Peter Gabriel 3: Melt... spinning on the SME!
Showing 40 responses by geof3
@spirit... To answer your question I think it really lies down to style, and of course I forgot Bonzo. Geez, I play in a freakin’ Zepp tribute. How could I forget him? To your question, yes and no. Bands like Zepp, Rush, Tool, etc really are what they are/were because of the musicians as a singular unit. When those musicians get away from that type of super group, it is fairly rare they shine quite as bright. There are exceptions. Zepp is a good example. Rush too. ELP, Tool etc. When looking at a studio/session musician usually they are a bit more rounded and perhaps more versatile overall. I learned this concept studying various music styles. Good musicians can pull off almost anything, but the true "specialists" make their style shine if you get my drift. I think musicality is subjective. Athletic drummers can be found through all styles. In terms of sheer "groove" not many can beat the likes of Bonham, Gadd, Rich, and Hakim. SO many as I said before.
Regarding WR I think some of their best days were with Erskine. Acuña was amazing for sure. I just liked Erskine’s approach and style a bit more.
@spirtofradio and @bdp24 you guys missed numerous greats, but definitely have a great list going!
My instructor is Henrique De Almeida. He just left Berklee as a professor. Brazilian burn. Unreal. Gadd, Colaiuta, Erskine, Morello, Alan Dawson, Bozzio, Wackerman, Hakim, Stanton Moore, Copeland, Carey, Buddy... SO many others in rock, jazz, latin. The list could burn down audiogon. Of course, it goes without saying Peart. Those are some of my big list.
Probably one, if not THE most amazing drummers I have ever seen is Keith Carlock. Relatively unknown as a household named drummer, currently plays primarily with Steely Dan. Look him up. Wow...
@spiritofradio... regarding the 40th of Permanent Waves, not sure? It sounded great, but unfortunately I no longer have the original pressing. I will say the live records sound very, very good overall. Quite surprised actually. I would say the PW 40th is probably along the lines of Hemispheres 40... to me the H 40th seems a bit tighter and cleaner overall. I prefer it actually. But I don’t like the live records quite as much in the H40 as PW40.
@spiritofradio... I’ve seen Rush every tour since Moving Pictures. Arizona, Cali, here in CO and finally, 2nd to last show in Vegas. By FAR the outdoor shows I’ve seen here have been the best SQ at Fiddlers Green and several times at Red Rocks. Red Rocks is probably one of, if not the coolest venues in the world. And I am privileged to say I have been able to see most of my favorite bands there in my lifetime. Concerts in general usual don’t have great SQ overall. Live is live, SQ matters, but it’s all about the show at the end of the day. It’s always fascinated me the audiophile pursuit of “live” studio recordings and realism. Studio recordings (especially of the day) are generally anything but. Exceptions for sure... but for the most part studio sound is just that...
@6t5-GTO... cool moniker! Interesting perspective on King of Limbs. One of my favorite records. I don’t have it on vinyl, but I will say Kid A on 10” sounds fantastic. King of Limbs is an odd album. Radiohead, particularly on their latest recordings (King of Limbs is fairly old, but still “newish” for them) are recorded and put together a bit differently, almost like each song is post produced individually, and then simply put together as a “collection” of sorts. Kind of like a bunch of singles bundled together... King of Limbs is particularly like that in all of its forms. So maybe the pressings just bring that quality out?
@geoffkait There is the Peter Gabriel Genesis, (Phil Collins drums) and the post Peter Gabriel Genesis. Personally I like both, but their PG days were certainly more progressive without doubt. I think Abacab or ‘Genesis’ are the albums that really put them on the map in those days. No doubting Phil Collins writing chops. Great band! And PC helped write and produce, as well as played on Robert Plant’s first two solo efforts out of Zepp.