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Big Blue Sky

Melinda - soundstage - some love for this performance!

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This is a clip from YouTube. As I mentioned in a recent post elsewhere, the fella in the hoody is a musician who uses his teaching & performing knowledge to analyse his favourite players / performances. Sometimes he's insightful.  Sometime he pretty much just smiles and enjoys the show & gives some factual background. Which, ahem, fans are likely to know already. Given that, he has a quiet positive enthusiastic vibe -  I haven't seen one where he rips critically into a performer, so if you want that, look elsewhere ;)

interested in watching Melinda?  (spoiler alert) this is one where he's geeking out and enjoying the moment.  So don't expect anything too deep. :D Having said that, as always, yes, their playing is a masterclass... amazed & impressed by just how much communication is going on between them all.  And wow notice how well they're all controlling tempo and volume by creating rapt near-silence just before Benmont's solo explodes.  

 

 

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A damn shame it never made it to a record. There's a lot of good lost stuff from 01-03. "Melinda", "Two Men Talkin'", "Black Leather Woman". It just goes to show the band was never a great judge of their random tracks. That's what EPs are for boys. 4 tracks don't fit the album you're making? Pump out an EP to hold people over.

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I'm fine with live only versions. If they did a studio track I'd be all right with a tight version of the song, under three minutes with a brief but memorable solo from Benmont. I could be wrong but the song much like Two Men Talking struck me as a live jamming vehicle. Something like It's Good To Be King turned into a jam song in the live setting but Two Men Talking and Melinda felt like they were written precisely to be jams, if that makes sense.

 

cheers

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1 hour ago, MaryJanes2ndLastDance said:

I'm fine with live only versions. If they did a studio track I'd be all right with a tight version of the song, under three minutes with a brief but memorable solo from Benmont. I could be wrong but the song much like Two Men Talking struck me as a live jamming vehicle. Something like It's Good To Be King turned into a jam song in the live setting but Two Men Talking and Melinda felt like they were written precisely to be jams, if that makes sense.

 

cheers

They can put it on an album in jam form. Its not like their stuff since 1999 was getting any real radio play

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Makes sense to me, MJ's2ndLD. They talk so often about how guitarists needs to play for the song & they did that for such a giant proportion of their music. On other hand, maybe all that restraint & tastefulness exists alongside a desire to let rip occasionally in glorious jam sessions. Best of both worlds! 

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4 hours ago, Big Blue Sky said:

Best of both worlds! 

I pictured something like Breakdown, on album it's just over two minutes I think but live became something else; I think a short but powerful studio version of Melinda would've been a neat contrast to the live version. Moooooot now though.

cheers

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Something that's maybe a little off topic... Maybe people who play in bands have a name / phrase for what I've heard and am trying to describe? Was just listening to "Dogs On The Run" from the Official Live Leg 1976/77 recording. Noticed a similarity with "Melinda" in the way they are controlling the tempo and sound so they create a space within the song where the wave goes out to sea... all the noise falls away until the melody is being carried by one or two instruments. Which is always pretty special when you're in the audience, especially a large & enthusiast crowd, and you can feel the musicians having this very direct influence on you & on the mood of the rest of the crowd. You know, when sometimes it's almost like you can hear a pin drop? The that wave surges back in and the music builds right back up. And everyone breathes again.

tend to think of that as an advanced level skill for bands. Whereas, say, support bands want to keep your attention (not have a riot with audience chanting the main band's name). Often they tend to do that by entertaining you all as much as possible and by building one great song on top of another. Not by creating that hollow space between waves. Plus, guess there's a risk some drunk'll yell out if there's a quiet lull. ;-)  better to keep juggling! On unicycle!! With flaming torches!!! 

So. Really quite amazing they were already capable of doing that within the first few months of their initial tour. Sure, experienced musicians, but only in that combo & out on the road for a few months by time it was recorded. So even though they don't say much between songs, seems like they were exceeding expectations straightaway as far as badass playing live goes. 

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16 hours ago, Big Blue Sky said:

Noticed a similarity with "Melinda" in the way they are controlling the tempo and sound so they create a space within the song where the wave goes out to sea... all the noise falls away until the melody is being carried by one or two instruments. Which is always pretty special when you're in the audience, especially a large & enthusiast crowd, and you can feel the musicians having this very direct influence on you & on the mood of the rest of the crowd. You know, when sometimes it's almost like you can hear a pin drop?

  The technical term is AQZ which stands for advanced quiet zone. This is when the bandleader gives a cue and the band brings down the volume, often times the tempo for some soloing and/or to get the crowd involved or to create the dynamic tension and power of building back to a musical climax. Go back and watch any live video and you can see Tom often signaling with subtle eyebrow and hand gestures, forming AQZ.  I jest. Actually I don't know if there is a technical term for it; I've heard it as a band "breaking it down" or "bringing it down." TPATH did it frequently. But not to disillusion you but it's fairly easy, I've done it with other amateur musicians in a bar, or outside in a park, usually with a head gesture or even saying, "let's bring it down." So I figure if a bunch of amateurs pounding out some chords and jamming and soloing for the fun of it can do it, any professional band can do it quite easily; in fact, that level of rehearsal before they even perform gave them enough of a connection to act as one as it were.

My point is, playing a bit of music you get a feel for when you can "bring it down", so a pro band of TPATH's caliber could do it easily and quickly, even on their first tour.

As for effectiveness, I think it's very powerful in concert, and you can tell how much Tom enjoying hearing Benmont (or Mike) take the spotlight in those moments.

cheers

 

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AQZ - you slay me, I totally believed you... :o so... :rolleyes: "Don't Bring Me Down" 

Okay, so it's not technically difficult? Good point. Thanks.

Guess there's a performance risk involved though? Present company excluded of course - I'm sure  your bunch of musos were able keep - not lose - your bar / park audience. 

 

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