|Posted by critical-mass on October 26, 2010 at 6:47 AM|
1970,s... two young learner musicians (Glenn and Erick) with cheap guitars and dreams of recognition. Crosby, Stills and Nash harmonies are the benchmark. We would play for anyone who would listen and even those who wouldn't. Discovery one- we could actually sing (the answer was No to "would you walk out on me") and Erick harmonized to make David Crosby proud.
Enter two inexpensive guitars (Ibanez and Saxon) and a Pioneer tape recorder and we were on the bottom rung.
With dreams of adding the influences of Jethro Tull and Jazz we invited one Michael Guile to practice with us. Michael playing the flute and messing with the saxophone, we felt there was lots of promise but the band had to wait a good few years for flute to enter our world.
The early recordings highlighted some of the shortcomings of the sound but showed us how to address those problems. Nothing like listening to yourself to make the ears prick up! Horst joined us on vocals and for a while we imagined ourselves (and introduced ourselves) as the "Poor Man's CSN" as in Erick (Crosby), Horst (Stills) and Glenn (Nash).
The Hohenhort Hotel was the site for our earliest taste of performing live. We would ocassionally fill in during the breaks of the resident musicians. Our rendition of Bread's Diary was particularly well received. After the resident musicinas had packed up, we would bring in a guitar or just sit and harmonize for the late night denizens. Stephan Stills Helplessly Hoping works well even without guitars.
The lack of good PA equipment was becoming a serious roadblock to our musical journey. No money, no equipment, no gigs, no money.... We were offered an audition at the Hohenhort but a desperate search for begged, borrowed, stolen equipment came up short. Then for a while, partying became a more serious activity than the music and the band became once again, fireside entertainers.
Categories: Band Evolution