[kj] Power Chord's - geordie's blueprint

[fluw]

rangecroft says:  _/<who WAS the first to do the Geordie thing? Not 
denying your claim, just interested.>>> 

/_*geordie* was the first to my knowledge to do it as his *thing*,,,just 
as *link wray* was the first to make power chords his *thing*.
neither were the first to use a power chord, or chilling chimes and 
dissonance as many had used these as aggregate form of a more broad sound.

to address the query of some others who used chilling chimes, repetitive 
tension, or dissonance in their music before *geordie* ---
the answer is everywhere; *shostakovich*, *louis hardin "moondog"*,* 
gabor szabo* (a guitarist), *beach boys*, much of the *middle/eastern 
music*.. i'll cover how i perceive this variety might be influential 
further down -- but if one is looking for a good example of a guitarist 
who would be *geordie's* blue print, or *link's* blue print, in their 
cases, none exist that i know of.

the key with *link *and *geordie* is they are two guitarists who might 
be better described as players who approached their instruments with 
less *convention*. why is the reason they played with less convention? 
was it forced by the necessities of limited skill, or a combination of 
limited skill and an attempt to imitate the power/affect they heard from 
other music? *link* might have been using his guitar to emulate the 
powerful slams of an orchestra playing *rachmaninov* or *beethoven* - 
albeit with less harmonic content. while *geordie* might have be 
following some eastern melodic muse ( amongst many, many others ) we all 
know. both of them play/ed with less regard for the instruments 
conventional limitations and that is key to their creative greatness.

/did they create new music/? if one is looking for new "music", as in 
scales chords, inversions, modes, harmonic theory, it won't be found on 
this planet or /dimension/ - if such thing exists. either that *new* 
found music will be ancient to the performer and not the "finder" or it 
will be a 'fresh' variation of some other music's migration on through 
the performer's interpretation.

whether it is *fado guitara *music incorporated in *austrian zither 
*music, *polkas* taken to texas by czech/german immigrants interpreted 
by hispanics and forming *conjunto*, or it is indian sitar in brit pop. 
it has all been done before somewhere. the mutation/execution is the 
only aspect which is* new*.
but this is not a critique of human musical efforts. 

back to *link* and *geordie*! --
they interpreted something, either intellectually, or via some natural 
osmosis or experience, and for whatever reason where inclined to create 
a new way of transferring those musical emotions they encountered - in 
turn they passed them on in relatively fresh ways that created new 
interest!!!   that is where the importance of their musical execution or 
singularity, requires homage.

as to whether or not decay in music has taken place due to this 
transfer, it is an interpretation confined to the one/s who are 
receiving . as for the context*:* /is richness and potency of the former 
music incarnation's content compromised/? yes, i would be inclined to 
agree with paul, that *link* dumbed it down. /but/ dumb can be fun once 
in a while.

 

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