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FWIW : I really rate Brian as a musician; on the "It's Your World" version of "...Hatred", the Bilal Sunni-Ali sax solo that folds out into the line Masters at Work flipped for "Moonshine" and then Brian's full-on haunted-house chordbook masterclass are some of my favourite ten minutes in music. They just play the shit out of it.
Never knew he's had a full-time I.T. career for over 30 years as well as having the legacy of the work he did with Gil. Of course, Gil took Brian's rightful cut, so there was the pain of having to deal with that and supporting five kids. He said they were as cool as they could ever be at the end. Never knew Gil was only 19 when he penned "Home Is Where The Hatred Is" and was completely clean. Esther Phillips, an addict herself who wanted to cover the tune, did not believe he could have written it until she met Gil.
Brian still definitely has it, at 71 - he's very youthful. They were playing "We Out Here" fest on the Sunday and that concluded the tour. Brian was playing keys and flute on Friday. He and the band were in my hotel so we got to hang for a while and talked shit about most things. I already knew Paul Jones (R) on drums for 30+ years from our days and gigs in Manchester. Steve Walters (L) was on bass, he's got a CV with Sir Rod/Amy/George Michael/Mariah... so there were some good stories.
I saw him a few times live, and met him in a record shop and chatted about his obscure shit, like Delphi (three strings per key piano bith for the Scientologists) you know, to show him I was a real geek, because I thought that would make me somehow seem less insignificant.
He was unerringly nice and more importantly, was an absolute mother on keys. My favourite set is the Akoustic Band live at The Blue Note, Tokyo. It's where Vinnie Colaiuta deps for Dave Weckl. Vinnie is channelling the ghoast of Tony Williams and it's, uh... Electric. You can find some of the set on YouTube. Vinnie sneaking a cigarette at the kit.
There's also one with him and Hiromi and the late youth Austin Peralta knocking six shades out of "Someday My Prince Will Come" in Tokyo too. If you know, you know.
Rest in power. Gutted.
He'll come back to let us know...
Srs doe, great musician, I used to think he was just about the vocals but I love this '78 Miami Beach version the above "What You Won't Do...." , shredding and with that hipster look that would be dead right in 2023.
CRABFUNK said:Hardly current but I keep coming back to Frank for some reason or other. I think it contians some basic truths that are not intuitive or expected. Anyone else into this one?
I liked the film, he's obviously more a tragic character in the film but as long as you know the distinction it's all good.
My brother worked on a TV show that the real Frank did a regular guest-spot on. I was in the audience a few times. I remember he (as Frank) wore these white jeans with tons of small biro-written messages on them, which he never stood still long enough for me to read properly, but it reminded me of all the scribblings you see 24-carat nutters make on their prison walls or in skin-bound journals. His humour was pretty nuanced though... He opened for the Spice Girls at one big gig and started with:
"Scream if you love [insert name of Spice Girl here]!" (cue massive screams from crowd)
"Scream if you love [insert name of next Spice Girl here]!" (cue massive screams from crowd)
"Scream if you've got Betamax!"... (crickets ).... "I've got Betamax and wondered if anyone wanted to swap films with me."
I mean, that takes balls.
He (Chris IRL) was a completely different person without the mask - I mean, very regular, you would never know he was Frank unless you knew. My brother used to sit with him in the studio canteen sometimes and they would chat about art and how shit the tea was, but he wasn't one of these always "ON" people like you'd imagine Jim Carrey or peak Robin Williams to be.