Yeah, implications are broad. Let's say commercial music... jazz and rock as "genre" come to mind.
I recognize this is an exercise in silliness.
Still, these gut-think moments that my brain produces from time to time are silly and broad like that. Let's even call it the best on a micro/macro level for pop/rock acts and include but not limit ourselves to Grateful Dead music. Shit, I think Legion of Mary (or Saunders/Garcia Band, if you please) produced more music of note that year than did the Grateful Dead. So, yeah, that is my hashtag hot take.
Whatup, 89. No, but I'm interested. I can play chords, but no scales. I do know that a song generally ends on its tonic, which is its key, I think. I can often recognize modulation. I figured out that Dew and ILYR are pretty-much the same song, the former in D and the latter in E, generally. Yeah, I'm a beginner. I listen to YouTubers to learn the language. It's certainly a weak spot in my personal lexicon.
1965 seemed to be a decent year for the start of the hip new beats, like groovy man!
1969 was the birth of Prog Rock, and saw Fusion Jazz / Funk / Motown / SF scene / etc, take a quantum leap in popularity, far out man!!! (what??? bands not trying to sound like each other? actual creativity?)
1974;
Disco starts to become more popular, prog acts become more commercial, funk / motown / fusion / SF scene / etc become more commercial (nanook rubs it in)
So agreed, it all started going downhill in 74
(exceptions to the punk / metal / new wave scenes, but not sure many truly original things happened here, but it sure was fun!)
meanwhile, in the rest of the world... (or what actual musicians were listening to, etc)
In general terms, I think the year is pretty close! ... at least for my tastes.
There are certainly exceptions and plenty of "backfill" in recent times that are captivating, but it's hard to escape the fact that we're mostly wading through "derivations".
He's obsessed with 67' and has shown me that's really when the damn broke for psychedelic music.
Idk whether it was the summer of love, mr. Owsley's efforts or everyone was finally catching up to FZ and the velvet underground's groundbreaking debuts, and to a lesser extent, that of cream and the Jefferson airplane, or the clear transformation of such already established mainstays as the Beatles revolver and beach boys pet sounds from the year prior but it almost seems like once sgt pepper came out there was no going back and u can clearly hear the difference between the overwhelming majority of albums that came out before 67' and those that came after.
The release of the first albums by the GD, Hendrix, cpt beefheart, Pink Floyd, big brother and the holding co., hell, even the red krayola, just to name a few and, conversely, the recording of the final Coltrane album; the examples of the significance of 67' r practically endless and cannot b overstated
Popular music has always evolved and continues to evolve; determining peaks and valleys can be subjective.
David Byrne talks about recording with British trip-hop artists Morcheeba, whom, for whatever reason, were all excited about Stephen Stills' mid-'70's band Manassas. David didn't quite understand it until he realized that they saw something completely different in the band from what he saw (they were likely interested in the sampling possibilities). His viewpoint of that particular music was changed by the perspective of younger musicians - it just had to be taken out of context.
Hip-Hop and hardcore punk are two genres that came about way after 1974, I'm sure there's lots more examples. There was also a lot of marginal/crappy stuff that was created prior to 1974.
You never know who is going to be the next musician to push the envelope, just depends on the time, place and circumstances.
Not sure if this is exactly on point, but here's the old mixed with the new - Paul McCartney - Get Enough - He's using auto tune and it actually sounds pretty good,
Music is music. If you like it that's all that matters. No reason to get too cerebral about it. People have different tastes. Your cup of tea might not be mine..Different strokes.
I've been thinking about this for a while... Art is cool: no matter which form it takes (music, painting, writing, architecture, dance, drama, good sex, etc.), the historical development, and the actual form it might take, follows pretty-much the same arc (start simple> build in complexity to peak perfection> climax> reflect). That's where Deconstruction comes in. And that's where my argument lies.
Let's look at painting first, and use Picasso as our example. As a kid, he could paint to perfection. He was a prodigy. He already started busting up the place in his early twenties, with Cubism. By the time he was old, he was turning famous paintings into children's crayon drawings - nothing unnecessary and perfect lines. It took a fan of his, a student, to finish the project by splattering and drizzling paint onto the canvas.
Music is like this. Think about the build up of musical genres from chanters to minstrels to bands to orchestras. And now, for the most part, we've gone back to small bands and folk artists. Bach and Mozart were the climax. Mozart moreso because he added theater. He was HD before anyone. After that we get Stravinsky and Ives, and take that all the way down the decades until we get to Neil Young and Lou Reed noise records, and then to Sonic Youth's fine attention to those micro-shifts in tone that could literally put you on your toes while watching them live. The Stooges were important here, of course, as well. We could go deeper on all that later. But importantly, we could make this comparison with every art.
So, really... where are we? We live in the transition to a new era where everything has been done. We've lived through the deconstruction and are now wading in the aftermath. Where does art go when we've come to the end of the story? We are post-Ragnarok. See? Even mythology.
Personally, I think Parnassus was correct: we must keep the stories going at all costs, tell all of them.
If you ask me, this explains 80s pop music, where every genre was available. I think of it as the splintering of Prog into pop. That is, to me, the overall tone, the very possibility, of 80s pop was the inevitable result of the Progressive Rock... environment. We should nurture that spirit.
Whattaya think?
I left out jazz, and that's a sin. Please add it in, someone. You guys know it better than me. But, Charlie Parker and Miles Davis are essential here, I'd think.
I guess next is electronic music and the trend towards mathematical precision over human feel. Soo... German trends... Sorry, it's a weak spot for me, would this be Can? Then up to synth pop, and then to raves, and add thirty years, and now I can't stop listening to the 8-bit version of Don't Fear the Reaper.
It might be a good time to mention that the vast majority of artists, even "great" artists, have no idea that they, or their art, are part of some historical "movement", nor would they care.
> Where does art go when we've come to the end of the story?
That's always been the question--What's next?--and, somehow, people have always (so far) managed to answer it with something we haven't seen or heard before.
Technology has a lot to do with the production of art, and when new tech is developed, artforms shift. Here's a short anecdote about new technology--the typewriter--that illustrates this point:
Sometime in 1882, Friedrich Nietzsche bought a typewriter—a Malling-Hansen Writing Ball, to be precise. His vision was failing, and keeping his eyes focused on a page had become exhausting and painful, often bringing on crushing headaches. He had been forced to curtail his writing, and he feared that he would soon have to give it up. The typewriter rescued him, at least for a time. Once he had mastered touch-typing, he was able to write with his eyes closed, using only the tips of his fingers. Words could once again flow from his mind to the page.
But the machine had a subtler effect on his work. One of Nietzsche’s friends, a composer, noticed a change in the style of his writing. His already terse prose had become even tighter, more telegraphic. “Perhaps you will through this instrument even take to a new idiom,” the friend wrote in a letter, noting that, in his own work, his “‘thoughts’ in music and language often depend on the quality of pen and paper.”
“You are right,” Nietzsche replied, “our writing equipment takes part in the forming of our thoughts.” Under the sway of the machine, writes the German media scholar Friedrich A. Kittler , Nietzsche’s prose “changed from arguments to aphorisms, from thoughts to puns, from rhetoric to telegram style.”
I dunno, this came out last year. But maybe others will not think a 49:00 minute piece with a repeated variation on a figure every nine seconds is brilliant like I do.
One show I remember from that year --1974 (going to the new Capital Center was still a big deal for us then as we had all just started to drive and it was down by DC), was George Harrison and Ravi Shankar (with Alla Rakha, who I didn't know). Each had their own band.
I remember some of the music -- it was the first Beatle I'd seen -- and Ravi might have come out and played with George --- but I mostly remember Mark Lerner getting too high from some PCP that was in the bottom of a metal pipe someone passed us. I'm pretty sure he drove. I don't recall how we got home.
It's interesting to see the Wikipedia write up:
"George Harrison and Ravi Shankar's 1974 North American tour was a 45-show concert tour of the United States and Canada, ... It is often referred to as the Dark Horse Tour, since the concerts served as a launch for Harrison's record label Dark Horse Records,
The 1974 tour was the first in North America by a former member of the Beatles since the band's 1966 visit. Raising expectations further among fans and the media, it marked the first live performances by Harrison since his successful staging of the 1971 Concert for Bangladesh shows, which had also featured Shankar and Preston. After 1974, he did not tour again until 1991....
The shows featured guest spots by Harrison's band members Billy Preston and Tom Scott
More recently, the 1974 Harrison–Shankar tour has been recognized by some commentators as a forerunner to the 1980s world music genre, popularized by Western artists such as Paul Simon, Peter Gabriel and David Byrne."
In 1974 I also saw a drunk Eric Clapton, a coked out CSN&Y, and a fucked up Grand Funk Railroad (I think that last one was 74), all at Capital Center.
I had tickets for the Dead there, too but didn't go because I was sick or away on family vacation or something. It would have been my first Dead show. I had to wait a year to see Jerry (JGB with Nicky Hopkins version) and Bobby (Kingfish with Keith and Donna Band opening with Billy on drums). And wait another year (1976) to see them all together with Phil and Mickey.
>>>for whatever reason, were all excited about Stephen Stills' mid-'70's band Manassas. David didn't quite understand it until he realized that they saw something completely different in the band from what he saw
who the hell doesn't like manassas?
>>>>The Stooges were important here,
And just about everywhere
>>>I dunno, this came out last year. But maybe others will not think a 49:00 minute piece with a repeated variation on a figure every nine seconds is brilliant like I do.
undeniably one of the best albums of 2021, pharaoh is god
>> I left out jazz, and that's a sin. Please add it in, someone. You guys know it better than me. But, Charlie Parker and Miles Davis are essential here, I'd think
I'm far from an expert, but I'll give a try. As a preface (which we all know but bares repeating) every great musician is influenced by predecessors. The really great ones expand & go to a new place.
I'll start with Art Tatum & Django Reinhardt, Django was a largely illiterate gypsy who also happened to be one of the greatest jazz guitarists of all time. Next on my list is Satchmo, aka Louis Daniel Armstrong. A man who must be included is on any jazz greats list is "Duke" Ellington. Then Nat King Cole. Without a doubt Bird aka Charlie Parker. Of course the 4 other members of the Quintet; Dizzy Gillespie, Bud Powell, Charles Mingus, and Max Roach. Miles had two really swell bands; the first with with Sonny Rollins on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Also Bill Evens and Jim Cobb. The second swell (not to mention later) quintet had Herbie Hancock on piano, Ron Carter on bass, Tony Williams on drums,either George Coleman or Sam Rivers on tenor sax, and Wayne Shorter on saxophone. Now for some other musicians that belong on any best of jazz musicians list; John Coltrane, Lester Young, Ornette Coleman, Paquito D'Rivera, Dextor Gordon, Joe Zawinul, Jaco Pastorius, The Crusaders, Jean-Luc Ponty and Stanley Clarke.
I'm sure I left out a bunch of Jazz musicians & that people who know more than me about this subject may beg to differ. That said, this is my list and I'm sticking to it. At least for now.
So where I stand on music today is that there is a lot of great music being made, but it seems to me that new has ended. In my lifetime I saw rock, punk, hip hop, and electronica. All very different genres of music. Maybe there is new stuff happening that I'm not aware of but new seemed to end in the 90's. Not sure why that is. Could be all the anti depressants and adderall we dump on the kids these days.
Could also be that how we perceive reality hasn't changed much in the past 30 years compared to the hundred years before that. When science discovered that light was both a wave and a point that had a direct impact on art where we saw the rise of pointillism. There are all kinds of examples of how art followed our changing understanding of reality. Dali's melting time pieces as we moved from time as fixed to time as relative. Maybe we need a new Einstein to kick start the music again.
Anyway as someone who looked around in the early 90's for something new as the dead scene imploded and found electronica I can't go with 74 as the cut off. As my sci-fi English lit prof said on the first day of class. 90% of all sci-fi is crap but there is 10% that is worth reading and the same goes for electronica.
it may not be new or groundbreaking, but outlaw country has more young talent putting out great material than any other genre. ( ok i don't know shit about the hip-hops and trance or whatever them kids take drugs to these days).
I've always said that the phenomenal 60's ended around 1974 and then those disgusting 80's took over. This might also fit in the other thread about humanity.
There was some good music made in the 80s, but you wouldn't hear it on MTV or the radio much unless you tuned to the bottom of the FM dial where college radio lived.
^ Well of course there's 'some' good music that comes out of every decade, but as a whole I can't think of a more piss poor effort than the 80's.
I was checking out what the master had to say about just this thread subject, an interview Jimi gave right before his last concert.
" It’s all turned full circle,” Jimi told interviewer Roy Hollingworth, “I’m back right now to where I started. I’ve given this era of music everything. I still sound the same, my music’s still the same, and I can’t think of anything new to add to it in its present state… When the last American tour finished earlier this year, I just wanted to go away a while and forget everything. I wanted to just do recording, and see if I could write something. Then I started thinking. Thinking about the future. Thinking that this era of music – sparked off by The Beatles – had come to an end…”
I have been thinking about this since I read the original post and I disagree. I don't think music can peak ever. Will there always be highs and lows? Yes. Still, there is the next great thing that will smash what stands as the current "greatest." That may happen tomorrow. One never knows. And that's why I still listen to as much new music as possible with an open mind...that next big thing is just around the corner.
>> I still listen to as much new music as possible with an open mind
Perhaps that's the thing which peaked in 1974, was the approach of genre-defying curiosity in creation (and absorption). To continue the example of Herbie Hancock... from 1971-1973, the three albums he put out with Mwandishi band are, at various turns: funky; terrifying; jarring; soothing; danceable; cerebral, and sometimes all of it all at once. By the end of 1973, he had heralded the birth of commercially accessible jazz-funk with Headhunters, composed of an almost entirely different band. By 1975, Miles was signaling a seismic collapse with the performances that would become Agartha and Pangaea; and, while those were major label releases on Columbia, I think by the time of their release ('76), no one was fooling themselves with the idea that these would crush commercially in the same way they did artistically.
>> that next big thing
And I think it may have been the throwing caution to the wind of what that means (sales? hipness?) that afforded the sense of adventure that resulted in a peak in creativity. But, in 1974, that throwing caution to the wind still had a real threat of commercial breakthrough success, continuing a feedback cycle of experimentation in expression.
I get that there are a lot artists today that revel in eschewing genre tropes and push against the borders; I get that there are folk punk bands, South African outlaw country singers, Black Metal theatre groups, and a whole mess of indie groups operating way out of left field (in fact, AMSaddler, those are the groups I most champion, while I believe you would discount them as largely ironic and without aims of breakthrough success); for me, while some, many, or all might celebrate the idea of genre-bending, outlandish, creative experimentalism, I don't think the melting pot was ever stickier, stewier, and more viscous than the peak it reached in '74.
Here's a fun activity... continuing on in the Herbie vein, look at the page for productions out of Wally Heider Recording Studio, listed chronologically. Look at the insane spectrum of music produced from there alone. Look at the resumes of the musicians performing on various titles. Look at the artists... Modern Jazz Quartet, Rod Stewart, Sergio Mendes, CSNY, Bill Withers. This is just one studio - one mainstream studio. There was a huge spirit of adventurousness, exploration, and lack of boundaries borne somewhere back there in the mists of Old Weird America and reached its pinnacle in the mid 70s. Tom Wilson producing everyone from Sun Ra to Eddie Harris to Herbie Mann to Pete Seeger to Bob Dylan. By the end of the decade, or by "Midnight at the Oasis," at least, that lack of genre distinction was maybe watered down to just a lack of distinction, and had become sort of a self-conscious tongue-in-cheek joke that would culminate with the time that "We Built This City," the thrust of its origins bouyed music that, I think, will outlast the more derivitive products of its successors.
I agree. The composition refuses to die, too, when performed in the moment and made topical and reinvented and allowed to breath new life. From Brahms to Mingus to Zappa. It's why it's still so thrilling to hear Phil crush "Unbroken Chain." But when was the last time you really pined to hear "Revolutionary Hamstrung Blues?"
> when was the last time you really pined to hear "Revolutionary Hamstrung Blues?"
Revolutionary Hamstrung Blues was interesting the night it was played because it was novel, or that's how I remember it anyhow, and a Brent bust out was something of a rarity too. It might be interesting to hear it taken up again, kind of like P&F's (and Grahame specifically) renewal/reworking of Hunter's Jack O'Roses from the Terrapin Suite.
I would love to hear RHB. It's a Robert Peterson tune, I love his songs and poetry. Somewhere a while back there was a manuscript of the lyrics posted from the UC Santa Cruz archive but I can't seem to find it (I think I recall seeing it, anyway, and as I recall the actual lyrics were a bit more coherent than the David Dodd book version).
It's single live outing was not well rehearsed (if at all) and could have used further development, musically. But the seed was there.
I can totally see what E is saying about '67, but it seems like more of a breakout than a peak. And I don't see the it all going downhill after '74... '75 alone had some pretty good shit, man:
>>>>but it seems like more of a breakout than a peak.
No argument here, as I stated previously I'm more partial to the early 70's, it's more diverse, mature and focused.
>>>>And I don't see it all going downhill after '74... '75 alone had some pretty good shit, man
while there's incredible break through music from all eras and genres and will continue to b, I feel like after 74' there was definitely a shift and the more inventive, soulful and complex stuff, for the most part with notable exceptions, became increasingly more marginalized and underground while a lot of popular music became increasingly shallow, bland and materialistic: arena rock, disco, yacht rock, smooth jazz, muzak, etc.
I mostly blame capitalism and cocaine (the cause of and solution to many of the world's problems, lol)
>>>>>I guess next is electronic music and the trend towards mathematical precision over human feel. Soo... German trends... Sorry, it's a weak spot for me, would this be Can?
While krautrock was at the forefront of electronic music and did tend to deemphasize certain aspects of romanticism and what might b referred to as the super ego that had been so often prevalent in much of the music that preceded it, i'd say "mathematical precision" was more of a hallmark of Progressive rock and fusion which also arguably peaked in the early 70's.
if u or anyone else aren't very familiar with German bands from the early 70's, and I feel this is a bit of weak spot for most of the zone in general, I can't recommend them enough: can, guru guru, ash ra temple, Amon duul 1 and 2, embryo, popol vuh, etc.
these r great bands that were hugely influential to the global psych and space rock community and I think many of u would really dig a lot of it
(as transcribed from a tape of 3-27-86, Cumberland County Civic Center, Portland, Maine, the only performance of this song.
Halfway past cool, clear Monday to the side of the room,
Rolling down Wild Hair Boulevard with the rising of the poon.
Hot damn! It's Mother's Day. Don't you all look fine?
Promenading down the long carwash, passing snipes and sniffin' wine.
We got poets, shuckers, and godzillas
Ground by the sweep, little frozen, no soup.
We got Speed Racer and His Arcade Androids,
Revolutionary hamstrung blues.
Say, now mama may I tighten your cap?
Now honey may I loosen your load?
You hold on to this hand grenade, while I...
I remember some chicks from the shit club,
Coming on to Silly, squeeze toe.
Silly says, "I'll say it once.
For you it's cold steel, and slow."
I'm standing by the rupture,
'Mid chairs and flying glass.
Silly smack dab in the soma,
Shouting verse and kicking ass.
Back then, the sweep-you hopped the 90,
Don't make the six o'clock news.
Speed Racer and the band kept playing...
[instrumental break]
As I recall I went for the window
But I never did get clear
Henry Hawkins' hickory stick
Was the last thing I saw that year
Drag me down to the tangle, you carry the charges, if you please.
Hey, 30-day up on my shelf or a feeling we meant to be
Mama may I tighten your cap?
Your honor let me loosen your load
You hold on to this grenade for me, while I...
The full moon irradiates Wild Hair Boulevard now.
Dumbshits talk so bold.
Reminds me of old Silly, and how we
Did it all over...
Did it all over...
Did it all over the road.
We got poets, shuckers, and godzillas
Ground by the sweep, little frozen bowl soup.
We got Speed Racer and His Arcade Androids
Revolutionary hamstrung blues.
I get that there are a lot artists today that revel in eschewing genre tropes and push against the borders; I get that there are folk punk bands, South African outlaw country singers, Black Metal theatre groups, and a whole mess of indie groups operating way out of left field (in fact, AMSaddler, those are the groups I most champion, while I believe you would discount them as largely ironic and without aims of breakthrough success)
Not sure why I would discount any of those artists???
I feel like I recall you mentioning that some indie artists were bound for failure, as their performances were too rooted in irony. Realize I'm paraphrasing here, but the gist of it seemed to be that some artists were not chasing that carrot enough to deserve mainstream success. Forgive me if I'm off but that certainly how it came across. As it happens, bands like that (the sort of band that might be billed at NYC's Union Pool or St. Vitus, or something) are generally the only "rock" bands that I'm interested in... spare the gimmicks, give me the surrealist, ironic, sardonic and the truly edgy.
Thanks for answering. I think you have me mixed up with someone(s) else. While I may be guilty of enjoying many mainstream performers that have some success, I am also a proponent of others that color way outside the popular lines and have limited audiences. Basically I always try to listen (or watch in live performance) with as open a mind as I can have. If I like something, I like it, and sometimes champion it, regardless of popular opinion. That is something I see you doing as well. That attitude makes the musical life a lot more interesting.
Youre welcome I believe I am mixed up in my recall but it was like in the context of what one might consider "serious" music and it took place here on the black screen of VLZ. I think that I may have read into your comments on the discussion that an artist is "serious" vis a vis their like ability to sell tix, in markets, on tour. Sorry for possibly misrepresenting your views up in here.
To that end, with inflation on the collective mind's forefront, it sure did seem cheaper to see some stacked shows in the early 70s.
Top of Page Bottom of Page PermalinkFull Name: Don Volume
Pretty broad statement, what
Pretty broad statement, what type of music?
Top of Page Bottom of Page PermalinkFull Name: Imagine
Haven't had a new key since
Haven't had a new key since when? Wtf
Top of Page Bottom of Page PermalinkFull Name: _
Yeah, implications are broad.
Yeah, implications are broad. Let's say commercial music... jazz and rock as "genre" come to mind.
I recognize this is an exercise in silliness.
Still, these gut-think moments that my brain produces from time to time are silly and broad like that. Let's even call it the best on a micro/macro level for pop/rock acts and include but not limit ourselves to Grateful Dead music. Shit, I think Legion of Mary (or Saunders/Garcia Band, if you please) produced more music of note that year than did the Grateful Dead. So, yeah, that is my hashtag hot take.
Floops, you get your key on?
Top of Page Bottom of Page PermalinkFull Name: Jay Sunshine
The Grateful Dead arguably
The Grateful Dead arguably peaked musically in 1974 - I guess I'm with Phil on this one.
Completely subjective obviously.
hope you're weekend is going well VLZ.
Top of Page Bottom of Page PermalinkFull Name: Imagine
Whatup, 89? No, but I'm
Whatup, 89. No, but I'm interested. I can play chords, but no scales. I do know that a song generally ends on its tonic, which is its key, I think. I can often recognize modulation. I figured out that Dew and ILYR are pretty-much the same song, the former in D and the latter in E, generally. Yeah, I'm a beginner. I listen to YouTubers to learn the language. It's certainly a weak spot in my personal lexicon.
What about you?
Top of Page Bottom of Page PermalinkFull Name: nevermind
I peaked at the Greek in 2001
I peaked at the Greek in 2001 and there were songs to fill the air.
Top of Page Bottom of Page PermalinkFull Name: Imagine
Sweet to peak at the Greek.
Sweet to peak at the Greek.
Top of Page Bottom of Page PermalinkFull Name: Furious E
I agree with 74' but I play
I agree with 74' but I play music with a serious vinyl collector who makes a strong case for 67'
Top of Page Bottom of Page PermalinkFull Name: Imagine
Furious E, man. Good to see
Furious E, man. Good to see ya. What's this collector say?
Top of Page Bottom of Page PermalinkFull Name: Druba
1965 seemed to be a decent
1965 seemed to be a decent year for the start of the hip new beats, like groovy man!
1969 was the birth of Prog Rock, and saw Fusion Jazz / Funk / Motown / SF scene / etc, take a quantum leap in popularity, far out man!!! (what??? bands not trying to sound like each other? actual creativity?)
1974;
Disco starts to become more popular, prog acts become more commercial, funk / motown / fusion / SF scene / etc become more commercial (nanook rubs it in)
So agreed, it all started going downhill in 74
(exceptions to the punk / metal / new wave scenes, but not sure many truly original things happened here, but it sure was fun!)
meanwhile, in the rest of the world... (or what actual musicians were listening to, etc)
Top of Page Bottom of Page PermalinkFull Name: Def. High
IKYR and Dew are almost
IKYR and Dew are almost identical, AND in the same key!
Top of Page Bottom of Page PermalinkFull Name: Def. High
The arc of important music in
The arc of important music in my life started with the Fab Four on Ed Sullivan, and ended with the GD going on hiatus in 74.
Oc, lots of great music made before and after that period, but that's how I felt it at the time.
Top of Page Bottom of Page PermalinkFull Name: 19.5 Degrees
In general terms, I think the
In general terms, I think the year is pretty close! ... at least for my tastes.
There are certainly exceptions and plenty of "backfill" in recent times that are captivating, but it's hard to escape the fact that we're mostly wading through "derivations".
Top of Page Bottom of Page PermalinkFull Name: Furious E
>>>What's this collector say?
>>>What's this collector say?
He's obsessed with 67' and has shown me that's really when the damn broke for psychedelic music.
Idk whether it was the summer of love, mr. Owsley's efforts or everyone was finally catching up to FZ and the velvet underground's groundbreaking debuts, and to a lesser extent, that of cream and the Jefferson airplane, or the clear transformation of such already established mainstays as the Beatles revolver and beach boys pet sounds from the year prior but it almost seems like once sgt pepper came out there was no going back and u can clearly hear the difference between the overwhelming majority of albums that came out before 67' and those that came after.
The release of the first albums by the GD, Hendrix, cpt beefheart, Pink Floyd, big brother and the holding co., hell, even the red krayola, just to name a few and, conversely, the recording of the final Coltrane album; the examples of the significance of 67' r practically endless and cannot b overstated
Top of Page Bottom of Page PermalinkFull Name: Don Volume
Popular music has always
Popular music has always evolved and continues to evolve; determining peaks and valleys can be subjective.
David Byrne talks about recording with British trip-hop artists Morcheeba, whom, for whatever reason, were all excited about Stephen Stills' mid-'70's band Manassas. David didn't quite understand it until he realized that they saw something completely different in the band from what he saw (they were likely interested in the sampling possibilities). His viewpoint of that particular music was changed by the perspective of younger musicians - it just had to be taken out of context.
Hip-Hop and hardcore punk are two genres that came about way after 1974, I'm sure there's lots more examples. There was also a lot of marginal/crappy stuff that was created prior to 1974.
You never know who is going to be the next musician to push the envelope, just depends on the time, place and circumstances.
Top of Page Bottom of Page PermalinkFull Name: Jay Sunshine
Not sure if this is exactly
Not sure if this is exactly on point, but here's the old mixed with the new - Paul McCartney - Get Enough - He's using auto tune and it actually sounds pretty good,
at least to me:
https://www.youtube.com/watch?v=w5mswZOxczY
Top of Page Bottom of Page PermalinkFull Name: doctor
Music is music. If you like
Music is music. If you like it that's all that matters. No reason to get too cerebral about it. People have different tastes. Your cup of tea might not be mine..Different strokes.
Top of Page Bottom of Page PermalinkFull Name: Imagine
I've been thinking about this
I've been thinking about this for a while... Art is cool: no matter which form it takes (music, painting, writing, architecture, dance, drama, good sex, etc.), the historical development, and the actual form it might take, follows pretty-much the same arc (start simple> build in complexity to peak perfection> climax> reflect). That's where Deconstruction comes in. And that's where my argument lies.
Let's look at painting first, and use Picasso as our example. As a kid, he could paint to perfection. He was a prodigy. He already started busting up the place in his early twenties, with Cubism. By the time he was old, he was turning famous paintings into children's crayon drawings - nothing unnecessary and perfect lines. It took a fan of his, a student, to finish the project by splattering and drizzling paint onto the canvas.
Music is like this. Think about the build up of musical genres from chanters to minstrels to bands to orchestras. And now, for the most part, we've gone back to small bands and folk artists. Bach and Mozart were the climax. Mozart moreso because he added theater. He was HD before anyone. After that we get Stravinsky and Ives, and take that all the way down the decades until we get to Neil Young and Lou Reed noise records, and then to Sonic Youth's fine attention to those micro-shifts in tone that could literally put you on your toes while watching them live. The Stooges were important here, of course, as well. We could go deeper on all that later. But importantly, we could make this comparison with every art.
So, really... where are we? We live in the transition to a new era where everything has been done. We've lived through the deconstruction and are now wading in the aftermath. Where does art go when we've come to the end of the story? We are post-Ragnarok. See? Even mythology.
Personally, I think Parnassus was correct: we must keep the stories going at all costs, tell all of them.
If you ask me, this explains 80s pop music, where every genre was available. I think of it as the splintering of Prog into pop. That is, to me, the overall tone, the very possibility, of 80s pop was the inevitable result of the Progressive Rock... environment. We should nurture that spirit.
Whattaya think?
I left out jazz, and that's a sin. Please add it in, someone. You guys know it better than me. But, Charlie Parker and Miles Davis are essential here, I'd think.
Top of Page Bottom of Page PermalinkFull Name: Imagine
So I hope that covers my
So I hope that covers my response to Burnz, E, and Noodler. Your posts certainly fit into the history I offered. What a great thread.
Top of Page Bottom of Page PermalinkFull Name: Imagine
I guess next is electronic
I guess next is electronic music and the trend towards mathematical precision over human feel. Soo... German trends... Sorry, it's a weak spot for me, would this be Can? Then up to synth pop, and then to raves, and add thirty years, and now I can't stop listening to the 8-bit version of Don't Fear the Reaper.
Who can add more to this?
Top of Page Bottom of Page PermalinkFull Name: Imagine
I actually sinned again. I
I actually sinned again. I should have written:
But Charlie Parker, Miles Davis, and then the Grateful Dead are essential here. Mea Culpa, Zoners.
Top of Page Bottom of Page PermalinkFull Name: Def. High
It might be a good time to
It might be a good time to mention that the vast majority of artists, even "great" artists, have no idea that they, or their art, are part of some historical "movement", nor would they care.
Top of Page Bottom of Page PermalinkFull Name: ...
1972 is a huge year for my LP
1972 is a huge year for my LP collection
Top of Page Bottom of Page PermalinkFull Name: nevermind
> Where does art go when we
> Where does art go when we've come to the end of the story?
That's always been the question--What's next?--and, somehow, people have always (so far) managed to answer it with something we haven't seen or heard before.
Technology has a lot to do with the production of art, and when new tech is developed, artforms shift. Here's a short anecdote about new technology--the typewriter--that illustrates this point:
Top of Page Bottom of Page PermalinkFull Name: nebulous nelly
1973-1974 was a fantastic time for music.
Top of Page Bottom of Page PermalinkFull Name: Cam
Blood on the Tracks? Ok.
Blood on the Tracks?
Ok.
Top of Page Bottom of Page PermalinkFull Name: aiq
I dunno, this came out last
I dunno, this came out last year. But maybe others will not think a 49:00 minute piece with a repeated variation on a figure every nine seconds is brilliant like I do.
Hey, Pharaoh Sanders is on it!
https://youtu.be/Mn8x0QbN4f8
Top of Page Bottom of Page PermalinkFull Name: Mice elf
My collection is heavy on 70
My collection is heavy on 70-74 stuff in multiple genres
Songs in the key of life was recorded between 1974-1976. That album is pretty much the high water mark for me for a lot of things musically.
So I'm not gonna argue with the 1974 guy.
Top of Page Bottom of Page PermalinkFull Name: nevermind
Blues for Allah, 1975
Blues for Allah, 1975
Terrapin Station, 1977
Top of Page Bottom of Page PermalinkFull Name: 2 Room Shack
65-75 was just an amazing
65-75 was just an amazing decade for pretty much every genre.
Top of Page Bottom of Page PermalinkFull Name: r n
The case could be made for
The case could be made for 1970.
Layla, Lola and the Powerman, Live at Leeds, American Beauty, Workingmans Dead, John Barleycorn Must Die, Alone Together
Leon Russell's 1st, Mad Dogs and Englishmen . All Things Must Pass, After the Gold Rush
Top of Page Bottom of Page PermalinkFull Name: Alan R
One show I remember from that
One show I remember from that year --1974 (going to the new Capital Center was still a big deal for us then as we had all just started to drive and it was down by DC), was George Harrison and Ravi Shankar (with Alla Rakha, who I didn't know). Each had their own band.
I remember some of the music -- it was the first Beatle I'd seen -- and Ravi might have come out and played with George --- but I mostly remember Mark Lerner getting too high from some PCP that was in the bottom of a metal pipe someone passed us. I'm pretty sure he drove. I don't recall how we got home.
It's interesting to see the Wikipedia write up:
"George Harrison and Ravi Shankar's 1974 North American tour was a 45-show concert tour of the United States and Canada, ... It is often referred to as the Dark Horse Tour, since the concerts served as a launch for Harrison's record label Dark Horse Records,
The 1974 tour was the first in North America by a former member of the Beatles since the band's 1966 visit. Raising expectations further among fans and the media, it marked the first live performances by Harrison since his successful staging of the 1971 Concert for Bangladesh shows, which had also featured Shankar and Preston. After 1974, he did not tour again until 1991....
The shows featured guest spots by Harrison's band members Billy Preston and Tom Scott
More recently, the 1974 Harrison–Shankar tour has been recognized by some commentators as a forerunner to the 1980s world music genre, popularized by Western artists such as Paul Simon, Peter Gabriel and David Byrne."
Top of Page Bottom of Page PermalinkFull Name: Alan R
In 1974 I also saw a drunk
In 1974 I also saw a drunk Eric Clapton, a coked out CSN&Y, and a fucked up Grand Funk Railroad (I think that last one was 74), all at Capital Center.
I had tickets for the Dead there, too but didn't go because I was sick or away on family vacation or something. It would have been my first Dead show. I had to wait a year to see Jerry (JGB with Nicky Hopkins version) and Bobby (Kingfish with Keith and Donna Band opening with Billy on drums). And wait another year (1976) to see them all together with Phil and Mickey.
Such is life. It was worth the wait.
Top of Page Bottom of Page PermalinkFull Name: Furious E
>>>for whatever reason, were
>>>for whatever reason, were all excited about Stephen Stills' mid-'70's band Manassas. David didn't quite understand it until he realized that they saw something completely different in the band from what he saw
who the hell doesn't like manassas?
>>>>The Stooges were important here,
And just about everywhere
>>>I dunno, this came out last year. But maybe others will not think a 49:00 minute piece with a repeated variation on a figure every nine seconds is brilliant like I do.
undeniably one of the best albums of 2021, pharaoh is god
Top of Page Bottom of Page PermalinkFull Name: Dave
>> I left out jazz, and that
>> I left out jazz, and that's a sin. Please add it in, someone. You guys know it better than me. But, Charlie Parker and Miles Davis are essential here, I'd think
I'm far from an expert, but I'll give a try. As a preface (which we all know but bares repeating) every great musician is influenced by predecessors. The really great ones expand & go to a new place.
I'll start with Art Tatum & Django Reinhardt, Django was a largely illiterate gypsy who also happened to be one of the greatest jazz guitarists of all time. Next on my list is Satchmo, aka Louis Daniel Armstrong. A man who must be included is on any jazz greats list is "Duke" Ellington. Then Nat King Cole. Without a doubt Bird aka Charlie Parker. Of course the 4 other members of the Quintet; Dizzy Gillespie, Bud Powell, Charles Mingus, and Max Roach. Miles had two really swell bands; the first with with Sonny Rollins on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums. Also Bill Evens and Jim Cobb. The second swell (not to mention later) quintet had Herbie Hancock on piano, Ron Carter on bass, Tony Williams on drums,either George Coleman or Sam Rivers on tenor sax, and Wayne Shorter on saxophone. Now for some other musicians that belong on any best of jazz musicians list; John Coltrane, Lester Young, Ornette Coleman, Paquito D'Rivera, Dextor Gordon, Joe Zawinul, Jaco Pastorius, The Crusaders, Jean-Luc Ponty and Stanley Clarke.
I'm sure I left out a bunch of Jazz musicians & that people who know more than me about this subject may beg to differ. That said, this is my list and I'm sticking to it. At least for now.
Top of Page Bottom of Page PermalinkFull Name: _
Herbie Hancock's hair
Herbie Hancock's hair definitely peaked in 1974. It is beyond dispute.
https://youtu.be/5knsdyW9OqY
Top of Page Bottom of Page PermalinkFull Name: El Nino
So where I stand on music
So where I stand on music today is that there is a lot of great music being made, but it seems to me that new has ended. In my lifetime I saw rock, punk, hip hop, and electronica. All very different genres of music. Maybe there is new stuff happening that I'm not aware of but new seemed to end in the 90's. Not sure why that is. Could be all the anti depressants and adderall we dump on the kids these days.
Could also be that how we perceive reality hasn't changed much in the past 30 years compared to the hundred years before that. When science discovered that light was both a wave and a point that had a direct impact on art where we saw the rise of pointillism. There are all kinds of examples of how art followed our changing understanding of reality. Dali's melting time pieces as we moved from time as fixed to time as relative. Maybe we need a new Einstein to kick start the music again.
Anyway as someone who looked around in the early 90's for something new as the dead scene imploded and found electronica I can't go with 74 as the cut off. As my sci-fi English lit prof said on the first day of class. 90% of all sci-fi is crap but there is 10% that is worth reading and the same goes for electronica.
https://youtu.be/xAffh4K3SYk
https://soundcloud.com/djethan/ethan-love-in-the-dust?si=76b5f76ca5cd42d...
Top of Page Bottom of Page PermalinkFull Name: 2 Room Shack
it may not be new or
it may not be new or groundbreaking, but outlaw country has more young talent putting out great material than any other genre. ( ok i don't know shit about the hip-hops and trance or whatever them kids take drugs to these days).
Top of Page Bottom of Page PermalinkFull Name: Druba
Here's some 22 years olds
Here's some 22 years olds from Norway
https://www.jazzmusicarchives.com/video/i-like-to-sleep/28813?fbclid=IwA...
Top of Page Bottom of Page PermalinkFull Name: MarkD
I've always said that the
I've always said that the phenomenal 60's ended around 1974 and then those disgusting 80's took over. This might also fit in the other thread about humanity.
Top of Page Bottom of Page PermalinkFull Name: nevermind
There was some good music
There was some good music made in the 80s, but you wouldn't hear it on MTV or the radio much unless you tuned to the bottom of the FM dial where college radio lived.
Top of Page Bottom of Page PermalinkFull Name: Rasputin O'Leary
^ Well of course there's
^ Well of course there's 'some' good music that comes out of every decade, but as a whole I can't think of a more piss poor effort than the 80's.
I was checking out what the master had to say about just this thread subject, an interview Jimi gave right before his last concert.
" It’s all turned full circle,” Jimi told interviewer Roy Hollingworth, “I’m back right now to where I started. I’ve given this era of music everything. I still sound the same, my music’s still the same, and I can’t think of anything new to add to it in its present state… When the last American tour finished earlier this year, I just wanted to go away a while and forget everything. I wanted to just do recording, and see if I could write something. Then I started thinking. Thinking about the future. Thinking that this era of music – sparked off by The Beatles – had come to an end…”
More of the interview here --->>
The story of Jimi Hendrix's last show: Bullets, bikers and burnout | Louder
https://www.loudersound.com/features/jimi-hendrix-last-gig
Top of Page Bottom of Page PermalinkFull Name: skifurthur
I have been thinking about
I have been thinking about this since I read the original post and I disagree. I don't think music can peak ever. Will there always be highs and lows? Yes. Still, there is the next great thing that will smash what stands as the current "greatest." That may happen tomorrow. One never knows. And that's why I still listen to as much new music as possible with an open mind...that next big thing is just around the corner.
Top of Page Bottom of Page PermalinkFull Name: _
>> I still listen to as much
>> I still listen to as much new music as possible with an open mind
Perhaps that's the thing which peaked in 1974, was the approach of genre-defying curiosity in creation (and absorption). To continue the example of Herbie Hancock... from 1971-1973, the three albums he put out with Mwandishi band are, at various turns: funky; terrifying; jarring; soothing; danceable; cerebral, and sometimes all of it all at once. By the end of 1973, he had heralded the birth of commercially accessible jazz-funk with Headhunters, composed of an almost entirely different band. By 1975, Miles was signaling a seismic collapse with the performances that would become Agartha and Pangaea; and, while those were major label releases on Columbia, I think by the time of their release ('76), no one was fooling themselves with the idea that these would crush commercially in the same way they did artistically.
>> that next big thing
And I think it may have been the throwing caution to the wind of what that means (sales? hipness?) that afforded the sense of adventure that resulted in a peak in creativity. But, in 1974, that throwing caution to the wind still had a real threat of commercial breakthrough success, continuing a feedback cycle of experimentation in expression.
I get that there are a lot artists today that revel in eschewing genre tropes and push against the borders; I get that there are folk punk bands, South African outlaw country singers, Black Metal theatre groups, and a whole mess of indie groups operating way out of left field (in fact, AMSaddler, those are the groups I most champion, while I believe you would discount them as largely ironic and without aims of breakthrough success); for me, while some, many, or all might celebrate the idea of genre-bending, outlandish, creative experimentalism, I don't think the melting pot was ever stickier, stewier, and more viscous than the peak it reached in '74.
Here's a fun activity... continuing on in the Herbie vein, look at the page for productions out of Wally Heider Recording Studio, listed chronologically. Look at the insane spectrum of music produced from there alone. Look at the resumes of the musicians performing on various titles. Look at the artists... Modern Jazz Quartet, Rod Stewart, Sergio Mendes, CSNY, Bill Withers. This is just one studio - one mainstream studio. There was a huge spirit of adventurousness, exploration, and lack of boundaries borne somewhere back there in the mists of Old Weird America and reached its pinnacle in the mid 70s. Tom Wilson producing everyone from Sun Ra to Eddie Harris to Herbie Mann to Pete Seeger to Bob Dylan. By the end of the decade, or by "Midnight at the Oasis," at least, that lack of genre distinction was maybe watered down to just a lack of distinction, and had become sort of a self-conscious tongue-in-cheek joke that would culminate with the time that "We Built This City," the thrust of its origins bouyed music that, I think, will outlast the more derivitive products of its successors.
Top of Page Bottom of Page PermalinkFull Name: Philzone Refugee
To quote Frank Zappa
To quote Frank Zappa paraphrasing Edgar Varese:
The present day composer refuses to die!
Top of Page Bottom of Page PermalinkFull Name: _
I agree. The compositions
I agree. The composition refuses to die, too, when performed in the moment and made topical and reinvented and allowed to breath new life. From Brahms to Mingus to Zappa. It's why it's still so thrilling to hear Phil crush "Unbroken Chain." But when was the last time you really pined to hear "Revolutionary Hamstrung Blues?"
Top of Page Bottom of Page PermalinkFull Name: Druba
Robert Fripp makes an
Robert Fripp makes an excellent point here, on the difference between then and now;
https://www.youtube.com/watch?v=nFJOUygpbfY
Top of Page Bottom of Page PermalinkFull Name: skifurthur
This seems as good as any
This seems as good as any place to recommend Jann Wenner's new book, Like A Rolling Stone. It references some of the same topic above.
Top of Page Bottom of Page PermalinkFull Name: nevermind
Revolutionary Hamstrung Blues
> when was the last time you really pined to hear "Revolutionary Hamstrung Blues?"
Revolutionary Hamstrung Blues was interesting the night it was played because it was novel, or that's how I remember it anyhow, and a Brent bust out was something of a rarity too. It might be interesting to hear it taken up again, kind of like P&F's (and Grahame specifically) renewal/reworking of Hunter's Jack O'Roses from the Terrapin Suite.
https://archive.org/details/paf2022-08-14.plf.fob.mk4.daspyknows.157601....
Top of Page Bottom of Page PermalinkFull Name: Def. High
Unfortunately nobody
Unfortunately nobody remembers the lyrics.
I'd like to hear it, but not really pining.
Top of Page Bottom of Page PermalinkFull Name: El Nino
I was at the show and for me
I was at the show and for me once was enough.
Top of Page Bottom of Page PermalinkFull Name: nevermind
> Jann Wenner's new book,
> Jann Wenner's new book, Like A Rolling Stone.
I probably won't read Wenner's new book, but Maureen Dowd of the NYT did an interesting, longish profile of Wenner recently.
https://www.nytimes.com/2022/09/10/style/jann-wenner.html
Top of Page Bottom of Page PermalinkFull Name: doctor
This whole debate is futile
This whole debate is futile and arrogant.
Who the fuck are you to tell me what is good music!?
I'll like what I like, Thank you!!
Top of Page Bottom of Page PermalinkFull Name: GDTRFB
Nope. You'll get none and
Nope. You'll get none and like it! ;)
Top of Page Bottom of Page PermalinkFull Name: Hello My Name Is
I would love to hear RHB. It
I would love to hear RHB. It's a Robert Peterson tune, I love his songs and poetry. Somewhere a while back there was a manuscript of the lyrics posted from the UC Santa Cruz archive but I can't seem to find it (I think I recall seeing it, anyway, and as I recall the actual lyrics were a bit more coherent than the David Dodd book version).
It's single live outing was not well rehearsed (if at all) and could have used further development, musically. But the seed was there.
Top of Page Bottom of Page PermalinkFull Name: _
Maybe one might be more apt
Maybe one might be more apt to say music was more "authentic," back then.
Top of Page Bottom of Page PermalinkFull Name: |-|/-\|_|_
I can totally see what E is
I can totally see what E is saying about '67, but it seems like more of a breakout than a peak. And I don't see the it all going downhill after '74... '75 alone had some pretty good shit, man:
Blues for Allah
One Size Fits All
Physical Graffiti
Blood on the Tracks
Wish You Were Here
Tonight's the Night
Minstrel in the Gallery
Yesterdays
Fly By Night (and 2112 in 1976)
The Snow Goose
High Voltage
Top of Page Bottom of Page PermalinkFull Name: Furious E
>>>Robert Fripp makes an
>>>Robert Fripp makes an excellent point here,
Fuck yeah he does, thanks for that.
>>>>but it seems like more of a breakout than a peak.
No argument here, as I stated previously I'm more partial to the early 70's, it's more diverse, mature and focused.
>>>>And I don't see it all going downhill after '74... '75 alone had some pretty good shit, man
while there's incredible break through music from all eras and genres and will continue to b, I feel like after 74' there was definitely a shift and the more inventive, soulful and complex stuff, for the most part with notable exceptions, became increasingly more marginalized and underground while a lot of popular music became increasingly shallow, bland and materialistic: arena rock, disco, yacht rock, smooth jazz, muzak, etc.
I mostly blame capitalism and cocaine (the cause of and solution to many of the world's problems, lol)
>>>>>I guess next is electronic music and the trend towards mathematical precision over human feel. Soo... German trends... Sorry, it's a weak spot for me, would this be Can?
While krautrock was at the forefront of electronic music and did tend to deemphasize certain aspects of romanticism and what might b referred to as the super ego that had been so often prevalent in much of the music that preceded it, i'd say "mathematical precision" was more of a hallmark of Progressive rock and fusion which also arguably peaked in the early 70's.
if u or anyone else aren't very familiar with German bands from the early 70's, and I feel this is a bit of weak spot for most of the zone in general, I can't recommend them enough: can, guru guru, ash ra temple, Amon duul 1 and 2, embryo, popol vuh, etc.
these r great bands that were hugely influential to the global psych and space rock community and I think many of u would really dig a lot of it
Top of Page Bottom of Page PermalinkFull Name: Dave
REVOLUTIONARY HAMSTRUNG BLUES
Revolutionary Hamstrung Blues
Lyrics By: Bobby Petersen
Music By: Phil Lesh, Brent Mydland
(as transcribed from a tape of 3-27-86, Cumberland County Civic Center, Portland, Maine, the only performance of this song.
Halfway past cool, clear Monday to the side of the room,
Rolling down Wild Hair Boulevard with the rising of the poon.
Hot damn! It's Mother's Day. Don't you all look fine?
Promenading down the long carwash, passing snipes and sniffin' wine.
We got poets, shuckers, and godzillas
Ground by the sweep, little frozen, no soup.
We got Speed Racer and His Arcade Androids,
Revolutionary hamstrung blues.
Say, now mama may I tighten your cap?
Now honey may I loosen your load?
You hold on to this hand grenade, while I...
I remember some chicks from the shit club,
Coming on to Silly, squeeze toe.
Silly says, "I'll say it once.
For you it's cold steel, and slow."
I'm standing by the rupture,
'Mid chairs and flying glass.
Silly smack dab in the soma,
Shouting verse and kicking ass.
Back then, the sweep-you hopped the 90,
Don't make the six o'clock news.
Speed Racer and the band kept playing...
[instrumental break]
As I recall I went for the window
But I never did get clear
Henry Hawkins' hickory stick
Was the last thing I saw that year
Drag me down to the tangle, you carry the charges, if you please.
Hey, 30-day up on my shelf or a feeling we meant to be
Mama may I tighten your cap?
Your honor let me loosen your load
You hold on to this grenade for me, while I...
The full moon irradiates Wild Hair Boulevard now.
Dumbshits talk so bold.
Reminds me of old Silly, and how we
Did it all over...
Did it all over...
Did it all over the road.
We got poets, shuckers, and godzillas
Ground by the sweep, little frozen bowl soup.
We got Speed Racer and His Arcade Androids
Revolutionary hamstrung blues.
[...and straight into Bertha]
http://artsites.ucsc.edu/gdead/agdl/hams.html
Top of Page Bottom of Page PermalinkFull Name: El Nino
Zappa weighs in:
Zappa weighs in:
https://twitter.com/DannyDutch/status/1573922795695775750
Top of Page Bottom of Page PermalinkFull Name: Furious E
FZ dropping uncomfortably
FZ dropping unpleasantly astute realism per usual
Top of Page Bottom of Page PermalinkFull Name: skifurthur
I get that there are a lot
Not sure why I would discount any of those artists???
Top of Page Bottom of Page PermalinkFull Name: _
I feel like I recall you
I feel like I recall you mentioning that some indie artists were bound for failure, as their performances were too rooted in irony. Realize I'm paraphrasing here, but the gist of it seemed to be that some artists were not chasing that carrot enough to deserve mainstream success. Forgive me if I'm off but that certainly how it came across. As it happens, bands like that (the sort of band that might be billed at NYC's Union Pool or St. Vitus, or something) are generally the only "rock" bands that I'm interested in... spare the gimmicks, give me the surrealist, ironic, sardonic and the truly edgy.
Top of Page Bottom of Page PermalinkFull Name: skifurthur
Thanks for answering. I think
Thanks for answering. I think you have me mixed up with someone(s) else. While I may be guilty of enjoying many mainstream performers that have some success, I am also a proponent of others that color way outside the popular lines and have limited audiences. Basically I always try to listen (or watch in live performance) with as open a mind as I can have. If I like something, I like it, and sometimes champion it, regardless of popular opinion. That is something I see you doing as well. That attitude makes the musical life a lot more interesting.
Top of Page Bottom of Page PermalinkFull Name: _
Youre welcome I believe I am
Youre welcome I believe I am mixed up in my recall but it was like in the context of what one might consider "serious" music and it took place here on the black screen of VLZ. I think that I may have read into your comments on the discussion that an artist is "serious" vis a vis their like ability to sell tix, in markets, on tour. Sorry for possibly misrepresenting your views up in here.
To that end, with inflation on the collective mind's forefront, it sure did seem cheaper to see some stacked shows in the early 70s.
I've seen the stubs, man.