The fasting showman

I was watching a YouTube interview recently ( Questlove and Ad Rock from the Beastie boys) where it was said, it's easier to be booed at by thousands of people than a tiny audience in a small venue. I'd agree with this, having been put on a bill on a tour support years ago very early in the evening. The indifference or apathy from the audience can give a band a siege mentality that makes you dig in more. Likewise, on a tour support it's possible for you to go down better than you deserve purely down to the size of the event...they must be good as it's a big gig syndrome. As for small gigs to nobody...that's tough no matter what. I personally think it can look silly to try too hard; sometimes I have found pulling in the punters that ( hopefully) enjoy it, perhaps make it more intimate, make them feel they're eavesdropping at a rehearsal where you'd perhaps play more experimentally than you would have? All bands and situations are unique obviously. Yes Daryl, likewise I would love to be able to adapt better. I think it highlights that the audience is the additional band member that makes it or breaks it. Martin

I really enjoyed, and could relate to, that. As I carried on reading there was an element of "phew, it can't be me he's talking about then"...I likewise needed driving everywhere in the '80s and also had daft principles. I was visualising it ( like the way I remember my first bands) like that really gloomy Kursaal Flyers documentary.

What a legend, RIP

In addition to the shops in Brum I'd have to add Hingos in Walsall, ran by Andy Ford who I think was the uk distributor for Kramer. Great secondhand gear along with new Ohm amps that always looked cutting edge to me as a kid. Again, after trying out every bass in the shop I'd reward them by buying a copy of Music UK or some plectrums from my pocket money.

I've probably done this before but it's good therapy for me, please indulge me...you mentioned 5 or 6 shops in Birmingham, I'll list the music shops in Brum circa '82 to '85 when I was in my mid teens. Musical Exchanges, broad St initially then Snow Hill from '83 I think. George Clay on Broad St. Used to stock Polytone amps, wish I'd tried one. Jones and Crossland on Smallbrook Queensway. Part of the Black Sabbath saga. City music on Suffolk St Queensway. Woodroofes in Dale End, a second defunct shop on John Bright St. Birmingham Bass place, became the Bass centre. Originally by the Alexander theatre then Livery St. Yardleys on Colmore Row, mainly drums and brass. James Pass, smallbrook Queensway. Sheet music, pianos etc. Kay Westworth, Cherry St by Rackhams. Double Eagle necks and bodies, Schaller bridges and tuners. Cranes (?) Birmingham Centre at top of New Street station escalators. A few Sunn amps, new stock Betas etc. Fairdeal music, Digbeth high St. Green Lane music. Muzos on Hurst St. Great shop, got a v4b ( worked in a garden centre to fund it) aged 16 from there. Ex Woodroofes staff if I recall. Chase Music near to Lewis's Old square. Where I first saw Tokai fender copies I bet I've forgotten something. Great time to loaf around aimlessly with your mates. Modern life is rubbish.

Different shop, alas. Some of the founders of Musical Exchanges from left; Dave ( the owner), Stu and Gary Chapman who recently worked in PMT in Birmingham and latterly Fairdeal.

A few from Birmingham. The 3rd pic from inside the original Musical Exchanges on Broad St. The last one is Yardleys, prior to Exchanges moving there. There's an equal amount of great shops from Birmingham in the '80s I can't find pics for alas.

I really liked the first late '80s SR5s, they did a trans blue with a maple neck and white pickguard; that's what I wanted as a kid so it's etched in my mind.

I think, this is from situations I've been in, it's the continuous wash of a 'what are the chords?' ( rather than a specific part) chord bashing type guitarist. Particularly on a piezo equipped acoustic into a PA. I've never found any amount of, or quality of, bass gear that can cope with the lack of space in the arrangement. Keyboard lefthand obviously also. I would always choose the right part played at the right time on mediocre gear over the opposite. I remember reading an article with George Massenburg being asked about how you make a great record. He just said all you need is a great musical arrangement....he didn't say one of his mega fancy mastering EQs or anything.

Wilton Felder on this too.