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DiamondDog View Drop Down
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Direct Link To This Post Topic: Clouds
    Posted: May 23 2015 at 08:01
Yep, read it, 1-2-3 definitely in the 'frame' as prog pioneers. Really good read, the whole book is fascinating. Great piece on Steve Hackett too.
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Direct Link To This Post Posted: April 05 2015 at 12:45
Will Romano has made a start on this subject in his new prog tome. First chapter dedicated to 1-2-3/Clouds "Clockwork Soldiers".
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Direct Link To This Post Posted: November 09 2014 at 04:06
yep, can imagine that. Hope you get it out tho. great band, never got credit they deserve.
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Direct Link To This Post Posted: October 21 2014 at 16:12
I've approached publishers funnily enough but the rejections were all connected with said objectionable truth :_  
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Direct Link To This Post Posted: October 21 2014 at 15:24
Fascinating to hear that you know Billy Ritchie; he must have a few stories to tell, not ones that certain proggies would want to hear. Maybe you should write a book about it, put my name down for a copy!
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Direct Link To This Post Posted: May 14 2014 at 02:12
I agree and will pass that on. His abilities are undiminshed
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DiamondDog View Drop Down
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Direct Link To This Post Posted: May 13 2014 at 16:24
He certainly is. One of the most influential and talented musicians of the early rock era.
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Direct Link To This Post Posted: May 12 2014 at 03:29
New member - first post. I am good friends with Billy. He is warm, amiable, grounded, philosophical and pulls no punches, He will be pleased to know that he is remembered
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Direct Link To This Post Posted: March 05 2014 at 04:55
We do seem to attract very polite and friendly spammers. Smile
What?
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Direct Link To This Post Posted: March 05 2014 at 04:02
ok thanks!?Confused
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Direct Link To This Post Posted: March 01 2014 at 02:23
Hello How are You,...
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Direct Link To This Post Posted: December 04 2013 at 09:52
I've no problem with Don Shinn being an influence on Emerson too, and no, I don't think anyone was" the fountainhead"- prog was a culmination of many forces - read Malraux's earlier post - but there's no doubt that 1-2-3 was a crucial influence, in terms of the concept of the music - none of the musicians from the bands that followed needed to copy anyone in the execution of the music.  It's also largely true that out of Crimson/ELP/Yes, only Jon Anderson has publicly cited 1-2-3/Clouds as a major influence, but rivalry certainly plays a part in that. Don Shinn, as stated, is an unique individual, but not a rival in the same sense, therefore easier to acknowledge (or use as acknowledgement). The point I was also making is that Don's band featured keyboard, but alongside lead guitar, in traditional fashion for that time. 

As I also mentioned, outside the shores of prog archives, there is plenty of critical acceptance of 1-2-3's influence, so it's not just my opinion as a humble punter that's being put forward here. Check outside these walls. You at least seem open-minded, which is as much as anyone can ask.
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Direct Link To This Post Posted: December 04 2013 at 09:33
Originally posted by DiamondDog DiamondDog wrote:

Don Shinn was/is unique; a one-off original; but his guitar-less trio wasn't formed till late 1967.


But his influence on Emerson in particular dates from a Marquee residency in mid-1966 (and the keyboard-led record linked to is also from 1966). This from the BritishSound blog:

"Monday, June 6, 1966: Marquee Club, 90 Wardour Street, Soho, central London, UK with The Graham Bond Organization
The not yet famous organ God Keith Emerson was in the audience during one of the band Marquee shows that summer, and was duly inspired by Don Shinn's act that featuring hilarious stage antics such as a habit of disappearing around the back of his organ to draw out weird sounds with the aid of a screwdriver, and also "treated" adaptations of classical pieces such as an arrangement of the Edvard Grieg's Piano Concerto In A Minor, one of the most popular of all piano concerti. Seeing Don Shinn do that, made Keith Emerson realise that he'd like to compile an act from what Don did." 

I have nothing against 1-2-3/Clouds (!) and hope they get their due recognition as artists. I just think it's wrong to present them as the fountainhead of what happened in UK prog in the late 60s which you seem to be attempting to do. There were a whole load of more central influences in on it such as Procol Harum, Zappa, Soft Machine, The Moody Blues, Pink Floyd, and of course the Beatles who were probably the biggest influence of all. Bill Bruford said that when you formed a band in the late 60s there were two questions: a. Was it as good as the Beatles? b. Did it sound different to anyone else?

The likes of Don Shinn and Clouds I'm sure had their own influence on what happened at a lesser level. It just seems weird that no one from Crimson/ELP/Yes et al has cited 1-2-3/Clouds as an influence if they were so central and when other ones have been readily acknowledged. Unless of course there is some sort of sinister Prog musician "omerta" going on to deny them their proper due? If there is I think we should be told and I will then retract all of the above. LOL


"And now...on the drums...Mick Underwooooooooood!!!"

"He's up the pub"
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DiamondDog View Drop Down
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Direct Link To This Post Posted: December 04 2013 at 07:10
Don Shinn was/is unique; a one-off original; but his guitar-less trio wasn't formed till late 1967.
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Direct Link To This Post Posted: December 04 2013 at 03:02
What about Don Shinn? He was doing Hammond-led, rocked up classics as far back as 1966. He played at the Marquee and has been openly acknowledged as an influence by Keith Emerson several times:

http://www.themarqueeclub.net/keith-emerson-2001

Not surprising when you listen to this:






Edited by Cactus Choir - December 04 2013 at 03:06
"And now...on the drums...Mick Underwooooooooood!!!"

"He's up the pub"
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Direct Link To This Post Posted: December 03 2013 at 06:41
Hardly! Tom McGuinness was the lead guitarist. The organ was an ingredient.
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Direct Link To This Post Posted: December 03 2013 at 06:01
ORLY.



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DiamondDog View Drop Down
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Direct Link To This Post Posted: December 03 2013 at 05:35

PS what I should also have added was that the real innovation was in the arrangements more than the playing. Also, it was the first time that a Rock band had lead keyboards instead of lead guitar. Other bands had organ ingredients, not organ/keyboards as sole lead instrument.

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Direct Link To This Post Posted: December 03 2013 at 04:03
Originally posted by Certif1ed Certif1ed wrote:

1967 was pretty much THE year of progressive - but not quite in the "Crimson King" sense.

The main essence of the 1-2-3 style (from what can be heard on "Above Their Heads", excuse me if I got the title slightly wrong) came from Jazz, of course - Buddy Guy and later Gene Krupa providing major drum cues for Harry Hughes - and organ led combos were not unusual at that time, e.g. Graham Bond's Organisation (check out their Live from Klook's Kleek album from 1965), not to mention Jimmy Smith, Wynder K Frogg et al.

Mixing Jazz and Classical idioms was something Jaques Loussier was famous for, and later, the Swingle Singers did some great things (and some appalling things) with that eclectic mix - to name but the most famous.

Blues Rock was pretty big prior to 1967, of course - the Yardbirds and Small Faces were producing some spectacular stuff which would go off into jazzy improvs. Don't forget that Pink Floyd had been producing some very experimental stuff before the release of Piper in 1967 - and there was the Fab 4 meeting Dylan and the Byrds, Newport Folk Festival of 1965, and the whole Electric Kool-Aid stuff going on in the US.

The concept of Progressive Jazz, which came to be the same as the "Progressive" in King Crimson, was kicked off by Stan Kenton in the early 1950s, if I recall correctly - and this was the concept of taking the music to its utmost limits, of almost destroying the concept of music within the music, if you like - much as "Moonchild" does on "In The Court".

Mixing and matching blues, classical and jazz was pretty much what a lot of people did in the mid 1960s, to cut the story short.

I don't think 1-2-3 were particularly ahead of the pack. There may have been some impetus to Keith Emerson, who knows - but his style was utterly different and fresher. And I am saying this as someone who is NOT very partial to ELP. Listen to the Nice's debut album, co-incidentally of 1967 - that album utterly destroys!

The real unsung pioneering in the 1960s, was in Electronica. Even Paul McCartney had a go at Electronica in 1967, but kept it under wraps until fairly recently when the internet made it more common knowledge. Electronica wasn't invented by Delia Derbyshire, but it begins with her by rights! The "Dr Who" theme of 1963 is a great example of what a stretched imagination can do to a piece of orchestral music.

There's no argument without conclusive evidence, though - as you say. The general conclusion has to fall where the evidence IS.

Such an interesting and essentially precise post deserves as considered a response as I can manage.

Yet you get off on the wrong foot by saying that the essence of 1-2-3’s style  came from jazz. This isn’t entirely your fault – again, the records are setting the record wrong – just as the lack of recordings blurs 1-2-3’s importance, the Clouds records are giving the wrong clues to the style of 1-2-3.  Despite containing the same musicians, Clouds was not 1-2-3. It was a completely different band, pushed off direction by Terry Ellis, their manager, who was trying to more directly reach the mainstream.

Yes, jazz was an important component, as was blues, and classical, but so was pop and particularly, pop songs. As Rolling Stone said, 1-2-3 was many things (also read Malreaux’s earlier post). A rough guide might be thinking of a jazzy – classical Vanilla Fudge. Yes, “Sing-Sing-Sing” was a 1-2-3 arrangement and another good clue, but look at “America”, and imagine a repertoire of songs covering that spectrum and beyond. Perhaps it was misleading of me to say that they were ahead of the pack, that gives the impression that they were playing King Crimson, Yes, ELP before these bands existed, when in actual fact, 1-2-3 would still stand on their own as unique, even today. As has been noted, these bands took elements, Yes took the baroque arrangements, Crimson took the melodic grandeur mixed with frantic muso invention, ELP (The Nice) took the concept of a classic organ trio. What these bands produced from there was their own version of elements of 1-2-3. They were all “utterly different and fresher”, all that is said is that the concept largely came from 1-2-3.

At the very least, 1-2-3 was playing a form of progressive music long before these other bands were even formed. But the nature of things in Rock music is that the records are used to make these judgements rather than live performances, and that’s where it went wrong for 1-2-3, though beyond the shores of Prog itself (ironically!), their crucial contribution is more readily accepted. 

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Certif1ed View Drop Down
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Direct Link To This Post Posted: December 03 2013 at 01:58
Paul McCartney was commissioned to write a piece called "Carnival of Light" in December 1966 for a special Electronica festival called "Million Volt Sound and Light Rave" at the Roundhouse in early 1967.

My "error" was ascribing it to McCartney, when all the Beatles were involved in writing it.

However, it was McCartney who was approached to write this piece, which has acquired an air of mysticism, since it has never been released... or has it?


http://www.youtube.com/watch?v=A5p6z8QAVYU

Edited by Certif1ed - December 03 2013 at 02:03
The important thing is not to stop questioning.
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