Styx & REO....... you don't have to watch it all, i don't wanna be responsible for a member pulling their eyes out of their sockets.
Styx & REO....... you don't have to watch it all, i don't wanna be responsible for a member pulling their eyes out of their sockets.
The Beach Boys and the Four Seasons did an ultra obscure single, "East Meets West", in 1984.
https://www.youtube.com/watch?v=FJ12pAM9Ujc
Chicago have toured on a double-bill with Earth, Wind, and Fire, and the finale puts most or all of both bands onstage together for a few big hits. But from what I recall hearing, they don't really take advantage of that - the horns, for example, just double the same three parts instead of figuring out full six-part lines, and the vocalists trade off, but again, don't build the huge harmony sound they could.
Confirmed Bachelors: the dramedy hit of 1883...
"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 never insinuated any significance as to whether anything was/wasn't "prog".
"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
Maybe not fully what the OP means, but what about:
Eddie Howell: The Man From Manhattan, featuring Freddy Mercury and Brian May:
and the Back Again version:
Gallagher & Lyle were part of McGuinness Flint broke away to become a duo act - then later joined Ronnie Lane's Slim Chance.
Wow, that's definitely an example of guest artists turning a tune into way more than it would have been without them.
There's been lots in this thread though that captured the spirit of what I was asking. The REO/Styx Can't Stop Rockin' is exactly the kind of thing I'm thinking of. Also Sternenstunden (I found a studio version), East Meets West and the Motorhead/Girlschool. The Corea/Vai thing is incredible as is PinioL!
Still, it looks pretty rare. Considering the countles bands and long history of rock it's a little surprising more haven't tried this. The results tend to be as good or better than what the bands normally do apart, although it doesn't seem to have produced big hits. The little musical details they end up coordinating between themselves for backing vox, rhythm section accents and things like that tend to be unexpected and ear-tickling. Although the Max Webster/Rush example is a song by Mitchell/Dubois that they invited Rush along for, the egos seem to have been completely set aside and both bands conspired to make a powerful recording.
You'd think a record company would have pushed for a U2/Coldplay single or something like that by now, but there just doesn't seem to have been much of it.
The thread specified studio recordings but if we're branching out into live shows, then Chicago did the same thing with The Beach Boys on their summer '75 tour. Unrelated, but metal band Manowar also did a show a few years back with all of the past and current members together on stage for one song - three guitarists and three drummers!
You say Mega Ultra Deluxe Special Limited Edition Extended Autographed 5-LP, 3-CD, 4-DVD, 2-BlueRay, 4-Cassette, five 8-Track, MP4 Download plus Demos, Outtakes, Booklet, T-Shirt and Guitar Pick Gold-Leafed Box Set Version like it's a bad thing...
The Fucking Champs and Trans Am combined to form The Fucking Am, and the amazing album "Gold" was released. They actually did another album under the name The Trans Champs, but that was less good.
Melvins did an album with Lustmord which was great, but then, there have been thousands of "collaboration" albums. But speaking of Melvins, the duo Big Business became absorbed into their line-up for a while.
There’s also this monstrosity: Golden Earring, Earth & Fire, Shoes, Dizzy Man’s Band, Ekseption, Tee Set, probably a couple of other bands, all playing at the same time:
Confirmed Bachelors: the dramedy hit of 1883...
This isn't quite what the OP meant, but Hoketus, a modern-classical Minimalist piece by Louis Andriessen, requires two identically-configured bands to play. Each consists of panpipes, alto sax, Rhodes, piano, electric bass, and congas. And they don't play the same part at all - almost, but not quite, which is the whole point of the piece.
Each band is set up on the opposite side of a room, and the result sounds like this:
It's simultaneously amazing as f*** and annoying as f***. If you want them to get to the point, skip to 22:30, and you'll hear something that sounds a little like Red-era Crimson, played by classical musicians with peculiar spacial panning. Incidentally, the sax player with the bald forehead and glasses is Ken Thompson, who was or is in the Cuneiform band Gutbucket. He's now in the Bang-on-a-Can All-Stars, and is leading a band of students for this piece.
Last edited by Baribrotzer; 11-28-2017 at 10:01 PM.
It ("Hoketus") is indeed both as amazing and as annoying as, uh, all get-out. I don't really see anything Red-era-KC-ish about it, but it's very cool. But then, I'm a big fan of hocketing.
Cobra handling and cocaine use are a bad mix.
The part at the very end, where Andriessen sums the whole thing up over the last three or four minutes, can be heard as a similar changing series of dissonant hard rock riffs. Think of "Larks' Tongues Pt. II", or the tune "Red". Andriessen probably thought of it as blues licks of a sort - he's evidently a big R&B and jazz nut, not so much a rock fan - but to me there's a resemblance to Crimson. Andriessen's original Seventies performances by his original ensemble, of which only a few short filmed snippets seem to exist, absolutely kicked ass - they attacked that back-and-forth like a punk band.
Last edited by Baribrotzer; 11-29-2017 at 11:52 AM.
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