I've been listening to some early 90s bootlegs and I've come to the conclusion that what ONLY Joie brought to the table, no subsequent synth player has been able to achieve a similar effect, is that he loved making the tunes weird every chance given. From changing his solos to adding unexpected silly little bits every so often. I've caught myself laughing repeatedly over how his contributions made the tracks both adventurous and ridiculous at the same time. I wish that random element could be reintroduced to the live experience; no matter how well, be it note-for-note or with a great jam, a track is played, it is missing a crucial element if weirdness is not there.
And, yes, it took me a bit longer than a couple of decades to realise that.
Post by yogbarogger on Jul 26, 2020 23:51:30 GMT -8
Have a listen to his contributions on the great unknown album - Amon Düül - Die Losung (featuring Dave Anderson, John Weinzierl, Julie Wareing, Robert Calvert, Guy Evans, Marcus Carcus, Ed, Joie). Ozricifying an already excellent new wavey take on krautrock/psychedelic rock. Drawn to the Flame especially features trademark Hinton keyboard flourishes. One of the first albums I bought, but revisiting it after a few decades it sounds even better. A melancholic album as Robert Calvert died shortly after and it was also released at a time when the free festivals and underground scenes were transmogrifying, not necessarily in bad way, but certainly into a different version of halcyon daze.
I used to find it hard to know who was soloing, unless there was guitar playing at the same time. But I think Ed has a distinctive style of playing, so I can recognise when it's him.
My rule of thumb is, does it sound tweaked af and/or vastly different from the original?It's Joie. Does it make sense and follow a melody, even if diverging at times? It's Ed. Also, Ed did most of the solos after he started playing keyboards on stage anyway, so unless there's a guitar there, it's more likely to be Ed.