobar2000 folder, there's a subfolder called "components", paste foo_audioscrobbler2.dll into that subfolder.

    Now open foobar2000 (close it first and then reopen if it's already open when You paste the new file) and go to File ? Preferences. Go here:



    Enter the user name and password of the other Last.fm account You want to scrobble to and tick the "Enable Audioscrobbler" checkbox. If You're using proxy, fill the "Proxy settings" fields too, if You're not using proxy, leave them blank. Close the Preferences window.

    Now You're set! any track You play on foobar2000 will be scrobbled to both the account on Last.fm client and the account in the Audioscrobbler plugin within foobar2000. The "Now Listening" feature also works on both accounts, just check 'em out!

    Don't forget to disable the Audioscrobbler plugin when Your partner is no longer listening together with You: Go back to Audioscrobbler Preferences window and untick the "Enable Audioscrobbler" checkbox.

    Postludium
    • Please only use this guide for listening together with Your partner, I know this is abusable, but I don't even want to think about the possibilities
    • Listening together too often will cause You and Your partner become each other's Neighbour, this may be good or bad, but I personally don't like the fact that my girlfriend is on my top Neighbours list, she's just wasting one Neighbour space that's supposed to be occupied by other users I don't know.
    • People who know or have ideas on how to do this on Linux, Mac OSX, and also on other media players on Windows are encouraged to give comments, knowledge exists to be shared! :P
    • Have a nice day and happy scrobbling together! :D