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Complexity and enjoyment

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AtomicCrimsonRush View Drop Down
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Post Options Post Options   Thanks (0) Thanks(0)   Quote AtomicCrimsonRush Quote  Post ReplyReply Direct Link To This Post Posted: November 08 2012 at 16:43
Yes does create some complex music

Though this reviewer does not agree....

"Don't expect a horror cover to have success yet all of the reviews have had very positive if not saying legendary reviews in progressive music--they are a commercial success since they are graduates of music.

I could give all the English, French, Chinese, Germans, Italians 5 star reviews since they are all on high from the reference, and these reviews could count as alms for them.

I just cannot figure that one out anymore if thinking presently and that is where I am writing from, this group is as racist as the next and will not get my alms.

Once more island based individuals conjuring or reflecting the mainland-- They are not a progressive group but a performance based group."


ClapLOL

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Post Options Post Options   Thanks (0) Thanks(0)   Quote Slartibartfast Quote  Post ReplyReply Direct Link To This Post Posted: November 08 2012 at 18:01
I don't five a rat's ass about complexity or simplicity. Des the music sound good?
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Pacifica Elite Quote  Post ReplyReply Direct Link To This Post Posted: November 08 2012 at 18:38
It's always a pleasant surprise to be transported off via various rhythmic or harmonic devises that often include syncopation or harmonic tension and release. That being said, the yin and yang of energies produced in music seem to be most agreeable when both elements come into balance at some point in a song or even within a complete performance. Its like watching or hearing Keith Jerrett or King Crimson suck you through a wormhole of  decidedly challenging music that eventually wears the listener and the performer down to the point where the only one remaining emotion or spirit left to express is that of  consonance. The notion of consonance and dissonance is vital for understanding the suggestion that there are tensions within tonal music that need to be resolved. I leave it up to the composer or performer to decide whether its going to happen during a song or  portrayed in the relationship between the disparity of continuity from song to song. Nothing has ever sounded sweeter to me than hearing Adrian Belew Follow up Indiscipline or BaBoom with Matte Kudasai, Its like getting off the scariest roller coaster you were ever on and then actually being able to fly. Strange how that works...lol
The more complex, the better!!! Long as there is eventually some harmonic purity to keep the Universe in balance. Listen to the Complete Stravinsky Firebird suite. How do you feel during the finale? I rest my case.
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Post Options Post Options   Thanks (0) Thanks(0)   Quote rogerthat Quote  Post ReplyReply Direct Link To This Post Posted: November 08 2012 at 18:47
Originally posted by Surrealist Surrealist wrote:


The GREAT Prog bands always kept it musical and used meter changes tastefully to EXPRESS emotion, a feeling, a change in lyrical direction or whatever... it was INTRINSICALLY tied to the music.  Listen to Foxtrot, listen to Tarkus, Close to the Edge.  This is how you do it.  There was always a flow.. a sensibility to it... Supper's Ready..



Ah, another of those fanciful "everything was so much better back in the 70s" myth.   There was a lot of technical masturbation going on even back then.  Only, the keyboard was the chief instrument of excess in prog then as opposed to guitar.   But there's not much prog, whether in the 70s or today, that is written such that it is tightly connected to its goals.  That has always been its weakness; the epics end up becoming a convenient vehicle to showboat for technically accomplished musicians.
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Surrealist Quote  Post ReplyReply Direct Link To This Post Posted: November 08 2012 at 21:47
Originally posted by Pacifica Elite Pacifica Elite wrote:

It's always a pleasant surprise to be transported off via various rhythmic or harmonic devises that often include syncopation or harmonic tension and release. That being said, the yin and yang of energies produced in music seem to be most agreeable when both elements come into balance at some point in a song or even within a complete performance. Its like watching or hearing Keith Jerrett or King Crimson suck you through a wormhole of  decidedly challenging music that eventually wears the listener and the performer down to the point where the only one remaining emotion or spirit left to express is that of  consonance. The notion of consonance and dissonance is vital for understanding the suggestion that there are tensions within tonal music that need to be resolved. I leave it up to the composer or performer to decide whether its going to happen during a song or  portrayed in the relationship between the disparity of continuity from song to song. Nothing has ever sounded sweeter to me than hearing Adrian Belew Follow up Indiscipline or BaBoom with Matte Kudasai, Its like getting off the scariest roller coaster you were ever on and then actually being able to fly. Strange how that works...lol
The more complex, the better!!! Long as there is eventually some harmonic purity to keep the Universe in balance. Listen to the Complete Stravinsky Firebird suite. How do you feel during the finale? I rest my case.


Precisely...


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Post Options Post Options   Thanks (0) Thanks(0)   Quote Surrealist Quote  Post ReplyReply Direct Link To This Post Posted: November 08 2012 at 21:56
It's not a myth.

The 70's were better top to bottom.  No digital quantizing stripping the feel of the players.  Pressed on Vinyl not CD so the listen could really feel the music properly.  No drum machines, no electronic kits.  The "Rick" sound was the right sound for the genre sonically.  The guitarists and keyboardists listened to one another.  View a Steve Howe interview where he talks about how they constructed YES music.  For that matter, listen to Ritchie Blackmore discuss it.

The Prog bands then were not thinking single.. and said no to the 3 minute format.  I have 20 minutes, don't you?

Pacifica Elite gets it..


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Post Options Post Options   Thanks (0) Thanks(0)   Quote Dayvenkirq Quote  Post ReplyReply Direct Link To This Post Posted: November 08 2012 at 22:10
Originally posted by AtomicCrimsonRush AtomicCrimsonRush wrote:

Yes does create some complex music

Though this reviewer does not agree....

"Don't expect a horror cover to have success yet all of the reviews have had very positive if not saying legendary reviews in progressive music--they are a commercial success since they are graduates of music.

I could give all the English, French, Chinese, Germans, Italians 5 star reviews since they are all on high from the reference, and these reviews could count as alms for them.

I just cannot figure that one out anymore if thinking presently and that is where I am writing from, this group is as racist as the next and will not get my alms.

Once more island based individuals conjuring or reflecting the mainland-- They are not a progressive group but a performance based group." 

ClapLOL

In all due honesty, that review makes no sense to me ... at all. I bet English is not even a second language to him. 

BTW, Be the first of your friends to like this (... the review, that is).


Edited by Dayvenkirq - November 08 2012 at 22:20
"People tell you life is short. ... No, it's not. Life is long. Especially if you make the wrong decisions." - Chris Rock
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Aquiring the Taste Quote  Post ReplyReply Direct Link To This Post Posted: November 09 2012 at 02:39
Originally posted by Dayvenkirq Dayvenkirq wrote:

Originally posted by AtomicCrimsonRush AtomicCrimsonRush wrote:

Yes does create some complex music

Though this reviewer does not agree....

"Don't expect a horror cover to have success yet all of the reviews have had very positive if not saying legendary reviews in progressive music--they are a commercial success since they are graduates of music.

I could give all the English, French, Chinese, Germans, Italians 5 star reviews since they are all on high from the reference, and these reviews could count as alms for them.

I just cannot figure that one out anymore if thinking presently and that is where I am writing from, this group is as racist as the next and will not get my alms.

Once more island based individuals conjuring or reflecting the mainland-- They are not a progressive group but a performance based group." 

ClapLOL

In all due honesty, that review makes no sense to me ... at all. I bet English is not even a second language to him.


BTW, Be the first of your friends to like this (... the review, that is).


I've certainly never read anything quite like it before, does that mean it is a Progressive reviewWink


Edited by Aquiring the Taste - November 09 2012 at 02:42
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Post Options Post Options   Thanks (0) Thanks(0)   Quote rogerthat Quote  Post ReplyReply Direct Link To This Post Posted: November 09 2012 at 09:21
Originally posted by Surrealist Surrealist wrote:

It's not a myth.

The 70's were better top to bottom.  No digital quantizing stripping the feel of the players.  Pressed on Vinyl not CD so the listen could really feel the music properly.  No drum machines, no electronic kits.  The "Rick" sound was the right sound for the genre sonically.  The guitarists and keyboardists listened to one another.  View a Steve Howe interview where he talks about how they constructed YES music.  For that matter, listen to Ritchie Blackmore discuss it.

The Prog bands then were not thinking single.. and said no to the 3 minute format.  I have 20 minutes, don't you?

Pacifica Elite gets it..



As usual, you completely fail to address the point I was making and go off on a tangent.  You claimed that the great prog rock bands of the 70s always kept it musical and tasteful and tied complex devices to goals.  That is not true. There was a lot of w**kery even in the 70s, which was at least partly responsible for the collapse of that approach to music making.  Besides in the 70s, people didn't get to read a website like progarchives and handpick the bands that they thought worthwhile as per ratings and opinions.   There were hundreds of bands making their name and there was a lot of drivel in there along with the good stuff, just as in any era of music. 
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Post Options Post Options   Thanks (0) Thanks(0)   Quote progbethyname Quote  Post ReplyReply Direct Link To This Post Posted: November 09 2012 at 15:07
Originally posted by Surrealist Surrealist wrote:

It's not a myth.The 70's were better top to bottom.  No digital quantizing stripping the feel of the players.  Pressed on Vinyl not CD so the listen could really feel the music properly.  No drum machines, no electronic kits.  The "Rick" sound was the right sound for the genre sonically.  The guitarists and keyboardists listened to one another.  View a Steve Howe interview where he talks about how they constructed YES music.  For that matter, listen to Ritchie Blackmore discuss it.The Prog bands then were not thinking single.. and said no to the 3 minute format.  I have 20 minutes, don't you?Pacifica Elite gets it..


Being a traditionalist does not give you the position to say that something is universally better or as you said 'top to bottom.'. Anyway I agree that the 70's laid out some great foundations for prog music, but to say that 70's music is altogether better by how it was produced (quantized drumming etc.) or even to say boldly that music sounded more natural in the 70's as opposed to the 80's and beyond. Have to disagree because again a lot of what you as saying Is subjective.

Also. HOW THE HELL COULD YOUR WIFE FALL ASLEEP DURING A LIVE DREAM THEATER PERFORMANCE!! ???

Lol. I do not believe you.
If you have sensitive and analytical sound equipment quality after market audio interconnects/cables make a HUGE difference in overall sound quality...Wider soundstage, reduced microphonics etc etc..
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Sumdeus Quote  Post ReplyReply Direct Link To This Post Posted: November 09 2012 at 16:07
Originally posted by progbethyname progbethyname wrote:


Also. HOW THE HELL COULD YOUR WIFE FALL ASLEEP DURING A LIVE DREAM THEATER PERFORMANCE!! ???
 


Hmm i dunno, i find it very easy to fall asleep to white noise :P


Edited by Sumdeus - November 09 2012 at 16:07
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Post Options Post Options   Thanks (0) Thanks(0)   Quote progbethyname Quote  Post ReplyReply Direct Link To This Post Posted: November 09 2012 at 20:29
Originally posted by Sumdeus Sumdeus wrote:



Originally posted by progbethyname progbethyname wrote:

Also. HOW THE HELL COULD YOUR WIFE FALL ASLEEP DURING A LIVE DREAM THEATER PERFORMANCE!! ???
 
Hmm i dunno, i find it very easy to fall asleep to white noise :P


Ahhh man! Not you too!
If you have sensitive and analytical sound equipment quality after market audio interconnects/cables make a HUGE difference in overall sound quality...Wider soundstage, reduced microphonics etc etc..
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Surrealist Quote  Post ReplyReply Direct Link To This Post Posted: November 10 2012 at 15:20
The 70's sounds were more natural because of the lack of quantization. They didn't have it yet, so drummers practiced harder.. and in that practicing became better players, more creative and articulate.  They could punch tracks, but they still ultimately had to play it.  Not the case anymore.  If it sounds too perfect it simply is.. and this is stripping the life out of the music. 

This is just a fact.. not subjective opinion... unless of course you like fake, cold sterile music void of human feel etc.

The argument that prog must progress and keep morphing from one thing to another is a slippery slope.  I still here traditional jazz being played.  There is a structure to that.. a form, and certain instruments are expected and no one questions that.. they respect it.

I don't see that Prog should be any different. 

If Prog has to progress, then you could say the punk scene was the next progression of prog.. because the music changed... or the new wave movement was the next progression of prog because they changed the keyboard sounds an added computerized drumming in place of a human which one could argue was progressive.

Be cafeful what you wish for.

Give any classic Prog band a rock drum kit, a Rickenbacker bass, an electric and an acoustic guitar, a Hammond, a Moog, an Arp, a Melotron and an acoustic piano and see what they can do with it.  Yes will sound like Yes, Genesis like Genesis,  Tull like Tull, Floyd like Floyd, Crimson like Crimson, Camel like Camel, ELP like ELP, Gentle Giant like Gentle Giant and so on.  And they would all sound like Classic versions of those bands just like a jazz combo will sound like traditiona jazz if they use their instruments, jazz drum kit, upright bass, hollow body guitar, piano, trumpet, sax etc.

Now if you change all the instruments.. and their sounds... then you get something very different sounding... and no guarantee that it is going to sound good.

Where Prog went wrong was trying to change all the great sounds rather than keep writing new and creative material and concentrate on the playing, performance and cohesive nature of the piece.  There were plenty enough great sounds available to them with that classic keyboard arsenal to make a variety of interesting music for another 200 years. 






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Post Options Post Options   Thanks (0) Thanks(0)   Quote progbethyname Quote  Post ReplyReply Direct Link To This Post Posted: November 10 2012 at 16:39
Some of this I agree with. You bring up some good points where you have me thinking that because of the technology increase, by being better, music can sound more polished and cleaner on an easier level where a lot of prog bands have taken this musical route and have joined forces with digital technology. I think on some levels with certain prog bands it's the music itself that has not gotten better, it's just the technology to make them sound better than they actually are or just taking easier routes when it comes to the recording process. Where I disagree with you is that you have labeled DREAM THEATER to be in this category of exploiting digital technology to fill their musical abilities on a more fake, to clean of a polished level. I disagree whole heartedly that DREAMTHEATER follow with in this category. Although their are some bands, a lot actually, who have taken advantage of the digital age. It's funny that you brought up Genesis sounding like Genesis, but you and I know full well that Genesis are no exception to whoring themselves to the digital age. For example, pretty much all of Phil Collins drums on albums like GENESIS(1983), INVISABLE TOUCH, ABACAB and WE CAN'T DANCE have the use of an electronic drum machine and an overly clean digital sound.
This is a prime example of a band lending itself over to technogy of the digital way of production. Did Genesis sell out?? Me personally, I don't think they did because they adapted with the times and still those albums listed above are relevant today. Mission accomplished because that is what they set out to do. When I hear MAMA on the radio I think it's a smart, clever song that still holds a lot of water even in today's music world and it's all because of the evolution of digital technology and GENEISIS were smart enough to grab hold of it and Rock the sh*t out of it. I don't think it sounds bad, but it certainly isn't as real or intimate as their older works. That you are right about.
If you have sensitive and analytical sound equipment quality after market audio interconnects/cables make a HUGE difference in overall sound quality...Wider soundstage, reduced microphonics etc etc..
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Post Options Post Options   Thanks (0) Thanks(0)   Quote rogerthat Quote  Post ReplyReply Direct Link To This Post Posted: November 10 2012 at 22:35
Originally posted by Surrealist Surrealist wrote:


The 70's sounds were more natural because of the lack of quantization. They didn't have it yet, so drummers practiced harder.. and in that practicing became better players, more creative and articulate.  They could punch tracks, but they still ultimately had to play it.  Not the case anymore.  If it sounds too perfect it simply is.. and this is stripping the life out of the music. 

This is just a fact.. not subjective opinion... unless of course you like fake, cold sterile music void of human feel etc.


Even in the 70s, Steely Dan indulged in a lot of cut and paste.  A guitar solo recorded in the Royal Scam sessions eventually found its way in Third World Man!  To what extent does the fact that the part was ultimately played and not quantized matter if hundreds of takes are recorded to get the effect desired by the composer?  If you need so many retakes to record a track, it is no longer spontaneous or human.  By the end of the Wetton-era, Fripp was almost convinced that their studio albums would have to be carved out of live improvisations but very few of the big bands shared this philosophy.  Most of them were only too glad to get any advantage they could from the studio.  You sing odes to the virtues of Genesis but have you never noticed the unnatural delay with which Gabriel's voice is embellished?  What is so natural sounding about that?

 It's the same as today.  Bands that want to sound human will avoid quantization of drum tracks and bands that don't care so much about won't.   But if all you care about is whether the drum tracks are quantized or not, just how open are you to good music anyway?  We have had this discussion before - and it seems it is practically the only thing you discuss - but rock has always been 'arranged', 'distorted' and 'presented'.  It is not true or human or organic, never has been.  Jazz is performance art.  It ceases to be jazz once the performance is over.  Rock was born in and made for the recorded music environment and has always had a conceptual aspect to it.  The concept, whether musical or lyrical, is more important than the performance or the manner thereof. 

Originally posted by Surrealist Surrealist wrote:



The argument that prog must progress and keep morphing from one thing to another is a slippery slope.  I still here traditional jazz being played.  There is a structure to that.. a form, and certain instruments are expected and no one questions that.. they respect it.

I don't see that Prog should be any different. 


First off, define prog.  Define prog structure and prog instrumentation.   From inception, there has never been a fixed idea of what does constitute prog.  ELP tended towards classical adaptation.  KC were interested in experimentation and improvisation.  Yes combined pop and folk with instrumental virtuosity and extended sections.  Genesis were art/theatrical rock and got clubbed with prog more by accident.  Gentle Giant introduced the complexity, rather than the sprawl, of classical music in very short and compact compositions.  The only thing common about all of them is that they were all active in the 70s.  You have already said as much here:

Originally posted by Surrealist Surrealist wrote:


Give any classic Prog band a rock drum kit, a Rickenbacker bass, an electric and an acoustic guitar, a Hammond, a Moog, an Arp, a Melotron and an acoustic piano and see what they can do with it.  Yes will sound like Yes, Genesis like Genesis,  Tull like Tull, Floyd like Floyd, Crimson like Crimson, Camel like Camel, ELP like ELP, Gentle Giant like Gentle Giant and so on.  And they would all sound like Classic versions of those bands just like a jazz combo will sound like traditiona jazz if they use their instruments, jazz drum kit, upright bass, hollow body guitar, piano, trumpet, sax etc.



Other than Canterbury, there wasn't even much mingling between the bands barring the odd Fripp or Wakeman contribution.   They never saw themselves as prog and therefore didn't think of each other as representing the same kind of music. 

Secondly, jazz is elite and jazz is heritage.  Prog is not.  It may be all the things in the world to progheads but the rest of the world doesn't care.  So it has to adapt and transform to gain new fans all the time.  People will pay good money to watch a first rate jazz musician play traditional jazz whereas...what happened to our beloved Nearfest?  Apocalypse? 

Besides, as I already mentioned, jazz is performance art and prog is only partly so.  It is also concept, so the listeners demand a new experience from a new band.  In jazz, every gig is an experience by itself.

Originally posted by Surrealist Surrealist wrote:


Now if you change all the instruments.. and their sounds... then you get something very different sounding... and no guarantee that it is going to sound good.


It may not sound good to you but it may sound bloody good to somebody else.  What's your problem with somebody else's choice?  I will take Kid A over Moonmadness 10 out of 10 times, thank you.  If some pseudo elitists don't think it is prog, or how should I put it, "not how prog ought to be", I really couldn't care less about it.  It, especially the track Everything in its right place, is more spine chilling than any music by Camel has ever been, probably any music that Camel is likely to make in the future as well.   If the electronic elements discourage you from giving it a fair shot, it's your loss, not the loss of prog or music in general.  

Originally posted by Surrealist Surrealist wrote:


Where Prog went wrong was trying to change all the great sounds rather than keep writing new and creative material and concentrate on the playing, performance and cohesive nature of the piece.  There were plenty enough great sounds available to them with that classic keyboard arsenal to make a variety of interesting music for another 200 years. 




When you write NEW and CREATIVE material, you would ultimately have to change some, if not all, of the great sounds, right?  A typical prog rock band has just vocals, guitar, keyboard, bass and drums.  How many combinations can you work out of such a set up without changing something about your sound?  Every musician in Gentle Giant was a multi instrumentalist and even they had to change.  Not just when they went pop but even during their more artistically productive years - they did change even from Three Friends through to Free Hand. 

Familiarity breeds comfort and contempt and a band must change before, in the yearning for something fresh and new, the audience shifts allegiance to another band.  A band does not exist in a vacuum; it is heavily dependent on a sizable audience for sustenance.
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Post Options Post Options   Thanks (0) Thanks(0)   Quote Ambient Hurricanes Quote  Post ReplyReply Direct Link To This Post Posted: November 10 2012 at 23:03
Originally posted by progbethyname progbethyname wrote:



Also. HOW THE HELL COULD YOUR WIFE FALL ASLEEP DURING A LIVE DREAM THEATER PERFORMANCE!! ???
 


My guitar teacher once fell asleep standing at a The Mars Volta show because they played for three hours at one dynamic level.  Shocked
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Post Options Post Options   Thanks (0) Thanks(0)   Quote tamijo Quote  Post ReplyReply Direct Link To This Post Posted: November 11 2012 at 02:17
Originally posted by Ambient Hurricanes Ambient Hurricanes wrote:

Originally posted by progbethyname progbethyname wrote:



Also. HOW THE HELL COULD YOUR WIFE FALL ASLEEP DURING A LIVE DREAM THEATER PERFORMANCE!! ???
 


My guitar teacher once fell asleep standing at a The Mars Volta show because they played for three hours at one dynamic level.  Shocked
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Post Options Post Options   Thanks (0) Thanks(0)   Quote moshkito Quote  Post ReplyReply Direct Link To This Post Posted: November 11 2012 at 11:21
Originally posted by HarbouringTheSoul HarbouringTheSoul wrote:

Originally posted by moshkito moshkito wrote:

and while I believe that everyone has a right to do that, not all of them have the right to steal the "inner truth" and lie to you for the sake of commercialism!

Everybody has a right to make any music. And I find it presumptuous that you would base your assessment of a piece of music on what you think is the intent behind it - you usually have no way of knowing if your assumption is correct. To dismiss an album just because you assume it was made with a commercial intent is not only close-minded but besides the point: What's important is the quality of music, not the intent of the composer.
 
I disagree.
 
There are just as many composers that create things with intent in mind. Wether you or I see that intent is another story ... because you can't predict an audience and what they will perceive!
 
If you have ever done live theater, or stage work, you would know about this. Making assumptions about the public is not going to get you going very far.
 
There is something that can be "seen" behind it all, and your assumption is that everyone is blind to the psychic world out there ... and its colors and vibrations that emanate. And this is not an easy subject to discuss ( I defintly agree there!), because there is one tree in the middle and we're all around it and we will discuss it differently ... this is the case for "God" and its many emanations and definitions ... which has become an idea from the public, by the public that some people think you must adhere to! That is presumptuous. Not what I said!
 
Lyrics, have a way to show some intent ... or not ...  specially in the late 60's and early 70's when many writers (read Naked Lunch if you don't believe me!) were playing around with words in unbelieavable fashion and many artists and musicians took up that idea ... you might try to hear Laurie Anderson and wonder why Burroughs is in there! Or hear David Bowie talk about throwing all the words up in the air and simply sing them as they come down ... and then you wonder why Daevid Allen is so ... specific about what he is saying ... because he's nutz? crazy? ... or he does see and know something ... which, by the way, he has done many music workshops about over the years ... about taking music further into the spirit area.
 
My thoughts are that you are confusing popular music ... with anything else ... and as such you are not giving the credit or the right for anything else to be done ... that you can not comprehend.
 
I certainly do not comprehend it all, and neither do I assume that everyone else does either, or not! We all see something, in one way or another. But, unlike many here, I am a mystic of sorts ... and as such it is really difficult to talk about things ... that commercialism, and populism does not like to discuss ... and it amounts to individuality. I hope that you can see that one day. It will make you an artist!
... none of the hits, none of the time ... you might actually find your own art, or self, instead of paying for a guru or church or social program!



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Post Options Post Options   Thanks (0) Thanks(0)   Quote moshkito Quote  Post ReplyReply Direct Link To This Post Posted: November 11 2012 at 11:33
 
Originally posted by Surrealist Surrealist wrote:

 
   
Sometimes too much complexity overshadows the soul of the music.
 
...



What about when the music ... is the person?
 
So you might as well lobotomize the person, so you can get the parts you want?
 
You realize that if you do this, you would never have seen/heard a Gabriel, or Pink Floyd, or KC, or ELP ... you name it!
 
What we call "complexity" is related to our own understanding ... not any complexity on its own. Stravinsky would probably laugh at this and just say ... my music is not for you! Not to mention thousands of other modernists!
 
Please understand that "popular" music, is, by nature, the most simplistic style of music ever done ... and the history of music has been to complicate it, so to speak.
 
Thus thinking that all you want to hear is a lullaby so you can enjoy it and go to sleep ... but is very much a concept that is used in populist ideals ... that many folks, including here, are determined to suggest should be the law or the rule!
 
Mozart was quite complex for the simplistic timing folks around him ... "progressive" was complex, compared to the top ten radio all over the world ... what else is knew? ... but I am not sure you want to suggest that any progressive music just is not for you ... makes me think that Art Bears and many other totally experimental folks are just throwning things up in the air ... and having fun with your thoughts instead of creating some music ... and that is not the case for many of these people!
... none of the hits, none of the time ... you might actually find your own art, or self, instead of paying for a guru or church or social program!



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Post Options Post Options   Thanks (0) Thanks(0)   Quote moshkito Quote  Post ReplyReply Direct Link To This Post Posted: November 11 2012 at 11:38
Originally posted by Surrealist Surrealist wrote:

...
The jazz in Floyd was alive and well in the fingertips of Rick Wright.
 
You ought to take a DAW and separate most of Richard Wright, all the way to Wish You Were Here, from the rest of the band.
 
I'm not sure that "jazz" would be a good term for it ... "alien", "weird", "far out", "strange", "experimental", "off the wall" ... would be much more in line with his doings thatn otherwise.  The only other person doing this today, btw, is Richard Barbieri of Porcupine Tree, but I'm not sure that the band itself can get a wee bit more away from Steven Wilson ... who is thinking he is God right about now, and the only Progressive master out there!
... none of the hits, none of the time ... you might actually find your own art, or self, instead of paying for a guru or church or social program!



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