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2oldman

what a talent

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2oldman   

Name's Chris from New Mexico.  Been a musician, part and fulltime, most of my life, in WA.  I'm about the same age as Eric.  

To Mr Eric Carmen:

I have been surfing Youtube a lot lately and listening to you. I am totally impressed with your musical abilities. I too had 5 years of classical piano. What a gift that is.

I watched you play piano on a live version of "Never gonna fall in love again", and you are actually playing that!  Excellent. I love how your bass isn't always the root.. a lot of 5ths.  Very nice.  You also got "All by myself" from Rachmaninoff.. didn't know that until I actually listened to it.  I loved your voice since the 70s when I heard it for the first time.

Guitar, bass, piano..and a great voice.  You're a lucky man.
 

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Kirk   

Chris,

Welcome to the website!  You'll find out a lot more about Eric surfing around EC.com.  Enjoy!!

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LC   

Great post, Chris. Thanks for writing it! There's definitely something about Eric's classical training that makes his work so unique. Welcome....

Best,
Larry

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LC   

Speaking of Eric and classical influences, there's a thread that Kirk just started called "Something Mellow" where he shares a link to "Love Is All That Matters" played on acoustic guitar—sounds like something by a classical master. Here's a link to that thread: 

 

And here's an Eric comment about "Love Is All That Matters" from a 1991 interview with Gordon Pagoda:

I'll tell you how that one was written. I was watching a Leonard Bernstein children's concert where he would explain classical music. It was a lesson of how Bach established a melody in the first eight bars. Then basically, the melody was repeated continually from the beginning to the end of the song, just played in a different register on a different instrument. I had this idea to take the simplest possible little piece of melody, which was those first few notes of the "Love Is All That Matters" chorus, and then be able to repeat them.

My idea was to do it so that it ended up being a round where a French horn would play it one time, an oboe would play it the next time. But you could actually start on any beat—on beat 1 or 2 or 3 or 4 of the bar—and have different instruments playing that melody. Then, it would work against each other. It was just kind of an experiment, and it worked.

There was another version of the song that got lost somewhere in the shuffle that I like much better. It had a lot more echo, and it had a lot more stuff to it. I wasn't really thrilled with the mix, but these things happen.

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