jonsmith

My guess would be Jazz - don't think he's played the Steinberger since the start of the Power Windows sessions (where he discovered Wal). My copy of the CD hasn't arrived yet - I have listened to the album by (cough) other means (/cough).

I think Geddy is a bit mistaken about Limelight in that interview and he seems uncertain (The Camera Eye might be another matter). He's so adamant about Tom Sawyer here though: [url="http://gc.guitarcenter.com/interview/geddylee/"]http://gc.guitarcenter.com/interview/geddylee/[/url] Oddly, for all his banging on about not enough low end from his Rick (I'm guessing he didn't know about the capacitor bypass), it's the attack that really sounds different to my ears. Plenty of bottom end from his Rickenbacker (and everything else) on Exit Stage Left.

[quote name='WHUFC BASS' timestamp='1338981253' post='1681864'] I still reckon his Rick tone on Tom Sawyer is hard to beat. [/quote] Even if it was played on a Jazz.

[quote name='TimR' timestamp='1338916040' post='1681061'] Haven't heard the latest one other than they played it in it's entirety at the gig and there were a few confused faces and disappointed fans. I should really give it a proper listen as I thought it sounded quite good. [/quote] Drifting OT, but I'd say it's a bit different to the last one, although not exactly a massive departure. No confusion or disappointment where I was standing at Bush Hall, but I think everyone around me - mostly die hard fans I'll admit - knew what was going to happen and already knew all the songs!

Guitarist or not, I actually like Nathan King's playing with It Bites...but yes, Lee Pomeroy's a fine bass player and seemed like a very nice chap when I spoke to him briefly. He's recently been playing with Steve Hackett too - SH has had a few great bass players of late. Thought Lee Pomeroy would make an appearance yesterday when I saw that Gary Barlow had a big hand in proceedings. Oh & I can recommend the new It Bites album for those that are interested.

Headlong Flight is track 9. After a first listen to the whole thing, I'm preferring this album over S&A by quite some way. There's some good stuff on there & Neil's new approach to drum parts has loosened up his playing nicely. Geddy's vocals are probably the weakest point (but people have been saying that for one reason or another since Rush started). To my ears, the quality & variety of songs is a big improvement on recent offerings. I'm pleasantly surprised. EDIT: to say that although they are just remixes of the previous recordings, the two older tracks (Caravan & BU2B) sound much better here. I'm especially liking Caravan a lot more than I did.

[quote name='BigRedX' timestamp='1338628539' post='1677305'] ...launched into an 8-minute prog-rock opus! [/quote] Barely a short 'single edit' in the world of prog, surely?

There were some photos (I think from the Syn tour a few years ago) where you could see that CS had a few 4001CS basses as backups. While he's used a Jazz from time to time, I'd say it's not as often as those rumours would imply. I think that 21 fret mapleglo 4001 was used for quite a bit of The Yes Album (can't remember if that was due to the aforementioned headstock repair). In fact, that repair was originally quite poorly done and the truss rods could not be adjusted due to being stuck with glue. It had to be 're-repaired' sometime later. Always loved Chris's playing - a melodic & upfront approach, with no concerns about 'traditional' roles. Live, I thought he brought a lot of energy to things, especially his 70s performances. Everyone always raves about his work with Bill Bruford, but I also enjoy the way he performed with Alan White - sometimes they sounded like they were about to go off the rails. [quote name='Cosmo Valdemar' timestamp='1337957336' post='1668063'] I know it's Rush, this thread just reminded me of the seemingly eternal 'Rick or Jazz' debate when discussing Geddy Lee For the record, I think Barchetta is the Rick [/quote] Haha, it is reminiscent of those debates. According to Geddy Lee it is (and I think he's right in this case).

At 45 years old, I can't really hear the 14k one, so 12k I guess. For me it's probably a combination of years of rehearsals, gigs & working in noisy environments without hearing protection. When I was younger, I stupidly didn't wear hearing protection very often when in high noise level areas at work. I do now (at work, rehearsals & noisier gigs, whether I'm playing or in the audience), which seems to have at least arrested the decline. No wonder one of my old bands thought I mixed all our recordings 'too bright'. EDIT to add age.

Sorry to be picky, but If its a genuine Tuxedo, it shouldn't have black binding and the fingerboard should be white with black dots. These were a limited run of 120 basses. I'm assuming it's really a white with black trim - lots of people refer to this (incorrectly) as a Tuxedo. What was the other one you got in?

[quote name='dc2009' timestamp='1337175880' post='1656664'] There's supply and demand and then there's being out of touch with the wallet pressures of ordinary people at the moment. Do they really not care if a bunch of their fans are priced out of going to see them, because that's what that ticket price says? And to me, that's my issue with it, if they don't care that much about the fans, then I don't care that much about them, I hope they enjoy the 3p they get off me from assorted Spotify plays instead. Will gladly pirate their remaining albums if that's their attitude when it comes to ticket prices too. [/quote] I genuinely don't think Rush (or indeed most major artists) have that much say over ticket prices. I can't even control prices at most of my gigs and there are a lot less middlemen involved in mine. As I mentioned, there is a whole business built around tours these days, with everyone from the promoter to the record company taking a cut. The alternative would be to not play at all - which would surely be more disappointing to 'the fans'. Ironically - given your comment about piracy - it is largely a lack of album sales that have caused many of these acts to switch to touring/merchandise as their major source of income, because for some reason people refuse to pay £7 for an album they can keep for ever, but will pay £77 for a 2-3 hour experience. [quote name='woodyratm' timestamp='1337242893' post='1657502'] I've decided that they can get knotted. With Ticketsoup (for the Glasgow gig) - for crap seats it cost £136. I'd rather watch the crappy phone videos. Nothing much closer to the stage. Sorry Rush, I'd love to see you but at that price...no...just no... [/quote] £136 for one seat? None of the London seats come close to that price except the VIP ones at £199! Front section at 02 worked out less than £85 per ticket including the usual fees/add-ons/charges

Besides personal driving, I drive about 2500 miles a month for business. I am on call 24/7 and could not utilise public transport and do my job effectively. I work for a small office and we have several people spread throughout the UK in similar roles. OK, we can claim it all back and there might be a bit less road tax and fuel duty to pay, but it's a significant extra cost to for my company to consider & I suspect that the upshot of it would be a redundancy or two (and a severe drop in service level). I'm sure that this would be the case for many businesses, so I'd expect unemployment levels to rise and service quality to plummet as a result. Just what the UK needs! Goodness knows what will happen to the price of anything you can think of when hauliers suddenly have to charge massive rates just to make a small profit.

While I've mixed feelings about their recent studio output (say the last 25 years!), Rush always deliver live (even on an off night). With a trip to the US to see them already planned, a trip to the O2 is relatively short! I wouldn't call Wembley that central either (I used to live quite near Wembley and it was still a pain to get to, especially by public transport). I prefer the O2 as a venue and with the exception of Rush last year, every concert I've seen there has had great sound. Sure the tickets are expensive, but there's a whole business built around a touring band of this size. It's simple supply & demand really & if I could earn the same money as I do now for half the work then I'd do it (not to mention NP's aversion to touring means that they probably want to keep the tour as short as possible). Rush are charging quite a bit less than a few other acts I've seen there too...

It's a 4001 with Jazz pickups (at an angle because of the string spacing). The Jazz pickups were added in an attempt to get more low end - they obviously didn't know about bypassing the capacitor on the 4001 basses to do this. Glover (or his roadie) tried to sneak this bass through customs & got caught.

Picked up a rather splendid Wal Mk1 fretless from Clarky yesterday. Pleasure to deal with & I would have no hesitation in recommending him to others. Thanks again Clarky & sorry I had to depart so hastily. Cheers Jon

Ahem [url="http://forums.thedigitalfix.co.uk/forums/archive/index.php/t-205755.html"]http://forums.thedigitalfix.co.uk/forums/archive/index.php/t-205755.html[/url] This is the one I heard on Tommy Vance show (I even remember him saying he was waiting for clearance to play Echoes from the same show) & this is the one that's on the new disc.

Must confess that despite admiring the playing from a technical viewpoint, I found the whole experience rather unpleasant. In fact, I prefer the Adele version by quite a long way. I've been considering a rock arrangement of this song with one of my bands though & I'm sure that would cause a similar feeling for some.

To answer the OP, the show (a performance from November 1974 at the Empire Pool, Wembley - 16th Nov I think) on the new DSOTM issue was broadcast on the Tommy Vance show. However on the disc it has been 'spruced up' a bit compared to the BBC broadcast. I had that broadcast on cassette for years (think I wore it out in the end).

Just wish I was doing something at the moment that meant I was using them.

[quote name='paulconnolly' timestamp='1334166308' post='1611948'] Yep thanks for the link. Ordered. I understood from interviews that Rush wanted to go in and remix S&A [/quote] I think that's Vapor Trails that they've been thinking of remixing (in fact two or three tracks already have been for a compilation). Some great playing on the new song, but it's a bit too long in time and short on melody to be up there with their best stuff. I've still ordered the album though...

[quote name='Johngh' timestamp='1334697884' post='1620059'] <-------------------- Geddy say's " I loved my twin neck back in the day, Zanadoooooooooooooooooo,ooooooooooooooo" Now that's what you call a Ricky. Anybody on here ever have a Ricky twin neck? [/quote] I have two, a 4080 & a 4080/12:

[quote name='Coilte' timestamp='1333787692' post='1606360'] ...The only strength required in bass playing is to fret the string (minimal as we said)... [/quote] You've obviously never played a bass like my first one!

Yep. I wish a few of those had made it to the UK!

I remember the old Walnut finish being darker in the middle. [s]Last year, Rickenbacker said they had made some 'specials' for the opening of a new Guitar Guitar store. I can't believe it's taken this long for them to come through, but I didn't see anything else appear that fitted the bill, so maybe these are the specials that were mentioned. Apparently the wood was specially selected for grain too, so maybe this is the reason for the paler finish in the middle (although I can't see much sign of grain in the photo).[/s] No, these are something else - wonder what the specials last year were...

I knew there was another book I wanted for Christmas - oh well, it's ordered now! Thanks for the reminder. Always really liked Japan - probably the only band that I liked that the girls I was at school with did as well. Still admire Mick Karn's bass playing. Like Sylvian's solo stuff on the whole (and hope the book doesn't change that), although sometimes he got away with releasing stuff that sounded like he was just noodling around at home (e.g. second half of Gone to Earth). I think writing credits can be quite a thorny area - sometimes it's hard to say exactly where the boundary lies between writing & arranging. Yes is a band where I think people lost out on some songs and gained on others (according to Bill Bruford anyaway) and almost everything got stretched so far away from the original writer's idea that you could argue that a full band credit was due. Genesis tried to solve it in the early days by crediting everything to everyone, but then people assumed that Gabriel had written all the lyrics, which was far from the truth. I think quite a few deals have been struck within bands, where people settle for a lump sum and a share of performance/sales royalties while giving up writing credits. My favourite part of Gates of Babylon by Rainbow was written by David Stone, the keyboard player, but he got no writing credit as he was paid upfront for it. Bob Daisley's comments on how he was to be compensated for what he says was his writing on the early Ozzy albums and how that was then circumvented when the CDs were reissued (his parts were re-recorded so he got nothing) makes interesting reading (although I believe this has been rectified on the latest editions).