MUZ Muziek
Het forum voor 's werelds enige universele hobby! Snaren of toetsen, vinyl of cd, eendagsvlieg of rasartiest, op de radio of op een festival! Hier kun je al je ongebreideld enthousiasme, maar ook je weldoordachte kritische noten kwijt over muziek
The unhearable band?quote:Op donderdag 21 april 2005 17:04 schreef bigshadow het volgende:
De band is correct, het album nog niet!
the man who?
Semi0n is dead, long live Stress Techniques. New project: LLB - JG
http://http://llbinc.bandcamp.com/
http://http://llbinc.bandcamp.com/
The invisible band bedoel je (of was je sarcastisch )quote:
)Nee, dit is de verzamelaar, nu wil ik het antwoord weten, ik moet zo weg
Leek me een aardige opvolger, en een veelbelovende ook nogquote:Op donderdag 21 april 2005 17:15 schreef bigshadow het volgende:
The invisible band bedoel je (of was je sarcastisch )
zonder The maar goed genoegquote:Op donderdag 21 april 2005 17:20 schreef GLO het volgende:
The Singles?
GLO +1
En ik betwijfel of ze ooit nog komen met een nieuw album Ranja, misschien is dat wel een opluchting voor je
quote:Op donderdag 21 april 2005 17:24 schreef bigshadow het volgende:
En ik betwijfel of ze ooit nog komen met een nieuw album Ranja, misschien is dat wel een opluchting voor je
inaudible
quote:Op donderdag 21 april 2005 18:08 schreef Berkery het volgende:
T-Rex?
how come wrong numbers are never busy?
quote:Op donderdag 21 april 2005 18:10 schreef ranja het volgende:
Is het wel Marc Bolan?
En ook geen hippies...quote:Hij leek er al zoveel op maar aangezien T-rex geen duo is
Ergo...
how come wrong numbers are never busy?
Nee, het gaat erom wie ze samen zijn. Maar wellicht dat de naam van die ander helpt: Steve Peregrin Took.quote:Op donderdag 21 april 2005 18:26 schreef ranja het volgende:
Maar goed, het gaat er dus nog om wie die ander is?
how come wrong numbers are never busy?
quote:Before T. Rex assaulted the world with their glam rock party in the early '70s, there was the folk duo . Although both bands were fronted by flamboyant singer/guitarist/songwriter Marc Bolan, the earlier outfit was the polar opposite of the style of music that would later become synonymous with Bolan. originally formed in September of 1967 as a duo after Bolan split from his previous band, John's Children. Joining Bolan in the band was percussionist/bongo player Steve Peregrin Took, a gentleman that Bolan named after a character in The Lord of the Rings novel series. Bolan was so infatuated with Rings that most of the subject matter in songs came directly from the books as well.
how come wrong numbers are never busy?
Here Scrut comes to save the day!quote:Op donderdag 21 april 2005 19:41 schreef Scrutinizer het volgende:
Tyrannosaurus Rex heetten ze toen toch?
Scrutinizer +1
how come wrong numbers are never busy?
Ik dacht altijd dat de band gewoon Tyrannosaurus Rex heette, afgekort aka T-Rex.
Een beetje zoals QOTSA, FGTH, STP enzo. ..
Een beetje zoals QOTSA, FGTH, STP enzo. ..
And you may find yourself behind the wheel of a large automobile.
Niet dus. Twee heel verschillende bands.quote:Op donderdag 21 april 2005 19:55 schreef Gambolputty het volgende:
Ik dacht altijd dat de band gewoon Tyrannosaurus Rex heette, afgekort aka T-Rex.
Een beetje zoals QOSTA, FGTH, STP enzo. ..
how come wrong numbers are never busy?
Je steekt nog 's wat op hierzo Maar die misvatting heeft me wel een punt gekostquote:Op donderdag 21 april 2005 19:56 schreef GLO het volgende:
[..]
Niet dus. Twee heel verschillende bands.
And you may find yourself behind the wheel of a large automobile.
hmm krant niet gelezen vandaag...helaas...
I love music |Ajax forever
http://frontpage.fok.nl/c(...)-feest-of-farce.html
http://frontpage.fok.nl/c(...)-feest-of-farce.html
Edit - Niet echt Deens, die naam -
And you may find yourself behind the wheel of a large automobile.
Ik ben nu wel benieuwd wat er stondquote:Op donderdag 21 april 2005 20:27 schreef Gambolputty het volgende:
Edit - Niet echt Deens, die naam -
Laat ik het houden op iets Frans...en verder trouwens geen idee.quote:Op donderdag 21 april 2005 20:31 schreef Scrutinizer het volgende:
[..]
Ik ben nu wel benieuwd wat er stond
Parse error: parse error, unexpected $ in /sys/www/forum/www.inc/ipbans.php on line 100
And you may find yourself behind the wheel of a large automobile.
Laat maar ff lekker staan, Jazz is niet mijn sterkste kant maar er zijn er genoeg die er wat meer over weten. En ik ben nu sowieso offline.quote:Op donderdag 21 april 2005 20:36 schreef Scrutinizer het volgende:
Zal ik dan maar een andere vraag doen?
And you may find yourself behind the wheel of a large automobile.
The Touristsquote:Op donderdag 21 april 2005 21:10 schreef newbiedoobiedoo het volgende:
Tourists?
newbiedoobiedoo +1
Uiteraardquote:Op donderdag 21 april 2005 21:14 schreef Scrutinizer het volgende:
10 CC
Scrutinizer + 1
De middelste is de bassist, Hugh Hopperquote:Op donderdag 21 april 2005 21:29 schreef newbiedoobiedoo het volgende:
Die 2 rechts komen we wel bekend voor..
De (uitgebreide) bio:
Biography
was never a commercial enterprise and indeed still remains unknown even to many listeners that came of age during the late '60s, when the group was at their peak. In their own way, however, they were one of the more influential bands of their era, and certainly one of the most influential underground ones. One of the original British psychedelic groups, they were also instrumental in the birth of both progressive rock and jazz-rock. They were also the central foundation of the family tree of the "Canterbury school" of British progressive rock acts, a movement that also included Caravan, Gong, Matching Mole, and National Health, not to mention the distinguished solo careers of founding members Robert Wyatt and Kevin Ayers.
Considering their well-known experimental and avant-garde leanings, the roots of the were in some respects surprisingly conventional. In the mid-'60s, Wyatt sang and drummed with the Wilde Flowers, a Canterbury group that played more or less conventional pop and soul covers of the day. Future members Ayers and Hugh Hopper would also pass through the Wilde Flowers, whose original material began to reflect an odd sensibility, cultivated by their highly educated backgrounds and a passion for improvised jazz. In 1966, Wyatt teamed up with bassist/singer Ayers, keyboardist Mike Ratledge, and Australian guitarist Daevid Allen to form the first lineup of .
This incarnation of the group, along with Pink Floyd and Tomorrow, were the very first underground psychedelic bands in Britain, and quickly became well loved in the burgeoning London psychedelic underground. Their first recordings (many of which only surfaced years later on compilations of 1967 demos) were by far their most pop-oriented, which doesn't mean they weren't exciting, or devoid of experimental elements. Surreal wordplay and unusually (for rock) complex instrumental interplay gave an innovative edge to their ebullient early psychedelic outings. They only managed to cut one (very good) single, though, which flopped. Allen, the weirdest of a colorful group of characters, had to leave the band when he was refused re-entry into the U.K. after a stint in France, due to the expiration of his visa.
The remaining trio recorded their first proper album in 1968. The considerable melodic elements and vocal harmonies of their 1967 recordings were now giving way to more challenging, artier postures that sought — sometimes successfully, sometimes not — to meld the energy of psychedelic rock with the improvisational pulse of jazz. were taken on by Jimi Hendrix's management, leading to grueling stints supporting the Jimi Hendrix Experience on their 1968 American tours. Because of this, the group at this point was probably more well-known in the U.S. than their homeland. In fact, their debut LP was only issued, oddly, in the States. For a couple of months in 1968, strangely enough, became a quartet again with the addition of future Police guitarist Andy Summers, although that didn't work out, and they soon reverted to a trio. The punishing tours took their toll on the group, and Ayers had left by the end of 1968, to be replaced by Wyatt's old chum Hugh Hopper.
Their second album, Vol. 2 (1969), further submerged the band's pop elements in favor of extended jazzy compositions, with an increasingly lesser reliance on lyrics and vocals. Ratledge's fuzzy, buzzy organ, and Wyatt's pummeling, imaginative drumming and scat vocals, paced the band on material that became increasingly whimsical and surrealistic, if increasingly inaccessible to the pop/rock audience. For their third album, they went even further in these directions, expanding to a seven-piece by adding a horn section. This record virtually dispensed with vocals and conventional rock songs entirely, and is considered a landmark by both progressive rock and jazz-rock aficionados, though it was too oblique for many rock listeners.
couldn't afford to continue to support a seven-member lineup, and scaled back to a quartet for their fourth album, retaining Elton Dean on sax. Wyatt had left by the end of 1971, briefly leading the similar Matching Mole, and then establishing a long-running solo career. In doing so he was following the path of Kevin Ayers, who already had several solo albums to his credit by the early '70s; Daevid Allen, for his part, had become a principal of Gong, one of the most prominent and enigmatic '70s progressive rock bands.
For most intents and purposes, Wyatt's departure spelled the end of 's reign as an important band. Although was always a collaborative effort, Wyatt's humor, humanism, and soulful raspy vocals could not be replaced. Ratledge and Hopper kept the group going with other musicians, though by now they were an instrumental fusion group with little vestiges of their former playfulness. Hopper left in 1973, and Ratledge, the last original member, was gone by 1976. Other lineups continued to play under name, amazingly, until the 1990s, but these were in name only.
Biography
was never a commercial enterprise and indeed still remains unknown even to many listeners that came of age during the late '60s, when the group was at their peak. In their own way, however, they were one of the more influential bands of their era, and certainly one of the most influential underground ones. One of the original British psychedelic groups, they were also instrumental in the birth of both progressive rock and jazz-rock. They were also the central foundation of the family tree of the "Canterbury school" of British progressive rock acts, a movement that also included Caravan, Gong, Matching Mole, and National Health, not to mention the distinguished solo careers of founding members Robert Wyatt and Kevin Ayers.
Considering their well-known experimental and avant-garde leanings, the roots of the were in some respects surprisingly conventional. In the mid-'60s, Wyatt sang and drummed with the Wilde Flowers, a Canterbury group that played more or less conventional pop and soul covers of the day. Future members Ayers and Hugh Hopper would also pass through the Wilde Flowers, whose original material began to reflect an odd sensibility, cultivated by their highly educated backgrounds and a passion for improvised jazz. In 1966, Wyatt teamed up with bassist/singer Ayers, keyboardist Mike Ratledge, and Australian guitarist Daevid Allen to form the first lineup of .
This incarnation of the group, along with Pink Floyd and Tomorrow, were the very first underground psychedelic bands in Britain, and quickly became well loved in the burgeoning London psychedelic underground. Their first recordings (many of which only surfaced years later on compilations of 1967 demos) were by far their most pop-oriented, which doesn't mean they weren't exciting, or devoid of experimental elements. Surreal wordplay and unusually (for rock) complex instrumental interplay gave an innovative edge to their ebullient early psychedelic outings. They only managed to cut one (very good) single, though, which flopped. Allen, the weirdest of a colorful group of characters, had to leave the band when he was refused re-entry into the U.K. after a stint in France, due to the expiration of his visa.
The remaining trio recorded their first proper album in 1968. The considerable melodic elements and vocal harmonies of their 1967 recordings were now giving way to more challenging, artier postures that sought — sometimes successfully, sometimes not — to meld the energy of psychedelic rock with the improvisational pulse of jazz. were taken on by Jimi Hendrix's management, leading to grueling stints supporting the Jimi Hendrix Experience on their 1968 American tours. Because of this, the group at this point was probably more well-known in the U.S. than their homeland. In fact, their debut LP was only issued, oddly, in the States. For a couple of months in 1968, strangely enough, became a quartet again with the addition of future Police guitarist Andy Summers, although that didn't work out, and they soon reverted to a trio. The punishing tours took their toll on the group, and Ayers had left by the end of 1968, to be replaced by Wyatt's old chum Hugh Hopper.
Their second album, Vol. 2 (1969), further submerged the band's pop elements in favor of extended jazzy compositions, with an increasingly lesser reliance on lyrics and vocals. Ratledge's fuzzy, buzzy organ, and Wyatt's pummeling, imaginative drumming and scat vocals, paced the band on material that became increasingly whimsical and surrealistic, if increasingly inaccessible to the pop/rock audience. For their third album, they went even further in these directions, expanding to a seven-piece by adding a horn section. This record virtually dispensed with vocals and conventional rock songs entirely, and is considered a landmark by both progressive rock and jazz-rock aficionados, though it was too oblique for many rock listeners.
couldn't afford to continue to support a seven-member lineup, and scaled back to a quartet for their fourth album, retaining Elton Dean on sax. Wyatt had left by the end of 1971, briefly leading the similar Matching Mole, and then establishing a long-running solo career. In doing so he was following the path of Kevin Ayers, who already had several solo albums to his credit by the early '70s; Daevid Allen, for his part, had become a principal of Gong, one of the most prominent and enigmatic '70s progressive rock bands.
For most intents and purposes, Wyatt's departure spelled the end of 's reign as an important band. Although was always a collaborative effort, Wyatt's humor, humanism, and soulful raspy vocals could not be replaced. Ratledge and Hopper kept the group going with other musicians, though by now they were an instrumental fusion group with little vestiges of their former playfulness. Hopper left in 1973, and Ratledge, the last original member, was gone by 1976. Other lineups continued to play under name, amazingly, until the 1990s, but these were in name only.
Nee, de meest bekende (Andy Summers) heeft maar een kort tijdje bij de band gespeeld en staat dus niet op de fotoquote:Op donderdag 21 april 2005 21:39 schreef newbiedoobiedoo het volgende:
Dus waarschijnlijk is meneer links de bekende?
