4000

😂 Er, no. ATTWT came out in ‘78. So from there I went backwards; Seconds Out (my favourite Genesis album), Trick of the Tail, Wind & Wuthering, and eventually the Gabriel stuff. Then Duke when it came out, although I was never overly fond of that.

Although it’s not a hard and fast rule, I often think that the first album you hear by a band is the one that sticks with you, although regardless, I still think WYWH is the best. But the first Camel album I heard was Moonmadness, which I also happen to think is easily their best, and I’m in the minority whose favourite Genesis studio album may be And Then There Were Three, which again was the first one I heard. I know it’s considered blasphemy, but I always thought Dark Side was hugely overrated, although I’m aware of its importance in the story of PF. I find it a bit claustrophobic, whereas WYWH is anything but.

I’d possibly have Meddle second or third. I arguably like it more than Dark Side. Agreed about Rick.

I would imagine that the majority of people who post something like “Squire (or insert other name as appropriate) is the best ever” mean that he’s their favourite ever in the context in which he plays, not that he’s “the best” (Whatever that is) technically.

Nope, not at all mistaken. I heard WYWH first and it blew my mind, completely changed my life. Dark Side was something of a disappointment after that. In fact DS is not even my second favourite. Not entirely sure it’s even third!😉

And don't forget that Wish You Were Here, easily their best album IMO, was inspired by Dave’s “Syd’s theme”, and all the best tracks on that album (IMO) were written by Rick, Dave and Rog. Which is not to detract from Roger’s concept or wonderful lyrics, obviously. 😉

To be honest, I’m not a huge fan of solo Rog. Dave’s voice (along with Seal, he’s my favourite male singer) and guitar playing - as well as Rick’s keys - are too much a part of what I (and evidently many others) enjoy about them. They were much better together. There was a quote from Nick Griffiths, Floyd’s sound engineer, who said “Dave made people enjoy it and Roger made them think”. I think that sums it up quite well, if, as Gilmour noted, somewhat simplistically.

He was the driving force, without question. But that underplays how important David and Rick were to the sound, and what made Floyd listenable, and I think that’s something he underestimated. It’s still telling to me that for most people the best track on The Wall is Comfortably Numb, which for all intents and purposes is Dave’s track. But most driven people really want things their way, it’s not a criticism as such. I just get the distinct impression he’s not great with people who don’t do what he says.😂

Yes, that’s often the case, but I think you need to have a far greater understanding of Pink Floyd’s dynamic in this instance. It makes for very interesting reading, if nothing else. 😉

From everything I’ve read on the subject, which is a fair bit, Richard (keys) seems to have been an extremely nice chap, Peruvian or not. Nick (drums) has gone on record as saying that Rick was the most placid, least argumentative person you were ever likely to come across. Rog, on the other hand.....😂 I like Roger, and I think he’s a brilliant writer, at his best. But I imagine he’s extremely difficult to work with at the best of times.

He’s a control freak. Always has been, always will be. I don’t think it’s in his nature to let things go if he’s not happy with them. FWIW I love Floyd; I think Wish You Were Here is the greatest album ever made, if there’s such a thing.

IMO differences between individual basses can account for some of these things. I’ve owned something like 20 Rics, and every single one has sounded different. I’m sure if you played 20 US Spectors they wouldn’t all sound the same, even with the same preamp, pickups and woods. Which of course isn’t to say that those won’t factor into the sound.

‘63 here.

I think the issue comes with the term “limited by any standard”. As before, whereas there are tons of bassists these days who wouldn’t find his stuff that difficult in terms of playing the parts (you could say that about many “greats”) I’m not sure you could say that in the early days of Yes. And to be fair, technique-wise Jaco and Jeff were at the absolute pinnacle for their era. For what it’s worth, the majority of bassists I come across, even now, aren’t any better than Chris from a technical standpoint, and many (most?) are way behind. Of course the ones that are better tend to be more jazz-inclined, and if that’s what you’re used to it will obviously seem different. 😉

For me, they were never the same after Mark 3 and never interested me at all after that. Strangely, as much as I love their sound, I hardly listen to them these days, I think more because of the material than anything. Some of it is obviously fantastic, but there’s quite a bit of “meh” as well, IMO. And out of MIJ and MIE, I actually listen to MIE by far the most.

I thought we were just talking about a Purple tribute? Didn’t specify a WDWTWA tribute.

I had Nords in the SR55 BB LTD I had. They were pretty good in that bass, or at least we’re when combined with the active eq. Passive they were a bit weak.

I met him at Overwater many years ago, when we both had hair. He set up a Jaydee I’d bought. He came across as a genuinely nice bloke, took to him immediately. Fab set up too.

To be honest, as lovely as Miss Harry was, my teenage self found her a bit intimidating. In fact I probably still do!😂

Agnetha was definitely in there. Susan Penhaligon too! Add Hot Gossip’s Donna Fielding to the mix and I’m done. I think a few of us are rather giving away our ages here.😂

Not if it’s Made In Japan era. 😉

Based on that example I prefer the sound of the cheaper one!

Suzi Quatro and Felicity Kendal? That’s two of my first tv crushes right there.

Possibly the best song they ever did, IMO, and I love Purple.

Not sure he had limited chops by the standard of the day.