In short, the tune is a 1995 recording resurrected and re-produced with the help of some fabulous guest artists, namely Bryan McClellan on drums, Mel Gabbitas on bass, Phil Hilborne – Guitar solos 2 & 4 (2.37-2.52: 4.13-4.28), Steve Forward – Guitar solo 3 (4.00-4.13), and Bora Uslusoy – Guitar solo 5 (5.30-5.45). All other guitars by Pete in 1995. Original recording 1995 by Pete Langman and Gregory Humair, re-recording and re-production in 2021 by Bora Uslusoy.
They say that the unexamined life is not worth living. So here’s my life in publishing. Albeit a rather truncated version.
Twenty-five years ago I was a rock guitar player of no little repute (but far less cash), but I was struggling. Continue reading →
Twelve year ago, I was diagnosed with Parkinson’s Disease. I was forty years old. It was something of a shock to the system. Over the years I have become increasingly aware of what such a diagnosis does to you. Not what the disease itself does (though I have also become increasingly, and uncomfortably, aware of this. That’s what the words progressive, degenerative and incurable mean), but what the act of diagnosis actually means to the diagnosed. I don’t for a minute think that what I am about to describe is unique to Parkinson’s, though I suspect it may, in many ways, be something that is largely confined to chronic ailments such as Parkinson’s. Continue reading →
This morning I responded to a twweet from a fellow paarky about aainnvolutary amovemnet. I wrote ‘it’s a buggea. Goodaaa job I’m naoat a writaer.oah.’ asa a response. He tweeted eme bacaaaak saaying it’as like ahhaaving aa suattera in tetx. I repalied thata i sometims want to publish aaa fiaart darafat atao gie pewople ann iadaea of whata it’s like.
Soa I have,. 63 words nd a4aaminutea.
Parakinson’a i aaahaarad.
Like the grand old Duke of York, Malcolm Gladwell had ten thousand hours. Gladwell’s hours were the time you needed to devote to an activity to master it. It was originally applied to violin players, and thence to everyone. And now it’s back. Because someone has said it may not be true. No shit. This morning’s Guardian ran a piece on a new study that apparently contradicts it. It doesn’t, of course, because there’s nothing serious to contradict. That and what the real issue is here, that most thorny of questions: how talented are you? Continue reading →
This is an edited extract from the prose work that will accompany the release of Dancing with Architects … It concerns ambition, intention and luck. Hopefully it will make some sense as it stands.
The opening to I, Sybarite is how every musician and artist wants their career to begin: to simply explode in the consciousness of the audience. No warning given, no real preparation possible. To just suddenly be. It’s a great contrast from the album’s opening track, Praxis. I’m guessing my rationale for putting Sybarite as track two was to confuse those who knew me and expected me to hit the ground at a full gallop and surprise those who didn’t know me from Adam. Continue reading →