Remembering John Sinks… and “Hope”

Co-author of perhaps the most melodic and delicate piece of Crafty repertoire that the short lived but absolutely brilliant Robert Fripp String Quintet performed live at their remarkable shows back in the early 1990s – John Sinks was not just a musician, composer, or Crafty Guitarist – he was all three of those things certainly, but he was also, so, so much more – guitar tech extraordinaire for King Crimson / Robert Fripp, John worked in the industry for many, many years and gained an amazing wealth of audio knowledge that he shared freely and with great kindness to all he came into contact with.

I was fortunate enough to be on a Guitar Craft course during the same week as John was and the following remembrance examines an afternoon spent in John’s company – which changed my entire life dramatically and sent me down so many new and exciting “musical paths” that I am still exploring today so, so many years later.

When I learned on January 15th, 2020 that John has passed away back on December 29, 2019 (may he rest in peace) I was immediately moved to try and capture something of the indomitable spirit of the man by recounting my one and only encounter and interaction with him – one of the best experiences I ever had and one that has helped me, encouraged me and informed me every since that day back at the beginning of the 1990s.

At the Guitar Craft course that both myself and John Sinks were at, I do not know however if he was only present in his capacity as Robert Fripp’s guitar tech, if he was attending that course in full as a Crafty Guitarist – or perhaps both – but by sheer chance I ended up in John’s company for one remarkable, rainy wish of a day in Los Angeles, California – as I had rather recounted the following experience in a Facebook post on January 15, 2020 I thought I would present it here in a less raw, more formal setting as part of a blog – rather than in the “unedited not proof read” version that I accidentally-posted-before-I-was-even-done-writing-it original Facebook post.

Here is that post in a much more readable form:

 

Eulogy – John Sinks – who passed on December 29, 2029

Written on January 15th, 2020 by Dave Stafford – as a remembrance of a gentle, giving person and of an astonishing and unusual day spent in John’s company.

 

 

[Written immediately upon reading the announcement from Robert Fripp of the passing of John Sinks late on January 15, 2020:]

 

 

This is so so sad.

I have an abiding memory of an afternoon spent listening to John speak at length about RF’s then guitar system’s signal path, speaking to a group of Crafty Guitarists who had accompanied Robert to a secret recording studio in Michael Kamen‘s house in Los Angeles, CA on a very, very stormy, rainy afternoon – and while RF was laying down guitar tracks with Midge Ure (whose album he was contributing to at Ure’s request) in the main studio, outside in the studio’s anteroom, John Sinks held court to perhaps a dozen of us who were on a very short hiatus from a week-long Guitar-Craft -course-in-progress a couple of hours away outside of Los Angeles.

An unforgettable day for myself which began with suddenly meeting Midge Ure – as he and i both ran full tilt – (absolutely bolting since it was such a torrential downpour) through a blinding, stinging rain, running up Michael Kamen’s driveway to get out of the downpour…then ending up out in the studio’s anteroom, hearing both the recording session through the playback monitor as we all sat transfixed listening to John carefully and meticulously, step by step, explaining exactly how Robert’s complex stereo looping guitar system worked.

I had very little technical expertise at that time and I think I learned more about signal flow, signal routing, alternative ways of achieving audio goals – sheer genius pedalboard and rack mount design – that day, certainly more than I had ever known to that date, and possibly more than I have learned SINCE that time – it was an absolute master class in sound design, and even though I did not understand some of it, I would ask questions and John would patiently backtrack through the explanations made so far and clarify the meanings as needed.  His patience was amazing and his ability to clearly explain difficult audio or routing concepts was impressive to say the very least.

He made this somewhat specialist and possibly “dry” topic come alive and his enthusiasm was infectious – soon, almost all of us in the room were joining in with questions and observations – making it one of the most interesting and most challenging technical discussions I have ever had the pleasure of taking part in.

And what I learned just from listening to John Sinks speak about Robert Fripp’s guitar system, has helped me and inspired me when I have subsequently tackled audio technical designs of my own making – for many, many years to come and still today.

(Literally as we speak, I am designing a new guitar and synth pedalboard that I could not have made without what I learned that day from John – so his skill and knowledge is still working through my hands as I prepare my own built-from-scratch pedalboard for my upcoming live shows later in 2020 with Mach 17)…the legacy of that day and the value it had to me and for me, technically and philosophically – lives on into the future as I build this new board…

Even still today, that eye-ooening opening master tutorial on looping, guitar signal path options has stood me in great stead as a source for creative, innovative ways of routing audio signals to achieve just about any goal for your guitar sound, whether it be for a live or a studio project, and I owe a real debt of gratitude to the memory of John because in one afternoon, he imparted so much experience, expertise, skill and valuable, valuable information to myself and that small group of Crafty Guitarists who had opted to travel with RF to this rainy day Midge Ure recording session at a secret home studio in Michael Kamen’s house…

I have never forgotten that remarkable afternoon, set to the unbelievable audio backdrop of Robert Fripp playing guitar solos onto tracks for the then-next Midge Ure solo record, listening to John Sinks speak – with passion, at length – about a topic he clearly loved and knew so, so well – it changed my own perception of what a guitar system was and what it could be if one applies intelligence, logic and creative design to the process of getting a signal from a guitar – through a carefully and thoughtfully designed sound system – ultimately to the ears of the listener as beautiful looped, stereo guitar sound – an absolutely amazing experience.

I had never met John before that day – and I never encountered him again after it – but that one rainy afternoon in LA changed me and my perception o how guitar audio CAN be processed – with incredible ingenuity and undeniable creativity – if you just apply logic and patience to solving each audio or routing challenge – until you reach the point where things actually sound the way you intend them to sound – the way you “hear them” in your mind’s eye and imagination.

I went to that session with almost no experience of guitar sound design – and after just a few hours of discussion led by the amazingly knowledgeable John Sinks, I walked away with the basis for all of the audio / guitar sound design I’ve consequently done in the ensuing thirty years or so!!

That day changed everything – and thanks to John’s persistence and patience, I came away from that session with a new and exciting understanding of what is possible for the modern guitarist using technology applied with intelligence and care.

What an absolutely brilliant day that was – and sadly, I never had the opportunity to thank John for taking so much time to explain so very, very much about guitar signal processing – so I am saying it now:

“Thank you John Sinks.”

Thank you for sharing so, so much of yourself with us that day, and for giving so unselfishly of your hard-won knowledge, experience and skill that we who listened that day…might someday benefit from what we learned then – and the value of what i learned that day cannot be underestimated- it changed EVERYTHING for me…in such an incredibly good way.

The patient explanations and the generosity of spirit that moved John to share so very much of himself with a group of complete strangers – also cannot be underestimated.  What a remarkable gentleman and a great loss to all who knew him – and even those of us who only briefly encountered John – like myself.  But as in my case, that brief encounter was such a positive and uplifting experience that it was an all-encompassing, incredibly, and very practically useful for anyone pursuing the craft of playing the electric guitar well experience  …his skill and knowledge were an unexpected and truly valuable , and inspirational – input into my life.    

Thank  you,  John  Sinks.

 

And also thank you for co-composing (with Antonio de Honestis) one of the most singularly beautiful pieces of Crafty Guitar repertoire that will ever exist – the exquisite, delicate, ethereal, melodic and simply stunning one of a kind song that is “Hope”.

 

Rest now.

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”:

> > > > > > > > > >

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.

> > > > > > > > > > > > > > > > >> > > > > > > > > > > > > > > > > > > > > > > > > > > > > >

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.

 

You have a choice – of what you listen to…

 

Sometimes in the world of music, strange things happen that don’t make an enormous amount of sense to me.

 

 

One of those things – which happens regularly, and has almost certainly become much worse over time – is the odd and very wrong correlation between truly good, truly inspirational or truly meaningful music – and an artist’s “popularity” – whether that is reflected in record sales, media exposure – it doesn’t really matter – this undeniable fact remains:

The “music industry” rewards and promotes artists that produce a particular “kind” of product, which seems to have but one criteria:

“Can this ‘product’ make us money (and lots of it)?”

 

The industry has always been interested in money, while over time, showing less and less interest in the actual music.

The inevitable upshot of this, unfortunately, is huge media exposure and significant sales for the “right kind” of artist (according to their entirely greed-driven “criteria” of course!) – usually (not always but often) an artist with only a modicum of musical ability or actual talent – the Industry wants as many of these “money-making” artists as possible – and consequently – the rest of the bands and musicians in the world, who do not meet this “Magical Money Making Criteria” – well, they struggle in such an environment (a harsh, cruel demanding environment).

Artists with genuine skill – with real talent – whether that be the mastery of an actual music instrument, or a singer with real vocal skill and dexterity – or artists who have unique and notable skill as songwriters or producers of cutting-edge, modern forward-thinking music – are first of all, always in the minority in the minds of the record companies, and during the last couple of decades, many of them felt so uncomfortable or unhappy with this “business arrangement” – that they sought other ways to move through the marketplace – ways NOT dependent on being signed to a major label, and in fact, NOT dependent on a record company or the music industry in any way shape or form – and that is a good thing.

So rather than having to kowtow to the system, and beg on bended knee for a “record contract” that won’t be favourable or good (unless you happen to be one of the one-in-a-billion who actually meet the Magic Money Making Criteria) – so they either formed their own independent labels (one example of which is Robert Fripp & David Singleton’s remarkable DGM – Discipline Global Mobile – an artist-centric label if there ever was one) or moved to labels that support quality music over sheer money-making prowess.

 

The above merely states a problem that exists, and of course, it’s subjective – there are exceptions, of course, to every “rule” or “theory” – and this theory of mine is no exception to having exceptions.

Of course, there are a number of bands, artists and performers, who sell enormous amounts of records, get massive media exposure – AND they are real musicians of quality – they actually play their own instruments, they have studied music or been working musicians for the majority of their lives and have learned from the sheer experience of being on the road in a working band for 30, 40, 50 years or more – that end up in the same financial space as the “Money Making Artists” who do not necessarily have the actual skills, talents, or abilities that make them admirable to fans of real music and the more discerning listeners.

 

One of the biggest issues here, I think, is the traditional “record company” or “music industry” view of artists as “money-making machines” – but more specifically, their view that CDs, DVDs, and other saleable items that present music – are “products” – and of course they are products – but the record companies, over time, seem to have shifted from viewing an “album” or a “CD” as a record, a recording of music – it it’s simply become a “product” – they have transformed it from an object of joy and wonder into a simple and depressing object of commerce – a product (ugh) in the most negative sense – and then it gets dealt with like a product:

 

  1. How many can we produce as cheaply as possible to maximise profit?
  2. How many can we sell at as high a price as possible to maximise profit / greed / etc.
  3. How can we sell as much of this “product” as possible / in what ways can we “market” this to maximise profit?

You can just about see the common denominator there… hmmmm.

I can remember in the 1970s (and farther back than that, I am afraid) that there was still the “illusion” that music and albums were about….music and artists – and music itself – songs – albums – mattered – and record companies (in some limited cases at least) actually cared about the music that “their” artists produced – as music – and NOT just as a “product”.

 

But – the view of album or CD as “product” – WAS always there – it’s just that over the past several decades – that idea has grown and grown – and the ideas for maximising profit go even farther back – which is why there were so many cases of musicians and bands receiving literally a few pennies for each album sold – while executives and record company board members and owners, skimmed 97 percent off the top – these “recording contracts” or “deals” were just atrocious and utterly unfair to musicians who worked (often all of their life – and sadly, often ending in poverty and dying alone and forgotten) at music – for their entire life time, dedicating every hour to writing, performing, and living and breathing music that they truly believed in.

 

So as the “music industry” and “record companies” have more and more viewed the output of musicians as “product” – the idea that music is anything but a money-making tool has all but disappeared from their minds.

In other words, if artist isn’t selling x million “units” of their “product” then the industry is no longer interested in that artist. Artists were regularly “dropped” from labels for not shifting enough “product” – some who had in fact, sold very well for the first ten years of their career – when that 13th album failed to shift a million – the record company would just terminate the contract because the artist was no longer producing the kind of money (not – the kind of music) they are interested in – large amounts of money.

That artist would have been faithful to that company for decades, making lots and lots of great records that sold well – but as soon as the sales fall away even a little bit – and the cash cow doesn’t look to be able to generate massive income as it had done – it was “out the door” for that artist – who then had to scrabble around and find a new or different record label with the stigma of having “just been dropped by one of the majors” which means their ability to negotiate with their new label is automatically negatively compromised…they are not a “hot property” anymore, because the record company kicked them to the kerb.

The really ironic thing there, is that the example of “that 13th album” I gave – that mythical 13th album would very probably be a musical and artistic triumph – a “critical success” – i.e. the critics loved it, the fans loved it even more – but it did not make enough money to satisfy the greed of the industry.

It might even have been that band’s musical masterpiece and the pinnacle of their career – which might have spanned 20, 30 years – they reach a point of musical maturity and consummate skill – they make an AMAZING, beautiful record that their fans and followers absolutely love – even the critics like the album – and their “reward” is – being dropped from the label and finding themselves out on the street with no label support.

 

As noted above and elsewhere – artists and bands that ended up in this situation, have dealt with this problem in many, many different ways:

  • Some simply moved house to another traditional label and carried on their career on a new label.

 

  • Some could no longer stomach the product-centric, money-centric, and let’s face it – greed-centric attitudes and practices of the music industry, and moved to an ethical company such as DGM.

 

  • Some decided that the best solution was to become their own record company – and would either form an actual company to produce records, market those records, take care of distribution, etc. themselves – and, getting dollars per CD, instead of pennies which I view as a positive thing.

 

  • Others created a sort of “cottage industry” where they form a “record company” of sorts – or a record label – and some aspects are dealt with via external contracts – but control is still central and still belongs to the artist.

 

Others…possibly – lost heart to such an extreme – that they did none of the above, and after having their faith in their 20 or 30 year relationship with a major label so badly shaken by being suddenly, and without warning, “dropped” because their 13th album was the first one that DIDN’T sell one million copies…causing them, sadly – to just give up.

They stopped playing music, and perhaps, changed to another artistic pursuit (a lot of musicians seem to end up as painters – artists still, but using a paintbrush instead of a plectrum to make their art) or even dropped music altogether and got a “normal job” – and left the greed and corruption and disappointment – behind – forever.

 

Kicked to the kerb, surplus to requirements – dropped by your label.

But in these cases, the length of their career as a major label star, that sells millions – is limited to merely month rather than decades as it was previously. So “stars” are made, the money is sucked out – and then they are dropped in a now-very-rapid-turnover-scenario that literally ingests hapless singers or rappers or whatever – pushes them through a pre-defined process producing some of the most lifeless, vapid “music” ever made – said music is marketed in an extreme way – a LOT of money is made (and the musician will see very little of it proportionally) – and then – they are dropped when their next song does not succeed – and more, “fresh talent” is sought, brought in – processed – dropped – repeat ad nauseam forever – a very, very sad and pathetic cycle that is even worse than the record company behaviours of yesteryear.

 

Whereas – in contrast – today’s modern musicians, who have learned to play actual instruments and taught themselves to write and perform their own music – do not depend on the record industry for anything – and simply produce music that means something to them – presented to the world through both YouTube and a plethora of different social media outlets – and we instantly have a new and amazing world where lesser-known musicians can compete with the biggest stars – and often surpass them in musical achievement.

 

The other upshot of this truly unfortunate situation, besides how discouraging it is for these “ordinary” musicians (who generally speaking, are anything but) – is that artists with amazing talents are often ignored, missing in action, cannot sell records easily, or are otherwise downplayed in the marketplace simply because they are not artists with the magic “this artists is gonna make us RICH” formula – instead, they offer honest, heartfelt music that they make because they love music – not because they want to get rich – they want to earn a living as a musician – and hope that some will hear and appreciate their music.

But, sadly, so much of this good music is so far under the radar, or at best, hanging on at the periphery of the normal “music industry” – outside the pale – it’s an unfortunate situation but it’s difficult in this day and age – to get music of quality heard or appreciated because the world is geared towards the shifting of product rather than, the sharing of inspirational and beautiful music.

And – via the gradual but insistent brainwashing of the record-buying public by the music industry – who pretty much “force feed” us the latest records by “popular artists” (their opinion – not mine!) such as but not limited to Juslake Beaver, Tailor Sweeft, Ariande Latte Grande, Ed Sneeran, Lady BlahGah, Smiley Cyprus and on and on – big names maybe – but I have questions

  • How many of these folks can actually write a decent song?

 

  • Which ones can actually play a real musical instrument?

 

  • How many of these can actually sing – and I do not mean sing through a pitch correcting vocoder or other technology that can easily take a poor or even downright bad singing voice and at least, force it into “tune” – whether that has any actual qualities worthy of our admiration – is in doubt in some cases.

 

Sure – some of the people that I have poked gentle fun at by naming them in a slightly disrespectful way – actually – I find it difficult to speak these names aloud or write them out properly – because I actually find a fair percentage of them slightly objectionable – because they are making millions, by “singing” or “playing” – while countless hundreds of thousands if not millions of real musicians, who have real skill on an instrument, real singing ability, real song writing or production skill – are ignored, not heard of, cannot sell records – because they are outside the system – the system that produces these “products” made by these “big name” artists.

Sigh.

 

None of this is very cheering, but there is always hope. I think a lot of artists have handled this transition really gracefully, and seem to be more settled and much, much happier running their own affairs as compared to their previous experience of “record companies” and the “music industry” – they seem far happier, and well-adjusted – making music on their own terms – and having their own destiny in their own hands.

 

I think that is fantastic – more power to them, and I can only send my best wishes and hope that their music will be heard by those who need to hear it – and I also think that his mass-migration of musicians from the major labels to either, ethical labels or to their own self-created labels, companies or cottage industries – is one of the best and most positive outcomes of this entire dark, negative “the product rules” attitude and practice of the music industry – because it has effectively, de-centralised what was a terrible monopoly held by the major record companies, where the amount of control that they held and exerted over their artists was a truly awful, almost evil thing – and by walking away, by closing that door – and opening a new way – these artists have set the stage for a real revolution of self-producing, non-record-company-depended truly “independent” artists – and I think that is absolutely wonderful – and about time, too.

A lot of musicians have suffered a lot – many literally ending up in true poverty because the record company took most of the money that was made – and some of these poor musicians ended up in the worst situations imaginable – especially back in the 1950s and 1960s when most of the greedy machinations of record companies were not as publicly known as they are nowadays – much has come to light during the past few decades – often through the personal stories of the musicians themselves (have a read of Robert Fripp’s Diary at DGM Live for one such tale) – who, after suffering at the hands of the music industry for decades – finally came forward to tell their horror stories – so gradually, the truth of the behaviour of these large record companies has come to light – and it is not a pretty story at all.

 

I don’t generally like to focus as much on negative behaviour as I’ve had to in this blog, but I felt it was important to set the scene for some of my upcoming blogs  – what I am really here to write about – and that is one of my ongoing stories regarding musicians that are NOT as well known.

In writing the above…I hope I have expressed and explained the kind of roadblocks and difficulties that so many great (but possibly not very well known, sadly) musicians have had to endure and then, eventually – thankfully – overcome – and I literally believe this to be a real triumph of the human spirit – and a great example of a great good coming out of a bad evil.

 

Really, the bad behaviour and greed of these companies – when brought to light by the sad facts of their behaviour and the way they treated “their” artists for so, so long – well – there is some vindication now – music is triumphing, and the record industry – has almost nothing to do with that.

In the past – you “had to” have a record deal to make records – or CDs – and you “had to” be signed to a label if you wanted to have the ability to manufacture, market, and distribute your music on any scale small or large – you had no choice.

 

Now – there are choices – and I think, that getting a “record contract” or “signing with a major” is probably the worst of those choices. Sure – they have massive distribution channels, and massive marketing departments that CAN and do promote albums on to sell in massive numbers – and for the “popular artists” of the day, those few that actually meet the criteria of “money making magic” – i.e. they “feel” lucrative to the record companies – because they sense the millions and millions of dollars that will probably soon be lining their pockets the next time they create a “product” for one of these “popular artists” – and that product then sells in the millions thanks to the machinery of the record industry.

 

But – “the times they are a-changing” – and the biggest change of all is certainly the Internet – which has enabled a number of extremely talented musicians – and artists and sculptors and wood-workers and people engaging in crafts of many, many diverse types – musicians can now gain massive popularity – and gain a large audience – if their music is good, if they are a sincere and committed artist – simply by producing and performing their own music and broadcasting it over the Internet – and then letting the people decide – what music do I love?

 

For me – the choice is clear – I am interested in music that is created by skilled, talented, committed musicians who primary interest and goal is CREATION – creating music that is beautiful, inspiring, or very, very unusual, using groundbreaking techniques and technologies that were previously unimaginable – especially in the world of the “traditional” record company – who are set in their ways and methods – and they can carry on doing what they do – but I don’t really care.

 

Because I will just seek out real music, made by real musicians – and I will NOT be seeking out “product” produced by “record companies” – any more – except in those rare cases where real music, made by real musicians – happens to also be extremely popular, and happens to sell in huge numbers – rare, but not impossible (please see my final remarks below regarding the extraordinary musician Billie Eilish for a working example of this rare possibility).

 

I’d prefer that it happens (massive success of music – not products) where the artist is NOT signed to a major label, and that those artists can actually sell millions of CDs or more likely, downloads – without a greedy pocket-invading record company attached at the hip, taking 95-plus percent of the proceeds when it was the artist that actually did 105 percent of the creation of the music.

As time has gone on, I find more and more that most of the music I am interested in – is produced by ethical record companies, artist owned companies or distribution networks or even direct from the artist to consumer sites of which there are more and more and more every day.

That’s how it should be – it needs to be about the music – not about “product” and how much of that product can we shift and how much ridiculous money can we make from that “product” – that is old world thinking and in the brave new world of 2020 and beyond – I am so, so happy and glad to see things changing in this way – so that we can get back to what is important – the music itself.

 

It needs to be about the music.

 

I think that some people just “like music” in a very vague and general way, and they don’t care about what music is playing – they will happily listen to what the radio is playing, and they will learn to like artists not based on their skill, talent, or song writing ability – but because they have been told “this is good music” – when in reality – what that actually means, is “this is the music we want to sell and make a LOT of money from, so we want you to like it – so you will buy it – and make us wealthy”.

I was always amazed by this type of person – and I would say to them “you are content to listen to what the radio tells you is ‘good music’ – wouldn’t you rather explore the actual sound of different bands and artists yourself, and make up your own mind ?? – instead of allowing someone (the record company) who is driven by one non-musical idea – greed – to DICTATE to you “what good music is” and “what you should be listening to”??

 

They would generally just give me a blank look and profess to not really knowing what the hell I was talking about.  But I have given this a lot of thought, for a long time – and I am finally now finding time to suggest these ideas and I hope they can be received and used in a positive way that brings a lot of new, creative, inspirational, unique and beautiful music to a lot of listeners who may well be missing out on a lot of great listening experiences – because they just haven’t considered this question of “who” is telling them “what” music is good and “what they should be listening to” or liking – and I truly believe that this choice should come from within – and not from the record industry’s rather obviously money-driven “suggestions”.

 

I learned to love music by first, hearing it on the radio – but there is stopped – sure, I went out and bought records that I had heard on the radio – back when I was a kid or a teenager.

But very, very early on – in my early twenties certainly – I began a much more organic process of music discovery – which is basically – word of mouth, discussing the merits of various artists with strangers you meet in your local record store (and some of them becoming life-long friends, as it turns out – such as my good friend Michael P. Dawson – who I met in Off The Record on El Cajon Blvd many, many decades ago now) – reading about artists in music magazines – the method was not important – but what is important, I think, is that I was CHOOSING my own music.

Meaning too – that NO one else – was choosing for me, or choosing on my behalf – it was 100 percent of my own volition, my choice of music, of artists that resonated with me personally, what sounded great to my ears, what sounded beautiful – what sounded unique – and I just ignored – and still ignore to this day – what the record industry or what record companies – “recommend” – no thank you – I can make my own choices here!

 

Additionally, by listening to one group, I might then discover another (or many more in some cases) and then from that artists, another – and the process over time – over the past few decades in fact – has led me to learn to love and spend a lot of time listening to a lot of artists that are really not that well known – but I personally find them infinitely more satisfying to listen to than the “popular music” “products” that the music industry is “recommending” – selling to you regardless of whether you actually really love the music or not – they do not care about that at all – as long as you buy a copy.

 

If you really sit down, and listen – listen with your ears, your brain, your whole body – close your eyes, listen with your heart, if you will – and listen to the qualities of the music you are listening to – you will realise very, very quickly – that a lot of these mass-produced, mass-marketed “musicians” (and I use the term very dubiously there – to my mind, many of these popular, massive-selling musicians are not musicians but almost more like imaginary “singers” who can’t play any instrument, don’t even know what a scale is – and just “got lucky” or “had a lucky break” and got themselves a lucrative money-making contract with a major record label) – and sadly – that has very, very, VERY little to do with music.

That might seem like an extreme position – but I would challenge you to compare side by side, music made by million selling artists who do not play an instrument, who do not write songs, but simply do as they are told and play their part in the creation of “products” (not music, but money making noise a lot of the time) that are quickly and mass-produced with a view to cash in on the short-half-life that some of these artists have – they have one huge “hit song” – MILLIONS are made by the record company – and then they disappear when their follow up song “fails to chart” – and the same old cycle takes over…with the music of lesser known, unfunded, self-sufficient real musicians who play actual instruments, sing beautifully, have real skill at modern production or some kind of actual ability, talent or skill – and I think that the latter group will consistently sound beautiful and inspirational – and for me, anyway – the majority of those “artists” inhabiting the former group – feel “manufactured” and sound thin and lifeless by comparison.  That is how it sounds to me, that is how it feels to me…lifeless.  Uninspired.

 

 

During this “Inner Revolution” of empowered artists making their own media and presenting it on YouTube and via Social Media – I have begun to enjoy and listen to a huge number of artists that previously I was unaware of – had never heard of. A lot of truly beautiful, absolutely amazing music is now available on YouTube and on the Internet – endless, beautiful, real music made by astonishingly talented and creative musicians.

And nary a record company in sight – thank the Gods.

Now back in the day – before the Internet – early on I decided that while there was the occasional song on the radio that I liked or even liked a lot – that radio, and other media controlled by the music industry – did NOT have my best interest at heart. They wanted me to like certain artists so that I could join the millions who blindly, and without thinking AUTOMATICALLY buy every release by popular artist Artist Name Goes Here – because they have been TRAINED and GROOMED to do so – subconsciously perhaps but trained nonetheless – by the music industry.

They wanted me to like, and then BUY – the million selling artists that they wanted to make more of, sell more of – and that was once again – just to satisfy their endless GREED!

I refused this. I did not want ANYONE to tell me:

  1. What kind of music I like to listen to
  2. What kind of music I enjoy
  3. What kind of music I should purchase (with my hard earned money)
  4. Which artists are “good” and that I should like them because – they SAID they were good (whether they actually were or NOT) – and usually – they were NOT good – not talented – not capable of much of anything except – creating product, selling product, and being on a very short roller coaster ride of “fame” that will almost certainly DAMAGE them more than it will ever help them
  5. No company – or individual – has any right to dictate to me what I do, what I listen to, what I like, or what I buy – they can “suggest” but I for one – I refuse this – and I want to MAKE UP MY OWN mind

 

For some strange reason – I decided this very, very early on – when I was a teenager or just shortly thereafter in fact – and I have stuck to this tactic ever since. I don’t generally like what is “popular” (because “popular” is artificial – it’s dishonest – and it’s totally contrived and fed to you by greed-driven record companies – they do NOT care about you – except as a source of MONEY) and I want to form my own opinions.

 

Pre-Internet, this could be accomplished in a number of ways – through conversations with other real listeners to real music, from reading about music and bands and artists where that reading then led to listening – and so on.

As one random example of this – one of the bands I happen to like is Roxy Music, who you have probably heard of – and since I am a guitarist, I really like Roxy’s guitarist Phil Manzanera – he has a unique and beautiful style of playing guitar, and I have always enjoyed his playing.

 

[AN EXAMPLE of the word of mouth – follow the players “method” follows]:

 

I had a few Roxy Music albums early on – starting oddly, with an unofficial one called “Foolproof” (an amazing amalgamation of two great live performances)…

 

That then led, to me purchasing “solo albums” by Phil Manzanera and listening to those.

Reading the album sleeves and notes revealed the other musicians playing on the record.

One of the Phil Manzanera records I bought, noted “Tim and Neil Finn” on vocals on various tracks (this is 1978’s remarkable “K-Scope” – one of Manzanera’s lesser-known absolute master works – a must have for anyone who likes creative guitar playing) – and I had heard of them – they were in a band called “Split Enz”.

So reading the album jacket of Phil Manzanera, led me to Tim and Neil Finn – which led me to Split Enz.

A few months later – I had fallen in love with that band; purchased all of the albums I could find by them – and even got to go see them play live on their first U.S. tour – I absolutely love Split Enz – thanks to Tim and Neil being on a little known Phil Manzanera album from the late 70s !

 

Of course then years later – my interest in Split Enz meant that I would then follow Neil Finn’s later band “Crowded House” – which later included Split Enz alumni older brother Tim Finn and keyboardist extraordinaire Eddie Rayner.

So entirely by osmosis – I got into all of the following bands simply by following the names of certain musicians that kept cropping up until I got curious to hear them – and bought a record.  Which would often then – lead to still more artists. In this one example – you could argue that because I liked Roxy Music , that I then over a very short period of time began to enjoy the music of and collect recordings by

 

 

 

 

 

And on and on and on – a wonderful snowball effect of one great musician leading to another to another to yet another…

 

And at the same time – Phil Manzanera’s album “K-Scope” ALSO was a further pointer to me to further explore a number of OTHER musicians who appeared as guests on K-Scope that I was already aware of – such as

 

 

  • Brian Eno (and therefore, of course – back to Roxy Music, to Eno’s voluminous and amazing solo career, and to Fripp and Eno – which of course leads back to King Crimson AND John Wetton…endless inter-connectivity).

 

So by following just a handful of musicians who I admired – I could then learn and grow and experience the bands and records that those musicians had worked on – all because I read one record sleeve.

 

One thing leads to seventeen others – and what a great, great way THAT was – to discover new music.

[EXAMPLE ENDS]

 

Finding the music of Split Enz was a huge positive experience to me – and that was based on the fact that I really, really like the vocals that Tim Finn did on Phil Manzanera’s “K-Scope” album – so much so, that I had to go and find out about Tim Finn’s own band – Split Enz – who I had heard of but never heard.

Tim Finn has a truly beautiful singing voice, and Phil Manzanera recognised this and asked him to sing on “K-Scope” – and the fact that Manzanera did that – led me directly to one of the most astonishing and rewarding collections of music in the current age – the discography of Split Enz.

 

Of course – now – with the Internet – it’s even EASIER to do all of this “cross-pollination” of artists – you see a video and you like the singer – you find out their name and then, what band they came from – you listen to or watch THAT band and you fall in love with that – and it just carries on, and you learn about – and enjoy – more and more and more amazing music by making your own choices – identifying certain musicians whose playing or singing you really enjoy – and then following out to their branches in the “musical family tree” as it were.

 

Regarding what you listen to – and whether you allow radio or social media or anyone besides yourself  “decide” what you are listening to or are going to listen to…I just think that you just can’t believe what much of what you are told.

Just because the record company wants me to buy the latest record (by anyone in my tongue-in-cheek, quasi-fictionalised list of “big name artists” above) – does not mean that (if I am sensible, and thinking for myself – instead of letting them do my thinking for me) that I should buy them.  And I don’t!

 

I think it makes much more sense – to start with music that you truly love – that you found on your own – you were not TOLD to like it – let’s say you grew up listening to your dad’s collection of Marillion records- and you actually really liked them – because they are real musicians who really play real instruments and they write their own songs – and they are pretty good at what they do – so starting there – instead of following what ANYONE told you – you made a decision for yourself – “I like this band – I really enjoy hearing their music (thanks, DAD!) – so that then, can easily lead you to a huge, huge world of related music, similar music, or even dis-similar music that has some relation to the music of Marillion – or, to early music via the bands and artists that Marillion themselves love – the bands that THEY loved and were inspired by.

So you read about early Marillion, and you find out that they were influenced by a couple of the most important and well known “Progressive Rock” bands that started out in the late 1960s – in this case – early Genesis with Peter Gabriel as their singer – Fish from Marillion makes no denial that he pretty much based his entire style on Gabriel-in-early-Genesis – alongside the additional influence of Van Der Graaf Generator founder and vocalist Peter Hammill.

(Interestingly – I was at the Steve Hackett concert in Edinburgh just last night – November 25, 2019 – and Fish walked past me a couple of times – he was in the audience to see Steve Hackett’s recreation of Genesis’ “Selling England By The Pound” – so that confirms that there really was a very strong influence on Marillion by early Genesis – not that there was ever any doubt about that – but Fish was there – listening.  Still.  That’s a nice affirmation of one’s influences – it was why I was there too – because Hackett was a huge early influence on my own guitar playing back in the early 1970s – he was so different, and seeing him live in 1975 performing “The Lamb Lies Down On Broadway” with Genesis changed me forever in a lot of profound ways – and it set me down a much different course in terms of the music I love, and, the kind of guitar melodies and ideas that I like to play – a massive influence.

 

So from making your own decision that you actually really enjoy the music of Marillion – that could easily lead you to discover the brilliant early music of early Genesis and Van Der Graaf Generator – and if you follow those two trails, you will end up at Robert Fripp, King Crimson, John Wetton, Bill Bruford, Brian Eno and a host of other extremely capable, talented brilliant musicians – but who they are does not matter – what DOES matter – is that the choice needs to be YOUR choice and yours alone – and NOT the choice of radio programmers, or TV, or what the record companies would very much like you to buy so they can get themselves a few more houses in a few more countries and some extra sports cars and swimming pools and so on – and because I am a contrary old son of a gun – I want to THWART that – I don’t want the record companies to get rich – ESPECIALLY if they are taking MY money from me (as well as taking away my choice!) to do so – I want my money to go to the artists that create the beautiful music that I love – NOT to a disassociated, greedy executive that wouldn’t know “good music” if it hit them right between the eyes.

 

I want to make the choices – and I choose MUSIC over PRODUCT – every time.

I choose what I like – not what anyone TELLS ME I like – every time.

 

Listen with your heart – really listen, and if you don’t already hear and see it – you will soon see that the list of big name, top-selling artists – that a lot of their music is of a much lesser quality than the music of real musicians who are not part of the Record Company Contract Machine Process any more.

There is so, so much amazing music available now – and not nearly enough time to listen to it all.

 

You can avoid a lot of the bad music – by deliberately refusing to participate in the brainwashing exercise that the music industry and the record companies is forcing onto you – telling you what to listen to, what to buy, what artists are “good” – it’s all nonsense – YOU should be deciding these things – not some faceless, greed driven company.

 

I say – do not listen to what they say to listen to; do NOT buy what they say – but instead – listen to a LOT of diverse and interesting music – and buy what YOU like – not what they tell you to like.  Buy what speaks to your heart, what makes you happy, what music makes you feel good – the music you have chosen for yourself to enjoy.

 

 

You have a choice – please use it – and support artists and musicians directly whenever possible – and do not support a bad business model that was always unfair to artists and in many cases, was extremely damaging to them – and please do not let a faceless corporation tell you what to listen to and what YOU like – only YOU can truly decide that – but it means some effort – you have to listen to a lot of different music and then make up your mind what you want to spend your precious time actually listening to.

 

Today – I’ve been listening to the remarkable Martin Newell (in particular, the 1995 EP “Let’s Kiosk” and the 2000 album “The Spirit Cage”) – as well as selections from various albums by the remarkable singer / songwriter Sam Phillips – both very independent artists who have carved a path through the minefields of corporate greed and the music industry and come out on top – and boy am I glad, because I love listening to this music – I’m very, very glad it is available – and I do not have to buy from a major label to get it, either.

That’s the best of both worlds – I am making my own choice of who I listen to – AND I am supporting the artists I love directly whenever possible by buying direct from their websites or web stores.

You have the same choice, and I think a lot of times it would be better – that it is better – to try some new artists that you have chosen because YOU like them – not because some faceless money-making entity TELLS YOU that you like them…when really, maybe they are not all that good – and really, probably – there are a large number of hardworking and very talented musicians out there making truly inspirational and beautiful music – and you may be missing it if you allow your choices to be made “for you”.

 

I just think that listening to lesser-known music can be incredibly rewarding – and I don’t want anyone miss out on the beautiful and moving music that I have found and enjoyed since I consciously started making my own choices many years ago.  Don’t miss this stuff – it’s truly worth it.

 

As a final note – sometimes, artists that appear to be in the “money making / record industry” mould that I have discussed here – happen to be as valid, as serious, as moving and as inspirational – as these lesser-known non-power-money funded artists I am talking about – and a perfect example of that would be Billie Eilish – an extraordinarily talented singer and songwriter – who has had an absolutely meteoric rise to huge popularity and “fame” – but mostly done outside the confines of the worst excesses of the industry.

I have huge respect for people like this – who have the vision, the talent, and the songwriting chops to just “be good” wherever they happen to be placed in the “business spectrum” of the music industry – talent is talent, skill is skill – and for me, an artist like Billie Eilish – who has a much, much larger following than most of the artists I follow – is equally as important and vibrant as the many less-known musicians that I also follow, listen to and admire – so it is POSSIBLE (although it does not happen often) that an artist can straddle those two world effectively without compromising their soul or their music – so that needed to be said.

 

Other artists that are products of the “we really want to make a lot of money camp” – can be as untalented or even vacuous as anything – not pleasant, not worth listening to – but propped up and supported by the love of the Almighty Dollar – it’s those that I find difficult to deal with.

 

Choose well – and I hope you enjoy your listening even more now – listening to music is one of the greatest pleasures in life for me – and I’ve thought long and hard about it over time – and things are starting to fall into place – you can see through the cracks – and easily get at what is true, honest, good and also – beautiful.

 

 

 

Have a great day!

 

Dave

 

 

davestafford.bandcamp.com

 

 

 

 

 

 

 

 

Overlooked & Under Appreciated: Master Works by Oft-Overlooked Artists – Sam Phillips

In today’s edition of this as-yet-non-existent series – this being the first in the series (ahhhh – now it exists)  – we are looking at 2001’s “Fan Dance” by Sam Phillips.

 

I could easily see myself writing any number of blogs with this title – and it may well transpire that over the coming time, I do just that, because I am listening more, and I am listening more often – and I am going back and listening to records that I loved ten, twenty, thirty years ago – and finding that in some cases, they are so much better than even I thought – hindsight, and the passage of time, reveals them to be absolute works of genius.  Which more often than not, comes as quite a surprise to me – OK, I knew it was good…but I had NO IDEA it was that good….

 

Maybe at the time I knew that it was something very special – or thought that – or maybe not – obviously, when music is new, you form an impression of it – you listen to it – maybe a little, maybe a lot, maybe obsessively – then time passes, you listen to other music – but eventually, you find yourself coming back to certain artists, to certain albums, to certain songs – to certain lyrics – to works of what are now, with the benefit of hindsight – clearly, far beyond other contemporary works by other artists – and these realisations just keep hitting you and hitting you and hitting you – oh my God, you wonder, how on EARTH did I NOT SEE (or more accurately, how on EARTH did I NOT HEAR) that this record is an absolute impossible musical miracle – like nothing before and like nothing since.

You can’t easily or readily see that or hear that when a record is new – and sure, some records instantly reveal themselves as having qualities that we love, that we know in time will just be more and more appreciated – but it’s still difficult – the work is NEW.

But this strange thing that human beings experience – the passage of time – well, for me at least, the passage of time changes my perception of music – and sometimes the changes are slow, gradual, and orderly, but in other instances – the new or changed perception LEAPS out at you and it’s almost a shock – here is a record I’ve heard dozens of times – maybe hundreds of times – that I’ve always loved, respected – but today, today, because of “the passage of time” – today that record is revealed in an entirely new light.

You see and hear it for what it actually is – and you probably unconsciously “knew” all along that it was significant or important or meaningful or all of the above – but it takes that additional trigger – time passing – usually, a LOT OF TIME passing…to bring the sudden realisation – that “oh my God, this is genius” moment – a moment that could be 30, 40 years in the making.

 

This morning, I sat quietly, doing absolutely nothing else, and listened to Sam Phillips’ mostly acoustic offering from 2001, “Fan Dance” – which, at the time, I liked it very much, it is clearly one of her best and most enduring works and it stands up really well now, some 18 years later – really, really well – it sounds like it could have been made yesterday – and in fact,  just after I listened to the entire “Fan Dance” album, I then put on a somewhat later work – 2013’s “Push Any Button” and while the music has changed – the messages – and the feeling of hope I get from the lyrics – remains – these are songs of hope.

 

A SLIGHT DIGRESSION – TRENDS IN THE MUSIC INDUSTRY

Some artists who don’t have really sweet worldwide distribution deals, have no choice but to operate at the periphery of the “music industry” – which actually, I think is the better  place to be – because of the well-documented and really oppressive ways that companies control and manipulate their artists – time and time again we hear the stories of how artists were robbed of their royalties, given the worst deals imaginable, and the view over time of “record companies” and the “recording industry” has naturally, due to these depressing and oppressive facts, developed as a very negative view indeed – my personal view of record companies has undergone a massive transformation over the past 40 years – and my view now is that anyone who can operate OUTSIDE of the confines of the “music industry” – is the better for it.  Myself included.

 

When I was 16 – I wanted a record deal. By the time I was 25, 30 – I never ever wanted a record deal – because I saw how these “deals” negatively affected the musicians I loved and even some that are friends or acquaintances – it was heart-breaking to see what happened to them because of their “record deal” – but it was also a cautionary tale for me and for us all – be careful – be very careful – what you wish for.  An all-expenses paid trip to – being enslaved, being used or abused – and your music denigrated to the point of being a product and a product only – and when your music becomes a “product” – you know that trouble is with you.

 

A very large cross section of extremely talented and capable musicians have been burned, and burned again, by the music industry – and the horror stories go on and on, from the earliest exploitation of artists being given a few pennies for their work, while music industry “executives” and management skim 98 percent “off the top” and put it straight into their own pockets…to the lapses in good judgement and other “business practices” perpetrated by the music industry onto both artists and the record-buying public, too – just too many bad stories that I really am not sure I want to hear too many more of – we know what happened – so now – how do we move beyond that into a better future for musicians and for music lovers?  How does it work, now?

So – musicians made music in good faith, trusted their “record label” to take care of them, to promote their music – and to pay them fairly and treat them fairly – and in practice – that happened so rarely, that everyone just assumed the worst – and rightfully so – about the behaviour of the “greedy leaders” of the “music industry” – sure, there were always a few exceptions who really cared about music – but not many.

Meanwhile – the good faith of musicians, who trusted their record labels. …was rewarded with exploitation, outright theft – and the bad, bad faith of record company and music industry executives – who, sadly, it turns out, are as uncaring about music as many oil companies are uncaring about the environment – it just demonstrates one of mankind’s ugliest traits – greed, greed, greed – and more greed, and it becomes all about taking and taking and taking – and never about giving anything back or supporting the musician who creates this “income” in the first place.

 

It’s no wonder then, that so many musicians and artists have taken back their music and their art – sometimes at huge personal expense – being forced to pay to recover the rights to their own musical creations – and then re-presenting them to their fans directly, via direct-to-artist purchase websites and online stores.

I applaud this approach – I feel much, MUCH happier, giving £40.00 pounds directly to the artist who created the work – making sure they get PAID for the work they have done – I feel very uncomfortable and very unhappy when I realise how much of the money I spent buying records, cassettes and CDs over this past half a century – I regret how much of that money went straight into the greedy pockets of executives who created nothing, and who exploited, used and harmed the musicians who music they stole.

OK – the above is probably really a separate topic for a separate blog – but much is known about this now, thanks to the stories told by the artists themselves – who basically come directly to the fans and say “look – I am not on a record label anymore.  You used to buy my records from the record company – but now, I am making my own records without a label – or, on my own personal label – and I want to deal DIRECTLY with you.  I produce a CD of music, a DVD of a concert, or other media that you want to hear and see – and instead of giving 90+ percent to a record company, and a few pennies to me (if I am lucky) – you can now pay me directly for the CD or DVD that I created for you to enjoy”.  This makes ME feel very, very happy indeed.

It’s sad the reasons for it – as alluded to above – but in the end, it’s such a good, good thing – because it means I can SUPPORT the artists I love, by putting my money into THEIR pockets (so they can make more records, create more art – share more of their art with us) for the first time – I know where my money is going – NOT into a black hole or the pockets of a greedy executive who cares nothing for music or the artists that I really love, and whose music means very much indeed to me.

So that all being said – nowadays, many artists who used to be wholly captured by and in thrall to  and who were horribly used by the music industry – have freed themselves from that corporate grip, and now are dealing directly with the fans – which is probably, the way it should have been all along!

 

And it’s not any particular type of artist – I like a fairly diverse array of music, from pop to the heaviest prog metal and everything in between – and seeing the creative ways in which these very creative people have walked away from the traditional models and found other ways and better ways to share their art with their fans – it’s an amazing and remarkable phenomena – and it’s odd to think that it came out of oppression, out of being under the thumb of a record company, it’s due to being robbed and used by purveyors of corporate greed – and the artists have totally turned this around – and made it be about the ART again – the music, the songs, the films, the performances – the things that made them start out to become a musician in the first place. We are back to the source, to the root – to the music.

The approaches to rebuilding and reconnecting to their audiences are as varied as the artists who have freed themselves – on the one hand, you have highly organised individuals like Robert Fripp – whose highest level projects such as King Crimson, operated on the world stage, through traditional record company and music industry practices – with all of the infrastructure and the bad deals that came with it – and after being betrayed by his long term business partners – Fripp took the time to think this through, and instead of just going to a “sell direct to the fans platform” – as many, many other excellent artists have done – he decided to create his own label, DGM which might be easily called the “world’s first ethical record company”.  They don’t have written contracts – they work on the honour systems – a handshake is the “contract” and honesty and fairness are the terms.

DGM supports much more than just Robert Fripp and his side projects, so the creation of DGM and the fact that DGM could then become “home” to other artists – that’s a brilliant accidental by-product of the very negative impetus that drove Fripp to create DGM in the first place.  So now – instead of only having “traditional” record companies to deal with – musicians and artists can make an ethical choice, and go to a unique company like DGM and find success – and a direct connection to their fan base – so it is win-win-win in that scenario.

Other artists – I am thinking now about the remarkable cottage industry put together by singer / songwriter Sam Phillips – the actual subject of this blog believe it or not! – who has never been comfortable with the music industry – and once the oppression of regular record labels became too much – she left, and set up her own website and started selling directly to her fans via that website.

Initially, she did this via a subscription service called “The Long Play” which I wrote about in some detail in this blog here.

The positive response to “The Long Play” was so overwhelming, personally I think it is fantastic to be able to deal directly with the artist in these cases, and the way Phillips has developed her media and marketing is honest, straightforward and admirable indeed – and I feel happy, because the money I spend to buy her records – goes back into her industry, into her team – which will only bring more amazing records, DVDs and downloads – it’s now a very positive, good circle of fair commerce – rather than a negative record industry style experience.

 

AND SEVERAL DAYS LATER I AM MAGICALLY BACK ON TOPIC…DIGRESSION ENDS

As is my way, I have initially at least, really diverted away from today’s topic with my little discourse on independence from record companies – but that is the background from which today’s actual topic emerges – at last.

In recent years, with the emergence of artist-run and artists-selling-direct-to-fans sites, often that artist will re-acquire the rights to their entire catalogue (where possible) which means it’s easy enough nowadays, to go to www.samphillips.com and to purchase a CD or a download of a thirty year old record.  I know that Bill Nelson and other artists who previously had very, very complex and scattershot distribution – has made a real effort to bring back all of the earliest parts of his catalogue so his entire life in music can be viewed and heard and acquired in one place – his own website – and I am always very happy when I read that artists have managed to re-acquire lost catalogue items – and can hopefully, built out a full catalogue that represents the entire body of their entire life as a musician.

 

In this particular case, I already had the record I am going to discuss here, which is 2001’s “Fan Dance” by Sam Phillips but it was actually the fact of me going to purchase more recent works by Sam (in particular, 2018’s “World On Sticks” which I had just missed last year due to circumstances beyond my control; and even more spectacular – the audio and video versions of “Live At Largo” – fantastic recent releases from Sam)  – trying to complete my collection, which in fact goes way, WAY back to the very earliest days – in acquiring more recent records – it drew my attention back to some of her earlier works – so I have been  listening to a LOT of Sam Phillips lately, both modern and earlier works – and it’s been an absolutely incredibly enjoyable and joyous experience.

These songs – whether they be from last year or thirty years ago – these songs have something in them that is immensely attractive to me – and I think that just now, in 2019 – in going back and listening to a few key releases, that I have possibly figured out what it is that appeals to me with regards to the music of Sam Phillips – and it can be summed up into one very important word:

 

Hope.

 

Whether I am listening to “Love Is Not Lost” from “Recollection” (in that instance, going really, really far back into the mists of time) or the latest studio and live tracks just downloaded from www.samphillips.com – there is one common theme in this music – and it is hope.

I believe that subconsciously at least – I knew that already – and I have known it for a long time.  But it took that curious thing I alluded to earlier – the passage of time – to suddenly and very, very clearly show me that it’s HOPE that drives this artist forward – hope for something better, something beyond the ordinary – something beyond the hurt and heartbreak of life.

Like many singer / songwriters – Sam does write about pain – emotional pain – the pain of just existing in a baffling and inexplicable world – and that is one thing – but if you really listen, and if you then allow the passage of time to sink in – and then really listen again – you will hear it.

You will feel it and know it – that no matter how sad or depressing those real-life stories can sometimes get – in the uplifting way that Sam writes, and sings, and harmonises (oh my dear God, those harmonies!) and in the uplifting way that Sam presents her lyrics – you can clearly see and hear the hope in her heart – and for me, that helps me to realise that yes – there is hope – when I struggle – and I think that this knowledge is such a powerful thing.

Sam Phillips is a serious musician, who writes serious songs about many, many topics – some, the more expected or ordinary (for lack of a better word – there is nothing ordinary about any of Sam’s songs really!) “singer-songwriter” fare – i.e. love songs, songs of loss, songs of longing, wistful songs, and so on – but she also writes a lot of other types of songs – some of them, very, very dark indeed (I am thinking of “The Black Sky” now, from the remarkable “Martinis And Bikinis” album from 1994 – which, by the way, features a few tracks with Colin Moulding of XTC on bass guitar – don’t miss that one!) – songs about mankind’s ability to destroy and fuck up the world while we sit and watch in horror – so her writing runs a real gamut from being all about love to the most biting social commentary possible – but no matter what the song is about, for me, somewhere  in there, in some turn of phrase or lyrical invention – there is HOPE.  Or possibly, a warning that a lot of bad things are happening, and we NEED some hope.

Over the past 20, 30 years or more, there has been a LOT of music produced, by a lot of artists – that holds little or no hope whatsoever.  It’s all the darkest, most real, most terrifyingly true stuff – it’s real, it is happening:  and musicians and artists are looking at events and reporting them through their art – and it’s just terrifying because it’s TRUE.

And – in that massive outpouring of musical truth – there is a lot of great music, OK – it is true that lyrically some artists and some bands almost seem  to espouse or prefer a “THERE IS NO HOPE” kind of ethos within their music – and because that is also usually the absolute truth – it does appeal , it is of interest and I love a lot of that music – probably because it DOES tell the unvarnished truth – and I will always prefer hard, honest music over something less real…

However – within the lyrics that Sam Phillips writes – and it’s not often overt at all – I just get an intense feeling of hope from what she is saying.  A sense of hope…and this is the really important point here – that I do NOT get from many, even from most, artists no matter how good or how much I might really love their music – other artists rarely make me feel the way listening to the music of Sam Phillips makes me feel.

It took me a long time to realise that, and even longer to articulate it (until just now, in actual fact).

I think that the human being’s enjoyment of music is an incredibly complex, multi-faceted thing that it is not easy to understand, describe or understand easily.  For me, every piece of music has components that I listen to in different ways, for different reasons – there is no single standard “way” of listening because often, a certain element or elements leap out at me and attract me where for another listener – those same elements hold nothing for them, they do not move them or affect them as they affect me.  And there is nothing wrong with this – just as each human being is a unique individual, I think that each listener has his or her own “way” of listening to any particular song, album or artist – and the perception of each song is going to be different each time, for each listener – that’s what makes listening to music such a unique and such a very “personal” thing – because the same song – can have a huge array of very different effects on each different listener.

Some listeners will love a song because of the vocal.  Or the words.  Or the bass guitar.  Or the drum sound.  Or the way that one splash cymbal hits just before the vocal chorus begins…

Other listeners will find other components that stand out or appeal to them – and you end up with thousands and thousands of different yet all valid “reasons” why we like a song.

 

But beyond that personal interpretation – sometimes, there are globally available energies that we could ALL tap into if we were aware they are present.

I think that the quality of “HOPE” which is not tied directly to just one song or one lyric or one bass note or one piano chord – but in fact, this quality seems to exist ALMOST independently of the song itself (unlikely as that seems and as counter-intuitive as that seems) I think that the feeling of hope that I get comes from some underlying mechanism – something about the lyrics, the way she has written each lyric – and if you just judged them on the surface – you might not “get” the feeling of hope.

So while I am sure it (the hope) is mostly contained in the lyrics – I am also quite sure that (the hope) is NOT in the lyrics or rather, not in the lyrics alone.

 

 

Somehow – and this is the feeling I’m getting these past couple of days in revisiting the “Fan Dance” album of 2001 so closely – somehow it’s not just in the lyrics, but the hope I am now seeing, now hearing now FEELING properly and completely for the first time since 2001 when this record appeared – that hope is tied to the ENTIRETY of the performance.  I will try to say what I mean here:

It is in the warmth of the tone of Sam’s voice as she sings the melody

It is in the amazing blending of voices that occurs when Sam harmonises with herself

It’s also in the unique and lovely background vocals and harmonies which seem straightforward on the surface, but can be often quite sophisticated and complex – as one example, the song “Love Is Everywhere I Go” contains a lead vocal, a second, overlapping vocal “response” (“looking through you…”) and background vocals – and somehow – this is all woven into an incredible single vocal “tapestry” if you will – along with, an astonishing transition from the “bridge” back to the chorus – which I don’t really even understand how she DID that – but it’s amazing.

The vocal layering and complexity – with an ultimately very simple sounding and straightforward output as “the vocal” – of a track like this – it also contains a lot of this hope I am now detecting – somehow – woven into this elaborate and beautiful tapestry of interwoven voices.

 

It’s also in the CARE that is shown in the playing – in the deliberate, slow, precise strokes of the acoustic rhythm guitar – which is then mirrored in perfection by the deliberate, slow drum beats and then  to the details of that following percussion – when that crash or splash cymbals DOES hit just before the chorus begins again – the band is so tight, so together as to be performing as if one body – those drum parts mirror those Sam Phillips rhythm guitars which mirror the bass and atop which sits the Magic Vocal Tapestry Full Of Hope – it’s in THERE.

The HOPE I am hearing and feeling and experiencing now, that I did perhaps feel in a lesser, more clouded way back in the day – it’s so much a part of each and every song on each and every Sam Phillips record – it’s definitely there – but as you can see, articulating “where” it is within a particular song is very, very difficult, if not impossible!

 

So I know the hope is very real, I can feel it absolutely – but I don’t exactly (or even inexactly) know where it is “coming from” in any given song, or on any given album – but – one thing I do know –  it that it is definitely there – and it’s my hope – that if you like the music of Sam Phillips – it would be my hope that you have heard this feeling of hope coming through her music,  too.

 

For me, this quality sets Sam apart from many other musicians – where I don’t feel that hope in others’ music – I just don’t feel anything even akin to hope in a lot of modern music.  And maybe it’s there too, in the music of those other artists – but it’s harder to see.  Or will take longer to see.  The “passage of time” – that’s a variable that is not in my control – or anyone’s control – and in this case, a certain amount of “a passage of time” has allowed me to see, hear and experience something within this music that I already loved – that I had never really seen, heard or experienced until I listened again to the “Fan Dance” album yesterday and again, today.

I am very glad that this happened, because we can all always use a little more hope – and, I’m also happy to report, that it doesn’t feel like just a little hope – often with Sam’s songs and Sam’s records –  it feels like a great big, joyous, hopeful hope – and that has made me feel very happy indeed.  Now when I hear these songs – I am given an extra gift, I am uplifted – and you don’t get that every day.

 

What a remarkable experience this has been – and it’s all down to perception, the passage of time, and suddenly recognising something important – something very important – that was actually there all along but I just did not realise it.

It’s all about the hope.

 

Note:  for the purposes of this blog I listened to the “Fan Dance” CD a few times, but in terms of direct inspiration and for me, having the most readable, easiest to see, hear and feel – in terms of the hope theme I am talking about – I relied upon these particular tunes, with their particular lyrics – and it is upon these particular tracks that I formed the opinions expressed in this blog – and that is not to discount any of the songs NOT named – the entire album is a brilliant expression of not just hope, but of a visionary singer songwriter who writes with a rare, rare honest and forthrightness that frankly, I think – the world could use a lot more of.

 

My specific, particular song by song inspirations then – from the “Fan Dance” record – for this article – were:

 

Edge Of The World

Five Colors

Wasting My Time

Taking Pictures

Love Is Everywhere I Go

 

Also useful is this discography of Sam’s work

I could cite any number of Sam’s lyrics (or songs or albums) to try and demonstrate that underlying hope – which perhaps, on the surface – when you just read it – flat, on a page – (as below)  – maybe the sense of hope doesn’t come through as strongly – but if you put on the record, and listen – I think that then – I believe then you will hear it, you will feel it – and the lyrics themselves will take on a new meaning  that comes from your deeper understanding of the song as a whole.

The lyrics alone then, are not responsible for the perceived sense of hope – it’s actually the entire construct of the song – the music,  the instruments, the rhythm, the harmonies – the singing, the phrasing – the feel – many intangible properties making up a whole musical experience that in these cases – also house the secret weapon of Hope – real perceptible hope – it’s there for all to experience – and I am so, so glad that I took the time to go back and really listen to these songs… because that allowed me to have this extra experience that I am not sure all listeners of “Fan Dance” have yet had.

 

It would then be my hope that what I have written, might help unlock that same hope for any or all of you wanting to experience more than just “listening to a few songs” – for me, this new hope has huge value – underlying or not, visible or not – I am so glad it’s there – and I am so glad I happened across it in my music listening experience.

 

“There is no end to the good”.  Just think about that one crucial line – which appears right at the start of the song – bringing so much positivity, so much real hope – there is NO END to the good.  It is forever – it is always there – it is always available – I think that is part of what Sam is telling us.  A big part of it – have hope, there is hope, I know there is hope – so – you my patient audience – please have hope too.

 

________________________________________________________

 

Love Is Everywhere I Go

Sam Phillips – 2001

 

 

Going down this road again
I finally know
There is no end to the good

Love is everywhere I go
Looking through you
Love is everywhere I go
Looking through you
Love is everywhere I go
Looking through you

Burning light inside my dreams
I wake up in the dark
The light is outside my door

Love is everywhere I go
Looking through you
Love is everywhere I go
Looking through you
Love is everywhere I go
Looking through you

Chasing every fragment I see
Looking through you
Love is looking for me
Breaking open the clouds
I’m not stranded in time

Love is everywhere I go
Looking through you
Love is everywhere I go
Looking through you
Love is everywhere I go
Looking through you

 

________________________________________________________

 

 

“There is no end to the good”.

 

 

Dave Stafford

September 1, 2019

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

Having A Friend Like Michael Dawson…

I met my friend Michael, in a thing called a “record store” called “off the record” which was located on El Cajon Boulevard in San Diego, California, when I was about 20 years old – I am guessing – it was a long time ago, I can tell you that!
I don’t know what year it was, I really don’t – perhaps Michael knows.  But it was a long, long time ago, and Michael is one of the very, very few people that I have known continuously during that entire timespan.  For the record then, (not, off the record lol) that’s at least 35 years, probably a bit more.
I was buying, or re-buying rather, a few records that I was hoping would have less surface noise, and fewer clicks and pops, than the copies of them that I already had at home – I was trying to get a better sounding version by re-buying LPs that I already owned – sometimes, had owned more than once already.  This was one of the problems with vinyl – it was scratchy!  Surface noise, clicks and pops and other soul-destroying sounds damaging the precious music, which should be pure and pristine – it was still a long way to the age of compact discs.
Anyway, among other newer releases, I was holding prog rock classics by Genesis and I am not sure who else – and this tall, very skinny person, with a short, tidy beard and distinctly reddish hair, who was standing nearby as I was checking out, who spoke with an unforgettable, deep voice full of character “those (he said, nodding towards the albums that I was holding) “are  three of my favourite albums of all time”.
So that started a conversation, that has been going on, off and on, on and off, ever since – and a friendship that just grew organically out of that first meeting.  I’d seen Michael in the store before, it was a favourite haunt of both of ours, but this was the first time he’d ever spoken to me, and it turned out, we did share a lot of artists in common that we both really, really loved – and he just couldn’t help himself saying so when he saw some of HIS favourite records in my sweaty grip 🙂
It started out then, first by sharing our love of music, I can remember many a trip over to Michael’s, to listen to records (and he had a LOT of records back then, I mean – a lot of records!) and he introduced me to a lot of things with which I was then unfamiliar – for example, Marillion, who I had never heard of, who were actually playing prog in the middle of the very un-prog-friendly 1980s – so that must have been in about 1985 that he played me parts of “Script For A Jester’s Tear” and “Fugazi” – which I found to be quite remarkable, and of course, I started collecting Marillion albums myself then.
The story gets a bit blurry here, but since I’d found out that Michael was a fellow musician, it only followed that we should at some point, sit down and play some music together.  Michael was (at that time) primarily a bassist, which suited me perfectly as I was, as always, a lead guitarist; but he also played a lot of other instruments, including flute and saxophone, to name but two.  I can remember inviting Michael over to my place, and also, visiting him where he lived, and we did start a band, whose name I cannot recall – it was a trio, of myself on guitar, Michael on bass, and a friend of Michael’s whose name I do not remember (I am definitely getting old lol!!), on drums.
What did we play?  I can remember a couple of the titles:
Roxy Music “Love Is The Drug”
Talking Heads “Psycho Killer”
and an original piece in 5 that I couldn’t really master (composed by Michael, I believe).
At that time, pre-Fripp, I was strictly a 4/4 kind of rock and roll wannabe prog guitarist, and playing in anything but 4 was mostly, beyond me.  It wasn’t until I started going to Guitar Craft, starting just a few years later, that I actually was able to play in the odd meters – 5, 7, 9, 11, 13 etc.
I think we also wanted to learn “Crying Wolf” by Peter Hammill, but we didn’t get far with that one.  We were trying to play music that we loved, rather than resort to playing the popular music of the day – we wanted to play GOOD music, hence the selections we made.  I don’t really know why, but this band never really amounted to anything – we rehearsed, and then I think the drummer lost interest and left, and we couldn’t replace him – so I moved on, and that was the end of our attempt at being in a band together.  We never played even one gig, which always makes me a bit sad – a lot of good rehearsals, a huge potential – and then, for whatever  the reasons – it just never comes to fruition.
But – I am proud to say, to this day, that I was in a band with Michael Dawson !  It was great fun, because it was one of the first times that I got to play music I really loved in a band, instead of the dreaded “covers” – so that was fantastic.  I can remember really enjoying playing Phil Manzanera‘s chord sequence on “Love Is The Drug” – it’s a really nice piece of guitaring.
Michael is a very good bassist, and he had a quality bass, a Rickenbacker, which I wasn’t used to – most of the bassists I had played with up till then, had played Fenders or other basses like Music Man or whatever – but he had a real Rickenbacker, and it sounded amazing. That was really a great selling point for me, having a truly prog “bass” in the band – that’s the way it should be.  There wasn’t much else “prog” about us, we didn’t have a lead singer or a keyboard player, although I seem to remember that I did sing the songs off mike just as a reference (not the first time, or the last time, I was called upon to become the de facto lead vocalist in a band – I will say that!).  But that is another story for another time…
After that band broke up, life went on – I still saw Michael down at Off The Record, and we remained friends – to this day.  Not too many years after this, Michael moved up north, to Northern California, where he got the day job that I believe, he still works at to this day.
I remained in Southern California, but, we still occasionally got together – most often, to go see live concerts together, I can remember giving him a lift to some concert in the back of my pickup truck, which was not a good experience for Michael – but at least we got to the concert.  Not sure who we were going to see – it could have been just about anyone.
One of the nicest things about Michael is his incredible kindness and his infallible generosity, of which I will speak in a moment.  He is a remarkably kind and gentle person, and I was glad to have such an intelligent and well-read friend – he had, and has, far more culture and education than I ever did!  He was also an artist, I remember he was always painting, which was something I did not even approach until I was much, much older.
He has often “turned me on” to new artists that I knew little or nothing about; one of those would be the indomitable Richard Thompson – I remember that Michael was the one who first played Richard Thompson albums for me, and got me hooked on his amazing guitar playing – to the point where, alongside collecting his many solo albums, I then went to see him play multiple times at multiple gigs, including one very, very small, intimate acoustic gig (in a restaurant, no less) and once, I managed to see him with full electric band – and that was amazing.    I became a big, big fan for quite a number of years, and I still love and respect his music to this day.
I would have done none of those things – if it weren’t for Michael P. Dawson.  I would have no Marillion, and no Richard Thompson in my musical life.   He also introduced me to Gryphon, based on our shared love of Gentle Giant – so that added yet another brilliant branch of prog to my ever-expanding experience of progressive rock music.  He also introduced me to the music of Bi Kyo Ran, remarkable King-Crimson-cover-band-turned-professional-prog-band from Japan.
So even for adding those four amazing musicians / groups to my musical repertoire and experience (and it was many, many more than just those four!), just for that, I am forever in Michael’s debt.  He always knew the kind of thing that I would like, and he was always, forever saying “listen to THIS, listen to this guitar solo, here…” and I would be hooked once again, on a new musician that up until I’d met Michael, I knew nothing about.  He was a great friend in that way, he genuinely did not want me to miss out on these incredible listening experiences that he was having, he wanted to share the music, not keep it to himself – and for that, I am very grateful indeed – indebted!
I mentioned that Michael was generous.  One day, about 20 years ago, I was sitting at my day job, when a VERY large cardboard box arrived for me – and I was not expecting anything that I had ordered, so it was completely out of the blue – and upon opening it, I discovered that is was a Washburn Bass guitar – that Michael had just SENT to me, gratis – he was going to get rid of it, and rather than sell it; he’d remembered me saying that I wished I owned a bass – so he thought of me, and he very, very generously gave me his old bass!  I could not BELIEVE that – I had never had a friend, or known anyone as generous as that – he could have made money off of it, he could have sold it for cash – but instead, he remembered his old friend Dave – and Dave not ever having a bass guitar of any kind – and he just mailed it to me one day.
I didn’t expect it, and I had no way to reciprocate, all I could do was send an astonished THANK YOU THANK YOU THANK YOU note to Michael, and try to express what it meant to me to have a real bass to record with and play.  Many years later, when I was recording multi-track progressive rock tracks, I actually used “Michael’s Old Bass” as I call it, in the recording of several tracks – one of which is “Wettonizer” (a tribute to the late, great John Wetton) which was recorded back in about 2008 or 2009).  It’s actually, a really nice bass to play, and it’s short scale and easy to play neck really inspired me when it came to do the distorted bass solos in”Wettonizer” – and really, that song and the others that included the bass, possibly would not have been made, if it weren’t for the fact that Michael provided me with a bass to use and play. when he knew I did not have one.
That was such an incredibly surprising and generous act, which I never, ever forgot, and to this day, I have to smile when I look at that bass sitting in the corner of my studio – I do tend to use sampled basses now just for the speed and convenience, and also so I can get classic Fender or Rickenbacker tones – but if I wanted to do any real bass tracks – I would still absolutely, happily record them on “Michael’s Old Bass” – I mean, can you believe it – he just put it in a box, and sent it to me, from San Jose, California, to San Diego, where I lived back then.  And it then traveled with me, all the way to Scotland – where it lives now.
How often in your life, do you get a Bass Guitar in the mail?  If you have a friend like Michael Dawson, then the answer is, surprisingly – once.
[Meanwhile, back in the present day for a moment:]  Imagine my total surprise then, when, just a few days ago, a parcel arrived for me at home – and I recognised the handwriting on it immediately, and said to my wife – “that’s from Michael Dawson” and wondered aloud, what on earth has he sent me?? (even while, my brain was telling me “effects pedal, effects pedal…”) and in fact, what it was, indeed, was and is, an effects pedal – a lovely, mint condition, Earthquaker Devices Organizer pedal.
A week previously, on a Sunday, I had published my recent blog about watching guitar effect pedal demonstration videos.  In California, Michael read that blog of mine on a Sunday, and on the following Monday, packed up and shipped this effect pedal to me, and on the following Saturday, five days later – it arrived with the mail here in Scotland.
Now, I was utterly blown away when he gave me the Washburn bass, and no one else has ever just given me a musical instrument before.  But to receive what is basically, a brand new effects pedal (which when queried, he said he wasn’t using it, and he wanted someone to own it who would make good use of it – me) which is just the nicest thing – but it absolutely blows me away, that he would read an article about me lusting after these effects, and just to make me happy, just so I could then own an Earthquaker Devices-manufactured pedal – he pulls one out of thin air and ships it half-way around the world to me!!  That is so thoughtful, so good – I wish I were that generous and that thoughtful!
Unbelievable generosity, and an unbelievable kindness in the thought that “Dave would like this pedal – he could do something good with this” – that just blows me away, and, it’s not like we have been close of recent years, we exchange emails only occasionally, and as happens, we have led pretty separate lives – although we have always remained friends, and we have never fallen out – we’ve always been friends.  I would say, it had probably been a year or more since we had emailed, when this EQD pedal appeared again, totally out of the blue – which absolutely shocked me to the core – what a nice thing to do, what an amazing friend – what a great and kind act – to indulge my desire for endless effects pedals – wow, that is truly amazing.
But I don’t have any other friends that are that astonishingly generous, Michael is the only one who has consistently blown me away with his kindness, thoughtfulness, and his good, good heart – he’s just a good man, a nice chap, and I am proud to know him, proud to call him my friend, proud of him as a fellow musician – he’s a brilliant player – and I would also say, you should absolutely check out some of his music – he’s been sharing his own albums with me from early on, and he makes the most incredible music you have ever heard – you really must try it – it’s amazingly cool.  It’s mostly beyond my comprehension, Michael is a serious composer when compared to me, I just mess about with songs, and improvs, but Michael writes real music, serious music, and I have a huge respect for that.
A few years back, I released a live improv on the internet, which I believe featured energy bow guitar and music created with Brian Eno’s “Scape” application for the ipad. A few days after I released it, Michael released a video of himself, overdubbing a live flute solo and flute part, onto, on top of, my improv !!!
I was then able to share this with people as a collaborative effort (our first, since that attempt at a band – way, way back when) and I was and am, incredibly proud of that little improvised number – and to be honest, I absolutely prefer Michael’s version – to my own. The flute parts and solos that he plays, are just perfect for the improv, and I was so surprised and really pleased that Michael had done this.
That was yet another very kind thing, that he has done – the ultimate compliment, he must have liked the piece quite well if it inspired him to play the flute along with it, so by adding his live flute overdub, he was taking a decent piece of mine, and elevating it to a much, much higher level – I think it succeeds far better with his parts added, than it ever did by itself.  That is the power of Michael Dawson – adaptable, and very adept with a multitude of instruments – I wish I could play half as many different instruments as he does.
I would say that like so many musicians, that Michael is a “musician’s musician” – and I would encourage any of you that are musicians (or not, artists, or anyone, really!), to have a listen to any of Michael’s existing published works – he is a brilliant and intelligent composer, and he creates albums celebrating creatures and features of the natural world that have to be heard to be believed – he excels when it comes to synthesizers, which he often employs in his compositions, but he plays all manner of instruments, bass, electric guitar, acoustic guitar, flute, saxophone (in at least two different flavours) and a multitude of others too numerous to mention.
He is a remarkable and talented musician – and I believe, you can also hear him play live on the sort of “jam night” scene near where he lives – I believe he now sits in on saxophone or flute at these live, impromptu musical events.  I envy him that – I am currently not performing – so he is really fortunate to have that musical outlet available to him.
He is also a very creative person, I remember he played one of his new songs (and by that, I mean, what was a “new song”, thirty years ago 🙂 ) for me, and it had a most unusual sounding lead instrument, it sounded slightly Indian or eastern in some way, but I just could not place it, so I said “Michael, what is that instrument that you are playing the main melody with?” and he then revealed what it was – it was his flute – but played through extreme distortion – he’d played it through a fuzz box and it sounded truly out of this world.  So there is really no limit to the creativity that he employs when he creates his solo works, they are full of surprises and I don’t think you can find a more original, progressive, modern composer around – and if that isn’t enough, his love of the music of the late, great Frank Zappa is more than apparent when you hear many of Michael’s pieces – Zappa being the only artist that I could really comfortably compare Michael’s work too – he sounds like he listens to a lot of Zappa.
And that is probably, because he does.  I have always loved the music of Frank Zappa, but I have only ever put my toe into the water, whereas Michael jumped headfirst into the Zappa pool many, many years ago.  And that has paid off, and rubbed off, on the styles of music that he has created over the years – and you couldn’t really ask for a better influence – I’d love to be compared to, or even audibly / heavily influenced by,  Frank Zappa !
Michael turned me on to a whole world of new music, and that changed my life in a good way, and we shared a lot of musical experiences together, everything from just chilling and listening to records, or later, compact discs, to going to the occasional concert together.  His influence on me musically, over the last 35 years or so, has been immense, and I am grateful to him for enriching my musical life by sharing so openly from his vast library of recorded music.  In so very many ways, Michael is a really, really good friend to have – and good friends, they say, are hard to find, and I would imagine – even harder to keep, which is why I feel so blessed and fortunate to have a friend like Michael Dawson – he is one of a kind, a true gentleman, and I am proud to be able to say once again, “my good friend Michael Dawson” as I so often seem to find myself saying whenever I sit down to write about music.
I felt it was high time that he got the recognition he deserves, and this blog is a very public “thank you” to a true gentleman and musical scholar, Mr. Michael P. Dawson. Long may he reign over the flute solo in “Girl From Ipanema”; and any other pieces that he attempts, live or studio, on any instrument – just keep on jamming, Michael !!!

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 3rd, 2016, Friar’s / Waterside Theatre, Aylesbury, UK

King Crimson, “Friends & Family” Event,  Friar’s, Waterside Theatre

Aylesbury, UK – September 3rd, 2016

The first unofficial show by the “new” King Crimson ended just a few short hours ago, and with the sound of the final selection of the night, “21st Century Schizoid Man” (complete with the original introduction mind you!) still ringing in my ears, I want to very quickly give my impressions of the show.

First of all, it was a “secret” show, a warm-up gig to the warm-up gigs tomorrow and Monday night (both at the same venue, on the 4th and 5th of September respectively). Attendance was by invitation only.

Second, I would very briefly mention that it really *was* friends and families, while we were waiting for the show to begin; in the foyer, and then later, in our seats – I kept seeing familiar faces and I kept getting greeted by many Crafty friends who had travelled from far and wide to see this special concert. I spoke to a couple of Crafties that had flown from the United States, and I was told that one Crafty had even travelled from Australia to see the show- now that made our own 7 hour journey from Scotland, by train and taxi, seem pretty tame – but it was a lovely, low-key way to travel, I can tell you for free. So I must have known 20 or 30 people in the audience, and spoke with a handful of them, or shook hands as I went by…it was very unusual and very nice to see and speak with a lot of people you know – mostly fellow Crafty guitarists.

But I digress…I return now, to the performance itself.

When I said the “new” King Crimson, I did mean King Crimson, 2016 version as compared to King Crimson, 2015 – the difference being, a swap of drummers – Bill Rieflin departing the band in March, 2016 and then being promptly replaced by new member Jeremy Stacey. So this “warm-up” gig would have been his first ever live performance with the band.  

I’ll take just a moment to say what a welcome and capable replacement Jeremy is: he sits in the same position (centre) of the three “front line” drummers, and like Rieflin before him, plays lots of piano, Mellotron and synthesizer parts as well as being an ace drummer. It’s a very, very seamless integration, and in fact, I would say that due to some excellent changes to the band’s repertoire, that Stacey actually played quite a bit more Mellotron especially, than Bill R. ever did. And he played it with complete confidence, as if he’d been doing it all along. He is a fully integrated member of the drum front line, and then by extension, since the drum front line works so well – of the band, too, the more string and horn oriented “back line”.

In short, Jeremy is an excellent, almost fit for fit / fit for purpose replacement for the departed Rieflin – and excellent choice, and his playing, both on the drums as well as on the keyboards, was basically flawless. A brilliant night for the front line, then.
In the back line – there were some opening night issues. Robert’s guitar was sometimes too low in the mix, as was Jakko’s, and there was a fairly disastrous tuning issue in the slow “relentless” section of “Starless” – which after about two minutes, was finally corrected by Jakko, which then put the song back on track.  Mel’s soprano sax on this song was sublime,  Beautiful playing.

Robert’s solo in “Easy Money” for me, was at first, so overly-reverbed, that I couldn’t distinguish the notes he was obviously playing, those notes, literally lost in space by a slightly too ambient patch on his effects unit. Then, as the solo progressed, he switched to the treble pickup, and finally I could start to hear the solo. It was almost inaudible for almost a minute – I could see him playing, but I couldn’t hear him playing. A few minor adjustments on the fly, and the solo finally took wing and flew – consummate professionalism every time.

Beyond those issues, there wasn’t much I could really find fault with, as we found with the 2015 band, the performances were well-rehearsed, well-polished, and the songs were filled with virtuoso moments from every player on the stage, from Tony Levin’s incredibly delicate fretless electric string bass solo on “Vrooom” to Robert Fripp’s impossible ascending / descending moving scales on “Fracture” (yes, I said “Fracture”!!!) this is a band of seasoned professionals, and the band’s collective ability to create virtually perfect renderings of material old or new is simply astonishing.

For me, having the incredibly capable Mel Collins back in the band, who then gets to re-create a series of basically impossible horn and flute solos, that he ad-libbed (probably) in the studio on albums made in 1970 (Lizard) and 1971 (Islands) and Red (1974)…

He also got to play horn parts originally performed by original King Crimson horn man Ian McDonald, and he got to replace Adrian Belew vocal parts with amazing flute solos or baritone saxes or soprano sax – and he is constantly switching between the flute and one of those saxes, and it’s fantastic, too, to hear him playing along with Fripp on pieces like “Starless”. The two sounded good together in 1970, 71 and 72, but they sound absolutely amazing together in King Crimson 2016.

I can’t of course, not say something about the redoubtable trio of drummers, Pat Mastelotto, new man Jeremy Stacey, and now-veteran (almost) Gavin Harrison – who is the “leader” of the drum team. Their unique approach to re-arranging some of the Crimson repertoire, for example, the song “Red” gets a whole new treatment from the trio, with a strange but wonderful slipping / synchronised tribal beat, that takes the song to a completely new place – it’s brilliant.

They also take quite a few solos, and have a couple of their own pieces which I can never keep straight, which one is which, so Crimson-drum-aficionados must forgive me if I guess the name of one of their drum numbers wrong. I probably WILL get it wrong…

Now – before I forget, I want to give you the set list, and I might then say one or two things about some of my personal favourite moments. As the 2015 band brought back and re-vitalised two tracks from the fourth Crimson studio album, 1971’s “Islands” in the form of “The Letters” and “Sailor’s Tale”, the decision was apparently taken that the oft-maligned third Crimson album, 1970’s “Lizard, now deserved some air time as well, so as I sat there tonight, I got a couple of real shocks to my system in terms of, ‘oh my God, I know what THIS is…’   …in fact, that happened three times: twice for two tracks taken from 1970’s “Lizard” and probably the most surprising of all – a track from “Starless And Bible Black” (1974) entitled “Fracture”.  

I was startled when Robert started playing this familiar riff, and his guitar was giving him a little bit of trouble during the first couple of bars, but he managed to straighten out whatever was wrong, and then dived into a nearly-faultless version of “Fracture” which of course contains long passages of his patented “perpetual vertical and horizontal picking” which to hear and see live, was absolutely amazing – he somehow managed to work out this entire, extremely complex piece of music in the New Standard Tuning, and with ace violin-emulation from Jakko Jakszyk – the band pulled off a pretty ripping version of the tune.

But I am getting ahead of myself here – here is the 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 Battle Of Glass Tears

Meltdown

Red

The Letters

Sailor’s Tale

Epitaph

[INTERMISSION]

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

The ConstruKction Of Light

Level Five

Suitable Grounds For The Blues

Unknown / New Song (Instrumental – featuring two guitars)

Vrooom

Easy Money

Starless

[ENCORE]

Banshee Legs Bell Hassle

Heroes

21st Century Schizoid Man

Finally, some very memorable moments for me…during the last section of “Pictures Of A City” Robert suddenly played an incredibly beautiful, long jazzy lick on his guitar that just shocked me – it was that good, and it just sounded so, so perfect in that moment, it really blew me away – brilliant!

When “Cirkus” started, I knew I was going to be bowled over by it, and it did not disappoint in any way. A powerful vocal from Jakko, and Mel had clearly spent many hours studying the original recording, has taken his already impossible, sleazy, beautiful, jazzy sax riffs and he’s gone and IMPROVED on them – meanwhile, new member Jeremy Stacey was playing the ominous Mellotron riff, as well as the piano introduction, switching between piano and Mellotron and drums effortlessly – an amazing performance, while Robert played the same riff on guitar, and would occasionally add additional Mellotrons to parts that required more than one – and in “Cirkus” you get this requirement.

Mel was absolutely spot on, and to hear this song performed live is a dream I never dared dream – and a few hours ago – I watched and listened to King Crimson playing one of my favourite tracks from “Lizard” – the dramatic and strange “Cirkus” with perfect Gordon Haskell bass lines from Tony Levin and a great Jakko vocal (not to mention, Jakko playing the famous very rapid classical sounding acoustic guitar parts that occur twice in the song – at an incredible tempo) – brilliant!

But strangely enough, what really, really blew my socks away, was a near perfect rendition of “The Battle Of Glass Tears” (which was originally the third section of the side long so-called “Lizard Suite” which originally ran as):

1. Prince Rupert Awakes

2. Bolero

3. The Battle Of Glass Tears

4. Big Top

So removing it from the context of that, and playing it as a single, live piece of music, was an inspired move, the lyrics are absolutely beautiful, and Jakko did a fantastic job of rendering original singer Gordon Haskell’s somewhat strange melodic vocal – and in doing so, made it into an even better vocal performance than the original – and the band, were in complete jazz stealth mode, all playing super quietly while Jakko sang this strange tale of a sort of dream battle with it’s amazing Peter Sinfield lyrics – it was the most surprising of all – and I had just heard both “Cirkus” followed by “Fracture” – both of which had blown me away,,,but when new member Jeremy Stacey started playing the eerie, strange mellotrons from “The Battle Of Glass Tears” I knew what it was instantly, or rather, where it came from, I knew every word, and I actually sang along quietly because it’s such a beautiful lyric.

The whole band just excelled on this short, very odd piece of music, which was literally snatched out of the middle of a much larger work, but, for me, it draws attention to a single song that I always felt was one of the best moments on the whole album – it’s certainly my favourite lyric on the album, and it’s also the first time you hear singer Gordon Haskell’s voice after the sort of fairy-tale voice of guest singer Jon Anderson on the first part, “Prince Rupert Awakes”. Haskell’s voice is an acquired taste, but I absolutely love his bass playing (perfectly emulated thanks to the good Mr. Levin) and his singing on “Lizard” – I think he is top notch, especially at interpreting the rather tricky Peter Sinfield lyrics.

“Lizard” has taken a lot of abuse over the years, sort of the unwanted jazz child of “In The Court” and “In The Wake” but I love all four of those earliest records, each in their own way – the fourth one being “Islands” of course – and I was SO very happy that they have retained the two tracks from “Islands” in the setlist, the show wouldn’t have been the same without them!

I know this won’t be a popular opinion, but I really tend to enjoy the tracks from “Lizard” and “Islands” more than the tracks from “In The Court” or “In The Wake”. That’s just me. Don’t get me wrong; I love “Epitaph” and “Schizoid Man” and “Pictures Of A City” but I just prefer hearing the rarer (and somewhat more eccentric) tracks from “Lizard” and “Islands”.

They introduced then, new for this tour, three “old” King Crimson songs, that King Crimson 2015 did NOT play – and those three songs, two from “Lizard” and one from “Starless And Bible Black” we’re probably my favourite moments of this concert. 
They also played what I believe was a new song, a sort of menacing two guitars piece that was quite short, but quite enjoyable, it had a slightly strange beginning featuring Robert Fripp playing a major chord up a half step, so something like F sharp major to G major, not unlike the beginning of “Jailhouse Rock” but then it immediately mutated into twin guitar Krimson territory – I don’t know what the name of it was, but it was pleasant enough.

Just prior to a roaring final encore of “21st Century Schizoid Man” (which was firing on all cylinders tonight my friends!) they did something else a bit unexpected – they played David Bowie’s song “Heroes”, with Jakko doing his best David Bowie vocal imitation, while Robert Fripp reprised his beautiful, soaring long guitar riff that has made the song so famous, that he originally recorded on the original version of the song from the David Bowie album of the same name, way back in 1980 – when it was Eno, Bowie and Fripp all working together in Berlin.

So that felt like a really nice send-off for David – Robert Fripp reminding us that it was his guitar on that song, but also offering up a really bright, poppy almost, version of the song with an excellent vocal and great supporting guitar from Jakko – while the rhythm section and Tony were just having the time of their lives – it sounded (and looked) really fun to play, and hearing Robert keeping that one note sustained for so long, over and over again, you forget that he is the absolute master of the long, sustained guitar note – and he doesn’t depend on a gadget (like the energy bows that I favour so much) – he just keeps that note going, somehow.

It was an impressive performance, when it ended, the familiar steam organ type sounds that are the recorded “prelude” or short intro piece that precedes “21st Century Schizoid Man” were playing through the speakers, and with a huge crashing chord sequence, we were off on the final track of the evening – it simply couldn’t be anything else, could it?

I loved every minute of this show, the skill and the musicianship and the professionalism on show, the virtuoso playing on show, is almost too much to take. I was alternately fascinated by the interplay between Jakko and Robert, and sometimes absolutely gobsmacked by riffs or ideas or techniques that both would employ, and some amazing guitar tones were also to be heard during this concert – great guitar sounds, including acoustic emulation from Jakko during Epitaph, the only other number we got tonight from the classic first album, “In the Court Of The Crimson King”.

But I am willing to give up the title track of that album, in exchange for “Cirkus”, “Fracture” and “The Battle Of Glass Tears” – especially the last one, whose lyrics are still rattling around my brain…

Burnt with dream and taut with fear

Dawn’s misty shawl upon them.

Three hills apart great armies stir

Spit oath and curse as day breaks.

Forming lines of horse and steel

By even yards, march forward.

I could not have dreamed in a billion years, that one day I would see and hear King Crimson play “The Battle Of Glass Tears” – It’s simply not possible. But – earlier this evening – I did just that – and it was gorgeous, too!

By all accounts, besides a very few technical issues, an excellent first foray for King Crimson 2016!

Now I can sleep happy!!

Peace and love

Somewhere near Aylesbury, waiting for night 2
Dave & Dawn

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 🙂

the damage is done… (long-lost blog draft #1)

March 6th, 2016:

Sometime back now, I attempted to compare the two different versions of the Sylvian-Fripp live masterpiece,”Damage: Live” more commonly known as “Damage” – the live album record of one of the most remarkable musical collaboratations of the last century – “Sylvian-Fripp” – the band.  I’d owned the Robert Fripp mix/version for several years, when I then had the opportunity to pick up David Sylvian‘s mix/version, released some years later.

I then sat down and listened to both records, first, in linear fashion, then, as an “A-B” – i.e. track by track, where possible. The differences are interesting – it’s not often that you get the chance to compare the “ear” of two such brilliant musicians, and it is interesting to hear how they interpret the same live show into a finished disc.

Anyway, from the first of the “long-lost blog drafts’, I now present to you, “the damage is done”, my freshman attempt at comparing two different versions of the same recordings…wish me luck!!

 

Additions, edits, and final proofing done on March 6, 2016.

 

 

Unfinished Blog Draft #1 – last edit (until today) was December 21st, 2014:

 

TRACK: “DAMAGE”

“Damage” (song) is the opening track on the RF (Robert Fripp)-produced version of the “Damage” album, whereas, on the DS (David Sylvian)-produced version of the “Damage” album, it’s moved to fifth position.

That’s not the only difference, however, it’s the only position change.  There are the omissions, one song omitted from each disc – the RF disc is missing “Jean The Birdman”, while DS has included that track; and the DS disc is missing the 10.47 “Darshan (The Road To Graceland)”, while RF has included that track.

To me, the omission of “Darshan” really harms the DS version, and I can’t imagine what the reason for not including what is surely one of the highlights of the concert – the super long and full version of amazing-Fripp guitar, “Darshan” – I couldn’t believe it when I first realised that the DS version did not contain it !

For RF to omit “Jean The Birdman” is not nearly as distressing, it was, supposedly, the band’s “single” if such a thing could be, for a band like Sylvian / Fripp.

Doing an A/B compare of the two records is very revealing, but, it’s tricky, because of advances in technology, the DS version is much “louder” than the RF version, so each time I switch from RF to DS, there is an increase in volume, punch, bass – everything.  I basically am trying to ignore that, and consider the content itself – the music.

Both versions of (title track) “Damage” are very, very beautiful, I can’t point to anything about either of them that I dislike, it’s just a beautiful, beautiful song, and OK, possibly, the vocal might be a tiny bit louder in the DS mix; and the guitars may be a tiny bit louder in the RF mix – but I would expect nothing less – the vocalist wants to hear the vocals, the guitarist, wants to hear the guitars.

Out of all of the tracks on the record, the two versions of the song “Damage” are probably “the most alike”, hence, I haven’t really said much about them, or their differences.  They a

As for the poor bass player, well, he just has to hope that the mix will be kind to him – and in this case, both mixes are, when Trey (Gunn) comes in finally near the end.  On the RF disc, “God’s Monkey” is track two, but on the DS Version, it’s the opening track (due to “Damage” being moved from track 1 to track 5 on the DS version).  Now, I don’t know the reasons for this radical change to the running order, except to say, maybe DS is using the real running order, and Fripp used some artistic license in placing the two “quiet” songs as bookends of the concert – and DS wanted to make a point by restoring “Damage” to its rightful place in the centre of the concert – I do not know.

 

TRACK: “GOD’S MONKEY”

RF’s version of “God’s Monkey” starts with Trey’s distinctive bass riff, and the bass is nicely up in the mix, as are both Robert’s (Fripp) and Michael’s (Brook) guitars (not surprising, again – a guitarist is mixing the album!) but you can hear the vocals fine in this mix, maybe just because it’s the “familiar one” but I really like the way this is mixed, the vocal is up, the bass is up, the drums are good, and the guitars are powerful or quiet as required…it’s very well balanced.

Even Trey’s harmony vocal on the chorus, is very clear and concise, and having that vocal harmony reproduced live, is very helpful to the overall feel of the song, which ends in clouds of harmonizer / soundscape loop guitars from Robert, and a piercing, beautiful solo as well, with Sylvian and Brook supporting him beautifully – Trey is simply a rock on the bass at this point, as RF shreds his way up the octave doubler – fantastic speed and clarity, an awesome solo – then back to that great chorus, replete with Trey’s lovely harmony – you can’t go wrong with this mix, and Fripp is way up front during the final solo – but not annoyingly so – it’s just right.

Then, we have the DS mix – with all trace of the audience removed at the start – unlike RF’s mix, which starts with audience reaction to Damage still going on.  So it sounds almost like a studio track, because of the removal of the crowd sounds – in the intro, the guitars seem quite loud, and there is some nice stereo Fripp, too.  The vocal is clean, clear, and not any louder than in RF’s version – in fact, the balance between instruments is not terrifically different, I would say that possibly, you can hear the Sylvian and Brook guitar parts a little bit better in this mix, but other than that, they both give a satisfying reading of the awesome triple guitar attack of Sylvian / Brook / Fripp – I was lucky enough to catch their performance at the Wiltern Theatre in Los Angeles, California, in the early 1990s, so I got to see and hear first hand, what a powerful triple-guitar-entity they could be.

When you add Trey into that mix, you really almost end up with Trey representing the fourth guitarist, as a lot of Stick or Warr guitar does involve multiple tapped parts that are not necessarily all in the “bass” range – so sometimes, it’s a FOUR guitar attack.  The main guitar interlude sounds fantastic, Fripp’s ambient loops sound great, it’s really not that different from the RF version, except for the strange, slightly sterile EQ that makes this undeniably live track, sound a little bit more like it was created in a studio – which it absolutely wasn’t, but just the act of removing the crowd sounds from the track’s start, makes a huge difference in perception.

The final guitar solo, is mixed in a similar way to RF’s – Fripp is definitely featured, but the helper guitars from Sylvian and Brook are a bit louder than they are in the RF mix, or so it seems, but again, it’s just, in both cases, coming up with a sound balance and a “sound” for each track as they hear it, as an engineer, it’s surprising, I would have thought that these mixes might be radically different, and there are some audible differences, I think EQ and other treatments may have been used by either or both parties, to “improve” the sounds of any of the instruments, and there are some sonic tonal differences that are hard to pin down, even with an A/B test.

TRACK: “BRIGHTNESS FALLS”

“Brightness Falls” is our next victim on the table, in our dissection of these two disparate mixes of one of the best live albums of all time, “Damage” by Sylvian-Fripp – certainly one of the very best collaborations that Robert ever involved himself in.

I loved “The First Day” (“Sylvian-Fripp’s studio debut album) when it came out, it was amazing to hear Fripp’s guitar and compositional skills behind the ever soulful vocals of Sylvian, it just sounded great – that is, until “Damage” appeared a year later.  It blew me away; on “Damage”, the songs from “The First Day”, were already transmutated from iron into gold, already transformed And wonderfully mutated into amazing live musical experiences by this remarkable band – there’s never been another band quite like this one – a wonderful compilation of individual musical characters, who’s sum was much greater than the parts, always. The live versions by far transcend “The First Day” as a whole, “Damage” is quite simply light-years ahead in terms of song development.

It’s almost as if “The First Day” was a test pressing, a musical sketchbook to sketch out the songs in a basic, crude form, but then, in rehearsals and in performance, on the tour,mine songs blossomed and grew legs, arms, feet, tentacles,and became immortal versions of those primitive sketches.  I still to this day, struggle to listen to “The First Day”, if I should, it would be immediately followed by “Damage” to set the record straight. “Damage” shows the definitive versions of all of these songs, which just happens to make “The First Day” fade away into nothingness…

 

Along with revitalised tracks from “The First Day”, played with explosive excitement, there are also tracks from both Sylvian’s and Fripp’s back catalogues, including some where both musicians played on a track together – such as the tracks taken from “Gone To Earth”.

The RF mix has a lovely, lovely ambient outro, “Brightness Falls” live was incredible, with Robert building up an amazing live loop, which made the track more and more ambient as it went along, with the band keeping time beautifully with a lovely slide guitar part from Michael, and a constant and steady riff from DS himself.  The song fades into just Frippertronics, or rather, a soundscape, and gradually disappears – until it suddenly transforms into a track originally on the “Rain Tree Crow” album, “Every Colour You Are”.

But we still have the DS mix of “Brightness Falls” to contend with, this time, I would say, all four guitars have been EQ’d or treated, and the lack of crowd sounds again, gives a sterile and studio-like sound that is both brilliant, but slightly disturbing – it’s almost as if there is too much detail revealed, I would say in the case of this song, DS’s mix is definitely a bit “clearer”, the definition between the three guitars and bass, is stunning, really, it sounds great – and when Robert takes a short solo, it’s just amazing – it sounds fantastic – panning madly across the stereo field – and then, back to the quiet, four guitars in perfect harmony mix level – as the vocalist works through the chorus again.

I think in almost every song here, that maybe, the vocals are a little louder, a little clearer, on the DS mixes, whereas on the RF mix, there may be some murky moments, and sometimes, the balance between the 3 guitars and bass, is not as clean and definite as it is in DS’s mix, but – to Fripp’s credit, DS had both, better, newer equipment, and – more time, probably – to tinker with the album – and in the case of “Brightness Falls” that tinkering has truly paid off – I am hearing things leading up to the middle section, that I have never heard properly on the RF version – the found voices that David was triggering from his synth, are much more audible here – really clear and nice.

The long outro with Soundscape, is just as beautiful as in the Fripp version, or maybe even a little nicer, because you can hear the samples a little better on the way out.  It’s such a lovely, long fade down, you can’t really go wrong, it just sounds great in BOTH mixes – no clear winner here, although the DS does seem a bit clearer in terms of the guitars to bass balance – it’s clean.  But RF’s mix is no slouch, either – Fripp’s mixes are as they always are, accurate, precise, and, with Fripp pretty far up in the mix ;-).

TRACK: “EVERY COLOUR YOU ARE”

So we now get to “Every Colour You Are” from the “Rain Tree Crow” – which was, of course, an unofficial “Japan” reunion – they (all of the members of Japan) all play on the record, but, they didn’t want to call it “Japan” – so, because this was a new band making a new record, they became “Rain Tree Crow” for this one album.  It spawned a number of great new David Sylvian songs, and it’s great to hear the S/F band interpreting them on the live “Damage” album – now available in two delicious flavours.

Some slightly wonky delay slide guitar from Michael is mixed down a bit to try and distract attention from it, but he soon gets things together, and then that same slide guitar becomes a crucial component of the song – and there is then, that amazing drum roll from heaven, when Pat Mastelotto makes his presence known suddenly – that no one expects – right there in the middle of that beautiful solo – and then, the song settles back down to the two chord motif, and that amazing verse about the family man, who puts a torch to his house and warms his hands by the fire…remarkable.

I haven’t spoken much yet about the contribution of drummer Pat Mastelotto, because it’s just one of those things that you sort of take for granted, and maybe that’s the easiest thing to say – that he is solid, reliable, spot on, but still capable of lots of percussive surprises. He’s the perfect drummer for this sadly short-lived monster of a band, unobtrusive when he should be, powerful, precise and utterly, utterly focused on the beat, and on the song…and doing what is appropriate every single time.

I think Sylvian’s voice is equally compelling in both mixes, and despite some differing EQ’s and treatments on both records, it’s consistent and strong throughout, on both mixes.  On RF’s, it’s mixed up well, along with the solo guitars, which are just beautiful – Fripp plays a blinder of a clean solo up to the insanely cool ending – I love that ending !  Dissonance shown as beauty…only Fripp can pull that off successfully (courtesy of that amazing, high-pitched, 2 octaves up reverse guitar) – and he does, indeed, pull it off, with the remarkable ending of this track.

This time, the DS mix does contain audience sound, but it’s the sound from the ending of “Brightness Falls” which abruptly ends, “Every Colour You Are” begins, again, with it’s odd EQ sort of studio-sound, which is then confused by an eruption of spontaneous crowd noise when they recognise what song it is – a lovely, very real moment, and both mixes include it – it’s a nice moment, and it works within the context of the song, because this song has a lot of space in it.

TRACK: “JEAN THE BIRDMAN” (DAVID SYLVIAN MIX ONLY)

Now, we have arrived at the point where the discs differ, in this case, RF Mix does not contain the next track, which DS mix does – the live version of “Jean The Birdman” – I can understand why Sylvian wanted this track, it was the single, and I think he wanted it to do better than it did (there was a single release of it) and to be fair, it’s actually really, really beautifully done, with sparkling guitars throughout, including really beautiful reverse guitar solos from Fripp – a great live version of a much-underrated song.  Unfortunately, I can only comment on the DS version, according to Wikipedia, “Jean The Birdman” “replaced” “Darshan” from the earlier Fripp mix – but no reason is given.

In a way, it’s a bonus, because now, in a way, we get two unique live tracks – if you only had one of these discs, you would only have one of those two songs, so, it’s worthwhile having both mixes – if just to get “Jean The Birdman” live, if nothing else – it’s very, very well done.

TRACK:  “FIREPOWER”

Now we are back in comparison land, and it’s “Firepower”, another track that started life on “The First Day”, but is utterly re-vitalised, featuring a killer, exciting, vocal; fantastic drum rolls popping from Mastelotto’s snare; Trey’s bass is supercharging the rhythm section, while the Sylvian / Brook / Fripp “Axis of Guitar Power”, continue to dominate, Fripp playing another blinder of octave up distorted guitar solo, followed by an incredible, dissonant solo with some very odd goings-on, samples from David’s keyboards, a lot of fabulous detail in the background – with Fripp’s guitar definitely in the foreground!

A snappy ending – that isn’t an ending; the song then starts over, with a Fripp Soundscape, Trey’s beautiful bass riff, and a nice, extended outro that is really, really lovely – just a great mood, Pat is steady, Fripp’s soundscape is being built brick by brick, Michael makes strange guitar sounds periodically, and David has his many samples – odd to watch him, in concert, holding down one key at a time, to trigger samples – but, that’s how it works.  More ON FIRE guitar from Mr. Fripp, really beautiful Digitech Whammy II high pitched guitar work – this was also, for many years – my pitch pedal of choice, it’s not perfect, but, if you work at it, you can make it sound quite good.

The DS mix of “Firepower” – while perhaps, a slightly thinner sound, it comes blasting in, guitars a bit more up front, Fripp razor sharp guitar sounding even more razor sharp, the fabulous guitar solo, the dissonant section that follows it, sounding great – a bit cleaner mix maybe, and again, Fripp’s awesome high-pitched guitar melodies just buzz through the atmosphere – and at the end of the solo, a part that I don’t remember being on the RF version, just before the  famous “false ending” (at 2:58) – a great riff (at 2:40 to 2:44) that brings the track down to its outro just beautifully – a very heavy and very precise riff, bringing perfect closure to both an amazing Fripp guitar solo, but also, an amazing guitar trio – especially the dissonant part of it – and it seems like the main body of the song is ending, but, instead, after 3 minutes of “song with guitar solos” we now move purely into the instrumental realm – “guitar, guitars, and more guitar!” – for another four minutes; with a lazy, beautiful rhythm from Trey and Pat, over which Fripp gets to stretch out once again with a very long, very lovely solo.

The long outro after that false ending, with Fripp’s beautiful sustained solo, could not fail to sound great no matter who mixed it when, and it sounds just as wonderful in the new DS mix as it does on the “old” RF mix – both are great renderings, they really are – and, a great performance of the song, too, from the whole band – that certainly helps :-).

And during that outro, be sure to check out what Pat gets up to, he reminds us, gently, of the power and majesty that he can inject into the proceedings at any time – and he doesn’t do so often, he is very careful never to overplay – always, subtle appropriate drumming – which he does so well – so when he does cut loose for a moment, here and there, it’s even more impressive than it might normally be – so, restraint much of the time, but, bursts of incredible drumming, with a rhythmic musicality that only Mastelotto can provide – he is unique, and I love his drumming style.

TRACK: “GONE TO EARTH”

Next comes a somewhat oddball song, “Gone To Earth”, which must take incredible concentration to sing, it has the oddest melody; and the oddest guitar parts, I hear it start and all I can think is, “what a weird, difficult, odd yet wonderful song!” but it has that beautiful vocal refrain, and the found voices over Fripp harmonics – wow, that’s just so beautiful…an oddity, yes, but I am so glad they dug it up, the title track of one of David’s most famous albums, and it’s mostly famous for its roll call of amazing guitar guest stars, Bill Nelson, Robert Fripp (on the same album – I mean, wow!) and Fripp is on a decent number of the tracks on the album – so he is able to reprise his parts as well, with better guitar technique, and more experience and technique of his own.

The DS mix of “Gone To Earth” differs a bit, the vocal is definitely higher in the mix, with Robert’s unique guitar intro comes flying in, quite a bit louder than on the RF mix, his distorted stereo lead guitars clearly to the fore in the very beginning of the track.  The found voice samples are also a bit higher in the mix, which is great, I think in this case, despite my usual complaint about slightly weird EQ in the beginning of the songs, this may be superior to the RF version in some ways – although I love both versions.  Sylvian’s vocal is particularly good on this track, and I don’t know how he gets his pitch “live”, but he does a beautiful job of performing this often-overlooked mini-ambient masterpiece from “Gone To Earth”.

TRACK: “20TH CENTURY DREAMING”

Now, we come to the fabulous, riffalicious “20th Century Dreaming”, one of my favourite tracks, originally from “The First Day” – as David sings – “social, economical, spiritual – I’m moving to the House of Love…” and he sounds very convincing.  Fripp’s mix is very clear, bass and drums throbbing in the centre of the mix, while the three-guitar attack is blazing away in glorious, confusing stereo in the background.  There seem to be three rhythm guitar parts during the verses – and then of course, Robert begins his ominous, low-pitched solo, and it suddenly moves into double time, razor-sharp, biting, beautiful, and intense in that way that only Fripp can be intense – one of his best solos, and in this live rendition, it rivals anything he ever played under the name “King Crimson” – I was so excited by this band, that when I saw them, I walked around for months afterwards saying that Sylvian-Fripp were very nearly as good, or possibly, better than King Crimson (I know – a moment of madness) – but, there is some merit to that opinion.

A fantastical Frippertronics soundscape underpins a long, ambient “non-solo”, with quiet vocals, quiet guitars, quiet bass and drums, the whole band sinks down, but, still playing with intensity, which then, once the vocals pause – builds in intensity again – “dreaming….dreaming lying down”… and Pat starts in with the most constant snare drum you ever heard, until suddenly, all hell breaks loose as David is moving, moving, moving to the House of Love – and Fripp and co are literally propelling him there – with some of the most amazing music I have ever heard.  This song is so difficult to describe with mere words, the ambient parts, the soundscape is so incredibly beautiful, and Fripp soloing away, even when the drums and bass have silenced themselves, so it’s Fripp playing lead guitar, and reverse guitar, two octaves up, along with his soundscape…and suddenly, silence.

The David Sylvian mix of “20th Century Dreaming” again, has a different guitar sound, the stereo image of the guitars differs from the RF mix, which does make them feel fuller – not sure what adjustments were made, but, Sylvian’s mix does sound “different” – but it’s never “bad different” – it’s always “good different”.  This song is a very, very long, very detailed piece of music, with a lot of elements to it, and capturing those elements, and mixing them well, was certainly a challenge, moreso than some of the shorter, more straightforward songs.

The Axis Of Guitar Power, that triple-threat of electric guitars, with two masters and one very capable rhythm keeper, young David Sylvian himself, it’s just the most astonishing sound you could imagine; Fripp, ominous, capable of blinding speed, and amazing displays of speed and musical accuracy, while Michael Brook provides anything from second rhythm guitar, on up to lead guitars, sounds, infinite guitar, ambient guitar, and just plain strange guitar, which compliments David’s very straight parts, and Robert’s intense solos, but, of course, there are really a couple more guitarists here, in the form of “loopers” – so Robert has his Soundscapes, which are used a lot on the album, and also, here in live performance, they are a critical ingredient to the success of the music played on “Damage” – it would NOT be the same without them.

So really, you have a quartet of guitarists, one of them, a beautiful, musically complex Soundscape loop, played over by our three heroes.  “20th Century Dreaming” gives all three of them a workout, and Sylvian’s vocal is really beautiful here, the guitars and Soundscapes flying around in stereo around his head…a miraculous mass of music that should be overcrowded, but instead, just sounds perfect – in either mix, I love them both, no contest, this is such a good track, that you could just about NOT mix it and it would probably STILL sound amazing.  A lot of work has gone into both mixes, I can tell, and it’s paid off, because there IS a lot of great guitar detail to bring out, and Fripp’s performance on here is just stunningly good – one of those where you shake your head and think “how on earth does he do that?

TRACK: “WAVE”

Now we return to the “Gone To Earth” album, for one of its loveliest songs, “Wave”, which features what can only be described as an “Heroes”-like, long sustained guitar riff, which makes repeated appearances, alongside various other guitar solos using various guitar sounds, I don’t think I’ve ever heard Fripp use so many different sounds live, in one song – he is changing his sound mid solo, even – but it sounds great.  The Fripp mix is excellent, the lead guitarist is again featured, but, never overpowering the singer, it’s great to witness that in both mixes, Fripp never drowns out Sylvian’s vocal, and Sylvian never drowns out Fripp’s guitar – so there is obviously, mutual respect for the musicianship of each other there.

This is almost straightforward as a song, when compared to some of the very complex songs preceding it – with a few long verses, followed by Fripp’s “two different voices” solo, it begins with a strange harmonizer patch, then switches back to the trademark distorted, high-pitched, sustained guitar sound – a beautiful solo, and then back to David’s impassioned vocal, I am always surprised by “Wave” – “I’ll never let you down” – is followed by the most astonishing, “St. Elmo’s Fire” style Fripp “spinning guitar” at speed, and during the last few solos, Robert is absolutely scorching, wiping the floor with his guitar, I love this solo more than almost any other on the record – it’s just sublime – and, it takes us right to the end of the song.

Moving now to the DS mix, the drums in the beginning, sound completely different, and, it sounds almost as if vibrato has been added to the guitars in the intro.  Fripp’s guitar, volume and tone, seems identical to the earlier RF mix, but boy, those drums sure sound odd in the beginning!  In Fripp’s mix, they are mixed down to almost nothing, and their volume only comes up when the guitars start, in Sylvian’s mix, he has cranked the four bars of solo drums intro, up so far that it sounds like a different song at the start!  Personally, I like the fact that I can now hear what Pat played in the beginning of the song, and I am not sure why RF would have turned it down so far !

David’s mix otherwise, like Robert’s before it, is true to the spirit of the original song as it was on “Gone To Earth” – in fact, all of the songs taken from “Rain Tree Crow” or “Gone To Earth” have all been faithful reproductions of the original studio works, with of course, better and more interesting vocals and guitars – particularly, Robert Fripp excels in the live environment, so what sounded good on “The First Day” – sounds GREAT on “Damage”; and at the same time, what sounded good on “Gone To Earth” sounds GREAT on “Damage”…superlative improvements plus live guitaring.

So in the case of songs from “The First Day” – there are changes, there are improvements, the songs are MUCH better across the board, on “Damage”, whereas, the songs from “Rain Tree Crow” and “Gone To Earth” are much more faithful renditions, sounding pretty much exactly like the originals…but better.

BRIEF INTERLUDE – (OUT OF SCOPE):

“Exposure”, which they also played at live shows, also sounded much like it did on Robert’s breakthrough album “Exposure” – except with David Sylvian singing the song instead of Terri Roche.  Or, Peter Gabriel, as the version of “Exposure” on “Peter Gabriel 2” has.  I loved hearing Sylvian sing that, and play the “E”, “X”, etc. samples from his keyboard, while Fripp reprised his loops and guitar – it’s such a shame that no take of “Exposure” was deemed good enough to put onto the “Damage” album – a real loss, as for me, at the live show I saw in Los Angeles, it was a huge surprise, and, a real highlight.

Note: there are bootleg recordings of Sylvian-Fripp concerts that DO include “Expoaure” the song, unfortunately since that track does not appear on either of these official releases of “Damage” that we are comparing here, it is outside the scope of this discussion.

>>>>>>>>>>>>>Return to album comparison>>>>>>>>>>>>>>

TRACK: “RIVERMAN”

So from “Wave”, we move to another track from the same album, “Riverman”, beginning with a very strange, ambient section, which then gives way to the song’s lovely, swaying two note bass motif, and wonderful, strange guitars in the background, Michael plays rhythm guitar and slide guitar, while Fripp plays high-pitched notes which become Soundscapes; Trey comes in with a lovely vocal harmony on the chorus, an underrated singer, I think he harmonises beautifully with Sylvian, and that is no mean feat, as David’s voice is utterly unique, and probably not easy to sing along with!

After the first verse and chorus, Fripp takes a very intense, heavy solo, that seems almost too heavy for such an otherwise quite gentle song, “run with me, holy man…” quite dissonant, a beautiful solo – then back to normal music – it works beautifully, it’s dead serious, quick, intense – and then, back to beautiful, super-high pitched notes being dropped into a loop.  And then comes another short guitar solo, distorted, low pitched, with reverse elements, sounding just right – and again, back to the Soundscapes from heaven…drift away on clouds of ambient guitar.

This is the “slow moment” in the concert, or one of the “slow moments”, most of the band’s songs are uptempo, so it’s nice to have something that’s at a lower bpm, so we can hear this group of musician’s playing at something less than the speed of light, on a few tracks.  Fripp is just great on this track, filling in the areas between the verses with powerful guitar solos, and then falling back into those atmospheric sounds, the wonderful high pitch notes that appear and then group together in a loop, then fade, then return…really beautiful guitar work, and, loops at the same time – an immaculate process, and Fripp really knows how to work these live-built soundscapes into a piece of music.  An almost “Elephant Talk” two-note-Fripp-guitar calls a halt to the proceedings – and “Riverman” is over.

David’s mix, well, the intro is mixed up a bit more as usual, so you can hear the strange elements that the beginning is made up of, a bit better than you can discern them on Robert’s mix. Sylvian’s voice sounds more “present”, as if he has moved closer to us, which could be the result of almost anything in the studio, simply upping the vocal level, changing the stereo field, applying EQ – I don’t know what he does, but he always make his voice sound great, and, I also feel, he makes his three guitarists sound great – he manages to crank up Fripp and Brook, even more than Fripp cranked up Fripp in his mix, and that’s unusual, normally, Fripp’s mix would ALWAYS have the loudest guitars, by default, because he is a guitarist, of course, but not here, I think Sylvian likes these guitars so much, that he really cranks them up so he can enjoy them!

The solos in “Riverman” are brilliant, it’s yet another great rendition from the “Gone To Earth” album – in fact, the tracks presented here from that album, demonstrate that it’s a quality record that stands the test of time – and it really does.  It’s probably my favourite David Sylvian album of all, although I am also very fond of “Brilliant Trees”.

TRACK: “DARSHAN (THE ROAD TO GRACELAND)” (ROBERT FRIPP MIX ONLY)

Then we come to our second anomaly, another song for which there is no comparison, in this case, we only have Fripp’s mix, and, it makes me feel very happy – this is the almost eleven minutes of “Darshan (The Road To Graceland)” and all I could think when I saw David’s running order did not include “Darshan” – I could not believe my eyes, or my ears.  Removing that song…well, to me, it borders on sacrilege; because it represents Sylvian/Fripp at their most bleeding edge, testing the limits of a live groove with flying shards of screaming Fripp “Sailor’s Tale” or “Hendrix” style guitar, Fripp pushes himself, and this song, through an almost exhausting, and terrifically exhaustive, set of long, amazing distorted chords, delivered at speed, sliding up and down the neck with aplomb, bouncing of the fretboard – playing with it, pushing his own boundaries.

The band, is in an amazing groove, that runs pretty much without stopping, for the entire length of the song – giving both Sylvian and Fripp, plenty of time to do their individual singing and soloing.  Sylvian is great on this song, I love his vocals, I love the chant of “Darshan” and “leaving on the road….to Graceland” that recurs many times, whilst Mr. Fripp is almost in a world of his own with his super extended impossible sliding chord exercise / solo.  It is remarkable to hear, and, if you don’t have the Fripp mix, at this point, you should put DOWN your David Sylvian mix, and go order the Fripp version, so you can HEAR THIS SONG.   That’s the best endorsement I can give, it’s absolutely worth it, to buy a whole CD, to get this one song.

At 6:45, there is an incredibly “interplay” solo between Michael Brook and Robert Fripp, that is just sublime, there are so many great moments of guitaring on this record…this particular back and forth is just awesome!  Brilliant guitar work from both Fripp and Brook.

It should also be noted, that if you just have the Fripp mix, you should avail yourself of the Sylvian mix, so you can get a most excellent version of “Jean The Birdman” – which Fripp did not include.

But “Darshan (The Road To Graceland)”  – is an absolutely remarkable song, and this performance, available on the RF Mix of “Damage” only, is a must-have recording if you love the music of Sylvian or Fripp, or both (as in my case).

TRACK: “BLINDING LIGHT OF HEAVEN”

Moving now toward the end of the disc, we come to a personal favourite of mine, at the time of the original Damage coming out, Damage was the only record in Sylvian’s canon that contained this next song, the incredibly beautiful and semi-erotic “Blinding Light Of Heaven” – which to me, is a real highlight on this record, it has some wonderful guitars, although nothing can top the aforementioned “Darshan” – Fripp’s solos in “Darshan” are absolutely off the scale, especially the final one – which you have to hear to believe….

But, back to the “Blinding Light Of Heaven” – it starts with a rocking beat from Pat, and a two note “Hendrix” hammer-on, some sliding guitars, and then, it acquires a great disco (really, I’m not being funny here – it’s really cool!!) rhythm guitar courtesy of David Sylvian, while Robert and Michael play great guitars in the background.  “I’m in the shade, she’s in the blinding light of heaven….” And “…now she stands before me opening the buttons of her coat….I found myself, wrapped in the open arms…of heaven”.

It’s deceiving, it has a funky beat, with an almost-disco guitar, but to me, it’s a strange and wonderful piece of almost prog guitar work, especially when the second verse ends, and Fripp takes his first solo, which includes him TAPPING, and it’s just the most amazing, ripping solo, with those amazing trills, that slide right off the top of his top note on his top string – astonishing solo.

Fripp’s mix is very good, the guitars are getting louder, Sylvian is well audible but not up as much as in the DS mix, and now, here comes the second Fripp solo, this time, using the octave up pedal, and the tapping again, then – song over.

A great, great and sudden ending from Robert, such a concise little wonder of a song – “The Blinding Light of Heaven” indeed.  The Blinding Guitars of Robert, more like.  Now, to David’s version, his mix starts the same way as Robert’s (well it would, wouldn’t it) but again, the stereo on the guitars is better, Sylvian’s guitar has been re-EQ’d a bit, and the sound overall is a bit different, I think Fripp’s guitars may have had some stereo chorus added to brighten them up, otherwise, the vocal is a tiny bit higher, but not criminally so, if anything, Sylvian’s mix features loud, loud guitars, maybe louder than on RF’s mix.

This vocal, this vocal melody, is one of his best, and I think now, finally, you can get a “studio version” of this song, but I haven’t done so yet, because…I love this live version so much, so, very, very much, that I am not sure I want to HEAR any other version.  Great bit in the middle, where the two note Hendrix hammer-on happens again, DS just cranks it up, it’s right before Robert’s even-more-impossible second guitar solo.  And I love that sudden ending – it’s just brilliant!  Great song, great performance – two great mixes, you can’t lose, you really can’t.

TRACK: “THE FIRST DAY”

Finally, we come to “The First Day” which is mainly a vocal piece, with sparse keyboard and soundscape backing, some short, long low distorted notes from Robert, the simple piano melody the perfect backdrop for one of David’s most heartfelt lyrics – the RF mix, was always lovely, and Sylvian’s vocal on this, the way it ties in with Robert’s very careful 2 octave up volume-pedal guitar, David sings “bring out the stars….on the first day” – and after the word “stars”, Fripp plays four descending notes, up high, that parallel the vocal rhythm of “bring out the stars”… and it’s just the perfect moment, it’s why these two work together so well, because ultimately, both of them live to serve the music, to serve the song, and this lovely Sylvian ballad is even nicer than the title track, in my opinion, I love Fripp’s clouds of soundscapes here, and Sylvian’s understated keyboards – both supporting that gorgeous, honeyed voice “on the first day…the first day” – which is a great way to end an album, with a song about the very beginning.

The first verse ends, and a beautiful piano and soundscapes section follows: a frozen moment of pure music, until David’s warm, warm voice comes back to melt the frozen moment, and then – a beautiful, beautiful high register piano sequence, with the most beautiful soundscape in the universe behind it – those little interludes between the verses just knock me out, they are very, very beautiful indeed, and this is truly a “Sylvian-Fripp” song, for me, it really represents the co-operation of two great artists, and Robert’s final, massive, distorted one note ending is simply sublime. And, yes, I have over-used the word “beautiful” in this paragraph, but it was the only way to properly describe it: truly beautiful.

The David Sylvian mix, as always, is a few dbs louder overall, as the entire mix is louder than the original RF mix, and while I suppose that’s “progress”, I am personally a fan of CDs that don’t blast your socks off, this quiet meditative song, isn’t improved by being louder, in fact, my instinct is to turn it down, so it’s closer in level to the RF mix that I just heard, but I refrain, I let it play out at volume, and it’s no less beautiful than Robert’s mix, if truth be told, those musical interludes between the verses are just as beautiful, the vocal is so present, so real, so central to the song, and this beautiful live performance, is yet again captured in this new mix as a beatific moment trapped in time, capturing the spirit with which Robert and David approached this project, as a team brought to life to give this music life, and this song, possibly above all others, is the perfect example of co-operation, bringing only what is necessary for the song to the song.

This mix does sound different, I can hear what must be Michael Brook, making some swooshy sounds with his guitar, that I didn’t really hear in RF’s mix very well, as always, the “guitars” mix in Sylvian’s mix seems to be a bit different, but in a good way.  Since Trey and Pat don’t play on this track, you can hear the two guitars very well indeed, and especially in David’s mix – it sounds really lovely.

One thing I do love about David’s version of “The First Day” that is missing from RF’s version – is the very loud, very long applause that occurs after the end of “The First Day”, a very polite applause, respectful, which for some reason was removed from Fripp’s version – there is just silence after the track ends on RF’s mix.  So it’s nice to hear the audience’s reaction, if for no other reason than to confirm that they saw a similar show to the one I saw, and I get all the confirmation I need from that applause.

CONCLUSIONS AND COMMENTS

For a long, long time, after see Sylvian-Fripp play live, I walked around saying to everyone that seeing Sylvian-Fripp live was almost as good as King Crimson live – blasphemy!! – but in some ways, it really was superior – more human, and, Fripp’s guitar playing is absolutely on form, particularly on the “loud” numbers (i.e. the whole album, basically, since there are really only two or three “quiet” numbers); the quality of the soundscaping is brilliant; and the guitar solos, from the amazing “Darshan (The Road To Graceland)” to “20th Century Dreaming” to “Firepower” to the not-present-on-either-mix “Exposure” – Fripp just excels, and also, the inclusion of earlier Sylvian works, in particular, the sublime “Gone To Earth” album, as well as Fripp’s back catalogue in the form of “Exposure” – that really rounded out the performance – the core of which, was the new material from “The First Day”, but mixing in a Fripp classic like “Exposure” (and, getting to hear David Sylvian SING it !!!), plus a few of the best tracks from “Gone To Earth”, plus, a “Rain Tree Crow” track – what a great set list, totally involving, and featuring an incredibly broad spectrum of truly remarkable music from across the distinguished careers of both David Sylvian and Robert Fripp.

So, it’s odd but interesting to get this David Sylvian “version” of “Damage”, I had no complaints whatsoever about the Fripp original, none, but, in hearing another vision of the album, it’s really fantastic, actually, because David “hears” the vocal mix and the guitars mix, a bit differently to the way Robert “hears” the mix – so you get some fascinating variations of guitars, especially – but in the end, all it means is, I’ve now got two very personal, very brilliant mixes, by two of my favourite musicians of all time, of one of my very favourite live albums EVER.  Normally, you only ever get to hear one version of a live album, so it’s just double the pleasure, if you ask me.

So – a great set of music, if I had to make a complaint, it would be David removing the essential track “Darshan” from his mix – I really don’t get that, unless he was truly unhappy with the track from some strange reason – and for my second and final complaint – the omission from both versions, of the band’s live rendition of Fripp’s “Exposure” – which was a highlight of the live show, at least for me, because I never dreamed in a BILLION TRILLION years that I would see and hear Robert Fripp playing the song “Exposure” – live.  I just – never thought it could happen.

And then, there I was, at the Wiltern Theatre, in Los Angeles, California, 1994, with Bryan Helm of the Dozey Lumps sat beside me, and suddenly, that two note guitar riff started up – and “Exposure” was underway.  So those two “complaints” would be my only criticisms, otherwise, I’d say, if you like this band at all, you should absolutely buy both of these, because for one thing, that’s the best way to get the largest “set” possible, buying both gives you BOTH “Darshan” and “Jean The Birdman” – so it’s well worth the extra expense.

In conclusion, I absolutely enjoyed both mixes enormously, hearing them side by side, I could hear distinct differences, and wonderful similarities, and both Robert and David did an excellent job of representing one of the most amazing concerts I’ve ever seen, on one of those great, unknown live albums, “Damage” for me, is an absolutely brilliant live performance, and now, I can listen to it in two completely excellent mixes – more music, more different viewpoints – a nice addition to the very small “Sylvian-Fripp” section in my CD library – but, very unexpected, I didn’t even KNOW there was a David Sylvian-mixed “Damage” until I noticed it on the Burning Shed website.

A great band, a great performance, and one of my top ten live albums of all time – maybe top five, not sure, as I have never written down my top ten favourite live albums.  Get them both – you won’t be sorry !

 

 

So – bring out the stars…      on the first day

 

on the first day.

“islands” and other extraordinary albums…

I came to the music of King Crimson in a fairly random way, I simply started buying their albums, without any knowledge of their running order, the players on the discs, or anything.

I think the first one I bought was “Red”, which I liked very, very much.  Then, it was “Larks Tongues In Aspic” which had a huge, huge impact on me…and then, I bought “Islands” – which I thought was absolutely terrific, but clearly, cut from a different cloth than my first two acquisitions.  After that, I have no idea what I bought, perhaps “USA” – because it was live – and that was another amazing disc – my gut feeling was, I like everything this band does (but everything this band does, is SO different) – from the remarkable and incredibly jazzy “Lizard” to the heavy prog of “Larks’ Tongues” and on up till the end – the live “USA” disk – strangely, with re-dubbed violins – we never really understood why that was.

Getting these remarkable discs out of order, willy-nilly, was probably as good a way as any to get into the band.  Because it arrived very early in the rotation, “Islands” got played a lot, and I took a huge liking to it’s very honest song craft, with that AMAZING saxophonist (Mel Collins, of course!) as a guitarist, I was allegedly getting into King Crimson because of their remarkable guitarist (Robert Fripp, of course!) but I found myself really liking the bands that played behind Fripp, and not knowing what was going on at all, I could recognise the funky combo that performed on “Islands” as a remarkable working unit – a real band, which was clearly, very, very different to the african percussion and ambient percussion present on “Larks’ Tongues” – I could tell that “Larks’ Tongues” was indeed, by a very different King Crimson than “Islands”.

 

Of course, as time went by, I began to read the history of the band, and began to understand who it was I was listening to, was it the original “King Crimson”; the Crimson of the Big Red Face, that only existed for a mere 11 months, or one of the strange hybrids that followed on “In The Wake of Poseidon” and “Lizard”, finally settling down to a working combo for “Islands”.

And I think like many Crimson fans, I did, in the main, favour the triumvirate of “Larks’ Tongues in Aspic”, “Starless & Bible Black” and “Red”, all with the well-known four piece of Bruford-Cross-Fripp-Wetton, and for “Lark’s Tongues”, it was slightly unique in that it featured a remarkable percussionist who left the band in the middle of their first tour, Jamie Muir.

Once you understand the chronology, it all starts to make some kind of sense, although it’s quite difficult to assimilate the “first four” or the “first five” if you add in the live, and very rare and “Import Only” “Earthbound” which I had to special order from a specialist shop to get.  By then, I had everything else – so “Earthbound” with it’s absolutely searing sax from Mel Collins on “21st Century Schizoid Man”, was the missing link between “the first four” the “last three”, if you will.

It’s interesting, I think, I always call it “the first ten” because that’s the classic package, of the band that existed roughly ftom 1969 thru 1974 and then called it quits.  But if you think about it, Fripp did an unusual thing – he book-ended the two different eras with a live album.

So you get the “first four”:

In The Court of the Crimson King

In The Wake of Poseidon

Lizard

Islands

followed by, with some difficulty, the live album

Earthbound

 

Then you get the “last three”:

Larks’ Tongues In Aspic

Starless & Bible Black

Red

followed by, with some difficulty, the live album

USA

It’s an odd pattern, to say the least. Four studio albums, one very rare and hard to obtain live album, three more studio albums, followed by a brilliant live album.

 

That’s my classic “first 10” and for many years, that was all we had – the only other live material available was on expensive and shoddy bootlegs, and you were never quite sure about the information on such records, was it really at that venue?  Was it really on that day?

Then, Fripp introduced the beautifully-covered “A Young Person’s Guide To King Crimson” which gave us a lot of answers, it had an amazing booklet in it, where every gig the band ever did was listed by city and date – so that became our Bible, the only reliable, Fripp-produced list of gigs – and it was a really nice compilation, too, containing a rare demo version of one of their earliest tracks, “I Talk To The Wind” that featured Fairport Convention vocalist Judy Dyble on vocals – who was at that time, the girlfriend of one Ian McDonald.

It was a lovely compilation otherwise, a beautiful piece of artwork, but musically it didn’t present anything much that was new – it was definitely a look back.

So I guess that is the eleventh disk of my “original ten” if you will.

Once King Crimson reformed a few times, and Fripp started releasing better-quality bootlegs of the band, the full picture of King Crimson came sharply into focus.  I could revel in any number of remarkable “Islands” bands shows, including one where they actually play the title track, something they very, very rarely ever did.  I could hear this very funky quintet (the firth member being lyricist Peter Sinfield, who operated the VCS3 from the soundboard) and Ian Wallace’s mighty VCS3-altered drum solo became a huge highlight of the tours.

The “Islands” band was literally a group that could play from a whisper to a scream, Mel would put away his saxes, and play the flute, ever so beautifully and gently, and vocalist Boz would sing lovely Crimson ballads from the first four albums with real intent – I love his live performances of these classics such as “Lady of the Dancing Water” or “Cadence and Cascade” – Fripp disavows them, he felt that Boz was not a good singer for the quiet pieces; but that he excelled on the rocking ones – my own opinion was the exact opposite, I’m afraid.  Sure, I love to hear this band roar through “Schizoid Man” or “Pictures Of A City” as much as the next guy, but when they turned down, and Fripp consulted his personal dictionary of tasty jazz guitar chords – Boz could do no wrong, if you ask me.

So after only having “Earthbound” to represent the music of the “Islands” band, for many, many years, it was a huge deal to suddenly be able to either buy CDs of their live shows, and / or downloads – a huge deal, because the limited view of what they were capable of “live” given to us by “Earthbound” could finally be laid to rest, and we learned very quickly that this band was a stomping, kicking beast of a rocker, but it was also capable of incredible, gentle beauty, as found in the two quiet tracks I mention above, along with rarities like the live version of “Islands” itself, which is an incredibly brilliant rendition of a truly beautiful song, and features even better guitar than on the studio version.  Why they removed it from the running order so quickly, I will never understand, because it was so incredibly beautiful.

I would, at a guess, think that it might have been an issue with having just two mellotrons to try and recreate the orchestral mood of the studio track, but I think they do a splendid job, with an improved guitar part, and a great vocal from Boz, too.  Again – RF has said that Boz “did not convince” on the ballads – but I do disagree, I think he had a beautiful voice for both rock and ballads alike, and that his voice was a godsend – he was the perfect lead singer for that band.

In any case, they may have stopped playing “Islands” live after just a few attempts at it, but they did continue to play ballads at almost every show, and some of those recordings are incredibly beautiful – because Fripp carries the tracks with his incredible, concise guitar arrangements, while Mel just plays really beautiful flute solos and the rhythm section plays quietly and accurately – it’s really about Fripp’s guitar and Boz’s vocal (and bass playing too, I should add).

So if you do get a chance to pick up some of the live CDs by this band, I highly recommend that you find ones that include a ballad.

Back in 1978, or whenever it was – out of an entirely random series of purchases, I would buy a new Crimson record each week, I somehow fell in love with “Islands” because, perhaps, it was so, so strange, with the incredibly jet-lagged guitar solo from “Ladies of the Road” to Fripp’s vibrant harmonium playing on the title track.  This album also includes one song that the band never did perform live, because it was an orchestral piece written by Fripp to serve as an instrumental introduction to the final piece on the album, the title track – so what you hear is first, “The Song of the Gulls” which is orchestral/instrumental, followed by the vocal piece “Islands” which, I should add, contains one of Peter Sinfield’s most beautiful lyrics ever – I love all of his lyrics on “the first four” – but I have a special place in my heart for the lyrics to the “Islands” album in general, and the song “Islands” in particular – it’s truly beautiful imagery, and Boz’ gentle, quiet delivery makes the lyrics hit home so hard, just really gently and beautifully sung – there’s no other song quite like it in the Crimson canon.

It is, after all, the end of an era, because Earthbound, while it does have an outrageous version of “21st Century Schizoid Man” on it, is somewhat of a disappointment – it’s not in my top ten concerts by the “Islands” band.

I think it must have been an almost random selection, let’s just pick an “average” show, one of those ones where Mel is really kicking ass – and that’s what they did.

But – there is a lot more depth and beauty to be found, if you explore the world of live shows now available from this band – in particular, I recommend the earliest shows, where they have literally just come from the studio, and the songs much more, resemble the album versions, whilst over time, they began to stray wildly from the original forms, so if you want to experience the truest approximation of a perfect Islands band live show – stick with the earliest shows – the double CD at Brighton springs to mind as a good one, but you really can’t go wrong.

Even “Earthbound” has it’s positive moments.

For me, it was really, really nice to see King Crimson not once, but three times on their most recent tour of Britain and Europe, and to see that thanks no doubt to the ministrations of young Jakko Jakszyk, that Robert has indeed, made his peace with this record that at one point, he didn’t want to think about or look at every again.

So much so, that they now play two tracks from the record live, which is an astonishing and almost impossible feat – I couldn’t believe my own luck, I was not only going to see King Crimson play repertoire from across their career(s) but I was going to hear them play two songs from Islands as well – “Sailor’s Tale” and “The Letters” – and for me, that really felt like full closure – both Ian Wallace and Boz Burell have passed away, but Fripp in this way remembers them – and brings their amazing music to King Crimson fans via the 2015 incarnation of the band.  I think that is absolutely brilliant!  And the other player from the Islands band – is IN the new band, and it’s so, so lovely to hear Robert and Mel playing together again – Mel is an incredibly gifted player, and having him in the band has been absolutely brilliant.

I think that everyone knows and loves “In The Court Of The Crimson King” but then after that, doesn’t really know how to form an opinion of the band that made those next three records – “In The Wake”, “Lizard” and “Island” – each with different singers, different musicians, where only Fripp is the constant.

If we set aside the legendary first incarnation of King Crimson, and look at what happened afterwards – how the band changed in the studio – but that last incarnation, with Boz being taught how to play bass bv rote by Robert – he was originally just their singer – they couldn’t find a bass player – so he became the bass player! – they got it right, and the album they made, in 1971, still stands up today as an odd masterpiece of jazzy, blowing prog like no other.  if you are not familiar with “Islands” – I cannot recommend it more highly – in some ways, it’s my favourite King Crimson album.

It moves between so many moods, the lyrics are outstanding, there are great guitar parts and guitar solos, there are great sax and flute solos – the combination of Robert Fripp and Mel Collins, both of them mellotron-playing soloists – was a very dangerous one, and one that created a remarkable record with an incredible edge – “Islands”.  The record then travels through chaos until you reach the last two tracks on side two, when peace and beauty are restored in an incredible way – a truly gorgeous way.

 

 

 

“Islands hold hands, ‘neath heaven’s seas…..”

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

the making of an epic prog rock “monsterpiece” – part two

So – the stage is literally set, I’ve at this point, got the majority of seven months’ of work behind me…

My last blog, recounted the first seven months of the project in a fair amount of detail – that was part one – but here in part two, we are looking at the final few days of work – the last four or five days in December, 2015 – that’s our “part two”:

 

The drums and bass have been locked down (except for final level setting, of course) for many months.

The keyboards are all locked down, and the intricate middle section has been completed, encompassing acoustic guitars, birdsong, ipad, and ambient electric guitars (the infamous “Hackett Guitars” – courtesy of the new Eventide H9 multi effects unit – that occur just before the second half of the song re-enters).

All that is left is – more work (on the second half only, after the new “middle section”) with the guitars, a few needing solos, and a few, needing some rhythm guitars.

I decided to use some of the extraordinary sounds from the Eventide H9 multi-effects unit, which only arrived in the final days of work on the song, so using it as my main guitar effects unit, that enabled me to do, for example, the ambient “Hackett Guitars”, as well as some of the rhythm and lead guitar work in the final section during “part two” – so I would characterise “part one” as being the main build of the song, plus, the first part of the guitar overdubs; while “part two” is two things, finishing touches – all done on guitar – and mixing, mixing, and more mixing.

I had originally thought that I would play a series of different guitar solos over the second half of the mix, but things happen…plans change.  And in this case, it was one of those weird accidents that you just can’t deny, that you have to go with – because you hear it, and the sound of it just says to you, you know it in your heart: “you know this is the right thing”.

I sat down to play the first of many solos, which, by my cunning plan, would have filled the end of the main track from the end of the middle section to the end of the song, bit by bit, a short burst of one guitar sound, a short burst of the next, and so on. The first solo, was to be an ebow solo.  So I got a nice sound for the ebow from the H9, and started making takes.

But what happened was something I never expected, as the track kept playing, after the section I was overdubbing – I kept going, I kept playing after the first section went past…and then the next, and then the next…and suddenly, I could hear the very end of the song approaching – so I went for a crazy, major key ascending scale that could not possibly fit at the very end of a really, really LONG ebow solo – and of course, almost as if it had planned that way – it fit just right, ending right alongside the existing “fast-Leslie” organ solo…

I listened back, astonished – because I never meant to play right through, I hadn’t imagined finishing the entire track with one very long, multi-key energy bow guitar solo – but that is exactly what happened.  At first, I thought, well, this creates a problem – what do I do?  How can I play different sections of lead guitar now, with this really nice solo filling up the entire second half of the track?

The answer, of course, was “you no longer need to”.  So instead of doing piecemeal solos, using different guitar sounds, etc. (as I did in the first half, as planned…) the second half now features one long, long ebow solo (which, to be fair, is actually in five sections, edited down from the best three takes – but if I had not told you that, you would not have known – it sounds like one solo – well, it is one solo, just, from the best three takes!) – it was quite a feat of editing, but editing ebow solos is one of the most amazing procedures out there, because – well, because a recorded ebow sounds, looks and acts like a pure sine wave, fading it in and out is never an issue, at a microscopic level (zoomed) or even at a normal level (not zoomed) and “switching” from one solo to another, from one take to another rather, at any point, is almost always very easy, because the notes are usually quite long, and, whether they are long or short, they have distinct silences in between – the perfect space to switch between take 1 and take 3, for example.

The editing task then was not that difficult, but I did spend quite a lot of time on it, as I wanted this final solo to really bring the whole piece together, and once I got used to it – I realised that it was the best idea all along – because it’s the only opportunity, really, for a nice long guitar solo – and there is nothing on earth like a nice long ebow solo – it’s the best! – so…I took that opportunity.  Accidentally “on purpose” 🙂

So while unintentional – that “accident”, of me just carrying on playing that ebow solo, not stopping when I should have – going on and on to the very end of the song – changed the whole planned character of the second half of the song, and gave me a glorious, long and lovely ebow solo to take us out to the final moments of the song.

I did some work with panning towards the end of the piece – I boosted the level of the existing “fast Leslie” organ solo to match the ebow solo better, and I gradually moved it from the centre to one side of the stereo image, while at the same time, in the opposite direction, I gradually moved the ebow solo to the opposite side of the stereo image, so it moves from being a homogeneous centralised pair of instruments at the beginning of the second half, to two distinct instruments, one on either side of you – and I love that slow, slow stereo spread of the two solos – it works for me.  In headphones, it’s very nice indeed.  On speakers, you might not really notice it as much, but it’s an important point – I wanted the solos to end, with them split, one hard left, the other hard right – and that is indeed, what I ended up with.

I think at that point, I breathed a huge, huge sigh of relief – because, except for a very few finishing touches – this long ebow solo meant that the song was “DONE”!!  At long, long last, and just before the year ended, too – it had always been my goal to complete the song in 2015, to allow it to then become, pureambient’s first release in 2016.  So I am happy to report that I did indeed, with just hours to spare, meet that goal.

So – what finishing touches? Well, I added in a few rhythm guitars, where I felt that solos needed some chord-based support, but overall, there is not a lot of rhythm playing in this song – being a prog song, all of the players (i.e., me, lol) love to play solos, they all think that they are master of their own instrument – so you have a whole band full of soloists!

But the lead guitarist (again, that’s Dave Stafford, lead guitar), can be, and did indeed, allow himself to be persuaded that some rhythm guitars (well, more than he had originally done or planned for, anyway!) would not go amiss.  One of those rhythm guitar parts, a simple chord played once and left to ring, for four bars, sounds nothing like a guitar, but rather, some mellifluous dream electric piano from the stars…a beautiful H9-produced sound.

I added some lovely chords in the second half of the piece, using the H9 to get some beautiful new clean sounds (and the modulation section of the H9 is simply the best – better than any effects unit or software I have ever owned – it is the best, for those of us who cannot possibly, ever, afford an “Axe-FXII” – this is just as good or better!) so I am really pleased with the last few guitar contributions – because the H9 makes them sound really, really good!

I also realised that so far, I had not woven any reverse guitar into the fabric of the song, and I love reverse guitar – I’d always meant to do a reverse solo – but I hadn’t done any so far in the song (a huge oversight, surely!) – I mean, come on, this is prog – so in the style of King Crimson circa 1970, I thought of “Prince Rupert’s Lament” (or rather, the “Lizard” suite) I decided I would add some reverse guitars in that style, clean and nice – so – how could I now incorporate it?  Where there is a will, there is a way – I recorded a few different takes of reverse guitar (again, courtesy of the remarkable H9 pedal) and then mixed them into the closing section of the song.

That took some getting used to, in fact, all of the changes to the second half took me some time to acclimate to, because for so long, it had just been, you know, drums, bass, keyboards, mellotron.  No guitars.  No rhythm guitar.  No reverse guitars.  So the second half evolved, and the more I worked on it, the happier I felt – I really felt good about this piece of music, and despite how long it took, and the many, many long hours and long days I had to put in to get it there (the weeks spent on the drums and bass alone ate up the first two months!!!) and there were times when I thought – “I am never going to get to play the guitars on this song….never!” – but, the day finally did come, at the end of November actually, and I really went into it with a happy heart – finally, I am working out guitar parts, to go with the long, long-existing bass, organ and mellotron parts.

Playing guitar along to the finished backing track was an absolute joy, and I could just jam along to almost any of the sections, because I know them so, so well by this point – I could just about have played the guitar parts LIVE really, once I’d rehearsed them.

I did go back, too, and “try again” on some of the toughest solos – I spent one entire day, “seeing if I could do better” – and in almost every case, I found that I could, so I ended up with some very natural sounding, very “live” guitar solos – where previously, in the initial final mixes (I know, that sounds odd, but, it’s the only way to describe it) I had kinda, pieced together some of the more difficult guitar parts.  No more, though – now, they are played live, as are most of the solos – the final ebow being the one exception to that – but, it’s very, very long, and it’s not likely that anyone could play for that long, without some imperfections – so I did have to fix a few touchy moments in the long solo.

Mostly, the guitar parts kinda “wrote themselves”: there were areas where they simply join the bass for a ride-along; and other areas where they do not, but instead, they mesh or interact with the bass – and there are some spectacular bass v. guitar “battles” in the first half of the song that could not have come out better had they been planned (and, they were NOT planned – it just worked out that way – when I added the guitar parts, the bassist was RIGHT THERE, answering me – it was amazing! – the guitar would play a riff, and suddenly, there was the bass, ripping off a super quick “tiny-space”-filling-run, at impossible speed (that’s our bass player, Dave Stafford, again!) – and it sounded like both the guitar and the bass had always been there, that the interaction was totally planned and totally natural…when in fact, it was yet another “happy accident” – but the joy that it brought me the first time I heard it play back – wow! Listen to THAT, was well worth it – the guitars and the basses are totally working together, playing off each other as if it’s a live track!

Sometimes, you are very, very fortunate.  I was really fortunate with the way that the final overdubs, the lead guitars worked with the drums, worked with the bass, worked with the organ, and worked with the mellotron – and in fact, the mellotron came and went with the eeriest perfection – perfect timing every time, arriving right when I needed it.  As if they knew what the guitar parts would be (when I clearly, did not!).

I think then, that the reverse guitars were the last significant thing that was actually played on the track; after that, the last two or three days of December, 2015, were spent on the final mix, which I sorted of re-built from scratch – I’d had a “working mix” the entire time, but rather than just carry that forward and build in the new parts, I decided to create a brand new, fresh mix, which gave me the opportunity for example, to ensure that the bass and the drums, could compete with the masses of guitars, and the intense keyboard and mellotron washes – I wanted to be able to hear everything as clearly as possible (obviously!).

Getting a nice clean mix when there are this many instruments can be tricky, but I just approached each one, first, separately, and then, in relation to the other instruments, until I reached a point where I felt happy with everything.

I also stripped out a lot of “individual” reverbs and other effects that I had quickly thrown on during production, and consolidated them in the output section – I created a full set of additional stereo bus outputs, so that every set of instruments had an overall level control, and, consistent, high quality, reverbs and effects – made at the output stage rather than connected directly to the track.

Certain tracks that were created early on, were just too complex to move to a bus, so I left them alone with their track-specific sounds – in one case, a complex arrangement of Waves GTR and Waves Stereo ADT – used for an extremely strange “guitar” track that slowly, slowly fades in during the first quarter of the song.  That was left alone, along with the bass which was sent out directly without any effects whatsoever – I wanted it to be dead clean.

I didn’t mess with the drums too much, either, I probably would have (I do love adding phase shifters to hi-hat and cymbal hits and similar…), but I didn’t want to add another two months to an already somewhat overly long-production schedule!  So I kept it to some bespoke panned sections (which I really, really like, because they appear so seldom!), and just little touches – the drum track is pretty basic, and the bass is just bass – in this case, the tone of the Scar-bee Rickenbacker is so perfect, I couldn’t see putting any effects whatsoever on it – so – it’s dry and clean!

So really, mixing was quite easy, mainly because I was so, so familiar with all of the component tracks, and with the individual stereo buses for guitars, organ, mellotron, bass, drums – getting relative levels was easy!  I had expected an agony of mixing hell – and the song surprised me – maybe because to some extent, I kept it simple (well, simple when compared to something like “wettonizer” (taken from the newest eternal album, the first of 2016, “progressive rock” by Dave Stafford), I suppose!).

Note: “wettonizer” was originally included on the gone native CD (which is still available) and download, but is now also available on the brand new 2016 eternal album collection “progressive rock” – alongside the brand new track “the complete unknown”.  This is comprised of a set of prog songs taken from gone native, along with  “the complete unknown”.

The very last part of the song, after that energy bow climbs up to the top of that unlikely major scale, and then SLAMS down into reverb with an odd but lovely sound of wonderful completion, the song then almost comes to a halt, the keyboards are pretty much all that is playing, until suddenly, the Rickenbacker bass and the Hammond organ, join the drums for their final flourish – and then, a long, pure bass note is held, to remind us I think, of purity, of the beauty of just one note – and then, the drummer plays a few bars of precision military snare roll, and the long bass note and the snare drum, disappear forever into the complete unknown…the song is over.

I really, really enjoyed myself on this project, my only regret is that by becoming so involved in it, I was really unable to work on much of anything else, so other areas of my music suffered.  But that will change in 2016, I have an enormous amount of new music in the planning stages, including still more eternal albums on Bandcamp, and I hope to present more musical material, both old and new, in various formats, including hopefully, a return to video as well as audio only work.

We shall see!  But in the meantime, if you fancy a bit of old-style progressive rock, this could be the 17 minute long song for you – “the complete unknown”.  Give it a listen – it will take you right back to 1974…

 

Peace, Love and Groovy Mellotrons,

 

 

dave

pureambient hq

january 17th, 2016

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

the making of an epic prog rock “monsterpiece” – part one

on may 31, 2015, I sat down at my computer, and built an empty folder set for a new music project.  at first, it was named something like “20150531-01-komplete-unknown”, meaning, to work on a piece within the komplete application, content, unknown – but within a few days, it had grown to the point where I amended the name, because it seemed like such an obvious answer to a question that so far, no one had asked, namely, “what is the name of this song?” – obviously, it was – “the complete unknown”.

so the folder got renamed, and now it bears the name “20150531-01-komplete-unknown-thecompleteunknown” and that was it – I was away.

I loaded up komplete with four vintage keyboards – and I officially began my journey – a journey I am still very much on today – into the complete unknown – via “the complete unknown”.

I spent a few days, working out a piece for keyboards, that would work well as a “keys-only” intro to the song, I wanted it to have a fantastical, classically-based and with a serious feel to it, and then, after say, after a minute or two, the bass and drums would enter…I could just about imagine it all.  I could just about hear the song in my head…

I struggled mightily with my serious keyboard intro, overdubbing many different takes of many different keyboard voices playing the notes that I had chosen.  the entire piece was done manually – no sequencers were used, and it meant that I had to play a pretty tricky part, manually, over and over and over again, until it was just right.

Eventually though, I was happy with my little intro composition, and musically – it set the stage for the “song proper” – I was very happy with the way this short piece of quasi-classical keyboard music turned out, and I was extremely thrilled with the sounds of the vintage keyboards, which were all of course, courtesy of komplete.  the intro was complete – and I was thrilled!

note/the details: for the record, there were just four instruments (not six as I erroneously remembered and stated elsewhere – four, not six) used in the creation of the keyboard “intro”, which were:

dave stafford, vintage keyboards quartet:

soniccouture bowed piano X

soniccouture broken wurli – init (my own settings)

soniccouture novachord – novasynth init (my own settings)

soniccouture ondes martenot – poly ondes init (my own settings)

these four tracks were then mixed and mastered, with just reverb added to give it a big room sound – a completely “finished” piece of music which could then just be “dropped in” in front of where the bass and the drums make their grand entrance.

so, with the intro safely under my belt, it was now time for the active “core” of the song to be built, and as tradition has it, it started like all structured pieces in the rock world start – with a drum track, and a bass overdub of that drum track.  but I didn’t want just any rhythm section, I wanted a section with the skill of a powerful but wild drummer, I needed my own Andy Ward on drums, or maybe I’d borrow Marillion’s rhythm section…I wasn’t sure.

then – Chris Squire passed away, during the first few weeks of work on the song, so I thought a lot about Chris, and how Chris played the bass (and what a huge influence his playing had on me as a 15 year old guitarist who loved progressive music in 1973!), and it had a huge influence on the bass part in the song.  so the drums came from me – my own vision of a series of prog beats that run nearly continuously for 14 minutes or so…but when it came time to do the second overdub, the bass, it was all about emulating the God of Prog Bass Playing, the late, great Chris Squire.

If I was very lucky, I could get a sound like Chris’ and maybe “play” as well as Marillion‘s bassist 🙂 because no one, except perhaps Wetton or Lake, can emulate Chris – Chris has an incredible and very unique bass tone and style.

I also spent a lot of time on the drum part, I fleshed it out in the very first session, but it took many more sessions, to really get it into shape, to feel happy with the sounds, to add interesting fills, to use different variations of the beat, and there are even some special sections that I did by hand rather than by sequencer – and by the way, the drums (or drum machine, I should say – komplete again) is the only sequenced instrument in the piece – all others were really played by me – with one odd exception – the bass part, was played by me, but on the keyboard. It was not sequenced, I played every riff, every fill, two different bass solos – I really played those.

The same goes for all of the keyboard parts in the main part of the song, as well as the guitars – all of those are real as well.  I’ve never learned to play the drums, so, the best quality sampled drums in the world, will have to do!

The drum track took a few weeks to perfect, but the bass part – well, I laid down something to begin with, a bit at a time, a section at a time – but then, I was never satisfied, it sounded good, but it didn’t yet sound amazing – so I started doing a lot of work on the bass – I fashioned a quite wild bass solo near the end of the first half of the song, in the key of C major no less, but an awesomely fun solo to write and play.

I worked on the bass for quite a long, long time, and eventually, I felt completely happy with it – and I still do.  Now that I am laying guitars on top of drums, bass, organ, and mellotron – when I add a guitar part, and I hear the bass come up “in between” – I just have to smile, because it’s as if the “bass player” is responding to the guitarist, or, the other way around – and that’s an awesome thing for a piece that isn’t actually played live.

I am extremely pleased with the rhythm section, I spent far too much time on it, but, it was worth it, and the keyboard parts practically played themselves, because the bass and drums were so together.

 

So this is where it began – at least, the active part of the song, back during June and July this year. The first mixes then, were of nothing but the intro, plus the bass and drums – with no other ornamentation whatsoever.  I must have listened to this song, with just intro, bass and drums, dozens of times, whilst first, trying to perfect the drum track, and then later, trying to perfect the bass part.  That took even longer than the drums to perfect – but in the end, I feel truly happy with the results – and I am actually, especially proud of the bass part – it rocks.  It’s full of surprises, and I love where it takes the song – and, later, how it interacts with both the keyboards and the lead guitars – it’s excellent.

note/the details: the rhythm section looks like this:

drums: dave stafford – drum programming and manual playing of drum samples

abbey road modern drummer, alternative rock, “rage” setting changed from 98 bpm – sped up to 140 bpm

bass: dave stafford – performed on keyboard, inspired by the late Chris Squire

scarbee rickenbacker bass – neck pickup DI – direct injection

as the Scottish summer drew quickly to an end, at the end of july, I had a brainstorm – I would bring the introductory keyboard quartet, back in at the VERY END of the piece, to bring complete closure to the piece – no matter where it went during the 14 minutes in the middle, the sound and the melodies at the beginning and the end, were now tied together perfectly – and I was really glad of this decision, because some really good musical events came out of that decision, later.

I faded up the intro “in progress”, during the last long rock section of the drums and bass track, and I managed, after a couple of tries, to sync it up completely with the drum track – and eventually, unintentionally, I played a leslie’d organ solo over the top of it – and soon, it just sounded like it had been there the whole time.

then the time came, to work on the main body of the song, and add in a lot of supporting musical information – bearing in mind, that the drums and bass were complete, including a lot of very in your face, bright, Rickenbacker bass riffs, and, one very avant garde bass solo, and another quasi-solo later on – so those were now reduced, frozen and “carved in stone”.

so atop my finished drum and bass part, I began to add keyboards, beginning with the oldest progressive rock standby, the Hammond organ.  I really felt it was essential, to have chords and melodies on the Hammond, and, solos from the Hammond, because it’s such a very, very “prog” sound – it really cuts through the mix, and when playing chords, it’s so supportive with basses and guitars aloft on top of it.

So I worked on Hammond parts, using just one basic, straight sound, but varying it, by using the mod wheel on my M-Audio keyboard, to “speed up” and “slow down” the leslie effect – which is one of the finest things about sampled organs, done Komplete style – you get truly perfect sounding leslie effects, and I played every part as live as possible, using the mod wheel while I played, to speed up and slow down the effect – I had a blast.  There is one epic solo in the first half, and another accidental one at the end, with the leslie set to “fast” – a sound not usually used that much, but it sounds great, as the song proper fades away, to have this final organ solo with the “fast leslie” sound going – it’s really nice.

after I had added all of the organ parts, where I followed whatever key signature was stated by what the bass player was doing (I had injected several key changes when creating the bass part), and I was happy with both the organ sound, and the content – and the solos – I then moved on to the mellotron parts, which I used sparingly to try and give them more mystique.  I felt that using them throughout would be too obvious, and where the Hammond does sound great playing right through, you really want the occasional swath of a mellotron wandering in when you least expect it – that’s prog to me!

so – two separate mellotron tracks, using very simple, very pure mellotron sounds (nothing fancy, just the very basic strings and flute sounds) most of the time, it’s just mellotron strings, or, just mellotron flute and very, very occasionally – I allowed both – so you get a really full sound there, with drums, bass, Hammond organ, string mellotron and flute mellotron.  The string mellotrons became the backdrop for some really cool guitar sections later on, while the flute mellotrons were more taking on the melody, or in one case, as harmony, so they worked out very, very well indeed.

the mellotron parts went more quickly than the Hammond parts had, in part, because by this time, I knew how the chords went, and I just “knew” what the mellotrons should do – and they did it, beautifully.  Here I sit, several months later, and I am now marvelling at how they sound in support of some of the new guitar overdubs – they provide the perfect backdrop for lead guitars!

note/the details – the keyboard “section”

dave stafford, hammond B3 emulation

Komplete Vintage Organs – classic rock, Hammond B3 tonewheel emulation – preset  “j’taime” – leslie effect applied in real time with mod wheel during performances

dave stafford, mellotron strings

M-Tron Pro – Mellotron – Mark II Vintage Violins Basic

dave stafford, mellotron flutes

M-Tron Pro – Mellotron – Flutes Basic

so at this stage, after several months, of slow, patient work, I had a fairly complete song (no pun intended) with a full drum part, a full bass part, organ chords, organ solos, mellotron strings, mellotron flutes, plus the four vintage keyboards that inhabit both the intro and the outro…so, the time had come to deal with the “middle eight”.

the next idea I had, really, really changed things – I decided to cut the piece in half, and create an acoustic guitar interlude – in my mind, something like the live acoustic guitar interludes that Gentle Giant used to have during their concerts in support of the “Octopus” album – but in practice, what I came up with is much more dave stafford / guitar craft than gentle giant.

so – I split the track at a place where the drums were silent anyway (I had intentionally left a blank space in the song, with no bass or drums, knowing ahead of time that I wanted to split it in half), so it was easy to do – and I created an un-timed gap between the end of Part A and the resumption of Part B – with absolutely no idea what was to “go there” except I knew I wanted acoustic guitars.  what eventually ended up there – exceeded my wildest expectations of that time.

I managed to transition from the full song by bringing in two acoustic guitar leads almost simultaneously, playing two melodies which transition the song from “full band” to acoustic guitar duo / trio, and then the acoustic guitar section is off – the whole thing was played on my Ovation Balladeer, which is a not-quite-satisfactory replacement for my ailing Ovation Legend, which is no longer made.  In any case, the Balladeer did well enough, and I managed to get some very nice tones out of it’s pickup – it sounds good on recordings, in any case.

I had just a few notions about what the acoustic guitars should play, I had a little melody that I sub-consciously “borrowed” from Tales From Topographic Oceans, I play that melody a few times, and then suddenly, the rhythm of the piece changes, and there is another tiny section – and then, the magic happens – the third section, completely unrehearsed, came from nowhere – a slow, beautiful, simple chord progression, with a stately, played with the fingers-rather-than-the-plectrum lead part that just surprised the holy shirt out of me.  I am so, so pleased with this little piece of music, it doesn’t last long, but, it’s one of the loveliest melodies I’ve come up with to date, and I am really pleased and proud of this little miniature acoustic suite.

But then – then, a few weeks later, I had an idea – I would add bird songs into the piece, in stereo – during the most moving parts of the guitar solo.  I added several different species, recorded directly from an app on my ipad, some on the right channel, some in mono / centre, and some on the left – little bursts of different birds including the iconic british blackbird (because you know from the Beatles / White Album that they will sound good!)

The end result was astonishing – it made this already excellent part so relaxing, so natural – it just was the perfect little addition to the piece – I was so surprised and so amazed at what something like that can do to a piece of music – it naturalises it – if you know what I mean.

Then – for contrast, I followed the three acoustic guitar sections with some strange TC-11 synth sounds on the iPad – a solo and a looped piece, which worked very nicely as a contrast to the guitars, and leading back towards the song proper.  Several weeks later, I acquired a new synth on my ipad, the Poseidon Synth, and it had this really amazing sound that included the sound of human voices, so I tried replacing my original TC-11 parts with the Poseidon Synth, playing two stereo takes.

It was good, but, even better, when I added the original back in, and I realised that they both sounded good, and they sounded good together – so I left the old parts in, and added in the new synth part care of the Poseidon Synth – a really nice ios synth.

For quite a while, that was then tied to a drum riff, that led back into the second half of the song.  But then, I decided just a few days ago, that I was not happy with that transition, and I wanted something else.  After trying a very thrashy, sort of Steve Howe at his most dissonant Koass Guitar part, I discarded that, and set about making the exact opposite of that – something very, very melodic and beautiful…

This final part of the “middle section” is known as the “Hackett Guitars” section, which was made entirely with one electric guitar and the Eventide H9, two takes of guitar chords strummed finger-style, in a classical or flamenco fashion, but more reminiscent of a piece from the final sections of Genesis‘ “The Lamb Lies Down On Broadway” (the bit just before “The Light Dies Down On Broadway”, I think) so two gently but forcefully finger-strummed “Hackett” guitars, plus one reverse guitar solo – all of them drenched in luscious Eventide reverb. It turned out beyond my wildest dreams, a simple, beautiful section of music. Prog should be a mix of some dissonant and more melodic parts (or so it seems to me).

And with that, that brings us to what I consider to be “Part Two” of the song, which I will (eventually) describe in my next blog, in the New Year.  The “Hackett Guitars” section was the perfect vehicle to bring the middle section to a satisfactory completion, and a perfect way to merge back with the main part of the song – the resumption of the second part where I’d originally cut the piece in half.

Thats where we’ll go next time, then.  I will see you there!

 

 

 

 

 

 

 

 

 

Beatle George – the influence of a leg end

I grew up in the Beatle Era. The Beatles invaded America when I was four, five years old. One of my earliest memories is of, standing on the lawn of the family home at 6728 Mineral Drive, in what is now San Carlos, California and hearing the sparkling guitars and soaring vocal harmonies of a new Beatles track called “Nowhere Man”. I’ve never been able to forget that moment, because from then on, the Beatles were “my band”.

I wanted to be George Harrison; I wanted a guitar for my ninth birthday, and, I got one. But I didn’t end up learning to play one properly until a bit later, when I was 12, 13 years old, and there were all these amazing new groups and albums like “Led Zeppelin II” or “No Time” by “The Guess Who”, so much amazing music to explore…

But I never ever got over my initial love for the music of the Beatles,and it really was, for me, the sound of the guitars that reeled me in, that caught my ears and my attention…in particular, the sound of George Harrison, who played a really magical role that was called “lead guitar”. The guy who had to be serious, had to play the most difficult parts live.  For several years, I only had albums by The Beatles…I mean, you don’t really need anything else, do you?
I wanted to be that guy, I really did want to be George – and later on, as George grew as a songwriter, turning out amazing tunes like his trio of songs from the “revolver” album:

Taxman

Love You To

I Want To Tell You

…surely, three of the most amazing “pop songs” ever written or recorded, sheer Harrison genius – nobody saw it coming, we all figured, Lennon and McCartney, those are the two guys to watch in this band, those are the writers….well, yes, but really, all four of the Beatles were the writers, and even Ringo wrote some great tunes…but for me, it’s always been all about George, those odd B-sides like the astonishing “Old Brown Shoe” or the seriously beautiful “The Inner Light”…where do songs that unique, that incredible, COME from?

The imagination of one man, Beatle George. The mind that brought us the wit of “Piggies” and the warning of “Savoy Truffle” but then there was his lead guitar playing too, not just on his own songs, but on many of those Lennon andMcCartney songs, too. A new kind of lead guitar, razor sharp fuzz tones, detuned guitars (think of the lead solo in “Fixing A Hole” from Sgt. Pepper) when you heard it, you knew it was George. A simply brilliant guitar tone, and a beautiful, concise style.

As the years progressed, George got into playing slide guitar, and very very quickly, developed a trademark slide guitar “tone” (think of the slide guitars on John Lennon’s “How Do You Sleep?” from the “Imagine” album) some of George’s finest slide work…you should hear the out takes from that session, too, on the Lennon box set…amazing slide guitar. But the special tone George got for his slide parts, which really only reached full maturity by the time of his second solo studio album, “Living In The Material World”, which, by the way, is an amazing collection of truly beautiful songs…you owe it to yourself to hear this record if you haven’t done so, so far…its quietly brilliant.

George was always economical with his guitar playing, he never over played, and it was that economy, which at first, was an enforced economy, it was Beatle-driven, here’s your eight bars George, go for it – so George learned to play well in a very small piece of allotted “solo” time. As time progressed, George did play some nice, longer solos, but that economy was always present, he always reigned himself in and never got boring or predictable.

You never knew what you were going to get with George, and his own songs were a mystery even to the other Beatles, who would bemusedly play on, say, 102 takes of a song like “Not Guilty” without complaint, as George continued the search for that elusive ‘perfect take’, and if it took 102 takes then that’s what it takes.

In some cases, no Beatles version was considered “good enough”, so we simply waited, and eventually we did get to hear the properly recorded version of the song “All Things Must Pass” – on a George Harrison record, not on a Beatles album. The same held true for “Not Guilty” where we had to wait even longer for George’s “perfected” version – again, on a George Harrison album, not on a Beatles album.
If you happened to own or know where to borrow the right Beatle bootlegs, then you might have at least heard the Beatles’ versions of “All Things Must Pass” and “Not Guilty” but most people had to wait until George put out the definitive editions of those songs.

 

I never minded waiting, although I do remember being very impatient to get George’s first solo album, the three LP “All Things Must Pass” and I first heard it in Uganda, in the home of some Peace Corp workers who had the brand new pre-recorded cassette version of the album, so that was very exciting, and then I got to hear it in Amsterdam, too, in a massive record store, complete with 60s erotic posters (“wow” was all I could say) – where I had to motion to the bored Dutch girl to turn the record over again, please…five times, because I didn’t know a single word of Dutch.

I finally purchased my own copy, in the Netherlands, and took it back to the USA with me, where I played it endlessly. The only record that excited me more than ATMP was the forthcoming “Concert For Bangladesh” which was another one I just couldn’t wait for, the idea was fantastic, half the Beatles plus Clapton and even the reclusive Bob Dylan…here were another six sides of amazing music, but amazingly, over time, it is Side One that stands the test of time the best, with Ravi Shankar on sitar, and the amazing Ali Akbar Khan on sarod, Alla Rakah on tabla…their piece of Bangladeshi folk music, “Bangla Dhun” just absolutely blows me away. These performers are at the top of their skill level, and are playing with speed, accuracy, and sheer musical joy….its amazing to see it in the film version, it truly is the best part of the concert!

That performance opened up my fourteen year old eyes to the sheer beauty of Indian melody and music, and I followed the careers of Shankar and Khan until the present day. Each the master of their instrument, I had George Harrison to thank for bringing that music into my life. And years later, that led me to a house concert at Ravi Shankar’s house in Encinitas, California, where I sat on the floor and listened to Ravi’s daughter play with the remarkable Bikram Ghosh on tabla…a remarkable “house concert” that I will never forget.

I was lucky enough too, to see Ravi and Anoushka performing live in more standard music venues, too and their music has always blessed my ears with its beauty.

So the influence of George Harrison changed me as a person, so much, that I went from being a fan of pop and rock, to being one who also loves the sarod, and loves listening to the master of the sarod, Ali Akbar Khan, play the sarod. Sure, it started on TV, watching the famous Ed Sullivan show where the Beatles performed, and seeing how serious George was, playing his lead guitar lines so carefully and so perfectly, and taking his concise eight bar solo so carefully, too…

Then it was the movie “A Hard Day’s Night” watching George playing his intensely cool guitar parts on film, trying to analyse what he was playing, on something like “You’re Going To Lose That Girl” trying to understand what he was doing with his guitar parts and then, that mad solo…amazing stuff. All the while, singing his harmony vocal parts as if they were easy, as if the guitar part was easy, he made it look easy!

And then there was that tender rendition of “And I Love Her” the first great Beatle love song, and that was my first exposure to nylon string classical guitar, and George worked it out and played the lead parts beautifully in that tune…really simple, yes, but really effective and quite beautiful when you are a young George-guitarist-wannabe like I was…I thought that performance was incredible, and really beautiful…and a lot of that is down to how George handles the nylon guitar part.

That inspired me directly, seeing George play on TV and in films, and hearing him on record, too, on vinyl, was a true inspiration for a budding teenage guitarist such as myself. But later,by presenting the music of Ravi Shankar and friends to the Western world, that opened me up to an entire new universe of music. Thousands of years old oral traditions, of the sitar and the ragas, or rags, that Shankar learned from his teacher, that stretched.back in time, an amazing musical heritage and proud tradition…brought to me by Beatle George.

He really was The Quiet Renaissance Man of the Beatles, later, he brought an entire Indian orchestra into the studio to record “Within You Without You” in 1967…and in 1974, at the Los Angeles Forum, I saw a different Indian orchestra perform, led by Ravi Shankar, the opening act for the first of just two solo tours undertaken by George, live in 1974, playing brilliantly but with a hoarse voice…and again, in less stressful times, 1991 in Japan with his old friend Eric Clapton.

I feel so privileged that I got to see George play, and his guitar playing was awesome, including some of that amazing slide (in the first song, no less) and it was a night I’ve never forgotten. In fact, over time, I managed to see three of the four Beatles perform live…so I am very fortunate indeed. Only Lennon eluded me, but three out of four is not bad at all. At that 1974 Forum gig, George even played his specially modified version of Lennon’s “In My Life” and that was really cool.

George Harrison, the guitarist, was a huge inspiration to me as a kid, and I absolutely took up the guitar because of him, and the rest of the Beatles too. When I was a kid growing up, the Beatles were our heroes, and they raised the bar so high, that soon they became the benchmark to judge new groups by: “they’re OK, but they are not as good as the Beatles” – I don’t know how many times I said that about groups, or if a group was good, you’d say they were “almost as good as the Beatles”…it was the benchmark by which all other groups were measured, for years after the Beatles themselves broke up…we still judged new bends against their music….

Sure, in time, as I grew older, there came guitarists with more technical skill than George, but most of those players, probably looked up to the Beatles in the same way I did. OK, George was no Steve Howe or Robert Fripp, but, George did write “Something” and “While My Guitar Gently Weeps” and “Taxman” and “If I Needed Someone” and “The Inner Light” and “My Sweet Lord” and “Within You Without You” and “Here Comes The Sun” and…

I could go on, but you get it, I’m sure. George didn’t need to play like the proggers, because the proggers built their music on the back of the Beatles and atop the pop music from the end of the 60s, and George’s guitar playing was what it needed to be to realise those songs.

And that includes the whole of “All Things Must Pass” including the remarkable “Apple Jam” where we do get a hint of George’s guitar prowess, holding his own even against Clapton, and sounding amazing across the entire Beatles catalogue, from the very beginning, and on through his 1970 masterpiece, “All Things Must Pass” as well and also on  “Living In The Material World” – and occasionally on his later records.

Some of his best guitar work can be found on his 1971 solo album, “Living In The Material World” – especially “that slide” sound; but it cropped up whenever it was needed…on Lennon’s “How Do You Sleep?”, on the 74 and 91 tours…not to mention his standard soloing, on “Apple Jam”, on “Something”, where he famously asked to record the solo along with the live strings overdub, to get a more “live” feel for the solo – and of course, that was the take – the keeper. And what a beauty it is, too.

There are so many specific examples of great Harrison guitars, that I could just keep listing them, but instead, you should just listen…and you will hear them. I certainly did.

What I would give to be able to write a song like “The inner Life”. Or “Something”.  Or maybe one that is half as good :-).

Yes, I’d settle for that, thanks.

We miss you, George.

 

Post-GuitarCraft Depression? Is that a thing?

Hello again

I’m recently returned from my latest Guitar Craft adventure, working for a short week and then giving a live performance, along with 61 other “Symphony of Crafty Guitarists” guitarists, that was stratospheric in every way.

It was an incredible experience, and my first impulse was to write at length about it – which I may well do in the future, but right now, I wanted to ask a question – I am wondering if any other attendees of Guitar Craft (or, Guitar Circles, I am now beholden to say as well) courses, suffer from this (possibly imaginary) malady, not just now, but over time – across the years – which maybe I am the sole inventor of, I don’t know.

My life is pretty ordinary – I live in an ordinary town, I have an ordinary job in that ordinary town, and ordinarily, I work on music at home, with the occasional Internet collaboration, because of a disability that makes performing very difficult indeed.

So attending Guitar Craft courses, which I’ve done in a very, very intermittent way, over many, many years (since September, 1988 in fact!) is a huge, huge privilege and it’s a real highlight – a rarity, for a number of reasons:

  1. A chance to socialise with like-minded musicians and others
  2. A chance to practice Alexander techniques – great for highly strung or stressed out people (i.e. me, a lot of the time) or, do Tai Chi – and, meditate regularly, too
  3. A chance to perform with like-minded musicians and others
  4. A chance to spend one week in a very positive, very safe, very forward-looking environment
  5. It’s something enjoyed only rarely, recently, every five or six years perhaps – therefore, a huge treat for me
  6. It’s something very memorable
  7. It’s an occasion where you meet up with old friends, and renew those friendships (yes, I’m talking about you, Frank, and you, John Lovaas, and you, Ray Peck)
  8. It’s an occasion when you meet new friends, some of which, will stay so for many, many years (I’m talking about you, Pablo, and you, Jules, and you, Jamie! – you all know who you are!)
  9. It’s something very special in an otherwise very ordinary life

So when you only experience this once every five or six years, that strange, strange feeling – that people think you are a good guitarist, that people look up to you and respect your musical ability, that people want to jam with you, that people want to hang out with you – whereas, in your normal life, where there are few to no like minded musicians or people – doing any of those things is very difficult to downright impossible.

Recently then, since it’s now almost a week since the end of the course, I began to have moments where it all became a bit too much for me, and I really wished I could be back in that house, back at Koos Vorrink, in Lage Voorsche, in Holland – you just wish that the course could maybe run a bit longer, or you could somehow bring that environment back with you, and continue to live among like-minded colleagues, whom you respect, and, who respect you.

I am one of the most isolated of all Crafties, being the only Crafty guitarist in the northern part of Britain, and my disability prevents me from any chance of any regular meetings with those very few other Crafties who do reside in Britain – mostly, waaaay down south where that round yellow thing * can be sometimes seen in the sky.

Other symptoms include but are not limited to:

  • no desire to hear music of any kind
  • no desire to play or perform music of any kind
  • no desire to work on music of any kind
  • a craving for silence – silence is what I crave – silence as experienced at the course I was just on

So it can be daunting, coming back to that ordinary life, and not putting away the stack of spare strings you took with you to the course, or the gig flyer, just leaving them on your desk to remind you, to make you feel like you are still there.  Don’t get me wrong though, I am so, so glad to be home, home is where the heart is, and I truly missed home while I was away in Koos Vorrink.  I am very glad to be home, and especially glad to no longer be parted from my partner.

I am not depressed in the normal sense, I am fine, but there is an odd feeling to life now, I miss the routines of Guitar Craft, the communal feeling at meals and at other times of shared work or play – and I’ve rarely seen a course run so smoothly as this one did, the kitchen was amazing, Fernando should be crowned king and…some of those desserts – wow!  What can I say?  As a veteran of many, many Kitchen Craft courses, I know exactly what it takes to run a kitchen for a large group like this, and the hard work and intense effort that goes into it, is almost invisible when you are on the receiving end of yet another amazing dish or dessert – it’s flawless.

The quality of that performance, absolutely inspired and fed into the quality of the musical performance of October 15th, 2015 (at Koos Vorrink, Lage Voorsche, Holland) which for me, was one of the single most amazing things I have ever been a part of, in my entire life – simply astonishing.  I’ve never heard or seen anything like it before, even my original “Orchestra of Crafty Guitarists (I)” course performance in Sant Cugat, in 2009 – which was brilliant – was not quite the performance that THIS was.

And here I am now, talking about the course, rather than about my reaction(s) to the course – my recent feeling of being adrift in the ordinary world, so I will have to reign that impulse in, and not describe that amazing performance right now – that’s for another time.  At the moment, I want to say, I can remember this strange feeling from other courses – I remember after one California course, I had to go shopping in a brightly lit, clean supermarket, with very few people in it – and each time I came around the corner of an aisle, I fully expected to see one of the 75 faces that I’d just spent the last 8 days with – and inevitably, I would feel disappointed to find that it was just a stranger – I expected the face of a Crafty, maybe holding a guitar, maybe clearing away dishes, but – someone I knew.  those [however many] people on your course, become the whole universe, and when you walk out of that universe – it’s very, very odd indeed.  Disconcerting, even!

This feeling persists for days, you keep expecting to see __________ – put in the name of anyone you were just on the course with here, you expect to see that face, I expect to see Fumi coming around a corner, with that huge, huge grin on his face, always laughing, or perhaps it’s one of the Vicious Queens, intent and intense, on the way to a VQ meeting, or Fernando, worrying about the menu, but secretly, thinking about the dessert…

so – there are things that remind you – I am washing the strawberries…and I notice they are from Holland.  sigh.  I see the waffle cookies in the cupboard, which evoke every memory of Holland – too sweet, too good, too delicious to believe.

reminders, and then, going back to work, and remembering that this is my reality 99.9999 percent of the time, and Guitar Craft is some tiny, tiny minuscule part of my life – but, the impact it has, is absolutely not minuscule!  not at all.  It does stay with you, for weeks, for months, for years – and that’s both good and bad.  hopefully, I will have, perhaps, finally learned the right way to hold my pick.  I get Robert to fix it every time I see him, he fixes it, and, I get closer to the ideal, every time.  It’s progress, although it can be painfully slow progress.  But that is still preferable to nothing!  It’s an experience I wouldn’t trade for anything, I truly wouldn’t – but I just wonder if it affects other Crafties the way it sometimes affects me – it’s not so much a negative, as just a reminder of how ordinary life outside of Guitar Craft can be.  And how it makes you feel when quite suddenly, thanks to the extreme time compression of the Guitar Craft experience, you are thrust back into the ordinary world, and you start having to worry about connections and planes and trains and cabs and all that.

it’s jarring, it’s difficult to re-adjust, and after about a week, I don’t feel as if I have quite settled back into my ordinary life. Perhaps that is because I was part of an absolutely extraordinary group of people, that rehearsed and put on an absolutely extraordinary performance – probably.  Yes – that will be why.  And also knowing, that I won’t be able to take part in SOCGII – because it’s in South America, which is both a practical and a physical impossibility for me.  So that’s it – I was at the debut of the Symphony, but it’s doubtful that I will attend any future SOCG courses or circles.  It has just become too difficult, and, too geographically challenging.

sigh.  meanwhile, coming from a place of slight melancholia now – please let me know if you have experienced any post-Guitar Craft feelings of any kind, or, what other “reactions” you may have had within the first week or so after returning from a Guitar Craft or Guitar Circle course.  I’d like to compare notes, find out if others have had this kind of feeling before, upon returning to their normal life.  🙂 – whatever “normal” means, I suppose!

another sigh, then, before I go…

all the very best to everybody – thanks TEAM SOCGI, wherever you have scattered to now…

dave

* the sun