casapete

With respect to some of the posts above, the paid up mortgage scenario is something people in the UK seem to strive for all their lives. Being happy in who you are and what you do is often overlooked just to call a tiny piece of the country your own. In Europe and the US this scenario is frequently not the be-all and end-all for people from all walks of life. Just sayin.....

Having suffered from problems onstage with levels of instruments including drums, we got round the issue by inviting a friend down to the pub who is a sound engineer. Sat him half way down the room with the mixer, and asked him to make us sound better. This involved him asking the drummer to play quieter, which is partly what I suspected was the problem. We noted the new settings on the desk, and all agreed to adhere to his advice. The result? Onstage levels so much better (have n't needed earplugs since!) and lots of regular punters commenting how much better it is offstage too. Sometimes getting advice from someone you respect who is not involved in the band is the answer methinks.

Rocking Horse were - Billy Kinsley / bass, Mike Snow / piano, Jim Campbell / guitar and Dave Harrison / drums. More footage on YouTube -'Chuck Berry Lost Broadcasts 2012' show the band in rehearsal in Germany. [u]Chuck's rider details here -[/u] Chuck Berry. The father of rock guitar travels light on the road and is all business. After receiving his total fee via bank wire at least three days before the engagement, Chuck hops a plane, checking his Gibson ES-335, stereo, and one bag. Once Chuck arrives at his destined airport, he is given the keys to the largest, gassed up, four-door Mercedes Benz they can find (excluding Japan), a key to a suite at a “five star” hotel, and $200 per diem to cover his food. Once at the venue, in addition to the normal sound and stage requirements, Chuck demands a card-carrying American Federation of Musicians band (drummer, bass player, and piano player) that knows his songs. Chuck also needs two matching “unaltered Fender Dual Showman” heads with cabinets and a guitar cable. A friend of mine did one of these Chuck gigs. He said there was no rehearsal. They stood onstage for about an hour before the show waiting. Chuck walked on two minutes before the curtain opened, plugged in his guitar without tuning, hit an out-of-tune chord to make sure the amp was on, then turned to the band and said, “You all better know the songs. We’re starting with ‘Roll Over Beethoven.’” Not a bad day at the office.

I would love to play bass for Chuck! The challenge of doing a good job would be enormous but would relish the chance. Incidentally, believe the bassist in Rocking Horse could have been Billy Kinsley, ex Merseybeats / Merseys. Seem to remember he played Gibson Thunderbird / Firebirds too?

I left a steady job with a local newspaper when I was 35, ( with a wife, young daughter and a mortgage etc ) to join a function band, and did n't regret it at all. Not exactly rock and roll I know, but bear with me....... I left behind a company pension, car and a monthly salary for an uncertain future. Tried to do both initially, but soon realised it was going to have to be one or the other so I jumped. Sure, the first year or so was scary, always wondering if there would be enough work coming in to pay thebills etc. I played / depped with anyone who asked, and soon realised that even playing some stuff I was n't wild about was infinitely better than clock watching in a mundane 9 to 5 world. I was fortunate to have the support of family and friends too, although do remember the look of horror on my parent's faces when I told them my plans! Over 22 years later at the age of 57 I'm still earning a living from playing bass. Not a day goes by when I don't realise how lucky I am / have been. Played throughout the UK, Europe and Morocco, with possible US work maybe next year too. Been to some amazing places which I would never have managed had I not taken that risk. At the age of 22 I'd say go for it!! Good luck whatever you decide.

Seen Chuck many times over the years, and for me even when not ....err...on top form he is one of those people who still makes my hair stand on end. I saw him on the same UK tour as the BBC concert, at Doncaster Top Rank. He even wore the same shirt! That gig pretty much changed my life, and have been a fan to this day. Bruce Springsteen tells a great story in the 'Hail Hail Rock n Roll' movie. Apparently his band were booked to back Chuck in the 70's. Chuck arrived only just in time for the show, with the band not having met or discussed songs with him. A nervous Springsteen knocks on Chuck's dressing room door to enquire what they might be playing. Chuck's answer is 'Well son, we'll be doing some Chuck berry songs.....'

+1 Longhorn's are the business.

Definitely agree with Paul. In fact, have bought a Dano from him but deferring having it sent until I can collect for that very same reason! Great basses, just not the err....most durable build.

Spare everything on my main band gigs - leads / strap / amp / bass / strings / batteries etc. along with fuses & toolkit. Only thing not duplicated is my cab, but as it's a 4x10 then if a speaker went I could probably still manage, or just DI into the PA. It's a piece of mind thing with me, probably (hopefully) never need any of it but could really mess up the gig for everyone if anything went wrong. Pub gig near home then just spares of the smaller stuff.

Spare amp every time - those PA cabs will struggle. GK MB200 a good option for the price IMHO.

Agree about the recent Memphis stuff, quality still holding up. Such a shame to see a once great company losing it's way though.

For anyone who still has n't seen this it is being shown again tonight , Saturday 20th June at 11.50pm, BBC4.

After being in bands where the mixer was always running with every channel in use, I went over to always sourcing one that had enough spare channels for future changes. Also always handy to have spare channels in case one of the others does n't work etc. May seem an unnecessary expense but well worth it in my experience. Just sayin....

Use a GK 1001RB with my Compact, and it rocks!

We have two cellists in our band. Love the sound of them although never had a try at playing one. There again, as I'm dangerous on fret less bass I somehow can't see it being a good idea.....

Great article,thanks for posting. Wichita Lineman is still one of my favourites songs. We do it occasionally in my band and the audience love it too. IMO Jiimmy Webb wrote some killer tunes. He toured here recently but unfortunately I couldn't get to see him. Like Burt Bacharach he's not considered a great singer but nevertheless can just make his songs 'happen' in concert. Jimmy's songs and Glen Campbell's voice for me remains a classic combination.

Great stuff. Going to see Gladys at the end of June, hoping she has a bassist who can recreate the wonderful feel of her amazing catalogue of material.

Had a 410TX for a few years. Great sounding cab,stupid value for the money etc just felt like it was bolted to the floor. Used it with a Trace 500 and it never struggled at all. I can never understand how some companies can charge so much for a cabinet that has say Eminence speakers in it, however 'special' the design. Think Peavey made their own drivers so I guess it could have been economy of scale and bargain chipboard! Even so, think mine was £219 new, when others with not dissimilar specs were three or four times the price. Crazy.

Danelectro Longhorn unsurprisingly works for me.....

In my experience of singers in a function band, both band members and deps, I can't recall working with one who could read music. (In fact one or two struggled with reading...). Why is this I wonder?

I've always used Duracell Procells in my basses, never ever had any problems. These have now been replaced with the yellow and black Duracell 'Industrial' range, again still good. Have a dig around on ebay and you can find 10 packs of them for around £8 delivered, job done.

Looks like the great Waddy Wachtel on guitar next to Leland too.....

And not a bad amp too as I recall - plenty of volume, graphic eq and made in England!

In 1974 when I was around 15 years old, my pal John and me ventured down to London on the train and went round all the guitar shops in the West End. He finally bought one of these SG copies new from a shop on Shaftesbury Ave for around £35 if I remember correctly. His first electric guitar, it was a bugger to tune with a dubious neck joint that would creak and flex rather a lot. Pretty much like my black Avon Les Paul copy around the same time too! We both thought we were so cool with them, had hours of fun trying to learn Wishbone Ash tunes! Glad to see some have survived, it looks a fine example.