It is currently Wed May 22, 2013 11:33 pm
Now I heard from a good source recently (OK, rockabilly Rob who has the guitar shop in Penge, and he doesn't like Gary Moore much either) that Gary Moore has sold on this cherished guit. Couldn't he have given it back to Greeny (whose playing, I think it was said, made the hairs on BB King's neck stand up)?Adam also wrote:Now young teenaged Gary Moore worshipped at the feet of Peter Green and when Greeny went nuts in the early 70s he gave his young acolyte his cherished Black Beauty Les Paul guitar - the one with the pick-ups out of phase, the one with the celebrated "nasal" tone. THIS guitar is the holy grail of Brit-Blues. And guess who plays something that sounds like blues on it? Loudly? Regularly? You got it.
Adam Blake wrote:Thanks Norman, perhaps he was tempted by the 150 grand-plus that it's undoubtedly worth.
This is the kind of person who own every single thing Eric Clapton has ever recorded but owns nothing by Howlin' Wolf or Muddy Waters. It's easy to mock such people but are they not human beings too? Of course they are. And they have feelings. They know they SHOULD like Wolf and Muddy et al but they just can't get past the colour bar. They can't EMPATHISE with a black African-American man, no matter how hard they try.
howard male wrote:I don't think it's anything to do with colour or race - at least as far as that white male audience you describe. It's to do with the records themselves - the way they sound. It's like when Marley had strings and rock guitar added to make it more paletable for rock fans. Clapton and his ilk make pop-blues designed to be popular. Surely it's the industry that was racist in not promoting a black blues artist back in the 70's and steering his music in the way that Marley's was redesigned to fit the market?
Old blues records are scratch and tinny and aren't filled-out with string sections or funky brass - they don't come to meet the listener half way. That's why the white male 'blues' fan of a certain kind turned to those white players who had superficially perfected the style you so expertly describe.
garth cartwright wrote:. I once went to see Buddy at Shepherds Bush Empire and it was so-so, definitely trying to please the white audience with lots of rock histronics, and then Clapton joined him on stage and it was like Allen Toussaint with Elvis Costello, just sad - this great black musician humbling himself before a lesser (yet more famous) white musician.
garth cartwright wrote:I think another point here is that the UK and US general public prefer musicians who look and talk like them - thus the success of endless dull rock bands (Stereophonics or Morrissey or The Shins f' example as types people relate easily to).
Adam Blake wrote:[Sad indeed. Anyone else see him with Junior Wells at the Forum in 1988? Best blues gig I ever saw...
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