NancyJohnson

Was giving some thought to this one, but found out the VIP tickets were right at the back of the gig-area. If you're paying a premium price, then surely doesn't this mean you're in a half circle up the front? It's not all about proper bogs.

I just think the stand is really flimsy and the footprint is too big. I have a little powered monitor stand that's waaaay more robust/sturdy. I (still) need to work out a way to join these two together.

I don't like the stand on mine at all. (see thread elsewhere)

Something distinctly 10cc there (Crime of The Century).

I just wanted to throw this out there rather than burying it in the 'What are you listening to...' thread. Now then. My wife picked me up from the station last week and for some reason was playing Supertramp in the car. I'm familiar with the main singles (Dreamer, Give A Little Bit, Logical Song, Take the Long Way Home, Breakfast In America), but to be honest I've never done a deep dive on them. Oh. My. I'm genuinely shocked at how good this is. The weirdness is what I can hear in there that isn't too far removed from what came after. The Bee Gees-esque harmonies, how much of a debt Built To Spill owe them. Elements of Public Service Broadcasting. I'm only going forward from Crisis, What Crisis? It's all subtly brilliant. Enjoying these immensely.

I think I know exactly what Gary wants to do. I'm looking forward to this.

What has this got to do with anything? What problem is having some decent kit?

I've been listening to Sugar and Bob Mould today. Bloody love it.

I've gone with a Ritter Bern. I'll report back.

Snark here. 100%

I had a brief exchange with Steve Barr many years ago; he was (at one point) planning to put out a coffee table book detailing all these weird and wonderful basses he'd bought and sold over the years. This must have been 15+ years ago. There does seem to be recurring stories across several bass-related websites about substance abuse and the taking of deposits for Lakland DPLE basses. He was active on alt.guitar.bass and alt.bass - going to newsgroups for bass stuff back then seems so quaint now - and he is a member here, although only one post: Incidentally, all the old newgroup stuff is now archived through Google Groups. I was just taking a look and don't have any doubt that my last contribution was around 2006. Some of the names on there bring back memories. Aah, Peter Duncan. What an asshat he was.

There's a name I haven't thought about in a few years. Wasn't there an issue with him trying to get a custom bass made (Lakland, I think) and making off with the customer deposits?

Interestingly, our guitarist made a post to Instagram with a photo of what he uses. Right now it's just this. He'll jack this into a little Mesa 1x12 (or whatever is available). Guitar wise, I know he loves mixing things up but more recently he's been favouring an SG or a (quite lovely) gold top Les Paul with P90s.

Two zips gave up the ghost on my old Roksak Thunderbird gigbag yesterday. Looking for suitable replacement suggestions.

What do we play? Something that might intimidate the headliner. If we're invited to do a second song, the hit.

I would say 'on' is subjective. Holding, more like. Given the pop sensibilities of your average Runaround audience, KM could just as easily have just danced around in the background.

Back gigging regularly, despite my previous post, we usually stop for a Double Whopper Meal now. I know I shouldn't, but well.

I know there was a desert scene, but you know that Palm Springs isn't like a fountain and a few big houses, right? The city is nearly 250 square km. Four times bigger than Manhattan. Twice as big as Manchester. At least. This is one of those stories that does the rounds every once in while, this idea that Sinatra roused up a few Italian/American arm-bending mafia-types who knocked up venues going, 'Nice little business you have here, you wouldn't want anything to happen to it, would you?' is preposterous.

I'd sooner have an Overend Watts signature to be honest!

Just picking up from your opening few words, it's obviously lucrative to the band, but the demand is more a rites of passage thing for many, like a gap year or going to Ibiza. Remember that it sells out way before many of the acts are even announced. I work with a lady in her early-mid 50s; credit where due she travels the length and breadth of the country going to gigs and festivals. She was distraught at missing out on Glastonbury this year. The musical landscape has changed significantly since I were a lad; we've moved from being precious about purchases, buying an album (or two a month, maybe) that you'd listen to constantly eventually through osmosis knowing every note from start to finish. Now the culture is pretty much everything available to everyone and people generally cherry-picking popular tracks by hundreds of artists and too many albums just full of filler. I'd still maintain a good chunk of the tickets are bought by people (the Spotify Generation as a mate succinctly put it) who have little or no deep-interest in music, but know all the words to a couple of Lewis Capaldi tracks.

As these are largely non-production line instruments, surely they're going to vary from one unit to another? Even more so than the differences you'd get from mass produced ones.

Having a trawl on various socials and reading threads about some of the older bands/artistes playing this year...lot of posts about Debbie Harry (voice gone/just stop), Generation Sex (shambolic), Sparks (just play the hits), GnR (is that Ian Beale/Mick Hucknall?). There's also a huge trend of responses trying to shutdown negative opinion, along the lines of 'My mother used to say if you can't say anything nice, then don't say anything at all.' I do wonder whether many of the respondees were actually around when these [older] acts were at their peak, rather than just using Glastonbury as a box ticking exercise. I also question whether many who went have something wrong with their ears. On the positive side, while I'm not particularly a fan of Manic Street Preachers, their set was clearly well rehearsed, on point and hugely enjoyable. Queens of the Stone Age, likewise. Same goes the Foo Fighters (even though I can't stand them). It's all well and good posting positive comments about these, but people posting negatives about Debbie Harry are just hit with a barrage of retorts about her being 77, how fantastic she is for that age and how she's doing her best. Honestly, who cares about how old anyone is? If you can't do it, then don't do it. Just because you're classified as a legend, does not equate to your performance being legendary. Someone needs to have a frank conversation with Debbie Harry and say, 'You know, love. It's over. Retire gracefully. You can't hit the notes any more and surrounding yourself with a couple of guitarists who are young enough to be your grandchildren just looks creepy. It's embarrassing.'

He's a lovely bloke. Very engaging and incredibly funny. He's known Eddie for decades, so that made things easier. He arrived at the H&A on a pushbike!