Dad3353

Good evening, Kev, and ... Plenty to read and amuse you here, and lots to learn and share.

It may help obtain usable replies if you could give some indication of the style of original material you're playing..? Any reference bands with similar outlook..? Some idea of the venues and rehearsal rooms you're going to come across would help, too, as would a general idea of your budget (if any...). There are many players with no amp at all; others with stadium-proportion rigs, and all sizes in between. A bit of Precision, please..?

Good afternoon, Deco, and ... Plenty to read and amuse you here, and lots to learn and share.

An exercise in restraint, eh..? Well done for succeeding, along with a tasteful drummer. Playing to/for the room. Personally, I'd say it's a case of 'casting your pearls before swine', what with the background chatter, but all credit to you all for giving them the opportunity of listening to some quality playing. Stunning bass and drums solos; there was even an applaw..!. Good Stuff, old chum; congratulations to all involved, and thanks for sharing. It's brightened up my afternoon quite nicely.

This one ... Isle of Wight Festival, Saturday 31st August - Sunday 1st September 1968 Apple - Jefferson Airplane - Smile - Harsh Reality - The Move - Orange Bicycle - The Crazy World of Arthur Brown - Halcyon Order - Fairport Convention - Pretty Things - Hunter - Muskett - Aynsley Dunbar Retaliation - Plastic Penny - Tyrannosaurus Rex - John Peel Marc Bolan 1968 Sitting cross-legged on a flat bed truck, Marc warbles Tolkein-like fairy tales of elves, magicians and romany soup as half of Tyrannosaurus Rex. The setting is a cold stubble field, near Godshill (where the ley lines meet) to a hippie throng gathered for a now legendary one day event. The first great UK rock festival. Site Manager, Ron Smith, remembers setting up the event: Jefferson Airplane "The IOW pop festivals came about as a result of the Isle of Wight Swimming Pool Association, of which I was a member, wanting to raise funds. It was suggested we employ a fund-raiser. I said I knew someone; that person was Ronnie Foulk. We then proposed, after some discussion with Ray, that we have a pop festival. The committee allocated £750 and we set about putting a festival together." It was Hells Field, a one hundred acre field of stubble corn, and we paced out with some broken bars that had been left on the site what we thought the arena should be, and then Ronnie and Rikki Farr (the compere) suddenly said, "We're off to London now, see you. Don't forget it goes on in three weeks time, Ron." "I wondered what I should do, when three brothers aged about thirty came on the scene in a van and said they'd heard we were talking about a pop festival on the Island and could they help. They had called at my house and the missus had sent them out. They wanted desperately to be involved, and had experience in scaffolding, laying bricks, anything." "So I went off in my van to get some scaffolding poles and we set to build the stadium. We covered it in black plastic. The stage was several low loaders which I had through the good offices of British Road Services, and we got a generator down from Winchester. Water for the site was obtained in new dustbins by my wife, who went round garages in the area, filling them up." The big day dawns Tyrannosaurus Rex - Mark Bolan Publicised as one of the biggest pop festivals ever staged in this country, events got under way early on Saturday evening. An audience of 10,000 congregated on forty acres of barley stubble known as Hayles Field - translated by the press into 'Hell Field' - on Ford Farm, near Godshill but nearer Niton, just off the main road from Newport to Ventnor. The event began at 8pm on Saturday, 31 August and ended at 8.30 the following morning - it was supposed to run from 6pm to 10am, so it started late and finished early! Tickets were the grand sum of 25 shillings each, £1.25 in post-decimal times. After weeks of planning the supposedly highly organised, precision-planned gig turned out to be 'sixteen hours of make-do, make-shift and hasty improvisation'. Technical difficulties meant as often as much as a half-hour break between each group. Organisers and sponsors associated with it had already disclaimed responsibility for anything that happened 'on the night', and the Island's magistrates hit out at them for advertising bar facilities before they had applied for a licence. Pre-publicity promised 'licensed bars, marquee, refreshments and snack bar'. Geoff Wall recalls the sheer excitement of the times: "The boundary fence consisted of black plastic sheeting - a far cry from the high wooden fences and security guards that accompanied futures IOW events. The loos were a simple trench, again surrounded by some plastic bags. The stage itself was just two flatbed trailers placed together, with plastic sheeting covering a make-shift scaffolding structure. To the right of the stage was a huge screen." The whole affair was a miniature precursor of Afton, beauty and danger coalescing in a rural setting, with the pop fans like the 'poor bloody infantry' of the Great War, setting out for the trenches. As the Islander reported: 'Hells' Field was a beautiful setting for the Festival, surrounded by rolling green hills and bright, bright sunshine. There was, however, something ominous about the enclosure; it looked very much like a prison camp, a detention compound. An area all round the billowing black PVC walls was marked off with wire, and patrolled by a Security man holding an alsation on a tight lead. The queue at the entrance was very orderly and seemed unnaturally quiet, almost apprehensive.' Quite who did appear and in exactly in what order, is still a subject of lounge-bar arguments. As someone once said, if you can remember the sixties, you weren't really there! The poster promised Jimmy Saville - who no-one can remember being there - and a 'lite-show' by a student of the RCA. The only thing that compere and Radio 1 DJ 'Laughing' John Peel, who made a brief appearance to start the proceedings, could remember twenty six years later, was .. "...one fragile bobitette who was crying because her bare feet were so cold and, overcome with lust, I gave her my socks. She skippety skipped away and that was that. I want my socks back. And I want them washed first, too." The above extracts are taken from Brian Hinton's "Message to Love: The Isle of Wight Festival 1968 - 1969 - 1970". Copyright: Brian Hinton, 1995. - See Brian's Books on Amazon You had to be there.

Good evening, Milford59, and ... Plenty to read and amuse you here, and lots to learn and share.

1m40, again at 3m00. The video is synched OK, as can be seen from the singing. Odd.

I could tell you, but I'd need to come round and ensure your silence for good. ... ... No, it's imply that they have systems that are exclusively dedicated to rooting out stuff, worldwide, all the time. The BC Amiga servers have other, more important tasks, such as handling Composition Challenges and the like. It's a question of priorities. Google are Pretty Big, compared to BC.

Calling Lurksalittle. Paging Lurksalittle. A call for Ms Lurksalittle. Urgent call for Lurksalittle...

@51m0n... Where is the bass sound coming from in that clip when he's got both hands off the bass..? Echo box..? Hidden bass player..? Backing track..? (No, surely not a backing track..! ) Just curious, is all.

There's nineteen (count 'em..!) individual vocal tracks on there. 'Snot enough..?

Any chance of posting an mp3 or similar, so that we can hear what you're hearing..?

'Twill be interesting to hear the final version, to compare the pre- and post-mixes. You seemed to be enjoying yourselves; always a good sign. Thanks for sharing.

All the BC posts in which either 'feedback' or 'Tredders' (or both...) figure, now standing at 527. You mean you didn't try this yourself, just to see..? Lazy so-and so..!

You've obviously not heard my 'singing'.

As a Mod, I've not had to send an 'early bump' reprimand since the new site came on line. To me, that's a Good Thing. Just sayin'.

Good evening, Jo, and ... Plenty to read and amuse you here, and lots to learn and share.

Good Stuff; shades of NIN. Keep the drummer. Made neither head nor tail of the video, but didn't regret having watched and listened. Well done, all.

And for those feeling a bit 'socially un-adapted', shy, retiring: you're far from alone. Others feel that way too. Here's 'People's Parties'... Sublime, and so precisely exact..!

How right you are; I'd be glad to rectify that. Three that I listen to very regularly, and which have absolutely no duff track..? Court And Spark The Hissing Of Summer Lawns Hejira There are others, but as we're only allowed three, I'll, with regret, let slide 'Taming The Tiger', 'Blue', Clouds', 'Songs To A Seagull', 'Don Juan's Reckless Daughter', 'Mingus', 'Ladies Of The Canyon', ...

Rose has gone back to France; she was only here as an au pear.

Our Youngest wanted to play bass, but expressed desire for a fiver to start with. I got him a Cort fiver, but very shortly after, I got my six-string fretless. He nabbed it, and has played pretty well nothing else since. He now assures the bass for all of our repertoire, with apparent ease. Yes, one can start on a fiver, or a sixer, or even a fretless. It's the motivation that counts for most, I reckon. Just my tuppence-worth.