[kj] Power Chord's - geordie's blueprint

[rob]

Now THAT is a f*ckin good post.....cheers Fluw

 

  _____  

From: gathering-bounces at misera.net [mailto:gathering-bounces at misera.net] On
Behalf Of fluw
Sent: 23 November 2005 18:50
To: A list about all things Killing Joke (the band!)
Subject: Re: [kj] Power Chord's - geordie's blueprint 

 

rangecroft says:  <who WAS the first to do the Geordie thing? Not denying
your claim, just interested.>>>  

geordie was the first to my knowledge to do it as his *thing*,,,just as link
wray was the first to make power chords his *thing*.
neither were the first to use a power chord, or chilling chimes and
dissonance as many had used these as aggregate form of a more broad sound.

to address the query of some others who used chilling chimes, repetitive
tension, or dissonance in their music before geordie ---
the answer is everywhere; shostakovich, louis hardin "moondog", gabor szabo
(a guitarist), beach boys, much of the middle/eastern music.. i'll cover how
i perceive this variety might be influential further down -- but if one is
looking for a good example of a guitarist who would be geordie's blue print,
or link's blue print, in their cases, none exist that i know of.

the key with link and geordie is they are two guitarists who might be better
described as players who approached their instruments with less
*convention*. why is the reason they played with less convention? was it
forced by the necessities of limited skill, or a combination of limited
skill and an attempt to imitate the power/affect they heard from other
music? link might have been using his guitar to emulate the powerful slams
of an orchestra playing rachmaninov or beethoven - albeit with less harmonic
content. while geordie might have be following some eastern melodic muse (
amongst many, many others ) we all know. both of them play/ed with less
regard for the instruments conventional limitations and that is key to their
creative greatness.

did they create new music? if one is looking for new "music", as in scales
chords, inversions, modes, harmonic theory, it won't be found on this planet
or dimension - if such thing exists. either that *new* found music will be
ancient to the performer and not the "finder" or it will be a 'fresh'
variation of some other music's migration on through the performer's
interpretation. 

whether it is fado guitara music incorporated in austrian zither music,
polkas taken to texas by czech/german immigrants interpreted by hispanics
and forming conjunto, or it is indian sitar in brit pop. it has all been
done before somewhere. the mutation/execution is the only aspect which is*
new*.
but this is not a critique of human musical efforts.  

back to link and geordie! --
they interpreted something, either intellectually, or via some natural
osmosis or experience, and for whatever reason where inclined to create a
new way of transferring those musical emotions they encountered - in turn
they passed them on in relatively fresh ways that created new interest!!!
that is where the importance of their musical execution or singularity,
requires homage. 

as to whether or not decay in music has taken place due to this transfer, it
is an interpretation confined to the one/s who are receiving . as for the
context: is richness and potency of the former music incarnation's content
compromised? yes, i would be inclined to agree with paul, that link dumbed
it down. but dumb can be fun once in a while.

 

-------------- next part --------------
An HTML attachment was scrubbed...
URL: http://four.pairlist.net/pipermail/gathering/attachments/20051124/9c36f66f/attachment.html