Doc, how long can Dalglish last if current performance and circumstance prevails?
The chest beating over a very minor cup win surely doesn't sit well with a proud fan base
The sour look on his face, the grim and surly wordings that fall from his saggy mouth, the general smell of decay around the club...
He's got to be put out of his misery soon, no?
I reckon an fa cup win could be a very worrying prospect.
Re: Liverpool, from what I've seen of them this season they look like a good side. They've been unlucky in some ways, hitting the post a lot etc. I don't quite understand how they've under performed in the league, maybe they're still trying to get over the mindset of the last few seasons of dispare.
I don't think KingKenny is a particularly good manager, but I'm think managers should be given more time to prove themselves.
Peaches Geldof shoplifter fetish?
Or catwoman leather jumpsuit vibes?
Trained in the arts by swarthy Scotish tax dodger in a castle.
Or
Trained in hurling wooden balls at heads by some rascist carny at the fair ground.
DocMcCoy"Go and laugh in your own country!" 5,913 Posts
skel said:
Doc, how long can Dalglish last if current performance and circumstance prevails?
The chest beating over a very minor cup win surely doesn't sit well with a proud fan base
The sour look on his face, the grim and surly wordings that fall from his saggy mouth, the general smell of decay around the club...
He's got to be put out of his misery soon, no?
I reckon an fa cup win could be a very worrying prospect.
He's always said he'd never allow himself to be sacked because he'd know when to leave. I think winning the FA Cup would allow him the opportunity for a dignified withdrawal. My worry when he accepted the job on a permanent basis was that he'd taint his legendary status amongst the fans, and I think even the most generous and/or one-eyed amongst our number would concede that we're still no nearer a serious title challenge than we've been since the last time he was in charge.
I disagree that there's a "smell of decay around the club", but I'd concede that neither Dalglish nor the players he's brought in (for the most part) represent the antidote to the mid-table mediocrity we seem set for. Difficult to see who'd replace him, as I'm not certain who's available right now (apart from AVB and Ranieri). I've thought for a while that it'd appeal to Mourinho's ego to be the first coach to win the Prem with two different clubs, and it'd certainly be a challenge to try and achieve that as LFC's manager, but I'm not convinced he's ready to give up on Real Madrid just yet.
I don't think it'd be a good thing if Dalglish was still there at the start of next season.
I will trade in "smell of decay" for "whiff of stagnation"
::demsmiley::
Right, where's Beattie?
I want to arrange a chudlib delivery.
See if he can make some offbeat yet strangely charming jazzy dance beats out of a mid-80s german arena-rock library.
I'd side with the Di Anno IM too. Whilst I think Rainbow's best tunes were slightly better ("Since You've Been Gone" is almost-perfect Rock for me), you do get the impression that everything is there to serve Blackmore's ego.
Steve Harris is a good role-model for anyone playing Rock bass (with Lynott) and also a good writer. Pity he's a Hammers fan eh Steve? They should have bought the club when they were doing well for deyselves c1983.
Lynott was a six string slinger until he realised he couldn't have an angle on that, what with jimi h being so ??ber. So he caught the rudiments of bass , found it complementary to being a vocalist and was on his way.
I've always thought his playing was a bit functional, and I reckon the more pyrotechnic lines on Lizzy records we're probably played by Moore, Robbi and Snowy. Talmbout Massacre, Chinatown, Opium Trail and them.
But he was a supreme song crafter, and Harris often cited that when paying homage,
Harris is a better player IMHO, but as a crafter of songs is in a different place, very much aligned to rifferama with song structure as an added luxury. Well, that's what the audience wanted in the NWOBHM period.
I love their debut's talented-amateur feel, you can hear the clunks and joins.
Their polished pro sound leaves me cold.
Blackmore.... A rough beast on DP tracks, the playing on Child In Time is incredible.
By the time of Since and Surrender he had become precise, melodic, minimalist and someone I can listen to for a long time.
British rock.... So, so good!
DocMcCoy"Go and laugh in your own country!" 5,913 Posts
I think you're being a little unfair to Philo there, skel. As someone who also plays bass (although not to any serious level) and who also converted down (up?) from guitar, I consider a key aspect of the instrument's function lies in being, well...functional. There's nothing wrong with being more than that, of course, but since most rock music demands that the bassist acts as the anchor around which the other musicians do their thing, it becomes as much about what you don't play as what you do, as well as when and where you make those choices. Lynott was actually great at this, and had a fine melodic ear as a player too (Cowboy Song and Dancin' In The Moonlight being classic examples). When you get a mo, take a listen to the Eric Bell configuration (ideally Vagabonds Of The Western World or Shades Of A Blue Orphanage), when the band was a lot freer with slightly less formal song structures and more space in the sound. Lynott would sit right on top of the drums as if he'd been sewn to 'em, leaving plenty of room for Bell to stretch out, but filling just enough of the space that the listener would regularly have to remind themselves they were listening to a trio. To digress for a moment, this is something people often forget about Lizzy; prior to Gorham and Robbo and before Philo's Van Morrison fixation kicked in, they were already a fucking great band - by the time of Jailbreak and Johnny The Fox, they were pretty much unassailable.
Speaking of Robbo, I have a couple of mates who knew him separately at different times in his life, and from what they've told me, it was enough of a job getting him to play his own shit, never mind anyone else's. I can quite believe that when Philo had reached a corresponding state of disrepair, the slack might need to have been taken up by others, but having actually seen Lizzy at the height of their powers I've never had cause to question whether or not it's him doing the do on their best records.
I think you're being a little unfair to Philo there, skel. As someone who also plays bass (although not to any serious level) and who also converted down (up?) from guitar, I consider a key aspect of the instrument's function lies in being, well...functional. There's nothing wrong with being more than that, of course, but since most rock music demands that the bassist acts as the anchor around which the other musicians do their thing, it becomes as much about what you don't play as what you do, as well as when and where you make those choices. Lynott was actually great at this, and had a fine melodic ear as a player too (Cowboy Song and Dancin' In The Moonlight being classic examples). When you get a mo, take a listen to the Eric Bell configuration (ideally Vagabonds Of The Western World or Shades Of A Blue Orphanage), when the band was a lot freer with slightly less formal song structures and more space in the sound. Lynott would sit right on top of the drums as if he'd been sewn to 'em, leaving plenty of room for Bell to stretch out, but filling just enough of the space that the listener would regularly have to remind themselves they were listening to a trio. To digress for a moment, this is something people often forget about Lizzy; prior to Gorham and Robbo and before Philo's Van Morrison fixation kicked in, they were already a fucking great band - by the time of Jailbreak and Johnny The Fox, they were pretty much unassailable.
Speaking of Robbo, I have a couple of mates who knew him separately at different times in his life, and from what they've told me, it was enough of a job getting him to play his own shit, never mind anyone else's. I can quite believe that when Philo had reached a corresponding state of disrepair, the slack might need to have been taken up by others, but having actually seen Lizzy at the height of their powers I've never had cause to question whether or not it's him doing the do on their best records.
I get where you come from on this, but pre-Nightlife Lizzy is (for me) always tainted with an image of Lynott playing at what he thinks the public want, rather than what he wants to give. I can (and do) listen to pre-Nightlife, and hear beauty and massive potential in 'Honesty', ''Clontarf Castle' and 'Look/Wind Blew In' amongst others. But the rest is hippy psych by numbers, probably much like Quo were before they donned the denim. Like a musical version of Walliams. Hague et al. Denial, fooling no-one, albeit pointing to a trophy blonde on the arm.
I have seen Lizzy close to heyday (Black Rose tour around 78/79) and thought Lynott as bassist distinctly underwhelming.
And I've trawled through every concert boot in the above pic, without being wowed by any bass business. But I don't listen to Lizzy for virtuosity, much more for the songs.
Being a guitarist myself, am only too aware how relatively simple it is to lock down the underpinning of a track with perfunctory root bass notes, add on a few simple (but superficially impressive) bells and whistles and folks be all swooning.
In fact, the technical proficiency of Harris is a level up from my skill set, whereas with Lynott I could play that shit in a trib band tonight.
It goes without saying (I hope) that Lynott for me remains the greatest songwriter off all fuckin' time!
And the run from Nightlife through Black Rose is unsurpassed, and unsurpassable in music, like forever.
See threads passim.
Lynott also mastered playing and singing along, or the other way around depending on what you're listening for. That shit is hard. You have to be able to do both of them first, (I am out on probably both counts) and then do them at the same time.
Then you've got your microphone poses. Lemmy falls at this hurdle (fixed mic), then Mark King (chewing gum penalty), Geddy Lee's charisma runs out about now, leaving only Phil and, er... Rick James in the ace bass, clock the face, race.
Still a gaping hole in my singles collection where the New Day ep should be tho'!
The Robbo shout is good, the books and anecdotes back up all you said, I love him as a ragamuffin urchinesque and shadowy figure who turned up, played the gig and didn't give a fuck for the consequences or the art.
It's kind of baffling how he found the dedication to master that lead sound, and Gorham has always stated that Robbo always worked out those twin harmonies for him instinctively and instantly. A genius, possibly.
Who recalls his awful tie-up with Jimmy Bain, Wild Horses?
Publicity at the time had Robbo sporting the grey jackets, silver-flecked, rolled up to near the elbow. My heart sank at that.
The album and single came out, and what a pile of synthed-up rock-lite shite it was too.
I'm none too pleased at Gorham hawking the carcass around now either.
Support slots with arena rockers not fit to thread strings on the old Lizzy... GTFOOHWTBS
For shaaaaaame
DocMcCoy"Go and laugh in your own country!" 5,913 Posts
J i m s t e r said:
Lynott also mastered playing and singing along, or the other way around depending on what you're listening for. That shit is hard. You have to be able to do both of them first, (I am out on probably both counts) and then do them at the same time.
Then you've got your microphone poses. Lemmy falls at this hurdle (fixed mic), then Mark King (chewing gum penalty), Geddy Lee's charisma runs out about now, leaving only Phil and, er... Rick James in the ace bass, clock the face, race.
Er, Jack Bruce..? Good, expressive singer, amaaaaaaazing bass-player.
I forgot about Jack Bruce. To be honest, I don't favour his voice, so beyond the staple Cream stuff and "Things We Like", I admit I've never give him the fair crack others might.
What, you think these Austrian house basslines are going to write themselves?
Beggs weren't the frontman. Nor will he ever have the credibility to be. Not after that hair.
Lowe - not primarily a bassist IIRC.
Quattro - srs, would she give Phil a run for his money?
Is that the sound of Quattro credentials coming by Wizard balls? (I met her when she was doing "Annie Get Your Gun" in Manc. (The Musical, not Squeeze-R). She was very nice and back in the 70s I deffo would if I wasn't pre-pubescent)
Comments
The chest beating over a very minor cup win surely doesn't sit well with a proud fan base
The sour look on his face, the grim and surly wordings that fall from his saggy mouth, the general smell of decay around the club...
He's got to be put out of his misery soon, no?
I reckon an fa cup win could be a very worrying prospect.
Or catwoman leather jumpsuit vibes?
I don't think KingKenny is a particularly good manager, but I'm think managers should be given more time to prove themselves.
Or
Trained in hurling wooden balls at heads by some rascist carny at the fair ground.
He's always said he'd never allow himself to be sacked because he'd know when to leave. I think winning the FA Cup would allow him the opportunity for a dignified withdrawal. My worry when he accepted the job on a permanent basis was that he'd taint his legendary status amongst the fans, and I think even the most generous and/or one-eyed amongst our number would concede that we're still no nearer a serious title challenge than we've been since the last time he was in charge.
I disagree that there's a "smell of decay around the club", but I'd concede that neither Dalglish nor the players he's brought in (for the most part) represent the antidote to the mid-table mediocrity we seem set for. Difficult to see who'd replace him, as I'm not certain who's available right now (apart from AVB and Ranieri). I've thought for a while that it'd appeal to Mourinho's ego to be the first coach to win the Prem with two different clubs, and it'd certainly be a challenge to try and achieve that as LFC's manager, but I'm not convinced he's ready to give up on Real Madrid just yet.
I don't think it'd be a good thing if Dalglish was still there at the start of next season.
I will trade in "smell of decay" for "whiff of stagnation"
::demsmiley::
Right, where's Beattie?
I want to arrange a chudlib delivery.
See if he can make some offbeat yet strangely charming jazzy dance beats out of a mid-80s german arena-rock library.
MSG? You diss the flying V, you diss yourself etc...
Cue: only you can rawk me rawk me, come on back now, do it agay-in
Sadly, they do not make them like that anymo'
Rainbow [Graham-Bonnet-era] OR Iron Maiden [pre-Dickinson]?
Di Anno era IM is my shit though.
The debut album is so good.
Everything that followed...not so much.
Jim, how does Harris rate as a rawk bassist?
Fingers vs plectrum
Innovative lines
Steve Harris is a good role-model for anyone playing Rock bass (with Lynott) and also a good writer. Pity he's a Hammers fan eh Steve? They should have bought the club when they were doing well for deyselves c1983.
I've always thought his playing was a bit functional, and I reckon the more pyrotechnic lines on Lizzy records we're probably played by Moore, Robbi and Snowy. Talmbout Massacre, Chinatown, Opium Trail and them.
But he was a supreme song crafter, and Harris often cited that when paying homage,
Harris is a better player IMHO, but as a crafter of songs is in a different place, very much aligned to rifferama with song structure as an added luxury. Well, that's what the audience wanted in the NWOBHM period.
I love their debut's talented-amateur feel, you can hear the clunks and joins.
Their polished pro sound leaves me cold.
Blackmore.... A rough beast on DP tracks, the playing on Child In Time is incredible.
By the time of Since and Surrender he had become precise, melodic, minimalist and someone I can listen to for a long time.
British rock.... So, so good!
Speaking of Robbo, I have a couple of mates who knew him separately at different times in his life, and from what they've told me, it was enough of a job getting him to play his own shit, never mind anyone else's. I can quite believe that when Philo had reached a corresponding state of disrepair, the slack might need to have been taken up by others, but having actually seen Lizzy at the height of their powers I've never had cause to question whether or not it's him doing the do on their best records.
I defer to no man when it comes to Lizzy-love!
Fan club member 3566 since '79
:
I get where you come from on this, but pre-Nightlife Lizzy is (for me) always tainted with an image of Lynott playing at what he thinks the public want, rather than what he wants to give. I can (and do) listen to pre-Nightlife, and hear beauty and massive potential in 'Honesty', ''Clontarf Castle' and 'Look/Wind Blew In' amongst others. But the rest is hippy psych by numbers, probably much like Quo were before they donned the denim. Like a musical version of Walliams. Hague et al. Denial, fooling no-one, albeit pointing to a trophy blonde on the arm.
I have seen Lizzy close to heyday (Black Rose tour around 78/79) and thought Lynott as bassist distinctly underwhelming.
And I've trawled through every concert boot in the above pic, without being wowed by any bass business. But I don't listen to Lizzy for virtuosity, much more for the songs.
Being a guitarist myself, am only too aware how relatively simple it is to lock down the underpinning of a track with perfunctory root bass notes, add on a few simple (but superficially impressive) bells and whistles and folks be all swooning.
In fact, the technical proficiency of Harris is a level up from my skill set, whereas with Lynott I could play that shit in a trib band tonight.
It goes without saying (I hope) that Lynott for me remains the greatest songwriter off all fuckin' time!
And the run from Nightlife through Black Rose is unsurpassed, and unsurpassable in music, like forever.
See threads passim.
Then you've got your microphone poses. Lemmy falls at this hurdle (fixed mic), then Mark King (chewing gum penalty), Geddy Lee's charisma runs out about now, leaving only Phil and, er... Rick James in the ace bass, clock the face, race.
:face_melt:
Well, in that case, you have no excuse, sir. ;)
The Robbo shout is good, the books and anecdotes back up all you said, I love him as a ragamuffin urchinesque and shadowy figure who turned up, played the gig and didn't give a fuck for the consequences or the art.
It's kind of baffling how he found the dedication to master that lead sound, and Gorham has always stated that Robbo always worked out those twin harmonies for him instinctively and instantly. A genius, possibly.
Who recalls his awful tie-up with Jimmy Bain, Wild Horses?
Publicity at the time had Robbo sporting the grey jackets, silver-flecked, rolled up to near the elbow. My heart sank at that.
The album and single came out, and what a pile of synthed-up rock-lite shite it was too.
I'm none too pleased at Gorham hawking the carcass around now either.
Support slots with arena rockers not fit to thread strings on the old Lizzy... GTFOOHWTBS
For shaaaaaame
Er, Jack Bruce..? Good, expressive singer, amaaaaaaazing bass-player.
What, you think these Austrian house basslines are going to write themselves?
He can deffo play though.
There's a separate race for stoners.
BOOM
Beggs weren't the frontman. Nor will he ever have the credibility to be. Not after that hair.
Lowe - not primarily a bassist IIRC.
Quattro - srs, would she give Phil a run for his money?
Is that the sound of Quattro credentials coming by Wizard balls? (I met her when she was doing "Annie Get Your Gun" in Manc. (The Musical, not Squeeze-R). She was very nice and back in the 70s I deffo would if I wasn't pre-pubescent)
Also spotted him fronting a Christian band on tv last year, sans the breeezlocks
" :dodododo: :dodododo: :dodododo: :dodododo: do-do" (sung to "Too Shy" bridge)