gator2310

Definitely generational - which means preferences are largely a matter of a pre-state or conditioning. I think the idea of measuring all things is akin to the classical drive for perfection. Essentially human and never ending. I agree completely with the idea that "subjectivity" is a frontier for which there needs to be ways of finding data - if for no other reason than to give us continual perspective on what we accept as "objective". Coming from a music education background, I'm constantly reminded that the ways we explain the fundamentals and rudiments of music - what is err

Its an old thread and I missed it - but I get it straight away... Anyway having been a big Yes fan in the 70's - (I got all of their records until 'Drama') - but didnt hear RH until I heard OK Computer in 2003. Instant association for me - obviously not in terms of the way the band sounds - but in the way the music is often cleverly constructed with cyclic sections in different time sigs, and particularly how both bands rely heavily at times on Romantic classical harmony and orchestration (dynamic and textural variations) and arent afraid to lift whole phrases and sequences from t

Given that there is a generation now (thanks primarily to ripping, Youtube, Spotify and other streaming/sharing sources) that has a problem with paying for music at all - or at least buying to "own" - I think the cost of new vinyl is pretty much what you'd expect in a market driven industry. Distributors/retailers have to balance the cost of production with pricing vinyl out of the market - and vinyl sales have exceeded CD's in Australia this year - so I guess they have got it more or less right. In the 1980's (pre CD) records were quite expensive to my memory but infinitely preferable

Wally Badarou....

Good to see Herbie there - but Herbie's more interesting explorations with the synth (the ones that set him up for "Headhunters") were really with "Mwandishi" , the self titled album, "Crossings" and Sextant. Herbie also credits Patrick Gleeson in his own book for programming, support and also playing during the later touring years with Mwandishi. Herbie went to one of the best in the field to advance as a synth player and Gleeson himself was a pioneer of the instrument(s) - who really deserves a mention alongside Herbie at least.

Beautiful guitar mate - love this anitque sunburst/rosewood combo - good luck with the sale!

Yeah thats my experience too -cables lasted around 6 months....

Awesome.

Exactly. The "being indentifiable to them" is the key bit. What kind of things make it identifiable? Is it all about "the sound"? And identifiable to who?

I am always curious (as a semi retired muso myself) , how people identify musicians as having a style or belonging in a genre(s). Do you wait for the music media, or marketing blurb to tell you where the music/musician belongs? Do you make decisions on the style of music based on a first impression or after some extensive listening? What makes the "style" of a musician obvious? Are there elements of style you view as being objective or black and white? Which musicians seem to defy categories and why? Or perhaps you dont care! 😆 This question came ab

Great article - but sad news. He has battled with chronic fatigue and various niggles- and now this.

I saw Purple in Christchurch - Bolin looked terrible - white as a sheet. But there were a couple of ripper solos. Not as organised as Blackmore but I loved the contour of his solos - always inventive and unpredictable - the tone buzzy and penetrating. (I think he loved a few lines too.....). About 2 or 3 years later I picked up a copy of Billy Cobham's 'Spectrum' which I think is Bolin at his best especially on the tune Quadrant with Jan Hammer and Lee Sklar.

Interesting - I can hear a definite quack on the 'improvised' part of the Burn solo. Must have been some voicing from elsewhere...he used to use the preamp out of an old tape machine form memory which I think he used to darken the sound of the bridge p/u?

Yeah it definitely got brighter. He seemed to make his way from the front pickup to the back pickup with a few stops in between over the years. But he was one of the few who could get away with an o/d middle pickup or split coil sound in a solo (Burn). I heard them with Tommy Bolan in 1975?? - also pretty icepick through the forehead tone...great player though - jeepers.

Yep. He was an improviser. Even the stock solos had variations and were capable of going in another direction. Ritchie Blackmore was the same. They backed themselves live to do something special - and occasionally fell flat. Some of those iconic solos on record were so well conceived it would have been really difficult to go to the next level by doing something different - and yet both of those guys did just that. I think the spirit of the great blues players (and Hendrix!) was still alive in that generation of players.