misc stuff

[Kevin Winn <kwinn@steptech.com>]

>>>
From: Jacksonjim@aol.com
My opinion: if there had been no WHO'S NEXT, Yes's FRAGILE and
CLOSE TO THE EDGE wouldn't look much if anything different from what we   
have
now.).  I have always thought that the keyboards on WHO'S NEXT served   
purely
supportive roles, but were suggestive of possibilities.  That others   
picked
up on these possibilities is of no question, but I doubt that Rick   
Wakeman
(or Keith Emerson, for that matter) was really driven by what Pete   
Townshend
was doing with keyboards.
<<<

I almost agree with Jim; certainly that Fragile and CTTE wouldn't have   
been any different if WN hadn't been done, AND that guys like Wakeman and   
Emerson weren't driven by PT.  I think it was mainly because they were   
busy being pioneers of their own segment of Rock (which was a completely   
different arm than the Who).  I disagree with the part about the   
keyboards being purely supportive on Who's Next.  Baba and WGFA rely on   
the synth lines for the presentation of the chord structures, and WGFA   
would be an entirely different song without the long synth break.  The   
synth on WN was demonstrative to the world of Rock that the synth had a   
place in the NON-Yes/ELP genre.  In that way, PT was a true pioneer and   
visionary.

>>>
From: Jacksonjim@aol.com
I always found Keith's "wash" of cymbals to be something I had to get   
used
to.  It was undeniably an aspect of his style.  Interestingly, Keith   
tended
to downplay the wash in the studio after WHO'S NEXT; did bandmates get   
tired
of it?  I always wondered if he played the wash to cover up him technical
limitations--primarily his less than optimal time keeping.  I am glad   
that he
didn't do a lot of the wash on WHO'S NEXT, QUAD, AND WBN.
<<<

I always attributed the fact that Keith was always mixed down so low to   
this style of drumming (the "wash" of cymbals).  The fact is that it's   
really *loud.*  I've played with drummers who use this technique (both as   
substitute for  actual talent and as a legitimate tool), and it does tend   
to wear on the ears.

>>>
From: Jason Hare <hare@acsu.Buffalo.EDU>
I understand, no problem, but here's a question- how do the Rolling
Stones get away with such extensive publicity on MTV?
<<<

They sell more cosmetics that any other working band (notice I didn't say   
"living" band, as it is well known that at least one member of the Stones   
has been dead for over ten years, despite his insistence otherwise)...
:)


>>>
>Just Issued: White Fangs Greatest Hits!
>Here is a list of the titles on the album:
>1. Big Black Scalpers
>2. I Am Wants Some Pussy
>3. You Idiot
>4. I'll Say Whatever I Want
>5. You Moron
>6. Hope This Helps
>7. Get Off The Fucking Stage
>8. You suck
>9. You Moronic Idiot
>10. $1.99...(Hope It Doesn't Break You)
>Looks like it's going to sell big. Look for new mixes on several titles.
>Will there be a summer tour?
<<<

My questions:
1. Who's doing the tour booklet?
2. Is that the mono version of "You Suck" or the 3:47 stereo version that   
was only released on the German label?
3. When oh WHEN will we ever see a decent recording of "hMMM?"  We should   
get on the horn to the record company and demand it.  It is our RIGHT!
:)


>>>
From: JimboWHO@aol.com
>Polinsky:
>2.  Do you (and this is obviously an IYHO) think any rock drummers ever
>approached the level at which Buddy Rich and other jazz guys played?
>Also, why does Ian Paice get mentioned so rarely as one of rock's better   

>drummers?
Yep, Steve Gadd, Neil Peart, Steve Smith, John Bonham (a right foot equal   
to
two arms). Even people like Kenny Aronoff, Jim Keltner, Simon Philips and
Charlie Watts (very underrated) are giants. Too many to mention. Oh yeah,
throw Moonie also.
<<<

And let's not forget Bill Bruford in that short list.  Despite the fact   
that he hated Moon, NObody plays a snare like Bill, as well as the rest   
of the kit.

OK,
KLW