So, what have you been listening to lately?

[Dave W]

Mitch and the Detroit Wheels were a really big deal for a while in the late 60s.

I believe the bassist was James McCallister during the period of their big hits,

[Highlander]

Well, last night was the Temperance Movement, Seether, and headliners Nickelback on the first date of their European tour in Glasgow courtesy of my daughter as a last minute purchase... great night out... even my daughter said she'd like to see them again, which is most out of character... not everyones cup of tea round here but...

[uwe]

That sounds like a good combo alright! BTW the much derided Nickelback have the reputation of treating their opening acts especially graciously.

[Highlander]

That they did, Sir... that they did... Temperance Movement were a local, last minute addition... they went down well with the locals, understandably, and even allowed them some space on the merch stands...

[uwe]

En Vogue's newest (I've had a crush on them ever since "Giving Him Something He Can Feel", but then I like The Supremes, The Three Degrees, Labelle, The Pointer Sisters and Sister Sledge too)



which is pretty varied for what is essentially a dance record (the above track is not typical for the album).

And then the 2017 and 2018 Ric Ocasek-sanctioned remasters of The Cars ...



which are brilliant (plus interesting demos and alt. takes)! What's cute about the above vid is that you can see Greg Hawkes, the keyboarder, valiantly counting a 4/4 with his free hand.  Why? Bass and drums are in 5/4 in the verse, but the harmony instruments all play 4/4 so the repeating bass figure pops up at unexpected places all the time (hence I can't blame him for counting!) - which also makes the straight bridge and chorus such a relief. Smart! A polymeter in a hit single, it can be done! Eat your collective hearts out Geddy, Alex and Neil ... 

When I first heard Touch & Go from a car radio in Detroit in 1980 I thought it was one of the most ingenious and clever (and I don't take credit for recognizing the polymeter back then, I just realized something weird going on), yet instantly memorable pieces of music I had ever heard. That view hasn't changed to this day. And the guitar solo is 2 die 4 2!

[uwe]

Oh yeah, and the 2CD Best of Nightwish, mandatory listening for all Creationists and Richard Dawkins-doubters! 





Whenever I see (and hear!) Floor (a countrywoman of Rob and the Warwickster btw), I muse whether Stacia of Hawkwind got witness protection in The Netherlands for ratting about Hawkwind's drug habits. 

En Vogue, The Cars and Nightwish - I'm either pretty varied or indiscriminate, you takes your choices. 

[gearHed289]

Thanks for the Cars post. Those first 2 albums are really great.

[uwe]

Ric Ocasek is an American gem. Bastard son of Brian Wilson and David Byrne!

These first two albums were of course iconic, but I also like the "difficult" Panorama and the Mutt Lange opus Heartbeat City - though the production does reek of Def Leppard at times!

I love Hawke's keyboard work. That is pleasingly playful nerdy, yet smart.

[Dave W]

Let's not forget Ben Orr.

[uwe]

Of course not. I have a hard time telling his voice and Ric Ocasek's apart - Orr sounds like Ocasek if Ocasek could sing.  I always thought "You're just what I needed" and "Drive" were sung by Ocasek until I saw videos of them performing those songs live (I'm not aware that The Cars toured Germany - ever). Initially I thought "Ocasek, the ole prima donna, doesn't want to sing his own songs anymore, and the bassist is doing a good job aping him". 

I can relate to Orr's bass playing a lot. He does things that make sense to me. And back in the 80ies when my bass playing was still more New Wavish in style, there were a lot of similarities.

[uwe]

Just now: The new release of Chicago's '72 Japanese tour. Excellent sound quality. A young bearded Peter Cetera with his EB-3 Slothead.

He was a skillful player (and you hear him well on the recording). Even though Chicago as an ensemble did not exactly achieve Blood, Sweat & Tears tightness (if you compare live recordings of BST from around the same time). There is always a certain charming sloppiness to Chicago live, BST had more that "serious and seasoned jazz muso"-thing going.

[Dave W]

Just now: The new release of Chicago's '72 Japanese tour. Excellent sound quality. A young bearded Peter Cetera with his EB-3 Slothead.

He was a skillful player (and you hear him well on the recording). Even though Chicago as an ensemble did not exactly achieve Blood, Sweat & Tears tightness (if you compare live recordings of BST from around the same time). There is always a certain charming sloppiness to Chicago live, BST had more that "serious and seasoned jazz muso"-thing going.

Okay, now you have me listening to BS&T.

[Pilgrim]

I saw BS&T while in college - David Clayton-Thomas had a raw vitality and energy that reached off the stage. A really powerful singer whose sense of power could be felt by the audience.  From his website, sounds like he's still going strong.

[uwe]

Okay, now you have me listening to BS&T.

That's one hot performance, Clayton-Thomas belting it out against, over and within those intricate and demanding horn arrangements that went far beyond what was allowed as pop at the time. Vibrant and ebullient.

[uwe]

Some modern/contemporary PROG right now: Lifesigns ...