title: Intervista a Steve Howe

author: Gabriele "Dark Schneider" Orlando aka Charlie Brown

text:
Da:
http://nfte.org/interviews/SH230.html
Conversation with
Steve Howe
Tomorrow
from nfte #230
In February 1999 I visited Steve in Vancouver, BC. Though he was in
the midst of recording THE LADDER with Yes he happily consented to a
conversation which became the basis of Notes From the Edge #215.
Shortly thereafter I acquired two new releases featuring Tomorrow, the
'60s band that had fleeting fame in the UK.
The first was TOMORROW, re-released by EMI, where the original album
is augmented by rare tracks, including ones from Tomorrow singer Keith
West and from the Aquarian Age featuring Tomorrow bandmates Twink
(drummer John Alder) and Junior (bassist John Wood); Steve played on
the former and not the latter.
The second CD was 50 MINUTE TECHNICOLOR DREAM from RPM Records,
featuring a live set performed by the band at a show called Christmas
on Earth Continued. The CD also included rare tracks, some which have
appeared on other RPM releases and the same three that are on the
TOMORROW re-release.
While preparing the interview for NFTE #215 I thought a couple of
questions about these releases would be an added bonus for that issue
and asked Steve if he'd discuss it over the phone for a few minutes. I
had relayed to him how much fun I had rediscovering the TOMORROW
tracks, including ones I'd previously glossed over. Steve had just
gotten the CDs himself and as he was actively listening to them as
well he was very eager to talk about them, so we set up a follow-up to
the original conversation.
But as I was listening to these releases and reading the extensive
sleeve notes included with both I found that many questions arose,
more than what would comprise a brief addendum to what I already had.
I decided that an entire conversation exclusively about Tomorrow would
be more appropriate, and Steve enthusiastically agreed.
MOT
--------------------------------------------------------------------------------
MIKE TIANO: Tomorrow: it really must have been an exciting time when
music was opening up with improvisation, different styles and getting
away from the whole concept of three or four minute self-contained
tunes. The band went from being a cover band, as the In Crowd, to a
psychedelic band named Tomorrow. Can you talk a little about the
transition there?
STEVE HOWE: Well, we used to rehearse in this basement somewhere in
southwest London, and I remember us being there one day, and Keith
said this is going alright, but how about if we did more new songs,
and we leaned more toward the groups that we liked, so
enthusiastically we all said yeah, let's go there, let's do this. So
we were all tired I suppose--we were really playing soul before that,
we'd gone into R&B/soul, but we were really into Wilson Pickett and
doing a lot of Otis Redding and that stuff, and gradually we were
starting to improvise more, and then Keith said that he has more songs
he's written with Kenny Burgess, and they did have more songs and we
started to play them, and then of course Keith and I eventually wrote
"Revolution" together, and so the songwriting and the style of group
that we wanted to be definitely changed in some period quite early on
in 1967.
MOT: There was more improvisation then there was before, isn't that
correct? I always thought that Tomorrow was probably a little bit like
Pink Floyd, and that the tunes that they actually played onstage were
different from what went down on record.
SH: Yeah, that can be analyzed, that's why I have been kind of
analyzing by making notes on the three albums that I've got in front
of me, is 50 MINUTE TECHNICOLOR DREAM and the re-release [of the album
TOMORROW], and also PULLING STRINGS that comes into the story
somewhere only because I play "My White Bicycle" on it. The way the
group was headed was fantastic; we were a confident band as far as a
well-played in as a soul act called the In Crowd, and living off a
little bit of their success with the song as I joined--similar to when
I joined Yes--as I joined the In Crowd they were having a success with
a single of an Otis Redding song called "That's How Strong My Love
Is", and I didn't play on the b-side, which I think we've already
corrected, so that was on the back of that, and we went out, and then
we got tired of that image--we lost our bass player; he went to
prison. The band was kind of evolving between being at odds with
itself about being a soul band, and us getting into more obscure music
and the Beatles were heading that way--everything was kind of heading
that way.
MOT: Listening to all of those live tracks, Tomorrow really sounded
like a really full band as a three-piece, usually with a three-piece
band there is some emptiness 'cause the rhythm drops out at some
point. John [Junior] Wood is an incredible bass player.
SH: That's right. I so much wish that he was still playing,
unfortunately he fell victim to much of the difficulties of sustaining
music as a career, and after Tomorrow and the other conceptualized
thing they had going, the Aquarian Age. When that kind of went down
the tubes, although Twink naturally persisted, Junior went to some
other fields of work to create income, but lost touch with that. But
if he ever came back on the scene and said he was playing bass and he
was hot again, he'd complete the original lineup.
MOT: Yeah, he was really a good bass player; that's one thing that
stands out on those tracks.
SH: A couple of things he was good at; he was originally a rhythm
guitarist when I joined the band, in the In Crowd he was a rhythm
player, and he knew his place and he held that position while his did
all the rhythm stuff, and also he did all sort of this front of the
stage stuff--you know got all of the girls screaming and all that
because they were a kind of posey kind of band when I joined
them--Keith was quite posey, and it was good fun, but it was slightly
tongue-and-cheek as well, but it was bit like getting the girls going
and all that was the only time really I was involved directly in that,
although I didn't contribute very much I must say [laughs]. So, Junior
was this kind of character really, more than rhythm guitarist, he was
a character. When he went to bass, he had quite a lot of technique
that suddenly he pounded away--he had a perfect right-hand style of
tremendously pounding, and really, at some stage as you can tell on
that record sometimes he went a bit over the top, but he was very
exciting, I mean we all went a bit mad back then anyway.
MOT: I guess that explains it a little, because usually the story goes
when someone who is a guitar player moves over to bass that they tend
to overplay a little bit.
SH: Yeah, this a good ingredient I think we had; I like that
ingredient a bit--a busy bass.
MOT: You mentioned the Aquarian Age, which is also on the TOMORROW CD,
and that is kind of bizarre, and what is interesting is that one
little vignette about the good wizard and the bad wizard, and I
understand that there was like mime onstage for Tomorrow's
performances.
SH: That's correct, yeah.
MOT: Was that little wizard thing a kind of indication of the type of
things that happened onstage with Tomorrow?
SH: Not knowing the Aquarian Age material too well, I did listen to it
briefly with Keith about three weeks ago, when we were in Amsterdam
together which was quite nice--we were there doing an interview for A
TEENAGE OPERA...about the TEENAGE OPERA, and so that thing they did I
don't know anything about it.
MOT: It's basically all-spoken, where there's this little jazzy
musical undercurrent to the background; it's almost like a little
playlet with a good wizard and a bad wizard--there's no singing, it's
all spoken.
SH: There was a kind of mystique about the band as far as what the
hell we were doing onstage, and I was the guy who got off easiest; I
provided the music for these semi-fiascoes of mine, and they weren't
really discussed ever, but they started to happen, and they were
happenings I suppose in themselves, and they were augmented
occasionally by this Susie Creamcheese character who came along in the
UFO period of Tomorrow's acceptance in London, and I suppose she was a
dancer, and so when she came onstage, then Junior started dancing
around with her, and they use to pretend they were making love and
stuff, and Keith would kind of go a bit nuts in his own sort of
rock-and-rolly sort of way, I would keep playing, sometimes Twink
would keep going with me for a while and he might stop as well, and
listening through to, if we can talk about the 50 MINUTE TECHNICOLOR
DREAM, that CD is in two parts, and the first part is a collection of
unreleased material which we will come back to in a minute, but the
live stuff, since we're talking about it, is really quite a revelation
for me...
 Part two is my tape that I kept for thirty years, the best parts of
it are used on this, and I kept a quarter-inch tape--seven-and-a-half
IPS--for thirty years in various boxes, various places always
considering that it was valuable, that this Tomorrow recording is
valuable, so I'm pleased that it's coming out, and what happens on it
is that the first couple of tracks, the second track in particular, it
starts with track nine is "Caught in a Web", which is kind of a
standard, but it was an unreleased track at the time. Then track ten
is "Shotgun and the Duck" and that was a hangover of our soul--it was
actually a soul song...[sings] "there ain't no shotgun gonna shoot
my..." it was actually a soul song. But somehow we overlapped it into
the psychedelic era just because we liked the song; and nobody had
heard it and nobody ever knew where that song came from, and it was an
American song, and we got it from somebody we knew on a record label
who kept giving us rare records at the time.
So we souped it up and on that recording track ten of 50 MINUTE
TECHNICOLOR DREAM, for the first time in thirty years I've heard what
I was doing on stage...farther, when we come to it, the earlier tracks
on there, "Why" and also "Caught in a Web"...those two tracks in
particular are the studio versions of songs that you get in the live
tape, and "Shotgun and the Duck" is the first time you're going to
kind of hear like how I did it--it's about a three-minute solo where
nobody else really does much, and I go through about ten different
moods in that, you know, it kind of starts, not much happening then
gets busy and kind of climaxes, decrescendos, almost fades out, and
then suddenly a note sustains and goes woooo and then another whole
thing starts off. All I can say, and I'm responsible for those sounds,
but they were inspired by the atmosphere of the times, they were like
the events that I thought were the best parts of the show.
Interestingly enough, it gets good again when track fourteen is "Why",
and that has the intro missing on the tape, obviously they stopped the
reel or changed tapes or something, but that time we lost the
beginning of "Why". I thought "Why" was so important that we did a bit
of jiggery-pokeey with the end and stuck it at the beginning to match
up the idea of it being an almost-complete song, and I'm really
pleased with the way that improvisation takes off. And then we do
"Rainbow" ["Hallucinations"], which is such a solid
arrangement...[sings] "light in the sky, glass glassing by, top of my
rainbow"...it's a really good arrangement, and then of course we
finish with "Strawberry Fields Forever", which was our kind of tribute
to the impact that we got from Vanilla Fudge doing the Beatles, so we
did that in a guitar trio--it was almost like a kind of power
trio--which I suppose in a way we were.
If we want to carry back to first part of the album, I'd like to say a
couple of things. When it starts--the 50 MINUTE TECHNICOLOR
DREAM--first track is "Am I Glad to See You", which has some
interesting volume and tone pedal effect on it which I really, really
like or I wouldn't have chosen that to introduce this album
particularly...
MOT: Before you go on I have a question about that track. Were you
actually using a volume pedal? I was wondering if you were--
SH: It was a volume and tone pedal, so what you're hearing is the tone
going from bass to treble, and those pedals were used on pedal steels
a lot, and Chet Aktins used it in his great recordings like ONE MINT
JULEP, and TEENSVILLE and on other recordings Chet used to use it in
the early days. I want to get back to using it again; they're lovely
pedals. I use it a bit on "Children of Light"; there's one on there...
[sings] "children of light." There's a few funny kind of
backwards...it helps to make it sound backwards when the tone changes
as well. That's a tone pedal made by DeArmand, DeArmand volume and
tone pedals; they're lovely things. They're quite hard to get, and
I've got one, but unfortunately I didn't have it with me on this album
[THE LADDER], and I've often said well, I wish I had a volume and tone
pedal.
MOT: You know, I could have sworn, just from the sound of it, that it
wasn't a pedal at all; it was you turning up the knob as you hit each
chord.
SH: No, it was the funny kind of pedal. So, you got "Blow Up" ["Am I
Glad to See You"], which is a rock song, really straight rock song;
"Caught In a Web", which is similar to...I like the improvising I did
in the studio all over that one, quite busy really.
MOT: Now "Caught In a Web" is the new title for it, it was actually
called "Now Your Time Has Come".
SH: Well, that's confused by what EMI called it, because I believe EMI
put it on there, and now there are two "Now Your Time Has Come" on the
TOMORROW CD, but let's start by saying that the 50 MINUTE TECHNICOLOR
DREAM, for the right technical reasons, we retitled that song on there
and called it "Caught In a Web". The fact that Keith keeps singing
[chuckling] "Now your time has come" has got to be ignored just for
the exercises of publishing. Now there is another song which Keith
doesn't sing much about "Now your time has come", track ten, I believe
that is as it was on the album, so it was very confusing; I don't want
to go any further--can't say anymore about that. It was a very
confusing situation made worse by the TOMORROW confusion, the EMI one.
I thought that when it gets to "Why", and you got the studio track
version of "Why", I think very much how I tried to develop that style
into Yes, you know, the kind of solos I was doing even in the studio,
where I was a little more self-conscious about improvising and whaling
and all that stuff. I was subtlety playing similar ideas, shifting the
moods and shifting the tone of the improvisation, a little bit like
the sitar style on that record, but that was really what I was doing
with Yes, you know when you hear early Yes, particularly in 1972 kind
of era when we were getting more bombastic and confident, and we went
out and played "Yours Is No Disgrace", and the guitar solo was not
that dissimilar to the kind of thing I was doing with Tomorrow. You
had to be a little bit more stylish and not so Indian...but that's how
I feel, I feel good about it, because I can trace it back myself. So
I've said what l I want to say about 50 MINUTE TECHNICOLOR DREAM; I'm
pleased it's got those live tracks and I'm very pleased that "Why" is
in there. I'm not so impressed with "Caught In a Web", although I
thought I would like it.
MOT: You mean the live version or the studio version?
SH: Well, track three, the studio version is quite nice.
MOT: And in fact weren't "Caught In a Web" and "Why" really popular
songs for Tomorrow?
SH: Yes.
MOT: At the time?
SH: Yes they were.
MOT: And in their infinite wisdom, the record company ignored that?
SH: Yes. Yeah, they could have started with either of those and the
album would have kicked off better, but for whatever reason, they did
it.
MOT: Before we leave the live portion, you say that this isn't the
whole thing, that there are more tracks. How many more tracks were
there?
SH: Well, I think there were always eight tracks; I think there are
eight tracks here, and I think we pulled everything we could from it.
I thought there were two versions of "Strawberry Fields Forever", for
some reason that night we played it twice, and I got very confused
because I didn't think that either one of them really good enough for
inclusion, and then Mark said to me, of the record label, well we've
got to have one of them, so I said, well, neither are really good
enough so I don't mind which one you use [laughs]. They just used one
of the versions, so I think that's it.
Actually there was another piece we played. Keith and I couldn't
really work out what the hell we were playing. We played this song
that seemed a bit like the B-side to the In Crowd song that I
mentioned, the B-side of "How Strong My Love Is", there's a little bit
of that song in there, and then it went into this wild, craziness, and
the balance got atrocious, so we actually ditched it partly because we
couldn't recognize it, we weren't sure what it was, and also it seemed
really wrecked by bad balance.
MOT: And Keith's voice being distorted, that's more a matter of the
recording of the show.
SH: The way the show was recorded, obviously what happened was the
bass was much louder than he thought it was going to be, and they
never managed to get it down on the balance to sit with an offer...all
the instruments are good, you know a good balance, so the bass
interferes quite a lot--sadly, not knocking what he played, I'm just
saying that the balance of it interferes somewhat, so we have to kind
of choose between the fact that on the unreleased studio tracks
Keith's voice is very clear and sometimes almost too loud and having
it really bad on the live stuff and sometimes almost inaudible. So it
was really a question of trying to cover all the usable material, so
it is really all the usable material.
MOT: I have a question about the liner notes for the 50 MINUTE
TECHNICOLOR DREAM, because there's something that is unclear in
relation to "Blow Up" It quotes you as saying that one reason the band
was dropped--it didn't make the film--was because you wouldn't smash
the guitar, but you go on the say that Jeff Beck smashed a phony
guitar that was originally made for you, so was it the idea of you
smashing the guitar that repelled you.
SH: Well, it did. The idea of breaking the guitar was pretty bad for
me, and the way we got around it, they said that you won't be breaking
a real guitar, we'll just make some cardboard copies of your guitar.
So they did this, then they dropped us primarily because we weren't
big enough, you know we weren't a big enough name to add to the film,
and not so much because I wouldn't break the guitar because as you
pointed out they got some guitars made for me, but I was a little bit
reluctant to do it, but I don't think I actually lost the film because
of that. I was under the impression we lost it because Jeff Beck or
the Yardbirds were bigger than us, and therefore we lost it through
that kind of scale. Certainly he does break a 175 cardboard copy, for
a split-second it is visible, and that's about all I remember. I
remember us doing a lot of work on it; we went on the film set, and we
did all sorts of things: we wrote songs for them, recorded them. We
seemed to be quite in the pocket, and then suddenly we were out of the
pocket and the Yardbirds were in.
MOT: So you're saying that you rehearsed for the film?
SH: Yeah, oh yeah, that's why we recorded those two songs.
MOT: Did they film you?
SH: I don't know. We were on the film set; I don't know what we were
doing on the film set. I think we were there to see it. I don't know
whether we played on the film set, but we were definitely...I remember
us being on the film set miming or playing, yes, at one point we were,
so there may be some film of us actually doing that. That would be
amazing if there was.
MOT: So, possibly what happened was they did actually film you for the
movie, but at some point they determined that they wanted a bigger
name, so maybe they retook those takes with the Yardbirds instead.
SH: Well, I think it was more a rehearsal, you know I think it was
more like we went there to do a kind of rehearsal to what we would
look like doing this. I don't remember the guitars being there at the
time exactly; I don't remember. I definitely went to a place where
this film being made.
MOT: So the bottom line is you would have done it as long as you
smashed a phony guitar.
SH: Yeah.
MOT: OK. So that really clears it up, because the liner notes were a
little confusing as far as that goes. That's funny because Jeff Beck
was pretty much quoted the same thing; he was saying I'm not going to
smash my guitar for this movie [laughs].
SH: All right! Great, Good for him, too.
MOT: Well, that was Pete Townsend's thing, you know. If Townsend...if
they got the Who like they apparently wanted, I'm sure Townsend would
have smashed his own guitar, no problem.
SH: No problem, there, yeah.
MOT: On one of these it mentions the fact that what survives is actual
footage from some TV show that you guys did.
SH: Oh yeah.
MOT: I hope that sees the light of day sometime.
SH: I think Keith's working on that; we're trying to get that.
MOT: Did you play live on there, or were you miming?
SH: I just can't remember what Keith told me. He did tell me what it
was. It may be live, yeah.
MOT: That would be marvelous to see, definitely.  Let's talk a little
about Jimi Hendrix, I mean that's a well-known story that you've told
many times, but one thing that interests me is that the liner notes
states that he played the bass guitar because you wouldn't let anybody
play your guitar.
SH: Well, the way I remember it was that nobody knew he was even going
to come up on stage, and it was because Junior put down his bass and
started looning and dancing, and I seemed to remember Hendrix just
causally got up and saw a guitar laying on the floor feeding back and
picked it up and started playing it. What happened in the next ten
minutes was no problem for me; I carried on exactly what I was doing.
I was improvising, and we were droning, and we were...you know and he
just played the bass, and I don't know what happened other than he
stopped and left the stage and everybody applauded. I'm thrilled that
Keith tracked down or somebody tracked down a picture of Hendrix
playing the bass with us. Have you seen that picture?
MOT: Yeah, yeah, in the liner notes.
SH: That was astounding. Maybe I would have been quite shy of Keith's
admiration for--[laughs]...you've seen Keith is on his knees bowing,
to him.
MOT: That's right [laughs].
SH: ...isn't that me over on the other side playing, although I can't
see a guitar in my hand. Is that Twink playing on the drums; I'm
really not sure. It's an unusual picture, and I'm really pleased that
it exists because there it is. He did join us, and my conception of
it, in my relatively spaced-out state of mind was just that he
arrived, played, and left. But we knew him...I mean we weren't like
his best friends or anything, but we ran into him--you know I may have
told a story too of Blaisie's, when he first, as far as I knew, first
got on the stage in England, it was at Blaisie's...he got up, played;
he took it all in his stride, and you know, we didn't know him from
Adam, I mean this guy just got up and played everybody liked him, and
was exposed to him, and before we knew it was on the bill with us all
the time, you know, ahead of us [laughs]. So, it was a very rapid
accessibility that Jimi had, and he was a lovely person; I never met
him when he was in a bad mood or uptight with anything. He seemed very
drifty, floaty, how are you doing, what's happening, and of course he
was on, we were on the same show numerous times together, and it was
great fun.
MOT: Well, I'm glad you cleared that up too.  Because from what you're
saying he just basically jumped on stage on the spur of the moment,
grabbed the bass, and just started jamming along. Any idea what the
song was; do you remember?
SH: Well, it was one of the songs that we played; we only had that
many songs, so it was one of the songs on the live album, you know, it
would have been one of those songs. No, I don't know what song it was;
it could have been in one of the almost regular guitar breaks [laughs]
with a lot of regularity at different speeds, and--yeah, it was one of
those songs. I don't know; I don't know which one it was.
MOT: I'm sure it was cool for you at the time, but it's probably more
exciting in retrospect, right?
SH: It is, yeah, it was one of those "suddenly" things, you know,
suddenly it was happening, and I didn't know of it. But yeah, one of
my fondest memories, but didn't happen, was when I was rushed back to
London to play with Pink Floyd because Sid [Barrett] was thought to be
too out of it, and he showed up at the gig unfortunately just before I
was about to go on. But the amazing thing about that you could imagine
the mood of it--I didn't know Pink Floyd's material in any great
detail, and yet I was rushed around and thought to be going on quite
casually with a band I never rehearsed with, and all I was going to do
was going to improvise, you know I was going to stand out there and
when I knew what they were doing, I would improvise--I would play
something, so it was a tantalizing experience, but one I didn't
fulfill [laughs].
MOT: So who was it that approached you to do that, was it the whole
band, sans Sid?
SH: Well, fortunately Tomorrow and Pink Floyd were managed by the same
people, and they were called the Brian Morrison Agency, which actually
was in reality day-to-day was Tony Howard and Steve O'Roarke, and
Steve O'Roarke still manages Pink Floyd to this day. That's some nice
memories of very nice people who introduced us to very casually and
very coolly into a side of the music business that was really
happening at the time, and that was this whole peculiar collection of
groups, they had them all, you know they had the acts that played at
these gigs were all usually managed by Brian Morrison. I remember
signing an agreement over a bottle of champagne, but a lawyer never
saw the agreement, but those are those kind of days, and we were at
the right place at the right time with the right people for a while
and it was great fun. We did a lot of festivals, and went to Europe
and did shows over there, had a whale of a time...woke up on Hampsted
Heath and didn't even know how I got there once [laughs].
MOT: I'm sorry what did you say, Hampsted Heath?
SH: I said Hampsted Heath--it's a park.
MOT: On the liner notes it talks about your encounter with Frank
Zappa, when the Mothers were in London in 1967. Any other memories of
your encounter with Zappa?
SH: Well, only that Twink arranged this, and we sat waiting in his
apartment while he went and met Frank and brought Frank to the
apartment, and we loved the Mothers of Invention, and we were just
thrilled that Frank was coming to the apartment. It was sort of like,
this isn't going to happen, is it? Is it going to happen? Suddenly a
door opens, in comes Twink, and in comes Frank Zappa, and he sits down
and we just sat there talking I guess for I don't know, fifteen
minutes, twenty minutes or something, and I just never, ever been able
to forget my complete shock when he turned to me and said, "I really
like the guitar solo on 'Claramount Lake.'" And I was like, "Uh, wha,
wha, that solo on 'Claramount Lake'?" And he said, "Yeah, it's
terrific."
And I was so blown away because at that time I didn't take any notice
of anybody who said anything to me in the public--you know, when the
public came rushing up to me and said, "Oh, that was great!" and I
said, [nonchalant] "Oh yeah, fine. Good, I'm glad you liked it." And
really I was incredibly blasé and secretly conceited I suppose, or
secretly building my ego, so it was never really me saying to other
people, hey listen I'm good; it was other people saying hey that's
pretty good, and I took it pretty casually. But when somebody like
Frank Zappa said it to me, it was, like I lost all control [laughs]. I
really was amazed that he knew anything about Tomorrow. But there
again I suppose he was just as inquisitive as we were about what other
people were doing, and English groups were revered because of the
Beatles, so I presume that he'd heard about us, and got a recording,
and known about us.
Of course it came out as a single; "My White Bicycle" came out as a
single before we finished the album, so presumably he'd had the
single, heard the single, played the other side, and liked it--I love
that solo, and the new version that's available on now the TOMORROW
EMI release, is unbelievable; it's so clear and beautiful, stereo
image is so great, track twelve "Claramount Lake"--one of my favorite
guitar breaks ever, I'd like to play a whole album in that style,
which kind of is one of my projects on the shelf--they're kind of
jazzy, slightly R&B, jazzy sort of record. That style is what I think
happens when I go there; why it had happened on "Claramount
Lake"...guitar trio is a great device, because I can imply a lot more
chords than there really exists in the structure, and great fun...
MOT: I have to tell you I share your enthusiasm for that song and for
your solo there, it's really quintessential Steve Howe solo as far as
I'm concerned.
SH: Yeah, I'd agree too.
MOT: This is a good segue into the TOMORROW album, because I have some
specific questions about the album itself. First of all, did the band
want keyboards on the album or is it just something [producer] Mark
Wirtz imposed on you?
SH: I think it was fairly common, you know, George [Martin, Beatles
producer] was doing it for the Beatles, so we felt really good about
that because none of us played any good, so in fact we welcomed it,
but having said that I know you're quite interested in what I call the
odd-ball tracks: "Colonel Brown", "Shy Boy", and also "Auntie Mary's
Dress Shop" to me have nothing to do with this album at all in any
shape, or form, and the fact that they're on the album always amazed
me, and I suppose it was due to the fact that we lacked more material,
or apparently not if we'd have "Why" and...you know taken those three
tracks off and put "Why", "Now Your Time Has Come"--or as we call it
now "Caught In a Web"--if we had put "Caught In a Web" on there as
well with "Why" it would have been a more stylish album as far as a
progressive rock group did.
These other songs possibly had a bad effect at the time because they
inclinated that Tomorrow was a group that was going to play around
with its style, as sweet as the songs are, and I do think that they're
quite, in fact they are very sweet, and because Keith wrote them I
like them for many, many reasons. So I'm not against them, but as I
think as a style thing, they were a bit out of place, and I listened
to them just now to make sure that this is a current view; although
they're quite well played, and I played on them all, usually just a
sort of electric rhythm guitar, and Mark embellishes a lot on the
keyboards. They had a certain light and shape, maybe one of them could
have been a nice contrast for the album...so I don't hold any malice
about it or anything, but I just feel that they take away a little
from the general style of the album.
MOT: Do you think it might have made it twee, for a lack of a better
word?
SH: Yeah, yeah.
MOT: It struck me how the content, because of those songs, is very
much like SERGEANT PEPPER; it's not filled exclusively with love
songs, but has these little vignettes as they were about people and
places, like Colonel Brown and Auntie Mary's Dress Shop, and Colonel
Brown is even mentioned in Auntie Mary's Dress Shop as well. It almost
had a flavor of that time, so it's almost appropriate.
SH: You know what, they should have been part of TEENAGE OPERA,
because they're so much like TEENAGE OPERA. You know, in my mind, they
would have been great to have completed the TEENAGE OPERA. I don't
know whether Keith ever thought about that, or whether in fact they
might even be true that they were written in the same time, and these
character writings, like you say, you brought a very good point in,
that unlike maybe what I said, one or maybe even two of them, three
was maybe a bit too much, of the diversions tracks, but they do show a
certain humor, and like you say a different kind of writing, not about
love but about personality, people, just about people with names, you
know and it's fun isn't it? It's quite fun.
MOT: Yeah, experiences as it were as opposed to love songs.
SH: Yeah, maybe it was a bit like the Move had the fire brigade and
things like that. Keith was interested in that kind of writing, and
that's how he got "Grocer Jack" and all that. There were all sorts
of...you know, it's a nice side.
MOT: Yeah, I can see what you are saying, because it was a little
top-heavy, especially with "Three Jolly Little Dwarfs", I mean that
song kind of goes over the line [laughs].
SH: It does, yeah. It's my least-favorite song; I used to love it. I
used to like playing it, but it's actually one of the most trivial
things we ever did, and I don't like the radio version--in fact I
don't think I like any version of that song much. I skip it, because
in a way, although it's got fun in it, there is a fun side to it that
is reasonably acceptable, it's something I only want to hear on rare
occasions.
MOT: Total throwaway.
SH: Yes.
MOT: Getting back to the album itself, did Keith handle all the vocals
on the album?
SH: Well, I believe that Mark Wirtz sings the harmony that goes
[sings] "my white bicycle"; there's a downward harmony that goes with
Keith. I think that's Mark, although they asked me to do it, I think I
tried, and the only other times other people come in is, in that song
"The Incredible Life of Timothy Chase", that one...?
MOT: "The Incredible Journey of Timothy Chase".
SH: Yeah, on that one I say some funny things on that; I'm the voice
that says "Hieronymus Bosch", and also I say something else in the
song. But no, Keith does all the harmonies himself, yeah.
MOT: One cool thing about the stereo mixes on the TOMORROW album is
that you're isolated on like the right track, like "Now Your Time Has
Come", the TOMORROW album version, and your guitar playing is really
raw there. Listening to your solo--very raw, lot of grit and dirt in
the solo there.
SH: OK, I'm going to have to check that one...
MOT: "Claramount Lake" is the same way. You're isolated; you just hear
you playing. It's interesting from a historical perspective.
SH: It's funny enough, it reminds me of the day that Roger Dean walked
in the rehearsal room and I didn't know he was there, and I was just
playing there on my own, and he said you should make a whole album
like that, just that, and it took me a long time to realize how
important this kind of playing is to me, I mean obviously it was a bit
like the solo tour was a real distraction for me, because I was so
intent on playing structured music and things, not picking up a guitar
and kind of making stuff up, you know I wasn't doing too much of that.
Well, on electric, when you give me a pedal board and I sit there and
spin the echoes and start doing things, you know, shit happens, and
it's quite good sounds.
Well I played that to Jon recently, some tapes that I had made where
I'm just rambling around, he started singing on top, and we're going,
"Gasp!"--a whole new musical style. Not the structure, not anything
you'd expect, but this like noise, this guitar making this fucking
noise all the time, and then all of the sudden it's nice, and it's
kind of like a thing I'm developing. Well it comes, I suppose, from
the stuff also that I used to do in Tomorrow on my own, when I would
surface different kind of moods...but what were we talking about
before I got so into this guitar improvising?
MOT: Just the fact that I was able to isolate just a track, and you're
playing is just so raw a lot of times, although "Claramount Lake" solo
is still very polished.
SH: I love that too. I hope you don't think it's pure ego that makes
me say that, but in a way, hearing somebody say it is something that I
feel too, I can only say well I feel that way and I'm so proud I was
doing good guitar thirty years ago.
MOT: Let's get to a couple of tracks that I have specific questions
on, and one is on "My White Bicycle". I want to ask you about the
backwards solo. Was it your idea to have it the solo be backwards on
the record?
SH: Well I really can't remember. I was incorrigible and experimental,
and it had been done by the Beatles or the Byrds or
somebody...everybody had touched it, and we wanted to do the same
things, but it was finding when to do it that was [right]. I suppose
Mark helped with it, and it wasn't easy to do that stuff at the time,
but one thing was for sure, it didn't really matter what you played.
It wasn't so important what you played backwards as the luck and the
choice of when you played and how much the note sustained or bent in
funny ways, so really it was almost the blind leading the blind to
some musical, unknown adventure, and backwards was part of
that--wonderful part.
Mark understood the technology; I don't think I would have been able
to do it without somebody, you know, like Mark, so I must give Mark
some credit for aiding me and certainly taught me how to double-track,
because he booked me and I went in and played, and like I don't know
where everybody was, but it was just me, and then I'm suddenly playing
and then he says to me, "Let's play it again," and I said, "Didn't you
like that?" He said, "That's great, let's do it again double-track,"
and I kind of went wow, this is my first--oh, in Joe Meek days and all
that I hadn't really done that kind of perfectionistic thing about
playing two things so much the same that they work together and become
powerful, you know, because of that jewel...like voices, like loads of
things, so like putting two violins instead of one. Why do that? Well,
it sounds nice, so it's the same idea--two guitars but the same, so...
MOT: I want to ask you specifically about the little solo breaks that
are in the bridge there. I wanted to ask if you had the solo set and
then learned it backwards, and then played it forwards.
SH: No, I...as I implied a minute ago by saying it didn't matter much
what you played as long as it felt right when you heard it the right
way around, so I daresay it was a few experiments made; I wouldn't
think it's the kind of thing you got first time, but anyway when the
tapes are running backwards, it's hell to work out where you actually
are going to play because you don't recognize the music and you can't
tell anything and it's pretty bad, so one way, method, was to mark the
tape, you know, this is a bit of tape you're going to play on, so when
you play it backwards, the tape still goes trough the head and you can
see the mark go on the tape you kind of go this is the bit, and you go
oh yeah, so then you go, oh, that's the chords, so it would like end
with--it would start with A, go to F#, and then go to D. Of course
forwards it would go D, F#, A. So you worked out that, and then went
and then they run the tape back and you said well, I could play
something on there, you didn't know what to play. You just kind of
played a few notes in A, a few notes in F#, trying to leave the
spaces, so then flopped it back over, and it sounds good, then that's
it [laughs]. There is a way where people have said, yeah, you can
create it by learning the solo then learning it backwards and playing
it backwards and then hearing it forwards...uh yeah, very nice. I
haven't tried that; I think I may have tried it at home a long time
ago--found it rather arduous.
MOT: Yeah, it could be.
SH: That's a little bit on backwards guitar, of course we only used it
really on that track that I can think of, and then various times in my
career it's come out of the bag again, like the backward piano of
"Roundabout" was the same kind of thinking really, gave you that kind
of Tomorrow feeling a little bit with the way "My White Bicycle"
starts, and the way that all got edited was I think quite mystifying
to us at first. Mark had some of his own ideas; he had the expertise
I've now got on tape. He had that thing about, Ok well we'll turn this
thing around, and we'll stick the beginning at the end and the end at
the beginning, so he did that with the tapes, and we were wow, that's
fantastic, but we'd already...not only had I done backwards guitar,
but Twink had the arduous job of recording backwards hi-hats for the
whole number, and crescendo them in the right places as well you see.
Once again, it took a little bit of work, and Mark overseed that, and
he had the mind for it.
MOT: Well, it's very effective, all of it--the backwards cymbals,
everything.
SH: Yeah, the fact that the numbers slowed down a bit, and the fact
that it was an original song with a hook already, and then it had
some, of its day, reasonably hi-tech recording techniques implanted on
it. It was like the kind of formula that I wanted with all my
career--great production, and it was all the things. I was starting to
discover I could be part of making it work, and that guitar part, I
mean, one of Keith's really getting into it...the do do do do do
do...Keith turned to me and said I've got this song, why don't you
play something like do do do do do, something like that, and before
you know it do do do do do do [laughs]. I learned to jump on Keith's
ideas like I do Jon's, or other vocalists or other musicians that I
work with. They got an idea; I try it out. If it's good, I might make
it even better than they thought it was going to be, and so that's
what I enjoyed about TOMORROW and working with Mark Wirtz, was how
much I was learning. On Keith's extra tracks, they were a lot of fun
too, because "On a Saturday", "The Kid Was a Killer", "She", "The
Visit", they were done in a time when Tomorrow disbanded, I was doing
sessions, my gear was left at EMI studios, in a room there was one of
Steve's amps, some of my pedals. I even had a volume and tone pedal
nicked from EMI studios because I left it there; it was a Fender. My
favorite ever volume and tone pedal was a Fender volume and tone, very
hard to find.
MOT: As far as the song "My White Bicycle" goes, it says in the liner
notes that the Beatles came in during the mixing of the song. Were you
around for that, and do you have any memories of this if you were?
SH: Well, I remember members of the Beatles calling in on us at
various times; I don't remember particularly that they came in when we
were mixing it. We were around on the mixing; Mark would do some of it
in a very short space of time. Work was done very, very efficiently in
those days, because you only have about three hours or six hours or
something, so you had a double session, and evening session, you
know...so things were done--that was it, wrapped up, put to bed quite
quickly, so a lot happened and we didn't realize it really I suppose.
MOT: So the Beatles were recording SERGEANT PEPPER right next door,
right?
SH: Well, yeah. We did hear strains of that music. We heard strains of
that album, and another time I was doing something at Olympic, and the
Beatles were there doing...John Lennon was there recording, I don't
know, possibly "Across the Universe" or something, like that, one of
those songs that was sort of later released. So, we did hear, and
touch base...I remember Paul distinctly came in one afternoon and
said, "Hi guys! How are you all doing?" We went, "Great, Paul,
fantastic." You know, we were just knocked out he came in, and so we
were in another kind of league, and we felt it. We arrived by bus or
something [laughs]. We were always delegated a little bit to the
struggle, and Yes hasn't been too dissimilar in a way. There's a
certain struggle that seems to be evident in most of the groups I've
been in.
MOT: Let's move on to "Revolution"; that was another important song
for the band, and another one of my favorites as well. What's the
origin of the spoken intro? Does it come from anything or is it just
something written for the song?
SH: Yeah, well we thought, I suppose, the idea of changing the
different voices that said different bits of it was that it was a
piece of nonsense that...we gives clues to what it is--"happens
quickly"...anyway it's a use of a literal technique isn't it, it's a
pun, we're sort of punning. I suppose it was the madness of it that
appealed to us. It was a bit--I don't think was conscious, but it was
a bit more like a Mothers of Invention sort of approach where anything
goes in the music, any style kind of can suddenly happen, and we were
experimenting with that. I must say, I would like to just comment now,
exactly get this right once and for all in my mind, is that the
version of "Revolution" that's on the 50 MINUTE DREAM...
MOT: The phased version?
SH: Yeah, track four, fantastic. Now that's the version to listen to.
The demo we did of it, it's before Mark Wirtz arranged to have the
string section come in and we did it all in edits. The finished record
is all done in edits, and they never fit it together properly, and
somehow Mark made it fit together, but if you listen to track four of
the 50 MINUTE TECHNICOLOR DREAM, now there is the "Revolution" demo
that has the same introduction as the original, as the finished
record. We never redid the introduction, but the rest of it is just
played through like a band [sings a little of the song].
MOT: It doesn't stop [shortly after the intro]...
SH: Yeah, we just play the song, and it's lovely. It's got that
flanging on it; I think that's great. That's the only version I want
to hear of "Revolution", is the demo. Before, we cut it to bits. I
sometimes like the other version, but Keith and I wrote that; I'd just
left home, and I was living with a girl I think from California in
North London just for a while, and I wrote that song at that time. I
remember Keith coming around one afternoon and singing me bits of
songs, and I was putting some chords in and some riffs and things and
I said, "When you sing [sings] "rev-o-lu-tion", you know we should
have all these voices go 'Now!'" And Keith went, [whispers] "Yeah,
that's a great idea, 'now!'" So somehow I was helping to write the
song but also to give it a certain punch and think up things slightly
wah-wah, [imitates a wah-wah]. I love all that, particularly on that
version.
MOT: Well, it seemed to me that it was almost poised as, maybe like an
anthem, I mean, you know it was the mid-sixties and things were
changing and revolution, now! And in fact I can almost see why you
like the demo version because I feel that on the release version,
having the little marching band as it were coming in, you know with
the pipe and everything, just kind of dilutes that.
SH: Maybe that's why I got very pushy in studios about saying let's do
things right, because if you do them wrong, in my memory, it would be
what happened like "Revolution". Mark did get that wrong. We didn't
hold the tempos strong enough through the section so that it fits
together, so I've become very vigilant in the studio when I'm working
with people. If we start going down a road that means later, things
aren't going to fit together, they're not going to gel, they're not
going to have continuity, then I'll get up and say no, we just can't
work like this, you know, it's got to fit together, so you got to do
it right. So, maybe TOMORROW was a memory--Keith and I went into EMI
one day to hear the edited version, expecting all the pieces to run
from segment to segment, instead they just stopped and went, boom,
"...[sings] happ-i-ness..." and we said to Mark, what the fuck
happened there, and he said, "Well, the bits didn't fit together so I
left gap." And then what's interesting is that later in the same
record, track eight is "Revolution" played like, I think for a radio
version we did, played like the strangely-edited version that EMI
released originally, you see. We actually tried to reproduce that on
stage, and the radio version is played like the edited version by Mark
Wirtz, unlike track four, which is done in a studio, was treated as a
demo, and is the best thing we did.
MOT: When I've heard the radio version, I thought that you were
playing it as it was originally written.
SH: No. We were trying to copy the record with the edit because we
left spaces where we never used to leave them on the demo.
MOT: So, did you care for that little marching band in the bridge
either?
SH: Well, I like the experience of doing edited sections, but I didn't
like them not fitting together, but I certainly liked the idea of it
taking it a bit more like SERGEANT PEPPER was going anyway--into using
different orchestral pictures, but I'd prefer that the germ of the
group, which was a powerful guitar band that used to drive songs home
in a big way.
MOT: Now both that song and "My White Bicycle" on the TOMORROW CD, and
I guess the original album, are in phony stereo. I take it there are
no stereo mixes that exists of these songs?
SH: Not to my knowledge, not after having done a bit of preparation on
the 50 MINUTE TECHNICOLOR DREAM, and discussions and choices about
things. Not a great deal.
MOT: Well, it seems that with Keith's success with TEENAGE OPERA, that
seemed to throw Tomorrow into a tailspin, but you seemed to have taken
it in stride.
SH: Well, it's a shame that it did. In a way, for a while, we did well
off of Keith's success, because we all went out, and we earned much
more money than we were doing as Tomorrow, because suddenly--but we
disappointed people in a way by not being the sort of group that
featured Keith in the same way, as might be thought with a song like
"Grocer Jack". We did play as a guitar trio; we had money thrown at us
viciously. In Ireland, when we went there and played "Grocer Jack", we
played the Tomorrow set with "Grocer Jack", and that was not enough.
They didn't want Tomorrow; they wanted Keith West and that kind of a
singer. So, they hurled money at us. It was painful too; we got hit
and things. That was the effect of trying to be two things at
once--trying to be Tomorrow, and Keith West and Tomorrow, so it didn't
work; gigs fizzled out, and then we were left with not with very much.
The band broke up, and Keith and I went into cahoots together, where I
was kind of his guitarist on those sessions. Those recordings were
done at a time when one always felt, well as you always do, that
you're doing something a little bit different and it's groundbreaking,
and particularly "She" was a quite a big production, and you know I
use a lot of Spanish guitar in that one, possibly played bass on that,
I'm credited here, and also particularly I played bass on "The Kid Was
a Killer", that's evident on the fact that it's on MOTHBALLS and
various others where I do get credit, but on the TOMORROW EMI version,
I don't get a credit, so I just thought I'd put that in. "On a
Saturday "also, a song that I like very much, a tune I like very much,
was done for a release, you know, but "The Visit" was a track that
laid around for a long time; of course Ainsley Dunbar's on that one as
well, Ainsley's on all those songs. So there was a group in the making
there, with Ronnie Wood on bass, and Ainsley on drums was kind of...it
just needed a bit more to get it off the ground, because we were
really only just a studio session band, but there's something sweet
about the songs.
MOT: The 50 MINUTE TECHNICOLOR DREAM liner notes on that album has
Keith quoted as saying that after you joined Yes, you called to reform
Tomorrow, because you had become disillusioned with Yes. Do you recall
the circumstances that would have led you consider even leaving Yes?
SH: There's a familiar part and an unfamiliar part to this. I'm
familiar with the concept that loads of time I've spoke to Keith about
reforming Tomorrow or doing something with that material together
under some sort of Tomorrow banner, and I don't have any problem with
that; in fact, we were talking about it just a month ago, when we were
in Amsterdam, so that is reality, but I don't think I became
disillusioned with Yes. I think...I don't remember ever having...that
wouldn't have been the reason, I'm sure, that I'd said that. Only in
the eighties, I mean, obviously I was disillusioned when we broke up,
but there weren't other times really in the band that my bond either
with Jon or Chris or Alan and Rick wasn't strong enough to...so yes,
I'd like to play that material for a reason, any reason tomorrow, you
know, because I think it's great; I think it's really good material
and we got to do it at some point. Keith and I know that we're going
to stop talking about it, and we're just going to reform some sort of
Tomorrow and do it, but certainly we rid ourselves of that quote about
me being disillusioned with Yes. I don't think that there could have
been a time when Tomorrow would have offered me very much of what I
liked about Yes.
MOT: Is there anything you want to say about either of these CDs or
Tomorrow in general, or something I may have missed?
SH: I thought I'd just mention that recently I released PULLING
STRINGS, and the last track is "My White Bicycle", and that, I hope,
seems a little bit surprising. It still surprises me. That fact that I
done that song in a solo environment is kind of weird. I wouldn't say
it's the greatest version of "My White Bicycle" I've ever heard, but I
would say that it contains a little of the improvisation that was to
come to light on 50 MINUTE TECHNICOLOR DREAM, so I'm pleased about me
doing that on my own as well, because it's something that I do, and
I'd like to do it, keep doing that kind of thing in my music, is not
settling back, but always looking for some more spaces to improvise.
The CDs, yeah, I mean, the EMI original one just has some great sound
quality moments in it, and also it contains Keith's stuff. The they
both have...elements that don't exist in the others, particularly the
live stuff, but really it's nice to see a bit of a re-release,
particularly from EMI, uninspired by myself directly other then the
fact that it's an album that's never actually been completely
available, so that's not bad for an album that's thirty-one years old.
--------------------------------------------------------------------------------
From Notes From the Edge #230
The entire contents of this interview are
Copyright © 2001, Mike Tiano
ALL RIGHTS RESERVED
Special thanks to Jen Gaudette
The conversation contained herein was conducted on April 18, 1999
--------------------------------------------------------------------------------
© 2001 Notes from the Edge

webm...@nfte.org

Sayonara !!
--
Gabriele "Dark Schneider" Orlando
e-mail:pfq...@MUNNIZZA.libero.it
ICQ uin:19669194
Membro dello SNIFF
Coordinatore Teoretico della Storia del Rock di IAMR
<<I'm gonna wave my freak flag high...HIGH>>
(Jimi Hendrix,If 6 Was 9 da Axis:Bold As Love,1968)


title: [OT] Ho firmato una petizione...

author: lifestoogood

text:
http://www.es.amnesty.org/especial/lapidacion-iran/firma.php
Queste cose mi fanno incavolare e mi fanno cadere le braccia...


title: [OT] Ho firmato una petizione...

author: questo_@tin.it johndrake

text:
"lifestoogood" <
birt...@deus.it
> ha scritto nel messaggio
news:453b5f7c$0$4570$4faf...@reader2.news.tin.it...
>
http://www.es.amnesty.org/especial/lapidacion-iran/firma.php
>
> Queste cose mi fanno incavolare e mi fanno cadere le braccia...
A me queste cose fan pensare che a dispetto della fratellanza dei popoli,
del dialogo interculturale etc etc., questi qui siano delle vere bestie che
han bevuto una pozione magica e son rimasti fermi al medioevo.
Maledetti trogloditi sul tappeto volante.


title: [OT] Ho firmato una petizione...

author: Francesco Giannici

text:
"johndrake" <ehdeli_togli
que...@tin.it
> ha scritto:
>A me queste cose fan pensare che a dispetto della fratellanza dei popoli,
>del dialogo interculturale etc etc., questi qui siano delle vere bestie che
>han bevuto una pozione magica e son rimasti fermi al medioevo.
>Maledetti trogloditi sul tappeto volante.
Insegnamogli piuttosto l'iniezione letale, a questi zulù con la
sveglia al collo, che è pratica moderna et civilissima.
Ciao
--
Francesco Giannici
www.mmax.org/iamr


title: [OT] Ho firmato una petizione...

text:
Francesco Giannici wrote:
> "johndrake" <ehdeli_togli
que...@tin.it
> ha scritto:
>
>> A me queste cose fan pensare che a dispetto della fratellanza dei
>> popoli, del dialogo interculturale etc etc., questi qui siano delle
>> vere bestie che han bevuto una pozione magica e son rimasti fermi al
>> medioevo.
>> Maledetti trogloditi sul tappeto volante.
>
> Insegnamogli piuttosto l'iniezione letale, a questi zulů con la
> sveglia al collo, che č pratica moderna et civilissima.
>
Pienamente d'accordo sulla pena di morte, ma la motivazione della condanna?


title: [OT] Ho firmato una petizione...

text:
"Francesco Giannici" <
zena...@libero.it
> ha scritto nel messaggio
news:muomj25rs6kddvnc8...@4ax.com...

Non ho detto mica questo nè volevo dirlo.
A dispetto dei miei gusti musicali, per tutto il resto son felice di
appartenere alla civiltà del Beccaria che scriveva quando ad ovest
impiccavano la gente al primo ramo fuori città e ad est si divertivano a
lapidare le mogli.
Non facciamo il solito giochetto del leggere la difesa di Caio ogni
qualvolta si critica Tizio. Queste cose lasciamole fare a "Porta a Porta".
Qui siamo tra gente seria, suvvia, amiamo tutti il rock and roll.(o no?)


title: [OT] Ho firmato una petizione...

text:
"lifestoogood" <
birt...@deus.it
> ha scritto:
>Pienamente d'accordo sulla pena di morte, ma la motivazione della condanna?
Non so lo spagnolo.
Che si applichi la pena di morte per l'omicidio, o per l'abigeato, non
credo che faccia differenza.
Rispondevo solo alla questione dei trogloditi.



title: [OT] Ho firmato una petizione...

text:
"johndrake" <ehdeli_togli
que...@tin.it
> ha scritto:
>Qui siamo tra gente seria, suvvia, amiamo tutti il rock and roll.(o no?)
Già. E allora perché parlare di dialogo interculturale e di
trogloditi?



title: [OT] Ho firmato una petizione...

text:
"Francesco Giannici" <
zena...@libero.it
> ha scritto nel messaggio
news:coqmj29q6kps9csdq...@4ax.com...
> "johndrake" <ehdeli_togli
que...@tin.it
> ha scritto:
>
>>Qui siamo tra gente seria, suvvia, amiamo tutti il rock and roll.(o no?)
>
> Già. E allora perché parlare di dialogo interculturale e di
> trogloditi?
Perchè  chi mette una donna sottoterra fino al collo coprendole la testa e
poi uccidendola a colpi di pietra sulla base di un credo religioso che ha
ben poco a che fare con la più minuscola unità di misura scientificamente
dimostrabile di intelligenza, io lo chiamo troglodita e  bestia con la quale
ci sia ben poco da poterci dialogare.
p.s.
Prima di ricevere la solita replica, sottoscrivo che è altrettanto bestia
chi applica la pena di morte, magari in quel paese di vaccari chiamato Texas
(così ci risparmiamo 300 posts con buona pace di tutti).


title: [OT] Ho firmato una petizione...

author: zivotinjica

text:
Francesco Giannici ha scritto:
> Insegnamogli piuttosto l'iniezione letale, a questi zulù con la
> sveglia al collo, che è pratica moderna et civilissima.
E soprattutto insegnamogli a sterilizzare l'ago delle iniezioni, casomai
il morituro si pigliasse qualche infezione. Lo so che è vecchia ma mi fa
sempre ridere. La civiltà superiore si vede da questi dettagli.
Ciao
	G


title: [OT] Ho firmato una petizione...

author: Mendoza

text:
"Francesco Giannici" <
zena...@libero.it
> ha scritto nel messaggio
news:plqmj214qc7t99qik...@4ax.com...
> "lifestoogood" <
birt...@deus.it
> ha scritto:
>
> >Pienamente d'accordo sulla pena di morte, ma la motivazione della
condanna?
>
> Non so lo spagnolo.
Questa la incornicio.
--
Mendoza.
www.mendozarockband.net


title: [OT] Ho firmato una petizione...

text:
johndrake ha scritto:
> Perchè  chi mette una donna sottoterra fino al collo coprendole la testa e
> poi uccidendola a colpi di pietra sulla base di un credo religioso che ha
> ben poco a che fare con la più minuscola unità di misura scientificamente
> dimostrabile di intelligenza, io lo chiamo troglodita e  bestia con la quale
> ci sia ben poco da poterci dialogare.
Quello che Ciccio voleva sottolineare -credo- è che a quanto pare siamo
tutti trogloditi allo stesso modo. Pietre o aghi sterili sono
sottigliezze di fronte al fatto che sia ammesso l'omicidio come soluzione.
> p.s.
> Prima di ricevere la solita replica, sottoscrivo che è altrettanto bestia
> chi applica la pena di morte, magari in quel paese di vaccari chiamato Texas
> (così ci risparmiamo 300 posts con buona pace di tutti).
Risparmiamoceli.
Ciao
	G


title: [OT] Ho firmato una petizione...

text:
"zivotinjica" <
nick...@nkoni.org
> ha scritto nel messaggio
news:ehfqkm$vl7$2...@tdi.cu.mi.it...
> johndrake ha scritto:
>> Perchè  chi mette una donna sottoterra fino al collo coprendole la testa
>> e poi uccidendola a colpi di pietra sulla base di un credo religioso che
>> ha ben poco a che fare con la più minuscola unità di misura
>> scientificamente dimostrabile di intelligenza, io lo chiamo troglodita e
>> bestia con la quale ci sia ben poco da poterci dialogare.
>
> Quello che Ciccio voleva sottolineare -credo- è che a quanto pare siamo
> tutti trogloditi allo stesso modo. Pietre o aghi sterili sono sottigliezze
> di fronte al fatto che sia ammesso l'omicidio come soluzione.
Siamo? Sono!


title: [OT] Ho firmato una petizione...

text:
johndrake ha scritto:
> "zivotinjica" <
nick...@nkoni.org
> ha scritto nel messaggio
> news:ehfqkm$vl7$2...@tdi.cu.mi.it...
>> Quello che Ciccio voleva sottolineare -credo- è che a quanto pare siamo
>> tutti trogloditi allo stesso modo. Pietre o aghi sterili sono sottigliezze
>> di fronte al fatto che sia ammesso l'omicidio come soluzione.
>
> Siamo? Sono!
Siamo siamo. Il fatto che in Italia e in generale in Europa sia stata
sostanzialmente abolita non significa che siamo ok, magari ora è il
momento di imparare a smetterla di tirare le bombe sulla testa di chi è
governato da chi non la pensa come noi etc etc...
La strada del miglioramento è sempre e comunque lunga e tortuosa.
ciao
	G-filosofoperungiorno


title: [OT] Ho firmato una petizione...

text:
zivotinjica <
nick...@nkoni.org
> ha scritto:
>Quello che Ciccio voleva sottolineare -credo- č che a quanto pare siamo
>tutti trogloditi allo stesso modo. Pietre o aghi sterili sono
>sottigliezze di fronte al fatto che sia ammesso l'omicidio come soluzione.
Esatto.
Traspare (anche da quella pagina di AI) che un'esecuzione scenografica
decisa da un tribunale di caprari sia piů efferata di un'esecuzione
asettica decisa da un tribunale di giuristi wasp.
E' un discorso inutile e ovvio, ma mi infastidisce che a queste
considerazioni si premetta un discorso sul dialogo interculturale, la
fratellanza dei popoli, il credo religioso, come se questi concetti
avessero un qualche significato nella discussione.



title: [OT] Ho firmato una petizione...

author: Dave Astator

text:
"Francesco Giannici" <
zena...@libero.it
> ha scritto nel messaggio news:iqrmj2lscpkb8sstf...@4ax.com...
> zivotinjica <
nick...@nkoni.org
> ha scritto:
>
>>Quello che Ciccio voleva sottolineare -credo- č che a quanto pare siamo
>>tutti trogloditi allo stesso modo. Pietre o aghi sterili sono
>>sottigliezze di fronte al fatto che sia ammesso l'omicidio come soluzione.
>
> Esatto.
> Traspare (anche da quella pagina di AI) che un'esecuzione scenografica
> decisa da un tribunale di caprari sia piů efferata di un'esecuzione
> asettica decisa da un tribunale di giuristi wasp.
ma infatti poi non si capisce perchč la gente se la prendeva col KKK per la
"bruciatura settimanale del negro"(cit.).


title: [OT] Ho firmato una petizione...

text:
"Francesco Giannici" <
zena...@libero.it
> ha scritto nel messaggio news:muomj25rs6kddvnc8...@4ax.com...
> "johndrake" <ehdeli_togli
que...@tin.it
> ha scritto:
>
>>A me queste cose fan pensare che a dispetto della fratellanza dei popoli,
>>del dialogo interculturale etc etc., questi qui siano delle vere bestie che
>>han bevuto una pozione magica e son rimasti fermi al medioevo.
>>Maledetti trogloditi sul tappeto volante.
>
> Insegnamogli piuttosto l'iniezione letale, a questi zulů con la
> sveglia al collo, che č pratica moderna et civilissima.
see, cosě gli togli tutto il divertimento.


title: [OT] Ho firmato una petizione...

text:
"zivotinjica" <
nick...@nkoni.org
> ha scritto nel messaggio news:ehfqkm$vl7$2...@tdi.cu.mi.it...
> johndrake ha scritto:
>> Perchè  chi mette una donna sottoterra fino al collo coprendole la testa e poi uccidendola a colpi di pietra sulla base di un
>> credo religioso che ha ben poco a che fare con la più minuscola unità di misura scientificamente dimostrabile di intelligenza, io
>> lo chiamo troglodita e  bestia con la quale ci sia ben poco da poterci dialogare.
>
> Quello che Ciccio voleva sottolineare -credo- è che a quanto pare siamo tutti trogloditi allo stesso modo.
eh, magari, qua se una fa le corna al marito e va a raccontarlo in un talk show
invece che pietre le tirano banconote da 500. siamo noi i veri trogloditi
ha ragione giannici.


title: [OT] Ho firmato una petizione...

author: Johnny Guitar

text:
johndrake ha scritto:
> Maledetti trogloditi sul tappeto volante.
I miei amici iraniani in italia ringraziano, a nome delle loro famiglie
rimaste lì.
Guarda che pure loro vorrebbero vedere i vecchiacci in turbante e
l'Armadillo Gian fuori dai coglioni.
Leggiti 'persepolis' di marjane satrapi.
ciao
JG


title: [OT] Ho firmato una petizione...

text:
"Johnny Guitar" <
yerb...@libero.it
> ha scritto nel messaggio
news:1161530560.2...@k70g2000cwa.googlegroups.com...
johndrake ha scritto:
> Maledetti trogloditi sul tappeto volante.
I miei amici iraniani in italia ringraziano, a nome delle loro famiglie
rimaste lì.
Guarda che pure loro vorrebbero vedere i vecchiacci in turbante e
l'Armadillo Gian fuori dai coglioni.
Eccallà.
I miei amici iraniani ed iracheni userebbero parole ancora più dure nei
confronti dei lapidatori.
Ma possibile che siamo tutti bravia  leggere di rock e poi, basta mettere
mano ad altre cose, e non sappiamo neanche leggere il labbiale?
Anzomma un pò di agilità mentale su!!
Lo so che fare la parte del difensore della civiltà islamica è ormai una
sorta di status - ci si sente tanto gggiovani e fichi - ma pregasi leggere
attentamente quello che ho scritto.
Nal caso la depressione domenicale abbia oscurato la lucidità di qualcuno,
mi premuro di avvisare che il mio "troglodita" era rivolto ai lapidatori e
non alla millenaria civiltà islamica etc etc etc etc etc etc etc etc etc
etc.
Se poi qualcuno ha voglia di dimostrarmi che ho sbagliato a definire
troglodita uno che uccide a pietre una donna, allora son pronto alla
tenzone!
Ma per piacere, prestiamo attenzione a ciò che leggiamo e non fate finta di
capire male solo perchè non volete risparmiarvi/ci certi piagnistei
terzomondisti.
Leggiti 'persepolis' di marjane satrapi.
Leggiti l'autobiografia di F. Zappa, uno che dell'agilità mentale ne sapeva
qualcosa.


title: [OT] Ho firmato una petizione...

text:
"johndrake" <ehdeli_togli
que...@tin.it
> ha scritto:
>Ma per piacere, prestiamo attenzione a ciò che leggiamo e non fate finta di
>capire male solo perchè non volete risparmiarvi/ci certi piagnistei
>terzomondisti.
Non frequenti queste terre da abbastanza tempo per sapere che se c'è
qualcosa che mi è estraneo è il terzomondismo in tutte le sue forme,
compreso il mito del buon selvaggio.
Non vedo perché partire con paternali fuori luogo, se il primo a
fraintendere sei stato tu. A parte questo, tutto quello che c'era da
dire sull'argomento mi sembra esaurito.



title: [OT] Ho firmato una petizione...

text:
"Francesco Giannici" <
zena...@libero.it
> ha scritto nel messaggio
news:t85nj2lck09vba77t...@4ax.com...

Nessuna paternale, solo che era il modo più eufemistico per farti capire che
avevi preso una cantonata.
Il mio troglodita era rivolto esclusivamente contro quelle bestie che hanno
lapidato le loro donne e che continueranno a farlo, tutto qui.
Mi sembra una realtà tanto evidente che il voler citare a tutti i costi la
pena di morte vigente in alcuni paesi occidentali (USA?) è parsa una
forzatura non richiesta nè necessaria.
Non colgo assolutamente alcun fraintendimento da parte mia.
Saluti


title: [OT] Ho firmato una petizione...

author: UCTS

text:
"johndrake" <ehdeli_togli
que...@tin.it
> ha scritto nel messaggio
news:4q1j0jF...@individual.net...
> Nessuna paternale, solo che era il modo più eufemistico per farti capire
> che avevi preso una cantonata.
> Il mio troglodita era rivolto esclusivamente contro quelle bestie che
> hanno lapidato le loro donne e che continueranno a farlo, tutto qui.
> Mi sembra una realtà tanto evidente che il voler citare a tutti i costi la
> pena di morte vigente in alcuni paesi occidentali (USA?) è parsa una
> forzatura non richiesta nè necessaria.
*** ma cosa vuoi, Drake, da queste parte gli USA sono come Andreotti. Loro
c'entrano. Sempre ;-)
--
UCTS <°(((((><
np bonnie prince billy, the letting go


title: [OT] Ho firmato una petizione...

text:
"UCTS" <
obi...@kenobi.com
> ha scritto nel messaggio
news:ZLM_g.12915$Fk1....@twister2.libero.it...
> *** ma cosa vuoi, Drake, da queste parte
*** "i"
--
UCTS <°(((((><


title: [OT] Ho firmato una petizione...

text:
"johndrake" <ehdeli_togli
que...@tin.it
> ha scritto:
>Nessuna paternale, solo che era il modo più eufemistico per farti capire che
>avevi preso una cantonata.
"Anzomma un pò di agilità mentale su!!
Lo so che fare la parte del difensore della civiltà islamica è ormai
una sorta di status - ci si sente tanto gggiovani e fichi - ma pregasi
leggere attentamente quello che ho scritto.
[...]
Ma per piacere, prestiamo attenzione a ciò che leggiamo e non fate
finta di capire male solo perchè non volete risparmiarvi/ci certi
piagnistei terzomondisti."
Posso conoscere la tua definizione di paternale? E di cantonata, a che
ci siamo?
>Il mio troglodita era rivolto esclusivamente contro quelle bestie che hanno
>lapidato le loro donne e che continueranno a farlo, tutto qui.
>Mi sembra una realtà tanto evidente che il voler citare a tutti i costi la
>pena di morte vigente in alcuni paesi occidentali (USA?) è parsa una
>forzatura non richiesta nè necessaria.
Giusto per non far sembrare che sogno:
"A me queste cose fan pensare che a dispetto della fratellanza dei
popoli, del dialogo interculturale etc etc., questi qui siano delle
vere bestie che han bevuto una pozione magica e son rimasti fermi al
medioevo.
Maledetti trogloditi sul tappeto volante."
Questo l'hai scritto tu.
"A dispetto del fatto che facciamo parte della stessa cultura, i
legislatori e buona parte dell'opinione pubblica della prima potenza
mondiale sono delle vere bestie che hanno bevuto una pozione magica e
son rimasti fermi al medioevo. Maledetti trogloditi su una Ford."
Questa invece sarebbe una forzatura non richiesta né necessaria.
Ah, grosso disclaimer: se c'è uno a cui non interessa
l'antiamericanismo terzomondista, quello sono io.



title: [OT] Ho firmato una petizione...

text:
johndrake ha scritto:
> Ma per piacere, prestiamo attenzione a ciò che leggiamo e non fate finta di
> capire male solo perchè non volete risparmiarvi/ci certi piagnistei
> terzomondisti.
Ma sì, ti ho capito, chiedo scusa ma il mio è un riflesso
condizionato. Peraltro ho già bacchettato ampiamente chi a sinistra
difende dittatori e feccia fondamentalista in un'ottica anti-USA.
Il fatto è che reagisco in modo automatico a certi segnali
linguistici. Si chiama allarme anti-Calderoli.
> Leggiti 'persepolis' di marjane satrapi.
>
> Leggiti l'autobiografia di F. Zappa, uno che dell'agilità mentale ne sapeva
> qualcosa.
Già letto, cmq te lo consiglio sul serio, Persepolis.
ciao
JG


title: [OT] Ho firmato una petizione...

text:
"Francesco Giannici" <
zena...@libero.it
> ha scritto nel messaggio
news:5n6nj2hmi45eejcr0...@4ax.com...
> "johndrake" <ehdeli_togli
que...@tin.it
> ha scritto:
>
>>Nessuna paternale, solo che era il modo più eufemistico per farti capire
>>che
>>avevi preso una cantonata.
>
> "Anzomma un pò di agilità mentale su!!
> Lo so che fare la parte del difensore della civiltà islamica è ormai
> una sorta di status - ci si sente tanto gggiovani e fichi - ma pregasi
> leggere attentamente quello che ho scritto.
> [...]
> Ma per piacere, prestiamo attenzione a ciò che leggiamo e non fate
> finta di capire male solo perchè non volete risparmiarvi/ci certi
> piagnistei terzomondisti."
>
> Posso conoscere la tua definizione di paternale? E di cantonata, a che
> ci siamo?
Ok, andiamo per ordine:
1) Non saprei definire "paternale", non sono solito farne. Forse confondi la
parola spiegazione con "paternale" ma non fa nulla.
2) la cantonata credo l'abbia presa tu nel momento in cui hai risposto
citando un qualcosa che era del tutto fuori discussione.
Se credi che l'abbia presa io allora spiegati meglio, sono ben accette anche
le paternali.
>>Il mio troglodita era rivolto esclusivamente contro quelle bestie che
>>hanno
>>lapidato le loro donne e che continueranno a farlo, tutto qui.
>>Mi sembra una realtà tanto evidente che il voler citare a tutti i costi la
>>pena di morte vigente in alcuni paesi occidentali (USA?) è parsa una
>>forzatura non richiesta nè necessaria.
>
> Giusto per non far sembrare che sogno:
>
> "A me queste cose fan pensare che a dispetto della fratellanza dei
> popoli, del dialogo interculturale etc etc., questi qui siano delle
> vere bestie che han bevuto una pozione magica e son rimasti fermi al
> medioevo.
> Maledetti trogloditi sul tappeto volante."
>
> Questo l'hai scritto tu.
Si, e non mi rimangio una virgola.
Credo che era evidente il mio rivolgermi esclusivamente ai lapidatori e
credo anche che non ci voglia questo grande sforzo per poterlo capire.
>
> "A dispetto del fatto che facciamo parte della stessa cultura, i
> legislatori e buona parte dell'opinione pubblica della prima potenza
> mondiale sono delle vere bestie che hanno bevuto una pozione magica e
> son rimasti fermi al medioevo. Maledetti trogloditi su una Ford."
>
> Questa invece sarebbe una forzatura non richiesta né necessaria.
Questa è una frase inutile e basta.
Le forzature sono quegli esercizi dialettici tesi a mettere in bocca
all'interlocutore cose che lui non ha nè detto nè scritto per il solo gusto
di voler andare oltre l'oggetto del discorso e magari tirare in ballo altri
argomenti utili solo a sviare il lettore o l'ascoltatore e portare l'acqua
al proprio mulino.
Magari sulle paternali mi trovi impreparato, ma sulla definizione di
forzatura qualche cosa la so.
> Ah, grosso disclaimer: se c'è uno a cui non interessa
> l'antiamericanismo terzomondista, quello sono io.
Sarà.


title: [OT] Ho firmato una petizione...

text:
"Johnny Guitar" <
yerb...@libero.it
> ha scritto nel messaggio
news:1161534728.8...@e3g2000cwe.googlegroups.com...
johndrake ha scritto:
> Ma per piacere, prestiamo attenzione a ciò che leggiamo e non fate finta
> di
> capire male solo perchè non volete risparmiarvi/ci certi piagnistei
> terzomondisti.
Ma sì, ti ho capito, chiedo scusa ma il mio è un riflesso
condizionato. Peraltro ho già bacchettato ampiamente chi a sinistra
difende dittatori e feccia fondamentalista in un'ottica anti-USA.
Il fatto è che reagisco in modo automatico a certi segnali
linguistici. Si chiama allarme anti-Calderoli.
Ehehhe, l'essere più antipatico del globo.
Già letto, cmq te lo consiglio sul serio, Persepolis.
Segnato, ciao


title: [OT] Ho firmato una petizione...

author: Resident

text:
Il Sun, 22 Oct 2006 18:40:48 +0200, johndrake ha scritto:
> Le forzature sono quegli esercizi dialettici tesi a mettere in bocca
> all'interlocutore cose che lui non ha nè detto nè scritto per il solo gusto
> di voler andare oltre l'oggetto del discorso e magari tirare in ballo altri
> argomenti utili solo a sviare il lettore o l'ascoltatore e portare l'acqua
> al proprio mulino.
Parole sante, come non quotare?
np Antonio Carlos Jobim & ELis Regina - Elis & Tom
--
     bye
Resident


title: [OT] Ho firmato una petizione...

author: Al-Farid

text:
"zivotinjica" <
nick...@nkoni.org
> ha scritto nel messaggio
news:ehfr1d$ej$1...@tdi.cu.mi.it...
omissis
> > Siamo? Sono!
> Siamo siamo. [snip!]
Un po' di memoria credo non guasti. A distanza di un paio d'anni. E' un
thread piuttosto lungo ma merita un'occhiatina.
http://tinyurl.com/yb9qmr


title: [OT] Ho firmato una petizione...

text:
Dave Astator ha scritto:
> eh, magari, qua se una fa le corna al marito e va a raccontarlo in un talk show
> invece che pietre le tirano banconote da 500. siamo noi i veri trogloditi
> ha ragione giannici.
anche tu non hai tutti i torti, ma sei troppo sottile per il cittadino
medio...
ciao
	G


title: [OT] Ho firmato una petizione...

author: franco

text:

credo che il messaggio numero 68 di Uzzo sia ancora di moda.


title: e se io...

author: Molloy

text:
...non fossi un acculturato conoscitore del rock (provenendo da altri
generi) e adorassi l'ultimo chilometrico GYBE, i Sigur Ros e i Black Heart
Procession, cos'altro in questi ambiti potrebbe farmi esclamare: "roba da
leccarsi le orecchie!"
tnx
M.


title: e se io...

author: BonnyPrinceMorris

text:
Molloy ha scritto:

Wow, le premesse sono ottime! :-)
Butto lì tre titoli imprescindibili:
-DIRTY THREE - "Ocean songs"
-A SILVER MT. ZION MEMORIAL ORCHESTRA - "Born into trouble as the sparks fly
upward"
-il nuovo EARLY DAY MINERS - "Let us garlands bring" che già si avvia a
diventare un classico.
Notte!
--
BonnyPrinceMorris
http://web.tiscali.it/sentireascoltare


title: e se io...

author: Ciropizza

text:
Nel Post  universi...@NOSPAMlibero.it ha scritto:
> Butto lì tre titoli imprescindibili:
>
> -DIRTY THREE - "Ocean songs"
> -A SILVER MT. ZION MEMORIAL ORCHESTRA - "Born into trouble as the sparks fly
> upward"
> -il nuovo EARLY DAY MINERS - "Let us garlands bring" che già si avvia a
> diventare un classico.
tieni conto che il morris è molto commercialotto :)
e si fa influenzare dalle mode :))
e ha troppi cd per capirci bene :)))
a parte: il nuovo -e solo?- edm
è davvero così bello come dici? mi devo fidare?
-vabbè che ho già preso l'impossibile ieri-
ma voelvo sapere che la secretly canadian
mi piace davvero tanto!
--
"Noch ist es Tag, da rühre sich der Mann
 Die Nacht tritt ein, wo niemand wirken kann"
"è ancora giorno, che l'uomo si dia da fare
 presto viene la notte, in cui nessuno può operare"
                                      -J.W. Goethe-


title: e se io...

text:
Ciropizza ha scritto:
> tieni conto che il morris è molto commercialotto :)
> e si fa influenzare dalle mode :))
> e ha troppi cd per capirci bene :)))
>
> a parte: il nuovo -e solo?- edm
> è davvero così bello come dici? mi devo fidare?
> -vabbè che ho già preso l'impossibile ieri-
> ma voelvo sapere che la secretly canadian
> mi piace davvero tanto!
Le opere Secretly Canadian e Jagjaguwar sono *tutte da avere*.
E l'ultimo EDM tra esse.
--
BonnyPrinceMorris
http://web.tiscali.it/sentireascoltare


title: e se io...

author: Cristiano Osti

text:
A proposito.. avete sentito gli Okkervill River?
IMHO davvero strepitoso.. per uno come me che ama il cosiddetto
alt-country e nn riesce a non sussultare alla voce di Conor Oberst
davvero una folgorazione!
Poi l'inattività forzata (caviglia fasciata causa distorsione) mi
immerge in un mare di ascolti..
by the way, Sarah White (2 'vecchie uscite Jagjaguwar).. secondo voi
da avere? io mi ricordo un paio di pezzi niente male
a question.. (x morris) con che dischi hai scoperto Jagjaguwar e
Secretly Canadian? io con Raised towards dei Drunk e  Axxess % ace dei
Songs:Ohia
ciauz
Cristiano



title: e se io...

text:
Cristiano Osti ha scritto:
> A proposito.. avete sentito gli Okkervill River?
> IMHO davvero strepitoso.. per uno come me che ama il cosiddetto
> alt-country e nn riesce a non sussultare alla voce di Conor Oberst
> davvero una folgorazione!
Sě, disco molto bello. Perň la voce del cantante degli OR, per fortuna, č
molto meno lagnosa di quella di Oberst... ;-))
> Poi l'inattivitŕ forzata (caviglia fasciata causa distorsione) mi
> immerge in un mare di ascolti..
> by the way, Sarah White (2 'vecchie uscite Jagjaguwar).. secondo voi
> da avere? io mi ricordo un paio di pezzi niente male
Non male... Certo un po' derivativa ma indubbiamente interessante nella
vasta area neo-folk americana al femminile...
> a question.. (x morris) con che dischi hai scoperto Jagjaguwar e
> Secretly Canadian? io con Raised towards dei Drunk e  Axxess % ace dei
> Songs:Ohia
Probabilmente proprio con gli stessi due! ;-)
Anche se i miei preferiti restano i 2 Bevel, il secondo Patrick Phelan e -
appunto - il recente Early Day Miners, oltre ovviamente all'opera omnia di
Molina...
Anche il nuovo di Spokane non č niente male: molto meglio dei primi due...
--
BonnyPrinceMorris
http://web.tiscali.it/sentireascoltare


title: e se io...

text:
On Fri, 14 Jun 2002 12:28:22 GMT, BonnyPrinceMorris
<universi...@NOSPAMlibero.it> wrote:
>Cristiano Osti ha scritto:
>
>> A proposito.. avete sentito gli Okkervill River?
>> IMHO davvero strepitoso.. per uno come me che ama il cosiddetto
>> alt-country e nn riesce a non sussultare alla voce di Conor Oberst
>> davvero una folgorazione!
>
>Sě, disco molto bello. Perň la voce del cantante degli OR, per fortuna, č
>molto meno lagnosa di quella di Oberst... ;-))
d'accordo con te, gli OR anche a livello vocale sono un gradino sopra
(cmq Oberst mi piace molto)
>
>> Poi l'inattivitŕ forzata (caviglia fasciata causa distorsione) mi
>> immerge in un mare di ascolti..
>> by the way, Sarah White (2 'vecchie uscite Jagjaguwar).. secondo voi
>> da avere? io mi ricordo un paio di pezzi niente male
>
>Non male... Certo un po' derivativa ma indubbiamente interessante nella
>vasta area neo-folk americana al femminile...
>
confermi la mia impressione, medito acquisto..
>> a question.. (x morris) con che dischi hai scoperto Jagjaguwar e
>> Secretly Canadian? io con Raised towards dei Drunk e  Axxess % ace dei
>> Songs:Ohia
>
>Probabilmente proprio con gli stessi due! ;-)
>Anche se i miei preferiti restano i 2 Bevel, il secondo Patrick Phelan e -
>appunto - il recente Early Day Miners, oltre ovviamente all'opera omnia di
>Molina...
>Anche il nuovo di Spokane non č niente male: molto meglio dei primi due...
Spokane concordo, un gioiellino (1 po' troppo breve..) Bevel il 2. una
spanna sopra al 1. IMHO.. insomma i Drunk hanno proliferato..
EDM magnifico, Phelan preferisco il 1. (a proposito, ritorna a
incidere con i South mi pare di aver letto!)
su Molina ormai le parole sono superflue..
ma vogliamo parlare dei Monroe Mustang? tu sai che fine hanno fatto?
il debutto su Trance Syndicate e i 2 EP mi sono rimasti 'attaccati',
piu' di Elephant sound..
Cristiano


title: e se io...

text:
Cristiano Osti ha scritto:
> Bevel il 2. una spanna sopra al 1.
D'accordissimo!
> ma vogliamo parlare dei Monroe Mustang? tu sai che fine hanno fatto?
> il debutto su Trance Syndicate e i 2 EP mi sono rimasti 'attaccati',
> piu' di Elephant sound..
Molto bravi, sě. No, non ne so piů nulla nemmeno io...
--
BonnyPrinceMorris
http://web.tiscali.it/sentireascoltare


title: e se io...

text:
On Fri, 14 Jun 2002 12:51:24 GMT, BonnyPrinceMorris
<universi...@NOSPAMlibero.it> wrote:
>Cristiano Osti ha scritto:
>
>> Bevel il 2. una spanna sopra al 1.
>
>D'accordissimo!
>
>> ma vogliamo parlare dei Monroe Mustang? tu sai che fine hanno fatto?
>> il debutto su Trance Syndicate e i 2 EP mi sono rimasti 'attaccati',
>> piu' di Elephant sound..
>
>Molto bravi, sě. No, non ne so piů nulla nemmeno io...
>
mannaggia, il loro sito pare defunto :-((
Pilot Ships a parte, sembrerebbero inattivi da 2 anni..
forse sciolti?
>
>--
>BonnyPrinceMorris
>
>
http://web.tiscali.it/sentireascoltare
>
>


title: e se io...

text:
"BonnyPrinceMorris" ha scritto:
> Wow, le premesse sono ottime! :-)
mi levo il copricapo in segno di ringraziamento (ebbene sì, posto indossando
un cappello, ognuno ha le perversioni che si merita, no?) :)
> -DIRTY THREE - "Ocean songs"
non posso nascondere la presunzione che mi sta dominando in questo momento:
esatto, posseggo questo disco, è qui sul tavolo, fresco fresco e pronto per
essere amato, mi auguro :)
> -A SILVER MT. ZION MEMORIAL ORCHESTRA - "Born into trouble as the sparks
fly
> upward"
allora sono sulla buona strada, è sicuro oramai, quest'altro disco è a 14 cm
dall'altro, forse qualcosa in meno, ehehe
> -il nuovo EARLY DAY MINERS - "Let us garlands bring" che già si avvia a
> diventare un classico.
ok, anche per me è arrivato il momento di abbassare le arie, non l'ho, ma
ora mi metto sulle sue tracce, grazie!
M.


title: Alla fine...

author: Dr. Zoidberg (Il_poetO)

text:
...credo che uno dei più bei album usciti negli ultimi anni rimanga ancora
"Too late to die young" dei Departure Lounge. Un lavoro che si fa a tratti
pop suadente e a momenti esplorazione d'atmosfera, recupero delle radici
folck, blues, rock. Nessuno sa se abbiano qualcos' altro in cantiere?
Ciao.
S.


title: 049 Sito interessante

author: furio ercolessi

text:
049
www.spin.it/spam


title: legal man: opinione

author: marco

text:
dissento da chi dice che è commerciale, se per commerciale si intende
qualcosa di immediatamente fruibile dalla maggior parte degli ascoltatori di
musica.
Più che commerciale (non credo la vedremo facilmente in classifica) direi
trendista, con il suo spirito '60 e lounge; a me ha ricordato comunque gli
Space, cosa non male, visto che gli Space non mi dispiacciono.
Ciao,
Marco


title: E Cage reinventò il piano

author: Jefferson

text:
Riporto l'articolo di Enzo Siciliano dal 'Venerdì' di 'Repubblica'.
"Un inventore invece che un musicista" disse Schoenberg di John Cage. Voleva
certamente dire che l'allora giovanotto americano (siamo ai primi Quaranta)
era un sagace sperimentatore di suoni. n fatto è che Cage ha reso
inutilizzabile la distinzione di Schoenberg, non solo perché la musica ha
preso con lui sentieri dove la pura sperimentazione del suono campeggia, ma
perché lui stesso spiegò come l'interesse che provava per il compositore del
Pierrot lunaire fosse unicamente legato ai modi da questi sperimentati,
nella libertà dall'armonia, sempre diversi. In un senso per niente improprio
l'ipotetico allievo rovesciava sul maestro l'etichetta di «inventore».
Ascolto Sonatas and lnterludes for prepared piano (1946-48) eseguiti da
Herbert Henck con la devozione che si deve a un classico: li considero fra
le pagine più singolari e affascinanti della musica del secolo scorso, la
prima assoluta novità verificabile sulla conclusione dei suoi primi
cinquant'anni. Cage ha raccontato a più riprese come si trovò a «inventare»
il piano preparato. Una ballerina, Syvilla Fort, gli chiese musica a
percussione per un balletto dal titolo Bacchanale. Non c'era spazio, tra le
quinte del piccolo palcoscenico, che per un pianoforte. Per più giorni
andarono avanti le prove, ma sempre in mo do insoddisfacente per il
musicista. n suono era «povero». Ha detto Cage: «Decisi di trasformare quel
suono mettendo oggetti sopra e perfino fra le corde». Un' «invenzione»
semplicissima. Si sa, le più semplici sono sempre le più efficaci. Cage, con
la cosiddetta preparazione del pianoforte, volle rivisitare le modalità
armoniche e melodiche più disparate, e lo fece con una finezza di gesti e
una peculiarità di stile inimitabili. Jazz e pop, cadenze classiche, il
romanticismo più spietato, le nenie infantili, i temi delle bande di paese:
tutto è stato sottoposto al filtro della «preparazione», e ne risulta un
fascicolo di composizioni immaginose, ironiche, sempre godibili.
Al jazz Cage ha pensato moltissimo: ha pensato all'uso che i jazzisti hanno
fatto della sordina per ottoni o per violino, e a quel che i musicisti hot
jazz di New Orleans ottenevano mettendo carta fra le corde del piano.
L'operazione, si può dire, era storica. Cage seppe tenerla in bilico
genialmente fra i bar di New Orleans e il conservatorio di musica, quando
pure sembrò a molti un azzardo impraticabile. Ma con lui l'America fu fedele
al proprio destino di «paese di frontiera». Su quella linea ha sempre dato
il meglio di sé: nell'azzardo, più che nella conservazione.
Sonatas
anel lnterIudes (1946-48)
JOHN CAGE, Herbert Henck al piano, Ecm New Series 472 828
Disco che cercherò. Di John Cage ho presente 4'33: di silenzio (a proposito
l'ode di questi giorni nell'NG) e poco altro.
--
Bye
Jefferson


title: Stage e concerto con Frith annullato

author: GiAnt

text:
14-15-16 aprile 2005
IMPROVVISAZIONE E COMPOSIZIONE
" SUONA CON FRED FRITH "


title: [Capt. Beefheart, Santana, Gong, Hackett] Breve commentario agli ultimi arrivi

author: Pierrot Le Fou

text:
Si tratta di una semplice ricognizione di cio' che e' rimasto
sedimentato dopo i primi ascolti...
Captain Beefheart and the magic band, Bluejeans & Moonbeams: 1974,
dopo l'avanguardia il ritorno all'ordine? Dismesso il dadaismo
musicale ed il canto grottesco, sghembo e sopra le righe il buon Van
Vliet ci presenta un disco che pur essendo chiaramente "di genere" non
e' smaccato ne' didascalico. E' un album di buona fattura artigianale,
nonostante qualche scivolone, godibile nel suo rock blues con una
spruzzata di funky. Ma rimane pur sempre un disco come tanti, non
certo un capolavoro, ne' un disco imprescindibile, anzi e' piuttosto
transeunte...insomma solo per i fan del Capitano.
Carlos Santana, Caravanserai: E' Santana ma mancano le solite
percussioncelle. Sembra un ossimoro eppure e' vero, permane cmq
l'approccio di fondo alla composizione, infatti la svolta spirituale
presente nel disco rimane espressa solo in superficie: Santana ha poca
dimestichezza con la profondita' espressiva e le soluzioni che
escogita incidono poco. Certamente questo disco non si discosta della
"tradizione" e rimane un buon disco, ma il paragone che la critica
mainstream attua con McLaughlin e' improponibile, la differenza
qualitativa e' evidente.
Gong, The Peel Session: Incisioni radiofoniche di tre formazioni dei
Gong nell'arco temporale compreso fra il 1971 ed il 1974. Un ottimo
disco, che testimonia l'evoluzione del gruppo dalla fantasia psych e
favolistica della coppia Allen-Ayers agli sviluppi spaziali e
jazz-rock della line-up con Moerlen e Hillage.
Trait d'union, l'ossatura del gruppo costituita dalla magica mente
immaginifica di Daevid Allen e dal magnifico lavoro di sassofono di
Didier Malherbe (anche se non vanno mai sottovalutati i contributi
ritmici di Pyle e di Moerlen e la chitarra di Hillage, virtuosa ma
priva di sbrodolamenti e sempre incisiva).
Steve Hackett, Spectral Mornings: Quel che traspare in modo chiaro dal
disco sono le capacita' di Hackett, sfortunatamente e' evidente come
egli sia piu' chitarrista che autore, dato che i brani dell'album in
questione sono spesso sviluppati in modo "didascalico" e con una non
eccessiva inventiva. La tentazione a ricorrere a forme stereotipe -si
sa- e' forte ed Hackett e' incline a cederle la mano (come in "Clocks
- The Angel of Mons" dove un paio di volte riecheggia la celebre
invocazione della Fortuna dei Carmina Burana di Orff), con il
conseguente impoverimento dell'opera, anche se non mancano episodi ben
piu' felici all'interno dell'album.
Sayonara !!
--
Gabriele Orlando --->
p...@libero.it
<<Studiare senza riflettere e' inutile. Riflettere
  senza studiare e' pericoloso>>
  [Confucio, Dialoghi, 2:15]


title: videoclips

author: Zapruder

text:
Per chi non lo conoscesse, ladies & gentlemen: cliptip, il blog che ti da'
un video al giorno.
http://cliptip.blogspot.com/
Ottimo video, "only" dei Nine Inch Nails (Fincher, ettecredo...):
http://tinyurl.com/7tun3
Pessimo video, ovvero come rovinare una canzone perfetta. "We will become
sihouettes" dei Postal Service:
http://tinyurl.com/4gmgr
Zapru.
--
questo articolo e` stato inviato via web dal servizio gratuito
http://www.newsland.it/news
 segnala gli abusi ad
ab...@newsland.it


title: videoclips

author: K

text:
Zapruder wrote:
> Pessimo video, ovvero come rovinare una canzone perfetta. "We will become
> sihouettes" dei Postal Service:
Ho ordinato Give Up in ricordo di una dritta tua.
insieme a
Silver apples/contact
decemberists/picaresque
bad plus/these are the vistas
sufjan stevens/illinoise


title: videoclips

text:
K ha scritto:
> Ho ordinato Give Up in ricordo di una dritta tua.
Ok.
Trovati una pischella, se non ce l'hai gia'
Passa un agosto torrido con ella
Aspetta settembre
Fatti mollare
Scarta il disco e mettilo sul lettore
Ti piacera' anche di piu'
> Silver apples/contact
> decemberists/picaresque
> bad plus/these are the vistas
> sufjan stevens/illinoise
cacchio, non ne ho ascoltato neanche uno :-)



title: videoclips

author: DJreedoo

text:
> sufjan stevens/illinoise
maravilia



title: videoclips

author: In search of a wife (Henry VIII) Toot Toooooooot!!!

text:
"K" <
k...@tz.it
>
> Ho ordinato Give Up in ricordo di una dritta tua.
Bellino (credevo che non ci stesse nessuno qua sopra che non lo avesse
ascoltato, visto quanto è stato strombazzato). Ma non l'ho ascoltato più di
cinque-sei volte. Preferisco altre melasse :-)
> insieme a
>
> Silver apples/contact
Grande album di psichedelia ritmica. Concettualmente, si potrebbe ritenere
l'anello di congiunzione tra Can e Suicide.
> decemberists/picaresque
Mah...


title: videoclips

author: Saty

text:
DJreedoo wrote:
>> sufjan stevens/illinoise
>
> maravilia
E finalmente sono riuscito ad ascoltarlo. Quoto! Direi straordinario.


title: negozio di bootlegs?

author: Luca Bariffi

text:
Sapete se per caso c'č un negozio di bootlegs a Milano in centro (zona
Duomo)?
Fatemi sapere
 Luca