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>Travis said: > >> Will say, Art of Noise records be referred back to in twenty years in >the >> same way that Cream records are? >Interesting question. Probably not, but I think that has more to do with >timing than anything else. Remember when it was possible to stay aware >of most major rock releases and even to buy a good proportion of them >(at least when you include your friends)? That's when Disraeli Gears >came out. By the time the Art of Noise came out, the record title glut >was well underway. Regardless of relative merits, but this gave the >Cream record a far higher historical visibility. Yes, but I think there should still be a "canon" of important synthesizer/sequencer-based records developing. Again, I'd love for keyboard players on the list to suggest some titles. Take "Switched On Bach"--the historical importance of this can't be denied, but does anyone actually listen to it anymore? What are the significant albums that are of lasting enjoyment? I'm always up for someone's recommendations for music that changed their life, so please share. If you're a musician who doesn't use guitar as your primary instrument, please speak up with your recommendations. > >> No instrument can do everything. It is not an admission of weakness or >a >> lack of vision to concede this. > >Well put. > >> Why is it that it's "Guitar *Player* Magzine", and "Bass *Player* >> Magazine", and then "Keyboard Magazine"? Why no "Keyboard *Player* >> Magazine"? > >I don't know. You must have a theory and expect us to understand >implicitly what that is by now, but it's a mystery to me. I'm not entirely sure. I was hoping that you, Warren, would have some insight, since I think you've written for two of the three mentioned. My off the cuff theory would be that the focus in GP and BP is on players, and in KB, the machinery. The advent of MIDI made things so much more complicated that I could see a sizable market for a magazine that did nothing other than evaluate gear in an intelligent manner. I used to read KB regularly, and my recollection was that there was much more discussion of programming and sequencing software, and keeping the trainset running than appeared in GP at the time. Given the complexity of say, getting Cakewalk to sync to tape and controll three modules and a drum machine versus getting a crunchy rhythm tone on a Super Plexi, this makes sense to me. It also seemed strange to me, though, that the average reader's letter to the editor in KB was about five times longer than those in GP, and a thousand times more intelligent than those in Guitar World (sample: "Dood--Yngwie fucking rules. Steve Vai isn't fit to carry his Marshall. Singed, The Xterminator"). Again, the off the cuff theory was that KB letter writers were, uh, more thoughtful than their GP counterparts. The letters seemed to be of a more philsophical bend, but the actual articles didn't seem to carry this non-gear orientation. I do remember loving Freff's column, which always seemed sort of out of place (my apologies at this point to all of you who haven't been following the state of MI journalism for the last fifteen years--this probably seems needlessly obscure). That said, GP seems to have been dumbed down in recent years, reflecting the declining interest in the technical aspects of guitar playing in pop music. Travis