Ivan May

A Whiter Shade Of Pale is one of the most heartwrenching songs ever made, and it's gonna be even harder to hear now that Gary Brooker is gone.

The younger brother of sometime Motels and Iggy Pop drummer Brian Glascock, and originally a founding member of the British flamenco progressive rock band Carmen (for which he had several co-writing credits and also was lead vocalist), John Glascock joined Jethro Tull in 1975 after Carmen toured with Jethro Tull earlier that year, replacing Jeffrey Hammond Hammond. John's first JT album was the infamous concept album Too Old to Rock N Roll: Too Young to Die!, on which he also sang backing vocals. He would continue to play bass on the albums Songs From The Wood and Heavy Horses, as well as 3 tracks on Stormwatch. However, when the tour for Heavy Horses occurred in 1978 (showcased on the finely made 2 record set Bursting Out), John had been diagnosed with a congenital heart defect that required surgery, which left him unable to play on most of the 1979 album Stormwatch. Ian Anderson eventually completed the rest of the bass tracks, and there was a story that John Glascock had been defying doctor's orders (John was a heavy smoker and had also been an avid user of drugs, especially marijuana and alcohol), and Ian decided to fire John with pay if he didn't clean up. Glascock died at age 28 on November 17, 1979, from heart surgery complications, and I believe that the group was on tour in San Diego (By this time, Dave Pegg, the bassist for Fairport Convention had been hired as Tull bassist) when they learned of John's death. Drummer Barriemore Barlow eventually paid for John Glascock's funeral, as John died with no money or will, and left Jethro Tull after the Stormwatch tour because of the depression he sank into after John died. He was cremated someplace in London. I own several Jethro Tull albums, and I believe John usually played with a pick. His amps of choice were Ampeg B15 and Ampeg SVT 810 amps. Among the basses John Glascock played a Chapman Stick and a Wal bass, as well as a sunburst, CBS Fender Precision Bass. He also played a natural 1976 Music Man Stingray bass, which he used on Heavy Horses and Songs From The Wood and a Rickenbacker 4001 in Mapleglo, which he used mostly during his tenure in Carmen John Glascock and Glenn Cornick were some of the best bassists Jethro Tull ever had in my opinion. A shame both of them are gone. I hope this thread helps shed light on John Glascock's skilled bass playing and that there are some Jethro Tull fans who appreciate this thread.

Heart, The Bangles, Oasis and the Everly Brothers are some of my favorite bands with siblings.

Having acquired most of my records from my father's coworker last summer, one of those records was Blue Oyster Cult's Agents Of Fortune, and their classic live album Some Enchanted Evening. In October, I also bought Blue Oyster Cult's 1977 album Spectres (the album with 'Godzilla' on it). I also own Mirrors and The Revolution By Night, though neither album has aged well. Do you own 'Agents Of Fortune' or any other albums/compilations/singles with Blue Oyster Cult's music on cassettes, records, CDs, SACDs, DVD-Videos (live performances/concerts, ...), digital files (low or hi-res), ...? Compilations include 'Best of', 'Greatest Hits', and so on. Although it is never really specified who played the cowbell on Don't Fear The Reaper, it is largely rumored that either Eric Bloom, David Lucas, or Albert Bouchard played the cowbell, as all 3 musicians are credited with playing percussion. I also hear a shaker in that track somewhere... Agents Of Fortune is also the only BOC album not to feature any composing credits from Eric Bloom, and the only BOC album where all members share lead vocals. The opening track, This Ain't The Summer Of Love, features a sinister lead vocal from Eric Bloom, whose darkly soulful vocals can resemble Lou Reed at times. Some very good guitar work from Mr. Bloom and Buck Dharma. True Confessions, composed by Allan Lanier, is the only throwaway song on the album. Goofy rinky dink piano, tired guitars, and blustery car horn sax that wastes the talented guest work of Michael Brecker and Randy Brecker. It's also very short. Don't Fear The Reaper. Oh yeah, this is the song that introduced Blue Oyster Cult to the world. The SNL skit "More Cowbell" would have never existed if not for this song. And more importantly, some great guitar playing and vocals from Buck Dharma, whose guitar playing creeps up like a viper in the grass. To be honest, I always felt that Buck Dharma was the most creative member of Blue Oyster Cult, given that all their biggest hits feature him on lead guitar, lead vocals and he is also the primary composer. Not that I have anything against Eric Bloom, who is a great vocalist. Again, the guitar solo is cut short on the single edit, but most radio stations play the full length version of this song. It was also used prominently in the 1978 film Halloween. ETI Extra Terrestrial Intelligence is more spacey stuff that would have fit perfectly with the type of music Hawkwind and Rush were putting out during this time. Christopher Paolini, the writer of the Eragon book series, has listed the lyrics of Blue Oyster Cult and Rush as an influence on his writing. The Revenge Of Vera Gemini features spoken word from Patti Smith, who co-wrote the songs The Revenge Of Vera Gemini and Debbie Denise. Patti was also the girlfriend of BOC keyboardist Allan Lanier, who played on her Horses album. It is a very trippy song, featuring lead vocals from drummer Albert Bouchard. Side 2 opens up with Sinful Love, which would have fit better on one of their earlier albums (namely Tyranny and Mutation). It was written by Albert Bouchard with Helen Wheels (who also composed several songs with Albert Bouchard on the Spectres album). It does feature some great multi-tracked guitar from Buck Dharma, who trades leads with Eric Bloom. I also like that it crossfades into the track Morning Final (which was also the name of a fan-made newsletter regarding Blue Oyster Cult tour info.) Joe Bouchard wrote the song and sings lead vocals on it, whilst Allan Lanier plays the bass. It has a very orchestral feel to it, which is unusual for a guitar driven band like Blue Oyster Cult. Tattoo Vampire is a bit repititive, whilst Tenderloin has a very unconnected sound, sounding more like Rainbow than it does Blue Oyster Cult. Debbie Debise, co-written with Patti Smith, is the only other highlight on Side 2 aside from Sinful Love and Morning Final. I believe Buck Dharma and Eric Bloom both played Gibson SGs on this album. That being said, this is probably the only Blue Oyster Cult studio album you should own. It is best recommended to be played in a dark room with a candle burning. But I recommend that with every album. I need to get it on CD. That would be good. And if you have any other Blue Oyster Cult albums, I wouldn't mind you talking about them here. Their cover of Kick Out The Jams by MC5 on their Some Enchanted Evening album is highly enjoyable. The Marvel comics character Vera Gemini and the Marvel comic Agents Of Fortune are both named after this album. Just an interesting piece of trivia I thought I'd share.

Dave Fleet played a 1963 Fender Stratocaster through (I'm guessing) either a Mu-Tron Bi-Phase or MXR Phase shifter. Chris Thompson played a Telecaster on that song. His Strat recently got sold.

I have been listening to Leftoverture by Kansas, and other albums I might listen to tonight are Agents Of Fortune by Blue Oyster Cult. Don't fear tha reaper

I'm not sure many of you are aware of Simple Plan, but they are a Canadian alternative rock band. (Like a lot of newer alternative rock bands, they do get hated by critics and record collectors alike.) David Desrosiers was their bassist and vocalist, and his bass playing on songs like Shut Up, I'm Just A Kid, I'd Do Anything, You Don't Mean Anything, Addicted, Welcome To My Life, Save You, Last One Standing and Jet Lag just to name a few. Even Simple Plan's cover version of Surrender by Cheap Trick that they did for the Fantastic Four soundtrack wasn't too bad. I also loved their theme song to What's New Scooby Doo? He was sacked from the band in 2020 following sexual harassment allegations, but I still think David Desrosiers is one of the best bassists in pop punk, along with Mark Hoppus. He mostly plays Fender Precision basses through Ampeg amps, though he also owns an old Fender Bassman amp. Sebastian Lefevre, Pierre Bouvier and Jeff Stinco also play bass for Simple Plan, in addition to guitar. Hopefully some Simple Plan fans can reply to this thread. I'd like to hear your opinion on his bass playing.

Point Of Know Entry would be a good name for a rock band.

The Song You Make Loving Fun by Fleetwood Mac features a clavinet played through a phaser by Christine McVie. I think she used a Fender Rhodes on that song too.

I will be listening to tons of Leftoverture by Kansas in the next few minutes. Their follow up, Point Of Know Return, is also a must own for any progressive rock devotee.

Here is a pic of Ritchie playing a Fender Musicmaster Bass.

Apparently the story is that he fired Jimmy Bain after the release of Rainbow Rising in 1977, and played bass on the album Long Live Rock’n’Roll in 1978. Although Bob Daisley is rumored to have played bass on much of Long Live Rock, he only played on the demos. I think he was still using his Gibson EB-3 bass at the time. Roger Glover played on Down To Earth, and I think he was playing a Gibson Thunderbird bass during that time. What bass did Ritchie play on that album? I suppose he would have played a Gibson EB-3 and I think a Gibson Thunderbird bass. But I hope this appreciates any Purple fans.

Bob Welch was also in a hard rock band called Paris in the late seventies that also included Jethro Tull bassist Glenn Cornick. Most of the songs of French Kiss were written for Paris first album.

I am not sure why tho. Like, why did they show a bunch of middle aged women on the cover? What's with the Easter Island head earrings? And most of all, why did the Styx members want to call attention to it? Here is the album cover in case anyone forgot: I see this damn record at thrift stores all the damn time. (No disrespect, as I own this album myself.) Even Dennis DeYoung claimed he doesn't know what the hell it resembles. But hopefully someone will point it out to me.

It is quite obvious that this is the band that was known mostly for "My Sharona", and then wrongfully faded into obscurity. But they were a very influential power pop band. The group was led by a young guy, Doug Fieger, who had previously played bass in the earlier power pop band the Sky, which was also influenced by a lot of country rock. The other members of the Knack included guitarist Berton Averre, bassist Prescott Niles and drummer Bruce Gary (who died in 2006). The Knack released their first album, Get The Knack, in early 1979. It was produced by an Australian named Mike Chapman, who also produced records for Suzi Quatro, Pat Benatar and Blondie. Like My Sharona, Get The Knack reached #1 on the Billboard 200 in July of 1979, and has become a somewhat influential album in the history of rock. Kurt Cobain has listed this record as an influence on Nirvana, and The Knack's other big fans included Bruce Springsteen and Tom Petty. The Knack never scaled such heights again, though follow up But The Little Girls Understand came a little close. I always felt that the reason they were blasted by radio critics was because of all the misogynistic lyrics Fieger wrote. Rolling Srone critic Dave Marsh once wrote about the Knack: "The music can't redeem the lyrics–not only because such dehumanization is irredeemable, but also because the music is lame. Indeed, the Knack are the most nefarious sort of hacks. They're terribly competent and they have a seemingly inexhaustible storehouse of clichés... the Knack's greatest achievement is to make hard-rock clichés sound completely gutless... Fieger's puling vocals suggest that, for him, the ultimate agony would be to imagine that somewhere in the world there exists a woman who might find him sexually unattractive. Compared to Doug Fieger, Rod Stewart is a paragon of sexual humility." I recently bought Get The Knack at a record store and I must say it is a brilliantly made record. Lots of good guitar riffs. Doug Fieger also played the harmonica on Good Girls Don't. If I remember correctly Doug Fieger mostly used a 72 Strat and a Vox AC30 amp on that album, mostly using the bridge pickup on that Strat. He also played a red 1965 Gibson SG, whilst Berton Averre played a black Norlin Les Paul with a Mesa/Boogie amp. He also used to borrow a lot of Doug's gear (namely a Gretsch Country Gentleman, which was played on That's What The Little Girls Do, and a Rickenbacker amp.) Fieger was an avid collector of guitars, used to own a bunch of Rickenbackers, even an old Epiphone Casino. Most of it was auctioned off when he died in 2010. Not to mention the great sounds that Prescott got out of his Rickenbacker 4001 Jetglo jet black bass. Fieger died of cancer in 2010, but his legacy lived on. Here is an interesting Vintage Guitar magazine article made in 2008 on Fieger's collection if anyone wants to read it. https://www.vintageguitar.com/3428/doug-fieger/ And a picture of him with his 72 Strat I highly recommend playing Get The Knack and Look Sharp! by Joe Jackson back to back, those albums are true examples of what power pop sounded like. But I hope someone responds to this thread.

Future Games was the first FM album Welch played on. He replaced Jeremy Spencer

I have been listening to pre Buckingham Fleetwood Mac for the past few years and always felt that Bob Welch was a huge part of their sound. He was around the time that FM had switched from the blues rock of earlier to a more pop rock styled direction. He was one of the few members to be excluded from the Rock and Roll Hall Of Fame ceremony when Fleetwood Mac was inducted in 1998, largely due to outstanding royalties for which he sued them years earlier. Bob never got along with his band mates it seems. He didn’t deserve that, but I felt he had a great solo career. French Kiss in 1977, Three Hearts in 1979. I also felt that his best songs in Fleetwood Mac were Emerald Eyes and Hypnotized. Lindsey dropped much of the Welch era from Fleetwood set list because he felt it just wasn’t his style to play. Here is Bob in 1973 playing a white Gibson SG I hope some Fleetwood fan appreciates this thread.

It is sad that Supertramp doesn't tour anymore. Rick Davies had a very rare but treatable form of cancer a few years ago that prevented him from touring. I wish I had been old enough to see Supertramp in concert (but I have several of their albums, which doesn't hurt too bad).