Posts by Danielle
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Joe Jackson takes this very special opportunity to plug some Blu-Ray discs. What an absolute peach of a man.
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I don't know, Rob, that's still a lot of whimsy to take on board first thing in the morning. A chocolate fish to Danielle if she can watch the whole thing through.
Do I earn the chocolate fish for actually owning the Rock n Roll Circus DVD?
The first three (and last two) minutes are totally rad. As soon as Ivor the Engine Driver turns up there is a definite Attack of the Whimsies. Still, no one could accuse Keith Moon of being concerned with technique over general badassery, which I think is a prog failing. (See: Rush.)
For utter miserableness Morrisey is unrivalled.
Morrissey is quite often hilarious, though. For every miserable lyric there's a funny one.
Admission: I recently discovered the Dead's American Beauty and think it's great.
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presumably not a Maori
Gio, I think you've been falling down on the whole Discussing Where You're Originally From thing. ;)
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Tull - one of the British great Bands.
I have seen Jethro Tull. Twice. (Ex-boyfriend, say no more.) I've heard every single album multiple times, too. I suppose if you can get past The Breathy One-Legged Rock Flute (and it does take a LOT of getting past), and you really like that sort of thing, yeah...
Here they are on TOTP, whimsying the hell OUT.
I tell you, every time he lifts his leg I die a little inside. :)
I worked at a used record-shop owned by an awesome old burnout dude who really liked prog and all manner of subsets thereof. I remember listening a lot to the Pentangle album, Basket of Light ('Light Flight', that's a pretty song), and Fairport Convention, too. I suppose if you're going to be all hey-nonny-nonny, I prefer the retro-English-folk thing to the giant 3-album-long rock suites. Break out the maypole and the morris-dancing.
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And managed to avoid disco and the Carpenters.
<quiet voice> But disco won. </quiet voice>
Karen Carpenter's voice was something else, though. She sounds so pure and warm.
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There was whimsy a-plenty along with the conceptual aspect but it never got too po-faced.
That's really true, and probably explains why I love The Kinks Are the Village Green Preservation Society, yet get stabby when I hear Yes-like things. Also: do not underestimate the power of three good musical minutes. Get in, get out, don't faff about.
I blame 'A Quick One, While He's Away': the proto- Tommy. (It's conceivable that we could partly blame Paul McCartney, too, with all that music hall vaudevillian stuff. But Paul gets enough blame for things as it is. :) )
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You're missing the point - prog IS whimsy (this is also what makes it a quintessentially English genre).
Yeah, y'see... I can't go for that. (No can do.)
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Sometimes, we'll play early Genesis, and it'll be footling along quite nicely and I'll have a 'huh, this isn't too bad, is it?' reaction... and then my general feeling of wellbeing will end when some sort of fucking *whimsy* will occur. For several minutes. That's the problem with prog. The whimsy. I forgive it in early Split Enz, just, but most of the time it's a bridge too far.
(Also, I have listened to Rick Wakeman's concept album about the Six Wives of Henry VIII. Beat *that*. I mean, I didn't enjoy it. But I listened.)
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Who keeps pornography in a room set aside for visiting children?
Yeah, that's... not good. Did he also have an 'adults are coming' alarm, or was that just a rumour?
He was a hot mess, as they say.
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My friend Dave has also posted this great breakdown of Michael's vocal technique in 'I Want You Back'. He argues that Michael's using vocal bits from Smokey, Levi Stubbs and Marvin Gaye, amongst others, to create a kind of uber-Motown synthesis which was irresistible. (I love these kinds of analyses, for I am a nerd.)