skankdelvar

Ooh Yus! That's nice. And different in a really good way. [size=1]This from someone who usually detests slapping and soloing.[/size]

[quote name='iconic' post='707361' date='Jan 10 2010, 08:16 AM']I went back thru this thread guys, grateful thanks for the help and examples of blues, but it didn't answer my question as to [i]why [/i] is it important, for me this was a more a fundamental answer to the question, which was purely put due to my lack of understanding, thanks OTPJ.[/quote] Okey-Doke. IMO, the 'importance' of the blues rests in more than the nuts and bolts of how you play it. I'd argue that it's significant for other aspects: * If you want to know where you are, it's a good idea to know where you started from. So the Blues is 'important' because it's been enormously influential. As explained above, Blues is at the root of much of today's popular music. Musically, R&B is the most obvious linear descendent. Rap continues and extends the 'attitude' side of things. * Prior to the Blues, popular music lyrics tended to be fluffy nonsense descended from the theatrical / music hall tradition -"Come into the garden Maud" etc. The Blue's street-level, blue-collar lyrics ushered in the possibility that songs could be about ordinary people and their daily lives. Much of modern music takes this approach. By the standards of the day, early blues tended to be much ruder and tougher. Hence the word play in Blues that veils innuendo and protest. When someone's singing about a 'Jelly-Roll', they're referring to a penis. So, when a female singer's going on about Her Man and his Big Jelly Roll, it's as if Leona Lewis is on primetime TV [i]openly[/i] singing about getting a big c*ck up her. * Recorded Blues music was Black America's earliest incursion into mass media. After a period when it fulfilled a role of 'community cohesion', it crossed over into the mainstream, via it's offspring '50's R&B', Soul and Rock & Roll. This seriously pissed off interest groups ranging from Media owners through Churches to the Ku Klux Klan. One of the reasons they burned Elvis records in the street was because he came on like a black dude. So White America feared for it's impressionable youth. Which can only be a good thing. * The naked exploitation of the old Bluesmen by white record executives informs Black musical history and explains the significance of Motown, Sugar Hill and Death Row as vehicles for Black musical autonomy. The Blues (or 'Race' music, as it was called till the 60's) was one of the catalysts for change which makes our society free-er today than it was 50 years ago.

[quote name='AndyMartin' post='707614' date='Jan 10 2010, 01:16 PM']He's gained some notoriety on Talkbass [url="http://www.talkbass.com/forum/showthread.php?t=616525&highlight=nordschow"][/quote] and to save time, here's a fairly robust summary of Mr Winnen's shortcomings : [url="http://www.talkbass.com/forum/showpost.php?p=8515109&postcount=58"]http://www.talkbass.com/forum/showpost.php...mp;postcount=58[/url] Not that I know any of these gentlemen...

That bass would look better with a normal Explorer headstock. The Buzzard-y thing is forever associated with Mr Entwistle and this Reverso suffers by comparison. And I have to say that's a [i]very [/i]smug facial expression, even by Mr Clayton's standards.

Never used this guy myself (out of area), but he's reputed to be legendary: [url="http://www.davedearnaleyguitarscf24.co.uk/"]http://www.davedearnaleyguitarscf24.co.uk/[/url]

[quote name='tom1946' post='706271' date='Jan 9 2010, 06:58 AM']I assume it comes out of the same factory as all the other fakers? Is that the name "Anniversary" ?[/quote] Not sure where it's made - somewhere East of Ipswich, I'd imagine. But I saw this very one in the shop in Solihull and thought it looked rather nice for the money. IIRC, someone here owns one of these and quite likes it. And, yes, Anniversary is the brand name. A bit pants, but I'm sure the plate unscrews nicely...

[quote name='Paul S' post='706283' date='Jan 9 2010, 08:16 AM']Surely that is the nature of being in a covers band? A lot - if not most - music, not just blues, is written buy someone who is communicating some kind of life experience. Do you have to be similarly placed in order to play it? The majority of us middle-aged pentatonic heroes would be struggling to get together a set list from our demography, I would suggest [/quote] True, one doesn't have to a razor-wielding ex-con to knock out Leadbelly songs. And yes, it ain't easy, but it does seem a bit incongruous sometimes. And can lead to faux-pas. I remember one singer of my acquaintance who always - mistakenly - modified the line 'Little John The Conqueror Root" to "His John The Congeroo", seriously insisting that it was as per the original and quite clearly a reference to eels. 'Petrification' - for me, that about sums up the state of much of the blues canon. And as a blues-player, that worries me a bit.

The Anniversary 'faker is much nicer, IMO. More accurate and £100 cheaper. See here: [url="http://www.expressmusicstore.co.uk/products.asp?code=80606"]http://www.expressmusicstore.co.uk/products.asp?code=80606[/url]

[quote name='teej' post='705160' date='Jan 8 2010, 09:31 AM']As a big blues fan and professional blues bassist I loathe the 'blues as a vehicle for rock-guitar cliches' approach that seems to dominate the contemporary blues scene. ... A lot of bands sound like they've taken one narrow example ... from this vast bewildering organic gumbo and not looked any further.[/quote] Absolutely! There are far too many identikit Blooz bands out there, tramping the same, well-worn path and sanitising the life out of the standards. For many bands, the blues is just something to stick underneath a couple of guitar solos. No message, no dancing, no exchange of energy with the audience. A stripped-down neo-trad approach is great and more bands should try it. But I'm wondering how the blues is ever going to progress if 99% of the fans think the material is confined to endless variations on a Jimmy Reed shuffle or the numbing torture of a paint-by-numbers slow 12-bar. And that's without even considering the anti-heretical agenda of the dreaded Blues Police. It would also be interesting to see some contemporary lyrical and communicational approaches - I'm finding it increasingly difficult to suspend my disbelief when plump, middle-aged white Brits (like me) start banging on about Parchman Farm, chain-gangs and mojo bones.

£310 is a very good price for a 70's Musicmaster. Assuming it's fairly straight and plays OK, I'd have it.

I seem to recall the Encore brand from the 70's, but not sure if it's the same company. Brand names get traded in their own right, hence the re-appearance a couple of years ago of Sound City and Acoustic. The Vox name has moved around a bit too... No connection AFAIK with the originals.

...and it's all gone horribly wrong. Andre000 now hurt by cynical 'scamming' accusations.... see post 354 here: [url="http://www.talkbass.com/forum/showthread.php?t=611919&page=18"]http://www.talkbass.com/forum/showthread.p...919&page=18[/url]

Having seen your work on here, I think it's brilliant stuff and it would be great if you could dip your toe in the water as you describe. IMO the biggest problem might be pain in the ass punters who mess you around.

Yes, indeedy! Ancient git here would like to give it a try, but I'm a bit puzzled as to how to go about it. Is there any way to practice the manoeuvre? Do you have to start small and work up, maybe hang a medium-sized banana round your neck on a bit of string?

[quote]I met Pat Townshend in 2007 and he is one of the most gifted men I have ever met, I was so taken back with his talent that I bought a personally commissioned eight piece Staccato drums kit, the last kit he has ever made.[/quote] That's nothing. I met Mary Millington in 1978 and she was one of the most gifted women I have ever met. I was so taken aback with her talent that I [i]personally[/i] commissioned a hand-job from her, the last one she ever administered.

The only Behringer items I've used are a few pedals. Perfectly adequate for the job, if a tad flimsy. Their QC gets a bad rap from time to time but I've not had any problems. If Behringer are causing some manufacturers a little wallet-ache, so much the better. It might drive prices down. If a Behringer purchaser can't afford an Ampeg in the first place, then Ampeg haven't lost a sale, have they? And it doesn't stop any of us buying 'the real thing' should we desire.

About ten years ago, a guitarist asked me to change a riff slightly. This was an improvement on the original and I happily complied. Then again, I mostly play quarter note roots in one of three keys, so not much to take issue with, I s'pose.

[quote name='budget bassist' post='699889' date='Jan 3 2010, 07:54 PM']really? we have a couple of rivera guitar valve combos at college, they're alright. I kinda like them but none of the tutors do.[/quote] Oh, yes. [i]Terrible[/i] amps those. Real shockers. If they want to chop them in, tell them I'll give 'em £25 apiece and take them away. I'm cutting my own throat here, y'know...

I'm astounded that bark, growl and plummy haven't made an appearance yet. [quote name='Conan' post='698873' date='Jan 2 2010, 05:28 PM']Fortunately, I'm yet to hear the word "moist" used to describe sound. Probably just as well!! :brow:[/quote] Anyone for a 'moist Barking growler?'

...and then there's the Spider capo - any combo of open or closed strings. Not for those of a nervous disposition:

Oh yes indeedy - that's a mother of a rig.

In fairness, that headstock is a [i]smidge[/i] pallid, thus highlighting the sticky-on nature of the decal. Lacks that David Dickinson-esque orange glow...

The capo is an interesting musical tool and very useful in various scenarios across different genres. I suppose its association with beginner guitarists misleads those who have not explored the capo's potential. While using a capo on a guitar (particularly partial capo-ing) opens many doors, I suppose that it's use on bass [i]may[/i] be comparatively less fruitful, though by no means to be discouraged.