Billy Cundy

Johnny Marr - is that a wig? He looks part Gran/part budgie. He’s got at least 4 haircuts there. Terrible dye job.

I’ve been at my niece’s christening today. My other half’s family are down and there’s been a lingering threat of a family ‘night out’. I’ve managed to swerve it and convince my other half it’ll be too busy in town and we should stay home. im now watching glasto with a beer. Thank fuck for that. bring on GNR. I’m optimistic it’ll be a good’n.

Promising!

I don’t think Elton will be a GNR guest personally, just because Elton has this habit of favouring and lending his support to only the very newest, most contemporary artists. Yard Act etc. I’ve never heard of half the people he has on his RocketHour radio show. I could be wrong though, would be wild to see him waddle out on stage and belt out November Rain with Axl.

I think there’s more of a case to build for David Lee Roth being a closeted gay man… that guy is a real question mark.

The funniest part about the reelz ones is they have actors dress up as the band and film dialogue-less re-enactments.

Was a brilliant footballer mind, can’t argue with that

I’ve been Pele this whole time

Anyone ever actually consider that it was literally THE Pelé? Would explain why he’s not posting anymore (RIP)

Get this header back on ‘ere, sounds like a pure laff

Sexually?

Why was Pele banned? The Lore on this forum is fascinating. It’s almost as interesting as the band itself. One of y’all need to write a book

As a musician, no - I am a firm believer of ‘alone faster, together further’. Give me a collaboration of people in a wonderful studio like Rockfield or Electric Ladyland or wherever over the sad state of home production any day. Just my taste. I still marvel at Bonham and Glyn John’s drum sound after 3 billion listens. It’s hard to be inspired when I hear the same drum sample pack /amp sim I use on a track i hear by another bedroom musician. Artists WITH producers and engineers gave us incredible music. Van Halen wouldn’t have been the band we know today without Ted Templeman/Don Landee. Same goes to George Martin and Geoff Emerik with Beatles. Same goes for Quincy, Butch Vig, Tony Visconti… All of them. You can not underestimate their input. musicians nowadays have to be their own producers, engineers social media managers, booking agents… you can only spin so many plates before something suffers.. and it’s normally the music. You won’t convince me I’m afraid. When the industry was booming, artists were afforded higher budgets which generated higher quality output. Bring back the Gatekeepers.. I’d rather be paying for quality than drowning in free shit.

Regardless of how I feel about not being able to play I song I love, in any context, it is superseded by my belief that music shouldn’t be public property, because artists and the labels who made the initial investment deserve to be paid fairly for their work in all capacities. I don’t agree with your ‘well, it’s already fucked so let’s carry on devaluing it. Regarding AFD and Nevermind… what do you mean by ‘regular people’? My point was exactly that - these guys - Nirvana, GNR.. they weren’t typical squeaky clean pop stars, but because Geffen had the money (from physical record sale profits) to pay A&R men like zutaut to find these outliers and take a huge risk by in investing in them, paying for pros like Mike Clink, Mike Barbeiro, Steve Thompson to work on their albums and sticking them in a pro studio like Rumbo, they were able to create something of immense quality. That ‘corporate mindset’ gave us phenomenal music. The democratisation of music and the stripping of the financial incentive has given us what? Bedroom musicians home brewing albums and never achieving their potential? Releasing albums just to justify the Punishing touring, the last means of making any money? Record companies being far far more risk averse than they ever were? Give me the greedy corporate 70s, 80s and 90s any day.

Thanks. I know, it does seem petty for these already wealthy dinosaur bands and labels to go after content creators, especially if the content is promoting the band and legacy… but, my point is, the artists that created the music and the labels that have funded the production deserve final say. And the move towards people feeling entitled to using someone else’s music for their own purposes (and personal gain), even if it is to promote it in some way, is troubling - music shouldn’t be so devalued that it just becomes public property for everyone to use as they wish. Call me a ‘sycophant’ if you want but that kind of thinking has led to the financial ruin of the biz. part of me thinks Pandora’s box has already been opened and we should just accept it, but then I do primarily think… good for Guns. Good for Don Henley.

Labels were just banks who’d loan/invest in artists, and lend enough money to produce a product. Yeah it wasn’t perfect, but when every fucker was dropping £10 on a record, they made enough money to send artists to amazing studios, and pair them with brilliant producers, engineers and other creatives. Quincy Jones had the budget to call David Paich, Greg Phillinganes, and Steve Lukather - he could pay them to get ‘em into the studio and help record Thriller. Then he could pay a genius like Bruce Swidene to engineer it. Those days are gone. They also made enough money to take risks on lunatics like GNR if they saw potential. NOW - you have to either look like Dua Lipa or be crushingly obedient and ‘safe’ before a label will even drop a penny on you… they just don’t have the money to take a risk. And even if you do look like Harry Styles, your first song has to be a hit - or you’re out. people get through the net - Haim, 1975, Wet Leg, Royal Blood etc…. But they aren't invested in the same way, they’re destined to tour incessantly to make any cash. The ‘evil label’ model allowed for a band like Steely Dan to create some of the most jaw dropping pop music ever committed to tape, played by the most jaw dropping musicians, without ever needing them to tour. Those days are over. PS.. I have also had a cover of Hotel California taken down by YouTube. I spent ages getting two good takes, editing a splitscreen.. and it got taken down. I didn’t intend to profit on it… BUT ITS NOT MY SONG. Not gonna be butt hurt when I have no real claim to it. Commercial DJs pay a PPI fee/license so don would be compensated. As he should be. Even if Beato’s cork sniffing has a positive effect on a band’s legacy (though I don’t think the Fuckin’ Beatles have much to worry about), I can’t help feel some of his content sucks the magic out of it. I do appreciate the interviews, I hope he carries on down that route… but I used to love pouring thru magazines to find tidbits about the amps used, fiddling on my amp to get the tones right, listening to the albums on repeat… Beato lays it all on plate for you and strips it bare. And then bitches if he can’t get what he wants. Is this concern for an artists legacy, or a content creator being aware that properties like the Beatles and GNR will generate massive viewership? Maybe I’m being a bit cynical but business is business after all. I think we are just of differing opinions on this. I see what you’re saying - but as I said.. criticising artists and labels for not ‘getting with the times’ has lead to streaming, and streaming, whilst good for the listener, has irreversibly stripped budgets for A&R and recording, and subsequently made labels more risk averse… meaning there is talent out there who will never achieve the potential they may have been afforded under the old regime.

In defence of Don Henley (i imagine I’ve already lost a few people saying that)…but…. it’s his song. I believe that he, Felder and Glenn Frey, no matter how you feel about them, should have complete control over how their music is used. I’d agree that the battle is already lost - music is so devalued that Rick Beato doing his little vid isn’t going to result in any great loss of income.. Pandora’s box is already open. In fact, you’re right, might do them some good: the odd Gen Z bedroom guitarist might watch Rick’s analysis and go on to stream Hotel Cali 1000000000 times …. and make the Eagles 0.04 cents to split between them. unfortunately, browbeating and bullying artists and labels into ‘getting with the times’ has resulted in the slow death of the recording industry. We all hated Lars Ulrich after Napster-gate, but look at the industry now. Gone are the rock stars. Money made from album sales gave the labels the budgets to take a chance on lunatics like GNR and pair them with professionals like Clink… and create incredible art. but the moneys dried up. Now, academics like Rick Beato, who deliver post-mortems on the once profitable art of album-making, are our new heroes. Hooray. Im not a fan, but I know Beato’s intentions are mostly good. Im sure there’s some (a lot) of ego and careerism in there too. Who can blame him? But frankly, I don’t blame Henley and the labels clinging onto their rights. I was called a sycophant earlier in the thread, but my allegiance is forever with the artist, the art, and the business model that sustains MUSIC, rather than talking about music. You can’t have your first dance at a wedding to Rick Beato prattling on about sus chords and compression. I have to say though; I agree - Tim Pierce fucking rocks. Such a dude.

wrong. I’ve watched a lot of Beato’s videos. From his early WMTSG content to his interviews with Sting and Lukather. I’ve also endured the moments he’s subjected us to his fellow guitar-bros like Rhett Shull, and their opinions on drum sounds (gosh what a boring guy Rhett is). I just don’t love him or fawn over him like everyone else seems to. There’s a YouTuber called Pat Finnerty who does brilliant videos, and he teases Rick Beato and his format.. he even says in one of his vids ‘I’m not sure about that guy’. It was such a relief to know I’m not alone. Not everyone has to love this bloke just because he talks about the music we like. I dislike his guitar playing, it’s this reverb soaked modal fusion but with none of the bite of a Larry Carlton. I don’t even agree with all his theory. He did a video on Rocketman by Elton and I feel his interpretation of the key centre is a bit… weird. he also did a Alex Van Halen snare sound video, and didn’t get anywhere near haha, but that’s beside the point. im aware of his producer credentials, he produced a pop country hit in the 2000s. Ok..? And? I’ve heard his original stuff, and let’s just say there’s probably a reason he’s a YouTuber and not a rockstar. I do like hearing multitracks of songs I like, but frankly there are more and more ‘deconstructed’ vids coming to YouTube. I get real Cult of Personality vibes from Beato. All the cork-sniffing nerds in the comments calling him the ‘saviour of music’.. what is that about? to me, it’s the equivalent of a football commentator being afforded the same praise as Messi. Makes no sense.

How am I being a sycophant pal? Go on enlighten me

Imagine for one moment being a musician in GNR after 1995 - you’re in a band with unwavering financial backing from a major label.. with unwavering devotion from millions of fans, all ready to part with their cash…. With unwavering press attention/promo at the drop of a hat if demanded … you’re also surrounded by remarkably competent musicians like Brain, Finck, Buckethead… and nothing is happening. god, as a musician, I’d be remarkably frustrated. it’d be like having a Ferrari sitting in your garage, full of gas and ready to rock.. but you weren’t allowed to go above 1mph. The glacial pace of operations would drive even a saint to madness.

That’s a lot of spaghet

Good for GN’R. It’s their music. Beato isn’t the arbiter of taste he thinks he is. Why he feels he is entitled to use other people’s art as a springboard for his own career as a vlogger or whatever he is, is absolutely beyond me. It twists my melon seeing the sycophants in the comments saying he’s the ‘saviour of music’. Blokes’ never written or a recorded note of music that meant anything to anyone. GN’R have, and so it’s totally within their, and their labels right, to stop Beato using it for his own gain.

Steven’s presence would have more impact on the sound of the band live. His feel, his groove, his limitations would dictate how the songs are played, and the change would be evident to even a casual fan. Izzy, less so - sonically, he’d just be another overdriven Gibson guitar onstage, panned somewhere around Slash’ dominant track.. probably, knowing Izzy, Half playing, half miming, and just outlining the chord progressions. …but… Izzy wrote and contributed to so many of the songs that the band have been playing night after night, andd tour after tour. His involvement in the conception of the catalogue that has kept this band going for decades cannot be understated. It’s sad that he is not there to play them, to see the new generations of fans enjoying them. Arguably more so than Steven. His fingerprints and DNA are woven into those tracks. It’d be a thrill to see him involved again. Without Izzy, GNR would just be a rock band. He made them rock N’ ROLL.

Don’t be fooled, yes I know some musical theory but I cannot use a washing machine. also struggle with my left from right sometimes… I would love to hear the Duff bass intro to PTU live! Jealous of those going to Hyde Park.. the sound is always great there. They’ve been doing it for many years and have it DOWN.

Awesome, yeah the neural DSP stuff is good. The distortions are a bit metal/hi-gain for my taste but definitely great gear. I’ve had a go at one of the darkglass pedals, and some of the software/plug ins. Had the pleasure of meeting Nolly Getgood in RealWorld studios recently.. we actually briefly talked about his ‘archetype’ stuff.. not in any great detail, I’m not particularly well versed in the art of Djenting and such. But I got the impression he knew what he was on about! Nice fellar.