skankdelvar

That's the problem with London - a big ol' blob of stores on Denmark St and the rest are scattered around all over the place. After that, you're off to some of Britain's most / least picturesque towns. Frankly I'd recommend a week-long, bass-devoted solo trip. And hire a car.

[quote name='William James Easton' post='673014' date='Dec 3 2009, 11:47 AM']same here, i came up with a few alternatives we could lobby parliment with - SKA 2?[/quote] Ska 3, surely? [font="Courier New"]Ska 1 = 60's = Dekker, Prince Buster, etc Ska 2 = Ska Revival = Late 70's - Early 80's = Two-tone - Selecter, Specials, Madness, The Beat etc Ska 3 = Post 80's = Ska + Punk, other variations thereof.[/font] Me, I like Ska, but prefer my punk w/o brass, thank you, Vicar. Rude Bwah! - as we used to cry, while sk*nking madly.

Hi Viaceslav and welcome May your time here be pleasant and productive. Nice Sandberg...

[quote]Thank you for reading this and I hope that this will be to your liking. If it isn't for you good luck in all your future music projects.[/quote] Thank you for posting it Dan and good luck to you in yours. Welcome (albeit probably temporarily) to BC. And no issues about us 'picksters'. Good for you! (Aside: What a nice chap. If only all bandleaders were like this.)

Unless I'm mistaken, everybody who's posted on this thread who's actually [i]done[/i] blues at a corporate gig seems to have had a good time. Go figure. I mean, it's not as if you're doing Rammstein covers. And blues is, after all, the new Sunday lunchtime pub jazz, so it's not as if the punters are going to run screaming from the room. But if [i]really[/i] you think your band aren't going to cut it with civilians, then best tell them you don't want to do the gig so they can get a dep. I'll do it if the money's right

I've only ever knocked back one gig where I thought our act (70's blues-rock - Rory Gallagher / Free-ish) would tank, and that was at a supper club, going on between between the comedian and the Pan's-People-esque dancers. I've done a few of these corporate do's with a line-up very similar to yours. The trick is to tweak the dynamism up by about 10% and think big. Own the stage. More drama on the slow ones, a hint of groove on the mid-tempos and lots of flash on the fast ones. More movement on stage and a bit more smiling than you'd get in the blues clubs. Happy is your friend. Frankly, most punters won't even know you're playing blues - to them you're just a band. So engage danceability mode, backburner the really obscure stuff and learn up Sweet Home Chicago. Play Mustang Sally [i]hard[/i], like you mean it. If your frontman's got an ounce of charisma, let him carry the crowd. It's his job. And remember, the early bluesmen all cut their teeth in Juke-Joints and house-parties. You're just following in a long tradition of blues as crowd-pleasing dance music. It's entirely possible to turn an audience around with this music and ten times more rewarding than playing to the usual chin-stroking Blues Nazis.

[quote name='Dr.Dave' post='665190' date='Nov 25 2009, 03:20 PM']Jesus H Christ - I swear this is true and I only just noticed and checked.[/quote] That's seriously effing spooky. The picture, I mean.

A first class Gent. Good comms and a very fair deal. Thanks Tom!

[quote name='Happy Jack' post='663187' date='Nov 23 2009, 09:25 PM']Speaking of which - EB0 image[/quote] That's a good price. Last one I saw was £1500 and that was 5 years ago. I love these EB0's. Chunky.

It's all down to rancid, sweat-soaked fear. Fear of people, be they musos or civilians, pointing and shouting "He's not slapping. [i]He's[/i] not a bass-player - [i]he's[/i] an impostor!" You'd never go out of the house again.

They should make basses out of Leylandii. Starting with my neighbour's colossal excrescences. Thing is, if the wood consumers implemented a long-term policy of planting and harvesting exotic woods, we wouldn't have this problem. There'd be so many Purplewood trees they wouldn't be exotic anymore. But these lads are in it for the short term, so that's never going to happen. Oh, and aren't the Philllllippppines in the Pacific? Is that SE Asia? I do not know, but I think we should be told.

[quote name='MacDaddy' post='662436' date='Nov 23 2009, 10:13 AM']Interesting that Hofner managed to transcend the Gibson-copy label.[/quote] I s'pose it was because Gibsons and other US instruments were so rare in the UK in the early 60's (due to eye-watering import tax), that few had ever seen an EB1. By the time people knew about them, Macca had already popularised the Hofner. First time I saw a picture I thought - "Blimey, Gibson did a Hofner copy?" And original EB1's still pretty difficult to find - I've only ever seen one in the flesh and that was 20 years ago. They look so good with the 'banjo' tuners. I won't say where in Denmark St I saw it because I don't want to upset you

You could have lots of fun sticking the octave divider in between the compressor and the OD. And trying the chorus before the delay can sound reel purty. Envelope filter immediately before or after OD could also be interesting. Experimentation is definitely the way to go. Mind you, these days, the only thing in my bass fx line is the tuner!

+ 2 AP Tuner - fine piece of work. Download with brimming confidence.

Maybe it's just the camera or something, but the headstock face kinda looks a bit lighter in the decal zone. Just my 2p.

[quote name='OldGit' post='661085' date='Nov 21 2009, 03:23 PM']ooops sorry, I didn't mean it was not worth heads-upping just that Reverb could have done a better deal ..[/quote] Sorry mate! Re-reading my post, it looked like [i]I[/i] was popping at [i]you[/i]. I just meant that, these days even a fiver off is welcome, hence it's the thought (i.e. Reverb's discount) that ...er... counts. BC politeness pandemic spreading like wildfire. Get your shots here

[quote name='maxrossell' post='660912' date='Nov 21 2009, 12:19 PM']... good rock standards ... with two acoustics and one vocal?[/quote] Tough call. Based on a similar exercise I'm conducting, I'd recommend stuff that's got an 'acoustic-y feel' and can stand a smidge of re-arrangement to accomodate the absence of amps and a rhythm section. Or something that was probably originally written on acoustic. So, example of 'No' - The Who - Won't Get Fooled Again, Baba O'Riley. Example of 'Yes' - The Who - Behind Blue Eyes, Squeeze Box. Crunchy riffs on an acoustic sound fine in your mind's ear, but sound odd to the audience. I've tried "The Boys Are Back In Town' but it only really works as a half-speed, elegaic strum. Not 'Up' at all. Many contemporary indie outfits sound acoustically-driven. Maybe that's a good starting point. And about contemporary stuff, I know nothing, so Adios and good luck

Whatever a 'Duck's Tail' may be ... what is the dis-beneficial effect of said condition? Fret buzz? Dullness of tone? I've read ugly stuff about Fender necks going bandy through inadequate 'seasoning' of the timber - is this the same thing?

My pleasure. I've got lots of lists. I'm a list kinda guy. Looking at it, it's a bit 50's - 60's. You may need input from a young person. Spotify and WE7 are good. With WE7, you don't even need to register. Just play.

These [i]must[/i] be easy if I can play them. And anyone around 40 should know them. Sorry for the crap layout but it's straight paste from my 'Hoary Old Covers for Parties' list. SONG BAND / VERSION 1. 634-5789 SAM & DAVE 2. ALL DAY AND ALL OF THE NIGHT THE KINKS 3. BABY PLEASE DON'T GO THEM 4. BACK IN THE NIGHT DR FEELGOOD 5. BATMAN THE JAM 6. BONY MORONIE LARRY WILLIAMS 7. C'MON EVERYBODY EDDIE COCHRANE 8. CAROLINE QUO 9. CAST IRON ARM PEANUTS WILSON 10. DUST MY BROOM (E JAMES SLIDE RIFF) E JAMES 11. GHOST RIDERS IN THE SKY / MOTORHEAD FRANKIE LAINE / MOTORHEAD 12. GREAT BALLS OF FIRE JERRY LEE LEWIS 13. HEATWAVE THE JAM / MARTHA AND THE VANDELLAS 14. HIGHWAY 61 REVISTED BOB DYLAN / JOHNNY WINTER 15. I FEEL GOOD JAMES BROWN 16. I HEAR YOU KNOCKING DAVE EDMUNDS 17. I'M A HOG FOR YOU BABY RUFUS THOMAS(?)/ DR FEELGOOD 18. JUMPIN JACK FLASH ROLLING STONES 19. KEYS TO THE HIGHWAY CLAPTON 20. KNOCK ON WOOD EDDIE FLOYD 21. LET'S STICK TOGETHER BRYAN FERRY 22. LONG TALL SALLY LITTLE RICHARD 23. LOVE POTION # 9 COASTERS 24. I'M A MAN / MANNISH BOY MUDDY WATERS 25. MIDNIGHT HOUR WILSON PICKETT 26. MONEY BEATLES, SMOKEY ROBINSON 27. MYSTERY TRAIN E. PRESLEY 28. NOT FADE AWAY HOLLY, STONES 29. PAPER PLANE QUO 30. PETER GUNN BLUES BROS / MANCINI 31. PRICE OF LOVE EVERLY BROS 32. RIOT IN CELL BLOCK # 9 COASTERS / FEELGOODS 33. ROCKIN ALL OVER THE WORLD QUO 34. ROUTE 66 - ROLLING STONES / FEELGOODS 35. SHAKIN ALL OVER THE PIRATES 36. SHE CAUGHT THE KATY BLUES BROS 37. SMOKESTACK LIGHTNING HOWLING WOLF 38. SMOKIN IN THE BOYS ROOM BROWNSVILLE STATION 39. SOME KINDA WONDERFUL SOUL BROTHERS SIX / THE INMATES 40. STAY WITH ME THE FACES 41. SWEET HOME CHICAGO BLUES BROS / ROBERT JOHNSON 42. TEAR IT UP CARL PERKINS 43. TUTTI FRUTTI LITTLE RICHARD 44. WILD SIDE OF LIFE QUO 45. WOOLY BULLY SAM THE SHAM 46. YOU REALLY GOT ME THE KINKS 47. YOU'RE SO SQUARE PRESLEY

I'm a bit out of touch these days, so wouldn't like to recommend any. Many shops are whiter than white. Others are thoroughly bad eggs. The downside of commission sales / consignment is when: * They sell it and trouser the cash. Then spend months telling you it still hasn't shifted, as was the well-known practice of one formerly eminent Denmark Street-er. Do a walk-by every so often. Or ring 'em up from round the corner, then drop in 30 seconds later and ask to see your bass. If they've lied to you, remove the instrument immediately, producing your consignment receipt. * They report a lower sale price than actually achieved and pocket the difference. No viable safeguards against this. * They sell it to a mate or another dealer at the low end of your price spread. No viable safeguards against this. * They may not haggle very hard with a potential buyer. £50 off costs them a tenner and you £40. Send a mate by to fake an approach. That said, if you know the dealer already and trust them, or someone here can recommend some names, then it's worth a try.