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ZilchWoolham

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  1. I remember that I started putting this together during a GAS-intensive period... Not updated in a good while now, and I feel it might need a bit of a clean-up!
  2. A PJ and a Ric should absolutely cover most of it. It's worth noting that a lot of punk bassists used transistor amps: HH, Peavey or even Acoustic if they could afford it. I would think the M-Pulse is a fairly versatile thing, but maybe it just isn't nasty enough. Personally I would crank up the mid level controls and then sweep the bands until I find something that seems appropriate.
  3. A lot of Ian Anderson corkers I could mention, few of them from actual live albums. Here's one: "The next piece is a vegetarian song. It contains deep, significant, meaningful comments about ecology and the environment... It's really f**king boring."
  4. There's a Stranglers 12" B-side called "An Evening with Hugh Cornwell" which is just 18 minutes of Hugh insulting the audience.
  5. One particular favourite of mine is how Roland Kirk changed his name from Ronald Kirk because of a dream. A simple procedure, just swap two letters. Blues singer and harp player John Lee Curtis Williamson took on the stage name Sonny Boy Williamson, and several years later another blues singer and harp player, Aleck Miller, took the same name to capitalise on the fame of the first Sonny Boy Williamson! In fact, Sonny Boy Williamson II is slightly older than Sonny Boy Williamson I.
  6. If I'm playing for 8000 people I think I should be having fun! A couple of Acoustic 360/361 rigs would sort that out quite nicely.
  7. Listened to this just the other day and I can admit I did not spot it! Just as you mentioned, it wouldn't be hard to argue it's supposed to be that way. That era of the Stranglers has some bizarre arrangements. Baroque Bordello off The Raven has Hugh in a different time signature to the rest of the band. They were really playing at the limits of their abilities on those two albums, maybe sometimes a bit ahead of them, so to speak.
  8. This Was isn't a stinker, but I think most people who aren't Mick Abrahams or John Peel would agree that Stand Up is the first proper Jethro Tull album.
  9. I am stunned. That "Leaves of Tears" purple monstrosity has got to be the most tasteless design I've ever seen on an official Fender-branded guitar. It looks like a Warmoth bitsa assembled for an AOR band in 2005. Apparently good judgement is an entirely optional quality for a master builder!
  10. It does sound very, very strange. That sound wave would be over a mile long. Is there even any sense in calling that a note?
  11. The Caribbean steel drum is an altogether older and distinct instrument, but all these other flying saucer shaped things are clones of a relatively modern instrument called the Hang. I see some pop up in various for sale groups on Facebook, classifieds pages etc. from time to time, and they're all indeed very expensive and seem to be sold and bought exclusively by New Age people.
  12. Oh no, that's not what I meant. Objective criticism is impossible. What I mean is they should engage with the material in good faith, as honestly as possible, and try to offer actual insight or analysis, instead of focusing all their energy on witticisms, gonzo ego stroking, or as is the case with the aforementioned Christgau, the preparation of word salads. And people like Lester Bangs really, literally did write about themselves. I read an interview by him (not with him) that he would periodically break up to insert vignettes recounting his shagging a prostitute in some South East Asian country. What the f*´k?
  13. To write about music, rather than themselves.
  14. This reads like it came right out of my own mind, only I had the unfortunate experience of discovering Robert Christgau quite a few years ago. And indeed, he was a big shot. I believe he, along with a few other select individuals, is to blame for the sorry state of popular music criticism today. The whole idea of pop criticism was fairly new back when he got his break, so there is no denying he helped shape the entire genre. Any critic attacking your favourite bands is bound to be annoying, but Christgau's positive reviews are as horrid as his negative ones. They just don't mean anything. It's just not parsable text. I will say, as musically ignorant and fashion-oriented as pop and rock criticism still is today, it was far worse in the 70's. Interviews as well as reviews were openly antagonistic and so harsh on their subjects you'd think they were writing not about musicians, but about corrupt politicians, or pet stranglers, or worse. Obviously, actual musical knowledge was never considered a requirement for writing about music. I'm an avid reader of Sight & Sound, and sometimes I think of just how different things would be if music journos were expected to be half as knowledgeable and passionate about their chosen subject as your typical film critic is about cinema. Of course there are exceptions, but the standard is ludicrously low. And a large part of the reason for that being the case is because the people who read Christgau, Lester Bangs, Julie Burchill etc. kept that dreadful tradition alive in their own writing.
  15. Of course, having an inferior but more outrageous bass player suited McClaren just fine. One can wonder though, if, with Matlock remaining, they could have evolved out of that first phase like several of their contemporaries instead of imploding.
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