NancyJohnson

Band released our second collection on the 7th February. As necessity demanded, we stripped back some of the first recordings and added some new stuff. This is the new one: This is the first one: These are the singles:

I'll respect anyone's decision to vote how they want, bow down to whatever god they want, eat what they want, consensually sleep with whoever they want, or even play in cover bands. That said, I've never seen the appeal in playing other people's songs and have have been subjected to too many Creme Brulee's over the years that have shaped this opinion. Too many coordinated outfits, too many guitarists pulling a w*nk face playing someone else's solos (badly), too many bassists gurning their way through anything from Chelsea Dagger or Boogie Wonderland all the while acting like they actually wrote those lines. Nah, not for me, so am I going to get a kicking?

Haven't watched it yet* but will do so later. Given how good this album actually is, it's a great pity that in these days, where the Super Deluxe Edition is championed, that they couldn't just get the Big Chair line up back together (Stanley and Elias, plus the touring guys) and do some dates. If not for vanity, do it for charity. *Edit. Watched it. While I enjoy the format of Classic Albums, I honestly do wish they'd just keep on point; I honestly couldn't care any less for the input of David Draiman (Disturbed) or John Grant ('Who are these people?' asked my wife) or to a lesser extent Oleta Adams, who had zero to do with the album itself and didn't actually come on board until two years after it came out. I find it a great pity that they didn't mention Manny Elias once either! Slack. 6/10

6Just read this on Facebook. Awful news. I've got a pair of Lulls, profess I didn't really know about his stuff until a few years ago, but it was (on paper at least) good enough for me to move away from many Gibsons to a couple of his. Amazing basses, not once have I felt the need to move them on to get something else. Rest peacefully chap.

Queen - At The Beeb. Hollywood Records. God, they were amazing early on.

Having nice gear is nice. There's zero guilt on my part; it's just nice to have a bit of variety and I've worked damn hard at getting a handful of basses that are keepers, I'm equally as content with things ampside too. I have a tiny bubble of gas for a Hamer Cruisebass, but I can live with that.

Speculative thread resurrection. New album hit digital platforms today.

@neepheid I think I was more taken with the finish initially; I don't actually mind the shape, well not now at least, and it certainly wouldn't be my #1 at any stretch.

I suppose my general disdain for anything non-Thunderbird from Gibson has cooled somewhat; I'm getting a little horn on over the 2018 EB-5 model, or more specifically the transparent black model. I don't like the colour of the fingerboard, but that can be fixed with Fiebing Leather Dye. There's a few about online, seem stupid cheap. Anyone got one? Opinions?

Oh, lest we forget. This could be adapted for most singers or guitarists:

I saw Japan at The Lyceum in 1980/81 and one of the supports were a band called The Smart. Outstanding. Same venue, The Alarm supporting Big Country.

I met him a few times. A lovely, lovely bloke. Gentle and sweet.

Morning Need a bit of help...could someone identify the orchestral piece from the start of the clip below? I've tried doing a Shazam, but I only get 'Big Country Wonderland'! My wife seems to think it's Elgar. No idea! Cheers

I've played dozens of different combinations, but have never knowingly played cabinets that have had the speakers replaced and played them pre and post. I think I've had three distinct wow moments; an old Peavey cabinet (may have been a 4x12 or 4x10) at a studio in Woking, and old Ampeg in Brighton (6×10 or 8x10) and my 15/6 Barefaced Big One. Ultimately though, I know my desired tone, so tweak accordingly. These three were just great without any tweaking.

I went to a friend's daughter's wedding a few years back, was sitting next to this bloke, funny, didn't recognise him. He kept on saying stuff like, 'I'm not eating, I've got to drive up to Birmingham. I'll have a soft drink.' At the reception, just before the food came out, he did this, 'Right, I've got to do this thing,' and pulled a radio mic out of his jacket pocket, sauntered over to a small music system and hit play. Over dinner, he crooned over about 20 rat-pack standards; he was quite brilliant. Turns out it was Paul Roberts, the guy who took over from Hugh Cornwell. He was an old friend of the groom. In the evening he sang some more, he hung around before heading north, throwing in a Stranglers medley (on which I joined him on a couple of choruses). Lovely, lovely bloke.

Never owned one, don't really like the Dingwall designs, but interest has piqued with the new Ibanez range, especially the EHB below. Body shape has got a bit of a Roscoe vibe to it, which probably isn't a bad thing. I'm sure it would be easy enough to play, but I'm not on the market for another bass priced at £1.4K bass just yet (I'm sure these will pop up at about half that before the end of the year). I'm curious though; the scale on this (it's a B-G) is 33"-35"; I'm assuming there's some optimal scale length/string gauge science going on here, but feasibly how far can fan frettage actually go on four or five string basses? I mean, could the difference from B-G extend beyond 2/2.5 inches? What about multi-scale fretless?

While it's the antithesis of my punky roots, this evening is all about Donald Fagen. Cheeky bottle of red and Donald. Joy.

One of the reissues from a few years back. A G3.

This is one that prompted my post! I love the size but performance is a bit carp.

Which Snark do people use?

Opinions on headstock tuners please. Bought a Reverb branded one a couple of years back, which is great (but no longer available) then recently bought a D'Addario/Planet Waves one which is pretty poor (it struggles on the E&B strings). Cheers.