Now that you mention it, yep - it does sound like a Tull bit.Originally Posted by No Pride
Now that you mention it, yep - it does sound like a Tull bit.
It's really called "Pro SoloVst"! :-)
Just heard RA&B original (album) version. Much different from the Seconds Out version (which I am much more familiar).
Not sure which I prefer...
Oh- OK then!
I thought the title read: "Roddenberry- Assault and Battery".. I was gonna ask why you'd dredge up Robert's past like that. The man has paid his debt to society!
"Corn Flakes pissed in. You ranted. Mission accomplished. Thread closed."
-Cozy 3:16-
I think you've got your Genesis songs mixed up, pal? Turn It On Again was in 13/8.[/QUOTE]
Nah; definitely talking about Robbery, Assault & Battery. There are actually three parts in 13/8 in the song that they weave together.
And I believe it was Rutherford who was responsible for the main riff in Turn It On Again, which would be 13/4, most likely
counted as alternating bars of 6/4 and 7/4
LOL @ the implication that only one song from a prog band's lengthy career could be in 13. See, some people can listen to music and determine the time signatures. Others can only be told what they are via interview footage on boxed set DVDs.
As for "Turn It On Again", I know the riff is technically (and accidentally) in 13, but to me it's always sounded like straight four, given Phil's drum part that essentially nails it down. I know it's not, but it sounds like it to me if I'm not paying attention.
Interviewer of reprobate ne'er-do-well musicians of the long-haired rock n' roll persuasion at: www.velvetthunder.co.uk and former scribe at Classic Rock Society. Only vaguely aware of anything other than music.
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All I know is Gabriel kept on messing up on drums when he played turn it on again because of the weird beat.
Also John bonhom taught his son jason TIOA when he was teaching him drums.
That's natural in a song in 13/4. You only get the "loping" effect of odd time at the end of what is effectively three bars of 4/4. I've always loved that song for that reason. It doesn't hit you over the head, but it's there.
That's the whole phun of it! Reminds me of PF's "Money". I know that song from little age and only a few years ago did I notice it was a 7/4.
And, to my own personal interpretation, "Turn It On Again" is a 6-7/4. (That's how it beats in my mind...)
This is wrong... all these songs are actually in 1/4. 1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1,1...
Which makes it really hard to play live if you don't know where 1 is.
Interviewer of reprobate ne'er-do-well musicians of the long-haired rock n' roll persuasion at: www.velvetthunder.co.uk and former scribe at Classic Rock Society. Only vaguely aware of anything other than music.
*** Join me in the Garden of Delights for 3 hours of tune-spinning... every Saturday at 5pm EST on Deep Nuggets radio! www.deepnuggets.com ***
THANKS!!! I'm crazy about thematic cross-references like this. Unmistakable now that you mention it.
Oh, quite the opposite- it's always one, you can't miss!
Just my 1, 2, 3 and cents.....
Mike, Tony and Phil jammed quite a bit.... Tony's style is very full (big chords on phased RMI in this song and lotsa note solos), was hard for Steve to find space to add to the music.... at least in RAB, he did get in some volume pedal work... but in other type jams (CINEMA SHOW, RIDING THE SCREE) no room for Steve at all.... but at least he didn't try and just add some noise, they had enough class that Steve just stopped playing where he couldn't add anything. KUDOS to STEVE.
I think most of the solo in this tune was done with the PRO SOLOIST... during the harmonies, it does sound like double tracked PRO's but I am not sure. The PRO SOLOIST VST was a nice try but not quite there attempt by a friend of mine of ITALY... I tried to help him by sending him samples of my PRO to emulate.... this guy actually tried to program the schematics from the original PRO SOLOIST to create all the sounds... not a sample included, so a great effort but it fell short of being useable for TBs sounds.
That's how I always counted it out, too, but it's easier to notate it in 13/4. As long as everyone's on the same beat, it probably doesn't matter.
I still think we were robbed a little.. the mellotron bit just after Hackett does his steadily-increasing-in-volume guitar note always felt so empty to me and could have benefited from Steve doing some fluid work on top.
It was so weirdly arbitrary to me when Hackett would drop out and when Hackett would play in some of those Ex-Tony-Ganzas. I mean, in "Firth of Fifth," why does he do that wobbly bit of tapping in the middle of Tony's solo and then drop out again? Why does the first keyboard bit in "Robbery" feature one single guitar note, and then the second one feature him tearing it up as support? Why is he contributing everything but the kitchen sink in "One for the Vine" yet off for a smoke through most of "Mad Man Moon?" I've vascillated between Hackett being a prima donna and unwilling to overexert himself on something he didn't write or BANKS being a prima donna by shutting Hackett out and Hackett too timid to assert himself.
Or whatever. Maybe the real story is that Hackett didn't feel comfortable with those complicated keyboard lines. He did once say an interview that he developed his tapping technique to keep up with Tony, but really the only place he took advantage of that was "Supper's Ready." (He did his other tapping independently of Tony's lines.) With all the ferocity of touring and performing, maybe it's no wonder that Hackett felt overwhelmed by the monster power trio that Collins, Rutherford and Banks could be.
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