Most Under Appreciated Musician

micky wrote: BaldFriede wrote: micky wrote: Hawkwise wrote: Chris Karrer  Guitar Violin Sax Vocals All round Krautrock Genius   nice...  that answer deserves some clappies I have to add that he also plays oud!   I missed that on your  quiz too damnit hahhaha I thought you  meant loud.. and just left the L off    And chose the Rahib guy or something like that hahha

Rabih Abou-Khalil plays flute and oud (though lately he has completely stopped on the flute and concentrated on the oud, although he studied flute for several years). He is not in the archives yet, but we suggested him some time ago. We have been to two of his concerts, and they were excellent. His announcements (which he made in perfect German, without any accent even, although he did not come to Germany before he was 21; he was born and grew up in Lebanon) were really funny.
Read this wikipedia entry about him:
http://en.wikipedia.org/wiki/Rabih_Abou-Khalil
I personally think he should be added without delay; that wikipedia article gives enough information about him.


Edited by BaldFriede - June 05 2008 at 17:34

good stuff Friede...listening to him and completely enjoying it...  if I ever make it out your way... I'd love to have a glance at your album collection..  I do love eclectic tastes in music.

Spinal Tap

I don't know about 'most' (superlatives always leave me somewhat doubtful), but I do agree with those who mentioned Martin Barre (one of my favourite guitarists of all - not being a musician, I appreciate feeling over technique). Another sadly underappreciated musician (and vocalist), in my view, is Richard Sinclair, who very rarely gets a mention either in 'best singer' or 'best bassist' polls.

Chris Karrer is certainly underappreciated. I do feel that Greg Lake is a little under-estimated sometimes, and his contributions are too often overlooked (any fan of Crimson absolutely MUST heard the In Concert versions of Schizoid Man and Court with Gary Moore).

Now, thinking about it:

Lost Crimson Musicians (ha):
David Cross (...ish) (certainly too easily ignored for his work on Larks', Red and SABB. He basically makes Larks' for me.)
Gordon Haskell (superb bass-work on Lizard, even if his very theatrical vocals aren't to everyone's taste)
Ian Wallace, as mentioned above, does some wonderful work on Islands. Andy McCulloch's contributions on Lizard aren't bad at all either.

Now:
Jon Camp (bassist for Renaissance). I've only got Scheherazade, so I can't fully comment yet, but I have to say that his bass style made that for me.

Under-appreciated is not entirely an appropriate expression but i think Peter Townshend's contribution to progressive rock does not always get the recognition it deserves.  Some on this forum have even suggested that The Who were not a progreswsive rock band..

Townshend's early experiments with conceptual pieces such as Rael and "A Quick One..." helped develop the foundations for prog and it would not be unreasonable to nominate the release of Tommy as the event that kick-started the genre.  On the "Live at Leeds" album the extended version of "My Generation" is a tour de force that incorporates some of the best progressive guitar work ever produced (and quickly abandons any resemblance to the song it is named after) as Townshend explores every 'corner' of the instrument.

There's no point going into a prolonged debate as to what constitutes progressive rock but it would have to be a very narrow definition that excluded Tommy, Quadrophenia and the cornerstone tracks of Who's Next.

Ivan_Melgar_M wrote: My point Ten Years After is that in Prog Archives seems we need to link a band with Prog in order to consider them good, The Who are one of the best bands ever without the need of being Prog.   Quadrophenia is the closer they get to Prog, but remember it's a MOD anthem, and MODS are the predecessors of Punk.   I aleways believed that while Beatles and even Rolling Stones (with Satanic Majesties Request) were exploring oriental influences, The Who were one of the most conservative Blues  Rock Based band reluctant to fully embrace Psychedelia..   Yes, they used keyboards and violin, but the instrument doesn't make Prog, the music itselff does, and I agree, Amazing Jourmney,. Overture and Underture are Proggy, but the rest of Tommy don't.   Cheers.   Iván

Ivan_Melgar_M wrote: but remember it's a MOD anthem, and MODS are the predecessors of Punk.

Sorry Ivan you are fair from being correct, so toss that so-called modern history book away. Mod movement was no way the predecessor (and I presume you mean musically) to punk. The Mod movement  were very fashion oriented and heavily into American RnB, and British bands that specialised in it  e.g. originally Georgie Fame, Graham Bond, (both had come out of the London jazz scene), Geno Washington (US militray man who took leave in London ad occasionally sang with Georgie Fame before forming his own RamJam Band) and then Who, Small Faces (a face was somebody who was thought cool by the mods) . There have been a couple of excellent series on BBC 4, e.g. Soul Britannia, over the last two years, each of which spent an hour examining this particular period. Musically the Mods on their Lambrettas  were supposed to be opposite in taste to the leather clad, motor-bike riding rockers (who you might say followed on from the teddyboys, themselves far from extinct). And at the same time the beats or beatniks were still around (a hang over from the 50's) - discovered them myself back in the late 60's going to see The Temperance Seven. The fashion thing lead to Carnaby Street, seguing into the colourful clothes of the London underground/hippy scene. The early skin head movement was in opposition to the "freaks" or the hippies - which always struck me as ironic as the violent skin heads were into the gentle reggae music whilst the gentle hippies enjoyed the musical violence of Hendrix....

There's a New England band called rane that I think very highly of but have never heard people mention.