Dad3353

No, and no need to exaggerate to such extremes. I understand that if one is largely playing open low 'E', it could be a factor; it's not my style (at all...), and I'm not so fussy about overtones and the like; to me, bass is bass is bass. My main bass is a four-string (Hofner Verithin...), but I also have a six-string fretless, used every day by Our Youngest, and muting has never been an issue (varied repertoire of pop-rock, Radiohead, Bowie, SOAD, Noir Désir, Bashung and much more...). Disclaimer : I'm a drummer, anyway, so what would I know..?

Not strictly true; if playing the 5th string ('B'...) systematically instead of the 4th ('E'...), there's no more muting involved. One is simply playing a bit further up the neck, s'all, no..? It would be true if one's repertoire involved extensive use of the open low 'E'. Is that a 'thing', though..?

... titled 'Happy Big Red Xmas, Everybody'

'Most people' is a lot of people, but there's not much dross on 'Surrealistic Pillow', or 'De Capo'. Magma produced some splendid stuff at the time (and since...), too.

And the winner is ... @lurksalot..! Here, then, is your Winner's Certificates (download and save as pdf file, then proudly print and frame...) ... BC_Chal_Cert_2022_11.pdf ... which look like this (but bigger, of course..!)…

As was mechanisation for working horses. A sad fact of Life, maybe, but the wheel turns. Up until very recent times (early 20th century..?), recording sound was pretty nigh impossible; all music was 'live' or not at all. The sales of printed scores was doubtless more than today, but hardly a main revenue stream for the composers, and nothing at all for the musicians who played these scores. It's all been a very recent bubble; things are moving on, like it or not. Farriers had to become something else when horses were no longer mainstream.

If the ivory came from an antique piano (so pre-'75, and less than 20% of said piano...), could that not be justification, on the understanding that Alembic can provide proof of that..? It might be worth asking them. On the other hand, I have MOP-inlaid guitars, and there's no way whilst I'm alive anyone is going to be taking it out. It took me fifteen years to get it done on the Comittee, so... I'd rejoice in that splendid workmanship and let it be.

Cues.

See here ...

Welcome to the 21st Century ...

That wasn't really the point. First, third, fifth... Whatever. They made it 'normal' for groups or artists to get world-wide recognition and sales for songs and albums they'd largely composed and played themselves. They had already 'done the rounds' in the German and UK clubs, doing covers for hours on end, with a solid reputation, but that wasn't the 'click' that made them stand out. The writing itself ('Love Me Do', Twist And Shout' etc...) was on a par with other stuff around at the time, but they knew how to perform it well, and their management lit the fuse when it went to the US. Elvis had a certain following back then, as did others, but there was a tidal wave sweeping The Beatles into history that changed the face of the popular side of the music industry for ever. It's difficult to imagine the effect at the time; sliced bread was a novelty, too, and 'Wimpy' joints were starting up. Yes, you had to be there to have felt the wind of these changes whistling past one's ears. None of these takes anything away from later 'ground-breakers', and the 'real' scope of pop music in absolute terms is debatable (Was vaccination more important a revolution, or the abandon of the wearing of hats..? The jury is still out...).

One of the effects that the Beatles had on the music industry of the time (very early '60s...) was their writing the material that they performed. They were not alone in this (skiffle groups and others had self-penned successes, too...), but the first LP records sold an massive quantities, world-wide, with stuff they had composed and played, without much input from Tin Pan Alley. This was radically new; most top-of-the-bill artists at the time relied on professional song writers to generate the hits for them. This methodology (and its popular success...) quite certainly paved the way for others (Dylan, Hendrix, Reed and so many more...); the doors were now wide open, where before there had been only the merest chink. Just sayin'.

OK, OK, I got the title spelling wrong. Mea culpa; now corrected, and thanks for the info. Now, on with the fun...

Good to see, and hear, what can be done in this style of music with an HH amp (no pedals...) and a Fender Bassman rig (no pedals either...). Not even a P-bass, so 'Yes, it can be done..!'. Well recorded and filmed, especially for the times. Good stuff.

What is this 'Kraftwerk' of which you speak, young man..? ...

I don't remember having seen such a topic here (I could be wrong...); how about the same 'rules' as the R4 programme (courtesy of Roy Plomley...)..? Eight tracks (whole albums count for however many tracks they have, up to a maximum of eight...). Any artist, any period. One book (other than Shakespeare or a bible; they're already there...), and one 'luxury' item, as long as it doesn't allow the breaching of the isolation of the island (so no escape boats, or CB radios etc...). No need for a uber-long discourse on the choices, but a line or two could be nice. Any takers..? I suppose I'd better offer up my selection, so... Coming Back To Me (from 'Surrealistic Pillow', Jefferson Airplane...) pure sentimental thoughts on some now lost to me. Who Knows Where The Time Goes (from 'UnHalfBricking', Fairport Convention...) for the lovely voice of Sandy Denny. Blues For Allah (from 'Blues For Allah', Grateful Dead...) thought-provoking, meditative. Hortz Fur Dëhn Štekëhn Ẁešt (from 'Mëkanïk Dëstruktïẁ Kömmandöh', Magma...) to frighten away any predatory animals. Raga Manj Khamaj (from 'Concerto For Sitar & Orchestra', Ravi Shankar...) for peace and joy. Hejira (from 'Hejia', Joni Mitchell...) to remind me of all the other Joni Mitchell tracks I'd have brought along, if it weren't for the 'rules'. Why Don't You Try Me (from 'Borderline, Ry Cooder...) Just wishful thinking on my part. Symphony N° 9 (Schubert...) which would be the one I'd have to save if a wave swept all the others away for ever. I'd cry, though. A book..? Gödel, Escher, Bach: an Eternal Golden Braid, in English, please. I've read it, several times, in its original English and the excellent French translation; on a desert island or not I still keep re-reading it and understanding (or imagining I understand...) more each time. A luxury..? A set of drums. My own Camco set if possible, or a darned good e-kit (and its power source etc...) if not. I suspect a set of acoustic drums would be more in the spirit of the thing, though, so I'll settle on the Camco. There, that's me set up for a while, hoping that there's fresh water, and packets of seeds get washed up occasionally so that I may grow radishes, tomatoes, maybe even lentils and beans if the island geography supports primitive culture. I won't be on there long, though; I'm now 72, so I've had my three score years and ten. Maybe enough time for a crop or two, with luck.

Maybe it's just me, but I really don't 'get' this stuff about what other folk think of X, Y or Z. We're all different, of differing ages, from different backgrounds, and have listened to, and liked or not, different stuff over the decades. What earthly point is there in this sort of comparing, or looking in the rear-view mirror..? Maybe it's just me.

I gave up, too, skipping through the three numbers. Good drumming, reasonable keys but incomprehension on the bass playing. I didn't feel I was missing out much by 'fast-forwarding'. Can't please 'em all, I suppose.

Nothing personal, but I do find it somewhat amusing to read of 'not telling lies' coming from anyone going on about God and Heaven and the like. A question of defining 'lie', I suppose; to me, anything blatantly untrue stated as truth is a 'lie'. Just sayin'; carry one, folk.

Wotcha lookin' at me for..? ...

I can't see the problem, here. It looks to be a headstock alright, with tuners. I'd want there to be one on a bass, to hold the strings and to tune it up. Unless it's a headless, of course, but how should the strings be attached, if not like this..?