The Dreaded 1980s: Not So Bad After All

DECADE BY DECADE – THE LIVE CONCERT EXPERIENCE / OVERVIEW

Episode 2: 1980s

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

 

splitenz

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

 

marillion

 

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

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

enobrian70s

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

 

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

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

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

thompsonrichard

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

 

 

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

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

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

jethrotull

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

Type Uno

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

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

 

jethrotull2zztop

 

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

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

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

A First Time For Everyone

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

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

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

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

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

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

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

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

gabrielpeter

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

 

 

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

 

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

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

 

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

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

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

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

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

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

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

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

 

What a way to START a concert!

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

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

nelsonbill74

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

 

 

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

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

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

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

 

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

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

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

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

 

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

 

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

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

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

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

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

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

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Type Dos

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

pretenders

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

Never Thought I Would See The Day When…

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

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

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

 

 

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

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

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

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

 

Awesome Guitarists – one motivator for attending so many concerts

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

 

 

Forward…into the future!

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

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

Until next time then again–

 

Dave Stafford
June 6, 2018

 

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

The Sinuous 1990s – The many-headed stylistic beast

 

1980s Concert Ticket Stub Collection (courtesy Dave Stafford)

1980sConcert Ticket Stubs – 1980s

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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

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

“you wake up one morning…w”

strangely, today, I find myself working on audio mixes, not that that in itself is strange, but in this case, it’s audio mixes of live performances of a song that I never, ever dreamed that I would perform in any context, anywhere – but there it is:  my second attempt, too – I’d tried it out originally, during the recording session of 20150222, but couldn’t get a take that I was happy with, so I let it go for a while – until april 19th, to be exact – when I sat down specifically to record a little-known, rare Van Der Graaf Generator b-side entitled “W”.

I had only just re-discovered this track, when I was working on other acoustic Hammill songs, it suddenly struck me during the February sessions, I should see if I can capture one of my strange renderings of this song – so I did try.  And while some of the takes were close, none were good enough to properly do justice to this rather unusual song.

hence – trying again later, which in this case, is a dedicated session to “W” – twelve takes in all, about an hour and ten minutes of session time, doing live take after take, working out the arrangement, working on the vocal – and just trying to get to a version that would indeed, do justice to the song, at least, as well as I can with my strangely gentle, twangy California accent – hardly the accent to tackle the Peter Hammill canon, but – that’s what I do – I spent many years, learning many, many Hammill and Van Der Graaf songs, and now, I find, I’d like to record them – all of them, although the amount of relearning needed my be prohibitive in some cases, while age lowering my voice might make others impossible…who knows??

but for whatever reason – I found myself trying to do this song, live, with one acoustic guitar – or rather, with  an acoustic guitar substitute, which is my roland gr-55 guitar synth.  because my real acoustic guitar is unhappy, I had to use the synth instead, which, admittedly, does look a bit odd, in the video, but it had to be – and it does a reasonable job, I have to say – not bad.  It certainly sounds acoustic on playback, and of course, I can’t resist giving it a bit of “sparkly”, by using the Waves Reel ADT plug in on it – give it some Beatles chorus or flanging – which is about the right era, “W” might have been written in the late 60s, I don’t really know, in fact, I only have two versions of it – one is the live version (from 1971) that I “grew up with”, which, oddly enough, has only just recently been released officially, on the new Van Der Graaf Generator CD “After The Flood” – At The BBC 1968 – 1977 – that live version,which is to me, an absolute Van Der Graaf rarity, coming from a rare 1971 John Peel concert, which had only previously been available on bootleg – which is where I had heard it.

years later, I also acquired the “studio” version, which again, isn’t that easy to find, but it’s out there, and of course, I had to have it – beyond that, I don’t know if there are a lot of other live versions out there, I doubt that they played it much after 1971, I am not sure about the song’s history, but I am sure of one thing:  the effect it had on me, as a young Peter Hammill fan, I just think it is an amazing performance, led initially by Dave Jackson’s amazing horn playing, and it’s odd and wonderful to hear Hammill singing and playing live on acoustic guitar – with the rest of the band, playing in a subtle and wonderful way, Hugh Banton coaxing some of the oddest and most wonderful harmonics from his Hammond drawbars – I love the organ playing on that live version, I love everything about it – it’s just one of those odd tracks that sticks in your head for some reason- I really loved that particular bootleg – it had the first three Van Der Graaf songs I ever heard on it, in this order:

1) Killer

2) W

3) Man-Erg

Which is actually reverse order from the real session, but that’s just bootlegs for you (in this case, “Watched Over By Machines Of Loving Grace” – what a title!).

And while all three tracks were absolutely mind-blowing to this young man, who was just discovering this remarkable band, over time, it’s “W” that has stuck with me the most – although “Man-Erg” is a close second – I just love these performances, it’s a great session, and it’s really great to have it officially released at LAST – thank you.  That is not to downplay “Killer”, but I can’t perform “Killer”, although I can play the main riff – the connection is, over the years, I have learned, practised, and performed both “Man-Erg” and W – while with “Killer”, I can only sit and listen in astonishment – especially when David Jackson takes THAT solo – wow.  Amazing stuff.

So – at a session meant to capture “acoustic guitar songs” by Peter Hammill, where I’d performed both “Shingle Song” and “Again” – it suddenly struck me – hey, you could play “W” !!! Or – could I?

My first attempts were spirited, but flawed, mostly, it’s the guitar playing that got me, although the vocal does present certain challenges….so I abandoned the 20150222 takes (reluctantly) and am now currently embracing the 20150419 takes – which give us a completely different story – more of an embarrassment of riches, than anything else.

By this time, after about three warm-up takes, both the guitar arrangement, and the carefully designed vocal part (where I have to omit at least one high note that I can ALMOST hit, but I don’t want to risk – so I have made a slight change to the melody in one place, so as not to embarrass myself every time) have come together pretty well, they are both reasonably well developed – and starting with take four, and going on through take 12 – the takes are all good!!  With tiny variances, very difficult to note, and making it very, very difficult to “choose” between takes, when they are mostly all, so very good.  Basically, there are 8 good takes out of 12, with five of those being near perfect or with only very slight faults, and the other three, only slightly less perfect.

Every take has something of merit, so I have really had my work cut out for me here:  how do you, when you have eight out of twelve good takes, make any decisions at all – how to know which one is “the” take.  The answer:  listening.  Of course…once you start really listening, all of the tiniest errors find their way to the surface – which, allows you to cast out more and more takes for more and more small reasons – until you are left with what is, truly, “best”.

You have to listen and listen, perhaps focusing in on one aspect of the performance each time – for example, it was important to me that the guitar take contain a clean four bars of introduction, and that the same four bars, when repeated later as an instrumental “solo” of sorts, that those are also as flawless as possible – and also, the ending is important, I’d added on this crazy “Fripp”-chord as the final ending, and the quality of it varied on every track – with a few most excellent, others, just OK, and then, of course, I wanted a take with a really good vocal…luckily for me, there isn’t as much variation between the vocal takes – so in the end, it was really about where the best, most consistent, guitar playing was, and it had to be a whole take, obviously – with one exception – I could, potentially, since there is a silence while I sing the last line of the song – I could potentially “swap out” the ending chord, if for example, I had a great take (like Take 11, for example) but the ending chord was a bit better, a bit cleaner, on Take 12 – then, maybe, I might take a slight liberty and improve the audio, by having a better, cleaner chord – which of course, I would tell my listeners (if I decide not to use an entirely live take, then I would say “live performance of take 11 – except for the final chord – which was borrowed from take 12” – or whatever I had done) – or maybe, I would just decide to keep whatever ending the “best” over all take had – it depended on what sounded best.

I wanted what sounds best, so I really have to trust my ears, and say ” this take, this one is it” – and then stick by that decision – then, do everything in my power as both producer, and as engineer, to make this take sound as humanly good as possible – or as humanly possible.  At this point in time, during my second or third re-assessment of the 12 takes, I believe that Take 11 is the master – I can’t find much fault with it, but, I do tend to like the end chord of Take 12, very much indeed – and, Take 11 itself is not bad – so I need to decide between these two, I think.

I get to this point, and then I think – yes, but, what about those early takes, where I was a bit unprepared, but maybe there is a bit more spontaneity, maybe…so I find myself back again, listening to take four, take five, and so on – trying to rule these “earlier” takes out for one reason or another – but it’s difficult, because they are good.  I begin to wonder if I shouldn’t produce two or three of these – and that is a distinct possibility, it’s definitely do-able, because these takes are so uniformly good – it’s strange, because I had such a struggle playing the song on February 22, 2015, but on April 19th, I had no such issues, and every take from take four onwards, has a life and a feel of it’s own.  Heck – maybe I should produce ALL of them, warts and all…it’s such a temptation, it really is.  But I really want to pick just one, and I really need to narrow it down – so I just keep doing the only thing a good producer can do – listen, listen, and then, listen again.

After a long afternoon of listening, and then listening again, I was forced to exclude the majority of the earliest takes – 4 through 9, basically – because the guitar intros and solo sections were too imperfect.  Even take 11, which is closer to perfect, is still imperfect, but, it’s so much better than takes 4 through 9, that it makes enough of a difference – it’s a good take!  So now, it’s pretty much going to be a race between Take 11 and Take 12…

Finally then, some full on tests, with levels properly set, limiter on, and the final, finishing touch – my beautiful Waves Reel ADT Plug-Ins – a stereo one for the vocal, and another stereo one for the guitar – and just adding those on, makes such a huge difference to the sound – it’s just remarkable.

And what this meant was, that, the imperfections in Take 11, seemed worse, while the relative perfection of Take 12 – seemed apparent, so adding the Reel ADT plug in, made it possible finally, to choose between the two “best” takes – and 12 – the very last take of the session – has it all, at least, to the extent that anyone can “cover” such an unusual song with one guitar synth, set to “acoustic guitar”, and a shure sm-58 vocal mike !!

Not that it’s particularly difficult to play, the chords are easy enough – but the lyrics certainly are not.  “double you” – seeing yourself from another perspective, as other things occur to the other “you” – is a strange point of view for a song; you wake up one morning, and there are two of you, which makes you twice as unhappy (as it would, if you were unhappy) a strange tale told of this man, immobilised, almost, only able to look out the window, and see the smoke “billowing across the lawn” or only able to drag himself downstairs, to specifically find out that “you are gone…!”.

At the end of the song, you wake up (again) – look to your left, but you see no reassuring head – you then stayed in bed all day, when, at six o’clock, you realised – that you’re dead.  A short, unhappy tale, with a strange atmosphere, strange lyrics – definitely one of the oddest of all Peter Hammill-penned songs.  But at the same time – a strangely compelling one.

A very strange perspective, the classic sort of “seeing yourself laid out on the table”, and realising that it’s you, it’s YOU that are dead – that’s very odd, and it’s no wonder the band didn’t perform this often, what with it’s somewhat cheerless lyrics – not the most cheerful tune ever written by the sometimes-unusually-morbid Hammill (as he could be, back then) – who, while known for tackling difficult, or uncomfortable subjects, rarely tackles a subject like this one, in such an inflammatory way, too – practically a primer for how to leave your body, which some might view as the ultimate “suicide” song – I don’t, I view it as a man having the odd experience of seeing his own body, suspended in space, whilst realising that the body is dead – not having realised it earlier in the day.  more metaphysical than death wish, if you know what I mean. but I think each listener has to decide for himself or herself, what the song means – because even though I am singing it here – I absolutely do not know.

So the sort of day-long purgatory of trudging around the house, knowing something is wrong, dragging yourself downstairs – and finding that you are gone…that longest day finally ends in the sudden realisation that there is a very specific reason that there are two of you, that you have woken up and it’s a “double you” situation – “W” – because, you have passed away, of course!

The rate that our hero realises at, well it take a few minutes, which gives the song time enough to get through it’s purgatory phase – and then, it’s all over, in a blinding flash of  – well, in the real live version, it’s a wonderful, sonically crushing organ chord and bass note, accompanied by a crashing horn note from David Jackson – which I have chosen, for unknown reasons only known to the other half of me, to represent in this version with a very long, loud, dissonant “Fripp” chord – that was the only thing I could do, safely, on an acoustic guitar, that might work as a facsimile organ/sax ending – and I suppose, sonically, it could be worse – it’s a decent choice.  originally, back in February, I wasn’t returning on the guitar at the end, after the final two words – I was just letting the last two words, be the last thing you heard in the song – but I think the frantic, crazy guitar chord is just the ticket, and it was an absolute joy to try to play – even though, I only got it “right” about once in every 12 attempts 🙂

I was as happy as I could be with the guitar arrangement, and the vocal arrangement, and then, it was just down to the playing – and luck – and in the end, “practice made perfect” or at least, practice made it bearable…and I finally stayed with Take 12, and started working with the track – until I got a sound I liked, and was happy enough with – I mean, it is live, and it’s only as good as it’s two simple components, so there is not much you can do to improve the performance itself – it is what it is.

I think you can tell that I love this song, that I love to sing it – I hope that comes across in the video, it was an incredible surprise to me, that I could actually play it, and I so much enjoyed singing and playing it, it was a real pleasure – and I am really glad that I did learn this song so many years ago, because at least it came back pretty quickly – which is great.  What a nice surprise, to have an old friend like this turn up out of nowhere – and still be unchanged, as familiar as when I first knew them – a good, good surprise!

In the end, it took me almost two full days of work, and four attempts at getting the right sound, before I could produce an audio track of “W“, completely live (I decided, in the end, that the completely live take 12 was the best bet, no messing about – warts and all – not quite perfect – but, not too bad!) that I am happy enough with, and now, I am assembling not just the video for “W” live, but also, a strange special bonus video – what happened directly AFTER the end of the successful take.

so I’ve produced two audio tracks, and am working on two videos, one for the live version of “W“, using the whole of take 12 as it’s master, and the second, which I am calling “improv on a theme – stone free (james marshall hendrix) – live – post take 12” which is approximately one minute worth of digital recording time directly following the final “Fripp” chord that ends take 12 of “W” – for the first time ever, I’ve decided to release some “non-song” footage, featuring a spontaneous jam on “stone free” by jimi hendrix – notably, a song that I have never played, never learned, and have no idea how it goes!!

it’s only really “on theme” for about the first 17 seconds, and it then wanders off into random imaginary hendrix octave playing – and then dissolves completely into a fatigue-driven crazy, climbing riff of uncertain description – remember, I’d just spent an hour and ten minutes filming, and recording, no less than 12 complete or near complete takes of “W” by peter hammill – so I was pretty tired.  but the hendrix tune just sounds so good with that odd, acoustic guitar tone, and having the whammy available on the “acoustic” sound is so strange, too – so I just thought – why not?

so for the very first time anywhere, about 54 seconds of “what happened after the last take” has been included, which, I should warn you, some pretty lame guitar playing at the end – I plead fatigue, and I wasn’t really trying to play anything – this Hendrix thing appeared – and then just as quickly – disappeared – leaving me with nowhere to go but out.  I just thought it was OK, an interesting glimpse, an epilogue if you will, to the best live take of “W“, and it shows a little bit about how my mind works – or maybe – doesn’t work – I am working on a serious Peter Hammill song, and yet, during the break – I jump into “Stone Free” by Jimi Hendrix.

I begin to think that it’s been far, far too long since I was in a band.

🙂

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Return Of The Dinosaurs (but then…were they ever really gone?)

The beginning of 2015 has been a real treasure-trove of live releases from the inarguably, the two most influential, powerful and long-lasting of the progressive rock bands: the mighty King Crimson (whose current ranks, in the 2014/2015 incarnation of the band, have swelled to seven thanks to a front line of three drummers) and the stripped-down-to-a-trio but just as powerful, just as dark, and just as technically proficient, Van Der Graaf Generator.

January saw the release of a sort of “taster” live King Crimson album, entitled “Live At The Orpheum” recorded at the Orpheum Theatre in Los Angeles, California, on September 30 and October 1 during the band’s 2014 US tour – their first tour in this seven-man configuration.

While the album is almost frustratingly brief, clocking in at about 41 minutes, it may be an intentional Fripp-ploy, or Fripp-plot as my keyboard seemed to prefer, so I will allow it to say that, to leave us tantalised and wanting more.  And that – it does.  I recently read a full set list of a 2014 King Crimson show (see “HollywoodReporter.com” to view this setlist), and it was about double or more in length (at least) to what this live album contains.  But – what the album contains – is surely one of the most extraordinary and most unexpected things in the universe – King Crimson, with their “front line” of three drummers (Pat Mastelotto, Gavin Harrison, Bill Rieflin – who also plays a bit of mellotron), and a “back line” of four musicians including founder Robert Fripp, is delving deep into…it’s back catalogue.

And that – well, we had hopes – we knew that Mel Collins was back in the band, and we also knew that his fellow 21st Century Schizoid Band alumnus Jakko Jakszyk, over time, had mastered most of the classic King Crimson repertoire from the “first four” albums – “In The Court Of The Crimson King”, “In The Wake Of Poseidon”, “Lizard”, and the less well known and under-appreciated “Islands” on guitar, and on lead vocals (plus, other tracks from “Red” too) – quite a feat in itself, but, also making him the perfect new lead vocalist / spare Fripp-type guitarist, too, for this new King Crimson.  Much to my personal astonishment, we get not one, but two tracks from the much-derided and often undervalued “Islands” (1971), which over time, has actually become my personal favourite out of the “first four” classic King Crimson albums.

The two tracks they cover from “Islands” (“The Letters” and “Sailor’s Tale”), are at the same time, perfect re-creations musically and yet, edgy, new and sparkling from having “re-invented” drum parts, in three perfectly-arranged sections (Gavin Harrison, drum arranger), from the three drummers; who take these songs as seriously as any of the classic tracks on offer here, as well as what is probably Jakko’s best vocal on the album, on the wonderfully melodramatic “The Letters” – an absolutely beautiful vocal rendition.  Perfect – and chillingly accurate – “impaled on nails of ice…and raked with emerald fire…” – Peter Sinfield‘s lyrics still forming a huge part of the ethos of King Crimson, some forty plus years since they were penned in 1971 – and that was Sinfield’s last King Crimson album as lyricist – “Islands”.  For me, the lyrics from “Islands” are probably my favourite of all of Sinfield‘s lyrics on any album by any band, including the remarkable debut from King Crimson, 1969’s “In The Court Of The Crimson King” – there is something about “Islands” that just resonates with me, and much of it is in the beautiful words that the departing Sinfield graced the record with.

The back catalogue represented here on this short, but amazing live album, also extends to two tracks from the “Red” album, fast forward now from 1971, to 1974, where the second major incarnation of King Crimson, that started out in 1973 as a quintet, quickly became a quartet when percussionist Jamie Muir, left the band, leaving poor Bill Bruford on drums to handle all of the drums and percussion from there on out.  David Cross was the next to go, driven out by the world’s loudest (and best) rhythm section – John Wetton and Bill Bruford, and it was Wetton, Bruford and Fripp that remained long enough, after the extensive touring just prior to the making of their last studio album, as a trio now – so in two years, from a quintet to a trio; the ninth of the “first ten” – (counting Earthbound as no. 5 and USA as no. 10) – two songs were included: the never-before performed “One More Red Nightmare” (this time, sporting the drummers having a go at bettering one of original drummer Bill Bruford’s most difficult and well known drum parts – and doing a GREAT job of it, by the way) and as the album closer, the beautiful, extended “Starless” – with Fripp playing that signature thick, distorted lead guitar melody (the one that breaks your heart all over again when you hear it), as Mel Collins reprises both his own and Ian McDonald‘s horn parts – McDonald was a guest on the 1974 “Red” sessions – as was Collins.

Forty four years has elapsed since Robert Fripp and Mel Collins toured together in 1971, and worked on the difficult fourth Crimson album, “Islands” together with then drummer Ian Wallace, and singer/Fripp-trained bassist Boz Burrell (both of who have by now, passed on), and some 41 years have elapsed since the “Red” album – the final studio album from the “first ten” which was completed in 1974 – so it’s more than a lot of water under a lot of different bridges – but, for me, for this reviewer, it’s absolutely fantastic to hear Mel Collins and Robert Fripp playing these songs again, and showing us anew how powerful, unique, and in many cases, under-appreciated they were at the time – especially the wonderful “The Letters” with it’s incredible story of unfaithfulness and purity, and the awesome , powerful instrumental track, “Sailor’s Tale” where Jakko and Fripp re-create the double fuzz tone attack solos that underpin one of Mel Collins’s most well-known and insanely wonderful sax solos – and we now have TWO perfectly-aligned, fuzz guitars duetting with Collins now on this unbelievably cool piece of music, driven now by three drummers plus the as-ever-note-perfect Tony Levin on bass – it is simply astonishing – a great version of a great song – really powerful stuff.

In fact, besides the obvious brilliance of Tony Levin on bass / stick, the multitasking Jakko’ on vocals, guitars and possibly keyboards, and Robert Fripp himself playing what can only be called “regular guitar” (as these older pieces demanded) instead of soundscapes and, “regular guitar” from Fripp, is both a surprise and a revelation – he is as competent as ever, a stellar player – and not to be trivialised;  however, it’s really the presence of the remarkable Mel Collins that makes this live outing astonishing, beautiful, shiver-inducing and reminiscent all at once – he is able to either re-create his original parts, or, create improved, modernised versions of them, that still capture the beauty of the originals – effortlessly, and there are some very innovative uses of Mel’s abilities on this record – my favourite being during “The ConstucKtion Of Light” (the sole track from the 2000s represented on this record) when it comes time in the song where Adrian Belew is meant to sing – instead of a Jakko vocal to replace the missing Belew…we get a beautifully understated jazz flute solo from Mel Collins!

So that just knocks my socks off – a word-perfect rendition of the track, with Jakko and Fripp playing the interlocking guitar parts with precision and grace – and then here comes Mel, replacing the now-departed Adrian Belew with an amazing piece of live jazz flute – simply brilliant!

The only place where the album maybe lets us down a tiny bit, is in the almost-complete absence of any new music – it contains a short introductory piece, and an equally short percussion showcase written by Harrison – teasers, tiny bits of new Crimson.  But that tiny point does not bother me in the slightest, because the quality of the takes, the amazing versions of classic tracks on this truly astonishing mini-live album, captured from just two random nights on the tour – are of such a high quality that I can wait a bit longer to hear new King Crimson songs in 2015.

The track list is as follows:

1. Walk On: Monk Morph Chamber Music

2. One More Red Nightmare

3. Banshee Legs Bell Hassle

4. The ConstruKction of Light

5. The Letters

6. Sailor’s Tale

7. Starless

If you enjoy the music of King Crimson, you cannot go wrong with this incredibly well-played, beautiful-sounding live record – which now joins a remarkable collection of live King Crimson recordings that begins with “Epitaph”, which documents the eleven months of the original 1969 band – remarkable performanecs! – then, moves through “The Great Deceiver”, “The Road To Red”, “Starless” (covering 1973-1974 and all points in between) and many, many more – and at the moment, ends here – in 2015, to commemorate the 46th anniversary of the band’s formation back in January, 1969 – this live release, released in January, 2015 – 46 years later.

More shows are planned for Great Britain and Europe in September 2015, and I am happy to report that we’ll be travelling to both Birmingham (September 14th) and Edinburgh (September 17th) in the UK, to see the band, something we’ve never, ever done before, as well as, one date in Utrecht, Holland (September 24th)  – just for the sheer fun of it – a week later – so, I am actually ecstatic because we are going to see the new King Crimson not once, not twice – but THREE times!!  – well, maybe, once before, in 1975, when I saw Led Zeppelin twice in one week – but that was because a second show was added at the last minute – this is a deliberate tracking of the band from one city to another and then to another continent…how very exciting!!!  I’ve seen King Crimson before – a few times (1981, 1982, 1984, and in 1995) but this is King Crimson with MEL COLLINS – come on, and that is why we’re going to see them three times in one year!!! ☺.

 

Then – February arrived, and the special two-disc version of “Merlin Atmos – 2013 Live Performances” by Van Der Graaf Generator, arrived along with it.  Now, I had been lucky enough to read about and pre-order this record, because, for those that pre-ordered, a limited edition of 5000 would contain a second disc of live material, which is called “Bonus Atmos”…and I would always rather have a double-live Van Der Graaf Generator CD instead of a single-disc Van Der Graaf Generator CD – any day of the week, month or year!!

On the day the discs were due to arrive, the vendor wrote to explain that they had been short-shipped, and that there had been a serious shortage of the two disc version of the CD – and that some unfortunate customers might have to wait for more to be pressed.

I was not one of those unfortunate souls, two days after that email, my copy of the double CD arrived – and I have to say, for my money, it’s the best live Van Der Graaf Generator album YET – even if you just count the first disc. If you consider both discs – then it’s absolutely the best – the range of tracks on offer, from classic to modern, is astonishing, and of course, it contains not one but BOTH of the “behemoths” – the two “giant” live tracks that this dedicated trio have re-learned: “Flight”, taken from the tenth Peter Hammill solo album, “A Black Box” (my personal favourite), as well as a classic Van Der Graaf Generator track reworked for the 2010s – “A Plague Of Lighthouse-Keepers” originally from the VDGG “Pawn Hearts” album of 1974.  We were fortunate enough to see the band at this time, in 2013, and the setlist did include both of these tracks – and, they also both appear on disc one of the new CD, “Merlin Atmos – 2013 Live Performances” – so for those two tracks alone, it’s worth the price of admission.  You cannot go wrong!

Most people know the story of the reformation of Van Der Graaf Generator, when the “classic” line-up got back together for a show, in 2005, and then a tour, and then another tour…and originally, this included fourth member David Jackson, on saxes and flute, along with founding member Peter Hammill, organist/bassist Hugh Banton, and the remarkable Guy Evans on drums – this quartet made a new studio album, went out and played it – and then at some point, David Jackson had had enough – and much to the horror of the fans, who were loving this re-united band – he quit after the 2005 tour.

We all held our collective breaths, wondering what on earth would happen next – how could this band go on without the very distinctive flute and sax contributions of the remarkable soloist David Jackson?? – the man who plays two saxophones at once, and was a huge, huge part of some of the songs – an integral part, you would think.  An irreplaceable part…

Think again – the remaining trio of HammillBanton and Evans voted to go on as a trio – and produced an even more remarkable album, called “Trisector” in 2008, followed by tours and another wonderful studio album called “A Grounding In Numbers” in 2011, plus an experimental record called “ALT” in 2012 – so this gave the this well-rehearsed trio of veteran musicians a huge and diverse back catalogue – or two – drawing upon the classic tracks from the 1970s, or, the tracks from the current four studio albums, starting with “Present” (which was a double – so it’s really five studio albums) made with Jackson, three, beginning with Trisector – without.

One other live album, the most excellent double “real time” (with David Jackson) was also released in 2007, so this band has been very, very busy in its new incarnation(s), “Merlin Atmos” (without David Jackson) being the second full length live document of the band in the last decade – and I don’t really care how many Van Der Graaf Generator live discs get made – they are always good, and always welcome – because this is a band that actually just gets better and better as time goes on, and has become astonishingly able on the stage – almost telepathic in their ability to support the wonderful songs of Peter Hammill, as well as other tracks written by various band members over time – “HammillBanton and Evans” compositions probably to the fore, and why not?

Many of we fans have actually come to feel that the trio is somehow – better – purer, and able to improvise more freely, and it has in particular really allowed Hugh Banton to come forward, and take every single Jackson solo or part, and make it his own – beautifully.  It’s strange to vocalise this, but – I like the trio better, than I like the reformed classic quartet!  Sacrilege to some, truth to me.  I think a lot of VDGG fans will know exactly what I mean by this – especially if you have been fortunate to see the trio version play live, as I’ve been lucky enough to witness a few times.

And – this band, this oddest of power trios – drums, organ/bass pedals, and piano/guitar/vox from Peter Hammill – has dared to take on repertoire that the reformed quartet, with Jackson, would not have DREAMED of attempting.  Like the final track on CD one – the amazing “Gog” – an obscure Peter Hammill track from 1974’s “In Camera” album, that this trio plays as if on fire – a terrifying lyric and vocal, accompanied by church / nightmare / drum solo lead guitar music such as you have never heard – an extremely strange track, but – played with a wonderful, overwhelming sense of the now.  Truly powerful, unbelievably strange music – but, also truly wonderful, and I was lucky enough on one occasion to see the trio version of VDGG play “Gog”, and it pretty much frosted my socks, to coin a phrase.  I will never forget the power of that performance “will you not come to me? – and love me for one more night?” – the roar of Peter Hammill‘s voice is undiminished by time, and the anguish in the lyrics of a song like “Gog” does not lessen with time.

I did see the quartet version of the band early on; they were great, really, really good, and seeing David Jackson reprise his original solos was amazing and unforgettable, but, seeing the trio perhaps three times since then, I’ve come to absolutely love the stripped down, “can-we-really-pull-this-track-off-with-just- the-three-of-us?” (answer: yes, always) version of the band.

This 2013 double live CD is absolutely a must have, as far as I am concerned, first, so you can own the “official” live versions of both “Flight”, with it’s wonderful new intro and outro, and the re-worked, modernised but absolutely fantastical “A Plague Of Lighthouse-Keepers” (upon which one “Robert Fripp” played a bit of electric guitar, back in 1974, on the original studio version thereof) – those two tracks are astonishing, but – the rest of the tracks are of equal lineage, and the “new” tracks taken from the last few albums, sit perfectly with the older material – it no longer, in fact, “matters” from whence a song comes – it’s the Voice of Van Der Graaf Generator – and that voice is undoubtedly the voice of Peter Hammill – back healthy and hale from a heart attack scare several years back – and the music just flows from track to track and you find yourself not caring when a song was first recorded, but just listening in the moment, to a band of consummate musicians, playing a large quantity of some of the best highlights of one of the best progressive rock catalogues ever built – an amazing band.

The set list is as follows:

Disc One – Merlin Atmos

  1. Flight
  2. Lifetime
  3. All That Before
  4. Bunsho
  5. A Plague Of Lighthouse-Keepers
  6. Gog

 

Disc Two – Bonus Atmos

 

  1. Interference Patterns
  2. Over The Hill
  3. Your Time Starts Now
  4. Scorched Earth
  5. Meurglys III, The Songwriter’s Guild
  6. Man-Erg
  7. Childlike Faith In Childhood’s End

 

The band took an interesting tactic when it came to preparing this disc, that I found very refreshing – the three of them, split up the work like this:

 

  • When you lift up Disc One, it says underneath it “mixed by HB at the Organ Workshop”.
  • When you lift up Disc One, it says underneath it “balanced and arranged by PH at Terra Incognita”
  • Guy Evans wrote the liner notes, which talk about the two long pieces they learned and how that came about.

 

I thought that was really, really fair and “meet”, and when you listen to the whole disc, both discs, I mean, in order, they sound like one cohesive concert, so the way that “HB” and “PH” “hear” the band in terms of the live mix, are clearly quite similar – it’s as if they were one person, but each mixing half of the show – very odd, but – effective.  In fact, I’ve just re-listened to the transition from “Gog” to “Interference Patterns” in the play list containing all 13 tracks – and it’s just like the next track begins, there is no audible change that would indicate the hand of PH at the mixing desk, or any way to denote the handing off of the mixing task from Hugh to Peter at this point – it just flows…brilliant!

 

For me – a deeply satisfying concert, and hearing these familiar songs once again, now that the trio has been playing for a number of years, hearing the small changes and improvements – it’s just fantastic, they are growing, and, the quality of equipment, the quality of current technology, actually means that they sound better now, than they originally did in concert – back in the 1970s, underpowered and distorted PA systems, and generally bad stage sound plagued the band (as various bootlegs will attest) while all of the live material from the reunion onwards is of such a great quality – it’s fantastic, and I am so pleased for them, because it’s as if they are getting a second chance to be Van Der Graaf Generator, but, with the advantage of age, wisdom, experience, skill – and they can apply those in equal measure, on a stage that is MIDI compliant, and where microphones are not feeding back, and everything sounds really, really good – so it’s win, win, win for the new Van Der Graaf Generator – I hope they continue as long as possible, I love this band, and I can’t believe that I’ve now managed to see them four times – when I really thought I would never, ever see them play live.

I was fortunate enough to see some solo Peter Hammill shows in the 1980s, but at that time, Van Der Graaf Generator was a distant memory, and no one dreamed that they would eventually reform – and thank God that they did!  What a great band, and another great live record with another great, no, amazing set list – 2013 was a good year for this band.

 

 

So here are two bands that were instrumental in starting out what became “progressive rock” – King Crimson in January 1969, and Van Der Graaf Generator originally in 1968 – both, now, alive and well in the 2010s, and making extraordinary music live on stage – still – and long may they play.  Robert Fripp and Peter Hammill are two very different people, two very different “bandleaders” (Fripp would possibly deny being the bandleader, but never mind) but, what they do share is determination, determination that…the music shall be heard.  Fripp endured legal battles that kept him away from music and the stage, Hammill had a heart attack and overcame his health issues, to go on to start making amazing albums like “Trisector”” – and one of the tracks from that album, “Interference Patterns”, starts Disc Two of the new set, and it’s an amazing, amazing performance – a really, really tricky song – and they play it amazingly well – a fantastic version of a now-classic song from a now classic album – “Trisector”.

And rumours are abounding that King Crimson is working on new material, so it may be that they are at the start of a new run of compositions that will rival the post-reunion output of Van Der Graaf Generator – I certainly hope so, that would be fantastic, and I remain hopeful that during the September tour, that King Crimson might reveal some new works from an upcoming album – who knows?

Meanwhile, you could do worse than to start your year with either or both of these extremely high quality live releases – I highly recommend them both to progressive rock fans, and the curious, everywhere.

 

 

 

all the very best

 

dave 🙂 🙂

 

 

mobile universe of sound (the ios world)

the ios universe of applications…is heaven for synthesists and musicians alike.  as a guitarist, I appreciate guitar applications, but my passion is collecting synthesizers…also, real synthesizers were always big ticket items, and I couldn’t afford the nice ones.

for me, ios, and the availability of inexpensive apps that emulate great synths old and new, changed everything.

pre-ios, I had a limited number of hardware and software synths, and the soft synths mostly had to be run inside my DAW, or in some cases, as a standalone application on the PC, but still, I had no access to an almost limitless array of synthesizers – and now, with ios and the amazing developers who populate it, I have more choice than I can deal with!!

HARDWARE SYNTHS

or, how it all started…

imagine if you will, then, a guitarist who has been working on music for many, many years, and during that time, dabbled in synthesizers – in the early days, I had an arp odyssey (a mark I, no less!), surely one of the most difficult to tune synths of all time; I had a wonderful serge modular system, and to my everlasting horror, I foolishly sold them off many years ago…

then, by chance almost, I picked up a couple of classic yamaha hardware synths: a dx7s, and a dx11s, and the dx7 saw service in the live set up of the band bindlestiff, where I played synth on stage as well as ambient loop ebow guitar – and my partner played a korg, so that was a great contrast of two fantastic synths – and if you listen to some of the pieces we did with that combination, yamaha and korg, such as “the wall of ninths” or “pacific gravity” you can hear what two classic synths can do in live performance.

so – during the first thirty five or forty years of my career, I owned at most, five hardware synths, and now, I am down to three – and that was it.  then came pro tools and sonar and soft synths in general, and I have a reasonable selection of those, which made recording much easier – in particular, having a decent grand piano, “true pianos”, was very useful, and I’ve used “true pianos” for a lot of projects, from my own songs to covers of peter hammill and van der graaf generator.  I picked up the wonderful “m-tron pro” mellotron software, which inspired one of my best solo albums, “sky full of stars”, and I also have “BFD2” a dedicated drum program, which allowed me to have professional sounding drum tracks when making the rock / prog / ambient album “gone native” – and if you take your time with it, you can make really great drum tracks with, such as this one, “wettonizer”, from the “gone native” record.

LEARNING SYNTHESIS, ARPEGGIATORS & SEQUENCING

having owned such a limited range of hardware synths, I never really got the chance to expand my knowledge of synthesis by owning and playing a variety of synths, and I certainly never would have been able to afford most of the desirable synths (I remember playing a korg M1 when they came out, and just practically drooling with desire – but I simply could not afford it) – so I never bought a modern synth.  I do love my yamaha dx7s, as eno has noted, it has a few really great sounds, it does certain things very, very well, and there’s nothing quite like it.

but overall, besides a modest collection of standalone and DAW-based soft synths, I really felt like I didn’t have much chance to understand, for example, the differences between additive synthesis and subtractive synthesis, I never really felt like I totally understood the magical relationships between oscillators, filters, modulators, and amplifiers, because I didn’t have examples of the many, many various hardware devices with their wildly differing approaches to synthesis.  arpeggiators and sequencers were largely mysterious to me, but after working with the fairlight app (now called peter vogel cmi) for a year or so, I really “got” how sequencers work – which then meant I could use them with better clarity in many, many other synths that feature them.

THE ARRIVAL

then came ios.  the apple platform, and, when you look at what is available for music – well, that’s what made me decide which tablet to get, when I saw what I could get on ios, at the time, compared to the relatively modest selection of apps on android – it seemed a no-brainer.  I realise that over time, android is catching up, but I still don’t know if they will ever match the range, scope and incredible diversity of synths and near-synths that the apple store boasts – it’s astonishing what is available, and it’s astonishing that you can buy a massive collection of the world’s best synthesizers for a fraction of what the hardware versions cost – a tiny, tiny fraction.

FIRST GENERATION SYNTHS & THE FAIRLIGHT

so I went for the ipad/ios combination (despite not being a huge fan of apple in general!) and it was the wisest choice I ever made.  within minutes, I was beginning to collect that massive set of synths that I could never in a million years have afforded in the hardware world – I started out by buying something that would have normally cost me about 20 grand, the great 80s sampler, the fairlight – and I spent about a year and a half, learning how to build sequences the slow way – and it was a fabulous learning experience, and I came to understand how the fairlight works, and how to arrange the instruments into sets, and create music in a way I never had done before (step by step) – quite inspiring, and very educational – and as I said, I could then transfer my new sequencing skills, to many, many other devices that support sequencing and sequences.

MOOGS & KORGS – GREAT EMULATIONS

another early purchase was moog’s “animoog”, and even now, when I have more app synths than I know what to do with, I am constantly returning to this synth, with it’s ever-expanding library of great sounds.  the korg “iMS-20” soon followed, and that was probably the synth that I truly started to learn from, because it’s so visceral, and so visual, with it’s bright yellow cables in the patch bay, and it’s utterly faithful graphics…  the first generation synthesizers that were first available on ios were already excellent, emulating hardware synths that would have cost me thousands, now mine just for a few quid on ios.  unbelievable – because I never would have owned any of those in my real life, because the hardware versions are so incredibly expensive – well beyond my means.  for example – the fairlight cost about ten thousand dollars more than my annual salary the year it came out.  now – it’s mine for a pittance…

AND ARTURIA TOO…

other early device purchases were my beloved “addictive synth”, the very, very capable “n log pro” – a great sounding little device;  “mini synth pro”, and another real favourite, the arturia “imini” – a mini-moog style synth on an ipad !!

between arturia’s “imini” and moog’s “animoog”, I was set to go for that style of synth. also, synths like the great bismarck “bs-161”, the very capable “sunrizer”, “cassini”, the amazing “alchemy” synth; the list goes on and on and on….

TOUCH CONTROL – THE REMARKABLE TC-11 SYNTH

then you get unique and amazing synthesizers like the touch control “tc-11” synthesizer, which takes real advantage of the ipad’s large screen, and delivers a synthesizer-playing experience that is unmatchable – you place your hand or hands on the screen, and by moving your fingers and hands in various ways, you “play” the synth – there’s no keyboard, but this shows you that you don’t necessarily need a keyboard to make beautiful synthesizer music (something I’d learned once before, when I got my first korg kaossilator – amazing hardware device!) – and you can produce truly beautiful music using a non-traditional interface like this – “tc-11” is simply, one of the highest quality, most remarkable devices that’s ever appeared on iosios – I absolutely love it.  one of my very favourites, I do like synths that don’t have keyboards, but out of all of them, this is the most fun, and most creative, to work with and use to produce  startlingly different synth music, often of great beauty – the remarkable “tc-11”.

SECOND GENERATION AND MISCELLANEOUS SYNTHS:

very quickly, I became a true collector of synth applications, and guitar applications, too – but it’s those synths that I keep going back to – and now, the second generation of application-based synthesizers are here, and they are beyond fantastic, with features and sounds that are incredibly complex, mature and amazing: the mighty “thor”; the incredible “nave”, “magellan”, the korg “ipolysix”, arturia’s amazing “isem” – the list just goes on and on and on.

the “dxi”, “epic synth” (1980s style synth), “launchkey” plus “launchpad”, “modular” (similar to my lost serge system, but reliant on in-app purchases to make it truly useful), “performance synth”, “sample tank” (the free version only so far), “spacelab”, “synth”, “synthophone”, “xenon”, “xmod”, and “zmors synth”….the list goes on still…

GENERATIVE DEVICES

then there were the generatives…mostly ambient in nature, and therefore, extremely well suited to the type of music that I generally make, so I happily adopted and became an adherent of “scape”, “mixtikl”, “drone fx”, circuli and so on…I worked with and continue to work with generative synthesis, which is a fascinating branch of synthesis, with it’s own quirks and interesting ways of working.  mixtikl in particular holds my interest very well, sure, anyone can make sounds on it, but if you get into it deeply, you really have an enormous amount of control of how it generates the finished product…which is endlessly changing, never the same, constantly mutating according to the rules and conditions that you control…

“scape” is just purely beautiful, the sounds, courtesy of brian eno and peter chilvers, are simply top-notch, and using art works to create your generative pieces is a stroke of genius – and it’s very simple, just…drag geometric and other shapes onto a canvas, and see and hear your generative piece grow.  more recently, I’ve picked up “drone fx”, which to my mind, is very nearly in the same class as “scape” and “mixtikl” given that you can set it up to create generative pieces, and the results are excellent – it’s a very ambient flavour, which suits me just fine, so I am very happy to add “drone fx” to my arsenal of generative music applications!

then there is “noatikl” (obviously, a spin-off or product related to the great “mixtikl”) – I don’t have much experience with this tool, I would call it a “sound design”-based generative music app, where you create loop-like pieces by connecting different sound generating nodes together – it’s quite odd, but it makes lovely music, and I hope to learn more about it and gain some skill in using it in the future.

THE LAND OF AMBIENT

this category includes most of the generatives, so please see “GENERATIVE DEVICES” above, for details on “scape”, “mixtikl”, “noatikl”, “drone fx”, and “circuli”.  there are other really, truly important synths in this category, in particular, the brian eno-designed “bloom”, which was the predecessor to “scape” – “bloom” is a generative player, you select wonderfully named style and “bloom” then creates them on a grand piano for you – it’s really lovely, I can sit and listen to it for hours.

then there is another from the “mixtikl” family, the lovely ambient music player “tiklbox” – this one is really simple, it has a die in the middle, and you roll the die, and it then randomly selects or creates a piece of music based on the number you roll.  It’s mostly very pleasant, I like the music it makes, but there is very little user interaction possible, you just turn it on, roll the die, and…listen.  but – that’s cool, too.

PHYSICS-BASED SYNTHS

then you have the slightly strange synths, two more in the semi-ambient category being “circuli”, which is literally, circles that grow and collide, and those collisions produce music, and the somewhat similar “musyc” that makes it’s music with bouncing objects – again, virtual objects collide to produce notes, chords or percussion sounds.  “orphinio” presents varying sets of intersecting circles, each set to a different tuning or modality.  both of these “shape-based” synths have truly great potential, but you have to be patient to get the kind of sounds you want out of them.

GRID-BASED SYNTHS

then there are the “grid” devices – visual sequencers with massive grids that scroll past, and you merely “click on” some of the buttons as they pass, and note events begin.  one of the best of these is an old favourite of mine, “beatwave”, which I have used as a background for guitar improvs, because you can very quickly “build” a good quality backing track (it’s very similar to looping, really) and then just let it run, and solo over the top of it for live performance purposes.  a similar and also very enjoyable device, “nodebeat HD”, works in a very similar way, and in fact, there are a good number of these “grid” types of synths out there, most of which sound very good.

MICROTONAL GRID SYNTHS

then…again…you have the static grid types, such as the classic “mugician” and “cantor”, which use a static grid that you play by putting your finger on the notes you want to play, and “cantor” in particular, has a great “auto octave” function which means that if you want to go up very high, you just swipe a big diagonal line upward – and the device leaps up through four or five octaves – and a reverse diagonal, takes you back down to the lower notes.  “cantor” is more note based, although it does have microtonal attributes, you mostly use real notes, whereas “mugician”  is totally and utterly microtonal, you can “hit” notes, but it’s more about being able to play in a microtonal fashion – something that takes practice to get good at.

early on, I used “mugician”  to play microtonal indian-style melodies over the remarkable “itabla pro” (one of my very, very favourite music apps of all time – I could write an entire blog about “itabla pro”; how good it is; and how much I LOVE it!) and that was great fun – it works really well as a lead instrument in that kind of musical situation.

slightly different in design to the “mugicians” and “cantors” (which while sounding very different, do have very similar interfaces visually at least) is the most excellent “sound prism pro” which features it’s own unique grid design, that is similar but different from the other two apps mentioned.  “sound prism pro” has it’s own unique musical vocabulary, and is a bit more melodic / harmonic, whereas “mugician” and “cantor” are essentially solo instruments – melody only.

VOCAL SYNTHS

then there is the “vocal section”, which on my pad, share a special page with my audio utilities – in this category, we have some great tools for creating vocal harmonies and effects: “harmony voice”, “improvox”, “vio” and “voice synth” – each boasting it’s own slightly different way of achieving vocal harmonies – some very innovative and good sounding tools in this category, a lot of fun to sing into, too.

RECORDING STUDIOS – AUDIO, MIDI, HYBRID

just outside of the land of synthesizers, there are also a broad spectrum of recording studio applications, such as “auria” (professional audio multitrack studio), “cubasis” – professional AUDIO + MIDI studio, “nanostudio” one of the oldest and most respected MIDI studios, and a personal favourite (and it does qualify, because it has a synth in it – a GREAT synth, called “eden synth”, which I absolutely love), “isequence”, “isynpoly” and “synergy studio”, midi studios all; and the unique yamaha “synth and drum pad” which is a bit different from the rest and is a lot of fun to experiment with – some unique sounds there, too.

the most recent entrant to this category is korg’s groundbreaking “gadget” – an incredible studio with fifteen unique korg synthesizers, bass synths and drum synths (yes, fifteen) that you can combine in endless variations to produce some amazing music.  I’m currently working on my first three pieces with gadget – and of course, I feel another eternal album coming on…

STANDALONE ARPEGGIATORS

on the same page as the studios, I also have a couple of standalone arpeggiators, “arpeggiognome pro” and “arpeggio”, which are very useful for driving your other synths, and unusual apps like “lemur”, which I purchased at half price for future development projects.

DIY SAMPLE PLAYERS – NO EXPERIENCE NECESSARY

I also have a few of what I term “idiot synths” (no offense to anyone) because you need know absolutely nothing to run them, they are really just sample players with controls to modify many samples running in parallel.  the “groove maker” series are really quite good, I love the “groove maker rock” version especially.  I also have “session band rock” which is similar, I’ve made a couple of nice “metal” backing tracks with “session band” – the “rock” version, of course!

PIANOS, ELECTRIC PIANOS, ORGANS, MELLOTRONS

then there is the more traditional section of keyboards, which features a variety of grand pianos, regular pianos, upright pianos, electric pianos (“iGrandPiano”, “iElectric Piano”, “EPS”, mellotrons, and a couple of really, really great emulations of organs – “galileo”, “organ+”, and “pocket organ c3b3” – I love all three of these!  I am really pleased in particular to have the organs available, and the work that’s gone into them, right down to the quality of that leslie speaker emulation – I love the “slow to fast” sound and vice versa, and all of these do a good job of that.  the sounds are simply beautiful, and, they are a lot smaller, lighter, and cheaper than real organs 🙂

DRUMS & BASS – AND PERCUSSION, TOO

this section of my ipad has really expanded of late, and there are a lot of great apps available for very little cost.  starting with the basses; we have a large variety of very innovative and interesting-sounding devices, from oddities like “amen break” to more practical devices such as “bass drop hd” and”bassline”. the drums section, by comparison, is massive – old faithful “korg ielectribe”, “dm-1”, “drumatron”, “easybeats”, the unique “impaktor” (which makes a drum kit out of any ordinary surface), propellerhead’s quintessential “rebirth” which of course, handles bass and drums, and is enormous fun just to play…”synth drum”, “virtual drums”, and a million other drum kits and machines too numerous to mention…

my absolute, all time favourite drum app, however, is not any ordinary drum machine or drum kit, rather, it’s the extraordinary “itabla pro” – one of the most excellent applications I own.  full on tabla samples, with several playing styles for each template; and an extremely large range of templates in all time signatures, it’s as much an education as it is a drummer. also featuring tanpura and other supporting instruments, it has two completely tunable tanpuras, the tablas and the two tanpuras are all tuneable within an inch of their life, and it makes outstanding music for interacting with other ipad instruments.  I’ve been working for some time using synthesizers with “itabla pro” as accompaniment, and it works equally well with microtonal synths such as “mugician”, as well as ordinary “western” synths such as animoog – on my ipad right now, I am working on a new piece that features two animoog solo melodies over a tanpura and tabla backing – and it’s sounding very, very good so far.

notably, while not a percussion instrument, there is also an excellent free app, called “samvada” that does tanpura only, it’s beautifully made, sounds great, and is excellent for use either in conjunction with “itabla pro”; or, for situations where you want a tanpura drone but you don’t need tablas.  sometimes, I just gang up the tanpuras on “itabla pro” with “samvada”, for the ultimate in rich, deep drones – fantastic.

ODDS AND SODS SYNTHS

other oddities include “tabletop” which is a sort of…table top, where you can arrange midi synths and drum modules to make music with, with a lot of in-app purchases if you want the really nice tools.  it is possible to make decent music with the free supplied tools, but it is limited unless you are willing to spend a lot on IAPs.

there are so many in this “category” that I cannot possibly list them all: “76 synthesizer”, “moog filtatron”, “catalyst”, “cascadr”, “dr. om”, “noisemusick”, “figure”, “lasertron ultimate”, “samplr”, the list just goes on and on and on…

IN CONCLUSION…

and as time passes, more and more synthesizers will arrive on ios, each more powerful than the last, it just seems like a never-ending process, there are so many excellent developers out there, as well as such a hunger from musicians (myself included, I am not ashamed to admit) for these synths – especially the vintage ones, the ones that emulate the classic keyboards that we all lusted after, but most of us simply could never afford.  ios, and the availability of cheap synth apps – gives us what we could never, ever have in the real world.

armed with this vast array of synthesizing power, I feel like there is no sound that I can’t make, and no requirement I can’t meet – if I need a sound for a project I am building on my ipad – I will, absolutely will, already have a synth – or two – that can make that sound.

I am utterly in my element here, I hope the synths never stop arriving, and as long as developers keep creating them, I will absolutely, absolutely – keep playing them.  rock on.

I will leave guitar applications for another day – suffice to say, they are equally diverse and fascinating, and several of them are putting serious challenges to existing stomp box and other guitar processing hardware items.  I love my guitar apps, and it’s a whole new world of guitar playing – instead of my traditional set up; instead, I have a guitar to ipad to sound card set up – and I can get a whole world of excellent tone just using ios ipad guitar applications…

in the meantime, synthesists unite, and developers, please do not stop working on new and better and more innovative synthesizer apps.   something needs to feed this addiction, and that’s truly what it has become – but in the best possible way, and I get so much enjoyment, hours and hours and hours of enjoyment, from just playing the various synths, to making various recordings using them – it’s created an entirely new application-based world of music that I did not realise I had in myself – and it’s an absolute joy to play these innovative instruments, and to try out new combinations of devices either by using them in a multi-track environment such as “auria”, or, for simpler set ups, the very practical “audiobus” (another game-changing device) and now, we have the new inter-app audio as well, so options for tying synths together via MIDI, or for triggering other devices from within one device, just grow and grow – it is truly amazing.  I feel truly blessed to live in such times, technology at work for good, for the sake of sound, and the sound quality of most of these apps far exceeds expectations.

for that, and for the massive number of free, inexpensive or even expensive synthesizer applications, I am truly grateful, and truly happy, that these exist for me to collect 🙂

happy synth-ing!

turning a disadvantage into an advantage…and “the perception of music”

today I want specifically to talk about perception, in this case, my own perception of the music that I create, and some observations I’ve made regarding this.

first off, I’d like to suggest that I think all musicians may experience what I am about to describe, namely, that feeling, while you are playing, performing with, or recording your instrument(s), that what you are playing is possibly:

a)     not as good as it should be

b)     not “right”

c)     going horribly wrong, but you carry on anyway

d)     is a “disaster in the making”, but you carry on anyway

e)     sometimes, that bad feeling is so strong, that you actually abort the take (or worse still, stop the performance!)

I don’t know about you, but all of the above has happened to me; most of them, many, many times.  blessedly, the last one, not too often 🙂

but, based on some listening and performance experiences of my own, I would like to suggest that if we are feeling this way when we play, that we are maybe doing ourselves (and therefore, our music) a huge disservice.

a case in point, is a track I recently mixed, that I had recorded live in the studio on september 30, 2012, entitled “into the unknown”.   this track, a lengthy improvised piece (an 11:48 scape and energy bow guitar duet), is the perfect example of what I am talking about here, in that, while I was recording it, I really didn’t think it was going well at all.

I had concerns about the tuning of my guitar; concerns about the ambient guitar parts I was playing; and concerns about the solos I played.  those concerns stayed in my mind, from the day I recorded it, september 30, 2012 – until february 10, 2013, when I finally sat down to mix the track!!  all that time – I held a very, very negative view of this improv in my mind – I was pretty sure it was not going to be a good experience to hear or mix it.

how very, very wrong I was (thankfully).

much to my amazement, when I mixed “into the unknown” – while it wasn’t perfect – to my everlasting astonishment – it’s actually a very, very beautiful and good track, with nothing particularly “wrong” about it !!!!

but, at least for me, as it so, so often does – my “self-criticising circuit” just kicked in automatically, every tiny imperfection I perceived as I played it, magnified a million times, until I was sure it would be a waste of time come mix time – and boy, was I ever wrong – it’s a gem, and I am now very excited about this track – I really enjoyed creating and publishing the video of it, because it’s a unique and unusual scape and guitar synthesizer duet – a very, very unusual, (and quite lovely, too), piece of music indeed.

surprise number one: when I sat down to mix the track, the first thing that struck me was how very beautiful the underlying “scape” was, and that meant immediately, that 50 percent of the track is automatically “good” and beautiful, too.

surprise number 2: the other 50%, which is what I “live looped” and played live with the guitar synth – OK, some of it required a little work, I did have to “treat” a couple of the guitar synth solos to make them sound better – but mostly, there was nothing much to do, except trim the track, add a tiny bit of reverb overall, and master and produce it.

and with fresh eyes and fresh ears, that nasty (mental) list of problems and complaints, looks slightly different using my february 9th, 2013 “ears” – I’d say that list should really have read this way:

a)     song is better than I thought – much better

b)     it’s very right – the scape is great – the guitar synth is good – the solos are acceptable

c)     it was going well, and I was right to carry on – a good decision

d)     not disastrous at all, and I was right to carry on – a good decision

e)     luckily, I did NOT abort the take, because if I had, it would have been a tragedy – a travesty, as it would have meant throwing away a really, really interesting, utterly unique, and perfectly good piece of live music!

so this is how the perception can change, and of course, now, being aware of all this, I do make a serious effort to look more positively upon music I’ve recorded, because much of it is probably (but not necessarily!) much better than I initially think it is.

what I take away from this is at least twofold:  one: I need some time, a significant amount of time, to pass, before I “pass judgement” on any of my recorded works, and two: I shouldn’t be so hard on myself.

another track, “escape from the death star” (a seven minute scape and ebow loop/live duet recorded on october 20, 2012) proves the same point – for a different reason.  I had the usual mental list of “what is wrong with this track” – as above, but in this case, this track came from a truly disastrous session, where things really DID go wrong, and badly wrong, on the first fourteen of fifteen tracks recorded total (now THAT is a bad day in the studio!).

so, based solely on it’s presence within this “disaster session” (unfortunately, an accurate name for it) – I think I just assumed that this track would somehow be tainted by the failure of the other tracks, harshly judging it by the same criteria with which I rejected tracks 1 through 14 – which again, is a ridiculous assumption, and again, I was quite surprised on first playback, to find that it is a very intense, very powerful, ebow and scape loop – and, to be honest – it’s not bad at all!

once again, I placed a mentally “negative filter” over this piece, which was unfair and incorrect – needing to measure the piece based on it’s musical merit rather than it’s inclusion in a set of bad music.  time seems to be what I need, hindsight I guess…that seems to be the main catalyst for me swapping my negative view for a much more positive one.  I am hopeful though, that since I’ve written this article, and discovered these behaviours within myself, that I can be less negative at the time of recording, and shorten the time needed to achieve the correct and positive view of these improvised pieces of music.

now, I am not saying that you should automatically assume that every take you make is golden!  you do have to be critical, and even ruthless, and remove takes that are less than inspiring, have substandard solos, or are too much like one another.  I’ve never had too much trouble with that, although there have been occasions where I felt like I really had to publish many, many examples from one session, just because the quality was high overall, and the different takes reflected different aspects of the improvs that were important musically.

but that is a rarity; very few sessions produce a 50, 60, 70 percent, or higher, success ratio (for me, anyway) – most sessions end up with one or two very good takes at the most, a few decent takes, and several that are not taken further. very occasionally, 90 percent are good.  very, very rarely, all of them have merit – very rarely indeed – but it has happened.

but otherwise, it’s actually the norm for me to record a dozen or more pieces of music, and then in the end, only publish perhaps three or four of them.  sometimes, maybe just one or two…or in the case of “escape from the death star” – maybe even just one!  depending on the session, it may also be that I might publish eight or nine out of 12 tracks, or 14 out of 20, or whatever makes sense to me from a strictly musical point of view.  some days, you are fortunate, other days, not so fortunate.

as always, though, it’s about finding balance – finding the sweet spot between being fairly and justly critical, but not automatically assuming that everything you record is really, really incredible – just finding the right pieces, the ones that reflect well on you, that express your musical ideas well but not too overtly, regardless of if they are understated or “over the top”, the ones that represent “you”  as composer, musician, performer – but, at the same time, trying not to be too critical on yourself, giving yourself some slack!  give you a break… 🙂

now – I can just imagine you all scuttling back to look back at those tracks you recorded four months ago, six, seven months ago…desperately hoping that they have miraculously turned from bad to good while you were busy elsewhere – but you may be disappointed.  or, you may find a hidden gem or two…

I just know that for me, I can often be very, very overcritical at first, especially at the time of recording, just after, and probably for a few weeks afterwards – but interestingly, as I found, after a few months, when you listen (with fresh ears), you may well find that you were too critical, and you have perfectly viable music sitting there just waiting for that final mix and master.

while we are on the subject of behaviours and perception, I’d like to mention another curious behaviour that I’ve noticed in myself recently, and I wonder if any of you have ever experienced this – it’s what I now call the “I don’t want to know” syndrome.

a very current and very real example of this is my current and ongoing relationship with a peter hammill song entitled “the siren song”.  over the past several months, I’ve had several recording sessions devoted to this very, very difficult-to-play, difficult-to-sing track from “the quiet zone/the pleasure dome” album, by van der graaf, from 1977 – and I have struggled mightily to get a take that I am entirely happy with.

some of those sessions ended up yielding absolutely NO candidates (usually due to unrepairable and disastrous and horrific errors in my piano playing – it’s devilishly difficult to play!); others, perhaps, one or two at the most, and those with too many faults, although I will say, as the months marched on, my understanding of the song (and particularly, the piano parts) has grown immensely, and the last few sessions with it were far and away, the closest I had come to getting “a take”.

but here’s the interesting thing.  I love this song; I am absolutely determined to capture a good quality version, completely live, at the piano, and, I have done a lot of work, both in learning the piano part much better than I ever knew it before, and in recording the track over and over and over and over again, slowly getting better at it in the process.

as you know, because I record so much music, using so many different instruments or apps, that there is always a backlog of songs that need to have their audio assessed and mixed.  I did a couple of sessions for “the siren song” several months ago, that went quite well, and I was even wondering, just kind of wondering…if possibly, one of the takes in that very last session MIGHT be “the take”.  but – I couldn’t face listening to them back, to find out if a good take was present.

eventually, after months of dread and procrastination I finally went and listened – and there it was.  a good take!

however – for some reason – for a long time, I absolutely, steadfastly, and repeatedly, AVOIDED going back to listen to those last two “siren song” sessions!  because…I didn’t want to know!  I did not want to find out whether I “had a take” or not!  what a strange thing to do, but for some unknown reason, I assessed the first few “the siren song” sessions, up to a certain point in time – and then, fully intending to carry on the next time I mixed – I just STOPPED – utterly inexplicably.   I kept avoiding it, until eventually I had to face it – and much to my surprise, that good take I was looking for – was there…with very, very little wrong with it.  a minor miracle, in my experience 🙂

instead of continuing the seemingly never-ending sessions devoted to capturing THIS song, and this song alone, I could then move on to other projects, and at last, let go of the seemingly endless search for that elusive “good take” of “the siren song”.  🙂

I think as musicians, we do sometimes do strange things with regards to the music we create, we are in denial about certain things, we hope that certain takes ARE takes when we know deep down, that they are NOT, conversely, as described in this blog, we thing takes are bad when they are really OK…and so on.

I was really hoping not to solve any great problem here, but just to draw attention to some of the psychological aspects of recording modern music (as opposed to the physical challenges, such as dealing with computers, MIDI, soft synths, DAWs, digital noises, pops and clicks, and so on…), but mostly, how very important indeed it is to give yourself a break, let music sit for a while before you judge it too soon or too harshly or both – and also, I think you will find that the passage of time gives you different ears with which to listen, and when you do find the time to listen, you will see – and hear, more importantly – the work you’ve done in a whole new light.

I noticed certain behaviours during the creation and mixing of these songs and recordings, and I wondered if any of you had had similar or identical experiences, or, if there are other behaviours not noted here, that you indulge in that you may wish to share with us all – if so, please feel free to fill in the “comments” below – we’d be very glad to hear from musicians and listeners alike as to any issues they find with “the perception of music”.

as always, we encourage you to participate, and we do want to hear your views on this blog, so please feel welcome to comment on this or any of the blogs, we’re always happy to discuss / dissect / deviate from topic / whatever it takes to communicate, learn and grow.  I think this is a very real problem for many musicians, yet I can’t remember ever hearing anyone talk about it – so I decided that I had better say something! 🙂

being overcritical may be another symptom of OCD, which I do have a mild case of, but I don’t really believe that.  I think it’s something basic in my personal make up, I tend to focus on “what’s wrong” with each piece of music, rather than celebrating “what’s right” and being kind to myself, and letting go of “what’s wrong”.  so being aware of this – I can make changes, and start to view things more positively.  I do try now, to give myself a buffer zone of time, a week or two, preferably more – and THEN go back and listen…and invariably, things sound better once they been around for a few weeks – strange but true.

of course, I WILL go and fix what is “wrong” – even if it takes a week to fix 30 seconds of music.  [does this sound familiar to anyone ????? 🙂 :-)]

happy mixing and mastering to all!!

peace and love

dave