Your core ached, your underwear were beyond ruined, and you couldn't wait another minute for the both of them to finally be off set. The rest of your day had been absolute torture. REQUESTED: by and also by all these people. Warnings: Language // THIS IS P*RN WITH LIKE ZERO PLOT // Threesome // w|w // spitting // oral (female receiving) // i have no idea what a production company is so don't come for me.Ī/n: Brushing off the metaphorical cobwebs and finally getting back into writing! Woo-hoo! Ending could have been better but. Story summary: You, Harry, and Florence have a good time in your makeup trailer. It seems fair to assume now that will never translate into his solo records. Mayer’s earned himself a new load of credibility via his more than half-decade of occasional Dead & Company tours. Mayer is an exceptional guitarist, though you wouldn’t know it from Sob Rock, and he actually sings pretty well on the LP, proving his horrid vocals in Dead & Company owe more to singing Jerry Garcia’s parts than his own voice. One could have hoped Mayer - like Bruce Hornsby with Harbor Lights before him - would abandon his pop past after hooking up with the Dead guys and use his considerable talent to make challenging, high-quality music on his own. Sob Rock sounds like a knockoff of Fleetwood Mac-era Tango in the Night - a commercial peak and critical nadir for the Rumours lineup - synthy, balladic and poppy with stupid titles like “Why You No Love Me.” Which makes it pretty ironic that the man who now fronts Dead & Company - one John Mayer - would make an album so ‘80s it bleeds through to his new haircut, his Bob Weir-inspired pink guitar as seen in the video for “Last Train Home” and the “Nice Price” sticker on the cover. That it pleased hundreds of thousands of others was just literal money in the bank. The Dead didn’t give a fuck about what was going on around them and made music to please themselves.

The 1980s were a (small-“d”) dead zone for quality rock ‘n’ roll music and it always seemed this, in part, played a role in the Grateful Dead’s meteoric rise in popularity in that otherwise-blah musical decade.

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