peteb

I've been guilty of that. Despite being someone who prefers P basses, I have two Fender jazzes and a further two 'super jazz' basses, which are basically an active version of what you would like a Fender to be (one a four string, one a five string). Essentially, I reckon that people (including me) are looking for something with a slightly refined version of a Fender in terms of build, sound and aesthetics when they go down the 'super jazz' route. For some strange reason, I prefer the real thing when it comes to Precisions as opposed to Jazz basses!

As ever, you are taking an argument to an absurd extreme to make some dubious point. I assume that @Dan Dare was talking about everyday working musicians rather than millionaire superstars like Slash, Steve Howe, Joe Bonamassa, etc.

That was really interesting Daryl and, unfortunately, not at all surprising. There just isn't the money in live music these days that there used to be, save for a very small number of top acts! Funnily enough, I came across this guy a couple of days ago and nearly posted his video on how to get gigs in response to a post you made on getting deps on another thread.

Funnily enough, looking at how the market conditions are now for live music (although at a more modest level for guys like me), this doesn't surprise me at all.

Beauty is in the eye of the beholder! You can call it 'an elegant simplicity' if you like and I have no issue with that. The main point of my post was that many experienced, good players appreciate Fenders (especially older ones) and Fender type basses more than they do the more boutique brands.

The TSFTS quote is actually in Cozy's other big hit 'Na Na Na', is played by Bernie Marsden and references an earlier line in the lyrics ("I know you get your kicks Playing Hendrix licks, You're a wizard of Wembley Central"). Still one of my favourite lines in a throwaway pop song...

To be honest, depending on the gig (how challenging the material is, if it's been rehearsed, etc), I'm quite happy to have a few drinks on a gig. It's whether I've got to drive home that determines if I have a drink or not.

Apparently, eating a banana will register a small but appreciable amount of alcohol in your system!

I'm not sure what you mean? Perhaps, I should say that it is my understanding of how the body metabolises alcohol. I'm not too bothered about what people believe about issues like this, just the biological facts. I don't want people believing that they are OK to drive after a few beers, then killing someone on the way home!

How exactly does that work? If you eat a banana, then that will register as alcohol in your system.

I believe that it's four hours - one hour to get into your bloodstream and then three hours to metabolise (for a normal pint of lager, assuming that you haven't got a cold / headache or whatever else effects the giant chemistry set that makes up your body). I've always been careful with drinking when driving and these days I can't be bothered with worrying about a single pint! I will occasionally have a swift half at the end of the night if I'm thirsty (but obviously not in Scotland)...

While it is correct that a P bass is essentially a tool, there is a certain type of functional beauty about them! On Saturday, I went to the 60th birthday party of my old housemate, a former pro bass player and music shop manager who now unfortunately has MS. As you might imagine, the place was full of musos (including quite a few pros), with a band of mates playing and a jam session afterwards. The house bass player for the night brought along a couple of 70s P basses that he had just acquired for around £2k each. Everybody who got up wanted to play the Fenders and there was a bit of talk about the various old Fender basses that we all own or have owned. I don't think that anyone there has an out and out boutique bass, but we all own Fenders (or FSO type basses) and there is a lot of affection for that type of instrument.

I think that we are talking more about economics than changing tastes in entertainment. While rock'n'roll band is obviously not as dominant in popular culture as it was in it's heyday (early 60s to whenever, probably late 90s), live performances were still drawing large crowds up to the economic crash of 2008. Since then there has certainly been a drop-off in crowds, but certain events will still attract a healthy audience. In my experience, gigs in the more affluent areas are still pulling crowds as big as ever, where shows in poorer areas are much more hit and miss.

Confusing him with the early 70s Rolling Stones guitarist perhaps??

That 71P looks really nice and not too ridiculously priced!

The instrument I've had the longest is a red Warwick Streamer LX. However, I haven't really gigged it for years and it currently lives in my Mum's attic as I'm short of space here and I haven't got round to selling it. I did used to have a Ken Smith Burner for many years, which I always said that I would never sell, but promptly did when I needed funds for a Fender Precision AVRI57 that I wanted for a blues band I was doing loads of gigs with. The better story is my 78 Fender P bass, which I bought when I was 18 (in 1979), sold when I was 25. I always regretted selling it, so was really pleased when I saw it up for sale a few years ago during lockdown. I managed to buy it back and have been gigging it again ever since.

Remember to make sure that this new genre covers both Mumford & Sons and Judas Priest...!

I completely agree! I used to think of Americana as a catch-all term for American popular music that I don't particularly like, but the definition seems to be so loose to the point of being completely meaningless. If you look at the Wikipedia article, one minute it's talking about banjos, mandolins and fiddles then the next it is putting forward an urban rock and roll act like Bob Seger as an example of Americana! That makes no sense to me whatsoever.

Beware, he's not prog at all, more quirky hard rock with a sense of humour. I would start here (but also look for Go For Soda, Rockland Wonderland, Ain't Life Amazing & anything off the Itch album):

I saw them on that tour when I was 16. Max Webster were a bit too out there, but I've loved pretty much all of Kim Mitchell's solo stuff, from 'Go For Soda' to 'Rock'n'roll Duty' to 'Ain't Life Amazing'!

Good luck with getting gigs with that project! A Max Webster tribute would be a blast! I'm definitely up for doing a Kim Mitchell tribute if anyone is thinking of putting one together...!

I don't entirely agree Daryl. There is an audience for most types of music, just the more niche it is, the harder it is to find it. But as long as there is a 'critical mass' of enough people interested in the type of music you want to play, then a project will be viable. And the audience for a blues, prog, AOR, ska or whatever band will be more appreciative and generally be prepared to pay more than the audience for a mainstream covers band in a bar. Of course, if you actually like the music that you play, then you will sound more authentic and come across a lot better to punters than if you don't care for it...

The problem is that this isn't mainstream covers stuff that you could play down a pub. To get any audience, you have to be able to market it, which realistically means doing a tribute to one of the bigger prog bands.

Exactly, the same here. It also has the benefit of being very listenable to a lot of punters. A mate of mine (who used to be a promoter) described it as everybody over 40's guilty secret! I'm currently doing a blues project with a mate of mine who is a very good pro guitarist (i.e. teaches, plays in a good paying tribute and does deps for function bands, etc). I originally approached him to help me out as I had some decent gigs offered, but had been let down by the earlier version of the band. However, he jumped at the chance to put together a permanent band, as he had missed playing that type of music.

There is a niche for most genres, although you might struggle trying to get an audience for playing Bruford covers! However, there are loads of Pink Floyd tributes doing well out there and a guitarist mate of mine is in a very successful Genesis tribute, who go out for a minimum £2k a night (even though personally I can't think of a band I would least like to be in a tribute to). I occasionally get the idea that I wouldn't mind doing the odd gig playing Billy Cobham 'Spectrum' type stuff . The trouble is that it is such a small niche where you will be up against music college kids, where merely being good isn't enough. I could play it, but would be likely to struggle with the competition in that area, even though I think that I could more than hold my own against many of them playing anything with a blues element to it! You always have to balance what you like with what you're good at, along with what audience there is for any potential project. Luckily, my musical preferences are reasonably mainstream(ish)!