Nightjar wrote:

Does she play a Strat'?

Whatever guitar this is is what she plays:

Bit like a fisher-toy version of PJ Harvey's Dry.

That was pretty good, much much better than that other 90s one. I'll give it 4.5* if you stop me.

The Call of the Wendigo wrote:

Nightjar wrote:

Does she play a Strat'?

Whatever guitar this is is what she plays:

She actually sings better live than she does on record.

The Call of the Wendigo wrote:

Nightjar wrote:

Does she play a Strat'?

Whatever guitar this is is what she plays:

It's a P90 Les Paul Jr.

Nightjar wrote:

The Call of the Wendigo wrote:

Chord struck upward, instead of downward. There's innovation for you.

Didn't Pete Townshend do that a lot?

I don't know.

I'm going to give it ★★★★s.

This is not because I thought it was particularly brilliant myself (there was some good stuff no doubt), but because I feel it was a convincing whole and, whatever I may have thought of each individual song, it was clearly, for McKee herself, a resounding success and something of a redemption from her previous, compromised album.

I also note that the so-often wishy-washy AllMusic give it ★★★s, yet Ms. McKee says it's her favourite and to me that speaks volumes.

The Call of the Wendigo wrote:

She actually sings better live than she does on record.

I was going to say that she's probably pretty powerful live.

I think she's been a strange victim of success in her career.

Very very talented yet very mercurial and perhaps overwrought in musical style - the enduring curse of the restlessly over-talented, highly strung artiste - and paradoxically tarnished with the mega-success of a quite unrepresentative single single some years earlier.

The Call of the Wendigo wrote:

Nightjar wrote:

The Call of the Wendigo wrote:

Chord struck upward, instead of downward. There's innovation for you.

Didn't Pete Townshend do that a lot?

I don't know.

What an oddly produced album.

Despite it's reputation, wildly ambitious concept and the glorious art and packaging it has always left me cold precisely because of the weak, insipid production.

They should just have stuck em in a studio with 4 mics for a couple of hours and told em to get on with it.



That's what happens when you get your sugar daddy producing the album, eh Pete?

WhatDoesThisButtonDo? wrote:

The Call of the Wendigo wrote:

WhatDoesThisButtonDo? wrote:

The Call of the Wendigo wrote:

WhatDoesThisButtonDo? wrote:

This track listing is also missing "Afterlife"

That;'s because Afterlife doesn't exist. It's whatever the opposite of a hidden track is called.

I was just thinking have you got a copy of the CD? or a MP3 of it, You could use https://www.tunestotube.com to upload a copy of that mysterious song up to YouTube.

And find out why no one else has…

It doesn't exist. It's just the final two minutes of Life is Sweet. It's credited on the album as a separate track but it isn't.

I meant 'Uman.

Oh. I shall look into it.

WhatDoesThisButtonDo? wrote:

That's what happens when you get your sugar daddy producing the album, eh Pete?

Yes, and I saw what you wrote before you edited it.

It's like the Savoy Bar & Grill all over again.

Yes, it would have been - This is what you get when you get your rock boyfriend to write the songs for your light opera.

Are you saying that when Pete had just married Karen and started a family he was having an affair with Kit Lambert?

Also, sugar daddy?

WhatDoesThisButtonDo? wrote:

Nightjar wrote:

Nightjar wrote:

The guitar stylings on this are very reminiscent of something.

Y'know I think it might be Richard Thompson.

Now you mention it, It's like Neil Young playing a Richard Thompson guitar line…

Richard Thompson played on her first solo album and she covered his song Has He Got a Friend For Me? on it.

Nightjar wrote:

Are you saying that when Pete had just married Karen and started a family he was having an affair with Kit Lambert?

Also, sugar daddy?

You've not voted by the way.

My Mum made that jacket Pete Townshend's wearing.

I was wrong about the S*gar D*ddy bit, it was the other way if anything, in the contract Kit Lambert and Chris Stamp took 20% of the High Numbers money.

EACH!

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