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Old 09-15-2005, 06:58 PM   #1101
Hogan11
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Let's take these SOB's out!!!!!!

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Quote:
Originally Posted by FADERPROOF
That's true, the guys that went down to Columbus for the OSU-Texas game on Saturday spent between 40-60 dollars just on gas...and thats just a 4 hour round trip.
That's what I mean....that cuts heavily into the bar money, something that's damn near essential for club/bar shows. That 40 to 60 smack cost is about what I'd be looking at since I'm about 4 hours away from Cleveland as it is.
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Old 09-15-2005, 07:00 PM   #1102
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Quote:
Originally Posted by Hogan11
That's what I mean....that cuts heavily into the bar money, something that's damn near essential for club/bar shows. That 40 to 60 smack cost is about what I'd be looking at since I'm about 4 hours away from Cleveland as it is.
It takes 4 hours to get to Cleveland from your place?

Ouch, it takes 2 hours to get to Columbus from here, costed 40 dollars to get down there and back on the 4 hour round trip, you'd probably be looking more around the 70-90 dollar range just for gas to drive down and back.
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Old 09-15-2005, 07:06 PM   #1103
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Let's take these SOB's out!!!!!!

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Originally Posted by FADERPROOF
It takes 4 hours to get to Cleveland from your place?

Ouch, it takes 2 hours to get to Columbus from here, costed 40 dollars to get down there and back on the 4 hour round trip, you'd probably be looking more around the 70-90 dollar range just for gas to drive down and back.
Yeah...about 3 1/2 to 4 hrs away....that's no big deal, just an overnight is all.
Very easy for shows/games...no big thing when I'm not getting raped at the pumps...
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Old 09-15-2005, 07:08 PM   #1104
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Been listening to a mix of Esqarial and a song from Warmen and Meads of Asphodel. if anyone likes great guitar playing in the vein of Satch and Vai only mixed with Death vocals and riffs then check out Esqarial. awesome band man, guaranteed to impress even non metal fans. songs to look for if you are a downloader.

A Pure Formality
Inheritance
Guitar Explosion
Atlantis
Sacred War

http://www.esqarial.com/index_inh_en.php


just a few to wet your appetites.
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Old 09-15-2005, 07:14 PM   #1105
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Originally Posted by Anubis_Zyklon
Been listening to a mix of Esqarial and a song from Warmen and Meads of Asphodel. if anyone likes great guitar playing in the vein of Satch and Vai only mixed with Death vocals and riffs then check out Esqarial. awesome band man, guaranteed to impress even non metal fans. songs to look for if you are a downloader.

A Pure Formality
Inheritance
Guitar Explosion
Atlantis
Sacred War

http://www.esqarial.com/index_inh_en.php


just a few to wet your appetites.
awesome........
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Old 09-15-2005, 07:41 PM   #1106
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Wow Majik. When I think you can't get any dumber, you go and just prove me wrong.

Congratulations.
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Old 09-15-2005, 07:45 PM   #1107
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Originally Posted by Anubis_Zyklon
Been listening to a mix of Esqarial and a song from Warmen and Meads of Asphodel. if anyone likes great guitar playing in the vein of Satch and Vai only mixed with Death vocals and riffs then check out Esqarial. awesome band man, guaranteed to impress even non metal fans. songs to look for if you are a downloader.

A Pure Formality
Inheritance
Guitar Explosion
Atlantis
Sacred War

http://www.esqarial.com/index_inh_en.php


just a few to wet your appetites.
speaking of metal, I got a nice mix CD which consists of:

Hatebreed
Killswitch Engage
Cradle of Filth
Wednesday 13
Coal Chamber
Slipknot
36 crazyfists
In Flames
Mastodon
Ill Nino
The Agony Scene
As I lay dying
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Old 09-20-2005, 01:52 PM   #1108
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Opeth- Orchid
Burn the Priest- S/T ( previous name for band Lamb of God )
Dark Tranquillity- The Mind's I
Fear Factory- Transgression
Louder than the Dragon- Compilation feat. Rhapsody and other power metal.
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Old 09-22-2005, 10:17 PM   #1109
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A little follow-up on something a few of us were discussing earlier...

Pat Metheney puts the WWF smackdown on Kenny G!

Pat Metheny on Kenny G:

Question:

Pat, could you tell us your opinion about Kenny G - it appears you were quoted as being less than enthusiastic about him and his music. I would say that most of the serious music listeners in the world would not find your opinion surprising or unlikely - but you were vocal about it for the first time. You are generally supportive of other musicians it seems.

Pat's Answer:

Kenny G is not a musician I really had much of an opinion about at all until recently. There was not much about the way he played that interested me one way or the other either live or on records.

I first heard him a number of years ago playing as a sideman with Jeff Lorber when they opened a concert for my band. My impression was that he was someone who had spent a fair amount of time listening to the more pop oriented sax players of that time, like Grover Washington or David Sanborn, but was not really an advanced player, even in that style. He had major rhythmic problems and his harmonic and melodic vocabulary was extremely limited, mostly to pentatonic based and blues-lick derived patterns, and he basically exhibited only a rudimentary understanding of how to function as a professional soloist in an ensemble - Lorber was basically playing him off the bandstand in terms of actual music.

But he did show a knack for connecting to the basest impulses of the large crowd by deploying his two or three most effective licks (holding long notes and playing fast runs - never mind that there were lots of harmonic clams in them) at the key moments to elicit a powerful crowd reaction (over and over again). The other main thing I noticed was that he also, as he does to this day, played horribly out of tune - consistently sharp.

Of course, I am aware of what he has played since, the success it has had, and the controversy that has surrounded him among musicians and serious listeners. This controversy seems to be largely fueled by the fact that he sells an enormous amount of records while not being anywhere near a really great player in relation to the standards that have been set on his instrument over the past sixty or seventy years. And honestly, there is no small amount of envy involved from musicians who see one of their fellow players doing so well financially, especially when so many of them who are far superior as improvisors and musicians in general have trouble just making a living. There must be hundreds, if not thousands of sax players around the world who are simply better improvising musicians than Kenny G on his chosen instruments. It would really surprise me if even he disagreed with that statement.

Having said that, it has gotten me to thinking lately why so many jazz musicians (myself included, given the right "bait" of a question, as I will explain later) and audiences have gone so far as to say that what he is playing is not even jazz at all. Stepping back for a minute, if we examine the way he plays, especially if one can remove the actual improvising from the often mundane background environment that it is delivered in, we see that his saxophone style is in fact clearly in the tradition of the kind of playing that most reasonably objective listeners WOULD normally quantify as being jazz. It's just that as jazz or even as music in a general sense, with these standards in mind, it is simply not up to the level of playing that we historically associate with professional improvising musicians. So, lately I have been advocating that we go ahead and just include it under the word jazz - since pretty much of the rest of the world OUTSIDE of the jazz community does anyway - and let the chips fall where they may.

And after all, why he should be judged by any other standard, why he should be exempt from that that all other serious musicians on his instrument are judged by if they attempt to use their abilities in an improvisational context playing with a rhythm section as he does? He SHOULD be compared to John Coltrane or Wayne Shorter, for instance, on his abilities (or lack thereof) to play the soprano saxophone and his success (or lack thereof) at finding a way to deploy that instrument in an ensemble in order to accurately gauge his abilities and put them in the context of his instrument's legacy and potential.

As a composer of even eighth note based music, he SHOULD be compared to Herbie Hancock, Horace Silver or even Grover Washington. Suffice it to say, on all above counts, at this point in his development, he wouldn't fare well.

But, like I said at the top, this relatively benign view was all "until recently".

Not long ago, Kenny G put out a recording where he overdubbed himself on top of a 30+ year old Louis Armstrong record, the track "What a Wonderful World". With this single move, Kenny G became one of the few people on earth I can say that I really can't use at all - as a man, for his incredible arrogance to even consider such a thing, and as a musician, for presuming to share the stage with the single most important figure in our music.

This type of musical necrophilia - the technique of overdubbing on the preexisting tracks of already dead performers - was weird when Natalie Cole did it with her dad on "Unforgettable" a few years ago, but it was her dad. When Tony Bennett did it with Billie Holiday it was bizarre, but we are talking about two of the greatest singers of the 20th century who were on roughly the same level of artistic accomplishment. When Larry Coryell presumed to overdub himself on top of a Wes Montgomery track, I lost a lot of the respect that I ever had for him - and I have to seriously question the fact that I did have respect for someone who could turn out to have such unbelievably bad taste and be that disrespectful to one of my personal heroes.

But when Kenny G decided that it was appropriate for him to defile the music of the man who is probably the greatest jazz musician that has ever lived by spewing his lame-ass, jive, pseudo bluesy, out-of-tune, noodling, wimped out, ****ed up playing all over one of the great Louis's tracks (even one of his lesser ones), he did something that I would not have imagined possible. He, in one move, through his unbelievably pretentious and calloused musical decision to embark on this most cynical of musical paths, **** all over the graves of all the musicians past and present who have risked their lives by going out there on the road for years and years developing their own music inspired by the standards of grace that Louis Armstrong brought to every single note he played over an amazing lifetime as a musician. By disrespecting Louis, his legacy and by default, everyone who has ever tried to do something positive with improvised music and what it can be, Kenny G has created a new low point in modern culture - something that we all should be totally embarrassed about - and afraid of. We ignore this, "let it slide", at our own peril.

His callous disregard for the larger issues of what this crass gesture implies is exacerbated by the fact that the only reason he possibly have for doing something this inherently wrong (on both human and musical terms) was for the record sales and the money it would bring.

Since that record came out - in protest, as insignificant as it may be, I encourage everyone to boycott Kenny G recordings, concerts and anything he is associated with. If asked about Kenny G, I will diss him and his music with the same passion that is in evidence in this little essay.

Normally, I feel that musicians all have a hard enough time, regardless of their level, just trying to play good and don't really benefit from public criticism, particularly from their fellow players. but, this is different.

There ARE some things that are sacred - and amongst any musician that has ever attempted to address jazz at even the most basic of levels, Louis Armstrong and his music is hallowed ground. To ignore this trespass is to agree that NOTHING any musician has attempted to do with their life in music has any intrinsic value - and I refuse to do that. (I am also amazed that there HASN'T already been an outcry against this among music critics - where ARE they on this??!?!?!?!, magazines, etc.). Everything I said here is exactly the same as what I would say to Gorelick if I ever saw him in person. and if I ever DO see him anywhere, at any function - he WILL get a piece of my mind and (maybe a guitar wrapped around his head.)

http://www.jazzoasis.com/methenyonkennyg.htm
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Old 09-22-2005, 10:32 PM   #1110
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Old 09-22-2005, 10:55 PM   #1111
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Originally Posted by Anubis_Zyklon
Opeth- Orchid
Burn the Priest- S/T ( previous name for band Lamb of God )
Dark Tranquillity- The Mind's I
Fear Factory- Transgression
Louder than the Dragon- Compilation feat. Rhapsody and other power metal.
The singing style between Burn the priest is drastic from Lamb of God.

New lead singer or new style?
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Old 09-23-2005, 07:47 AM   #1112
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That Kenny G thing happened either my freshman or sophomore year of college at UNC. One of my buddies photocopied hundreds of copies of it and handed it out to everyone he could in the music school for a week.
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Old 09-24-2005, 12:24 AM   #1113
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That Kenny G thing happened either my freshman or sophomore year of college at UNC. One of my buddies photocopied hundreds of copies of it and handed it out to everyone he could in the music school for a week.


That's rich!
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Old 09-24-2005, 07:53 AM   #1114
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Originally Posted by L.A. BRONCOS FAN
A little follow-up on something a few of us were discussing earlier...

Pat Metheney puts the WWF smackdown on Kenny G!

Pat Metheny on Kenny G:

Question:

Pat, could you tell us your opinion about Kenny G - it appears you were quoted as being less than enthusiastic about him and his music. I would say that most of the serious music listeners in the world would not find your opinion surprising or unlikely - but you were vocal about it for the first time. You are generally supportive of other musicians it seems.

Pat's Answer:

Kenny G is not a musician I really had much of an opinion about at all until recently. There was not much about the way he played that interested me one way or the other either live or on records.

I first heard him a number of years ago playing as a sideman with Jeff Lorber when they opened a concert for my band. My impression was that he was someone who had spent a fair amount of time listening to the more pop oriented sax players of that time, like Grover Washington or David Sanborn, but was not really an advanced player, even in that style. He had major rhythmic problems and his harmonic and melodic vocabulary was extremely limited, mostly to pentatonic based and blues-lick derived patterns, and he basically exhibited only a rudimentary understanding of how to function as a professional soloist in an ensemble - Lorber was basically playing him off the bandstand in terms of actual music.

But he did show a knack for connecting to the basest impulses of the large crowd by deploying his two or three most effective licks (holding long notes and playing fast runs - never mind that there were lots of harmonic clams in them) at the key moments to elicit a powerful crowd reaction (over and over again). The other main thing I noticed was that he also, as he does to this day, played horribly out of tune - consistently sharp.

Of course, I am aware of what he has played since, the success it has had, and the controversy that has surrounded him among musicians and serious listeners. This controversy seems to be largely fueled by the fact that he sells an enormous amount of records while not being anywhere near a really great player in relation to the standards that have been set on his instrument over the past sixty or seventy years. And honestly, there is no small amount of envy involved from musicians who see one of their fellow players doing so well financially, especially when so many of them who are far superior as improvisors and musicians in general have trouble just making a living. There must be hundreds, if not thousands of sax players around the world who are simply better improvising musicians than Kenny G on his chosen instruments. It would really surprise me if even he disagreed with that statement.

Having said that, it has gotten me to thinking lately why so many jazz musicians (myself included, given the right "bait" of a question, as I will explain later) and audiences have gone so far as to say that what he is playing is not even jazz at all. Stepping back for a minute, if we examine the way he plays, especially if one can remove the actual improvising from the often mundane background environment that it is delivered in, we see that his saxophone style is in fact clearly in the tradition of the kind of playing that most reasonably objective listeners WOULD normally quantify as being jazz. It's just that as jazz or even as music in a general sense, with these standards in mind, it is simply not up to the level of playing that we historically associate with professional improvising musicians. So, lately I have been advocating that we go ahead and just include it under the word jazz - since pretty much of the rest of the world OUTSIDE of the jazz community does anyway - and let the chips fall where they may.

And after all, why he should be judged by any other standard, why he should be exempt from that that all other serious musicians on his instrument are judged by if they attempt to use their abilities in an improvisational context playing with a rhythm section as he does? He SHOULD be compared to John Coltrane or Wayne Shorter, for instance, on his abilities (or lack thereof) to play the soprano saxophone and his success (or lack thereof) at finding a way to deploy that instrument in an ensemble in order to accurately gauge his abilities and put them in the context of his instrument's legacy and potential.

As a composer of even eighth note based music, he SHOULD be compared to Herbie Hancork, Horace Silver or even Grover Washington. Suffice it to say, on all above counts, at this point in his development, he wouldn't fare well.

But, like I said at the top, this relatively benign view was all "until recently".

Not long ago, Kenny G put out a recording where he overdubbed himself on top of a 30+ year old Louis Armstrong record, the track "What a Wonderful World". With this single move, Kenny G became one of the few people on earth I can say that I really can't use at all - as a man, for his incredible arrogance to even consider such a thing, and as a musician, for presuming to share the stage with the single most important figure in our music.

This type of musical necrophilia - the technique of overdubbing on the preexisting tracks of already dead performers - was weird when Natalie Cole did it with her dad on "Unforgettable" a few years ago, but it was her dad. When Tony Bennett did it with Billie Holiday it was bizarre, but we are talking about two of the greatest singers of the 20th century who were on roughly the same level of artistic accomplishment. When Larry Coryell presumed to overdub himself on top of a Wes Montgomery track, I lost a lot of the respect that I ever had for him - and I have to seriously question the fact that I did have respect for someone who could turn out to have such unbelievably bad taste and be that disrespectful to one of my personal heroes.

But when Kenny G decided that it was appropriate for him to defile the music of the man who is probably the greatest jazz musician that has ever lived by spewing his lame-ass, jive, pseudo bluesy, out-of-tune, noodling, wimped out, ****ed up playing all over one of the great Louis's tracks (even one of his lesser ones), he did something that I would not have imagined possible. He, in one move, through his unbelievably pretentious and calloused musical decision to embark on this most cynical of musical paths, **** all over the graves of all the musicians past and present who have risked their lives by going out there on the road for years and years developing their own music inspired by the standards of grace that Louis Armstrong brought to every single note he played over an amazing lifetime as a musician. By disrespecting Louis, his legacy and by default, everyone who has ever tried to do something positive with improvised music and what it can be, Kenny G has created a new low point in modern culture - something that we all should be totally embarrassed about - and afraid of. We ignore this, "let it slide", at our own peril.

His callous disregard for the larger issues of what this crass gesture implies is exacerbated by the fact that the only reason he possibly have for doing something this inherently wrong (on both human and musical terms) was for the record sales and the money it would bring.

Since that record came out - in protest, as insignificant as it may be, I encourage everyone to boycott Kenny G recordings, concerts and anything he is associated with. If asked about Kenny G, I will diss him and his music with the same passion that is in evidence in this little essay.

Normally, I feel that musicians all have a hard enough time, regardless of their level, just trying to play good and don't really benefit from public criticism, particularly from their fellow players. but, this is different.

There ARE some things that are sacred - and amongst any musician that has ever attempted to address jazz at even the most basic of levels, Louis Armstrong and his music is hallowed ground. To ignore this trespass is to agree that NOTHING any musician has attempted to do with their life in music has any intrinsic value - and I refuse to do that. (I am also amazed that there HASN'T already been an outcry against this among music critics - where ARE they on this??!?!?!?!, magazines, etc.). Everything I said here is exactly the same as what I would say to Gorelick if I ever saw him in person. and if I ever DO see him anywhere, at any function - he WILL get a piece of my mind and (maybe a guitar wrapped around his head.)

http://www.jazzoasis.com/methenyonkennyg.htm
Oh, man, was that a great article. I'm reminded of the musical desecrations performed on various blues standards by odious, fat, balding, white cretins like Bruce Willis and Jim Belushi.

Where to even begin with a douchebag like Belushi? First, his brother's bloated corpse was still warm when Jimbo slithered onto the cast of Saturday Night Live and into all the roles in which his brother would have been featured. "Look, its just like John would have done it, except not funny".

Oozing his way into that part of his brother's career was unseemly, but forgivable, I mean this fat bastard has to eat, right? Unfortunately, not having an original idea in his empty head, Jimbo decides to resurrect the Blues Brothers Band with Dan Ackroyd. Piss on Ackroyd for being a enabler, too. I know his movie career isn't what it used to be, but give me a break. The original Blues Brothers concept with John Belushi was sent up purely for laughs and it was effective in that regard. This was sickening.

Much to my horror, John's no talent sibling decided to take the ball and run with it. He now occasionally headlines(!) at the House of Blues in Chicago, fronting bands full of real musicians, who dwarf him in talent, but don't have idiotic shows like According To Jim to narcotize the masses.

I think that is my biggest complaint. The incredibly disgusting reserviors of ego it requires to take the stage as the front man and focus of attention, when you're by far the least talented person on stage. Amazing and deplorable.

Bruce Willis' forays into the blues are only marginally less offensive, probably because he has an actual movie caeer to fall back upon. This gives him no pass whatsoever and it gladdens my heart to know some fuzzy cheeked punk like Ashton Kutcher is giving Demi the high hard one in Brucie's old bed.

Apparently the thrill of performing overwhelms all sense of propriety and good taste. Robert Klein has been mining the neurotic Jew from New York comedy vein for about three decades. This has brought him a fair degree of success, especially considering his act is far from original in content or execution.

One of Klein's funniest bits would be when he would whip out a harmonica and start bleating out a repetitive rhythm, while keeping time with his foot. He would stomp in time to the music in exaggerated fashion for about a half a minute. Just when the audience would start to wonder what he's doing, he would start singing, "I can't stop my leg! I can't stop my leg!"

Truly a hilarious bit and the crowd ate it up every time. It had the feel of a tribute to the art form, much like the Original Jake and Elwood Blues of John Belushi and pre-sellout Dan Ackroyd. Unfortunately it got good to him.

A good 15-20 years after I first saw Klein do that bit, I happened to turn on HBO, (or Showtime), and saw Robert Klein on stage. So, I decide to catch a few minutes, maybe see him do his old "I can't stop my leg" routine. Well, he did the routine alright. Except this time, he didn't just whip a harmonica out of his pocket. Instead, the stage opened up and a ten piece band and three beautiful backup singers appeared onstage. All of them black, (hey, gotta be authentic, right?), all of them far more talented musically than the preening knucklehead who assembled them for this project. Klein proceeds to run through a 15 minute set and completely lose my respect in the process. I used to laugh at that routine, now I would like to slap that harmonica out of his hand and some sense into his arrogant head.

Pricks like Willis, Klein and even a sleazy dead-brother-career-stealing dickload like Jim Belushi enjoyed commercial success before their grotesque forays into an art form they clearly do not appreciate. I would like to strap these a-holes down and make them listen to seminal recordings from John Lee Hooker, Son House, Muddy Waters and a thousand unknown blues men until they understand what they're doing is disgusting and deplorable. Money and vanity are poor excuses.

Last edited by -Slap-; 09-24-2005 at 07:57 AM..
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Old 09-24-2005, 03:31 PM   #1115
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Wow, haven't been around this topic in a while... In my player now:

Boyz N Da Hood - Self Titled
Mack 10 - Hustla's Handbook
Warren G - In The Mid-Nite Hour
DJ Kay Slay Presents: Papoose & Memphis Bleek: Do Or Die Mix Tape
Three 6 Mafia - The Most Known Unknowns
Tony Yayo - Thoughts Of A Predicate Felon
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Old 09-24-2005, 03:34 PM   #1116
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Old 09-24-2005, 05:09 PM   #1117
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I think that is my biggest complaint. The incredibly disgusting reserviors of ego it requires to take the stage as the front man and focus of attention, when you're by far the least talented person on stage. Amazing and deplorable.
That's today's popular music biz in a nutshell, unfortunately.
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Old 09-24-2005, 05:34 PM   #1118
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The worst part is that usually the worse the front man, the better the backing band too. Gotta sit through some crap front men to see great musicians.
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Old 09-24-2005, 08:11 PM   #1119
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The singing style between Burn the priest is drastic from Lamb of God.

New lead singer or new style?

new style, they did have one different member in the band but the singer was the same.
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Old 09-25-2005, 09:38 AM   #1120
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Originally Posted by Nuggets4
The worst part is that usually the worse the front man, the better the backing band too. Gotta sit through some crap front men to see great musicians.
That's why bands that I'm into must have a good frontman in order for me to really get into it.

Even the real hard metal that I'll listen to has to have more substance from the lead singer other than screaming at the top of his lungs with words that you cannot even make out.
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Old 09-28-2005, 09:26 PM   #1121
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Oh, man, was that a great article. I'm reminded of the musical desecrations performed on various blues standards by odious, fat, balding, white cretins like Bruce Willis and Jim Belushi.

Where to even begin with a douchebag like Belushi? First, his brother's bloated corpse was still warm when Jimbo slithered onto the cast of Saturday Night Live and into all the roles in which his brother would have been featured. "Look, its just like John would have done it, except not funny".

Oozing his way into that part of his brother's career was unseemly, but forgivable, I mean this fat bastard has to eat, right? Unfortunately, not having an original idea in his empty head, Jimbo decides to resurrect the Blues Brothers Band with Dan Ackroyd. Piss on Ackroyd for being a enabler, too. I know his movie career isn't what it used to be, but give me a break. The original Blues Brothers concept with John Belushi was sent up purely for laughs and it was effective in that regard. This was sickening.

Much to my horror, John's no talent sibling decided to take the ball and run with it. He now occasionally headlines(!) at the House of Blues in Chicago, fronting bands full of real musicians, who dwarf him in talent, but don't have idiotic shows like According To Jim to narcotize the masses.

I think that is my biggest complaint. The incredibly disgusting reserviors of ego it requires to take the stage as the front man and focus of attention, when you're by far the least talented person on stage. Amazing and deplorable.

Bruce Willis' forays into the blues are only marginally less offensive, probably because he has an actual movie caeer to fall back upon. This gives him no pass whatsoever and it gladdens my heart to know some fuzzy cheeked punk like Ashton Kutcher is giving Demi the high hard one in Brucie's old bed.

Apparently the thrill of performing overwhelms all sense of propriety and good taste. Robert Klein has been mining the neurotic Jew from New York comedy vein for about three decades. This has brought him a fair degree of success, especially considering his act is far from original in content or execution.

One of Klein's funniest bits would be when he would whip out a harmonica and start bleating out a repetitive rhythm, while keeping time with his foot. He would stomp in time to the music in exaggerated fashion for about a half a minute. Just when the audience would start to wonder what he's doing, he would start singing, "I can't stop my leg! I can't stop my leg!"

Truly a hilarious bit and the crowd ate it up every time. It had the feel of a tribute to the art form, much like the Original Jake and Elwood Blues of John Belushi and pre-sellout Dan Ackroyd. Unfortunately it got good to him.

A good 15-20 years after I first saw Klein do that bit, I happened to turn on HBO, (or Showtime), and saw Robert Klein on stage. So, I decide to catch a few minutes, maybe see him do his old "I can't stop my leg" routine. Well, he did the routine alright. Except this time, he didn't just whip a harmonica out of his pocket. Instead, the stage opened up and a ten piece band and three beautiful backup singers appeared onstage. All of them black, (hey, gotta be authentic, right?), all of them far more talented musically than the preening knucklehead who assembled them for this project. Klein proceeds to run through a 15 minute set and completely lose my respect in the process. I used to laugh at that routine, now I would like to slap that harmonica out of his hand and some sense into his arrogant head.

Pricks like Willis, Klein and even a sleazy dead-brother-career-stealing dickload like Jim Belushi enjoyed commercial success before their grotesque forays into an art form they clearly do not appreciate. I would like to strap these a-holes down and make them listen to seminal recordings from John Lee Hooker, Son House, Muddy Waters and a thousand unknown blues men until they understand what they're doing is disgusting and deplorable. Money and vanity are poor excuses.
Slap nails it.

I was never a Blues Bros. fan when it came to the music (I did like the first movie however). The renditions of classic soul and blues songs left much to be desired and the longer the bit went on (for three agonizing albums I think) the more it seemed to be a big ripoff of the music rather than a tribute to it.

I won't even waste time weighing in on the 2000 movie.
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Old 09-29-2005, 07:03 AM   #1122
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I won't even waste time weighing in on the 2000 movie.
That movie never happened.

Never I tell you.
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Old 09-29-2005, 08:29 AM   #1123
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Old 09-29-2005, 05:18 PM   #1124
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Slap nails it.

I was never a Blues Bros. fan when it came to the music (I did like the first movie however). The renditions of classic soul and blues songs left much to be desired and the longer the bit went on (for three agonizing albums I think) the more it seemed to be a big ripoff of the music rather than a tribute to it.
Oh, good lord, there were three albums?

I retract what I said earlier. Ackroyd was a money grubbing weasel throughout. I give the dead Belushi a pass because he was riding the horse and incapable of ethical decision making.
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Old 09-29-2005, 05:46 PM   #1125
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Oh, good lord, there were three albums?

I retract what I said earlier. Ackroyd was a money grubbing weasel throughout. I give the dead Belushi a pass because he was riding the horse and incapable of ethical decision making.
Yes, including the soundtrack...there were three records with Belushi (you're excused for not remembering the putrid Made In America).

There are a few live things that came out after John's passing featuring what you were talking about earlier in the thread.....I've never seen nor heard them and I really have no intention to.
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