The thread where you talk about non-metal music you like.

[zabu of nΩd]

Oh, concerning this bit:

Pink Floyd is definitely not overrated. I've said before: it's fine if you don't like them, but no way in hell are they overrated.

There's a whole shitton of people who seem to think Pink Floyd are literally perfect in every respect, so that would likely make them overrated, yes.

 

[Mort Divine]

Del Tha Funkee Homosapien rules so much.

 

[Oblivious Maximus]

Been on a big Steely Dan kick since yesterday. I need to listen to Gaucho more. "Babylon Sisters" is a tremendous song. Love the female vocals.

 

[zabu of nΩd]

Close your eyes and you'll be there
It's everything they say
The end of a perfect day
Distant lights from across the bay

Babylon sisters.... shake it!

 

[Oblivious Maximus]

Close your eyes and you'll be there
It's everything they say
The end of a perfect day
Distant lights from across the bay

Babylon sisters.... shake it!

Here come those Santa Anna winds again. Best part. Probably my favorite Dan song.

 

[zabu of nΩd]

Yeah, that song is bloody amazing.

 

[A1a23]

Some good ambient..

 

[Einherjar86]

We might have to agree to disagree here. What you call "tasteful" in Gilmour's playing strikes me as overly precise and by-the-book. I can think of Gilmour solos that blow me away songwriting-wise, but not performance-wise. Page's guitar work, on the other hand, is gritty, visceral, and often very mystical (just think of some of the unearthly howls and moans he pulls off in "Dazed and Confused", for example). Much of Gilmour's guitar work seems like the kind of thing one could master simply by studying sheet music of it for long enough. Feel free to point out counterexamples though.

Agree to disagree then. I don't think it's "by the book" because most of the playing at that time in rock was very bluesy and often fast, energetic, and complex. Gilmour slowed everything down and went for an extremely melodic technique; he chose his notes very carefully and purposefully, and could evoke more emotion by holding out one note than most players could in several bars.

I won't deny that many low-level players can learn how to play Gilmour's solos; but writing them is an entirely different matter, and it takes years of practice and an inherent genius to create those solos (in my opinion).

It's been a long time since I listened to Floyd thoroughly so my memory is fuzzy, but I can't recall any vocals of his on Dark Side of the Moon that weren't just excessively "cool" and slick sounding, and on Obscured by Clouds he just seemed really tired/stoned/out-of-it.

There were some moments on The Wall where he conveyed the air of insanity and neuroticism well, and he had some nice sarcastic deliveries on Animals (I love the lines "You're nearly a laugh / But you're really a cry"), but again there's nothing on those albums that makes me think "Wow, this guy is a really touching singer." He always seems really distant-sounding when he sings.

Waters didn't sing on Dark Side; that was all Gilmour, I'm pretty sure.

He sang on The Wall, and where you see it as slightly neurotic and insane but not touching, I see it as an incredible display of theatrical singing/acting. He moves me with several performances on that record.

The Final Cut has some even more moving vocals. His vocals on "The Gunner's Dream" begin very soft and touching, and then gradually increase to a heartbreaking scream. The climax of that song is amazing.

And as far as them being overrated, I think that most rational Floyd fans don't think they're perfect, but I can see how lots of people might convey that notion. I don't think they're perfect by any means, but I do think they've released some near-perfect albums.

 

[Belligerent]

Gilmour slowed everything down and went for an extremely melodic technique; he chose his notes very carefully and purposefully, and could evoke more emotion by holding out one note than most players could in several bars.

That pretty much sums it up.

 

[Einherjar86]

Chris knows what I'm talking about.

 

[Belligerent]

I can appreciate Page but i've always enjoyed Gilmour's style much better.

 

[zabu of nΩd]

Agree to disagree then. I don't think it's "by the book" because most of the playing at that time in rock was very bluesy and often fast, energetic, and complex. Gilmour slowed everything down and went for an extremely melodic technique; he chose his notes very carefully and purposefully, and could evoke more emotion by holding out one note than most players could in several bars.

I won't deny that many low-level players can learn how to play Gilmour's solos; but writing them is an entirely different matter, and it takes years of practice and an inherent genius to create those solos (in my opinion).

I guess that's one way to look at it. I'd have to listen to a whole lot more '60s/early-'70s music before I could make a call on how distinctive his playing style was for the time, but I can see there being a case for that.

Waters didn't sing on Dark Side; that was all Gilmour, I'm pretty sure.

Oops.

He sang on The Wall, and where you see it as slightly neurotic and insane but not touching, I see it as an incredible display of theatrical singing/acting. He moves me with several performances on that record.

The Final Cut has some even more moving vocals. His vocals on "The Gunner's Dream" begin very soft and touching, and then gradually increase to a heartbreaking scream. The climax of that song is amazing.

Alright, well I'll try to give those a better listen some time.

 

[Badbird]

That pretty much sums it up.

Yes it does.

 

[Eligos]

I've really been digging minimalism lately, particularly Steve Reich, Terry Riley, John Adams, and Philip Glass.

Morton Feldman too.

 

[Saparmurat_Niyazov]

Trippy song. I've been on a Prokofiev kick (again). That and big band jazz (especially Buddy Rich's stuff).

 

[zabu of nΩd]

All in all each man in all men
All men in each man.
He can see she can't, she can see
she can
see whatever, whatever.
You may know what I don't know,
but not that
I don't know it and I can't tell you
so you will.

To tell me all man in all men
All men in each man.
He can see she can't, she can see
she can
see whatever, whatever.
You may know what I don't know,
but not that
I don't know it and I can't tell you
so you will have to tell me all.

It hurts him to think that she is
hurting her by him being hurt to think
that she thinks he is hurt by making her
feel guilty at hurting him by her thinking
she wants him to want her. Her wants
her to
want him to get him to want him to get
him to want her she pretends.

He tries to make her afraid by not
being afraid.

You may know what I don't know, but not
that I don't know it and I can't
tell you
so you will
HAAAAAAAAAAAAAAAAAAVVVVVVVVVVVVVVVVVVE
TO TELL ME AAAAAAAAAAAAAAAAAAALLLLLLLLLLLLLL!!!

 

[Belligerent]

wow those guys are strange

 

[Evil?]

I've really been digging minimalism lately, particularly Steve Reich, Terry Riley, John Adams, and Philip Glass.

Morton Feldman too.

http://www.youtube.com/watch?v=xU23LqQ6LY4

I really enjoyed that. Thank you.

 

[challenge_everything]

Arvo Part ftw

 

[DarkBliss]

wow those guys are strange

Yep, I own Octopus by Gentle Giant. It's a very strange beast.
I hope they have something more fluid in their catalogue. Octopus is just a bit too out there.