I have to nominate Cliff Burton, if he didn't die, Metallica may have not turned into pussies and may have become an even bigger game changer then they already were before he died...instead of merely becoming a crossover rock act, they could have taken metal onto the future like Zeppelin did with blues rock...could have been mind blowing.
Damn, good call with this one. Perhaps the pussification of Metallica was inevitable, but Cliff would've at least kept them interesting for a lot longer.
Yeah.....he's up there on my list....died at 29 and left a massive catalog.....most of it great.
And some of his uptempo numbers like "My Bucket's Got A Hole In It" forecasted rockabilly, so he wouldn't have been caught off guard by rock & roll like most of the country acts from around the same time.
what about bob marley? i guess he had pretty much had a full career and was getting slightly poppier. but i wouldnt have minded a couple more dozen albums
hendrix hendrix hendrix
and biggie
and i was never the biggest 2pac fan, but he probably had the biggest unrealized upside ever. if he got his shit together
Redding would have been a game-changer, and not only for himself. For one thing, I'm not sure that Stax would have ended the same way.
During his last year on earth, Otis was gigging at rock-oriented venues, listening to Bob Dylan and the Beatles, and hanging out with rock musicians like Buffalo Springfield. Already he was checking out the new "progressive" rock scene and wondering how to carry the possibilities over to black music. He probably would have continued on this path had he lived to see 1968. And I don't mean he would have done like Wilson Pickett and record soul versions of acid-rock tunes and gotten it over with, but he would have incorporated rock & soul ala Sly Stone (but probably not in the same way).
Did Marvin Gaye have 3 or more albums left? Would he have successfully swim the waters of mid to late 80s r&b? Would he have been still doin it like Ron Isley?
Redding would have been a game-changer, and not only for himself. For one thing, I'm not sure that Stax would have ended the same way.
During his last year on earth, Otis was gigging at rock-oriented venues, listening to Bob Dylan and the Beatles, and hanging out with rock musicians like Buffalo Springfield. Already he was checking out the new "progressive" rock scene and wondering how to carry the possibilities over to black music. He probably would have continued on this path had he lived to see 1968. And I don't mean he would have done like Wilson Pickett and record soul versions of acid-rock tunes and gotten it over with, but he would have incorporated rock & soul ala Sly Stone (but probably not in the same way).
I heard that his next project (although he was always dreaming up new ideas) was an LP that would have him covering his own ballads as up-tempo numbers and vice versa.
If Brad Nowell hadn't died before Sublime found such massive commercial success, I'm sure there would have been many more shitty but pervasive Sublime albums being played at white people college parties post-1996.
If Brad Nowell hadn't died before Sublime found such massive commercial success, I'm sure there would have been many more shitty but pervasive Sublime albums being played at white people college parties post-1996.
If Brad Nowell hadn't died before Sublime found such massive commercial success, I'm sure there would have been many more shitty but pervasive Sublime albums being played at white people college parties post-1996.
lol!
Same with that Blind Melon dude.
I don't know if you understand Sublime's legacy.
I doubt any current college students have ever heard of Blind Melon, but surely many of them have some of that one Sublime album on their ipods.
Yeah.....he's up there on my list....died at 29 and left a massive catalog.....most of it great.
And some of his uptempo numbers like "My Bucket's Got A Hole In It" forecasted rockabilly, so he wouldn't have been caught off guard by rock & roll like most of the country acts from around the same time.
I feel like 90% of what are called 'Chuck Berry Licks' show up ten years earlier on Hank Williams records. In fact, I think Hank was a major influence on Chuck and early rock in general.
Redding would have been a game-changer, and not only for himself. For one thing, I'm not sure that Stax would have ended the same way.
During his last year on earth, Otis was gigging at rock-oriented venues, listening to Bob Dylan and the Beatles, and hanging out with rock musicians like Buffalo Springfield. Already he was checking out the new "progressive" rock scene and wondering how to carry the possibilities over to black music. He probably would have continued on this path had he lived to see 1968. And I don't mean he would have done like Wilson Pickett and record soul versions of acid-rock tunes and gotten it over with, but he would have incorporated rock & soul ala Sly Stone (but probably not in the same way).
Yeah, I put Otis in an entirely different category than Wilson Pickett or Solomon Burke.
They were just great soul singers and that's it. Otis was a visionary and a talented songwriter, arranger and producer as well - a completely different animal, imo.
Redding would have been a game-changer, and not only for himself. For one thing, I'm not sure that Stax would have ended the same way.
During his last year on earth, Otis was gigging at rock-oriented venues, listening to Bob Dylan and the Beatles, and hanging out with rock musicians like Buffalo Springfield. Already he was checking out the new "progressive" rock scene and wondering how to carry the possibilities over to black music. He probably would have continued on this path had he lived to see 1968. And I don't mean he would have done like Wilson Pickett and record soul versions of acid-rock tunes and gotten it over with, but he would have incorporated rock & soul ala Sly Stone (but probably not in the same way).
I heard that his next project (although he was always dreaming up new ideas) was an LP that would have him covering his own ballads as up-tempo numbers and vice versa.
I had not heard that.
Dock Of The Bay is typically the record that is used to argue his new hippier direction. Others claim DOTB, with the acoustic guitar and whistling, was a songwriter demo that Cropper worked up, and had he lived the song would have gotten a more traditional Stax/Cropper/Bar-Kays treatment. That he had/was crossing over just by being Otis Redding and taking Otis Redding to the Filmore and Monterey suggest that he very much would have continued to be Otis Redding. Which is to say, his arrangments would have been the best in Memphis. His songs would capture the current zeitgeist. He would be dynamic and soulful.
Even though Otis, Hank, Sam Cook and Jimi are my favorites I appreciate that they were spared the difficulties of staying current in an ever changing music world.
Hank Williams never had to be subjected to Chet Atkins productions and Anita Kerr choruses.
Yeah.....he's up there on my list....died at 29 and left a massive catalog.....most of it great.
And some of his uptempo numbers like "My Bucket's Got A Hole In It" forecasted rockabilly, so he wouldn't have been caught off guard by rock & roll like most of the country acts from around the same time.
I feel like 90% of what are called 'Chuck Berry Licks' show up ten years earlier on Hank Williams records. In fact, I think Hank was a major influence on Chuck and early rock in general.
I'd say they show up 3-5 years earlier on Hank Williams' records. He wasn't gone that long when Chuck showed up, and just missed rock & roll by a hair.
Yeah.....he's up there on my list....died at 29 and left a massive catalog.....most of it great.
And some of his uptempo numbers like "My Bucket's Got A Hole In It" forecasted rockabilly, so he wouldn't have been caught off guard by rock & roll like most of the country acts from around the same time.
I feel like 90% of what are called 'Chuck Berry Licks' show up ten years earlier on Hank Williams records. In fact, I think Hank was a major influence on Chuck and early rock in general.
I'd say they show up 3-5 years earlier on Hank Williams' records. He wasn't gone that long when Chuck showed up, and just missed rock & roll by a hair.
I always thought there was something prescient about Kaw-liga in particular.
i always thought Roger Troutman death was a real big loss, that man arranged all the music by himself, and he created a whole new genre by himself.
But what was he up to when he died? That's the real test right there.
Had he died in, say, 1984, when he was still in his prime, then I'd be wondering what he would have done post-death.
But since he was already playing his greatest hits in Indian casinos by 1999 (when he passed), I get the impression that Roger had already done all he was going to do.
Was he? I gotta watch that documentary again. but you never know how things can flip around, maybe he had a low.. or things on his mind, I don't know..i almost can't imagine such a innovative and creative person stagnating for a long time.
Also he was producing for other artists..
also California Love was in 95 (not my favourite trotman work..but still it was a huge hitt!)
Another musician that comes to mind: Michael Bloomfield.
Now I know you're probably thinking, especially after my last post about Roger Troutman, that Bloomfield had DEFINITELY exhausted all his possibilities and would have probably coasted on his earlier achievements.
But seriously...even though he had spent most of the seventies as a semi-recluse, towards the end of the seventies he was recording for small independent folk labels and making a minor comeback. Judging from his Cruisin' For A Bruisin' and his posthumous Living In The Fast Lane albums, he was shooting for a general all-purpose eclectic "roots" thing similar to Ry Cooder. Had he stayed away from the hard drugs that took him out in 1981, he might have had a full-on resurgence, considering that decade's blues revival and the heightened interest in roots music of all kinds.
Was he? I gotta watch that documentary again. but you never know how things can flip around, maybe he had a low.. or things on his mind, I don't know..i almost can't imagine such a innovative and creative person stagnating for a long time.
Yeah, I like his music too, so I didn't mean to make that sound as negative as it did. I didn't follow his career THAT closely, but when he died it seemed like his days as a major force were ending, if not over.
And I'll admit, it was Wikipedia who said he was playing the casinos towards the end of the nineties...
Comments
Not that he would have done anything different than he always had, but would have continued to have success.
Wolfgang Amadeus Mozart. :game_over:
Damn, good call with this one. Perhaps the pussification of Metallica was inevitable, but Cliff would've at least kept them interesting for a lot longer.
I'll agree w Dilla, but JMJ was artistically done by the time he passed. Unless your checking for rev run and DMc albums in the millenium.
And some of his uptempo numbers like "My Bucket's Got A Hole In It" forecasted rockabilly, so he wouldn't have been caught off guard by rock & roll like most of the country acts from around the same time.
what about bob marley? i guess he had pretty much had a full career and was getting slightly poppier. but i wouldnt have minded a couple more dozen albums
hendrix hendrix hendrix
and biggie
and i was never the biggest 2pac fan, but he probably had the biggest unrealized upside ever. if he got his shit together
During his last year on earth, Otis was gigging at rock-oriented venues, listening to Bob Dylan and the Beatles, and hanging out with rock musicians like Buffalo Springfield. Already he was checking out the new "progressive" rock scene and wondering how to carry the possibilities over to black music. He probably would have continued on this path had he lived to see 1968. And I don't mean he would have done like Wilson Pickett and record soul versions of acid-rock tunes and gotten it over with, but he would have incorporated rock & soul ala Sly Stone (but probably not in the same way).
dig that shit up!!! i would LOVE to hear those
After Otis, this was actually my second thought.
I heard that his next project (although he was always dreaming up new ideas) was an LP that would have him covering his own ballads as up-tempo numbers and vice versa.
lol!
Same with that Blind Melon dude.
I don't know if you understand Sublime's legacy.
I doubt any current college students have ever heard of Blind Melon, but surely many of them have some of that one Sublime album on their ipods.
I feel like 90% of what are called 'Chuck Berry Licks' show up ten years earlier on Hank Williams records. In fact, I think Hank was a major influence on Chuck and early rock in general.
Yeah, I put Otis in an entirely different category than Wilson Pickett or Solomon Burke.
They were just great soul singers and that's it. Otis was a visionary and a talented songwriter, arranger and producer as well - a completely different animal, imo.
Lemme help you out:
I had not heard that.
Dock Of The Bay is typically the record that is used to argue his new hippier direction. Others claim DOTB, with the acoustic guitar and whistling, was a songwriter demo that Cropper worked up, and had he lived the song would have gotten a more traditional Stax/Cropper/Bar-Kays treatment. That he had/was crossing over just by being Otis Redding and taking Otis Redding to the Filmore and Monterey suggest that he very much would have continued to be Otis Redding. Which is to say, his arrangments would have been the best in Memphis. His songs would capture the current zeitgeist. He would be dynamic and soulful.
Even though Otis, Hank, Sam Cook and Jimi are my favorites I appreciate that they were spared the difficulties of staying current in an ever changing music world.
Hank Williams never had to be subjected to Chet Atkins productions and Anita Kerr choruses.
Not while he was alive, but posthumously he got the worst Nashville had to offer.
I wonder if he would have allowed that had he lived? I'd like to think not.
Good point.
I'd say they show up 3-5 years earlier on Hank Williams' records. He wasn't gone that long when Chuck showed up, and just missed rock & roll by a hair.
B/w
Not that this dude was a musician as such, but: Charizma.
Oh, and I couldda used a little more cowbell from this guy:
Jim was pretty much plotting his own demise by his substance abuse.
Also biggie and tupac off course..but you never what could happen if they were alive.
I always thought there was something prescient about Kaw-liga in particular.
But what was he up to when he died? That's the real test right there.
Had he died in, say, 1984, when he was still in his prime, then I'd be wondering what he would have done post-death.
But since he was already playing his greatest hits in Indian casinos by 1999 (when he passed), I get the impression that Roger had already done all he was going to do.
Also he was producing for other artists..
also California Love was in 95 (not my favourite trotman work..but still it was a huge hitt!)
Now I know you're probably thinking, especially after my last post about Roger Troutman, that Bloomfield had DEFINITELY exhausted all his possibilities and would have probably coasted on his earlier achievements.
But seriously...even though he had spent most of the seventies as a semi-recluse, towards the end of the seventies he was recording for small independent folk labels and making a minor comeback. Judging from his Cruisin' For A Bruisin' and his posthumous Living In The Fast Lane albums, he was shooting for a general all-purpose eclectic "roots" thing similar to Ry Cooder. Had he stayed away from the hard drugs that took him out in 1981, he might have had a full-on resurgence, considering that decade's blues revival and the heightened interest in roots music of all kinds.
Yeah, I like his music too, so I didn't mean to make that sound as negative as it did. I didn't follow his career THAT closely, but when he died it seemed like his days as a major force were ending, if not over.
And I'll admit, it was Wikipedia who said he was playing the casinos towards the end of the nineties...