Daz39

This; just fab.

The epic wooden top with paintings on it? (Scratches head)

@stewblack has a multi-pedal waaaay cooler than that.

That’s so unfair, awful to hear. She had some cool ideas and great humour. If i recall correctly, didn’t her cat meet an untimely end in the flat fire? If so, I hope they’re both making cool music up there together now.

Great band: classic divide with some hating post-Fish but that’s all a bit “Metallica after the Black album were rubbish”. The early work is pretty brilliant but even there I found a lot of the slower/softer tracks mawkish and bleurgh, and it’s the longer, proggier tracks I prefer, mainly because of the guitar playing. They do a two or three day event at Port Zelande every year recently that I tend to listen on Spotify when it appears). And I recall them doing fanclub releases way back when too; they really survive on their fan loyalty. Some of the early H stuff I have found poppy and so-so, but having re-listened to their entire catalogue several times there’s some amazing music on there: Afraid of Sunlight, Real Tears for Sale, No One Can are all great tunes, H is a heck of a singer. Some of their longer works are pretty epic listens: Estonia, Ocean Cloud… Steve R has done some good solo albums that are worth a listen also. I think he was once described as somewhere between Andy Latimer and David Gilmour. I’ve liked Pete’s playing since the first Transatlantic album. He probs would get mentioned more if he played at the front and did wild things, but he doesn’t (nor does he need to)

If she wasn’t white the cops would have emptied their magazines just to make sure their own lives weren’t in danger any longer…

It’s 30 years since Supergrass’ debut album; that’s time dilation for you!

Crikey: tell him he’s a wanger…

Cor, even live music suffers from the corporate overwork as standard model!

Oh yes: "I set the sustain to sometime after the heat death of the universe..." (or something like that.)

Thanks for posting that; I do like Rick Beato's interviews. Tony's one of my fave players - loved him since I heard him on the LTE albums, then discovered King Crimson and the epic trio of albums he was on, and then lots of other stuff - the metallic bass on half the tracks on Union (the Yes album no one admits to owning or liking, or somesuch.) Love his quirkiness - funk fingers!, Chapman Stick work, love of Espresso machines, some good solo stuff too. Amazing to think he played for JFK as a teen, and is still making fine music in 2024 - hope there's a live album for the Beat tour.

Exactly - writing some half decent songs (there are loads of small bands that have written great songs that get nowhere), and being promoted in the right places at the right time. The rest is hype. Oasis became more popular because they were popular and it was cool to like them to fit in - same as every other emerging big band.

I do love a Chase Bliss pedal - so many features!

I wonder if the vitriol from here (and poss. other muso fora) is that they found the formula to appeal to the punter, fairly simple and noisy, and did not evolve or progress. It made them millions, but artistically it was shallow - is that the issue? Possibly why they 'won' against Blur in the 90s - the latter moved on with their sounds, off the rails a bit, back again, etc. which did appeal to many, but not as many as those that want guitars at loud on the jukebox they can sing along to atonally. I

Oasis were ruined for me by being the band de jour of all the bullies and n@bheads in my year and the year above at school - I was just starting Lower 6th when their debut released. All day long at the House in School (Boarding School) on full whack it was dirge-ful. Then I went to Uni and the least likeable of our room mates (there were 7 of us in our flat) played Wonderwall every night at 2 or 3am when he came in from being on the lash. Loud, repeatedly.