Search this Topic:
Nov 4 06 10:56 PM
Nov 5 06 12:19 AM
Quote:Hey, Rick, wasn't it in 1978 that Jeff Lynne dumped authentic strings in favor of synthesizers for ELO? Or was that 1977?
Dec 8 06 7:53 AM
Quote:Small connections:Waaay back when, before the Moody Blues acquired Justin Hayward and John Lodge, and when Gary Brooker and Robin Trower were part of "The Paramounts", these two groups (Paramounts and Moody Blues) accompanied The Beatles on their last tour in 1965. Some of the Moodies/Paramounts/Beatles may have known each other and made some connection.
Dec 8 06 8:17 AM
Dec 8 06 9:00 AM
Dec 8 06 1:12 PM
Quote:Conspicuously missing:Pink Floyd, "Comfortably Numb"King Crimson, "21st Century Schizoid Man"Emerson, Lake & Palmer, "Carn Evil 9"There is nothing from Genesis, not from their prog era, not from their pop rock era
Dec 9 06 8:46 AM
Dec 12 06 8:10 AM
Jul 8 07 3:39 PM
Quote:The Moody Blues Days of Future Passed Deram [Listen]In September 1967, the Moody Blues were asked by their label to record an adaptation of Dvorak's Ninth Symphony - as a stereo- demonstration LP. The struggling Moodies, a former white-R&B band that had gone without a hit since 1965, instead created their own orchestral song cycle about a typical working day...
Jul 13 07 3:45 AM
Quote:According to a book I have called British Hit Singles which follows the Record Retailer/Music Week chart, the Moodies chart entries after "Go Now" (#1) are "I Don't Want To Go On Without You" (#33), "From The Bottom Of Your Heart" (#22), and "Everyday" (#44 -- probably a numerology thing in all those multiples of 11). All those songs charted during '65 -- the next entry is "Nights ..." peaking at only #19 in early '68.
Nov 5 07 5:40 AM
Nov 5 07 8:12 AM
Nov 5 07 8:43 AM
Nov 5 07 12:42 PM
Nov 8 07 6:34 PM
Jan 30 08 7:09 AM
I had my first cherry red Gibson 335 in 1963. It was the standard model with a stop tailpiece.
I came up to London to buy it, on the train as I remember, on a day out with my best pals, the other guys in The Whispers (or were we called All Things
I had never seen one in either of the two music shops, Kempsters or Duck Son and Pinkers, in my hometown of Swindon. The only one I had seen 'in the
flesh' was Joe Brown's sunburst dot 335 (made in1959?). What a great sound he got from it.
However, I was entirely familiar with the 335 from the time it was introduced by Gibson in 1958. I had poured over the catalogues (still do), knew all the
wiring diagrams, the exact woods used, the different model number variations (330, 335, 345, 355), their colours and characters and all the inlays and
Chuck Berry was sometimes, but rarely, seen on TV or in photo's playing a 345, which of course sounded great, and a few of the Northern bands were
playing 335's in 1963, most notably the fabulous Merseybeats.
For me it's a work of art, a sonic masterpiece, perfection. No one has ever been able to improve on it. I met the guys who actually made my present 335
at the old Gibson plant in Kalamazoo, Michigan where they had just started up as Heritage Guitars with the original Gibson machines and tools that they had
acquired from Gibson after the move to Nashville. They knew mine by the serial number and explained how the top was finished in the factory exactly as it can
be seen now.
I occasionally used my first one during the time I was with Marty Wilde, but most often than not I was to be seen playing a Vox or a Fender. My 335 was just
too precious to me to risk it on the gruelling 'Marty schedule', as sometimes, when we were doing
two and three gigs a night, we would leave different sets of equipment in each place to save setting up and breaking it all down again.
Only a few days before Mike Pinder called me, in August 1966, about coming up to London and meeting him, and later the other two 'then' Moodies,
Graeme and Ray, I had reached the worrying state of being completely and utterly skint (look it up), and I had accepted a price to sell my 335. They were in
real demand in 1966. To say I needed the money was an understatement, -- and it was gone.
I still had my big 12 string at that time, (later to be taken from me), on which I was writing songs and playing folk club gigs.
Then, suddenly-the gig with the Moodies. What to do? I went down to Kempsters in Commercial Road and bought a new Telecaster, a guitar that I thought,
correctly for once, would suit the jangely piano sound that Mike had at the time, and anyway I couldn't afford another Gibson.
I still have my Tele. It's a truly great one, it was on the first two Moodies LP's and it played Question on stage for many years, (before acoustic
guitars got it together with pick ups), and recently I have been playing it on See Saw, just as I did on the original recording (recorded through a Vox AC30
amp into the Normal channel).
In 1967 and early '68, as Mike developed his Mellotron style and the songs came along with our vocal identity all I wanted was my 335 back. In 1968 I
hired one from Selmers in Charing Cross Road. It was well used, though less than five years old, with a Bigsby that was fitted at the Kalamazoo factory, and
with two great humbucking pick-ups. I fell completely in love from the moment I touched it and I had to have it. Selmers didn't want to sell it saying it
was their 'most popular hire guitar', and things like 'but everyone loves it'. Duh!
Didn't matter, I still had to have it, and give it a home, -- the right home.
I couldn't bear the thought of it being thrown around town (it had a ridiculously inadequate case when I first found it). Selmers, to their credit,
eventually agreed to sell it to me for the new guitar price of 168 pounds, exactly what I paid for my first one in 1963. I paid in instalments, we called it
' paying on the never - never', and this 1963 Cherry Red 335 has been my constant companion ever since.
It's had many different amp partners. A Vox AC 30 'top boost' in the studio for several years, again through the Normal channel, a Marshall 100
watt and 50-watt, two High Watt stacks (see the 1970 Isle of White DVD when it eventually comes out). The DVD sounds great by the way. A Marshall fuzz unit
that I used on recordings through the 70's and 80's, and at other times with just a small standard compressor (that's all there is on my 335 for
the Blue Guitar solo sound at the start of the record, that's how good an recording engineer Eric Stewart was), an Eventide Harmoniser, and lately a Mesa
Boogie, a Matchless 30 and a Fender Custom 30 watt, as well as my old Marshall 50.
So there you have it.
Why am I going on about it?
Because, I have always been a guitar player --- who sings and writes songs. And it's been kind of new to me doing Jeff's War if the Worlds every
night without my guitar. I suspect some people think when I come on stage, "Oh here's that singer-what's his name? - Coming on to do
that Autumn thingy".
I suppose I would feel more comfortable if my guitars were even just there, on the side of the stage, so if it all that huge production went wrong I could
do a tune and get by. And I kind of envy the three guitar players on the show. But then if you asked me to change places I wouldn't, cos 'Autumn
thingy' is so lovely.
Anyone who has followed my recent wanderings across continents will know that this has been a whirlwind year. Zipping from tour to tour, while in between
trying to keep day-to-day affairs on the rails. I realise of course that no-one reading this would be so naive as to think that a musician's life just
consists of deciding to tour or record and then just going and doing it, and with all the gaps in between being holidays, or as someone said to me in the
street when I was home for a couple of days recently, "having a break are you, putting your feet up?"
Going on tour, and recording for that matter, means that your business and your 'housekeeping' (as I think of all the rest of it), goes on the
I now have empathy with artists who live on the road. Real life never quite catches up with them! Excellent.
So, am I complaining again? Not really. I like touring, with the Moodies and with Jeff's War of the Worlds. Putting my 'feet up' is not for me
at the moment.
Moody-wise, I already know next year is going to be another full one for us, and with my constant companion waiting in the wings every night, tuned up and
ready to go.
I'm off to Moscow next week, to maybe pave the way for the band, and to do some bits for the Myrtle Beach Hard Rock Park project. Then straight back and
whoosh! Off on the road again for that 'Autumn' thingy'.
I can feel the housekeeping sliding already!
Feb 15 08 6:08 AM
Mar 16 08 8:02 AM
Held to be "the first Bowie album proper", and his first deemed worthy by record companies of regular reissue,
Space Oddity featured a notable list of collaborators, including session players Herbie Flowers, Tim Renwick,
Terry Cox, and Rick Wakeman, as well as cellist Paul Buckmaster,
multi-instrumentalist and producer Tony Visconti, and Moody Blues bassist John Lodge. Before recording for the album commenced, "Space Oddity" had been selected as the lead single based on an earlier
demo. Tony Visconti saw it as a
"novelty record" and passed the production responsibility on to Gus
Dudgeon. Visconti thus produced all the songs on the album bar what would
become, from its 1972 reissue onwards, the title track.
Mar 16 08 9:56 AM
Mar 16 08 12:24 PM
Charles Crossley Jr wrote:
It's been stated (and pretty obvious) that David Bowie has been influenced by progressive rock. However, the counterargument would be, and a fairly true
statement as well, that Bowie has been influenced by nearly everything and everyone. He's like a sponge after a lesson in tempura in a kindergarten
class. His albums are canvases where he lets all these different influences show in unexpected ways.
Still, in his prime, Bowie never picked his side musicians lightly, and it appears that he did the same at the beginning, too. That's some ensemble
he's got there.
It would be very nice if these so called great artists would at least acknowledge influences like this but I guess it is more important to be in the good
old boys club. Again, I don't expect these little nuggets of information will change the voters minds, I just want the record straight and the hypocrisy
that is the hall of shame exposed, after all, I'm sure they are well aware of this.
© 2017 Yuku. All rights reserved.