Bilbo

I revisited my early effort and, with a bit of tweaking, found some merit in it in that it has the tension that I was trying to create. Added to the fact that I can't see how I can get anything else ready in time, I will post this and be damned. Just don't listen to it in the dark (mmwaaaarhahaha.... ). [url="https://soundcloud.com/robert-palmer-1/the-mountain-and-the-moon"]https://soundcloud.c...in-and-the-moon[/url] Re: flaws - the levels aren't high enough and there is a ghost in there near the end that got in when I was adding the wind effect - I couldn't be bothered to re-do

[quote name='skej21' timestamp='1371055792' post='2109263'] Moon dance [/quote] I thought he said Jazz?

All The Things You Are Have You Met Miss Jones

Yeah - you don't get to choose either/or

There are more scales than pentatonics and, yes, arpeggios are something different.

Playing scales and arpeggios is the best way of internalising the sounds of the notes, chords, their relationships, of learning the neck, of developing consistent attack, phrasing etc etc. There are other ways but scale use allows you to be systematic about it.

The first 13 minutes may be a tough listen for some folk but then it gets much prettier. I loved this era of DiMeola (I saw this band at the Hammersmith Odeon - with the future Mrs. Baggins) [url="http://www.youtube.com/watch?v=6SHVmjFDkx0"]http://www.youtube.com/watch?v=6SHVmjFDkx0[/url]

I told you... I refused

Billy Sheehan [url="http://www.youtube.com/watch?v=aslM8-7JaPA"]http://www.youtube.com/watch?v=aslM8-7JaPA[/url]

Alphonso Johnson - with Flora Purim [url="http://www.youtube.com/watch?v=4tUTsZ78xIw"]http://www.youtube.com/watch?v=4tUTsZ78xIw[/url] and again with Phil Collins [url="http://www.youtube.com/watch?v=_Y03a9aYFNU"]http://www.youtube.com/watch?v=_Y03a9aYFNU[/url]

Stanley Clarke - Silly Putty [url="http://www.youtube.com/watch?v=LXsZVs1EEfw"]http://www.youtube.com/watch?v=LXsZVs1EEfw[/url] And, of course, the master.... [url="http://www.youtube.com/watch?v=JnpyCEUESEw"]http://www.youtube.com/watch?v=JnpyCEUESEw[/url]

Jack Bruce - 'Sweet Poison' off Cozy Powell's 'Over The Top' LP. (Spotify - no link on Youtube) Chris Squire - On The Silent Wings Of Freedom [url="http://www.youtube.com/watch?v=dp9aHtN4K74"]http://www.youtube.com/watch?v=dp9aHtN4K74[/url] John Giblin - A Longer April [url="http://www.youtube.com/watch?v=QH4tEAvzJdU"]http://www.youtube.com/watch?v=QH4tEAvzJdU[/url]

[quote name='skankdelvar' timestamp='1370973229' post='2108168'] Oh my! Do you still have any photos from that shoot? I'd pay - ooh - at least £20 just to [i]see[/i] them, not even to keep or anything. Prize in the next BC tombola? [/quote] Have it for free, mate (I am far left - age 17/18)

I know what you mean, Skank, but, even in the early days, I was always about the music and I have always found that a good audience reaction has not worked for me if I think the music is pants. I also enjoy a gig where the music is great even if the audience is ambivalent. I remember at age 17 or 18 having an argument with the guitar player in NWOBHM band No Quarter about 'being taken seriously' as a musician. It was around a photo shoot where the photographer wanted us to wave our 'heavy metal fists' at the camera - I remember thinking we looked like a bunch of prats. I remember never wanting to buy 'pointy' basses that looked the part because I didn't think they were serious instruments etc. I just think I was always attracted to the art of it even before I knew what the broadest sense of the art of it actually meant. I have never 'posed' on stage and have never really had the impulse to 'entertain'. Now I am a published author/biographer, I have no interest in how many copies are sold, only that the book is making a contribution to the recorded history of the music. Not sure what all of this says about me but there you are. I would that I am not hostile to those who do want to entertain, to get the audience dancing etc and, if it happens, I get a buzz same as everyone else. My only issue is with the assumption that this is what all of us want from playing. It isn't. If I was offered a regular gig where the music was horrible but the audiences were potentially big, I would turn it down (I have turned down two tribute bands recently - Motown and Nat King Cole).

The simple truth is that there are many types of music and many uses for music. Getting teenage girls to scream is just one of them and isn't necessarily the one we all aspire to.

If applause and dancing punters is enough for folk, then they will have long and happy careers. I am genuinely happy for them. It's not what motivates me, that's all. My loss? I don't think so but I have never been attracted to that part of the industry. Actually, thinking about it, if that is the element that motivates anyone, they shouldn't really complain about Cowell etc. It is what drives him sothey should admire him. Shouldn't they?

If you play for applause, that is all you will ever get ( charity shops are full of cds thatby bands that teenage girls once screamed at).

Fairly convincing

What is worse is it was my composition and we recorded it less that six months ago.

I got three off him last year (two jack-jack/one mic lead) and they are great. Silent as the grave. Will be ordering more soon.

I was just walking through town with my ipod on shuffle and I met someone I knew so took my earphones out and chatted. When I put them back in, the tune I had been listening to had ended and the ipod was half way through the next tune (i.e. I hadn't heard the head). I thought, this sounds ok, who is it? DIdn't recognise the horn player but thought I recognised the bass player so I listened closely for a few choruses and then the penny dropped. It was me.

In my (shared) experience, most insurance is no less a gamble than taking your bass out to a gig. I don't have mine insured because the cost of it balanced against the actual likelihood of a payout makes is pretty pointless (I have the basic MU insurance but that's free). Insurnace is about minimising risk and, in truth, after 33 years of gigging with only one potential claim, I would consider gigging without insurance to be no grave risk. Sensible precautions such as making sure the instrument isn't too accessible to sticky fingers and, number one, never actually letting it out of your (or a trusted bandmate's) sight pretty much cover it. I have little faith in insurance, anyway (after 11 years of insuring my dog, a recent claim, my first, resulted in a £320 bill being reduced to £200 - whoopee do.). They just wriggle out of it unless you are willing to let it take over your life and sepdn every waking hour chasing them. As for venues where there is a likelihood of trouble, why would I play there anyway

I have one bass. End of discussion

Spent sevrral hours working on a piece but have decided it sucks so am going back to the drawing board. Poo.

After 28 years of trying to get an electric bass to sound convincing in a Jazz setting, I finally gave in. Now I wince slightly at yhe wasted decades I have to say I just think it has a more musical timbre and sounds great as a solo instrument whereas I don't feel the same way about the electric. I love the music I play on it more; end of discussion.