Messiah Will Come Again!!!

[Tsevos]

This video make me grab my guitar after 12 years!!!

I thing its great performans of Gary!!

YouTube - Gary Moore

YouTube - Gary Moore

[StrangerNY]

Originally Posted by Tsevos

This video make me grab my guitar after 12 years!!!

I thing its great performans of Gary!!


YouTube - Gary Moore

Roy Buchanan's original ain't too shabby, either.

Messiah Will Come Again

Messiah Will Come Again

- D

[Tsevos]

roy creat it and gary perfect it

[Cookie-boy]

Rock on!

[Quill]

Gary plays the bejeezus out of that tune.

Which is the problem I have with it. I love Gary - he's a wonderfully powerful, passionate and inspiring player, all the time - but. The strange prayer-story that Roy told to start this tune off was chilling. If you hear it as a Fanatic, a Fundamentalist, a Moderate, Agnostic, or an Atheist - doesn't matter. The text is important. Haven't got the heart to deal with the text? Can't see yourself standing up in front of another person, or a concert hall full of other people, and reciting those words? Maybe shouldn't touch the melody, either.

Aspects of Roy's personality were really quite terrifying, and that edge he walked, the constant negotiation he had goin' on in his imagination, his spirit, and his soul - "negotiation"? No; understatement won't do: it was a battle, a full-out war, wrapped up in skin. It came out in his playing - it was his playing - he didn't so much play as break open, and out he'd let a little bit bleed. Sometimes he said in interviews, "I'm out to prove something to myself" - what I hear in his playing, is that he was out to prove that he could, through his music, survive that battle. He was wrong, sadly. But it was a great gift to everyone who ever heard him, that he tried, and that he survived his struggles for as long as he did.

I just hear great guitar playing, when I hear Gary, soulful and passionate playing, for sure ... but ... and but, so, this is one tune ... well, that's enough said about that tune.

I suppose it's like Little Wing. Everyone has their own thoughts on this sort of thing, and everyone who doesn't worry about these things the way I do is better off than me. However. There are lots of Hendrix tunes that can be covered by other players really, really well. Play those. I'm into hearing any of those, anytime, played expertly, played differently, played by rank beginners. It's all great! But don't play Little Wing. Little Wing is special. Learn it, learn all you can from it, play it at home. I'd prefer that no-one play it for me, please, and for me it's a matter of deep respect that I not try to play it for anyone else.

I don't mean to be hard on the OP - except, perhaps, on the notion of the "perfecting" the tune - that's just nonsense - but I do think that Gary does kind of a good thing in playing it, by giving those unfamiliar with Roy a jumping-off point, and a glassy surface to break, and an opportunity to dive deep into the music of Roy. But it definitely behooves you to break that surface.

[River]

Originally Posted by Tsevos

roy creat it and gary perfect it

Sorry, I disagree. I can't be as eloquent about it as Quill, and he tells me to be thankful for that. But no, Gary has not "perfected" anything there. Can't be done.

Prefer to listen to whichever version you like - that's immaterial. But take nothing away from Roy and his performances of it. That would be sinful.

PS: and Gary makes too many weird faces.

[River]

Take the time to jump over and watch Roy do it on YouTube (Stranger's post above doesn't play). You have to hear him do the vocal introduction to appreciate the whole. It's greater than the sum of its parts, and the technically proficient guitar work is only a part of it.

Roy's studio version is also a "must-listen". But double check your emotional condition before putting on the headphones or cranking it up.

[checkedgoldtop]

Wow! I really liked Buchanan's version after I stopped thinking he was George Carlin. Was that Austin City Limits?

[River]

Originally Posted by checkedgoldtop

Wow! I really liked Buchanan's version after I stopped thinking he was George Carlin. Was that Austin City Limits?

I don't know if that was but, according to Wiki, he was on the show in 1977.

[checkedgoldtop]

Originally Posted by River

I don't know if that was but, according to Wiki, he was on the show in 1977.

I think pbs has pushed most of the acl stuff off of youtube, may be why it's not labeled as such. Sure does have that feel though. Best show on tv IMHO.

[River]

Try to find a decent version of Roy's "When a Guitar Sings The Blues".

[Quill]

Those who have the Polydor anthology will know this well.

Roy's first trip into the studio was with Charlie Daniels, and they did an album together called "The Prophet" that was never released. They did an interesting collection of things, four of which are anthologized on the "Sweet Dreams" anthology: "Baltimore", "Black Autumn", Cohen's "The Story of Isaac" - really interesting, that tale of false vision, paired with the portrait of a lost, mercantile world in "Black Autumn" - and "There'll Always Be".

The melody that became the tune under discussion appears in "Black Autumn", check it out:

YouTube - Roy Buchanan - Black Autumn

YouTube - Roy Buchanan - Black Autumn

Just looking at the recording dates listed in the notes - the dates for those four tracks from "The Prophet" spread from October 1969 all the way to February 1971. That's a long, painful span of time and work for an album that was never released.

[checkedgoldtop]

Some tasty swells, newer video with crummy tone though.

YouTube - Roy Buchanan - When A Guitar Plays The Blues

YouTube - Roy Buchanan - When A Guitar Plays The Blues

[River]

Originally Posted by checkedgoldtop

Some tasty swells, newer video with crummy tone though.

YouTube - Roy Buchanan - When A Guitar Plays The Blues

Isn't his lack of facial expression almost disturbing relative to what's coming out of the speakers? He was always like that, so far as I know. There's only so much expression to go around, that's my take.

Dude never fails to give me the chills.

[Quill]

Roy's music - which is more about ontology than epistemology - is hard.

One of the best interpretations of a piece of Roy's music was not a cover, but a placement. In the closing scene for The Departed - you know, after those shattering few seconds during which everyone shoots everyone else - Scorsese comes in with Buchanan's studio recording of "Sweet Dreams", but, if you saw the theatrical release, it's loud, not like a piece of incidental music - it's right up front, like a narrative, a voice, while the images are backgrounded to the music. That's how I read it, anyway.

One of the prettiest tunes Roy played - the old Don Gibson classic - but even in that sweet melody, he brings in the struggle, the dichotomy. And Scorsese's use of that tune - which, in lesser hands, would be an empty metaphor, a bad joke - as I think about it a bit more, that juxtaposition of violent imagery with that particular choice of music isn't so much an interpretation of the music as an explication of it. A wonderful word, "explication", from the latin root "to unfold", and its more archaic sense refers to the process of drawing meaning out of a passage from the Bible, and now it is more loosely used to refer to the analysis of something (usually a literary work) to show or try to show the meaning of that thing. Unfolding something, showing what's inside. Anyway, point being, I only mean to use this as an example of someone - in this case, Scorsese - really "getting" Roy.

[StrangerNY]

Originally Posted by Quill

Gary plays the bejeezus out of that tune.

Which is the problem I have with it. I love Gary - he's a wonderfully powerful, passionate and inspiring player, all the time - but. The strange prayer-story that Roy told to start this tune off was chilling. If you hear it as a Fanatic, a Fundamentalist, a Moderate, Agnostic, or an Atheist - doesn't matter. The text is important. Haven't got the heart to deal with the text? Can't see yourself standing up in front of another person, or a concert hall full of other people, and reciting those words? Maybe shouldn't touch the melody, either.

Aspects of Roy's personality were really quite terrifying, and that edge he walked, the constant negotiation he had goin' on in his imagination, his spirit, and his soul - "negotiation"? No; understatement won't do: it was a battle, a full-out war, wrapped up in skin. It came out in his playing - it was his playing - he didn't so much play as break open, and out he'd let a little bit bleed. Sometimes he said in interviews, "I'm out to prove something to myself" - what I hear in his playing, is that he was out to prove that he could, through his music, survive that battle. He was wrong, sadly. But it was a great gift to everyone who ever heard him, that he tried, and that he survived his struggles for as long as he did.

I just hear great guitar playing, when I hear Gary, soulful and passionate playing, for sure ... but ... and but, so, this is one tune ... well, that's enough said about that tune.

I suppose it's like Little Wing. Everyone has their own thoughts on this sort of thing, and everyone who doesn't worry about these things the way I do is better off than me. However. There are lots of Hendrix tunes that can be covered by other players really, really well. Play those. I'm into hearing any of those, anytime, played expertly, played differently, played by rank beginners. It's all great! But don't play Little Wing. Little Wing is special. Learn it, learn all you can from it, play it at home. I'd prefer that no-one play it for me, please, and for me it's a matter of deep respect that I not try to play it for anyone else.

I don't mean to be hard on the OP - except, perhaps, on the notion of the "perfecting" the tune - that's just nonsense - but I do think that Gary does kind of a good thing in playing it, by giving those unfamiliar with Roy a jumping-off point, and a glassy surface to break, and an opportunity to dive deep into the music of Roy. But it definitely behooves you to break that surface.

Great post, Quill. Great post.

That clip, BTW, was from Austin City Limits. I saw it the night it originally ran, and I'll never forget hearing that song for the first time. It was a revelation, and still is today. When I popped that clip on YouTube I was taken back to that night I watched it and was overwhelmed all over again.

EDIT: I forgot to say that I agree fully with you on 'Little Wing.' I love playing Jimi's songs, but I steer clear of that one - half because I know I'm only going to give a fraction of the performance of the original, half because with very few exceptions, anyone I've ever seen perform it hacks the crap out of it. The song deserves better than that.

- D

[River]

Make me go running for the dictionary.

Is that a new part of the MLP Physical Fitness Program?

[Quill]

Originally Posted by River

Is that a new part of the MLP Physical Fitness Program?

Damned Straight it is!

[benjammin420]

Originally Posted by Quill

Roy's music - which is more about ontology than epistemology - is hard.

One of the best interpretations of a piece of Roy's music was not a cover, but a placement. In the closing scene for The Departed - you know, after those shattering few seconds during which everyone shoots everyone else - Scorsese comes in with Buchanan's studio recording of "Sweet Dreams", but, if you saw the theatrical release, it's loud, not like a piece of incidental music - it's right up front, like a narrative, a voice, while the images are backgrounded to the music. That's how I read it, anyway.

One of the prettiest tunes Roy played - the old Don Gibson classic - but even in that sweet melody, he brings in the struggle, the dichotomy. And Scorsese's use of that tune - which, in lesser hands, would be an empty metaphor, a bad joke - as I think about it a bit more, that juxtaposition of violent imagery with that particular choice of music isn't so much an interpretation of the music as an explication of it. A wonderful word, "explication", from the latin root "to unfold", and its more archaic sense refers to the process of drawing meaning out of a passage from the Bible, and now it is more loosely used to refer to the analysis of something (usually a literary work) to show or try to show the meaning of that thing. Unfolding something, showing what's inside. Anyway, point being, I only mean to use this as an example of someone - in this case, Scorsese - really "getting" Roy.

Scorcese is an artist when it comes to soundtracks. Ive always loved the scene in Goodfellas where they discover all the dead gansgters to the outro portion of Layla

[Quill]

Originally Posted by benjammin420

Scorcese is an artist when it comes to soundtracks. Ive always loved the scene in Goodfellas where they discover all the dead gansgters to the outro portion of Layla

That's what I'm talking about. Scorsese's a little bit witchy ... what he hears in music is interesting and pretty scary, as it should really be, sometimes. You know who wrote that outro to Layla, and a bit about what was going on with him, and what the hell happened to his sorry soul. And what spun out from those aching melodies?

[StrangerNY]

Originally Posted by Quill

That's what I'm talking about. Scorsese's a little bit witchy ... what he hears in music is interesting and pretty scary, as it should really be, sometimes. You know who wrote that outro to Layla, and a bit about what was going on with him, and what the hell happened to his sorry soul. And what spun out from those aching melodies?

The harrowing tale of Jim Gordon.

When you look at some of the people he played with before the Dominos, Gordon had a hell of a career going already. A cryin' shame.

- D

[mrpesca]

I went and listened to Roy, I listened to Gary, and I listened to covers from dismal to stellar. No offense to Ol' Roy but I gotta go with the reverb laden, volume swelling, Les Paul thick versions ala Gary and his many Youtube disciples. It just does the song more justice methinks.

Of course opinions are like A-holes and I had mine probed today (by a camera you sick f*#ks) and I may not be thinking clearly yet.

[benjammin420]

Originally Posted by Quill

That's what I'm talking about. Scorsese's a little bit witchy ... what he hears in music is interesting and pretty scary, as it should really be, sometimes. You know who wrote that outro to Layla, and a bit about what was going on with him, and what the hell happened to his sorry soul. And what spun out from those aching melodies?

yeah, its very deep. not just that the song fits musically, but spiritually. the Departed wasnt one of my favorite movies by him (too many bad Boston accents haha) but I really like the way he fit in Sweet Dreams at the end, it really is fitting to the story and the mood

[River]

The licenses are on me. The first ten interested parties get Roy's studio rendition of "Sweet Dreams". My favorite part's at 1:36. Enjoy.

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[Lampens]

When you hear the messiah comes again I think you can hear where I think Gary Moore got the inspiration for parisiene walkways from. Don't know if it really inspired it but I can tell some sort of similarity.