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Post by unspokenwords on Nov 3, 2017 9:52:59 GMT
Just all seems so right and natural somehow.
The mystery is how after Blue For You and the live album, the pinnacle of Quo, it all went so wrong on the recording front and, although live they retained their attitude for a few years, on the recording front it was a relentless deterioration thereafter with only a few snippets of the former glory. To then become a national joke (from a national working class treasure) is a travesty but to continue pissing on top of this reputation now with Franchise Rossi Quo is just sick and demented.
They should really have stopped in 1976 and perhaps in reality did.
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Post by curiousgirl on Nov 3, 2017 10:07:16 GMT
Just all seems so right and natural somehow. The mystery is how after Blue For You and the live album, the pinnacle of Quo, it all went so wrong on the recording front and, although live they retained their attitude for a few years, on the recording front it was a relentless deterioration thereafter with only a few snippets of the former glory. To then become a national joke (from a national working class treasure) is a travesty but to continue pissing on top of this reputation now with Franchise Rossi Quo is just sick and demented. They should really have stopped in 1976 and perhaps in reality did. Hindsight is 20-20, isn't it. Its been well documented why the sound changed. They brought in Pip Williams to creak the American market. And work well on radio.
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Post by Victor on Nov 3, 2017 10:41:43 GMT
Just all seems so right and natural somehow. The mystery is how after Blue For You and the live album, the pinnacle of Quo, it all went so wrong on the recording front and, although live they retained their attitude for a few years, on the recording front it was a relentless deterioration thereafter with only a few snippets of the former glory. To then become a national joke (from a national working class treasure) is a travesty but to continue pissing on top of this reputation now with Franchise Rossi Quo is just sick and demented. They should really have stopped in 1976 and perhaps in reality did. In hindsight for me, they should have stopped in 81 when John left. Of course the albums after Blue for you were different, but WYW, JS and NTL in my eyes were much better then both RAOTW and IYCSTH and were still worthy of the Quo name. After 81 though...
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Post by Deleted on Nov 3, 2017 11:20:38 GMT
Two great songs. Only fannies and Tory voters hate them. Both tracks are great, and i voted Tory at the last election.. (tin hat on)
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Post by 4th Chord on Nov 3, 2017 12:29:46 GMT
Two great songs. Only fannies and Tory voters hate them. Both tracks are great, and i voted Tory at the last election.. (tin hat on) Don’t worry. We’ll put you in the special segregation part of the forum for your own protection.
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Post by dennis on Nov 3, 2017 13:31:36 GMT
Who'd have thought that after the subsequent Live! album they would start down the slippery slope & over 40 years later they'd still be on their way down? Disagree. RAOTW has some great songs, just the production let it down. Heat, has a lot of filler but, a handful of top tunes. WYW, JS and NTL are class to me. I've absolutely no idea what happened from then on though I'm not suggesting everything immediately turned to shite with the release of Wild Side Of Life [great b-side, at least!], but none of the subsequent output had quite the same ooomph after Live! was released, imo. Maybe it was a matter of production or just the way the band were working at the time, perhaps too much focus on the next hit single rather than the next rock album. I still find the releases prior to John's departure perfectly listenable & there are many quality moments to enjoy.
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Post by dennis on Nov 3, 2017 13:35:55 GMT
Two great songs. Only fannies and Tory voters hate them. Both tracks are great, and i voted Tory at the last election.. (tin hat on) I agree they're great tracks - & I also voted Monster Raving Loony Conservative!
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Post by paradiseflats on Nov 3, 2017 13:44:09 GMT
Disagree. RAOTW has some great songs, just the production let it down. Heat, has a lot of filler but, a handful of top tunes. WYW, JS and NTL are class to me. I've absolutely no idea what happened from then on though I'm not suggesting everything immediately turned to shite with the release of Wild Side Of Life [great b-side, at least!], but none of the subsequent output had quite the same ooomph after Live! was released, imo. Maybe it was a matter of production or just the way the band were working at the time, perhaps too much focus on the next hit single rather than the next rock album. I still find the releases prior to John's departure perfectly listenable & there are many quality moments to enjoy. Two words changed Status Quo beyond recognition. They are of course... Andy Bown. He changed the song writing dynamic. They stopped being a four piece obviously.
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Post by piledriver62 on Nov 3, 2017 13:50:28 GMT
The cover alone did it for me back then,and still does.
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Post by Mrs Flittersnoop on Nov 3, 2017 14:18:27 GMT
Deeply puzzled.
I'll just stick with Mystery Song and ITABW I think.
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Post by dennis on Nov 3, 2017 14:32:32 GMT
I'm not suggesting everything immediately turned to shite with the release of Wild Side Of Life [great b-side, at least!], but none of the subsequent output had quite the same ooomph after Live! was released, imo. Maybe it was a matter of production or just the way the band were working at the time, perhaps too much focus on the next hit single rather than the next rock album. I still find the releases prior to John's departure perfectly listenable & there are many quality moments to enjoy. Two words changed Status Quo beyond recognition. They are of course... Andy Bown. He changed the song writing dynamic. They stopped being a four piece obviously. Indeed, that was undoubtedly a significant change.
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Post by Mrs Flittersnoop on Nov 3, 2017 14:35:01 GMT
Just all seems so right and natural somehow. The mystery is how after Blue For You and the live album, the pinnacle of Quo, it all went so wrong on the recording front and, although live they retained their attitude for a few years, on the recording front it was a relentless deterioration thereafter with only a few snippets of the former glory. To then become a national joke (from a national working class treasure) is a travesty but to continue pissing on top of this reputation now with Franchise Rossi Quo is just sick and demented. They should really have stopped in 1976 and perhaps in reality did. Hindsight is 20-20, isn't it. Its been well documented why the sound changed. They brought in Pip Williams to creak the American market. And work well on radio. Document-wise it's true, but although I liked a lot of the pre-B2B songs, I could hear that the sound was "going" and put it down to the guys not sitting in a circle and playing together. I protested feebly from the back from time to time, but things had changed and they never returned. They were doing well enough and then they tried chasing the Mighty Dollar. Sometimes interventions by star producers have paid off for bands, but mostly, the only way of breaking a big market is working solidly at it for years, preferably by touring. (While also producing good recordings.) Also, reality, Pip was not really a star producer in that sense. Not being rude, this just isn't his top top trump. (OK he did a highly successful Moody Blues album for the USA, but the Moodies and Quo ... not the same sound at all.) He's an arranger and guitarist who has done much successful work for good bands, but I can't think why he would suddenly turn Quo into American darlings. QED. (BTW if "creak" is a mistype it's a really good one ) I'm trying to think of a time when Quo's recordings didn't work well on radio ... I would never have heard of Quo without the radio ... OK and TOTP, which was just radio with pictures. Until my BIL brought Blue for You round, and I didn't care for it much, but it had two or three corking tracks on it ... full circle!
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Post by 4th Chord on Nov 3, 2017 17:49:12 GMT
Hindsight is 20-20, isn't it. Its been well documented why the sound changed. They brought in Pip Williams to creak the American market. And work well on radio. Document-wise it's true, but although I liked a lot of the pre-B2B songs, I could hear that the sound was "going" and put it down to the guys not sitting in a circle and playing together. I protested feebly from the back from time to time, but things had changed and they never returned. They were doing well enough and then they tried chasing the Mighty Dollar. Sometimes interventions by star producers have paid off for bands, but mostly, the only way of breaking a big market is working solidly at it for years, preferably by touring. (While also producing good recordings.) Also, reality, Pip was not really a star producer in that sense. Not being rude, this just isn't his top top trump. (OK he did a highly successful Moody Blues album for the USA, but the Moodies and Quo ... not the same sound at all.) He's an arranger and guitarist who has done much successful work for good bands, but I can't think why he would suddenly turn Quo into American darlings. QED. (BTW if "creak" is a mistype it's a really good one ) I'm trying to think of a time when Quo's recordings didn't work well on radio ... I would never have heard of Quo without the radio ... OK and TOTP, which was just radio with pictures. Until my BIL brought Blue for You round, and I didn't care for it much, but it had two or three corking tracks on it ... full circle! BIL? Bidie in lover?
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Post by 4th Chord on Nov 3, 2017 17:51:12 GMT
The cover alone did it for me back then,and still does. That was their Levi sponsorship period wasn't it?
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Post by Mrs Flittersnoop on Nov 3, 2017 17:54:01 GMT
Document-wise it's true, but although I liked a lot of the pre-B2B songs, I could hear that the sound was "going" and put it down to the guys not sitting in a circle and playing together. I protested feebly from the back from time to time, but things had changed and they never returned. They were doing well enough and then they tried chasing the Mighty Dollar. Sometimes interventions by star producers have paid off for bands, but mostly, the only way of breaking a big market is working solidly at it for years, preferably by touring. (While also producing good recordings.) Also, reality, Pip was not really a star producer in that sense. Not being rude, this just isn't his top top trump. (OK he did a highly successful Moody Blues album for the USA, but the Moodies and Quo ... not the same sound at all.) He's an arranger and guitarist who has done much successful work for good bands, but I can't think why he would suddenly turn Quo into American darlings. QED. (BTW if "creak" is a mistype it's a really good one ) I'm trying to think of a time when Quo's recordings didn't work well on radio ... I would never have heard of Quo without the radio ... OK and TOTP, which was just radio with pictures. Until my BIL brought Blue for You round, and I didn't care for it much, but it had two or three corking tracks on it ... full circle! BIL? Bidie in lover? Brother in law. Except he wasn't, then. But he had a good record collection
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