[l1]G[/l1]uitarist Jim Earp sent a link to this video of Rachel Flowers performing Emerson, Lake, & Palmer’s Karn Evil 9: 1st Impression on a Hammond C3 organ.
Ten minutes in my head exploded. (It’s 14 minutes long.) Continue reading “Rachel Flowers: Emerson, No Lake, Little Palmer”
[l1]I[/l1] don’t even know his real name; he signs his emails res, but resonance is not just a brilliant songwriter, but a world-class performer. More than one of his songs sound like Styx got back together. Except maybe with even better lyrics. Continue reading “USSS: resonance”
[l1]F[/l1]alling far outside the swingabilly world, Paul “hoopshank” Turrell is irresistible. How can you resist someone who writes a song about what a really big number a billion is, and turns it into something between Led Zeppelin and Yes? Continue reading “USSS: hoopshank”
[l1]T[/l1]he most highly trained FAWMer I know, Elaine DiMasi is also the only person I know who’s ever written a madrigal for a licorice advertisement.
Continue reading “USSS: Elaine DiMasi”
[l1]T[/l1]he idea of progressive rock appeals to me. Take elements of classical and jazz and blend them into some variation of rock and make it, well, progressive. Since it requires composing, arranging, and performing skills beyond that of 3-chord blues and pop bands, it’s not always executed well. For myself, since I’m as fussy and opinionated about jazz and classical as I am about any other genre, I’m three times as fussy about prog rock.
Continue reading “Tyranny of Beauty in an Ambient Tangerine Dream”
[l1]I[/l1] painted one side of the white paper liner: a walled pond in a garden with three paths approaching and crossing from different directions; all very Seussian and psychedelic.
King Crimson’s music is not an acquired taste. I don’t think it’s possible to acquire it. Your DNA connects with it instantly or you never will. Feeling compelled to paint the liner is a symptom. Continue reading “Strange Wonderful Crimson King”
[az]B00009Z576[/az][l1]B[/l1]uggles central characters Trevor Horn, vocalist, and Geoff Downes, keyboard player, were recording next door to Chris Squire, Steve Howe, and Alan White while they were recording the beginnings of the Yes album Drama. Horn and Downes were invited to fill the gaps left by Jon Anderson and Rick Wakeman, who were busy elsewhere.
As much as I love Yes, oddly enough Drama is one of my favorites. The Buggles brought just enough difference to spark some amazing stuff.
(Inspired by a discussion The Tribe Nez Built with Bonnie, Bill, Tom, ps and Betsy at Triiibes.com)
[az]B00005R8CH[/az]ive years ago my oldest son and I worked together. During our hour-long commute to and from work every day, we were constantly looking for new music to share. I just rediscovered one of our prizes yesterday.
Both big fans of Yes, we heard Open Your Eyes and Talk the same day. Somehow, I confuse the names in my mind because I absorbed them over the same short period.
Oldest son prefered Open Your Eyes but I like the dynamics and acoustic leanings of Talk. Except, for the past four years since we’ve lived in separate homes, I’ve continued to confuse the two albums, choosing not to listen to the ‘harder’ album partly because of the music and partly because of the memories.
Yesterday I just grabbed a CD from the pile that doesn’t fit in the cabinet without paying much attention; just wanted something different in the van. And, lo and behold! The album I’d been not listening to for four years was the album I’d been wishing I still owned. D’oh.
Opening with acoustic guitars, layered with eleventy-leven vocal tracks, and apparently engineered with buckets and boatloads of heavy bass and sharp trebles, Talk falls, in my head, into the 90125/Ladder section of the various Yeses (Yesses?) It mixes crunchy with melodic, ploughs through massive driving solos and falls to near silence. One high point is the opening of “State of Play.” A simple sliding chord riff, repeated a few times, before the other instruments thunder in.
Talk is my current state of play.
[l1]L[/l1]ink rot is a web phenomenon whereby links from one site to others begin to fail over time due to changes in the target sites.
I’m about to introduce link assassination. Since I have to remove all my CDNow links, but haven’t had time to get all the Amazon.com links, I’m going to just kill them until I have the time.
So, if you read back through older articles (anything prior to the first of December) the links are about to unceremoniously cease to function. I’ll do what I can to get them replaced quickly. In the meantime, you can find everything you need at Amazon.com, which is where we’ll be buying our music from now on, right?