skankdelvar

[quote name='Clarky' post='1157377' date='Mar 10 2011, 10:55 PM']undercover reporters from the Sunday Mirror have already disproved the Nazareth story[/quote] So much for my big fact hunt.

Me? Only one of the following is true. Can [b]you[/b] guess which? * Terror of confrontation * Fear of upsetting someone * British 'reserve' * Subconscious desire to stifle debate and inhibit the smooth functioning of our community * Idleness

[quote]Mark Clarke was born in Liverpool in the north of England, not a well known place except for its dock's and then, in the 1960's The Beatles came along and put it firmly on the map, forever![/quote] Basschat's Mark Clark was born in Nazareth in the middle of Palestine, not a well known place except for it's palmtree's and it's Messiah's and then, in 1963, Mark came along and put it on the map forever! Close friend to many semi-luminaries, Skank Del Var is now available for copywriting, sub-editing or proof-reading at astonishingly competitive rates.

Hi Hobohodou and welcome Hope you enjoy the forum.

FWIW, I am neither for Tribute bands, nor against them. I'm for [i]all[/i] bands. (He said in a slightly creepy way...)

[quote name='Bilbo' post='1154958' date='Mar 9 2011, 09:27 AM']I also know that nobody cares in the slightest what I think.[/quote] On the contrary, Bilbo. As a respected contributor to this forum, your views command a respect of which you are likely unaware. You are one of our deeper thinkers and - because of this - I'd rather cross swords with you than with most. EOM. [b][center]......[/center][/b] As for trib bands, well, people, I just see some musicians successfully giving punters what they want. Problem is, some of our number get silly about it and start slagging off Trib Bands, audiences, pub landlords, society et al. I firmly believe it ill behoves us to heap opprobium on any group within our community of musicians - whether characterised by genre, age, gender, location or function. When I see it, I'll challenge it. My dislike is redoubled when it is clear that a poster is simply using someone else's success to account for their own frustrated lack of progress. This is a very British thing and a mean-spirited tradition I would like to see jettisoned. The solution is exemplified by Lowendbee's Originals Bands In Pubs thread. He's not bitching and moaning. He's getting out there and doing something about it.

The logical solution to all 'tribute band stole my gig' woes here: [url="http://basschat.co.uk/index.php?showtopic=126071"]http://basschat.co.uk/index.php?showtopic=126071[/url]

[quote name='Doddy' post='1154232' date='Mar 8 2011, 06:34 PM']Hendrix doing wild thing wasn't really all that radical-it had a more crazy solo,that's about it.[/quote] Crazier than Reg Presley's kazoo solo? You set a high bar, Doddy...

[quote name='Doddy' post='1154191' date='Mar 8 2011, 06:06 PM']Hendrix played tunes like 'Wild Thing'[/quote] Yeah. And Day Tripper. And Sunshine of Your Love. And The Star Spangled Banner. And all those chart hits he played when he was with Curtis Wossname. [i]And[/i] he played boring 12-bar blues as well Think of all the really [i]original [/i]bands he held back by playing those covers like the big pant-wetting cry-baby he [s]used [/s]was.

[quote name='bassicinstinct' post='1153983' date='Mar 8 2011, 03:59 PM']By the way, that was me you were quoting in your earlier post, right? [/quote] Ah do declare it was.

[quote name='SteveK' post='1153935' date='Mar 8 2011, 03:22 PM']How times have changed! When I was cutting my musical teeth, the general vibe amongst serious bands was, you played what you [i]felt[/i] was good, you experimented, you attempted to do something original. Whether the audience were going to dig it or not was secondary.[/quote] Oh, agreed. I was there too. It was all because audiences temporarily engaged with the counterculture and eschewed bread-headery in favour of a mystic 'getting it together in the country, man' vibe. It was the fashion of the time. Overtly commercial bands were denigrated. The ones who made the big moolah were the ones who could most convincingly fake their sincerity and amateurishness. I give you The Rolling Stones, poster boys for the whole 'Outlaw Artist' malarkey. With their Rollers and country houses. The point is that these bands [i]gave their audiences what they wanted[/i]. And [i]very[/i] profitable it was, though not for some artists who - decades later - are suing for the cash they were too cool to keep track of at the time. So - and I genuinely mean this kindly - what's really changed?

[quote name='cetera' post='1153860' date='Mar 8 2011, 02:30 PM']Cool, can you go and pick up my new GK800RB for me?! [/quote] 50 mile radius applies. See T&C's. E&OE.

[quote name='hellothere' post='1153742' date='Mar 8 2011, 01:25 PM']if it is the same size and number of screwholes will all the screholes be in the right place and of the right size?[/quote] It ... [i]depends[/i]... he said warily. Certainly, it pays to have your existing pickguard to hand when browsing the parts-porn sites. Or take it down the shop for a comparison. Even with an apparently identical part it's always a bit of a gamble. But the odd, slightly misaligned or re-drilled hole won't show behind the guard. OTOH, if that sort of thing really bothers you, it opens up the whole exciting world of re-finishing

[quote name='cetera' post='1153849' date='Mar 8 2011, 02:23 PM']....and if that's you in your avatar, it's a VERY fetching look - I must say!! [/quote] I'm [i]very [/i]fetching. I've got a Transit and I'll fetch anything you like.

[quote name='Doddy' post='1153821' date='Mar 8 2011, 02:07 PM']Some even support their own tribute band at gigs.[/quote] I [i]am [/i]my own tribute band. I even dress up as myself.

The transactional nature of paid public performance means that you have to give the punters what they want. If you don't give them what they want, don't expect to get paid or get asked back. If you play for free, play what you like but don't expect to get laid. Audiences are not stupid sheep. They are people just like you and me, with tastes and preferences to which they are wholly entitled. Some might suggest that audiences are somehow being duped, or pub guvnors are 'holding back original talent' or that there is some sort of 'conspiracy'. This piffle is usually indicative of a delusional goal set, exacerbated by dashed hopes and issues of self esteem. Though not always. It can just be bad gig-targeting. Pubs like The Frog & Twat want 'easy'. Genre clubs / nights want 'challenging'. If one does one's homework and is prepared to travel, then the originals gigs are there. If you live in the arse-end of nowhere, best start saving for a van, because they aren't going to put wheels under a venue and move it closer to you. What it really comes down to is that certain 'musicians' want to play any old crap that [i]they[/i] like and believe that the paying punter should hurl adoration and cash at them for the privilege. By contrast, I applaud the honesty and maturity of bands - whether cover or tribute - who have the self-awareness to realise that live music is a business and you have an obligation to your customer. As for being creative, no-one should expect me to pay for [i]their[/i] self-improvement sessions. They can do it on their own dime.

[quote name='hellothere' post='1153304' date='Mar 8 2011, 03:06 AM']Would it be possible to get a vintage bridge, ash tray, pick-up cover and put them on?[/quote] Yes. Buy 'em, drill the body and screw them on. If you decide to go for a new pickguard - beware. They're not all the same dimensions / number of screwholes. If in doubt, contact the supplier and explain which bass you've got. They might tell you whether the part fits or not. [quote name='hellothere' post='1153304' date='Mar 8 2011, 03:06 AM']What kind of price would I be looking at?[/quote] Prices vary from frankly ludicrous (£xxx for a real 'vintage' piece) to virtually diddly. Check out Allparts UK, WD Music UK, Axes-r-us and Fleabay for prices. Example: Axes r us want £8 for a bridge cover free deliv. [url="http://www.axesrus.com/AxePlatesBass.html"]http://www.axesrus.com/AxePlatesBass.html[/url] But they don't seem to have a pup cover...doh! As for the whole philosophy of whether quality components are better - well, 'hearing' is such a personal thing that you might as well give it a go and decide for yourself. Avoid buying any daftly expensive components and just have some fun tinkering. Get a decent quality soldering iron, though. It makes the difference between success and failure - as I've discovered to my cost in the past.

[quote name='Bilbo' post='1153445' date='Mar 8 2011, 09:52 AM']Are you having a go? [/quote] Perish the thought

Quite a lot of sellers delete the price after sale and I've never understood why. Do buyers request they do so? Is it to avoid spousal retribution? I do not know, but I think we should be told.

[quote name='Bilbo' post='1152535' date='Mar 7 2011, 02:44 PM']I've never got that 'interpretation' argument in classical music. If you play a piece and someone else plays through the same score, its going to be different and one will be better than the other but its still the same piece so the 'creativity' element is limited to your stab at the dots.[/quote] The thing about Classical music is you have to 'get it'. Even if you can't hear any planned, expressive differences, they're most certainly there. If nothing else, conductors spend an inordinate amount of developing original interpretations of pieces. Any score is simply the basis for a kaleidoscope of infinitely subtle possibilities. Of course, it all must seem rather strange and disciplined if one is accustomed to expressing oneself through the relatively unsubtle practise of playing wildly off into the horizon based on no more than a bit of theory, some 'instinct' and some 'soul'. The imposition of the dots - when it occurs - engenders a remarkable distillation of musicianship. The nice thing about classical is it [i]does [/i]allow soloists the opportunity to improvise or ornament certain parts of the performance. These passages are called Cadenzas.

[quote name='Low End Bee' post='1152423' date='Mar 7 2011, 01:00 PM']"A good composer does not imitate; he steals" ~ Igor Stravinsky[/quote] He should know. His Tommy Cooper was awful.

In the best spirit of tributes, I shall simply rehash someone else's comment from a previous, virtually identical thread. [i]Most bands 'Original' songs would be more accurately described as self-penned. There is rarely anything original about them.[/i]

[quote name='The Bass Doc' post='1150610' date='Mar 5 2011, 03:04 PM']I try to get close to the Motown sound so, in the light of the above, I shall think about the birth of my son , my present attitude towards him , and take along a trampoline . I am Morethan Semen...thank you for listening.[/quote]

IMO, to [i]really [/i]get the Motown sound, one should think happy thoughts while playing. The technique is one thing - the attitude and bounce is another.

[quote name='pixiedust' post='1150508' date='Mar 5 2011, 01:16 PM']....before moving on to chords.[/quote] You're in luck. Unless you're Lemmy, playing chords on bass is relatively rare in a band context; so you really needn't be worrying about that for a very long time. Once you've got your root notes firmly on the beat, the next stage is occasionally substituting some different notes drawn from the chords the guitarist is playing. Just to make it sound more interesting, like. Here's an example: Some of us never get beyond this point and are perfectly happy