“Wing Beat Fantastic” by Mike Keneally + a new approach to music creation…

Hello,

I am beginning today as I often do recently – by listening to Mike Keneally’s musical masterpiece, “Wing Beat Fantastic” while I go about my business – since I recently finally got to see and hear Mike play guitar and keyboards (on the recent “Bizarre World of Frank Zappa “ tour when it stopped here in Glasgow) – since seeing Mike play – I’ve been going back to the items I have from his recorded catalogue – and I had almost forgotten just how much I love this incredible music – in my opinion, “Wing Beat Fantastic” is one of the most important records we have, and  for me it cemented the inescapable fact of Keneally’s genius as musician, writer, arranger, guitarist, vocalist (oh my God, those vocals!), keyboardist, engineer, producer and yes, I agree – guiding light – this album “kills me” – in the best possible way – because it is in itself, a perfect piece of rock music with some of the best arrangements of some of the best songs ever written in the pop idiom.

I think something happened to Mike when he made this record, the retired spirit of the Beatles visited him in the night, and sat on his left shoulder during the sessions – the sounds, the playing – the sheer joy of “Wing Beat Fantastic” rings so incredibly true – so much so that I can’t stop playing it at the moment – it is an experience like nothing else on earth.

I think that on top of that, that when the opportunity arose for Mike to work with these orphaned Andy Partridge tunes – that he took that with a seriousness bordering on the edges of “oh my God, I have to do these tunes justice – I have to make them into what should have been” – and “I also need to create my own tunes that are equal or better to make the whole thing sit together in as perfect a way as possible…”

It must have felt like an overwhelming responsibility – while at the same time, having the potential, the excitement – the idea of finishing up some half-completed masterworks by the Lennon & McCartney of XTC – songwriter / guitarist Andy Partridge of XTC –  I would imagine that just the idea of doing “Wing Beat Fantastic” had to be one of the most exciting things that can happen to a musician – to receive those tapes, to have someone say to you, “here – here is something so rare and so precious and so utterly unique – now – it’s down to YOU, Mike Keneally, to make something of it”.

 

 

And make something of it – he did.  Something fantastic…the ineffable oomph of everything that is “Wing Beat Fantastic”.

 

 

While the Zappa virtual show was the first time I had the pleasure of hearing and seeing Mike playing guitar and keyboards, and singing – it was not actually quite the first time I had “seen” him, though…

Many, many years ago, I had attended a special screening of an amazing batch of live music videos by various progressive rock bands.  This was a few years before the Internet, and certainly far in advance of YouTube – and Mike Keneally was the host – he gathered us in a small theatre, and then proceeded to blow our minds by showing us live performances by early Genesis with Peter Gabriel in full regalia – and to a bunch of Californian music fans – sure, we loved Genesis and Peter  Gabriel but WHO KNEW there was actual FILM of them actually playing – not maybe the best quality film – but for us, it totally brought these progressive bands to life for the first time ever.

We wouldn’t have had opportunity to see them in their heyday or in Europe and the UK – where they often mainly played in the earliest days of prog – Genesis didn’t start coming to California until the early 70s – so to see something like “Supper’s Ready” played live by the classic five piece line up of Genesis – what a treat.

I can’t really recall much else of what was on the programme – but it did also include a “more recent at the time” clip of Frank Zappa’s band playing live, and featured our video curator / host Mike Keneally himself, playing the picked-note pattern that is “Watermelon In Easter Hay” – so he included himself in the program, and why not? – but it was mostly his extreme enthusiasm for prog that took me by surprise – he knew his prog – and his appreciation for bands like Genesis, Gentle Giant, Yes and so on was inspiring – it made you feel less alone – hey, here’s a young guy, a great player in his own right, from Frank Zappa’s band – that ACTUALLY LIKES all the same prog bands that I like….hmmmm.

 

Taking the long. long view back to that odd night of grainy, questionable quality video curated by a young Mike Keneally – and then being catapulted by time to 2019 and seeing the man himself playing lead guitar, synth and singing so amazingly well, live – supporting his virtual band leader the late Frank Zappa, from beyond the grave – and there it was again – footage of musicians – but this time with a live band backing the pre-recorded vocals and lead guitars of the late, great Frank Zappa.

So video was a big part of both events – but – the mature Keneally, leading and inspiring this amazing band of musicians in their shared support of their old bandleader, the amazing Zappa – hearing and seeing Mike play in 2019 – well, I am so glad I finally got the chance to see him play – because in the last 30 or 40 years – he has become one of the most remarkably fluid, creative and interesting musicians on the planet.

I mean, I have the albums, I remember being absolutely blown away by “hat” at the time it came out – which is a remarkable record – but seeing him now, as a more mature musician – he is absolutely at the height of his powers right now – what a powerhouse performance he put on that night – and I was fortunate enough to be there to hear his lead guitar added to and blended with  Zappa’s and taking centre stage on compositions where there was no video of FZ – and his renderings of tracks like “Farther O’Blivion” was absolutely astonishing – this is a man who understands something about Zappa the player, Zappa the guitarist – the sheer genius of Zappa the serious composer and writer– and the reverence and joy in the performances was more than apparent – this band was almost like an extension of Frank – and I think Frank would have been flabbergasted and also amused to hear and see Keneally and friends playing live “backing” to videos of Frank that had been turned into holograms…Frank would have LOVED it!!

Why not?

So it’s been Keneally week around here, and that’s a good kind of week, I reckon.

 

As you might have noticed, I’ve not been writing a lot lately, but I believe that this year, that is going to change – and I am here to tell you why.  When I first started working on the blog (a few years ago now) – I had all these “ideas” about what it should be, what it shouldn’t bewhat I should write about – and so on.  And that’s fine for what it is – but I think it needs to change now, and become much more stream-of-consciousness – and hopefully, much more interactive – I want to challenge, I want to talk about some of the more introspective and personal aspects of music – and I want to hear your thoughts on my thoughts…if you know what I mean.

 

So – planning blogs and choosing topics – that was then – this is now.  I want the blog to become to my writing, like an “improv” for writing – without the formal ideas and planning –  I want it to be the “writing” equivalent to what a good, unplanned and unique “improv” is to my guitar playing or piano playing – it’s a whole new decade about to start and the end of a most interesting one – and I hope that maybe, just maybe – I’ve learned something this time around.  I can do this without the safety nets – no net for the blog, no net for the guitar and keyboard playing.

 

Out of the ashes of the old, comes the new.  Fewer rules means more freedom, but by adding back in unique intangibles, hopefully I can avoid too much repetition of what has gone before – and move forward with new writings and new music for a new decade.

 

And today’s blog is a new thing – a thing I’ve not really experienced before – it’s done without any plan whatsoever – and that is in line with my new approach to music – I am going to stop “planning” – and start allowing music to appear based on – whatever the heck I feel like playing (or, for the blog – whatever the heck I feel like writing about), and without trying to compose, but to allow a kind of “improv” that can lead to compositions – I am going to try to (serious cliché alert – but it is the ONLY way I can describe this – wince) to let go as much as possible

To that end – I’ve done a bit of work over the past three or four months (yet another reason you haven’t heard from me much recently) – I’ve been very busy revamping my recording rig, rebuilding the studio, and preparing for a new scenario where I set up my equipment – plug in an instrument – and play.

Just –play – and see what comes out of it.  At the same time – there is a lot on my mind that I want to explore in the writing, here in the blog, with you – and I hope we can discuss a number of musical aspects that we haven’t looked at previously.

 

I think that for the mature musician, artist, player, or writer – that you have to go through a lot of stages during your development as a musician – first you have to learn your instrument, then, you need to acquire enough technique to navigate through that instrument – and over time, you build up infrastructure – obviously, physical infrastructure – so guitars and amps and effects and devices with which to record and perform – and the physical is undeniably a big part of your experience as a musician.  It’s what makes you sound like you sound…

 

But I think it’s the mental infrastructure that undergoes the longest and most lasting and most important transitions – and maybe, this just takes time – you have to have played your instrument, performed, recorded, composed with it – for x number of years – when quite suddenly, the mental infrastructure or if you like, your own set of “rules” – changes, or you suddenly perceive things in a new way that you never imagined or saw before.

That is sort of my lame and not terrifically articulate way of trying to explain the mental transformation I am going through right now (over the past several months – as I’ve rebuilt the physical infrastructure of my music – at the same time, I have been rebuilding the mental infrastructure too) – I think I had reached a point where I realised that most of the work in the physical – is just routine, it’s necessary, it’s good, it’s positive – but it’s more in your mindset, it’s in the mental infrastructure, it’s the road map – the way to get from silence to music and back again unscathed…that is what is important.

 

Another way to express this might be to say “it doesn’t matter what guitar you play or what amp you use or what modifiers you use to change the sounds your instrument makes – what really matters is – the notes you play”.  And those notes and chords – come from the set of possible notes and chords that form PART of this “mental infrastructure” – and choosing those well, is what makes the difference between a performance – and an inspired, beautiful performance or recording.

Which notes, which chords – yes, that is incredibly important – and choosing well might result in a rare, one of a kind performance where you actually exceed what you are normally capable or – or, if you are recording, it might result in the creation of a truly unique and remarkable composition – that you might never have come up with if you had just chosen ordinary or predictable notes and chords – so yes, that choice is important…very important…however:

On top of the very desirable goal of picking enchanted and beautiful and unique notes and chords – there are also what I will call “The Intangibles” – and that is perhaps, a more flexible set of mental infrastructure rules that overlay the “play this chord now, now play those three notes” kinds of instructions – so part of your brain is getting you to play notes and chords…but at the same time, there is another force at work – The Intangibles – and they can be the source of real magic – they can take an extraordinary set of notes and chords, and turn them into a once-in-a-lifetime tour-de-force performance or recording – or even just an enhanced, more meaningful experience of playing your instrument.

 

It’s those Intangibles I want to now take a good look at – because there are so many of them, some obvious, some subtle, some so subtle as to be done almost unconsciously – what are they?, and how can I harness their power?

I think now, that my goal has shifted to combining the “Magic Of The Intangibles” with “The Well Chosen Notes And Chords” – so that when I strap on that guitar, and I turn on the Physical Infrastructure that takes my thought and turns it into a chord or note – what Intangibles can I apply, to take that particular performance to the highest level possible – to make it the very best that it can be?

That is what I want to explore going forward from here.

I want to work out how to do that – so that I am no longer just “improvising” – but instead, I am applying creative ideas in real time – overlaying the notes and chords (which I hope, are being produced almost on “autopilot” by this time) with a new excitement and in particular, with something (The Intangibles – whatever they become) that elevates the music I am playing beyond the ordinary, beyond the “same old thing” beyond being predictable and repetitious  – even if it only happens once in a blue moon – it’s an amazing goal to work towards attaining – and that is what I am aiming to do right now – here as we approach the end of 2019, the end of a decade – I want to step up, and use The Intangibles to drive forward a heightened, impassioned, kind of new music that will take even me by surprise.  Universe – surprise me!

 

To bring us full circle, I want to say that I can definitely sense an absolutely amazing and unique set of “Intangibles” in the recording of “Wing Beat Fantastic” by the remarkable Mike Keneally – a musician who is defined by his brilliant set of internal, mental intangible rules for making records and for performing – it’s one of those records that has that special something about it – that most other albums just do not – and I might never be able to articulate what “that special something” is – and maybe that is the whole point – it’s built off of some kind of “intangible” or set of rules that Mike was holding in his mind as he created it – something inspired him in a way I doubt he’d been inspired before – to take the seeds planted by Andy Partridge – and in nurturing them and growing them into this incredible record – which to my way of thinking, is simply one of the best pop records ever made – and if you’ve heard Mike Keneally’s other albums – this record sounds unlike any of his other releases – so give it a try – it’s atypical, and well worth the journey – it truly is “fantastic”.

Moving forward, I want to try and articulate some of the new intangibles that I’ve been conceiving in my head and that I hope will inform upcoming recording and performance projects in an incredibly positive way – and hopefully, I will learn a few things along the way.

 

More as it happens – fellow music lovers and fellow travellers.

 

 

Thank you for listening.

 

 

 

Dave

 

August 17, 2019

 

 

N.B.  Honourable mention:  “Wing Beat Elastic” by Mike Keneally – a record of amazing remixes and a remarkable breakdown of the musical DNA from “Wing Beat Fantastic” if you like “Wing Beat Fantastic” – you will almost certainly enjoy this record, too.

 

 

 

 

 

 

 

 

 

 

 

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 !!!

seems like a lifetime ago… (or, studio diary 20141101: arriving too late to save a drowning fungo bat)

A blast from the past as it were, sometimes, when you are involved in one project too many, various routine tasks (such as, uploading completed pieces of music) slip through the cracks.  This is the story of one of those projects – a project that was actually completed at the end of October, 2014, was rough mixed on November 1, 2014, but is only just now seeing the light of day.  The rough mix was acceptable, but for reasons unknown, the final mix was not made, and the piece just sat in the completed masters section of the database – done, complete – but not published!

That would be, my “third”, the “concerto no. 3 in d major for piano & strings“, my third concerto, but, the first to feature piano and strings, I’d always worked with horns before, specifically, oboes (my lead instrument of choice it would appear – see concerto no. 1 [in e minor] and concerto no. 2 [in a minor] – both for guitar and oboe – do you see a pattern emerging there?) so I wanted to test some uncharted waters, and see if I could “say” as much with just piano and strings.  It was challenging, but in the end, I believe I have succeeded quite well in that particular aspiration.  But I will let you be the judge of that…

A curious melody, sounding for the life of me, like a lost European folk melody, begins the piece, but then, suddenly, a banging and clashing of strings and timpani takes over, with urgent, repeating “morse-code”-like bursts, which then settle to almost ambient, mellotron-like strings, which wash over the listener in beautiful, deep waves…or so I hope, anyway! 

That folk melody established at the very beginning, then re-occurs in various places within the larger work, as do other themes – I really like to try and establish a number of different, short musical themes or ideas, in the first (and sometimes, second) movement, and then, reiterate them, often in totally re-arranged or re-configured ways, at various points during movements 2 and 3 – I like to always refer “back” to earlier themes wherever possible, I find that gives you a cohesiveness that can otherwise, be lacking – you can hear the relationship between the movements, as well as their own unique characteristics.

What I found was, that of course, you can’t really have the strings or the piano “soloing” endlessly, so various interesting musical events probably “take the place” for me, of the missing oboe, short instrumental passages, plain and simple chord sequences; lovely pizzicato sections (I find pizzicato strings to be absolutely gorgeous, and I will use any excuse to include them in my work – I really will); but what I found very interesting was that I continued to turn to the percussion section, to take over sections of melody!

In particular, I began to rely heavily on the timpani, to express musical ideas, that normally might have fallen to a more common solo instrument (my missing oboe again, or clarinet, or flute…) – so I found that timpani alone, or, timpani with xylophone, became my new weapon of choice, and even better, when you contrasted those two percussive instruments against the best percussion instrument of all, the piano – it sounds great!

So I found myself playing xylophone a la Ruth Underwood, taking my cues from the world of Zappa jazz more than from the world of serious classical music, and I tried to think like a Zappa would (not an easy task) – however, I will say, that this concerto has a far more…”modern” sound to it, it’s far closer to jazz then my previous two works (in places), and normally, I am not a huge fan of modern classical composers or modern classical music, but I learned here, that it can be very invigorating and indeed, a joy to take those sort of almost jazz-like flights of fancy, and then keep bringing back to earth with the strings and piano, making sure that the normal classical motifs and forms are still in place, so that it still retains a flavour of non-modern classical music – elements as old as the hills – the piano, leading the way, the strings, supporting, questing – I really enjoyed the composition process in this instance, as I always do, and each time I produce a new piece, I learn something – actually, not “something” – many, many things – new.

Then, it’s almost as if the percussionists have temporarily “lost the plot”, as they seemingly almost wander off onto a strange melodic quote from “the firebird suite” – played on the xylophone in a humorous style [between 5:59 through 6:25].

More Ruth Underwood-style solo xylophone follows, which then resolves into the most incredibly ambient section of strings I’ve ever scored, which is the long, flowing section that ends the first movement – in such an incredibly calming, slow, and luscious way, and, the first time I’ve used a long fade out in a classical piece– the calm after the modern jazz storm I would almost say.

A strident string and piano theme begins at 6:42, but very quickly, loses its stridency, and becomes calmer, with pizzicato “dropped chords” occasionally appearing, long, deep strings, fade gradually along with the ever-calmer piano melody, which is now dream-like, almost ambient – eventually, the piano disappears altogether, leaving those gorgeous strings on their own for the last few moments running up to 08:07; until the first movement fades to complete silence, when another “first” is to immediately follow; the start of the second movement, has an even longer “fade in”, which then becomes a new piano theme (which, curiously, had originally been part of the first movement, had been rejected and removed to the outtakes section – and then, because I really liked it, re-instated as the first new piano theme in the beginning of the second movement; which then begins to merge and intertwine with more timpani and more xylophone, but, fleetingly; once again, the long, beautiful ambient “string chords” threaten to overwhelm, they just flow over what is happening whenever they will, often, at unexpected moments, and I really like the sound of those long, string section held chords – simple, effective.

Then we have a section of string madness, where more new themes emerge, including a brief, bowed solo from the bass (another first for me, I think) I have tried to be a bit more bold in terms of allowing individual players to have more solo “moments” – and probably, more solo piano than in any other piece.  Some really lovely violin and viola leading up to ominous bass notes, long, held notes.

At some point, we are briefly re-visited by the opening “European folk music” theme, which is a nice place for a re-iteration, tying the first two movements together nicely.

Normal string melodies, trade off with pizzicato ones, followed by more moments of madness, from 11:18 thru 11:29 for example, when the lead violinist, begins playing high speed pizzicato riffs way above the top of his/her normal range, a piece of musical joyousness I simply could not resist, which started out as just one instance, and soon grew to a full 12 seconds of high pitched pizzicato madness – a temporary loss of sanity on the first violinist’s part, no doubt. 🙂

The second movement then settles into a sort of strange mixture of piano, timpani and xylophone, in more supporting roles, as violin, viola, and cello play interlocking lines, this section gave me a lot of grief at the time, but it was worth the pain, I persevered, and it all came out well in the end.  Some sprightly up and down arpeggios for both the piano and for the xylophone are interspersed, accompanied by powerful timpani, the pianist playing with some wonderful flourishes and beautifully underpinning the piece with subtle low bass notes, while his/her right hand is playing double-quick arpeggios in the top octave of the piano keyboard.

Our familiar D suspended 4th to D major theme re-occurs too, extending out into a timpani–led improv section, followed by more mournful, long mellotron-like string parts that bring the second movement to its inevitable conclusion…

…the third movement begins immediately, without the customary rest between movements, at 16:02 on an eerie, ominous minor chord, with the bass alternating with a short-duration minor chord, a cello melody begins, and we are once again, away…

More new themes are immediately presented, piano and strings being featured heavily throughout this movement, we then move into some “octave” piano work, followed by a beautiful, strange almost Rundgren-esque chord sequence [17:31 – 17:42], involving both major seventh chords and bass notes that are not the root note – as example, C major 7th with a G bass, or C major 7th with an E bass – anything but a C bass!! (two of Todd Rundgren’s trademark devices, the major seventh and the 3rd or 5th in the bass – why  not!) – which are then reiterated briefly by the strings –and then on into the next emerging theme, a descending chord motif…which then resolves to a piano theme first introduced in the first movement; our bright, major key sequence of D suspended 4th to D Major chords once again; which then resolves to a really stark, honest solo piano section that I am inordinately proud of [19:51 through 20:30].

A tension-building exercise is next, using a new piano riff to drive home a musical concept via repetition, and I love the powerful way that works, once again, resolving back to a reprise of that stark solo piano piece with its odd tempo slow-down [the one just referenced, from 19:51 through 20:30] – I love the fact that the tempo changes so often in this piece.

Again, the tension-building riff, but this time, for a shorter amount of time, it then dissolves into a piano and strings section that builds and builds in volume, until finally I reach my “Beethoven moment” [22:41 – 22:47] which while it may sound simple, it actually took some doing to get that part to sound right.

SPECIAL NOTE: since we are for now only producing recordings of the full concertos (previously, we have offered both the full concerto; and recordings of the individual movements, but we have discontinued that practice, and for the foreseeable future, we will be producing only complete, full versions of the concertos online) – here are the start times for each movement, and the total time as well, for those who like to know such things:

  • Beginning Of First Movement                       00:00 Approximate Duration: 08:07
  • Beginning Of Second Movement                 08:07 Approximate Duration: 07:55
  • Beginning Of Third Movement                     16:02 Approximate Duration: 13:09 (13:15 with added silence at the end of the piece)
  • Overall Duration                                         29:11 (29:17 with added silence at the end of the piece)

 

As is my custom, it would seem, the third movement of every concerto I do, seems to always end up to be by far the longest of the three; I do not know why this is, I am not intentionally doing this, it just works out this way – partially, I suppose, because I want to add in themes from the first movement, and sometimes the second, that if all three movements started out life roughly equal, that the third would always end up having several minutes added, because, first of all, I want to re-insert certain earlier themes, but also, there just seem to be more emerging new themes, as well as sometimes, I like to re-arrange or sometimes, radically modify earlier themes, to present them with all new instruments, or with one instrument taking the lead and another a background part, the reverse of how they were in movement one, and so on – a place to experiment, a place to really stretch out both compositionally but also, as a player.

The piano parts are where I get to compose what I would love to sit out there in front of that audience and play, so they are special to me – I do tend to spend inordinate amounts of time working on the piano parts, solos and other instances of piano – which I use for everything – bridging sections, supporting the strings with some percussive, piano “rhythm” – I love to play piano, but I have also learned – that I love to score piano – it’s a real delight, and I love it when things work out well, and it ends up sounding just as I “hear it” in my mind – and that is an accomplishment, it’s not often easy for musicians to do that, but Notion is an app that actually does allow me to do that – it lets me wander compositionally where perhaps my mere, human hands maybe never really quite could – but my mind – my mind can!

To date, then, my “third”, the “concerto no. 3 in d major for piano and strings”, also remains, as of January, 2015, in any case, the longest in duration of my published concertos, although the Concerto No. 4 is nearly as long, clocking in at 27:22. I think this longer form suits better, allowing me more chances to introduce new themes or refer to existing ones…

In this case, the third movement of the third concerto becomes a vehicle for a fair amount of solo piano, which appears repeatedly in between other musical events; in my humble opinion, the piano solo in the third movement is one of the most surprising bits of music that I have come up with in recent times, it really surprises me, and, it contains a wonderful slow-down of tempo at one point, which really drives home the melody playing at that moment.  After the long piano improv, a longish section of strings, with cello and viola soloing over the top of short chord bursts of strings, follows, again, this time, gradually slowing in tempo, with the cello leading the way to a long, long final sad chord…and then, back to the bright, beautiful string section with piano, theme of D major suspended fourth to D major, repeating, that originally appears in the first movement.

That piano theme fades away completely (I seem to really, really be on a “fade in / fade out” kick at the moment), or is that, rather, a “fade out / fade in”?? – the latter, in this case, and a completely new section, mostly piano-led, appears very gradually, fading in – to take us away into the lands of solo piano once again, repeating the wonderful “slow-down” tempo section, and then – to an incredibly Peter Hammill-esque duet between the lower registers of the piano and the string bass – it really, really is reminiscent of early Hammill there for a moment. [from 26:23 – 26:50 and beyond…] – I like how the piece lingers in this very lower register, where things are dark and deep – but then, moments later, the sun emerges again in the form of that persistent, sunny D suspended 4th to D major melodic section – what a swing of mood that is!

So many different moods and emotions are present here, especially in the third movement, which becomes a very rich and complex juxtaposition of themes, but somehow, I manage to make all of those recurrences, alternate versions, variants and mutations, all fit – and all work together nicely.  It was sometimes not easy to fit it all together, at times I wasn’t sure if I could do it, but in the end, I made it work – and, I think I have some nice tension built in certain places, that resolves into some of the quietest, most ambient sections that to date, I’ve been able to include in a classical work.

Notion has been absolutely instrumental in helping me to learn how to score, but by the time I reached concerto no. 3 (September – October 2014) I had gained enough skill with Notion, and with scoring, that I could, somewhat playfully I admit, insert these short sections of odd music just for the sheer fun of it – and when you listen, you might think, hey, wait a minute, did I just hear…the firebird suite, by Igor Stravinsky, played on a solo xylophone?  I am afraid the answer to that question is – “yes, you did”.  Or “hey, wait a minute, wasn’t that Todd Rundgren on the piano there?? “yes – I am afraid so!”.

You are not imagining it, it’s really happening!

Therefore, I present, better late than never; completed on November 1, 2014, but not uploaded until January 2015, with a great amount of pride and happiness, here is my third major classical work to date, “concerto no. 3 in d major for piano & strings” by dave stafford – we hope you enjoy it.

🙂 🙂

scorched !!

or – “Dave Gregory – home at last…”

I suddenly realised, after many months of hearing the name “Tin Spirits” (but never, sadly, hearing their music – until now, that is…) the penny finally dropped: this is DAVE GREGORY’S band. Yes – that Dave Gregory, the one who used to play stunt guitar in that little ole’ band from Swindon, the redoubtable XTC. For 19 years, across 12 studio albums, from “Making Plans For Nigel” in 1979 (from the remarkable ‘Drums And Wires (1979)‘), to “Senses Working Overtime” (from the remarkable ‘English Settlement (1982)‘) on up to the celebrated “Apple Venus (1999)” (the last XTC album that Dave appears on).

Dave Gregory established himself as a stellar lead guitarist capable of precision-engineered, well-crafted and very creative guitar solos, including some truly unforgettable ones all the way from “No Language In Our Lungs” (from the remarkable “Black Sea (1980)“) to “The Ugly Underneath” (from the remarkable “Nonsuch (1992)“) and all points in between.

If Dave was the “quiet Beatle” of XTC, he wasn’t so quiet when it came to his solos, and if Andy Partridge wrote the songs and had that crazy, boundless energy, then Dave was the thoughtful musical foil to Andy’s uh, “Extrovert” personality. Dave also has an amazing collection of legendary electric guitars, vintage guitars and amps, and always had a few amazing vintage guitars to hand at every session, always the right guitar for the right solo – always well prepared, and always sounding just right for the song in question – whichever it may be. Yes, that’s a lot of “always”, but you count on Dave to come up with a great guitar solo for almost any song, no matter how strange, or how beautiful…

Don’t forget, too, that Dave was also in “The Dukes Of Stratosphear”, along with Andy Partridge, Colin Moulding of XTC, and his brother, Ian Gregory, on drums, the amazing 60s psychedelic rock parody band, and later on, worked with Steve Hogarth (and was a regular member of his touring band, too) and Dave has also appeared on albums by the Bournemouth prog band “Big Big Train”, and of course, pre-, during and post-XTC, he has always been in demand as a session guitarist, too.

As the old reliable wikipedia put it: “Since leaving XTC, Gregory has been much in demand as a session musician with a number of artists, including Peter Gabriel, Aimee Mann, Cud, Marc Almond, Bingo Durango, Johnny Hates Jazz, Jason DonovanMartin Newell, Louis Philippe, Lulu, Mark Owen, R. Stevie Moore and others. Gregory, who has been regularly involved in Steve Hogarth‘s h-Band, has also contributed to works by Porcupine Tree, including string arrangements on their sixth album, Lightbulb Sun, and for Dublin group Pugwash.

On 16 August 2009, English progressive rock band Big Big Train announced on their official blog that Gregory would be appearing as a guest musician on their sixth studio album, The Underfall Yard.[1] Gregory subsequently appeared on Big Big Train’s Far Skies Deep Time EP and is listed as a full band member on English Electric Part One (2012)”

That demonstrates just how in-demand Dave’s services as guitarist, arranger and musician are – one of Britain’s “most desirable” guitar note-slingers.

Dave’s newest band, Tin Spirits, first got together in Swindon, UK in the summer of 2008, when Aussie import, guitarist / vocalist Daniel Steinhardt from TheGigRig invited former XTC guitarist (and musical hero) Dave Gregory to a local studio to video record an ‘amp shoot-out’ with Dan’s band The Hi-Fidels, comprising bassist Mark Kilminster and drummer Doug Mussard. The rest, as they say, is history…

Me saying “Stunt guitar” is absolutely short-changing him, Dave played a huge, huge part in helping Andy Partridge and Colin Moulding to create the “XTC sound”, and if anything, not nearly enough credit goes to Dave, for his outstanding contributions to both their albums, and to their live shows – for two decades.

I remember when I saw XTC live, show 9 of the “English Settlement” tour, and I recall watching Dave playing, off to the side of the stage; he was multitasking in a really cool way, and when he reached over to play the squiggly synth line that follows Andy’s lyric “just a spineless wobbly jelly fish…” from “When You’re Near Me I Have Difficulty” (from “Drums And Wires (1979)”) – Dave makes the “jellyfish” sound on his little synth – and then, right back to lead guitar…my jaw hit the floor, and I spent most of the night, trying to see around the incredibly energetic Partridge, to see and hear what Dave was doing back there – it all just sounded amazing! All good.

That show, XTC live at the California Theater in San Diego, California, (my then-hometown) on April 3, 1982 turned out to be the 9th and final show of the US leg of the tour, the rest of which was completely cancelled due to “illness”; but the well-publicised breakdown of Andy Partridge (just hours after young 1982 Dave Stafford saw them play live!!) was the real reason the tour was halted. The band never toured again, occasionally, some years later, doing a small number of acoustic shows on radio or television, or the odd TV appearance here and there…

Dave had joined XTC at just the right moment, just as they were breaking away from their frenetic “dance band” persona, and with the departure of the sometimes alcohol-fuelled organist Barry Andrews, they were, much to their own surprise, already becoming “serious musicians” – recording and touring behind “Drums And Wires” – an album that I still listen to often, well, for me, that’s where it all started.

I have been a fan of XTC since the late 70s or early 1980s, indeed, I was fortunate to be at that very last live show they ever did, in San Diego back in ’82. That’s the only time I ever saw XTC or Dave Gregory play live, but the experience stuck with me, and based on seeing them that year (they were AMAZING!) I continued to collect their albums, and to follow their progress, as they moved into their own version of the Beatles’ “Studio Years” – when touring becomes a burden, and the decision is, let’s (still) make records, but, not play live.

This was mostly down to bandleader Andy Partridge, it was Andy who ended up so stressed out that he called time on live performance just HOURS after I saw him play a blinder of a show, and everyone was disappointed, because XTC live was one of the most energetic and interesting bands you could see live, in the early 1980s – they didn’t really have a lot of competition, especially once they had delivered both the most excellent “Drums And Wires (1979)” and it’s excellent follow-up, “Black Sea (1980)” – followed by the very excellent “English Settlement (1982)” – by the next excellent album, ‘Mummer 1983‘, it was time for Terry Chambers the drummer to go – and go he did, to Australia to marry his girlfriend, and, after playing with the Australian band “Dragon” for a couple of years, after that, he never really returned to the music business.

Now drummer-less, it did not in any way phase the remaining three members of XTC, who were all long-time friends from Swindon, and Andy Partridge, Colin Moulding and Dave Gregory, carried on through the rest of the 1980s, and into the 90s, until eventually, Dave could stand no more, and he left – and, then, XTC was a duo – and Andy and Colin went on to make more albums, although for me, once Dave left – they were lacking that spark – sure, Andy is damn near as good a player as Dave is (they are both amazing guitarists, let’s face it) when he makes the effort, and, he did make more of a real effort with the lead guitar parts on the ‘post-Dave’ albums, because I am sure he was conscious of the shadow and the memory of Dave sitting there in the studio, quietly ripping through some more amazing lead guitars for the latest XTC disk. The amount of lead guitar on records post-Dave, is noticeably less – Andy plays a few good solos, here or there, but it’s just not quite the same….

But the eventual fate of XTC is a story for another time, for now, suffice to say, that Andy and Colin went on to create a very respectable canon of work after the departure of Dave, who suddenly found himself at loose ends – playing on sessions, playing wherever he could, for a quite a few years after he left XTC. Things were almost beginning to plane out, Dave was almost forgotten, and could easily have faded from the ever-quick-to-forget music fans, but luckily, a chance encounter with a trio of Genesis / XTC fans ended up in more invitations to jam, and over time, Tin Spirits, was formed as a four piece, two-guitars-bass-and-drums band – with Dave Gregory on lead guitar.

So – once I realised that I had been missing the boat completely for a few years, that this amazing band, Tin Spirits, had toured the UK (and I could have SEEN THEM live – extreme dismay!) and indeed, they had been, and, much to my eternal frustration, on their earlier tours, they did a lot of covers of prog and other music that they had a shared love for, including Genesis “Back In NYC” from “The Lamb Lies Down On Broadway” and other songs by Rush, Yes “Roundabout”) and even Frank Zappa.  You can view some videos of some of these amazing prog covers on the Media page of the Tin Spirits official website.

Of course, it will not bother me one bit, if instead of these covers, that if we do get to see them (and I really, really hope we can…) that we might have to “endure” listening to them play most of the tracks from their new disc “Scorch” – and I will tell you, much as I would have loved to see and hear Dave Gregory play “Back In NYC” with his new band, it would be NO hardship whatsoever to sit and listen to Tin Spirits play some or all of the “Scorch” album – no hardship at all. 🙂

I have heard Scorch about four times now, and each time I hear it, I just end up feeling so uplifted, and it really, really makes me want to play the guitar (and only the very best guitar albums have that effect on me); it also really makes me want to write on guitar again (not something I’ve done a lot of since ‘gone native‘) and one thing that Tin Spirits have been extremely effective at, is creating a very full, very prog sound, without the use of keyboards – none whatsoever were used on “Scorch”, it’s all guitars, bass and drums – as it should be, really.  Dave himself is an accomplished keyboard player, but I applaud their determination, and “Scorch” is proof positive that you can make a big, big prog sound just with two guitars, bass and drums.  Of course, guitar technology has come a long, long way, and the lines between guitars and synths, continue to blur.

But the main difference between Dave Gregory, amazing lead guitarist of XTC, and Dave Gregory, amazing lead guitarist of Tin Spirits – is that in the former, he didn’t really get to play much at all – a solo here, a solo there, a keyboard solo, the odd guitar bit here or there – but nothing that he could really get stuck into – whereas in the latter, he doesn’t just get stuck in – he excels, explores and explodes – you can hear that Telecaster cutting through the air during the epic “Garden State”, and the extended solos that Dave is now not only allowed to take, but should be legally REQUIRED to take, will knock your guitar-playing socks off.

This is really a master class for lead guitarists, and we could all learn more than one thing from listening to ”Scorch” – and the rest of the musicians in the band are not slouching, in any way – guitarist / vocalist Daniel Steinhardt (also a pedal board/guitar controller inventor – the inventor of the amazing TheGigRig) is damn near as experienced and as capable as Dave is, so it’s a remarkable pairing, almost, but not quite, like having two Dave Gregorys in your band – and that, my friends, is a VERY good thing.

Bassist / lead vocalist Mark Kilminster and Doug Mussard (drums and vocals) are one of the most experienced and adaptable rhythm sections I have ever heard, and the way they slot in their backing, providing rhythmic support for the two interlocking guitar wizards – this would be, a “sort of” analog / mirror of the prog / pop “version” of Levin and Bruford supporting Fripp and Belew – I cannot think of any other truly analogous pairing of “amazing rhythm section” with “two remarkable and innovative guitarists” – I can happily and honestly say that about both King Crimson, and, about Tin Spirits.

And, another thing – the “no keyboards” rule has been faithfully followed, so somehow, Tin Spirits have created truly Progressive Rock, without the use of the dread synthesizer, and to me, to use just the guitar technology available, to be able to write for two guitars, bass and drums, and create the complex, intricate and beautiful music that is contained on “Scorch” – that is quite an accomplishment.

I am absolutely gobsmacked by just how goodScorch” is, to the point where I plan to sit down this weekend, and order their first album, so I can have their entire recorded catalogue :-). I know that the first album is not rated as highly as “Scorch” is – but I am prepared and ready anyway, open ears and mind, and I am sure I will enjoy it.  If this video is anything to go by (link below), it’s going to be excellent – a 13 minute plus epic from that first album, “Wired To Earth”; here is “Broken” – this bodes well, sounds good to me!

I bought “Scorch” without having heard one note by Tin Spirits – and, as sometimes happens, it was an incredibly GOOD ‘blind’ decision. This album is currently rocking my world, and finally, after 19 years of tantalising glimpses of Dave Gregory’s genius, from the guitar solos on “That Wave” from the remarkable “Nonsuch” to his brilliant work on “Drums And Wires”, “Black Sea”, “English Settlement”, and so many other brilliant XTC albums; “The Big Express” is a huge favourite of mine, really, I love all of XTCs catalogue, one of the most enduring in this genre (start out punky, and then gradually mutate into the new Beatles – you know, THAT kind of band!) not to mention the 1986 smash hit “Skylarking” album, produced by Todd Rundgren – an amazing body of work, but now, Dave has started another one – and this one is the guitar band for guitarists who REALLY LOVE GUITAR – “Tin Spirits”. Album Two, “Scorch”, is fantastic. I haven’t heard Album One yet (“Wired To Earth”), but, I will be ordering it this weekend.

From those tantalising glimpses of brilliance provided by a great solo from Dave on a really good XTC song, to this: where Dave is utterly set free, where he can solo for as long as he likes, and, this record is full of extended, and super-extended, and ridiculously super-extended guitar solos, many of them by Dave – and the range of playing, from Hendrix ballad style drenched in prog beauty to scathing Telecaster lead lines, I could just listen to the guitar solos, and duos, on this record over and over and over – and, don’t get me wrong, the band has EXCELLENT vocals, but right now, I am bathing in the glory of a finally-unleashed, finally-unchained, doing it the way HE wants to, nearly endless guitar solos from Dave Gregory – FINALLY !!!!!!!!! If only Andy had let Dave play like THIS in XTC, we might have seen them become a brilliant Prog band too…

This boy can PLAY. He can PLAY good. He knocks my socks off on this particular disc, if you haven’t picked up “Scorch”, I recommend it highly – it’s the guitarist’s guitarist guitar album of the future, and I love what I am hearing – finally, freed from the 30 second XTC mini-solo, when Dave stretches out on album closer “Garden State”, it’s like getting to hear Hendrix practicing beautiful guitar for “Angel” or “Drifting” or “Little Wing” that’s all I can think about, when I hear the fluid, sinuous, sounds of Dave’s guitar, and his tones are pure liquid fire, they are musically SCORCHING, there is absolute purpose, and serious musical intelligence there, and never has there been a more aptly named album.

I will let others do the song by song analysis of “Scorch”; I am really more interested in conveying what an extremely excellent album “Scorch” is, and, also, trying to give it the back story it deserves, and how it fits into the chronology of both XTC, as well as Dave Gregory‘s long and very distinguished career as a great guitarist, arranger, and all-round musician, vintage guitar enthusiast, and now, playing in the band of his dreams – Tin Spirits.  And for me, even though I’ve started at the wrong end of their short and sweet catalog, “Scorch” is an amazing musical document, and it is absolutely worth checking out.

I will say, the album opener, “Carnivore” sets the mood brilliantly, it’s a proggy instrumental with lots of great guitar, but it’s when we move into the next few songs, and you start to get to where there are well-defined guitar solos…and you suddenly “hear” Dave, you KNOW it’s Dave just by the sound – and to my mind, the only guitarist that I think is similar to Dave, is the late, great Jimi Hendrix (but probably, the gentler, more melodic “side” of Jimi) – who is clearly, clearly a huge influence on Dave.  So when that first “Gregory” solo hits your ears – you are suddenly really paying attention, and it does not disappoint – instead, it reels you in, you want more – and you don’t just get more – you get a LOT more – more Dave Gregory guitar on this album than you will find on any three XTC albums ! And that is saying something…

The gentle, pastoral guitars of “Little Eyes” from “Scorch”, take you everywhere from an almost King Crimson “Discipline”-style “interlocking” or what I call “gamelan guitars” to fluid, beautiful, liquid Hendrix guitar solos – the whole effect is so uplifting, positive sounding – a brilliant track, “Little Eyes” gives you a very good idea of the basic quality of the album – it’s just a perfect little song – lovely.  It’s long instrumental outro, is a great showcase for Dave’s amazing guitar style, and in this solo, you hear him reaching for the stars – and finding them, sparks flying – just one of those so-perfect solos, that then merges perfectly right back into the rhythm of the song…seamless, timeless – beautiful.

Take someone like Dave Gregory, with his massive collection of amazing vintage guitars, his knowledge of how sounds were created in the past, and his ability to recreate very specific guitar tones by using particular combinations of guitars, amps and effects, add in his many, many years of guitar playing, almost always, as a lead guitarists in one form or another – and you have a mature, powerful, guitar-force-to-be-reckoned with: Dave Gregory; in 2014 – suddenly, I can hear the culmination of that career, a player at the top of his game, the craft of guitar is relaxed, confident, powerful – you can hear it – in the beautiful guitar solos that are featured in almost every track on “Scorch“.  Remarkable!  And really, really beautiful, too.

Get “Scorch” now, if you love prog, if you love pop, if you love guitar music, if you loved XTC, if you love the guitar work of Dave Gregory – heck, just get it – I bet you will like it! In Europe, you can get it from Burning Shed, in America, probably Amazon. This be rocking! I’m going back to listen to it again right now…ah…sonic bliss 🙂

“under the influence” (beatlesque)

I wanted to take a little time to try to give some indication of the vast scope and reach of the influence of the Beatles, and in particular, their influence on other musicians.  This has inspired everything from direct Beatle parodies such as “The Rutles” (featuring Neil Innes and Eric Idle) to tracks that sound very Beatle-like (such as any number of Raspberries, Badfinger, Todd Rundgren, The Move, Roy Wood, Knickerbockers, songs – and many, many others – see lists below) to whole albums of Beatles tribute (such as Utopia’s brilliant and very musical Beatles spoof album, “Deface The Music”, from 1980).

Even the world of jazz was invaded by the music of the Beatles, from Wes Montgomery and other guitarists of the day, inventing their own jazz versions of Beatles tracks, or someone of the stature of Ramsey Lewis, making, in 1968, an entire album of Beatles covers, all taken, amazingly, from the Beatles then-current 1968 “White Album” – in a completely unique and extremely jazz way.

Awesome inspiration, across all genres of music – the music of the Beatles actually can be called “universal” in its appeal, given the strange and disparate characters who breathe new life into a huge, huge range of covers and tributes and sound-alikes, from the very ordinary covers, to the truly bizarre spoofs, jokes and odd variations that abound the world over – everybody under the sun has had a crack at covering a Beatles song – and some go much, much further, either creating amazing near-carbon copies of Beatles songs (such as 1976’s “Faithful” album by Todd Rundgren – his “faithful” version of “Strawberry Fields Forever” is exquisite) or creating music that sounds so much like the Beatles, that it is actually thought to be by the Beatles (for some unknown reason, “Klaatu” was one such band, where folk thought that it was actually the Beatles, performing anonymously six or seven years after they had broken up…but, it was not).

For my money, there are other artists who create original music that is much, much closer in content and feel than the music of “Klaatu” (but, don’t get me wrong, “Klaatu” are a remarkable, very capable, and very interesting band to listen to – and, little-known fact, they are the actual authors and creators of the original version of the Carpenters’ hit single, “Calling Occupants (Of Interplanetary Craft)” – not too many people know that in that case, the Carpenters were doing a cover of…“Klaatu” !

I think, though, that in many ways, that the Beatles, and to a somewhat lesser extent, The Beach Boys, had a huge influence on musicians all over the world.  From Apples In Stereo to XTC, there are so many musicians, including some pretty unlikely characters, that have either covered Beatles songs faithfully (or unfaithfully in some cases), or have created either songs and/or albums of songs that mirror, mimic or even mock, the sound of the Fab Four.

I think that it’s very true what they say, that imitation is the sincerest form of flattery, if that is true, then the Beatles have been flattered until they are completely flat, because so, so many musicians have cited them as a major influence, and have unashamedly copied their songs, their sound, their harmonies, their guitar playing, their bass playing, their song structures and so on – and the list of people who do cite the Beatles as a musical influence is just simply too long to print in this forum.

What always surprises me is the number of extremely progressive musicians who claim a serious Beatle influence, when you listen to the music of a band like Yes, or King Crimson – you wouldn’t necessarily immediately think “Beatles” – but Yes were obviously fans of the band, in the early days, they covered the Beatles “Yes It Is”, and I believe that both Steve Howe and Chris Squire have said they are fans of the Beatles music.  Robert Fripp has also acknowledged the influence of “Sgt. Pepper’s Lonely Hearts Club” band on him upon hearing the whole album on his car radio one fateful evening, and Beatles references are embedded, sometimes deeply, into the music of King Crimson – “Happy Family” from the third Crimson album, “Lizard” is an unconcealed tale of the Beatles breakup, penned by then-Crimson lyricist Peter Sinfield.

So sometimes, there are Beatle-influenced bands and musicians, where the music made by those musicians, music sounds nothing like the Beatles to our ears – but for them, the Beatles still loom larger than life, buried deep in their internal, musical DNA – just waiting to get out, in the form of new songs that are about the Beatles, influenced by the Beatles, or simply sound like the Beatles, intentionally (usually) or not (occasionally).  Perhaps yet another splinter-list should be “Songs That Sound Like The Beatles But Their Composers / Performers Did Not Intentionally Try To Sound Like The Beatles – It’s By Complete Accident” but I feel that my already non-legendary non-skills as a list producer have already fallen flat, and that’s too complicated for me to work out who did or did not “intend” to sound like the Beatles!  I don’t think I can write that list – but if you can – please do, and please send it in, and if it’s complete enough, I will post it here.

Speaking now as a guitarist, I don’t think I’ve ever met a guitarist who did not care for the guitar playing of  John Lennon or George Harrison, nor have I ever met a bassist who did not respect the massive skills of Paul McCartney on the bass guitar – the absolute, indisputable master of melodic bass playing – and when I listen to Chris Squire play, I do hear echoes of Paul McCartney’s style in his playing – especially the “high register” bass work.  This famed skill at playing beautifully in the higher and highest pitch ranges of the bass guitar has been imitated by many, but for me, well, it’s Todd Rundgren’s “Determination” that showcases this technique in an incredible way (see below for more on “Determination” ).

The same can absolutely be said for drummers admiring Ringo Starr, everyone knows that Ringo is not a “flashy” drummer, he doesn’t often “show off” but what Ringo has that many, many drummers do not have, is the steadiest tempo imaginable, and, a sense of when to play, and when not to – he always provides just the right amount of percussion to any given song, never overplays – just what is required.  This is borne out when you hear live sessions by the Beatles, while John, Paul and George make error after error in the earliest takes of any given song, it’s rare indeed to hear the almost metronome-like Starr make an error.

Even guitarists who also play bass get the whole “Paul McCartney high-register bass playing” concept, as can be evidenced by the multi-talented Todd Rundgren, from his 1978 solo album “Hermit Of Mink Hollow”, there is a brilliant track called “Determination” , which not only features pitched up, trebled up, “jangly guitars” but a beautiful, beautiful, McCartney-esque bass line, that just pulls the heartstrings as it flies beneath the open chords, beginning in the high register, and then sweeping down to become a bass again – McCartney’s early adoption of unusual styles such as playing bass melodically, playing bass in the very high registers, or playing bass in any number of innovative ways, not always melodic – playing with his low E string slightly detuned (as in the song “Baby, You’re A Rich Man”) or, playing the low E string so hard that it detunes as he plays (as can be heard in parts of the song “Helter Skelter”)  – has not gone unnoticed by Todd, and any number of other McCartney imitators.  Speaking of McCartney imitators, Eric Carmen and the Raspberries also recognise the genius of the Beatles front line which is evidenced by songs that closely resemble Beatles songs in form and content, lyric and guitar styles.

I wish more drummers were like Ringo, well, there is one that immediately comes to mind – Zak Starkey, Ringo’s eldest son.  Zak is a remarkably talented drummer in his own right (I was fortunate to see him perform with an early incarnation of “Ringo Starr’s All Stars” (a show which also happened to feature the above-mentioned Todd Rundgren) and, hearing Zak and Ringo Starkey nail the complex drum part of Todd’s “Black Maria” live was absolutely fantastic – Zak made it his own, but carried the band of mostly older musicians, through the set with his unshakeable rhythm, and he has certainly inherited Ringo’s steady hand – but Zak is also a thoroughly modern drummer, and in some ways, he goes far beyond his famous dad – which is what you might expect – I mean look at Jason Bonham, it’s the same thing, drummer with a famous drummer dad, and with that burden of being the son of a legend, they try that much harder to sound unique, and go beyond the “oh, he’s the son of Ringo…” or “oh, he’s the son of Jason” – and I am justifiably proud of both of them, for carving their own musical paths, and not relying on “dad” for their fame or ability, but making it on their own laurels.

witnessing one of the variations of “Ringo Starr‘s All-Starr Band”, on the 1989 tour featuring Todd Rundgren, it was remarkable to see Zak take sole control of the drums when Ringo went front and centre to sing, so for some of the classic Beatles songs that the band played, it was Zak on the drums rather than Ringo himself, but it absolutely mattered not, Zak did an amazing job on tracks like “With A Little Help From My Friends” and “It Don’t Come Easy” – and at other times, father and son played together, and that was truly a joy to see – amazing !

Two generations of Starkey’s, doing what they do best – playing the drums, and playing the music of the Beatles too – among other items from the various band members such as the aforementioned Todd cover – and “Black Maria” live  with Zak AND Ritchie Starkey is not something I shall forget any time soon – fantastic”!

And, because it was Todd’s big moment, Ringo was free to join Zak on drums, so it was the pair of them behind Todd – and you could see in Ringo’s face how much he enjoyed playing the song (I believe it was included in the set list, because Ringo always had liked the song, so much so that he insisted that it be the “Rundgren” moment in the concert – it being his favourite track off of Todd Rundgren’s seminal 1972 album, “Something / Anything”) and Zak was just head down getting on with the drum part – and that is the only time I’ve ever seen the song performed with two drummers – and if those drummers are Ringo and Zak Starkey, you know it’s going to go well – and it was an excellent cover, absolutely spot-on, and a real highlight of the show.

I don’t think anyone can argue that the Beatles had a very, very significant influence on musicians of many generations, and new generations of players are discovering the Beatles anew even now, in 2014, and are translating their experience of hearing Beatles material into their own new “musics” – so the process continues, of hearing songs influenced by the Beatles, even in new music created by young musicians – because, in 2014, maybe they just heard “Revolver” for the first time, and it absolutely blew their minds – just like it blew our minds back in 1966 when we (now, unbelievably, now we’re the “older generation”!) first heard it.

And – it’s undeniable – this is unforgettable music, genius music from the writing to the playing to the singing and even to the packaging – Beatle imagery is also something that has been oft-copied, and some of their most famous album cover designs have been copied again and again by so many bands.

Some of those copies are more on the side of parody, for example, Frank Zappa & The Mothers of Invention classic Beatles parody, made not that long after the original came out, “We’re Only In It For The Money” is directly made to look like a bizarre “version” of “Sgt. Pepper’s Lonely Hearts Club Band” and in some ways, the cover is the biggest part of the joke – the music on the album (which is brilliant, by the way – one of my favourite early Zappa / Mothers records) is not nearly as important to the parody as the album design was.  But the whole effect is…kind of hilarious 🙂

In particular, some of the most famous Beatles album covers, such as the “bendy” photographs of the band that graces the cover of their innovative “Rubber Soul” album have been imitated by many other bands, time and time again.  Even in the earliest days, the unusual photographs of photographer Robert Freeman (as in, the classic shot of the Beatles silhouetted against a dark background) as on “With The Beatles” (UK) or it’s US counterpart, “Meet The Beatles” has been copied many times over the last few decades.  But revolutionary cover art is difficult to come up with, so bands just borrow from the best…The Beatles.

No article about Beatles’ influence would be complete without mentioning two gentlemen from different eras of pop music, firstly, the ridiculously talented eric stewart of 10cc, who has performed Beatles songs live in concert with 10cc, and also has an undeniable streak of “beatlesque” harmony and sound on various tracks throughout the long career of 10cc – the best example is probably part 1 and part 3 of 10cc’s pop opus, “feel the benefit” – very “dear prudence” if I don’t mind saying so myself :-).  the other gentleman in question is from a couple of decades later, from the 1990s and beyond, and that is Jason Falkner; unwilling conscript into pop genius band “jellyfish”, after he escaped their clutches, went off on a very successful if low-key solo career – and again, the sound of his vocal harmonies, the beautiful chord progressions in his music tell me one thing: he, like Eric Stewart before him, is under the influence of the Beatles.  Personally – I cannot get enough of the music of 10cc or Jason Falkner, two generations apart, perhaps, but, united in their love for Beatle harmonies, jangly Beatle guitars, beautiful Beatle chord progressions, and even Beatle-like lyrics.

I started out writing this edition of the Beatles’ story by trying to create various lists of bands that sound like the Beatles, and then, albums inspired by the Beatles, and I was really only able to touch upon a very few – I know that I have missed out so, so many – and everyone has a different “take” on what bands sound like the Beatles, what albums are directly or indirectly inspired by the Beatles and so on.

Regarding my attempts at filling in these lists – I am ultimately not satisfied by my primitive attempts at “list-making”, and in searching the Internet for valid lists of bands that sound like the Beatles, I kept finding lists that made no sense to me, personally – that would always include every big rock band of the day, so it would always be “Pink Floyd”, “The Who”, “Jimi Hendrix” – and I don’t think any of those bands sound like the Beatles at all !  Yet, site after site would cite (ha ha, get it – site – cite) Hendrix or Pink Floyd as a Beatle sound-alike – but I cannot bring myself to agree with this, yes, Hendrix loved the Beatles, he played bit of Beatle melody in the middle of his own songs, he covered many Beatles songs – but, he doesn’t really SOUND like the Beatles, does he?  Maybe very vaguely, on a song like “Crosstown Traffic” perhaps – but, I’d say, if anything, that Hendrix influenced the Beatles, as much or more than the Beatles influenced Hendrix.

Jimi Hendrix sounds like…Jimi Hendrix, and no other, really – he is utterly unique.  Hendrix did absolutely love the Beatles, and would indeed, often insert a perfect bar of George Harrison lead guitar, into one of his own original songs, in live performance – and then give a little laugh, like it’s an “in-joke”  – “here’s a cool melody that I nicked off of the new Beatles disc, it’s called “Revolver…”.

As for Pink Floyd, it would take some real convincing for me to add them into the list –  I love a bit of early Floyd as much as anyone, but I do not hear echoes of the Fab Four in their music (you saw what I did there….”Echoes”…Pink Floyd – and, it was completely unintentional!) I am afraid I just don’t get it, these constant references to Pink Floyd sounding like the Beatles – maybe they are talking about the odd Syd Barrett track, I don’t know, but it just doesn’t seem right to me….so I did not add them in :-).  Yes, the Beatles and Pink Floyd did both play psychedelic music, but it was very different in nature – so, no, I don’t see the connection, musically.

So – please send in your additions and corrections to any of the lists, and I will update them periodically to reflect world opinion – I am not a Beatle expert (although I have read extensively about them, in particular, I started out years ago with Hunter Davies’ remarkable biography of the Beatles;  in later years,  I’ve studied the remarkable works of Mark Lewissohn, whose “The Beatles Recording Sessions” is like the Bible, to me, one of my most cherished and most often re-read Beatles information sources).

I will read anything and everything written about the Beatles, even now – and I cannot possibly compile complete lists of the type I am presenting here, so any and all input from readers would be much appreciated – please comment, and in your comments, submit corrections or additions to any of the lists, and every few months, I will compile all of the comments and update the lists – so over time, maybe, these lists will become relatively complete – which would be great, because we would be creating a useful, accurate, and complete Beatle resource – or rather, a resource of bands and albums that SOUND like the Beatles, anyway – why not?

Meanwhile, on the subject of the Beatles music, I’ve been very happily really enjoying my two latest Beatle purchases: from 2013, the two-double-CD “Live At The BBC” – volume 1 (from 1994) completely remastered, and a new volume 2 entitled “On Air” which is a fantastic addition to this wonderful series – four CDs chock full of radio performances, studio out-takes, and the Beatles chattering – a fantastic Beatles music resource, of early live tracks and one demo, and at this point I say, thank God for the BBC !  Luckily, they kept all of these Beatle recordings, so now they have been compiled for future generations to enjoy.

My other purchase, “The U.S. Albums” is a 13 disc monstrosity, but hearing the albums in the U.S. running orders for the first time since I was a child, is just remarkable – even though John Lennon condemned Capitol for messing with the Beatles’ carefully considered running orders, the odd, arbitrary, Capitol-created running orders are unfortunately for we Americans, what we grew up hearing, so even now, I am still startled by the UK releases – because the songs don’t arrive in the order my brain expects they will.  So now I have complete choice – if I want the real thing, I consult the Stereo and Mono boxes from 2009.  If I want the Capitol versions – I consult the US Albums from 2014 – very exciting stuff for Beatle-maniacs such as myself 🙂

The last time I bought this many Beatles CDs all at one go, was in 2009, when the long-awaited stereo and mono re-masters appeared – and of course, that was an essential purchase. Following that, though, I am truly amazed, and at the same time, very grateful indeed, that in 2014, I can almost casually pick up 17 “new” Beatles albums – four from the BBC, and 13 from Capitol – and that just makes my Beatles catalogue so much more complete and containing even more variations on their remarkable catalogue of music – beautiful, rockin’ Beatle music.

So we’ve gone down an alternative path this time, a path taken by the many, many musicians who revere the Beatles, and admire their music enough to copy it exactly, partially, or, some aspect of Beatle music has entered into their own songs, anything from a guitar riff to some high register bass work of a melodic nature, or a steady Ringo Starr back beat – so sometimes, you may have a completely unique song, but there is a section of it that REALLY recalls the Beatles very strongly – so, five percent of the song is 98 percent Beatle-like – but, the REST of the song is not !

As a musician and a guitarist, I do hear a lot of these “stand-alone” Beatle moments, it might be a few bars of music in a Jason Falkner or Michael Penn pop song that strongly remind one of the Beatles, or just a 10 second passage in a song on the radio – you hear “Beatlesque” bits of music almost every day, and I am often fascinated by them, sometimes, you work in your mind to try and figure out which Beatles song or songs is being referenced – sometimes it’s obvious, sometimes, it’s impossible to determine – but you do know, just by hearing, when something has the quality of being “Beatlesque”.

 

Lists Of Bands That Sound Suspiciously Like The Beatles

 

Bands Or Artists That Always Sound Like The Beatles:

The Rutles

Bands Or Artists That Often Sound Like The Beatles:

Badfinger – an Apple band

The Knickerbockers

James McCartney – son of Paul McCartney

The Move – featuring Roy Wood

Raspberries – featuring Eric Carmen

The Swinging Blue Jeans

 

Bands Or Artists That Occasionally Sound Like The Beatle

10cc

Apples In Stereo

The Bears – featuring Adrian Belew

Adrian Belew (ex-King Crimson) – solo artist

Electric Light Orchestra – featuring Jeff Lynne

Jason Falkner (ex-Jellyfish) – solo artist

Dhani Harrison – son of George Harrison

Jellyfish – featuring Jason Falkner

The Kinks

Klaatu

Julian Lennon – son of John Lennon

Jeff Lynne – Electric Light Orchestra – Harrison’s producer /  member of Traveling Wilburys

Aimee Mann – solo artist

Bob Mould (ex-Husker Du) – solo artist

Nazz – featuring Todd Rundgren

The New Number 2 – featuring Dhani Harrison – son of George Harrison

Andy Partridge (ex-XTC)

Michael Penn – solo artist

Michael Penn & Aimee Mann – couple (they did an incredibly lovely cover of “two of us” – gorgeous track)

Todd Rundgren – solo artist

Teenage Fanclub –  Scottish pop band

Utopia – featuring Todd Rundgren

Roy Wood (ex-Move) – solo artist

XTC – featuring Andy Partridge

 

Bands That Sound Suspiciously Sort Of Like The Beatles

Oasis – (in their dreams, anyway!)

Tame Impala

 

Albums That Are Directly Inspired By The Beatles

Fresh – Raspberries – 1974

Faithful – Todd Rundgren – 1976 (all covers album, including Beatles covers)

The Rutles – The Rutles – 1978

Archaeology – The Rutles – 1996

Deface The Music – Utopia – featuring Todd Rundgren – 1980

We’re Only In It For The Money – Frank Zappa & The Mothers of Invention – 1968

– visual parody of Sgt. Pepper’s Lonely Hearts Club Band

 

Well-Known Known Admirers Of The Beatles – Musicians

Jon Anderson (ex-Yes)

Adrian Belew (ex-King Crimson)

Eric Carmen (ex-Raspberries)

Robert Fripp (King Crimson)

Liam Gallagher (ex-Oasis)

Noel Gallagher (ex-Oasis)

Steve Howe (Yes)

Eric Idle (ex-Rutles)

Graham Gouldman (10cc)

Jimi Hendrix (may he rest in peace)

Neil Innes (Rutles)

Aimee Mann (solo artist)

Andy Partridge (ex-XTC)

Michael Penn (solo artist) – brother of Sean Penn

Todd Rundgren (solo artist) – w/Nazz, Utopia

Chris Squire (Yes)

Eric Stewart (10cc)

Alan White (Yes)

 

Please – agree or disagree with my choices; send in additions, recommend deletions, recommend changes – and if there is enough input, I will periodically re-published updated versions of any Beatles lists that have appear in this blog series based on your input.

Meanwhile, maybe there are some artists noted here that you were not aware of, that have obviously studied the music of the Beatles and learned from it, and I am always happy to listen to any musician or band that sounds like the Beatles – so, if I have missed any truly obvious ones – please let me know, and again, I will update the list, too.

Happy listening – the influence of the Fab Four runs deep, traverses the entire globe, and only seems to be on the increase over time, as successive generations re-discover their music (often prompted by their parents, but still…) and then integrate parts of it into their own new kinds of music – a process that I hope goes on forever.

Nothing would make me happier, “in the year 2025” (another 60s pop joke for the older folk in the audience!!), let’s say, to hear a brand new song on the radio that sounds very original, but, completely Beatlesque at the same time – that would please me no end, because we then will know – young people are still listening to the greatest rock band that ever was – the fabulous Beatles – and they rock!!

I don’t know about you, but I am definitely under the influence of the Beatles – always have been, always will be – my favourite band from childhood, the first band I truly appreciated, and in actual fact, I literally “grew up” with them and their music, it’s a joy to still be listening to them now, in the year 2014, and feeling just as happy about it as I first did back in 1963, when I must have heard them on the TV, on the Ed Sullivan show – being only five then, I don’t directly recall it, but as it was repeated on TV every year or more often every year thereafter, I feel like I do remember it – and I do remember their later TV appearances directly.

What a remarkable group, and what a remarkable influence they’ve had on a remarkably talented group of very respectful and creative musicians – my peers I am proud to say, who also “grew up” with the Beatles.  There’s no better way to end up “under the influence…”

the return of progressive rock…

I turn now to a topic that I have not ever addressed directly from these pages, something very close to my heart indeed – progressive rock music.  I have very occasionally reviewed progressive rock albums, such as king crimson’s “larks’ tongues in aspic”, or written about some of my favourite progressive rock bands, such as focus, but I’ve never tackled the genre itself until now.

as a visual adjunct to this essay, please take a look at some selected album art from four of the best progressive rock bands – king crimson, yes, genesis and gentle giant. the artwork that was such an integral part of progressive rock music, deserves it’s own separate treatise, and would include, of course, familiar artists such as roger dean, who has long been associated with the progressive rock genre. the beautiful, fanciful, and extremely creative artwork that has graced many a prog album cover, we will leave for another time, and instead, this essay will concentrate on the music itself.

“prog rock” as it’s known, or progressive rock if you want the long version, is a unique, remarkable and very persistent genre of music. speaking of the “long version”, that’s exactly what the proggers are famous for, epic pieces of music such as (but not limited to):  “supper’s ready” (genesis), “a plague of lighthouse keepers” (van der graaf generator), “fracture” (king crimson) – or to choose an even longer live crimson improv, “a voyage to the centre of the cosmos”, “karn evil 9” (emerson, lake & palmer), “the revealing science of god” (yes), “thick as a brick part one” (jethro tull), “echoes” (pink floyd), “nine feet underground” (caravan), “in held ’twas in I” (procol harum), or even some of the very earliest works by, of all people, the mothers of invention, such as the title track from the “absolutely free” album – this trend for very long tracks was mimicked by, strangely enough, in the mid-1980s, a genesis-soundalike band called marillion – with their very long piece entitled “grendel”. of course, not all prog songs are very, very long – this is just one of many aspects of progressive rock.

it’s generally acknowledged that progressive rock developed out of psychedelic rock, and certain well known records, including the beatles “sgt. pepper’s lonely hearts club band”the mothers of invention‘s “freak out”, and the beach boys‘ “pet sounds” – these, and others, bands such as the left banke, who introduced unusual instruments into their songs, are considered to contain the first seeds of true progressive rock.  king crimson‘s robert fripp has cited the beatles “sgt. pepper” as being a profound influence when he first heard it, on the radio (along with classical works by bela bartok), in 1967, so that certainly lends some credence to this theory.

prog rock is remarkable for a number of reasons, the primary one being the incredibly short period of time that it existed in it’s original incarnation.  it is somewhat difficult to pick a year to represent the “beginning” of “true progressive rock” – because there are examples going all the way back to 1966’s “freak out” by the mothers of invention, whose leader, the late, great frank zappa, understood classical, jazz, and many, many other musical forms – which of course, came out in the mothers of invention’s music – these can be considered to be “prog prototypes”…but if I had to pick a “starting year”, I would say it was 1969 – the year that saw the release of “in the court of the crimson king” – the classic first long playing album from one of prog’s most important bands, king crimson.

in my mind, then, I’ve always felt that prog “ran”, if you will, from 1969 through 1977 – and it was during 1976 and 1977 that a new form of music came along that didn’t sit well with prog – punk. prog tried to persist all the way up until 1980 (and in a limited number of cases, beyond), but by 1977, a lot of the life had already gone out of it, so roughly speaking (this can be argued a number of ways, this is just an arbitrary span approximating the time when prog had the most influence) – progressive rock lasted exactly eight years. ten at a stretch – if I had an alternate, decade long version, it would run from 1968 – 1977.  if the beginning of prog is difficult to determine…really, we could place it anywhere between 1966 and 1969, in contrast, the end of prog is quite clearly delineated by the arrival of johnny rotten and co.  in 1977, there were still a few decent remnants of prog, but by 1978…progressive rock was in serious trouble. there were a few stalwarts who continued to work through the end of the 1970s, such as u,k., a late arriver on the prog scene featuring two ex-king crimson members, john wetton and bill bruford.

if you follow the career of any prog band that started say, in 1969, and ended, say, in 1980 – you can audibly hear the prog heart of the band dying.  an example of this, would be the amazing gentle giant, who put out an unbroken string of great records…up until 1977’s “the missing piece”, which, while still containing some excellent music, you could hear the change coming…and then, the albums that followed, between 1978 – 1980 – bear almost no resemblance to the band we knew and loved circa 1970 – 1977. something happened.  the catalogue of emerson lake & palmer traces a similar course – complex, inventive, intriguing music which perhaps reached it’s height with “brain salad surgery”…eventually gave way to “works”, which in comparison, seemed dull and lifeless.  and don’t even get me started on the musically reprehensible “love beach”…

I’ve always maintained that for myself, 1974 was the perfect year of prog.  I mean, in that year, we heard “red” by king crimson“the power & the glory” by gentle giant“the lamb lies down on broadway” by genesis (which I actually saw the concert of at the san diego civic theatre – outrageously good concert…), from yes the ground-breaking  “relayer”, two albums from the suddenly solo peter hammill“the silent corner and the empty stage” and the incomparable “in camera” , the live rendering of “brain salad surgery” and much more in “welcome back my friends, to the show that never ends…ladies and gentlemen, emerson, lake & palmer” – the obligatory live album from emerson,lake and palmer“exotic birds and fruit” from the redoubtable procol harum“hero and heroine” (strawbs), “hamburger concerto” (focus), from pfm (premiate forneria marconi)  a double release of “l’isola di niente” (the original italian album) and it’s english language counterpart (featuring english lyrics from king crimson’s peter sinfield – of course) “the world became the world” from italy’s finest prog band…

my perfect year of prog list of amazing albums continues…with the absolutely extremely innovative and incredible “mirage” from andy latimer‘s cameljethro tull’s “war child”, and the remarkable gryphon with one of their most amazing records, “midnight mushrumps”, the surprising debut from todd rundgren‘s progressive rock band, “todd rundgren’s utopia” and album of the same name (who knew that the previously very pop rundgren had a soul of pure progressive rock? – and was a guitar slinger second only to my next star?)…the incomparable, amazing, genius guitarist and composer, frank zappa, now mothers-less, with one of his most incredible records, the absolutely unique, hilarious yet deadly serious musically, “apostrophe(‘)”…none of these recordings being exactly second-rate.

of course, by choosing 1974, I do have to leave out a huge number of really fantastic albums that came out in 197119721973 and 1975…but, I had to pick just one, so 1974 is the year for me. I am sure you have a favourite year of prog too, which very well might be different, for different reasons, but there is something about prog, about that strange moment in time, an incredibly unique event that only comes once in the history of music…

I feel very, very fortunate that I was born at a point in time that intersected almost precisely with this absolutely unique 8 year period, because this is the music that I grew up with, starting with a love for the beatles, moving briefly to hard rock via led zeppelinjimi hendrixzz top and so on, and then eventually through yesgenesisgentle giantking crimson, and so on…in 1974, in my perfect year of prog – I was sixteen years old – old enough to go to concerts, and the first concerts I did go to cemented me in a place of first rock, then prog:

concert 1 = led zeppelin, san diego sport arena 1973 (OK, I was 15 for this one – barefoot in that amazing crush at the front, a stone’s throw from the amazing jimmy page…)

concert 2 = yes, san diego sports arena 1974 (tales of topographic oceans tour, quadraphonic sound)

and from then on, via various rock and progressive rock shows, as diverse as steely dan or the allman brothers…eventually leading to the aforementioned “lamb lies down on broadway” show, maybe the single most amazing concert I’ve ever been to…and then more yes, much more yes (they visited san diego twice during the “relayer” tour – not often you get to see one of your favourite bands twice in a row, although technically, it was on two different tours, 75 and 76 – the set lists were quite similar), then gentle giant (finally – a 40 minute set, but – better than not seeing them!)…

eventually, since I missed them in the seventies, much to my chagrin – in 1981, finally – I got to see king crimson.  as it turns out, I did see crimson several times in the 80s and 90s…which almost, but not quite, makes up for me missing the 1960s and 1970s incarnation(s) of the band.  I was just a tiny bit too young to witness the first few years of prog, but thankfully, by the time the “lamb” tour hit san diego…I was there with open ears.  I can still remember the crowd as we left the venue, complete strangers turning to each other, everyone wearing the same permanently-jaw-dropped facial expression, sort of saying to each other “do you BELIEVE what you just saw and heard??”.  the future of music – peter gabriel‘s amazing costumes and characters, the theatrical front man with the incredibly capable band…there was nothing on earth like genesis live at the end of the “gabriel years”.

the 1980’s king crimson, adrian belewrobert fripptony levin and bill bruford on the other hand, is one very rare example of a progressive rock band actually adapting to the times, and reinventing themselves in the very prog-unfriendly 1980s – and having a good run of albums and tours.  80s crimson were the exception to almost every rule, most prog bands that tried to exist in the 8os, simply found that they couldn’t.  some bands changed so much (remember yes-meets-buggles with the rather dreadful “drama” album of 1980? – not their best moment) that you could no longer recognise that they were a prog band any longer.  of course, I suppose you do need to change with the times, but in a lot of cases, it was better for a prog band to just quit (as gentle giant wisely did after their final three albums, which were not to the standard of their string of albums from 71 to 75) than to carry on forever trying to adapt your music to times that were, frankly, not suited to progressive rock at all. it’s such a strange series of events…

rock music, in the 60s, itself barely a decade old…then spawning psychedelic rock, which then in turn…spawned progressive rock (sort of) – and that then only really ran for less than a decade – before the big backlash, the punk wave and the new wave that overwhelmed prog completely, so that by the dreaded 80s…it was mostly gone.  except for king crimson, who held on from 1981 – 1984 before calling it quits once more. it was such a serious backlash, too, the punks really didn’t like prog (although, of course, not advertising that in one case, john lydon being not-quite-secretly a fan of the music of peter hammill (in particular, the punk-predictive 1975 “nadir’s big chance” album and his band van der graaf generator, so prog was actually a secret influence on punk…) and they were very vocal about it, and the whole punk movement and the new wave that followed, showed disdain for the “bloated excesses” of prog – made a lot of fun of that (even though those excesses were actually really only limited to a very few prog bands – who shall remain nameless – hint, starts with e, ends with p, l in the middle…but never mind that!)

and that sort of sealed prog’s fate until the various resurgences of very recent years…so out of all the genres that came and went from 1950 forward…progressive rock is one of the strangest, lasting such a short time, being of such a unique musical cast, with the “progressive rock” tag being applied to bands as different sounding as jethro tullking crimsongenesis, and van der graaf generator – none of whom sounded remotely like the other.  arguments ensued; was van der graaf REALLY a prog band?  because they had no lead guitarist (until 1975, anyway).  was king crimson really prog, when some of their albums (particularly, the lizard album) were so jazz there was very little “rock” to be found on them? and jethro tull – a band led by a crazed, bearded gentleman who shouted into his flute – how exactly was THAT progressive rock?

none of those questions can even be answered, and there is not much point in arguing about them – all of those bands were, for better or for worse – prog rock.  even oddball groups like gryphon, who were really more classically oriented than progressive, still had the “progressive rock” label attached to them, whether they would or no…

so if you think about it, all of these bands, who are labelled “progressive rock” – bands like pink floyd, who began life as a psychedelic rock band – eventually somehow mutated and evolved until they were then lumped in with “progressive rock” by about 1971 or so.  in the particular case of pink floyd, that would partially be due to the change in line up, from the psychedelic / rave up syd barrett era, to the calmer, relatively “normal” david gilmour version of the band (“relatively” being the operative word in that sentence!).

a few bands seem to “fit” the genre more neatly than others – genesis and yes, to my mind, being “typical” progressive rock bands (if there is such a thing) but even that doesn’t hold up, because if they are typical, then where does that put king crimson, also one of the bastions of the genre.  genesis and king crimson don’t really share that much musical common ground, not if you think about it.  those beautiful, pastoral genesis records, from “trespass” to “nursery cryme” to “foxtrot” – sure, there are some heavy prog passages, but there are also a lot of lilting, gentle acoustic guitars and 12 strings – something you do not generally hear on early king crimson records.

fripp did play acoustic guitar, but in a very, very different way to the way that anthony phillips, steve hackett, michael rutherford and tony banks did – very different, and if you don’t believe me, then simply play “the musical box” by genesis followed by “cirkus” (studio version, from lizard) by king crimson – and you will be able to hear what I am talking about. I love both of those tracks, but they are a million miles apart musically speaking!

first (original genesis guitarist) anthony phillips, and then steve hackett (phillip’s replacement), brought distinctive lead guitar sounds to genesis as their music evolved, yet, comparing either of those to the style envisioned by king crimson‘s robert fripp – there’s just no musical continuity – fripp plays guitar in a completely different style to hackett or phillips.  and bands like jethro tull – they were so odd, so unique, and really, no other band was quite like them – I think they were given the label “progressive rock” simply because there was no other choice, no other possible genre that a band that unusual and creative could by placed in.  but jethro tull have none of the standard hallmarks of a prog band, except perhaps a propensity for very, very long pieces of music.  but even though I suppose they were, I never really felt like tull were a prog band – they were just…tull !  a unique musical entity who perhaps, deserved a niche genre of their own…who knows?

if you know what I mean.

so – I was lucky, I was actually there, and I did manage to see some of these bands, at the time that they ruled the earth.  and those I didn’t get to see…well, that was what albums were for, and we all collected prog – british prog mostly, but also french prog, italian prog – we would listen to anything once, just to see if it was good – and much of it was good.  but the truth was, it was mostly a british phenomenon, and there were really very, very few prog bands from anywhere except the UK.  the USA produced a very few prog bands, all I can think of off the top of my head are happy the manthe dixie dregs (featuring guitarist steve morse), and todd rundgren’s utopia, and of course, canada’s redoubtable power prog trio, rush.  I suppose that early kansas (I mean, “song for america” kansas, NOT later kansas) were prog, but they moved very quickly towards more ordinary rock with songs like “carry on my wayward son” and “dust in the wind”, so personally, I don’t really count kansas as prog myself, but this is another one of those arguable points that prog fans will never agree on…they certainly started out as a prog band, “song for america” does prove that, but after that…well.

meanwhile, while the perhaps the best and brightest prog always came from great britain, italy produced pfmle orme, and banco;  france, angegong (which also featured brits and australians, and was actually founded by an australian, daevid allen – also a founder member of soft machine), magma and others, germany produced a few prog bands, most notably triumvirat and various versions and incarnations of amon duul, while the netherlands gave us the amazing focus (featuring one of my all-time favourite guitarists, the remarkable jan akkerman), as well as the arguably “are they really prog??” golden earring…most countries produced a few progressive rock bands, but it was really just down to the british isles from whence the lion’s share of progressive rock bands sprang…

and what an amazing and bizarre lot those british prog bands were – from the shulman brothers, born in one of the poorest parts of glasgow, raised in portsmouth, mutating from simon dupree and the big sound into one of the most remarkable and innovative groups of all time, in any genre, the insanely talented multi-instrumental gentle giant; to dorset’s soft spoken robert fripp with his singular vision of multiple guitar-driven incarnations of king crimson, which now spans four decades, to the canterbury scene with the extremely capable caravan, to andy latimer‘s fabulous rock-meets-jazzy guitar prog outfit camel – the list goes on and on, and each one of these groups, has a distinctive sound, sometimes more than one, which is often very unlike the others.

I would take a moment to mention an odd stem that branched off of the progressive rock family tree, and it relates to what happened in germany – which did produce some really good progressive groups, such as the aforementioned triumvirat, and while they had british members, were considered to be a british band, but were actually originally based in germany (so a lot of folk thought they were german) – I would be remiss not to mention the very talented nektar, a band that I used to cover – one of my earliest bands, “pyramid”, used to play both sides, the entire “remember the future” album, live – a fantastic achievement for three out of work nineteen year old musicians 🙂  what happened in germany, though, is that rather than just producing a few prog bands, as almost every european country did – prog mutated once again – into what became known as “krautrock” – as represented by tangerine dreamfaustcanpopol vuh and neu! – and if we fast forward a bit, that same branch eventually produced the decidedly unique kraftwerk – a band that I consider to be a sort of “descendant of krautrock“.  if there could be such a thing…

another odd thing about prog, is that all these progressive rock bands…almost every one of them had a unique sound, and often, did not sound anything like their contemporaries. for example, it’s difficult for me to name two progressive bands that “sound quite similar”, although if I had to, I might cite camel and caravan – if only because richard sinclair was lead vocalist and bassist for both bands at different times – so that did temporarily, give them a similar sound…I suppose.  but not really similar… this of course, does not include intentional sound-alikes, the most notable probably being bi kyo ran, a japanese band that sounds suspiciously like 1973 period king crimson.

some of the european bands might also semi-accidentally adopt an elp-like or crimson-like sound, but mostly, most of these prog bands did actually have a unique sound – and that’s possibly due to the very different instrumentation used by some of these bands – where for example, the lead instrument might be a flute (as in jethro tull) a saxophone (as in early van der graaf generator, played by the remarkable david jackson), or the more traditional lead guitar (as in many prog bands – but not all!!).

gentle giant sounded different because they would play completely different sets of instruments on stage, starting a song (such as “so sincere”, from 1974’s “the power and the glory album”) with all five members playing acoustic, classical instruments (cello, violin, acoustic guitar, recorder, drums), switching quickly during two bars of drum beat, to electric instruments (electric guitar, bass guitar, keyboards, drums, vocals), and ending with all five members playing drums!! – which was unheard of – no other band could do that!  they also sounded quite different to other bands in the studio, because they played so many different instruments. one of my very, very favourite progressive rock bands, the classically-oriented gryphon, had a very unique sound, because they used some very strange and quite rare instruments, such as the krumhorn.

speaking specifically of the instruments that prog musicians favoured, there are a few that do tend to crop up again and again as “common” in progressive rock bands, besides the ubiquitous electric lead guitar, the mellotron is absolutely associated with progressive rock, as is the hammond b3 organ– although that instrument is common across all rock styles – so probably the mellotron, and it’s successor the birotron, are the most often associated with prog. the other very, very common instrument found in prog, is the now ever-present moog synthesizer – in particular, the mini-moog, which rick wakeman helped popularise both in his work with yes, and in on his various solo albums, the most successful of which was “the six wives of henry VIII”, where he created six long suites using a huge array of keyboards, mellotrons, moogs and other synthesizers.

some prog bands used a lot of mellotron in their recordings on stage, notably king crimson, while others, like camel and nektar, favoured the hammond b3 sound, while still others such as yes, incorporated all three.

of course, the beatles had used mellotron quite a bit in the studio, and from the late 1960s onward, they were to be found on many of the most important progressive rock recordings and on the stages at progressive rock shows.  prone to breakdowns and notoriously hard to tune, they didn’t really evolve much during prog’s brief run, although rick wakeman had some success with the birotron in later years.  it is interesting to note that now, in 2013, you can get mellotron apps on your ipad or iphone, and even better, a company called “g force” has published a software synth (or softsynth) named m-tron pro (which, in 2011, I created an entire album with – “sky full of stars” – and, m-tron pro was also my instrument of choice for the “dreamtime” sessions from my latest collaborative band, “scorched by the sun”), that faithfully reproduces all the classic sounds of the original mellotron, plus, hundreds of more modern sounds, including looped versions of the classic mellotron strings, flutes, horns and choirs – as well as artist “presets” from players like rick wakemang force have also developed additional add-on sound libraries of other samples, such as samples from instruments like the chamberlin, another offshoot from the mellotron family tree…

all this to say, that there really was no “formula” for a progressive rock band – you might be led by a flute, a guitar, a sax, or a voice – you might have no lead guitars, or three of them – there was no formula like the formula “two guitars, bass and drums” for rock music, that really applied to prog, and that is possibly a good thing – because that meant that prog could be represented by some very, very different musical outfits, yet somehow, still be one genre.  I’m damned if I understand how it’s supposed to work, because I just can’t see what some of these bands have in common!  and some of them are so strange and so unique, that they probably ought to have had their own genres – but, when in doubt – just call them “prog”, and that sorts it all out.

having actually…been there in the 1970s, and witnessed certain watershed events like “tales from topographic oceans” and “the lamb lies down on broadway” performed live in the day, means that the recent, and not so recent, resurgences of prog, in the 1990s, noughties, and the tens, are simultaneously making me feel very, very old, and at the same time, baffling me greatly.  I mean, don’t get me wrong, I am very, very glad indeed, even grateful – as if what we knew all along has finally been vindicated! – that an entire new generation (or two or three generations, actually) of music fans are suddenly hugely in love with the current version of yes (astonishing!) – the one with the lead singer from the yes cover band – yeah, that yes – and are discovering the amazing music of all the bands mentioned in this article, and so many more that I did not mention – I think that is fabulous, and this means for those prog bands that still exist, they are getting some long-deserved recognition, after having to ride out the punk / new wave anti-prog rock backlash of 1976 / 77 / 78 and beyond – and that’s fantastic. it must feel so good, to the chris squires and steve howes and john wettons – to now suddenly find themselves lauded as musical heroes, after struggling for so long to get any recognition at all.

speaking of john wetton (possibly my personal favourite bassist of all time) – on my latest CD / download release, “gone native” (pureambient records – 2012), I wrote and performed a progressive rock track that honours the spirit of his playing, entitled “wettonizer”…so in a very, very tiny way, I hope, that I’ve added something to the progressive rock genre.  “gone native” contains three or four prog tracks, a handful of rock tracks, and a few improvs,  loops and experimental music too, and this is the first time in 41 years that I’ve recorded and released any songs in the progressive rock style – but that is only because I chose a very different path – ambient loop guitar, and it’s only been recently that I had the time to sit down, compose and record some “songs proper”.

some of those musical heroes…didn’t make it, too many to list – including peter bardens of camel, more recently, the very talented peter banks of yes, are not here to enjoy the latest resurgence of camel or yes-mania.  and that is indeed, a shame.  some of these bands are still here, in the same incarnation or very nearly the same as their original incarnation (van der graaf generator being one prime example, although they are down to a trio now – but what a trio!) and are actually playing at a level equal or better than in the day.  that’s mostly down to huge improvements in technology, so while in the 70s it was mellotrons breaking down, underpowered pa systems, and failing electronics…now it’s customised electronic organ / synth / mellotrons that never break down, and that sound absolutely amazing; pedalboards that actually work (most of the time…) and so on. current music reproduction technology, to a child of prog like myself, is absolutely unbelievable and astonishing, guitar and synthesizer magic…

so I am very happy for the surviving members of these bands, that their music is being hugely celebrated by succeeding generations of music fans, who have listened, and realised that the progressive rock music made between 1968 and 1978 is very special indeed, of a unique and unforgettable era (that amazingly, I grew up in) and that’s fantastic.

what’s more difficult for me to get used to, is the progressive rock bands of today.  I really struggle with most of them, because for me, anything they play – anything, no matter how good, no matter how clever, I am afraid I can point to each section and say “that’s stolen from genesis song x, that part, is a rush track y, that section there, is king crimson from track z” and so on…every bar of music, seems derivative, seems borrowed or copied from SOME record made between 1968 and 1978.  because really, I don’t think there is a lot of point in trying to improve on something that is impossible to improve on.  that music was of a time, and it was created by a bizarre set of musical coincidences that can never recur…so in a way, while it’s very, very flattering to the bands in question – in some ways, I don’t see the point in having new prog bands now, in 2013 !  this is just an opinion…please, no flame wars !! 🙂

I am not saying there shouldn’t be prog bands now – I have no issue with that, but for me – it’s difficult.  because while most people listen to a current prog band and hear something original and wonderful…I hear the albums from which they have copied, or adapted it, usually in a fairly obvious way, sometimes, in a more subtle (better) way – but always, at some point, always, always derivative of the original prog bands of the sixties and seventies.  at least, that’s been my experience so far.  I have to admit, because of that experience, I have been a bit reluctant to really embrace any prog made post 2000. or actually, post 1984…when the 80s crimson stopped performing and disbanded.

in a way, I just don’t…need new prog.  it’s great for young fans, and it’s fun for the musicians, because they get to play in a unique style that is pretty musically challenging.  but for myself…all the music I ever need, was already made in that “magic decade”, where progressive rock was the stuff of dreams, being “pretentious” was a bold and outrageous move, and prog rock ruled the earth.  I’m still discovering prog gems from the time, that I missed, or could not afford to buy, now re-released on CD forty odd years later. so while I am very, very glad that prog is “back” – for me, it was never gone, it was always here, kept alive by multiple incarnations of king crimson, by the return of van der graaf generator to full time performance beginning in 2005, to the “three friends” gentle giant partial reunions that very briefly saw part of gentle giant reforming as a new entity…

and it’s a good thing that some of these bands persisted.  I never got to see the sixties or seventies king crimson.  but, in 1995, at an outdoor concert by the double trio king crimson – I finally got to hear king crimson play “21st century schizoid man”.  I’d seen peter hammill solo shows, but had missed ever seeing van der graaf generator in the day – until one day in the late 2000s, I saw the classic four man lineup play a full concert in glasgow, and later, saw the trio version in manchester – and these modern versions of crimson and van der graaf are even more musically astonishing than the original early lineups.  van der graaf have even made several new studio albums which stand up very well when compared to their 70s output, as did king crimson.

after missing them in the 1970s, I finally saw dutch prog rock sensation “focus” live in glasgow in 2009 or was it 2010? – and they were absolutely amazing.  a fantastically talented and capable band, still led by thijs van leer, who is, without a doubt, a musical genius; while my favourite focus alumni, from the early 70s incarnation of the band, drummer pierre van der linden was absolutely spot on, it was so good to hear pierre’s meticulous, clean, precise drumming behind thijs’ “organ and flute” once again – and the two younger members of the band, were utterly equal to the task.  remarkable.

so the legacy of prog has moved forward through time in the hands and hearts of the original players who made it happen in the sixties and seventies…the visionary musicians who made progressive rock great then, and are still very much the masters of it now – the robert fripps, the peter hammills, the andy latimers, the richard sinclairs…the thijs van leers, still carrying that amazing musical legacy forward into the 2010s…

I can hear the skill and sincerity of modern progressive rock bands.  I can admire their instrumental prowess. but I really struggle with the actual music, because the form it’s based on, means that it almost has to imitate directly to even be “prog” – the apple has to fall far too close to the tree for their music to “sound” prog.  don’t get me wrong – there are a huge number of very, very adept, skilled progressive rock bands, from across the last three decades, from spock’s beard to steven wilson (oh he, the great re-mixer of the king crimson catalogue – all hail steven!) to dream theatre to pendragon to the mars volta to echolyn to glass hammer to the flower kings…prog bands from the 80s (like marillion, for example), 90s, 00s, and the current decade – the 10s, I guess we call them.  an enormous list that this is only the beginning of – which shows that there is so much love and respect for the music that is responsible for almost everyone in that list – progressive rock!

but – I am afraid that for me, the passage of time is just too long – I am very glad that prog, both old and new, seems to be having a fantastic resurgence, particularly right here, and right now, in march, 2013, but for me, as spectacular and as impressive as some of the new prog is…from porcupine tree to neal morse and beyond – for my personal taste, it’s just too derivative, so when I hear it, all I can hear is the 70s prog band that inspired it – whichever one or ones it is – which makes it more difficult for me to enjoy it for it’s own sake.  I don’t dislike modern prog, at all, I just…don’t need it 🙂 so when I witness a remarkable resurgence – which is two pronged: many, many new prog bands playing music that honours and compliments the progressive rock music by it’s imitation (and if you are going to imitate a genre of music, you can’t go far wrong by imitating progressive rock!) as well as, many of the originals, from the 60s and 70s I mean – still playing, bringing in whole new generations of fans, the original fans’ children and grandchildren, and who knows, by now, probably great-grandchildren.  and thinking about that really does make me feel as if I am getting old! 🙂

prog is an enormous topic.  I’ve just written over seven thousand words about it, and I’ve omitted dozens of great prog bands, and not touched on many important aspects of prog, but it’s the endless level of detail to be found within the music that continues to fascinate fans of the music old and new. I still listen to a lot of the records I mention in this article, and sometimes, even though I’ve heard a track a hundred times in my lifetime – I hear something new that I never noticed before.  a strange counterpart, or unnoticed rhythmic change – a strange sound you never heard before.  and of course remasters and re-mixes, and a good pair of headphones, can reveal musical details that were missed on previous “listens”! and CD only bonus tracks, for example, the “wind session” included on the remastered “in the court of the crimson king” deluxe box set, reveal much about the creative process that was not apparent from just hearing the original album…in that case, revealing in fascinating detail (complete with the band and engineer’s studio chatter from the actual recording session) how the famous sound effects that precede the studio version of “21st century schizoid man” were created.

scholars and aficionados argue about what the “form” of progressive rock is…and depending on which progressive rock bands you listen to – those “forms” can range from mini-classical suites, to modified and enhanced verse-chorus-verse forms, to the extended improvisations that might speak to the classical tradition or to the later jazz tradition, lyrically, prog is all over the place – king crimson’s peter sinfield (my favourite prog lyricist of all time) wrote epic poems (such as the title track of the band’s fourth studio album, “islands”) which were then set to music, while rush was unusual in that their drummer wrote all the lyrics, some prog bands depended on outside lyricists, not only king crimson, but procol harum is notable as well in this aspect with pianist gary brooker writing the music, and lyricist keith reid writing the lyrics – other bands had a lyricist or two in the band – van der graaf generator had peter hammill, as well as the absolutely remarkable, eccentric talented musician chris judge smithpeter hammill has covered a number of judge smith songs on his solo albums, long, long after he left van der graaf, and hammill often performs judge smith songs in live performance.

some prog bands go for the long form, with many extended interludes, additional verses, long solos, including some interminable drum solos that are difficult even for the fans to take! while other prog bands feature much shorter, more “normal” or “song-like” works.  classical influences are common but not mandatory, some prog acts seem to have quite a bit of jazz influences, others, hardly any… the only consistent thing about the “form” of progressive music, and also, the only consistency about what instruments were used to create it…is their complete and utter inconsistency.

but perhaps – that’s what makes it magic.  the fact that one band can have a one-legged flute and acoustic guitar wielding eccentric singer at the helm, while another was led by a very determined young guitarist with a particular vision of being in the best band in the world…and for a short time during their heyday in 1969, king crimson arguably were that band.  or maybe you just liked to do endless spacey jams, surrounded by science fiction lyrics, as the founder of gong, daevid allen seems to do, with a whole mythology around “planet gong” which was recently revisited in a very successful follow on album to their classic album “flying teapot”, entitled “2032”.

anything from the loosest, jazziest 20 minute improv, that you might get with can or the soft machine or any number of prog bands;  to the most incredibly practised, precision musical callisthenics (examples might be the “precision part” near the end of king crimson’s famous prog anthem, “21st century schizoid man”, or some of the guitar/bass/organ/drum precision work in the side-long “eruption” from focus’ breakthrough 1971 album “moving waves”  – which is sometimes also known as “focus II”, depending on the country of release) – in prog, just about anything goes! so the form, and the content of prog – is quite variable.  just about any configuration is possible, and there are some strange ones out there – the current line up of van der graaf generator is drums, organ/synth, and piano – or, electric guitar, depending on the song – so it’s quite odd, to see two keyboardists and a drummer producing prog rock, when genesis required drums, keyboards, bass guitar, lead guitar, and a lead vocalist to do the same thing.

a few examples of what in the world of rock would be called a “power trio”, guitar, bass, drums – rush takes those same well known instruments, as popularised in the rock world by the two most famous power trios of all, cream, and the jimi hendrix experience – and make intelligent, articulate, and very recognisably prog (with a bit of hard rock thrown in for good measure) …using the same three instruments that used to be the backbone of the hard rock power trio. technology helps, cream and jimi hendrix had a very, very limited palette of guitar pedals to use in live performance – three, basically: fuzz tonewah-wah pedal, and later, univibe (a device that imitates a rotating speaker). that was all they had, every other sound had to come from hands, strings and marshall stack – that was all they had.

fast forward 10 years, and in the 70s, the now common pedalboard started to make it’s appearance, the beatles (originally calling their chorus device “adt” for “automatic double tracking”) and jimi hendrix both had a hand in the development of modern effects such as chorus, flanging and phasing…and even in the early 70s, guitarists had a huge palette of sounds to choose from – but of course, each decade since has seen music technology leapfrog to newer and better sounding gear, it’s now gone beyond belief what you can control from one guitar and one pedalboard – it’s far beyond “guitar”. I’ve made this transition myself, from electric guitar and amplifier, with the crudest fuzz, wah and echo devices – to guitar synth controlling multiple pedalboards and effects – on three or four different signal paths – and it’s still something that I am still getting used to.

so technology enabled rock players to grow their sounds in many new ways, many improvements were made to the sound of the bass guitar, keyboards and in particular, synthesizers; that technology in particular, grew out exponentially, so during the last half of the lifetime of progressive rock, gear was changing so fast, so many new sounds – anything from compact guitar pedals, to the first guitar synthesizers, to the invention of the e-bow or energy bow, to the invention of “loopers” so musicians can capture digital recordings of what they are playing live, and layer many guitars or keyboards atop each other – those changes happened at the exact right moment for progressive rock musicians to take full advantage of.

so when I see all the excitement around this progressive rock cruise ship that’s about to embark on what surely must be the strangest holiday of all time, yes and several other prog bands on an ocean liner – how very odd that is – but I am glad, because new generations of yes fans get to enjoy the current version of yes – whereas, I don’t need to go, because I saw the real yes in 1974.  and again in 1977 (and while I want to deny it, I want to pretend I didn’t go, and it was the last time I went – I also saw the dread “drama” tour in 1980 – which I am afraid, put me off yes for many, many years afterwards…).  so it’s strange to me – but it’s OK.  for me – that magic decade is all I need, because I was there.  for folk younger than me – that could not be there, or can only experience it via video – well, this is a chance to connect with an amazing time in musical history.

and surely – that is a good thing. 🙂

what we’re listening to – wing beat fantastic – mike keneally (featuring the songs of andy partridge)

one of the most-anticipated albums of the year among fans of both keneally and xtc (and their ace songwriter, andy partridge), “wing beat fantastic” does not, in any way, disappoint.

 

this is the first batch of “new” andy partridge songs we’ve heard in a long, long time, even if they are delivered by collaborator and mega fan mike keneally, rather than partridge himself – who declined to perform on the record (even though some of his samples did survive the process), wanting instead to ensure that it is viewed as a keneally solo album.

the story of how this record came to be is well documented elsewhere, how whilst keneally was in frank zappa’s band, their bassist, scott thunes, had the audacity to invite partridge to a zappa concert in the uk – and much to their surprise, he actually turned up – and both a friendship and a writing partnership was born.  there were two discrete sessions where the two actually sat down and worked on these songs, but it was left to keneally alone to create “wing beat fantastic”.

it seems to me that this must have seemed like the most amazing opportunity in the world, similar to a scenario where lennon and mccartney said “here, take these songs, we can’t be bothered to record them – YOU DO IT” – and keneally not only rises to the challenge…he hits the ball out of the park.

first of all, it’s clear to me that keneally is not just familiar with xtc’s style, but that he must have studied it in minute detail, or else this record would not sound the way it does – as if it were the next XTC album.  and that is exactly what it sounds like, and at some moments, when the vocal harmonies are particularly sweet, you can close your eyes and EASILY forget that this is mike keneally, because what your ears hear, especially on a tune like “you kill me” – is pure andy partridge.

as with all zappa band alumni (such as steve vai, adrian belew, etc.) keneally has more than excellent chops on guitar, meaning that he has the skill to sound like a dead ringer for the very capable partridge OR xtc’s other (former) guitarist, dave gregory. But the real surprise here are the absolutely amazing vocal arrangements, and sheer beauty that keneally manages – that study paid off – and ALL of the trademark xtc vocal tricks are here, revolving vocals, beach-boys-like harmonies, delicate, beautiful solo vocals – we knew that keneally could sing, but we never knew he could sing like THIS.

so – partridge picked the right person, the exactly perfect person, to work up these demos into proper songs.  and what a batch of songs they are!

keneally has wisely interspersed the partridge songs with some tunes of his own, and I have to say, some of those are so beautiful that they easily rival the songs co-written with partridge, and they fit in perfectly.  the opening track, “the ineffable oomph of everything, part one” clocks in at exactly one minute, a keneally tune rather than a keneally/partridge, but it’s one minute of incredibly melodic, beautiful guitar music – including amazing slide guitar reminiscent of the master – george harrison.  so my first feeling for the first song, was that it was very harrison-like – a great way to start, and certainly a good indication of what was to come…

I’ve been a fan of mike keneally’s music for a long time, beginning way back when with his groundbreaking “hat” cd (“thank you for buying hat”…) which is utterly unlike “wing beat fantastic” – it’s more like a zappa album, lots of impossible guitar, funny vocals – but, with the occasional moment of sheer beauty.  those occasional moments have now, in this new album, been transformed into an ENTIRE ALBUM of sheer beauty.  I kid you not, this album is a completely atypical album for keneally, but oh my god, I wish he’d done this before, and I hope he does it again – perhaps with an entire album of his OWN pop masterpieces.

and when that first guitar solo comes in on the second track on the album, the gorgeous “I’m raining here, inside” – well, that’s it, it’s absolutely perfect, it’s beautiful, it’s seamless, flawless – and so very like the very best andy partridge or dave gregory guitar solo imaginable – it’s cut from the same cloth – just as the vocals are, even the bass and drum parts remind me of xtc – every song on this record sounds like an xtc song, or occasionally, a george harrison song or a beach boys song – hey, wait a minute, that’s just like you would get on an xtc album.

I do imagine though, that mike and his crew would have studied existing xtc album’s, because the production values, the use of phasers and flangers, the song arrangements, the guitar solos, the vocal harmonies – it just SCREAMS “xtc” – the title track, the third track, is a perfect example of this, it’s so much like xtc it’s not funny, acoustic guitars chiming, passionate, layered vocals, harmonies to die for, great chord changes…it’s perfect, an imitation maybe, but actually, a beautiful creation in it’s own right – as if keneally were some sort of musical genetics engineer, taking the xtc “dna” and re-arranging it into new, cloned musical lifeforms – xtc through the mind of keneally.

and then another amazing guitar solo, this one jagged, clean, lovely – comes flying through the song, as the flanged vocals build and build, a lovely descending figure that you can’t get out of you brain, amazing “oohs” – then, a serene, heavenly bridge ending in a beautiful high note – and it’s over.

next comes track four, a 30 second reprise of the opener, “the ineffable oomph of everything, part two” – which is even more enigmatic and beautiful than the first version – just beautiful, mike.

I can’t imagine how it must have felt, to have these songs in hand, in demo form only, and then sit down in your leucadia studio and say “right, how are we going to do this then?” – and the answer is the result – the album “wing beat fantastic” – IS fantastic, totally fantastic…and the next song “you kill me”, track five, is just staggeringly beautiful – even just the introduction is so beautiful I can’t believe it, a great guitar riff, followed by chord changes that you don’t expect, that give you the shivers before the song proper has even begun.  a clean pair of lead guitars leads us into the vocal – and those vocals – I would ask AGAIN – who knew that mike keneally could sing THIS beautifully?

the harmonies are straight from every xtc album from “skylarking” onwards – really, really complex, really, really beautiful vocal arrangements – and from a distance, if you don’t dissect it too closely, you would NEVER KNOW it wasn’t andy partridge singing.  an almost zappa-like “linking riff” repeats irresistibly in between the choruses, a tiny reminder that this is a zappa band alumni – but the sound overall, is not zappa at all – it’s PURE xtc.

in fact, I played the record for my partner, who doesn’t really know the music of xtc that well, and she said “that guy sounds EXACTLY like the guy in xtc” – and I could not agree more.

this album is an unqualified success for keneally, and I think that this album will do well for him, even if it didn’t have the songs of andy partridge, it would do well, but having that extra kick – not to mention many, many xtc fans ravenous for “new” andy partridge fans (myself included – and just about everyone I know pre-ordered the CD).

track six, “friend of a friend” is a very short little linking piece, 0:49 of acoustic guitars that works beautifully as a lead in to the next track…in fact, it almost sounds like the introduction of track seven, rather than a piece in it’s own right – the two fit together so well.

the album now moves into some really wonderful uncharted musical territory, as exemplified by a song such as track seven, “that’s why I have no name” – a song that is so very strange, with a lot of unusual reverse sounds burbling in the background, and a lot of wonderful clean jazz and reverse guitar (that is probably forwards guitar played through a reverse guitar patch, using something like a line 6 dl-4 delay modeller set to “reverse guitar”) as well, a very strange chord progression, very odd, almost dirge-like vocal, the whole piece is very…minor key, almost jazzy – but again, even though UTTERLY different from the preceding pop masterpieces – even this very odd songs screams “I sound like xtc!” at the top of it’s musical lungs.

I was not surprised to realise that this is a keneally song, not one of the tracks co-written with partridge, and I think all of the “solo” keneally pieces fit in beautifully with the co-written ones – a beautiful job of integration.

a remarkable, ascending clean jazz guitar solo is as startling in it’s appearance as it is in it’s intelligence, and then, it suddenly mutates into a reverse guitar solo of extraordinary beauty – keneally uses every bit of skill he has, but any very strange or very dissonant elements that we might have got on a zappa-influenced record like “hat”, have been replaced with a melodic sensibility of almost uncanny proportions – this solo just TAKES FLIGHT, and it’s the perfect vehicle for the song, drifting waves of reverse guitars float over the top of a steadily building background, the clean guitar returns for a moment – and then we are back to the verse once again.

the end section features all of it: the jazzy guitar, volume pedal guitars, reverse guitars – and it’s just perfect – and it then STOPS on a dime. perfection, but – strange perfection.

then it gets weirder still, with the very odd vocal melody of “your house”, track eight, and it’s incredibly melancholic mood – but very quickly, you realise, this is sort of like the “chalkhills and children” of this album, an odd, unusual vocal melody, which then moves into really beautiful moments “drawn by some strange magnetic pull…” it’s so weird, that you can’t get it out of your head “I know this is crazy, cause after all, it’s only…your house”.

this song sounds resigned, final, triumphant, sad, uncertain “I walked slowly at first, tried not to break into a run…I knew that was your house at the end of the road…”.

I feel like I already knew all these songs, because in a way, I have heard them all before – in those last ten or twelve xtc albums – because keneally heard those records too (in fact, he was in the studio during the making of “oranges and lemons” which xtc recorded in los angeles – which is where the partridge-keneally partnership really began to blossom), and he knew EXACTLY how to inject the magic xtc dna into these songs – and he’s done it!

then we have track nine, “miracle man and woman”, which has the most remarkable vocals, a very, very unusual vocal arrangement – and this is the weird thing, it features a lot of really, really good acoustic guitars – which remind me of gentle giant, the vocals too, are almost gentle giant-like in places – until you get to the godley & creme “deep”/”creepy” backing vocal – beautiful synths (which might well be guitar synths) accompany a strangely equalised vocal section…what a wonderful musical construction!

the middle section of the song is some sort of synthesizer duet, with tinkling piano in the background – and then, here it comes, the kevin godley vocal “ahhhh” from heaven (remember the backing vocals on “I’m not in love” by 10cc?? – like that) – a wordless vocal accompaniment to the middle section – which resolves into a synth-backed acoustic guitar solo, that is SO gentle giant it isn’t funny – like an odd outtake from an early giant album like “acquiring the taste” or maybe “octopus” – and then that crazy, ominous godley & creme creepy vocal returns to end the song on a note of pure creepiness – brilliant!

next is “inglow”, track ten, and it’s very serious indeed, a slinky rhythm overlaid with carefully bendy guitar notes, then, a cheerful, clean, simple melodic solo – a beautiful introduction, resolving on a really wonderful chord – and then starting again, this time with multiple lead guitars, the acoustics gently swaying behind them – a magical instrumental, that makes me think of tropical islands and sunsets and evening closing in – a slowly fading in, mysterious, wordless vocal appears and disappears – the clean melodic lead guitars continue their beautiful journey – what a fantastically beautiful composition, I just find the mood and feeling in this piece to be remarkable – a lovely interlude indeed, and one of keneally’s most mature and respectable guitar compositions ever.

eventually, the vocals begin, and if the first half of the song can be attributed to the genius of mike keneally – then the second half, the vocal section – well, that’s pure andy partridge, but realised by keneally – so they are both brilliant.

track 11 is one of my favourites, “bobeau” – which is a snappy little number with a funky horn arrangement, and a very complex layered vocal arrangement – not to mention great guitars and basses from keneally – then, a fantastic, sing along chorus, with great piano and horn backing – sort of this album’s equivalent to something like “extrovert” from the xtc canon, that’s the only thing I can even imagine I can compare it to – then, a very, very weird vocal melody, backed by ocean sounds and wonderful ghostly background vocals – leads us, via a very odd bridge, towards the song’s remarkable conclusion – which is all about the guitar.

after the final verse, we get another chance to experience the incredibly mature skill of keneally as a lead guitarist, or actually, in this case, as a slide guitarist – for me, the last section of “bobeau” is a huge highlight, during the second chorus, you start to get some lead guitar bits – but then, it starts, a sinister bass and drums, with creeping horns, backs an amazing, slapback slide solo, which is either double tracked or remarkably delayed – but it’s a scorcher, and then keneally really starts to mix things up, with a heavily syncopated guitar riff that is sinister, killer and fucking brilliant.  I love it!

then suddenly, it stops, the ocean sounds and seagulls return for a moment…

“land”, track 12, the final track on this amazing album, is another keneally-only piece, which makes a great end piece for the record, and it contains one of my favourite lyrics on the entire record “you understand, finally that, you don’t understand…” which I think is…fantastic.  wing beat fantastic, maybe…

it seems to be cut from the same genome that the keneally-partridge co-writes are, almost as if it were inspired by the other songs, it has a bit of everything, including some really beautiful acoustic guitar – short and sweet, just over two minutes, but a perfectly constructed finale for one of the most important pop records – ever.

“wing beat fantastic” is a remarkable achievement, I’ve never heard anything quite like it, where a well known ex-zappa lead guitarist takes away a handful of andy partridge songs, and creates an album that is so xtc-like as to be almost indistinguishable from the real thing – and that is clear praise, mike, you did an amazing job with this, you transformed these demos into a thing of real beauty, a succinct and very musical album that successfully captures the spirit of xtc beautifully, in a very respectful, and perfectionistic, way – every detail has been considered and reconsidered, the vocal arrangements, the vocal harmonies, are absolutely among some of the most beautiful I have ever heard on any album – and if keneally were now to switch hats permanently (no pun intended) and just make beautiful pop records, I would love every one of them.

I know that when andy partridge first heard the completed keneally project, he was absolutely overwhelmed by the result, in fact, literally moved to tears, and I understand why that is.  this is a gorgeous record, it would have fit seamlessly into the xtc catalogue anywhere between “skylarking” and “apple venus” (either part) and no one would have been the wiser – OK, you can tell it’s mike keneally singing, not andy partridge, but beyond that – the guitar work is top notch, the guitar solos are simply amazing, and the songs – wow, the writing, the lyrics, the tunes, the arrangements – it’s all good!

there is not a bad or even lesser tune on this record, keneally has done the impossible, he has almost “out-xtc’d” xtc themselves.  but it’s done so respectfully, so tastefully, it’s imitation as sheer flattery – but perfect imitation, glorious, beautiful, joyful music – music like the music that xtc themselves produce.

 

a pop masterpiece, not to be missed – genius.  “wing beat fantastic” truly is, fantastic.

I cannot recommend this album highly enough.

 

what we’re listening to – the innocence mission (a guilty pleasure)

in the 1990s, since joni mitchell was already in semi if not full retirement, there was only one female singer that filled that gap (for my money, anyway) – big shoes to fill – and that was the innocence mission’s karen peris.

I discovered this band in a really strange way, I used to videotape mtv’s 120 minutes, which ran from midnight to two am, I would go off to bed and watch the tape the next day, on the off chance that an interesting or good video would be shown (and usually, I was disappointed) but on one of the tapes one night, there was this strange video for an even stranger song called “black sheep wall”, by a group I had never heard of – the innocence mission.

the singer was a shy looking girl with long brown hair, with a lovely soprano voice, but what got to me was the song itself – it was strangely compelling, and I liked the arrangement, which has some sort of reverse reverb backing vocals, and I really liked the instrumentation and the guitarist.

I did something completely uncharacteristic – the next day, I went out, and bought the album on the strength of that one song.  and this was an accident, I never did that – but for some reason, I did.  and I loved the album – it’s an absolute classic, and “black sheep wall” is just one of many great songs on that debut record.

I didn’t know it then, but this was the start of a long love affair with this band, this singer…these SONGS – delicate, fragile, beautiful, sensitive (all the things that most music of the 90s was not) and I was lucky enough to see the band live a couple of times as well, usually in a very small club in san diego. on one of those occasions, I even got to speak to don and karen, and they were just absolutely welcoming and wonderful people – I had a really nice chat with don, told him I liked the way he would go out on a limb with his guitar playing – which he did all the time, his riffs, bordering on the strange, his use of the whammy bar, very peculiar indeed…but wonderful, refreshing – unusual.

a huge component of my admiration for this band IS the guitar playing of don peris – he pretty much never uses distortion, always plays it clean, plays it straight, uses a lot of bright, chorus-y sounds…but can also play so, so powerfully when the need arises.

of course, it wasn’t just don’s guitar, karen’s ability as a vocalist, pianist and synthesist cannot be overstated, of course, really, this is in some ways, “her” band – mainly because it’s her songs – her piano. again, this always impresses me – I am not normally fond of singers who cannot play an instrument – but karen sings lead, sings harmony, play piano, plays synthesizer, plays acoustic guitar – whatever is needed, and she is a musician first and a singer first, as well – now, for a lot of people, it might be difficult to deal with her voice, because it’s one of those really powerful sopranos that some people don’t like, but if you listen to the words, the stories she tells – and then her vocal arrangements – for example, the arrangement on “black sheep wall” is absolutely stunning – as if joni mitchell and kate bush had a magic love child, and her name was karen peris.

as one of the few husband and wife teams out there in the world of popular music, the peris’ had a long and fruitful, albeit low-key, career – and it’s interesting, if you look at the series of recordings they made at the time, starting with their debut “the innocence mission”, moving on through “umbrella” and onto the phenomenal “glow”…but what was interesting was that at first, it was a real band, with bass, drums, guitar and piano – with karen at the centre of it all, those amazing songs, and don supporting her with his world class super clean, melodic, chiming guitars – those guitars!

but, as time went on, first the drums disappeared, and then eventually even the bass, leaving karen and don right back where they started – full circle, so that the last couple of “innocence mission” albums were really just karen and don – and therefore, a lot more acoustic than the earlier records – but the songs never suffered, and in fact the more minimal approach on the later albums actually works very, very well indeed.

early songs such as “clear to you” and “black sheep wall” – are just so, so beautiful, and even now, so many years later, the distinctive sound of karen’s voice, and those beautiful band arrangements, just resonate so beautifully – nothing has changed, even though…everything’s different now.

 

“when it’s…when it’s clear to you, I’ll be near to you – I will be around…

“when it’s…when it’s clear to you, I’ll be near to you – I won’t let you down…”

 

I really admire the amazing talent of these four people, of course, it’s all about karen’s songs, karen’s amazing voice, those kate bush/threatening background vocals, and don’s amazing, concise, careful, clean and sometimes daring guitar playing – and the songs are good, they are solid, the writing is good, the lyrics are intense and meaningful and joyful, the melodies are beautiful – and the band supports karen in an amazing, yet delicate way.

when I spoke to karen and don, I was struck by just what…almost withdrawn, quiet people they were, totally introspective, and when karen spoke, it was in an absolute, barely discernable whisper, almost as if she were afraid to speak aloud (she was probably just saving her voice for the next gig) – and some of her songs are like that too, fragile, you can’t believe something that fragile can exist, something that beautiful – but they do!

so these are definitely not your normal “rock stars” – there was no posturing, no nonsense, just come out, sing and play the songs (and don has a great harmony voice, you could tell that he and karen have been singing together for many, many years) and I was amazed that they then came out to speak to us after the show instead of “off to the hotel” – that was a really nice thing to do, and I haven’t forgotten that conversation even after all these years – I was wanting don to let me overdub one of their songs with layers of ebows – but that idea never came to anything (at least, not yet!) – there is something fairly hypnotic about a lot of the songs, and I had done some experiments where I looped live as the album played – so I could hear it in my head anyway…

 

I really think it’s such a shame that this band was not well known, here, we have real talent, real song writing ability, a great pianist and singer, a fantastic, accurate, clean, quality guitarist – and of course, they were largely ignored in favour of musical atrocities such as…shudder…tori amos.  tori amos was compared to kate bush, but the real talent, the woman who really should have been compared to the vaunted kate b., is our own karen peris – if you ask me, there is a holy trinity of female singers: mitchell, bush, peris – NOT amos, never amos.

 

even new female artists like joanna newsome…OK, I get it, but for me, no one has yet to touch the beautiful, fragile, yet strangely powerful songs of karen peris – they are tops, and it will take someone really, really amazing to replace her place in my heart – I love this music, I’m forever going over black sheep wall and karen peris is taking me there…

sometimes, the band builds up to an amazing frenzy of layered, chiming, beautiful guitars, with multiple karen peris overdubbed vocals lending themselves to this musical frenzy – there is a part in “that was another country” from the “glow” album that never, ever fails to give me goose bumps, as karen’s voices vie with don’s guitars for “most beautiful” or “most chilling” – a really musical, really creative build up of layers, and “that was another country” is a masterpiece, albeit an unknown one – if I had to take just one innocence mission song to my desert island, that might be it…

as I mentioned before, they start out very much “band” and end up very much “acoustic duo” which is a strange career, almost like a career in reverse, the most number of fully arranged, upbeat songs being on the debut, and then, fewer and fewer tracks with band as time goes on.  I love both, and there are also a few tracks that are mostly about karen’s piano and voice, and it’s then that comparisons to both mitchell and bush are totally unavoidable…obviously, she is influenced by both (in fact, mitchell was an actual mentor on the first album, which was produced by mitchell’s then husband, larry klein – as was the second album, “umbrella”, as well) but totally has her own identity, and I love that she is such a strong songwriter, and that the boys in the band – originally, mike bitts on bass and steve brown on drums, along with don and karen peris – they all contributed to the material, but peris is, and always will be, the principal songwriter and is the quiet, gentle, shy driving force behind this band and it’s incredible music.

there is no other like it. an early single, “wonder of birds” has a driving drum beat and a glorious orchestral arrangement that support karen’s massed vocals – and then don starts to layer in his “chorus guitars” – and the whole thing is away, flying, literally flying away – and what kind of band writes about how wonderful birds are – in fact, one of their later albums is actually called “birds of my neighbourhood” – so twitchers (birdwatchers/ornithologists) everywhere, including myself, can rejoice, karen peris and co. are still singing the praises of our avian friends…and that was even a minor hit, with a successful MTV video – can you imagine, a song about birdwatching, an MTV hit??? it doesn’t get more unlikely…

their second album, 1991’s umbrella, starts with an incredibly beautiful, upbeat song called “and hiding away” – with the most glorious guitars, picked chords flying, trying to keep up with karen’s voice, which is soaring so high, so far – and then it’s all don, amazing guitar break, I really cannot express in words what a good guitarist don peris is, you just have to listen – none of it is gratuitous, there is nothing excessive, nothing unnecessary; there is just what the song needs, no more, no less – pop masterpiece minimalism, and “and hiding away” is a perfect example of a great, great pop song – I love it!

I prize the cloudy, tearing sky
for the thoughts that flap and fly.
for staying in and reading by.
for sitting under.

I read a book of madeline
and her friends in two straight lines,
in paris, in a house with vines
over its old face.
far, far is paris…
and the sky is dark with mystery.

try, catch the thoughts that flap and fly
in the cloudy, tearing sky,
that touch and stir and won’t be tied-
and try to speak them.

I think of my old flower sky.
of us, when we thought we were spies.
of bobbing eggs in easter dyes.
of walks in london.
try, try to hold my love for you,
it knows no measure.

this is a day for hearing bagpipes
somewhere playing.
this is a day for hearing sarabands
and hiding away.

sky, I hold my tears if you do.
starling thoughts, go over me

 

and then, from pure, unadulterated joy, the album moves to unspeakable sorrow, with the dirgelike, slowly evolving “ sorry and glad together” with it’s perfect four-note george harrison style slide guitar break – the world’s shortest, best slide solo – so beautiful, a very moody song, that moves from sorrow to joy and back again, and even if this album only had these two songs on it, it would be a masterpiece, “umbrella” is a really, really lovely record.

I love the first three records perhaps a bit inordinately much, and for some reason, I am also very fond of the third album, “glow” – I don’t know why, there are so many good songs, great songs even, across the now-substantial canon of this great, unknown band – and whenever I hear them, I am taken back to the time when these songs were brand new, and I had a secret, I was into one of the best kept secrets ever, the beautiful experience that was being a fan of, and seeing play, a totally real, totally honest songwriter, who would sit down to an absolutely hushed audience, sit at the piano, and pour her heart out without opening her eyes, as don and the band quietly supported her – I will never forget that as long as I live – the venue was a tiny club, and you could hear a pin drop as karen sang…

I feel very, very fortunate that I stumbled across this band by total, total accident; that I took a chance and bought their first CD, that I kept buying their albums (and was rewarded time and time and time again with an even better record than the last one), that I went to see them play and supported them – so many bands are just hype and nonsense, all bluster and no talent, but this incredibly honest couple, with their beautiful, truthful songs, really touched me in a strange way, the songs get into your head and your heart, and you find yourself singing them days and days after hearing them…

“I can see you
I can feel you

I can see…see

you”

normally, I would never buy a CD based on the strength of hearing just one song that I liked – but in this case, I am so, so glad I did, because there after followed 23 years of enjoyment, and I class this band in a very unique category, a rare category, where the quality of the songs and the delivery of the music is such a pure, undamaged thing – even the record companies, the record industry, could not spoil this, and this band always did work on their own terms – they had it their way, even when that way was probably commercial suicide, and for that determination, they have my undying admiration and love.

 

“(I’ve got) clouds in the upstairs, clouds in the memory…

clouds in the upstairs…I still remember…I remember me…”

“clouds in the memory…”

 

 

karen and don – keep making that beautiful music !

 

 

addendum:

 

early period innocence mission playlist – killer tracks

if I had to just take 14 tracks with me…

 

 

black sheep wall

clear to me

you chase the light

wonder of birds

and hiding away

sorry and glad together

now in this hush

someday coming

keeping awake

bright as yellow

that was another country

happy, the end

go

everything’s different now

where does the time go?

snow

moon river

 

 

 

beautiful pop heaven playlist…

 

bliss.

what we’re listening to – the ravi shankar collection – 10 CD – 2012

I have always had a soft spot for indian classical music; for me, it started, as it did for so many young musicians, when beatle george introduced us to a remarkable young musician named ravi shankar around 1966 .  I am so, so fortunate in that I actually got to see ravi play on three occasions, once, in 1974, when a massive indian orchestra was the opening act on the george harrison tour – and that was absolutely brilliant, I had never seen indian music performed live, and to see and Indian orchestra led by ravi shankar as my first experience – that was truly remarkable, and again later, at a special concert held at ravi’s home…and finally, again, a few years after that in a more formal setting, I was very fortunate to have seen ravi in concert with his daughter anoushka – and that was truly something to behold, father and daughter, master and student – but I will tell you what, anoushka’s ability on sitar has skyrocketed so incredibly much, that her playing sometimes challenges those positions of “master” and “student” – I believe that in the fullness of time, that anoushka may be an even greater player than ravi – and that is saying something.  time will tell.

so it began with ravi shankar, his influence on the beatles at first, hearing those strange, strange indian instruments in the george harrison song  “love you to” from revolver – of course, everyone cites “norwegian wood” as the watershed moment, but actually, for me, I always felt that was just a bit gimmicky, it’s not serious – but, as with all things george harrison, it became really serious, really quickly – and “love you to” is the first – the drones on “tomorrow never knows” are the second – and then the masterpiece, “within you without you” – which is absolutely brilliant.

then for me, when it really hit me just how good this music really, really is – was hearing, and seeing the film of, the concert for bangladesh. the main piece from that opening act of the film and the concert, “bangla dhun” is an amazing piece of music, and it’s melody haunts my brain to this day, I love the incredible musical interplay between shankar on sitar, and the master of the sarod, ali akbar khan – “bangla dhun” is a duet of the two then-masters of indian classical music.

but we are not here to talk about george, we are talking today about indian classical music, that 3000 year old oral tradition – that to me, makes the entirety of western music seem like a tiny blip on the screen when compared to the rich tradition of the “rag” or “raga” – which have been handed down, from teacher to student, for over 3000 years.  western music has nothing to even compare to that…

it wasn’t until I was an adult that I started collecting the music of ravi shankar, and it was slow going – there wasn’t much readily available, but I did start to build my collection.  and because I’d seen ali akbar khan play at the concert for bangladesh, I also became very interested in the music of the sarod, which is the sitar’s lesser known cousin, and I began to collect both shankar and khan CDs in earnest.

other styles of indian classical music also came into the mix, including some of the master players and performers:  pandit hariprasad chaurasia, an amazing flute player, probably the master of the bansuri, the Indian bamboo flute, is a favourite of mine, and I also have a love for both Indian vocal music, or the very hauntingly beautiful music of the indian violin as played by master musicians such as dr. l. subramaniam.

but for me, it was the holy trinity of ravi shankar, the master of the sitar, the undisputed master; ali akbar khan, the undisbuted master of the sarod; and alla rakha, the undisbuted master of the tabla.  hearing them play together at an early age (I was a young teenager when the concert for Bangladesh took place) left an indelible impression on my young brain, and I’ve been enjoying their music ever since.

few have arisen to challenge these three; for ravi, his only competition, in my opinion, is his own student and daughter, anoushka, otherwise, no other sitarist has come along to challenge his superiority, I don’t know of any challenger to ali akbar khan who simply reigns supreme on the sarod, and maybe, at a stretch, you could say that young bikram ghosh is at least holding a candle to alla rakha’s ability on the tabla – I’ve seen ghosh play (in ravi shankar’s living room, but that is definitely a story for another blog…) and I can tell you he is an extraordinary player – whether he is alla rakah’s equal or possibly better, I don’t know, I doubt it…but it’s a close raise, both men are insanely skilled with the very complex and intricate rhythms – which are often delivered at a breakneck pace!

so the other day, when I got one of those “pre-order this brand new collection by ravi shankar” emails – it was a bit of a no-brainer, especially when I realised that for a mere twenty quid, I would be adding no less than ten full CDs worth of shankar music to my collection – how could I not order it?

it arrived a few days ago now, and I was able to get the first five discs ripped and named and onto my ipod so I could listen to them earlier today, and what a pleasant day it was, too, because of this music.  a few days later, discs 6 – 10 joined them, and it was then that I could really immerse myself in this massive body of work – I can’t get enough of it at this point.

some of the music is familiar to me already, because I already own the very, very beautiful “in celebration” box set, so there is some overlap, but that is hardly an issue – I’m actually pleased that this collection is ten CDs, because at that quantity, you can actually begin, just about, to get an idea of the amazing career, and the amazing talent, of the man named ravi shankar.

it’s all here – solo ragas, duets with other Indian musicians, and the obligatory east-meets-west (probably my least favourite I would have to say) – including shankar’s first two concertos for sitar and orchestra in their entirety – and they are fantastic, it’s a star-studded disc too, zubin mehta, andre previn, yehudi menuhin as guest violinist, rampal as guest flautist, and so on…the usual suspects – but, all at their best under the challenge of trying to play along with a master like shankar – and the result of that challenge is some truly amazing collaborations, with some pretty terrifyingly fast and remarkable playing.

 

now, I really feel like these collaborations do need to be here, and some of them are absolutely essential, and absolutely musically stunning – shankar instinctively knows how to use the orchestra as a gigantic music foil for his sitar, and both of the “concertos” are well worth your serious consideration – I think they are brilliant.

but for me – no offence to anyone – for me, my personal preference is when the musicians are all traditional indian classical musicians.  I think the “east-meets-west” experiments are necessary, and, they would have been an essential tool in introducing this strange instrument, the sitar, to uncertain western concert goers and classical music enthusiasts – and I am sure that by working with the great western conductors, composers, and players (and shankar has worked with so many great names, including people like phillip glass) that shankar advanced the cause of indian classical music from totally unknown to a high degree of recognition – and it’s stayed that way – you hear indian music everywhere, in films, on television, and I believe that all-pervasive presence can be directly traced to the work that shankar did in the 50s and 60s promoting indian music to the great western masses – it worked – he succeeded.

so while I really enjoy the orchestral works, and in fact, some of them are nothing short of amazing – for me, it’s just the “ordinary” ragas that I crave, where you have ravi on sitar and (usually) one tanpura player providing the drone – and then just let this young man play!

and what can I say about his playing that hasn’t already been said a million times, I feel singularly unqualified to even comment – all I can say, as a guitarist, brought up in the western tradition, my admiration for the unending skill that ravi possess, the knowledge in his head – the knowledge in his fingers – he is truly the master of the instrument.

if you watch the opening section of the concert for bangladesh, you can see it, you can hear it – the best player in the room, of the whole night, despite the presence of all of the great western players there – is undoubtedly ravi shankar.  he is a good three or four times faster on his instrument for starters – leaving harrison, clapton, preston, russell and crew in the dust – and harrison himself later remarked that after ravi’s set, that the western music seemed dull, lifeless – and as excited as I was and am about the first post-beatles performance by george – he is right, it really does seem quite lifeless after “bangla dhun” – and it’s in the players’ attitudes too – you watch ravi shankar and ali akbar khan as they play, and they are transcendent, smiling, joy flying from mind and fingers – it’s a celebration of a beautiful folk melody of bangladesh, it’s playing that raga with everything they had, with so much love and so much obvious joy – and then, when the western section of the concert starts – everyone has their head down, no one is smiling, the band is not really in tune, not really in time, and not exuding anything except perhaps weariness.

of course, there were problems for some of the western players, clapton was in the middle of his heroin years, and was hastily cleaned up for the show (where he does not play spectacularly well, if I am honest), george himself was having anxiety and panic from having to go onstage again after NOT having had to since 1966 – he was vomiting before the show – so it’s quite a down, dour affair – which is such a shame!

don’t get me wrong, I love seeing george playing tracks like “wah-wah” live, seeing and hearing him play his best beatles songs and especially, seeing him play songs from the amazing “all things must pass” album – that’s awesome in itself, but I am afraid that ravi really stole the show before the harrison section of the night ever began.  and I am sure that for george and the others, listening to ravi and ali play, and then having to go out there and recreate the “hits” – that must have been disheartening. for me, after the performance that shankar and co. give on that night – well, no one should have to follow something so bloody good – it’s just not fair.

I guess I am saying, if you have not heard/seen the amazing duet between ravi shankar and ali akbar khan that is “bangla dhun” from the concert for bangladesh, hasten ye to do so now – it’s fracking remarkable.

normally when we do a “what we’re listening to” blog, I try to single out certain pieces and talk about them, in this case, that is nearly a futile idea, because I don’t have the requisite language to even describe this music – it’s ravi shankar!  the only pieces I can even talk about with any sense of understanding are the east-meets-west pieces, and to my mind, they are not the highlight here – the highlight is whenever ravi puts his fingers to the strings of his sitar – any time he does this.  when he begins to play, my attention immediately focuses sharply on what he is doing, the scales, I try to think about the uncanny fact that for each rag, there is a specific basic scale – which is one series of notes when ascending, and another when descending!

that idea in itself – well, OK, the western equivalent is “modes” – so it would be as if you played in D dorian mode in the ascending and in D phrygian in the descending – but, there would be hundreds of combinations – and of course, within each rag, there will be standard deviations – and non-standard ones taken by more experienced players – that idea, to me, is just mind-blowing, it’s so, so clever – because that means that the mood of the raga can be controlled – if one scale, say the ascending one, has a “positive” mood, then the piece can be positively influenced by doing a lot of work with ascending scales.  conversely, if the descending scale has a “negative” mood, that might then allow for wistfulness or sadness or even downright heartbreak, simply by accentuating the descending scales.

in practice, since everything sitarists learn is passed down orally from teacher to student, what happens is that the student…”just knows”, just as the master “just knows” a) what notes to play in the ascending b) what notes to play in the descending and c) when to deviate from this and how much deviation is allowable.

for me, it’s all I can do to play a C major scale with a sense of quality, and having to deal with the almost microtonal intervals that occur in some of the bending in sitar music – I would be utterly lost – I can’t readily “imagine” how they “know” what to do – I really can’t.  it is an art form, a pure and absolutely amazing art form – and it’s unlike any other music I know.

but – somehow – this oral tradition, where the “rules” for each type of raga are known and are passed down from teacher to student over the centuries…it just works!  it works well.  because, the emotion, the joy, the sorrow – well, for a player at the level of ravi shankar – all of these are available, and he expresses all of them with consummate skill.  I also have always loved the idea, which would be odd in western music, that each raga has one scale for ascending patterns, and a DIFFERENT scale for the descending pattern – I think that’s wonderful.  and, each raga has a “time of day” – morning, afternoon, evening, night – and while that might seem whimsical and a bit overly simplistic, the weird thing is – if you listen – you can HEAR this mood, you can “tell” when it’s an afternoon raga.  I don’t know why, although I am sure there are certain rags, certain scales, meant for different times of the day, so by selecting the correct raga, you set the piece in the correct time of day. it’s a brilliant system!

now well into his 90s, ravi has over the past several years, tutored his daughter anoushka in sitar, and has in a very short time comparatively speaking, turned anoushka into a stunningly powerful musical force.  I’ve seen her play a couple of times, and the confidence that she exudes when she plays, well, she knows her stuff, and you know she knows it – is really something to witness. but then she did have the best possible teacher!

she is very much her father’s daughter – she reminds me so much of ravi when she plays (and how could she not!) but she also brings two things to the table that ravi does not: her youth, and her femininity.  the energy that she puts out when she plays is phenomenal, and since I don’t believe that ravi really performs much more these days himself, I very much recommend that you go and see anoushka is you possibly can – she’s at least her father’s equal when it comes to skill and command of that most difficult of instruments, the sitar.

listening to this new collection, I realise, even with the space in time that ten compact discs gives us, that it’s still only a drop in the ocean, it’s only a tiny part of what ravi shankar has accomplished over the past several decades, what he did to publicise and popularise indian classical music, but mostly, for me, the music that he played – the music that he plays with such obvious joy and brilliance.

I would heartily recommend this collection to anyone interested in the music of ravi shankar, I cannot speak highly enough of him, except to say that his music changed my life, his music inspires me, his playing is transcendent, and I would give anything to be 1/100th of the guitarist that he is a sitarist – 1/1000th.

the speed – it’s devastating, burst of notes so quick that you might not be able to say what they are – guitarists rarely achieve speeds close to this when playing, and I think that the best guitarists in the world would all step back, respectfully, when faced with ravi at his fiercest, most flying solos – when ravi is on fire, the whole building starts to burn – and in the case of the aforementioned “bangla dhun”, I firmly believe that the way ravi played that night, the speed, the strength, the clarity – I believe that pushed ali akbar khan to play a blinder himself.  so the two greatest stringed instrument players that India ever produced, made each other play faster and better than they ever had before – and it’s also because of the joy, the flying joy, in the room – that’s also a huge factor in this – but that’s something you have to feel, you can’t see it, you can only sense it – but for me, I sensed it, and I followed, and I listened – and I’ve been nothing but rewarded for my trouble.

I am so, so glad that I started seriously listening to indian classical music so many years ago, it’s also had an influence on my own music, and I hope it has helped me to not be so rigid in my playing.  I wish now that I’d started playing an Indian instrument when I was young, but since I never did, all I can do now is listen – but the joy of that alone is enough to light up a room.

ravi shankar lights up every room that he walks into – every time.  you will not be disappointed…hearing ravi “trade riffs” with yehudi menuhin – wow, that is just unbelievable, something I never dreamed I would hear, and again, ravi’s presence spurs menuhin onto the performance of a lifetime – and hearing these two masters, sitar and violin entwined in an ever-growing musical intertwining – playing against each other, playing in unison, playing is sequence – the precision, the speed – it’s just dizzying, and the tabla player is hard put to keep up with these two!  what a performance (“swara-kakali” – based on raga tilang) – this piece is new to me, and it is a mind-blowing demonstration of musical proficiency and skill – it really is.

due to my schedule, I split the listening of the set into two, first, I listened to discs 1 – 5, which contain some of the more obvious feats of musicianship, and include a lot of east-west fusion, which is normally a curse word, but here, in this context, bringing ravi’s sitar into a western orchestra setting, or pairing him against the best western violinists or flautists – is an inspired idea.

discs 1 – 5 blew me away completely; a massive number of tracks; huge variety, and collaborations that are out of this world.  but then…I started listening to discs 6 – 10.   while there are still some collaborations, you also start to get what I always crave: pure ragas, the longer the better.  and there are some amazing ones in the second half of this set; ragas you can sit back and really get stuck into, where the players play for 56 minutes (!!) if they feel like it, developing the themes, just creating such an extraordinary atmosphere – the tanpuras, those random drones, just put me in such an amazing mood, those gently caressed notes that drone endlessly in the background as ravi and co. take centre stage…

I even made a playlist of the longest ragas, so I could hear ravi, ahem, without western accompaniment, and just by tossing in the longest of the “regular ragas” – I ended up with a playlist over six hours in length!  I can’t wait to hear it…

one piece in particular from the second half struck me, and I am sure ravi included it because he remembered and realised what an amazing performance it is, is a piece that features ravi’s regular tabla player, alla rakha – and drummers, sit up, pay attention, you can learn more about rhythm from one alla rakha tabla solo than any number of drum solos by ginger baker or carl palmer – and the man plays with his hands, not with sticks!  to say this is a great drum solo – that doesn’t even begin to describe it, it FLIES, and you just have to hear it to believe it, you really do! I am so pleased that this piece has been included – because it’s absolutely brilliant “tabla solo in ektal”.

back in the mid-nineties, I had the good fortune to attend a concert by ravi and anoushka at ravi’s home in encinitas, california (near where I lived at the time) and it was there that I got to see the modern day holder of the crown of the “hottest young tabla player around” – the amazing bikram ghosh, and his performance that evening, along with ravi and anoushka, was unforgettable – simply the best drummer I have ever seen in my entire life – full stop.  faster, by far, than any western drummer, more rhythmically advanced, just amazing to see and hear – and you could not see, because his fingers flew so incredibly fast.

the down side to this set?  if you ask me – too many orchestral pieces, not enough traditional ragas – but that is quibbling, that’s my personal greed for straight ragas – I cannot get enough of them – because the orchestral pieces are uniformly astonishing, and I would miss them if they were gone – so really, no, no down side – it’s all up sides – ten of them!

wait – I HAVE thought of a down side – it’s not long enough – it should really be 20 discs.  there – I knew if I thought long enough, I would come up with some kind of negative…

another one? not enough collaborations with Indian classical players, not enough appearances by ali akbar khan on the sarod, the aforementioned alla rakah on tabla, but these are minor, minor quibbles indeed – there are so many positives that they absolutely outweigh these almost negligible “negatives” – please ignore me. 🙂

for two pounds a disk, you are getting some of the best indian classical music ever recorded, and, you are getting a great introduction to the music of the man who started it all for indian classical music.  a note of appreciation too for ravi’s great, great friend george harrison, who helped to bring attention to ravi shankar and the music of india, this excellent classical tradition that predates the entirety of “western music” – now, when I hear the phrase “classical music” – THIS is the music I think of this is the “real” classical music – western classical music is something that came along much, much later….

not that sound quality is really an issue in these performances, but most of the tracks on the ten discs are digital remasters, albeit done at different times and compiled here from many, many sources – but the end result, is a set of discs containing some of the most amazing music I have ever, ever heard – all from the skilled hands of mr. ravi shankar, the undisputed master of the sitar.

I love it!

what we’re listening to – neil young – archives vol. I

I hadn’t heard this for a long time, and I suddenly thought, oh, I really, really need to hear that right the way through.  my wife had surprised me with it, brought it home with her from glasgow, this extraordinary box full of the mysterious earliest history of someone who was, and still is, a huge influence on me – neil young.  like every kid, I had harvest, but then I started buying more of neil’s records, and over time, I ended up with quite a few – but I was never prepared for the mass of material presented in this exquisite first archive box.

so I started at disc 0 track 1, and I’ve been slowly moving through neil’s earliest years, and it’s such an amazing trip – right now, he’s playing lead guitar in an instrumental surf number “kahuna sunset” from buffalo springfield,  but at any given moment, you might find neil young almost anywhere – with an orchestra, behind a piano singing, with his acoustic guitar, singing early versions of “nowadays clancy can’t even sing” or rocking the lead guitar on the electric version of “mr. soul” from the underrated, under appreciated buffalo springfield.

the double lead guitar attack of stephen stills and neil young was unstoppable, and on “mr. soul” they trade solos just to prove it – with neil taking a strange, almost indian raga kind of solo at the end of the middle section – beautiful!

or you get something grand and orchestral like “expecting to fly” – so uncharacteristic, I think neil is channelling brian wilson on this number, the orchestration is very, very reminiscent of wilson’s “let’s go away for a while” – a tune that we know young favours, since it’s the closer on his “journey through the past” album. this piece is on such an epic scale, with it’s mournful mood and even more mournful vocal – but, this is and was miles beyond a boy from canada strumming his guitar, it’s neil using the studio and orchestra like a giant song dream machine, taking an ordinary song and re-imagining it in an incredible way, I love the strings in “expecting to fly” and if neil is channelling brian wilson, I don’t care – that’s a GOOD thing in this case.

another very interesting piece from this time is the very oddly constructed “broken arrow” – a great song, broken up with circus organs and other silly things – but a really nice tune, with a little waltz bit in it – it’s genius. “did you see him….? ….did you see him in the river, he was there to wave to you, could you tell that the empty quiver, brown-skinned indian on the banks that were crowded and narrow – held a broken arrow?”

it’s a weird, weird pastiche of sound effects, strange interludes, it’s very weird, but it does keep returning to the beautiful waltz time section with neil’s plaintive vocal just cutting across all the strangeness – determined to tell the story in between the madness – next strange section – some clarinet jazz with piano…making no sense with the rest of the song – but, great piano solo…and then it just fades away – the end – but not, then, it’s an amplified heartbeat – and that is the end!  what a weird song!  but I love it.

of course, there are lots of “normal” songs like the lovely, naïve, “I am a child” – a really, really beautiful piece of music, gentle, beautiful vocal, wonderful lyrics, nice shuffling beat – classic neil young, and when I think of neil, it’s often “I am a child” that comes to mind – anything from his first album, like “I’ve been waiting for you” – things like that.

then you also get wonderful things like “previously burning” – more instrumental guitar music, but with a full orchestra – probably the same orchestra that’s on “expecting to fly” – but this lovely piece is really just a guitar backing for an unfinished song I’d say.  really nice mood, doesn’t sound unfinished – just sitting there waiting for a lyric that never arrived.

it’s quite a wild ride, but what it is constant, is that voice – and the songs – and that amazing lead guitar style.  I used to say that north America only really produced two truly great guitarists: frank zappa and neil young!  each has an idiosyncratic, instantly recognisable sound, and both are really amazing players – who both grew enormously as musicians during the late 60s and early 70s – to the point where no one could touch them.

my two favourite american (I know, neil is canadian – it’s in north america already!) guitarists then, zappa and neil young – and I listened to them both a lot, and learned a lot from both as well…probably more from neil, since when I was a young guitarist, learning zappa was a bit beyond what I was capable of.  later, I did learn a few zappa tunes, but neil young – he was easy to imitate.

I always enjoyed neil’s playing more than his greatly lauded partner/companion/friend/competitor? stephen stills.  stills is a great guitarist – I know, because I’ve seen him live – but for my money, neil is the more interesting guitarist, and, the most consistently good lead player in the buffalo springfield and in CSNY – for me, it was always neil young. you always knew when neil took a solo!

disc 1 starts with a very odd, acoustic guitar filled version of “everybody knows this is nowhere” – which is just so, so cool.  a very different arrangement to the version we know and love on the album, but I love it when artists do this – they have two or more completely different versions, and somehow, they pick one to put one there album.  this on has something like a flugelhorn solo in the middle of it, and synthesizers where the background vocals should be – it’s totally bizarre, but really wonderful.

and then we get to the songs from the first solo neil young album, starting with a song that hits me so, so hard, “the loner” – the attack of the guitars, the beautiful, whammied lead guitars – the perfect Hammond organs and then those guitars that I believe have been run through the organ’s leslie speaker – creating an amazing sound.

but the song itself “know when you see him, nothing can free him – step aside, open wide…it’s the loner…” and then you get the gentle little acoustic guitar melody with beautiful strings accompaniment – then back to the very, very hard verses with all their beautiful guitars, guitars upon guitars, with the strings in the left channel only, acoustic guitar in the right – that lovely 60s complete separation – fantastic.  I could listen to “the loner” all day long..

archives is so full of surprises, such amazing alternative versions of songs that are very familiar – for example, there is a very different version of the song “birds” – which ended up on the “after the goldrush” album many years later, but this early version is charming, simple and very, very beautiful.

another odd thing is neil’s voice – it’s not that wonky! It’s pretty normal on a lot of the songs, serious, no dramatics, he just sings the songs in a really beautiful way – no effects, just neil.

even that strangest of neil young songs, “last trip to tulsa” is enjoyable, it’s a stoner’s dream – a long, long story about chopping down a palm tree – what’s not to like?

then we return to electric music, and the sublime, beautiful, flanged, slow-panning slow motion thick as molasses guitar solo in the centre of “I’ve been waiting for you” – which is such a beautiful song anyway – my one complaint about the song – it’s not nearly long enough – fantastic leslie guitars along with buzzing lead guitars start us out, a chorused electric guitar accompanies neil’s beautiful vocal, bass and piano support perfectly – drums build tension to that beautiful chorus…”I’ve been waiting for you…and you’ve been coming to me….for such a long time now…” and then that SOLO, that amazing solo that wanders slowly from left to right and back several times as it flies through your brain…I love this song!!!

the stereo lead guitars during the fade out are just so urgent, full of life, warped and crying out “such a long time now” just as much as his voice is…beautiful.

maybe his best early work.

then the very serious songs, that are almost awkward in their seriousness – “the old laughing lady” being a case in point – nothing funny about this song; you need to be in a serious listening mood if you are to “get” this number – it’s serious!  another lovely orchestration though, lovely, lovely strings.

a song like “here we are in the years” is so pastoral, so normal, just wonderful in it’s innocence…the slow beauty of the country, how the stupid city slickers can’t relate to the slower pace of life in the country – a fantastic little piece of music…a synthesizer appears to play a few notes, then back to neil’s story, complete with beautiful strings, harmonies and chiming guitars…I love this song, it’s just so full of hope and sorrow and acceptance…here we are, in the years…and then it just fades away as if it isn’t done, but it needs to go…

“I’ve loved her for so long” – an amazing, high pitch vocal, and an orchestra from heaven, then a strange gospel choir appears, but neil’s vocal is so good that it doesn’t really bother me – when he sings in this register, it’s just unbelievable – really lovely.  A really weird arrangement, bass, drums, electric piano – and then the screaming choir in one speaker, the massed strings in the other…it’s just strange – but cool.

archives vol. 1 contains so much amazing material that I would have to write a novel to even describe it approximately, so I am literally picking a few highlights to try and describe – and the one I am listening to now is just astonishing, a previously unreleased live version of “broken arrow” – just neil and his guitar, and it’s an absolute revelation – this is the song, stripped of it’s odd orchestrations and overdubs, and in this simple, unadorned form, with a beautiful, melodic vocal, you get the true essence of “broken arrow” – it’s just astonishing, I’ve always loved this song, but this version, to my mind, is actually superior to the released buffalo springfield version, because the vocal is better, and despite the fact that I love all the weird overdubs on the studio version, it’s this one that I cherish – the surreal, acid-like lyrics, but it’s just the simplicity of the arrangement, straight chords, pure vocal – it’s really a thing of beauty.

the same set of live tracks, “live at the riverboat 1969”, from disc 2, contains other “solo” versions of songs that we know well from the Springfield catalogue, including a similar revelatory version of “expecting to fly” – another one that works far better with the orchestras and overdubs removed – I guess this means I like my neil young without overdubs, just the songs – and it’s the songs that really are so, so powerful “if I ever lived without you, now you know I died – if I ever say I loved you, now you know I tried – babe…now you know I tried…babe…now you know I tried”.

disc 3 propels us into a stark and amazing future, the carefully harmonised, beautifully arranged studio version of “cinnamon girl” is a far cry from neil and his guitar at the riverboat – a man, and a band, transformed, in just a year’s time – a mutation as startling as the beatles evolving from the dylanesque bits of “rubber soul” straight into the full-tilt psychedelic aspects of “revolver” – neil was undergoing a very, very similar transformation – picking up crazy horse as his band, an incredibly shrewd move, and then there is that heavy, heavy guitar solo at the end of cinnamon girl – which I can remember at the time really surprised us, the song was over – but the song wasn’t over, until neil had a little fling with his guitar…

so this third disc is more about crazy horse, and neil as band leader, and it includes songs from “everybody knows this is nowhere” and “after the goldrush” – so some of the most familiar of neil young material, but when I compare this in my mind to the material on the first two discs – the distance that neil young travelled musically, from say, 1968 to 1970 – is indeed comparable only to something like the transformation the beatles underwent.

a brilliant short version of “birds” by crazy horse is followed by “everybody’s alone” with a great vocal, and here comes that neil young guitar tone, the whammied, distorted guitar that we would come to know and love – sweet chord progressions, a totally earnest vocal, but when he takes one of those solos, you just stop, it’s so, so pure, so raw, a great guitar sound, and a sound that I never tire of…

disc 3 also includes one of my favourite neil young songs, performed by crosby, stills, nash & young – featuring Stephen stills on lead guitar, with neil on organ – and singing harmony with graham nash, close harmony – brilliant harmony – I love everything about this tune – “all I need is your sweet, sweet lovin…fill my life with happiness, all I want is your heart – everytime I think of you – mine falls apart” – this track was originally on the woodstock sound track, but I feel it never got it’s due – it’s a cracking little number.

another forgotten masterpiece, “country girl” by crosby, stills, nash & young is included here, and it’s a very formal arrangement, with the four-part vocal harmony to the fore – but despite being slightly over-produced, it’s still a very, very beautiful song – a very powerful song I think – I’ve always loved it “no time to stay the same…too young to leave…” – more neil young lyrical magic “find out that now was the answer to answers that you, gave later – she did the things that we both did before now, but who – forgave her?”.

a surprisingly heavy guitar ominously appears in the last section, playing single low notes on top of the chords…and then suddenly that positive, beautiful chorus “country girl, I think you’re pretty…” with neil’s voice now suddenly to the fore – a great revolving coda with, bizarrely, a reverb-drenched harmonica solo! of all things playing the chorus out…perfection.

the end section of disc 3 features the somewhat rough but very wonderful live at the fillmore east – crazy horse live – including the title track of “everybody knows this is nowhere” – which is a huge highlight for me, love the song, love the fantastic whitten & young lead guitars – they both rock “gotta get away from this day-to-day runnin’ around – everybody knows this is nowhere” – crazy horse are just perfection here, they just play the song – the spark comes from young’s lead vocal and lead guitar – as always, he’s chosen the perfect foil the perfect instrument – to play his songs.  crazy horse never overplay, they never get in the way – they just PLAY.  It’s rock and roll perfection if you ask me, the bass and drums support the rhythm and lead guitars – that’s how a four piece rock band SHOULD work – and despite being top-heavy with the very talented neil young on lead vocals and lead guitar, that formula still operates beautifully – I love this band, live or studio – either way.

this also includes “winterlong” – a tune from this time that never ended up on a studio album, so having it here is nice – it was part of the live show, and the vocal harmonies are fabulous for live and for the time – it’s pretty cool! but for my money – of course – it’s the renditions of the songs we know – including not only “everybody knows…” but also, “down by the river” and “cowgirl in the sand” – with their lovely guitar workouts, when we first heard that “I’ll just play one note over and over again” neil young lead guitar style – and it’s fantastic, in a way, neil young is really an incredibly innovative guitarist – he plays like no one else, he has an utterly distinctive, instantly recognisable sound – as much the “neil young sound” as frank zappa is “the frank zappa guitar sound” – you just know it, and it was during this period that young really started to push his own boundaries, and only he could make playing one note, over and over and over, sound really, really good!  it works…and it’s refreshingly different to the way most guitarists play lead guitar.

I am the first to admit that overall, I prefer british and european guitarists to american guitarists – but there are three american guitarists that I really, really admire (yes, I know he’s Canadian, I mean north American guitarists, of course!): neil young, frank zappa, and todd rundgren.
zappa was utterly unique, and outside almost any conversation involving normal music and normal songs, and of course, both rundgren and young were huge anglophiles, with a well known love of british music – so maybe that’s why I like them, because they were trying to BE british!

disc 3 continues with the lovely songs from “after the goldrush” notable for the strange concept of a young guitarist named nils lofgren being drafted into the band – and then being told to play the piano – an instrument he barely knew – but neil young knew, he knew that this would work – and my god, does it ever work.  the title track, with it’s prominent, blocky piano chords – is so instantly recognisable, so “just right” for the song – and what a song, that sci-fi, dream lyric, the incredibly high pitched lead vocal – I will always love that song.

another huge favourite song of mine is here, “only love can break your heart”, with it’s heart-stopping vocal harmonies on the chorus – I always felt this should have been a huge, huge hit for neil young, kinda like his version of todd rundgren – pop perfection, like “hello it’s me” or “I saw the light” – but it was destined to remain just another brilliant album track from the very, very popular and successful “goldrush” album.

a tour of the songs of this time has to end up with the amazing, immutable “southern man” – another work of guitar genius, this is so intense, and really fun to play – I used to jam on this for ages, I remember one gig where I was a stand-in lead guitarist, and we didn’t know any songs – so I taught the band “southern man”, and we then played it for 25 minutes – that amazing progression from D minor to Bb to G – great to solo over, and on the record neil plays an incredibly fast and spastic solo that is pure genius – of course, live, csny used to jam out on this one too, but whatever the version – “southern man” is a song of genius, with a great lyric, a beautiful, incredibly beautiful vocal harmony – and then – THOSE GUITARS!  This rocks.

“lillie belle your hair is golden brown, I’ve seen your black man, coming round – swear by god I’m gonna, cut him down – I heard screaming, and bullwhips cracking, how long – how long?” – that is just intense, the imagery, and the fierceness of young’s lead vocal takes you by surprise – he is singing with a passion heretofore unheard of – and it’s amazing to behold.

“when will you pay them back?” – probably never, I am afraid.

and then – another pop masterpiece, another should have been a rundgren-style number one: “when you dance, I can really love” – my god, I just love this, harmonies on the verses are brilliant, distorted guitars throughout – but that lovely, harmonised vocal is such a shining, beautiful thing – then, some great chiming lead guitars, and then back to more of the most beautiful vocals on the planet – “I can love, I can really love, I can really love…”.  an insistent piano, an ominous bass and guitar chordal pattern near the end – and then it fades away as quickly as it first appeared.

“when you dance…I can really love” – a simple message, with awesome guitar breaks between each verse – what a cracking tune.  another totally under-appreciated pop masterpiece – at this point in his career, neil could really do no wrong.

now – things turn political, things get very serious – but to neil young, watching soldiers gun down innocent students at kent state was just too fecking much – so we have the really frightening “ohio” – “soldiers are cutting us down…” a shivering testament to a horrific incident – peaceful protesters, shot down for no reason “what if you knew her, and found her dead on the ground”.

apparently, this was written very, very quickly – and was released just days after the incident, young was so incensed, so angry that such a thing could happen, that he really wanted to point the finger – and he does – at richard nixon, at the senseless death of innocents – heavy, heavy stuff – but you know what, I am not normally a fan of mixing politics and music, but in this case, it actually works in an incredible, shivering way – “why? why? how many more?”… an impassioned david crosby can be heard, seriously lamenting, meaning every word…during the outro of this incredibly powerful song.

a live version of “only love can break your heart” with crosby and nash comes out just beautiful, acoustic guitar, bass and three-part harmony – shivers – this is just so, so beautiful, and a great reading of a great song – I absolutely melt when I hear this incredibly beautiful vocal arrangement – these three voices just work – and the song…”what if your world should fall apart?”…it doesn’t get better than this, this is real music – it’s just the song, with neil’s heartbreaking lead vocal prominent, but the exquisite harmonies of crosby and nash make this into a sublime, remarkable musical happening – they really get it, and the whole effect is just stunning – what a thing to witness or to be a part of…sigh.

similarly, a live version of “tell me why” again with crosby and nash – just works so, so well, these two tracks almost put the “official” album versions to shame – especially in the vocal department, where, amazingly, the live vocals are better and more inspiring than the studio ones…excellent!  this song never knocked me out on the album, but hearing this live version totally changes my opinion of the song – it’s brilliant – but, it has to be THIS live version…no other!

speaking of david crosby – you also get the strange live rave-up/mess that is “music is love” – a song from one of crosby’s solo album, that heavily features neil young – and despite the stoned hippie approach to the performance, it’s still kinda cool – although ultimately, this song is more about crosby than young – I quite like it, it’s like a messy, stoned raga – “everybody’s saying that music is love” – a bit obvious.  a strange but essential addition to this disc…

then we move back to something of such delicate, transcendent beauty – a very underrated but very beautiful song – one of my all time favourites of neil’s – done solo at the piano, live – “see the sky about to rain” – this is one that you just have to hear to believe, such a lovely melody, just an incredibly pleasant, wistful, almost mournful song.

as disc 3 comes to a close, we get “on the way home – live” – and from the applause at the beginning of the track, it really hits you what a huge, huge star neil young had become – and here he is, just a few years on from the buffalo Springfield years – playing one of their songs on acoustic in front of a huge audience.

I am sure that part of him could not believe it was really happening, the huge success of csny took all four of it’s members by surprise, and they didn’t deal well with it.  I think of the four of them, neil weathered the strange storm of adulation and nonsense that is being a part of the record industry programme – they had become huge stars at this point, the audiences were huge, and with it, came all the responsibilities and problems of anything that grows far too big far too fast – I think that really, neil kept his head pretty well, all things considered – he just kept doing what he did best, playing that acoustic guitar and singing.

this section is live from massey hall, so neil’s on home territory here, playing in Canada – and as well as “on the way home” he plays “new” songs, and in this case, one of those, “old man”  is presented, and neil’s awe of the song’s subject, the ranch foreman of his ranch, is clear – he respects the man’s knowledge – and how odd is that – writing a song about a guy that works for you, a 70 year old man – and comparing your 24 year old self to him.

the whole thing must have been quite, quite surreal – 24 years old “live alone in a paradise, that makes me think of two…” – having so much money that he could just buy a huge ranch in california “old man take a look at my life, I’m a lot like you…” – I think writing about something real, helped to keep neil grounded – and “old man” is a brilliant piece of music, very deserving of praise – one of many great, great tunes from the very popular harvest album – which was brand new at this point in time.

to be so hugely successful at age 24, but to still be able to write clear, concise, meaningful songs about very real things – the level-headed neil young sticks to the programme – keep it real.

beautiful – and this live version just sparkles – and gets such a respectful, wonderful hand of applause – sensational.

a live version of “helpless” gets a great reception, because of course, it mentions canada, which, of course, makes the canadian audience at massey hall respond like mad – but it’s a lovely song, even without the trademark csny harmonies – it’s a beautiful song.  somewhere, I have an amazing cover of this song done by yukihiro takahashi and bill nelson – it’s absolutely fantastic – they trade vocals, each taking a verse – wow! a great cover of a great, great song.

a long rambling story about an imaginary neil young movie prefaces a rare live showing of one of the most heartbreaking of all of neil young’s songs, the beautiful, exquisite “a man needs a maid” – a tale of loneliness, sadness, and real heartbreak – on the harvest album, with a fantastic orchestral score – but here – just neil and his piano…and the lyrics are not all there yet, because he sings “a man feels afraid” – instead of the final version “a man needs a maid” on the album.

“when will I see you again” he asks plaintively, as this very, very sad tale unfolds – “a maid…a man needs a maid” – [crashing imaginary orchestra] – but on the piano, stark, naked – it’s even better for all the vulnerability that’s on show – then, it segues effortless into a piano version of “heart of gold” – that’s one odd medley!

“cowgirl in the sand” on solo acoustic is just as beautiful as “cowgirl in the sand” live with the raucous but wonderful crazy horse – I love it either way, and here, he pulls these amazing guitar notes on the acoustic – this one note, he keeps playing, in the middle of strumming – this note keeps appearing – it’s just fantastic, a hint of what the electric version holds.

one great thing about archives, is that you do get to hear truly alternative versions of songs, sometimes, you get the same song in three or four completely different guises – and that is fantastic in the case of neil young, the different versions are rarely similar, in fact, usually they are totally different, and often, surprisingly so – I love hearing the “what ifs…” and neil is a master of this, reinventing song with completely different instrumentation and arrangements – and that is brilliant in itself, but it also shows just how good the songs are – because in most cases, they easily can withstand the varying treatments – they are, quite simply, really, really good songs – and they sound great in solo acoustic settings, band settings, pump organ versions – you name it – it all works.

two of the sets in archives vol. one were also released separately – the live crazy horse set, and the live at massey hall concert, but they are essential to this set, and coupled with the rest of the amazing material on offer here – this is one of the best introductions to the genius of neil young, early period, that you could ever want.

“don’t let it bring you down – it’s only castles burning…”

what we’re listening to – the quiet zone / the pleasure zone – van der graaf

1977 was such a pivotal year in music, sure, in ’76, we had the beginnings of punk, the uncertain rumblings that said “this is gonna change…” and, soon enough, it did all change.

but the established artists of the day just kept working on music, and let the punk tide wash over them and around them – but, critically, importantly – just kept going.

that’s exactly what young peter hammill did – he kept going.  the classic four-man organ-based van der graaf generator had broken up for good after a series of disasters, including a disastrous yet successful “tour” of north america and canada, but hammill, as standard-bearer, decided to reinvent the band – completely.

with guy evans still present on drums, [always present thank god], hammill proceeded to and managed to completely change van der graaf’s sound; he even removed the “generator” to give the band a more stripped down identity in this year of great change: they would henceforth be known as “van der graaf” – no longer  “van der graaf generator”.

with the organ, bass and horns slots all empty, hammill started from scratch: bass player – he retrieved van der graaf’s original bassist, nic potter, so that was sorted; he brought in graham smith on violin, from string driven thing – and immediately, that became the core of the new van der graaf.

so suddenly, those beautiful church organs were gone, and hammill’s stark piano and acoustic guitar songs were now framed by violin solos, strings, real bass – fuzz bass! and these changes completely altered the fabric of van der graaf’s sound.  in a very, very good way…

a new year; a new band; a new album “the quiet zone/the pleasure dome” by the new, string-driven, stripped-down van der graaf.  this one…rocks!

the album’s opener, “lizard play”, an acoustic guitar-driven vocal and violin extravaganza, sets the scene for the entire album – a supremely well organised sound, fantastic and very complete vocal overdubs – a great bass’n’drums rhythm section with snapping hi-hats, slithering bass, tight drum rolls, fabulous drum fills…and peter’s voice begging, begging “will you dance with me…?” – and then the secret weapon appears – david Jackson, the on-again off-again member, makes an appearance in the very last moments of this song on sax – so really, you have three of the original “classic lineup” – but the presence of potter and smith manage to change the sound of the band so completely, you would almost never know – so, a very similar band, a very different band – but – a really completely unusual, unique album in the hammill canon, unlike ANY other – I am adamant about that.

we move on to “the habit of the broken heart” – a listless, sad violin accompanies a lonely acoustic guitar, but then guy comes in with a steady drumbeat, and nic joins in with a very accurately repeated sequence – the perfect background for hammill’s vocal, and, on this tune in particular, I think it is lyrically really cool “I’m so sorry that he hurt you, but don’t throw yourself away”…and “you’re so special, such sadness seems a shame” – a straight ahead little rocker, with a central solo section of banshee-wail-smith-violin, just to make sure you are still with us…the violins are used then after the solo, as a sort of drone to build and build tension, the drums go mad at the end, guy is breathtaking on this piece – it’s worth it just to hear the drum part!

“the siren song” is next, and is, perhaps, the most beautiful song here, an epic poem, with fantastic nautical allusions, “lashed to the mast” – done only as hammill can do, but, utterly sincere, utterly heartfelt, and very, very beautiful indeed – I spent many, many hours teaching myself to play this song, and I will tell you, as an amateur pianist of no mean skill – this song is really, really difficult to play and sing – it’s very, very well written.  I love every word, every chord, every sound in this song – I could play “the siren song” over and over and over again, because it has an absolutely unique “feeling” unlike any other song I know – and that’s the genius of peter hammill at work.  the vocal – half-whispered at first, then, stronger and stronger and more and more full of agonised passion – “laughter – in the backbone – laughter – impossibly wise – that same laughter that always comes, every time I flash, on that look in your eyes…” that is brilliant!

“and time, will smash every theory I devise” – “nothing really matters, NO, nothing really matters very much….” – shivers.

then, oddly, a fast section, a lovely little piano bit with a nice, clean violin solo on top, this shouldn’t really work but it works really well, it doesn’t seem likely, but there it is, a nice length, a full run-through of a nice long chord sequence, ending up in a great little electric guitar riff (those AMAZING flangers again) and then … somehow, back to the original song’s theme, back to an almost dead stop, and a final, heartbreaking verse, with tinkling electric piano and more passionate violin helping it along until the very, very end.

it helps that these songs are good, really good, some of ph’s best – like “the siren song” – sure, that helps, but the band – they just sound fantastic.  guy is totally on form, underpinning the songs with his powerful, yet musically rich and complex drum parts, there is no other drummer that could have done these songs justice – it had to be guy.

and it’s on the rocking numbers that guy comes to the fore, propelling the songs forward – “last frame” is the first track that’s wholly electric in nature, featuring some beautiful distorted, thick-sounding lead guitars from hammill – but it’s guy’s drumming that draws me back to this song over and over again – nic’s contribution on distorted bass is awesome, and then hammill and smith handle all of the totally insane soloing necessary (the extended solo section, with it’s multiple overdubbed violins and multiple lead guitar melodies, is a true masterpiece of prog heaviosity – it’s a must-hear solo section).

“last frame” is a real sleeper, you don’t really notice it’s power, but then weeks and months later, you find it’s in your head – a really, really powerful song, using the idea of photography as an analog to a relationship, with hammill in various stages of alienation and grief, “hanging back from that last frame…in case it doesn’t show you, the way I used to know you…” – in hindsight, one of the best tunes on this record, but as I say, you tend to take it for granted.  “there you are – your eyes laced with secret pleasure – saying that you’re on the way – to change – devouring, in inordinate measure, every diversion that’s arranged….”.

The final allusion to photography “but then, I only have a negative of you…” gives way to a great descending coda, that quickly fades away into the distance…

smith is quite a furious player, and on this record, he mostly demonstrates a very powerful, very loud, very electric style of violin playing – which is fabulous – except when suddenly, he reaches deep and produces clean string parts of startling beauty – such as the violins within “the siren song” (perhaps my personal favourite track from the album) or the string parts for “the wave” – so not a one-trick pony, sure, the manic, mad, crazy, insane high speed distorted violin solos on this record are brilliant, but I tend to like the quiet songs even more, and smith does a brilliant job of switching between these two totally opposite styles – impressive.

if we hark back to the vinyl version, “last frame”, track four on our CD, would have been the end of “side one” of our vinyl, meaning that track five of our CD is track one on “side two” of our vinyl, and that is the very, very beautiful “the wave” – which never used to knock me out for the longest time, it seemed perhaps too obvious, but now – I consider this to be a hugely important track, with amazing violin overdubs filling out all the spaces of this piano ballad – and a heartbreaking, truly beautiful vocal from hammill – the drama of his lyrics brought into technicolour presence by smith’s amazing, shuddering overdubbed violins – sudden burst of acoustic piano filter through, and in the background, as always, nic and guy pinning this remarkable little piece of music down into a final form.

on both the “loud” songs and the “quiet” songs, the tension built up by the use of the violin (as opposed to the beautiful, melodic organ playing of the now-departed hugh banton) is stunning, and hammill uses the instrument to make these hard-hitting songs pack even more weight than they do as “just songs” – the arrangements on this album, to me, are just top notch, he’s taken everything he learned in the previous incarnations of the band – and distilled them into this remarkable album.

the other standout rocker on this song, is the absolutely amazing “cat’s eye/yellow fever” – a fantastic piece of distorted guitar/fuzz bass/string section that has to be heard to be believed.  hammill’s super flanged electric guitar is balanced by nics crazed fuzz bass octave parts, while guy is flying across the skins at an absolutely impossible speed…then hammill layers on the background vocals creating an incredibly lush and complex vocal arrangement that stems from his angry, powerful lead vocal – it bounces between the power and the glory, all the while, graham smith is sawing away, soloing, building and releasing the musical tension – then, a quiet, minor key section appears, multiple, heartbreaking gypsy solo violins appear as the chord progression is carried forward mostly by nic (guy stops completely to allow this serious piece of music play out) which slowly winds down to the end…this song, out of all the songs on this record, is such a powerful piece of music, and I think it’s one of hammill’s best songs of all time – bar none.

“the sphinx in the face” has long been one of my very favourite hammill/van der graaf songs, in part because of this fantastic lyric “I’m gonna head to the island when the summer’s out, I’m gonna do all the stuff that I can – drink like a fish in a waterspout…” – that’s genius! beginning with an awkward but cool guitar riff, when the rhythm section enters, with nic potter’s fuzz bass full of confidence, ploughing on through – I love that sound! this is one of those songs that just gets stuck in your head for days.  it has a heavily overdubbed vocal chorus, which hammill uses later in the reprise version “the sphinx returns” – as “the sphinx in the face” fades out, the instruments gradually disappear, leaving the multilayered falsetto led vocal harmonies – a great effect.  and they then begin the reprise version, giving us really good sense of continuity, despite being separated by “the chemical world”, it’s as if this song were playing the whole time in the background.

“the chemical world” – this is one of the strangest songs hammill has ever done, and it takes a while to warm to.  it’s quite…odd, and it also contains a fast section with some very, very heavily warped vocal effects, which makes it end up sounding like a lost transmission from the planet klingon during that section.  But over time, I’ve realised that it’s a really, really well done piece of music, with a great acoustic guitar/gypsy violin part that recurs – and then there are those strange, strange vocals! Weird as green milk, but really, nothing else would suit – and then when the “normal “ vocal returns it sounds awesome – a great back and forth between the totally alien and the relatively normal J  it’s a chemical world … after all.  and it’s gonna blow up in your face…  graham smith is extremely excellent on this with some otherworldly violin playing and effects, this song is so effects laden that it’s not funny, but they are done in a tasteful and wonderfully experimental way – there is no other song on earth like this one!  none.  it’s just the drug … it doesn’t last.

the aforementioned “the sphinx returns” as noted, begins where “the sphinx in the face” left off – in reverse, beginning with the naked vocal harmonies, the band comes back in, but this time, at a furious pace with an insanely beautiful, screaming david jackson sax solo – it is phenomenal! Jaxon is only on this record in a few places, but I think even hammill realised the importance of keeping just a little bit of the “signature” van der graaf generator “sound” in his new generator-less “van der graaf” – and including jaxon here, particularly on this song – is an inspired act of genius, because he takes this piece to another level – it already rocks, just because when you have multiple overdubbed peter hammills, vocals and guitars, on top of that very powerful rhythm section, nic and guy; when you add jaxon to that equation – it really just ROCKS – that’s the only way I can explain it – this is just a very brief reprise, with sax, of one of the very best tunes on the record – no wonder hammill decided to put it on twice!

the remastered CD then brings us an absolutely delightful rarity: the studio version of “door”, a song we’d only ever previously heard on 1978’s live album “vital” – and one of the few studio tracks featuring what was to have been the next incarnation of van der graaf – “vital”, and this track, and the studio version of “ship of fools” – that’s most of what is available from the expanded band, which included synthesizer wizard charles dickie (and his work on both “vital” and on the two aforementioned singles has to be heard to be believed – it’s brilliant) as well as an expanded string section.  it’s such a shame that they didn’t go on, and in 1978, van der graaf ceased to exist after only a two-year run, producing exactly one studio album and one live album.

“door” in the studio is absolutely fantastic, it has a very similar heavy feel to it as does the “ship of fools” single – which sounds like proto-metal to my ears – I love the direction this band was going in when it suddenly disappeared.  stay away from the door…

the penultimate track on the re-master is an alternate version of “the wave” – with no vocal, and stripping away the layers of vocal reveals a remarkable sensitive and beautiful basic track, with a great, great peter hammill piano part, and then there are those strings…another graham smith masterpiece if you ask me. “the wave” has always been a dark horse, the song that I never thought that much of – until you hear it like this – it’s truly, truly one of the most beautiful songs on the album, in either incarnation.

finally then, we come to the holy of holies, the studio version of “ship of fools” – this song very nearly leaves me speechless, you just have to hear it to believe it, an impossible, convoluted but incredibly powerful guitar riff is central, that goes without saying, but you have never, ever heard hammill play – or sing – like this…he is on fire! – it’s just out there,  the vocal and lyric is incredibly powerful – a bizarre slapback echo on the drums, the best bass part nic potter ever played – and hammill, hammill, hammill finally coming into his own as a shockingly powerful rock rhythm guitarist and a surprisingly good lead guitarist too – sure, we’d heard the live version of this on “vital”, which is really, really good – it opens that record – but this, this is a song that I can’t get enough of – “dispensing platitudes and junk”…”there’s no rules”.

no rules.

this then, in 1978, out rocks, out punks, most of what punk itself was putting forward.  we all know the story about how john lydon idolises peter hammill – well, this song is one reason why he probably does – “ship of fools”, live or studio, is the perfect blueprint to start a punk revolution from – just copy this, or any of the similarly punk-like songs on hammill’s fifth solo album, “nadir’s big chance” – and you got yourselves a musical movement.

this song is a powerful argument for the concept that it was really peter hammill, not john lydon, who started the punk revolution – although it was via lydon – who loved the music of van der graaf and peter hammill – he just channelled hammill in his own way – and a genre was born!  when you hear “ship of fools” – you will know exactly what I mean J

it’s rare that a bonus track becomes my favourite song on an album, but in this case, it’s probably a draw between the remarkable “cat’s eye/yellow fever” and this stunning, last-gasp-of-this-van-der-graaf single, “ship of fools” – these songs rock hard, have brilliant lyrics and vocals, heavy, heavy guitars – everything a boy or girl needs to have fun.

1978 was a bad, bad year for prog rock – but by 1977, with the release of “the quiet zone/the pleasure dome” hammill showed us, over two years, two albums, and these amazing singles – that not only had he already moved on, but he was creating a startling, new, heavy kind of music that possibly was key as an influence on none other than johnny rotten – that’s quite an accomplishment for someone who would have been classed by those self-same punks as a “prog rock dinosaur” – hammill shed that skin, and grew a brand new one – and walked away unscathed from the punk revolution – one of the very, very few proggers to survive it.

it’s a ship of fools.  (there’s no rules!!)

“I was looking for something good, clean, straight – but instead I found – the bunker wall – and gate”.

what we’re listening to – anthology (40th) – the move – movements (30th) – the move

it’s no secret that I am a fan of roy wood and his first very successful band, the move, and over the years, I’ve collected first move records, then move CDs, but I must say, that the two large anthologies released more recently get a lot of airplay with me.

“movements” (30th anniversary compilation) was the first – three CDs including quite a few most excellent rarities – and for me, some of them are just precious beyond belief, such as an early version of “curly” that is just fantastic, the Italian version of “something” and so on – a really, really great set.  I was and am extremely happy with “movements”, because it’s a really good overview of the band, but they also included enough rarities, alternate takes, and so on, for fans as well – another first is the full length ending/fade-out of “omnibus”, which has always been truncated on every other release, and finally saw the light of day on “movements” – and just to hear roy’s actual guitar playing during this full outro is fantastic – any recovered roy wood guitar is so, so worthwhile if you ask me.

I feel that roy is one of the most underrated guitarists of all time, and if you have doubts about that, I would refer again to the new “live at the fillmore west 1969” cd which proves to me that roy was the george harrison of the move, but he was also the john lennon – he did it all, rhythm guitar, lead guitar, lead vocals – and his lead playing I feel is fantastic.

he’s also the only other british guitarist besides george harrison (well, that I know about any way – only “famous pop guitarist” I should probably say) to seriously learn indian music, and the banjar solo in the middle of “fields of people” on the new live album is a fantastic demonstration of his skill in this area.

ten years after “movements” was released, came the four-disc “anthology” (40th anniversary compilation) – and if I thought “movements” was good – this record is unbelievable.  in some ways, if you have these two releases, these seven discs, then you have what you need to understand the move completely and utterly.  “anthology” has even more amazing rarities than “movements” did.

an early version of “fire brigade” that features piano over guitar, an alternate version of “I can hear the grass grow”, various un-dubbed and partially dubbed songs that you know but in different guises – and perhaps best of all, a fully restored and repaired version of the live marquee show which is just fantastic – this show was always damaged, but they found a way to repair it properly, and it now also features all of it’s tracks instead of just some, and they have also thrown in a couple of the original live mixes as well for a couple of the tracks – ALL of disc 2 is live tracks, from the marquee in 1968.

add those to the tracks from the new live album, and you have a lot of great live move performances!

of course, if you are a completist like me, then you need to pick up the 40th anniversary re-masters of the original albums as well, because on those – you guessed it – you get STILL MORE bonus tracks and rarities.  My favourite of these remasters is probably “shazam” – an amazing record in it’s original incarnation, but this one has some real beauties hidden away in the bonus tracks – including an amazing, amazing alternate version of my favourite move b-side “this time tomorrow” – with a vocal from carl wayne (instead of david morgan, who sings the original version) – a beautiful, beautiful song – arranged in a completely different way from the “official” version – and I love hearing things like this, it’s kind of like roy thinking “well, what if it went like…this”.  Or…this.  Or….this?

so after 40 years has passed, that single I bought way back in 1969, of “curly” on the a side, and “this time tomorrow” on the b-side, is now on CD, and I get an alternate version of both songs to contemplate and enjoy – I would have never dreamed of this amazing set of extra, rare, behind-the-scenes material back then!!!!

of course, I didn’t really get a good sense of the move just from having that single, that’s just how I started, and when I returned to the US after four years in africa, all I could find were compilations – and the vinyl version of “something else” – which was the truncated, bad sound quality live album from the marquee. for years, that was all I had for years…you just couldn’t get “real” move albums.

so I felt like I was missing out for a long, long time, eventually, I tracked down things like “message from the country” and so on, and then finally, over the past few years, I collected the 40th anniversary stuff – and I probably play “anthology” much, much more often than many, many records I have – and it’s fantastically arranged, too – do I want early move? disc 1.  do I want rough and ready live move? disc 2.  do I want psychedelic mid-period move? disc 3. do I want late period/jeff lynne move? disc 4.

I really seriously feel that the move got such a bad deal in the press, and their releases were in a shambles for years, and while those have been sorted, the damage to their reputation hasn’t been, which to me is a huge, huge shame.  I absolutely feel that the move SHOULD have been as big as the beatles, the stones and the kinks were – because musically, they were equals.  roy wood was like lennon, harrison, mccartney, brian jones and ray davies all rolled into one. a quintuple threat, he could write, he could sing, he can play lead guitar, rhythm guitar, piano, organ, drums, sitar, sax, oboe, banjar, banjo, bagpipes – ANYTHING.  the beatles, the stones and the kinks – none of those bands had a single person capable of all that.

if you listen to roy wood’s solo albums, where in the main, he plays every single instrument (doing a “todd rundgren” before todd rundgren did a “todd rundgren”) you can’t fail to note what an incredibly capable and talented man roy really is – I recommend both “mustard” and “boulders”, I love those records, and I really think that todd took a leaf out of roy’s book – I think that the move was a huge influence on todd and the nazz, it obviously was, because todd did indeed cover “do ya” on his live 1975 utopia album, “another live” – and roy also liked todd, because the move had not one but two nazz songs in their live 1969 set list – so it’s difficult to say who influenced who – but both todd and roy are the master of walking into a studio, and playing every part themselves, and creating amazing pop and rock music out of thin air.

on the “boulders” album, there is an amazing song called “all the way over the hill (an irish loafer and his hen)” which is a perfect example of…pop perfection, with amazing background vocals, drums, bass, guitars – including harrison-like lead guitar – but then in the middle of the song, out of nowhere, a brief but astonishing sitar solo that mutates into a reverse guitar and then…back to the song – I would give anything to come up with songs half as clever as this one…and then at the end, roy plays live strings, cello, viola, violin – and does this whole irish jig /outro thing – again, where does this stuff come from – like five little songs all rolled into one four minute song.

from the “mustard” album – well it’s just strange, surreal, the title track is some kind of 20s track with female voices (or sped up roys?) featuring a great horn solo from roy, I love this little song, it’s so bizarre…but it’s the second track that I truly love “any old time will do” – piano based, great drums – another one that would have fit right onto any early todd album – a song of unrequited love, roy singing from the heart, perfect background vocals, a beautiful melody – and every note, every sound made by roy.  the guitars, the slide guitars…are bliss, this song just bursts with pop joy, it’s such a shame that these albums never made much impact on the charts – because if you like the move at all, then roy wood solo is like getting to the man behind the scenes – I really wish roy had made more solo albums, I wish he would make an old-style pop album right now.

I felt so, so fortunate, a couple years ago now, I had the chance to see the roy wood band live, and it was sublime, it was really, really good – the band was great, straightforward, crack players – and of course, even though I didn’t expect him to, he did six or seven move songs – so I was able to see and hear him play those amazing riffs, like that really strange one from “I can hear the grass grow”, and for me, that was just as special, and just as utterly surreal and unbelievable – as seeing george harrison (one of the BEATLES ffs!) play in 1974 – to me, those are my top two live british guitarist sightings, more enjoyable than things like…eric clapton in 1975, who just underwhelmed me – but george and roy – both did fantastically live.  george had lost his voice – but his guitar playing was astonishingly good – as was roy’s.  I can’t believe that I actually got to see roy wood play – I waited a long, long time for that one!

but, if you don’t have any of the move’s albums, and you want to hear the most under-appreciated pop band that SHOULD have been the “other beatles”…hear them properly – then you cannot, cannot go wrong with the 40th anniversary package – and it’s a beautiful, beautiful disc – I love the packaging, it’s totally deluxe, but more importantly, it really gives a very complete overview of the band and it’s music, and I could listen to just those four discs over and over and over again – I never tire of the music of roy wood and the move – and I should say too, what an amazing singer the move had in the late carl wayne, his performances in the studio, and on stage (as proved beyond a doubt on the new live album) are just remarkable, so that gave the band a great live vocal sound – because they had not one but two very, very strong lead vocalists (kinda like that other pop group, what was their name again?) and the live harmony vocals were a move trademark, they took their vocals very, very seriously indeed – and sounded great for the extra effort they made.  so carl’s contribution to the band should absolutely not be overlooked – roy wrote the songs – and sang some of them, but carl drove the band forward, and sang most of the time, so roy could concentrate more on guitar – so that’s a win/win situation if there ever was one.

I am not quite sure why the music of the move resonates so strongly with me, possibly because I associate it with my childhood in africa, a happy time, I don’t know, but they always were, and probably always will be, my favourite pop/rock combo just below the beatles – or maybe, just beside them 🙂

what we’re listening to: roger powell

when we think about the great synthesizer pioneers of progressive rock, it’s really a list of very, very obvious suspects, from wakeman to emerson and right back to wakeman again.  a few others – maybe…  but there is one synthesist that is just as skilled, just as talented, and was really at the forefront of the revolution, I am talking about of course, roger powell, who is perhaps best known for his work with todd rundgren’s utopia.

but what is less recognised is the fact that powell actually was first, a protege of bob moog, and then later,  worked for moog’s competitor arp, who produced the arp odyssey (and by sheer coincidence, I used to own one of those myself) and was really interested in synthesis from a purely technical standpoint as well as from a musical / performance standpoint.  I still have a 7 inch 45 rpm flexi disc of roger powell demonstrating the “amazing new arp odyssey”, which is a strange curiosity now.

I am not saying, by the way, that wakeman or emerson or any of the great prog players were or are ignorant of the building blocks of synthesis; I know that all the players of the time absorbed a certain amount of knowledge just in the process of learning to use these monstrously large and cumbersome machines (they had no choice!).  but to me, powell always seemed in a class utterly by himself, sort of a “mad scientist” of synthesis – and, if you listen to his very, very small recorded “solo” catalogue – just three records spanning some 40 years, you can hear that he really takes the sound-making capability of synthesizers very seriously indeed.

[note: I am only talking here, in this post, about three of roger’s four records because I haven’t yet heard his fourth album, which is an album of solo piano work].

it’s almost as if he decided that within the organisation of utopia, that he would use a certain synth vocabulary, and he coaxed some amazing sounds out of his instruments, and in 1977, went on to help develop the powell probe and brought it to the stage with utopia – and soon, everyone had an original or copycat “portable synth” strapped around their neck.  jan hammer used a modified powell probe so that he could also be free to roam the stage.

I was lucky enough to see todd rundgren’s utopia in 1977 (and twice in 1978!) and powell’s command of the powell probe was beyond impressive – controlling a bank of six (I believe) synthesizers and sequencers that were offstage, he was able to both roam the stage with impunity but still command hundreds of sounds from a vast array of synths – it was absolutely blindingly brilliant…and it was really something to see, bleeding edge technology in 1977 – that worked beautifully.

roger’s work with utopia speaks for itself, it’s a fantastic catalogue of at first, progressive rock, but as time goes on, on both utopia and solo todd rundgren albums, the demands on roger to play not just prog, but ballads, pop – pretty much anything that the chameleon-like rundgren came up with – well, it was all water off a duck’s back to powell, since his skill on piano is certainly equal to his skill with synthesizers.

and he was there in the thick of it, first, working for arp, helping with the design of their products, before rundgren found him and dragged him out in front of an audience.

he didn’t just bring his voice and his skill on the keyboard to the band, he also brought the first fibreglass prototype powell probe, he brought his trumpet, he brought his youthful enthusiasm – and, I was lucky enough to see this tour, the 1977 “ra” tour…and roger was on fire the night I saw the band – hell, they were all four of them on fire.   it was strange seeing the keyboard player stalking the stage with the same freedom as the guitarist – and, it put roger on an equal footing with todd and new bassist/singer kasim sulton.  it was…fantastic – portable, light, fully capable, driving the off stage synths and sounding totally amazing – awesome.

if you listen to something like “communion with the sun” from the “ra” album (1977) by utopia, you really hear roger working so well with todd, they play in unison; they play in harmony; they trade solos in an amazing, concise, intelligent way; this piece was basically set up so it really could be played live, yet, it sounds like it can’t be – it sounds like a very complex studio track.

but – that was the genius of utopia 1976/77/78, at least, that you had four players who could really play, and, all four sang well too, so with very, very tight four-part vocal harmonies (and on “communion”, some yes- or even gentle giant-like “staggered/round” vocal arrangements) on top of a very concise arrangement played by four extremely good musicians – well, utopia live, for those three years, was a musical force to be reckoned with.

sure, the technology would and did let them down – guitars would not stay in tune – things fall apart, so if you listen to a live show from 1978, you will hear disasters, but then they just pick themselves back up, dust themselves off, and dive back in – and suddenly, you are hearing something akin to a prog / beatles, with amazing, perfect, four-part harmonies, and the ability to solo as well as yes or gentle giant – in fact, the guitar/synth trade-offs that todd rundgren and roger powell do sometimes defy belief – they are that technically and musically amazing.

that was the strange inconsistency about utopia – in the same concert, they might play three songs in a row that are just horrible, really out of tune, with bad mistakes, bad vocals – then, suddenly – it all falls into place and they play three absolute blinders, with perfect vocals, amazing solos, and precision chops – brilliant!  talk about erratic though…I actually think that speaks more about todd himself, because he is a bit of an erratic genius, he’s either great, or he is messing up in grand style – gotta love the todd.

a fairly unremarkable pop song might, for example, on the show I am listening to right now, “oops! wrong planet tour” might suddenly come alive because, for this one moment, everything is working: todd’s guitar is in tune, his voice is in perfect condition and he hits all the high notes, the whole band is in tune and in time, everyone is singing at their very best – and then you hear it, the best-ever live version of “love of the common man” you ever heard or dreamed of – far exceeding the original studio version from “faithful” – pop beatlesque perfection.  I’ve heard this song live a million times, but this version – it’s the way it should be.  the vocal harmonies are astonishing for live!  and yet on other tracks from this same show – everything goes wrong!

before I forget to mention, another talent that the remarkable roger powell has, is he is really quite a good trumpeter – this was first apparent on “another live” (1975) – the first utopia album roger appeared on – where his trumpet parts are integral to the success of the lead-off track “another life” – a really brilliant addition to the synthesizers, including an actual trumpet into the very synth-heavy utopia line up (at the time, they had either two or three keyboard players at once!) was a really good idea, and roger excelled at it (whereas todd on sax didn’t quite convince me!) – roger nails it.

later on, on tracks like “abandon city” (another one on the live show I am listening to right now), roger was given a really significant trumpet part, and again, really, really adds a lot to what might have been just another ordinary track from “oops! wrong planet”; roger’s jazzy, tasteful trumpet chops are most excellent.

I can’t say I’ve ever seen rick wakeman or keith emerson or really…any of the more famous prog keyboardist whipping out a trumpet and taking an awesome solo during a live concert!  one keyboard player who does, does spring to mind – edgar winter, who played sax live I believe as well as synth – but he is another unknown great.  there may be a few, but I really respect a guy who can be so good on keys, who can then effortlessly switch to trumpet and play with just as much quality and dedication.

sometimes I feel as if certain players overly dominate the field, while some that are equal or even, dare I say it, better – unfortunately, comparatively – they languish on the side lines or are (criminally) less-recognised:

edgar winter (an amazing talent)

kerry minnear of gentle giant (give me minnear over wakeman any day – sorry rick!) – plays every keyboard imaginable, plays cello, sings beautifully, writes…this man is a genius (another one who plays a non-keyboard instrument)

moogy klingman (of earlier utopia – 1974 version) – brilliant pianist – a prog pianist

larry fast (nektar, synergy, peter gabriel band)

eddie rayner (split enz, crowded house) – especially early split enz (1975-1980)

thiis van leer (focus) – also an amazing flautist, so there is another beside winter and powell

hugh banton (van der graaf generator) – originally a church organist, hugh plays with both hands and both feet

(an amazing thing to see in live performance, and for my money, a far better player than emerson or wakeman – but, because van der graaf didn’t have the high profile that yes and elp did, many don’t realise just how amazing banton is – if peter hammill is the soul of van der graaf, and guy evans is it’s beating heart, then hugh banton is the band’s brain – a mind of musical mayhem and intense, great beauty…)

and of course, our roger “the pal” powell.

don’t get me wrong, I am not saying that yes and elp are not good, sure, I love the music of rick wakeman or keith emerson as much as any true blue progger (but, less so over time), but I think they get all of the attention, while some of the lesser-known players are actually – more interesting, more skilful, more unique – more musically…interesting – but no one gives them a chance, because they have put emerson and wakeman on endless repeat in their brain – please give some of these other very, very talented players a chance – if you love synthesizer or keyboards – I mean, just listen to octopus by gentle giant and then tell me how good rick wakeman really is. (good, but not as creative/interesting/capable as the genius mind of kerry minnear).

just to be clear, I get it, I know how brilliant rick wakeman is on something like “south side of the sky” – I love that, especially the live versions up on youtube – but I just think that the focus needs to shift, and if you really love the music of rick wakeman, then you owe it to yourself to check out the music of winter, minnear, klingman, fast, rayner, van leer and banton !  seven amazing players – I promise you!

roger must have had one hell of a busy life, because during his entire career, he only found time to make three solo records – but what records they are – if you are a serious student of synthesis, or a lover of progressive music – or both – these records might be something you would want to check out.

powell’s first solo record is a period masterpiece: “cosmic furnace”, from 1973, is absolutely spot-on, it has serious titles, serious musical themes, and is using the available technology to it’s utmost.  when I listen to this record, I recognise that it cannot have been easy to make, synths being very unruly beasts back then, but there is no hint of struggle, and powell effortlessly layers his synths to great effect on this record.

the playing – well, it’s sort of techno-proto-utopian, it seems somewhat familiar, but I consider it to be more akin to the mothers of invention at their creative best, than related to the work powell was doing at the time with utopia.  it’s too complex, too serious – for utopia, and I’m glad that powell chose to sit down and make his first serious keyboard solo record at this point in his career, it’s confident, assured, and will sit well with your gentle giant, mothers, zappa, elp and yes – and of course, utopia cds.

we had to wait a long, long time – seven years – for the next roger powell record, made in 1980, “air pocket” is a giant leap forward, a snapshot of the state of the art of synthesis as the seventies came to a close – just before the advent of cheap synthesizers brought us into the musical debacle that was the 1980s – ugh.  When synthesizers passed from the hands of musicians, into the hands of bands.  I’ve written elsewhere about this subject, but powell’s farewell to the seventies stands up really, really well even today, and of his three albums, “air pocket” might be my personal favourite.  it does contain the original studio versions of a couple of tracks that utopia used to play on stage, namely the remarkable and powerful “emergency splashdown” as well as the less known “landmark”.

this record is far more accessible and slightly less musically serious than “cosmic furnace” was, but it’s still an amazing demonstration of skill and sensitivity.  a lot of synthesists struggle to make synthesizers seem human, but powell is better than most at humanising the instrument – I don’t know how he does it, or why I feel that way, but his sounds, his timbres, his tones – even his melodies – connect better with me than someone like emerson – who is more about skill than emotion, while powell, I feel has a better balance of skill and emotion.

the amazing, powerful synth solos that echo powell’s impassioned vocal performance on the studio version of “emergency splashdown” are just amazing, I would rate this album a ten for this track alone – nasty, snarling, visceral lead synthesizer as you want it to be – dirty, wild, spinning, with pitch bend and modulation going mad throughout – and such a brilliant variety of synth voices used in harmony, along with the main melodic synth themes – the solos, arpeggiators, and harmonies all work together as a monstrous orchestra of synthesizers, proving in this track, that you really, really don’t need guitars – it can all be done from the keyboard – if your name is roger powell.  this track is really so, so powerful – and it was equally remarkable in concert, where roger reproduced most of what is on the studio track in the live setting with ease – and doing it all from the portable “powell probe” controller whilst roaming the stage as if it were his own.

“air pocket” also features the original version of another utopia stage staple, the remarkable pop masterpiece “windows” – and you really need to hear this in both it’s studio incarnation and performed live with utopia – beautiful sweeping arpeggiators shimmy about in stereo over the main chordal theme, a really, really catchy pop song that is really all about synthesizers, the central solo is full of reverse and other ethereal, beautiful sounds – a brief glimpse of heaven before we return to that ridiculously catchy chorus – and it’s one of those songs that once you hear it, you just can’t get it out of your head – “you feel yourself, becoming someone else…” – a great pop song, and it proves that powell could have been very popular indeed if he had pursued this line of more pop-oriented material.

it’s actually damnably difficult to make a synthesizer “sing”, to make it sound warm and human, but through some curious bending and oddly-chosen moments of modulation; through his selection of voices, somehow, roger manages this nearly impossible feat.

the title track from the “air pocket” record is a case in point, it’s actually quite reminiscent of a bill nelson synth-driven piece from this same period, with a really emotive, almost oriental sounding lead synthesizer sound, used as the main repeating, melodic theme of the piece – which really creates the most extraordinary mood against an almost funky bill nelsonesque synth bass and snare drum riff – and then, when it gets to the first solo, roger uses a subtly different sound, to differentiate the central section of the piece – and eventually returns to the emotive oriental melody to round the piece out – it’s simple, it’s clean – it’s brilliant!

an even better surprise on this record is the inclusion of a “studio version” of the utopia live classic “mr. triscuits” (which utopia recorded live, but never performed in the studio) so powell makes up for that omission with “dragons’n’griffins/mr. triscuits” – and the glorious melodic themes of this prog masterpiece are reinvented in a most amazing way in this studio tribute.

to round out an all around remarkable record, “air pocket” concludes with powell’s amazing synth version of the all guitars classic “pipeline”, entitled “pipeline 76” so I assume recorded in that year – almost as if to prove a point – these new-fangled synth-o-sizers can do anything a gee-tar can do – and in powell’s capable hands, that actually becomes a truth.  the sounds might not be guitar sounds, but they work – they tell the story of “pipeline” just as well as the guitarists do, including some fabulous distorted “guitar solos” that are just brutal in their intensity – great stuff!

give me these three records over a dozen wakeman solo records anyway – there is nothing here that isn’t visceral, real and honest – I really like these three records a lot!

if we thought we waited a long time for “air pocket”, roger’s other commitments over time meant that his third and most current solo record, “fossil poets” was really a long, long, long time coming – it was originally released in 2006 – and perhaps, that 26 year gap between records was a time to consolidate everything roger had learned and experienced, and then, he finally sat down to make another record.

and it’s a lovely disc, once again, completely different from the other two, and with twenty-six years of progress in the field of synthesis, the voices and sounds that are now available to powell to express himself on this record are mind-boggling; he chooses wisely, and it’s another successful, rounded record – I think in this case, less is definitely more – OK, if I really want to hear roger soloing his heart out, I will find some vintage live utopia from 1976 or 1977, or I will put on one of the official utopia records – but when I want serious, intricate, thoughtful synthesizer music – it would be to these three records that I will always turn.

“fossil poets” is a grower, it’s much more about subtlety, texture – this is a such a different sounding record from either of his two previous solo albums or the utopia catalogue – it sits almost in a unique and unusual sonic world of it’s very own.  I love it, there are some bizarre and wonderful synth tones that you do not hear every day, and they are used in challenging and interesting ways – the weird intro to “fallout shelter” being one example, a nervous, shifting rhythm with a wonderful, tactile solo raging over the top of it, bending and stretching through impossible frequencies…as bill nelson says “the frequencies…shift”.

it’s absolutely fascinating too, to compare the aural experience of these three albums, each, as it were, representing an “era” of synthesizer development: 1973, the tones are more basic, the classic sine, saw, square, triangle waves all have their part to play lfos other modulation are definitely from a more limited palette than on the later records – although, given the primitive state of synthesizers in 1973 (compared to 2006 or even 1980) powell really does coax a lot of fairly subtle and advanced tones from his 1973 machines – it’s brilliant.

come 1980, and the entire vocabulary has shifted, arpeggiators are to the fore, we have some early beginnings in terms of more subtle sonic textures, even ambience, although not to the extent that ambience plays a part in the 2006 offering.  “air pocket” is like a mid-term exam, technology had come a long, long way since 1973, and roger takes full advantage of the new tools available to him in 1980 – he has the answers to the exam, and he passes with flying colours – every track on air pocket oozes confidence and quality.

finally though, we reach “fossil poets”, a modern-day record made with the latest hardware and software synthesizers.  tasteful use of real basses and guitars flesh out what is still, mostly, a keyboard extravaganza, and in the background, there appear everything from synth basses to fender rhodes (or similar) to clavinets (or similar) – or, a sudden hammond organ style solo will appear from nowhere – and curiously, quite often, the voices seem to have been run through a wah pedal or filter – which just goes to show you, technology does not have to be new and fancy to work – the wah-wah was the world’s first portable filter – and synth filters work in a very similar way indeed.

synthetic percussion is present too, and in this percussion, we can hear the progress – similar percussive sounds on “cosmic furnace” sound cheap and simplistic, here, they are fully evolved, they sound like drums, but, synthesized drums – they way they should sound, tasteful sounds that accurately emulate real drums.

the biggest difference though, for “fossil poets” are pads, sounds that “wash” over you, beautiful, ambient chords and drones – all of the ambient sounds and moods, that are completely absent from “cosmic furnace” and only partially in place by the time of “air pocket” – are fully realised here, so from a standpoint of mood, emotion, texture, and beauty – “fossil poets” probably “wins” hands down.

I love the fact that powell uses rhodes-like and hammond-like sounds on this record – why mess with what works? – he could invent or develop really weird synth or piano sounds, but he has the wisdom to not mess with perfection – so the rhodes, hammond, string and even percussion voices, sound good – because he hasn’t messed with the formula that says “use a rhodes sound, and your track will sound good”.

another favourite track of mine on this particular record is “underwater city” – which somehow, sounds exactly like it’s title – it starts out with subtle, ambient keyboards stalking you in stereo, then, ominous guitars layer on top of really ominous synth bass as the song develops – a muffled, strangled bassy drum beat accompanies the lead guitar, while roger plays odd sound effects and wonderfully textured synth accompaniment in the background.  then the song takes some odd turns, some beautiful short chord progressions, and it enters a wonderful, dreamlike state that would simply have not have been possible on “cosmic furnace”.  it’s like bluesy delayed guitar on top of space age ambience – a lovely combination. the use of stereo in this track is phenomenal, and the synth effects and one-off sounds are absolutely fantastic – I love it.

“tribe by fire” really throws in a complete kitchen sink of synthetic sound, there is so much going on, so much texture, so many melodies, so much wonderful ambience – sudden ethnic synth squeals – then peaceful, beautiful electric piano – slithering, snake-like synth leads – then, suddenly, the sound goes dry, and odd flute-like events and percussion take over – it’s as if the track is mutating from one song into another – but, every 17 seconds or so.  I really like this one, too…

“peaceful uprising” is a real centrepiece of this record, with it’s insistent beat, and wonderful layering of synths over a very beautiful ascending, positive sounding chord progression – synth leads harmonise with lead guitars over a vaguely arabic-feel backing – I really, really love this piece, it’s so intricate, so carefully arranged, and it’s all about harmony and texture; texture and harmony – the rhythm stops occasionally and the piece goes very ethnic, little islands of quiet before that insistent rhythm picks up again, driving the song onwards and upwards, it’s absolutely fantastic!

it’s strange too, how your own tastes change – originally, my favourite synthesizer record was undoubtedly “the six wives of henry viii” by rick wakeman; and I still do love that record, but I don’t tend to actually listen to it – whereas, I still find myself putting on the three powell albums quite frequently – often, I just select “play all” and listen to the whole suite – and when you do that, it really hits you what this man can do, what he has accomplished – the brilliant, atmospheric opening to “lunar plexus”, the lead-off track of air pocket, just sounds to me like science fiction/future synth music, I just love it (“air pocket” was the first powell record I owned, cosmic furnace was very difficult to find for a long, long time) but if you play the three back to back – the range, the diversity, the amazing sounds, sequences, arpeggiations – the amazing solos – the quiet piano breaks…the quiet, determined intelligence behind these records speaks volumes – this is how synthesizer music should be!

“cosmic furnace” is entirely instrumental; while “air pocket” sports a few very excellent roger powell vocals, with a return to the instrumental approach for “fossil poets” – and I actually really like roger’s voice, it’s underrated, I’ve seen and heard him sing at a number of utopia concerts, and he turned in some amazing live performances – especially on his own tracks, such as the live versions of “emergency splashdown” or one of his showcase pieces, “caravan” where he trades synth leads with rundgren’s guitar leads to great effect, all the while singing the lead vocal of the piece, to his remarkable “solo section” in the lengthy and complex “singring and the glass guitar” taken from 1977’s “ra” album by utopia – roger on stage was a revelation; even better than in the studio, and the range of expression he wrenches from his keyboards is one of the most significant – sure, wakeman gets a lot of great sounds, but somehow, with powell, it seems more personal, more indicative of his personality and style – wakeman is saying “I can make all these sounds” while powell is saying “these sounds represent how I feel” – and therein lay the difference.

the main difference in the 2006 offering though is probably the presence of real texture and real ambience – those things were harder to achieve earlier on in the development of synthesizers, but none of it is a problem for roger powell – the great unknown contender to the possibly unwanted throne of “prog synth wizard” – I think, if people listened to “another live”, “ra”, “oops, wrong planet” and “adventures in utopia” – along with these three records – they would be blown away by this quiet scientist of synthesis, the amazing roger powell.

I cannot recommend his music more highly to you if you enjoy the sounds made with synthesizers.

what we’re listening to

todd rundgren & the metropole orchestra – live in amsterdam

 

a good friend and fellow todd/utopia fan sent me this show, and I have to say, I went in with medium to low expectations, and came out very, very pleasantly surprised.  todd’s live performance history is plagued with problems – under-rehearsed bands, a tired broken voice that he hasn’t taken good care of – except sometimes – a lot of missed notes, forgotten guitar solos, you name it, todd has suffered it – yet, he still persists.  he’s got that – he keeps on playing and singing, and for a man approaching retirement age, shall we say, he really sounds very, very good on this fine recording.

 

ok, there are a couple moments where his voice cracks, but that’s just his age, and maybe not taking as good a care as he should have of his voice.  but that almost makes it better, because if it was perfect, it would be boring – so having his voice break a little during a very rare and precious take of an early classic todd ballad, “wailing wall” – well, it’s purely beautiful.

 

the first part of the show actually really rocks, and he plays a fair bit of very good and very accurate guitar in there.  I do find myself enjoying the songs that I am not as familiar with, in particular I quite like ”property” (from “no world order” – an album I am not wild about) and “mammon” (from “liars” another album I am not wild about!), and even songs that I don’t like as much, like “fascist christ” or “the smell of money” hold up quite well, because – well, the orchestra is frickin’ brilliant. arrangements, performance, sense of humour – they have it all.

 

the arrangements really are pure class, they ooze class, but at the same time, the band rocks.  it actually makes sense to orchestrate these songs now, todd is not a kid anymore, his songs are nearly as old as he is, so it is time to start taking them a little more seriously.  even the concert-worn minor hit “can we still be friends” benefits hugely from the orchestration (including the strange, beautiful ambient horn arrangement at the end – wow) – it’s awesome, and I really don’t care that much for that song – but hearing all these songs with “grown up” arrangements – it makes you realise overall, just how good a songwriter todd is.

 

the show is also a really great overview of a long, brilliant and erratic career – and a career I’ve enjoyed greatly.  sure, todd has his share of failures – particularly on stage – but when todd is good, he is good. and this show is one of those cases, where everything goes right (for a change) – well, not quite everything, he’s laughing so hard at the orchestra during “onomatopoeia” that he fluffs the words completely, in both takes – but it’s such an amazing performance by the metropole, that you don’t really notice – because they are on fire.  they play the song once, then, they play it again – but faster, the second time – and it’s mind-bendingly fast – a stunning performance, and like “wailing wall”, I think this might be the first time “onomatopoeia” has ever been performed live – so right there, that puts this show into a special class.

 

for me, in particular, having the deadly serious and incredibly beautiful arrangement of “wailing wall” –hearing this song live, at long last – well, it’s the high point of the show in my opinion, but only because I have a long relationship with this song – it’s one I learned and played on the piano at the time, and always loved to sing, so to finally hear todd himself have a go at it, it’s just fantastic.

of course, the obligatory “big hits” are all present, “hello it’s me”, “i saw the light”, but, a bit more unusually, also “we gotta get you a woman” arguably one of todd’s best early pop songs – and again, all three of these, which at a normal todd concert, for the first two, you would sort of go “oh no, not this again…” – you don’t feel that way at all, in fact, having the orchestra present on these songs turns them from ordinary to extraordinary.

 

I don’t know who arranged the orchestra parts, but whoever it was, it’s pure genius…lots of unexpected solos, odd instrument choices, but at the same time, string arrangements that bring instant goose bumps, because they are so perfect, and so, so beautiful.  when the strings enter in “wailing wall”…you can hear exactly what I am talking about.  shivers.

 

i think that todd must have been really awed and touched by the level of detail (for example, the sound effects in “onomatopoeia”) within the orchestrations, and the way the arrangements really highlight the quality of the song writing.  sometimes unexpected things happen, you get horns where you’d think “strings” but that just keeps me engaged, surprised…you never know what is coming next!  unfortunately, he enjoyed the orchestra’s onomatopoeic sounds so much that he ends up laughing at them throughout the entire take (and it really is funny!) as he tries to sing, and during the extra fast tempo version as well, but it’s enormous fun anyway.

 

todd has embarked on a huge number of projects in the last few years, from reliving his past as a blues guitarist to projects like this one, and as always, he’s had varying success depending on how well rehearsed the band his, how well he has re-learned his guitar parts, or how well he’s currently taking care of his voice.

 

I sometimes get very frustrated with todd, because he is capable of so, so much, and yet, he’s had a lot of trouble on stage, with potentially brilliant  shows (such as the recent performances of “todd” and “healing” in their entirety, or the utopia mark ii reunion shows) marred by so much going wrong…which is such a shame, it really is.  but none of that nonsense this time, they get it right, and besides a few problems with the words on one or two tracks, it’s a pretty flawless and frankly remarkably good performance from the erratic but brilliant rundgren.

 

I should note, that if you are not familiar with todd’s work, that during the late 60s and early 70s, he produced some absolutely amazing records which if you haven’t heard, you owe it to yourself to give it a chance – to hear some of the best prog around – 1974’s “todd rundgren’s utopia”, 1975’s “another live”, or 1977’s “ra” for three – as well as a lot of very interesting pop/prog/bizarre records like 1974’s “todd” or 1973’s “a wizard, a true star”.  don’t let “hello it’s me”, “I saw the light” and ” can we still be friends” fool you – this man rocks, and his guitar playing, well, there are very few american guitarists that I feel are actually better.  only frank zappa springs to mind – todd at his best can scorch anything from nasty blues to 30 minutes of complex prog – no problem!

if you like pop – well, to me, todd makes the best pop records around – from his early nazz recordings (although the nazz also ranged from very, very pop to really, really heavy – a strange dichotomy), onto amazing, ground-breaking pop solo masterpieces like 1972’s “something/anything” (where todd plays all the instruments, as he often does on records – where do you think I get the idea that I can play everything on dave stafford records?) or even the more relatively-unknown records from the later versions of his band utopia – who could switch between prog and pop and rock without batting an eye – todd’s recorded career is full of a lot of really, really amazing music.

 

 

four out of five stars then, for this most satisfying live recording 🙂

 

thanks mr. p !!

 

 

what we’re listening to – roxy rule, ok?

well, it finally happened, because I’ve been going through many, many cassettes of early works for the dave stafford / pureambient blog audio companion page, my curiosity got the better of me, and I had a quick look into the “other” box of tapes – the one with the live concerts in it – and lots of other music as well – in it.

in particular, I was looking for (and found) a live recording called “foolproof” by roxy music – which is the first roxy music I ever heard, and it made a huge impression on me – at first, I didn’t even know or realise why I liked it so much (because a man with amazing chops had just joined the band, straight from his stint with king crimson, adding john wetton to roxy was an absolutely inspired move – incredible) but later I realised, it’s because wetton is the bass player, and that makes the whole band try harder. the presence of eddie jobson certainly helped, too, and the whole band really rose to the occasion – and the music, for that brief period, was truly remarkable.

roxy live was always a mixed bag, but this concert stood out in my mind as being more together, more like what the band was truly capable of, than other live performances I’ve heard.  and for me, there are some great moments too, for wetton – quietly singing harmony to bryan ferry’s a cappella end piece of “mother of pearl” – but best of all, in “re-make/re-model” – when it comes to wetton’s turn to take a brief solo – the monstrous, distorted, sliding, slamming piece of fuzz bass he chooses to play, is so extraordinary it puts all the other solos to shame – it’s fantastic – it rocks!

so I took the time last sunday to digitise the concert – and, at the same time, sadly, I learned that it’s not one concert – it’s two, and, it is (of course!) cut into pieces – so two tracks from a 1975 new york show, then three from newcastle, uk, the previous year, then back to two more from the 75 new york, then the balance from newcastle.

so even though the “concert” is contrived, it’s still a great representative showing of just how good roxy could be when they tried hard. in particular, the four tracks from new york 1975 really shine (now that I understand what and where they are) but all of it is fantastic – the other concert that was used, the newcastle show, is the source show for their official live album “viva” – so you can extrapolate from that that the band thought that shows from this era were good, too.  🙂

there are also some rarer live tracks here, that you don’t hear in every roxy live show, such as “she sells” – and one of my personal favourites, from the “siren” album – “whirlwind”, where phil manzanera pulls off a tour de force performance, in fact, phil is on fire through out this tape, and occasionally, the precision and power of some of his riffs makes you really sit up and take notice – “wow, I didn’t realise he was that good”.  but he is, and I think having wetton there was a kick in the pants for phil in particular (they seemed to strike up a great and lasting friendship after that in any case) and for the  other existing band members.

the bass player “seat” in roxy had been a revolving-door gig from the very beginning, but now, the current occupant of the hot seat, by sheer chance, happened to be a world-class bassist at the height of his performing powers (don’t forget, he’d just left the most successful and amazing king crimson lineup of its time – where playing with fripp for two years had honed his bass playing skills to incredible heights of capability) so suddenly, the bass parts in roxy music songs – began to matter!  you could hear them, and they made a difference to the songs.

this concert then to me, is sort of like roxy music’s version of “the move live at the fillmore east 1969” – a concert that vindicates them, that dispels any feeling that sometimes, live, they maybe weren’t all that together – and it shows us a sort of “dream” live roxy that really did exist for a few months anyway.  I love it, and hearing this again – well, I had it on vinyl originally, so this cassette was a master cassette recorded from the vinyl – but amazingly, given that it’s not the original vinyl, but a copy of it – the digital version came out very, very well – all it needed was a little bit of a level boost, and one very carefully done bass boost – and that was it, I didn’t want to change it’s sound too much.  remarkably, there is no evidence to my ears anyway, of the vinyl lineage – no snap, crackle or pop – but that may be because there are really no quiet moments – the audiences are loud and enthusiastic, the band, loud and on fire!

starting out with “love is the drug”, it moves through a strange selection and mixture of “new” songs from “siren”, including unlikely deep album tracks such as “whirlwind”, as well as a few big hits – “editions of you”, “do the strand”, and “re-make/re-model” among them – so really, something for everyone. 🙂

hearing this again, after so, so many years of not hearing it – it was like having an old friend back that you hadn’t seen for 30 years – a really wonderful experience, and, even live – roxy do rule – ok?

the way we listen

over on the pureambient music group on facebook, we’ve been talking about the different ways that different people perceive a piece of music.  (by the way, please feel free to drop by and join in the conversation – everyone is welcome!). obviously, every single human being “hears” a particular song in a “different way” – but to me, it’s fascinating to try and understand what those “different ways” are, and if I am hearing a song in a particular way, can I break that pattern and “hear” it in a completely different “way”?

I don’t know, I think I can.  when I actually think about it, the way I listen to most music is strangely analytical.  instead of hearing it as a “whole composition”, I usually break it down mentally into it’s component parts.  so if I were listening to king crimson, circa 1974, I would think, when I hear the electric piano playing a distorted power chord during a live performance, “oh, that’s david cross” and I would be, momentarily, focussed on what david is doing in the piece in question.

invariably, a moment later, john wetton would pull off some amazing, sinuous, powerful bass run – and then, I am just hearing john, really – sure, I can still hear bill’s snare drum popping on the 3, or whatever it is he’s up to, but during this section of the song – it’s all about what john is doing.  and probably, I am at least mentally, if not physically, playing air bass along, trying to figure out what notes are in that incredible bass run – and probably failing 🙂

so I might listen to that song, and be in “wetton” mode, and pretty much pay attention to the bass, the bass, and … the bass.  on another day though, it might be all about what fripp is doing on the song – maybe he’s done something unusual, played a part in an odd way (compared to the studio version) or he might do some tapping (he does this more often than you would think) or some kind of impossible slide/hammer/whip round that I cannot get my head around…so that same song, is now heard in a totally fripp-centric way.

or – on yet another day, I might be in “bruford” mode, and while I can hear the rest of the band, I am listening to that tightly tuned snare pop, I am waiting to guess where the downbeat will fall in this particular measure (hint: not where you think it will!) and I am hearing the track “drum-centric”.

and – a normal person (i.e., not a musician!) would listen to this same song, and hear…a band playing, a song, not the individual parts, just the entire composition, as a holistic and organic whole.  after years of analysing songs, of focussing sharply on one player’s part, it’s become very, very difficult for me to just “hear a song” or “hear a band” as a whole entity, I have to really work at it to not focus on one element, and, it gets more difficult every year.

so for example, if I want to hear king crimson live from1974, let’s say I decide to put on “usa” – I know what will happen, I will be irresistibly drawn to “asbury park” immediately, because the drums in asbury park – well, if you like crimson, you already know about this drum part – it’s all about bill, and i’d say that when I listen to that song, it’s initially to hear what bill does.  that is…until wetton and fripp enter the fray.  then – my attention shifts – bill is still there – but now, john and robert are there too, and it’s hard to say which one of the three is the most amazing – not to downplay david’s role in the song, I actually love what david does on the piano here, but the problem is – john and robert are so fracking amazing on this song.  so I am torn – who do I listen to? who do I focus on?  that razor sharp guitar, that is suddenly blazing out 128th notes that are so brittle and sharp and they just fly atop that thunderous, murderously powerful bass line – to me, asbury park may be the single most powerful live performance by these four men that there is – although i’d have to think about that – I can’t immediately think of any other that blows me away quite like this one – especially in the first two or three minutes of the song – the power and the glory, wetton and fripp – and, underpinned by a snare drum that is snapping so hard it sounds like the drum head is in imminent danger of being split into a thousand fragments with each driving, smacking sound…

so some songs defeat my ability to focus on one element, and asbury park is one of those – maybe then, I am listening to that song in an almost normal way – almost as a whole – but not quite, because while I may not be focussing on a single element throughout the piece, I am probably shifting back and forth between the main players, maybe even every few seconds! maybe that says that I have a problem with my attention, I don’t know – either I am great at dividing my attention between various elements, or, I am unable to focus and keep attention on one attribute – fantastic !! 🙂

seriously though, I do find it interesting, the way people “hear” music, and as we were saying over on the pureambient music group on facebook, different people hear different influences in your own music, and that can be very revealing – when I get input from people, and they say “this reminds me of…bill nelson’s ambient work, “crimsworth”” or “this song reminds me of eno” then that interests me, I want to understand what it is about that song that brings that reaction – so I then go back and listen again as “see”, or “hear” rather, if I can “hear” what they are talking about.  it’s very strange that other people can hear the influence of artists that you admire in your work that you were not conscious of.  that always gets me, because when I listen again, I have that eureka moment, “oh…i see – yes, that bit does sound like eno, it really does” – which I might never have been aware of had someone not pointed it out.

that’s actually very valuable to me, for one thing, I don’t ever really want to plagiarise or create works that are too derivative, that sound “too much” like artist a or b.  that’s a tall order, because there are only so many chord progressions, so many melodies, so many harmonies, available – they’ve almost all been tried, performed or recorded over the centuries – so it’s really more down to other factors – performance, tones, ambience – that help make even an ordinary chord progression work well and sound unique to you.

tone and atmosphere are extremely important to me in the writing process – a piano, with no effects on it, is one thing, but a piano in a subtle, beautiful reverberant room – suddenly, the sound of the instrument starts to influence the song, and the notes, the chord progressions, the music itself become less important, and the atmosphere, which alters the standard tone of the instrument, and the timbre / atmosphere combination, create a mood that is somehow beyond the actual tune itself. the problem that this creates though is that I tend to want to hear that atmosphere or tone or timbre while I am recording – which is at odds to the accepted practice of recording “dry” and adding all effects post-production – oh well – sometimes, to get a particular result, you have to ignore what is “right” and go with what sounds right…

there are ways around this, and I am able now to record dry and play back with atmosphere added so it’s not so much of an issue now, but it used to be that I would just put the effect on while I was recording – because I couldn’t really play the piece “dry” – particularly, let’s say, if it was a loop recording of energy bow guitars – because the reverb or echo or phase shifting or chorus or flanger or delay was integral to the composition – and there are still times when I record guitar that is heavily effected – because I simply can’t play the piece live and then “add the effect later” – I just can’t play it without hearing the effect already there!

I am learning to, but sometimes…I might just do it “wrong” to make it “right” 🙂