How about Noah?Originally Posted by Sean
He should have name his kid Lemon and Orange.
How about Noah?He should have name his kid Lemon and Orange.
Sounds like a true hipster.
Music isn't about chops, or even about talent - it's about sound and the way that sound communicates to people. Mike Keneally
I guess I'll be the token 'wingnut' who says all of the American cable news networks are sensationalist in their own ways, not juts Fox.
When The Daily Show is the most factual news source available you know we're in trouble!
I'm for whatever news service advocates the insertion of Hitler-Jugend knives into Hammond L100 organs. If they're not too objectionable to the burning of American flags on British concert stages, that's a plus.
Ain't that the truth.When The Daily Show is the most factual news source available you know we're in trouble!
Ian
Host of the Post-Avant Jazzcore Happy Hour on progrock.com
https://podcasts.progrock.com/post-a...re-happy-hour/
Gordon Haskell - "You've got to keep the groove in your head and play a load of bollocks instead"
I blame Wynton, what was the question?
There are only 10 types of people in the World, those who understand binary and those that don't.
Just one thing:
Once heard here a quite enlightening statement - What music is supposed to unite men should NEVER take apart. So, for the sake of Keith's RIP thread, wtf true musicians and true music lovers have to do with those MF music journalists, critics and industry ??? Cut that crap for gods sake! They all just come along to ruin their peace.
RIP Emo, sure you're already having it in a MUUUUCH better world!
Move on - yes, indeed. Establish that Peel sucked, however?! Because his *tastes* happened to concur with what turned out to be the pseudo-common credo of the punk/post-punk generation? Or perhaps because he was an apparent opportunist as far as the clichés of 'underground image valeur' were concerned? Seriously.
Peel is as deceased as Emerson, and while he didn't create music himself (except for the odd attempts at contributing to that of others, for instance some bongo for the Third Ear Band), he channelled artists and trends and circuits and waves that have endured and will continue to linger. Was he omnipotent? No, but important - yes. And especially during the years 1969-74 and 1980-93. IMHO, of course.
"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
Someone has to give you props for that!
Inspired me to think about a large family with a propensity for strange names for Noah's siblings, like Sexa, Curba, Facial, Onion & Banana.
"My choice early in life was either to be a piano player in a whorehouse or a politician, and to tell the truth, there's hardly any difference"
President Harry S. Truman
Just read on the BBC news site that the Coroner has but now officially ruled suicide and that he also had heart disease and depression brought about by alcohol.
I think I know this one. ELP purchased the 70,000 watt sound system from whoever it belonged to; Canadian government? Olympic committee? So either they were trying it out, or perhaps picking it up (was it the 1976 Summer Olympics there were held there?)
I think I remember reading this in Time magazine, where there was an article describing the orchestral tour. It has a picture of the three, the road crew, the orchestra, about 8 or so tractor trailer trucks, etc. in a huge group shot
here is a link, but you have to log in or subscribe or something ...
http://content.time.com/time/magazin...919037,00.html
Music: ELP: 72,000 Watts in the Name
Monday, June 13, 1977
As the houselights dimmed in Detroits Cobo Hall last week, the concertmaster signaled for the oboist's A, and the strings and woodwinds went about the squeaky business of tuning up. Then like something out of an old Esther Williams spectacular, Conductor Godfrey Salmon rose 14 feet in the air atop a hydraulic podium. Silence reigned for a good second or two before the cries came from the audience: "Rock 'n' roll!" "Get it on!" "It's boogie time!"
Not quite boogie time. The British rock group Emerson Lake & Palmer had not brought along a...
Last edited by bigbassdrum; 03-15-2016 at 03:23 PM.
"Normal is just the average of extremes" - Gary Lessor
I mentioned this on the other thread. Both of these factors were news to me. How awful.
Interesting possibility.
I'll have to dig up my old news clippings from the Works tour era. I seem to recall the objective was if they could tackle the delays from front of stage to back of that stadium with that sound system, they'd pretty much rule the world...
-=Will you stand by me against the cold night, or are you afraid of the ice?=-
Interesting, why ELP was chosen as the main irritator?
Here is pianist and composer great, Billy Childs tribute to Keith.
"I’ve been interviewed a lot during my career and one of the interview questions is invariably, “Who are your influences?” I give the expected answers (Herbie Hancock, Chick Corea, McCoy Tyner, et al) and some not-so-expected ones (Laura Nyro, Stephen Sondheim, Paul Hindemith). The reaction from the interviewer is usually a reverent, “Ahhh…” But I find it curious (if not annoying) that the reaction, when I mention Keith Emerson is, more often than not, met with a grin - kind of a smirk that seems to say, “You mean the same guy that stabs his Hammond organ? The guy that plays on a rotating piano and dresses up like an armadillo? That Spinal Tap, big-hair, 70’s shit? That’s not serious music. I’m glad you ‘graduated’ to what I perceive as grown-up music.”
Keith Emerson and ELP represented a musical crossroads; the confluence of rock, European classical music, American classical music (jazz), electronics, chamber-like group interplay, and pianistic virtuosity - synthesized into an organic whole. This was challenging, bold music, replete with new ideas about form, structure, orchestration - ambitious music that sought to examine larger existential questions about humanity (check out the lyrics on Karn Evil 9 or the Endless Enigma). I still remember the first time I heard Keith Emerson’s music. I was walking off of a soccer field after practice (at Midland, where I went to boarding school) when my ears first heard the musical explosion that was Tarkus; someone (I forget who, now) was blasting it from their stereo in their room. Like a siren song, the music demanded my attention and compelled me to listen through to the end of the 20 + minute suite. I knew my life was being changed as I was listening. I had heard (and loved) the Hammond B3 being played by Jimmy Smith, Charles Earland, Richard “Groove” Holmes, and Larry Young. But I had never heard it used in this context, where the language wasn’t exactly jazz, wasn’t exactly fusion, wasn’t exactly rock, but all three and much more. I had never heard the organ used like that, where it was an integral part of such a complex and layered composition. From then on, all I talked about was Emerson, Lake, and Palmer. I was 14 and this was 1971.
My friend at Midland (Russell Bond) and I would listen for hours to the four (by that time) ELP albums: the eponymous debut album, Emerson, Lake and Palmer, Tarkus, Pictures at an Exhibition, and Trilogy. Another explosion went off in my mind when I heard the piano solos of The Three Fates and Take a Pebble from the debut album, Infinite Space from Tarkus (one of the first songs I learned by ear), and the Fugue from Trilogy. It’s like a new door was opening to other possibilities of human expression - the same type of door that opened when I first heard Herbie Hancock, Paul Hindemith, The First Circle by Pat Metheny and Lyle Mays (decades later), when I first read Invisible Man by Ralph Ellison or 1984 by George Orwell. I wanted to walk through the door and experience all of the new exotic colors, textures, and landscapes that ELP had created. I’m still in that forest…
Later on, I went to the Community Schools (now the Colburn School) back in LA (Midland was in Los Olivos, now across the street from Neverland). I took theory class and classical piano lessons. I remember the piano teacher asked me what music I liked. I told him I wanted to play classical music like Keith Emerson. I got that same grin. I eventually graduated from USC as a composition major; I had GREAT teachers: Bob Linn, Donald Crockett, Morton Lauridsen, among others. I’ve had a rewarding career and up until two years ago, I’d met almost all of my musical heroes, except Miles. I say almost, because I hadn’t met Keith Emerson. One day, I saw that Elvis Schoenberg (a fantastic Los Angeles ensemble that does a music theatrical presentation of classical, rock and jazz pieces) was playing at Catalina’s. I somehow knew that Keith Emerson was a huge fan of theirs and would probably be there; I was right. Ross Wright, the founder of the group, noticed that I was in the audience and announced my name and Keith Emerson’s; I was honored to be mentioned in the same sentence as Emerson. After the show, I ran up to Keith in full “fanboy” mode and just told him over and over how much of an impact he has had on my life. I’d been waiting decades to do this. He was gracious and humble - just a gentle and beautiful person. In the cover picture, you can see that my smile is genuine. I gave him a copy of my latest (at the time) CD, Autumn: In Moving Pictures, and he wrote me a really nice complementary Facebook posting about how he dug it - I will treasure that message for the rest of my life.
Keith Emerson shot himself in the head on March 10, and I’m still having difficulty wrapping my mind around it. In a year where we have lost Pierre Boulez, Sir George Martin, Natalie Cole, David Bowie, Paul Bley, and Ernestine Anderson, Emerson’s death is all the more tragic because of the depression which caused him to take his own life. I keep reading that he was very sensitive and that the nerve damage in his hand was causing him great anxiety. That coupled with certain mean spirited reviews and comments about his work might have sent him over the edge. It’s incredibly sad to me that a towering and seminal musical figure such as Emerson, who acted so thoroughly, honorably, and beautifully on his unique musical gifts - resulting in the infinitely important work of bettering the planet through his music - would be so profoundly and negatively affected by the words of critics and other people who could not fathom, in their wildest dreams, what it means to do anything approaching what Emerson has done for the world. I’m sad that severe depression caused Emerson to see no other way to end his pain; we are all poorer for it. I’m sad that he was in that kind of pain, which according to Greg Lake, started way back around the late 70’s.
Lately, I’ve been trying to live by words in the song “Here’s to Life”. They go: “But there’s no ‘yes’ in ‘yesterday’, and who knows what tomorrow brings or takes away, as long as I’m still in the game, I want to play. For laughs, for life, for love.”
And if there were a god, I think it very unlikely that he would have such an uneasy vanity as to be offended by those who doubt His existence - Russell
Ha that's the best.
So bidding is going up on this pretty fast -
http://www.ebay.com/itm/2006-Knuckle...IAAOSwu1VW5jC8
keithemersonproduct.jpg
[not affiliated with this auction]
^I think I remember seeing that in a shop window years ago.
Actually I remember very clearly what he said when he played it...I had the show tape once upon a time! It was something along the lines that he hoped some of the money from the single was going towards saving whales. Anyway, enough Peel, everyone's entitled to their opinion of him too of course
Now Emma Peel, that's a different story!
Ah! I have one, got it when knucklebones was having a 1/2 off sale. So 75 bucks for me. Easily one of the coolest thing I own.
Loads of musicians testifying to how important he was- just as with Chris Squire. Shows how myopic and tunnel-vision the Rock Hall view has been." JJ88
"It's terribly sad, but I've been gratified how many positive comments I've seen on Emerson and ELP, from a wide variety of sources. In the end, I think that will trump this crap in the tabloids, which I think we're all best served just to ignore.
Bill"
These statements summarize pretty much the truth about all those strong criticism waves.
He was the original drummer, but didn't last long.
My point wasn't about how poor ot unfair those critics explicated their views. Why of all prog movement of the 70s, this particular group was chosen as a perfect target for bashing? Why exactly them, not Yes, or Wakeman, or Genesis, Gentle Giant, VdGG...
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