Word: pedaling
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Dates: during 1970-1979
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...Major (BWV 536). With so many masterpieces of the form to choose from, it is unfortunate that Kent should have come up with such an uninspiring example. The A Major does posses the architectural perfection of Bach's composition, but the long strings of 7-6 suspensions, obvious pedal points, and exposed pedal solos do not produce anything striking. Even the fugue theme was dull. Through it all, Kent's playing was beautifully clear and devold of irritating mannerisms. His style is a convincing blend of new scholarship with old values--striking a balance between Tony Newman's nonconformly...
Garcia's performance on this album is truly superb, as it has seen on every other Dead recording. His playing seems to be more mature, with fewer of the acid pyrotechnics and a much more reserved, flowing style. He is beginning to show the almost lyrical influence of the pedal steel guitar, especially on the country numbers that the Dead...
...beginning, Beck struck down the barriers of traditional blues that Clapton had built around the group, and almost single-handedly raised the Yardbirds to the status of the avant-garde group of the sixties. He was the first English blues guitarist to make extensive use of the wah-wah pedal and the fuzz box (electronic devices for manipulating the sound of a guitar). Beck's first album with the Yardbirds, A Rave Up, contained three rock classics: "I'm A Man," "You're A Better Man Than I," and "The Train Kept A-Rollin...
...real surprise of the evening, though, was Beck's new version of "I Ain't Superstitious." When Beck first did the song on Truth it was performed in a rough, raunchy fashion with plenty of wah-wah pedal added for effect. In the new version, however, the song is performed as a slow blues number. Cozy Powell, the drummer, was good all night, and was brilliant during this number; Max Middleton, the pianist, showed himself to be every bit as good as Nicky Hopkins. Bob Tench, who was troubled by microphone distortion throughout the evening, also seemed to settle down...
...more exciting and clearer than the Stones' live version. While the Stones' studio "Honky Tonk" is sharp and clean and hard (especially Richard's guitar), the track on "Ya-Yas" is notable chiefly for its all-around muddiness. It's not so with the New Riders--Garcia plays the pedal steel with a wicked clarity that sends every audience I've ever seen into paroxysmic ecstasy. Their version of "The Weight" is similarly superb...