NickD

Damn this thread! Plague everywhere, uncertain future at work, and I've spent half the day looking at bloody Spectors!

I'm a fan big the Beatles, but I always loved that version.

I don't think it's a matter of standard... It's very well done, but in an awful, insincere, souless, dry way. (To my ears, obviously). It's a danger of covering a 'classic'. They're a classic for a reason, a time, a place, a zeitgeist, or whatever. I've heard cover bands make it sound better. Then again, live and dirtier is always better.

It does... Different strokes and all that. I'm not a massive fan of the original to be honest, but those guys (or rather their producer to be fair) have sucked what little soul there was out of it for me. I don't think I could hate it more.

I once backed out of an audition because of that song! 🤣 I'd asked the guy for some tunes to get down in advance and he sent me that version... It had passed me by until then, surprisingly. "It's much better than the original" he said. I laughed my 'arris off at first listen. Damn, if only they'd realised that what that song needed was some generic nu-metal guitar tones and some autotuned vocals, Fleetwood Mac could have been as famous as... Er... Who was it again? I was on the phone making my excuses within minutes.

Something about abalone?

I thought it was just me.... I was desperately searching for a single way in which it's not hugely inferior to the original.

Any cover of any Bob Dylan song.... Except for that one where that woman with the Eyepatch changed the words and melody to Knocking on Heaven's Door... That was stinky poo.

Back in the mid-90s I did a stint with 70s Glam Cabaret act, trawling around Europe doing Military bases. Lots of Sweet in the set and they were great, fun lines to play,. The songs were unashamedly fun, and I've never known songs more effective for getting even the most reluctant audience on a dance floor and keeping them there. RIP Fella!

Don't start me off! 🤣

I look at natural finish Spector 5s with lust, but probably won't ever get around to one, partly because most seem to have gold hardware, and partly because they look as if neck dive would be an issue. I look at Dingwall Super PJs with lust, but probably won't ever get around to one because they're bloody expensive. On a more practical note, everytime a Maruszcyzk Jake 5 comes up in the marketplace, I get sorely tempted to get it as backup for my Jake... but then I'd have to get rid of my Elwood L5, which is probably better than the Jake in every way.... except I always find myself playing the Jake.

Exactly... Others can do as they see fit, the government tacitly condones it anyway. Me... I'm staying home a while.

Chatting with a consultant friend of mine over the weekend, and he's on alert for a big spike in July/August.... I'm not planning on going anywhere in the near future. Gigs can wait.

Errr.... Blimey! 🤣

See... Keep Talking for me as every bit as good as anything else... Vive la difference!

I'm far from an expert in songwriting, but for example on Echoes, the double compilation, the pre and post sit seamlessly for me, with only the Barrett era stuff jarring a little.

I do like what he does, but he seems like such an entitled bellend... Lord knows how hard he must have been to work with. I think the problem is that he thinks that he IS Pink Floyd, and I'm sure for some he is, but not for me, nor legally for that matter. Their output is consistent (after Barrett made his exit) and his departure made no difference IMO. I suspect he sees that, and hates it.

Hmmmm.... I've got a Sharpie, a belt sander, and a Helix... 🤔

Awesome!

Caught that a couple of weeks ago... I've been listening to Cold Fact ever since!

I figure if this guy can coordinate this, anything is possible!

I do like that.... Shades of Tuxedo Moon in there too!😎

That would be my Jake... at least it fits the criteria for me!

I would imagine, if voice is your instrument, it's just like anything else.... about contributing to the whole, and being among the overall sound, playing your part. Like a DB player in an orchestra counting 80 bars of rest, or a guitarist in a pop band throwing in simple chords one to the bar, or a bass player banging through Mustang Sally yet again. It's not about you, it's about the piece and the audience.