The fasting showman

The authority of that OMG setting on a fallout / L1000 is incredible, like the best active circuit ( that's passive) I'd want. A really hi-fi humbucker without phase cancellation in that setting. The P bass I was using was lovely but in the band mix the Fallout has all the clarity but seems to have an extra octave of depth. Subjective and hard to explain.

I know what you mean. It's just funny that I've ended up with the Fallout ( wish I still had my USA one) being such a useful bass to me. A great mid way point sonically between Fender's greatest hit designs, it covers a lot of that ground, but being short scale it's good for my dodgy left arm and shoulder. Incredible note balance too. If those G&L designs work for you, they do really offer something.

My main bass now is a Tribute Fallout, so much of the basic wood working seems identical, along with the paint job ( colour notwithstanding, blue versus red metallic), to my Son's Squier Bullet Mustang guitar. Both made in Indonesia...I'm guessing the Cort factory? Fender can carry on the Tribute line as it was at the stroke of a pen if that's the case.

I'm inclined to agree that there is an end of an era feel I'm personally getting about popular music and pop culture. Highly subjective of course; one yardstick I have is being a father to a 15 year old whilst being in my mid '50s. I can't articulate it well enough but somehow popular music isn't doing the job it did in the lives of kids compared to my own childhood. Whether that's right or wrong I've no idea. There seems to be other things competing for their attention. I think a lot of things relating to music; audio equipment, subtle sound quality and fetishing vintage gear may soon have no relevance to the Tik Tok generation. Back to live music and working pub covers bands, many of them I've played with have had an 'it'll do' attitude to the renditions of songs. That and long sound checks with ear splitting feedback. It's not a great sales pitch. Where I live it's not a scene I want to rush back into.

I'll light the blue touch paper....we've all done them...grim NYE gigs at social clubs to families! Tired kids up too late, families sick of the sight of each other having spent a fortnight together. The band has agreed to 3 sets, involving dredging up seldom played songs. The attendance issue being; who will last until Auld Lang Syne, despite the cheap beer?

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Electronic backing track in a Spanish holiday 'Volare' sense...I didn't paint a clear enough depiction. You can imagine Sweet Caroline in that context. Song book chords, root note bass, perfunctory drums. Grim

They don't do a bad job of it; I could cope with the visuals but ventilation could be an issue

The band I mentioned in my previous post had somehow acquired Sweet Caroline in their set by the time I rejoined. Transposed up a 4th to suit the female vocalist. They use an electronic backing track in lieu of a keyboard player....the opening intro caused my heart audibly to hit the floor. It's a shame because previously they'd aimed at being a pop / soul band steering clear of all the nasty songs. And they'd picked up work as a result. But identically the BL manufactured a false need for Sweet Caroline. I just thought it was indicative of a race to the bottom. No offence to anyone intended...I'd happily play High heeled sneakers for instance!

Fair question because I can't tell if there's a generational shift in the punters you're playing to, or a saturated market of bands conforming to archetypes of genres that are getting hackneyed. I've certainly got jaded with covers. Not that there's anything wrong at all with it but I've got ground down with the repertoire, venues and the people I've been in bands with. A lot of that could be a post covid lockdown problem with my motivation! I rejoined and left a band earlier this year that I've played with on and off for over 5 years. Again, it's a specific unique case in point but it was hard to see what that particular band offered as an alternative to a solo girl singer with a PA speaker and a laptop backing track. Bizarrely I'm back enjoying doing originals ( in my mid '50s!!) doing less gigs but it's sustained my interest.

I was watching a YouTube interview recently ( Questlove and Ad Rock from the Beastie boys) where it was said, it's easier to be booed at by thousands of people than a tiny audience in a small venue. I'd agree with this, having been put on a bill on a tour support years ago very early in the evening. The indifference or apathy from the audience can give a band a siege mentality that makes you dig in more. Likewise, on a tour support it's possible for you to go down better than you deserve purely down to the size of the event...they must be good as it's a big gig syndrome. As for small gigs to nobody...that's tough no matter what. I personally think it can look silly to try too hard; sometimes I have found pulling in the punters that ( hopefully) enjoy it, perhaps make it more intimate, make them feel they're eavesdropping at a rehearsal where you'd perhaps play more experimentally than you would have? All bands and situations are unique obviously. Yes Daryl, likewise I would love to be able to adapt better. I think it highlights that the audience is the additional band member that makes it or breaks it. Martin

I really enjoyed, and could relate to, that. As I carried on reading there was an element of "phew, it can't be me he's talking about then"...I likewise needed driving everywhere in the '80s and also had daft principles. I was visualising it ( like the way I remember my first bands) like that really gloomy Kursaal Flyers documentary.

What a legend, RIP

In addition to the shops in Brum I'd have to add Hingos in Walsall, ran by Andy Ford who I think was the uk distributor for Kramer. Great secondhand gear along with new Ohm amps that always looked cutting edge to me as a kid. Again, after trying out every bass in the shop I'd reward them by buying a copy of Music UK or some plectrums from my pocket money.

I've probably done this before but it's good therapy for me, please indulge me...you mentioned 5 or 6 shops in Birmingham, I'll list the music shops in Brum circa '82 to '85 when I was in my mid teens. Musical Exchanges, broad St initially then Snow Hill from '83 I think. George Clay on Broad St. Used to stock Polytone amps, wish I'd tried one. Jones and Crossland on Smallbrook Queensway. Part of the Black Sabbath saga. City music on Suffolk St Queensway. Woodroofes in Dale End, a second defunct shop on John Bright St. Birmingham Bass place, became the Bass centre. Originally by the Alexander theatre then Livery St. Yardleys on Colmore Row, mainly drums and brass. James Pass, smallbrook Queensway. Sheet music, pianos etc. Kay Westworth, Cherry St by Rackhams. Double Eagle necks and bodies, Schaller bridges and tuners. Cranes (?) Birmingham Centre at top of New Street station escalators. A few Sunn amps, new stock Betas etc. Fairdeal music, Digbeth high St. Green Lane music. Muzos on Hurst St. Great shop, got a v4b ( worked in a garden centre to fund it) aged 16 from there. Ex Woodroofes staff if I recall. Chase Music near to Lewis's Old square. Where I first saw Tokai fender copies I bet I've forgotten something. Great time to loaf around aimlessly with your mates. Modern life is rubbish.

Different shop, alas. Some of the founders of Musical Exchanges from left; Dave ( the owner), Stu and Gary Chapman who recently worked in PMT in Birmingham and latterly Fairdeal.

A few from Birmingham. The 3rd pic from inside the original Musical Exchanges on Broad St. The last one is Yardleys, prior to Exchanges moving there. There's an equal amount of great shops from Birmingham in the '80s I can't find pics for alas.