Musicians talk

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band

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Zappa isn't weird...it's different!

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The riff is the thing I guess
https://youtu.be/GVDWSTCKgng?si=To2upIsWmG74Wmou

[Tero]

if your song plays 2000 times on Spotify...you get zip. But a billion times...

[Tero]

Jimi himself came up with the bass part.


Noel had to learn it off the record.

[Tero]

Steve Miller talks a bit about Pompatus of Love
https://www.facebook.com/watch?v=1057796193025703

https://www.straightdope.com/21342137/i ... us-of-love

Some sharp-eared music fan noticed the “Enter Maurice” lyric above bore a marked resemblance to some lines in a rhythm and blues tune called “The Letter” by the Medallions. The song had been a hit in R & B circles in 1954. J.K. found the record. It had the lines, “Oh my darling, let me whisper sweet words of [something like epismetology] and discuss the [something like pompatus] of love.” J.K. tried to find the sheet music for the song, but came up only with the Box Tops hit (“My baby, she wrote me a letter”).

Then came a stroke of luck. Jon Cryer the movie guy had stumbled onto the secret of pompatus. Eager to reveal it to the world, he sent it to — who, Rolling Stone? The New York Times?

Of course not. He sent it to us.

Speculation about “pompatus” was a recurring motif in the script for The Pompatus of Love. While the movie was in postproduction Cryer heard about “The Letter.” During a TV interview he said that the song had been written and sung by a member of the Medallions named Vernon Green. Green, still very much alive, was dozing in front of the tube when the mention of his name caught his attention. He immediately contacted Cryer.

Green had never heard “The Joker.” Cryer says that when he played it for Green “he laughed his ass off.” Green’s story:

“You have to remember, I was a very lonely guy at the time. I was only 14 years old, I had just run away from home, and I walked with crutches,” Green told Cryer. He scraped by singing songs on the streets of Watts.

One song was “The Letter,” Green’s attempt to conjure up his dream woman. The mystery words, J.K. ascertained after talking with Green, were “puppetutes” and “pizmotality.” (Green wasn’t much for writing things down, so the spellings are approximate.)

“Pizmotality described words of such secrecy that they could only be spoken to the one you loved,” Green told Cryer. And puppetutes? “A term I coined to mean a secret paper-doll fantasy figure [thus puppet], who would be my everything and bear my children.” Not real PC, but look, it was 1954.

He had the other song together and on stage when Steve was....12?

[Tero]

Mr Moonlight?Leave My Kitten Alone? Or...
And John Lennon's least favorite song? It's the very first song recorded for Rubber Soul and the last one featured on the album: "Run for Your Life."

“I never liked ‘Run for Your Life’ because it was a song I just knocked off," he explained to Rolling Stone in 1970. "It was inspired from [Elvis Presley’s] ‘Baby, Let’s Play House.’"



Ever since I've had cassette palyers I left it off Rubber Soul. Though it was the first song where I heard the phrase "toe the line."

[Tero]

producers talk...mostly equipment. it took a few days for the album. paranoid at 7 min. Geezer Butler wrote lyrics.



Black Sabbath bassist Geezer Butler (from Guitar World magazine, March 2004):

A lot of the Paranoid album was written around the time of our first album, Black Sabbath. We recorded the whole thing in about 2 or 3 days, live in the studio. The song "Paranoid" was written as an afterthought. We basically needed a 3 minute filler for the album, and Tony came up with the riff. I quickly did the lyrics, and Ozzy was reading them as he was singing.[7]

[Sean Hayden]

"It has made my jazz playing exponentially better," he says. "All those little things; suddenly I had to be very precise. started paying attention to the sound of things because you can't have a one-emotion-fits-all like you can in your own music. Suddenly I'm responding to sounds differently, asking, 'Is this a happy ballad? Is this a sad ballad?' These aren't jazz musicians' discussions. Jazz musician discussions are about tempo, structure."

The more jazz has changed, the more Marsalis has gravitated towards classical music. It's the reason he moved his young family to Durham, an artistic city in North Carolina, 10 years ago; the New York scene wasn't inspiring anymore. (He'd also had enough of "New York living", of five-year-olds calling adults by their first name).

Today's jazz musicians are too mathematical and wonkish, he says. Jazz clubs are half empty, only frequented by other musicians who appreciate each other's showmanship. Listeners need music degrees to understand what they're playing. The music has become rigid. Improvisation is mostly over-rehearsed regurgitation.

"[I'm often asked] the question, 'Jazz is so unpopular, why do you think that is?' And the answer is simple: the musicians suck," he says with typical subtlety.

https://www.smh.com.au/entertainment/mu ... 513h2.html

[Sean Hayden]

Must’ve been great. I’m happy to just “discover” any riff while playing.