Ahh, but what about Steely Dan? I’ll still use Aja as a reference to check out a system. But then again, I like what Animals As Leaders does, pretty intricate, layered, and flawless.
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Unusual Rock Trivia?
- Thread starter Aberdumbie
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Not sure...I have heard all the Yardbirds iterations and some Clapton jamming with various people, and Beck jamming with various people in the last decade or two.
But I'm not sure of which/what recordings you are referring to.
A lot of it depends on the band/artist and the producer.
So much pop music sounds (to me) like it's just trying to overwhelm you with production, and this goes back at least as far as the '80s (Whitney Houston's "I Wanna Dance With Somebody" comes to mind). It's just not my thing.
I like lots of more complicated and produced music these days, but I still really have and appreciation of a song that can be covered by a hundred different people with just and acoustic guitar or a piano and hold up every time.
Like Beatles music, and much later on a Kurt Cobain song, or way across to James Hetfield's songs that sound so good on acoustic or done symphonically.
Production can add a lot to a record, like St Peppers or Steely Dan or Tool or NIN but the music has to be there and not just the production.
Queen sounded great on their first record and also later with the loaded up Bohemian Rhapsody stuff but they had the chops and song writing, where I felt like the Cars or whoever wrote a few good hits that came out of the studio and on to the radio, but they never could deliver the goods live at all.
Keith Richards could sit down today with his crippled hands and play on his acoustic guitar 50 or 100 amazing songs/riffs/melodies/hooks he wrote and they would all hold up as great songs.
Like Beatles music, and much later on a Kurt Cobain song, or way across to James Hetfield's songs that sound so good on acoustic or done symphonically.
Production can add a lot to a record, like St Peppers or Steely Dan or Tool or NIN but the music has to be there and not just the production.
Queen sounded great on their first record and also later with the loaded up Bohemian Rhapsody stuff but they had the chops and song writing, where I felt like the Cars or whoever wrote a few good hits that came out of the studio and on to the radio, but they never could deliver the goods live at all.
Keith Richards could sit down today with his crippled hands and play on his acoustic guitar 50 or 100 amazing songs/riffs/melodies/hooks he wrote and they would all hold up as great songs.
Page produced a one-off single for John Mayall’s Bluesbreakers while Clapton was in the band, “On Top Of The World”/“I’m Your Witchdoctor” in a bid for a commercial hit; afterwords the two got together and recorded a bunch of low-fi jams, just dual guitar instrumentals. Page eventually got that stuff put out on Immediate, much to Clapton’s dismay(Page’s karma caught up with him later with the infamous Screaming Lord Sutch album). Some of the tracks had a rhythm section overdubbed. This stuff has been floating around for years, often compiled with the SBMH tracks. Powerhouse was a pre-Cream three song affair with Clapton, Winwood, Bruce, and SDG drummer Pete York. There definitely would have been a Rock alternate universe had any of these get togethers gone on to fruition.
Chuck Lorre, a famous TV-shows creator, was a guitarist and songwriter earlier in his life. He wrote "Teenage Mutants Ninja Turtles" theme, and a song "French kissing in the USA" for Debbie Harry.
I’m with you. The sax solo in the middle of the Aja track was my “reference” when auditioning hi-fi systems. I can hardly listen to music on a car stereo any more. They attenuate the bass so much that it overpowers everything else. I hate that...and I’m a bass player!
I had the Guitar Boogie album.
Might still have it, not sure...don't play vinyl very often anymore.
I bought the first Saga album when it came out in 1978 and the stereo & record store where I bought it started to use it to demonstrate their high end audiophile stereo systems. The production was so good that you could hear each instrument and the sound would pan across the room from speaker to speaker on some songs.
Amazingly, the band was able to replicate the music live.
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On November 8th, 1971, Led Zeppelin released their fourth studio album, commonly known as Led Zeppelin IV. To identify the album, many people called it Led Zeppelin IV, but it has also been referred to as Four Symbols, The Fourth Album, Untitled, Runes, The Hermit and ZoSo. Along with missing a title, the album cover also does not feature the band’s name. The group chose to do this to have some anonymity and keep from being pigeonholed by the press. In fact, there is no printing anywhere on the front or back covers. There isn’t even a catalog number on the spine of the original LP.
The 19th century rustic oil painting on the front of the album was purchased by Robert Plant from an antique shop in Reading, Berkshire, England. The 20th century urban tower block on the back of the full gatefold LP cover is Butterfield Court in Eves Hill, Dudley, England.
The album is actually untitled. Tired with the criticism the band got over their previous records, guitarist Jimmy Page decided to not title the set and instead use four hand-drawn symbols on the inner sleeve, each representing one of the band members.
In place of a title, Page decided each member could choose a personal emblem for the cover. Initially thinking of a single symbol, he then decided there could be four, with each member of the band choosing his own. He designed his own symbol and has never publicly disclosed any reasoning behind it. The symbol is sometimes referred to as "ZoSo", though Page has explained that it was not in fact intended to be a word at all. Jones' symbol, which he chose from Rudolf Koch's Book of Signs, is a single circle intersecting three vesical pisces (a triquetra). It is intended to symbolize a person who possesses both confidence and competence. Bonham's symbol, the three interlocking Borromean rings. It represents the triad of mother, father and child. Plant's symbol of a feather within a circle was his own design, being based on the sign of the supposed Mu civilization. A fifth, smaller symbol chosen by guest vocalist Sandy Denny from Fairport Convention represents her contribution to "The Battle Of Evermore"; the figure, composed of three equilateral triangles, appears on the inner sleeve of the LP, serving as an asterisk.
During Led Zeppelin's tour of the United Kingdom in winter 1971 shortly after the album's release, the symbols could be seen on the group's stage equipment; Page's on one of his amplifiers, Bonham's on his bass drum head, Jones' on a covering for his Rhodes piano, and Plant's on the side of a PA cabinet. Only Page's and Bonham's symbols were retained for subsequent tours.
The inside illustration, entitled "The Hermit", painted by Barrington Coleby (credited to Barrington Colby MOM on the album sleeve), was influenced by the design of the card of the same name in the Rider-Waite tarot deck. This character was later portrayed by Page himself in Led Zeppelin's concert film, The Song Remains The Same (1976).
The four symbols representing (from top left to bottom right); Page, Jones, Bonham and Plant
Sandy Denny's symbol of three downward-pointing equilateral triangles
The 19th century rustic oil painting on the front of the album was purchased by Robert Plant from an antique shop in Reading, Berkshire, England. The 20th century urban tower block on the back of the full gatefold LP cover is Butterfield Court in Eves Hill, Dudley, England.
The album is actually untitled. Tired with the criticism the band got over their previous records, guitarist Jimmy Page decided to not title the set and instead use four hand-drawn symbols on the inner sleeve, each representing one of the band members.
In place of a title, Page decided each member could choose a personal emblem for the cover. Initially thinking of a single symbol, he then decided there could be four, with each member of the band choosing his own. He designed his own symbol and has never publicly disclosed any reasoning behind it. The symbol is sometimes referred to as "ZoSo", though Page has explained that it was not in fact intended to be a word at all. Jones' symbol, which he chose from Rudolf Koch's Book of Signs, is a single circle intersecting three vesical pisces (a triquetra). It is intended to symbolize a person who possesses both confidence and competence. Bonham's symbol, the three interlocking Borromean rings. It represents the triad of mother, father and child. Plant's symbol of a feather within a circle was his own design, being based on the sign of the supposed Mu civilization. A fifth, smaller symbol chosen by guest vocalist Sandy Denny from Fairport Convention represents her contribution to "The Battle Of Evermore"; the figure, composed of three equilateral triangles, appears on the inner sleeve of the LP, serving as an asterisk.
During Led Zeppelin's tour of the United Kingdom in winter 1971 shortly after the album's release, the symbols could be seen on the group's stage equipment; Page's on one of his amplifiers, Bonham's on his bass drum head, Jones' on a covering for his Rhodes piano, and Plant's on the side of a PA cabinet. Only Page's and Bonham's symbols were retained for subsequent tours.
The inside illustration, entitled "The Hermit", painted by Barrington Coleby (credited to Barrington Colby MOM on the album sleeve), was influenced by the design of the card of the same name in the Rider-Waite tarot deck. This character was later portrayed by Page himself in Led Zeppelin's concert film, The Song Remains The Same (1976).
The four symbols representing (from top left to bottom right); Page, Jones, Bonham and Plant
Sandy Denny's symbol of three downward-pointing equilateral triangles
I used to pour over that album gatefold for hours as a wee teen, and yet it never once occurred to me that the symbol next to Sandy's name was supposed to be a parallel to the four bandmembers' symbols! Thanks.
Drummer & vocalist Buddy Miles, who played with Jimi Hendrix and many others as well as his solo career, sang lead vocals on California Raisins TV commercials, albums, and TV shows.
Ian Anderson of Jethro Tull owns a salmon fish farming business on the Isle of Skye which he started decades ago. Today, Anderson's company, Strathaird, is the largest independent smoked salmon firm in the United Kingdom. Anderson said he has been able to transfer his skills as a band leader to his salmon business.
You gotta post this in the "Why did the salmon cross the road?" thread!
You gotta post this in the "Why did the salmon cross the road?" thread!
Good idea!
In a jealous mood, Gordon Lightfoot wrote his greatest hit about his soon to be ex girlfriend Cathy Smith in 1974.
The song, Sundown, was about their failing relationship, reached No. 1 on two Billboard charts. Twelve years later, Cathy Smith, the song’s unnamed subject, pleaded no contest to injecting comedian John Belushi with a fatal dose of heroin and cocaine in Hollywood in 1982 and served 15 months in prison.
The song, Sundown, was about their failing relationship, reached No. 1 on two Billboard charts. Twelve years later, Cathy Smith, the song’s unnamed subject, pleaded no contest to injecting comedian John Belushi with a fatal dose of heroin and cocaine in Hollywood in 1982 and served 15 months in prison.
I’d call that a bullet dodged.
The recent Reno 911 reboot just didn’t quite get there for me, loved the original series though, in fact they used to shoot in and around my old neighborhood in North Hollywood(there was one scene right in the spot where I would usually park). But enough about that; MTV2 is showing old reruns, and I just flashed on the fact that Weigel, Kerry Kenny-Silver, was a bass player in a late 90’s alternative band, Cake Like...
Nicole Richie (born Nicole Camille Escovedo) was adopted at the age of nine by Lionel Richie and his former wife Brenda Harvey. Nicole's biological father is percussionist Peter Michael Escovedo III. Her grandfather is percussionist Pete Escovedo, her aunt is percussionist and singer Shiela E., and her great uncle was percussionist Coke Escovedo.
