Bilbo

No doubt but my motivation is not to be popular but to provide some transcriptions that no one else is doing. I know I could get bigger audiences but I have no intention to monetise this so there is no motivation to regurgitate endless Pop and Rock tunes. I do the transcriptions that interest me and, sometimes, it is just nice to be kind and give some time to help someone out.

Special request from a TAlkbass member. Jeff Berlin's bass part from Bruford's 'Fainting In Coils' https://bilbosbassbites.co.uk/fainting-in-coils-bruford/

For the record, the FFYL transcription generated 581 hits on Friday night. How 'kin A is that?

Another Jeff Berlin transcription (delayed by the 'Fool For Your Loving' incident), this is a full transcription of the tune 'Scarecrow Soup' from Berlin's 1997 'Taking Notes' cd. Tough little sucker to read and you really have to get your sixteenth note chops together and concentrate as there are big spaces with no notes and weird rhythms. Great fun to play, though. https://bilbosbassbites.co.uk/scarecrow-soup-jeff-berlin/

The fluffs are undoubtedly the bits you can't hear properly because they are not played properly. I feel a new thread coming on. Watch this space.

Stats go up every time I post a new transcription, Dad, and tail off during gaps. Doesn't seem to matter when it is posted. 3000 hits in the first month.

A Basschat request: Neil Murray's bass part on Whitesnake's 'Fool For Your Loving' https://bilbosbassbites.co.uk/fool-for-your-loving-whitesnake/

Here you go, guys. Let me know if you disagree with any details and I will probably ignore you https://bilbosbassbites.co.uk/fool-for-your-loving-whitesnake/

I have finished (90 minutes) and have discovered something really interesting using the above isolated bass tracks. I found that about 98%of the tune was easy enough to write out but there are a few fills I couldn't hear, even slowed down by 75%. Revisiting the transcription with the isolated bass tracks reveals that the bits I couldn't hear are actually fluffed. I can't hear them because they aren't played. They are approximations, near misses, nearly but not quite fills. They are unplayable by most of us because they are were unplayed by Mr Murray (who I also rate very highly). I will post the transcription tomorrow on my website and post a link here.

Does anyone have any contact details for Henry? I have tried Facebook but not got any response. Email or phone would be cool. PM me if you can help.

Kids are playing Donna Lee when they are 5 now so chops mean nothing. It is the ideas that matter.

I used to have 'Jeff Berlin' chops (I could play at that speed but, if I am honest, never had the ideas to back to up) but have not worked on my chops for decades. I have been transcribing a lot of Jeff Berlin recently and it has shown how much I have 'slowed down' over the years (not because I can't but because I don't). Someone one said that he had never met a musician who didn't have more chops that he knew how to use and that was definitely me. The problem with having a lot of chops, especially if you live out in the sticks, is that there is no-one else to work with. Jeff Berlin with no Bruford, no Allan Holdsworth, no etc etc. So, unless you can find an outlet for those chops, you lose them. There is also the issue of whether the gigs you do are improvisation based or arrangement based - chops for written parts is different to chops for blowing (which is often why classical players are better technicians than improvisers but can't play without the dots). Nothing in this tune that is that chopsy.

Of course there are physical limitations but Neil Murray is no Hadrien Feraud (although he did dep for Jeff Berlin in Bruford). There are only about three or four fills in FFYL that are four consecutive sixteenths. Most of it is 8th notes with occasional hammer-ons, almost all diatonic.

Fast lines are just slow lines speeded up. If you can do the slow licks, there is no reason why you can't do the fast ones.

It's taking a bit longer than I expected but should be ready tomorrow. I am 3.44 in but got called away.

I may yet eat my words, thebigyin 😄

Of course

An hour's work. I have to access a copy of the recording to work from but it seems easy enough.

Seconds Out remains a favourite of mine (first Genesis LP I heard). I was going to see Hackett doing it live in November but it has been put back to 2021.

I actually have the single. It's a great little tune.

MIke Rutherford's bass part for the tune 'Evidence Of Autumn'. It was recorded around the time of the 'Duke' cd and was released as the B-side of the single 'Misunderstanding'. I am not sure why this never appeared on the album as I think it is one of the best songs Genesis ever recorded (and I say that as a massive Genesis fan). Link is to the website. https://bilbosbassbites.co.uk/evidence-of-autumn-genesis/

Something from Bobby Sheehan, bass player with the legendary Blues Traveler. The tune is called 'Felicia' from the album 'Straight On' til Morning' and carries some interesting phrasing. https://bilbosbassbites.co.uk/felicia-blues-traveler/

Interesting little transcription today. A tune called 'Akasha' from the Jonas Hellborg CD, 'The Works'. 0.54 long, its a beautiful little thing that pretty much all of us will be able to play. Link to the website. https://bilbosbassbites.co.uk/akasha-jonas-hellborg/

VID_20200801_192108.mp4

I recall it was the bass part from a children's TV programme and, whilst I can remember the bass part itself, I cannot recall the programme it came from.