Pianst plays Mr.Crowley solo......highlights just how great Randy was

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Metalhex said:
As brilliant as Randy was, credit needs to be given to Don Airey, whom I believe created the chord progressions within Mr. Crowley. Especially the chord foundation during the solos.
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He wrote the keyboard intro. He didn’t write the chord progressions in the song. That was Randy and Bob. Other than that I agree. And that keyboard intro is bad ass.
 
67mike said:
Stop crashing my posts with your Debbie downer wokeness, biotch.
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Face palm Medium.jpeg
 
Metalhex said:
As brilliant as Randy was, credit needs to be given to Don Airey, whom I believe created the chord progressions within Mr. Crowley. Especially the chord foundation during the solos.
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The chord progression on its own though isn't that interesting/special musically. It's the leadwork Randy plays over it and how it functions harmonically with the chord progression that makes it what it is and that is all Randy

This is sort of like saying for Handel's Sarabande in D Minor the guy that wrote the folia chord progression for it deserves the credit, but again the chord progression on its own isn't that interesting. Handel was able to use it and turn it into a masterpiece just as Randy did to the chord progressions. Sort of like using lemons to make lemonade in a way
 
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braintheory said:
Yeah it's another classic, but for me the 1st solo of Crowley was Randy at his very best followed by the Crazy Train solo. The intro to Diary of a Madman btw was taken form Brouwer's 6th Etude in classical guitar. Check it out:
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Thanks, yes I had read that Randy based some of Diary off of a classical piece. Makes sense, as that was a world he was intimate with.

Also there are videos of Randy in Quiet Riot ( I used to have a few bootlegs on cassette)...you can hear bits and pieces of songs that he would later use on Ozzy's albums.
 
braintheory said:
The chord progression on its own though isn't that interesting/special musically.
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The reason why I said what I said is because I happen to find that chord progression/framework to be special. You just disagree

Remove the musical foundation and you just have Randy's lead solo'd which is of course great on its own, but then you dont have the song and moving progression. But if you mute Randy's solo then you still have the wonderful foundation music.
 
Metalhex said:
The reason why I said what I said is because I happen to find that chord progression/framework to be special. You just disagree

Remove the musical foundation and you just have Randy's lead solo'd which is of course great on its own, but then you dont have the song and moving progression. But if you mute Randy's solo then you still have the wonderful foundation music.
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I mean it sounds nice overall, simple (not that it matters). Maybe you hear something I don't there. In either case another guy here said Randy actually came up with that part too, but I wouldn't know. As with the example of that Handel piece, the foundation is nice, but what is played over the foundation is what makes it a master piece over something otherwise just nice. Of course the lead line in both examples aren't masterpieces on their own without the foundation, but the real genius behind both musicians in these cases is the harmony or how the top lines interact with the foundation, which again they deserve all the credit for as that's where the magic happens

In some cases also when the harmony is so effective it can be debatable which line really is the foundation, especially in good quality counterpoint, but not applicable in these cases
 
braintheory said:
I mean it sounds nice overall, simple (not that it matters). Maybe you hear something I don't there. In either case another guy here said Randy actually came up with that part too, but I wouldn't know. As with the example of that Handel piece, the foundation is nice, but what is played over the foundation is what makes it a master piece over something otherwise just nice. Of course the lead line in both examples aren't masterpieces on their own without the foundation, but the real genius behind both musicians in these cases is the harmony or how the top lines interact with the foundation, which again they deserve all the credit for as that's where the magic happens

In some cases also when the harmony is so effective it can be debatable which line really is the foundation, especially in good quality counterpoint, but not applicable in these cases
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Don Airey only ever claimed to have written the intro and Bob touched on it in his book. I think it's a very safe bet to assume that Bob and Randy wrote and arranged all the music on those first two albums, not without a little input from Lee, and Ozzy came up with the vocal melodies. Which of course led to some changes in arrangement and additional music.
 
Misread the title as "Priest plays Mr.Crowley solo" and imagined some old Greek guy in a cassock playing a Jackson Rhoads.
 
67mike said:
Thanks, yes I had read that Randy based some of Diary off of a classical piece. Makes sense, as that was a world he was intimate with.

Also there are videos of Randy in Quiet Riot ( I used to have a few bootlegs on cassette)...you can hear bits and pieces of songs that he would later use on Ozzy's albums.
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There's a recording of him giving a guitar lesson out there, he plays the riff to Steal Away and says the student can have it if he wants. Like, no biggie.

In the same lesson he said that if he had a record deal he'd want a pair of 100w Marshall heads, but that "probably won't happen" so he's happy with the solid state amp he's got, and most guitarists worry too much about the gear they use when they should be focusing on their playing.
 
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