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talent than people from this region normally have (see Bachman/Turner Overdrive).

Laughs aside, the instrumentation is always topnotch (except during "Friends Of Mine," when they sound like they don't know what they're supposed to be doing), the melodicism is very smart and usually singalongable and, when he's not acting like an idiot, Burton's voice is a wonder of nature, going from low/mid crooning to really cool intense screaming in the blink of a blinkity fellow. As for the BC Doors/Morrison rip off..crazy..he was influenced at the time by Jim but he was only paying tribute to him and at the same time showing how talented he was.

New producer Jack Richardson has brought out the drums to make them ROCK harder, and the band itself has really found its style - I don't think I'd call it "Wheatfield Soul," but certainly "Wheatfield Pop/Rock." They sound like a bunch of normal guys from the heartland of America (I don't know much about Canada, but apparently they're from the heartland of Canada), but with a lot more intrinsic musical talent than people from this region normally have (see Bachman/Turner Overdrive). I saw the GW in concert quite a few times and the first time I saw them was at the Laurel Pop Festival in Maryland.

In particular, the 10-minute jamthon "Friends Of Mine" is the most atrocious, STUPID Doors ripoff that you're likely to run across this side of "The Celebration Of The Lizard" by The Doors.

It begins just fine, with the "Smells Like Teen Spirit" bass line (take that to your grave and cash it, Kurt Cobain! I think they did a good job..are still writing about them !!!

In a few different variations, the band provided Burton not just with basic instrumentation, but with awesome songwriting skills and ever-interesting playing. "Shoe Shoe Shoe Shoe Shoe Shoe Shoe Shoe (Shoe)" 15. ), but that's not the point that I'm working to hone in on here.

he band actually began its career as "Chad Allan And The Expressions," named for the four-eyed geek who led the band. As The Rolling Stones once said, "I know it's only rock and roll, but I like tits." urton Cummings is now in the band, but the music is pretty much the same as it was before. It just sounds like one of those Pebbles compilations with its exciting mixture of melodic British Invasion rock and roll, pop balladry and harder, heavier Burton Cummings-sung rock. Or maybe he just gives off that aura by having the action verb "Cumming" in his name. Also please buy the url fill it with naked pictures of 12-year-old boys. ) and some band called The Staccatos each have a side.he Guess Who existed both before and after Burton Cummings (and you will find examples of pre- and post-Cummings releases reviewed on this page), but nobody cares. From hard rock to country to jazz, bluegrass, blues, psychedelia and anything else they wanted to tackle, The Guess Who made it happen. My point is that Chad Allan has an adequate voice, low enough to be croony and enjoyable, if a little crybabyish and cracky during the faster parts. This features two songs from the first album, zero from the second album, four from the third album and I have no clue where the other four came from. It's perfectly enjoyable material, of course, but let's get to the REAL Guess Who shenanigans! If you could, try to make that a nationally recognized catchphrase. Please make me a bumper sticker and hire an aeroplane in every city in America to fly around making smoke letters with that popular catchphrase: No More Fidgeting In The Pissbucket!For all intensive porpoises, The Guess Who will always be associated in the minds of FM radio listeners with that singin', yellin', cocky, long-haired (and later mustachioed) little Winnipeggian who made classic rock hits like "American Woman," "No Time" and "No Sugar Tonight" sound so darn intense. Not with guns, bitches and crack cocaine, but with good old hard work, creativity and regular powdered cocaine. And the songs themselves stick with you like a swarm of killer hornets after you thwak their nest with your arm over and over again. Super goodnesses include the sugary sweet concoction "We Can't Go On This Way" and the Byrdsy "Baby's Birthday," which really isn't that great a song but it sounds like the Byrds kinda! With more of a specific sound and all, instead of just copying more popular bands from elsewhere. Say it all the time and write it on the side of your car: No More Fidgeting In The Pissbucket! Use it in school textbooks and in popular hip-hop songs of the day.They're just poorly-written hippy pop songs with the occasional acid fuzz guitar. But as I was eventually going to get around to, Randy's tastes and interests run as wide as the deepest river, but if you try too hard - if ANY band tries too hard to make "serious" "artistic" statements when they're better off playing solid rock music, then part of the appeal ends up being the ridiculous, laughable kitsch value of their various failures.So ignore them and concentrate on Randy Bachman's amazingly gorgeous short ballad "Somewhere Up High." Now THAT is a song. By no means were The Guess Who on this or any other of their classic albums "failures," but some of their experiments turned out just awful.Maybe it's because I love zombie movies and horror films and the idea of Burt narrating a scene of a man walking up the 13 steps to meet a giant cloaked figure was great theatre of the mind. It's one of those long songs that only GW purists who know about. Most of it was miserable garbage like Cat Stevens, The Fifth Dimension and Don Mc Lean (Say! ), but there were a couple of winners in there - I think More Of The Monkees was in there, featuring the smash multiplatinum hit single "Your Auntie Grizelda, and I know for a fact that The Doors' Waiting For The Sun was in there too. Some of his stuff is pretty funny, and nobody should have to die that young. I love the guitar playing in that song - especially those high harmonics he hits during the changes - gorgeously bitter sad!