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A LESS WELL KNOWN GUITAR MANUFACTURER IS THE 'PURE SALEM' COMPANY IN THE USA. I OWN TWO OF THEIR INSTRUMENTS, (BOTH MODELS NOW DISCONTINUED.) HERE'S A PHOTOGRAPH OF ME WITH THEIR 'ELECTRIC END' MODEL. PURE SALEM'S CURRENT LINE OF GUITATS INCLUDES THE 'TOM CAT', BASED ON THE OLD GUILD THUNDERBIRD SHAPE. SIMILAR TOO TO THE DE ARMOND GUITAR IN THE PHOTO' POSTED HIGHER UP IN THIS THREAD BY JIM WARNER. AND ANOTHER CURRENT PURE SALEM GUITAR IS THIS 'CARDINAL' MODEL, BASED ON THE SHAPE OF A GIBSON REVERSE FIREBIRD. THE GUITAR ON THE EXTREME RIGHT OF THE FOLLOWING PHOTO' IS MY PURE SALEM 'VALIENTE' MODEL. THE OTHER THREE GUITARS ARE, (LEFT TO RIGHT,) MY ASTROLUXE CADET, MY J.JOYE 'BEL AIR,' AND MY MUSICVOX Mi6.

Shamisen Under The Cherry Blossoms 2017 - Ki&Ki 輝&輝 津軽三味線 Shamisen Under The Cherry Blossoms 2017 - Ki&Ki 輝&輝 津軽三味線

THE ABOVE DESIGNS ARE BY THE GREAT JOHN BACKLUND, SOME OF WHICH HAVE BEEN PUT INTO PRODUCTION BY THE EASTWOOD GUITAR COMPANY.

https://www.discogs.com/master/59232-Bill-Nelson-Blue-Moons-And-Laughing-Guitars always check Discogs! forget about evilbay

Both versions of the Record Bar were great...though the original one down Westgate, next to the Playhouse was tiny and with few records on display. It must have had an amazing stockroom as Ken seldom let me down when I asked for something. There was a time in the summer of 1972 when that was open alongside the brand new, bigger Record Bar in Upper Kirkgate. Plenty of display space there, the most amazing collection of obscure singles behind the counter (which being a teenager at the time I bought a lot of) and in Ken Heffer a guy who really knew his stock and who could source albums quickly. I guess Betty Bromby, Ken's business partner, was behind the scenes as she seldom worked the counter to my recollection. I first saw the name Be Bop Deluxe on a poster in their window in the Summer of '73 advertising the Teenage Archangel/Jets at Dawn single...the photograph of the band standing round the old limo. God I spent some money in that place over the years. In the late '70s on Thursday I'd be in there every Thursday (payday) afternoon after work buying a couple of that week's releases. I seem to remember a poster for the Record Bar that was very much in the style of the cover of Northern Dream from the early/mid 70s. I'll see if I can dig it up. Record shops in those days weren't like the music supermarkets they became once Virgin and Our Price got their act together and set about commoditising music - even the original Virgin Records store in Queen Victoria Street in Leeds had a hippy vibe about the place, far different from what it became later in the decade. I don't think there's been a single record shop that gave/still gives me as much pleasure as the Record Bar

Mustang Billy

The weird thing is that 'Noise Candy' was cobbled together from 'left over' tracks from my ancient analogue, tape-based studio, prior to moving over to the digital hardware Mackie system that I've used for many years since...Well, until even that finally gave up the ghost last year and I was forced to embrace the Cubase computer software system I'm currently using. The sound changes subtly from each studio's incarnation to the next, and it certainly has changed again with the Cubase system in use here at home now. But, despite all that, the music remains recognisably my own, I think. Ultimately, it's about what is being said that really matters, not through which bit of electrical gear it's projected. 😉

Thanks dude 😎 Have a good day.

Who thought that almost 50 years on we would be buying Futurama on vinyl again!! My copy arrived today

Well, Perfect Monster has clearly seen my answers to the many questions I've been asked about the solos on 'Crying To The Sky' over the years! 😃 Yes, it was my Gibson 345, plugged into a Watkins Copycat tape echo with the input volume turned up to overdrive the Carlsbro 100 watt head and 4x12 cabinet, plus a Univibe pedal, the entire rig turned up to the max and close miked and the big room at Abbey Road ambient miked up too. I stood at the opposite end of the room so as not to get any microphonic feedback, just natural saturated feedback. Then that sound was recorded on tape through Abbey Road's 'Beatle' era desk and eventually the track was mixed with eq adjustments and old, (now much sought after,) valve compressors. Can't recall which pickup was used on the guitar but probably the bridge pickup with a bit of a treble roll off. So, an awful lot going into achieving the sound you hear on the album. Mind you, on the UK 'Be Bop Deluxe And Beyond' tour that I undertook in 2004, I approximated the solo with nothing but an old Line 6 Pod, (the red kidney bean shaped one,) and no-one complained! 😜

...CD single and 7" vinyl single cover, perhaps?...TBH, I love 7" single picture sleeves. There were so many really great single sleeves back in the 1970s/80s.

Back-to-back Indian summer outings. Monday: Shoreham in Kent. Tuesday: Hogsmill River Trail in S.W. London.

Amazing Things from Deep Dream Decoder

“Never attribute to malice that which can be adequately explained by stupidity.” –– Hanlon’s Razor But in the current situation, it should actually be: “Never attribute to stupidity that which can be adequately explained by malice.” .

I've posted this file on Soundcloud – here's the link: BebopDeluxe_swansong_orchestral by Grankspoine This isn't a straight reproduction of the original song. It's a re-imagining for orchestral instruments, so there are small changes to melody here and there because lines written for voice or guitar don't always work when played by other instruments. The recording isn't perfect either, due largely to limitations caused by the system used – but it should give a decent impression. I hope someone enjoys it.

It closes at 7. Let’s go!!!