Cosmo Valdemar

Without a doubt, Them Crooked Vultures at the Brixton Academy. Just really uncomfortably loud. Worryingly loud. It was a bit of a boring gig as well, I hate to admit. A few months later, this happened: https://www.nme.com/news/music/them-crooked-vultures-127446 Following on from all the mentions of Sleep and co, my old band once played a gig with a two-piece band called Agents of The Morai - drums and guitar. The guitarist played through a 50w Matamp and 2 4x12 Marshalls. Our drummer had to leave to throw up outside. It felt like our insides were being scrambled. Funnily enough, we bumped into that guitar player a couple of years later when he produced our second album. He plays for Conan now.

Charlie Big Potato - Skunk Anansie

Hello Jeff - Stanley Clarke

The Disposable Heroes of Hiphoprisy

Big Country

What was it made from?!

Nuclear Holiday - 3 Colours Red

It's a bit odd they didn't go the whole hog with the stereo thing. I've always been fascinated by Jaydee - they're a bit like the British Alembic, an appearance but also in their slightly mythical quality 😁 I'd love to actually play one. @JohnFitzgerald 's looks incredible. Unfortunately all of the YouTube demos I've seen are slapping or super tight 16ths down at the bridge so I've got no idea how they would sound for me.

End of The Beginning - Black Sabbath

The Everlasting - Manic St Preachers

Here Comes The Night - Them

I've always admired these basses but have never seen one. Considering the Alembic influence, can they run in stereo?

Geezer Butler, Rex Brown, Dimebag. Oh, and I was once given a tin at the LBGS full of picks with Ernie Ball's name on them 😆

It's wonderful to hear a Status played pickstyle! Thank you.

Hey Johnny Park! - Foos

Excellent! Very John Wetton.

I love Badfinger so much. It's very hard to listen to them without thinking of the tragedies they went through, making some already moving songs deeply emotional. There's a fragility to them. Without meaning to criticise their musicianship, Badfinger always felt like they were purely about the song, with little time for flash or ego. Considering what an absolute state the band was in, their album Wish You Were Here is a masterpiece.

My Desire In Chains - Roy Stone

Ghost of Love - Treeman

I've never had a problem with a song taking a sudden change of course midway through. In the case of Baba O'Riley, Layla and The Chain, these changes lift the songs to the sublime IMHO. There's no reason why a song should remain constant in tempo, key or anything. Grafting two songs together to make a new one is a perfectly valid approach to composition. It's picking the right two song's that's important 😁

Jesus - Queen

Sister Disco - The 'oo

Return of The Fly - Misfits

Last time I went to the LBGS the Corts were my favourite basses to play. The Rithmic was clearly a wonderful bass but the neck was a bit slim for me.

Scream - Misfits