The SUBSIM Music Thread

[Jimbuna]

[Catfish]

Originally Posted by vienna

Also fitting well for these days. Decades that i heard The Clash.. like them much better now though. Beyond the garage sound this is some real good music and melodies, and of course those texts..

And The Scorpions, from Hannover. Saw them several times live, looong ago.

[Eichhörnchen]

[August]

[Eisenwurst]

[Commander Wallace]

Originally Posted by vienna

There was a US TV series, Person Of Interest, that ended its run about a year ago and each of the main characters had a specific theme music when the action would center on that specific character; one of the characters had a theme that was very familiar to me, but I couldn't figure out where I had heard the similar tune before; now I finally have the answer, so in honor of a great TV series, and the beginning of summer (at least here in the US) -- SURF'S UP!!:






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I had never heard this before but it sounds a lot like the Ventures. The Ventures were a great band and their style and music has been copied a great deal.

[vienna]

Originally Posted by Commander Wallace

I had never heard this before but it sounds a lot like the Ventures. The Ventures were a great band and their style and music has been copied a great deal.

Almost all the surf bands came up around the same time, ca. 1958-1965, and they all seem to lay claim to being the first, but, as with many types of 'ground-level' music styles, like punk, rap, hip-hop, etc., it is difficult to pinpoint a true origin; the style seems to have grown organically, without a single influence point that can be cited in other styles, e.g., citing Chuck Berry as the starting point for R&R guitar styles. As noted before, with Ronnie & the Daytonas, surf seems to have come from everywhere; the Daytonas were out of Nashville, the Ventures were out of the Pacific Northwest, neither place known as hotbeds of actual surfing. Who copied who and what was the epicenter of surf still remain as arguable points...


Now to something less arguable, today, June 1, is the 50th anniversary of the release of The Beatles landmark classic groundbreaking album (think that covers most of the adjectives), Sgt. Pepper's Lonely Hearts Club Band. (And, yes, Steve, I know it was leaked/released about a week earlier in the UK, but the really wide release was June 1, 1967. ) To say the album was a major sensation at the time of its release and a continuing influence on all genres of music is a bit of an understatement. The album was played on just about every type of radio station, rock, Top 40, underground, etc., operating at the time. Publications, from Time to The Christian Science Monitor to highly respected musical journals all weighed in on the impact of the album. Most albums are just product; Pepper was an event. I remember you couldn't walk through San Francisco or Los Angeles without hearing some part of the album playing on radios in all sorts of places. The album just seemed to strike a chord with people of all generations and types. There really hasn't been a work of music since then with the same impact and scope and, given the current state of music, in general, it may be a long time before another work equals or exceeds Pepper...

Here's a clip of an early recording of the backing track for the opening of Pepper with The Beatles playing live:





Here is an interesting breakdown of the tracks on the opening song:





To further underscore the impact of Pepper in its time, here is a clip of a performer who was just coming up and would, in his own work, go on to be a major musical pioneer and influence, himself; he had just gotten a copy of Pepper and was so blown away by the album, he played a bit of the opening during his live performance that night, and he would often play this number in his live concerts throughout his sadly short career:







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[vienna]

@ Eichhörnchen:

Many thanx for the Al Green clip; one of my favorite performers and I've always like the sounds of his arrangements, particularly the rhythm section; can't beat that great floor tom work...

[Eichhörnchen]

[u crank]

Originally Posted by vienna

Now to something less arguable, today, June 1, is the 50th anniversary of the release of The Beatles landmark classic groundbreaking album (think that covers most of the adjectives), Sgt. Pepper's Lonely Hearts Club Band. (And, yes, Steve, I know it was leaked/released about a week earlier in the UK, but the really wide release was June 1, 1967. ) To say the album was a major sensation at the time of its release and a continuing influence on all genres of music is a bit of an understatement.

Indeed. One thing that still amazes me about this album is that two of the best songs songs recorded during those sessions were not included on the album. They were released as singles and were both big hits with extensive airplay. Had they been included on the album they would have in my opinion change the dynamics of the record and made it even more 'ground breaking'.

[vienna]

Originally Posted by u crank

Indeed. One thing that still amazes me about this album is that two of the best songs songs recorded during those sessions were not included on the album. They were released as singles and were both big hits with extensive airplay. Had they been included on the album they would have in my opinion change the dynamics of the record and made it even more 'ground breaking'.

I agree about how great the double-A-sided single was, but I really can't think of where the songs would fit into Pepper as it was finally released; The Beatles were well-known to be very specific about the order of the songs on their albums. US album releases were modified and song order, inclusion/exclusion, did not follow The Beatles original wishes, a very major reason the band went on to form Apple Records in order to assure their total control over their art. Although it was common practice not to include songs released as singles in the UK on UK albums, if The Beatles really wanted to include Strawberry Fields/Penny Lane on Pepper, they most probably would have gotten their way; they were truly the "800 pound gorillas" at Parlophone. I have always viewed Strawberry Fields/Penny Lane as a sort of encapsulation of the Lennon/McCartney musical dichotomy; Penny Lane is textbook McCartney, a sort of Tin Pan Alley, sing-song, please everybody song; Strawberry Fields was very much Lennon, impressionistic, alternately melodic and discordant, challenging and self-expressing: two sides of the same coin. McCartney's discomfort with the musical styles and directions of Lennon and Harrison are well-known and documented, but The Beatles are truly a prime example of the old saying about the whole exceeding the sum of its parts...

One thing I forgot to add about the Hendrix clip: the gig was on June 4. 1967, three days after the official release of Pepper and, in the audience, were two big Hendrix fans -- Paul McCartney and George Harrison...

It would be one of his first gigs in London. Jimi was a sweetie, a very nice guy. I remember him opening at the Saville on a Sunday night, 4 June 1967. Brian Epstein used to rent it when it was usually dark on the Sunday. Jimi opened, the curtains flew back and he came walking forward, playing 'Sgt. Pepper', and it had only been released on the Thursday so that was like the ultimate compliment. It's still obviously a shining memory for me, because I admired him so much anyway, he was so accomplished. To think that that album had meant so much to him as to actually do it by the Sunday night, three days after the release. He must have been so into it, because normally it might take a day for rehearsal and then you might wonder whether you'd put it in, but he just opened with it. It's a pretty major compliment in anyone's book. I put that down as one of the great honours of my career. I mean, I'm sure he wouldn't have thought of it as an honour, I'm sure he thought it was the other way round, but to me that was like a great boost.

Paul McCartney
Many Years From Now, Barry Miles

https://www.beatlesbible.com/1967/06...endrix-london/



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[vienna]

There's no music in this post, so sorry if I indulge a bit about something that's been on my mind lately. About week ago, I found out someone who was little-known to those outside the LA/Hollywood music scene but who was a rather prominent figure for decades within the scene passed away at the age of 93 years. His name was Mario Maglieri and he was one of the founders of The Whisky-A-Go-Go club, The Roxy Theater, and The Rainbow Bar & Grill, all on one block on the fabled Sunset Strip. Here are a few of the obituaries written about Mario:

http://www.dailymail.co.uk/news/arti...ed-age-93.html

https://www.nytimes.com/2017/05/09/a...o-go.html?_r=0

http://www.latimes.com/entertainment...505-story.html

http://www.rollingstone.com/music/ne...-at-93-w480821

As you can see from the above, Mario was known from the UK to NYC to SF and more. I had the great privilege of meeting and knowing Mario back in the mid 70s when he opened the Rainbow. I used to go to the Whisky quite often and the Roxy occasionally (they were all in about a half block of space on the same side of the street), so, when the Rainbow opened, it was only natural it would become the preferred place to eat and hang. On nights bands were playing at the Whisky or the Roxy, there would be a line waiting to get in the Rainbow. One night, a group of friends and myself were waiting in line. Mario would often come outside the Rainbow and chat with the people who were waiting; on that night he stopped and spent a few minutes just shooting the breeze with us. We were surprised when he told us we shouldn't have to wait and he proceeded to pull us out of the line and walked us up to the front door and told the doorman/bouncer to let us in at once; we thanked him and went in to enjoy a meal of the Rainbow's famous pizza...

Some nights later, I was in the Rainbow line again, alone, and Mario came out, saw me, and again insisted I go in immediately. This happened a few more times when I was either alone or with friends. He even let us into the upstairs VIP area, a coveted place in the local music scene. My friends and myself began to speculate that perhaps Mario mistakenly thought were we some sort of celebrities or band members. I really began to feel guilty about the situation and I finally approached him and said "Mario, I think you may be mistaking me and my friends for something we're not. You know, I'm nobody." Marion gave me a smile, patted me on the shoulder, and said, "Kid, everybody's somebody. You just enjoy."...

I had a lot of good times at the Rainbow and had quite a few good chats with Mario. There are so many people who are part of the fabric of the history of Rock music, who are little known outside the scene, but who are every bit the heart and soul of the music; they may not pick up a guitar, bang a drum, sing a song, or sell millions of records, but their presence means as much to the scene as those who do; Mario was very much a part of the heart and soul of the Strip and meant very much to those who were there and knew him...

I still think I'm very much of a nobody, but you, Mario, you were very, very much a somebody. Thank you and rest in a very well-deserved peace...




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[Eichhörnchen]

[Eichhörnchen]

[Eichhörnchen]

I bought "Smile" when it first appeared and caught up with the other albums as quickly as I could: