Quote:
Originally Posted by aleuzzi
Originally Posted by snoot
> It's generally cited as one of the Mac's best productions, short of a few whiny Green diehard critics, or detractors of the Welch sound. I remember quite well the "smoke" around it at its time of release, the fact that it was so divergent from the original Blues Mac (oh boo hoo, wah wah wah). But even upon its release, a lot of folks gave it winning marks, to include many Mac "early adaptors." <
Read Brunning's bad book. And consider Steve Clarke's two books on Mac.
|
Haven't read any published Mac books to date, but you may be misreading my comment. "But even upon its release, a lot of folks gave it winning marks, to include many Mac "early adaptors."" I was referring mostly to
fans, not music reviewers and critics (the "smoke"). I never go by what those paid yoyos print in their rags anyway. Too often it's as far off the mark as can be, especially back then when damn near everything factored around a "hipness" quotient (er, hipness according to them). A lot of that "hipness" was socially or politically charged slants, like that has a damn thing to do with music or art. Among fans (and what was left of the old guard by that point, aka the "early adaptors"), many didn't like the fact that Kirwan had departed, leaving none of the original front line by the Penguin~Mystery To Me phase. But most who accepted the Kiln House shift, followed by the Kirwan years, took to the Welch era in stride (unless they held something directly against Bob's voice or phrasings).
Strangely enough, I think the critics today have actually improved somewhat as a whole (still ignore them though). A lot of those same ones who used to be big asses and thumbsuckers have grown up, and tend to be more even handed in their reviews, especially when revisiting those years and productions (AMG to cite but one example). A lot of those positive marks you see today used to be considerably more negative once upon a time.