How things develope in Gibson Acoustic Posted September 30, 2010 · Report reply Vilyfool - You bring up a big question. Vilyfool - The question might be of some importance. Vilyfool - It's may not be the most original question in this world. Vilyfool - That could be a good thing as some people therefor have their reactions in stock allready. Here's a humble attempt : If we go back 4 decades, there sure was a lot of extraordinary music and musicians. Joni M. is right, and yes, Janis J. was definitely one of them. However, if we rewind, it must also be remembered how the first-60'ties groups were recieved by a lot of people, just a bit older than teenagers. Many of them - already established in jazz or folk music - found the new pop-bands simple and cheesy, , , too lousy playing. Beatles did almost okay, Stones were fighting with it, Byrds used hired cats like The Monkees ! ! , , and Dylan as other solo artist, enjoyed the possibility to pick the best from here and there (even The Hawks/The Band were struggling to get that rock-circle together). Soon after, circa 65, bands with real good players like The Who, Yardbirds etc, appeared, and only little by little, with the help of improved lyrics, the jazz-snobs, beatnicks and folkies began to accept. As well known, things grew fast and developed very steep during the later half towards 1970. An explosion was happening and not least the guitarists were blazing like dragons, when suddenly Hendrix and Santana paralyzed them all, setting everything in new perspective. In reality some kind of race was raging - as if the drive of competition had been laid in the DNA of that generation long before they found out to rebel against everything that same drive represented. (A paradox rather hard for themselves to X-ray, which in the end might have resulted in all that fantastic music). I read a contemporary review of Alvin Lee's/Ten Years After's classic performance at Woodstock some time ago, and the critic knocked him for being too egocentric and and old-school macho. Such an opinion/kind of intellect would have been the exception - everybody else loved it, , , even sage J. Garcia - though knowing the difference between deep and fast – probably would have smiled happily, had he been listening from the wing. In many ways the race for faster, better, louder, bigger went on deep into the 70'ties. Walls of amps like buildings, larger drum-kits maybe two at the same time, lights, stages, halls, arenas, stadiums, and f.x. prestige in mountains of studio-hours or cooperating with classical ensembles seemed to define the game. If we concentrate on the guitarists, extreme players like Mclaughlin, Coryell, Al Di Meola and Metheny - heaven bless them - entered the film. I'm not sure if people of today know or are aware of this scenery, and many of those who were there may have forgotten. (A reminder could be needed). Anyway – as we approached the 80'ties, 2 things changed the course of the highway. One was punk, second was the increasing possibility to make music by machinery. The first didn't give a damn – the other made it kind of absurd to spend a whole youth trying to achieve monstrous skills if the same level could be reached by pushing a button. Something was happening and we wondered what it was. Ugly became cute – bad was now best. Waves of totally banal bands over-floated shops and venues. Of course there were good ones too, but it was as if it didn't matter. It simply wasn't the clue. A whole new society of youngsters embraced this revolt as a liberation. Dylan had seen it comin' on the opening track of Street Legal from 78 - the rest of us turned around the bend, and woke up in another world. My friend who had been dreaming of conquering the B-3 organ with Lesley, now drowning in tiny plastic synths, packed his things and moved to Brazil. Things had fundamentally changed and it meant heavy weather - Some of the mighty icons didn't make it. They walked out like old elephants. The proudest went straight under. Others tried to adapt by cutting their hair with scissors of techno or overdistorted guitars. Former champs, great acts and founders of modern music released absolutely confused records. Two of my heroes went each their way. David Crosby hated the new scene and found it false and hollow. It betrayed everything he praised and stood for, and left him no path to follow. His good pal Neil Young thought twice and asked himself if 'playing crazy, untamed electric instruments in a boiling garage' wasn't the original idea of rock'n'roll music. Reality answered, yes. My heart and soul went with the Croz – my brains had to stick with Neil. I guess you older guys and girls have versions of this 'Big Shift of Paradigm' too – and why not deliver your story. Does anyone f.x. recall the first time they heard Pistols or Laurie Andersons. . . “Ah Ah Ah Ah Ah Ah Ah Ah Ah Ah Ah Ah Ah ~ Oh Superman”. (Sure wasn't much wooden Gibson there) - C'mon let's hear how it went down in your boots. Finally I'd like to deliver the following : A while ago one of the old bigband leaders of this country was interviewed on television. At some point he had a chance to speak about Lennon/McCartney and revealed how he didn't give much. “They were nothing compared to G.Miller, D. Ellington and C. Basie”, he said without complications. Funny to see the reaction of some of the younger band-members in the background as the camera zoomed in. (Faces attacked by uncontrollable tics) Well, he could be right with one pair of glasses over his nose – and he definitely would be wrong if he took them off. Guess he didn't know apples form pears. As for this Gaga-person. Could somebody please recommend a worthy track from the Tube. And then let us not be too afraid of loosing the real talent out there vilyfool. Just look at the 'Great Morning Pickers' from some threads back. As long as they keep doin' it, there will be hope.