Joined: June 2004
|Posted: Feb. 04 2009, 04:57
Great reading, generelly speaking; all in all, successful, honest writing by Mike. Really interesting ..
But there is one thing I would have loved to find: Mike elaborating on (a) how he discovered his music (b) his personal opinions of his own works.
Concerning (a): e.g., there are some pages on Ommadawn, the recording of it, etc. Very interesting all of it. But he doesn't say a word on 'when' and 'how' the two main themes came to him. The guitar/harp theme: this is such a universal eternal structure, truly amazing stuff.
Did he just play that at spot (one day from another), or did it evolve? What plans did he have for the theme early on? Was he himself strucked by how great it is when he had found it? (I bet he was). And the choir theme? Again classical music, worth mentioning. Yes he says something, like the guitar solo at the end of part I.
Hergest Ridgs, the guitar and oboe part on Part I: classical, great, wow! Hi must have been unsatisfied with the oroginal mixing, since the remixed Boxed version is so different. And much better, more clarity. Great if he had said anything here ...
He says a very interesting thing on Incantations. He had amazingly high ambitions initially, he found that extremely complex 'looong' theme (surely you know which), and seemed very motivated. Then Branson & friends appeared to make a test listnening, to make up their minds wheather to promote Mike or go all-in for the punk. Of course, one listnening doesn't give away all the secrets, so they decided on the punk, and Mike was out. And then he lost his inspiration, didn't reeally put enough heart into it, so the final result was corrupted. Think about it how Incantation could have been: I always concidered it to be among his 2-3 best works, very subtle. Would have been interesting to hear Mike saying something about what he really intended with it. And so on
Another theme I liked to know more about is MOTS, Shabda. Not typical for Mike, however superbly moving, one of the strongest themes ever. When/how/etc?
(b) What exactly does he think about his own music? I find it unbelievable that he e.g. mentions Moonlight Shadow when he covers 1983, but fails to mention the instrumental track! Isn't much of Crisis really classical MO stuff? The beginning, with the magnificent proud main theme crying out, ..., the slow 'middle' part, and then those never ending mathematical structures ending over Simons vulcanic superb playing. Surely more interesting than a 3 min pop song? Sure Moonlight Shadow was a hugh commercial success, but isn't it enough mentioning that in one sentence, and then going on to the real stuff: the music itself independently of how much it sold?