Posts by Dr. John

The problem with this remix is that it misses the whole point of the original arrangement. The dramatic shift with the drum entry is set up by having the minutes preceding being quiet and understated, with only the subtle drum machine providing the rhythm. Adding a backbeat earlier really takes away from this thrilling transition.

Quote from DecomposingMan

If you haven't heard them already, check out III, V & VII.

Thanks, this collection has V and VII, but not III, so I will explore III.

Although acquainted with the radio hits, I always wanted to listen to the original albums. This was partly because I know that some songs had been edited for radio and I wanted to hear the full-length versions. I also wanted to hear them in the original context. Plus I figured there would be deeper cuts I might appreciate. This collection was a nice introduction, with a number of early albums.

A few impressions:

The first two albums in particular are really solid and contain some pretty experimental moments, e.g., Free Form Guitar. Lots of great music overall on these albums. I always though Kath was a great guitarist and vocalist, but am even more impressed. Seraphime does some really awesome drumming. Cetera is a really good bassist, which was not what I was expecting.

Overall, lots for me to appreciate. If there are any Chicago fans here, you can recommend any other early albums I should explore.

I appreciate that TITTL (never knew that acronym) is overplayed and tends to overshadow his other work. There's plenty of other stuff to appreciate on the early albums, where he usually gets a few lead vocals. Take the Devil is a good example.

Quote from FeelItComing

Take It To The Limit became something of a millstone around his neck.

I have read that he was reluctant to perform it live because he was uncertain about hitting the astonishing high notes at the end. Glenn Frey apparently would pressure him to performing it, leading to tension between them. If you watch the performance above, he is absolutely flawless through the outro.

I know Randy Meisner has had health problems for years, so this is unfortunately not a surprise. He was a crucial part of The Eagles sound for the first phase of their career. His high harmonies were part of the sound, but he also sang lead many times. Midnight Flyer is one of my favourites. He was particularly fantastic on Take It To the Limit.

I was first transfixed by Troy from The Lion and the Cobra and then continued to be impressed by the rawness of emotion in her work throughout. Although Am I Not Your Girl didn't work for me, there were always songs even on later albums that had some magic. That rawness of emotion was also a part of her struggles in her life and I hope not a factor in her death at such an early age.

Quote from federico

From Lucinda Williams I've been listening to her latest album that just came out and I like it a lot...¡¡Stories From a Rock 'n' Roll Heart...!!!

I'll have to check out her new album.

I've recently been listening to Rhiannon Giddens. She is a great vocalist and multi-instrumentalist, who is mainly known for her traditional and roots music but has branched stylistically in all kinds of directions.

Soon they'll be AI-ing everyone into parts. It will be weird and very interesting.

Thanks for the detailed posts. I love Car Wheels, but its the only album I've explored. Which album would you recommend I explore next?

There is also a version of Freddie Mercury doing The Musical Box:

I think the vast majority of the humongous crowds for the IT tour came for the hits on IT and the previous album, so the setlist had to focus on those. I think including the full ITQE was quite a deep cut, even more than Apocalypse onward, so I was very happy with that.

Great song, though I definitely prefer the live versions, even with Phil's screw up of the lyrics. The live version is more driving and energetic. I do wonder why Tony omits one of the chords in the section leading up to "Outside the cage..." (compare live versions with the studio version). Probably just forgot?

My favourite was the ITC medley from 3SL, mainly because the transitions really worked so perfectly and the playing was obviously superb. Although I loved may of the components of the other medleys, they tended to have clunky transitions that sounded kinda forced. The one exception is the Dance On a Volcano to TLLDOB in the Old Medley on the WCD tour, which I thought was very smooth.

I really like his song "She's Always a WOMAD". And the shaved head and goatee look suits him well.

Went to see Robert Plant and Alison Krauss last night in Toronto. We had great seats, 8 rows from the stage. I really like both of their albums and the overall style of their collaboration. Their voices blend really well and Krauss really watches Plant closely to follow his improvisations and deviations. She also has some songs to showcase herself and plays some great fiddle. Plant is in fine form vocally, staying mostly understated with a few break-loose moments that are spine-chilling. The band is excellent, with a fantastic drummer, moody guitars, and a second great fiddler and multi-instrumentalist. A few Zeppelin classics get some interesting reworkings, including a slower Battle of Evermore, a brooding When the Levee Breaks, and a jiving Rock 'n' Roll.

I really like this track. Great vocal from Phil and angry, biting lyrics.

I do find it interesting that Carpet Crawlers was at least considered. As Backdrifter notes, if there is a time to revisit any Genesis material, it is either now or soon into the future. Who knows how much more performing he will be doing.

The story of a false imprisonment ruining someone's life is very compelling and does happen, often due to botched investigations and biases on the part of the investigators. The issue that makes me a little uncomfortable is basing the story around a false accusation of rape/assault; while that can happen, the far bigger problem are the rapes/assaults that don't lead to a just imprisonment.

Anyway, I'm curious if the story was based around any real-life case that might have happened then or that the band had read about.