Taking Tiger Mountain - Brian Eno and Doug Hilsinger
Trout Mask Replica - Captain Beefheart & Lewis Taylor
And I think this one counts?
This Was - Jethro Tull & The Mick Abrahams Band
Taking Tiger Mountain - Brian Eno and Doug Hilsinger
Trout Mask Replica - Captain Beefheart & Lewis Taylor
And I think this one counts?
This Was - Jethro Tull & The Mick Abrahams Band
Last edited by rcarlberg; 03-14-2013 at 11:41 PM.
Dirty Projectors did a whole album as an "adaptation" of a Black Flag record, but I can't remember which title.
"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
Wouldn't this include most albums faithfully copied by tribute bands?
Dream Theater's done a few of these. I only have their Dark Side of the Moon, and it's pretty good, but LaBrie's vocals just don't fit at all.
Music isn't about chops, or even about talent - it's about sound and the way that sound communicates to people. Mike Keneally
Somebody did Eno's APOLLO note for note but I can't remember who, I just remember a long-ago review of it in PROG, and wondering why PROG said "Apollo, now with steel guitar" when the original had plenty of steel guitar.
High Vibration Go On - R.I.P. Chris Squire
Bang on a Can's Music for Airports. There's just something about Eno, somehow. And Les Claypool took on Pink Floyd's Animals at one point.
Phish have also done several complete albums live (Remain in Light, Quadrophenia, The Beatles), but I doubt they were note-for-note renditions.
DT - DSOTM is the first and only one that springs to mind at the moment.
Zeitkratzer - Metal Machine Music
Japancakes - Loveless
The Glass Hammer note-for-note remake of Tormato doesn't exist yet but it's been talked about.
Japancakes did My Bloody Valentine's Loveless
--
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Mary Fahl (from October Project) redid Dark Side of The Moon. It's not a note-for-note copy, it's a different take on much of it... but it's the entire album.
I don't know, but unless the remake is done so it is distinctive from the original, there's no point in it.
Not sure how strictly "note for note" should be taken, but Petra Haden's acapella remake of The Who Sell Out is pretty awesome.
I agree wholeheartedly. The Dirty Projectors album I pointed to was Rise Above from 2007, in which DP's bandleader essentially recreates Black Flag's Damaged some 15 years since last on hearing. Add to the fact that BF were a hardcore punk group whilst DP most definitely aren't, and you actually get a highly interesting and in the end rewarding result.
The single worst and most unwillingly kitschy attempt at "adapting" a decidedly 'prog' work came with Ars Nova/Gerard's split album Keyboard Battles (or what the hell its name was) some 10-12 years back. Absolutely horrendously terrible, over-the-top pompous drivel.
"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
song by song is a lot simpler. e.g., I love both
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.
What's the name of the band that did a country version of The Wall. Then there's the dub version of DSOTM. There are also those bootleg remixes of Floyd albums that were sold several years ago. The WYWH one isn't bad.
This raises a heap of questions. Taken at face value, this would mean there's no point in recording (or listening to) more than one version of a classical work; yet in my experience that's manifestly not the case, for all that the "notes" are precisely the same.
Different players bring different things to the same piece because the piece is big enough to encompass a them without ceasing to be itself.
It says a lot about the fundamental quality (or lack thereof, perhaps) of rock music and prog if it is so tied to the conditions of its most popular/definitive performance - or in reality the marketed personae of the performers - that it's pointless to reproduce the music without those conditions.
(By the way, I think that Lewis Taylor's magnificent Trout Mask Replica is itself a sign of hope; then again, Lewis' despondent retirement and lack of success may well be the opposite...)
Does it matter that this waste of time is what makes a life for you?
Not an album redone, as requested by Mr. Carlberg, but a note-for-note rendition, including the jingle-jangle of the Rickenbacker 12-string, of the Byrds' greatest hits (and then some): Diesel Park West Plays the Byrds. It's absolutely great, but then again I say, "Why bother?" The Byrds did it already.
Lou
Looking forward to my day in court.
Phish does this regularly.
Government Mule did Dark Side, as have some others.
I'm not lazy. I just work so fast I'm always done.
If it isn't Krautrock, it's krap.
"And it's only the giving
That makes you what you are" - Ian Anderson
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