MR

Every time I hear the opening notes, I half expect to hear I'm So Excited by The Pointer Sisters.

Journey
http://www.youtube.com/watch?v=Eegftbcv9Ug


Pointer Sisters
http://www.youtube.com/watch?v=rQqwG_rQx7A

I know it's not exact but it re-affirms that there are only so many ways you can play the same notes over and over again.

I think of the Cheers theme. Blech. Never liked that one from Journey.

Don wrote:Every time I hear the opening notes, I half expect to hear I'm So Excited by The Pointer Sisters.

Journey
http://www.youtube.com/watch?v=Eegftbcv9Ug


Pointer Sisters
http://www.youtube.com/watch?v=rQqwG_rQx7A

I know it's not exact but it re-affirms that there are only so many ways you can play the same notes over and over again.

Nice observation. I'll never hear it the same way again.

JRNYFan wrote:

Don wrote:Every time I hear the opening notes, I half expect to hear I'm So Excited by The Pointer Sisters.

Journey
http://www.youtube.com/watch?v=Eegftbcv9Ug


Pointer Sisters
http://www.youtube.com/watch?v=rQqwG_rQx7A

I know it's not exact but it re-affirms that there are only so many ways you can play the same notes over and over again.

Nice observation. I'll never hear it the same way again.

Same here. I never connected the two, but I do now.

It's a pretty common motif, playing off two major triads. The intros are definitely both very similar. Both are based on Bb and Eb major triads, and they are very similar rhymically. The bass lines are a bit different, as are the grooves.

I've always liked "Positive Touch." Tasty rhythm playing from Neal and some soaring lead lines. Fun groove, cool chord changes and excellent singing from Perry. Only thing I am not too keen on is the sax solo. I would have handed the ball back to Neal instead.

timstar78 wrote:It's a pretty common motif, playing off two major triads. The intros are definitely both very similar. Both are based on Bb and Eb major triads, and they are very similar rhymically. The bass lines are a bit different, as are the grooves.

I've always liked "Positive Touch." Tasty rhythm playing from Neal and some soaring lead lines. Fun groove, cool chord changes and excellent singing from Perry. Only thing I am not too keen on is the sax solo. I would have handed the ball back to Neal instead.

I think it's a pretty decent song too. Shows that Neal can play some nice rhythm when he wants to... and his rhythm is often cited as a weakness in his playing.

I disagree Tim. I think the sax makes the song. Yeah yeah, I know, people on this board don't like the sax, but for me, I think it's an awesome contributory instrument to rock music.

Love the Sax....and Steve's vox on "GIIIIIRL....now that you're neeeeeear...."

Sounds like a completely different song.

Rockindeano wrote:I disagree Tim. I think the sax makes the song. Yeah yeah, I know, people on this board don't like the sax, but for me, I think it's an awesome contributory instrument to rock music.

That's exactly why I love the old Chicago. I LOVE brass in rock. Blood, Sweat & Tears man. Great stuff.

Rick wrote:

Rockindeano wrote:I disagree Tim. I think the sax makes the song. Yeah yeah, I know, people on this board don't like the sax, but for me, I think it's an awesome contributory instrument to rock music.

That's exactly why I love the old Chicago. I LOVE brass in rock. Blood, Sweat & Tears man. Great stuff.

+1

Rick wrote:

Rockindeano wrote:I disagree Tim. I think the sax makes the song. Yeah yeah, I know, people on this board don't like the sax, but for me, I think it's an awesome contributory instrument to rock music.

That's exactly why I love the old Chicago. I LOVE brass in rock. Blood, Sweat & Tears man. Great stuff.

Don't you think the Big Man adds a lot to the E Street Band? You have the discs?!

Horn sections (like early Chicago, BST, Sons of Champlin, etc)) are the shit.


Sax solos are just fucking cheesy and don't belong in rock n' roll, unless they're played by Clarence Clemons. For some reason it never bothered me on E-Street records, but on just about anything else, it's absolutely cringe-inducing cheese-tasticness.

timstar78 wrote:It's a pretty common motif, playing off two major triads. The intros are definitely both very similar. Both are based on Bb and Eb major triads, and they are very similar rhymically. The bass lines are a bit different, as are the grooves.

I've always liked "Positive Touch." Tasty rhythm playing from Neal and some soaring lead lines. Fun groove, cool chord changes and excellent singing from Perry. Only thing I am not too keen on is the sax solo. I would have handed the ball back to Neal instead.

Honestly - if you were listening to "Escape" for the first time, and PT came on, you wouldn't have wondered, "WTF?" This belonged on a Perry solo album.

FamilyMan wrote:

timstar78 wrote:It's a pretty common motif, playing off two major triads. The intros are definitely both very similar. Both are based on Bb and Eb major triads, and they are very similar rhymically. The bass lines are a bit different, as are the grooves.

I've always liked "Positive Touch." Tasty rhythm playing from Neal and some soaring lead lines. Fun groove, cool chord changes and excellent singing from Perry. Only thing I am not too keen on is the sax solo. I would have handed the ball back to Neal instead.

Honestly - if you were listening to "Escape" for the first time, and PT came on, you wouldn't have wondered, "WTF?" This belonged on a Perry solo album.

Well, to many, ROR was a Perry album, with better musicians.

TRAGChick wrote:Love the Sax....and Steve's vox on "GIIIIIRL....now that you're neeeeeear...."

Sounds like a completely different song.

They sound different to me, too. Love both songs.

Rockindeano wrote:

FamilyMan wrote:

timstar78 wrote:It's a pretty common motif, playing off two major triads. The intros are definitely both very similar. Both are based on Bb and Eb major triads, and they are very similar rhymically. The bass lines are a bit different, as are the grooves.

I've always liked "Positive Touch." Tasty rhythm playing from Neal and some soaring lead lines. Fun groove, cool chord changes and excellent singing from Perry. Only thing I am not too keen on is the sax solo. I would have handed the ball back to Neal instead.

Honestly - if you were listening to "Escape" for the first time, and PT came on, you wouldn't have wondered, "WTF?" This belonged on a Perry solo album.

Well, to many, ROR was a Perry album, with better musicians.

Well, maybe, but Perry's guitarist on FTLOSM (Lincoln Brewster) can and did give Neal Schon a run for his money. Lincoln is a fabulous guitar player, but I hear he's into non-secular music now.

steveo777 wrote:

Rockindeano wrote:

FamilyMan wrote:

timstar78 wrote:It's a pretty common motif, playing off two major triads. The intros are definitely both very similar. Both are based on Bb and Eb major triads, and they are very similar rhymically. The bass lines are a bit different, as are the grooves.

I've always liked "Positive Touch." Tasty rhythm playing from Neal and some soaring lead lines. Fun groove, cool chord changes and excellent singing from Perry. Only thing I am not too keen on is the sax solo. I would have handed the ball back to Neal instead.

Honestly - if you were listening to "Escape" for the first time, and PT came on, you wouldn't have wondered, "WTF?" This belonged on a Perry solo album.

Well, to many, ROR was a Perry album, with better musicians.

Well, maybe, but Perry's guitarist on FTLOSM (Lincoln Brewster) can and did give Neal Schon a run for his money. Lincoln is a fabulous guitar player, but I hear he's into non-secular music now.

He plays and sings all Christian music now. But, he played lights at one of his concerts one night and everybody sang along. Everyone knows Journey.

steveo777 wrote:Well, maybe, but Perry's guitarist on FTLOSM (Lincoln Brewster) can and did give Neal Schon a run for his money. Lincoln is a fabulous guitar player, but I hear he's into non-secular music now.

You should be banned for this comment.

Brewster is good, but he isn't even in the same area code as Schon. Be fucking real.

Positive Touch is a song I can listen to over and over. The lyrics are catchy and it's got a Hall and Oates feel. One of the reasons why ROR is a great album is this song.

saw jim peterick and ides of march last summer in nashville, and they played some survivior and 38 special that jim cowrote with the ides horn section, very cool so horns do rock

Rockindeano wrote:

steveo777 wrote:Well, maybe, but Perry's guitarist on FTLOSM (Lincoln Brewster) can and did give Neal Schon a run for his money. Lincoln is a fabulous guitar player, but I hear he's into non-secular music now.

You should be banned for this comment.

Brewster is good, but he isn't even in the same area code as Schon. Be fucking real.

Lighten up dick snot. Controversial statements make this place fun to be here. You know that!