I think I’ve got it — he’s not playing the sax (surprisingly well actually) into a mic, and I don’t see any mic on the sax itself or a wire coming off of it to show how the sound is being amplified.
I’ll let you know if anyone even begins to get close. At the right point I may need to give you a clue. The Townsman I watched this with last night thought the same thing I did, as soon as we first saw it.
BigSteve, that is weird, but not necessarily really weird. We are talking Edgar Winter here. He’s got them special powers. For instance, at the 7:47 mark he’s seen jacking off his synth, and then a mere second later he’s on the other side of the stage jamming out on the timbales.
The 70’s are a contender for the most interesting decade in rock in my book, but that song is a catalog of everything bad about 70s rock. (pop-prog leanings, cheesy synths, self-indulgence manifesting itself in a very uninteresting way, songs that go on too long, albinos, etc)
cdm, I like what you say here, although in my opinion “Frankenstein” barely skirts what would become the worst excesses of the ’70s. I was watching DVDs of Midnight Special with Sethro last night, following our rehearsal. On that video was a performance that I think marked THE moment that pointed toward everything that made punk rock necessary. More on this, in a separate post, shortly!
This clip also a good demonstration of the Musician Proximity Effect, where musicians who have plenty of room onstage periodically move closer to one another, intensifying their facial expresions and deriving more power to Rock from temporary nearness to one of their bandmates.
The Effect is most powerful when two players, usually guitarists and/or bassists, actually lean against one another back to back, shoulder to shoulder being slightly less powerful. Rocking while being simultaneously being involved in male-on-male physical contact is tricky but achievable with the introduction of varying amounts of humor and/or irony.
The increased ability to Rock provided by the MPE lasts even after the musicians disengage, though it is not permanent and may need to be replenished by additional bouts of proximity.
The attempted use of the Effect by more than two musicians at a time, or by direct instrument-to-instrument contact, (cf. Blue Oyster Cult) is risky and not advised or endorsed by Rock Town Hall.
BigSteve, I think you’ve added to our Glossary! Do you want to paste what you just wrote on the Musician Proximity Effect into a separate post so that you can get your byline on the post when added to the Glossary? Well done! Whenever you’ve got the time…
I was wondering where Derringer was too. Is that him on bass? Not what I was looking for, but you’ve gotten warmer than any Townsperson to date.
I’m with Sat. That guitar player clearly used Edgar’s Scientology time machine to warp from 1986 back to 1973. For what reason, I cannot say. It really is weird — everything about the guy’s Look is 13 years ahead of its time.
The bass player is Dan Hartman — who I believe will be speaking at this year’s Foyer Of Fame Induction Ceremonies, yes? I actually love the way he plays the bass — I mean, in terms of style and ‘tude.
The other thing weird about that guitar player is that, until the final 30 seconds of this clip, he’s the only musician resistant to the solarization process. Seth thought he might have been grafted into the video digitally.
Yes, Hartman will be speaking at this year’s festivities. Sorry for the oversight, Dan!
I’ll have a CD of Sting playing 17th century lute music waiting for you, Sat. Thanks, and thanks for passing along that offlist message to an appropriate party!
Guitar dude was definitely an early adopter, but not that early. I believe that’s essentially the same do sported by David Bowie in The Man Who Fell To Earth and on the Low album cover, i.e., 1976. Isn’t that what’s called a wedge, long in front/short in the back? Why do I know this?
I actually noticed the haircut the first time I watched the clip, but I never imagined that was what you were looking for.
Did you know Edgar Winter claimed to have invented The Strap for playing the keyboard at crotch level? Does that make it a strap-on?
Good point about Bowie’s wedge (different than a bob, right?), but isn’t this a couple of years before Low? Anyhow, Bowie was like 100 years ahead of his time by 1973. He could have showed up on stage wearing earbuds and no one today would have thought he was an anachronism.
What’s really weird to me, apart from the time traveling gtr player, is that anyone EVER really thought that video solarization shit ADDED ANYTHING to a viewer’s enjoyment of a performance (even on drugs). Christ, MY EYES!!!
What’s really weird is that you got me to spend 9 minutes of my life watching that video looking for something weird.
That’s a fine runner-up answer, BigSteve, but not what I’m looking for!
It rocks really hard? But that’s not so weird.
Welcome aboard, newmradio! Your guess is appreciated, but it’s no news to you that it’s innnnnncorrect.
Keep trying, Townspeople. What’s really weird is not in any way hidden or hard to pick out.
I don’t know that it’s weird, but after all that time, I was disappointed he didn’t bash his strap-on keyboard into the speaker stack.
Actually, smashing his saxophone into the speakers would have been a MUCH better idea.
It’s weird that a stone cold turd like that song was a hit. It’s even weirder that it is still played on classic rock radio.
I think I’ve got it — he’s not playing the sax (surprisingly well actually) into a mic, and I don’t see any mic on the sax itself or a wire coming off of it to show how the sound is being amplified.
Surely you jest, cdm!
I’ll let you know if anyone even begins to get close. At the right point I may need to give you a clue. The Townsman I watched this with last night thought the same thing I did, as soon as we first saw it.
BigSteve, that is weird, but not necessarily really weird. We are talking Edgar Winter here. He’s got them special powers. For instance, at the 7:47 mark he’s seen jacking off his synth, and then a mere second later he’s on the other side of the stage jamming out on the timbales.
I’m not, newmradio.
The 70’s are a contender for the most interesting decade in rock in my book, but that song is a catalog of everything bad about 70s rock. (pop-prog leanings, cheesy synths, self-indulgence manifesting itself in a very uninteresting way, songs that go on too long, albinos, etc)
Welcome, by the way.
cdm, I like what you say here, although in my opinion “Frankenstein” barely skirts what would become the worst excesses of the ’70s. I was watching DVDs of Midnight Special with Sethro last night, following our rehearsal. On that video was a performance that I think marked THE moment that pointed toward everything that made punk rock necessary. More on this, in a separate post, shortly!
This clip also a good demonstration of the Musician Proximity Effect, where musicians who have plenty of room onstage periodically move closer to one another, intensifying their facial expresions and deriving more power to Rock from temporary nearness to one of their bandmates.
The Effect is most powerful when two players, usually guitarists and/or bassists, actually lean against one another back to back, shoulder to shoulder being slightly less powerful. Rocking while being simultaneously being involved in male-on-male physical contact is tricky but achievable with the introduction of varying amounts of humor and/or irony.
The increased ability to Rock provided by the MPE lasts even after the musicians disengage, though it is not permanent and may need to be replenished by additional bouts of proximity.
The attempted use of the Effect by more than two musicians at a time, or by direct instrument-to-instrument contact, (cf. Blue Oyster Cult) is risky and not advised or endorsed by Rock Town Hall.
I thought Rick Derringer was in the Edgar Winter Group. That, sir, is no Rick Derringer.
one thing’s for sure…that dude, who is indeed no rick derringer, looks like he warped in from the 80s with that haircut. he’s a walking anarchronism.
Good thing you cleared that up Mod, I was gonna say it’s weird that you schedule time to watch youtubes at home with a townsperson.
BigSteve, I think you’ve added to our Glossary! Do you want to paste what you just wrote on the Musician Proximity Effect into a separate post so that you can get your byline on the post when added to the Glossary? Well done! Whenever you’ve got the time…
I was wondering where Derringer was too. Is that him on bass? Not what I was looking for, but you’ve gotten warmer than any Townsperson to date.
I just saw Sat’s post now:
HE NAILED IT!
Where’d he get that Blur hairdo in 1973? The guy was a visionary!
I’m with Sat. That guitar player clearly used Edgar’s Scientology time machine to warp from 1986 back to 1973. For what reason, I cannot say. It really is weird — everything about the guy’s Look is 13 years ahead of its time.
The bass player is Dan Hartman — who I believe will be speaking at this year’s Foyer Of Fame Induction Ceremonies, yes? I actually love the way he plays the bass — I mean, in terms of style and ‘tude.
The other thing weird about that guitar player is that, until the final 30 seconds of this clip, he’s the only musician resistant to the solarization process. Seth thought he might have been grafted into the video digitally.
Yes, Hartman will be speaking at this year’s festivities. Sorry for the oversight, Dan!
anarchy-chronism? no…anachronism!
what’d i win?
hold it for me, whatever it is.
i’m about to hop on a plane to L.A. for a nerdy renaissance conference.
I’ll have a CD of Sting playing 17th century lute music waiting for you, Sat. Thanks, and thanks for passing along that offlist message to an appropriate party!
Guitar dude was definitely an early adopter, but not that early. I believe that’s essentially the same do sported by David Bowie in The Man Who Fell To Earth and on the Low album cover, i.e., 1976. Isn’t that what’s called a wedge, long in front/short in the back? Why do I know this?
I actually noticed the haircut the first time I watched the clip, but I never imagined that was what you were looking for.
Did you know Edgar Winter claimed to have invented The Strap for playing the keyboard at crotch level? Does that make it a strap-on?
Good point about Bowie’s wedge (different than a bob, right?), but isn’t this a couple of years before Low? Anyhow, Bowie was like 100 years ahead of his time by 1973. He could have showed up on stage wearing earbuds and no one today would have thought he was an anachronism.
I did not know about Winter’s claim. Indeed!
What’s really weird to me, apart from the time traveling gtr player, is that anyone EVER really thought that video solarization shit ADDED ANYTHING to a viewer’s enjoyment of a performance (even on drugs). Christ, MY EYES!!!
The Department of Superfluous Redundancies notes that sat is heading to a “nerdy renaissance conference”.
Didn’t that used to to named “The Department of Redundancies Department”?