Der Paisley-Underground und "Neo-Psychedelia" der achtziger Jahre

Startseite Foren Über Bands, Solokünstler und Genres Eine Frage des Stils Der Paisley-Underground und "Neo-Psychedelia" der achtziger Jahre

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  • #1717  | PERMALINK

    norbert

    Registriert seit: 08.07.2002

    Beiträge: 2,185

    Perfekter als die Vorbilder aus den sechziger Jahren oder müder Abklatsch?

    Wie ist Eure Meinung zu Bands wie:

    The Rain Parade
    Plasticland
    The Three O‘ Clock
    The Vietnam Veterans
    The Things
    The Vipers
    Game Theory

    u.s.w. :zauber:

    --

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    #553935  | PERMALINK

    peterjoshua

    Registriert seit: 16.07.2002

    Beiträge: 802

    kenne ich alle nicht.

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    rock 'n' roll..., deal with it!
    #553937  | PERMALINK

    norbert

    Registriert seit: 08.07.2002

    Beiträge: 2,185

    Der Platz für die Überschrift hat offensichtlich nicht ausgereicht.

    Es sollte heißen:

    Der Paisley-Underground und „Neo-Psychedelia“ der achtziger Jahre

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    Blog: http://noirberts-artige-fotos.com Fotoalbum: Reggaekonzerte im Berlin der frühen 80er Jahre http://forum.rollingstone.de/album.php?albumid=755
    #553939  | PERMALINK

    beatlebum

    Registriert seit: 11.07.2002

    Beiträge: 8,108

    Rain Parade haben für mich drei geniale Platten gemacht. Galten bei Kritikern als Anwärter auf the next big thing, waren dafür aber wohl zu gut. Bessere Beatles/Byrds/Syd Barret angehauchte Musik hat und wird es wohl wahrscheinlich nicht mehr geben. Revolver trifft Fifth Dimension und die frühen Floyd Singles. Absolut hypnotized. Nach Auflösung dieser Genius Band lebte ihre Musik weiter in den Bands Opal aus denen später Mazzy Star wurde und Viva Saturn.

    Plasticland haben auch sehr schöne Musik gemacht. Kenne zwar nicht alles, aber Wonder Wonderful Wonderland.

    Ebenfalls unter diese Überschrift gehören die famosen Green On Red, besonders mit ihrem Frühwerk Gravity Talks, die Long Ryders sowie das Dream Syndicate. Einen Querschnitt dieser Szene, die bewies dass die 80iger nicht nur Schrott waren, stellt die Platte Rainy Day dar. Hier trafen sich Musiker von Rain Parade, Dream Syndicate und den Bangles zu einem trance-psychedelia Ausflug ohne gleichen.

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    Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.
    #553941  | PERMALINK

    copperhead

    Registriert seit: 08.07.2002

    Beiträge: 33,901

    „vietnam veterans“ : klasse band (starke covers : „i walked with a zombie“, „days of pearly spencer“, „hey gyp“).

    plasticland sind auch zu empfehlen.

    von den restlichen kenn´ ich zu wenig, umeinen kommentar abzugeben.

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    BAD TASTE IS TIMELESS    
    #553943  | PERMALINK

    beatlebum

    Registriert seit: 11.07.2002

    Beiträge: 8,108

    Nachtrag zu Rainy Day. Auch Three o`Clock waren dort vertreten. Den Gesang der Band fand ich etwas gewöhnungsbedürftig.
    Wem die Beachwood Sparks gefallen sei Rain Parade wärmstens ans Herz gelegt.

    --

    Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.
    #553945  | PERMALINK

    Anonym
    Inaktiv

    Registriert seit: 01.01.1970

    Beiträge: 0

    Perfekter als die Vorbilder aus den sechziger Jahren oder müder Abklatsch?

    Wie ist Eure Meinung zu Bands wie:

    The Rain Parade
    Plasticland
    The Three O‘ Clock
    The Vietnam Veterans
    The Things
    The Vipers
    Game Theory

    vietnam veterans aus frankreich waren sehr gut! sehr authentisch..mit ihren teilweise recht langen psychedelic stücken.
    Plasticland: Die songs , die ich kenne..waren sehr interessant…
    Vipers: Feine band aus der nähe von new york..hatte mal die otta the nest..war ein wenig schwach produziert..
    Three o clock: hab eine platte..die GRAUSAM ist.. vermillion…biilligster pop..überproduziert..schrecklich..wenn sie einer geschenkt haben will: selbstabholer in HH.
    Game theory:enn ich zu wenig von
    Rain Parade: hab 2 alben..findich nicht soooo toll. Dream syndicate sind ERHEBLICH besser!!! finde die songs einfach zu langweilig..vor allem die crashing dream.

    Ansonsten: Miracle workers, thee fourgiven, mod fun, chesterfield kings, fuzztones, fleshtones, the cynics, slickee boys, droogs, the nomads, watermelon men, the daisy chain, cheepskates,stommachmouths, eleonar rigby, the creeps, subtones, tommyknockers, naz nomad & the nightmares ( =The Damned), Dukes of stratosphear (=XTC), the headless horsemen, the chevelles, the stems,butterfly collectors..und viele mehr..

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    #553947  | PERMALINK

    otis
    Moderator

    Registriert seit: 08.07.2002

    Beiträge: 22,557

    der beatlebum hat oben sehr kenntnisreich und recht zutreffend die einzelnen sachen charakterisiert. dem ist nichts hinzuzufügen. ich tendiere je nach gemütslage zwischen dream syndicate und rain parade, wobei ich abe rletzteren auch den vorzug gebe. freue mich, dass der bum auch die rainy day genannt hat, die ich leider verhökert habe, wie so vieles, aber um die scheibe tuts mir leid. kendra smith + susanna hoffs, näh war dat schön! so locker und flockig und leicht psychedelisch. bum, wir müssen da mal einen kleinen…..

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    FAVOURITES
    #553949  | PERMALINK

    copperhead

    Registriert seit: 08.07.2002

    Beiträge: 33,901

    @ otis :

    hab´die rainy day lp und will sie loswerden !

    interesse ?

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    BAD TASTE IS TIMELESS    
    #553951  | PERMALINK

    otis
    Moderator

    Registriert seit: 08.07.2002

    Beiträge: 22,557

    ja klar will ich sie! habe dir gerade gepnt!

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    FAVOURITES
    #553953  | PERMALINK

    fred-schluckebier

    Registriert seit: 08.07.2002

    Beiträge: 2,722

    Nicht unbedingt mein Spezialgebiet und vor allem seit über 10 Jahren nicht mehr gehört, aber nichtsdestotrotz schöne und interessante Musik. Pflichte den anderen Beiträgen so ziemlich bei. :sauf:

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    Shot a man in Reno just to watch him die...
    #553955  | PERMALINK

    beatlebum

    Registriert seit: 11.07.2002

    Beiträge: 8,108

    Der folgende Artikel zum Thema ist zwar etwas lang und in englischer Sprache aber trotzdem sehr lesenswert:

    TELL ME WHEN IT’S OVER:
    The Paisley Underground Reconsidered
    by John L. Micek
    PopMatters Music Critic

    If you ask Steve Wynn for one of his favorite memories from his days
    playing on the Los Angeles club scene back in the early eighties, you
    might be surprised by his answer.
    It’s not sharing the bill with such legendary combos as The Rain Parade
    or Green on Red, or touring the nation, or even recording an album in
    1982 that’s come to be viewed as a seminal document of the time (The Days
    of Wine and Roses — more on which later).
    No, when Wynn, the former Dream Syndicate leader (now a solo artist),
    thinks about the brief flowering of West Coast bands that became known as
    The Paisley underground, he thinks about a day trip to Catalina Island
    off the coast of Southern California.
    The year is 1982. It’s a glorious Fourth of July weekend, and members of
    the Dream Syndicate, Rain Parade, Salvation Army and the Bangles (before
    the big hair and „Walk Like an Egyptian“) are all in attendance. It is a
    day of sun, surf, barbecue and camaraderie.
    „It was the defining moment,“ Wynn recalled not long ago. „We were all
    just happy together. We were all into the moment.“
    So why should one memory, now 20 years gone, still hold any importance?
    Why should the activities of a semi-obscure group of bands still hold
    sway two decades after they first took up their instruments and committed
    songs to tape?
    The answer is twofold.
    First, Wynn’s story should resonate with anyone who even vaguely
    remembers their early 20s: that magical time when your friends are your
    family, when every sensation is the first one, and (if you’re a musician
    just starting out) rock is the food and drink that gets you through the
    day.
    „It was a surprisingly supportive scene,“ said Steven Roback, who
    co-founded the Rain Parade with brother David. „Part of it was
    preestablished friendships between David and I and the Hoffs family. We
    grew up together, lived two blocks from each other. In fact, I performed
    in seventh grade musical with Sue [Susannah Hoffs of the Bangles] as the
    lead.“
    The camaraderie between the bands was at least as important as the music
    they were making. For a period of several years, the Paisley Underground
    groups crossed paths on tour, shared the same booking agents, and worked
    on each other’s projects.
    The epicenter for the scene was the two-story, Los Angeles apartment kept
    by desert rockers Green on Red. The band’s barbecues provided a place to
    schmooze, drink and swap musical ideas. It is a place recalled with great
    fondness by the Paisley Underground’s various members.
    Rain Parade guitarist Matt Piucci puts it this way: „We met the Dream
    Syndicate through a (Green on Red) barbecue,“ Piucci recalled. „They had
    this place up in Hollywood. From there, we met the [Bangles‘] Peterson
    sisters — Ooh yeah! They were very sweet girls.“
    The bands that made up the Paisley Underground provide a direct link
    between the early American underground and the modern alternative rock
    and alt.country that was to follow a decade later.
    „It was a marriage of classic rock and punk,“ explained Pat Thomas,
    co-owner of San Francisco indie Innerstate Records and the Underground’s
    unofficial historian. „It was a precursor to SubPop and the whole
    alternative country movement. You’ve got bands like the Long Ryders.
    Fast-forward 10 years, and everyone thinks that Son Volt is God’s gift to
    country rock.“
    Indeed, the harsh guitar noise of the Dream Syndicate echoed later in the
    Pixies and Nirvana (Kurt Cobain once cited the Syndicate as an influence)
    and the twangy guitars of the Long Ryders and Green on Red later provided
    a blueprint for alt.country pioneers Uncle Tupelo.
    „Uncle Tupelo started as we were unraveling,“ former Long Ryders bassist
    Tom Stevens said. „We played St. Louis once, and I don’t know if (Uncle
    Tupelo leaders Jeff Tweedy and Jay Farrar) were out in the audience
    taking notes or what.“
    Although they disagree about exactly when they were officially christened
    (listening to the various musicians tell stories about the era is not
    unlike playing a child’s game of telephone), Wynn and the others do agree
    that it was former Salvation Army leader Michael Quercio who gave the
    movement its name.
    Quercio — who later went on to form the Three O’Clock and Jupiter Affect
    – — jokingly dropped the Paisley Underground reference during an
    interview. It stuck. And again, depending on whom you ask, the communal
    moniker was either a godsend or an albatross.
    „We viewed it as joke,“ Stevens said. „We didn’t like to be pigeonholed
    on the one hand. On the other, if people were writing about us and
    spelling our names right, it was okay.“
    Wynn is slightly more charitable.
    „I don’t think [Quercio] thought it would stick like it did“, he said.
    „As dopey as it was . . . it was helpful to have a banner over it. It
    didn’t really hurt anyone.“
    Those involved in the scene also agree on something else: the umbrella
    label failed to take into account the diverse bands that made up the
    Paisley Underground scene.
    On the one hand, there was the desert rock of Green on Red and the
    country-punk of the Long Ryders. On the other was the dreamy pop of the
    Rain Parade and the Salvation Army/3 O’clock. The Dream Syndicate,
    meanwhile, blended psychedelia with the anger of punk and the mystique of
    the Velvet Underground.
    „These bands in L.A. had extremely diverse musical personalities. Some of
    them were extremely hard rocking, and that’s why the Paisley Underground
    is truly a misnomer,“ Roback said. „The whole thing was a spontaneous
    resynthesis of many influences, which happens periodically, colored by
    the personalities of the people and the times. Rain Parade was very much
    a recasting of our punk interests in more musical terms, inspired by our
    fascination with music history.“
    Indeed, if you spend any time talking with its constituents, it rapidly
    becomes apparent that the Paisley Underground’s members are music junkies
    in the truest sense of the word. Wynn and Piucci, in particular, are
    repositories of vast stores of rock history. Combine that knowledge with
    a punk D.I.Y ethic, and the scene explodes.
    „We all came out of punk,“ Wynn said. „We had a huge musical awakening in
    1977, and it just blew everything else away. In 1975, you couldn’t do
    that. But by 1982, it was second nature.“
    That melding of styles also lends the music a certain timelessness that
    is lacking in other records of the period. Indeed, the Dream Syndicate’s
    The Days of Wine and Roses or Rain Parade’s stellar debut, Emergency
    Third Rail Power Trip, still sound refreshingly modern and could easily
    occupy the same indie airspace as the Strokes or the Anniversary.
    „I think it’s because they wrote good songs,“ Chicago Sun-Times rock
    critic Jim DeRogatis said of the scene’s staying power. „It’s
    illuminating to compare the ’60s revivals of the era — the West Coast
    Paisley Underground and the East Coast garage scene. The bands from the
    former stay with the fans much more than the latter because they wrote
    strong material that stood the test of time, while the latter were
    largely devoted to covers and style (and fashion) over songwriting.“
    But by 1985, the scene had disintegrated amid personnel changes, disputes
    over songwriting, and the old demon: record deals gone bad.
    „Unfortunately, they were all united by the fact that they all took turns
    for the worse when they were signed to major labels,“ DeRogatis wrote in
    his seminal work on the scene, Kaleidoscope Eyes.
    „In the days before Nirvana, they proved there was money to be made if
    the bands were left to their own devices,“ DeRogatis wrote. „It’s
    possible that corporate meddling was to blame. The bands may have lost
    heart as, with the sole exception of R.E.M., American guitar music was
    unable to achieve both critical and commercial success.“
    For a brief, flashing moment, it appeared that the American underground
    had conquered rock. And through the prism of two decades, the members of
    the Paisley Underground remain fiercely proud of their legacy.
    „The reason the L.A. scene has endured is because the music was really
    good,“ Roback said. „I mean things did get a little absurd when these . .
    . A&R people started showing up at gigs and throwing money around. But
    these people were all very talented, and regardless of the label, capable
    of great things. For about three or four years, all of those bands were
    on a serious roll, producing great music, which was all different . . .
    The rest is mainly hype.“
    But the artistic achievement was important enough for Innerstate’s Thomas
    (whose own New York band, the Rochester-based Absolute Gray, provided the
    Underground with its East Coast branch office) to spend several fruitless
    months attempting to compile a still-unreleased Paisley Underground boxed
    set.
    He began compiling the set in 1997 at the behest of executives at
    Rykodisc in England. „I got a phone call out of the blue“, he recalled.
    „And they were looking for the phone numbers for some of the key members.
    I was working at a record store and the owner was good friends with the
    head of A&R at Ryko and he convinced him why I should have the job.
    Finally, they flew someone out to meet with me, and by 1998, I had the
    job.“
    What followed is a textbook example of the whims of the record business.
    After spending six months compiling photographs, tracking down old
    B-sides and compiling live cuts, the rug was suddenly pulled out from
    under him.
    „Ryko got bought out by Island, and they fired the big bosses,“ he said.
    „Pretty much every project got canceled. Every few months, someone from
    Ryko will call and ask what’s up, but I’d be surprised if it ever sees
    the light of day.“ He’s briefly toyed with releasing the set on his own
    label, but the costs of such a project would make it prohibitive. „To do
    it all top-notch would cost about $30,000,“ he said. „If we were to do it
    ourselves, it would cost about $10,000. What needs to happen is that
    someone needs to take the bull by the horns. I’ll get excited when and if
    that happens.“
    Several hundred miles north of Thomas‘ Oakland offices that has already
    begun to happen.
    Founded little more than a year ago, the Portland, Oregon-based indie,
    the Paisley Pop Label, has dedicated itself to keeping the spirit of the
    Underground alive. In its brief existence, the label has released demos
    and outtakes by former Windbreaker s Bobby Sutliff and Tim Lee, an
    Absolute Grey live set, and, more recently, a collection by former True
    West members Gavin Blair and Richard McGrath called The Foolkillers.
    Label owner Jim Huie (himself a frequent collaborator with former True
    West guitarist Russ Tolman) also moderates a Paisley Underground mailing
    list. It is, he says, his way of keeping the faith.
    „If the Paisley Underground built upon the ’60s, then it’s certainly
    possible that a younger crowd might take inspiration from the Dream
    Syndicate and the Long Ryders.“
    For his part, Wynn said he’s glad that the Paisley Underground’s legacy
    has endured and picked up new fans.
    „It’s attached to a lot of strong feelings from people“, he said. „I
    don’t know how many are people who were there at the time and how many
    are 25-year-old kids who are discovering it for the first time . . . I
    think it still sounds kind of non-formulaic in ways that other music does
    not. It still does stand out.“
     30 April 2002

    --

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    #553957  | PERMALINK

    beatlebum

    Registriert seit: 11.07.2002

    Beiträge: 8,108

    http://launch.groups.yahoo.com/group/stevewynn/messages

    You may have to sign in.

    Message: 1
    Date: Fri, 9 Dec 2005 17:08:01 -0000
    From: „Clive Jones“
    Subject: New Paisley Underground Book Published

    Some of you on the Wynn list may be interested in a new book on the Paisley
    Underground I have just published. The price is £12 plus postage with
    payment by Paypal accepted – please e-mail me privately if you would like a
    copy. This is basically a collection of archive articles from magazines such
    as „Bucketful of Brains“ and „The BOB“ with new introductions to each band.
    There are 280 pages with 8 full page black and white photographs – page size
    is 9.25 x 6.25 inches. The section on the Dream Syndciate is the largest in
    the book, taking up 50 pages. Details are listed below.

    Regards

    Clive (clivej at btinternet.com)

    TELL ME WHEN IT’S OVER:

    NOTES FROM THE PAISLEY UNDERGROUND

    Bands featured include: Dream Syndicate, Rain Parade, Long Ryders, Green On
    Red, Three O’Clock, True West, 28th Day, Wednesday Week, Mazzy Star, Clay
    Allison and Opal.

    Authors featured in Tell Me When It’s Over include: Pat Thomas,

    Nigel Cross, Jud Cost, Fred Mills, Jon Storey and Paul Ricketts.

    FOREWARD

    It Was 20 Years Ago Today – Pat Thomas

    DREAM SYNDICATE

    Introduction – Pat Thomas

    Under the Spell of the Dream Syndicate – Nigel Cross

    The Dennis Duck Davey the Worm Interview – Nigel Cross

    Dream On: Steve Wynn Gets Down & Dirty – Pat Thomas

    The Dream Syndicate at Roskilde – Pat Thomas

    The Dream Syndicate Are Back – Gurbir „Bob“ Dhillon

    Days with the Syndicate – Pat Thomas

    California Dreamin‘ – Karen Schoemer

    Cutlerly Examined – Pat Thomas

    Steve Wynn & the Sex Industry – Paul Ricketts & Clive Jones

    THREE O’CLOCK

    Introduction – Jim Huie

    The Three O’Clock Story – Jay Schwartz

    It’s Only As Real As Real – Dave Swanson

    TRUE WEST

    Introduction – Greg Potter

    Blasting Out Of California – Colin Hill

    A Simple Twist of Fate – Pat Thomas

    LONG RYDERS

    Introduction – Rick Gershon

    The US Invasion Starts Here – Nigel Cross

    GREEN ON RED

    Introduction – Fred Mills

    Gravity Talks – Nigel Cross

    Angst & Surreal Menace – Fred Mills

    It’s a Long Way from Mel’s Diner – Fred Mills

    No Free Lunch – Fred Mills

    The Prophet’s Tale – Jon Storey

    WEDNESDAY WEEK

    Introduction – Paul Ricketts

    Sweetness on the Edge – Joe Beine

    The Calico Underground – Paul Ricketts

    28TH DAY

    Introduction – Clive Jones

    Barbara’s Angle – Paul Ricketts

    New Beginnings – Barbara Manning

    Chico’s Femme Fatale – Pat Thomas

    Playing as Therapy – Kurt Wolff

    Water under the Bridge – Clive Jones

    Brothers & Sisters – Clive Jones

    Junkyard Angel – Jud Cost

    RAIN PARADE

    Introduction – Nigel Cross

    Emergency Third Rail Power Trip – Nigel Cross

    Still Eight Miles High – Nigel Cross

    Grains of Sand & Words of Wisdom – Nigel Cross

    The Architect’s Tale – Jud Cost

    CLAY ALLISON / OPAL / GOING HOME / MAZZY STAR

    Introduction – Steve Lines

    The Birth of Clay Allison – Nigel Cross

    Clay Allison : Tantric Pop for Now People – Nigel Cross

    Opal : A Way of Life – Pat Thomas

    Opal : The Trance Thing – Pat Thomas

    Starsailing with Opal – Jon Storey

    Going Home : Hope & Sylvia – Nigel Cross

    Mazzy Star : A Sense of Detachment – Paul Ricketts

    Mazzy Star : At the Dentist – Jud Cost

    POSTSCRIPT

    Recommended Discography – Pat Thomas & Clive Jones

    --

    Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.
    #553959  | PERMALINK

    Anonym
    Inaktiv

    Registriert seit: 01.01.1970

    Beiträge: 0

    4./5.2.06 in Rom: Festival mit u.a. Paul Collins Beat/The Avengers/ White Flag

    21.-24.6.06 in Rotterdam: Festival mit u.a. Chesterfield Kings, Lyres, The Thanes, The Remains, Phantom Surfers

    --

    #553961  | PERMALINK

    beatlebum

    Registriert seit: 11.07.2002

    Beiträge: 8,108

    First Night reviews

    The Times January 12, 2006

    Pop

    Green on Red

    David Sinclair at the Astoria, WC2

    Never the most reliable team of performers in their day, Green on Red
    have nevertheless turned out to be men of their word. Having failed to
    play a show at the Astoria in May 1987 – the point at which the singer
    and guitarist Dan Stuart was declared clinically insane and the group
    fell apart – the group finally returned to honour the booking on Tuesday
    night. They even played the same set of songs that they were planning to
    feature 19 years ago.
    With so much water having passed under the bridge, Stuart felt obliged
    to preface the show with a lengthy and often comical monologue at the
    end of which he apologised for „all this reunion s***“. This was nice,
    but unnecessary. For if ever there was a band that always conducted its
    affairs with a cavalier lack of concern for tactical or business
    considerations, while performing music that came straight from the
    heart, it was Green on Red.

    The band, which originated in Tucson, Arizona, pioneered a heroic brand
    of Americana music before the term was even coined. They released a
    succession of brilliant but commercially neglected albums in the 1980s,
    which fused elements of country, blues and rock, while blazing an
    erratic trail around the concert halls of Europe. Their shows could
    either be a display of transcendental genius or a very earthbound
    shambles.

    The core line-up of Stuart, keyboard player Chris Cacavas, bass player
    Dan Waterson and guitarist Chuck Prophet was joined by Jim Bogios,
    replacing the original drummer Alex MacNicol, who died last year. Older,
    wiser and somewhat more wizened they may be, but the years rolled away
    as they embarked on an opening sequence which included the perennial
    drinking song Hair of the Dog. Stuart, all gruff snarl and gargoyle
    eyes, spat out the lyric, while Cacavas leavened the mood with a jaunty
    honky tonk piano part.

    Stuart was an amiable frontman but it was Prophet who stole the show
    with a succession of elegant, dramatic and tightly scripted guitar
    solos, most notably during the slow, bluesy Jimmy Boy and the soaring
    finale of Sea of Cortez.

    While the danger and unpredictability that was part of their original
    appeal had given way to a more seasoned professionalism, it meant that
    the songs actually sounded better than ever. And when Stuart sang the
    familiar chorus line, „Time ain’t nothing when you’re young“ from his
    new perspective, there was a genuine surge of affection for these
    unlikely survivors from another era. Let’s hope it is not so long before
    their next outing.

    http://entertainment.timesonline.co.uk/article/0,,14936-1980585,00.html

    --

    Captain Beefheart to audience: Is everyone feeling all right? Audience: Yeahhhhh!!! awright...!!! Captain Beefheart: That's not a soulful question, that's a medical question. It's too hot in here.
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