{"id":22729,"date":"2015-09-06T13:56:55","date_gmt":"2015-09-06T17:56:55","guid":{"rendered":"http:\/\/www.rocktownhall.com\/blogs\/?p=22729"},"modified":"2015-09-06T15:51:46","modified_gmt":"2015-09-06T19:51:46","slug":"mach-schau-paul-fishman-of-re-flex-and-the-limitations-of-dual-keyboard-players","status":"publish","type":"post","link":"https:\/\/www.rocktownhall.com\/blogs\/mach-schau-paul-fishman-of-re-flex-and-the-limitations-of-dual-keyboard-players\/","title":{"rendered":"Mach Schau! Paul Fishman of Re-Flex and the Limitations of Dual-Keyboard Players"},"content":{"rendered":"

I fell down a You Tube<\/strong> wormhole the other day and hit rock bottom with this clip of Re-Flex<\/strong> better known for their 80’s classic “The Politics of Dancing.”<\/a> In the video, keyboardist Paul Fishman<\/em><\/strong> is either doing his best to rock out between the plastic ivory and ebony or trying his best to upstage the rest of the band. Regardless, his “dancing” is enthusiastic but also rather distracting. I’ve never done any research on the history of the keytar<\/a><\/strong> but I’m sure it was invented by a dude who was feeling left out of the action when his fellow bandmates would prowl the front of the stage with guitar and mic in hand.<\/p>\n

So, how come no one took inspiration from double-neck guitars<\/a> to invent a double neck keytar<\/strong>? Just think what kind of animal would be unleashed if our boy Paul Fishman<\/em><\/strong> was unshackled and unrestrained by his keyboard stand.<\/p>\n

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