Jump to content
Hamer Fan Club Message Center

Willie G. Moseley

Supporter
  • Content Count

    4,692
  • Joined

  • Last visited

  • Days Won

    9

Everything posted by Willie G. Moseley

  1. When I first saw the title of the thread, I thought it was a reference to an early '80s oddity. A Canadian musician named Nash the Slash released a 12" record that had been produced to play at 33, 45 and 78 r.p.m. I never heard it but presumed it was a gimmick.
  2. This is from 2006; may have posted this on another thread in the past: P.S.: Odd thread, considering the placement of an image of an iconic instrument along with an image from an audition of would-be replacements for Glenn Hughes of the Village People...
  3. I can't find a clipping of a engagement announcement I had cut out of a nearby Gannett-owned daily newspaper (greater metropolitan area population = almost 400K). Therein, the announcement advised that the nuptials would take place at "Trinity Perspiration Church"...
  4. In December I posted an unpublished King Crimson concert review of a late September performance in Atlanta. I was recently made aware of this video of "Starless", which was addressed in the review as having the only (so-called) special effects (a transition from blue and white lighting to red, for the balance of that song only). Unsure where and when this Youtube presentation was recorded but it validates the review, as well as the instrumentation IMO...particularly the three drummers. Moreover, a profile of Jakko Jakszyk is in the current issue of Vintage Guitar Magazine (March '20, Steve Wariner on the cover). Enjoy. https://www.youtube.com/watch?v=FhKJgqxNDD8
  5. RN had five '50s Les Pauls plus a lotta other goodies in the rack backstage when he gave my family a private gear tour a few months ago.
  6. ^^^^The opening medley at that Frankfurt show is an absolute jaw-dropper, even by Rush's strident musical standards. So help me, it looks like it was staged inside a zeppelin hangar.
  7. Some of the previous posts indicate that his battle wasn't public knowledge. Was there ever any announcement about his malady before he died? Some folks choose to fight such afflictions in private, and my perception is that was the situation here. When I first saw an online headline about his death a few minutes ago, the first Rush musical riff that flashed into my mind was the instrumental passage in the middle of "Time Stand Still." There weren't any fancy, jaw-dropping drum riffs or guitar shredding; there was just a pounding, straight-forward beat, with an abrupt portion chopped off at the end of each measure, which Peart and the rest of the band carried off with aplomb. It's probably technically harder to accomplish than it may seem, but it's impressive without seeming to come across as showing off. There's probably some percussion term for such a musical styling. Here's the link; the part I'm referring to starts around 3:10. Gawd, what a great song. Got both goose bumps and tears in my eyes when I pulled it up just now. https://www.youtube.com/watch?v=dMSFqXGZ5TQ
  8. Barnstorm's live version of "Turn to Stone" on ABC's "In Concert" in the early '70s. Better than the official live version on 1976's You Can't Argue with a Sick Mind. Joe Vitale played drums on the "in Concert" performance (as well as gong on this tune). Ditto for "The Bomber" from the same performance being a definitive performance. This was in the days before VCRs, and if i wasn't gigging on a particular Friday night, I'd be in front of my 18" (diagonal measure) black-and-white TV. Got a local TV shop to jump off of the pre-amp of the TV with an audio jack where I could make cassette recordings mono-reprocessed-to-stereo. Wish I still had those. Seemed certain other songs by other artists on that show were also superior to live material on albums, on accounta they were, er, heavier. Rory Gallagher's "Hands Off" also comes to mind. Then there was the Eagles' extended version of "Earlybird" featuring Bernie Leadon's banjo workout., while hollering "C'mon, boy!" at Glenn Frey. Found a Youtube video of that one:
  9. The lighting from the right side gives those frets a shadow that makes them look like they're quite beefy. Lumen illusion or fact?
  10. ^^^^That's what I thunk at the time as well, but in a subsequent interview with Jakszyk, I neglected to ask him about that. And the Jakszyk interview will be published (in a future edition of Vintage Guitar) Red is a personal favorite K.C. album. However, that new Meltdown set is now at the top of the heap of the K.C. CDs I've got. Yes, it may be primarily a live career-spanning anthology, but the music on it is extraordinary.
  11. Doesn't look like this one's gonna find a periodical or online site. I'd started writing it soon after the 29 SEP concert, then something came up about the next book I'm working on, and this went to the back burner. By the time I was able to complete it and shop it, a number of weeks had passed, and a review needs to be published as soon after a performance as possible. I'm not losing sleep or frustrated; it happens, and the aforementioned book did indeed merit time-critical focus and priority. Accordingly, here 'tis for your perusal (and comments). Enjoy. And if you don't like it, you got what you paid for... ------------------------- King Crimson: Half a century of ‘progressive’ music By Willie G. Moseley I have seen and heard the past, present and future of “progressive rock,” and it is called King Crimson. To some observers, the birth date of the so-called progressive rock genre was June 2, 1967—the day after the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band was released. While Sgt. Pepper’s was (and still is) an obvious icon, the first album by the Vanilla Fudge, a quartet from Long Island, New York was a next-day lodestone for (would-be) rock musicians, as its contents included radically-transmogrified songs by the Beatles, the Supremes, and other artists. The esoteric and dramatic arrangements even interpolated snippets of works by Beethoven. Some called such music “art rock.” The notion that such high-brow music could be played on electric guitar, bass, organ and drums was revolutionary…at least, in the U.S. A semi-obscure British rock band called Nero & the Gladiators had recorded versions of “Entry of the Gladiators” and “In the Hall of the Mountain King” that were minor hits in the U.K. in the early Sixties. Propelled by the head-turning efforts of the Vanilla Fudge, complex rock music pieces that were also (perhaps-obliquely) influenced by classical music developed in the late ‘60s. The genre would become known as “progressive rock,” and would be fronted by bands such as the Yes, Emerson, Lake & Palmer, and Kansas. Stereotypical music included against-the-grain guitar stylings, unique arrangements and time signatures, grandiose lyrics, and the use of then-cutting-edge electronic keyboard instruments such as synthesizers. And King Crimson epitomized such stereotypes. The band released its first album, In The Court Of The Crimson King, in 1969, and although they’ve never had a hit song, K.C.’s unique music, crafted under the aegis of founding guitarist Robert Fripp, has endured for half a century. One of the reasons for King Crimson’s longevity was Fripp’s propensity to radically shift the musical approach of different incarnations of the band. The first few albums were propelled by a Mellotron (a now-antiquated, orchestral-sounding keyboard) as well as Fripp’s oozing guitar tones. Some song passages were lush and quasi-esoteric, while other movements were so frenetic they bordered on sonic anarchy. The band shifted to a rawer style in the mid-‘70s, then broke up for several years. Fripp organized a new incarnation of the band ca. 1980 for three albums that focused on the guitar interplay between guitarist Adrian Belew and himself, abetted by Tony Levin on Chapman Stick, a unique stringed instrument that is both a guitar and a bass; it’s played in a two-handed, tapping manner. Other variants of the band appeared in the ensuing decades, as Fripp also pursued other musical projects as well. He’s been perceived as an eccentric genius and strict musical taskmaster, but his efforts have always been innovative. Fripp had announced his retirement several years ago, but it lasted all of a year before the iconic fretmeister proffered yet another version of King Crimson. This time, the lineup was an octet, including three drummers, of all things. Some cynics might have opined that this was another so-called “comeback” for King Crimson, and as has been the case with other musical acts or athletes, most “comebacks” usually aren’t. But any sarcasm aimed at the emergence of the latest incarnation of King Crimson a few years back would prove to be 180-degrees wrong. To wit: “Formal rock concert” sounds like an oxymoron, but that’s exactly what was encountered in late September at Atlanta’s Cobb Energy Center, a 2800-seat performing arts center located near the northwest perimeter of I-285. The venue has state-of-the-art acoustics, which probably suited Fripp and company just fine. Interestingly, the exterior of the venue was portrayed as the Center for Disease Control (CDC) nine years ago in the final episode of the first season of The Walking Dead. This was the final show in the U.S. portion of the band’s then-current tour before they headed to South America. The current King Crimson performance aggregation is a septet that includes returning members Pat Mastelotto (drums), Mel Collins (flute and sax), Tony Levin (bass/Chapman Stick), and Fripp, along with drummers Jeremy Stacey and Gavin Harrison, and guitarist/vocalist Jakko Jakszyk. Keyboard player Bill Rieflin is presently on leave, but had been onboard when the band recorded a stunning three-CD plus Blu-Ray set titled Meltdown—Live in Mexico City in 2017. Stacey and/or Fripp currently handle keyboards at various times during a concert. The stage aesthetics were intriguing. Sure enough, there were three drum kits, and they were set up on the front of the stage. An elevated platform in back of the drums served as the performance locations of—stage left to stage right—Fripp, Jakszyk, Levin and Collins. The concert began exactly at the designated time. Literal senior members Fripp, Levin and Collins (they’re all in their seventies) appeared to have worn three-piece suits but had removed their coats. The other band members were dressed more casually, but their attire was plain and, er, sensible. Indeed, the most flamboyant item onstage was Jakszyk’s guitar, the front of which was emblazoned with the iconic and borderline-disturbing picture of the “Schizoid Man” front cover illustration for King Crimson’s 1969 debut album. The musical presentation spanned the entire half-century of the band’s existence, interpreting selections from the first album on. The band members would occasionally nod their head to the audience in appreciation at the end of certain songs, but other than that, there wasn’t any “communication” with the concert-goers other than the music—no conversational remarks from the stage, etc. It was like attending a symphony orchestra performance, except that rock instruments were played instead of cellos and oboes. The band was there to do their job, which they accomplished with precision and passion. The interplay between the three drummers was fascinating, of course. The expressive licks often cascaded from one percussionist to another, delighting the audience. The, er, back row handled their duties in an exemplary manner—Collins’ flute and sax passages were still vital after decades. Levin played electric bass, upright bass (utilizing a bow on one occasion) in addition to Chapman Stick. Jakszyk’s vocals were plaintive and moving, and his guitar work meshed well with Fripp’s efforts. Fripp himself went about his business while perched on a stool in front in his rack-mounted electronic gizmos. He wore headphones the entire time. There were no special stage effects, with one brief exception. For the entire concert, the stage lighting had been overhead blue and white lights that remained on the entire time—another indication that the focus of the concert was on the music. However, during the “build up” in the middle of “Starless” (a definitive King Crimson song that showcases many facets of the band’s distinctive music), the stage began to slowly turn red, which probably panicked some Baby Boomers in the audience who might have thought they were having an acid flashback. The lighting change was a brilliant move because it had been unexpected by the concert-goers. Illuminated in, er, crimson, the band careened through the end of “Starless,” after which the lighting returned to its original blue and white display for the rest of the concert. The encore was, not unexpectedly, the impeccably-crafted-yet-sometimes-barely-in-control “21st Century Schizoid Man” which sounded as vital in 2019 as it did half a century ago. The concert at the Cobb Energy Center was probably one of the most unique presentations that many in the audience had ever experienced. King Crimson’s present-day musical efforts on recordings or in concert are in no way a time warp for aging Baby Boomers who might be erstwhile hippies. The band’s unique music is still proffered in a unique manner, and one gets the feeling that Robert Fripp wouldn’t have it any other way. WILLIE G. MOSELEY is the Senior Writer for Vintage Guitar Magazine and the author of 13 books.
  12. Some of these may have been seen before, but hafta show 'em again to answer the "motivation" part of the original post. I'd always wanted a two-pickup jazz box, and it was cool to get a legendary luthier like Dick Allen to make it. He threw in extras like bookmatched bird's-eye top and back. Seymour Duncan personally wound the pickups. That led to a sports-centric double-cut; green w/ gold hardware, also made by R.C. (Back the Pack; don't own this one anymore): Also wanted a pure acoustic w/ a floating pickup; R.C. made a prototype 18" model and surprised me w/ the fretboard inlay and other cosmetic amenities, like the quilted maple bookmatched back: I also ordered some solidbodies and semi-solids from Dave Wintz @ Robin. The Savoy is the only one that was ever made w/ a maple 'board. Ordered w/ "Mose markers" on accounta my vision problems, and parted with another Robin and a Metropolian 'coz I couldn't see the abalone markers on rosewood 'boards. The previous Savoy financed the order for this one. The Princess got a custom Robin Ranger in school colors for a graduation present, also w/ Mose markers: Yes, there is a bit of ego in custom-ordering instruments but I've supported smaller luthiers and companies when I have done so. May even part with these within a few years, as I sold the bulk of my collection about four years ago (noted on another recent thread)
  13. That "Busted Backstage" pic posted here a couple of months ago was at a solo branch-off gig from their tour w/ the ZZs. Not to be name dropping, but Petersson was exuberant about the way the the lots-of-tone, lots-of-guitars billing was going. Doesn't hurt the Tricksters that the gigs are during ZZ's 50th anniversary annum. Gibbons turned 70 on Monday...
  14. ^^^^Love the "coming boomer selloff" phraseology, and I might be an early example. My perspective RE what to do with a decent-sized-and-admirable collection has been posted on at least one other thread, so excuse any redundancy. My reasons for selling almost all of my collection almost four years ago were retirement-based (plus frustration due to hearing loss, also noted previously); after settling into monthly SS deposits, other senior/retirement income, and Medicare, I sold the bulk of my instruments and set up a simple-to-access bank account for my family. That'll be easier for them to work with when I breathe my last, instead of them having to lug around guitar cases about which they know very little. All I've kept are some token examples of American instruments that I use with speeches/lectures (a Stella, a Kay-made house brand, etc.), some custom-made instruments (including several made to my specs) and Gittler #78. Some of those will probably also be on the sales block once I step back from giving talks. But many of us have had the experience of having to sell instruments for more-crucial/current financial reasons, including using such funds to invest elsewhere, like mirroimij is talking about doing. There's also selling because of a financial hardship, including the ancillary facet of selling some to contribute your fair share to household income. I had that experience in the late '90s and early Aughts when I was unemployed (happened twice before I began a job in a completely different career field), and there are times when I'm still bitter, because they've appreciated in value dramatically since I sold 'em. If I'd been able to hang on to them a couple of decades, my nest egg would have been considerably larger. Even Rick Nielsen has talked about how his collection is (part of) his retirement portfolio. Bottom line for me at this point (I'll be 70 next year and am no longer an active player) is whatever works smoothest for my heirs. IMO family should be the first factor in such decisions.
  15. Saw 'em open for Argent in '73 in Dothan, AL at the Houston County Farm Center (dirt floor). Singer introduced this song and lit up something onstage; claimed it was a joint. "And I'm Leaving" was an okay single for those times.
  16. Here's a publicity photo of a Minneapolis country band in the '60s.
  17. "Modern Pop Country" is what I used to call "Top 40"
  18. I won High Game Handicap one season in my own bowling league but was ulitmately disqualified on accounta my unique style: Overhanded
  19. ^^^^ You musta seen that episode of "Undercover Boss" as well...
  20. My research indicates that the Decatur plant did not make guitars, Interesting to see a picture of actor Paul Giamatti at the 1:32 mark. If that plant closed in 2010, that is indeed the same year Peavey suspended domestic standard guitar production. That said, they have been making Composite Acoustic brand guitars in Meridian all along. They began making standard guitars again in Meridian in 2017. These two are examples of what they're building now.
  21. I've noted on other "relic" threads that I have no desire to buy a new guitar that already looks beat up; simple as that. I don't think that 'tude will ever change. That said, I got to thinking that a guitar ought to be "visually appropriate" for a performance. If you know your pending audience, you know you probably shouldn't take a relic'ed guitar or one covered w/ R-rated stickers to a country club dance, just like you prolly wouldn't want to take a mint ES-335 or a jazz box to a loud club gig that caters to Millennials. And what if the relic'ed guitar isn't even a Gibson or Fender (the only two brands many but not most of your audience would have prolly heard of, anyway)? I saw a relic'ed Fano a while back. It may be a fine instrument but isn't a well-known name, and it would look awful to most observers.
  22. I've been working up an analysis of 1973's Space Ritual for potential inclusion in the guitar magazine for which I write, but so far no luck from the band's office, etc. in getting pix of Brock and Lemmy from that era. And Getty Images costs too much. I'm not gonna complete and submit it until I get some usable archival photos. But this thread gives me an opportunity to inquire to you youngsters once again about names and definitions of musical genres: A while back, a Gen X'er journalist referred to Hawkwind as "prog" but I tend to disagree. To me, Hawkwind was/is "space rock" while back in the day, "progressive" was Yes, ELP, King Crimson, etc. Hawkwind purveyed pounding, chord-based songs that went on and on, and interpolated chattering/slithering synths, disembodied flutes and saxes, and spoken-word ruminations abetted by whooshing white noise...and for the most part, they still do, from what I can tell. Iconic progressive bands specialized in complex arrangements (including time signatures), as well as unique (and listenable) vocals and lyrics And my perception is that what's called "prog" in modern times (Neal Morse, et. al.) has elements of both "progressive" and "space rock" but also has more fast guitar riffing, contrasted to the "chops" of Messrs. Fripp, Howe, Hillage, etc. that actually serve the song. Maybe Bill Nelson's another example from the '70s. "Prog" also usually seems to feature soaring (and sometimes annoying IMO) vocal histrionics (a polite term for what a friend of mine called "shrieking"; YMMV.). I know I'm stereotyping, but I utilize as many facts as I can accumulate before I do stereotype. And maybe it's somewhat of a generational thang, but how accurate are such curmudgeonly perceptions? Input and comments appreciated.
  23. ...were there not as many guitars and basses (incl. brands and models) at blowout prices on the major selling sites this year? I landed on one, and there leadoff portion was chock fulla gizmos. You had to scroll down a considerable way before guitars started showing up, which may have been intentional on that website. The rationale is that I wasn't looking for anything in particular anyway, and I'd bought a Fender ltd. edition Offset Telecaster as a Black Friday deal last year. Just didn't seem to be as much of a selection this year. YMMV
×
×
  • Create New...