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To: LoneClone who wrote (30040)	1/17/2007 5:08:18 PM
From: koan	Respond to of 78421

I actually imbibed in an Olwsly twice -lol. Great book "The electric cool aid Acid Test" by Tom wolff.

To: LoneClone who wrote (30040)	1/18/2007 6:19:53 AM
From: E. Charters	Read Replies (1) \| Respond to of 78421

One Coffee Musicology Lecture --> Owsley Stanley. I met him in Toronto. Road manager of the Grateful Dead. He built good sound systems. One of the hallmarks of that band was their meticulous attention to quality, both sound production, musical exactitude and clarity. When they were in good form, they rarely made a mistake, and instrument levels were perfect with no unwanted distortion. You could hear each note like a bell. Few stage bands I have heard before or since could approach that engineering level. The Bee Gees were not bad, the Jefferson Airplane not bad, and the Doors, OK. The Doors could really play jazz rock, with very good improvisational style and "for a rock band" very good skill. They were as good as many of the 1930's jazz bands in laying down improv riffs that were inventive and "catchy". That was what we looked for in a band, really good lyrical-instrumental skill and ability to thematically build musical structure on the fly. One such Toronto band that was non pareil at that sort of jamming was Kensington Market. When you think of the co-ordination of the four parts, lead, rhythm and base, with drums too, good thematic synthesis and improv is obviously not for amateurs. Frank Zappa's various bands were very good at this too, and had a fantastic concert in Toronto once where with Peter Wolf of the J. Geils Band they demonstrated an ability to synthesize musical forms on the fly that was very spectacular. Their musical quality was also very very good. Zappa had invented the wawa pedal and other feedback electronics for guitars, and his sound engineering and musical form building were formidable. A good instrumental band of a later era which stuck to the blues format of the Dead and many R & B bands was the Powder Blues. The past masters of the art of band improvisation on blues themes were Clapton, Bruce, Baker of Cream. Most of this English blues improv style came from John Mayall and Long John Baldry who nurtured many of the musicians who would form the rock core of English electric blues music which imitated Chicago 1940's blues in part which got sold in America as 60's and 70's rock. This included Rod Stewart, Clapton, Aynsley Dunbar, and about 40 other musicians. I would say that 80% of so called "rock" is based on adapations of American blues and jazz music and to an extent folk and rock and roll. The fusion of modern folk music, with jazz and various blues forms, from Sonny Terry to Robert Johnson, Hooker, Broonzy, H. Wolf, Sonny Boy Williamsons I and II, lesser knowns such as J.B. Hutto, Furry Lewis, T. Bone Walker, Memphis Slim, to Handy and Willie Dixon was what shaped pop music from the 60's to the 90's. The musical form of London Blues, and Haight Ashbury "rock" was based on blues. Some rock was quite original in style, but a lot had minor key, blues feel, even if it was four four time. The Dead were blues pure and simple. Lyrical form varied widely but a lot of rock songs were actually laments and blues songs. Ballad forms were romantic poetry with sometimes Blakean vision. Very little shuffle-type rock and roll with the simple syncopated back beat (Haley, Vincent, Lewis), which owed its existence to race record upbeat R&B such as La Vern Baker, as much as up-beat country and western two-step (Texas Playboys), crept into 60's and 70's rock. Syncopated rock and roll was an echo not a dominant influence of the mainstream. In this respect a lot of Chuck Berry's work stands out as hewing to the older style. In between 60's R&B and rock and roll. It worked but it was not what bands were doing that were selling music to the youth of middle America. What they called rock was band blues music but it was hardly suitable for dancing. EC<:-}