New TPS - Graham Coxon

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  • impmannimpmann Frets: 12645
    I thought he came across as a bumbling idiot, fumbling through his sentences and incoherently explaining how he gets his awful tone....

    Ill get my coat
    Hmm, you mean he didn't speak in soundbites about how his sound is reliant on a blues-rock tone based on the use of premium vintage equipment that went out of date with the death of Paul Kossoff like all the other boring old farts? At least he doesn't sound like Mascis, who sounds like a retarded Gibbon after smoking a bag of skunk - and his speaking voice isn't much better, either.

    And for the record - Graham stopped drinking/other recreational habits a long time ago, because it was killing him (literally). He is 100% in a better place mentally than at any point of the 90s.


    Never Ever Bloody Anything Ever.

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  • freakboy1610freakboy1610 Frets: 1207
    At least he doesn't sound like Mascis, who sounds like a retarded Gibbon after smoking a bag of skunk - and his speaking voice isn't much better, either.
    :o
    Link to my trading feedback
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  • meltedbuzzboxmeltedbuzzbox Frets: 10337
    The Bigsby was the first successful design of what is now called a whammy bar or tremolo arm, although vibrato is the technically correct term for the musical effect it produces. In standard usage, tremolo is a rapid fluctuation of the volume of a note, while vibrato is a fluctuation in pitch. The origin of this nonstandard usage of the term by electric guitarists is attributed to Leo Fender, who also used the term “vibrato” to refer to what is really a tremolo effect.
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  • HeartfeltdawnHeartfeltdawn Frets: 22096
    How did he get that momentary trem at the beginning of Oily Water, though?
    @bintytwanger77

    "Any favourites? It was imperative that I had a tremolo, coz I love tremolo sounds, and a flanger. It was always Boss that would do these in an easy to use, and instantly gratifying way. I’ve recently got into Chorus pedals. On an early blur track called Oily Water, I tremoloed two guitar tracks at different rates. At one point, for one beat of the bar there’s quite a woozy effect. I guess it’s from my liking for progressive rock and psychedelic music."

    http://www.roland.co.uk/blog/graham-coxon-interview/



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  • HeartfeltdawnHeartfeltdawn Frets: 22096
    When I used to buy guitar magazines in the 1990s this came up in the letters section reasonably regularly. I'm sure at times the response from the editors was that they were asking for interviews, but that the interesting indie players weren't interested in giving them to the "uncool" guitar mags.

    I do remember a little one-page feature in Guitar & Bass with Graham Coxon circa "Modern Life Is Rubbish" that had a few interesting details. I think it was part of a series on contemporary indie bands. Pre-Britpop proper.
    And then Britpop came and there were interviews in the Guitar Magazine. Martin Carr of the Boo radleys, Richard Oakes and Bernard Butler after he left Suede, I think Miki and Emma from Lush, the Bluetones, the Jon Spencer Blues Explosion, Edwyn Collins, Reef, Ride... Guitar World had a few as well as I distinctly remember a Pavement interview. 

    (Edit: yes! Guitar World and Pavement)



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  • english_bobenglish_bob Frets: 5128
    When I used to buy guitar magazines in the 1990s this came up in the letters section reasonably regularly. I'm sure at times the response from the editors was that they were asking for interviews, but that the interesting indie players weren't interested in giving them to the "uncool" guitar mags.

    I do remember a little one-page feature in Guitar & Bass with Graham Coxon circa "Modern Life Is Rubbish" that had a few interesting details. I think it was part of a series on contemporary indie bands. Pre-Britpop proper.
    And then Britpop came and there were interviews in the Guitar Magazine. Martin Carr of the Boo radleys, Richard Oakes and Bernard Butler after he left Suede, I think Miki and Emma from Lush, the Bluetones, the Jon Spencer Blues Explosion, Edwyn Collins, Reef, Ride... Guitar World had a few as well as I distinctly remember a Pavement interview. 

    (Edit: yes! Guitar World and Pavement)

    In fairness, the magazine I usually read (and probably saw those complaint letters in) was Guitarist. I don't know whether it was entirely honest, a result of not knowing the right people to get in touch with the players, or just a better story than "we don't give a shit so we aren't even asking".

    Don't talk politics and don't throw stones. Your royal highnesses.

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  • HeartfeltdawnHeartfeltdawn Frets: 22096
    I think I only ever bought three issues of Guitarist: a Clapton special, the one with Gary Moore's Les Paul in it (fuck knows why), and the first time they put Bernard Butler on the front cover. Even the novice guitarist in me realised that the music they covered wasn't what I was into.. :)



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  • StuartMac290StuartMac290 Frets: 1428
    Guitarist has always been embarrassingly clueless about pretty much any music that didn't fit into its tiny, tiny guitar-centric view of the music industry. The album reviews focussed on stuff that 99.9% of the people who buy records (rightly) don't give a shit about.

    I think the low point for me was when Simon Bradley reviewed a Rickenbacker 330 - by any standards one of THE classic guitars - and gave it a stinker of a score whilst moaning that you couldn't shred on it. I mean for fuck's sake! If there was ever a way of demonstrating precisely why you'd never become a successful guitar player that was it right there.
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