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: Musica dello Spot TV Amaro Lucano?

author: Mike

text:
Ciao a tutti,
Qual e' l'autore e il titolo del pezzo strumentale di chitarra elettrica
usato come colonna sonora dall'ultimo spot pubblicitario di Amaro Lucano?
Grazie,
Michele


title: Prog giappo (per Faraone e/o Matthias)

author: Roberto Lorici

text:
Avendo oramai la discoteca strabordante di prog nipponico risalente alla
*rinascita* (Outer Limits, Sagittarian, Mugen, Paikappu, Pageant....),
vorrei approfondire il fenomeno risalendo agli anni 70.  Perchè non fare
un bel "il faraone consiglia" o "il crucco dispensa sapere"
relativamente al rock progressivo giapponese ante 80' s ?
Non ditemi di andare su Gnosis perchè non so cosa farmene di freddi
numeri e poi......meglio un giorno col Faraone che cent' anni con
Sborrella !
saluti
Robby


title: Prog giappo (per Faraone e/o Matthias)

author: Mauro Moroni

text:
Roberto Lorici <
roberto...@interbusiness.it
> wrote:
>Avendo oramai la discoteca strabordante di prog nipponico risalente alla
>*rinascita* (Outer Limits, Sagittarian, Mugen, Paikappu, Pageant....),
>vorrei approfondire il fenomeno risalendo agli anni 70.
A parte che sarebbe una vera fatica di Sisifo (esistono 2 libri sul
rock giapponese 1968/1980 ed entrambi elencano più di 400 band con un
migliaio di dischi) non so francamente a che pro servirebbe un'opera
del genere, dato che il 90% dei dischi summenzionati sono solo su
vinile da mezzo milione in su.
Portrebbe essere più logico elencare qualche nome (Far East Family
Band, Cosmos Factory, Far out, Apryl Fool, Magical Power Mako, J.
Caesar, Flower Travelling Band...) ma anche qui i cd o si trovano a
prezzi da strozzo o non si trovano proprio.
Fatemi sapere.
--
Mauro Moroni
Mellow Records Ltd.
http://www.mellowrecords.com
mor...@pangea.it


title: Prog giappo (per Faraone e/o Matthias)

text:
Mauro Moroni wrote:
> A parte che sarebbe una vera fatica di Sisifo (esistono 2 libri sul
> rock giapponese 1968/1980 ed entrambi elencano più di 400 band con un
> migliaio di dischi) non so francamente a che pro servirebbe un'opera
> del genere, dato che il 90% dei dischi summenzionati sono solo su
> vinile da mezzo milione in su.
Si, immagino, però a livello di conoscenza sarebbe interessante sapere
qualcosa di più, ad esempio, su FEFBand, in cui ci si imbatte in
Gnosis......poi semmai, se dovesse interessarmi qualcosa in maniera
spasmodica, me lo copio da te   ;-)
> Portrebbe essere più logico elencare qualche nome (Far East Family
> Band, Cosmos Factory, Far out, Apryl Fool, Magical Power Mako, J.
> Caesar, Flower Travelling Band...) ma anche qui i cd o si trovano a
> prezzi da strozzo o non si trovano proprio.
>
> Fatemi sapere.
Ribadisco, non è detto che si debba comprare tutto, ma sarebbe già qualcosa
saperne. Interpellando Gnosis spesso mi imbatto (parlo in generale e non solo
di Japan) in dischi che dovrebbero essere capolavori, con votazioni
stratosferiche, senza sapere di cosa si tratti.....
ciao
Robby


title: Prog giappo (per Faraone e/o Matthias)

text:
Roberto Lorici <
roberto...@interbusiness.it
> wrote:
>Ribadisco, non è detto che si debba comprare tutto, ma sarebbe già qualcosa
>saperne. Interpellando Gnosis spesso mi imbatto (parlo in generale e non solo
>di Japan) in dischi che dovrebbero essere capolavori, con votazioni
>stratosferiche, senza sapere di cosa si tratti.....
Facciamo 'na bella cosa:
elencami i 10/15 titoli che ti incuriosiscono e te li descrivo.
Visto l'amicizia se esistono su cd posso anche mandarteli da
masterizzare.



title: Prog giappo (per Faraone e/o Matthias)

text:
Mauro Moroni wrote:
> Facciamo 'na bella cosa:
> elencami i 10/15 titoli che ti incuriosiscono e te li descrivo.
Potenzialmente, conoscendo solo i nomi e non quello che fanno, mi interessano
tutti quelli che non fanno parte dell' ondata 80-90. Per intenderci, prendi pure
alcuni nomi da Gnosis che non siano i *soliti* Outer Limits, Pageant, Gestalt,
Pale Acute Moon, Mugen e compagnia bella, togli le cose che ritieni superflue ed
illuminaci d' immenso.
Se è vero che emigri dobbiamo carpirti per tempo tutti i segreti.......  ;-)
grazie
Robby


title: Prog giappo (per Faraone e/o Matthias)

author: ab

text:
Roberto Lorici
Perchè non fare
> un bel "il faraone consiglia" o "il crucco dispensa sapere"
> relativamente al rock progressivo giapponese ante 80' s ?
Io ho sentito da Raul il        Mr.Sirius - Dirge        ed era una figata,
solo che costava 50k....
Se ricordo bene era prog alla Genesis con orchestra, e cantato femminile di
ben altro livello rispetto a, che so, Muegen (che è maschile ma
insopportabile imho)
Poi un amico mi ha masterizzato Mr.Sirius - Incredible Tour (anzi se qlc ha
una copertina del disco, non è che mi farebbe un piccolo favore? :-) e qui
non mi hanno convinto del tutto, anche se certi parti sono molto belle...


title: Le Ali Del Vento

author: ernesto boschi

text:
Ma è veramante del 1969? Mi pare incredibile...
ernesto


title: Le Ali Del Vento

author: Faraone

text:
Il Fri, 27 Jan 2006 20:29:31 +0100, ernesto boschi ha scritto:
> Ma è veramante del 1969? Mi pare incredibile...
1971 se le fonti sono esatte.


title: Amon Düül reunion

author: Matthias

text:
„The kraut-rocklegend is coming back“
The return of the Jeti Ritter
Amon Düül
There re-union of the year 2001 might be a small sensation for the
international music scene.
25 jears after the split unite the original members of the
„Krautrock-Act´s“ of the 70“jears“ again.
After their sensational appearance in front of thousand of visitors at
the Kloster Cornberg Open-Air in
august of this year Amon Duül decided to go on tour.
More shows are plannend in germany for the January and February. The
band is also ready to go  on tour through Europe and US. Actuel dates
see below. Also the Band will play some festivals in summenr 2002.
These shows will be organized by the team of „Think Progressive“ who
is
the promoter of Burg Herzberg Open Air.
Think Progressiv is going to support the show by giving purposeful
information onto thousands of Burg-Herzberg visitors.
The Tour line up from Amon Düül:
-      Renate Knaup-Krötenschwanz Voc.
- Lothar Maid Bass
- Chris Karrer Guit/Geige/Sax
- John Weinzierl Guitar
- Peter Leopold Drums
- P. P. Kuhnen Kongas
- Jan Kahlert Perc.
Amon Düül on tour:
12.1. 02    Verviers ( Belgien ) : Spirit of 66
13.1. 02     Hamburg : Fabrik
14.1. 02     Berlin: Quasinodo
15.1.02     Mainz: KUZ
16.1. 02     Nürnberg: Hirsch
17.1. 02     Hannover: Faust
Terra enfim! Nascer de novo, sair dos dedos frios do mar.
Recomencar um gesto seco, um grito rouco...
Cair na areia, amar o chao e descansar, domir, sonhar enfim...
Petrus Castrus, 1979


title: Nel nuovo film di Bigas Luna...

author: Pedro Almodovar

text:
.. intitolato "Son de mar", la colonna sonora č e "Prelude - Song Of The
Gulls", da "Islands"
Chiaramente udibile dal trailer, in circolazione in questi giorni
--
questo articolo e` stato inviato via web dal servizio gratuito
http://www.newsland.it/news
 segnala gli abusi ad
ab...@newsland.it


title: Nel nuovo film di Bigas Luna...

author: I've got a bike

text:
"Pedro Almodovar" <
carlos...@lostimeincordoba.co.es
> ha scritto nel
messaggio
> .. intitolato "Son de mar", la colonna sonora č e "Prelude - Song Of The
> Gulls", da "Islands"
Ma č accreditata...????
Ma che casino, tu ti chiami pedro almodovar, parli del film di bigas
luna..........e nella mail hai scritto carlos saura............
Olč........!!!
--
Non tentare di entrare nella mia mente, cerca di entrare nella tua.
(Zio Arturone)
diiii......ba di dam dam .. ba du di dam .......ba dadam....... bad diii
duiiiiiiiii


title: Nel nuovo film di Bigas Luna...

text:
I've got a bike ha scritto:
> Ma č accreditata...????
cajo ne so? suppongo di sě, comunque; quel che č chiaro č che c'č
> Ma che casino, tu ti chiami pedro almodovar, parli del film di bigas
> luna..........e nella mail hai scritto carlos saura............
e l'hackettiana "lost time in cordoba" non l'hai notata? ;-)
> Olč........!!!
http://www.squallor.com/testi/index.php?testo=142
Hola!



title: Nel nuovo film di Bigas Luna...

text:
"Pedro Almodovar" <
luisb...@sagradafamiliagaudi.com
> ha scritto nel
messaggio ...
> cajo ne so?
:-)   .....checazz'..........
> e l'hackettiana "lost time in cordoba" non l'hai notata? ;-)
si, si, ma mi limitavo ai riferimenti cinematografici
>
http://www.squallor.com/testi/index.php?testo=142
Grandissimo!!! Argomento tra l'altro trattato da pochissimo su ifmp-f  :-)



title: Nel nuovo film di Bigas Luna...

author: tonysuper

text:
vero
e ricordatevi che Lark's tongues in aspic e' stato colonna sonora del film
soft core Emmanuelle
--
Hai recensioni nel cassetto di musica, cinema, letteratura,fumetti??
Ascolta e pentiti e se hai tempo vergognati
http://tonysuper.altervista.org
Ascolta e pentiti il forum:
http://www.forumcommunity.net/index.php?c=4461&s=
"Pedro Almodovar" <
carlos...@lostimeincordoba.co.es
> ha scritto nel
messaggio news:br4mv6$uoc$1...@news.newsland.it...
> .. intitolato "Son de mar", la colonna sonora è e "Prelude - Song Of The



title: Statistiche di Ottobre di it.arti.musica.rock.progressive

author: Riki

text:
Ultimamente nell'N.G. c'è un periodo di piatta,a parte
l'interessantissimo discorso sui King Crimson da parte di Stànz e
Covili...speriamo ci siano tempi migliori.
Comunque ecco l'andamento del mese di Ottobre.
Analisi primi 10:
1-Stànz - 289 msg(229 in settembre +60msg) - stabile in 1°pos.
2-Riki - 125 msg(113 in sett. +12msg) - dalla 3°alla 2° pos.
3-Massimo Necchi - 111(123 in sett. -12msg) - dalla 2°alla 3°pos.
4-Rama - 80 msg(98 in sett. -18msg) - stabile in 4°pos.
5-Mauro Moroni - 54 msg(68 in sett. -14msg) - dalla 6°alla 5°pos.
6-Big Pink - 45 msg(21 in sett. +24msg) - dalla 19°alla 6°pos.
7-Mark Gor - 33 msg(51 in sett. -18msg) - dalla 8°alla 7°pos.
8-Kaspar Hauser - 28 msg(0 in sett. +28) - all'8° pos.
9-Alberto Nucci - 25 msg(53 in sett. -28) - dalla 7°alla 9°pos.
10-John kane - 23 msg(42 in sett. -19) - dalla 11° alla 10°pos.
Escono dai primi 10 Nephilim(dalla 5°alla 13°pos.)e Fitzwilliam (dalla
10° alla 15°pos.).
Entrano nei primi 10 Big Pink,Kaspar Hauser e John Kane.
Per le posizioni dalla 11° alla 100° a questo indirizzo:
http://goemon.polito.it/newsstat/it.arti.musica.rock.progressive/9810.html
Ciao.
Al prossimo mese.


author: Massimo Necchi

text:
Riki ha scritto:
> Ultimamente nell'N.G. c'è un periodo di piatta,a parte
> l'interessantissimo discorso sui King Crimson da parte di Stànz e
> Covili...speriamo ci siano tempi migliori.
> Comunque ecco l'andamento del mese di Ottobre.
>
> Analisi primi 10:
>
> 1-Stànz - 289 msg(229 in settembre +60msg) - stabile in 1°pos.
>
> 2-Riki - 125 msg(113 in sett. +12msg) - dalla 3°alla 2° pos.
>
> 3-Massimo Necchi - 111(123 in sett. -12msg) - dalla 2°alla 3°pos.
Contento, Riki?? ;-)))Accidenti!! Neanche i Beatles mi sono serviti, la prossima
volta provo con Nilla Pizzi!!! ;-)))
+12 e -12...non è che adesso ci accusano di "voto di scambio"!!!!! ;-)))
Massimo
--
Mary Newsletter
c/o Ass. Cult. Nuove Lettere
C.P. 75 A.D.
27029 Vigevano (PV)
Italia
tel.: 0338/4229802
e-mail:
mary...@tin.it
web page:
http://web.tin.it/Mary_Newsletter/
-------------------------------------------------------


text:
Massimo Necchi wrote:
>
> Riki ha scritto:
>
> > Ultimamente nell'N.G. c'è un periodo di piatta,a parte
> > l'interessantissimo discorso sui King Crimson da parte di Stànz e
> > Covili...speriamo ci siano tempi migliori.
> > Comunque ecco l'andamento del mese di Ottobre.
> >
> > Analisi primi 10:
> >
> > 1-Stànz - 289 msg(229 in settembre +60msg) - stabile in 1°pos.
> >
> > 2-Riki - 125 msg(113 in sett. +12msg) - dalla 3°alla 2° pos.
> >
> > 3-Massimo Necchi - 111(123 in sett. -12msg) - dalla 2°alla 3°pos.
>
> Contento, Riki?? ;-)))Accidenti!! Neanche i Beatles mi sono serviti, la prossima
> volta provo con Nilla Pizzi!!! ;-)))
> +12 e -12...non è che adesso ci accusano di "voto di scambio"!!!!! ;-)))
Te l'avevo promesso che mi sarei riappropriato della mia cara
2°posizione.
...eh...eh...la furbata di postare canzoni dei Beatles è stata
vana...vabbè dai,non è successo niente,ti rifarai-DD(Olè...).
		RIKI


author: Rama

text:
Riki ha scritto:
>
> Ultimamente nell'N.G. c'è un periodo di piatta,a parte
> l'interessantissimo discorso sui King Crimson da parte di Stànz e
> Covili...speriamo ci siano tempi migliori.
> Comunque ecco l'andamento del mese di Ottobre.
>
> Analisi primi 10:
>
>...
> 4-Rama - 80 msg(98 in sett. -18msg) - stabile in 4°pos.
>
>
be' c'è un miglioramento, spero di scendere al 5°-6° questo mese e
uscire dalla decina entro marzo;
R
--
ogni frase precedente s'intende conclusa con :-)
posted from a ridiculous Country
http://Ramapage.freeweb.org


text:
Riki ha scritto:
> Te l'avevo promesso che mi sarei riappropriato della mia cara
> 2°posizione.
Allora, vieni sabato prossimo a vedere gli Arena?
> ...eh...eh...la furbata di postare canzoni dei Beatles è stata
> vana...vabbè dai,non è successo niente,ti rifarai-DD(Olè...).
In realtà l'ho fatto solo per chi crede che i Beatles siano solo "help" e canzonette
simili! ;-))Non avevo secondi fini...di classifica.



text:
Massimo Necchi wrote:
>

> Allora, vieni sabato prossimo a vedere gli Arena?
>
...mhm...mi sa che non posso,ho già in programma altri due concerti...e
il piatto incomincia a piangere,sarà per la prossima,so che a Vigevano
ci sono parecchi concerti interessanti,se non erro erano venuti pure i
Jethro Tull.
		RIKI


title: [Un saggio parla di Eik Skaloe degli Steppeulvene]

author: forum quorum

text:
http://www.univaq.it/culturateatrale/pratiche/2005-pratiche/maggio05/genesi.pdf
Eik Skaløe era stato il capofila della generazione beat, negli
anni Sessanta, il primo a cantare la musica beat in danese, dando
valore poetico ai testi. Aveva partecipato alle grandi
manifestazioni contro la bomba atomica, aveva viaggiato (con
l'amica e da solo) sperimentando droghe sempre più pesanti. Era
morto suicida al confine fra India e Pakistan nell'autunno del 1968.
(al link)


title: ZNR Traite de mecanique populaire

author: RaBarVinGio

text:
Grandissimo!!!!
ciao
Vince


title: ZNR Traite de mecanique populaire

author: Arachnoid

text:
"RaBarVinGio" <
levav...@libero.it
> ha scritto nel messaggio
news:d_Jh8.15421$5z3.4...@twister2.libero.it...
> Grandissimo!!!!
>
capolavoro? :-)
A


title: ZNR Traite de mecanique populaire

text:
> > Grandissimo!!!!
> >
> capolavoro? :-)
birikino....cmq no...(crocevia tra satie, wyatt  e PCO...vero roberto?) cmq
ottimo lavoro
ciao
Vince


title: ZNR Traite de mecanique populaire

author: White Fly

text:
> birikino....cmq no...(crocevia tra satie, wyatt  e PCO...vero roberto?)
cmq
> ottimo lavoro
mizzecherina...deve essere fantastico...ma cos'è PCO?e cos'è ZNR? grazie...
:-)
baci
WF


title: ZNR Traite de mecanique populaire

text:
>
> mizzecherina...deve essere fantastico...
moolto bello ( ma nn capolavoro ...:)) )
ma cos'è PCO?
Penguin Cafè Orchesta
e cos'è ZNR?
è semplicemente il nome del gruppo (ma il significato de "supposto"
acrostico mi è sconosciuto
ciao
Vince


title: ZNR Traite de mecanique populaire

text:
> > mizzecherina...deve essere fantastico...
>
> moolto bello ( ma nn capolavoro ...:)) )
Eh eh eh eh eh :))
>
>
> ma cos'è PCO?
>
> Penguin Cafè Orchesta
ok :-)
>
> e cos'è ZNR?
>
> è semplicemente il nome del gruppo (ma il significato de "supposto"
> acrostico mi è sconosciuto
>
> ciao
> Vince
Ciao, grazie Vince"nzo" (suppongo) ;)
WF


title: ZNR Traite de mecanique populaire

text:
>
> Ciao, grazie Vince"nzo" (suppongo) ;)
>
elementare Watson....:))
ciao Vince>


title: PFM \ BANCO \ EL.P \ KING CRIMSON\ YES \ DEEP PURPLE VHS RARE "e altro"

author: maurgra

text:
SE SEI INTERESSATO SCRIVI CHI QUANTO E A CHI RISPONDERE HO DEI MESSAGGI
SENZA MITTENTE GABRIELE E CARLO NON HO LA VOSTRA E-MAIL O
L'INDIRIZZ...@iol.it


title: VENDO ROCKTRON

author: Centro Formazione Musicale

text:
PRE-AMPLIFICATORE ROCKTRON PIRANHA, comprato solamente 1 anno fa, in ottime
condizioni, praticamente nuovo, vendo causa cambio strumentazioni a soli
1.000 euro
FINALE DI POTENZA MARSHALL VALVESTATE 80+80 WATT vendo, anch'esso causo
cambio strumentazione a sole 200 euro
per informazioni Davide 3333890038


title: (OT) il sosia di benporath

author: mastro gobbetto

text:
Ragazzi oggia  Sondrio ho visto il sosia sputato di Luca Benporath. Stavo
andando a salutarlo quando mi sono accorto che era più basso. Ma per il
resto era sputato. Uno dei sosia piùperfetti che abbia mai visto...


title: (OT) il sosia di benporath

text:
"mastro gobbetto" <
firthoffi...@libero.it
> ha scritto nel messaggio
news:uiv5a.143230$ZE.40...@twister2.libero.it...
: Ragazzi oggia  Sondrio ho visto il sosia sputato di Luca Benporath. Stavo
: andando a salutarlo quando mi sono accorto che era più basso. Ma per il
: resto era sputato. Uno dei sosia piùperfetti che abbia mai visto...
:
a Mestre c'è il sosia di Napra...
--
Elena
 "Silently she walks..."


title: (OT) il sosia di benporath

author: Napra

text:
".:'^':.Elena.:'^':." <
missmo...@despammed.com
> ha scritto
> a Mestre c'č il sosia di Napra...
>
il tuo sosia, invece, č nella casa del Grande Fratello
napra


title: (OT) il sosia di benporath

author: Tiziano Rea

text:
"Napra" <
nos...@libero.it
> ha scritto nel messaggio
news:3GH5a.143769$YG2.4...@twister1.libero.it...
>
> ".:'^':.Elena.:'^':." <
missmo...@despammed.com
> ha scritto
>
>
> > a Mestre c'è il sosia di Napra...
> >
> il tuo sosia, invece, è nella casa del Grande Fratello
non mi dirai che hai avuto modo, sia pure sporadicamente, di vedere quel
programma lobotomizzante?


title: (OT) il sosia di benporath

text:
"Tiziano Rea" <
tiz...@riverdeep.it
> ha scritto
> non mi dirai che hai avuto modo, sia pure sporadicamente, di vedere quel
> programma lobotomizzante?
>
volente o nolente un'occhiata sei obbligato a dargliela. basta accendere la
tele e ci capiti sopra. e poi uno sguardo è obbligatorio per poter godere
appieno di Mai dire Grande Fratello :-)
napra


title: (OT) il sosia di benporath

text:
"Napra" <
nos...@libero.it
> ha scritto nel messaggio
news:qi16a.147616$ZE.42...@twister2.libero.it...
>
> poi uno sguardo è obbligatorio per poter godere
> appieno di Mai dire Grande Fratello :-)
>
argh, già è vero! lo avevo dimenticato...tra l'altro Mai Dire Grande
Fratello è ormai l'unico programma televisivo della Gialappa's che mi piace
(bei tempi quelli di Mai Dire Banzai, Mai Dire TV e delle prime "storiche"
edizioni di Mai Dire Gol)


title: (OT) il sosia di benporath

text:
Tiziano Rea <
tiz...@riverdeep.it
> wrote in message
4526a.146756$YG2.4...@twister1.libero.it...
>
>
> argh, già è vero! lo avevo dimenticato...tra l'altro Mai Dire Grande
> Fratello è ormai l'unico programma televisivo della Gialappa's che mi
piace
> (bei tempi quelli di Mai Dire Banzai, Mai Dire TV e delle prime "storiche"
> edizioni di Mai Dire Gol)
>
Non l'ho ancora visto da quando è ripreso nelle scorse settimane ma,
quest'anno, "Mai dire domenica" faceva piuttosto ridere (Marcoré e De Luigi
sono bravissimi)


title: (OT) il sosia di benporath

text:
Napra <
nos...@libero.it
> wrote in message
3GH5a.143769$YG2.4...@twister1.libero.it...
 >
> il tuo sosia, invece, è nella casa del Grande Fratello
>
a proposito di sosia e grandi fratelli: a 'mai dire domenica' hanno
elaborato l'immagine del viso di una delle tizie.
Hanno aggiunto gli occhiali, accorciato i capelli, ed è uscto ... Edgard
Davids !!! identico !!!


title: (OT) il sosia di benporath

text:
Tiziano Rea <
tiz...@riverdeep.it
> wrote in message
4526a.146756$YG2.4...@twister1.libero.it...
>
> (bei tempi quelli di Mai Dire Banzai, Mai Dire TV e delle prime "storiche"
> edizioni di Mai Dire Gol)
>
perchè cos'hai contro le 'ultime' ?
anche avendo accusato un certo calo prima di Natale, 'mai dire domenica' è
sempre stato insieme ai prog dei Guzzanti
il miglior prog televisivo con varie galassie di distanza da tutti gli
altri.
Ed è anche una fucina di personaggi, che poi da soli, senza la guida dei
tre, non riescono a mentenere i livelli raggiunti.
L'anno scorso c'era la Cortellesi, che è un fenomeno di per sè, ma ad
esempio Albanese da solo non regge il confronto con l'Albanese gialapparo.
Simona Ventura da sola reggicchia, ma senza le lezioni dei Gialappa's non
sarebbe mai esistita.
E che dire di Olmo, Gaspardo e tutta la galleria di personaggi di quel tizio
di cui non ricordo il nome ?
e le imitazioni di Arcorè ? e il mago forest ? e il mago Oronzo ?
e tu te ne vieni con 'mai dire banzai ' ?
è come esaltare i dischi solo di Gabriel sminuendo Trick, Wind e And then 3
...


title: (OT) il sosia di benporath

text:
ag.rippa <Me.n...@Ag.Rippa> wrote in message
b3an6c$nu5$1...@lacerta.tiscalinet.it...
ma ad
> esempio Albanese da solo non regge il confronto con l'Albanese gialapparo.
D'accordo su tutto tranne che su questo. L'hai visto il programma recente di
Albanese? Da morire dal ridere


title: (OT) il sosia di benporath

text:
mastro gobbetto <
firthoffi...@libero.it
> wrote in message
uiv5a.143230$ZE.40...@twister2.libero.it...
> Ragazzi oggia  Sondrio ho visto il sosia sputato di Luca Benporath. Stavo
> andando a salutarlo quando mi sono accorto che era più basso. Ma per il
> resto era sputato. Uno dei sosia piùperfetti che abbia mai visto...
>
>
ovvio: era lui senza le speciali scarpe alza-statura


title: (OT) il sosia di benporath

text:
mastro gobbetto <
firthoffi...@libero.it
> wrote in message
ti56a.147410$YG2.4...@twister1.libero.it...
> D'accordo su tutto tranne che su questo. L'hai visto il programma recente
di
> Albanese? Da morire dal ridere
>
allora c'č lo zampino della Gialappa's


title: (OT) il sosia di benporath

text:
ag.rippa <Me.n...@Ag.Rippa> wrote in message
b3an6c$nu5$1...@lacerta.tiscalinet.it...
>
> e le imitazioni di Arcorè ?
ehm ... Marcorè (che, per inciso, purtroppo per lui mi somiglicchia
tisicamente).
Comunque 'Arcorè' è carina . . .


title: (OT) il sosia di benporath

text:
"ag.rippa" <Me.n...@Ag.Rippa> ha scritto nel messaggio
news:b3an6c$nu5$1...@lacerta.tiscalinet.it...
>
> Tiziano Rea <
tiz...@riverdeep.it
> wrote in message
> 4526a.146756$YG2.4...@twister1.libero.it...
> >
> > (bei tempi quelli di Mai Dire Banzai, Mai Dire TV e delle prime
"storiche"
> > edizioni di Mai Dire Gol)
> >
> perchè cos'hai contro le 'ultime' ?
>
per inciso: le "ultime" a me fanno cagare sangue...
> e tu te ne vieni con 'mai dire banzai ' ?
e tu allora che te ne vieni così pretendendo che i miei gusti debbano essere
come i tuoi...a me non piacciono le menate di Mai Dire Domenica, ok, qual'è
il problema? a te piacciono, ok...e allora? il De Gustibus...questo
sconosciuto...
Tra l'altro gran parte della lista di personaggi che hai fatto fanno parte
del periodo PER ME ancora buono della Gialappa's (tipo Albanese, il mago
Oronzo o la Ventura etc)
> è come esaltare i dischi solo di Gabriel sminuendo Trick, Wind e And then
3
è come pretendere che tutti la pensino allo stesso modo su tutto, che
abbiano gli stessi gusti, le stesse passioni, le stesse idee, lo stesso
colore di capelli, degli occhi, della pelle....uhmmm...mi ricorda
qualcosa...forse...approposito, ma che cavolo, sto pure perdendo tempo a
rispondere...


title: (OT) il sosia di benporath

text:
"ag.rippa" <Me.n...@Ag.Rippa> ha scritto
> a proposito di sosia e grandi fratelli: a 'mai dire domenica' hanno
> elaborato l'immagine del viso di una delle tizie.
> Hanno aggiunto gli occhiali, accorciato i capelli, ed è uscto ... Edgard
> Davids !!! identico !!!
>
infatti...è lei
napra


title: (OT) il sosia di benporath

text:
"ag.rippa" <Me.n...@Ag.Rippa> ha scritto
ma ad
> esempio Albanese da solo non regge il confronto con l'Albanese gialapparo.
sticazzi. i perego's e il sindaco siculo sono geniali
napra


title: (OT) il sosia di benporath

text:
"Tiziano Rea" <
tiz...@riverdeep.it
> ha scritto nel messaggio
news:d%b6a.148968$YG2.4...@twister1.libero.it...
>
>
> per inciso: le "ultime" a me fanno cagare sangue...
>
che espressione simpatica
> qual'è  il problema?
che si scrive senz'apostrofo
> colore di capelli, degli occhi, della pelle....uhmmm...mi ricorda
> qualcosa...
si si hai ragione
sono razzista, perchè mi spiace che vadano perse cose intellligenti ...
si si sono razzista ... e tu sei patetico da fare schifo
> forse...approposito, ma che cavolo, sto pure perdendo tempo a
> rispondere...
>
povero cocco ... non perdere tempo, hai ragione


title: Naturra - per Moroni

author: Alberto Nucci

text:
Hey, sai se il disco dei Naturra (islandesi) è stato ristampato e da chi?
--
Alberto Nucci
arle...@intervos.com
 -
arle...@dada.it
 -
nu...@dada.it
----------------------------------------------------------------------------
---
ARLEQUINS NEWSLETTER  Progressive Rock 'zine
http://intervos.com/arlequins
it.arti.musica.rock.progressive website:
http://www.split.it/users/aboz


title: Naturra - per Moroni

author: Mauro Moroni

text:
"Alberto Nucci" <arle...@NOSPAMintervos.com> wrote:
>Hey, sai se il disco dei Naturra (islandesi) è stato ristampato e da chi?
No, l'ho inventato per far dannare un tizio su RMP.
E ci sono riuscito...
--
Mauro Moroni
MELLOW RECORDS Ltd.
http://www.mellowrecords.com
in...@mellowrecords.com


title: Naturra - per Moroni

text:
Mauro Moroni ha scritto nel messaggio <
36e2e...@news.megasys.it
>...
>"Alberto Nucci" <arle...@NOSPAMintervos.com> wrote:
>
>>Hey, sai se il disco dei Naturra (islandesi) è stato ristampato e da chi?
>
>No, l'ho inventato per far dannare un tizio su RMP.
>E ci sono riuscito...
Ci sei riuscito anche con me.... complimenti, eh....!   :-)



title: Sei un Musicista ?

author: mec

text:
Allora Visita Musicisti & C. -
http://www.musicistiec.com
 e Pubblica un tuo
Annuncio Gratuito !!!
Ciao da M. & C.


title: [Un "A Come Andromeda" del 1961!] pre-data il serial italiano

author: stanz

text:
http://www.csse.monash.edu.au/~lloyd/tildeImages/Film/Andromeda/
Molto interessante; pare che questo serial in 7 episodi della
BBG, uscito circa nel 1961, fosse una cosa fantastica, una specie
di quello che fu l'astronave Quatermass per la BBC nei '50.
Putroppo non rimangono che pochi spezzoni essendo andato
perduto...


author: Noodles

text:
"stanz" <
uni...@salamandapalaganda.com
> ha scritto nel messaggio
news:ftm8ut8b5t1tq67av...@4ax.com...

E' uscita la III videocassetta dell' Andromeda nostrana?
ciao
Noodles


author: R. Daneel Olivaw

text:
"Noodles" <
caer...@tin.it
> ha scritto nel messaggio
news:bf%E7.8957$zu5.3...@news1.tin.it...

Da almeno 4 mesi :-)
--
R. Daneel Olivaw
http://digilander.iol.it/dolivaw/
Per rispondere togliere -X-


title: SPRAY FEST a Roma

author: Paolo Carnelli

text:
Wonderous Stories e MP_Roma
presentano
SPRAY FEST
La cultura degli anni ’70 incontra la musica del nuovo Millennio
Venerdì 1 Aprile  Ore 21
Roma - Coetus Pub, Via dei Volsci 126b (S.Lorenzo)
Ingresso tessera 3 euro
Lo Spray Fest è un nuovo appuntamento promosso dalla rivista musicale
Wonderous Stories e dal portale telematico MP_Roma,
in collaborazione e sinergia con le principali realtà di settore
presenti nella Capitale.
L’obiettivo è quello di favorire e alimentare l’incontro tra
l’esperienza visiva, narrativa e musicale che ha caratterizzato la
libera scena artistica degli anni settanta, con le nuove
manifestazioni che cercano di esprimersi attualizzando
e reinterpretando quel tipo di esperienza.
La serata abbraccerà vari ambiti di espressione: alle performance di
due tra i più interessanti gruppi del panorama romano (Taproban e
Fonderia) si affiancheranno infatti la personale di Andrea
Guglielmino, disegnatore e vignettista apprezzato per le sue strisce
satiriche musicali, e l’esposizione dei vinili originali e da
collezione dei Van der Graaf Generator, uno dei gruppi simbolo della
stagione musicale degli anni ’70, da poco riunitosi e atteso in Italia
a giugno.
Due gli ospiti d’eccezione: l’attore Massimo Onesti,
noto per le sue coinvolgenti interpretazioni letterarie, reciterà
alcuni testi di autori storici del rock - Hammill, Gabriel, Sinfield.
La cantautrice Jenny Sorrenti, accompagnata dal percussionista
Marcello Vento, presenterà il suo nuovo album Com’è grande enfermidade
e analizzerà una stagione artistica ancora viva e densa di
significati.
A completare il quadro ci saranno le proiezioni di filmati d’epoca su
maxischermo, gli stand di Eventyr Records (novità e rarità in cd, lp e
dvd) e MP_Roma (contact point per tutti i gruppi emergenti
che vogliano diffondere gratuitamente la propria musica).
Info:
www.wonderoustories.it

wsmag...@yahoo.it
www.movimentiprog.net
Jenny Sorrenti:
www.jennysorrenti.it
Massimo Onesti:
www.wonderoustories.it/Nellanima/index.htm
Taproban:
www.taproban.com
Fonderia:
www.fonderia.biz
Andrea Guglielmino:
www.wonderoustories.it/Online/humor.htm
---------------------------
Editor - Wonderous Stories
www.wonderoustories.it


title: King's x

author: Tempest

text:
Partecipo occasionalmente al ng ma lo seguo dal lontano 98.
Poche sere fa ero intento nell'auto a spararmi il quarto dei King's x dal
titolo omonimo e, in certi momenti, ho avuto la netta sensazione di trovarmi
davanti ad un disco (?) prog.
Certo un po' dark, un po' metal, un po' pop (?) e con voci di grande
impatto.
Non ricordo di averne sentito parlare qui da voi.
Qualcuno li conosce?
Che ne pensate?
C'azzecca?
Ripensandoci a mio parere poco ma i primi 3 valgono la pena e, adesso che ci
penso, anche il quarto.
Ciao
Lorenzo Tempest Lelli


title: King's x

text:
"Tempest" <
lor...@edolelli.it
> ha scritto nel messaggio
news:a8f82i$ngf$1...@serv1.iunet.it...

io ho Gretchen, Ear Candy e una raccolta. buon hard rock con moltissimi
spunti intelligenti ed un buon songwriting. prog non mi sembrano, però
A


title: King's x

text:
> Partecipo occasionalmente al ng ma lo seguo dal lontano 98.
> Poche sere fa ero intento nell'auto a spararmi il quarto dei King's x dal
> titolo omonimo e, in certi momenti, ho avuto la netta sensazione di
trovarmi
> davanti ad un disco (?) prog.
Io li considero prog fin dal loro esordio, molto più avanti de certa
gentaglia che adora napra ovviamente.
> Certo un po' dark, un po' metal, un po' pop (?) e con voci di grande
> impatto.
Beatlesiane come non mai e in tempi assolutamente non sospetti, quando lo
facevano loro non è che andasse molto di moda. Poi i riffs di chitarra tra
il funk il blues e i metallica, serratissimi e pieni di groove, wow!
> Non ricordo di averne sentito parlare qui da voi.
Perchè qui snobbano tantissimi talenti che non hanno il cantante pitturato
come peter gabriel, che hanno il distorsore delle chitarre troppo alto etc..
> Qualcuno li conosce?
IO! :)
> Che ne pensate?
Grandissimo gruppo capace di fondere cuore impatto e groove nero. Le loro
ballate sono stupende tipo dream in my life o la mitica legal kill che
spacca il cuore ogni volta che suona!!!
> Ripensandoci a mio parere poco ma i primi 3 valgono la pena e, adesso che
ci
> penso, anche il quarto.
Valgono un pochetto tutti la pena, se vuoi le cose complicate per forza
prendi il penultimo Mr. Bulbous, è molto complicato decisamente ma
personalmente preferisco i loro lavori immediati, i loro ritornelli stra
solari e di grande respiro.
CR


title: King's x

text:
"Sith72" <
crov...@tin.it
> ha scritto
> Io li considero prog fin dal loro esordio, molto più avanti de certa
> gentaglia che adora napra ovviamente.
tipo gli hatfield & the north.....quelli che secondo te mettono costruiscono
i pezzi mettendo accordi a caso?
>
> Perchè qui snobbano tantissimi talenti che non hanno il cantante pitturato
> come peter gabriel, che hanno il distorsore delle chitarre troppo alto
etc..
confondi iamrp con la ml di paperlate. il problema è che conosci 1/5 dei
gruppi che vengono citati. se per te gli haikara, i wigwam, i gilgamesh o
gli univers zero hanno il cantante pitturato come PG è un problema tuo
>
A


title: King's x

text:
> > Io li considero prog fin dal loro esordio, molto più avanti de certa
> > gentaglia che adora napra ovviamente.
>
> tipo gli hatfield & the north.....quelli che secondo te mettono
costruiscono
> i pezzi mettendo accordi a caso?
IN certi casi è un mio sospetto, non dico proprio a caso ma senza tanto
scervellarsi sulle relazioni armoniche ;)
> > Perchè qui snobbano tantissimi talenti che non hanno il cantante
pitturato
> > come peter gabriel, che hanno il distorsore delle chitarre troppo alto
> etc..
>
>
> confondi iamrp con la ml di paperlate. il problema è che conosci 1/5 dei
> gruppi che vengono citati. se per te gli haikara, i wigwam, i gilgamesh o
> gli univers zero hanno il cantante pitturato come PG è un problema tuo
Tu conosci quelli ma non hai praticamente nulla dei king's x e nemmeno ti
ricordi come suonano i cardiacs e se mai hanno fatto progressive :) Facciamo
a gara di chi ha più dischi? :)))) vinci tu vinci tu, stai tranquil...
CR


title: King's x

author: Matthias

text:
On Wed, 3 Apr 2002 19:31:19 +0200, "Arachnoid" <
nos...@libero.it
>
wrote:
>confondi iamrp con la ml di paperlate. il problema è che conosci 1/5 dei
>gruppi che vengono citati. se per te gli haikara, i wigwam, i gilgamesh o
>gli univers zero hanno il cantante pitturato come PG è un problema tuo
Dio cosa sei acido stasera :-)
Dai, che domenica potrai salutare i Manzini bros....
Dimenticavo: ma il partitonzo di calcetto si fa domenica o alla
Progvention?
M.
Visita il portale del progressive italiano
http://www.fromgenesis.net


title: King's x

text:
"Sith72" <
crov...@tin.it
> ha scritto
> Tu conosci quelli ma non hai praticamente nulla dei king's x
errore. come già detto ho la raccolta, gretchen goes to nebraska e ear
candy. conosco poi anche l'omonimo
Facciamo
> a gara di chi ha più dischi? :)))) vinci tu vinci tu, stai tranquil...
non è questione di quanti dischi si hanno. il problema è che tu hai una
percezione profondamente distorta dei dischi che vengono trattati in questo
ng. poi, con tutto il rispetto, preferisco avere, e penso che sia molto più
importante, i dischi dei Wigwam rispetto a quelli dei Cardiacs
A


title: King's x

text:
"Matthias" <
mschel...@tin.it
> ha scritto
> Dio cosa sei acido stasera :-)
vero? :-)
>
> Dai, che domenica potrai salutare i Manzini bros....
no, domenica non ci sono
> Dimenticavo: ma il partitonzo di calcetto si fa domenica o alla
> Progvention?
>
alla progvention, of course. quando la partecipazione sarà molto più
qualificata
A


title: King's x

text:
> > Tu conosci quelli ma non hai praticamente nulla dei king's x
>
>
>
> errore. come già detto ho la raccolta, gretchen goes to nebraska e ear
> candy. conosco poi anche l'omonimo
Ce ne vogliono almeno 4 per capirli in toto ;)
I primi 4 direi
> Facciamo
> > a gara di chi ha più dischi? :)))) vinci tu vinci tu, stai tranquil...
>
>
> non è questione di quanti dischi si hanno. il problema è che tu hai una
> percezione profondamente distorta dei dischi che vengono trattati in
questo
Che bello, sono come van gogh, chissà se da morto i moon venderanno tutto
per la felicità del moroni :)
CR
> ng. poi, con tutto il rispetto, preferisco avere, e penso che sia molto
più
> importante, i dischi dei Wigwam rispetto a quelli dei Cardiacs
per forza poi perdi i capelli
CR


title: King's x

author: Mendoza

text:
"Sith72" <
crov...@tin.it
> ha scritto nel messaggio
news:LIGq8.56087$S52.1...@news2.tin.it...
>
> Valgono un pochetto tutti la pena, se vuoi le cose complicate per forza
> prendi il penultimo Mr. Bulbous, è molto complicato decisamente ma
> personalmente preferisco i loro lavori immediati, i loro ritornelli stra
> solari e di grande respiro.
Considero Dogman il loro capolavoro ( i Beatles hard rock).
Mendoza.


title: King's x

text:
On Thu, 4 Apr 2002 00:44:48 +0200, "Arachnoid" <
nos...@libero.it
>
wrote:
>> Dai, che domenica potrai salutare i Manzini bros....
>
>no, domenica non ci sono
naa, e come mai?



title: King's x

author: Arachnoid

text:
"Matthias" <
mschel...@tin.it
> ha scritto
>
> naa, e come mai?
>
Scelte. dovevo saltare una cosa tra progventgion, codevilla e waters. ho
scelto quella che mi interessa di meno.
Ovviamente sperando che per la progvention non tradirai le mie attese e che
la partita di calcetto con i lestofanti di paperlate produca sangue in gran
quantità
A


title: King's x

author: RTV Radio

text:
> > Valgono un pochetto tutti la pena, se vuoi le cose complicate per forza
> > prendi il penultimo Mr. Bulbous, è molto complicato decisamente ma
> > personalmente preferisco i loro lavori immediati, i loro ritornelli stra
> > solari e di grande respiro.
>
> Considero Dogman il loro capolavoro ( i Beatles hard rock).
Mah, il più bel disco dei King's x? non è roba facile...forse Gretchen goes
to nebraska....però è vero, dogman picchia duro ma presenta anche alcuni dei
loro refrain più riusciti tipo complain :)
CR


title: King's x

text:
"RTV Radio" <
rtvr...@tin.it
> ha scritto nel messaggio
news:%ETq8.48272$pT1.1...@news1.tin.it...
> > Considero Dogman il loro capolavoro ( i Beatles hard rock).
>
>
> Mah, il più bel disco dei King's x? non è roba facile...forse Gretchen
goes
> to nebraska....però è vero, dogman picchia duro ma presenta anche alcuni
dei
> loro refrain più riusciti tipo complain :)
Le armonizzazioni vocali son notevoli, come il doppio lead singering che
usano spesso...
...i riffs son massicci e mai scontati.
....Bello il suono del 12, nevvero...(non ricordo mai se sei una bassista o
un tastierista)?
E pensare che li abbiam cagati in pochissimi nei '90s....una band davvero
rivoluzionaria, altro che grunge e fuffa vria, caro mio.
Mendoza. Anziano Rocker, OT su ogni ennegì.


title: King's x

text:
> > Mah, il più bel disco dei King's x? non è roba facile...forse Gretchen
> goes
> > to nebraska....però è vero, dogman picchia duro ma presenta anche alcuni
> dei
> > loro refrain più riusciti tipo complain :)
>
> Le armonizzazioni vocali son notevoli, come il doppio lead singering che
> usano spesso...
Cantano in tre da faith hope love in avanti :)
> ....Bello il suono del 12, nevvero...(non ricordo mai se sei una bassista
o
> un tastierista)?
Entrambi diciamo :) comunque dovrebbe essere il suono di un basso otto corde
raddoppiate come la chitarra a 12 corde.
> E pensare che li abbiam cagati in pochissimi nei '90s....una band davvero
Io li ho sempre cagati alla grande, infatti per alcuni (napra) ho la
percezione musicale distorta come malattia cronica :)
> Mendoza. Anziano Rocker, OT su ogni ennegì.
Eh! allora siamo in due :)
CR


title: King's x

text:
"Sith72" <
crov...@tin.it
> ha scritto nel messaggio
news:LuWq8.48765$pT1.1...@news1.tin.it...
> > Le armonizzazioni vocali son notevoli, come il doppio lead singering che
> > usano spesso...
>
>
> Cantano in tre da faith hope love in avanti :)
Intendi 3 linee vocali principali distinte...?
...Non ti seguo, puoi citare i pezzi..?
> Entrambi diciamo :) comunque dovrebbe essere il suono di un basso otto
corde
> raddoppiate come la chitarra a 12 corde.
L'8 corde ha due corde per nota, la superiore č accordata una ottava sopra
l'inferiore. Il 12, tre corde per nota, la centrale č quella tradizionale,
l'inferiore e la superiore identicamente accordate, un'ottava sopra.
Li producono tra gli altri Hamer (12), Warwick, B.C. Rick, Rickenbacker (8).
Non li uso, ritengo che sia indispensabile il plettro per sfruttarli
appieno, e io suono in fingerstyle.
Ci sono anche altri motivi, ma rischiamo di fare una scheda tecnica, e
allora credo saremmo OffTopic davvero.
> > Mendoza. Anziano Rocker, OT su ogni ennegě.
>
>
>
> Eh! allora siamo in due :)
...Io sono piů anziano. E piů rock. E piů OT.
M


title: King's x

author: wag

text:
"Mendoza"
> ...Io sono piů anziano. E piů rock. E piů OT.
e piů "patacca"
;-)
gianniů


title: King's x

text:
"Mendoza" <
mend...@libero.it
> ha scritto nel messaggio
news:H9Xq8.118395$1S3.3...@twister1.libero.it...
>
> "Sith72" <
crov...@tin.it
> ha scritto nel messaggio
> news:LuWq8.48765$pT1.1...@news1.tin.it...
> > > Le armonizzazioni vocali son notevoli, come il doppio lead singering
che
> > > usano spesso...
> >
> >
> > Cantano in tre da faith hope love in avanti :)
>
> Intendi 3 linee vocali principali distinte...?
> ...Non ti seguo, puoi citare i pezzi..?
Intendo i cori e l'alternanza delle voci, sono cos' simili che non ti
accorgi quando canta il chitarrista o il batterista, solo pinnick ha un tiro
soul bestiale.
> > Entrambi diciamo :) comunque dovrebbe essere il suono di un basso otto
> corde
> > raddoppiate come la chitarra a 12 corde.
>
> L'8 corde ha due corde per nota, la superiore č accordata una ottava sopra
> l'inferiore. Il 12, tre corde per nota, la centrale č quella tradizionale,
> l'inferiore e la superiore identicamente accordate, un'ottava sopra.
> Li producono tra gli altri Hamer (12), Warwick, B.C. Rick, Rickenbacker
(8).
> Non li uso, ritengo che sia indispensabile il plettro per sfruttarli
> appieno, e io suono in fingerstyle.
Maronna! 8-0! Questa non la sapevo! :) Mi sa che č lo stesso modello alla JP
JONES :)
> > > Mendoza. Anziano Rocker, OT su ogni ennegě.
> >
> >
> >
> > Eh! allora siamo in due :)
>
> ...Io sono piů anziano. E piů rock. E piů OT.
Calma con l'anziano che nemmeno io scherzo ;)
CR


title: King's x

text:
"Sith72" <
crov...@tin.it
> ha scritto nel messaggio
news:QIYq8.49226$pT1.1...@news1.tin.it...
>
> > Intendi 3 linee vocali principali distinte...?
> > ...Non ti seguo, puoi citare i pezzi..?
>
>
>
> Intendo i cori e l'alternanza delle voci, sono cos' simili che non ti
> accorgi quando canta il chitarrista o il batterista, solo pinnick ha un
tiro
> soul bestiale.
Certo, nei cori cantan tutti e tre. Io parlo di lead singering, dove mi pare
si alternino Pinnick e il guitarrista (vedi "Cigarettes").
> Maronna! 8-0! Questa non la sapevo! :) Mi sa che è lo stesso modello alla
JP
> JONES :)
Jones è (era) endorser Hamer, a me piacerebbe il Rick, ma la spaziatura
intercorda è davvero critica per chi ha la mano su Jazz Bass e Thunderbird,
come me.
> > ...Io sono più anziano. E più rock. E più OT.
>
>
>
> Calma con l'anziano che nemmeno io scherzo ;)
> CR
..Sembriamo i vecchi rinco all'ospizio...
...ops...m'è cascata la dentiera...
M


title: King's x

text:
"wag" <
w...@zombie.it
> ha scritto nel messaggio
news:eyXq8.116666$%g7.37...@twister2.libero.it...
> "Mendoza"
> > ...Io sono più anziano. E più rock. E più OT.
>
> e più "patacca"
> ;-)
Muto, giovinastro...
...ti spacco un basso in testa...
M


title: King's x

text:
> > Maronna! 8-0! Questa non la sapevo! :) Mi sa che è lo stesso modello
alla
> JP
> > JONES :)
>
> Jones è (era) endorser Hamer, a me piacerebbe il Rick, ma la spaziatura
> intercorda è davvero critica per chi ha la mano su Jazz Bass e
Thunderbird,
> come me.
Ah! che strumenti :) Fantastico!
> > > ...Io sono più anziano. E più rock. E più OT.
> >
> >
> >
> > Calma con l'anziano che nemmeno io scherzo ;)
> > CR
>
> ..Sembriamo i vecchi rinco all'ospizio...
> ...ops...m'è cascata la dentiera...
Oh! a me invece sono andate bene le analisi per il fegato! :)
CR


title: King's x

text:
"Sith72" <
crov...@tin.it
> ha scritto nel messaggio
news:vc1r8.50355$pT1.1...@news1.tin.it...
> Ah! che strumenti :) Fantastico!
Posso chiederti che strumentazione utilizzi...?
> Oh! a me invece sono andate bene le analisi per il fegato! :)
...Beato te...il poco avanzatomi dal brandy l'ho lasciato nei flame sui
NG...
M


title: King's x

text:
"Mendoza" <
mend...@libero.it
> ha scritto nel messaggio
news:KF2r8.121609$1S3.3...@twister1.libero.it...
>
> "Sith72" <
crov...@tin.it
> ha scritto nel messaggio
> news:vc1r8.50355$pT1.1...@news1.tin.it...
> > Ah! che strumenti :) Fantastico!
>
> Posso chiederti che strumentazione utilizzi...?
Beh, sono un fretlessone :) Uso un 6 corde fretless modificato tomassone
(Bologna) trb yamaha.
E ovviamente un Chapman Grand Stick 6+6
> > Oh! a me invece sono andate bene le analisi per il fegato! :)
>
> ...Beato te...il poco avanzatomi dal brandy l'ho lasciato nei flame sui
> NG...
Quando ho visto i risultati positivi ho stilato subito un calendario di
ristoranti per il prossimo intero anno :)
CR


author: Giovanni Lagnese

text:
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www.giovannilagnese.wc.net