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Thread: Canterbury Binge 2018-2019

  1. #76
    Just played Phil Miller - Split Seconds on wax....Beautiful record!!!!

  2. #77
    Quote Originally Posted by Steve F. View Post
    As far as who is better than who or what-have-you, this is thorough-composed ensemble music, with room for improvised parts and for 'putting eyebrows on the music'.

    While distinctive voices are important and the music allows great and distinctive voices to shine and be 'themselves', and put their own version of eyebrows on, ultimately, this, like all composed music, needs people who are interested enough or good enough to perform it. Even if they aren't particularly 'quirky' (like Neil Murray), he played his parts extremely well and got inside the music and allowed it to be a great album.

    Doesn't really matter who came next or what-have-you. He was the bassist at the time and he did great and we are all lucky that he was there to be in that band and make the recordings he is on.

    IMO. [ I've gotten very zen in my old age. ]
    I totally agree and put my signature below what you say. I don't want to denigrate Neil not even for a second. The comparison - which is as stupid as all comparisons are in a way - is made just for the sake of highlighting what - to me - is possibly the best bass playing I have heard in my life. I mean John on OQAC.

  3. #78
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    Quote Originally Posted by progman1975 View Post
    Just played Phil Miller - Split Seconds on wax....Beautiful record!!!!


    Love this tune (having Sinclair on it doesn't hurt):

    https://www.youtube.com/watch?v=O3CTXU154ac
    If it isn't Krautrock, it's krap.

    "And it's only the giving
    That makes you what you are" - Ian Anderson

  4. #79
    Member Steve F.'s Avatar
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    Quote Originally Posted by Zappathustra View Post
    I totally agree and put my signature below what you say. I don't want to denigrate Neil not even for a second. The comparison - which is as stupid as all comparisons are in a way - is made just for the sake of highlighting what - to me - is possibly the best bass playing I have heard in my life. I mean John on OQAC.
    OKEY DOKEY!

    I have favorites too! I prefer xxx bassist in UZ to xxx bassist. I prefer xxx bassist in Magma to xxx bassist

    but: my personal experience has shown me that we are lucky to have any musicians willing to tackle this hard music and they are who are on the albums they are on and they all bring something of themselves to this music!

    thanks for your kind response.
    Steve F.

    www.waysidemusic.com
    www.cuneiformrecords.com

    - - - - - - - - - - - - - - -

    “Remember, if it doesn't say "Cuneiform," it's not prog!” - THE Jed Levin

    Any time any one speaks to me about any musical project, the one absolute given is "it will not make big money". [tip of the hat to HK]

    "Death to false 'support the scene' prog!"

    please add 'imo' wherever you like, to avoid offending those easily offended.

  5. #80
    Quote Originally Posted by chalkpie View Post
    He may be a better player overall (debatable?) but there isn't one single nano-second on National Heath where I'm saying to my kids "Oh man, I can'r wait for Greaves on the next one....". To me he plays beautifully and serves the tunes/album perfectly.
    Of course. But - to me - John does more than that. As I said I love Neil, I even love what he did with Whitesnake. Great, great player.

  6. #81
    Here is a poster from one of the best gigs I ever attended Steve Hillage and National Health at Lancaster University April 29th 1978. The poster has been roughly scanned from the excellent book When Rock went to College Legends live at Lancaster University isbn 9781910837115.

    ii.jpg

  7. #82
    Quote Originally Posted by Steve F. View Post
    OKEY DOKEY!

    I have favorites too! I prefer xxx bassist in UZ to xxx bassist. I prefer xxx bassist in Magma to xxx bassist

    but: my personal experience has shown me that we are lucky to have any musicians willing to tackle this hard music and they are who are on the albums they are on and they all bring something of themselves to this music!

    thanks for your kind response.
    But I wasn't being kind, that's how I truly see it I could very well be on the other side of the fence defending mr Murray (not that he needs it).

    Cheers!

  8. #83
    Member chalkpie's Avatar
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    Quote Originally Posted by Steve F. View Post
    You said what I said in about 10% of the verbiage. So, YES. I may have to hire you as my editor.
    No way man - I actually like to read detailed thoughts like that, even if we (music nerds collectively) agree or disagree on something at times. Its interesting to hear WHY people like/dislike something, how they hear things, how it makes them feel, etc. The mere fact that I can actually communicate with other people about this music is an absolute pleasure - since most of the real world doesn't even know that this music fucking exists! It's like some invaluable buried treasure (in Kent of course) that some lucky few get to dig up and revel in it.
    If it isn't Krautrock, it's krap.

    "And it's only the giving
    That makes you what you are" - Ian Anderson

  9. #84
    Member chalkpie's Avatar
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    Quote Originally Posted by prestonplatform View Post
    Here is a poster from one of the best gigs I ever attended Steve Hillage and National Health at Lancaster University April 29th 1978. The poster has been roughly scanned from the excellent book When Rock went to College Legends live at Lancaster University isbn 9781910837115.

    ii.jpg
    Man, can you elaborate on some thoughts of that night? I would love to hear it.
    If it isn't Krautrock, it's krap.

    "And it's only the giving
    That makes you what you are" - Ian Anderson

  10. #85
    ^ Well, I WOULD say that Greaves' playing underneath that amazing flute solo of Jimmy Hastings' in "Binoculars" counts as some of the most creatively melodic bass work I've heard in rock music. Greaves' true monstrosity really shines in Henry Cow's "Ruins", though - and in that finishing part especially, where it's basically all written out. He also Plays fantastically good on the Kew. Rhone album.
    "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

  11. #86
    Member chalkpie's Avatar
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    Quote Originally Posted by arturs View Post
    Alright... Just finished listening to Robert's '68 CD: my first Canterbury disc of the new year and my contribution to the binge. Absolutely the peak of his creativity (IMHO of course). There are many later moments that could also be argued as peaks. But the light-hearted, soulful, playful magic is here more than anywhere else in his career.
    Yes, an absolute must and one of the "newer" (but not at all) essential Canterbury gems that I include as the absolute creme of the entire scene. Steve could win some medal of honor alone for that one. Its phenomenal.
    If it isn't Krautrock, it's krap.

    "And it's only the giving
    That makes you what you are" - Ian Anderson

  12. #87
    Member Steve F.'s Avatar
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    Quote Originally Posted by chalkpie View Post
    Steve could win some medal of honor alone for that one. Its phenomenal.
    Robert thanked me profusely for finding and documenting and releasing this one, and allowed me to bookend his recording career with that one. It's simultaneously his first - ever release and his last - ever release. And I got to work with all my favorite collaborator - type folks on it; Aymeric, Mike King, Bill Ellsworth, Mark Chapman, etc etc etc.

    That was the best medal of honor imaginable! Truly!
    Steve F.

    www.waysidemusic.com
    www.cuneiformrecords.com

    - - - - - - - - - - - - - - -

    “Remember, if it doesn't say "Cuneiform," it's not prog!” - THE Jed Levin

    Any time any one speaks to me about any musical project, the one absolute given is "it will not make big money". [tip of the hat to HK]

    "Death to false 'support the scene' prog!"

    please add 'imo' wherever you like, to avoid offending those easily offended.

  13. #88
    Quote Originally Posted by Scrotum Scissor View Post
    ^ Well, I WOULD say that Greaves' playing underneath that amazing flute solo of Jimmy Hastings' in "Binoculars" counts as some of the most creatively melodic bass work I've heard in rock music. Greaves' true monstrosity really shines in Henry Cow's "Ruins", though - and in that finishing part especially, where it's basically all written out. He also Plays fantastically good on the Kew. Rhone album.
    Henry Cow Concerts is also an amazing peak. The bass playing on Beautiful As A Moon is delicious (maybe he's also higher in the mix compared to the studio version)

  14. #89
    Quote Originally Posted by Steve F. View Post
    Robert thanked me profusely for finding and documenting and releasing this one, and allowed me to bookend his recording career with that one. It's simultaneously his first - ever release and his last - ever release. And I got to work with all my favorite collaborator - type folks on it; Aymeric, Mike King, Bill Ellsworth, Mark Chapman, etc etc etc.

    That was the best medal of honor imaginable! Truly!
    Really nice to hear that. Thanks for posting.
    I want to dynamite your mind with love tonight.

  15. #90
    Quote Originally Posted by Zappathustra View Post
    The bass playing on Beautiful As A Moon is delicious (maybe he's also higher in the mix compared to the studio version)
    Hey, just about everything is better on the Concerts version - although it was recorded live-in-the-studio. There's a wholly different flow to the proceedings, and that Frith guitar solo is -painfully- intimate. One of the gloomiest tracks I know, and the return of the "Moon" main riff with the ultra-heavy bass towards the end is simply monumentally majestic. Gives mee goosebumps every time.
    "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

  16. #91
    Quote Originally Posted by Scrotum Scissor View Post
    One of the gloomiest tracks I know, and the return of the "Moon" main riff with the ultra-heavy bass towards the end is simply monumentally majestic. Gives mee goosebumps every time.
    Same here.

    It feels nice, just for a change, to be completely understood.

  17. #92
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    Quote Originally Posted by polmico View Post
    Really nice to hear that. Thanks for posting.
    +1. Reading Steve's reference to '68 as his "last-ever" release I googled Robert's name to find out that he has indeed formally retired from music-making. I wish him a restful and well-earned retirement. Though somehow I can't exactly imagine him taking up bridge...

  18. #93
    Quote Originally Posted by chalkpie View Post
    It's interesting how Pip sets up those 2 cymbals in an almost-vertical manner (they don't look like china's to me?) , sort of surrounding him.
    The vertical cymbals was a 70's jazz drummer idea, also done by Alphonse Mouzon and Eric Gravatt (not sure why).

  19. #94
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    Re: John Greaves. His playing is indeed outstanding in all aforementioned examples, but Half Asleep/Half Awake from HC's Unrest wins for me as his best studio performance ever. The sense of flow and the dreamy nature of this (his!) composition is absolutely gorgeous, like something that's always close but cannot be touched - as if it always escapes from you in slow motion, as in a dream. Fantastic player and composer. I'm looking forward to hearing his new album. His latest Verlaine Gisant album was amazing.

    I consider myself very lucky to be have been able to see him playing live in Lindsay Cooper's memorial concert in 2014, in London. Would give an arm and a leg to see him again at the RIO festival in Lyons this year, but finances are a serious matter in this case for someone living in South America. After all, I'd eventually end up *without* an arm and a leg, but still stuck in bloody Brazil, anyway.

  20. #95
    Quote Originally Posted by Conti View Post
    Re: John Greaves. His playing is indeed outstanding in all aforementioned examples, but Half Asleep/Half Awake from HC's Unrest wins for me as his best studio performance ever. The sense of flow and the dreamy nature of this (his!) composition is absolutely gorgeous, like something that's always close but cannot be touched - as if it always escapes from you in slow motion, as in a dream.
    Without doubt one of the greatest tunes by anyone in "progressive rock" - ever. IMHO. The sheer density here, yet so overwhelmingly melodic and played with an abundant finesse, drums/percussion and bass in particular. Zappa never delivered that sense of complete organic chemistry, one in which you can practically smell the joy of performance. And still it hardly ever repeats a single friggin' ostinato - it simply just continues to discover… Like following a bumblebee across a lawn on a hot summer's afternoon.

    "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

  21. #96
    Quote Originally Posted by Scrotum Scissor View Post
    Zappa never delivered that sense of complete organic chemistry, one in which you can practically smell the joy of performance.
    I fell to bed last night with Unrest in my earphones, and I was making the same thoughts more or less. Possibly it has to do with Henry Cow being a real band, than just a super-genius helped by excellent musicians that were still under his dominant presence. But yeah, HC took the Zappa/Soft Machine paradigm to another level of refinement: that first side of Unrest is a complete template of musical perfection, and the Greaves/Cultler tandem fills the rhythmic spaces in an unprecedented manner in rock music.

    Great comments guys!

  22. #97
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    Quote Originally Posted by chalkpie View Post
    It's on the missing third record (Side 5) called "The Kitchen Appliance of Cod". Side 6 was left blank intentionally and is to be played with all 5 other sides simultaneously. It was a group effort. Ask Jonny.
    Ha! Wait... are you sure it was blank? Wasn't "Vagrant (Tyrants Plunder the Nun)" supposed to be on the reverse of the missing record?

  23. #98
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    Quote Originally Posted by Scrotum Scissor View Post
    ^ Well, I WOULD say that Greaves' playing underneath that amazing flute solo of Jimmy Hastings' in "Binoculars" counts as some of the most creatively melodic bass work I've heard in rock music. Greaves' true monstrosity really shines in Henry Cow's "Ruins", though - and in that finishing part especially, where it's basically all written out. He also Plays fantastically good on the Kew. Rhone album.
    oooo Binoculars, Ruins, Kew Rhone, now we're talking 'bout me all-time desert island stuff - and yes, throw in the side 1 epic from HC Concerts. Hawg Heaven! Yee Ha!

  24. #99
    Not Canterbury nor RIO ( not musically ) I listened a lot to the new Peter Blegvad record ( with Karen Mantler, John Greaves , Chris Cutler and Bob Drake) absolutely delicious , the missink link between Shakespeare and R&B. I am looking forward to see them in april in concert in Lyon, for me the RIO festival opening night.

  25. #100
    I'm here for the moosic NogbadTheBad's Avatar
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    When is that concert in Lyon?
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