YouMa

I'm from Wylam where George Stephenson was born the Geordie name comes from the connection with him and a type of mining lamp.

I'm from the village where Geordies got their name from. I have lived down south aswell. I got sick of the place then left and came back. Now I'm bored of it again. It's nice enough but I do find it a bit cheesy and very provincial I can't stand Ant and Dec or Sam Fender either. The women are lovely until they open their mouths and you realise this Scandinavian looking godess sounds like a fish wife. It's a lot safer than London or Manchester though.

Anyone think this bloke is really underrated. I was listening to lovers in the back seat and it's great playing. Sounds a bit like ash's to ash's but better.

There vinyl is rocketing I bought 3 imaginary boys for 2 quid in 2005 and just sold it for 25 quid.

I still think there's some studio trickery. Disco was a machine a mass industry and was very polished. Bernard Edwards was incredibly precise though. I know he used bc rich,Fender and Musicman would be interested to know if he used mutes.

Its not really about the speed. More the clipping and staccato on an open E string that gets me.

I think Jaco and Stanley are brilliant but it's totally different.

I would love to hear it mate. I have still never mastered the bass on I want your love and have been playing 24 years. I admit the later stuff is normal speed and he was a phenomenon on bass but I have never seen anyone truly nail I want your love on bass.

Most of the music i listen to bass playing wise is funk,disco,soul,jazz. like the pinnacle of tightness between bass and drums. Most of the Chic Bernard Edwards stuff including the stuff they produced is very difficult and i am beginning to think that it is slightly sped up on the recorded versions. Is there any older guys on here who actually saw Chic or any disco bands live? I would love to hear from them and the what they thought. I can remember a post few years back and he saw Chic live and said it sounded very muddy?

Been listening to Mondays a lot and when i was a kid i just thought they were a joke drugs band really. Lately i realize they were completely dark,funky and original. Its very difficult to find any admiration for their playing and they were really good. I play guitar aswell and Mark Day is a fantastic underrated funk guitarist, Paul Ryder was brilliant.

Simon Gallup made me want to play bass.

I'm selling vinyl at the moment.Ebay fees are a greedy fosters take.

Ahhh but did they? I know where I would be rather living at the moment.

Smithy has to be one of the most underrated men in music I think. In both songwriting and guitar playing. You only have to look at how many amazing guitarists who quote him as an influence. Think he must be quite difficult to work with though as they have had a hell of a lot of members over the years.

If you look at most of the "heros" they were all snorters really. Especially slappers. I read a book about ww2 being won on meth. Same thing really. Makes you think.

Him and Bernard though.... Just phenomenal.

Saying that if I didn't think it might kill me now I wouldn't have stopped.

He would never admit it. I'm pretty experienced in various powders and Mark were you off your tits in the early days? Lol.

Been going through my Level 42 concerts on dvd and does anyone else think Mark was clucking blitzed to the tits on these 80s gigs. He's chewing his face off and has unusual amounts of exuberance.

Nude Jazz was just a joke from Viz. Lol. I do like jazz though.

I'm more into nude jazz/funk/soul/rare groove etc. A metal mate forced me listen to some Type O Negative. Have to admit this is probably the first rock bass player i really liked apart from John Paul Jones and the usual crowd. Shame the guy died he seemed like a decent bloke judging by the interviews i have watched. I thought their cover of Cinnamon Girl was better than Neil Youngs.

if you want this sound live you need an LPF pedal. A lot of the impact of the track has to do with bass filter and a dry sound interspaced with effects on chorus lines etc. A sequencer would help as well as machines quantize better than humans. I would like to think there is some actual bass doubled here, if their isn't the guy who produced it had a very good knowledge/manipulation of ADSR . Breakbeat has a lot to do with this track. The production is very very good and was probably expensive unless you area naughty torrent user with lots of RAM and a Ferrari of a laptop its difficult to replicate. The reason i think we all like it is because its basically disco and some of the finest blokes we admire were in that era. People like Bernard Edwards could play like a machine before they were invented. There are a lot of flourishes with strings and stabs,lots of delay, reverb then back to dry filtered bass. A lot of the guys who produced and played disco also knew a lot of electronic and studio knowledge. This is why i have never shied away from electronic music.

It's a VCF a filter that gives it the squelch a bit like a roland tb303 filter the one that started acid house. I should imagine its a vst put on the sample signature chain although there are a multitude of different ones out there.

The only thing I don't like about JTQ is the hammond.

Think i must have have been in grumpy middle aged man mode. This song is brilliant and growing on me like a fungus. Very talented lady and i am a sucker for Chaka Khan types. I take it all back.