Looks like @wavethatflag got four Stones tunes last night at the CRB, including a double Stones encore. But he probably doesn’t even like the Stones that much
Watching the Genesis Live show from 1973 on You Tube Watcher of the Skies Dancing with the Moonlit Knight I know what I like (in your wardrobe) Supper’s Ready They were 22 or 23 years old. Really incredible. Just to play this stuff and not screw it up is amazing. This was my favorite band for a year a two maybe 77-78 before I discovered King Crimson. Sometimes I forget how great they were as it’s not the type of music I’ve listened to that often over the past 25 or 30 years
Those shows were like listening to the albums, but with an extra dose of energy. Amazing band. Almost zero improvisation, though.
Only really Hackett’s accents vary. Same thing with Yes in those days. I saw both bands in the late 70’s (twice for Yes) but I was 18 or 19 and I simply knew they were great but besides listening to a bit of Traffic, Cream and a very small amount of The Dead, I had no idea what improvisation was at that point. Plus Collins was a monster behind the kit. He never played with that sort of power later on. When I saw them (Duke Tour - it was 79 or 80), they were wonderful but they were nowhere near the powerhouse they were when Gabriel was in the band.
No - it was an interview I read of Don Van Vliet referencing Cecil Taylor & Ornette Coleman. Probably 1990. I went out and bought 3 jazz CD’s but NOT Cecil or Ornette. Kind of Blue, Mingus @ Antibes & Bill Evans’ Waltz for Debby. Was only initially excited about Mingus. Then I bought Monk’s Music and “Well You Needn’t” did the trick. Still to these ears one of the great performances by a jazz group in the studio. Probably my favorite Monk solo before the horn solos.
KM's antics notwithstanding, I don't think I joke about the Who. Maybe about everything else, but not the Who. There's a thread here called "The Decline of Keith Moon" that sends me in the opposite direction of joking. I was so young when I became a Who fan, they are like my virtual daddies of rock 'n' roll. I wasn't there last night Erik! I'm going tonight, and not tomorrow, or don' t you remember skewering poor little me for not going to all three nights?
Peter Brotzmann Mats Gustafsson Paal Nilssen-Love The Fat is Gone Recorded Live on 7/20/2006 @ Molde Festival in Norway Peter on alto & tenor saxophone and a rare absolutely beastly showing on bass clarinet to start the second 28 minute piece. 5 stars - awesome sound and thoroughly crankable
Dude, CRB doesn't hit the stage until 9, which probably means 9:25 at the earliest. CHRIS ROBINSON IS A BIG WEIRDO. But a mighty fine entertainer. I'm an old man and need a 7:30-8:00 PM start, like the "normal" bands do it. It's kind of sad that the famous "Magic Bus" barter would now be conducted via eBay and PayPal.
I'm warming up with some WHO, @adamos and @budwhite are down with that. And @footlooseman. And @bmoregnr. And @Fullbug, but he doesn't post in this thread. It's still really disturbing for me that @Archtop doesn't like Entwistle, because Archtop can play some professional-ass bass.
Phil Collins was a monster on the kit with Brand X too, some of his best drumming I thought, and apparently he and others did as well. He drummed on the first two studio titles, parts of their 4th and 5th studio and the Livestock record. I just pulled this up, side one, and while not my personal favorite it is an incredible funky, fusioned, space prog debut....
What the heck are you on about ? I like Entwistle just fine, but I roll my eyes when people act like he was the greatest thing ever. He had crazy low action, to the point where you looked at the string and a note came out. Trying doing what Charles Mingus, Niels-Henning Orsted-Pedersen, Miroslav Vitous or Gary Karr did or do on double bass and there's something to be on about. Oh, but thanks for the plug; I'll run with it. If anyone cares, here's a really simple yet extremely effective track that my friend Emily Grogan recorded in 2005. She asked me to lay down a double bass part and the sound engineer recorded me in his kitchen on a microphone that cost more than my instrument. Nice and woody bouncing off that kitchen tile. That's some home-cooked reverb is what that is.
