Maude

Talking Loud And Clear - OMD

Right Here, Right Now - Jesus Jones

No. I find Reverb is a good tool for judging the value of cheaper basses. You just halve the asking price to find its actual value. The Kay on there has broken that rule by only having a value of a quarter of the advertised price, if you're lucky.

I am devasted reading these comments. I bought my Kay and spent many hours lovingly caressing her back to a pristine playable condition. She had gone through nearly 50 years of being chopped and changed around, but most importantly, being played. Then she came to me where she was given a new look and new lease of life in readiment for the next 50 years of her journey. To hear that she is considered "tat" is, erm, well, bang on the money actually. 😄 It started out life as cheap tat and will end its life as cheap tat, but that's what I like about it.

Right Said Fred - Bernard Cribbins

Amazing 😄

Strange Fruit - Billie Holiday

For what it's worth I totally agree with your post I quoted, I was just trying to find a reason for @TheLowDowns post. Punk is such a wide term now I suppose. Somebody younger might be listening to bands like Gallows thinking this is what all punk sounds like. As you say it's closer to metal than punk of the seventies. Without getting into the whole 'what is punk debate', I'd say Gallows definitely have that punk edge compared to most metal though. British 70s punk isn't anything like American punk to me, especially the second wave of American punk bands like NOFX, Green Day, Bad Religion, Dropkick Murphys, etc. Punk to me is still 70s and British, but I still like all the other types and they have their place in the story of punk.

Ah shite, I'll bite 😄. I'll assume it's not trolling, and at a guess say we're talking about about more modern thrash type punk rather than the more traditional punk, which was often quite melodic really, ha 'trad punk'. Even in more modern heavier punk with downtuned guitars thrashing away and the bass predominantly following root notes you'd still really notice if that bass wasn't there. Sometimes just bashing out root notes is what drives the song and all that is needed, less is definitely more sometimes, but not none. Here's a couple of bass covers of Gallows songs where the bass mainly plays the root with some fills thrown in, but you can't honestly say that the bass wouldn't be missed if left out? Maybe bad production makes the bass inaudible in some recordings but live it really matters. I saw Gallows in a 200 capacity sweat box and you knew the bass was there, it was visceral.

Rescue Me - Fontella bass

@BreadBin, strangely yours has a zero fret but mine doesn't. You wouldn't have thought they'd have made any changes to the (poor) design. A zero fret would mean a different length fretboard. I've just looked at the dreamers on the local fb marketplace, all now reduced drastically from their dreamy opening price. Acoustic guitar, £139 down to £39. Acoustic guitar, £49 down to £15. P bass, £250 down to £180. Les Paul vague-alike, £250 down to £125 now down to £95. The P bass looks quite nice, but it still needs to come down another £130. Edit, I've just noticed the P on Facebook has a six screw neck fixing. That's quite fancy for an old Kay isn't it?

There's been the guitar version of my Kay, I guess a Les Paul kind of style, on the local Facebook marketplace for £250. Surprisingly it hasn't sold. 😄

Fairground - Simply Shite

Security wise, if it's a timber building then a lock is just a deterrent. If someone knows what's in there and wants it they'll just lever the boards off if your lock's too difficult. An alarm might be a good option so if anyone does get in they'll alert other people. But as Dad says, your location will decide what you need. Insulation on all walls and ceiling, and depending on floor type the floor as well. If it's cold in there then metal surfaces will condensate. Good insulation will keep the temperature from getting too low overnight and if you've got heating you'll need want to insulate it anyway.

I love 999. Always felt they were underrated, kind of looked at as not punk enough, yet they wrote some great tunes and could definitely play.

Yeah, why at one point did they have a bassist called Flea who wasn't Flea? Confused me when I was young. 🤔😁

Yes I understand was meant to generate basslines, it just seems odd if it was meant to replace a bass guitar in a traditionally instrumented group. It could well have been though. I find all this quite fascinating.

Yes I suppose so. Was it seen as a bit of a threat at first, or just a bit of a joke not to be taken seriously? Why was there reluctance to accept it? If the first Precision was '51 (there was the Tutmarc earlier, but let's say the P was the first commonplace EB), apparently Jamerson switch to EB in the early '60s, so let's say ten years before it was getting proper recognition, then The Who released 'My Generation' in '65 so it was definitely an instrument in its own right by then.

Although we're all bass biased I think you're right, and it must've been a massive leap to suddenly have a more portable, shorter scale, fretted bass that you could strap on a walk around whilst playing. Suddenly stuff that was virtually impossible on upright could be attempted with success on a fretted electric bass.

Although not disagreeing that there's a lot of drivel around these days, I think there's been a lot of drivel around since the beginning of music. Through the passage of time the drivel gets forgotten but it's always been there.

@TheLowDown The Kinks 'You Really Got Me' (slashed speaker) and The Stones 'Satisfaction' (Fuzz Tone pedal) were '64 &' 65 respectively as well, but they don't appear have been the first. Link Wray on 'Rumble' ('58) had poked holes in his speaker with a pencil to get distortion. Grady Martin used a damaged preamp to purposefully get a distorted sound on his 1961 track 'The Fuzz'. The Ventures then asked to recreate that sound and were given an early Fuzz box to record their 1962 track '2000 Pound Bee'. The Fuzz Tone (Stones' Satisfaction) was released in '62. It's all in the link I posted, and is quite interesting.

Love On A Mountain Top - Robert Knight

Dave Davies (The Kinks) often gets credited with the first distortion but apparently it had been going on for ages. Obviously overdriven valve amps distorted but there were people intentionally damaging amps, dislodging valves and putting holes in speakers to create distortion way before Dave Davies probably even picked up a guitar. So Overdrive and Distortion pedals were made as a result of the music being created already. I know it's Wikipedia but this is interesting.

No but I assume it was a result of the popularity of very early electronic bands like Kraftwerk. This is probably a very good point. Yes I recall Marshall basically building what The Who needed.

Yes, but what I'm wondering is were musicians pushing the builders for development or did the builders make what they thought would be good? Did some musicians make their own innovations which were picked up by builders, if so, who did what? Who influenced who?