KevB

Not sure if mine's a six series or not but been gigging one of these for years. Couple it with a 2x10 extension and given years of trouble free use, never had it serviced yet.

I meant I wonder who is buying the tickets for the UK shows, they are all practically sold out (small theatres admittedly but they havent much material yet). Actually i think one of our guitarists is going to Bham show on Sat so I'll ask him what the age range of the punters was. Just curious.

Voice is a bit irritating but could probably live with it. It would be interesting to see the demographic of who's buying the music and gig tickets. Is it old blokes looking for nostalgia (all the originals are too long in the tooth to be credible) or youngsters deciding the old stuff really was better and they'd rather hear a new band sounding like a 50 yr old band then something original?

Still available for some time on iplayer for those than can access it https://www.bbc.co.uk/iplayer/episode/b00nq7q9/fleetwood-mac-dont-stop?suggid=b00nq7q9

Congrats on the retirement Shelly and sorry I couldn't get to either of your recent gigs, weather was shocking.

Went to a classic rock society gig last Sat, main act was Jump supported by Haze who I hadn't seen for years. Jump remain pretty unknown and i only have a couple of albums but it was a decent gig for only £13 though the singer made a bit of a pink torpedo of himself having a rant at tribute bands 'taking all their Fri and Sat night gigs away', like its not the audiences that dictate these things. Ah well...

Well Slither is in drop D anyway (since the opening riff uses a lot of open string low D notes) so if you were detuning then it would be a drop D flat/C sharp or whatever. The band I'm currently rehearsing with want to do Slither and Psycho by Muse which are both drop D songs but the band also detune half step from concert pitch as well so I'm faced with exactly this - a bass that is Db/Ab/Db/Gb and another that is Eb/Ab/Db/Gb for gigging but of course all the original recordings are a semi tone up so I keep a spare bass for home use which I can alternate between concert pitch and normal drop D for playing against the original recordings. I'd rather keep a gigging bass permanently in one tuning than constantly detuning and retuning at home.

Most presenters on traditional commercial radio have little or no input into what is played (unless its a specialist slot or 'guest celeb' type presenter), they are given a playlist and get on with it. Maybe some of those responsible for creating the playlists might have a look at themselves though. In the end they go safe to keep listening figures up and please the advertisers without whom the station wouldnt exist.

Being in full time work since leaving college I only really ever wanted to do it as a hobby as more involvement just eats up too much of my time meaning I short change myself on other interests. In fact it was other interests which delayed my getting out and playing in public before I eventually did so I was a late-ish starter. I guess some of the busier bands I've been in might have got me to semi-pro but it's not something I've seriously thought about. I know when the band I'm in is either not playing enough or too often for what I want and I'll move on accordingly in either situation.

There is an adrenaline factor but I find if I'm gigging more regularly then it wears off pretty sharp. I suspect part of the problem is that if you only do very few in a year then each of those shows becomes a 'big thing' and it builds up the anxiety, plus there is more time to brood over thing between gigs. Gigging more regularly I find less stressful up to a point as they come regularly enough to not get wound up by stuff not going quite right, but then after that if I'm gigging more often than I know I really want to it gets stressful as I'm negelcting other things that need doing. Finding the right balance can be tricky.

Haven't quite been able to bring myself to go see them since CS passed away, maybe eventually if they keep going. Perhaps if they record a new album of original material instead of these tours playing entire old albums that they have got into the habit of it might persuade me.

It's always going to be a problem with commercial radio. Inevitably it dwindles down to the common denominator music that attracts a decent size audience that the commercials can sell stuff to. I used to like listening to Fish doing his own programme back in the day but not regularly listened to PR very much in years, or much other 'traditional' radio for that matter.

I don't expect this to be seen as 'Glam' exactly but I always associate it with that era

I know one of the guitarists in this band, says it's a laugh and the money's pretty good https://en-gb.facebook.com/Glamatize/

Not quite the same situation but about 10 yrs ago a mate who I'd been in a band with asked me to help out with a potential new project. He was a guitarist and had linked up with a veteran gtr/vox guy who wanted to get out gigging again after a long time off. I hadn't much on so said I'd do it as a favour. The plan was to initially rehearse with a drum machine (for ease of set up) then get a real drummer in later. He spent an inordinate amount of time getting us to millisecond timing against the drum machine (despite the plan being to use a real drummer eventually anyway) and of the songs he came up with to learn I always seemd to be a bit more up to speed on my parts at the next rehearsal than he was but otherwise he seemed happy enough so we went on for about 5 rehearsals. Gets to rehearsal 6 and before I could fully set my gear up he starts launching into a tirade venting at everything about me from my playing to my tone and finally, the nail in the coffin, saying he thought we would have been gigging sooner with another bass player. By the time he'd finished ranting I'd already packed my gear up on a trolley and just said 'best of luck with it' and walked out leaving my mate utterly embarassed and gobsmacked. My mate contacted me a couple of days later to say the old guy was out of order to the point he had also quit the project. Never saw the old bloke in a band, solo act or even at a jam session ever again.

She also managed to fit in the assassination of JFK during a lunch break between sessions. Magic plectrum shot from the grassy knowle. Not sure if she was using flats or roundwounds though.

Could have been worse, you could have had the matching braces.

Great for doing LGBT summer festivals...

Then tell him he's wrong and being a silly billy rather than trying to accomodate his inability to play it at the right speed. This is exactly the sort of song that sounds a mess when played too fast. The band I've just joined also have it in their set list and I'll be quickly pulling the drummer up if he sets off like a train. He seems a decent sort though.

If it's mutated into a twin neck next time you get it out of the case you'll know why.

Calling seashell, come in seashell... ;-)

Oddly enough this is the band name they will be touring as.

Jeff Lynne had done production work for Harrison, Petty & possibly Orbison (thought that might have been post Wilbury's?) so were all well acquainted. Actually getting Dylan and Orbison on board in the band was a bit surprising though. Lynn was very much the glue that held it together.

More likely Geoff Nichols. He was 'behind the curtain' with Sabbath for years, think he did Heaven & Hell gigs too when they werent allowed to call themselves Sabbath.

I've just been asked to join yet another rock covers band which has 2 guitarists. I feared the worst but actually on first rehearsal session they seem to have agreed 'lead' and 'rhythm' roles and have worked out how to be musically complementary rather than competing and the volumes were sensible. So far so good.