My Lo-Fi Journal
 

My Lo-Fi Journal

I was thinking of taking a short-cut and concentrate on one or more songs from a band and have that as my main focus. I might work my way up to album reviews later but I don't think I'll go the route of critiquing whole discographies. What I hope to accomplish with my music journal will be is something between Rhino's Nuggets and VH1 120 Minutes. Hopefully there will be good mix of songs from old favorites to ones I found recently.

The first impression are the most lasting, so I felt I had to come up with a song that make a good introduction to the music I like. That I could branch off of and would tie in some of the different things I like. I had a few in mindI wanted to start off my journal, but they got bumped back when I came across this one. I felt this song would be a good way to start off this journal. First thing I love about this video is the fact it starts with three seconds of silence before the song beginning, it's a moment of anticipation wondering what to expect. In a way it starts with a question "What are they going to play? " "What are they going to sound like?" And they answers it with a really decent 3 minutes song. To me it has different elements, it's not borrowing from just one, it has different lines of influences and manages to blend them together. In a way that is true of every song. Any group has a wide range of influences some more prevalent than others. Besides modern alternative there a things reminiscent of the past. How they dress coincides with that, the bass player has a 60's look about her, the drummer's maybe 70's and the guitar player is definitely looks like she just step out of the 80's. I don't know if they plan it that way maybe it is an accidental coincidence.

Cassie Ramone is on guitar and lead vocal, Katy Goodman is on bass and also share vocals, Fiona Campbell on drums. In this video Cassie plays a white Telecaster, she strums chords at steady tempo on top of her playing are the driving force of the song the bass and drums. Katy plays a violin shape bass modeled after the Hofner Bass (often called The Beatle Bass). For this video Fiona is playing kit that's pared down only a snare, floor tom and bass drum but she makes most out of it and comes up with a really great drum beat.

The video is very well done. Besides how they dress and what they play another thing to notice (though it obvious though) it starts off in a dingy room the windows are covers and it appears as if they playing at night, and after the chorus the sun starts to appears, and towards the end of video the light becomes brighter and brighter until the whole room is inundated with light.

Hey, don't sweat it! Play to your strengths. Many people here write short, almost non-reviews, but it's more about letting people hear/be introduced to the music you like than writing novels. I personally run off at the mouth constantly in my journal, but then, I'm an aspiring writer, at least in my mind, so that suits me. Doesn't suit everyone (ask starrynight).

Just do whatever feels comfortable, and don't feel pressured or pushed to produce content you're not happy with. Don't make it a chore: it's meant to be a fun pastime (what? Deadline? What deadline? Yes, yes I'll be there in a minute, I'm just taking a break!) :D not an endurance test.

You'll do fine.

Best of luck

TH (heading back to work...)

Trollheart,

Thanks for the advice and words of encouragement. How I feel is if I have any strength either I don't see them or they're in my blind spot. I'm more concern with what I don't know than what I do know already. I consider myself lucky (and and even a bit spoiled) because I where grew up was in a town that had a dozen or so radio stations each with their own different formats. So at a very young age I was always trying to learning something new, something different. When I was young I thought I had a pretty good survey of what was out there now I fell I only heard a small sampling of all the music in the world.

While radio used to be a decent medium through which to assimilate new music, especially the old pirate radio stations and of course Radio Luxembourg, it's not so much now. These days they just play whatever's popular mostly; time was when you could first hear new music on the radio, and this led to the purchase of various records by me, including Dan Fogelberg's "Windows and walls", Bob Seger's "The distance" and Jeff Wayne's musical version of "The war of the worlds". But before the advent of MTV and the internet, I used to get all my recs from friends.

I remember a guy in school had a cassette copy of Genesis' "Foxtrot", and this was the first time I had ever heard the band. I heard guys on a coach trip I was on singing (badly) "Stairway to Heaven" and didn't know what it was. A mate of my brother's brought in a single by the Tygers of Pan Tang, and I instantly wanted the album.

Then there were the record shops. We had one here in Dublin (still exists) where they played only rock and metal. You could go there and hang out for the day, listening to the best music around --- some of which was not even available anywhere else, as the guy regularly went over from Ireland to the UK to pick up the latest imports for his shop --- although you usually ended up having to buy something in the end. We didn't mind though, it was great music and the point was you got to hear it before you bought it. If you were interested in something, you could ask the guy what the band was like and he would put the album on for you, or else honestly tell you they were not great, why not try this one instead, and spin it?

I guess like most people I got my music in phases: prog rock, heavy metal, classical, country and so on, but the general rule I always applied --- and still do --- is that I don't listen to something just because it's in my favourite genre, or because I'm expected to like it. Though a prog fan, I still struggle with some bands like Spock's Beard, IQ, Dream Theater. Some metal I hate, eg doom/death. Punk I've never been into, nor dance music, and I just more or less steer clear of those genres, though I guess if I suddenly heard something I liked I would just get that artiste's music and not worry I was "crossing genres".

I've also tried to expand my somewhat limited musical tastes since starting my journal, deliberately venturing into areas I would traditionally abhor or avoid, as evidenced by my dissection of the (ahem!) genre of boybands. I think it's only fair that if you're going to slag something off you should know as much about the band(s) as possible, so that then you're talking from a position of some authority.

Anyway, again best of luck. I see you've posted your first review, and I have to say it's quite interesting. Keep it up, and like it says on one of the many sections in my journal, keep it simple.

TH

Trollheart,

I lend out about a half dozen Genesis CDs that never returned, we would had gotten along great as friends - you know provide we lived in the same country.

I like Dan Fogelberg. I have his greatest hits but I really didn't get into collecting his studio albums. The one song of his which grew on me which I heard constantly was Leader of the Band. Usually when people hear a song over and over it wears thin on them but the more I heard that song the more I liked it. I remember finding that song listed in the contents in a tab book - I felt like I won the lottery. I practice that song for hours trying to get it just right. I think the time I put into that song, is about the same time some people would use to hear quite a few albums. I'm not always into hearing albums in their entirety and I don't always feel the need to collect the whole catalogues. I feel that is the difference between album collectors and my approach to acquiring music - I get hooked on a song almost to the point of an obsession, so a copy of a song is just fine and generally they're one I like to learn on guitar, while their (the collectors') goal is to collect the whole catalogue of their favourite artist/bands.

Music is so segregated now I think it's hard for radio stations to keep up with all the new music that comes out in the West. Many people listen within quite narrow genres. Those who listen to chart music listen to rnb or dance stuff, then you have those who listen to metal, then those who listen to electronica, then those who listen to indie rock/pop, and others who probably listen to country/folk. There was a time when you could probably hear several different types of thing in the charts and on a radio station even if some things dominated more, I'm not so sure that is the case now. I like to give all things a chance, but I don't think most have the inclination or the time to do that.

The first is a Swiss band Chin Chin (there might be another band by that name too) the guitar solo has a bit of a 60's spy music to it. The second is Jo Lemaire & Flouze from Belgium. The drummer is playing on a acoustic drum set, but in a simple style that was often used by 70's techno band like Kraftwerk.

I don't know much of these bands except for the fact that they come from Europe.

Trollheart,

A few years back I found a used record shop. Unlike some CD stores which are mostly identical, it definitely had atmosphere of its own it. I got to know the own and he was more approachable and knowledgeable than someone you would meet in a music store or anywhere else. I was talking to him about bands with similar names and I brought up Smith and The Smiths (I'm not the greatest conversationalist) I asked him how where they as a band and he said they were pretty good. I didn't buy their cd at the time I kinda miss an opportunity there. But I also miss him and the shop too. Fast-forward to present time looking around songs on youtube I came across them and I was impress with them.

[/QUOTE]

I know the Jo Lemaire one and it certainly has a nice atmosphere and is catchy too. Smith give a very nice soulful version of Baby It's You. It's a quite early Bacharach/David song and not one of their very best for me, but it's ok.

I agree that there's plenty of good music that can be found in the past as well as the present. Adding to that I'd say there is plenty of good music from other countries that most people don't bother with, including much good music in other languages that most won't listen to just because it isn't in English.

And certainly not all bands/singers want to confine themselves to narrow genres. Some of the more creative ones will actually mix elements from different styles. Often they then get missed by people as they don't fall into a more simple genre classification that both the media and most of the audience seem to want. Ultimately artists will create what they want, whether it be narrow or not. I blame more some of the audience and those funding their recordings in some instances for pushing some music towards a more copycat and bland direction.

Starrynight, I did ask this before (not sure if it was you I asked) but I'm looking to branch out by listening to some non-English-language bands/artistes (all I've listened to so far is Josh Groban) for a new section I'll be running called "Musique sans frontieres", and would appreciate anything you can point me in the direction of. Basic rock or pop, or possibly male or female vocal, anything like that. Thanx

I think of re-starting my journal. I don't know what to do with it, I have no plans for it, maybe anything could happen.

Maybe do something around your musical experiences, artists that influenced you in one way or another or a review of your best ever artists or albums, or just mix it all up.

My musical experiences, would be divided into learning an instrument and collecting music. I'm not much of a collector by any stretch. I do like searching things out on my own, nothing is decent as to find hidden gem somewhere. Before youtube I would gamble on an albums from groups I never heard before I bought them. There are a few albums I found in the dollar bin or cut out bin that became my favorite. One album I found was by John Williams.

John Williams was born in Melbourne, Australia, and his family move to England in the early 50s. He was taught by his father and had the chance to study under Andrés Segovia.

John Williams Bach Prelude from Lute Suite No 4

If I could play guitar as well as John Williams can, I'd be really happy.

Me too. I wish I could play classical guitar like John Williams and compose music like J. S. Bach too.

Based on your posts on MB, you always seem to have a load of very interesting and sometimes wacky things to say. I'm sure you could put together a great journal.

i liked the Vivian girls & jo lemaire very good :)

im actually scared to start music journal here and have ppl call me out in all the sh*t idk lol

so props to you for even starting one.

it was an easy read btw, it seems it comes from a personal view and taste not like some reviews ive read that seem to be like frustrated music critics.. not to be a dick or anything, but i don't need to know every *****n detail in the recording process, and stats & facts you could get off wikipedia.

So says 'Me' the guy that never made a journal. U_U

lolol

Oi! Is that aimed at me??? :eek: ;)

Seriously, do NOT worry about what people will say if you start a journal. Chances are you'll get a few comments at first then it could very well dry up, comments-wise, unless it's totally brilliant. The important thing is just to write the best reviews/sections/reports/whatever you can, if necessarily only for you then for you: enjoy it, and if people see this in your writing they'll most likely enjoy it too.

I'm in the third year of writing my journal and I can tell you there have only really been a handful of comments, other than Unknown Soldier's almost regular posts. I dont let it bother me: I continue to write as I know I can, and watch the view count go up so I know people are at least reading if not commenting.

You shouldn't shy away from having a stab at a journal if you're interested in it. It's not that hard --- there are after all no real rules --- and it's a thoroughly rewarding experience, even if it can seem like a thankless task at times. You just need to set your frame of mind up properly.

Just write about what you know and like now. And don't worry about what you don't know, no one knows everything about music.

I thought I would restart my journal. I didn't feel like I abandon it as much as I was side-tracked at first by computer problems, and then plug.dj and a bunch of other reasons. I didn't want a theme other than to talk about what I like, and I thought something as simple at that it would make it possible to make daily or weekly entries... but then again the plans of mice and men.

It is hard to just jump in a do a journal after so much absence. But I want to pay a little homage to a Phil Everly. I feel a little out of place going on about an artist from the early days of Rock n Roll. So I thought I might talk a little about a song he sang with his brother. It kinda connects The Everly Brothers to 70s Rock - which I am also a little apprehensive to talk about...

...before I really got to know The Everly Brothers' music I was familiar with a cover-song of theirs "Love Hurts" by Nazareth, which at the time didn't know that the EB did the original recording. And it just so happens Nazareth's version appears in one of my atf movies Dazed and Confused. I love the way Nazareth guitar player, Manny Charlton, approaches this song. His interpretation of the song is just perfect. His arpeggios are slow and meaningful, his playing is articulate and the sound of his guitar is very chorusy. His guitar solo just soars, it has a e-Bow like quality to it, though he could be just using his volume control on his guitar. It is timeless classic, one of the best cover-songs of all time. (...forgive me for sounding trite, journal writing is kinda new to me and maybe not my thing, but in this case I felt it had to be said.)

The original is pretty good too. I am certain the guitar player on EB version is Chet Atkins, his style is unmistakable. At some time Chet's career he had a tone/volume pedal that affected both tone & volume...naturally. It was somewhat similar to a Wah-wah effect, (though it isn't a true Wah-wah - and I think that effect Chet had predates the Wah-wah). I'm not 100% certain, but the way his guitar sounds sounds like he is using it on this recording. I am familiar with some Everly Brothers material and I always found it cool to hear Chet playing in the background. I became a Chet Atkins fan via Steve Howe who mentions Chet as one of his major influence.

Love Hurts was written by Felice and Boudleaux Bryant, they also wrote other songs for the Everly Brothers like Poor Jenny, Rocky Top, and list of other hits like the sentimental classic Devoted to You.

I thought of adding a special feature in my journal. I call it "Jazz for Trollheart." (If for any reason you don't think it's a good idea I'll put the kabosh on it.) Today in plug.dj/musicbanter/ we were talking about what would be a good start to get Trollheart into Jazz. (I thought about doing this idea months ago but I want someone to blame.) In a way I am curious to why he's not, because there is Jazz (among other types of music) in the whole Prog mix of things. Now he doesn't have to get into Jazz that is entirely his prerogative but if he willing to give it a try...

After some thought I began to feel the title Jazz for Trollheart shouldn't be use. I don't want to put him on the spot if he doesn't like it he then he doesn't like it. I am sure there are things he likes that I probably can not find myself getting into... So this is the second and last installment (which I hope would had been a periodical piece through this journal. It will be reinvented under another name but the same goal to introduce Jazz to wider audience, but only for those who are slightly interested in it. (only because it is a subject I don't know much about.)

This is for Pete Seeger. I didn't know much about him or his music. Other than the fact Pete Seeger would play a long-neck banjo usually with a capo. But I do remember seeing him on dvd(s) and in movies (or a movie) that I would often watch. There were two things I remember about him the most:

One was when Elizabeth Cotten tells Pete the story who she came to know his family, the Seegers, when she found his half-sister, Penny, lost in a department store, then later went on to work the Seeger family. That story always amazes me how lucky a chance they got to meet, other-wise the world probably wouldn't have known about her.

Another one was in the movie, Alison's Restaurant, when Arlo goes to visit his father in the hospital. Pete was already there visiting Woody Guthrie, with his long-neck banjo and singing him some tunes.

I wish I do better that this, but seeing him on film probably tells more about his kind nature personality than I could.

I purposely don't read the journals of other people, so not to pull a Briks, and steal or at least subliminal infringe upon another member's ideas. I thought I would look around and see how things are done by looking at older defunct journal, the last one on the last page now (until it gets bumped) is http://www.musicbanter.com/members-j...nger-blog.html . I was curious, so I scan through it and seem like an interesting idea, I like the ease of the journal and especially the theme. I like to (well use to like) to read Urban's Journal of Stuff. I see he's tackling an new project 1001 Songs You Must Hear Before You Die. However while reading it I see he totally dis one of my atf songs. (atf = all time favorite - I got that acronym from Paul. I like to credit where credit is due...when I remember.)

So in the book there is a main list of primary 1,001 songs you must hear, and a matrix of related song to look up hence the 10,001 songs to download. Which I thought was illegal to do, I thought that the limit was set at a 10,000 downloads. I can't remember and I tried to look it up, but I thought RIAA would go after someone who actually would download ten thousand songs. But then again I haven't seen the book so I don't know if the guy is recommending to legally or illegally download songs. If Someone pays 99 cents a download you would spend $9,900.99 just to do that, which doesn't seem feasible. And if you average the songs to a 3 minute a song, or at least listen to 3 minutes of each song on you can listen to them for free say youtube it would take 20 days, 20 hours and 3 minutes to listen to them all. If it was a full time job (40 hours a week) it was be at least 12 & half working weeks to hear 10,001 three minute songs. I can't imagine how long it would take to listen to the 10,001 in their entirety. For the main list (again if you average it out to 3 minutes per song) it would take 50 hours and three minutes to listen to 1,001 songs.

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...I am dusting off this old journal in preparation of my David Bowie review, which I will eventually post. I thought up a rough sketch of it and the last thing to do is type it out, post it and wait for approval. In the meantime I thought I would post three of my favorite Bowie covers as a precursor to it. There is something about a band doing a Bowie cover that draws me in to be a fan of theirs. I think they can't be all that bad if they are fans of Bowie. The first time I heard each of these songs it was like a Eureka moment for me where I felt stumble across something that is one of the best thing I ever heard. Bauhaus knocks it out of the ballpark with their guitars.The Wallflowers do a respectable Heroes cover. And Kevin Barnes' vocals are otherworldly. It's if they tapped into some kind of comic coolness.

Bauhaus - Ziggy Stardust


The Wallflowers - Heroes


of Montreal: Starman

oooo

I didn't see this before I will definitely be skimmin through here lookin for tunes.

Well... a few things put a damper on it, and it didn't pan out the way I expected. I also started a new journa here: http://www.musicbanter.com/members-j...dern-rock.html

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• Album
  • Title: Station to Station
    • Release date: 23 January 1976
    • Album cover: Photography by – Steve Shapiro
    • Track listing:
      • Side A track 1 - Station To Station
      • Side A track 2 - Golden Years
      • Side A track 3 - Word On A Wing
      • Side B track 1 - TVC 15
      • Side B track 2 - Stay
      • Side B track 3 - Wild Is The Wind

• Personnel
  • Artist - David Bowie
    • Vocals, Guitar, Saxophone – David Bowie
    • All songs written by – David Bowie (except Wild Is The Wind written by Dimitri Tiomkin, Ned Washington)
    • Arranged by – David Bowie
    • Producer – David Bowie, Harry Maslin
  • Studio musicians:
    • Bass – George Murray
    • Drums – Dennis Davis
    • Lead Guitar – Earl Slick
    • Piano – Roy Bittan
    • Rhythm Guitar – Carlos Alomar

David Bowie - Station to Station (Live 1978)
Live at the Nihon Budokan, Tokyo, Japan - December 12, 1978



DAVID BOWIE performing "Stay" at the Dinah Shore show, January 3rd 1976


time and place
At the time of album Bowie was living in America. He was married to Angela (née Barnett), and had a young son then known as "Zowie" - Duncan Jones.

Thin White Duke
For each album David Bowie would come up with a new persona and stay in character even off stage, as when he did interviews. After the Diamond Dog Tour David Bowie wanted to put aside all that entailed in his earlier shows and simply wanted to be a singer fronting a Rock band. And this was his last persona... the dapper Thin White Duke.

influences
At the time Bowie thought Roxy Music were made some of the best music coming from the UK in a long time. He was a fan of Brian Ferry David adopted Brian's fashion sense. Both were art students. Brian Ferry took the idea of the collage and applied it to music and bands image onstage. In Roxie music each member wore a period piece costumes whether inspired by the past or the future. Bowie dressed up in suite and his backing band dress-down, judging from videos I've seen of them.

Station To Station
For this song I chose the video of Bowie playing at the Nihon Budokan because of the intro. It is extended and better illustrates the sound of a locomotive steam engine beginning to move, which was recreated by a synth. The first time I saw this video I believe it is when Paul played this song in plug.dj. And the guitarist on on tour with Bowie than is none other than one of Paul's favorites, Adrian Belew.

TVC-15
TVC-15 is brilliant piece of music, and in my opinion the shining gem of the album. The plot of the song is very similar to Twilight Zone: The Sixteen-Millimeter Shrine (S01, E04). But actually comes from real life incident where a hallucinating Iggy Pop believes his girlfriend is transmitted into the television set.

The song starts off with a bit of Louisiana Blues/ Boogie Woogie Piano somewhere between the styles of Professor Longhair, Jerry Lee Lewis and Dr. John. And suddenly there is introduction of a chaotic mix guitars creating a tapestry of a sonic textures. At one part in the song he hums, it seems instead of using strings, where it would seem others would naturally place them. When Bowie sing "Transmission, Transition" there is a return of the boogie woogie piano and a palm muted guitars and when he sing "Oh my TVC 1 5, oh, oh TVC 1 5" there is distorted guitar and a sax that is a premonition of sax one could hear in Psychedelic Furs' music, and a periodic bass note which sounds like a bellowing baritone sax. All these elements effectively construct a musical collage.


to be continued...

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The Life Aquatic Studio Sessions Featuring Seu Jorge

artist: Seu Jorge (Jorge Mário da Silva)

tracks:

1. Rebel, Rebel
2. Life On Mars?
3. Starman
4. Ziggy Stardust
5. Lady Stardust
6. Changes
7. Oh! You Pretty Things
8. Rock N' Roll Suicide
9. Suffragette City
10. Five Years
11. Queen Bitch
12. When I Live My Dream
13. Quicksand
14. Team Zissou

This album consist of Seu Jorge, only accompanied by his nylon guitar, singing 13 David Bowie songs and one track that's his own composition. Even though the songs are sung in Portuguese, the emotion he puts into the songs transcends any unfamiliarity with the language.

I heard that to really know ourselves, we have to see ourselves through the eyes of another. I think the same could be said true of music. I think to know a song you have to hear it interpret by another. Cover songs either sink or float. The artist doing a cover song either does justice or discompose the listener who is familiar with the original. A really good cover will surpass the listens expectation and expose the hidden potential of the song. David Bowie said that "had Jorge not recorded my songs in Portuguese I would never have heard this new level of beauty which he has imbued them with."

• Golden Years It begins with a R&B guitar riff, finger snaps, and three note which have harmonica-like sound. He sings Golden years and in the background there is a Whop whop whop. He sings "Angel" with falsetto and slips back to a crooner Elvis-like voice. So from the very beginning Bowie is covering 20 years of Rock n Roll. As a side not the song was offered to Elvis sing, but was declined. Then Bowie moves on tot he present. There is a *snap* *clap* *stomp* before "Come get up my baby" which is such a great hook, the hand clap became prevalent sound effect in Disco and New Wave. There is a soupy drum beat which would be very common in Disco. When he sings "Stick with you baby for a thousand years..."there are muted acoustic guitars back with a Disco beat, which is very effective. The Phasey rhythm guitar backing Whop, whop, whop brings back the idea of a music collage of mix old with new.
  
• Word on a Wing ABBA meets Roxy Music.
  
• Stay The slap bass in this song foreshadows 80s music and bands like Duran Duran.
  
• Wild Is the Wind This song exemplifies Bowie idea the Thin White Duke singing love songs, but in a dispassionate manner.
  

Thoughts about the album:

Station to Station is basically a concept album, with the Thin White Duke, a character within his title track, persona he adopts for onstage performance and offstage interveiws. As with subjects and ideas he explores, it seems to borrow from real life, as if he is a method actor who lives the part before he performs it. He lives in the US first in NYC then in LA, and then decides to move back to Europe which is alluded to in the line "the return of the Thin White Duke."

Certainly Station to Station was not the last stop for Rock concept albums. The album stands at the precipice of Disco era, and was one of the more accessible ones considering the direction Prog took. The music that caught the public's attention in the beginning of the decade gave way to Disco, Punk, New Wave, Pomp Rock and Metal at the end. It contains some of the same elements that was incorporated into Disco i.e. Funk, Soul, but all in all it's a Rock album incorporating same elements. It also contains musical ideas from Europe especially from German, where Bowie would latter record his next three albums.

P.S.
If i had things I could wish for it would be I could write more extensively about the album, and posted it early last week. And the other would be for Trollheart to write a review of it. He piqued my curiosity what he would say about the album, since he mentioned he wish he had the opportunity to pick the album, when Bowie albums were first up for grabs for Bowie Week.

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band: The Moody Blues

album: Days of Future Passed
released: November 1967
track listing:

1. The Day Begins: (5:50)
   • "The Day Begins" (Peter Knight & The Moody Blues) — (4:08)
   • "Morning Glory" (Graeme Edge) [unlisted track] — (1:42)
2. Dawn: (3:48)
   • (Intro) (Peter Knight) [unlisted track] — (0:38)
   • "Dawn is a Feeling" (Mike Pinder) - (3:10)
3. The Morning: (3:55)
   • (Intro) (Peter Knight) [unlisted track] — (0:21)
   • "Another Morning" (Ray Thomas) — (3:34)
4. Lunch Break: (5:33)
   • (Intro) (Peter Knight) [unlisted track] — (1:53)
   • "Peak Hour" (John Lodge) — (3:40)
5. The Afternoon: (8:23)
   • "Forever Afternoon (Tuesday?)" (Justin Hayward) — (5:06)
   • "(Evening) Time to Get Away" (Lodge) [unlisted track] — (3:17)
6. Evening: (6:40)
   • (Intro) (Peter Knight) [unlisted track] — (0:38)
   • "The Sunset" (Pinder) — (2:39)
   • "Twilight Time" (Thomas) — (3:23)
7. The Night: (7:24)
   • "Nights in White Satin" (Hayward) — (5:38)
   • "Late Lament" (Edge, Knight) [unlisted track] — (1:46)

* above information from Original Track Listing - Days of Future Passed - Wikipedia, the free encyclopedia

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• band: Egg
  • members:
    • Dave Stewart: organ
    • Mont Campbell: bass & vocals
    • Clive Brooks: drums

• album: egg
  • released: 1970
  • track listing:
    1. Bulb 0:09
    2. While Growing My Hair 3:53
    3. I Will Be Absorbed 5:10
    4. Fugue In D Minor 2:46
    5. They Laughed When I Sat Down At The Piano... 1:17
    6. The Song Of McGillicudie The Pusillanimous (Or: Don't Worry James, Your Socks Are Hanging In The Coal Cellar With Thomas) 5:07
    7. Boilk 1:00
    8. Symphony No. 2 (24:00)
       • Movement 1 5:47
       • Movement 2 6:20
       • Blane 5:28
       • Movement 4 4:51

Egg - Seven Is A Jolly Good Time


When Steve Hillage left Uriel (aka Arzachel ) the remaining members renamed and continued on as Egg! Hurray! One of the finest Prog bands around. Mixing Jazz, Classical music with an underpinning of Funkiness and occasional experimental glitchy noises (see "Bulb" and "They Laughed When I Sat Down At The Piano..."). "Fugue In D Minor " and "Seven Is A Jolly Good Time" are a must hear. "Fugue..." is a J.S. Bach influenced song with a solid funky bass that drives the song. "Seven..." is further time experimentation of the Dave Brubeck kind.

A wise man once asked:

What will be generation Z's musical, artistic, and cultural movement/identity?

A hundred years from now I banking that Rachel Flowers will be remembered... though I have no possible way to find out if I am right.