Old Man Riva

[quote name='Meddle' timestamp='1456434626' post='2989099']
I thought it was ok, but a very bland reading of Life on Mars? to be honest. I thought Lorde got more comfortable as the song progressed, but the overly emotive breathing and bizarre over-enunciation sounded pretty amateurish, and her voice couldn't quite go deep enough to pull off the choruses.

The real mistake though came from Earl Slick. The guitar bridge between the first chorus and second verse was a total trainwreck. He repeated the first lick twice and got thrown off by the underlying chord progression; like a musical carpet being pulled out from under him. This was followed by various fret squeaks and scrapes, culminating in him finally catching up with the 2nd (undermixed) guitarist and still somehow messing it up. His choice of tone, a very bright and fizzy Strat sound, didn't serve the song at all.

I saw some criticism of this online today, but it was strongly rebuffed by those that simply pointed out that Slick was in Bowie's band and therefore incapable of making mistakes. My thoughts are simply that Slick didn't record or perform with Bowie during the period Life on Mars was composed, recorded or part of his live set. Mick Ronson had quite an orchestrated, legato guitar approach (which sounded slightly antiquated by the end of the Ziggy period) , whereas Earl Slick had a scratcher, fidgety guitar approach that was more heavily reliant on effects and textures. Bowie claimed he had 'found his Jeff Beck' when he discovered Ronson, whereas Slick was part of a bigger band that had moved away from roots-rock element of the Ziggy-era live band. I believe Slick has absolutely every right to participate in a Bowie tribute, and is no lesser a musician or 'Bowie person' in that regard. Simply put, his approach to guitar doesn't work so well with reproducing Ronson's parts. This is possibly why the Ronson-era tracks on the David Live album sound so different. The other thing to consider is that Slick didn't want to be, or wasn't allowed to be, anything like the visual focalpoint that Ronson was, so a lot of casual observers may have been wondering why a mystery guitarist was playing such an idiosynchratically re-worked guitar part on what was, otherwise, a fairly straight reading of Life on Mars. I would personally have preferred to see Adrian Belew up there, but that is just my opinion.

Gail Ann Dorsey seemed to nail everything, but she was down in the mix. A shame as she is a brilliant player. I noticed that the audio mix went to pot when Lorde sat down on the piano stool, as her mic was picking up a lot of drums from the pianist's monitor. She also got a bit of feedback as well.

This was the UK's high profile send off to Bowie, but it seemed sloppy, stilted and a little under-rehearsed in my opinion. There were technical and musical issues that should have been ironed out well in advance in sound-checks and rehearsal rooms. I'm also not impressed that this has been turned into some sort of Gaga vs Lorde pissing match. A poor effort, in my opinion. Adele blew everybody else away at the Brits, in my opinion.
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Really interesting and informed points, but a harsh analysis of Earl Slick, in my humble opinion.

I really love his playing on David Live for the fact that I feel it nails Mick Ronson's Aladdin Sane era guitar parts perfectly and also actually adds something to tracks like Width of a Circle - and let's be honest, anyone up against Ronson has a challenge on their hands to say the least.

David Live has been trashed over the years but I feel it stands up as a terrific live album in terms of it being a perfect snapshot of where Bowie was at that point in his career - finally laying Ziggy to rest and moving on to new (more soulful) areas (i.e. next up, Young Americans). Earl Slick's playing (to these ears at least) gives it a renewed energy.

I've a lot of time for Earl Slick for the way he goes about his business as a hired hand and what he has added to the Bowie sound over the years.

On a similar note, someone was telling me only today to look out for the Nile Rogers/Lady Ga Ga tribute, in terms of it being horribly off piste in content, approach and Rogers' guitar sound/playing on anything non-Let's Dance.

And if we're talking guitarists interpreting Mick Ronson's parts I'd say that Adrian Belew (as great as he is) served up some horrible examples on the Sound and Vision gigs with respect to Ronson era tracks.

This would make for a great 'pub' conversation back in the day..!

Something that's often overlooked when it comes to Freddie Tavares is that he had absolutely nothing to do with the 1970s pop act Tavares.

I went to Liverpool/Anfield once in the 80s as an away fan. Got chased all over the place back to Lime Street. No amount of Beatles trivia/admiration I spouted forth seemed to placate the (red) locals..

As soon as I mentioned a Flock of Seagulls, well that was a different story..

[quote name='Hutton' timestamp='1455385217' post='2978702']


I do have the original knackered pot. I would rather have a replacement pot than go to all the hassle of getting a pot refurbished just to retain value. Why in all seriousness should a bass be worth any less because a small worn out electrical component is replaced?
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Why should a toy car be worth more if it's still in its original box? It's just the way it is..

In your case, if it doesn't bother you (and you're not thinking about future resale value - in the much longer term at least) chuck the knackered component in the bin, replace it and have fun playing the bass...

It was probably the trembling excitement at having a '63 Jazz on there that sent it into a bit of a tizz..

That's a fabulous price for an original '66 P-bass.

Nice dark rosewood neck too..

[quote name='bubinga5' timestamp='1454773736' post='2972881']
Love the bass line. a better (imo) take on Chrissie Hyndes's record. [/quote]
I like both, but The Pretenders' version shades it for me, due in no small part to James Honeyman-Scott's guitar solo..

[quote name='BottomE' timestamp='1454756418' post='2972623']
Absolute shi*e live though. Was persuaded to spend some hard earned cash to go and watch her Karaoke show - basically her singing along to backing tracks. Loads of people walked out during the gig. I was hoping for a bit of Sly and Robbie but was more like Mr Blobby.
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Which is a shame as she's good with a live band.. [url="http://www.youtube.com/watch?v=crsb7fdWflU"]http://www.youtube.com/watch?v=crsb7fdWflU[/url]

Always find it odd when an artist like her chooses to do the PA gigs rather than the full live set - I know costs and the audience she's playing to are contributory factors but any live stuff I've seen with her in a band context has been excellent - quite edgy and she feeds off the band..

[quote name='Mykesbass' timestamp='1454710349' post='2972394']
This was all a bit of smoke & mirrors to get past the Musician's Union, who insisted that the musicians got paid to re-record the track, so as soon as TOTP had booked the acts the record companies rushed to recording studios, would set up, the MU rep would turn up, see everything being done as per their agreement, at which point the plugger would take the MU guy to the pub, and when they returned a nice freshly copied tape would be handed presented to the rep and used on the BBC.

I had a big run in with the BBC, Sony Music and a very well known manager over a set of tapes that were supposedly "live at the BBC" but which Sony paid a musicologist who proved the tracks were the original masters. The BBC were furious, and denied this could have possibly happened, and yet it was a well known practice throughout the industry.
[/quote]
Ah, the old 'tape swap' days..

Honestly, they should have just got the 'tape swap' band in... it always took a fraction of the time and sounded exactly the same.

Ahem..

As per the blurb on the video it's the lost version... http://www.bbc.co.uk/news/entertainment-arts-16280335

Sounds good and live to me. In fact it sounds ruddy marvelous..!

What a band..

[quote name='Jebo1' timestamp='1454177545' post='2967320']
It looks nice, but I'd stay away from something that has had that many changes, unless of course it plays incredibly and you're not worried about the resale value, or purchasing it an investment.
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I'd agree with this assessment..

For investment purposes (and you'd probably have to wait a good while these days to see a decent return on most vintage instruments purchased at today's prices) then it's probably not the right bass to go for.

If, however, you're after a 60s Fender bass and don't mind if it's been modded/changed and it feels and sounds great and is what you're after and you're not purchasing as an investment then it's certainly worth considering.

If it's the bass I think it is it has also been in The Bass Gallery (may still be on their website?). The refin is very well done (whoever refinished it used the gold undercoat which Fender did around that time on the CAR finishes - along with silver, in some cases) and it played nicely and sounded like a 60s P-bass would/should.

If it were me, and I was after a vintage Fender vibe, then I'd opt for an instrument that was from that period and had been modded etc. over a CS model (and this is nothing against CS models), but it's different strokes for different folks.

In terms of price, I'd say it's on the high side for what it is - and consider that, if it's a commission sale, you'll be paying circa 20% more than you would if buying from the owner direct.

I was always led to believe that anything refinished would be broadly worth half of a similar unfinished instrument - Andy Baxter has a lovely '66 P-bass up for sale at the moment for £4,500 and, whilst it's a three-tone sunburst model and custom finishes generally fetch more, this probably gives you an idea of what you should be paying (and, again, bear in mind that there is probably movement on Andy's price)..

That said if it's something that you love and you can afford it (and you're not looking for an investment piece) then there are worse things to spend money on..

There were some great/diverse singles in the 80s..

From 1982.. http://youtu.be/45yGLHNvv9s

I did want to paste Party Fears Two by The Associates from the same year but couldn't find the single version online.

Impossible to name just the one, and agree with a lot that have been mentioned (Frankie, ABC, Human League, Talk Talk, Scritti Politti), but getting it down to albums by UK artists where there isn't a track I'd skip/lift the needle on I'd go with these three...

A Walk Across the Rooftops - The Blue Nile
Bummed - Happy Mondays
New Gold Dream (81-82-83-84) - Simple Minds

And if it were open to all artists (i.e. not just UK) it'd be Sign o' the Times by Prince..

[quote name='ras52' timestamp='1453314679' post='2958393']
Apologies if this has already been posted.... this is a fantastic tribute!

[media]http://youtu.be/d7zldvlHh94[/media]
[/quote]
It took me until about half way through to work out what was going on!

There seems to be universal love and appreciation towards him since his demise, which is lovely..

[quote name='Rich' timestamp='1453304506' post='2958268']
I wish I'd seen Sting on the Dream Of The Blue Turtles tour. What an incredible band he had alongside him.
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I saw that tour at Birmingham NEC - to this day one of the best gigs I've seen. The DVD (recorded in Paris?) doesn't do it justice.

If I ever have a downer on Mr Sumner I hark back to the early Police albums and the Dream of the Blue Turtles tour..

[quote name='ras52' timestamp='1452961996' post='2955142']


They do for me... David Live would be my desert-island Bowie album (and it's got two words in the title!)
[/quote]
As an aside if I had to recommend one (just one) album for budding bass players to listen to as part of their learning then David Live would be it.

Herbie Flowers is funky, groovy, driving, laid back, supportive and musical throughout.

One of those albums where there's not one note out of place.

A masterclass in how to support the artist and their songs..

Last ten tracks that 'shuffled' along on the iPad...

Town Called Malice - The Jam
Stormy - The Meters
Cool Jerk - The Capitols
Brazilica - Ramsey Lewis
Strange Bedfellows - John Cooper Clarke
Alone Again Or - UFO
Happy Days Toy Town - The Small Faces
Engine Number 9 - Wilson Pickett
What In The World - David Bowie
At Night In Dreams - White Denim

Going well so far..

[quote name='ras52' timestamp='1452782546' post='2953466']
Me too. I wasn't really listening to contemporary bands when Nirvana bloomed, but I can see the appeal. Not so with Dylan and Morrison... a lot of people say ah, it's Dylan's lyrics.... but even great lyrics don't sway me if I don't find anything to interest me in the music.
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It's the sound of the vocals - I can't get past that so the rest of their collective output remains a mystery/blind spot/call it what you will..

Bob Dylan
Van Morrison
Nirvana

All passed me by..

Given that this was his farewell I think it's a beautiful album. The sound is so warm and embracing, comforting even.

It feels quite an uplifting album in many ways.

The sound of a man saying his goodbyes in a way befitting his unique and wonderful talent..

[quote name='rushbo' timestamp='1452514191' post='2950599']
Starman...mainly because it takes me back to 1972 every time I hear it. And as for that incredible Top of the Pops performance...
[/quote]
Today it's this for me also. The moment a black & white world turned vivid Technicolor and things were never quite the same again..

[media]http://www.youtube.com/watch?v=v342TST9tFw[/media]

Always liked this from the Rio album.. http://youtu.be/25m4P72FK6E

I think the bass line was actually played by Mark King using a plectrum belonging to Derek Forbes, along to a sequenced track put together by Rick Wakeman from Keith Emerson's sweat..

John Taylor was too busy applying blusher and chasing women to actually take part in proceedings.

[quote name='Panamonte' timestamp='1452353579' post='2949199']
Listening to it now for the 4th time. He's still got it. Can't believe that it's 43 years since I bought my first Bowie album (Aladdin Sane).
[/quote]
Same here. Aladdin Sane bought from saved up pocket money and a little help from my dad.

(Love the 'Overplaying since 1977' line btw..!)

[quote name='Mickeyboro' timestamp='1452407811' post='2949626']
Not related to the album which I've yet to hear, but:

I went to the Bowie V&A Exhibition which was at Melbourne before Xmas.

It told me something I never realised - he was hugely important in my musical life, but only in a couple of periods. The rest of his stuff left me cold.

I would be amazed given the changes (huh?) he's been through that there are any true lifetime fans who've connected with everything.

Sorry to derail...
[/quote]
I went to the exhibition when it was in London and it reinforced how important he's been musically for a large chunk of my life, esp. the formative years. Everything from Space Oddity to Let's Dance meant something, even in some small way. I got a bit choked up at the exhibition as I was able to relate the music to so many good experiences when I was a kid/younger person.

In terms of connecting with everything, not a chance. Tonight was such a let down (apart from Loving the Alien the rest left me cold - and really, why would anyone - even the Genius Jones - take on God Only Knows?!).

Never Let Me Down was very 80s but not in a good way - and, again, deciding to get Mickey Rourke rapping on a track may have been a stretch too far.

Then there was the Glass Spider tour (Spinal Tap II without Messrs St. Hubbins, Tufnel, Smalls et al) and to top it all the Sound+Vision stripped down/Adrian Belew show.

Didn't really like the Earthling direction but admired him for sticking his handsome head into the world of drum and bass rather than going after the easy wins.

All that being said, he's still the musician that has influenced me the most in life (and whose music means the most to me) and the fact that he's still making music that challenges us all these years later is testament to his brilliance.

Blackstar gets its first listen chez Riva this afternoon with a nice cuppa and an open mind (sort of!).. can't wait.

[quote name='JapanAxe' timestamp='1452416236' post='2949658']


Very true. I've never bonded with the Black Tie, White Noise album - it just sounds too shiny!
[/quote]
I've struggled for years to describe that album. "Shiny" is perfect!

Billy Connolly last night at Hammersmith Apollo.

Very frail, very very funny..

[quote name='Annoying Twit' timestamp='1452367925' post='2949367']


The mind boggles to wonder which bass guitarists wouldn't benefit from some coaching by Bernie Edwards.
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Indeed. John Taylor was a huge Bernard Edwards fan.

I think all the "John Taylor doesn't actually play the bass lines" stuff began when, as producer, Bernard Edwards added a couple of bits of bass to Get It On when putting together the Power Station album.

I'm always impressed with any musician who puts the song first.. and why not utilise the talents of one of the best funk bass players ever to add to the song in the way that Bernard Edwards did.

On a similar theme I always liked Curt Smith's playing in Tears For Fears but he stood aside to allow Pino to do his thing on Badman's Song for the sake of the track.