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The Departure Lounge Sit back, fasten your seat belt and enjoy the great inflight service! - An alternative mix of tracks https://www.youtube.com/watch?v=1EPP3gkh_00

Join Mark Adrian from the, "Station on the hill, the station filled with goodwill ! - Get on board, take your seat & enjoy a diverse musical odyssey, a journey of classically alternative & eclectic musical mixes ! Going out across the airwaves on Sunbury Radio's 99.3 FM or streaming live on the WWW />
http://s4.reliastream.com:2199/start/nrgradio/

- Every Saturday afternoon through 3 - 5.

14/08/2025
09/08/2025

Keith Richards: When in doubt, if something doesn’t sound right, just brush on an acoustic guitar and see what happens. What it does, if you’re recording a band, is fill the air between the cymbals and all the electric instruments. It’s like a wash in painting. Just a magical thing. If something sounds a little dry or heavy or tight, put on an acoustic, or maybe just a few notes of piano—another acoustic instrument. Somehow it will just add that extra glue.

As you’ve noticed, I found that out very early on. I don’t have any electric guitar at home, or an amp. I never play electric guitar at home. I play acoustic all the time. What I do know about the guitar is, if all you play is electric, you’re not just playing guitar, you're playing electricity. You get used to the tricks. The extra sustain and all. Which is fine. You need to know that for when you need that kind of stuff. But you can become over reliant on that.

When you go to an acoustic guitar, those tricks don’t work. That little round hole and that bit of wood—that’s the Truth. That’s how long a note will sustain. So when you go back to electric, you find yourself a little more precise. You should always keep an acoustic going, and work things out on that.

Alan di Perna / Reverb Interview
Photo by Bent Rej

06/08/2025

Happy birthday, Andy. Here's a memory from Debbie that captures a little of your quiet genius:

“How it worked was that first Andy took some photos of you. He used one of those unique Big Shot Polaroid cameras that looked like a shoebox with a lens on it. The Big Shot was designed for portrait use only—and the quality of the shots was often striking. Perfect for Andy. After taking the Polaroids, he would show them to us and ask quietly—Andy was very soft-spoken—“Well, which one would you like?” I saw a couple that I thought were good but I said, “That’s really up to you.” He’s the artist; it seemed to be the safest thing to have him choose. I’ve lived with that Andy Warhol portrait for a long time now, so I’m much more used to it, but seeing all these portraits of yourself for the first time, by an artist who was so important to you, was startling. I guess I was just stunned. And humbled. Over the years, Chris and I came across a lot of those cameras from the early seventies and we would always buy them for Andy.”

📸: Chris Stein

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