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

 

 

 

 

 

 

 

 

It was 45 years ago today…

DECADE BY DECADE – THE LIVE CONCERT EXPERIENCE / OVERVIEW

EPISODE 1:  The 1970s

 

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

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

Sports Arena

San Diego Sports Arena

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

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

Sports Arena - Seating Chart

San Diego Sports Arena – Seating Chart

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

 

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

 

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

 

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

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

 

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

 

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

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

 

Led Zeppelin IV-Album Cover

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

 

 

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

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

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

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

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

This includes bands or artists such as:

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

Building Up The List Of Concerts Attended

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

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

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

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

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

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

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

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

 

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

JohnWetton

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

 

 

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

 

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

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

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

 

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

 

 

 

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

 

 

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

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

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

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

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

 

The Journey Continues…

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

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

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

 

Diversity In 70s Rock:

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

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

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

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

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

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

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

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

Heavy Rock (Zeppelin)

White Soul (Scaggs) / Southern Rock (Allmans)

Progressive Rock (Yes)

Intelligent Pop (Steely Dan)

Classic Rock (George Harrison)

Progressive Rock / Unusual (Genesis with Peter Gabriel)

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

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

 

Awesome Guitarists – one motivator for attending so many concerts

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

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

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

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

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

 

Forward…into the future!

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

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

Until next time then –

 

 

Dave Stafford

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

 

 

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

The Dreaded 80s – Not as bad as we remember

 

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

Concert Ticket Stubs – 1970s