Maude

I've used a Suitcase and 4b extention cab for years now. Mainly used for rehearsals and the band where I solely play doublebass. Every bass put through it at rehearsal sounds great, as do acoustic guitars and basses. Fantastic with doublebass, lovely clear, faithful reproduction, and with an FDeck HPF some serious volume without getting boomy. In the band with electric bass I go straight to desk with monitors so don't use usually, but if I've had to, it's been great. I'd love the full 'Dalek'.

The Battle of the Beanfield - The Levellers

You'll Always Find Me In The Kitchen At Parties - Jona Lewie

A Man Inside My Mouth - The Cure

I've just realised, that was Dread Zeppelin. D'oh!

I can't remember who or what now, but wasn't there a band fronted by an Elvis impersonator that didn't play Elvis songs.

Hit Me With Your Best Shot - Pat Benatar

Is You Is or Is You Ain't My Baby - Louis Jordan

Jeff Leppard

Love Potion Number Nine - Tygers of Pan Tang

The Joker and the Thief - Wolfmother

The darker albums are definitely better, but I have a real soft spot for the quirky pop ones like The Top too. Although obvious, I'd say Disintegration is my favourite as I was sixteen when it came out and it had a big impact on me. I'd heard Charlotte Sometimes a few years before but never knew who it was, it sounded nothing like any of their singles which was all my young ears had heard at the time. Before Disintegration was released I discovered their back catalogue and really got into them, especially the three 17 secs, Faith and Pornography, then Disintegration blew me away. Wish was good but couldn't compete with Disintegration. Wild Mood Swings, meh. Then Bloodflowers was back on form, a really great album. My favourites change all the time, I know it's only a compilation but the first disc from Join The Dots is absolutely fantastic (I wore out three cassettes of Standing On A Beach), amazing to write songs that good and just throw them away as B sides.

Preaching to the converted my friend, preaching to the converted. 😉 The Cure, along with Joy Division, are the band that have been with me since my early teens. Other stuff comes and goes, genre preferences chop and change, but The Cure are always there. I didn't post any bass and bass vi stuff on purpose but they do a lot of that. Robert Smith is the sole reason I bought my bass vi.

Flash, Bang, Wallop - Tommy Steele

Not a band with two basses normally, but on this occasion they were, and bloody good it is too.

I apologise for that, it was trivial. But so vehemently stating you are right while posting statements that contradict each other made me bite. I actually am out now. 😁

This is also further down in your link to Talkbass, Then the next question is "What oil should I use?" If you are looking to inhibit moisture loss, then a polymerizing oil is the best choice - linseed, Tru-Oil, gunstock oil, tung oil. But if you just want it to look pretty you can't beat mineral oil - that's why so many products made for fretboards are mostly or all mineral oil, and that includes most "lemon oil" products. Just below your post promoting the use of furniture cream on your fretboard to moisturise it. I'm not actually disagreeing with you, but putting everyone down who dares to disagree with you doesn't sit well. I'm out. 🙂👍

That's fair enough, so the point is not to overly oil your board, rather than not to at all. I not a blind oiler, but was struggling to find the actual point to your ranting. I'm reading the stuff you're posting from Talkbass but it doesn't back what you're saying. Your quote says it doesn't prevent, but does inhibit moisture migration. I'm saying if an oiling every now and again keeps the board looking pretty and inhibits moisture migration, then I'm happy to do it. It is in line with what you are posting. Yes and no. I was saying what I thought about wood structure, not stating it as fact. I may have used the wrong terminology, not being a specialist in wood, but we actually had the same view,. Unfortunately your aggressive posting style wouldn't allow you to see that.

You said, "All it does is make it look pretty". Then carried on to say it would "have the luthier hurling expletives when they're putting in new frets". Unless looking pretty would cause a luthier to hurl expletives it must do something else other than make it look pretty, ergo contradiction. Would the risk of frets lifting really cause a luthier problems in replacing them, surely it's helping in the removal? Inhibit verb 1. hinder, restrain or prevent (an action or process). So it inhibits moisture ingress and makes the board look pretty. I'm happy with that. The rest we can ignore as it's merely pointing out what it doesn't do. 🙂👍

Why's that then, can a luthier not work on a pretty board? 😉 Perhaps if you explained why it's such a bad idea rather than just ranting (and contradicting yourself as quoted), then folks might better understand.

Crest of a Wave - Rory Gallagher

I don't own anything previously 'celeb' owned, but I get the appeal. The rational side of me says it's a daft notion, but the sentimental side of me looks at it in same way I look at anything vintage, the stories locked within. If these instruments could talk what stories could they tell? I have a few non valuable vintage basses just because they're lovely things that have seen more years than I have. What pubs, parties or stages have they played, what songs have been written with them, what emotions have they stirred in people? If they've made it through fifty years then they deserve some respect I feel. I have some vintage tools and wonder what have they fixed, what family crisis have they averted or how much pleasure have they brought the old man tinkering in the shed? My 1949 Rudge came with the original toolkit in a leather saddle bag, who have those tools saved when their bike broke on the way home from work? A celeb owned instrument has stories to tell. BTW, I'm a sentimental old fool! 😁

Wow! That's looks like a great bass for forty quid. Someone should be happy.

I agree, but where does Punk end and Post Punk and New Wave start, and where's the boundary between Post Punk and New Wave, then where does New Wave become Synth Pop, and Post Punk become Goth, and all of it become Indie? A debate that can go on and on, but labels are as relevant as the one in the back of my pants. Good music is good music. That said, I offered Gang of Four's Dave Allen up and I would say they are Post Punk, not New Wave. 😆

My Ever Changing Moods - The Style Council Do I get double points?