Quote:
Originally Posted by aleuzzi
Jeremy could play a mean piano but he often intentionally went in for that primitive piano style, especially on MW. For what it's worth, I think it's him playing the excellent piano part on the BBC version of Honey Hush.
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Good point. Effective accenting - with admittedly a less than stellar chip or two along the way.
In fairness to JS, he often wondered where he stood once DK arrived. He became the odd man out in many ways. He also felt a three guitar front was overkill (he was right), so he looked to add where he could most effectively. His slide contros were good, but rarely rose above the din (though some provide key accents and hooks). That's why I'm glad we have Kiln House for posterity sake, with his legacy as a contributor to FM fully anchored. If not he would mostly be seen as a side player, a reluctant contributor, on the projects. His stage presence was something else, but even there he had ambivalent feelings, especially as time went on.
Christy was stage shy too. It was Welch who first took the point man to full measure, eventually as solo guitarist into the bargain. That wasn't easy. Those stage scenes sans Weston were good and tight, but it was a completely different vibe by that point. Folks often came expecting big guns and thunder, a two or even three guitar front as before (with some expecting Green himself!), and many were pretty much shell-shocked by this mellow, spacey, kicked back Welchian sound. At one concert I witnessed, Bob waved the whole band off the stage halfway into their set due to poor audience response, never to return. Of course it didn't help having a funk n boogie band before them, getting the crowd all pumped and lathered (name withheld to protect the innocent). Second rate one too.