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Q. Is Lars’s long blonde hair really a wig?
A. LARS:
No it is definitely all my own! I have had this “hairstyle” since the early ‘70s. If you doubt me, pull it and see!

Q. Why don’t you copy Quo and play Fender Telecasters?
A. PAUL:
I’ve played Telecasters in the past and of course this famous six-string solid should be the obvious choice for a tribute band, but the standard version does possess some inherent performance problems. Intonation (and therefore tuning) is something of a compromise on the original three- bridge saddle design, and this piece of ironmongery is also more than a mite uncomfortable and inconvenient playing-wise. Of course, employing the modern six-saddle model improves such matters, but the main hassle is that when used in a high volume live situation (a la Status Quo or Status Clone), the normal Tele bridge pickup is prone to undesirable squealing, Francis and Rick have tried various mods to combat these design deficiencies but we decided to go a different route and use Yamaha’s Pacifica 311 instead. With a little hot-rodding here and there this guitar makes a great alternative to the ‘real thing’; virtually eradicating all the typical Tele nasties and we reckon it looks more stylish too! We had a couple cosmetically customised to match Quo’s famous green and white instruments and they’ve now become OUR trademark! The other examples seen on-stage are reserved for use as spares or handling the various necessary non-standard tunings.

Q. Why don’t you use Marshall amps like Quo?
A. PAUL:
Quo actually use a combination of Marshall and Vox amplification, but for us it was a question of compromise imposed for various reasons that prevented straight copycatting. A backline of Marshall heads and speaker cabs certainly looks good but it does occupy a lot of stage space, something that simply isn’t available in a lot of venues. The same problem applies to transport - our trusty Transit couldn’t possibly accommodate the necessary number of large lumps! Instead we looked for something much more compact that would still do the job and settled on another Brit-built amp, the Sessionette 75. This combo is compact, lightweight, VERY loud, sounds fantastic and is ultra-reliable - aspects that don’t always apply to Marshalls I’m afraid! For us these inoffensive-looking amps are actually far superior to the more correct alternatives and even if we had the room we wouldn’t want to change!

Q. Which Status Quo drummer is Steve influenced by?
A. STEVE:
I tend to use bits from all of them, they all have great strengths. It probably depends on the era of the song we are playing. But overall, I’m perhaps most influenced by Jeff Rich, partly because I think he was closest to my own existing style, so I didn’t have to adapt the way I naturally played the drums too much. (Of course it could simply be that he was relatively short, fair-haired and balding – as am I, of course!). I must say though, when I saw Quo in the late 80’s and early 90’s, I thought Jeff was a real powerhouse and drove the band like a train. Most impressive. From my point of view at least, the drive and power of the music is what Quo is all about.

Q. Is your red headless bass the same sort as Rhino’s?
A. DAVE:
It is indeed very similar to the favourite four-string of Quo’s current bass player. Like his, it comes from the UK’s leading bass maker, Rob Green, whose company is coincidentally called Status! Mine was custom built to the same specifications, which are in fact a little different to those of the latest Status instruments. It combines a carbon graphite, bolt-on neck with an all-wood body. The latter is finished in the identical shade of crimson (Rhino Red perhaps?), because the paint came from the same tin as that used for Mr. Edwards’ example! Obviously in Status Clone it’s nice to use something with Quo connections and associations, but I’d happily feature this four-stringer in any band, because Rob Green did a great job and the bass plays and sounds as good as it looks.  

Q. Why don’t you use a Fender Mustang bass?
A. DAVE: Quo’s original bass player, Alan Lancaster, wasn’t exactly a big bloke and the compact dimensions of the Fender Mustang bass suited his smaller stature. He obviously liked the short scale length (30.5in) too, although towards the end he regularly toted a Travis Bean four-string that featured the standard 34in scale. Neither instrument really appeals to me. We do have a Fender Mustang bass in the band, but I find it too tiny for comfort, while an aluminium necked Travis Bean feels too cold and heavy, and unlike carbon graphite, all that alloy causes some tuning stability problems.

Q. Why does Steve use only Paiste cymbals?
A. STEVE:
 It is not simply because the last three Quo drummers have all used mainly Paiste. I (along with many other rock drummers) started using Paiste cymbals just after the 2002 range was introduced in the late 60’s. 2002’s were developed by Paiste specifically for the “new” loud & powerful rock music that was emerging at that time. Other brands of cymbals, which were then available, in my opinion, lacked sufficient explosive power to cut through enough and were also prone to premature cracking with heavy playing. Although all the cymbal manufacturers  have long since introduced similar ranges, I have no desire to change what I’m happy with. (The only non 2002 cymbal I use is a Paiste “Rude” 18” China). Using such powerful cymbals as 2002’s also negates the absolute necessity for an overhead drum mike in all but the biggest of venues. Paiste 2002’s therefore make ideal Status “cymbals”!

Q. Your playing and sound seems to be 100% live, but we don’t see any guitar leads,
so how is it done?

A. PAUL:
In Quo’s early years they used long leads and had to take care avoiding terminal tangles while running about on stage, but these days the band prefers the convenience and freedom provided by wireless systems. We too decided to invest in this alternative and, although more expensive, the benefits offered by eradicating all those connecting cables are certainly well worth the extra outlay, especially when working on larger stages.

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