The Reduced Note (& One Note) Guitar Solo – And Why It’s Important

This is a topic that I’ve long wanted to discuss but never felt quite like I knew how to explain it;  nor did I have, until very recently, a clear understanding of exactly which particular guitar solos (solos that that feature a reduced palette of notes, and often contain – or even are – just a repeating, single note – see “Camel – Lady Fantasy” below for one of those) – solos which have captivated my imagination and inspired me – for quite a few decades now – to hopefully play a bit more simply and melodically than I often do.  To be less “busy”, to play more “economically” – to try to “say more” using fewer notes.

A very, very specific event triggered a sort of “full internal realisation” that there are, for me, three very specific examples of a reduced note guitar solo that I find to be both irresistible and incredibly beautiful.

That mental “trigger” event took place on November 25, 2019, which was when I attended an appearance by Steve Hackett & Genesis Revisited, at the very beautiful Usher Hall in Edinburgh, Scotland – and this particular Steve Hackett tour of late 2019, has / had two very specific purposes:

  1. Celebration of the 40th anniversary of Hackett’s 1979 album “Spectral Mornings”
  2. The Genesis Revisited band performs the entire classic 1973 Genesis album, “Selling England By The Pound” as the centrepiece of their live set.

I suspected, from looking at the average age of the crowd that assembled at Usher Hall for this momentous occasion, that the majority of the attendees were there specifically to see and hear Hackett’s band play “Selling England” – this now venerable piece of progressive rock history…suddenly, impossibly…I do not know how – aged 46 years – but, aged to perfection as this night in Edinburgh soon demonstrated.

 

NOTE: This is a blog about reduced note guitar melodies or solos, and three songs that contain such melodies – and how and why that has inspired me as a guitar player over the years.

However – there will be “digressions”, so while the majority of this blog [which has now grown wings and has become something more like a dissertation on reduced note guitar melodies or solos] – these will be brief, but hopefully interesting – “digressions” – which may include but not be limited to:

  • An unintentional, partial review of the Steve Hackett & Genesis Revisited Concert on November 25, 2019 at Usher Hall in Edinburgh

  • An unintentional, very, very partial and scattered review of Genesis Live at the San Diego Civic Theatre on January 25, 1975

  • A strange discussion regarding “My Theory” that the band Yes – often cited as a “typical” progressive rock band – were and are anything BUT typical.  I know – it sounds strange – but it’s what I’ve observed.

  • Even stranger – I used a random comparison of some pretty darn perky, cheerful, positive and hopeful Jon Anderson lyrics – and then randomly compared those positive lyrics to the….rather more serious, rather more depressing, rather heavier and more terrifying lyrics of various contemporary Prog Rock bands (i.e. “…and the word is “love”….” vs. “INNOCENTS RAPED WITH NAPALM FIRE”) – so what was that about “typical” again??

  • A review and discussion of the 1973 album “Selling England By The Pound” by Genesis

  • A review and discussion of a 1973 concert by the progressive rock band “Focus” – regarding an appearance on BBC Radio, date unknown but near Christmas 1972 (believed to be recorded in January, 1973) featuring compere Bob Harris -wherein Focus play a short set of music, just over 55 minutes of music – but it might just be the single best live set that FOCUS ever played as a band – an AMAZING concert (and – one of our featured “Reduced Note Melodies” is taken from the second track of that live show)  which is why it keeps cropping up in the discussion…

  • Any number of small to medium to large digressions as the mood takes me….literally – anything might happen…

 

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BACKGROUND:

Originally written by the “classic” line up of early Genesis with Peter Gabriel providing flute, vocals and the lyrics; the music itself, was composed in varying combinations of Tony Banks, keyboards; Michael Rutherford, bass guitars, bass pedals and 12 string acoustic guitar, the mighty then-unsung hero of the drum kit young Phil Collins and finally the then be-spectacle’d-and-seated-not-unlike-Robert-Fripp Steve Hackett himself on electric lead guitar, 12 string acoustic guitar and classical nylon guitar as well; “Selling England By The Pound” went on to become one of the band’s best selling and most venerable of albums – much, much beloved by fans and admirers alike.

“Selling England By The Pound” was released in the year 1973.  I was a young teenager at the time with little to no money to spend on luxury items like vinyl records but this album caught my attention and it became literally one of the first ten or 12 albums that I ever purchased.   By anyone. I had a Led Zeppelin album…”Led Zeppelin III”. I had a Jethro Tull album – “Thick As A Brick”. I had an old Cream album – a now very rare compilation called “Heavy Cream”. I suspect I had some Hendrix albums – and my old well played out Beatles records. That was about it for my record collection coming into the early 1970s.. a very, very limited selection of artists to say the least.

Into this tiny, eclectic “collection” of 12 inch album vinyl came a new record (new to me) by a new band (new to me) playing a new (new to me) kind of music – progressive rock. OK, “Thick As A Brick” was sort of progressive. “Yessongs” – absolutely was (is) progressive…but it was Yes – and although they often get listed as and cited as a “typical” Progressive Rock band….if you think about it, and if you do a quick mental comparison of Yes music and Yes lyrics to even just a few other progressive rock bands – you may realise something of a shock:

“Yes” is not a typical progressive rock band – if anything, they were and still are – atypical. Even a general high level comparison shows this rather bold statement to be true – using just lyrics to describe this first example of “why Yes are actually atypical rather than typical”:

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QUICK COMPARE – LYRIC QUALITY AND CONTENT

YES LYRICS versus TYPICAL PROGRESSIVE ROCK BAND LYRICS

Positive message >>>>>> Doom and gloom realism

Spirited delivery >>>>>> Standard or negative delivery

Uplifting lyrics hopeful / visionary >>>>>> Gritty realism, chronicling of dire events, etc

Highly spiritual >>>>>> Storytelling (fiction) or standard events

Personal experiences >>>>> Third person “invented” content – not personal

[You want some examples you say? You don’t believe me? Well OK I will try:]

>>>>> Yes Lyric Example:

(Yes – Jon Anderson – Time And A Word)

Jon Anderson1970

“There’s a word and the word is love and it’s right for me
It’s right for me, and the word is love

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>>>>> Other Typical Progressive Rock Bands – Lyric Examples:

>>>>>(King Crimson – Peter Sinfield – “21st Century Schizoid Man“)

(from “In The Court Of The Crimson King” – 1969)

Peter Sinfield – 1969:

“Blood rack, barbed wire
Politicians’ funeral pyre
Innocents raped with napalm fire
Twenty first century schizoid man

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>>>>>(Camel – Andy Latimer – “Never Let Go“)

(from “Camel” (self-titled) – 1972)

Andy Latimer – 1972

“Crazy creatures of our doom

Telling us there is no room

Not enough for all mankind

And the seas of time are all running dry

Don’t they know it’s a lie…

Man is born with a will to survive

He’ll not take no for an answer

He will get by, somehow he’ll try

He won’t take no, never let go, no…

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>>>>>(Peter Hammill solo album – Peter Hammill – “This Side Of The Looking-Glass”)

(from “Over” – 1978)

Peter Hammill – 1978

 

“the stars in their constellations

each one sadly flickers and falls…

without you, they mean nothing  at all”

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RESUMING OUR NORMAL PROGRAMME NOW…

Having been previously brought up on a strict diet of The Beatles, Cream, Jimi Hendrix, and other, harder rock…and one very “cheerful” progressive rock band called “Yes” – the music of Genesis was a shock to the system and a very welcome alternative to the sometimes rather obvious prog stylings of my then favourite (and the only prog band I had ever even HEARD so far….I might hastily add) prog band the redoubtable Yes…who I loved for their mad guitarist Steve Howe and the mighty Chris Squire’s amazing lead guitar-like bass lines – not to mention the very young but already very powerful Bill Bruford on drums – and I thought Yes could do no wrong. And they didn’t do wrong…well, at least not until the late 70s – and that is another tale for another time.

While at that tender age I was both impressionable and easily convinced that someone like Steve Howe of Yes, (or even his remarkable predecessor the incomparable Peter Banks) – could literally play just about anything – it wasn’t until years later that my view, especially of Steve Howe – changed a bit, and I began to feel that this “I’ve got 400 different guitars – and I brought 150 of them to this concert” approach was a bit – dare I say it – loose, a bit sloppy around the edges (listen carefully to the lead guitars on Yessongs for example – inspired, exciting – but lacking substance and especially – lacking the consistency, beauty and steady focused hand of a Fripp or a Hackett – just not quite as focused – or really as serious – as a great guitarist should be).

Don’t get me wrong – I have huge, huge respect for Steve Howe – I love his melodies, I love his varying and various style – I love his playing – love his guitar work on record (“To Be Over” may be the single most beautiful thing ever played on a pedal steel guitar) and even live – but, there is a consistency, and a quality – that I can feel in my bones and hear well, when I listen to Robert Fripp, Steve Hackett or even the somewhat “looser” Jan Akkerman – that I thought Howe also had, but over time, I could sort of see behind the curtain – and I felt a bit let down and a bit underwhelmed with the “accuracy” of some of his live renditions – even on that classic live album of classic live albums – there is a TON of exciting, great lead guitar on the record….but if you listen closely….

 

I hadn’t yet heard King Crimson, and Steve Howe was the only guitarist in Prog that I knew – so when I heard Steve Hackett’s beautiful, thick, sustained lead lines on tracks like “Forth Of Fifth” or “The Battle Of Epping Forest” that I suddenly realised that my love affair with the brilliant and incredibly complex and amazing music of early Yes, while not yet quite over…was clearly in trouble.

I had discovered a slightly darker side of progressive rock in the work of Peter Gabriel-era Genesis, which immediately led me to some classic and incredibly powerful earlier Genesis records such as the absolutely stunning album “Genesis Live” from 1972 (I think) – an album that featured just five long and utterly astonishing songs that changed me forever…from the gentle almost baroque verses of “The Musical Box” right up to the terrifying coda of “The Knife” – this was an album that was a real and gritty and powerful as an early 70s progressive rock outfit could be.

Fast forwarding just one year forward from the remarkable and unforgettable “Genesis Live” – which I heard AFTER I had purchased “Selling England By The Pound” in hindsight it sounds almost like two different bands – the evolution of the songs, the lyrics, the arrangements – changed so quickly and so radically it’s almost as if an invisible “fast-forward button” had been pressed, suddenly and unexpectedly ushering in the music of the future – which in 1973 – was the uncanny and decidedly odd – but amazing –  “Selling England By The Pound” – a complete sea change away from the entire period encompassing the almost ethereal “Nursery Cryme” and “Foxtrot” album which were then turned on their heads and delivered with chilling, dark precision on the cult classic ‘Genesis live” album…the studio albums are both full of light and beauty but when the band went out to play those songs…a hitherto unknown force entered the room and brought those delicate wonderful progressive songs to life in a brand new and very powerful way indeed.

I was blissfully unaware of all this strange Genesis history when I walked into a White Front store in La Mesa, California and bought “Selling England By The Pound” for probably about $4.00 – it was a long, long time ago.  For a teenage guitarist with a growing interest in non blues non Clapton non rock based music – progressive rock – it provided a new standard by which to judge everything else.

Soon enough, I went seeking even darker and potentially more disturbing forms of prog which led me away from what I would deem the “melodic prog” of bands like Yes or Genesis…to a more dissonant, fragmented musical world where strange time signatures and abrupt unexpected changes in time signature, rhythm or dynamics had a huge impact on me as a guitarist and pianist.

Listening to the music of Yes gave way first to listening to Genesis…a pleasant transition – and then to still very melodic bands such as Focus, Nektar or the redoubtable Camel (and decades later, of course, I finally got into Caravan, having completely missed them back in the day…the “other Camel” if you will) ….but then, my tastes expanded – and I started to embrace a lot of really powerful…and consequently much darker – progressive rock music.

Steve Howe and Steve Hackett, over time, gave way first to folk like Camel who added just enough jazz to prog to make it more interesting (without turning it too far into a true jazz / be bop freak out like Can or other Krautrock or European prog bands too many to mention)…

…and finally, to the harder, more edgy sonic worlds of Robert Fripp’s King Crimson, the truly frightening and very very powerful Van Der Graaf Generator and eventually, I finally turned my ears and my musical brain around just enough to appreciate the wizards of prog…the absolutely unique, uncanny band that was Gentle Giant.

All by the time I was about 16…all of the above had happened to me in just a few short years…a stunning transformation.  On the strength of my love for “Selling England By The Pound” – I went to see Genesis, on their last tour with genius lyricist / singer Peter Gabriel – hoping that they might play one or two tracks from the one Genesis album I owned, knew and loved…“Selling England By The Pound”.

But of course, I wasn’t aware then, that they had just spent something like a year and a half touring the tracks from “Selling England By The Pound” relentlessly – and despite Peter Gabriel handing in his notice before the 1974/1975 tour even began..the band wanted to move forward with or without him – so for that tour, they were playing their new album – 1974’s “The Lamb Lies Down On Broadway”.  All of it,  All four sides of it, In order. And nothing whatsoever, from ““Selling England By The Pound”. Nothing!!

I didn’t own the new album, I had no money, I’d heard the single “Counting Out Time” exactly twice on the radio…but nothing could have prepared me for that experience.  I was 17 years old, and sitting there in the Civic Theatre in my home town of San Diego, California where I saw and heard a band at the absolute height of its performance powers.  Trying to describe that experience would require an entire blog just for that purpose. And I seriously doubt I could do it justice with just words to describe it. I would fail.

Of course – that night – they played exactly ZERO tracks from the one Genesis album I owned, the one Genesis album I knew and loved…zero.

The trade off there of course, was getting to witness what very few did manage to see and hear and experience: the full dramatic and sonic impact of what is surely Peter Gabriel’s lyrical masterpiece and a most amazing concept album, performed live by what may have arguably have been, at that magical moment in time – the best progressive rock band on the planet.  

Steve Hackett sat down to play guitar,  as Fripp did.  There the similarity ended…I knew instantly that Hackett was then – and still is now, in 2019 – in a league of his very own when it comes to prog guitar.  Masterful is one word. Assured is another. Confident and capable are two more words.

But it was the sounds…the SOUNDS I heard that night, from the baffling but wonderful garbled flanger lead solo on “Counting Out Time” to the power and mystery of the brief but oh so intense guitar solo in “Anyway” to the odd almost Indian music guitar and synth themes on side four of the album – or the soaring, slow bends of “Broadway Melody Of 1974” overlaying Tony Banks eerie mellotron parts with the perfect guitar sound…

Hackett displayed such enormous range, and used such an extraordinary palette of strange and wonderful and new guitar sounds that my teenage brain could barely function, could only dimly understand what the hell was happening on that stage.

Rock music was turned on it’s head that night, for me, and I would never again approach music from the straight Hendrix meets Clapton meets Page traditions that I learned and grow up with – the modified electric British Blues – no, I wanted to sound like Steve Hackett.  Or Robert Fripp.  Or Peter Hammill.  But not – not the blues – not even the melodic prog of Yes.

i wanted to play guitar like Hackett’s amazing, beautiful soaring lines as in the utterly exquisite lead guitar parts in “The Chamber Of 32 Doors’ or “Anyway” or “The Lamia” I had never heard or imagined anything like this music – before or since…and going to see Genesis play “The Lamb Lies Down On Broadway” absolutely pushed my playing style, my entire career, everything – firmly away from the rock traditions I started out with…

So at age 15, I was like every other kid with an electric guitar – a beautiful Fender Jaguar in fact – playing hard rock and hard blues and immersing himself into the music of the day…Led Zeppelin, Eric Clapton and / or Cream, ZZ Top, Zappa – a traditional young rock guitarist’s upbringing in the early 1970s.

This blues based rock tradition, which I loved and will always love…came unstuck in time, it was shattered and destroyed and gone and while I still played Led Zeppelin tunes and still – and always will – have a huge love for that music and that time….it was all over for me by the time I was 18.  I was done with ordinary rock, I moved first, to the land of progressive rock – and then, into the amazing world of ambient, looping and also, as an adjunct to all of the above – Robert Fripp’s Guitar Craft.

I’d been both progged and ambientised and also, completely loopified…and you just don’t come back to the blues once that happens to you!!!!!

I’d become a prog guitarist in my heart…whether I would or no,  I started learning Hackett and Fripp and Andy Latimer riffs or songs – and in particular, tried to figure out how to solo in a more prog way… and that was NOT particularly easy to do!!

I worked hard at it, and I had the additional, very helpful benefit of also being a passable pianist, so with help from my best friend Ted, who was an amazing pianist, organist, and singer – I set out to learn these strange prog songs, first on the piano – so I could sit down and sing the songs, and then later – much later – learning some prog guitar soloing skills to a modest degree.

I learned dozens of prog songs on the piano, so it was odd – I wanted to play like a Steve Hackett or a Robert Fripp, but to even get into the right mindset to make some modest attempt at working in a similar non blues “”proggy” vein lead guitar wise…it was odd, but I had to come at it via learning Tony Banks and Keith Tippett – I.e. I had to first, learn the chords, the structure, learn to sing, learn Peter Hammill and Van Der Graaf Generator songs, try to learn “Funny Ways” by Gentle Giant…

One huge breakthrough – ably supported by my best friend Ted Holding who worked out the fast middle bit somehow – I think I started to have some lightbulb moments when I learned, painfully, over many weeks – the incredibly beautiful piano part for the song “Anyway” by Genesis – taken from side 3 of the 1974 album “The Lamb Lies Down On Broadway – once I mastered that – I could sorta see how prog was meant to work.

Other pop influences crept in, I spent a huge amount of time trying to understand and learn the piano style of Donald Fagen – leader, singer, and pianist of Steely Dan – and I learned how to play his remarkable arrangement of the song “Charlie Freak” from the 1974’s “Pretzel Logic” album by Steely Dan…and there were NO CHORDS in the sheet music!  I had to force myself to follow the notation, learning it note by painful note- both parts left and right hand – until one day – I could actually play and sing it.

I fared less well with Fagen’s “Fire In The Hole” although I have worked out about 90 percent of the piano part – it’s a stunning piece of arranging and it is NOT easy to play – I can tell  you that for certain.

I learned ALL kinds of piano parts, and bits of songs, from the wonderful sweeping arpeggios of Emerson, Lake and Palmer’s “Take A Pebble” to working out dozens of pretty darn difficult songs by Peter Hammill and / or Van Der Graaf Generator – now – those are some challenging pieces!  Very, very dense musically, very intense – and not easy to reverse engineer “by ear”.

 

I had to understand the songs inside and out, musically – on the piano, mind you!!  – and eventually after years of work…it did lend itself to providing a basis whereby I could finally, years down the road…actually play some pretty convincing prog-ish lead guitar.

So – rather unusually, it took a proper understanding of progressive rock keyboard parts, to get my brain to the point where I could then also play prog with lead guitar.  It took me many, many years to reach that point.

And – without a doubt…buying “Selling England By The Pound” changed my guitar playing life forever – which subsequently pushed me towards Van Der Graaf, Gentle Giant and of course King Crimson.

For me personally – it was Fripp’s other very important work  – first in looping with Brian Eno in “Fripp & Eno” but even more specifically, seeing Robert Fripp doing a live “Frippertronics” performance in 1979 – that set me down a course towards both looping guitar and ambient music, which I then remained with for a couple of decades and Ambient Loop Guitar is still very much part of what I do even today.

Prior to having my entire traditional classic rock background utterly derailed (beginning at about age 15!!) forever, by first, Yes, then by Genesis (Peter Gabriel era), then by King Crimson…and onto the strange,the freak, the impossible dare….Van Der Graaf Generator, Gentle Giant, Camel, Nektar, Focus and so many more…

…and prior to at the same time, being diverted down a totally different parallel but separate path to looping and ambient music, via the discovery of the music of Brian Eno, Fripp & Eno and most important of all, seeing Robert Fripp looping live Frippertronics at Tower Records in San Diego, California in 1979 – prior to all that…

I think that I would have written, performed and recorded what I would now call “normal songs” – rock songs, blues based or ballads…

But as soon as all of the above happened to me, well, it took a while, but instead of me writing, you know, new versions of Hendrix or Clapton songs or doing my moon take on blues based rock…instead – thanks to this amazing transformation that I went through in a mere three years – this is what I came up after absorbing and refining all of this input…at least, here’s the “prog” side of my work (looping and ambient can be found elsewhere):

[all of the following tracks are taken from my 2016 album “progressive rock”:]

the complete unknown

planet obelisk

day seventeen

It might not be apparent at first when listening to these three decidedly “progressive” tracks that Steve Hackett and “Selling England By The Pound” were an influence on these pieces (but they most definitely were and are), not to mention Robert Fripp, Andy Latimer, Jan Akkerman, Steve Howe, and a host of others – but you can also detect the keyboard players from these bands in the keyboard parts I’ve chosen and used, especially in my use of Hammond organ and mellotron…so I’m not just channelling the worlds best progressive rock guitarists but their keyboardists and even bassists where possible. I’d like to be able to channel an entire prog band from 1974 – and these tracks are my first real attempts at that..not made until I had gained enough experience to even attempt prog.

I even have one very proggy piece that not only is a nod to the influence of King Crimson, but it was particularly created as a tribute to my favourite rock bass player of all time, the late John Wetton (of Family, King Crimson, U.K., and Asia) – so while the guitar parts are definitely influenced by the guitar style of Robert Fripp; this track is really all about the bass guitar and how someone like Wetton used it as a powerful improvisational tool to rival and challenge some of the great prog lead guitarists… proving – not that anyone doubted this – that bassists can improvise too!!!

It’s not about how many strings are on your guitar, it’s more about how you use those strings…and Wetton knew how to play his instrument.

[another track taken from my 2016 album “progressive rock”:]

wettonizer

this is a much “shorter form” piece than the three long pieces (see above), but it was made with the very specific purpose of showcasing the bass guitar and what can be achieved with just four strings….John Wetton was an amazing player and singer and his bass playing seriously influenced my guitar playing if that makes any sense – ergo, “wettonizer“.

He is sorely missed.

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INTERLUDE

The above very, very lengthy background and musical digressions was necessary (thanks for reading this far) to provide the proper context, so you can see the background I came from, what my influences were and are…and how some chance key events in my life, namely:

 

  • Buying the “Selling England By The Pound” album in 1973

 

  • Subsequently – a year or so later – seeing Genesis (featuring Steve Hackett) perform “The Lamb Lies Down On Broadway” Live At The San Diego Civic Theatre in 1974

 

  • Gradually moving away from classic rock towards progressive rock with the adoption of listening to and following various remarkable groups from Genesis to King Crimson to Van Der Graaf Generator to Camel to Focus … [consequently pushing me away from blues based music towards a different, much more progressive and I hope, creative rather than commonplace approach to music… ]      1974 – present

 

  • Hearing the music Of Brian Eno.     1974 – present

 

  • Seeing and hearing Robert Fripp perform live improvised music using a guitar, a small pedalboard and two Revox reel to reel tape machines live in a Tower Records store in 1979 (seeing Robert looping live – in a record store in my hometown – at age 21 – changed everything permanently – it re-wired my brain from “lead guitarist” to “loop guitarist” and eventually caused me to become an ambient looping guitarist.     1979 – present

 

  • Beginning a lifelong association with Guitar Craft in 1988.      1988 – present

 

The unusual series of personal “life events” above, are what shaped me and my guitar playing, and brought me to the here and now of December 2019… where I can finally see the connection of three of the most important “reduced note” or “one note” guitar solos that I have found to be both very inspirational as well as intensely beautiful and moving on an emotional scale…spine-tingling, shiver-inducing guitar beauty.

Getting great musical BEAUTY via a reduced palette and by restraining the impulse to flail about and solo madly every time the opportunity arises is the hallmark of a mature and highly developed musical mind, and I feel that, each in their own way, the three guitarists who originally performed my top three reduced-note solos are all exceptional musicians and exceptional guitarists…three very different players – but all three using the same musical device (note economy, reduced palette) to deliver an emotionally-charged, poignant lead guitar performance on record and / or in live versions of these three songs.

The mastery and the self control that these three guitarist demonstrated when recording or performing theee pieces cannot be understated  and while the solos may seem “simple” on the surface, using very few notes and relying solely on the appeal of a very restricted range of melody – that’s actually, much, much harder to do than shred up and down some over-complicated-super-dissonant-glissando-proggy scales.

These three guitarists all did what I wish I could do – write extraordinary, beautiful and memorable melodies using only the sparsest and most basic of materials, and using fewer notes to say much, much more.

That is made all the more interesting, because normally, all three of them play quite a lot of notes during a typical album or a typical concert, so for them to be able to control their playing in this way, to STOP playing all those amazing scales and notes, and instead, reduce down and almost restrict their music palette for just a few quiet, intimate guitar moments. And yet, during those moments, they are able to wring extraordinary emotion and impact through the simple act of playing very few notes.

I’d like to take just a moment to provide a dramatic illustration of what I am suggesting here, I have taken two short snippets of Jan Akkerman of Focus, both taken from the same Bob Harris “compère’d” Live At The BBC concert that is the source of one

START OF THE CONCERT – Jan Akkerman – lead guitar – short sample from “Anonymous II” the first piece of the night. Listen to the speed, the dexterity, the seemingly impossible flurries of notes that he produces during this opening number.

JUST A FEW MINUTES LATER – Jan Akkerman – lead guitar – short sample taken from “Focus I” – one our examples of an actual “reduced note” melody. Listen to the restraint, the control, the extremely even, slow tempo, the very few notes used to conjure up the gorgeous, simple, and I feel, intensely beautiful and unique piece of music.

It doesn’t even seem possible that it’s the same guitarist who was playing “Anonymous II” just x minutes earlier and it’s perhaps even more unbelievable that the two clips are by the same band and from the same performance on the same stage a mere x minutes apart !! And yet… there it is, the evidence of our hears

This is the ability of the master musician, to be able to do a sonic transformation like my small demonstration shows here – from inspired high flying experimental improv of nth order free improv involving intense physical effort, powerful concentration and sheer will power and stamina to even be able to shred that fast and that hard…and then mere minutes later – bottling all that improv skill and determination up – and suddenly just slowing everything down, bring the wildness of that crazy shredding improv down into a quiet, quiet moment – this quiet moment ! – slowing your breathing, slowing your hands and your heart and then gently breathing life into a fragile, beautiful melody that is all the more intensely beautiful because of the restraint shown – the quietest most sensitive, emotive reduced note solo ever performed on a stage.

That is literally what happens during this amazing 55 minute vintage 1973 Focus BBC radio concert, not only is the demonstrated transformation from “improv shredding” to “quietest moment of beautiful reduced melody” a virtual masterclass that clearly demonstrates the band’s prowess and skill at both volume dynamics and performance dynamics: but it’s also testament to four master musicians who can get from a scream to a whisper – and then back again – to an even wilder more intense scream… almost effortlessly.

I learned a lot about dynamics from listening to this concert…and even more about what truly beautiful guitar playing is. What a remarkable performance!!

Conversely, Andy Latimer demonstrates the same restraint, not once, but twice in the Camel selection presented here, the absolutely amazing feedback guitar one-note solo of “Lady Fantasy” which follows a reduced note solo earlier in the piece – simply extraordinary!! Two for the price of one.

Andy is just repeating that one note, over and over again, as part of one of these “sparser” guitar solos (the reduced note solo that occurs first in the song at 5:10) … which is so beautiful, but then – moments later – feeding back into the amp, and somehow “holding” that one incredible fed-back note (which occurs later in the song at 7:48) …for so, so long… it’s an incredible performance proving beyond a shadow of a doubt when it comes to guitar notes… less can absolutely be so much more.

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These three pieces, and probably many, many others I am only peripherally aware of – really made a huge difference to the way I approached guitar playing… while everyone else,every other guitarist around me seemed to want to be the fastest guitarist, or the cleverest guitarist playing impossible cool or wonderful scales….

I just wanted to play long, slow simple notes that would be of such an obvious beautiful emotional quality that your ears would just want more…slow, stately and very beautiful. That is probably why I adopted the energy bow starting in the late 1970s – following the example of Bill Nelson – who stopped using a pick or plectrum, and played all oh his guitar parts using only the energy bow (or e-bow) as a permanent alternative to picking.

I did the same because it really sets you apart, but more importantly, it allows you to play slowly, carefully, playing long, long duration notes … and in using the e-bow, both in place of the pick or plectrum, and as the main sound engine when I play ambient loop guitar… it gives you that beautiful, reduced note vocabulary almost automatically- which was and is a true gift, allowing me to play slowly – very slowly – with infinite sustain – and allowed me to achieve my dream of playing a few notes well rather than, hundreds of notes quite, quite sloppily and uncertainly.

So these songs were also a influence on my approach, even affecting the tools I used – to play – and especially – to loop the guitar.

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THE SONGS

REDUCED NOTE GUITAR SOLO NO. 1:

Focus – taken from BBC Radio Live 1972/1973 concert – “Focus I” – the host is Bob Harris

Featuring Jan Akkerman, Lead Guitar

Full concert: https://youtu.be/yJM9GcQ966k

Note : to hear the full selection “Focus I” – please go to 23:36 in the video timeline or go here to access sound samples relating to this discussion

There is no YouTube video of “just the song” “Focus I” available separately in YouTube – but really, you owe it to yourself…just go listen to the whole concert!!  To my mind, this is the very BEST Focus concert you can get: the best line up, the best set list and it makes their official live record, “Live At The Rainbow” seem almost …dull and lifeless… (??) by comparison…. don’t get “Live At The Rainbow” – get this instead (or at least, in addition to) that – because this is by far the better live performance. It may be short, but it is sweet. Focus at their very prime – this band is on fire this night, Van Leer and Akkerman are bouncing off the walls in their excitement – a fantastic show!!!!

Section with reduced notes melody: 23:59 to 24:18…

Or – 

I’ve set up a folder with eight sound files in it– which will allow you to hear for yourself what I am talking about with regards to how guitarist Jan Akkerman starts out cold, in the first song of the performance – with all guns blazing – shredding rock and jazz at supersonic speed and basically demonstrating in the space of one long and awesome song – the concert’s opener “Anonymous II” – during this song, Jan Akkerman sets out to share the power and the passion he feels when he plays lead guitar – and this classic track taken from “Focus III” is an absolutely astonishing piece of music.

I have broken “Anonymous II” into three pieces – Intro/Guitar Solo, Central Guitar Solo (which includes a band improv that features guitar heavily), and finally, a final solo and coda – I selected three areas of the song that are ALL ABOUT the guitar, all about Jan Akkerman’s skill and ability – and if you listen to any one of the three “Unrestrained Shredding Samples” I have shared as excerpts from this amazing live version of “Anonymous II” – or you can listen to all there – I’ve merged them into a special five minute “just the guitar playing please” edit that really drives home what a powerful, precise and quick guitarist Jan Akkerman is.

The other four excerpts are what happens about twelve minutes later – the shock of the change from the wild, improvisational and inspired lead guitar playing that you hear in “Anonymous II” – to the pastoral, peaceful beautifully quiet sound world of the song featured here – “Focus I”.  In the folder with the sound files in it I have provided, for reference – the entire unabridged track

as played just a few minutes after the impossibly fast and incredibly skilled lead guitar playing demonstrated in the concert opener “Anonymous II”.  The difference is startling!  It is almost like two different bands – and the care and precision with which the other three guys in the band “support” Akkerman as he plays this delicate, beautiful reduced-note vocabulary rendition of the classic Focus track taken from their very first LP “In And Out Of Focus” – they play with such care, you could hear a pin drop, the bass and drums (played by the incomparable Bert Ruiter and the even more remarkable Pierre Van Der Linden) – are played with such delicate, understated precision while band leader Thiis Van Leer underpins the simple guitar melodies with the perfect moving harmonic foil of a slow-leslie’d Hammond Organ – just playing simple triads to support that gorgeous, gorgeous yet incredibly simple melody that Jan Akkerman plays so perfectly, and so incredibly beautifully, on this particular occasion.

This song for me, is an unforgettable moment in time – time just STOPS while they play it – its so breathtakingly perfect in it’s reduced-note glory.   It is probably the very best example of a “reduced note melody” or “reduced note solo” that there is – “Focus I” is very simplistic (ESPECIALLY if you compare it with the song played just moments before – the prog / rock / jazz / insane rave up improv that is “Anonymous II”) and to me – it’s the contrast that is absolutely amazing – from a scream to a whisper from the first song of the night to the second – talk about shifting gears.

It may be an intentional device, too – by deliberately showcasing a very precise, very quiet, very beautiful and melodic tune like “Focus I” RIGHT AFTER a pretty atonal, harsh and wild jazz/rock improvisation – the band demonstrate that they understand live dynamics like few bands do – the only other band with an amazing sense of dynamics that I am aware of – I would qualify that – with an “unusually highly developed understanding and sense of the great importance of being able to control both volume dynamics as well as song dynamics” – was Genesis in the early 1970s.

Sometime around Christmas, 1973 (strangely, the date of this well-known BBC radio show’s recording and broadcast are not known) – during the transition from “Anonymous II” to “Focus I” is an amazing demonstration of a consummate artist just showing us how it’s done – like Genesis before them – going from a whisper to a scream with care and precision (or in this particular case – from a scream to a whisper….It’s not that easy – believe me – but Focus sure do make it sound easy here during the first two songs in this remarkable BBC radio concert.

.

So – my personal history with the song “Focus I” by Focus – taken from a live radio broadcast made on an unknown date (late 1972 or earlier 1973) – I recorded this concert myself directly onto an old Kodak cassette tape that became one of my most prized live concerts ever – and it documents this line up of Focus at the absolute height of their powers – it is and always will be, my favourite live recording b6 this extraordinary band from the Netherlands.

After about 15 years or so, when the Kodak cassette shell finally wore out, I actually did a “tape transplant” – I carefully removed the two tiny reels of tape from the Kodak shell, and physically moved them into a new shell – into a brand new state of the art TDK or Maxell shell (throwing away the brand new tape reels from the target shell just so I could preserve this beautiful music!!) – and that preserved the tape for a further 15 years or more.

I don’t think it has ever been officially released, despite the fact that it is actually a much better and cohesive live performance of early Focus material than their official live album of the day (I believe from 1974) “Live At The Rainbow” it’s lacklustre by comparison, This BBC recording to me, is the definitive live statement of the band and it’s an absolutely wonderful concert showcasing music mostly from the then-new studio album “Focus III” as well as tracks from “In And Out Of Focus” and “Moving Waves” (aka “Focus II”) – the bands first two studio albums.

This unique live document also happens to contain the first example that I became aware of, of just how effective and affecting a guitar solo with very few notes could be.

Normally, during the early 1979s (and in fact, in later years as well) when Focus would perform the track “Focus I” (taken from their first album, “In And Out Of Focus”), they would do it much as it is on the studio album:

First (for about three minutes), the band plays, the simple yet melodic piece that establishes the main melody on lead guitar as well as the beautiful Hammond Organ of the remarkably talented and capable founder of the band, organist and flautist Thiis Van Leer. His simple organ chords underpin the stately, slow, clean lead guitar melodies played by Akkerman with great care and precision.

Then (gradually speeding up the tempo, for an additional six or seven minutes) they would continue on into the “jam” or “improv” section – a section that never, ever “worked” for me in the studio version (too fast, too funky, and having little in common with the intensely beautiful melodic themes that make the first three minutes so outstanding) or in any live versions that I ever heard. Until I taped a live BBC Radio concert onto a cassette one day.

So normally, in 99.999 percent of the cases I know of – the studio version, the version on “Gold” and so on…”Focus I” has an approximate duration of nine to perhaps twelve minutes, and consists of mostly a fairly funky, jazzy, instrumental jam or improv with organ solos, flute solos and guitar solos – typical of Focus (and many other Prog bands of the time) but in the case of the slightly cumbersome long improv that makes up 70 percent plus of NEARLY every live version of the song “Focus I” – not my favourite, and definitely not their best.

The second and third Focus albums, to my ears, are where the band hits its stride while the material from “In And Out Of Focus” is still an idea in development – it’s a first album of a new band finding its feet.

I loved the first section of the song, but when the all-too-short three minutes of beautiful, melodic progressive rock melody came to an end, and the faster funky improv began…I would reach for the “skip to next track button”. I could never resolve that somewhat careless and inconsequential improv, I could not reconcile it with the sensitive, emotional and beautiful melody of the first part of the song – the two sections just do not work together for me both as a musician and as a listener and admirer of the band’s music.

So – this rare, rare one-of-a-kind performance of “Focus I” – wherein, the band play the three minute, beautiful thematic and wonderfully understated “Focus I” …and then bring it to an absolutely perfect, quiet and beautiful conclusion after just three minutes of some if the most inspired, retrained, carefully and lovely playing I’ve ever heard.

Well, for me – this special short version of the song – without the funky jam at the end thank God!!! – is a dream come true…the “beautiful part” of “Focus I” had been freed from the disappointing second section…and was thus revealed to be an even more incredible thing of beauty than I already knew it to be…

For reasons unknown and never explained, on this one unique occasion in late 1972 or very early 1973, with Focus playing a full concert for BBC Radio…they made the unprecedented and inspired decision to include “Focus I” in the set, but to perform it in an unknown form – with a beautiful, natural, perfect “ending” or “conclusion” – where normally, a not-very-good jazzy improv normally would appear.

Thus transforming it into what I consider to be its ideal form – certainly into it’s purest, most undiluted form. It should always have been this length; with this structure; with this ending…including two or three really beautiful guitar chords played as a miniature coda once the drums bass and organ fade out…Akkerman ends the piece on his own in a brilliantly understated way – fantastic!!

I have no idea why, but I infinitely prefer it in this version, and in fact now that I have this gem of a near-perfect live performance…three minutes being revealed as the perfect length during which to express a wonderful melody (with a short burst of double time instrumental excitement in the middle of the piece,) which then quickly resolves back down, and slows back down for the final iterations of beautiful guitar and organ led, stately, understated and lusciously beautiful music – music which only Focus could produce with such perfection in a live setting.

This…is where we find our first example of the “one-note guitar solo” – in this one-of-a-kind “short version” of “Focus I”:

REDUCED NOTE GUITAR SOLO NO. 2 (+ AN ACTUAL ONE-NOTE SOLO)

Camel – taken from the album “Mirage” – “Lady Fantasy”

Featuring Andy Latimer, Lead Guitar

Full song: https://youtu.be/El9GSoOvcD4

This remarkable song contains both a reduced note solo and an actual one note note solo – both in the same incredible piece of music – bonus reduced note content if you will:

First section with reduced note solo: 5:10 to 5:38

Second section with one note solo: 7:48 to 8:11

There is so much I would say about the irrepressible and amazing Andy Latimer, founder member, lead guitarist and mainstay of one if prog rocks most endearing and most enduring bands – Camel.

I remember feeling as if I would never, ever get to see Camel play live. In the 70# for an album or two Camel also included my favourite Rick horn and woodwinds player if all time…Mel Collins. We were all so excited – Camel is going to play in San Diego…and the unbelievably talented and capable and, to my mind, undeniable master of rock saxophone and flute – the best there is – and having just ended his amazing stint in the legendary Islands-era King Crimson In 1972… that he would end up in Camel just a few years later seemed like a god send…what better band for Mel to be in than Camel? answer: NONE. AND THEN..the show was cancelled, due to an injury in th3 band..land my hopes of seeing Camel were dashed – I thought perhaps forever, but then my fortunes changed.

I happened to be in London only to find that Camel wer3 doing their 20th anniversary tour – so I finally got to see the absolutely amazing guitarist Andy Latimer in action, and see and gear him play those impossibly beautiful Camel songs, such as the extraordinary “Ice” or even “Rhayader Goes To Town” from “The Snow Goose” album to the harder songs from Moonmadness like the stomping middle section of “Lunar Sea”…what a repertoire, what a band – what an extraordinary lead guitarist.

But the real concert highlight was seeing and hearing Andy and the band playing this classic, classic album track from one of their earliest and best albums, “Mirage” ( my favourite Camel album of all if you must know!!) the lovely tale known as “Lady Fantasy” – a prog rock standard if there 3ver was one, a lengthy piece with various sections…lovely melodic verses, interspersed with wild bass and drum riff-driven rocking improvs and jams – featuring organist Peter Bardens and Andy Latimer vying for position in the ‘who can solo the most amazing tonight nightly live contest’ – and I always thought Andy won – but then, I am a guitarist and therefore, always biased in favour of the guitarist – always.

Hearing and seeing this amazing song performed liv3, including a near record perf3ct recreation of the remarkable “one note feedback solo” this live performance proved that this unusual feedback on3 note guitar solo was not a fluke or an accident in the studio or a one-off throwaway..,the fact that he went to the effort, trouble and toil of painstakingly recreating that beautiful, amazing feedback…live…every night, year in, year out – “Lady Fantasy” remained in their set for a long, long time, often appearing as a most welcome encore.

I managed to see Camel a number of times in later years, because Andy moved to California where I lived…so I got to see Camel live in California fir a number of fantastic tours from Dust & Dreams to Harbour Of Tears and beyond… and I got to see them play “Lady Fantasy” – with it’s extraordinary reduced melodic solo and then that amazing long feedback one note solo – I saw them play it live quite a few times during those years.

Finally – full circle – after not having seen Camel for decades, in 2018 I decided to travel to Newcastle to see and hear them play the “Moonmadness” (from 1976 originally) album in its entirety – and a now older but no less keen Andy Latimer stepped onto that stage and it transported me back to my first concert on British soil, the aforementioned Camel 20th anniversary tour – then via several years of California concerts…and finally back onto British soil once again, this time with a word perfect, spot-on rendition of the amazing, classic “Moonmadness” albumwhich was truly an honour to see and hear.

And, unsurprisingly, Andy’s prowess as a lead guitarist is absolutely undiminished despite the years past…what a great band, and a fantastic band to see and hear live in concert…trust me. The band I though5 I would NEVER see, I ended up seeing half a dozen tines across four decades… in two decidedly different locations, too – Britain or California!

The inventor if the one note feeding back guitar solo – the genius of Andrew Latimer – brilliant !!

REDUCED NOTE GUITAR SOLO NO. 3:

Genesis – taken from the album “Selling England By The Pound” – “After The Ordeal”

Featuring Steve Hackett, Lead Guitar

Full song: https://youtu.be/VZU3AVyAFC4

Section with reduced note solo: 2:13 to 3:20

In some ways this is the most sophisticated of my three example songs, but that can’t be helped…Genesis’ music had been evolving year after year from the almost primitive proto-prog of “Trespass” and then through that incredible cycle of prog masterpieces – “Nursery Cryme”, “Foxtrot” (which gave us both Steve Hackett’s lovely classical guitar tune “Horizons” not to mention, the incredible 23 minute plus album closer, “Supper’s Ready” (which, astonishingly – they could actually play it live and the did both at the time of Foxtrot but also years later in the late 70s when Phil Collins has taken over as the lead singer…

I never dreamed I would EVER get to see or hear “Supper’s Ready” live…but I was lucky enough to do so on the Wind And Wuthering Tour – so with Steve Hackett at the height of his 70s-era powers, in 1977, with the amazingly brilliant Phil Collins singing all 23 minutes plus of lead vocals AND helping out guest drummer Chester Thompson on the more important drum parts…that was a unforgettable experience to say the very least..

Collins fronting Genesis in 76, 77 was untouchable – and Banks, Rutherford and especially Steve Hackett has all improved greatly since the departure of Gabriel in early 75.

The surprisingly heavy really powerful renditions of the once-almost-ethereal songs from “Nursery Cryme” and “Foxtrot” on the “Genesis Live” (1972) album…the intensity and power of Genesis was a powerful, compelling force of nature that really pushed me towards that kind of performance…progressive rock done with power and glory…that was Genesis in 1972 – as captured on the raw, rough and ready musical experience that is immersing yourself in the amazing live sound of the Genesis Live album.

Which made the sudden arrival of “Selling England By The Pound” such a strange and wonderful event. The rawness, the dark, rough and intense, almost overpowering, live sound of Genesis as portrayed on the 1972 live record – was suddenly gone. But was it really? An initial comparison seems to indicate that “Selling England By The Pound” is worlds away from the intensity of Genesis Live. They are two VERY different albums, less than a year apart – by the same band, the same five school chums.

“Selling England By The Pound” is very sophisticated, way ahead of its time and it seems to have, somehow, through some inexplicable means (magic? time travel? I really do not know how this record was SO good for its time). It had somehow eclipsed itself (???) and almost surpassed the quality of the entire Genesis back catalogue to date… a true and astonishing quantum musical leap of real progression in progressive rock, with a forward-thinking futurist musical bent light-years beyond the more delicate compositions on Nursery Creme and Foxtrot. No other Genesis album to date had ever quite attained this level of sophistication.

If you worried that the power was waning or somehow lost – i.e. where did that dark, old, terrifying live band from Genesis Live GO? This album was so pleasant, so nice sounding…but then about four minutes in, when the ominous synth and guitar riffs of the album opener “Dancing Out With The Moonlight Knight” kick in properly – you realise “oh my dear god, this is MORE powerful/than Genesis Live (especially if you turn the volume UP) – power, progression, refinement, ominous heavy and terrifying riffs and wild but controlled guitar and synth solos… in the opening track alone you get so so much, including Hackett playing in an incredible way, at tempo, and just raising the roof – he and Banks together on this track are more terrifying than all of Genesis Live combined. And from the dizzying crescendo of “Dancing Out With The Moonlight Knight” the band then – somehow – drop dynamically into one of the most lush, beautiful ambient pieces of music I’ve ever heard – which runs for two or three minutes after the first five minutes of the song tore the top of your head off and then hope that the ambient coda can somehow put you back like you were before the incredibly sonic and wildly dynamic first song began.

The first song … is like an entire albums worth of ideas …l compressed into one incredible song, “Dancing Out With The Moonlight Knight” ,,, might be my very favourite Genesis track of all time. It lacks nothing. And in concert…they would often play the intensely beautiful ambient coda for several minutes longer than on the record, with Hackett playing mysterious almost a Fripp-like lead guitar lines…it is amazing when you hear the live recordings of the “Selling England By The Pound”.

As you move through the rest of the album, the dizzying heights of sheer musical ability become ever more overwhelming … such as the triple threat of one of Peter Gabriel’s most beautiful and beautiful sung vocals, Tony Banks most complex and advanced piano composition to date – light years beyond his previous bests…and on top of that, Steve Hackett turning an absolutely blunder of a very extended guitar solo that meshes with Bank’s piano and keyboards in a beyond perfect way…I could only be talking about Firth Of Fifth here…which seems to be the favourite “Selling England” track for the majority of fans – and with good reasons because it’s about as near to perfect of a song as you could ever ask for or even dream of…an extraordinary work of great beauty, storytelling and heroic passion in both the lyrics and in the vocal delivery, but a huge portion of its incredible emotional intensity is in the keyboards and the soaring, almost impossible beautiful lead guitar lines.

I’m not saying Rutherford or Collins is in any way substandard on the track or on this album, but on Firth Of Fifth…Gabriel, Banks and Hackett are so amazing that they steal the whole show. Rutherford does add in some incredible deep dramatic bass pedals underpinning some of the best Banks / Hackett solo moments and Phil Collins by this time was pretty much the best drummer in prog so all five contribute so, so much to this album, and to a song like Firth Of Fifth… so much. Hackett is absolutely beyond belief stunning with his long, long and incredibly beautiful extended melodic soloing..it’s sublime.

It makes me waver on my earlier statement that “Dancing Out With The Moonlight Knight” is my favourite track, because “Firth Of Fifth” threatens to take that title away from “Dancing Out With The Moonlight Knight” … these are difficult choices.

I love every song on this quaint, wonderful and utterly unique album and I could talk about the qualities of each song endlessly.

But now we have reached something extraordinary – “After The Ordeal” – an instrumental (a real rarity on a Genesis record) – and the piece that triggered my memories of the earlier Focus And Camel songs, the “missing link” that was there all along, patiently waiting for me to “realise” my personal favourite triumvirate of reduced note guitar melodies or solos…

What I actually already internally “knew” but it took hearing Steve Hackett live, in 2019, playing this nearly perfect song, a mixture of serious classical guitar work structured progressive rock, and searing, smooth beautiful melodies all merged together with the brightest loveliest sonic glue imaginable, this song sounds like the relief after an ordeal, it sings without words of hope eternal, it’s blissful, it’s simply beautiful.

But when Hackett goes for that thick, intense neck humbucker pickup Les Paul sound, and the band slows almost imperceptibly and then Steve plays THAT MELODY…there is possibly nothing more beautiful in all of progressive rock, than the slow guitar solo in “After The Ordeal” by Genesis as performed by the awe-inspiring Steve Hackett on this classic 1973 progressive rock record…a record so perfectly formed, so beautifully made by these five ambitious young men full of hope and vision and then, realising that vision in the creation of a masterpiece with basically, no flaws whatsoever.

And I was fortunate enough to hear the Steve Hackett Genesis Revisited Band play this wonderful album in full…an experience not possible in 1973 as I believe there was at least one track that they did not perform live – ironically and strangely – that track just happens to be “After The Ordeal” – so I feel doubly blessed and lucky because I got to hear and see Hackett and company play a song considered – back when planning the “Selling England By The Pound” tours … what –

too difficult to perform?

too technically challenging?

Not appropriate for live use since it is an instrumental?

…so what would Peter Gabriel have to do – stand there mute for six minutes?

…walk off stage during the song – back on for the next song featuring vocals?

Whatever the actual reason, Genesis did not play it live (that is know of – I would love to be “wrong” about this!!} in 1973 but in 2019…Genesis Revisited did – an absolute highlight of the show.

Sheer beauty… exquisite musicianship… what a truly beautiful, beautiful song “After The Ordeal” is. I feel so lucky to have seen and heard it performed… shiver-inducing melodic perfection and perfect guitar playing – perfection.

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IN CONCLUSION

  • Three incredible progressive rock songs
  • Three incredible progressive rock bands
  • Three incredible guitarists
  • Three incredible reduced note solos

Seeing and hearing Steve Hackett With Genesis Revisited, here at the Usher Hall in Edinburgh a few weeks ago on November 25, 2019, performing the song “After The Ordeal” as part of a full band recreation of the entire 1973 Genesis album “Selling England By The Pound” – I suddenly realised…this song is the missing link, this is what ties together, at last – when combined with the two examples I’d had in my brain for the last 35 years or so. To my mind, the three most important “reduced note guitar solos” in prog history maybe…

For me, they are pure inspiration, and they taught me the value of playing fewer notes less often and they also taught me that playing a single note really well has far more impact both on record and in live performance – than playing many notes “just OK”. In simpler melodies… there is greater potential for deep meaning,for real beauty, for real inspiration…for sheer perfection in music – than you will ever get shredding 5/4 time dissonant scales. It’s in those simple, repeating notes …. you only have to listen and I believe you will hear what I am hearing ….some very, very special moments in the history of recent music…and these are all great achievements of extremely capable players…who in inventing these reduced note solos, show a sensitivity and emotional content far,beyond the average guitarist.

Life is so fast paced, and it always feels wonderful when you can slow right down and enjoy a quiet, relaxing moment. I think that these three selected guitar melodies or solos are the guitar equivalent of slowing your life down and enjoying a quiet, contemplative moment…these amazing guitarists do the exact same thing when creating and performing these unique and wonderful reduced notes solos…giving us a beautiful gift of timeless, gorgeous, and very real music .,,of the contemplative kind.

There are doubtless, many, many more examples of this phenomenon out there and I would love to hear what your favourite reduced note or one-note solos are.

While I was writing this, I started to think about one example, which is the use of long, clean repeating guitar notes utilised by Robert Fripp on the classic 1974 track, taken from the final studio album by a 70s Crimson Line-up, the incomparable “Red” as used in the long instrumental section of the song “Starless”… another great example of the one note phenomenon- slowly climbing chromatically as the long section builds and builds dynamically. So there are clearly, many, many other examples of reduced or one note solos out there… but for me, these three particular songs, with their amazing, slow, restrained guitar playing captivated me back in the day and still feel as fresh and as inspired…and as incredibly beautiful as they always were – and again, for me only perhaps they always will feel incredibly special and very, very beautiful – part of the ongoing never ending soundtrack of my life.

I feel so fortunate to have… noticed these tracks; and finally, after SO many years of listening – made the connection by finding the missing link – “After The Ordeal” which fits so incredibly perfectly with both “Focus I” and “Lady Fantasy” which I had connected together years ago – the missing piece of my triumvirate of notable reduced note or one note solos…long may they run.

As a guitarist, being able to slow down like that, to stop, to set aside the baggage of your chops and just play a simple but totally beautiful melody or solo – which then becomes part of music history because it also happens to have occurred within a really important piece of progressive rock from a certain era – the early 70s – and now, a few years down the road, I can see and hear the connections, I could suddenly “connect the dots”, and hear and fully realise that these three guitarists, while arriving at the idea of writing and then performing a reduced note or one note solo independently – each within their own band… that accidentally, this idea forms a link between these three different artists or bands – bands whose guitarists inserted these minimalist mini solos or melodies into compositions that each band was composing a resting at the time… and now, x number of years later, you can definitely and clearly hear that this idea that less guitar notes is more…works no matter where you try it,if it’s done with an open mind, an open heart and the honesty of those five or six or perhaps seven, beautiful, beautiful notes.

What an amazing sound…that one note repeating over and over, or feeding back for minutes….and for me, that’s pure inspiration – and, an even purer, more meaningful kind of beautiful guitar.

On the first Camel album, “Camel”, there’s a lovely song called “Slow Yourself Down”. I remembered this song when I was writing about Andy Latimer and as I was writing about how these three amazing guitarists – Latimer, Hackett and Akkerman – literally had to slow themselves down – shift gears – move from high level, high speed, glorious free lead guitar free-flying improvisation mode – to suddenly reduce that vocabulary, and play an absolute blinder of a reduced note (or one note) solo – and how they do that in a live situation, the incredible shift in dynamics and volume and approach and emotion – so it does make me wonder if somehow Andy Latimer was giving his future self some good advice: it’s great to shred and fly high with amazing free improvisation when you are on stage or when you are recording…but sometimes, you may need to…slow yourself down.,.because you are coming along…

Regardless of that – it’s good advice, and I am so,so glad that so many of the masterful, extremely skilled guitarists that I listen to and hopefully, learn from – and I definitely feel that Akkerman, Hackett and Latimer have all demonstrated that they can slow themselves down and play these astonishing, simple, beautiful solos that have inspired me so very much over the years.

Respect.

 

 

They tell me you’re searching for a new place,
They tell me tomorrow will have a true face.
They say that I don’t understand,
When you speak of your summertime land –
Just slow yourself down, I’m coming along.
They tell me your past often hurt you,
And even your friends, they would desert you.
But now you are beginning to see,
The same things have happened to me –
Just slow yourself down, I’m coming along.

 

The Dreaded 1980s: Not So Bad After All

DECADE BY DECADE – THE LIVE CONCERT EXPERIENCE / OVERVIEW

Episode 2: 1980s

Most of the musicians I know, share with me, a general sense of … horror is really the only word that suits, although it’s not exactly the right word…at the memory of the music of the 1980s – which included but was not limited to – everything bad about the emerging synthesizer, synths badly played and not sounding very good at all – and all of the other early musical crimes of the early and middle 80s.
synthpop

A lot of bad, bad music was made in the name of quickly producing a hit MTV Video – trying to cash in on the video craze – and things were decidedly NOT about the music, as they definitely HAD been in the 1960s and 1970s.

 

I try not to remember some – or even most – of those songs and bands, and when I hear them – they make me uncomfortable at best, and downright unable to listen in others – they are just not the best songs nor are they, for me, the best musical memories – those will always belong to the late 60s / early 70s when Prog ruled the land – and I looked out at the 70s Music Scene – my own “70s Scenario” – and saw that it was good.
poison

Meanwhile, over on the hard rock scene, another disturbing trend was emerging, again, fuelled by MTV videos – albeit part of a different demographic – one populated mainly by teenage boys – within that demographic “MTV Video enthusiasts” –  and with a clear desire to cash in on the video craze – Hair Metal (later known as “Glam Metal” – fair enough) had arrived, and it looked like it was trying to stay (thankfully – it did not) – or at least – it did not stay for long.

Bands that I literally could not understand the appeal of, whose music was made so cheaply and nastily (and that was, unfortunately, reflected in the SOUND of that music, too!), just so another air-brushed group of four hooligans with MASSIVE HAIR could make a few million dollars at our expense – and the punishment for us, was having not only to hear this vapid form of “metal”, but to SEE these ridiculous “hair” bands, who were all clearly about the size and curliness of their perm, and definitely NOT all about their skill as writers or musicians – let’s face it, a lot of those bands – could not write a song to save their life, and their musicianship ranged from barely adequate to definitely sub-par.

With the emergence of a whole new breed of Hair Metal bands on the one hand, and the pop / synth / Revolution Of The Synthesizer that was coming to our TV screens and to our ears mostly from Great Britain – there was a lot to answer for “musically” during the 1980s.   Across the pond (where I live now) in this Synth Revolution – a similar and parallel activity was apparent – pop songs written just so a synth or synths could be used in the video, but which probably had no other good reason for existing.

Back in the 1970s (which suddenly looked pretty darn good to me) synths were used in the arena of Progressive Rock, but they were wielded by men and women of skill and talent, and used on songs that were finely crafted and worked on for often, many weeks or even months – until perfected.  Music created for the sake of music, of pure musicianship made by real artists – craftsmen – people who had studied their instruments and knew how to use them – finely crafted songs, that were challenging and often quite difficult to perform – but rewarding in every sense – there is nothing on earth quite as satisfying as a musical composition that works on every level – including, exciting to perform and hear, in live performance.  I missed that, especially within the recorded music of the 80s, I didn’t at first, feel there was much around of any real quality.

I got the feeling that with the whole Synth Pop Revolution (which, while it did have it’s roots in the late 1970s, to my mind, is mostly, a 1980s phenomenon) coming from Britain and the Hair Band revolution emerging from LA – that they would have spent just a few days on each piece, and no more – clock is ticking, time is money – and meanwhile, again mostly in LA “…and I have to go and get a new perm, so please let’s wrap this up”.  I can just about picture any session by one of these bands – where a lot of time is spent pouting into mirrors, and gazing adoringly at your own magnificent curly blond locks – or whatever it was.

But – as the 1980s wore on – there was a quiet musical revolution going on in the background.  It didn’t belong to any one group or any particular type of group, but rather, was a combination of a number of interesting events and occurrences in the 1980s, that were probably not brought to the fore in the news coverage (or, the MTV News Coverage) of the day.  This was not, however – a revolution of recorded music – but instead – of live performance.

I am thinking in particular of two cases or scenarios – or “types” if you wish – one, where established artists who had worked very hard in the 1970s or even 1960s, to establish themselves and their musical credentials – some of these artists, after being vilified and ridiculed by the punk movement – waited out the last few dismal years of the 1970s (as progressive rock was nearly wiped from the map by first, punk, in Britain, and then New Wave in the U.S) waiting for an opportune moment to put their head above the parapet to find out if they were still as resoundly resented as they had been…

But I think that those established artists, whether ordinary rock artists or progressive rock “musos”, it didn’t matter, they were all realising that they could not only survive in the unfriendly 1980s – but in some cases, in many instances – they could thrive.  In particular – on the live concert circuit.  And live performance is exactly what that first of two groups of musicians I am thinking of has in common with the second group – new emerging bands, who, while their music may have been “born” in a calendar year that indicated that it was in fact, still the 1980s – while that was undeniable, what was also very apparent, was that there was a kind of “backlash” – there was a hankering for the recently-departed 1960s and 1970s.

Some bands were not afraid to boldly embark on brand new careers, in the 1980s, playing music that on paper, did not and would not “work” in the wonderful “look ma I’ve got a synthesizer” world of MTV, or “look ma, I got me a perm and now the Record Company has given us a $500,000.00 advance on our album” heady days of the early Eighties – that was still going on, although perhaps to a lesser degree in the latter half of the 1980s – but at the same time, my two Secret Musical Forces – were also at work, working hard to bring out music of quality in the Decade That Quality Forgot.

And to their credit, they did it.  What tipped me off to it, was a strange but undeniable fact – OK, I had been fortunate enough to have seven years in the 1970s, when I was witness to some of the most amazing live music ever performed anywhere at any time in history – I was lucky enough to be alive and be old enough, to attend shows by now-legendary Progressive Rock and Rock acts – and there will never be a time like the 1970s again.  What I had noticed – was that, the quality and availability of good live music, seemed to be on the rise in the 1980s – NOT declining as you might have thought.

Punk gave us the good shake up we needed (in hindsight, that is undeniable), and as much as I resented the damage that punk and to a lesser degree, New Wave, did to Prog – I needn’t have worried, because not only was Prog alive and well in the 1980s, but there was also an entire parallel music scene, that you could choose to attend, so for every Eurhythmics show that I didn’t attend, there was a show built on the basis of quality music – whether that be Prog Bands from the 1970s, or other 70s act, adapting, surviving and even flourishing, during the musically-depressing 1980s.

 

splitenz

I could, in the space of a few weeks, attend shows by Crowded House (the remnants of New Zealand progressive rock heroes “Split Enz”) – who I also happened to see play live in 1981 – one of the first shows I attended in the 1980s – and in a way, you could not really get more prog than that in 1981…

 

marillion

 

…despite the band making a very poppy record – 1980’s “True Colours” – they had a still-beating prog heart – and their natural successor, Crowded House, who later went on to even more dizzying heights of success – but – as a pop band – not a prog band – or – stalwart live performers like ex-Fairport Convention guitarist Richard Thompson; or new bands like Marillion, whose music sounded like it was straight out of 1974 – and yet – strangely – it was 1985 – now that was a surprise!

A diverse and exciting mix of live performers then – all out touring, all bringing in large audiences, all being quietly successful while MTV continued to trumpet the “news” that the world was now ruled by Synthesizers, and informing us that “Don’t You Want Me (Baby)” (or whatever it’s called) was a really, really good song (it isn’t).

enobrian70s

Brian Eno himself, the once-flamboyant feather-adorned synthesizer-player of the legendary art-rock outfit Roxy Music, stated that punk was “a breath of fresh air” and over time, while at first unsure – I did come to totally agree with that sentiment.  Prog was in need of a shake up – but the media portrayed it more like a death in the family, so for a couple of very depressing years – we were left with an apparent void, which was being filled by the practitioners of punk and new wave from say, 1978-1980.

 

But – once the air had been cleared, there was no reason in the world for the rock or prog bands that had been swept up in the Great Cleansing – to lay down their instruments and quit – and in fact – most of them did not give up – they may have taken time off during a period in which it might have been difficult to fare well, but…

…eventually – sometimes sooner, sometimes, much, much later – they would in fact, return – and, join a growing number of newly emerging 80s artists who were neither Synth-playing robots nor Hair Metallists – but in fact, were just playing different kinds of rock music – from an only slightly-disguised version of progressive rock (Marillion channelling early Genesis) to a band like Crowded House, who took their prog Split-Enz roots (see what I did there!) and mutated into one of the finest pop bands the world has ever known.

For me – I was even fortunate enough to see one example of these two “groups” of mine – the two Secret Warriors Of Quality Music – on the same bill at the same show – as I was fortunate enough one year, during the 80s, to see Crowded House playing – with the great Richard Thompson as “support act” (!!).  On paper – that just seemed all wrong to me – but as a concert – it was actually brilliant – Thompson is a guitarist extraordinaire, a consummate master, and to have someone of his skill and experience opening for the less-experienced but really, no less talented Finn Brothers (of Crowded House and Split Enz fame) was strange but wonderful – and actually, an inspired idea.

thompsonrichard

Even more remarkable was the fact that during Crowded House’s set, Richard Thompson came out with his guitar to play on one of their songs – so here we had a standard-bearer from the long-ago 1960s, an ex-member and founding member of the great Fairport Convention – on stage with a bunch of musical upstarts from New Zealand.

 

 

I got a genuine laugh at the time, from hearing young Neil Finn taunting Thompson verbally, calling him a “guitar hero” and so on – it was hilarious.

crowdedhouseSome combinations of musicians, you think to yourself – “that could never happen” – and there I was, hearing Richard Thompson improvising a solo to “Italian Plastic” by Crowded House.  Very strange times indeed – but, at that moment – and during countless other 1980s concert moments – the quality of this live music – drove all thoughts of big hair and synth robots right out of my head – and I could live in the moment again, and experience quality live music again.

It was almost as if,  the 1960s and 1970s had just carried on without interruption. almost as if punk and new wave had never happened – and by the mid 1980s, I felt that the old bands were definitely on the way back “in” (I mean, just look at the massive resurgence of interest and huge popularity of both Jethro Tull and of ZZ Top – two bands definitely of the previous decade – yet, in 1987, 1988 – enjoying an immense and very real popularity that required no hype from MTV to propel it) – if anything, these bands began to turn the tables on MTV, and by 1987 – you were far more likely to see an awesome video by ZZ Top or Jethro Tull, than you were to see the dread “Don’t You Want Me (Baby)” video.

jethrotull

But what groups am I talking about here, in my two imagined groups?  Well, the easiest way for me to document that, is to turn first to my setlist.fm entries for the period of time, to get a sense of the shows I was attending – and once I have refreshed my failing memory there, I will be able to jot those down as I hope, valid examples of the two types:

Type Uno

– (Existing) Prog Rock or Rock bands and artists returning to music in the 1980s – at first, possibly more represented by concert appearances than by records, but by the end of the 1980s, they were producing smash hit albums that sold very, very well and were often award-winning and more popular than anything that we now consider to be “Classic 80s Rock” or “Classic 80s Dance” or whatever.  It was Jethro Tull, not Billy Idol or Gary Numan, scooping up awards for best album – and if that isn’t a shock result, I don’t know what is!

But what a brilliant result – I was very, very happy for Ian Anderson and co – to have survived punk, then, to have survived – and then, defeated the 1980s – that is testament to the commitment and vision of Ian Anderson – he managed, somehow, to keep Jethro Tull afloat through all that tribulation – and then, emerge successfully. at the end of their ordeal – with an award-winning hit record – I have to heartily congratulate him on that feat of persistent vision.  Brilliant work!

 

jethrotull2zztop

 

The great ZZ Top carved an equally impressive path through the myriad labyrinth of late 1980s music, and even did so with an only very-slightly updated sound – I remember seeing them in 1975, a raw, powerful blues band with real talent and skill – and here it was now, some 12, 13 years later, near the end of the 1980s – and they were back with…guess what – powerful, bluesy music – with several massive hit records included in their late-1980s successes.  Another brilliant success story almost exactly parallel to the story of Jethro Tull in the late 1980s.

But Jethro Tull and ZZ Top are highly visible, very popular groups – there were a surprising number of other bands in this category – and now I am referring to my setlist.fm listing for the 1980s – one of those bands, is the remarkable Queen.  1980 saw Queen produce an arguably very unique record in their canon, the much-overlooked “Jazz” album – and I was lucky enough to get a ticket to see them, very last-minute – and I am so, so glad that I did – again, it was in live performance where these rock and prog bands of the 1970s excelled, and Queen always put on an impressive performance.

maybrianBrian May to me, is one of the most interesting guitarists that Britain ever produced, with a very, very different and very, very unique guitar sound that no one else has ever really successfully replicated.  Queen built a whole new reputation during the 1980s – moving from the dramatic, prog-inspired heavy rock of their early and mid-70s albums, to much more sonically challenging records such as 1980s “Jazz” – and a host of other brilliant records – so again, very popular band in the 1970s – somehow managed to catapult themselves into massive popularity and success during the 1980s.

A First Time For Everyone

Split Enz – the precursor to the above mentioned Crowded House, Split Enz was New Zealand’s premiere progressive rock band in the 1970s, with a huge underground following and some of the most interesting and quirky music ever created in any country – by 1980, they had gradually been leaving the trappings of prog rock almost entirely behind, and by the time I saw them in in early 1981 – their “True Colours” album was riding high in the charts, a huge pop success thanks mostly to the tune “I Got You” – sung, incidentally, by Neil Finn, the future leader of Crowded House – rather than by Tim Finn – the actual (original) lead singer of Split Enz.  Well – one of two lead singers in the original band is perhaps, more accurate.

finnneilI will never forget being at that show, sitting there in the audience – I could clearly see the muscles in the then-very young Neil’s throat moving, moving as in a panic response – in pure fear, as he opened his mouth to sing this huge hit song – I believe this was the band’s first trip to America, and very possibly, their first show of the first tour of America – and the poor guy was scared half to death.  He needn’t have worried – the song, and the band, were received rapturously by the audience – I was absolutely blown away by the quality of musicianship (and, it was the first time I got to see the amazing Eddie Rayner on keyboards – the man is a genius) and seeing Split Enz – even in their later, “pop” persona – was a wonderful and utterly unforgettable experience – one of my favourite bands of all time.

(Note: Split Enz / Crowded House is the only band to appear in both the Type Uno and the Type Dos categories – because Split Enz was an existing Progressive Rock Band from the early 1970s, while Crowded House was a New, Emerging Band in the early 1980s that just happened to be made up of ex-members of Split Enz – so they get entered once – very early 1980s – as “Existing Prog band” and once again – early 1980s), as “New Emerging Pop band”.  A remarkable feat – being the only band that managed to straddle two very dissimilar groupings!).

zappafrankA man who needs no introduction, the late, great Frank Zappa – I honestly don’t think that any change in musical styles ever affected the forward velocity of this man – one of our greatest modern composers, and a genius at getting bands to play impossible music with impossible chops – there is nothing on earth like a Frank Zappa led and directed live performance.

I place him in the “existing Prog” category although Prog isn’t exactly the right way to describe the sheer genius of Zappa – I really think he remained unaffected by punk, unaffected by MTV – unless there was some aspect of it that he could manipulate to further his own aims – in which case – he would.  I think of all of the “existing artists” out there – that Frank just sailed through the 1960s. 70s and 80s without batting an eye – all just water flowing under a large musical bridge – while Frank was busy composing, arranging, or playing the most amazing lead guitar the planet has ever experienced – only Fripp and Hendrix are in the same league – and he could have taught those two a thing or two I feel certain lol.

So while I include FZ in this category – he was gloriously unaffected by the basic stupidities of (most) 1980s music.  Lucky guy, I would say.

This list of Existing Prog bands that came back in the 1980s (that is, if they were ever really “gone” in the first place) would not be complete without both the redoubtable and resilient Yes, who continued to make music in the 1980s, undergoing a radical musical transformation that I personally, in the main, do not enjoy (I was left cold by the Drama album and tour – a 70s-meets-80s experiment that in my opinion, simply did not work) but I have to acknowledge, it gave them a new lease on life that carried them far into the future, while Genesis, the Hardest Working Band In Prog (maybe) were being led by their undeniably charismatic “new” lead singer, one “Phil Collins” – and the success that Collins and co enjoyed during this decade where Prog was NOT King – is undeniable – and must have been so, so galling to the various departed members of the band who had only been with the band during the years of debt – among those, being original lead singer Peter Gabriel and renowned but long departed original guitarist Ant Phillips.

Gabriel is another one on this list, who fits right into this category very comfortably – an ex-progressive rock lead vocalist, revered for his seminal early and mid-70s progressive output on classic Genesis albums such as “Selling England By The Pound” and “The Lamb Lies Down On Broadway” – leaving Genesis at the height of their then-success in early 1975 to pursue a solo career.  Said career definitely took some interesting musical twists and turns, sometimes veering sharply away from prog (the first “Peter Gabriel” album for example), other times, returning to embrace it once again (the second, Robert Fripp-produced, “Peter Gabriel” album) – but, by the time of the 1980s – Gabriel‘s solo career was in full swing.

gabrielpeter

He became a star in his own right, without  Genesis, and was extremely popular with prog rock fans plus a whole new generation of fans that came to his music first, through his now-famous series of eponymously-titled albums – the first three (or four – see below) albums all being entitled “Peter Gabriel” – the fourth, finally getting an “actual” title – “Security” – although according to Wiki – it’s actually called…”Peter Gabriel”.  So there are four – not three !

Note: the fact that the first four Peter Gabriel albums had no title beyond “Peter Gabriel” (with the exception of the final one, which was ‘sometimes also known as “Security” ‘), was apparently really just too difficult for some people to understand or relate to – so interestingly, to make it easier for those who found this concept (which was Gabriel‘s idea – he wanted it to be like a newspaper – the same paper, with the same headline – but coming out at different times with different stories in them) too difficult – so people invented “names” for the albums based solely on the cover art – so strangely, many people “know” these three classic records as “Car” (Peter Gabriel I”)“Scratches” (Peter Gabriel II) and “Face” or “Melting Face” (Peter Gabriel 3).   For the fourth – well, it somehow acquired the “name” “Security”.

Personally – I like the original titles and the idea of it having the same title every time – that was unique – but – apparently this was too much of a stretch for some possibly less-pliant minds – so they invented these somewhat lame cover-art related “names” – for three albums that already had perfectly good names – or, rather, a perfectly good name.  It’s funny what lengths people will go to, to “force” something unusual or out-of-the-ordinary into terms that they are comfortable with – great lengths, it would seem, sometimes.

So along with Yes, Genesis, and Peter Gabriel, the 1980s was also an amazing time for one of the most underappreciated and hugely talented individuals that early 70s (or in this case, actually, late 1960s) progressive rock ever produced – and of course I am talking about the remarkable Peter Hammill, of the band Van Der Graaf Generator (which, incidentally, is still going strong after re-forming in 2005) – the 1980s saw Hammill evolving his solo performances, which were originally, just himself sat at the piano or sat with an acoustic guitar, singing “solo versions” of Van Der Graaf Generator songs (the bulk of which, were written by Hammill – the main writer and only lyricist in the band) as well as, singing songs from his rapidly-expanded selection of solo albums.

hammillpeterI was lucky enough to see Peter Hammill on several occasions, in differing musical settings, during the 1980s, and while I truly wish I had been able to see Van Der Graaf Generator play live “back in the day” – seeing these solo performances was actually, in a way, a far more powerful and intimate experience.  I have had the good fortune, for example, to witness Hammill, on his own at the piano, playing his remarkable suite of songs which make up the second side of his 1980 solo album “A Black Box” – a song called “Flight” – which is so difficult to play, that I was only able to work out, myself – on the piano – the first part of the song.

By far the simplest part of “Flight”- “Flying Blind” is the first of the several shorter songs that make up “Flight” in it’s entirety – whereas, Hammill reeled off the thousands and thousands of notes and chords of the entire 20 plus minutes long piece – as if it were nothing, all the while singing in that incredibly powerful, moving voice of his – seeing him play and sing “Flight” – live – by himself – as the encore of a remarkable live show – was an absolutely unforgettable experience for me.

hammill-potter-mcintoshA few years later, I was fortunate again, to see Hammill bring one of his small “ensembles” to Los Angeles, back to the Roxy which was where he always seemed to play when he was here in the US – this small group included just two other members, former Van Der Graaf bassist Nic Potter, and “pub musician” Stuart Gordon on violin.

But these two musicians – were no ordinary musicians, and I had no idea what an amazing musical experience we were all about to have – with Potter anticipating every phrase, every pause, in Hammill‘s incredibly strange vocal arrangements – and coming in on time, unfailingly – to Stuart Gordon’s “square wave violin” (my mental term for it – his violin run through guitar effects to achieve some unbelievably beautiful and/or dissonant effects) and the renditions that this band did of tracks such as “Cat’s Eye / Yellow Fever” – with it’s throbbing bass line, power chord guitar (provided by Hammill, of course!) and wild super-effected/treated violin gyrations.

I had never heard just three people sounding like a full on prog outfit on a tiny stage like the stage at the Roxy was.  What a show (you can hear a version of that show, on the Hammill album “Room Temperature” – Live – and well worth the investment I would say) it was – absolutely unforgettable – a brilliant experience.

In some ways, then, the 1980s portion of Peter Hammill’s career, moving through the amazing solo records of the early 1980s – starting with “A Black Box” (which, to give you some perspective, in 1980, this was Hammill’s TENTH solo album!) and then moving on to his very popular and quite hard rocking 1981 offering “Sitting Targets” – and then as the decade progressed, I saw tours for albums such as 1986’s “Skin” which was at yet a whole ‘nother level – the man is incredibly prolific, and each time, has a larger and larger back catalogue of songs to draw on – so that towards the end of that time, the range and power of songs that he could pull from that remarkable inventory of sensitive, emotional, moving songs became extraordinary in the extreme.

Each concert became the showcase for such a broad range of emotions and such an incredibly diverse and remarkable selection of songs, that it was just almost too much to take. What an extraordinary range and depth of feeling this man commands from the stage, with this intense and wonderful body of work that is “the Peter Hammill solo catalogue”…and it is still growing today (as of June 6, 2018 the count of his solo albums is 37 in Wikipedia), as he continues to produce albums regularly despite now being in his 70s.  What a remarkable character!

My 1980s was inhabited by all of these kinds of musical heroes – so my interest in, and my time spent listening to, what was supposedly currently popular “music” – began at a wane and pretty much disappeared completely as more and more of these amazing bands and artists from the 1960s and 70s, arrived in town in the 1980s to remind me that they were far from gone – that they were, in fact “alive and well and living in….” to phrase a coin (thanks, Ian!).

utopiaBut the list is far from complete – Todd Rundgren, and, Todd Rundgren’s Utopia – the popular 1970s comedic band “The Tubes” (they of “White Punks On Dope” fame) – so many bands from the 70s, were doing so surprisingly well in the 1980s – and, were out there on the road – proving that their music was truly alive and was far, far more real than what MTV was presenting to us as purportedly, the music of the times – that was not MY experience of the 1980s.

 

KingCrimson-1973It was only starting in 1981 that even more significant groups began to return, still working in Type Uno here – and this was a real surprise entrant – the return of the mighty King Crimson – after a seven year hiatus – Robert Fripp had returned, with only one former member of any former version of the band (Bill Bruford, on drums and electronic percussion) in tow – having created a totally re-imagined version of the band, and the success of their debut album (1981s total return to form, “Discipline”) and tour cannot be underestimated.

 

 

kingcrimson1981I can remember myself and the guys in my band, we were FLABBERGASTED at the idea that King Crimson was on tour, and was going to be playing in San Diego – at the UCSD gymnasium, of all places – but hey – we didn’t care – it was KING CRIMSON – alive and well.  This new version of King Crimson, featured bassist and Chapman stick expert Tony Levin, and the unstoppable Adrian Belew on lead guitar and lead vocals.

 

This “new” band, the utterly revitalised and recharged King Crimson – was nothing short of extraordinary.

To see a concert, in 1981, by what was supposedly at this time, a “dinosaur” band like “King Crimson” – a concert that had more musical quality in it’s worst moment, than some 1980’s “bands” could produce in an entire show – this concert was really, in comparison to most concerts – an experience of almost high art – rock music, progressive, intelligent music – elevated to a new plane of existence, with the interlocking musical gamelan of the Fripp & Belew Lead Guitar Axes Of Power – over one of the most powerful and unique rhythm sections ever envisioned – this was four of the best musicians on the planet, getting together to play a dozen or so of the most amazing songs that you had never heard.

 

The band did also include one or two “old” King Crimson songs, thrown in – probably more for the sake of nostalgia – or, more likely, because the new members of the band wanted to PLAY those songs lol – this concert was a sublime musical experience, that absolutely blew my mind – I could think of nothing else, for weeks, but that amazing, beautiful music I had witnessed – and I listened to the album constantly, trying (and failing, dismally) to unlock it’s musical secrets – what an extraordinary musical document.

GenesisI think for me – that was the turning point – seeing King Crimson play for the first time ever; and seeing Peter Hammill and Bill Nelson and Steve Hackett and Peter Gabriel and Genesis and Yes – all playing music in the early 1980s – when television might have you believing that something called “Billy Idol” was ruling the video-waves – the air-waves having now been superseded by the medium of Music Television.

Or – by someone called “Gary Numan” who apparently, was the next big thing – and I am not in any way disrespectful towards these artists – I very much respect their achievements and enjoy their music, too – and yes, they did make records in the 1980s, and sell records, and become “very popular” and so on.

But behind the scenes, in the background – were truly great (often very under-appreciated) musicians, with far more experience (and skill, I am afraid, too) who were out on the road, proving that their music was very real indeed,  given concerts displaying consummate skill and musical vision – and perhaps – at least slightly more real, than the perceived vision of what music was as presented by “MTV” and “MTV News”.

But sometimes, you have to judge by a different yardstick, and increasingly for me, it was a very, very musical yardstick – i.e. did this concert move me to tears?  Was the guitar playing such remarkable work of impassioned quality, that it will haunt my memories for years to come?  Those were the kinds of questions that I was walking away from concerts asking myself – concerts mainly by the supposedly long-dead “dinosaurs” of music – the progressive rock musicians of the 1960s and 1970s.  It was no longer really about what was supposedly popular – for me, it was becoming just about music, quality music – and nothing much else mattered.

And that is how I have really remained, to this day – I am not interested in what band sells the most records.  I am interested in what band or artists or guitarist or other instrumentalist – can do something never done before, or something unique, or something truly beautiful or skillful or ingenious.  Or – in some rare cases – all of the above.

That is what I was already evolving into in the 1980s, because I was seeing all of these amazing bands, behind the scenes – behind the very false, fabricated MTV Video World of “Music” and the MTV “Video Music Awards” and so on – none of that was what was real – what was real, were the opening notes of the title track of “Discipline” – the first piece played by the new King Crimson at their concert here held at UCSD gymnasium.

kingcrimson-disciplinecoverTo start a concert, with the final piece and the title track of your first album in over seven years – that is very probably the single most difficult to perform out of an entire album of truly difficult to perform songs – coming out and playing that song FIRST, makes a statement – that says “we can do THIS” – and “THIS” – is simply the part you had to hear, you had to be there – to believe – perfectly interlocking guitars over a sinuous and sliterhing bass part with an insistent, cymbal-less beat throbbing behind it – modern music taken to a whole new level, in a time-signature that I still can’t count to this day.

 

What a way to START a concert!

So it was truly musical experiences like this, that really take you out of yourself, and really make you consider the nature of what is beautiful, what is dissonant, how and when dissonance can be in itself, beautiful, and so on – music that MAKES you think – and think, and think.  That is how the music of “Discipline” made me feel at the time.  What a great way to celebrate the return of the much-missed King Crimson – we were SO glad they were back, and this career was to be short lived, but, would lead to ever-evolving versions of the band – this particular version, what has become to be known, curiously enough, as “the 80’s Crimson” did the bulk of it’s work, first as the band “Discipline” in 1980, and then, as “King Crimson” in 1981 – lasting just four years and producing three fine albums.

But there is still more to this story – still more former prog or former rock musicians, coming out of the woodwork now, re-inventing themselves in startling and remarkable ways.  Bill Nelson, former leader, lead singer, and lead guitarist of the 1970s prog/rock band “Be-Bop Deluxe” was out and about in the 1980s, fronting various versions of his 1979 creation “Bill Nelson’s Red Noise” and I saw one of these post-Red Noise concoctions play live at the Whisky in Los Angeles – and because it was the Whisky, and, Bill Nelson was one of my favourite English guitarists at the time – I took the opportunity to situate myself just in front of his pedalboard (which absolutely fascinated me, it was very, very long and thin and had about a dozen pedals on it, most of which, I was utterly unfamiliar with) and once again, I proceeded to have my musical thought processes melted away and re-formed several times during the evening’s proceedings.

nelsonbill74

Nelson is just one of those people that is ridiculously talented, and can make music with anything he turns his hand to.  Tonight though – it was all about the guitar, and actually seeing him play, at such close range, was a rare privilege indeed for me – to be able to watch how he created the chord shapes and guitar parts that made up these songs that I so, so loved – “A Kind Of Loving” or “Do You Dream In Colour” or even the bizarre “Youth Of Nation On Fire”.

 

 

He played an outrageously cool selection of songs from his first couple of solo records – and it was again, an absolutely unique and totally unforgettable musical experience.  What a show!

This show also included a real moment of drama, as Bill‘s beautiful pedalboard FAILED after one song, so, philosophically, he watched the technician hauling away his entire bank of effects – and saying something about how it may be difficult later on, when he gets into some of the more complex changes of sound… he then turned around, with a determined look on his face – plugged his guitar lead directly into his Music Man combo amp – tested a nice, chunky, distorted power chord – and launched into the next song – sans all effects.

Hearing that song played with raw, straight, unaffected guitar – was an absolute revelation for me – an amazing experience – of a true artist’s grace under pressure –  he handled it like a pro – no problem – just got on with the song, sang and played it beautifully, and then happily, took delivery of his now-repaired pedalboard just in time for the next song to begin.

nelsonbill1980sThey never really missed a beat – the whole “incident” only slowed the show by literally, two minutes – and what a unique and unusual thing to witness – that made it particularly unforgettable – getting to hear the absolutely raw – guitar-straight-into-amp Bill Nelson style – and it ROCKED.  He didn’t lean on his pedals for support to hide weak playing, as some players (myself included – I hasten to add) do – he used them to enhance and improve the sound of his guitar.   But – I could have happily watched and listened to the whole show with the guitar-directly-into-amp scenario, too – with – or without a big pedalboard full of exotic gutiar effects – either way is absolutely fine by me.

 

I would say that during the first few years of the 1980s, that Bill Nelson re-invented himself and his music, on a par and very much in parallel, with the way Robert Fripp re-invented and re-imagined his own role in the new King Crimson.  Gone were the trappings of “rock star” / Be-Bop Deluxe frontman Nelson – no more costumes or make-up or TV appearances were needed – no more limousines – just – music – music as experiment, and I can remember buying his first solo single, the aforementioned “Do You Dream In Colour?” on 7 inch vinyl which included two B-sides that I liked even better than the A side – and that was the start of a truly remarkable series of records – that moved through areas of music that I can scarcely describe using just words – those words would be “GO now, and listen, ye, to these two albums”:

  1. Quit Dreaming And Get On The Beam by Bill Nelson
  2. The Love That Whirls (Diary Of A Thinking Heart) by Bill Nelson

See – now I don’t need to try and describe how incredibly diverse and musically amazing those two early solo records are – not to mention – some of the most astonishing lead guitar work I had ever heard Nelson play – even on the opening track of “Quit Dreaming…” a song called “Banal”, ironically enough – there is a solo so dramatic, so silken smooth and flowing – so, NOT “banal” in any way – and I think that is the point – you have this hard-edged, almost frightening riff playing throughout this song  – but when it finally bursts into this solo – you get a few moments of the old 1970s Be-Bop Deluxe sweet sweet flowing lead guitar on 1980s steroids – simply amazing guitar work on this record – other pieces of note include one of my personal favourites of Bill’s – another strange one, “U.H.F.” which has a beautifully-flanged lead vocal, and again, absolutely amazing, dissonant / unique lead guitar throughout – this one is another that is just astonishing in terms of the quality and passion of guitar playing – it’s off the scale, it really is.

nelsonbillrecentSo Bill Nelson – in the early 1980s – was in every way, an ever-exploring pioneer of new kinds of musics, and his bands were hand-picked to deliver that music with the greatest impact.  I was so, so fortunate that I was able to drive up to Los Angeles to see that gig – what an absolutely unforgettable night that was!!  Standing there, just a few feet away from someone with such consummate skill with the guitar – it seemed effortless to him – autopilot on, and now – play.  sing.  perform.

 

But – it was a faultless, unbelievably professional, polished performance – Bill took his bands and his music very seriously indeed, and this outfit was more than road-worthy – they played his music – the way it was meant to be played.

 

I have now, I believe, spent more than enough time talking about Type Uno artists – however – believe it or not, I didn’t even make it past about 1983 in assembling the examples above.  If I were to continue on in this vein for the rest of the 1980s, I would add in another dozen or so examples of Type Uno artists – those ex-rock or ex-prog musicians who, for the most part – trod a very different path in the 1980s, from what their previous careers back in the 1970s had been.

And sometimes, as in the case of both King Crimson and Bill Nelson – that led to some absolutely extraordinary music and, live concerts that represented that recorded music.  I felt so, so fortunate to have been there to witness that – especially the re-birth of King Crimson  – that was almost miraculous.

Crimson was one of several bands, that I literally thought I would never, ever get to see – because from my perspective – they had suddenly disbanded in 1974 – never to return as far as we knew.

So that was a welcome return to form – along with, experiencing the new musical directions of Bill Nelson, Peter Hammill or any number of existing, surviving rock and prog people – all of them, doing so incredibly well (who knew???) in the supposedly-musically-“dead” 1980s!  The more I thought about it – the more I realised, that in some ways, the 80s were almost MORE musically rich for me than the 1970s were – for one thing, I got in a FULL 10 years of concert-going, versus the seven I had managed in the 1970s (and that was only due to my age – not through choice) – so I had an “extra” three years in which to have even more incredible 1980s concert experiences.

For another thing – these artists – who were AMAZING during the 1970s – had come back, bringing new ideas; new technologies; new ways of thinking about music; new recordings; and most importantly to me – concert tours where their faithful, loyal fans could still go and see and hear them play – and as often as not, I was totally surprised by how much these artists had grown and evolved – always, in such a positive way – that I now view the 1980s as a really, really positive decade – in terms of my overall, over-time concert experiences.

Who else, then – would I place into the Type Uno category – before I delve into Type Dos – well, a quick further check of setlist.fm’s listing for user “pureambient” (that’s me, by the way) reveals that the illustrious company noted above would also be joined by jazz guitarist Pat Metheny, populists Hall & Oates (who I only became interested in, after hearing Daryl Hall’s remarkable collaboration with Robert Fripp, “Sacred Songs” from 1980 – another overlooked Fripp-produced masterpiece – and Fripp was so insistent that Hall was so good – that I had to go and see for myself.  He was.  He was an amazing singer).

roxymusicThen, there was the early-80s version of Roxy Music which, by 1983 when I saw them for the second time, had mutated so far away from their original Prog roots, that they seemed to be a completely different band – one that very well might have been better named “The Bryan Ferry Orchestra” and be done with it – with Phil Manzanera and Andy MacKay physically present at the concert, but, reduced to the roles of glorified sidemen by the rather large ego of one Bryan Ferry…

 

The only redemption, for me, was that Phil Manzanera was permitted to perform ONE of his songs – and chose to play “Impossible Guitar” which I absolutely love – so I was fortunate to get to see that rarely-performed-live piece of brilliant guitar work – made an otherwise difficult to stomach Roxy concert, much more bearable.  By way of contrast,  when I saw Roxy in 1979, four years earlier – they were then already on their way towards this not-so-good musical place, but – there was still some prog left in them, and they played a few good versions of a few older tunes back in 79.  Not so at the 1983 concert that I saw – which was pretty disappointing to say the least.

belewadrianAdrian Belew – well, he was around in the 70s, although more in the role of very talented sideman to either Frank Zappa or later, David Bowie – and I felt very, very fortunate to get to see him with his original band, “Gaga” – at the wonderfully tiny San Diego State venue of The Back Door (a music venue so small, that even ***I*** have performed there in the past – lol).

Belew and his band were absolutely unbelievably talented, funny and skilled – and it was a truly memorable evening for fans of the eccentric electric guitarist – the only true successor to the performance spaces that Jimi Hendrix used to inhabit – Belew fills that void to some degree.

More gigs for guitarists – now this was another aspect of the remarkable, the impossible things that happened in the 1980s – that you would have thought, would either be impossible, or only could have happened in the 70s – but – not so – I am talking about now, one of the most incredible performances I have ever seen – Paco De Lucia, Al DiMeola, and John McLaughlin – what a line-up.  Three legends of the guitar – each with their own style – and the combination of the three together, performing a variety of impossible pieces – was like nothing I had ever seen before and I am not likely to ever see again – everyone I know who went to this – will know what I am talking about – this was about skill, passion and grace – and these three gentlemen had lots of all of those things.  It was…amazing.

guitartrio1A year later, the trio returned – and this time, joining them on steel string acoustic guitar – was none other than future Deep Purple lead guitarist and Dixie Dregs alumnus Steve Morse – a guitarist I have seen many times – with the Dixie Dregs (another group that is in this category, that I was lucky enough to see during the 1980s)

morsesteveLater, Morse created the “Steve Morse Band” (yet ANOTHER group that is in this category, that I was lucky enough to see during the 1980s), I even got to see Morse performing at a guitar clinic in a local music store – an immensely skilled and talented player. Adding Morse to that trio (DeLucia, DiMeola, and McLaughlin) – created the single most remarkable mini-orchestra of guitarists that the mind could imagine – the Impossible Quartet – and that show was even better than the standard trio show that I saw the previous year.  What an experience!

And then – I went to see Allan Holdsworth.  I was beginning to get into jazz, a little bit – I’ve never really played it, but, I do have huge respect for those that play it well – the “Pat Metheny”s and so on in this world – but – Allan Holdsworth – who, again, was around in the 1970s, so he definitely falls into the Type Uno category – is a guitarist on an entirely different Guitar Planet.  To this day, I have never before or since seen a modern jazz guitarist, or in fact, any guitarist outside of the classical tradition, with the kind of a) encyclopedic knowledge of scales, modes, chords and….everything there is to know about a guitar fretboard and b) incredible, incredible, speed – I’ve never found another like Allan Holdsworth.

holdsworthI can remember sitting on the edge of the stage, just watching his left hand, trying so hard to figure out what on earth chords he was playing – as he played through one of my very favourite of his pieces – “The Things You See (When You Haven’t Got Your Gun)” – and there is this beautiful beautiful chord progression, that he “swells” into a big delay and reverb setting – and it’s just sublimely beautiful,

And as I watched, I realised, that even with my twenty some odd years of guitar playing experience at that time – that I literally, had absolutely NO idea what those shapes indicated – I could not understand WHAT CHORDS the man was playing.  I knew one thing though – they are beautiful.  Still are.

Later, I found out why – when I got ahold of an Allan Holdsworth music book – and the title of the book pretty much explains why a guitarist of 20 years plus experience, had no idea what it was that he was seeing and hearing when watching Allan Holdsworth play – the book is called “Reaching For The Uncommon Chord”.  THAT is why.  Because he uses inversions that most people can’t even FORM with their fingers.  “Uncommon” is exactly the right word – and seeing him play, hearing him do this – live – opened my eyes to whole new UNIVERSE of sounds and ideas that I think, I am still absorbing today – almost thirty years later.

What a remarkable guitarist – and a really nice person too, very approachable. Sadly, Allan passed away very recently – and it was a huge, huge loss to the guitar-playing, and listening, community.  An absolute Hendrix-Order, Zappa-Order, Higher-Order guitarist unique in so very many ways.  Not, however…for the faint of heart – Holdsworth is possible a musician best appreciated by other musicians as his playing style may be too intense for the public to absorb or appreciate.  If there ever was a “guitarist’s guitarist” – it was Allan Holdsworth.

Every time I think I have exhausted the list of possibly Type Unos – I find still more to add to the list – the aforementioned Richard Thompson whose career soared during the 1980s – including a lot of excellent performances both on acoustic guitar and with full “electric” band – I was lucky enough to see both types – and also, the aforementioned band Richard used to be in, Fairport Convention, who also enjoyed a resurgence of their own during the late 1980s, possibly thanks to their close touring association with the unstoppable Jethro Tull.

At the end of the 1980s, re-emerged one of the first of the many, many, many different re-configurations of the band Yes – which featured the classic five man lineup of Yes without bassist Chris Squire.  I went to see this strange band in 1989, whose first and only album was pretty underwhelming, largely because of the possibility of seeing these four ex-members of Yes, playing older Yes material live in concert.

It was – interesting.  Originally, they had Tony Levin as their stand-in replacement for the very difficult to replace Chris Squire – and that was what I had been looking forward to – only to find out, that Levin had dropped out early on, and had been hastily replaced by Jeff Berlin.  Now – Jeff Berlin is one of the most amazing bass guitarists on the planet.  I’ve seen Berlin play in a tiny club with Allan Holdsworth and Chad Wackerman, and Berlin was actually, clearly, the bass-playing equivalent of Allan Holdsworth – they were a match.  How Wackerman ever kept up with those too, will always be a mystery – stunning musicianship.

But Jeff Berlin is more of an improviser’s improviser, so the idea of him playing Chris Squire’s very inventive but, very structured bass parts – well, to my mind, it just seemed like a WEIRD idea.  And in concert – well, Jeff was fine.  Jeff played all the right notes – but the feel, was all wrong – he played with a jazz, loose feel, which did not suit Squire’s intended style – so it just sounded so odd to my ears.  Not entirely successful – four experienced prog guys – with a super jazzy improvising loose bass player – no.  I wished I’d seen the Levin version…but alas.  ABWH were short-lived, and I think that is possibly a good thing.  Yes is just not Yes without Chris Squire – let’s face it.  It’s just not quite right without him.

Finally, again near the end of the 1980s, we had some glimpses of the future – Adrian Belew’s pop project, “The Bears” started making records and went out on tour, and I for one was very much enamoured of their approach – I loved the idea of two lead guitars, bass and drums, where often, both of the guitarists were playing “backwards guitar” as they sang and played live – I loved that.  I have always been a huge fan of reverse guitar, and seeing the huge grins on the faces of Rob Fetters and Adrian Belew while they were both playing backwards – it’s as much fun to do, as it is to hear!  I saw The Bears a number of times, and they are an extremely quality pop group as you would expect – excellent music.

And then – Robert Fripp and the League of Crafty Guitarists – not a “band” in the traditional sense, this latest Fripp invention – was simply Fripp performing in public on acoustic guitar, with a group of the then-best Guitar Craft students.  The repertoire was written in part by Fripp, and in part by members of “the League” and it’s a most interesting presentation – playing in Fripp’s “new standard tuning” for guitar – this was a most inspirational group to witness playing live – but in one sense, it’s also one of the most radical of re-imagining’s possible – to get from King Crimson in the 1960s and 1970s, to the League of Gentlemen in 1980, to the League of Crafty Guitarists in the late 80s and also, on into the future – that was Robert Fripp – always moving forward on so many different musical planes.

Type Uno groups that I did NOT see – the list is just staggeringly long, I am sure, but while I am on the subject – Robert Fripp’s “dance combo” the aforementioned League of Gentlemen” were one of the hottest musical properties of the year 1980.  A four piece led by Fripp and ex-XTC keyboard wizard Barry Andrews – that is one band I really, really wish I had the opportunity to see play live.  Ach well as they say…

 

Type Dos

– New, emerging bands, or, complete rebuilds of older bands that mutated into new bands – so in this category the most obvious is the one I have already mentioned, Marillion, and, the other one I have already mentioned, Crowded House.

This category does include a few bands that may well have existed in the very last part of the 1970s, but I would still class them as new not so much in that they are brand new in the 1980s, but they were not necessarily full-established or very experienced when compared to most of the Type Uno bands – many of whose roots went all the way back to the beginning of the 1970s or even into the 1960s.

There is a huge difference in an artist who formed a band in 1968, coming back to perform live and make records in the 1980s, and a band formed in 1979 that then continues on into the 1980s as part of their natural evolution – those to my mind, are “new emerging bands” – I have just taken slight poet license on when they emerged – and if I were to just adjust the time period, this silly concept of two types would work a bit better – but for now, it’s what I am working with.

The first half of the 1980s, for me – according again to my setlist.fm list of concerts attended – was a pretty sparse time for new bands with new music.

I did see a few of the most important bands of the 1980s, most notably, the great XTC, but there were far far more bands that I never did see – because mainly, to be totally honest – I was spending my time and my money, attending concerts by Type Uno artists – artists I knew and loved, and, who I knew would not let me down by giving a poor concert.

So I continued to attend concerts with a definite 1970s mindset – and that worked for me – and if you look at the list above compared to this listing of Type Dos shows attended – it’s absolutely pathetic in comparison.  I was only making an almost-token effort to include Type Dos bands in my concert-going – but if truth be told – that was mainly because – there were not that many Type Dos bands that I really enjoyed the sound of.

In some cases, I wonder exactly why I went – for example, I attended an outdoor summer extravaganza, three bands playing live, beginning with Madness, then, Oingo Boingo, then, headliners The Police.  Now this was a competently-performed set, all three bands had something to offer – but, in hindsight – I believe I enjoyed Madness far more than I enjoyed The Police.  I was never that huge of a fan of The Police, and I think it was more about peer pressure – everyone at the place I was working was going to the show – so would I go?  Sure – why not?

I have never, ever been a fan of the music of Danny Elfman, leader and creator of Oingo Boingo, and I just think it’s absolutely silly music – not for me, at all – meant to be “funny” – but – it isn’t.  Madness were terrific – great energy, good chops – a lot of fun, and a lot of musical credibility.  Then I suffered through Oingo Boingo.  Then, I did enjoy the set by The Police but it was more about wow look at that drum kit or, wow, Sting really can play the bass AND sing at the same time – look – he’s doing it.

Or rather – doing part of it – they did have three background singers, which makes the whole idea of being “just a trio” a bit silly – and I felt it was really unnecessary.  It seemed to me, that it would have been much, much better if we could have heard what JUST the three of them could do, live – now that might have been interesting. They played a competent set, with songs from every album including the then-new “Synchronicity” which for them, was ultra-complex.  They did a credible job – but that’s what it seemed like, more of a chore, a task, a job to be done – they didn’t seem like they were having any fun at all – and their lack of enjoyment was contagious.

I hope that others will remember that concert more happily than I do, but my overall impression was of being underwhelmed by The Police, and not liking Oingo Boingo one bit (I still don’t).  But – every cloud has a silver lining – at least I got to see Madness – they were great – awesome performance.

Still sticking with the mainstream, again, not really sure WHY I went – outdoor show in summer time?  nice weather?  for some inexplicable reason, I went to see Men At Work.  It was not particularly memorable.  I still do not know why I went.  In this same category, I would place The Motels, a group I barely remember – and I don’t remember a particular song I like or anything – no idea.  Those two shows – which I did attend – just flew past almost unnoticed.

I did also, however, see some very real and very powerful live performances – the aforementioned XTC among them – but I would say one other of those, was Gang Of Four.  Now – this was a band I knew absolutely nothing about, I had not heard them play – and the other guitarist in my then-band, Slipstream absolutely INSISTED that I should go to this concert – so, we went – it was a long, long drive up to LA I remember – and I was absolutely transfixed and shocked by the band once they started playing.  I have never before or since seen a band quite like this one – dark, powerful, with a lot on their minds – and deadly serious about what they were playing, and what they were saying.

With tunes like “(Love Like) Anthrax” or “Armalite Rifle” and heavily politically inspired lyrics, I found it to be a very powerful and musical experience.  The music was  – jarring.  But – this “post punk” outfit – really stuck in my memory, and I am grateful to my pal in the band for being so insistent that I attend – because I am glad that I did.  I hadn’t seen much or many bands that had a political agenda (unless you count U2 – which come on, you can’t seriously count U2???) so it was a breath of fresh air in that sense – not you ordinary love songs here – but songs that meant something.  It was a really different musical experience too, and one that was thought-provoking at the very least.

xtcliveMost important to me, was seeing XTC play live in what turned out to be, their last ever live performance – they played in San Diego where I saw them – and then, in LA the next night – they did not show up, because Andy Partridge was on his way home to escape a world of nightmares from touring and over use of prescription medications.

They never did really return to the stage – but – it also ushered in their “XTC’s Golden Age of Studio Recordings” – where, much like the Beatles – their music really, really changed once they left the stage behind for good.

XTC’s performance itself ,was absolutely amazing:  Andy was filled with so much incredible energy, and the band were animated and lively – Dave Gregory was especially amazing – bouncing back and forth between lead guitar and lead synthesizer – and the band’s vocals were also great – Colin and Andy sounded so, so good together.  I am so, so glad I went to this – I had been getting more and more into their music, and I thought why not – that should be a good show.  I never dreamed for a moment, that I would witness the last live concert by the band – wow.  What a shock to find out after the fact, that Andy had fallen very ill and returned to the UK – swearing that he would never perform live again.  Sadly – he kept that promise – mostly.

After seeing Gang Of Four first, and then, XTC, in the first part of the 1980s – was unfortunately, for me, the highlight – the rest of my Type Dos experience wasn’t quite so memorable – but I will have a go anyway:

Starting with Asia – now, in one sense, you could almost class Asia as a Type Uno band – except – what band would that have been back in the 1970s?  King Crimson?  Yes?  ELP?  Because they were not a direct descendant of one particular band – I have to class them as Type Dos – but the music they brought to the mid-80s, definitely had more of the feel of a Type Uno band.

JohnWettonAsia then – as a new “prog” band – with ex-Family, ex-King Crimson bassist and vocalist John Wetton on bass and lead vocals, with Steve Howe. ex-Yes on lead guitar, and with Carl Palmer, ex-Emerson, Lake & Palmer on drums – and, some guy called Geoff Downes on keyboards – this was a “new” band, playing “new” music.  Oh – I so, so wanted this band to be good…

 

Their debut album was a bit confusing – slightly proggy, but overlaid with a sort of sickly sheen of popiness that felt forced at best.  It was just – weird.  But I went to the show, to see the PLAYERS – not so much for the band, and certainly not for the album.  And – the players were good – again, Wetton is more than competent he played and sang well – it was fine.  Steve Howe did his usual high quality lead guitar work, nothing disappointing there – and Carl was a fine drummer for the outfit.

Perhaps it’s better if I just leave it at that – rather than try to analyse it any further – this SHOULD have been a great band, but I remember being so disappointed by everything – the album, the show – that I never bought (or heard) their second album, or anything they ever did after that.  I just lost interest immediately.  A missed opportunity.  A failed attempt at commercial success?  Something funny going on there – I don’t really know what.  But somehow – it just did not work.

On a couple of occasions during the 1980s, I went to see Elvis Costello play, usually with the Attractions in tow – and this was one of those weirdly unsatisfying things – it should have been excellent – but it was just OK.  They played well – very well.  The songs are good – but something about it – it just did not have the excitement, nothing urgent, in a lot of ways, it did not seem like “live” music – but more, an accurate re-creation of studio music.  I know that must sound weird – but I hope you can get what I am meaning.

On the surface – Elvis Costello and the Attractions put on a really good concert. But below the surface, there was something dissatisfying about the whole experience, that one could not put one’s finger on – I don’t know WHAT it was – but I felt let down, I felt disappointed – I think I thought that he would be amazing – and when he turned out to be just some guy with a guitar – well, I ended up feeling a sense of disappointment.

Then, things took a slightly upward turn, and the quality of the Type Dos bands I was going to see play, started to improve again – and that began with a gig by the revitalised Pretenders.  I am so, so glad that I got to see this band play in 1984, and I think that Chrissie Hynde is absolutely a musical genius – to write these songs, to go to Britain and put this band together – and then to succeed so well – I am so so happy that she did this.

pretenders

It didn’t last long – my personal favourite record of theirs being the astonishing Pretenders II – I think after those first two remarkable records – that things began to go downhill a bit – but when I saw them – they were at the height of their powers – and those were not insignificant.  Chrissie herself, is a powerful performer, and her approach to her vocals and her guitar playing – stick in the brain, and she definitely left a good impression on me.  I am very glad that I  chose to go see this band play live – an awesome experience.

 

The Pretenders’ opening / support act, however, the much hyped The Alarm – left me pretty cold.  I felt like they were competing for musical space with U2 – and to be honest – no one was, or is, competing for that space (!) – it’s not really a desirable musical space to inhabit !!!  But they seemed to me, like a third-rate impersonation of U2 – and while that may be overly-cruel on my part – I cannot think of a kinder way to express what for me, is a true assessment of how The Alarm sounded – “68 Guns” – maybe – but none of them were loaded.  Or they only brought 49 of those guns with them on this night – I am not sure.

Another double bill of new, emerging bands was Big Country with support from the forgettable Wire Train – and I think that my interest in Big Country was probably almost entirely derived from the fact that Stuart Adamson had been a huge fan of Bill Nelson = something he held in common with me.  The band were fine, nothing wrong with them – but nothing hugely memorable, either.  I can’t really remember Wire Train at all – much as I would like to say something about them – I cannot – I have absolutely no idea.  So this was another one that just flew past me, almost unnoticed…

I have to mention (by contract I am afraid) that I did see the band Berlin, or at least, I saw part of their set – but I hasten to add this disclaimer – going to see Berlin was never my intention – I was going for one reason, and one reason alone – not to see Terri Nunn or hear her telling us about all the roles she could play – but to hear the opening act – Bill Nelson – with a full band, on the very short “Mountains Of The Heart” tour.  And Nelson was amazing – he was not happy that night, as Berlin had used up all of the sound check time, leaving Nelson NO time to sound check his own band.

So, as retaliation (which, while juvenile in the extreme. was actually, appropriate under the circumstances) Bill decided to extend his set by an extra six or seven minutes – making Berlin wait, making Berlin late to get on stage – and he did this, much to MY good fortune, by taking a super-extended, in the spotlight, energy bow guitar solo – which was extraordinary – I’ve never heard of Bill Nelson doing this before or since – the last song had ended – but he continued playing his beautiful, powerful sustained e-bow sound – and he played and played and played – I was absolutely overjoyed.  Eventually, he relented, thanking the audience and apologising for the short set – MADE short by the thoughtlessness of the people in the band Berlin.

So while I went to a Berlin concert – it was not to see Berlin, and I actually left during one of the first few songs of their unremarkable set.  Going home was preferable to seeing Berlin play live.  Seeing and hearing Bill Nelson play an amazing short set of fantastic songs, followed by a really long “spite” guitar solo – was absolutely astonishing.  A fantastic experience!

marillionPerhaps the single most significant of all of the Type Dos bands – would be Marillion.  Bursting onto the scene in the early 1980s, but apparently believing that it was actually, still 1974 – this remarkable band of Englishmen led by one slightly mad Scotsman – became quite successful despite the fact that their music was a direct throwback to the 1970s – people didn’t seem to mind, because Fish and Marillion were brilliant on stage, Fish was incredibly friendly and personal both on and off stage, and the time that they flourished – up until 1987, when singer Fish left the band after the classic album “Clutching At Straws”.  This was a great time in music.

Fish, having his remarkable, very, very prog-sounding outfit out on tour, making retro-prog albums, playing retro-prog live and everyone loving it – what a fantastic and probably impossible thing to happen.

I really enjoyed the music of Fish and Marillion during the 1980s, and even though they SOUNDED like a Type Uno band – they are definitely the archetype of a Type Dos band – a new emerging band with a unique presence and quality music, too.

On a short trip to Britain, by complete accident, I happened to go to see a Japanese heavy metal band, Vow Wow, playing at the Marquee in London.  I wasn’t really meant to be there, I went almost by accident, but it was an enjoyable-enough experience – the band were OK, not great, but not bad – but for me, just being in the room where all of my Type Uno heroes had played – from the Move to King Crimson – was enough – at least I can say I’ve seen a show at the Marquee – OK, I wish it had been by a band that I knew, or that I liked – but – it was better than nothing lol.

Meanwhile, back in the U.S. was another attempt at a sort of Asia-style supergroup, the ill-fated GTR.  Now – I never did get the first GTR album – because after I saw them play – I would not have, and did not, want to have it.  Again – this was touted as an amazing new group, led by two of the best guitarists in progressive rock – Steve Howe and Steve Hackett.  To me – that was an irresistible combination of talent and skill – it HAD to be good !!  It wasn’t.

There was nothing good about it – singer Max Bacon was so unremarkable, that all I remember is his name.  I also do not know who else, apart from the two famous guitarists – was in the band.  None of that mattered – because they just were not very good.  I don’t remember or know a single song by them.  It’s almost as if history, ashamed of itself, has erased most of the memories of this band – to hide it’s shame.  And I am part of that – eager to believe in these two superhero guitarists – in practice – it was nothing but a huge let down – a real disappointment.  Not recommended – at all.

Towards the end of the 1980s, I ended up seeing a truly mixed bag of new, emerging artists – Type Dos artists – which included the then-very-popular Suzanne Vega, a lesser-known but far more talented singer called Maria McKee, as well as, on the complete opposite end of the spectrum of female singers – the band X from LA.  I won free tickets to see X – which I enjoyed far more than I thought I might – I particularly enjoy John Doe’s singing.

Then came what I might term as the Unavoidable Event – part of you, really did not want to go – but – you felt like you were obliged to – everyone you knew – was going – so I held out for a long time – and then ended up getting really, really horrible seats for – at the back of the Sports Arena, in literally, the VERY top row – so far up, I am surprised I did not get nosebleed – and that didn’t help my enjoyment of the show.

Having a point of view from behind the stage did have advantages, I could see what The Edge was doing really well, and his confidence and obvious skill, along with his basic humility – well, his was an impressive performance.  But sadly, U2 is not really about The Edge – it’s about one man, who I shall call, for the sake of humour – Knucklehead Smith.  That guy – the leader of said band – was just as over the top, as loud, as not funny – as we all expected him to be.  For me – he was the low point of the show.  The band could play.  But could he sing?  Sort of.

It was OK.  I wasn’t bad.  Some of the songs were pretty exciting, and the guitar work could not be faulted.  I suppose I am glad in a way, to give me a more well-rounded view of what the 1980s were all about – that I saw U2 live.  But I could have done without Knucklehead Smith – he is one crazy dude.

The last concert I remember from the 1980s, was held in a tiny club, a concert given by a new guitarist on the scene, who was just releasing his very first album, which he called “Surfing With The Alien” .  Once again, not quite sure why I was there – but I am very glad that I was – because I got to see the original, the most humble, the most basic Joe Satriani – before he became a “big star” – and it was a good, good concert – very modern, the guitar sounds were great, it was clear he was a really good player – and I left quite impressed with this young man and his guitar.  The fact that he went on to such incredible heights of fame – and that it all began with that one album – and I was lucky enough to have been there, to see the birth – to see the very beginning of Joe’s very successful career as a guitarist – more power to him.

That – my friends – was my 1980s concert experience!

 

Never Thought I Would See The Day When…

I simply love live music, and really, there can never be enough good concerts each year – or each decade for that matter – there is always someone that I missed out seeing “back in the day” or newer artists that I want to check out live – there is always something going on.  I feel very fortunate indeed that I have been able to see so many great concerts.  Moving to Britain was also a hugely fortunate thing in terms of me being able to see bands performing live that did not regularly play in far-off San Diego, California (where I lived for the first half of my life) and so many bands that I never got the chance to see when I lived in California, I have not only seen but in some cases, I have been able to see performing live several times.

This includes bands or artists – and mind you, these are bands or artists that I firmly believed I would never, ever get to see play live –  such as:

  • Caravan Caravan
  • Gong       gong
  • Muse  muse
  • Neil Young     neil

 

 

To my ever-lasting astonishment, I did eventually get to see these four bands – and it was difficult to believe it was happening until the actual moment – came – and for example, with Neil Young, whose music I had loved since I was a teenager – at age 13, two of his songs were among the songs that the very first band I was ever in’s repertoire, so I basically grew up with Neil Young as the soundtrack to my life – but everytime he played in San Diego, I couldn’t go, or I didn’t find out until too late, or it sold out or any number of things – and I ended up never seeing him play.

Little did I imagine that I would see him years and years and years later, in Glasgow, Scotland, playing one of the most amazing sets of original music I have ever seen, with his new band “Promise of the Real”.  It was an extraordinary night, and a long-held dream come true – and, he played so many of the songs that I truly, truly loved, including “Alabama” and “Words (Between The Lines Of Age)” from the 1972 classic album “Harvest”.  I just could not believe it was happening…I was seeing Neil play in this surreal situation, thousands of miles away from California where I would have thought and expected that I would see him play.  It’s funny how things work out.

I can’t remember feeling so happy, so very satisfied with a concert – the songs were all good, the band was extremely good and Neil was just Neil – a remarkable man full of the most remarkable songs but also, a world-class lead guitarist with a style that is as unique in it’s own way, as a Zappa or a Hendrix might be – there is only one Neil Young, unmistakable, as he takes “old black” through it’s paces – and I was lucky enough to hear and see him soloing quite a bit that night.  Really fortunate.

So in cases like these four, and others I mentioned in my previous blog – it seems that dreams really, really can come true.

 

Awesome Guitarists – one motivator for attending so many concerts

I was a guitarist then, and I am still a guitarist now;  so it’s only natural that I would follow and enjoy music by the world’s most talented and capable guitarists – and the list of guitarists that I was lucky enough to see in the 1980s is a pretty staggering list of remarkable, talented musicians:

 

 

Forward…into the future!

So in conclusion – for me, the 80s were a far, far more exciting time musically, for me, than I actually had expected it to be – because I largely ignored what the media would have had me believe was “my experience of music” in the 1980s – and instead, I spent my time and money on going to live music concerts put on by both Type Uno and Type Dos artists – which gave me a great mixture of very, very experienced musicians from the 1960s and 1970s, updating and renewing their sound for the tech of the 1980s, while the Type Dos shows gave me an idea of what new bands were around, what they sounded like, and how they compared to the more familiar Type Unos that I knew so very well.

Starting my decade with the musics of Frank Zappa, Todd Rundgren’s Utopia, Queen, Genesis, and Yes – and that was just in the FIRST 10 months of 1980 – on up to and including Peter Hammill, King Crimson, XTC, Bill Nelson, Allan Holdsworth, and Peter Gabriel – and finally, up towards the end of the decade, the Dixie Dreg’s, Adrian Belew’s “The Bears”,  Richard Thompson (electric band this time!) and Robert Fripp with his League of Crafty Guitarists  – and many, many more – once again, I had an enormous amount of fun – and I realise now that for me, that my idea of “fun” is quite different from that of most people – I have a lot more fun when I am watching and listening to an incredibly talented lead guitarist (or in some cases, a pair of amazing guitarists – like Robert Fripp & Adrian Belew of King Crimson – or Adrian Belew & Rob Fetters of The Bears), playing as part of an incredibly talented band that has worked out an amazing repertoire of impossibly beautiful, and possibly technically demanding songs – now – that’s MY idea of fun!

Until next time then again–

 

Dave Stafford
June 6, 2018

 

Next time on Decade By Decade – The Live Concert Experience / Overview:

The Sinuous 1990s – The many-headed stylistic beast

 

1980s Concert Ticket Stub Collection (courtesy Dave Stafford)

1980sConcert Ticket Stubs – 1980s

It was 45 years ago today…

DECADE BY DECADE – THE LIVE CONCERT EXPERIENCE / OVERVIEW

EPISODE 1:  The 1970s

 

It actually was – 45 years ago TODAY, literally – today – May 28, 2018 – or for me. in this first of a number of upcoming concert reminiscences – it was actually, May 28, 1973 – and as my first blog of 2018 (finally!) and the first in a series of blogs about live music, concerts, tickets stubs, setlist.fm, and associated items – this one kicks off with a doozy:

The mighty Led Zeppelin – performing live at the San Diego Sports Arena !

Sports Arena

San Diego Sports Arena

The first real ROCK CONCERT I ever went to – I was 15 years old, a sophomore at Grossmont High School, in La Mesa, California – an incredibly gawky, awkward teenage boy with long, straight hair half-way down my back, six foot six of far-too-skinny raging metabolism…and there I was.  Standing up there in the CRUSH at the foot of the stage of the San Diego Sports Arena, waiting for Led Zeppelin, my favourite band – to walk onto the stage.

It was all new to me.  I’d never been in a crowd that large before – never.  I’d never smelled that much…herbal scented smoke before.  I’d never seen the sight that became commonplace for me over the next several years – at the Sports Arena in particular – the sight of dozens of Frisbees flying back and forth, criss-crossing across the length and breadth of the place – and the wonderful haze created by that same scented smoke that cast a mysterious fog over the entire proceedings.   And quite possibly, over my state of mind.

Sports Arena - Seating Chart

San Diego Sports Arena – Seating Chart

People playing, talking excitedly, yelling – cheering – bouncing giant beach balls back and forth, mixed in with the endless frisbees…and all the other fun stuff that people do to pass the time while they wait for their favourite band to come on.  This is one of those experiences that you look back on, and you can quite clearly recall the real sense of excitement that was in that place on that day – this wasn’t just any concert – it was Led Zeppelin – all the way from Britain – to play for San Diego!

 

During the show, I saw a few MORE things I had never seen before – like an attractive girl sat on her boyfriend’s shoulders, proudly displaying both of her bare breasts so that Led Zeppelin, presumably, could have a look at them – along with the other 35,000 people in the audience, of course.  This was a girl – who was NOT shy.  Another first for me.

 

For a 15 year old boy, a boy who was already a guitarist, already trying to be the “NEXT Jimmy Page“, already learning Zeppelin songs and riffs – many of which, I still play to this date – 45 years later – I kept trying to “be” Jimmy Page for a number of years, when I finally decided it might be better to try to be myself on the guitar rather than copy someone else – even someone as talented as Jimmy Page.

 

But as a formative influence – along with Eric Clapton, Robert Fripp, and others – you can’t beat a bit of Mr. Page – a very interesting and very capable guitarist, musician and writer.  If you think too, about the development of Led Zeppelin, just as one example, from the relatively simple chord patterns of  the songs from Led Zeppelin I, say, something like “Communication Breakdown” to the incredibly complex guitar parts that make up the opening track on the band’s fifth album “Houses of the Holy” – the truly remarkable “The Song Remains The Same” – still a personal favourite of mine even after all of those years.

Meanwhile…back in 1973 – there was the long build-up to the show, the endless waiting outside which, eventually and suddenly, became a mad sprint to try to get as close to the stage as possible before everyone else did – once let into the Arena (reserved seating at rock concerts being more a thing of the future, back in 1973) – and then, finally settled in your “spot” inside, the noise and the tension, the sound of the crowd mounting with each passing moment…

 

HousesOfTheHoly-AlbumCoverIt was all incredibly exciting…and finally, when the band did hit the stage – it was another first for me – the first time I had ever heard a real rock band, a PROPER rock band, mind you – the mighty Led Zeppelin no less, in their prime, in the year 1973, touring behind their just-in-the-shops fifth album “Houses Of The Holy” – I’d never heard a proper rock band play rock music AT VOLUME.  And it was…LOUD.  To this day, 45 years later exactly…I am not sure I’ve heard a louder band.

 

Except perhaps – for Led Zeppelin themselves when I saw them again – twice – in 1975!!

Each year, the PA stacks at the Sports Arena seemed to grow ever larger. the number of and the size and power of the speakers increasing each time, the power behind the systems getting to be more and more each year – so it seemed to me, that if anything, that bands got LOUDER as the 70s went on – until the PA systems sort of began to plateau as Super Huge Size – where they all pretty much sound the same – from a distance, anyway.

 

Led Zeppelin IV-Album Cover

But – intense volume aside – I was hooked.  Seeing this show – set me up for a lifetime of concert going – and what a way to start!  Seeing my favourite band, playing amazing live versions of the songs that I loved – was such a positive experience for me – and after seeing Zep, I embarked on a journey that now, when I look back on it over the long, long span of time – 45 years ago today – when it all began – I just feel so, so thankful, fortunate – even lucky – to have had those concert experiences.

 

 

This series of blogs then, of which this is the first – will attempt to document my concert-going experiences decade by decade, until such time as I reach the present day.  Having the analytical and basic set list / concert listing tools available via setlist.fm has been so incredibly useful when it comes to bringing these memories alive, I would encourage you to go and have a look at the list of my attended concerts at setlist.fm to see the full list of concerts attended not only in the 1970s, but from 1973 to the present day – an invaluable resource to me throughout the process of preparing and formulating this series of music blogs.

Earlier this year, I had my 60th birthday, and for some unknown reason, during that week, I started looking into just what concerts I HAD been to, and what they were, when they were and where they were.  I had no idea that this vague thought I had had – “I wonder how many concerts I’ve actually been to over the years…” would lead to the experience that it has – which has been extremely eye-opening for me in so many ways.  This “thought” eventually culminated in the completion of my list of my attended concerts at setlist.fm as well as the completion of cataloguing and photographing my quite substantial collection of concert ticket stubs, which will be presented photographically along with these live concert experience blogs.

So while it started in 1973 – it still hasn’t ended, and later this year (2018), it will be more shows from the incredibly powerful King Crimson live, one of the most remarkable progressive rock groups spawned originally during the 1960s – when Led Zeppelin was also born (1968 was a good year to start a band).   I am very much looking forward to seeing and hearing Crimson again – each year, they come up with more and more “unlikely early repertoire”,  not to mention some pretty credible new repertoire – to absolutely amaze and delight me and the other long time fans of the band.

So – the act of listening has moved forward through time with me, I continue to engage with artists old and new whose music I respect or revere even, and I am all the richer for it – there is nothing on earth, for me, as exhilarating as a quality live performance by musicians who are committed fully to their craft.

I simply love live music, and really, there can never be enough good concerts each year – there is always someone that I missed out seeing “back in the day” or newer artists that I want to check out live – there is always something going on.  I feel very fortunate indeed that I have been able to see so many great concerts.  Moving to Britain was also a hugely fortunate thing in terms of me being able to see bands performing live that did not regularly play in far-off San Diego, California (where I lived for the first half of my life) and so many bands that I never got the chance to see when I lived in California, I have not only seen but in some cases, I have been able to see performing live several times.

This includes bands or artists such as:

…and the like – all bands or artists that I never did see when I lived in the United States – and I spent the majority of my adult live, utterly convinced that I would never, ever get the chance to see some of these remarkable musicians and performers – and yet, somehow – it has happened!  Much to my ever-lasting astonishment and delight.  So I’ve managed to make up for a lot of gaps in my musical education just by merit of living in Central Scotland!

Building Up The List Of Concerts Attended

Thanks to some modern / technological innovations, even the act of “figuring out” what shows I have attended over the years, is supported and made possible – in the main instance, I began, that same week of my 60th birthday, to use a tool with which many of you may be familiar – the website known as “setlist.fm”.

setlist.fm is, simply put, a remarkable web site dedicated to preserving the memory of musical performances, but doing so in such a way that each user – that’s you and me – anyone – everyone – can easily find the concerts they attended, and “add them” to the list of shows that they have personally attended.  It also allows for setlists to be built, too, so that the songs that were played at each gig, if they are known – can be input, stored, and then viewed by subsequent users.

It also gives us the opportunity to rectify errors that have been made historically, or clarify points about a performance or performances or artists or any number of details about an event.  So with this kind of capability, I find that setlist.fm is really the ideal tool for building up your own personal history of concert-going, which is also then of course. possible to share with others, too – since each profile is public.

It also gives you a lot of insight into your own experiences of concert-going, that you would not have been aware of.  For example – this blog, is focusing on the 1970s – when I first began attending live concerts – and in the seven years of the 1970s that I was actively going to concerts (1973 – 1979), I am able to determine from setlist.fm that I attended at least 55 concerts in that first seven year period (I only began going to live concerts in 1973, so of course I have zero concerts for the years 1970, 71, and 72).  You can also view programmed statistics that can tell you a lot about your own experiences – and, the experiences of others, too.

The featured image (see below) for this blog is a photograph of the surviving concert ticket stubs – my own personal collection – of at least some of the ticket stubs that I managed to save out of the approximately 55 shows I attended during the 1970s.   I wish now that I had kept all 55, but if you think about it – it’s a small miracle that even the handful of survivors DID make it across 45 years, a continent, and an ocean – to be then collected and photographed as part of the preparation of this series of blogs.  Each decade brings a different set of bands, and a different set of ticket stubs from my own personal collection to accompany the blog for each specific decade.

As one example of how that can turn out to be interesting – when I was busy working on my own list of attended concerts at setlist.fm I began to notice something – that a certain other user, with an initially unfamiliar username – seemed to always be shown as someone who had attended many, many – an unnaturally large number of – the exact same San Diego and surrounding area concerts that I had attended.  I mean – this person was ALWAYS in the list.

I began to wonder if this was someone I knew, perhaps someone who I had gone to school with or even had been in a band with, perhaps – or any number of possibilities. After about a week or so of continually seeing this person’s username, every single time I entered another concert I had attended in or near San Diego, California – that I sent them a message, explaining who I was and asking them whether I knew them, since they had so obviously been at so very many of the same live shows that I had been to.  Curiously, a day or so after I wrote to them, I found that they had actually written to me a day or two before I contacted them – but I had not noticed the email for some unknown reason.

UK-TrioAs it turned out, I didn’t previously know this person, but as we corresponded, and started talking about some of our shared concert experiences via email – including some truly and memorable events, such as the day we were both at Licorice Pizza records in San Diego, where we met the band U.K. – on one of those “in-store” appearances, on the day of their concert that night – where they were actually opening for the mighty Jethro Tull.

 

For people like my new friend (who still lives in the San Diego area to this day) and myself – it was a rare chance to meet and interact with some of the musicians who we admired.  And it did seem strange to me, to have shared so many extraordinary experiences with someone that I have never “met” – but in fact, I pretty much feel like we’ve been friends for years – possibly because of those vintage, shared memories – who can say?

JohnWetton

For me personally, getting the chance to meet a former member of King Crimson, the late John Wetton – certainly one of the most innovative and remarkable musicians of our time,  an amazing bass player with a unique and very beautiful voice – speaking with John Wetton was a very interesting and enlightening experience for a young, hopeful musician such as myself.

 

 

So one of the stranger “side-effects” of the setlist.fm experience, in my case was the strange but rather interesting fact that I had spent time with my new pal, in the same room, talking to the same people – even, in the same conversations – and yet, we did not know each other!  And to meet someone now, anyone, who attended some of these same unique gigs that I had been to, after a forty-five year period where there was no such person with whom I shared these experiences to speak to about them – it’s truly remarkable.

 

Unique Musical Events In The 1970s – and at no other time

We have gone on to discuss the long-forgotten details of events such as Robert Fripp‘s amazing appearance at a small Tower Records store (on El Cajon Blvd – now long gone – but – another strange memory – it was right next to the North Star Motel – which is not in itself remarkable, but, “North Star” is one of the standout songs from Fripp’s album of that time, “Exposure” – and that amazing live introduction to Frippertronics, is what set me on a long journey to become a looper, and later, a looping ambient guitarist – I fell in love with the process of looping electric guitar that day – a truly memorable event – and now, I have a new friend with whom I can share the detailed memories of these very special events.

So from a list of concerts on a special web page – you can learn and experience a lot more than what you would think a list of concerts might do.  It was an immensely satisfying task, and I probably did the bulk of the list over a three to four week period, after that, I continued to add just the odd show here or there – ones newly remembered, or ones where I had been missing details – until I finally reached my current total – and it has stayed somewhere around that total (currently as of May 28, 2018 – 209 concerts by 129 different artists!).  That in itself was a surprisingly large number – I had really not expected it to be that large.

 

TheBeatlesIn this blog, I want to touch briefly then, on some of the highlights of the 54 or 55 shows that I attended during the 1970s, which were mostly a mix of rock and progressive rock – I was heavily into and heavily influenced by prog, as it is known, and I was so, so fortunate to live in the times that I have lived – I was born at the end of the 50s, and grew up in the 1960s with the music of the Beatles as the soundtrack to both my childhood and my adolescence.  As the 1970s approached, I broadened my previously-held view that the Beatles were the only band worth listening to, and I began to hear other kinds of music being made, by a whole new kind of musicians – many of whom, were extremely was too young to go and see the Beatles live,influenced by the Beatles themselves !!!

 

 

 

HendrixI was too young to go and see the Beatles live,and just a bit too young to go and see Jimi Hendrix, both of whom played San Diego back in the day, those two bands being my very favourite two bands of the 1960s/70s – a real shame, but – I could NOT have been more perfectly placed on the timeline of my life, to experience fully and enjoy thoroughly, the music of the next generation of rock – the Led Zeppelins, the earliest and best of the proggers, Yes and Genesis, Jethro Tull, Gentle Giant and the like.

 

 

That unique gathering of incredibly diverse and powerful progressive rock titans, was a once in a century event, and I was the perfect age (15) to begin enjoying these amazing rock and progressive rock as they made their way around the world, stopping at San Diego often, and therefore entertaining me with often, repeat performances year after year.  Starting out with Yes, then moving rapidly upwards and onwards through Genesis (with and later, without Peter Gabriel), Peter Gabriel, Gentle Giant, Jethro Tull, Strawbs, Roxy Music, E.L.P., U.K. , and Utopia.

What an incredible time to be young and to be able to go and see these amazing progressive rock acts performing – all in the same seven year period – and then, also, onwards through time in the 80s and 90s, too – adding King Crimson to the mix in 1981 – 1984, and again, in the 1990s; and then finally, fast forward to the present day where I was able to see Van Der Graaf Generator multiple times (in both quartet, and in trio format) as well as the absolutely astonishing Thijs Van Leer performing with his band Focus – a band I loved dearly in the 1970s, but did not get to see until much, much later.

I did in fact, manage to almost make up for not seeing the Beatles, by embarking on a side plan of trying to see all four Beatles playing solo concerts – so at least I could hear my biggest musical heroes of all time, singing and playing their instruments live.  I was not disappointed, starting out with my first ever trip to Los Angeles (first time I drove to LA myself) to see the great George Harrison, who put on an absolutely amazing show, that began with the Ravi Shankar Orchestra (my introduction to live Indian music – another great love of mine that I have continued to pursue whenever it was possible) and continued with getting to see and hear George playing a fantastic selection of both his own solo records and songs previously played by the Beatles.

Then, next up, in 1976, I was able to catch Mr. McCartney, on the famed “Wings Over America” tour – which was another totally memorable experience, and the selection of solo numbers and Beatles songs that Paul chose to play, were unique; quite different to George’s choices, and wonderful to experience.

Then followed a long, long gap until I did eventually manage to see my third and final Beatle – the remarkable Ringo Starr.  Again – a performance of solo songs and selected Beatles songs – but truly enjoyable, and the concept of the “All-Starr Band” worked brilliantly – Zak Starkey was the main drummer, with Ringo sometimes joining him on double-drums when the singing duties allowed him to – and with a guitarist of the calibre of Todd Rundgren on hand, no less – well, it was a great night of fun, exciting Ringo and Beatle music.  I will cover these events more specifically when I reach their performing decades (which turns out to be from 1989 thru 2018 – as the “All Starr band”) – but with the sad, sad exception of John Lennon – when in 1980, events took away everyone’s chance of seeing John play live – forever – I did, in time, get to experience first hand, the music of three fourths of the greatest rock band of all time – the boys from Liverpool – the amazing Beatles!

 

The Journey Continues…

However – returning to my journey through the featured decade of the 1970s – I truly feel now that I was indeed, very, very fortunate, the whole decade was so perfectly timed for me – in hindsight, I would not change a thing about it – and although I have always regretted not seeing the Beatles and Jimi Hendrix on the live stage – in another sense, I don’t regret it – because by being too young to go and see those bands – that made me land at the perfect age for that absolutely unique and wonderful decade of true Progressive Rock – from 1967 to 1976.  That was the golden era, the sweet spot, where the impossible-to-exist thing that Prog was, existed in spite of that truth – and I landed nicely near the tail end of that era – beginning my own “concert journey” in May 1973 – exactly 45 years ago today.

Now – at the beginning of this episode, I spoke a bit about my experience at my very first concert, the Led Zeppelin show at the San Diego Sports Arena held on May 28, 1973.  That was however, only the first in a long, long string of shows that I went to – all of them in San Diego I think with one exception which was the George Harrison concert I mentioned earlier – held at the Forum in Los Angeles.

But it was not just limited to Rock bands like Led Zeppelin or Prog bands like Yes and Genesis – there were other experiences, and right off the mark, I went to see one of the finest “southern rock” bands that ever existed – the absolutely brilliant “Allman Brothers“.  Little did I realise, that just a few years later, I would be performing one of their best songs, the lovely “In Memory Of Elizabeth Reed” with my own band, Slipstream – and that was one of the songs that the Allmans played that night at the Sports Arena.

 

Diversity In 70s Rock:

Actually, when I look at the full list of concerts attended, I actually started out with an incredibly diverse set of bands – they were NOT all of the same genre at all – and I think that is a contributing factor to me liking so many different kinds of music over time.  Those first few shows looked like this:

May 73 – Led Zeppelin (what can I say – it ROCKED!)

September 73 – Boz Scaggs / The Allman Brothers (white soul followed by the precision jamming of the remarkable Allmans – sadly, sans Duane – but they were still incredibly powerful live at this point in time)

March 74 – Yes (Tales From Topographic Oceans tour – quadraphonic sound – classic line up Rick Wakeman still in the band)

June 74 – Steely Dan (with, weirdly, Kiki Dee opening – what a strange combination) – this remains, to date, one of the most astonishing musical performances I have ever seen or am ever likely to see – the sheer musicality of this gig was absolutely mind boggling – including two amazing guitarists in Denny Dias and Jeff Skunk Baxter – not to mention the insanely talented Donald Fagen on grand piano and – gasp – a synthesizer!

November 74 – Ravi Shankar / George Harrison – please see my comments above.  A mind blowing introduction to live Indian music, followed by my favourite Beatle on lead guitar, slide guitar, and beautifully hoarse vocals – which did not bother me a bit – because I was hearing my favourite Beatle playing slide guitar – and I feel that in some ways – George was the master of the slide – in his own style and in his own way – not in the “Duane Allman” super technical slide playing way – but in a beautiful, careful, lovely way that set George apart from all other slide players.  I loved seeing George and I loved seeing Ravi – a brilliant day!)

January 75 – Genesis (The Lamb Lies Down On Broadway Tour with Peter Gabriel) – Part of me still can hardly believe that I got to witness this unique musical event – a full four album sides performed without a break – and this then-brand new work was stunning both musically and visually – I had thought that Yes were amazing live, but Genesis were very diverse in their approach to songwriting and quite different – Yes does not have any tunes quite like “Broadway Melody of 1974” or “The Waiting Room” or “Anyway” or “The Light Dies Down On Broadway” – and it was an eye-opening experience for me – realising that there was more to Prog than just the music of the mighty Yes – much, much more, I found out later on…

So from this half-dozen standout shows that I saw in the first couple years of concert going, when I was 15, 16, maybe 17 years old – absorbing musical ideas like a giant sponge – I learned an awful lot from watching rock and prog guitarists play – and solo extensively sometimes – and it was the best possible “music school” I could have gone to – of these half dozen first shows, the diversity of type of music is nothing short of remarkable:

Heavy Rock (Zeppelin)

White Soul (Scaggs) / Southern Rock (Allmans)

Progressive Rock (Yes)

Intelligent Pop (Steely Dan)

Classic Rock (George Harrison)

Progressive Rock / Unusual (Genesis with Peter Gabriel)

Then, if you continue on looking at how my 1970s concert experiences progressed, the musical diversity just goes off scale – taking in many different and unique artists; witnessing live concerts by the amazing Frank Zappa (with Captain Beefheart opening)  or the amazing German electronic music pioneers Kraftwerk (with British folk-rock legends Strawbs opening – and that was actually, who I was there to see!) or progressive rock giant Todd Rundgren‘s Utopia (the RA tour) or from Britain, Be-Bop Deluxe (featuring guitarist Bill Nelson) or 10cc (featuring guitarist Eric Stewart) or Peter Gabriel (formerly of Genesis) or 60s classic rock greats The Kinks or new wave artists Blondie or the art-rock genius of Roxy Music (featuring guitarist Phil Manzanera) and onto the truly unique musical events such as the aforementioned Robert Fripp at Tower Records “Frippertronics” demonstration – Robert Fripp of King Crimson, playing his guitar through a pedalboard, into two Revox reel-to-reel tape decks, and demonstrating the tape-loop technique introduced to him by Brian Eno back in the UK.

You want diversity – musical diversity – genre diversity – then the experience of those seven years, from 1973 through 1979 – included enough eye-opening musical, technical and performance diversity that for me, well, I do not believe that I could have HAD a better musical education, and as you may notice, the single recurring theme in the artists mentioned in this blog, in particular, in the set of bullet points just above, and in the previous paragraph – and that is – bands with amazing, technically and musically proficient guitarists.

 

Awesome Guitarists – one motivator for attending so many concerts

I was a guitarist then, and I am still a guitarist now;  so it’s only natural that I would follow and enjoy music by the world’s most talented and capable guitarists – and the list of guitarists, contained just in the bullets above and that paragraph of diverse artists – is staggering in itself:

It’s interesting to consider what an effect seeing that many astonishingly talented and brilliant musicians, witnessing the different musical approaches and technical prowess of these amazing players – had on me, as a guitarist – I think that I absorbed a lot, and it was only years later that the eventual effect of this was felt – I became an amalgam of my own influences, when I listen to myself play guitar now, I can hear the influence of many of the guitarists in the list above – and those influences will stay with me forever, because I absorbed them, mostly, during my teenage years (I turned 20 in 1978 – near the end of my 7-year 1970s concert experiences) when my brain was still pliable enough to do so.

But even years later, I will recall things that I witnessed certain guitarists doing back in the 70s or really, at any time I’ve seen a great guitarist – and I will bring back whatever I can from that memory, into my current performance.  It’s extremely beneficial to have these particular experiences – because seeing these guitarists, in these intensely creative bands – has had a profound effect on both me personally (in terms of the awe and respect in which I hold many of these artists) as well as on my guitar playing – I aspired for many years, to learn and adapt and modify these incredibly diverse guitar influences, into my own playing – and eventually – my own style began to emerge – but, it’s still based on those early experiences.

If I had not spent many, many hours wearing out the vinyl of my copy of Led Zeppelin III, or any other classic 70s album that I loved, studied and tried to learn to play – including songs from “Larks’ Tongues In Aspic” by King Crimson – and over on the piano, too, I was learning and absorbing music by Van Der Graaf Generator, Peter Hammill, Todd Rundgren, Peter Gabriel – so there was an entire second side of influence, through piano-based songs – I even learned Tony Banks songs (such as “Anyway” for example) – with the help of my best friend Ted Holding, may he rest in peace – songs and bits of Keith Emerson and so on – anything to enrich the pool of musical ideas that I could then draw from for the rest of my life.  Mostly on the guitar, but – a significant amount of time was invested in learning piano and keyboard based songs – which I think helps to round me out as a musician – I am not “just” a guitarist (thankfully!!).

I had an absolute blast in the 70s, and if there is anything to regret, it would simply be that I did not go to MORE concerts during the 70s (and 80s and 90s for that matter) – my experiences would then just be all the richer for it.   I am not complaining by any means – I could not ask for a richer experience than this one – I am just greedy, I loved seeing these bands and artists playing their music, and I simply want more – there can never be enough good music in one’s life.  Never!

 

Forward…into the future!

So in conclusion – for me, the 70s were an absolutely unique and utterly amazing time, when I got to see some of my very, very favourite players and bands – from the mighty Led Zeppelin to the amazing Steve Howe of Yes (the man who could jump from guitar-to-guitar-to-pedal-steel-guitar-and-back-to-guitar-again mid-song, mind you – mid-song!) to having my mind permanently opened by the power and mystery of Steve Hackett‘s amazing guitar parts for Genesis“The Lamb Lies Down On Broadway” to seeing Frank Zappa play in his unique, groundbreaking guitar style – there is nothing on earth like Frank Zappa, there was only one, they absolutely broke the mould that time.

Moving from the classic rock of Led Zeppelin, on up eventually, to the end of the 70s with Blondie and the emergence of New Wave, it was an amazing musical journey – I learned a lot, but I also had an enormous amount of fun – and I realise now that for me, that my idea of “fun” is quite different from that of most people – I have a lot more fun when I am watching and listening to an incredibly talented lead guitarist, playing as part of an incredibly talented band that has worked out an amazing repertoire of impossibly beautiful, and possibly technically demanding songs – now – that’s MY idea of fun!

Until next time then –

 

 

Dave Stafford

May 28, 2018 – 45 years to the day from the day of my very first concert experience of seeing Led Zeppelin live at the San Diego Sports Arena – it now seems, that in some ways, that it all just happened yesterday…

 

 

Next time on Decade By Decade – The Live Concert Experience / Overview:

The Dreaded 80s – Not as bad as we remember

 

1970s Concert Ticket Stub Collection (courtesy Dave Stafford)
Dave Stafford - Concert Ticket Stubs - 1970s

Concert Ticket Stubs – 1970s

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

studio diary 20170705

well somehow time has really gotten away from me, and I’ve not managed to write a blog for a couple of months now.  I have an excuse (of course):  I’ve been busy.  Mainly, working on the new pedalboards and guitar system (more on that shortly) but also, still trying to “keep my hand in” by working on music in the form of a very, very large collection of new tunes created in Garage Band.  I would venture to say that over the past few months, GB became a bit of an obsession, to the point where my iPhone overfloweth with Garage Band songs and drafts, sometimes, just one or two versions, sometimes, six or seven if a particular song needs a lot of detailed work.

the net result of that, is that actually, both my phone and my favourite tablet, are currently overflowing, and later today, I will be offloading completed tracks, and also, completing incomplete tracks and then offloading them, and then, making sure I have final mixes of all unpublished tracks…so that finally, I can master them and upload them. Normally, this would be a handful of tracks, but if I am not mistaken (and this number might not be exact) at the moment, I have no less than 16 NEW Garage Band tracks to sort out and add to my Garage Band Eternal Album on Bandcamp.

Sixteen new tracks!  Now – I have been working pretty exclusively in Garage Band over the past several months, and not working so much with real instruments, etc. in the studio – and that is because when I have had time to work in the studio – I have had to dedicate that to working on the guitar system and pedal boards (plural).  Those have now grown to four in total, and in fact, just yesterday, I worked out a brilliant new system, for accessing the different sounds – I am using a very simple device, a “pan pedal” which is made by Ernie Ball, to allow me to “move” between my main studio set up (which currently is comprised of two pedalboards, which I call “Pedalboard 1” and “Pedalboard 2” (imaginative names, I know) and a third board, which, surprisingly, is named “Pedalboard 3”.  So I can be playing one sound via PB1/PB2 (which are currently chained together) and then I can “switch” over to take a solo on PB3 where a completely different sound is waiting patiently for me.

Having the pan pedal, also means I can “blend” the two sounds – and hearing that, you can get some amazing “stacked” guitar tones – because for the first time, I am actually running two complete stereo set-ups, through two separate guitar systems – and, I have the output of PB1/PB2 going to the board direct, while the output of PB3, is miked with two Shure SM-57 instrument microphones, and those are going direct to the sound card. This then means when I record, I can record two tracks of the direct sound on PB1/PB2 and two tracks of the miked sound of PB3 on two OTHER tracks which means I will then be free to mix and match however I want – using as much (or as little) of each of the two completely different-sounding stereo feeds.

I haven’t yet mentioned the fourth pedalboard – it has an incredibly imaginative name, which you will probably never guess – Pedalboard 4.  But – it does have a distinct sub-title, unlike the other three – it’s the Guitar Synth board.  It’s quite simplistic, but it is a viable very different sound source, and it can be easily chained to PB3 or otherwise incorporated into the mix since it’s also tied directly to the mixer.  So the Guitar Synth library of sounds is also readily available now – directly out of the mixing board.

Also – with just a very quick change of cables – I can re-route the pan pedal to move between PB1/2, and PB4, or, back to PB3, or if I really wanted – I could have it pan between PB1/2 and PB3/4 chained together.  Talk about sounds…that would be a lot of sounds.  Right now, I am pretty happy with my PB1/PB2 combination, panning to the little PB3 board which is great for distorted soloing.

Getting all of that set up and working, and finalised (for the moment, of course, until I change my mind again, or, more likely, until I think of a “better way” to do things) has taken up the last several months’ time, meaning that I have not had time to work with real instruments in the real studio, except to test sounds and boards – and I’ve been doing a lot of that.  I have successfully re-programmed my Ground Control MIDI controller with 200 awesome sound combinations, and successfully done a sysex backup of that new set of sounds.  So that challenge was finally sorted out after quite a bit of trouble…I have, however, finally cracked MIDI Sysex – which for a long time, was a mystery to me – no more, now, I know how to backup, and restore, the entire contents of my Ground Control…it’s fairly easy to do, if you are patient.

I do have one other aspiration, which I actually got this idea from Vernon Reid (a great source of guitar ideas – he has helped Eventide with a lot of their distortion algorithms – so I offer up my thanks to Vernon wherever he is!), which is to stop doing ALL of my effects in series, and do them in parallel (to be honest, I also remember the late, great Allan Holdsworth, describing the same idea in a guitar workshop) – running effects in parallel.  Vernon has discovered a nice little DOD Resistance Mixer (the model AC-240, to be exact) which allows you to run four in to one out, and he uses a few of these in his live set-up (which I saw on YouTube, of course!).  It’s brilliant, and I do plan to look into that when time permits.  For the moment, out of necessity more than choice, I am doing it “old school” – in series.  Given that I am running a lot of hardware in series, it actually is all sounding very, very good now.

Note:  later on this year, we are going to see Living Colour play live in a Glasgow venue, so I can’t wait for that – one of my guitar heroes – Vernon Reid, I will finally get to see and hear Vernon play – I can’t wait!  A great and greatly under-appreciated band, Living Colour.  One of my personal favourites…it”s going to be amazing. I am very excited about this concert!!

Anyway – based on the work I’ve been doing, I have decided that once I finished processing the outstanding 15 or 16 Garage Band tracks (which I plan to begin work on this afternoon) that I will no longer spend as much time working in Garage Band, or, if I do, it will be probably for ambient projects, rather than my endless exploration of Apple Loops mixed with “real” content i.e. bass parts “played” by myself, and instead, go back to working on real music with real instruments – primarily, the electric guitar.

I think that my obsession with Garage Band has finally run its course, but, the result of it is an already very interesting catalogue of music, but, once I mix and master the next 16 tracks of completed Garage Band music – it will become apparent what a brilliant tool it has become for music creation.  It is pretty amazing what you can do with it, and I’ve been working more with matching tracks up pitch-wise and timing wise, so, matching a “real” bass part to an Apple loop, for example, or pitching different tracks to fit better with other tracks.

It’s amazing how well it all works, and, I have had an absolute blast creatively, it is endlessly fascinating to me what you can do with a stack of pre-made loops and a little bit of crafty bass playing.  I’ve found that to be key in most of the compositions I have worked on – I might create an entire piece out of Apple loops, but then, to humanise it, I play a “real” bass part – and that does it, that suddenly makes the track “pop” – it’s weird.

For a while, another technique I would use, would be to have the first two thirds of each piece, be entirely artificial; all made from loops, and then suddenly, during the last third or quarter of the piece, bring in a “real bass” part and the effect is really dramatic – it really makes the tracks sound so much better, even if there is already a synth bass or whatever – having that wonderful, plain, “Paul McCartney” bass there makes the tracks irresistible.

I have spent a ridiculous amount of time perfecting some of those bass parts – which are often played on the fly in one take, and then close-edited later to sharpen them up – taking a wild, on-the-fly live performance, and custom-fitting it to the existing song.  It’s a lot of work – but it’s so, so worth it, because it just brings the pieces full circle, and the artificiality that the loops create, gets seriously negated by the humanness of the Paul McCartney plays as “played” by yours truly.

So when you finally get to hear the next 16 Garage Band uploads from me – please listen especially to the bass guitars – because I have indeed, worked really hard on those bass parts – which you will find in most all (but not all) of my Garage Band work.

I should also mention the other “star” of the Garage Band tracks, which is the Korg IWorkstation synthesizer, with it’s two dozen different sets of presets – if you search long enough, you can always find the perfect sound, and since Garage Band’s Inter-App Audio is so well implemented, it’s easy to bring in a powerful synth like the “iWavestation”, and I use it extensively, on multiple tracks, on almost all of my Garage Band material.  So those are my two secret weapons, really:

  1. Apple’s “Paul McCartney” bass, in “Note” mode, which I play like a real bass, then close edit later to “perfect” the bass part
  2. Via Inter-App Audio, I call up the “Korg iWavestation” synthesizer which can provide an absolutely astonishing universe of sounds from any kind of synth sound; any kind of beautiful, spacious pad sound, to drums, basses, whistles, you name it, it’s in there – one of Korg‘s most amazing products, ever.  It has become my “go-to” synth whenever I am recording in an app that offers IIA connectivity – the first thing I do, is bring in an instance or ten or the iWavestation – I cannot recommend it highly enough, it’s a great synth and workstation, too – absolutely amazing and sounds great.

The third and uncredited star, is of course, those amazing Apple Loops – without them, none of this amazing catalogue of work would exist, and I can’t believe how this incredibly diverse set of music, where every piece is completely different, where each time, I try to find a new approach, a new sound, to make it utterly unique, and, importantly, different from the last piece I did – and if you are doing this across dozens of tracks, you end up with a diversity of music that is almost indefinable – I could literally, not describe the different genres, types, feelings, grooves, systems, concepts – I just can’t, the only way to describe it is to say, go to the Garage Band Eternal Album, and listen to it from start to finish – and then try to describe in words what you just heard.

And when I add in the next 16, which feature some of the most diverse and weirdest, most out-there compositions so far – that will make the above experiment even more interesting.  If I were to continue with this, the madness of being addicted to Garage Band might send me right over the edge – I don’t know.

I am going to take a break, I am extremely happy with both the catalogue “so far” (note, as of this point in time, 20170705, the Garage Band Eternal Album contains 24 unique tracks) or to date, as well as, I am very excited about the next 16 tracks – which will close out the catalogue in the short term (bringing the total number of tracks to about 40 – which in itself, is amazing), because I am (with some difficulty, I admit) going to slow down or stop producing so very much Garage Band material, and return to working on real songs with real guitars and keyboards, and I am going to give the amazing, easy to use, fun to use, Garage Band – a well-earned rest.  Because if I am honest, I have spent altogether too much time working on Garage Band songs, and not giving my other musical outlets a chance!  Of course – that wasn’t intentional, they weren’t ready – but, now they ARE ready – so – I am ready.

 

It’s also my hope, to return to making ambient music, and in particular, ambient music made with applications.  I still have unexplored areas that utilise ambient tools that I have had for many years, as well as some newer apps that I also have not spent enough time with – so I hope to rectify that situation, and in the process, hopefully, add some new ambient tracks to some of the catalogues / eternal albums up there on Bandcamp.

 

I am hoping I have reached, or nearly reached, the “cut-off” point, where the total obsession with Garage Band ends, and a new practice of music-making begins, which involves using real guitars and my new pedalboards and guitar systems plural.  That is the idea, anyway – and that is why I have also spent the last several months trying to get everything ready for this day – and after extensive testing, and spending a lot of time creating 200 amazing and beautiful guitar sounds in my Ground Control Pro MIDI Controller – finally, everything is ready, and I have now, at my fingertips, a huge and diverse array of guitar sounds that I can use in my new compositions!  It was a lot of work to get to this point, and I am beyond pleased with the way my guitar is sounding – and that is not something I’ve said very often in my life.

Of course, Komplete will still be there to play it’s part, since I don’t have the space for a physical drum kit, and, I’ve never had the opportunity / chance / space / time to learn how to play a real drum kit – I still depend on Komplete to help me set up my real guitars-based tracks – mostly, with the drum tracks.  I also, often, will use Komplete to do basses – and certainly, I use it for keyboards and synths, along with other softwares like the M-Tron Pro mellotron software.

When the urge takes me, I do sometimes play real bass instead of Komplete’s bass, but using Komplete is truly tempting because it does contain toolsets like Scarbee’s amazing Rickenbacker bass samples, and I just can’t resist having the sound of a Rickenbacker or a Fender Jazz bass or a Fender Precision on my tracks – I love those basses, and being able to “Play” them, even via a MIDI keyboard – is heaven.  My cheap throwaway bass cannot compete with those sampled basses for tone – it was so cheap, that I actually paid nothing for it – a good friend of mine, and an amazing musician, too, Michael Dawson, actually gifted that bass to me – which I have subsequently used on certain tracks, one of which was the tribute to the late John Wetton – “Wettonizer” is the one main track I remember using the “free” Washburn bass on.  It is actually, a lot of fun to play (it’s tiny, and I am not!), so maybe I will add in some “real basses” as well as using the amazing Rickenbacker and Fender samples available via Scarbee via Komplete.

In essence, in the studio, Komplete is my “band” – they come up with the bass and drum tracks, and if needed, keyboard and synth tracks – and then, I am left to play real guitars on top of those created tracks.  It’s as close as I can get to having a real band to play with at the moment – and again, I don’t have the space available for a real band anyway, so at the moment, the Komplete “band” does me more than proud – and you can hear exactly how well they do, by listening to a couple of my larger works, where they are heavily featured – in particular, on “the complete unknown” “planet obelisk” and “day seventeen” – these are examples of the full Komplete band – drums, bass, keyboards – supporting me, the man of many guitar parts :-).  It takes weeks or months to get the drums, basses and keys in place on tracks like these, and it’s not uncommon that three months might pass, before I get to play a single note on the guitar.

(Note: all of the tracks noted above, are all taken from the dave stafford “progressive rock” eternal album – please have a listen on Bandcamp).

 

Of course, it does take time, creating drum tracks, and bass tracks, and keyboards and synths – but it’s worth the time, because I want the best possible backdrop for guitars – and with Komplete, I get the best there is.  For example, depending on what kind of era I want to emulate, I tend to use the Abbey Road drum kits, and I can choose from a vintage 50s kit, a 1960s kit, a 70s kit, 80s, kit or “modern” kit – and each one has it’s own character and options, and they sound absolutely amazing – so I tend to mostly use those, although there are many, many other drum options within Komplete…Abbey Road drums are my current favourite, and they can be heard on a lot of my works.

I have also favoured the Scarbee Rickenbacker bass, using different pickups and presets, for a lot of my pieces, and I think Scarbee is an absolutely amazing company, the care with which they create their instruments is exquisite – the details are absolutely stunning.  I can get so many amazing tones out of that Rickenbacker bass, I could just about not ever use any other – except of course, when I do need a Fender bass for a deeper, more traditional sound – and then, I turn to Scarbee once again – and in many cases, they even offer an “amped” version – so you can have just the bass, or, the bass sampled through amps – it’s amazing – I am totally spoiled for choice.

After a lot of hard work, especially the programming of 200 custom preset guitar “sounds” on the Ground Control Pro, I am ready to play some serious guitar – but, serious guitar with the best tones possible.  I have really chosen a bit of a strange path, over the years, I have mostly stayed away from “guitar amps”, instead, using a plain power amp, and asking either software, or, my pedalboards, to be the main source of “tone”.  Now I am in a hybrid set up – I am using an amp, or actually, two amps – one is a solid state guitar amp, which has a line out to the mixer, and the other is my plain power amp, where I am miking my two 1X12 guitar cabs direct to the sound card.  The “tone”, however, is the tone of whatever guitar I am playing, plus, what sound colourations are available from the pedalboards – which of course, include the many-faceted Eventide H9s – each of which contains a massive library of absolutely astonishing, high-quality sounds.

When I think about what is possible with just the H9s (ignoring all other pedals for the moment) I kinda wish I had more than 200 slots in my MIDI pedal, but the truth is, by combining different H9 algorithms, the number of possible insanely good guitar sounds, is not just 200, or even 2000, it’s probably more like 200,000.  Seriously – and, Eventide keeps adding in new algorithms, too, which just increases, exponentially, the possibilities, to basically, limitless – the latest new algorithm, “Pitchfuzz”, contains some amazing new distorted and / or pitch-shifted sounds, which are out of this world, and, of course, I have incorporated the best of those into my 200 presets.  Using the H9s in multiples, makes it possible to create combinations of effects that are truly lush and incredible sounding – you have to hear them to believe them.  Exquisite combinations of beautiful, individual sounds…

I did spend a bit of extra time on one particular sound that I truly love, and I got this idea straight from Allan Holdsworth (may he rest in peace) – on the first of several occasions where I was privileged to see Allan play guitar, he had this amazing “swell” sound, where while the bass and drums played a kind of “drone”, he would “fade in” or “swell” these beautiful, clean chords, which were drenched in layers of delay and reverb – and I never forgot how beautiful that sounded live.

During the Bindlestiff years, I even tried to emulate that sound, by fading the sound in manually with a volume pedal, into a huge reverb “room” – close, but not quite.  But now – in the land of H9s – I can have auto-swell, at any time setting I want, and it’s brilliant.

I took this opportunity to create some special Dave Stafford auto-swell settings; starting with a short auto-swell (1900 milliseconds), then, medium (3100 ms) and finally, the “Allan Holdsworth” series of auto-swell (my “long” swell at 4000 ms or 4 seconds) – and I made several variations of that basic sound, running the swell through various different Eventide Space reverb sounds, and in one final example, through a beautiful Eventide delay and then into a beautiful Eventide Space sound.  The result is a mini-bank of amazing “swell” variations, and I am so glad I took the time to work out the programming for those sounds – taking care of details like that, gives me an edge, it gives me something unusual, not stock – but with my own personality – these 200 sounds are Dave Stafford Guitar Sounds, regardless of whether they are “stock” or “custom” – they are my choices and juxtapositions – and it’s so nice to have such an amazing library of “algorithm meets algorithm” possibilities.

This afternoon, then, will be dedicated to downloading (and, clearing off, thank god) the 16 new Garage Band pieces, trying to first get the final mixes just right, then, the mastering, and finally, probably starting in a few days’ time, uploading them – and once uploaded, the Garage Band Eternal Album will have reached about 40 unique Dave Stafford compositions done over a relatively short period of time – months – but, in terms of sound, and quality – it’s a huge, huge sound – and, a catalogue of which I am both very proud and very fond of – I have really enjoyed my “time of Garage Band”.

You should try it – drop everything else for a while, and just create with Garage Band – a piece every couple of days was usually my method, although some of the more complex pieces might then stretch out to a week or two until I was happy with the final version – and then, immediately, start another one – preferably, something that sounded COMPLETELY different to the piece just completed.

In a week or two at most, you will be able to hear all 40 tracks, and these should give you a good glimpse (at least) – if not an amazing view – of what this creative and innovative Apple tool – one of the oldest “computer-based” music making tools (now, mobilised on the iPhone and iPad, of course – in the Apple way) can do; and, with it’s latest updates, it has become one of the most fertile, stable, and unique grounds for growing musical ideas.

Anyone can have a go – drag some Apple loops into your song, and you are away – dream up any kind of music you like.  Just do loops if you don’t want to play, or don’t know how – you can still create, using the magical Apple loops, if you do play an instrument, then you have the opportunity to add in some keyboard based or drum or bass content of your own.  It’s easy to learn, and endlessly expandable, you can add many, many bars and create very long pieces, or create three minute pop masterpieces – it’s all there with Garage Band.

 

And now – to mix, download, master and start getting those new tracks uploaded – I can’t wait !!!

 

 

peace and love

 

dave 🙂

 

 

 

 

 

 

 

 

 

 

Studio Diary – September 17, 2016

Aka   Eventide Heaven for ambient guitarists…

September 2016: mad flurrying to Aylesbury on the train for the Return Of The Crimson King (please see my previous three blogs – 3/9, 4/9, 5/9) …a day at the truly remarkable Bletchley Park, taking in an evening play at the Old Globe, and the guilty pleasure of a Warner Brothers tour of the Harry Potter sound stages…then, chaotic problems with trains over-packed with frustrated commuters, only, we were just trying to get home to Scotland from Aylesbury…

Then – finally, back home again, later than anticipated but intact – and trying to assess what already recorded music needed to be dealt with – and the answer, as always, was “quite a lot”.

A spur of the moment decision to attend the live Eight Days A Week screening at the Vue Theatre, a very enjoyable three hour plus evening of Beatles music – absolutely fab. The boys were playing their hearts out, George played some excellent solos, and I really enjoyed seeing “The Touring Years” – and as Giles Martin did the music, this meant that murky bits of Beatle history such as the now ancient-looking “Beatles At Shea Stadium” suddenly now rock hard, you can HEAR the music now and what Giles did here, and throughout the project, is nothing short of amazing. I am sure George M. is smiling, grinning actually, somewhere…

Meanwhile, I’ve been quietly working on a number of new pieces, or new pieces a number of I’ve worked quietly on meanwhile, I am not quite sure which.

Most of the past year and a half, has been filled with the large amount of work required to complete just three lengthy pieces of (progressive rock) work: “the complete unknown”, “planet obelisk” and more recently, “day seventeen”. 

These creations required a lot of painstaking work, and since they are all built from scratch as I went…it takes time. I think the first one took the longest, “the complete unknown” but by the time I got to “day seventeen” something had affected me, and it took me far, far too long to create this most difficult of pieces.  I struggled, which is unusual, normally, I just move along apace, it takes time, but I keep going.  But this time, I had to re-play guitar parts multiple times, some of the parts just wouldn’t reconcile…it took weeks, maybe months, longer than it should have, and I was so, so pleased when it was finally done!  A huge sigh of relief.

In the end, though, I managed to complete all three, and have since decided that I will be taking a break from progressive rock and very long songs, and will be revisiting my first love: the electric guitar.

To that end, I recently created one of a very few new “eternal albums” planned for this year: “electric guitars – an eternal album”. Which then meant that I could begin to work on shorter, live pieces and use some of the great new guitar tones I have available as well.  

Thus began a couple of different work streams, one looking back and the other, looking forward. It also meant that the relatively “new” eternal album has suddenly grown to about 50 tracks – or rather, it will once I upload the outputs of the past one week of work on mixing and mastering.

Beginning with the “looking back”; sometimes, in the middle of a project say, when I might be feeling frustrated by a lack of progress or frustrated by simply not knowing what sounds to make next in a piece in progress, I will “take a break” and just play some guitar for fun.  

June 15, 2016 was one such day, smack dab in the middle of the sessions for “planet obelisk”, one afternoon or evening, I sat down, plugged my guitar in, and played for some 60 minutes plus, doing an extraordinary, non-stop 26 takes in a row, using various sounds from the (then brand new) Eventide “SpaceTime” algorithm..

If you haven’t yet heard what SpaceTime can do – you should! It’s a remarkable amalgam of echo, delay, reverb, shimmer, reverse and I don’t know what else, and I had only just received the update when I decided to embark on a sort of “SpaceTime Jam 1” exploration of the sounds that the H9 pedal could make with this brand new algorithm..

Over the past few week, I reviewed and assessed these tracks, and a remarkable 25 of the 26 takes from the 20160615 session, were viable. So I decided I would do a sort of arbitrary “grouping” of these very live takes, into short song cycles of 3 or 4 takes per “song” (and in one case, just 2 takes making up the final song of the cycle).

So I ended up then, with eight quite interesting songs, mixed and mastered – and as I was working on them I thought…I could add some drums to these, and then release them, explaining that they were sort of made up of the same musical DNA as “planet obelisk” is. In some cases, in many cases in fact, I used drums leftover from the “planet obelisk” sessions.

In other cases, I would create new bespoke drum parts, or adapt existing parts to fit the improvised electric guitars. Adding the drum parts in ended up taking quite a bit of time, off and on, but when all eight tracks were complete, I was glad I’d made the effort. I also did one bespoke tabla part, which utilised Native Instruments “India” and that was a blast – I played one take, live, along with the three guitar tracks, including not playing in between the takes…and coming in at the right time. I managed to hit it all on take one, and “playing” the tabla is an absolute blast – I love this instrument (India).

The guitar takes are all improvised, on the spot, and in almost every case, the natural spaces between them, as it happened, have been preserved – because the session was rapid-fire, and the 26 pieces were played in surprisingly quick succession, with very little time between takes – in some cases just a few seconds, long enough for me to change the patch, and then dive into the unknown again.

Every take used the same basic preamp sound, which is my >Frippy patch from the new Sculpt algorithm – that’s the constant. A plate reverb was also used, and I then changed SpaceTime patches on one device as I played. Being able to use the H9 Control application on my tablet really was a life saver, I could change the patches manually with almost no effort, so you do get to hear a broad, broad variety of the SpaceTime algorithm’s many amazing patches.

More than the sum of songs, because in some cases, i would change the patch mid-song, sometimes multiple times within one song. Also, where I was able and it felt appropriate, I also used expression pedal on some of the patches, which then gives you deep and wild control over many variable aspects of any SpaceTime patch you are using.

The expression pedal implementation in the Eventide H9 is remarkable right out of the box, and every one of the patches features a range of possible expression pedal values, carefully chosen for the best effect – for rotary sounds, obviously, it’s the speed that the pedal controls, but the range of expressions possible with the H9 is simply staggering – what a brilliantly designed device.

I was mesmerised by the beautiful sounds that SpaceTime gave me, and I play a fairly joyous hour of happy and heavy lead and rhythm guitar. And that hour of music, took me 65 minutes to do – so no faffing about between the takes – I really just got on with it, trialling dozens of SpaceTime patches and taking many, many expression pedal excursions too. A wonderful session that I really enjoyed, which does contain quite a lot of “planet obelisk” DNA – without really sounding anything like it.

The 25 viable tracks then, were edited into these eight new “songs”; which vary in length from perhaps, five and a half minutes long, to over ten minutes in length in one instance. The total running time actually becoming about 55 minutes of music in total, mostly because of the fact that take one was unusable, it was a great take, but the levels were far too hot, and it suffered from multiple wounds of digital distortion, and nothing I could do would have saved it – a sad loss, but I was very happy that I turned everything DOWN after that and captured nice clean versions of the remaining 25 tracks.

The resulting eight tracks are:

building the obelisk

all good children go to heaven

beautiful metallic noise

the occasional chord (to remind us)

it’s echo soup in here

the heavens unfold

since the dawn of time

reaching catharsis (bridge)

A possible ninth track may be uploaded:

the road to obelisk – 55 minute track compiled from the above listed eight tracks – this recreates the continuous nature of the original session – if successful, it will be added to the upload list as well.

It is my hope to upload the above eight (or nine) tracks over the coming week if all goes well. Along with the appropriate outputs from the forward-looking project, which came from a session that I had somewhat arbitrarily named “brief session” – and it was, if compared to the “planet obelisk” 25 takes – the new “brief session” contained just 10 takes, although take 7 was an extended take with something like six individual parts on it.

The first six takes are very, very ambient, indeed, and are really a highlight of the session – the remaining four, used distorted guitars instead of clean, and although interesting, they did not come out nearly as well as the first six, which used clean guitars and more Eventide H9 wizardry.

I am very, very excited about these six tracks, which represent the bulk of the session time-wise, because for the first time in my memory, I was able to play ambient guitar, without the use of either a looper or of an ebow (energy bow) – I can now create very, very ambient guitar, just using the stock algorithms from the Eventide H9.

That is an incredibly freeing experience – yes, you do still have to play the guitar, but, the beautiful sounds that come out, whether produced by SpaceTime, Resonator, or MultiTap (such as “UltraTap”….heavenly patch) it matters not – there is not just one ambient sound available, but in fact, droves of them, and I can see myself playing a lot of clean, careful guitar into an H9 (or two) that can translate that input directly into the kind of soundscape I’ve always wished I could produce.

My best method of creating that atmosphere has always previously been, running an ebow guitar into a looper and then into a good reverb unit. And of course, I will always, always still do that, because I love to do it – but, the H9 gives me an alternative to that, where I don’t need to rely on the ebow or the looper (however, I have retained and have used the ebow on several of the eight tracks above), because that made them sound even better, so ebow + SpaceTime is a winning combination for me. Ambient guitar made…a little bit easier than it used to be.

For the six tracks below however, I did not use the ebow – I didn’t need to, the pure ambient output from the H9 was all I needed.  What a brilliant device!

The resulting six tracks are:

exogenesis

exoskeletal

exospheric

exothermal

exocyclic

exonumia

I cannot express how wonderful it was to be able to create these pieces, and I sat there in awe of the sound design that has gone into the Eventide algorithms – especially those that I would call “totally ambient” – and there are many, many of these sprinkled here and there within the algorithms.

I see this then, this set of six songs, to be very future oriented, very forward-looking, and I will very probably be exploring much, much more along these lines, in hopefully some longer-form improvs, just what I can achieve for ambient guitar, without resorting to ebow + looper + good reverb – although, that is still a great formula for ambient music!

I feel like a man who has been given the actual sound of heaven, and by gosh, I am going to use that sound – those sounds – as often as I can, because they are truly remarkable. Even one of the oldest of Eventide’s algorithms, “Space” – their do-all reverb magic box – is an incredible tool, and contains reverbs that can also act as ambient guitar creators – it’s all in there, in that little white box…

“exogenesis” was the starting point for me, I could just close my eyes and hear those ethereal sounds, and realising that I was just playing clean guitar notes, slowly, carefully – and this river or ocean of beautiful, ethereal, reverberant sound just flowed all around me – as it should do. I could really get used to this – I really could.

The six super ambient tracks from the “exo” series will also be uploaded in the near future – as soon as possible.  

So, I haven’t been absent at all – I’ve been busy!

love peace and order

🙂  dave

King Crimson – September 5th, 2016,  Friar’s / Waterside Theatre, Aylesbury, UK

Monday night, and it is the last of three (in a row, no less!) King Crimson concerts for us, and for the band, the last show on British soil for a while, after tonight; it’s off to Europe for the rest of the tour. But before they go, there is the remaining matter of the last of the three Aylesbury gigs, on a cool, cloudy Monday night at the Riverside Theatre.

Being the third show in as many nights, the kinks in the performances are starting to work out now, and the band is settling in to the routine of playing, the dealing with of cues and counts and stops and starts, pedals and programs, guitars and basses; allowing the players to relax just that little bit more, which made it possible for some interesting improvements and a bit more improvisation when compared to the previous two concerts.

Speaking of basses, we observed something last night that was interesting: Tony Levin has too many instruments! Mel Collins has no choice but to bring several instruments, for example, he plays baritone, tenor and soprano saxophones, so that’s three right there that he has no choice over – he has to have those, to be able to replicate all those very different sax parts from those early albums in particular. A selection of flutes is inevitable too, and I would not say a word if Mel turned up wth seventeen instruments…because each one would have a specific purpose for a specific song or songs.

Tony I think, could actually get by with fewer instruments, because his function nominally, is bass player. Robert has one or possibly two, guitars. Jakko gets by with just one guitar, his beautifully painted PRS electric. But Tony has a veritable arsenal of bass-related weaponry:

Stand-up fretless

Chapman Stick

Yellow Three Of A Perfect Pair 5-String Bass

Pink 6-String Bass

…and maybe a fifth bass

Note too that except for the fretless,they all have more than four strings!! This makes me believe that over time, Tony has become more of a frustrated guitarist to some degree (as you would do in the company of Jakko and Robert) than an ordinary “bassist”. He’s now graduated from 5-string to 6-string basses, which sound great, but aren’t actually “basses” by strict definition.

It may be more a matter of orchestrating the changes to minimise the number of changes required, but sometimes it seems like every time I look towards the centre of the stage, I see Tony Levin changing basses yet again, and again. It’s a tiny bit distracting if I am honest. OK, to be fair, Mel is changing instruments multiple times during many songs, but he has no choice, he can’t play a flute line with a baritone sax. And when he changes instruments, it’s subtle, quiet, you barely notice that he is doing it.

Tony, being Very Tall and also, standing basically at Centre Stage – cannot in any way disguise or downplay the swapping of one bass for another….over and over again.

Tony however, can get bass notes out of any of the basses in my slightly incomplete list of his basses, so why all the fuss and constant back and forth from Stick to Fretless to Yellow to Pink and back to Stick again? I get that songs that require Stick, require Stick, but songs that require bass, do they require 5- and 6- string basses? Not really, in my humble opinion. I love Tony and the way he plays, I just wonder if he can minimise the visually distracting bass changeovers by reducing the number of instruments. If he has any spare basses, I could sure use a good bass 🙂

But that is just an observation made over three days and an observation that first started really gelling on night two, last night, and tonight I’m happy to report that the bass-changing has settled down a bit, thanks in part to changes in the set list, but overall, I didn’t seem to notice it as much – so that is a win.

Also noted on the previous two nights, were instances where it appeared that Robert was playing something, but zero sound came out, so we could see him playing but not hear it, and in one case we got complete silence for a moment before the sound kicked back in and the audio then supported the visual, instead of RF strumming away with no sound emerging until he got things under control.

But these observations really just prove that this band of superhuman players, are really human after all, and in the main, the sound you hear from those seven instruments, whatever combination they are in, is 99.8 percent perfect if you compare it to just about any other band.  

Each player knows their space, knows what has to be played, while still leaving open what might be played…and it’s in those moments, when one or more of the players just grab the bull by the horns and move out into previously uncharted territory, that’s when the live “Crimson magic” begins.  

It happens with Mel in almost every song, sure, he plays his parts, but then, he loses himself in the moment and is soon soaring on a high-flying improv that proves that he was and still is, the most innovative horn player in rock music (and you can’t forget his history either, of working with the Stones and being in Camel and of course, being in King Crimson for albums two, three, four and five), if you count “Earthbound” as the fifth album (I do). Mel has been around the block in terms of playing experience.

It happens to all the players in the band at some point, although the better the improviser they are, the better their ability to transcend an ordinary “part” and play something truly extraordinary instead. Mel and Robert do this almost constantly, while Tony and Jakko must stick to the script more, so opportunities to improvise are fewer, and for the drummers, probably only they themselves or the members of the band are aware when they do something amazing, although I feel that the drum section have produced both rehearsed and slightly improvised music each and every night – they are so well co-ordinated, but each also has his own style and their own series of wildly improvised and very astonishing percussion moments.  

What a trio they are, and when you combine that three-man percussive prowess with Mssrs. Fripp, Collins, Jakszyk and Levin…you get the “Crimson magic” – and every night, you will hear this, to a greater or lesser degree, if you listen with your ears open. Sure, they are “playing” the songs; but there is also opportunity for the occasional amazing riff or chord or entire solo or other Amazing Accidental Musical Moment In Time (AAMMIT).

By the way – in one of the silences someone shouted out “Happy Birthday Mel!!” which got an enormous cheer from the whole audience as well as a huge grin and sweeping wave of thanks from the man himself.

Before I go any further, here is the full set list:

Soundscapes

The Battle Of Glass Tears

Unknown / New Song (Instrumental – featuring two guitars) 

Pictures Of A City

Cirkus

Fracture

Hellhounds Of Krim or Devil Dogs Of Tesselation Row (Drum Trio)

Easy Money

Meltdown

Epitaph

Red

[INTERMISSION]

Devil Dogs Of Tesselation Row or Hellhounds Of Krim (Drum Trio) 

Level Five

Suitable Grounds For The Blues

The ConstruKction Of Light

Vrooom

The Letters

Sailor’s Tale

One More Red Nightmare

Starless

[ENCORE]

Banshee Legs Bell Hassle

Heroes

21st Century Schizoid Man

The only band I’ve seen recently that can even come close to King Crimson 2016, was King Crimson 2015 – who we were fortunate enough to see three times in three different cities last year – and those shows were brilliant.

This time around, after a little time, I would say that the first of the three shows was overall winner, because the band was more relaxed, and the setlist was amazing – and despite some technical teething problems, it was a superb performance that I will not soon forget.

The second night was sort of in the middle for me, it was nice to have “The Talking Drum / Larks’ Tongues In Aspic, Part 2” back in the set, but not really at the expense of “Sailor’s Tale” which made a very welcome return tonight.

Tonight, the band opened with the eerie and beautiful “Battle of Glass Tears” my personal favourite new / old track, which was just sublime, so atmospheric, and you could hear a pin drop at this point – followed immediately by that new song, minus it’s 2 chord intro, and of course, the audience had NO idea what was going on at this point…  That came to a slightly uncertain stop, and finally they launched into “Pictures Of A City” and all was well again.

While I have awarded the “Friends & Family” show as my personal favourite, there are of course, one or two exceptions I should note. Tonight’s show got off to a bit of a shaky start in that, the audience didn’t know whether to applaud or not after the second piece – so out of politeness, they didn’t applaud, so it wasn’t until the end of “Pictures Of A City” that they could let their hair down and scream and shout for the return of the Crimson King. The show only got better from there, and some particular highlights for me were, in no particular order:

“Fracture”, which was fantastic, and in my opinion, by far the best version over the three nights (so, as far as this song is concerned, THIS was the best version – even better than night one’s version). Robert and Mel were right on form, Jakko’s “mock violin” was incredible to watch and listen to – and the rhythm section simply smashed it along with Tony – a rocking version, and really tight – I loved it. Out of all of the new / old songs, I welcome “Fracture” back into the setlist with the most joy – it’s been a long time since KC tackled this twelve minute musical monstrosity – what a great tune, and the new arrangement is fantastical – really beautifully done.

It was great to hear “Cirkus” for the third time, it was consistently good each night, and in some ways, Mel’s solo in this is probably one of the best solos he has ever done, so to get to hear and see him play that beautiful, beautiful horn solo, for three nights running, is an incredible privilege – and, the saxes on “Cirkus” are amongst the most beautiful I have ever, ever heard, in any context or in any song – it’s an absolutely sublime, lovely solo – and I got to hear it three times in a row – so beautiful!

“One More Red Nightmare” – “Red” was great, every night, but this was better, and another “welcome return” to the setlist. A brilliant vocal from Jakko, indescribable ensemble work from the drum team, and just a blast of fun, all about a cool riff, with sinister saxophones and Jakko’s distorted auto-Wah sounded absolutely astonishing at the end – a great guitar sound! This track totally rocked tonight…in fact, the whole second half of the show was really exciting, and the section containing “Vrooom”, “The Letters”, “Sailor’s Tale” and finally “One More Red Nightmare” very nearly changed my mind about which concert was my favourite. Very nearly, but not quite 🙂

A stunningly beautiful “Starless” followed, which did bring the temperature down quite a bit – but then, we get to that amazing end section, with the fabulous guitars sliding up and down and the bass ripping a la John Wetton (Tony did really well on this version of “Starless”, I have to say – and it’s not an easy bass part to play!).

“Heroes” was pretty much a carbon copy each of the three nights, I still think night one has the edge, although tonight’s version got a very very good reaction from the audience, as did the final number, “21st Century Schizoid Man” including the aforementioned New Standard Tuning tasty jazz chords from Mr. Robert Fripp.

I noticed that sometimes during one of Mel’s longer tenor or soprano sax solos (and since we are talking about this song already, one prime example of this tonight was the final encore, “21st Century Schizoid Man”, which is possibly Mel’s longest solo of the night); that as soon as Mel settling into his solo, wherein he will absolutely be screaming away at speed – that Robert starts comping along to the solo, playing what he might call “particularly tasty inversions” of jazz chords, and that’s been an interesting thing to hear – Mel is soloing his heart out, and Robert starts slipping these fantastically lovely “jazz chords” into the tiny spaces that Mel leaves open in his solo – and how RF can select and play a series of interesting, jazzy chords to comp along to Mel’s insanely good sax solos is actually, beyond my musical understanding.

I wish I even knew those chords, and then I would worry about when to play them. And of course, they are all now in the new standard tuning, so over time Robert has relearned his 11th and 13th and 9th/b5th chords, and knows them well enough in NST now, to confidently insert them into the spaces left by one of rock’s master musicians, the extraordinary Mel Collins.  

The resulting sound, with the whole band in full on jazz swing mode, is nothing short of extraordinary. Mel is the not-so-secret weapon, who can be called upon almost on demand to produce a honking or screaming or deadly smooth slinky sleazy sax solo, with Rock’s best jazz guitarist Robert Fripp comping along with the tastiest of chords. What a sound that is. He may also have been doing this during Mel’s soloing in “Pictures Of A City” – but I am not sure about that, I can’t actually remember if “Schizoid Man” was the only time Fripp did this astonishing, clean jazz chord work – it blew me away.

Prior to Mel’s selfsame long solo in “Schizoid Man”, Robert took his solo, but it was different this time, to any of the previous shows – including the three shows we saw last year – I’ve only seen / heard this happen one time out of six shows, and that was during this guitar solo – he started it out with one of those impossible high-speed three-note trills (a la “St. Elmo’s Fire” by Brian Eno, where Fripp plays impossibly fast three-note trills over and over again) and also, the solo was quite a bit longer than on the other nights, and it included some more brief “exhibitions of reckless speed” in the lead guitar arena – he was really going at it, and it was a great little solo – and then, he handed it over to Mel as he always does – who then proceeded to attempt to out-do what Robert did – and that is when Robert changed over to a lovely clean sounding guitar, and did the chord comping I described previously.  

What a great, great version of “Schizoid Man” – I loved it, if only just for the little extra bits of stunning Fripp guitar – that really added a lot to the experience for me – so again, of the three nights, that’s my favourite version of this particular song – but overall, I still think I preferred the first show out of the three – except for “Fracture” and “21st Century Schizoid Man” which were both definitely better tonight – they were absolutely brilliant, and along with the two tracks from “Islands” plus the two tracks from “Red” – there was a lot of very hot music going on this evening!

Here and now, in September 2016, for us, having the absolutely unique experience of seeing King Crimson play three gigs over three nights in the same elegant, beautiful theatre – and, each of those shows had its own individual “feel”, while at the same time, the three taken as a whole, gets you a really good overview of just exactly what this band is capable of…all I can say about that, is:

Europe, be ready – the great Crimson Beast is lumbering towards you (in an odd time signature, of course) so I hope you are ready, this band is going to change the way you see (and hear) live music forever, with its amazing “front line” of three incredible drummers, and it’s impossibly talented and experienced “back line” full of virtuoso strings and horns – and just 30 seconds worth of “Level Five” will melt you right into your seat! 🙂

Thanks for listening!

Dave

King Crimson Live – September 4th, 2016,  Friar’s / Waterside Theatre, Aylesbury, UK 

Tonight, the second of three King Crimson gigs for us on this, the 2016 tour, was the first “official” gig of the tour, and even though the set was fairly similar to that of the “invitation only friends and family gig” of the previous night, this show had a quite different feel about it in a number of ways.

For one thing, we were this time sat to the right of the stage, slightly above the first floor section of audience on the side, whereas last night, we were near the sound board on the left of the stage. In some ways, tonight’s position was better, for one thing, I could actually see both of Robert’s hands, so that was a bonus.  Being slightly above, we could probably see and hear quite a bit better than the previous night – also, I very much noticed Gavin’s drumming much more tonight (and it was fantastic!!) whereas last night, I mostly noticed Pat and Jeremy – so where you sit, definitely makes a difference to the sound.  And it sounded good!

This fortuitous event of being just a tiny bit higher up  enabled me to see some small details that I missed last night, for example, in my favourite new – old tune, “The Battle Of Glass Tears”, it turns out that it is Robert Fripp playing the eerie, beautiful Mellotron melodies – and that’s all he plays on the song – supporting Jakko’s remarkable vocal. Again – this short, short song, with it’s incredible visionary lyric, is the high point of the show for me – with one possible exception – which is the re-vitalised “Fracture”. This started off better this evening, although there was one single high note that Robert missed, during the introductory part of the song – much to his chagrin, but hey – it’s opening night, and that’s a tiny, tiny mishap.

However, the performance was otherwise unmarred, and reached a remarkable climax where all of the stringed instruments are just going mad, where a guitar solo triggers a mock violin solo which triggers a bass solo which triggers some interplay between mock violin and guitar, or horns and guitar – and “Fracture”, after about 12 minutes of one of the most complex pieces of music ever penned for a modern rock band – actually ended up getting a standing ovation from part of the crowd – so the crowd loved it.  

In a way, this band can do no wrong – you should hear the audience, every time Robert takes one of those solos with the long whip up to a sustained note, they just start yelling and screaming – they absolutely love Fripp; and when Fripp plays something that is extremely innovative or extremely quick or even just something loud and beautiful, like the ever-sustaining lead guitar note in “Heroes” – the audience just go wild for the Fripp lead guitar.

It was a good version of “Fracture” overall, and I was especially impressed with Jakko’s incredibly accurate rendering of the original David Cross violin part. That was very well done, and I could see what Jakko was having to do to emulate those violins much more clearly than the night before – and it was impressively weird.   

Jakko is literally a bit of a musical magpie, and he wants every detail to be perfect…as evidenced by the fact that even though he has to sing the vocal on “Cirkus” (and let’s face it, on every song that has lyrics!!) he still takes the time to learn all of those impossible, high speed acoustic guitar runs in “Cirkus” and rip through them as if they were nothing, all the while singing – I am as always, really impressed with the quality of Jakko’s guitar playing, and I wanted to point that out in particular.

I was very pleased to get to hear “Cirkus” for a second time, and it did not disappoint, a great vocal, but the star of this show is undoubtedly the remarkable Mel Collins, whose playing on this song is just so, so beautiful – flowing, powerful, free, melodic – perfect. I really love this strange, strange song !

“Worship!” cried the clown, “I am a T.V.”

Making bandsmen go clockwork,

See the slinky seal Cirkus policeman;

Bareback ladies have fish.

Strongmen by his feet, plate-spinning statesman,

Acrobatically juggling-

Bids his tamers go quiet the tumblers

Lest the mirror stop turning…

Robert and Mel tend to steal the show a bit when it comes to taking solos, but all of the members of the band get to take solos, including Jakko and Tony.

One highlight for me tonight was the ever-powerful “Level Five” which featured a stunning dual pick scraping down the low E string by Jakko and Robert as the song came literally to a screeching halt – that was pretty fantastic after being treated to a top-notch version of the song; it had an even better ending!

The unexpected tracks tonight, were two additional tracks from the “Larks’ Tongues In Aspic” album, namely the shortest version of “The Talking Drum” I have ever heard, followed by a pretty satisfying “Larks’ Tongues In Aspic, Part II” – with Robert’s guitar tones sounding pretty much exactly like they do on the USA album – they have dialled in a wicked tone for his distorted rhythm guitar parts. The same wicked rhythm guitar is on display in the first long track the band plays, where Robert fades in his choppy high-speed chords for the coda of “Larks’ Tongues In Aspic, Part 1” – it sounds perfect – just like the record.

That kind of attention to detail, getting the exactly correct guitar sound, for iconic riffs or iconic chord sequences like the coda of LTIA Part 1, are what make this band so, so special – right down to the laughing box at the end of “Easy Money”, which was strangely omitted from tonight’s set. In fact, while we did get two “new” tracks in the form of “The Talking Drum / Larks’ Tongues In Aspic, Part 2” the price we paid for that was the loss of both “Easy Money” and “Sailor’s Tale” – and a show without “Sailor’s Tale”….well, I am not as sure about that.

But if I forget about the fact that I did get to see those two songs during last night’s show, and concentrate on tonight’s set list only, it still a very powerful and very representative set of fine King Crimson material. Here is the full set list:

Soundscapes

Hellhound Of Krim or Devil Dogs Of Tesselation Row (Drum Trio)

Larks’ Tongues In Aspic, Part 1

Pictures Of A City

Cirkus

Fracture

The Letters

Meltdown

Red

Epitaph

The Talking Drum /

Larks’ Tongues In Aspic, Part II

[INTERMISSION]

Devil Dogs Of Tesselation Row or Hellhounds Of Krim (Drum Trio) 

The ConstruKction Of Light

The Battle Of Glass Tears

Vrooom

Suitable Grounds For The Blues

Unknown / New Song (Instrumental – featuring two guitars) /

Level Five

Starless

[ENCORE]

Banshee Legs Bell Hassle

Heroes

21st Century Schizoid Man

So I would say really, more similarities than differences, although interestingly, a couple of songs, mostly notably my personal favourite “The Battle Of Glass Tears” ended up being moved as compared to the previous night’s set – for reasons unknown.

Certainly, the arrival of “Talking Drum / LTIA Pt. 2” meant that a few things had to change, so I assume that it’s mainly due to that more than for any other musical reason. It was curious though, hearing the dead stop end of “The Battle Of Glass Tears” dive directly into “Vrooom” without hardly having time to draw a breath, whereas last night, “Glass Tears” was followed by “Meltdown” instead – a very different sounding sequence there.

I did enjoy “Meltdown” on both nights, I still prefer it to “Suitable Grounds For The Blues” and I have to admit I am quite starting to actually really like “Meltdown” – at least, the music, if not the somewhat overthought lyrics (sorry Jakko – only Peter Hammill is allowed to use the word “lexicon” in a song) – but I do really like the tune, and especially the almost Crafty-like dual guitar part – which is truly beautiful.

The encore was identical to the previous night, with the very upbeat “Heroes” getting the crowd very excited and then “21st Century Schizoid Man” to remind the audience just exactly which band this is they are listening to – a great, biting vocal from Jakko, and fantastic ensemble playing of a classic of progressive rock and the perfect final track for another great night of King Crimson music.

The feeling was a little bit different in that I think the band were a bit more on edge or nervous than they had been at the “Friends & Family” show, so maybe that was why there were a few tiny issues, but once again, the performing power and the virtuoso playing from all seven musicians, cannot be denied, is unparalleled, and was evident in spades again tonight – another great show as always.

There is no other band like King Crimson in the world today, partially because of the absolutely unique playing styles of Robert Fripp and Mel Collins, and to a slightly lesser degree, Tony, Jakko, and the front line of fantastic percussionists – those virtuoso playing styles just set this band apart, and having that amazing back line of incredibly talented musicians is why King Crimson 2016, sounds so astonishingly good!  

Beautiful music, made by the best progressive rock musicians on earth – spanning two generations, too – a band that is utterly unique with a remarkable canon of incredibly difficult and wonderful songs – long may they play those songs and allow us to hear – what a fantastic privilege listening to this band really is.

Another great night.

See you tomorrow !!!!

Peace & Love

Dave 🙂