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The Big Ten

The Big Ten - 1982

Article from International Musician & Recording World, March 1985


"On Pearl Necklace the guitar has a very chorused and phased kind of sound.
How did you get that?
Billy Gibbons: Chorus and phaser pedals...
Occasionally on the Deguello album there's a slight hint of a sound similar to a Fender Rhodes. Where does that come from?
BG: You might well be hearing a Fender Rhodes..."

ZZ Top's guitarist tells Curtis Schwartz his unusual tricks (Jan)

"It has a quality to it that's mythological and science fiction. It's a culmination of Excalibur, Star Wars and Lord of the Rings. Basically it's about a bunch of fairies."
Kiss's Paul Stanley describes Music From The Elder, their concept LP. (Jan)

"He presented a mysterious, almost menacing spectacle as he swayed about his guitar, invariably wearing an old curtain and a yokel's hat."
Chris Welch on Jimmy Page (Jan)

"I hate getting upon stage and sounding like a gnat farting."
Paul Gray, bassist of The Damned (Feb)

"Jim: There's this technique I've discovered which is like a manual echo on the snare.
Ali: He thinks it sounds like a manual echo but he sounds like he fell on it."

UB40 agree about drumming techniques (March)

"OK... so you think no headstock is a gimmick?... no self-respecting pro can afford to be without one, in my opinion, because this bass cuts through when the competition falls on its arse."
The first Steinberger bass review (April)

"You may have noticed that you didn't get too much change from your crisp new green one this month."
May goes up to a pound (May)

"Sharing a mike at the Secret Policeman's Other Ball (all profits going to Amnesty International) — Bob Geldof and Midge Ure!"
(May)

"The last half hour of the set included numerous finales, which at one point included no less than 14 people all apparently playing guitars."
Meatloaf PA Column (June)

"I must admit that at first I pooh poohed the idea of using an automated mixdown. The thought of using a machine at a stage where I usually worked from the seat of my pants, was something I could not envisage."
John Strudwick looks at the dawn of computer assisted mixing (June)

"The fact that a load of boring old farts can go straight in and sign a multi-million dollar deal just like that makes me sick."
Pete Townshend ranting (July)

"As for the '59 Gibson Everly, well, you can't trust anyone. It was given to me by a certain E Costello as a birthday present. The cheapskate — fancy giving me a crummy '73."
Dave Edmunds gets caught out (June)

"Synthesizers inspire a myriad of virtually non-musical, non-musician megalomaniacs to dictate, procure and purvey our craft and our creativity to a defenceless consumer.' Neil Lancaster on why synthesizers should be abolished. John Walters was a lot less emotional and a lot more poignant. 'Only musicians can create music.'"
Synthesizers weren't abolished in July 1982

"Ghastly Green flexylon picks. One gauge only."
Ad (June)

"We're not ideologising up our own arseholes."
Bauhaus (Nov)

"Speed alone is meaningless, it's like saying look how big my willy is."
Gary Moore (Oct)

"The big breakthrough came when we wrote our first song... then we thought we'd better write some more."
Madness (Nov)

"Since the band rely entirely on synthesizers one would expect to find gargantuan stacks of keyboard instruments — Rick Wakeman style — cluttering up the stage. But not so."
Ken Dibble sees the Human League (Feb)

"My mission has the first in a series of incognito visits to music dealers dotted around the UK... !"
Billy Punter began his pilgrimage around the country in search of the perfect dealer (June)

"We weren't looking for a really structured vertical music, it's not that kind of musical syntax... more elliptical and open, hopefully organic and circular in feel. More like a moving fabric and tapestry."
Andy Summers (Sept)

"I mean if his cheekbones were any higher his ears would be on top of his head."
Adrian Deevoy about Peter Murphy, then in Bauhaus (Nov)

"Thomas Dolby's smooth melodies that, given time, will undoubtedly bring him commercial success..."
Adrian Deevoy predicts (July)

"Bob Carter has been in at Good Earth with Wham!, a new Innervision signing..."
Studio Diary (July)

"It isn't common policy for IM&RW to run features on bands before they've actually committed their talents to vinyl, but in the case of Big Country we have made an exception to the rule..."
Adrian Deevoy sticks his neck out (September)

"There aren't many popular guitar solos I can't whistle, and I try to work mine out before I record them — I want them to be whistleable."
Saxon guitarist Graham Oliver (September)

"Until very recently a drum case was just a drum case."
Bob Henrit gets deep (September)

"I bet you know all the notes on the guitar and I bet you're really proud of it."
Peter Murphy Bites back (Nov)

"I want Dexy's Midnight Runners to be an ever powerful, ever-changing, beautiful, positive, challenging force."
Kevin Rowland (September)

"I think the SH-101 is wonderful. It's well thought out, compact, versatile, light, cheap for what it is and pleasant to look at. In fact, I'm thinking of marrying one."
Paul Fishman (Nov)

"I sometimes use a Kitty-Cat — I mean a Copicat..."
Michael Schenker (November)

"...it is not just a fashionable gimmick."
Bob Henrit in a Simmons SDSV update (October)

"I got called in to replace Michael Brecker in a studio band which included Jaco Pastorius, Steve Gadd, Herbie Hancock, George Duke and Ray Parker Junior. Playing with those guys was like tripping round heaven. Like being a vicar and hanging out with the Pope for a while."
Saxist Raf Ravescroft on God and art

"A three dimensional sound mix inviting you to reach out and touch the riffs and tickle the bright rhythms which swim across the stereo with a slow motion beauty that would do Jacques Cousteau proud. The cerebral energy in a Grace Jones track is largely unique..."
A masterpiece de pseudy from Chas de Whalley (Dec)

"I simply work at it until everything locks together into one band of sound which is hypnotic and flowing and moves along with a life of its own."
Alex Sadkin's turn to get cosmic (Dec)



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The Big Ten - 1981

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The Big Ten - 1983


Publisher: International Musician & Recording World - Cover Publications Ltd, Northern & Shell Ltd.

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International Musician - Mar 1985

Donated & scanned by: Mike Gorman

The Big Ten

Retrospective

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> The Big Ten - 1981

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> The Big Ten - 1983


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