orange peel Archive
The Zombies are among the fondly-remembered cast of characters from the British Invasion (or, as they somewhat more succinctly call it in the UK, the Beat Era). While they certainly didn’t rock as hard as The Who, Yardbirds, or The Kinks, and enjoyed nowhere near the level of chart success that The Beatles and Rolling
Some images from the third and final night of Mountain Oasis Electronic Music Summit in Asheville NC. All photos © Bill Kopp. Follow “the_musoscribe” on Twitter and get notified when new features, reviews and essays are published.
The third and final night of the Mountain Oasis Electronic Music Summit featured a host of names with which I was largely unfamiliar. So I took the opportunity to pop into several shows in hopes of finding something that struck my fancy. I was intermittently successful. Darkside Seemingly having ingested a steady diet of Wish
The history of the new Mountain Oasis Electronic Music Summit is a bit knotty. Quick capsule back-story: synthesizer pioneer R.A. Moog passed away in August 2005. As a way to honor his myriad innovations, a small festival called Moogfest was put together in New York City in the year before his passing. That small festival
Continued from Part One… Once the doors opened, we entered and secured our barstools, settling in to wait for the show. Minutes earlier, the Orange Peel’s Facebook event update status had informed us that the opening act had canceled last-minute, and as such Shuggie Otis would be taking the stage earlier than usual. At this
One evening early in September 2013, I was on the phone with a good friend. “Shuggie Otis is playing next month at The Orange Peel,” I announced. “What?! No…” Clearly I was mistaken, he thought. “He’s dead.” No he’s not, I assured my friend. But that belief is a common, understandable mistake. Son of famed
Asheville, North Carolina is host to more festivals than one might expect of a city its size. This cultural magnet nestled among the Blue Ridge Mountains in the Western part of the state has a population of about 70,000 (more if you count the outlying areas, but it’s still modestly-sized), but the city is home
Continued from Part Three… Bill Kopp: Speaking of playing onstage, how do the live pieces differ from the studio versions? Do you open them up for improvisation, or are they tightly structured? John McLaughlin: Oh, yes! The minute we start playing. They even change in the studio; take 1 could be different from take 2.
Continued from Part Two… Bill Kopp: This is an obvious thing to say, but since instrumental music has to convey its messages without the benefit of lyrics, it has to do so using tone, volume, melody, harmony and so forth. When you compose a piece, do you think about it in extramusical terms – that
Continued from Part One… Bill Kopp: A Tribute to Jack Johnson is among the most underrated of all Miles’ works, I think. John McLaughlin: A lot of people don’t underrate it, though. Especially him. And in the end, he’s the one that counts. BK: You composed all of the tracks on the new album. How