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Vulture Culture posted:Anecdotally: I can read music, but I'm so slow at it that it's not worth it. An awful lot of people who play instruments probably fall into the same boat. Pretty much me. I can sight read music on Trumpet pretty proficiently. But ask me to sight read a classical guitar piece or a piano piece that is more complicated than the most basic of level one easy songs and it would sound pretty awful. That being said, given enough time, I could learn how to play the song from reading it, and I could read chord charts pretty well.
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Jun 23, 2017 14:11
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I used to be in that same position and then I realized that just spending like 20 to 30 minutes a day on sight reading improves you really fast. and you can learn some good tunes at the same time
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Jun 23, 2017 14:27
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DaWolfey posted:Jeff Waynes War Of The Worlds I don't like it? Shrug?
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Jun 23, 2017 20:38
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I do, but mainly for the instrumental bits, Justin Hayward and Phil Lynott's vocals and the narration. Maybe it really is the more stagey vocal styles that irk me
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Jun 23, 2017 21:06
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DaWolfey posted:Jeff Waynes War Of The Worlds Horsell common and the heat ray is great. As far as musical theatre goes, i think anything by rodgers and hammerstein is reliably good.
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Jun 25, 2017 14:48
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Robert and Adrian sniping at each other on FB over Jakko butchering Indiscipline on tour. Ade stated they'd had a deal not to use his lyrics and Robert basically said "I could go on about this but it would be unpleasant".
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Jun 25, 2017 17:02
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Rust Martialis posted:Robert and Adrian sniping at each other on FB over Jakko butchering Indiscipline on tour. Does he repeat himself when under stress?
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Jun 26, 2017 04:05
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I like musical theater for the most part, but agree that some of it can be embarrassing to listen to. The classics are generally better than most of the stuff that's been released in the past forty years or so. I agree that Rodgers and Hammerstein were reliably good. I also like Lerner, Strouse, Stothart, Lacey and Wilson. Plays like The Music Man, Camelot and The Sound of Music are some of my favorites. West Side Story was pretty good but overrated, and the dance gang fighting was goofier than most musicals (which is saying something). The Sherman Brothers also deserve a lot of credit for the work they did for Disney. I like early Andrew Lloyd Weber, especially Jesus Christ Superstar, but never much liked Phantom. Cats is a bit of guilty pleasure though because I remember seeing it when I was very young and we had the record. Sondheim has his moments, but more for his themes than for his songs. His plays just tend to be interesting, but he very rarely writes memorable or catchy songs. I haven't seen Les Miserables, but from what I've heard of it, it doesn't really interest me, same goes for Hamilton. I did see that play Rent and thought it was pretty bad. Most of the more recent musicals just aren't very good. But then you have musicals like Spamelot, Book of Mormon, Avenue Q, The Producers, and the dozens of other musical films that have been released in the passed few decades that parody the stage musical. Most musicals are comedies of a sort, but but these take the parody and fourth wall breaking of the old "musical comedies" to new levels of self-aware clownishness. It's like the dance fighting of west side story on steroids. For these plays you're coming primarily for the comedy not the story and music. They may be kind of trashy, but I actually really like these parody musicals so I guess they're the exception to the "new musicals are bad" rule. Still, it's kind of sad that in order for me to really like a new musical it has to be one that's making fun of musicals. Still, if you count the prog rock musicals, rock operas, or concept albums as we usually call them (Tommy, War of the Worlds, Rick Wakeman's albums, The Wall, The Lamb Lies Down on Broadway, Quadrophenia, etc.) then there's plenty more to like. These are awesome and are my favorite types of musicals, if you consider them musicals. And I would actually put Jesus Christ Superstar in this category since it started as a double lp rock album with rock singers and musicians and didn't become a stage musical until later. Gianthogweed fucked around with this message at 06:11 on Jun 27, 2017 |
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Jun 27, 2017 04:05
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Saw King Crimson at the Chicago Theater last night. It was an excellent show! I was a bit concerned when I heard they were touring with 4 drummers, but those claims were very misleading. Pat, Jeremy, and Gavin are behind the kits, and Bill has keyboard duties for the entirety of the show - which worked out brilliantly. Differing arrangements and drum parts aside, with Bill on keys, and Mel on woodwinds, the overall songs can sound more like the album versions. More people = more of the overdubs covered. But before I get too ahead of myself, the set list: LTIA Pt 1 Neurotica Radical Action III Cirkus Lizard Fallen Angel LTIA Pt 2 Islands Intermission Pictures Of A City Indiscipline The Construcktion Of Light Easy Money The Letters Interlude Meltdown Radical Action II Level 5 Starless Encore: Heroes Schizoid Man Larks Tongue 1 was a great way to start the show. Robert (or perhaps his guitar tech) neglected to turn the volume knob on the guitar all the way up, so he was drowned out for a moment and had to stop playing for a second when the main riff kicked in so that he could turn his volume up. This is where I first noticed a difference in how they arranged the drum parts. Last time they were in town, the drum parts were essentially split in thirds, with each drummer playing approx. 1/3 of the drum part. This time, while Pat was doing his best Jamie Muir impression, Gavin would keep time, and then Jeremy would come in with the fills, then they'd switch back and forth. It was much less chaotic and overblown, and much more effective, I think. Neurotica was a complete surprise to me, and a wonderful one at that. Jeremy took the lead on this one, keeping the time and displaying some stellar ride cymbal work. I was wondering how he would fit in with this group, as I never thought Bill was a good pick. He seemed very much outclassed. But it was very evident that Jeremy has chops for days, and was an excellent choice. I assume for some of you, that would be a no-brainer, but I'd never heard of him before the announcement that he'd be joining the lineup. Pat and Gavin were turned down in the mix at this point, so they could just go to town will fills, really bringing forth the manic nature of the song. Definitely a highlight of the show for me. Cirkus was great. Pat took the time keeping lead, while Jeremy joined Bill on keys (impressing once again, by playing Keith Tippets parts), and Gavin punctuated with some fills. Pat and Gavin again switched roles partway through the song. I'd forgotten, up until this point, that Lizard was in the setlist. There was a kid sitting next to me that told me before the show that he'd not managed to make it all the way through Lizard, because the orchestral/march portions of that song couldn't keep his attention. So after they'd played Lizard (starting at about the 11 minute mark of the album version), I got the "Wow!" response I'd hoped for. Another highlight for me. Larks Tongue Pt 2 great. Pat took the lead on this one, with Jeremy and Gavin punctuating the accents and fills. Robert might have been using a new(er) effect on this one. It sounded cool. Islands was an interesting choice with which to end the first set. The front line got a nice opportunity to chill. Gavin kept time for this one, and played it left-handed, perhaps just because he could, or to make it more interesting for himself? I could see why Adrian was upset about Jacko singing Indiscipline - actually singing it (and that whole "don't sing my songs" thing). It was weird. Jeremy got to showcase more of his chops on this one. Something had been bothering me about Starless since the last tour. They just seemed to be playing the ending section too slowly, but when I'd count out the tempo, it was just as fast as it was on the album. But I figured it out. Gavin plays it on the hi-hat instead of on the ride, and with fewer 16th notes alternating bass and snare, so it just seems more chill and controlled. It was a great show. Everyone on stage seemed to be having a blast. In a pre-recorded pre-show message, Robert even reprised his role as Robert "Chuckles" Fripp (as they call him in the trade). tl;dr Great show, killer set, everyone is awesome.
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Jun 29, 2017 22:31
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Prog Doctor posted:Saw King Crimson at the Chicago Theater last night. It was an excellent show! I was a bit concerned when I heard they were touring with 4 drummers, but those claims were very misleading. Pat, Jeremy, and Gavin are behind the kits, and Bill has keyboard duties for the entirety of the show - which worked out brilliantly. Differing arrangements and drum parts aside, with Bill on keys, and Mel on woodwinds, the overall songs can sound more like the album versions. More people = more of the overdubs covered. But before I get too ahead of myself, the set list: That's pretty cool. I like the idea of having a band that can play the entire Crimson catalog. But I think they would have been better served keeping Adrian around to handle the 80s-2000s Crimson material. Having Jakko and Adrian sharing vocal duties would have have been pretty cool actually. You don't normally hear vocal harmonies in King Crimson but it would have added something new and interesting.
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Jun 30, 2017 04:16
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Everyone I know basically hates the new version of Indiscipline.
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Jun 30, 2017 04:39
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Rust Martialis posted:Everyone I know basically hates the new version of Indiscipline. Yeah, I was also at the Chicago show, and while the instrumentals were fine, the vocals... yikes.
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Jun 30, 2017 05:22
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I hope this multi-drummer thing stops being a thing. I'd much rather have Gavin handle all the drumming duties, hire a full time keys player, and maybe have a percussionist or something like in the Muir days
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Jun 30, 2017 17:48
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Iucounu posted:I hope this multi-drummer thing stops being a thing. I'd much rather have Gavin handle all the drumming duties, hire a full time keys player, and maybe have a percussionist or something like in the Muir days Gavin solo???? No.
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Jun 30, 2017 18:54
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Pat is really good
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Jun 30, 2017 22:41
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Hell, I'd take either Pat or Gavin (though I prefer Gavin) over the cacophonous drum circle they've got going on.
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Jun 30, 2017 23:21
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Cacophonous drum circles are really good too.
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Jun 30, 2017 23:22
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Don't get me wrong I've seen this incarnation of Crim and enjoyed it, I just think the rhythm section is overly busy
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Jun 30, 2017 23:24
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I'd give my left nut to see them with Bruford
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Jun 30, 2017 23:24
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The band is getting close to being machine-like as it is, it's been constructed of total pros who will execute what they're asked to play. It's blindingly clear that what's missing is any sense of play, apart from Pat. Gavin's brilliant but a robot. Robert has his ensemble of sidemen, and he is happy. Nobody argues with him any more.
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Jul 1, 2017 01:17
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An excerpted chapter on King Crimson, from David Weigel's book. http://daily.redbullmusicacademy.com/2017/06/the-show-that-never-ends Highlights include: - Greg Lake being a penis on two legs. - Gordon Haskell being an anti-semitic conspiracy theorist.
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Jul 2, 2017 17:49
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Power Windows posted:- Gordon Haskell being an anti-semitic conspiracy theorist. He would move on, recording the sort of soulful music he had wanted – the antithesis of Crimson. “The King Crimson weapon is musical fascism, made by fascists, designed by fascists to dehumanize, to strip mankind of his dignity and soul,” he said later. “It’s pure Tavistock Institute material, financed by the Rothschild Zionists and promoted by two poncy public school boys with connections to the city of London.”
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Jul 2, 2017 18:23
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That makes king crimson sound pretty cool
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Jul 2, 2017 23:25
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I'm reading through Wiegel's book and so far it's pretty good. I saw a Q&A with him and he said you could almost read the book as a sort of biography of Fripp just because Fripp is so intertwined through the creation of Prog Rock.
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Jul 3, 2017 11:23
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SgtScruffy posted:I'm reading through Wiegel's book and so far it's pretty good. I saw a Q&A with him and he said you could almost read the book as a sort of biography of Fripp just because Fripp is so intertwined through the creation of Prog Rock. Was that the Q&A tom scharpling moderated?
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Jul 3, 2017 15:42
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Holy poo poo that was a good read.
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Jul 3, 2017 16:31
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BigFactory posted:Was that the Q&A tom scharpling moderated? Nope, it was the Q&A moderated by Jack Shafer from Politico
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Jul 3, 2017 21:47
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One of the cool things about that article was discovering the early bands some of these guys were in before Crim. Lake's old band sounded so 60s hip. I could picture them as a rival band to the monkees. And Gordon Haskell's voice sounded so different on his early les fleur de lys records. I can see why Fripp thought he would be a good replacement for Lake. But it turned out Haskell hated the material and thought it was all just inane nonsense so he sang it as such, which is why he sounds so weird on Lizard. I'm actually glad he did, because his insane delivery is part of what makes Lizard such a cool and unique album.
Gianthogweed fucked around with this message at 07:52 on Jul 6, 2017 |
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Jul 4, 2017 23:26
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I never could get into the Haskell tracks on Lizard very much but I love the song Lizard itself, and Jon Anderson's vocals on it always made me wish he'd taken a turn as a regular KC vocalist
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Jul 4, 2017 23:46
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Didn't Elton John audition for crimson?
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Jul 5, 2017 00:36
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Earwicker posted:I never could get into the Haskell tracks on Lizard very much but I love the song Lizard itself, and Jon Anderson's vocals on it always made me wish he'd taken a turn as a regular KC vocalist Cirkus and Happy Family work for me. Jon Anderson on Prince Rupert just proves that he was born to sing nonsensical lyrics.
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Jul 5, 2017 03:50
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BigFactory posted:Didn't Elton John audition for crimson? He never actually auditioned, but he was actually hired to sing on "In the Wake of Poseidon" as a replacement for Greg Lake. Fripp changed his mind when he heard "Empty Sky". Not sure if he just didn't like the music, his voice, or the fact that he was a piano player (he was replacing a bassist/singer after all). Whatever the reason, he just didn't think he was a good fit and Greg wound up recording the vocals anyway as a favor. You could say Fripp shot himself in the foot by turning him down. Even though it was just supposed to be a one-off session, Elton John's career wasn't exactly taking off at that point and he was doing a lot of session work to pay the bills. And there was a strong possibility that KC would have wanted to bring him on full time after the session as they likely would have wanted to perform the songs live with the guy that actually did the vocals on the record. Elton may have seen joining a band, at least temporarily, as a preferable alternative to remaining a struggling solo artist who has to pay session musicians out of pocket (although I'm pretty sure he was still signed to a record label that covered those sorts of things for him so that point is probably moot). Either way, Fripp turned him down but Elton was able to keep his 250 pounds. Soon after, Elton released his second, self titled album and scored his first major hit with "your song". His career took off after that and he scored hit after hit for decades becoming one of the highest selling artists of all time. Doubtless KC would have had a lot more commercial success if Elton joined in 1970 and some of his hit songs were adapted into KC songs. Imagine how that would have sounded! Elton did have some prog leanings. Songs like Funeral For a Friend and Grey Seal come to mind. But he never dove to the dark experimental depths that KC does. KC would have changed him, but I do think he would have changed KC as well and made them a bit more radio friendly. But we're prog-heads and don't really care about commercial success. Indeed we tend to give more props when bands avoid the commercial route which is part of the reason why KC is so highly respected. Gianthogweed fucked around with this message at 09:16 on Jul 6, 2017 |
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Jul 6, 2017 07:46
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Gianthogweed posted:Doubtless KC would have had a lot more commercial success if Elton joined in 1970 and some of his hit songs were adapted into KC songs. This is making me laugh far too much
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Jul 6, 2017 12:07
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Gianthogweed posted:Not sure if he just didn't like the music, his voice, or the fact that he was a piano player (he was replacing a bassist/singer after all). pretty sure I read an interview with Fripp where he basically said he thought the album was really bad, and that was the main reason
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Jul 6, 2017 14:25
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He's kinda right.
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Jul 6, 2017 14:38
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I think I read Elton John also tried out for Gentle Giant.
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Jul 6, 2017 15:01
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Anybody who was bummed about King Crimson staying away from their state, they've announced their fall lineup. Ann Arbor is gonna be much more convenient than Toronto was! Massey Hall was worth the trip though.
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Jul 13, 2017 23:08
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I was hoping for a Kansas City date (3 hours away, but the closest city I can realistically hope for), but they're not coming anywhere close. And I already did the whole "plan a vacation around a KC gig" thing for this lineup's first tour. ...which is annoying, because their setlists have improved!
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Jul 14, 2017 01:29
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David Singleton's mini-rant about the promoter at Red Bank trying to foist the wrong tickets off on KC was... sad.
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Jul 14, 2017 07:08
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King Crimson is such a weird band, where so much of their essence is tied up in work ethic, and humility, and moral integrity. It's like a very genteel punk rock ethos.
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Jul 14, 2017 12:31
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