After that, the remaining seven jams do descend into free-form murk, albeit a murk with deep roots in mid-'70s fusion: Miles' Black Beauty, Peter Green's The End of the Game -- stuff like that. Of course, Nine for Victor doesn't sound exactly like those landmarks (it's been modernized), but NNCK does believe -- as did Miles and Green -- that far more can be done with the blues than merely imitating B.B. King and Muddy Waters. Unfortunately, that attitude was pushed so far underground by the end of the '70s that few folks these days remember that the blues was awful noise at one time.
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