chris_b

So I've just looked at the Youtube and I don't understand all the negativity. Sure it's not 1981 Chic. That might be a preference for some but it can't be a criticism of this band. It seems that US audiences are more open to the energy of a live performance and IMO too many Brits would prefer everything to stay "as it was". Jerry Barnes and his bass playing is being pushed forward as a feature of this band. That's a big difference between then and now. I love where bass is going in the hands of these players.

Sit the combo on the matching extension cab, roll off some low end, push the low mids forward and turn up the volume. Then everyone in the room should be able to hear the bass sitting in and supporting the mix with no trouble.

It's no ones job to keep time because everyone should/must be playing in time. Everyone should have a sound on stage that enables the band and audience to clearly hear each instrument. If anyone in a band can't do those 2 things then you should be looking for a replacement.

In the late 60's for a month or so there were a series of Saturday afternoon gigs in Hyde Park (no the big ones, Grand Funk Railroad etc), but a much smaller event. We saw the likes of John Mayall and many of his off-shoot bands, like Aynsley Dunbar's Retaliation etc, the Jeff Beck Group, Fleetwood Mac. A few pints in the Tabard at Turnham Green then jump on the 88 bus up to the gig. Great times.

Sunday 16th July - Tommy Blaize at Boaters in Kingston. If you're within travelling distance check this out. Blaize usually has Phil Mulford on bass and Ian Thomas on drums. An evening of high quality funk and soul.

I was late arriving to one gig, rushed in and propped the gig bag up on the seat behind the amp and cabs. Then smelt the burning. I hadn't seen the candles on the window ledge and my gig bag was melting in the flame. Luckily I was connecting up the cabs, I guess if I'd gone back out to the car it would have ignited.

[quote name='mikeswals' timestamp='1498512125' post='3325200'] I have several. [/quote] Mike, nice collection.

Very pleased for you both.

[quote name='thebrig' timestamp='1498497025' post='3325033'] I actually remember watching Andy Bown at Reading, in fact, I bought one of his albums on the strength of seeing them/you at Reading, unfortunately I probably sold it along with all my other vinyl when the dreaded CD's came along. Dare I ask, is there any old footage of your performance? [/quote] I don't think they filmed it and I haven't seen anything since. They recorded the whole weekend to put out on an album. We all got 1 song and it's a long story, but our number was taken from the album, with crowd noises added to make it sound like it was recorded at the festival.

[quote name='Grangur' timestamp='1498479667' post='3324854'] So, as most instruments probably never go on stage; so branding won't matter [/quote] I've posted this before, but a friend wanted to buy himself a great 50th birthday present and went looking for a guitar. He was shown a US Fender Strat in the shop and said, "Isn't that a bit posh? I'm only going to play this at home". The guy in the shop said, "90% of the guitars we sell are being played at home, and the other 10% should be!"

I was with Andy Bown. That was the year our manager, Billy Gaff, sponsored the whole festival. All his bands played.

[quote name='thebrig' timestamp='1498475001' post='3324789'] For me, Reading 1973 was the first one I went to and the lineup was: [/quote] You saw me then. One blink and you'd have missed us though. My first festival was Reading in 1966. Cream's first big gig was on the Sunday, but I went on the Friday. Saw Geno Washington, Spencer Davis Group and headlined by the Small Faces.

[quote name='MoonBassAlpha' timestamp='1498421764' post='3324524'] I think Jerry is bringing his own thing to it. He knows he isn't Bernard. I think his tone is right on the money, and giving the crowd something to dig. [/quote] And that's exactly what Nile Rodgers wants! A lesson for [i]all[/i] bass players. At the the top level guys will always sound and play like themselves and never try to sound like someone else. Even when they are replacing legendary and unique bass players. At our various levels we should all be trying to do the same. Guys like Jerry Barnes are hired to be themselves and bring their energy. Even playing seminal BE songs in Chic. Nile is the man!

Some fantastic gear is made in Asia. Where it's made isn't the issue. What is important is how seriously the company takes it's reputation. The Asians can make anything they are asked to. If they are asked to make a good quality product they will. The question is did Markbass maintain their sound and quality when they switched? Go and listen to the new amps and decide.

[quote name='mcnach' timestamp='1498393470' post='3324258'] With regards to noticing you, it doesn't count if you play naked. [/quote] I'd clear the room if I did that!

Good move. I had a guy from the audience come up to me last week and say, "I'm not listening to the rest of the band. I'm only listening to your bass. It sounds fantastic." What's that urban myth. . . . no one notices the bass player? They do if you make them want to!

[quote name='Mykesbass' timestamp='1498298440' post='3323685'] I need some Keb Mo in my library but there's a lot to choose from - care to point me in the right direction Chris? Thanks. [/quote] Hi Mike. For song writing - all of them except for a Christmas CD he put out for some inexplicable reason. For the bass playing, the early ones had Hutch Hutchinson on bass, the middle period had the marvellous Reggie McBride and the latter period has a role call of some of the great bassists still active today. IMO they are all good, but I'd start with Just Like You, Keep It Simple, Suitcase, The Reflection, Slowdown and The Door. Then work around to the others in time. There is also an early DVD Keb Mo sessions at West 54th which is worth owning. Edit: there's an Infinity Hall gig on Youtube with Vail Johnson on bass and a few more videos worth watching with his current line up, Stan Sargeant on bass.

The same articles could have been written about accordions, saxophones, trumpets and banjos when the popularity of their music was on the wane. 100 years ago tens of thousands of homes had an upright piano in the parlour. Where are they all now? Hawaiian music was the most popular music that bands were playing on the West Coast when Fender started. Most of his early instruments were designed and intended for this type of band. All gone. My parents wouldn't have gone to a festival if you paid them, now several friends and their kids are at Glasto. My son regularly phones me up and asks if I want to see "so and so". I took him to see Vulfpeck. You can't rebel or be cool in a band anymore. There is no counter-culture. I don't think that "guitar hero" music will be played much after the current generation hangs up their Strats. I see some sons of "oldies" out there playing but most of the kids are off doing something else. Maybe the music will never die but it will never be the all encompassing interest of a generation again. There will be no requirement for the tools of the trade either. Yes the electric guitar is in for a serious "readjustment".

[quote name='peteb' timestamp='1498255170' post='3323531'] The thing with Gibson is that they have relied so much on their name for so long and the quality of their new stuff is so poor for what they charge, that anyone with that sort of money will buy from the many other guitar builders that offer better pieces at much better value. [/quote] Two "Gibson fan" guitarists I played with a few years ago wouldn't buy Gibson any more because the quality was so bad. One bought an Orville and the other a Burny. Both far better Gibson copies made by Japanese companies in the 80's.

I'm not a "completest" by any means and there are a couple of stinkers in here that even I wouldn't buy, but I have nearly all the CD's and some of the vinyl by the Band, Little Feat, Keb Mo and Delbert McClinton.

[quote name='ambient' timestamp='1498210160' post='3323108'] I bought one from Maplins about 3 years ago. Unfortunately one of it's wheels fell off last weekend during a trip to Bath and Bristol for gigs. [/quote] You didn't have a backup with you?

Primarily he's talking to the people in the room so his presentational focus is there. In education you go at the speed of the audience so, again, that's the call he's made. VW's presentation will probably be new to the guys in the room, but film it and you're going to see subjects repeated. That's not VW's fault. VW gets booked on Bass Days to be the showman and play the party tricks. So it's hardly surprising that's what you get on a film of a Bass Day. When he's working with the likes of Bela Fleck, Chick Corea, Keb Mo etc you get an ensemble player of fantastic skill and ability.

I've owned Mk2 and Mk3 5 string Wals and the Mk3 was my favourite. It balanced well and just felt right.

Best be safe and have an AA van following closely behind.

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