Thursday, February 23, 2017

Orange Crush

You know, even as a huge fan, I find it easy to forget just how hard these guys could rock.

But, man, they really did tear it up at times.

Friday, February 17, 2017

Follow You, Follow Me

I was reading a discussion the other day about who the greatest prog keyboardist of the 70s was: Keith Emerson or Rick Wakeman? And what about Patrick Moraz? Where does he fit in?

I don't nearly enough about keyboards or Emerson to have any kind of an educated opinion. I know I certain prefer both Wakeman's and Moraz's playing, given that Close to the Edge is absolutely one of my favorite albums ever, and Fragile's not far behind, and for that matter, I have recently come to appreciate Relayer despite the fact that Bill Bruford doesn't play on it, but he didn't play on the two albums he made with Moraz and I like those too. Meanwhile, I've never had much desire to hear any ELP beyond what was frequently on the radio and didn't even enjoy that handful of tunes all that much.

Still, there's no question that when it comes to technique, Wakeman, Emerson and Moraz stand head and shoulders above the other most famous prog keyboardists, Tony Banks and Rick Wright, and that's assuming you even consider Pink Floyd a prog band. (You should.) Both are certainly fine players, but neither come close to the kind of technical excellence so freely displayed by Wakeman and Emerson.

And yet. For all their unquestioned chops, and for all I adore Close to the Edge and it and Fragile have enriched my life, I have never heard Rick Wakeman play anything as lovely, as melodious, as absolutely perfect for its setting as the solo Banks plays from 2:49-3:10, never mind Keith Emerson.

And we haven't even touched about the stuff he wrote with Genesis—which is to say, most of Genesis' output. (That's at least a slight exaggeration. Sometimes he only co-wrote stuff.) But, I mean, "Cinema Show"? "Apocalypse in 9/8"? "After the Ordeal"? I mean.

So. Best keyboardist? By most criteria, Banks isn't even close to being in the running. But I would surely pick just about anything he ever wrote with Genesis over not only just about anything ever written by Wakeman or Emerson, I'd pick just about anything he's ever written over just about everything written by those guys.

(Full disclosure: Rick Wakeman seems like he's been pretty much one of the coolest guys on the planet since at least Hunky Dory.)

Monday, February 13, 2017

Hushabye Mountain

I'll tell ya, I'd pay good money, or give up one of my kids—and possibly all of 'em (hi, Max!)—for an album of Dave Gilmour singing minor key Dick van Dyke songs.

Toss in him doing "Pure Imagination" and I wouldn't have to pay anything, 'cuz I'd die of happiness.

Wednesday, February 8, 2017

I Write the Songs

Oh, 70s. You sweet, sweet, naïve decade. When a guy who looks like this jamoke can become a megastar with a song like this...that he didn't even write.

My guess is that Beach Boy Bruce Johnston had absolutely no problem with few people knowing he wrote the song claiming he writes the songs, and even fewer problems cashing the many enormous checks.

You know, I've never understood the main criticism that song seemed to get, which is the absurd arrogance of my man Bears claiming he invented music, when it's crystal clear that the song's narrator is, in fact, God, or at least some omnipotent being. Which, yes, Barry Manilow is damn close to being, but even he's not quite all the way there.