Stub Mandrel

Post early 70s? Brilliance comes through in some of his live performances and collaborations.

Gorgeously tight ending after 8 minutes of fun:

I respond positively to every email I get. I now have $450,000,000 USD in the bank, twelve Russian wives and my penis is 38" long...

For a long time I had a Laney Probass, just 150W and in many ways a Trace Elliot rip-off but actually with more knobs and three effects loops (count 'em!) Still got it and it only let me down once (at a practice). This is actually the same (model) of amp that Krist Novoselic used on Bleach.

So could be a good deal here for someone looking for a nice but affordable 5-string with a distinctive sound and great quality. No connection to me. Oops, linky helps... https://www.ebay.co.uk/itm/Vintage-Hohner-Professional-B-Bass-V-5-String-Thru-Neck-Active-Guitar/124436364166?hash=item1cf8fc3b86:g:dKkAAOSwwQ1ezqMQ

Curious, does he know how capitalism works? The landlord has to cover an awful lot of additional costs to be able to sell beer, virtually all the extra costs of live music fall on the performers. Gross margin is meaningless for comparison.

Motorhead by Motorhead. The Man Who Sold the World by David Bowie. Which both have the unusual property of being covers of an original recording 'reclaimed' by the original songwriter. Any other examples?

I would say the same again. Don't rate Clapton by the mediocre feel-good lounge blues he plays most of the time. And I happily rate Harrison as both guitar player and songwriter. I'd listen to Cloud 9 before several Beatles albums.

No mention of Powderfinger which is possibly my personal favourite. <Edit> Just spent 10 minutes blatting away a bassline to those two 🙂

Curious timing: https://faroutmagazine.co.uk/neil-young-six-best-guitar-solos/amp/

That probably IS a reflection of small hands.

I think my first post in this thread disparaged such ranking 🙂 My point is that there is worth in those who know the music well discussing things comparatively, broad brush disparagement is a valid view, but doesn't really go very far. I decided not to mention Metheny earlier. Zero Tolerance for Silence is just an unlistenable (well, almost unlistenable) mess. On the other hand, I find Lenoise (for example) engaging and interesting enough to stand repeated listening. But my point is simply don't judge NY's ability by how he chooses to play; he was brought in to CS&N specifically to address a lack of guitar expertise and even Hendrix went on record as an admirer of his playing.

Rubbish. Only bridge end linear tuners work, you can tell that all other types of bass are permanently out of tune.

It's curious how threads like this always end up as critique rather than discussion of the relative merits of what's been ranked. Ironic as the diversity of his output probably would generate far more room for such discussion than most. I find the comment about his songwriting a bit odd. He's always been thrown in a bag with Dylan, and it's indisputable that vast tranches of Dylan's songwriting has been covered by others sometimes producing versions better than the originals. On the other hand there's not much evidence of Young's oeuvre being eclipsed by cover versions. His success and recognition is virtually all built on his performances and recordings. I think what's being missed is that Young has always cultivated (and probably a bit arrogantly) a take what I give attitude. He uses an electric guitar primarily to access tones and noises far beyond the acoustic guitar, so he isn't interested in finesse, he's after emotion. I would argue his playing is the exact antithesis of 'widdlywank'. He's one of those guitarists you can recognise within a bar or two and that alone is a marker of something special.

I read a quote from Darryl Jones this morning. He said something along the lines of "I play what I think fits because I hope they want me for being me, but for some songs you have to play the original".

Ok, I'm 6' 2", but notwithstanding that if I balance a p_bass on my right thigh I could easily reach all the tuners on an 8 or even 9-in-line headstock. Standing up with a strap, I could easily reach a 7-in-line bass. Even youngsters can reach all the pegs on a 4-a-side headstock. How? Just angle the neck upwards slightly.

Although I like it, personally I think a Steinberger type bridge so a longer scale length and less crowded fretboard in the same 'envelope' would be good.

I'll just leave this here:

Don't do anything rash...

I think I would pick them off within 24 hours...

Good bands but "Classic Rock"? I think I've heard nearly all those on Planet Rock, at least six of them are regulars. They usually allow one or two curve balls in a Rock Block, I suspect you are most likely to be chosen if the list is about 50% Planet Rock typical stuff, 30% obscure by artists that will be recognised and 20% 'rockier' music by unexpected artists. Don't forget they ask for more songs than an hour's worth, so they can drop a few.

Well rock and roll originated as a euphemism for sex, so the answer should be self evident...