that's exactly what I meanOriginally Posted by Scrotum Scissor
much rather listen to Warhorse's 1st album
that's exactly what I mean
much rather listen to Warhorse's 1st album
One minute into WFT, I realize it's a organ riff. Where's Ritchie? Somewhere back there, but it's Jon Lord that should get a load more respect. Listen to Space Truckin, for instance, it's all keys. People think of DP, they think guitar riffs like SOTW(for the uninitiated) or Ritchie Blackmore for his endless noodling(some of which was actually good) as a guitar god.
Lordy made the sound. He may never get the credit he is due, but without him there is no DP as we know it.
It's taken me years to really understand his importance to the DP sound and to the Hammond. With old age come knowledge to the grasshopper, supposebly.
At least they did pull out Mary Long back when they filmed Perihelion. Listening to that tune now, I wonder if it's because Ritchie does little on this album that many don't like it?
Souper Trooper - Jon Lord carries this one. The effects, flange? phaser? I don't know what the hell it's called, but nice touch in the chorus.
Smooth Dancer - Basic RnR, nothing special. Killer solo from Lord. I'm sensing a pattern here.
Rat Bat Blue - Get rid of that tambourine. Ritchie must not have had any interest as there's another Lord solo. Damn, he's good. Hard Lovin' Man, nice throwback line.
Place In Line - There IS a guitar player in this band, right? Oh, there he is, he finally decided to show up almost three minutes into it. Serious question at this point, did Ritchie only contribute solos to this album? All the riffs are predominantly organ based and mixed that way. Not much guitar going on. Another great solo from Lord. Maybe they should have titled the album Where In The World Is Ritchie Blackmore?
Our Lady - Not that good. It's ok, nice organ(again) keeping it going. Mostly forgettable.
The band was severely fractured at this point so it's a wonder the album was half full of half-decent material. Ritchie seems to have not much influence and the songwriting shows that and how bad the relationships were. It was a decent listen the other day for the first time in years but now, taking time to really listen to it, it lacks a bit. To say the least. Painted Horse is much better than at least half of the album and would have helped it but not enough. I don't know of any other songs left off that could have helped it. I doubt there is much left as they probably didn't get much done in the studio.
I wonder if that's the precise point when Lord and Paice thought "fuck it, let's knock it on the head..."
Whitesnake were a great live band (up until the hair grew out of control) but they did verge on self-parody. Coverdale didn't seem to have the sense of self-awareness that Ian Gillan had.Coverdale and Hughes were a couple of posturing hacks.Truly terrible songwriters.
Sometimes i wonder if Coverdale wasn't some kind of self-aware prototype formed specifically to mock the dodgy route hard rock was mostly going down...but no he was actually serious with his lyrics and stage persona.I mean...Whitesnake ffs
I love all three Mk1 albums, so no order of preferences
Mk2:
In Rock
Machine Head
Fireball
(biiiiiig space)
Concerto
Who Do We...
Mk 3 & 4
Burn
Made In Europe
(space)
Stormbringer
Come Taste
Fuck the rest (not that it's bad, but pointless)
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
Absolutely. His supportive playing is priceless, either are his solos..
Mary Long rewoke memories of Gillan's JCS participation. The chorus is like ALW had written it.At least they did pull out Mary Long back when they filmed Perihelion. Listening to that tune now, I wonder if it's because Ritchie does little on this album that many don't like it?
Blackmore's riff, I suspect, but RB really hides away here, maybe because Lord's idea of solo happen to materialize so incredibly.Rat Bat Blue - Get rid of that tambourine. Ritchie must not have had any interest as there's another Lord solo. Damn, he's good. Hard Lovin' Man, nice throwback line.
RB is here with his best guitar solo for the album, and it's good heavy blues rock, I think a better theme, than much more popular 'Mistreated'. Gillan is great on this track.Place In Line - There IS a guitar player in this band, right? Oh, there he is, he finally decided to show up almost three minutes into it. Serious question at this point, did Ritchie only contribute solos to this album? All the riffs are predominantly organ based and mixed that way. Not much guitar going on. Another great solo from Lord. Maybe they should have titled the album Where In The World Is Ritchie Blackmore?
Sort of Uriah-Heepish anthem, with beautifully distorted organ. Supposedly Lord's tune.Our Lady - Not that good. It's ok, nice organ(again) keeping it going. Mostly forgettable.
I've never had any impression that Jon Lord didn't get his due credit. Now, if you're talking within the mainstream, then perhaps. But, the mainstream doesn't carry any weight as far as I'm concerned. Talk to anyone within the industry and I think you'll find that Jon gets plenty of credit. In fact, many point out the Hammond as one of the distinguishing features of DP.
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
Rambling maybe, but i actually enjoy the vibe of this more than anything on the album itself.
Paice was smooth...
Agreed. If anything, I find Lord is a bit overrated because many hard rock fans don't realize too much about what was being done with organ in progressive rock.
As much I like Lord, I find his tones to be frustrating. One minute he will be shredding with a killer, distorted sound comparable with just about anything, but then he'll use these almost Ray Manzarek tones that sound like they would have been dated by 1968.
I don't remember having a problem with Lord's organ tones. The synthesiser sounds he chose on the Mark III/IV albums, that's another story. Those haven't aged gracefully IMHO. But absolutely, his Hammond playing is one of the major reasons I got so heavily into the band (and Ken Hensley with Uriah Heep).
This ^^^!
Where I grew up, all the "right rockers" knew of Lord - while not a single dude would ever have heard of Crane, Ratledge or even Emerson, let alone Field, Varga, Van Leer etc.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
Well you can only rate what you know.
Most players in the more commercially successful, "high profile" bands throughout genres will suffer from that sort of "overrating".
Usually people just don't have the restraint in word choice to say stuff like "yeah Bonham's one of the best drummer's i know of", instead it's "one of the best ever".even though they might only be listening to 20 bands.
I'm sure the more conservative hard rock guys probably overestimated Blackmore(or Page, Iommi etc) too in comparison to what was being done overall in jazz-rock and progressive(small p) music of the era.
I don't think Lord's playing suffers from having heard a much wider variety of players from that era, unless you've been of the opinion he was "da best technically" or unique in what he was doing etc, but most players will eventually suffer the more music you are exposed to if you've piled those sort of accolades on them....
Who else would they know, then? Matthew Fisher? Gary Wright? Larry Tamblyn? Darryl Hooper?
Keep in mind that the original argument was that Lord was underrated.
I should have been a little more specific in what I said. I meant Lord doesn't get the credit in a different way than you guys are taking it. No harm, but I'll clarify.
If you ask a casual fan about DP, if they know anything beyond SOTW it's Ritchie Blackmore. In the context of the casual fan they barely know there's a organ player there. I don't often meet people who know much of anything about music and when I do, I get SOTW and Ritchie when DP comes up.
In circles like PE and people "in the know", he gets the credit but the casual fan thinks they died after putting out SOTW. He also may not have been the best nor the first nor whatever, but not many did it well enough to carry a hard rock band the way he did. At least as far as I know. Enlighten me if I'm incorrect.
It could just be the people I run into when out and about. I seem to always meet the guy who thinks Ian Anderson IS Jethro Tull, doesn't know the song is titled Baba O'Riley(crikey, did I spell that right? ) and thinks Spinal Tap is real. So my perspective may be a little skewed. They probably also believe monkeys read philosophy(they do, they just don't understand it) and that the London Underground is a political movement. PE is heaven compared to the folks I meet, dumber than me and I'm only slightly smarter than a bag of rocks.
So, yeah, threads happen. You can continue the debate, I enjoy it. My knowledge is spotty at best of really good organ players. Lots of music turns me off so there's loads I haven't heard of nor heard, I'm sure.
I always thought it was pretty equal between Lord and Blackmore, and once Blackmore left it spoiled the dynamic. They were never the same after that.
I doubt many even consider the jazz-rock guys; it's a totally different world. But I get what you mean. I used to think Ted Nugent was an amazing guitarist until I saw him play; the stuff that sounds amazing was really simple to play - the kind of thing that could be learned by a fledgling very early on. But he had a great sense of dynamics that made him sound much better than he actually is.
Really the rot set in before Blackmore left. 'Stormbringer' I've never managed to get into, save a couple of songs it's a really lightweight album...it was one of the first albums of theirs I heard as well, quite a shock. 'Come Taste The Band' is better, but not by much. The original members I sense were indeed unhappy with the direction they were heading in during this period. It doesn't cut it as rock or soul, IMHO. A lot of the material doesn't really have the raw power of their earlier work, nor the musical sophistication of the soul music of the time.
Most ok high school mates knew of Emerson and Wakeman... Hensley was also often the talk
many fewer did of Crane (or Atomic Rooster, FTM), Im sure most of them knew of Fisher (PH), but since he wasn't the the group in the 70's....
don't even know of the last two, TBH!
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
I was just kidding! They are from the Standells and Seeds, respectively
ooooohhh!!! I stepped right into that one allright, you b...I was just kidding! They are from the Standells and Seeds, respectively
Though I kinda liked The Seeds
my music collection increased tenfolds when I switched from drug-addicts to complete nutcases.
Well, there's always Dik Coque of course - brilliant fuzz-celesteplayer in the mighty Weaner-Juhnson's Zchlongh. He actually dated Lita Ford at one point and made a splendid as-of-yet-unreleased triple concept album of Mein Kampf featuring a very Young Roine Stolt on mallet testicles.
"Improvisation is not an excuse for musical laziness" - Fred Frith
"[...] things that we never dreamed of doing in Crimson or in any band that I've been in," - Tony Levin speaking of SGM
I think Lord had more influence up until 'Concerto for Group and Orchestra'. When that failed to take off, Blackmore said now we'll do it MY way.
Who Do We Think We Are and Come Taste the Band are the only classic period Purple albums I never owned.
Interesting observation.
I think Lord may have gotten more praise than deserved (not my opinion, but according to others) because he preceded many of those others listed here. How many players out there were doing what he did in 1968, doing it well and getting airplay? He helped give birth to prog. Those guys broke a lot of ground on those first three releases. Plus, let's not forget his classical contributions to arrangement and composition. Was anyone doing anything like "April" in 1969?
"The White Zone is for loading and unloading only. If you got to load or unload go to the White Zone!"
Wasn't the one to later join the Peckermen and responsible for their hit "The Long & Winding Pinis"?
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