Everything was going so well until...
bassie
11,710 Posts
Why do the back-up singers have to pronounce 'guy' guy-eeee in Hathaway's version of Jealous Guy?? The song is chugging along beautifully and then that happens - I have such a hard time recovering everytime. They take mercy and don't do it again when they come back in later on, but what the hell was that for? Also, the breakdown in Little Green Bag by the George Baker Selection - suddenly I'm listening to a Lawrence Welk party song. I usually lift the needle to move it forward to what's good, but then the song is too short and if I'm playing out and I've been enjoying a Wild Turkey or three, my accuracy tends to falter.What are some otherwise amazing songs that have that little thing that happens that drives you crazy and almost ruins the whole thing for you??
Comments
I'm thinking Andre Williams, Sade, Hall & Oates......
sayin. the Sanborn effect.
I know folks are creaming themselves over Wackies, but it is one of the worst offenders for this. (Don't get me wrong, I think they put out a lot of great music, but still!) Horace Andy's Prophecy is a good example of a great song ruined by wailing guitars. AK!
Ha - personally, I love these!
Nothing, and I mean NOTHING destroys a song as fast as a kazoo.
There are a ton of 60's songs/albums that are going along great
until somebody pulls out a kazoo, and I'm diving for the turntable.
Example that comes to mind: this Googie Rene cut ("Firebird"?) that appears on a Keb Darge compilation. Sounds great till some would-be Herbie Mann steps up to the mike...
THERE'S NO SOUND IN THE FLUTE!!!
IM WORKING MY ASSOFF ON THE BANDSTAND AND WHAT DO YOU FUCKING LOSERS GIVE ME? CLAMS! ONE MORE FUCKING CLAM AND IM GETTING WHOLE NEW BAND. FUCK YOU! PULL THE BUS OVER NOW! YOURE FIRED.
For me, sax solos were fine in the fifties and sixties! Can't front on Lee Allen, King Curtis, etc..
But then they made a comeback in the mid-seventies, with either Tom Scott, David Sanborn, or some imitator of the two cameoing on some yacht-rock hit, and that's when shit started to get mad corny.
Worst 1970's example: that brief sax bit on Thin Lizzy's otherwise fine "Running Back." It's only a few seconds, and if you haven't heard it in a long time you may not remember it, but it's there.
As far as 1970's rock goes, sax doesn't sound as snarky on uptempo rock like Springsteen as it does on, say, Leo Sayer.
Umm...I think Clarence Clemmons is personally responsible for many of the offending Sax Solos we are all alluding to here.
But what fucks me up is to go from listening to Rollins or Coltrane on sax then to some rock sax stylee. It's too much.
saxophones don't kill songs, people kill songs.
hahahahha...groan.
Depends on what you call rock sax...if it's on the R&B-ish Big Jay McNeely/Joe Houston/Junior Walker/King Curtis tip, fine. I like a lot of the sax heard in pre-Beatles instrumental rock, like Steve Douglas on those old Duane Eddy records. Or even the Coltrane-ish kind of stuff Steve Mackay was playing on the Stooges' Fun House. I forget who the sax player was with the Free Spirits, but he was freaking out harder and heavier than the guitarist (who was Larry Coryell)!
But too many times, rock sax does get monotonous and beside the point. Can't think of any examples right now, but ever heard the sax solos on Motown records like the Isley Brothers'"This Old Heart Of Mine"? Where the notes are in the low register and the solo never seems to go anywhere? Seems like most rock sax, post-'70s, sounds like that.
Hell yeah! The sax solo in "Smokey Joe's Cafe" is
RAPHAEL RAVENSCROFT
why listen to sade at all, dorks
Roxy Music (Andrew MacKay) did it right.
BAN
the other day i heard a musak version of a Sade song, and I was like, whats the point of that?
Oboe b/w Eno's coke.
Ah, yes, well, I agree with that.
But I don't hate the sax like most of these dudes, either.
Only in certain situations, like George Kerr 45's.
I had lunch with Evan Parker and Charles Gayle a few years ago in Austria. They were both going on and on about the importantance of Jr. Walker. It kinda threw me.
That's like hating water for being WET. That's what Curtis and Junior DID, and that's what I'm into, sorry. I hear that WEEEEEEEEEE and I'm like "about damn time!". Coltrane and them are okay in their place, but I'm no jazz expert, I just know what I like. (Never got it with Rollins, although this comp I have of Coltrane's Prestige stuff ain't half bad.)
And as far as the SNL pit band association, I'm not gonna stop listening to Eddie Floyd just 'cause some disco diva fucked up "Knock On Wood."