It was 45 years ago today…

DECADE BY DECADE – THE LIVE CONCERT EXPERIENCE / OVERVIEW

EPISODE 1:  The 1970s

 

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

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

Sports Arena

San Diego Sports Arena

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

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

Sports Arena - Seating Chart

San Diego Sports Arena – Seating Chart

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

 

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

 

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

 

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

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

 

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

 

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

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

 

Led Zeppelin IV-Album Cover

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

 

 

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

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

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

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

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

This includes bands or artists such as:

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

Building Up The List Of Concerts Attended

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

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

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

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

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

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

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

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

 

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

JohnWetton

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

 

 

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

 

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

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

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

 

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

 

 

 

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

 

 

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

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

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

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

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

 

The Journey Continues…

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

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

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

 

Diversity In 70s Rock:

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

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

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

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

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

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

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

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

Heavy Rock (Zeppelin)

White Soul (Scaggs) / Southern Rock (Allmans)

Progressive Rock (Yes)

Intelligent Pop (Steely Dan)

Classic Rock (George Harrison)

Progressive Rock / Unusual (Genesis with Peter Gabriel)

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

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

 

Awesome Guitarists – one motivator for attending so many concerts

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

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

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

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

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

 

Forward…into the future!

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

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

Until next time then –

 

 

Dave Stafford

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

 

 

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

The Dreaded 80s – Not as bad as we remember

 

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

Concert Ticket Stubs – 1970s

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Advertisements

Studio Diary – September 17, 2016

Aka   Eventide Heaven for ambient guitarists…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The resulting eight tracks are:

building the obelisk

all good children go to heaven

beautiful metallic noise

the occasional chord (to remind us)

it’s echo soup in here

the heavens unfold

since the dawn of time

reaching catharsis (bridge)

A possible ninth track may be uploaded:

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

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

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

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

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

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

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

The resulting six tracks are:

exogenesis

exoskeletal

exospheric

exothermal

exocyclic

exonumia

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

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

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

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

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

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

love peace and order

🙂  dave

studio diary 20150315 – or, that was then…this is NOW

today I had the uncanny realisation, that I am about to embark on the creation of my 18th “eternal album”, which is a large series of recent recordings featuring mainly apple iPad music applications, along with the odd PC music program or “generic eternals” such as the “classical” album.

that in itself is no more significant than the fact that I launched the 17th one today, “music for apps: thesys – an eternal album” and while this album focusses on the fantastic “thesys” application from sugar bytes,  I am already planning the next (which is set to feature the absolutely remarkable app “SECTOR” from Kymatica – which involves one of my favourite developers, Jonatan Liljedahl – inventor of audioshare, and the AUFX series of awesome effects apps).

I did some pre-planning last night, and I could see that I had sufficient material for at least two new albums in the series almost immediately – and I’ve been a bit remiss this year, waiting until March to release the first eternal album of the year – of 2015 – but – hey, I’ve been busy. 🙂

 

what is significant about the fact that I am about to release my 18th album in the “music for…” or “eternal album series”, is this:

prior to the world of ios applications, I used to make “normal” albums ( from the mid 1980s till about 2011, when I got my first ipad…)  – so, you would record music, work on songs, mix and master those songs, and after x amount of time, usually, months, sometimes, years, you would release another finished album of music.  that’s how it always worked – until ios applications came along.  so the compile, wait, compile, wait, compile, wait some more, way of making albums, gradually gave way to a new way – a single album, dedicated to one instrument, app, software or even genre, where there is no limit on tracks, and I basically just keep adding tracks to each one of these “eternal albums” –  forever. so in 20 years’ time – I could have a very, very large number of tracks up there 🙂 on a broad variety of topic-based albums.

so – in the period between 1992, which is the year that my first album proper came out (“voices from the desert”) and 2012, which is the year my “last” “normal album”, “gone native”, came out – so, in 20 years, give or take – I had released 18 “normal albums” during this time – or, I should say, 18 normal “dave stafford” albums – I am not counting bands or collaborations here. that would have probably put the total count for the 1992 -2012 period to “over 30” – but I am focussing solely on my “solo” albums now.

however, more recently, and, overlapping the end of that period slightly, I realised tonight that as I am planning my 18th eternal album album right now, that this means, that I have done exactly the same number of applications-based, or pc-based / generic, albums in the “music for…” series, in just over three years, that it took me to make 18 “normal albums” in !!

 

that is – remarkable.  and difficult to believe, too.

but – it’s real.  I started out working with apps in about December, 2011, and of course, have worked with them ever since (in some ways, it feels like I am just getting started!!) so that means through 2012, 13 and 14 – and here we are, now, in March 2015 – so actually, approaching 3 and 1/2 years in total.

twenty years – to make 18 Dave Stafford albums in the traditional way.  Then, a mere three and a half years, to make the NEXT 18 Dave Stafford albums – in the “eternal album” way.

 

that is simply – astonishing.  oh, how I wish I had thought of the “eternal album” concept back in the late 80s, when I started recording in earnest, as an adult, and as a looper.  just imagine the one, massive “music for loopers” album I would have compiled by now – featuring 246 looped or live improvs played with guitar, ebow and looper, over twenty years.  and, another similar one for rock and prog works…and so on.

instead, I worked the way we all worked, we would not release anything until we had the whole album, built painstakingly one track at a time – “in the can” – even if that took three or four YEARS !  You just kept going, until you had “enough” songs, to make a decent length record, or, until you had the right songs for the album concept you had. it was quite a realisation, though, that, thanks to the “eternal album” concept, and thanks to advances in recording techniques and processes (no more tape recorders for me!) that I was able to mirror my first 20 years’ output, in just 3.5 years, using these new tools to my distinct advantage.

I would stress, too, that it’s not just that things took longer back then, or that it’s more time consuming when you are working with tape machines than in a purely digital environment, and so on – it’s also because, the tablet itself, in my case, the apple iPad – has radically, and unalterably, changed the way musicians work.  if you ask me, it’s revolutionised the way we work. everything is designed for speed, and ease of use.  everything can be done quicker, and usually easier, than in a real studio.

so the ipad, the tablet, the way that some of these absolutely, practically magical applications work…that just changed everything – and that is why I was able to produce 18 albums, with probably, more tracks than my previous 18 albums, in such an incredibly short span of time – 3.5 years.  that’s something approaching six full length albums each year – which, back in the day, would have been not only a prohibitive schedule to maintain, but also, a punishing one.  No one would “try” to make six albums in one year – it was unheard of.  OK, maybe two or three albums per year, at a stretch, maybe, in pop’s heyday, or at the beginnings of rock music – but generally, established patterns of record production mixed with touring, were established and pretty much, followed, by all bands and artists.

then, in 1967, the Beatles actually slowed down this process, by taking an unheard-of six months to complete “Sgt. Pepper’s Lonely Hearts Club Band”. and for a while anyway, from then on, bands would compete to see how long it could take them to make one record, in the same way they competed for the “biggest crowd” or the “loudest concert in history” or whatever silly, prideful contests went on during the worst of rock’s excesses – whenever you consider that period to be (1980s, anyone?) 😉

 

of course, you do tend to work more quickly with applications, in most cases.  There are exceptions, and certain pieces just require a little more time.  But nowadays, even if it takes me, say, six weeks to finish a concerto in three long movements – the MOMENT it is finished, I can load it up to the “classical” album to join other tracks in the classical genre.

so the new system is working really, really well – for a number of reasons, and I can’t really get my head around the idea of making 36 Dave Stafford albums across 23 years – with the first 18 taking up the first 20 years, and the second 18 taking up a little more than the remaining three years!!! that is just – really stunning.  something to think about, I suppose.

and of course, at this rate, it won’t be long before the “eternal album” series exceeds the pre-2011 “normal albums” in numbers, and I cannot imagine how many albums, not to mention, how many tracks, these 17 soon to be 18 eternal albums will have at the end of THEIR first 20 years – a staggering amount, even assuming that my output will slow somewhat, as I grow older 🙂

track wise, I am not sure how it rates, I would have to do some manual counting, but I would guess that it’s probably a case where there are nearly as many “eternal album” tracks, or maybe more, than the original 18 albums would bear – because back then, tradition said put 12 or 14 tracks on an album, and of course, I would ignore tradition, I had one double album, “other memory / sand island” that had a whopping 33 tracks; while other “normal albums” maybe only featured seven or eight lengthy pieces – and EPs, of course, which I’ve counted as “albums” – might be as short as four tracks.

so I would bet that the track count of the “eternal album” HAS already exceeded that of the original “normal” albums.

I will actually be able to find out over the coming weeks, I’ve begun work on a thorough updating of the discography on the old pureambient website, I plan to pair it up fully with bandcamp, which has all of the albums, old and new, up there – so I will get full counts as soon as I expand the track details and so on, I will have a more concise resource that I can “count tracks” from much more easily.

however, please do not hold your breath, to include more useful information, I’ve had to alter the format of the discography entries slightly, which means an extensive, laborious re-write – but, I really want to do this, for one reason, so there will be a one-stop resource for information about each of the albums, old or recent, for another because it appeals to my own internal sense of order :-).

I do have an interest in statistical information, I can’t really help it, so things like this fascinate me, but it’s a really interesting comment on the speed of life, too – now, I have tools that I can use, to VERY, VERY quickly, build music of real complexity and beauty, on a tablet device (that’s where the magic comes in, I reckon – anywhere and everywhere, I can work on music – with dozens of amazing, powerful music-making tools – incredible!!!), which I can also use to make high quality art work, and then the music can be uploaded to bandcamp, instead of being made available on media as it used to be – it all happens so incredibly quickly now, it’s no wonder that I was forced to invent the “eternal album”, just to deal with a situation where suddenly, after 20 years of slow and steady music production; the ios music apps suddenly turned me into the most prolific musician on the globe – and I had to do something about it if I was to even be able to process the ios music I was creating!

what I did, of course, is invent the “eternal album”.

it took a while to get it all working, but in a very short time, for example, I was able to upload no less than 61 tracks to the album “music for apps: mixtikl – an eternal album” – and that right there, is the equivalent of five or six normal albums – produced in perhaps, six months at the most – astonishing!  so everything is…very much faster, there are no more endless delays waiting for the drummer to set up, or dealing with instrument problems (although, I do still get those, since I DO still use real instruments, and I do plan on making at least a few more “normal” albums of guitar music over the next few years – so please, watch this space!).

music just took longer back then, you had all hardware devices, so to do looping – you needed a LOT of gear.  And a nice rack mount to put it all in.  with a nice digital reverb in it.

now – all of those rack mount devices, exist not just on your computer, where all your recording takes place, too, but also – on your bloody tablet device as well ! and that is a downright miracle – multi-track studio apps like auria, sophisticated effects units like effectrix and turnado, begin to rival the quality of that expensive hardware that now sits in a corner in the studio, rarely if ever used any more, which is really sad, so I continue to make the time to use both – because as much as I love and fully embrace the music / ios technology – I still have a huge love for real guitars, basses, keyboards and drums – real instruments, recorded the old fashioned way – that still has a lot to be said for it!

 

sure, for playing guitar, I still use a LOT of hardware, especially, “loopers”, but more and more, any processing, any effects – are almost easier to apply using your PC, or even your tablet – which to someone from my generation, who grew up with electric guitars and amps, where basically, it was all about the hardware – hardware was the only option in 1971, when I started playing electric guitar for the second time, in earnest, when I was in my first few “garage bands” – is almost incomprehensible.  yet – it be.  it definitely be !!

I was really quite taken with this revelation, then, about just how much has changed.  but it’s today’s young musician that can benefit the most from all of this amazing technology, bypassing the difficult skills of learning to actually play the guitar, bass, drums or keyboards, but instead, in their bedrooms, using technology – to replicate it – and, much, much faster than we could ever do it back in the 1970s with hardware.

sure, they won’t have some of the hard-won skills that those of us who grew up in my generation will have, but, they will have the advantage of the “quicker, better, faster”, etc. – technology – and I hope we hear some amazing music being created by bands that, for example, have five members who all play the iPad.  how fun would that be!

things have changed, and today’s music making person, has a huge range of devices, software for PCs, and apps for tablets and phones, none of which we had back in 1970.  I think that this unavoidable fact has both positives, and negatives, and I can only hope that the former outweighs the latter – because the danger is, that we get too many folk who have no musical talent, “playing” the iPad, and finding limited success – because of the mediocre skill levels that CAN be used to operate some of the simpler music apps – we will, unavoidably, have an even larger stack of not-so-good “electronic musicians” to wade through than we did five years ago – but, at the same time, there are still a fairly large number of “traditional musicians” around – so, I am hoping for a balance – and I think there is merit to both types of musician – the traditional such as myself, the electronic, and, hybrids – such as, myself again – because I absolutely love playing with ios music applications, very nearly almost as much as I love playing my Gibson SG – so, for me, it’s win, win – and win.

 

have fun – until next time –

 

 

peace and love,

 

dave at pureambient

 

 

 

 

the beatles – in the beginning

I have been remiss.  While I have written at length about so many great bands and artists, and – OK, I have mentioned the Beatles at times, but what an omission – this band dominated my musical world for six years, from the age of 9 through 15, for me, there was only one band, and that was John, Paul, George and Ringo – my beloved Beatles.

So when I had an unusual request arrive in my email inbox the other day: a nice lady in Las Vegas, asking me if I would be interested in writing in my blog, about the Beatles – well, how could I refuse?  In fact, it struck me, why on EARTH have I not dedicated a single blog to the four lads from Liverpool who started it all for me?…(and, for so many others, too!).

Oh my God, I thought, I can’t believe that I’ve done a hundred plus blogs in just over a year’s time, and I’ve never dedicated one to the Fab Four!!!

That is a grievous error on my part, and this kind soul who asked me so innocently if I would write about my favourite group of all time – she will eventually end up with more words than she ever, ever dreamed of.  Just – give me a few years, and I will make this up to you all – and, I will add to her ever-growing collection of Beatle memories (what a job – I’d love to collect Beatle memories as part of my “day job”!).

Strangely, though – Las Vegas has been on my mind of late: because one of my strongest wishes in terms of my ongoing relationship with the Beatles, is to visit Las Vegas for the sole purpose of attending the Cirque du Soleil‘s remarkable Beatles “LOVE” production.  I really, really want to see and hear this musical and visual spectacle (and I absolutely love the innovative “Love” CD that George and Giles Martin worked so incredibly hard on) – it’s a great album, it just is – an uncanny juxtaposition of some of the best songs ever recorded by anyone -the music of the Beatles, totally reinvented for the purpose of supporting the Beatles “LOVE” production.

This also provided us with the first alternative remixes of Beatles tracks from an official Beatles source (most fans were delighted, some cried “blasphemy” – but I am firmly in the former category) – I approve of the alternative approach of these remixes, Giles Martin especially worked very hard to create something really unique and wonderful from there tracks; so, in 2006 – George and Giles Martin  gave the world 80 minutes of new Beatle music – which is simply brilliant.

If you watch the 2008 DVD documentary video about the making of “LOVE”; it looks like it’s going to be an amazing live performance (and we already KNOW the music is good…) – so, hopefully, one day, we’ll travel to Las Vegas and check it out.

But already – I digress.  Back to the business at hand, by all means! 🙂

 

Consider this then, to be the beginning of a series of articles about the Beatles, as a group, and possibly, also as solo artists, although that’s another story – however, I do reserve the right to write at length about my favourite Beatle, George Harrison, at great length; out of sequence; at any time in his life – because George was the quintessential Beatle to me – he had it all, that wry humour, a winning smile, advanced prowess with the lead guitar, the most beautiful slide guitar sound of all time – truly amazing slide guitar sound and technique – George was just an all-around cool guy…may he rest in peace.

However, George will be the subject of a future series of Beatle-related posts, this time, however, I am writing about the Beatles as a group – and I intend to begin at the beginning, and just see where we travel to.  or, possibly, as George said: “arrive without travelling…”.  Sigh.  Note – I only just realised, from reading the wiki entry for the song, that the bansuri (Indian classical flute) player on “The Inner Light”, is none other than the remarkable Hariprasad Chaurasia, one of my favourite Indian musicians – a brilliant player – imagine that, I had no idea!

But now it’s time, finally, to talk about the Beatles .  And when it comes to the Beatles , well…

 

It all begins with memories.

One of my earliest memories of all, is a memory of standing in the front yard of my house on Mineral Drive, in San Carlos, a suburb of San Diego, California, in about 1965 or 1966, as a young child, and hearing “Nowhere Man” playing on a transistor radio, and feeling utterly transfixed and transported – frozen in time, almost mesmerised, while this heavenly music played, sounding literally like musical magic…  (which, in my opinion – it simply is).

the memory is kind of…mixed up in my mind, I mainly remember the incredible sound of the vocal harmonies (although at 7 or 8 years old, I had no concept that that sound was “vocal harmony” – that knowledge came much later) – but, that sound is mixed up with bright, bright sunshine, on a late afternoon, with late afternoon shadows behind me from the house, but bright, bright sunshine in my eyes – standing there, looking out at the street – and just listening to “Nowhere Man” by the Beatles.  What a beautiful, mournful, wistful, heartbreakingly beautiful sound.

To this day, “Nowhere Man” gives me shivers – without fail, when they hit the chorus the first time…it’s the sound of heartbreak, the sound of sympathy, the sound of empathy, the sound of joy at hitting a perfect harmony…a song so complex, so far ahead of it’s time – what a beauty – and I think this song encapsulates the beauty of the song-writing and singing of John Lennon in particular, who just excels on this tune – until that amazing dual lead solo comes along, that is, when the good George joins in with John to absolutely steal the show with their amazing, concise, super bright guitar solo or I should say, duet – ending with that magical-sounding harmonic – a great piece of guitar playing from both players, if you ask me.

Of course, at that age, I already knew who the Beatles were, I had been aware of them probably since I was about 5, but it wasn’t until a couple years later, when I recognised “Nowhere Man” for what it was, a beautiful, yearning, shiver-inducing slice of perfect pop music.

like so many kids did in the States, I watched the Beatles cartoon as a young boy, and I saw the Beatles themselves on our tiny black and white television, although I was just a little too young to see the live performances on the Ed Sullivan Show (actually, I probably did see it, as I imagine that my parents watched it); they did watch the Ed Sullivan Show show regularly at least in it’s later years, not sure about in 1963 – but I would have only been five at the time (1963), and I have few memories from before kindergarten (i.e. about age 5).

the Beatles performed live on the Ed Sullivan Show for the final time on august 14, 1965, but, for a few years following that, they would regularly send Sullivan other video artefacts, like the much, much more sophisticated colour videos that the Beatles shot and sent to the show (since they could not possibly schedule live performances at the time, their schedule was absolutely insane – so they sent their data instead!).

I remember in particular, the video of “Rain” (which was shown along with three other later tracks, “Paperback Writer”, “Penny Lane”, and “Strawberry Fields Forever”) – [apologies for any annoying ADVERTS at the beginning of any or all of the preceding video links] – and specifically, with regards to “Rain”, I can recall being absolutely gob-smacked by the increased complexity of that song, Lennon’s beautiful, dreamy vocal – and George looked so, so cool with his Gibson SG, too.   And why were they all wearing sunglasses, I wondered?

It was years later that I found out the answer to that one:  “tea”.  They had been…having “tea”.  Lots and lots of “tea”. 🙂

 

When I was about 8 or 9 (so, 1966 / 1967), my parents started allowing me to buy long playing vinyl albums for the first time.  I may have had some 7 inch singles of a more juvenile nature, but my first actual LPs were Beatles albums – starting, strangely, with, “The Beatles Second Album” and then, “Meet The Beatles”, followed by “Beatles 65” and later on, the truly awesome “Yesterday And Today”

– of course, being an American, and living in the U.S. at the time, meant that I had the doubtful “joy” of owning the somewhat inferior US pressings, courtesy of Capitol Records, USA – fewer songs, and incorrect running orders, changes to the original albums not sanctioned by the Beatles at all.   these four Capitol albums were, for a number of years, the only albums I had – and I really didn’t ever have the money to buy them all until I was an adult – so sadly, I never owned “Rubber Soul” or “Revolver” on vinyl (perhaps my two favourite mid-period records!) but eventually did on CD, (nor did I ever own most of the other early to mid period albums – “Please Please Me”, “With The Beatles”, “A Hard Day’s Night”, “Beatles For Sale”“Help”, and many others – on vinyl) – I think “Sgt. Pepper” and then the “White Album” were some of the first “later” Beatles albums that I finally acquired, and eventually, as part of the remastered box sets that finally “set the record straight” for beatles recordings, with the beautiful stereo and mono box sets – finally, I had the bulk of the Beatles output.

I have just now, during the research for this blog, supplemented that CD catalogue by ordering both the “US Albums” box set, as well as the two-double-CD remastered “Live At The BBC” discs – can’t wait for those to arrive – Vol. 2 is all previously unreleased material, so more LIVE Beatles on the radio is a good, good thing…more “new” Beatles music – especially excited about hearing the “new” music from Vol. 2.

Regarding Capitol’s uh, “adjustments” to the Beatles catalogue without their consent, I remember reading the John Lennon interviews from Playboy in book form, wherein he was aghast at being handed the U.S. albums to discuss by the interviewed, and explaining to him how very hard they (the Beatles and George Martin) worked on presentation, running orders, and so on – only to have Capitol America just ignore it all, and release inferior, shorter “versions” of Beatles albums – to make MORE money – fewer tracks, more records sold for fans to get all the tracks – simple arithmetic, probably made them millions – Capitol I mean, not so much the Beatles.

 

It wasn’t until the Beatles full catalogue were first released on CD, that I finally became truly familiar with the real Beatles catalogue, which took some real getting used to since I was so, so accustomed to “The Capitol Albums”.  However, now, even though I do own Vol. I of “The Capitol Albums” mainly for sentimental reasons, I vastly and totally prefer the British releases – with the correct running orders, and songs all intact – plus the singles – which in the US, were sometimes added to albums, too, I believe – rather than mirroring the British releases.  I can recall, too, that the VERY first compact disc I ever bought, ever, was “White Album” – bought from the Price Club for $20.00 – what a way to start your CD collection!  For me, it was almost like hearing the album for the first time, the lead guitars on “Good Morning, Good Morning” practically LEAP out of the speakers, while George Martin’s impeccably-arranged horn section on George Harrison’s “Savoy Truffle” came through the mix with a hitherto unheard brightness and clarity – sounding fantastic!

I am well aware I’ve not really spoken much about the band’s individual talents, from the rock-solid drum beats invented by Ringo Starr, to the absolutely remarkably talented Paul McCartney, possibly the best melodic bass player of all time, and an absolute innovator on the bass guitar (not to mention, what a voice!!!) – so many “firsts” for Paul, the high register passages, the strange note at the end of “And Your Bird Can Sing”, the “sticking” or repeated bass line in the outro of “taxman” – Paul is simply an amazing and extremely innovative bassist – and when you matched him up with the rock steady, unflappable Starr – you had the best rhythm section in rock music – with two genius guitarist, songwriter, singers on the front line with them.  what an amazing group – literally the first, and the best, at just about everything.

 

Of course, we now have the much more recent (2009) “Stereo” and “Mono” ultimate remasters box sets, which truly are incredible – and I am so, so glad that they did not mess with the catalogue in terms of the albums themselves, and the two aforementioned box sets really get it right when it comes to preserving the legacy of the Beatles amazing catalogue of music – and, bonus of all bonuses – in stereo and in MONO, too – and I personally especially love the “Mono” box set, even though it’s not for everyone – I’ve never owned the mono mixes; I’d heard a few of them, most of them came as a surprise to me – some amazing variations from the much more familiar “Stereo” versions.  But – as I am want to do when I get excited about the music of the Beatles – I digress.

 

The next phase of my earliest Beatle memories come from an unlikely time and place: Uganda, East Africa, where between 1967 and 1971, I lived with my parents and my two brothers– my parents were both teachers, and my father had won a place on a US Aid sponsored opportunity to move your family to Africa for two years to teach (in a program called “TEEA” – Teacher Education In East Africa) – basically, teaching teachers how to teach – which was then extended to four years.

 

My schooling during those years was a bit erratic, but my next early Beatle memory is of me, having no way to copy the lyrics from the AMAZING poster included in the Beatles most ambitious album to date, the “White Album” – I was boarding in Kampala, at Makerere University, with an American family (so I could attend school), and they had the album – which I played all the time – but my specific memory is of  writing out, by hand, ALL of the lyrics, of all of the songs, onto yellow foolscap paper – because I WANTED THOSE LYRICS !!!  I believe that somewhere in a box of keepsakes, I may still have those handwritten yellow sheets from 1968!

 

At age 10, I was not really aware of copiers, and in Kampala, Uganda, in 1968, they would not have been commonplace – so the only way I could “take a copy” of those lyrics, was to write them out longhand – which used up an enormous amount of paper, and my right had ached horribly from the effort – but I was determined, and after a couple of days, I had them all – and since it was a long time before I actually owned a copy of the “White Album” – I would often read those mysterious words from my yellow lined paper, hearing those beautifully picked electric guitars in my head, even after we returned to California from Uganda:

“She’s not a girl, who misses much….”

Next time: we will discuss the joys and frustrations of trying to learn, and perform, and occasionally record, the music of the Beatles – beginning with the very first proper band I was in – just about every band I was in from that time forward, played at least one Beatles song – at least, up until I got into Guitar Craft, Looper’s Delight and looping – but that was my strange career choice, to become an ambient looping guitarist; the time I am talking about, I am still at the tender age of 13, so with only a couple of years of self-taught guitar (and I later found, I had not done a particularly good job of teaching myself!) experience, I was finding that it was quite difficult to learn, remember, and play even the simpler Beatles songs – and it was during this time that my admiration for the skill of George Harrison in particular changed from admiration, to admiration and immense respect – that tricky little, bendy lead solo in between the verses of “Ticket To Ride” was at the time, one of the most difficult riffs I ever had to learn.

With just a couple of years of playing chords, I was not yet a lead guitarist, but learning that incredibly difficult riff, and then, learning more and more Beatles songs, also truly helped my own playing – when you imitate the best, you can’t help but sound good sometimes 🙂

So until then, I will leave you with that shiver-inducing refrain, the one I heard that day back in the mid-60s, that probably changed the course of my life for ever – because I seriously doubt, that I would EVER have become a musician, if it weren’t for the inspiration that the Beatles, as a group and as individual musicians, too, provided to me, all the time, through their amazing music:

 

“nowhere man – please listen

you don’t know – what you’re missing

nowhere man – the world is at your command…”

 

living in the past

no, not the classic album from jethro tull, nor, the tendency of mature folk to wistfully long for days gone by; but instead, just a state of mind I’ve had to become accustomed to with regard to my own music and…how much of it there is! 🙂

the problem is, stated simply, is that I record far more music than I have time available to “process”.  as a result, there is an ever-growing backlog of tasks, two of which are always, always on my mind:

1)     audio mixing and mastering

2)     video creation and upload

things have changed for me, in some quite radical ways, two years ago, I had music made with instruments: guitars, basses, keyboards, soft synths, the kaossilator pad, and so on.  familiar instruments, that I’ve been working with all my life (or, in the case of the kaoss pad, some of my life!).  with the instruments, I had already become so prolific that I was about a year behind on video mastering, and some months behind on audio mixing and mastering.

but then came the advent of applications.  that really threw a monkey wrench into my musical affairs, because suddenly, I had not one new instrument, but 40 or 50 new instruments, seriously, all of which allowed for the very quick production of a lot of high quality music.  this overwhelming amount of new music made with a huge number of apps, became such a problem so quickly, that I was forced to invent a new kind of album to deal specifically with application based music – the “eternal album”.

the first four “eternal albums” are now live on bandcamp, and from what I can tell, they are working correctly.  having these means I am free of having to worry about compiling albums for any applications-based music – which is great.

so now, I have two main, massive streams of music, which are kept physically separately, to maintain clarity:

1)     music made with traditional instruments

2)     music made with applications

however, I do view the backlog as a whole – I have audio mastering and video mastering to do for both instrument-based and application-based music, and I actually just tackle it in chronological order, regardless of what it is – maybe it’s a session done with addictive synth arpeggiators, then next, some live electric guitar improvs, then, some guitar synth improvs, then, back to the ipad for some n log pro pieces…it might be anything.

the one thing all of these mastering projects have in common, is how far behind I am on them J.  at one point, I had the video backlog down to about three months – and then, things happen – and suddenly, not even sure how it happens, it’s back to over a year – 13, 14 months!  so what can I do, what choice do I have, except to go back and master those 14 month old videos, to clear the way to mastering the 13 month old videos…and so on, ad infinitum, video without end.  followed by, audio without end.

I will never, ever run out of work.  sure – I could stop making videos.  but that’s my “stage”; since both physical constraints and time constraints prohibit me from playing real gigs (I’ve played very few in the last decade, sadly), so performing live guitar improvs on youtube, or playing the kaoss pad, or singing peter hammill tracks at the piano, creating music with ipad applications or on the synthesizer– takes the place of that stage – in fact, it’s in a way,  it’s better, because it’s a world stage, where anyone, from anywhere, is welcome to listen and watch the improvs and loops and songs.

in another way, it’s not better, because I miss the feedback that a “real” audience provides.  I have to remind myself, though, that the youtube audience is just as real, and they do provide feedback in the form of comments, both online and offline, so that’s a great relationship – and besides all that, I don’t WANT to stop making videos – I love it!

all I can really do is keep going, and hope that I find enough time to eventually, get “caught up” – or at least, close to it.  I know it’s possible, because I nearly was “caught up” at the beginning of this year.  now, due to circumstances beyond my control…I am far behind once again.

however – there is hope.  the “eternal albums” truly, truly help me, and once I have a couple dozen of those in place, life, and the backlog, will get substantially better.  why?  because for a full fifty percent of the music I make, the applications-based music, I no longer have the task of creating bespoke “albums” – I can literally complete a track; master it, and add it to the existing, live-on-bandcamp “eternal album” – and that is win / win / win:

  • it no longer sits “in the can” waiting for enough material to form an album
  • it’s out to the listeners and fans faster
  • it’s off my backlog !

so once I have a couple dozen “eternal albums” all growing slowly and organically, as tracks using that application get completed, they go straight “up” and onto the appropriate album – that will mean I can spend MORE time working on the Instrument side – audio mixes and videos, which I hope means I might actually get caught up !

possibly.

now, I do also have plans to create a few special “eternal albums” for some of my instrument-based music too.  at the moment, what I have in mind looks like this:

new instrument-based dave stafford “eternal albums”:

1)     “longer” by “bindlestiff” – lost live recordings from 1994, these were never assessed, over 70 tapes exist, so instead of trying to pick the best seventeen songs from 70 tapes, and make a single, traditional album, I plan instead, to go through them over time, as time permits, and as I locate viable tracks, upload them to the “longer” album – until all 70 tapes have been gone through.  this will hopefully generate a long, long record, which will be a wonderful history of the “lost year” in the life of the band (including some very, very rare tracks, like our ambient, ebow-driven cover of jimi hendrix’s “the burning of the midnight lamp” which we rehearsed many times but never performed in public – somewhere, there may be a take of this – I hope) – even if there is just an average of one good track per tape, that means a 70 track album – and almost certainly many, many more.  I am also hoping that these tapes will present many, many different “versions” of one of our signature pieces, “without difference” – which went through some really interesting evolutions, so I can’t wait to compare the versions from “longest” with the existing versions on “quiet” and “live” – and to hear multiple versions of songs, to hear them slowly evolve and develop as we become more and more comfortable and familiar with them as pieces of our repertoire.

2)     “classical” by dave stafford – this is to cover a little-known side of my music, which is given away by the title.  since acquiring the guitar synth, I’ve taken an interest in creating classical music, and I’ve got a nine minute plus, nearly-complete concerto for “nylon classical guitar” and “oboe”, which has been sitting waiting patiently for me to finish it and release it, for something like three years.  it’s a lovely piece, that started life as a short classical-style loop (of guitar synth “oboe”, “clarinet”, and “flute”), which I then developed into a proper piece of music, and then – started expanding. it features the “nylon classical guitar” heavily, and the aforementioned “oboes”, (one of the “oboe” solos I play, I consider, may be the single best solo I’ve ever played in my life – not sure) – meanwhile, I’ve added “cello”, “organ”, “vibes”, “piano” – and, in the final coda – I used massed “string sections” to create real drama – in wonderful stereo – and a plethora of other classical instruments, too, and the piece is really, really coming along.  I would say it’s about 90 percent plus complete at this point in time – so very close to ready.

it’s absolutely remarkable to me that a person can compose for “orchestra” – and I mean full orchestra, any instrument you dream of – with a single roland gr-55 guitar synth!  but really, that’s all you need –you don’t need to hire musicians, or score all the parts – you just play them all yourself 🙂 so I really want to get this album set up so I can release this piece, and hopefully, if time permits, record and add more “dave stafford classical pieces” over time.  a bit indulgent, perhaps, creating an album for one track – but I really want this track to be available, as it shows a side of my music that you might never, ever imagine – one where my prowess with the guitar synth “oboe” is much more important than my prowess with lead guitar 🙂 how very strange indeed!

3)     “classical ambient” by dave stafford – this would collect all existing classical ambient pieces, there are many that were done as live videos, and some studio pieces, too, that are sitting “in the can”. this would give these works their own platform, as they are unique – mostly “strings”-based pieces, but “strings” performed as ambient loops – such as “bela teguese” which you can hear on youtube on the pureambientHD channel at the moment.  there are also some string + guitar synth based pieces, pieces created with two guitar synths, that might fit in well on this album…but that gets tricky, as those are actually one instrument and one application – so not truly “instrument-based”!

4)     “straight to video” by dave stafford – this would collect the best of my video performances (most of which, have never been compiled or collected into albums – with a few notable exceptions such as live ebow tracks for “the haunting” and tracks from 20120820 that ended up on “gone native”) – but in the main, these videos are shot live, produced, uploaded, and then never formally collected into albums or any other presentation – and also, we’ve had requests from fans for “audio” versions of some of these video tracks, so this would be a way to satisfy those requests, too.  this would also include alternate mixes and alternate versions – in some cases, I might have done three takes, and only uploaded one video – meaning that there are actually three audio versions available, one from the video, and two unreleased – that’s the kind of thing that would be featured on this album.  or, in some cases, I created alternate mixes of a single audio mix, to try out, so an alternate mix of “folding space”, for example, exists – “folding space (hypercardioid mix)” – same track as the video, but “treated” in a separate audio file – and then not used in the final video.

it’s remarkable how all this music has appeared in my life, often, I actually have no idea how it all gets done, but it does – somehow.  I am working diligently to find the best way to present it to you, and bandcamp seems like the ideal platform, because, most importantly, you can listen first, which is a great feature, and secondly, you can select just the tracks you want, and not the ones you don’t – not every track appeals to every person – so it provides the ultimate in choice, the most flexible choice possible, which I think is really good.

I’m also very pleased that recently I did finally find the time to upload some of my archival albums – I always thought it strange, just seeing four or five of my more recent records up there, knowing that there is this huge back catalogue – and really, it’s just finding time to upload it – not easy, there is a lot of detail that needs to be entered to make the albums as complete and accurate as possible…for example, last night, I was working on the “song with no end” EP, which, because it contains four vocal numbers, actually meant that I needed to transcribe the lyrics to all four vocal songs directly onto bandcamp.  I made certain that this was done, as lyrics are vitally important to vocal music.

bandcamp is a great platform for both artist and listener, and we hope long may it live.  we shall continue uploading the back catalogue, and we’d like to take this opportunity too, to thank the many, many listeners who have been visiting bandcamp, and who have been checking out some of these archival releases – and in doing so, we are experiencing the highest visitor levels of all time on the bandcamp site.  so – thank you for that, we really appreciate all of our visitors.

the early and mid 90s were a very, very exciting time for looping and ambient, we had “looper’s delight” – a mailing list where loopers could share their experiences; we also had, again under the auspices of that most excellent of communities, “looper’s delight”; various compilation CDs where we could submit music and become part of this very early looping community – and at the same time, for bryan helm and I, we had the support of the crafty community as well, and our ongoing interactions with guitar craft – and I think sometimes, that this amazing time is a bit overlooked, when “new” loopers like the oberheim echoplex pro were just arriving, this was such a great time in music.

for me, it was 1993 – 1995, as a member of live looping ambient duo “bindlestiff” that I experienced the bleeding edge of live looping and live ambient (and, the added inspiration of continued close involvement with guitar craft) – an unforgettable experience, that spawned solo albums for me from “other memory / sand island” to “transitory” to “1867” to “the autoreverse sessions” and so on, and concurrently, a string of seven brilliant “bindlestiff” CDs, too – and all of these recordings document a remarkable decade for both looping and ambient music in general – and I’m very proud to have been there right in the centre of it all !

happy listening!!!!

leave it to robert fripp

leave it to robert fripp.  only fripp could do this.

since 1968, robert fripp has produced some of the most consistently challenging, musically advanced work of the modern age of rock music.  musicians have marvelled at his guitar playing in a huge range of very different settings: as de facto leader and muse of the great king crimson; as tape-recorder experimenter buddy of the remarkable brian eno; as the guitar-sparring partner of andy summers; as the leader of an amazing 1980 “dance band” called “the league of gentlemen”; as the secret weapon of david bowie on various tracks from the “berlin years”…the list goes on and on, fripp’s own solo records, many of which feature him on “soundscapes”, meaning, fripp, a guitar, and whatever guitar / looping system he has on at that moment, to the remarkable “exposure” (in it’s many, many guises) with it’s many, many singers and crop of amazing songs…the list just goes on and on…even in the strange late 60’s trio “giles, giles, and fripp” – robert fripp played a lot of really very remarkable guitar on the band’s odd records – their one official release, and the more recent and very interesting “the brondesbury tapes”…

…fripp was also the onboard lead guitarist (remarkably, sharing that role with michael brook) in the absolutely underrated “sylvian / fripp” (as the name hints, a collaboration between fripp and japan leader david sylvian) – and the even more obscure yet fascinating “sunday all over the world” – fripp’s first of two bands that feature his wife, toyah wilcox, on vocals…and all the while, many, many versions of “king crimson” would form and dissolve, form and dissolve…

some of these releases, are “division one” releases, large scale, well marketed, well received – others, more low key, or “division two” releases, but no less significant for that.  it didn’t matter how much or how little media fanfare accompanied any particular fripp or fripp-related release; you knew, if a new album came out from robert fripp, say, entitled “a blessing of tears” – that it was going to be good – really good.  over time, based on your very real experience – you recognise that works by this artist, are generally, works of great quality.

and somewhere amidst all of this work, amidst all of these remarkable and interesting collaborations, amidst the ongoing work with king crimson – the most incredible, most astonishing release of all appeared, with no fanfare whatsoever – and I am not really sure just how many people know about it.

this is what fripp has done – he’s released a masterwork, a really, really important work – one of the earliest examples of the use of looping on stage – with almost no fanfare whatsoever.  to my mind, that’s similar to miles davis releasing “sketches of spain” but not mentioning it to anyone; just letting a few fans discover it, but not really bothering to acknowledge that it’s a key work in his canon – one of the best albums he ever produced.

THAT is what fripp has done – basically, he has released the best (guitar) album he has ever done, bar none, without really mentioning it to anyone !

I was late to it – I found out about it by accident, months after it was released.  I immediately downloaded it, all of it, and set out to listen to it.  thirteen hours later – I was still reeling from the shock of just how perfect, just how beautiful, just how intense, this amazing release truly is.

I am speaking, of course, about the frippertronics tour of europe, which kicked off on may 7, 1979 in amsterdam and completed in madrid on june 1, 1979 (although no recording exists for that show – the last recorded show being the may 29th show from zurich, switzerland – we think) and these 15 long, live frippertronics looping performances – are simply staggering in their scope, diversity and incredible beauty. overpowering beauty, musical intensity of a kind you rarely, rarely ever get to hear or witness – loop music as it was in the beginning. (and shall be, looping without end, amen, forever).

leave it to robert fripp to release 15 mind-bogglingly good shows of live frippertronics, after allowing them to sit, unreleased for decades – all that time – I had assumed that the tapes did not exist, were not viable, or had just been lost or forgotten – but, they were handed to alex mundy, dgm’s resident necromancer, and alex has lovingly restored the solos to the loops, the lectures to the looping…  there are a few remaining bits of robert’s spoken portions, in one or two of these shows, but this is mostly just guitar, guitar and more guitar – heaven for someone like myself – as it was seeing fripp play at tower records that made me want to become a looper – which I did, about a decade later – and I’ve never stopped since.

I was lucky enough to witness a live frippertronics show myself, on the US leg of the tour later that year (and I am hoping that this will eventually be released, assuming at least part of it does… 🙂 at a tower records store in san diego, california where I lived at the time, so I had a very personal interest in hearing the first live performances, in europe, of frippertronics – a tape-based looping system developed with the help of fripp’s friend and musical partner, brian eno.  I was also fortunate enough to see a “lecture” at mandeville auditorium at UCSD in 1983, which turned out to be…a frippertronics show – this time, as we entered the hall, robert was already looping…amazing.  I’ve just noticed that DGM have that show in their download archives, so that’s one I will definitely download…sigh.  but anyway, returning to the earlier, european version of frippertronics…

the set up was straightforward: two full-sized revox tape decks, with a large space between them, and a long piece of tape (the “tape loop”) running between the two machines; a black gibson les paul guitar, and a very small, minimal guitar pedal board – amplifier and speaker cabinets – that was the entire thing, but the one ingredient that really brought this “small, intelligent unit” to life, was it’s creator and operator: robert fripp himself.

with only an astonishingly short “four to six seconds” of loop time available to him via the revoxes; fripp was able to use his knowledge of music, counterpoint, and harmony to introduce notes, phrases or even “pickup selector switch switching sounds”, into the loop in the appropriate way as to build up pieces that were alternately serene, terrifying, beautiful, or very, very dissonant.  most of the frippertronics loops are on the serene, beautiful side; with the occasional leap over to the dark side, and some of those “dark” loops are some of the best performances here.

but, whether you prefer the heavenly, melodic, beautiful waves of sound that robert often performed, or if you prefer the dark, dissonant, disturbing pieces he sometimes favoured – there is something for everyone in this 15-show set.  I love all of these loops, dark, light, and every musical shade in between, and the beauty of the loops themselves, is set off wonderfully by the confident, high-speed, accurate solos that fripp almost casually layers over the top of the loops.

he is so confident, so accurate, that it’s almost miraculous to behold – and there are a lot of surprises – notes you don’t expect; sudden endings you don’t expect, and so on…it’s quite surprising sometimes.  a sudden, very loud low note will, out of nowhere, underpin what was moments before, a lovely, high-pitched floating cloud of beautiful looped guitar…

that dark, powerful note overwhelms and overtakes the lovely floating cloud; turning light to dark momentarily, but perhaps, allowing for a different kind of overlaid solo to then occur. fripp steers the compositions where he wants to; altering the running loop on the fly to change it’s character; and then launching into another impossibly fast crimson-esque guitar solo – you could just about hear the wheels turning in fripp’s head, it all comes out – every idea, every doubling of a note, every harmony, every intentionally dissonant harmony – it’s all to plan, and that plan is executed with frightening precision and overwhelming confidence – the power of robert fripp, lead guitarist, is absolutely laid bare on this series of live, loop and solo recordings.

as a looper myself, albeit with about 10 years’ less experience than fripp, I can speak first hand to just how difficult it is to loop with only a four second loop!  four seconds is a very, very short space of time in music. one of my first digital loopers, the digitech rds-8000, sported just eight seconds of loop, and working with that was possible, but never easy 🙂

as the technology improved, the digital loopers became more capable – I moved from 1 second to 8 seconds and eventually on up to 196 seconds (with the remarkable echoplex digital pro) – quite a leap, from eight seconds to over three minutes! – and once you have a looper with that kind of capability, the problems mostly disappear (although, very long loops have their own challenged).  fripp used his four to six seconds, with the revoxes, off and on for about four years.

while fripp did embrace digital loopers, it wasn’t until the early / mid 1980s, so for these performances – it was done strictly with the tapes, and four seconds was all robert had to work with.  and what he does in those four seconds, is simply remarkable guitar playing.

oh my god – what fripp can do with a four second loop; it’s absolutely astonishing, and I am quite certain that many weeks or months of meticulous rehearsal preceeded this short tour – when he starts out on his first loop of that first amsterdam show – it’s with complete and utter confidence, and he sounds relaxed, well practiced and so, so accurate – he builds up a loop, it ends up smooth, beautiful and lovely – and then, begins to solo, but not just any solo, truly beautiful, melodic, thick sustained-notes soloing, as only fripp can – and to have these performances restored – loops and solos – is a sonic miracle, but to my mind – these performances demonstrate the true quality of robert fripp, the guitarist, that even his best work with king crimson could not quite demonstrate.

because here – there is no john wetton or tony levin (king crimson bassists at different times) thundering away in the low frequencies; there is no cymbal splash or electronic percussion madness from bill bruford (king crimson drummer since 1973, on and off), and there is no david cross (violin) or adrian belew (lead guitar, vocals) to “spar” or harmonise with – all of that is gone, and in it’s place – a four second span of time; to be filled with beautiful, harmonising notes, or to build up loop counterpoint, or to layer long, sustained notes or trills – and then, this loop becomes the band, it becomes the music that robert then solos over – but we can now really hear what he is playing, far more clearly than one can in some king crimson recordings – and while these recordings are of varying quality, the beauty and simplicity of what fripp accomplishes here is not diminished in any way, shape or form – it’s guitar heaven, it’s undoubtedly one of the première examples of man v machine where both win; fripp has taken what eno (and others) developed, and made a few modifications to the system to make it as suitable for guitar as possible – and has created a brand new kind of music: frippertronics.

fast forward twenty years, and a similar, yet wildly different, kind of solo fripp music emerged: the soundscape.  this is the modern-day equivalent to frippertronics.  and while I love and admire both forms, frippertronics and soundscapes; for me, my money is on frippertronics – because it involves the pure sound of a gibson les paul (whereas, soundscapes are more guitar synthesizer-oriented, therefore, less guitar-like) and the fripp pedal board, captured, looped, and soloed over with an intensity and capability that few musicians ever reach – fripp worked very, very hard at this – and he got it right, and if you listen to these 15 shows back to back – you will not be disappointed – and in fact, that is exactly what I did, I downloaded them all on a friday night; then on the saturday, I put them on – and let them play in sequence, all day long. 

at ten pm that night, it finally came to an end – and I was left speechless, breathless, and utterly, utterly impressed – OK, I knew it would be good – but I never dreamed – my 34 year old memory of the 1979 frippertronics show I had seen, and the 30 year old memory of a second show at mandeville auditorium, told me “this will be incredible” but even those memories could not have prepared me for the reality of the speed, dexterity, power, and beauty of these live guitar loop and solo performances – they are out of this world, and for guitarists, are an absolute lesson in what can be accomplished with a very, very finite set of equipment, set up for one purpose – and then there is the way that robert plays.

it’s so, so powerful, because really, it was not that long before, barely five years, that he was onstage with wetton, bruford and cross, playing lead guitar night after night after night, and the power of his time with king crimson (ten remarkable albums in the short space of 1969 – 1974) – and the power of his playing in those various “king crimsons” (plural) is now matured; amplified; calmed; organised; and it’s so precise now, there is very little bending (something he would give up almost completely, eventually) and the melodies he plays are just exquisitely beautiful – especially when played over loops of incredible precision and beauty.

so to my mind, even just speaking as an average guitarist – this is the best guitar album I have EVER HEARD.  I have no other words, no other way of describing what it’s like to sit and listen to robert fripp solo for 13 hours over tape loops that he made on the fly; in a record store, restaurant or other non-traditional venue on this first-ever frippertronics tour.  there is simply no other music on earth like this, and it truly shows the talent, power and sheer chops that fripp has developed over time.

by eschewing traditional venues, and bringing the music directly to the people – and even more remarkable, by TALKING to, and with, the people – fripp bucked the whole system, which I am sure pissed off his record company and everyone else who would now not be able to make a buck off of these performances – this was a real dialogue now, between robert fripp and those who love the music he creates – and at every show, there was a question and answer session (and that just blew my mind, I could not believe that we were sitting on the floor of tower records, and fripp, a few feet away with his les paul still slung around his neck – was taking questions from the audience!).

an audience that was stunned, or I would say more accurately, completely fucking blown away, by what they had just seen and heard.  the power of robert fripp’s lead guitar playing alone is enough to frost your socks; passages of great speed and precision, wonderful melodies that fly from the fretboard – but also, a new component, those enticing, amazing loops – that support and blend with the solos so perfectly; hypnotic, repetitive – and the perfect musical “bed” over which to solo.

but – the loops weren’t static, they were often “changed” by fripp, who would solo for a minute or two, and then, add more notes to the loop, and then, go back to soloing over this “new” altered loop – and he might do this several times within one looped performance – change the loop, solo, change the loop, solo more, etc. – to beautiful effect.

I learned a lot from watching this process, a lot which I later put to use in my own work, but what I also learned was, just how difficult this process is – the concentration required, the precision required – it’s intense, and few people could pull it off.

leave it to robert fripp.

 

this is a link to the first show from the frippertronics european tour, may 7, 1979, follow the right arrows to find the rest of the shows (and much more).  there is also a link where you can purchase all 15 shows as a bundle (recommended – this is what I did).

I know that fans of king crimson and robert fripp have their favourite albums, tracks, and live performances by robert, working in king crimson, or, guesting on other albums by other well known artists such as david bowie, or, in collaboration with people like david sylvian.  I am one of those fans, and I can remember arguing about very important topics such as “which is the best version of ‘schizoid man’ ” or whether red or usa was the best late period king crimson album (at the time) and so on.

I am not ashamed or embarrassed in any way to say I love the music of king crimson, robert fripp, as well as “sylvian / fripp”, “the league of gentlemen”, the league of crafty guitarists, and the current working group, the orchestra of crafty guitarists (which I was, briefly, a member of) – I love all of that, and I would defend it’s high quality and musicality – these are works of quality.  their common denominator, is, of course, robert fripp.

however – as much as I love say…“exposure”, as much as I love king crimson, and would defend their amazing catalogue against any naysayers, with songs as beautiful as “starless” or “the night watch” – well, it puts a lot of other “prog bands” to shame, if I am honest – this music is so intense, and so, so beautiful…

…but in some ways – this 15-show frippertronics european tour, is the best album that fripp never made, and never made a big deal of. it’s release was incredibly low-key, it just appeared on the dgm website one day, but there was no marketing push, no attempt to big this up at all – it just appeared – and those of us who realised what it WAS – well, we snatched it up immediately.  but then – we KNEW – we knew what this contained.

because they (these live performances) are so real; because they are the first ever recordings of robert fripp creating live loops to solo over; because the soloing is so absolutely incredible, I would say that now, this is my favourite robert fripp recording – of all time.

I know – that seems like sacrilege.  how could anything be “better” than, say, “in the court of the crimson king” ?  the answer is, of course, it can’t, really, but, when I hear this music, I realise – this is really the kind of music that fripp was playing all along, but you couldn’t always hear it, because the band was playing so loud! 

this is the “real” fripp – hypnotic layers of intense, dark sound, guitars screaming like seagulls over the top, ominous low notes bending via the services of a tuning key, notes “played” by switching the pickup selector switch from “off” to full on (with the bass pickup turned all the way down, and the treble pickup, turned all the way up) – the selector switch becoming a rhythmic device that adds to the loop – fripp using his fuzz tone, the wah-wah pedal, and his other devices to add texture and form to the loops – and once happy, he would then let that loop play – and solo his heart out with an intensity at least as powerful as “1969 to 1974 king crimson”. 

you think that the guitar solos on “USA” are pretty darn powerful and quick (you are right – they are) ?  you should listen to these 15 live frippertronics shows. you think that nothing can top what fripp plays on “red” in songs like “red”, “fallen angel” and “starless”  – you should listen to these 15 live frippertronics shows.  you think what you hear on “the great deceiver”, a four CD live fripp-wetton-bruford-cross king crimson albujm, is a lot of amazing robert fripp lead guitar (you are right, it is)?  You should listen to these 15 live frippertronics shows.

about 13 hours in total, I believe, something like that – and a large portion of that, is robert soloing his heart out, at length, over those amazing four second loops.  I have since played these shows on a saturday, just letting them run all day long, and it really, really makes for a great “mood” – you would love the way it takes an ordinary saturday, and turns it into an amazing day and night of pure, pure music – the frippertronics way.

so, so beautiful – the best album that robert fripp never made.  15 live shows – this is the one album that is pure testament to the intense, quick, and breathlessly beautiful way that robert fripp plays lead guitar – truly, this is where you can really hear genius at work, on the fretboard of a black les paul guitar – at the hands of the master, robert fripp.

now – for the non-guitarist, it’s likely that you may continue to regard the “band” works of robert fripp more highly than this “guitar” based fripp work.  but for me, as a musician and as a guitarist – this is simply the ultimate fripp documentary, which might have been lost to us, but blessedly, dgm have taken the time to resurrect these shows (and others, as well) and release them via the dgm website (these are download only) – and I for one, thank alex mundy at dgm for doing this work, and I thank the big guy in the sky (whoever that may be this week) for preserving those fragile tapes for all those years until alex could do his magic with them.

I can only imagine how it felt to alex, and to robert, to hear these for the first time in 34 years – and it’s criminal that these were never really released in any form (except for the occasional loop based record such as “let the power fall” – which gives you an inkling of what these tour performances were like – but one short album of loops is no substitute for the real thing – the real 13 hours of music!) – please forgive me if I am repeating myself now – you should listen to these 15 live frippertronics shows. 

seriously.

you should listen to these 15 live frippertronics shows.

generative music applications – mixtikl and scape

today I am giving some thought to generative music, which is a kind of music that I don’t have enormous personal experience with (save, perhaps, with “scape”), but at the same time, I feel a close affinity to generative music because it seems to resonate with me in a similar way to the way that looping and ambient do.

a lot of generative music is ambient, so that may be why, but it can also be quite active, so that can’t really be it.  maybe it’s the fact that you have limited control over the elements – well, depending on what you are using I suppose.

ABOUT KOAN

the first generative app I used, was an early version of koan, that I must have had in sometime in the mid to late 1990s, and I remember finding it to be most strange, but also, quite wonderful, because you could literally set off several odd sounding music generators and the pieces would “make themselves”.  I did create a few pieces using koan, but I am not aware of any that ever got mastered, released or even survive.  I may eventually find some of my koan pieces somewhere, when I finally sit down to go through all of my reels and cassettes (when I retire!) – maybe.  of course, it might also be better if I don’t find them, because I doubt they could compete with the generative music apps of the present!

ABOUT MIXTIKL

starting with the one I am least familiar with, “mixtikl” – I had long wanted to purchase this, and when the price was lowered recently, I did.  I immediately kicked myself for not buying it sooner, despite some vaguely negative feedback I’d heard and read, I personally find mixtikl quite easy to use, and the quality of the sounds is extremely high – a lot of great, great sounds, which of course makes it very easy to make some great sounding music.  in fact, just a couple of days ago, mixtikl put three of it’s sound packs up for free download, so I absolutely took advantage of that.

the addition of that rather massive library of super high quality sounds put “mixtikl” into a realm of it’s own, I was trialling some of the sounds and I found them to be exquisitely beautiful, or odd, or weird – which suits me just fine – and I feel very impressed by mixtikl – they have worked very, very hard to make an app that just lets you create.

I’ve completed a few tracks in “mixtikl” (see below), but have yet to publish any – that’s simply down to my schedule.  I have two or three that are probably in their final mix state, so I do need to try and finish up some of those tracks so I can publish them.  tracks completed so far are:

 

20121217 almost waking – a super ambient, shivering bundle of ambient nervousness (two versions, the completed one, and a prototype)

20121218 embellishment – very, very ambient piece made with modified bells (hence the title – get it?)

20121220 pulsating – a slightly more active piece, waves of ambient sound crashing on an ambient beach…

20121220 pulsating wisdom – an active track in the style of bill nelson, built on the ashes of “pulsating” (and sounding nothing like it – so titles will change)

20121220 pulsating wisdom – drum version – same as above, but with a drum track added – making it even more in the style of bill nelson

 

ABOUT THE NEW VIRTUAL ALBUMS (FORTHCOMING 2013 – 2015) – MUSIC FOR APPS series:

speaking of publishing music made with applications, I am planning on setting up a number of new “ongoing” albums up on my bandcamp account, to contain tracks made with mixtikl, scape, fairlight, nanostudio, korg ipolysix, korg iMS-20, animoog, iMini, and so on.  so once mixed, the tracks above would be added to the never-ending-ongoing-mixtikl- virtual album, and then, as I create, I will upload more and more tracks, until eventually, these albums become large free-form bodies of dave stafford application-based music.

for my normal guitar based music, I will probably continue to record and release “albums” in the normal way.  but I am finding that making music with apps, it’s so prolific, and at any time, I have a number of tracks “on the go” in many, many different apps – that the idea of gathering them together into “albums” just doesn’t make sense any more.

so I’ve designed this new, virtual album – it won’t have an album “price”, because the tracks will be added over time, ad infinitum.  in this way, too, customers can pick and choose – they can listen to each track, and only buy the tracks they like, instead of having to buy an entire album, it will just be an endless series of tracks…

so, if over time, say that over the next 20 years, I end up making…245 tracks using “mixtikl“, then, the virtual mixtikl album will start out in 2013 with one track, and end up in 2033 with 245 tracks.

one virtual album per application.

MORE ABOUT MIXTIKL

but I digress.  getting back to mixtikl for a moment, I find the way you construct your pieces to be quite excellent, it’s so easy to add content into your composition, and the mix tools are excellent as well, I think that given the complexity available, they have done a great job with the GUI, I love that you can have track effects OR cell effects, I love how easy it is to insert sounds (and now that I have those three new, free sound packs (or tiklpaks as they are called)…my hardest decision will be WHICH of these amazing sounds to use…) it’s a really well thought out tool.

I believe that one of the main reasons that mixtikl appeals to me is…that in mixtikl, unlike in scape, you have a modicum of control.  you have control over what sound sources you select, what level they play at, what effects they have, you have control over tempo, key and EQ.  there are global effects as well – which is important to me, because often with ambient musicyou may wish to drop the entire track into a bit of reverb, to further the ambient feel of a piece.

it’s interesting, because I bought scape first, and used that for many months, and then when I finally picked up mixtikl, it was such a shock – the level of  control you have in “mixtikl” is really freeing, you can take any number of sound sources, drop them into your mix, and adjust the level, eq, and effects of each one – treat the whole piece with effects, make alternate copies and add or subtract sounds (as I did with “pulsating wisdom” last december) – so much control !!  so with mixtikl, I can make a lot of decisions that I cannot in scape, I can decide if a piece will be very, very ambient or very, very active – I can decide if it will be very present, or drenched in reverb.

and with the number of awesome sounds now available to me, that means an endless variety of percussive, keyboard, sound effects, bells, god only knows what, is available as sonic building blocks to build generative masterpieces.  I hope to find time in the near future to create new works of generative music, using this most excellent of tools, the mixtikl application.

and lest I forget, it also comes with a really well thought out visualiser, that creates truly beautiful graphics to accompany your mixtikl compositions, including a word generator that you can put your own words into (or use the default sets).  even though it serves no real purpose, it’s inclusion I think is excellent, because it provides a beautiful visual representation of the music that you have created.  an excellent visual addition to an excellent music creation tool.

ABOUT SCAPE

…and then there was scape.

scape is…the odd man out of generative music.  unlike mixtikl, in scape, you have almost NO control.  yes, you can select sound generating objects and add them to a mix that is purely visual…yes, you can pick a filter to run the track through…yes, you can add different background tracks to provide different ambient backings to your pieces.

but that’s about it – you don’t have any control over the parameters that you do have control over in mixtikl, so the design of scape is so, so different.

it’s almost ridiculously easy to use.  basically, there are menus of sounds represented by shapes, which you drag onto a palette that “is” your scape.   there are several different categories of sound generators: backgrounds, bass parts, synth parts, sound effects, and other quite difficult to explain sounds.  since the entire tool is visual, as you use it, you begin to make up names for the different elements, like the blue spikey shapes, which sound like nothing on earth, very odd and atonal, or the pyramids which  are like keyboards, descending luminous arrowheads make a beautiful, swooshing synth sound, bass parts are represented by squares turned on their sides and so on.

so learning scape is very easy, you just drag out backgrounds or objects onto the palette, and listen.  if you don’t like the sound of the element you brought out, you can just drag it back off the palette and try another element.  the placement on the palette also makes a difference, and the objects change size depending on the position they are placed in on the palette.  you can lay objects on top of each other, but they will change size as you do – it’s very odd.

you might add four bass parts in, three of them would be pretty large, but if you place your fourth bass part on top of a pyramid, the bass part will shrink to a tiny size depending on how much it overlaps another object.   there is also a feature that prevents you from adding too many objects to any one scape…if you reach the maximum number of objects (I don’t know exactly what number that is, perhaps 50 or 60 objects in total) – something very odd happens – you add an object – and scape removes a DIFFERENT object! I assume that feature has been built in to prevent scape from clipping, so it does make sense.

but this is the first instrument I’ve ever used where you, as the “player” of the scape, really cannot control anything except the background, the elements, and the filter that the track runs through  – and that is about it.  you can’t name your tracks, they are auto-numbered for you.  you can play back any scape, you can also make “playlists” allowing you to play back several scapes in a row.

at first, I really had quite a time adjusting to scape, and how very, very much it’s a closed system, and how very little actual control you have over the music – you can drag shapes onto the palette, you can drag shapes off of the palette, and you can move existing shapes around on the palette to effect change, but that is it – there is not a dial in sight, volume, tone, eq, reverb – nothing.  it bothered me that I couldn’t name the pieces, I couldn’t do anything to them – except change backgrounds, elements, filters.

so, the totality of your control over scape:

three actions; change backgrounds, elements, filters.

plus three  sliders marked “density”, “complexity” and “mystery”.

 

ABOUT MIXTIKL & SCAPE

so scape really is the odd man out, a totally different animal when compared to mixtikl, the design approach almost polar opposite: scape, where the magic rules are hidden, in fact, almost everything is hidden, versus mixtikl where almost everything is exposed to the operator.

because scape is so very easy to learn, I found that I could create many, many very different and very wonderful pieces of ambient music with it.  mixtikl is still new to me, but I know that over time, I will be using it more and more, for the simple reason that I want a generative music tool that I control, as well as the sort of “eno preset magic” that scape offers.

it is interesting too, the difference in output – scapes tend to sound a certain way, because of the backgrounds, elements, and filters chosen by brian eno and peter chilvers, plus the hidden “rules” – whereas the output of mixtikl, because you can add any number of randomly selected elements into any mix – sounds widely varied and wildly different from track to track.

CONCLUSION

while I have recorded well over one thousand scapes to date, I am only just beginning to work with mixtikl, so I have a long way to go there…hopefully, over the next year, I will find more time to create with mixtikl, and I look forward to releasing mixtikl tracks as they are created, alongside the scapes which already exist – those will also be released over time.  but I must say – I am more than pleased with both tools; despite their polar opposite design philosophies, I am equally happy creating with either, because generative music is still an under-explored area of music – and I hope to change that 🙂

 

 

to hear the existing collection of dave stafford scapes, please visit the purescapes channel on YouTube.

audio only versions of the first 17 scapes also available on soundcloud.