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I have some booties with Jacco and they are brilliant. Sheeeeeeeeer Heart Attack! And there’s that open air video on the net with him and Oiyvind (ooops forgot his name) which is flawless, no?
Ah I cannot withstand it, so here I go:
It’s – said thousandfold – wonderful that MP is going on as strong as ever, thanks to Kenneth. Geb’s great legacy is his diversity. He played on Demon Box, on LTEC, on Fleshharrower and Manmower, on Watersound and Feedtime and Go To California and the Fishtank stuff and that huge amazing brontosaurus K9 suite. I hope that this diversity can be maintained with Kenneth, meaning the path has not been set at all by LLM and COTF. But that doors are slammed wide open. If you know what I mean. To me that’s more interesting to see in the future than who’s the more skillful drummer.
GBD, maybe it’s just me, but I feel like reading this too often here. That Ken is sooooo much better than Geb blabla. It might be true (and who I am to doubt Bent’s statement to this) but did anyone ever notice anything bad or lacking about Geb’s playing before 2004? We had a great time at the shows and with the records for 14 years and yes now it IS time to skate on.
Quote:Kenneth Kicks his ass in skill imoMy wish for 2010: Could we slowly start to drop this? I find it kinda embarrassing. Even if Geb’s work is being credited in the same second, which actually reads sometimes like a quick excuse or something.
Now it’s Kenneth, yay, great drummer, woohoo, but please… :wink:
If I was Geb and would care to read this board, I would feel slightly pissed. And rightly so.
ex-daniel wrote
Quote:Playing fills all over the place all the time is less interesting as having a few cool breaks that come sharp as a knife here and there.well what about Keith Moon then?
I don’t care if Geb or Kenneth is “better”. I always admired Geb for his kinda light and “flying” grooves. He’s not the dumb downbeat one two one two drummer. This added a lot to my love for MP music. Having Kenneth now is first and foremost a miracle. He adds a different edge, but something’s lost just as well. Which is normal. No complaints. I was really worried when Geb left. Jacco of course did fine, but a bit too conventional. I don’t know what Bent’s learned in the last years, I just noticed that on this tour they got quite funky. That’s new, no?
check JPJ’s monster slide bass thing: http://www.youtube.com/watch?v=vflgFHrNLSU&NR=1 8O
To me Never Let You Out is one of that record’s finest songs. The Barrettish intro and the woohoohooo choirs and that fat bass line, just great.
One can be sure that when MP goes prog, they choose the right path of the Fragile Krimson, not the one of Porcupine Theaters. So this will be amazing, I have no doubts about this.
welsh rarbit wrote
Quote:1. “cowards”, “pretty uncool” [towards Geb] – not a bit harsh on Bent here? In my interpretation he is only stating the obvious: Ken is one helluwa drummer, better than Geb; he [Bent] has developed a lot as a bassplayer after starting playing with Ken; MP was really in a dead end musically after LTEC, and it took both Geb and MP a long time to figure out how to take it further. What should they have done: Kicked Geb out? Or kept going down that road? With IALC in mind: No thank you!I think you’re right there. I had the chance to speak to Bent & Snah a little in 2008. Of course they wouldn’t spill any details or personal stuff about it. I got the impression it was a confusing time (it was also more a Tussler than a MP period) and now they’re happy and strong as a unit again. He praises this in that interview, so one shouldn’t read anything critical about their past into it. I asked when they did the commentary tracks for the Haircuts DVD, because Geb’s on them, too. I might remember this incorrectly but I think they did it in their late days or even after that on friendly terms. Sometimes you just split. Big deal for the music but not so much for the friendship. And there’s all the pictures and nostalgia on the DVD and Geb’s pet project for Now it’s time to Skate gets its proper credit for that and everything. It’s an ending to an era but it’s also its celebration, no? One wouldn’t release it like this otherwise.
