The fasting showman

In my case, no rational reason; I'll give you a load of saloon bar philosophy. I went into lockdown on the back of graduating through grim covers bands into being the token old bloke playing nice RnB/ Disco stuff with glossier looking musos 15-20 years younger than myself. I was playing, and enjoying using a G&L 5 string. Over lockdown those bands folded, and I emerged feeling older and didn't feel inclined to punt myself out; start up bands, rehearsals where you only see the singer at gigs due to childcare issues, bands staring into smartphones trying to make 'ain't nobody ' work in a band context. So that is what 'Me playing a 5 string' become synonymous with, nothing wrong with the instrument or object but me thinking, jeez I can't do this anymore, it's bleak. Along the way, I joined a pop/ soul band that was more of a pub band doing function repertoire to a slightly more basic standard. I had switched to a G&L fallout short scale and used an octave pedal for synth impersonation and low notes. A great bass again, absolutely perfect for what I needed. But...the musical situation started to grate, they were probably as sick of me moaning at the drummer as vice versa and so that ended back in September '23. I basically downed tools. In a need to shed my skin, the Fallouts got sold for no other reason than me associating them with that band and time. I actively sought out a bass ( a 1980 P bass special from Ash) that I knew I'd always sounded rubbish on, a precision, just to give me a challenge and also knowing that nobody gave a damn what gear I was using because I had nothing on the calendar. Anyway, I'm playing a tour support later this month and the P bass has worked out fine. Apologies for the rambling post, just that my gear choices are based on no science or liking active/ passive/ blah blah just a mixture of self - loathing and /or the alleviation of boredom!

They came from Rock n Roll and the Blues but it's a different type of virtuosity to say Led Zep, Cream etc. Same tree but a different branch; you see their tougher aggressive virtuosity in the pub rock bands like the Stranglers, Dr Feelgood. Also many prog bands. The origin of 'Bass strangling ', P Bass with rounds through a valve head and 4x12 ( in the world of IEMs and hi fi Bass cabs, I'm still glad I've experienced that setup) that influenced JJ Burnel, Squire, Lemmy and loads of others. The Amp stacks, double kick, the blueprint for a rock band. Also, after Who's Next, a drummer playing with headphones to a backing loop. Real pioneers

I think the Stones kept this under wraps for 25 years. I remember seeing it on TV in the mid 90s. How do you follow a performance like that?

We could do with an old copy of Music UK. I'm casting my mind back to when I started playing in the '80s. Some brands from then that specialised in small combos: Badger, V amp, Pro Amp , Custom Sound, Alligator, JHS?

...along with Garry Tallent, Mike Mills and Jerry Peek from Steve Morse's band. Back in '85 my 16 year old self wanted one too. They often turn up at great prices, I've never had the good fortune to try one out.

My guess is that it's a clipping diode passive fuzz circuit like some Gibson EB0s had in that period. Maybe Fender tried it out too? Total guesstimate!

It's interesting to think that by the time Herbie was in that band he was just that bit older in the industry than the artists he played for. Like Dave Richmond and Danny Thompson, to mention another couple of the UKs greatest bass players who were contemporary, he'd been in the forces ( National Service I'm guessing? ) and served as a musician. A fascinating time frame, to have been there at the start of rock n roll and pop music as we know it up to now, and participated in the music industry at such a vibrant time.

Totally agree, he's playing with amazing soloists on that album yet his character really comes through boldly and the production puts him in a great place in the mix. It's my favourite showcase of Herbie's playing and sound. Much as Bowie used the obviously brilliant Willie Weeks / Andy Newmark rhythm section on Young Americans, I think he struggled with a few different live band lineups after David Live until he recruited Murray / Davis and Alomar. Tony Newman and Herbie Flowers were a hard act to follow. RIP

Nice to meet you Rob, doubtless I'll kick myself for selling it...I'm currently in the where are they now file so glad it'll get used in anger. My 700rb will suffice. As I was saying, the Backline 600 shares a lot of circuitry and parts with the mk3 and 4, because of their price point they're often neglected and treated as a utility item. If you get a good one they're great amps, often dirt cheap.

True. I guess the obstacles to me obtaining thump, punch or definition have ( in my case) usually been external factors away from gear choice or settings.