MB1

MB1. Bought a White Pages Tab book off off Phil/Spinynorman.... Great transaction, would definately purchase from Phil again! Many Thanks! Martin.

[quote name='thepurpleblob' post='465055' date='Apr 17 2009, 02:30 PM']I think you're lucky it was just the council they contacted. They didn't call the old bill.[/quote] MB1. Trust Me!...You dont want William Roach round your house!

MB1. I remember coming round for the ABM 210T and thinking what pleasant neighbours you had!.... putting up with Ocean Colour Scene playing in the Garage!

MB1. British and Earlier the better!.... Pre Gibson!....and Yes they are all quite heavy!...built to last!

MB1. .....How to mute while slapping?. .....Grit your teeth and keep youre mouth closed!....Sorry!..I'll get me coat!.

MB1. Now owned by Peavey!...and made in China arent they?....where theyve got Groovillium apparently? ...and Benny Hill lives on!..."whos got the horn?"....dear me!

MB1. ....Just when you were thinking Lady Penelope..... Naked!

[quote name='OldGit' post='464153' date='Apr 16 2009, 05:14 PM']Mr Loaf may qualify here[/quote] MB1. T.A.F.K.A.M.....The Artist Formerly Known As Meat!.

[quote name='Twigman' post='464133' date='Apr 16 2009, 04:55 PM']Some observations on todays music 'scene'... Those of us old enough to remember vinyl records lived through the golden age of DJ tune selection. Every record in your box had its own sleeve, some with a picture, some without. But vinyl records had hundreds of memory tags which helped you remember the tune, from the picture to the type faces used, the finish of the cardboard to the width of the spine. Even the memory of when you bought it, where you bought it, from, why you bought it, what you did to the record after you got it (tore the edge off the sleeve, put your coffee cup on the sleeve) and where you put it in your record box helped you remember it. And if you played it a lot the actual record itself would become lodged in your memory; the weight and colour of the vinyl, the groove pattern, the label, your fingerprints. And, of course, the artist and the title of the track would help as well. But there were many occasions where you could remember the tune but not remember the artist or title: you had a more complicated memory of the track, but a useable one nonetheless when it came to pulling it out at the right moment in your set. In many respects the artist name and song title weren't critical. But now they are. Nowadays they are often all we have. What strikes me in this age of downloaded digital music, is how hard it is to remember tracks from just the artist name and track title, especially given the increase in how many tracks you get sent or buy. And this is made more difficult because people are using the same rules for artist names and song titles that they used when records came in cardboard sleeves with unique cover art. Its OK to call yourself Unchallenged Emotion and call your track Monday Morning if you had some fancy logo or photo on the record that made those things come to life. But if all we have to go on is a line of text in iTunes or Beatport, what chance have we got to form some kind of emotional attachment to you or your track? What makes it all the more maddening to me is when there is a very memorable part of the track, maybe even the main hook, that doesn't get used as the track name. "Oh I know that one, its got the girl saying "Save Me" in it." Why isn't it called "Save Me" then? In the good old days it was considered a little crass sometimes to be obvious about your song titles. (Song 2? "Whoo-hooo"?) But these days, you have to be obvious, surely. With so little difference between one downloaded file and another, you have to work even harder to get noticed and be remembered. Things have changed. So, if I may be so bold I'd like to make a couple of suggestions: feel free to ignore them as I haven't convinced myself I know the full solution to the problem at all. The first is to think about using your real name as your artist name, if you are a solo act, and not pick some meaningless name from the online artist name generator that I'm sure exists out there that come up with crap like "Unaffected Electricity", "Truncated Toiletries" or "Conjugated Verb". If it is meaningless to you it is certainly meaningless to everyone else, and people tend to forget things that are meaningless. If you don't want to use your real name, come up with something memorable, something that instantly conveys something visual or emotional or both, like, er, Dead Mouse. And the second thing is to think long and hard about what the track should be called. In almost every example the song file is not your best bet ("Wednesday Doodle") as it will mean a lot to you but nothing to everyone else. I'd say the main hook, or some other signature element ("Pjiano") may give you some good ideas, and certainly if there's a vocal stab, however brief, seriously think about naming the track after that, no matter how late it entered proceedings. There's nothing new in any of this, by the way. Take a listen to "Footsteps In Snow" by Debussy. I'm sure in this case the song title came before the music, but the point is they are one and the same. It does exactly what it says on the tin. On the other hand I'm sure I've heard Chopin's "Op 15, #3, Lento in G min" but I'm buggered if I can remember how it goes.[/quote] MB1. Gerry Dorsey Changed his name to Engleburt Humperdinck (why?) and still went on to fame....one of the biggest hits of the sixties with Release me!.

[quote name='thisnameistaken' post='464079' date='Apr 16 2009, 04:21 PM']Hmm. Well... I do agree that fame is something separate. A lack of it wouldn't (and doesn't!) stop me wanting to make music. Money is a similar story - it doesn't necessarily follow that people should give me money for doing it, so I don't mind if I don't get any. I'm more interested in making something and showing it to people and having them tell me it's rubbish. Telling me it's good would be nice too, but you can't have everything. I think some musicians are of the opinion that they should be globally celebrated purely on the merits of their instrumental prowess. The fact is if you're not an engaging raconteur, or gorgeous, or preferably both, it's probably not going to happen. And that's been the case since the 1950s at least.[/quote] MB1. ...You do realise how much youve just upset the ..."Gorgeous Raconteurs"... now! (i've heard worse band names!)

MB1. ...Good News!....Looks like they'll be coming home after all!.

MB1. ........How deep is your Bendwell?

[quote name='skankdelvar' post='463845' date='Apr 16 2009, 12:29 PM']No offence intended to Ray Dorset and his unfeasibly large sideburns - and that "In the Summertime" is "sh*te" is just my addled opinion. But taking 1970 as an example of "pop is always crap" is kind of interesting; some classics and some not so. Number at end of each line is 'weeks at no:1' 31 Jan 1970 Edison Lighthouse Love Grows (Where My Rosemary Goes) 5 7 Mar 1970 Lee Marvin Wandrin' Star 3 28 Mar 1970 Simon & Garfunkel Bridge Over Troubled Water 3 18 Apr 1970 Dana All Kinds Of Everything 2 2 May 1970 Norman Greenbaum Spirit In The Sky 2 16 May 1970 England World Cup Squad Back Home 3 6 Jun 1970 Christie Yellow River 1 13 Jun 1970 Mungo Jerry In The Summertime 7 01 Aug 1970 Elvis Presley The Wonder Of You 6 12 Sep 1970 Smokey Robinson & The Miracles Tears Of A Clown 1 19 Sep 1970 Freda Payne Band Of Gold 6 31 Oct 1970 Matthew's Southern Comfort Woodstock 3 21 Nov 1970 Jimi Hendrix Voodoo Chile 1 28/11/1970 Xmas No 1 Dave Edmunds I Hear you knocking 6 My landlord used to know the greengrocer of Biggie Smalls. Liked a nice Conference Pear, did our Biggie.[/quote] MB1. Biggie Smalls?...isnt that what you get from drinking too much Guinness?....Coat Beckons!