Steve Browning

That's depressing. Not sure why they'd take education over real world experience. Maybe the pool is larger but I would actively avoid students. I am probably being a bit harsh but my view of music students is that you can't be taught what isn't instinctive.

I liked it because it was music based. I'm not sure I got anything out of it particularly. You lose one gig and you consider your options, that would seem pretty obvious. Similarly, I know only too well how important it is to be able to get along with the other guys in the band/touring party because you're together off stage for much longer than you are on-stage. It did underline the element of luck involved (playing ability being a given in that world). The luck is seemingly how you break into that clique in the first place. I imagine there are other cases similar to Billy Joel so not too sure why he was singled out but he didn't come across well.

Two basses for me; 1953 Precision - serial number 0189. It was in excellent condition (it's in the Haynes Fender Bass manual), and 1966 Slab Precision - I had no idea how rare these were at the time and it was also a fantastic bass for recording.

Just finished watching it. Aside from the bassists (who else) I'm not sure I've seen so much over-playing in my entire life.

Given your thread on work pi$$ing you off then this can be seen as nice things happening to nice people being somewhat borne out.

Simon Law at SVL Guitars. He's in Winchester and was Robben Ford's tech, he is currently Pete Townsend's.

Might be!! So I gather. Even in my day it was all the old R'n'B stuff although we did start to introduce some of the SF Sorrow material.

The Pretty Things were at their peak between 1989 to 1995 imho. I think my gig actually been to would have to be the Sensational Alex Harvey Band at Portsmouth Guildhall, don't recall the year.

He Hartley felt a thing.

I had a Mesa Boogie RR 2x18 that stopped the UK from lifting off into the air.

What were the other 512 results?

John Deacon's bass rack with Dbx compressor. That will be late 70's I reckon. http://www.geocities.co.jp/Broadway-Guitar/1391/bass-rack-unit.html

Agree completely. I am a dedicated Rotosound user (and, to declare an interest) endorsee. I love the tone and consistency of the strings. As you say, a home grown product (and we were both born in the same year!!).

Queen, until the synths appeared or maybe Dr Feelgood until Gyp Mayo left.

http://www.normansrareguitars.com/product.php?productid=5987&cat=199&page=1 Rather a nice maple neck at Norm's in LA (not Littlehampton)

I have a recollection of the (tall) bass player in Cockney Rebel using a Mustang on TOTP for Come Up And Make Me Smile. That looked ok.

I think Bach. I remember hearing he could improvise entire fugues which means playing stanzas forward, backwards, upside down etc (the stanza, not the performer!!). As for contemporary musician, I haven't much of an idea really.

'canal, that was clever.

I have always wanted a nice mocha Precision but the main problem I find is the fact that the finish was around in the days when basses weighed as much as a small fishing vessel. They look like they've been dipped in oxtail soup.

Has to be Queen.

David Gilmour seemed happy enough.

Help other players improve? Do they ask you to or do you take it upon yourself to critique these people?

As you see from my signature I have a number of MIJ basses. They are all, without exception, extremely well made instruments and exceed any expectations based on the cost. I remember a member posting that they had cut through the copper strip between the bridge pickup and the bridge. Don't do that! Buy the MIJ and enjoy a great bass.

Classic and Cool is run from a private home but, having been there twice, Mark is only too happy to meet arranged visitors and puts no pressure on you to buy at all. A thoroughly decent bloke.