Clarky

Victor Bailey signature, looks like http://www.gak.co.uk/en/fender-victor-bailey-jazz-bass/2274

Listening to 'best of' Jacques Tati soundtracks. My fave, the theme from Mr Hulot's holidays, just wonderfully evocative: http://www.youtube.com/watch?v=W-lWi8Q3giM

On a tangent but seeing the 'Mick Karn fretless' comment reminded me that the Bass Gallery have a fretless Wal just arrived, advertised as a 'Percy Jones fretless' even though it appears Percy has nothing to do with it, other than having owned a couple of basses made by the same manufacturer!

Unfortunately, the one thing that the autobiography singularly lacks is any explanation as to how this situation regarding the songwriting/publishing rights arose. I can't think how the rest of the band didn't either know or have any say and there's no explanation at all. Maybe lawyers blocked certain bits being published?

As Mick pointed out in his book, how could 100% of the rights on hit single 'Ghosts' go to Sylvian when so much of its appeal was generated by the eerie keyboard sounds generated by Richard Barbiero, yet the latter made not a penny from it. Likewise, all those bass lines Mick played that led (and indeed defined) so many Japan songs yielded nada personally for him financially. Very sad to read

Its only available via a private publisher called Lulu. Ships from US but arrived within 3 days

Just finished reading 'Japan & Self-existence'. Its really quite a disquieting book, from Mick's loveless upbringing, his several big romances that went wrong (one of which seemed strangely important to him still, at the time of writing, despite by then having a wife and child), to David Sylvian's pillaging of Japan's earnings (just how did he manage to blag the song and publishing royalties to himself, leaving his bandmates - including his own brother - essentially impoverished?) Probably worth reading if, like me you are a fan of his bass playing, but really quite upsetting on many levels. Also leaves me with very mixed feelings towards David Sylvian as I have grown up over many years loving 'Brilliiant Trees' and 'Secrets of the Beehive' and I don't think I can listen to them again without thinking of how he treated his bandmates in Japan RIP Mick

[quote name='owen' timestamp='1326114392' post='1492409'] 1 on G#, 2 on A, 3 on F and 2 on E. 1 finger per "fret". Job done. [/quote] Well, yes I'd agree with that. But if you then played a G major scale per the video do you suddenly shift to using finger 1 on the A? It has the potential to confuse me!

[quote name='ead' timestamp='1326111566' post='1492341'] It is lined though, which I believe is frowned upon in these parts. [/quote] Burn him, for he is a witch!

Fantastic! My first gig on DB was a total blast too, will never forget it

Try asking bassbod and pantherairsoft http://basschat.co.uk/topic/153834-sold-mo-clifton-downright-4/page__p__1367958__hl__clifton%20downright__fromsearch__1#entry1367958

[quote name='fatback' timestamp='1326054560' post='1491728'] Interesting. Can't think why it should be different though. [/quote] Its part cos I'm still a bit rubbish on DB and part cos I'm used to 'on the fly' fingering! But seriously, what fingering do you use for playing say G sharp, A, F, E sharp on the G/D strings - is that all sliding your first/fore finger up and down the board or does your second/middle finger come into play at any point - its the semi-tone shifts I am not sure about

After a brief try out, I find Rabbath very simple for linear (ie, up or down) lines but if you are string crossing back and forth I end up in a right pickle, as my old Grandad would say