chris_b

[quote name='Mykesbass' timestamp='1451472850' post='2940700'] I just don't think Summer of 69 sounds right without the production effects on the original [/quote] Badly played and over played songs are the danger for cover bands, but IMO a good song doesn't need much production. Like Buddy Holly songs, a good song can be stripped down to the bare bones and it'll still work. You've got to be Mr Pastry (google if you don't know him!) to make a mess of them. But I like Bryan Adams. I think he writes some cracking songs that stand up even as just 4 chords on an acoustic. Missing You by John Waite is another over played song but It just works with every audience I've seen, especially if you under play it. The other proviso is that simple songs have to be played well. You can't cut any corners or fudge anything or else they just won't work.

I'd expect Gimme Some Loving by the Spencer Davis group to be up there in the listening public's collective brain.

If you're serious about a cover band then no song should be "off limits" unless it gets no reaction or worse still a negative reaction from an audience or your band can't do it justice. The bottom line is that you're there to satisfy the audience first. As there are thousands of hit songs from the last 60 years there should be a lot of numbers where the audience and you can agree. I don't like playing Tainted Love but it's a very popular number and a floor filler and sing along for every audience we've played it to. Cover bands shouldn't ignore a reaction like that.

Bad news. A bit like Keith Richards, I had almost got to the point of thinking he was immortal. Sadly not.

[quote name='drTStingray' timestamp='1451299656' post='2939330'] I didn't think he played with Aretha? [/quote] Chuck Rainey and Bernard Purdie, the classic Aretha Franklin rhythm section. [media]http://www.youtube.com/watch?v=EXJx2NnnxA0[/media]

I have some gigs over the new year and the guitarist has added some Steely Dan, Josie, Rikki, Reeling in the Years and Revelation by Robben Ford. All good stuff.

[quote name='drTStingray' timestamp='1451174014' post='2938714'] How about Jerry Jemmott with Aretha? [/quote] Sorry, my next favourite would be Chuck Rainey.

[quote name='JTUK' timestamp='1451044738' post='2937986'] Whereas my choices take quite a time, I'm very picky and tend to choose pretty well. Most of the gear I have I keep because it does what I want it to do. I very very rarely turn over kit within a year or two..if that. [/quote] Exactly.

Is the Muscle Shoals film the one that starts with Rick Hall and Fame studios? If so they left out all mention of Tommy Cogbill. That's unforgivable.

My wife, who actually [i]is[/i] the cooolest wife in the known universe, has seen it all many times before. She first saw me play when I was in the band at school so I reckon she's served her time. She does come to the occasional lunchtime gig but usually; the band is too loud, I don't get home until very late after leaving too early to get to the gig and I talk to the guys in the band. I call it networking and she calls it ignoring her. She is very cool, and I have to admit, she is also right on all of those points.

Trad? Never! Just conjures up images of cardigans, Brylcreem and Hush Puppies. Dixieland, with the likes of Kid Ory and King Oliver, every time.

Don't confuse the greatness of Jamerson's lines, the great singers and the super successful hit singles with the majority of Motown's output. Motown put out a lot of unremarkable songs on the albums which were intended to be throw away pop music. Motown was always well written, arranged, recorded, performed and played but most of it was very forgettable. Jamerson wasn't unappreciated by Berry Gordy and during the Detroit years I believe he became the highest paid session player in the US. I think Jamerson was the most creative and influential bass player. He didn't just open the "busy bass lines" door for the rest of the world, he knocked the whole wall down. In spite of JJ's unique greatness I still prefer Tommy Cogbill with Aretha Franklin, David Hood with Mavis Staples, Duck Dunn with Sam and Dave and Vernie Robbins with Jean Knight.

I've come this far without ever reading a spec sheet. Bass gear only has to get you into the ball park, and most of it will do that quite successfully. The other 80% is down to the playing.

Stax and Atlantic. This was where the cool music was being released in the 60's and 70's. Most of the people/players I knew at the time regarded Motown as pop music and disregarded most of it until the early 70's when What's Going On and the Music Of My Mind were released.

Jazz is sub divided a thousand times. . . . which one? I'm listening to these guys at the moment: [url="http://www.youtube.com/watch?v=HNb9k4JoyOc"]http://www.youtube.com/watch?v=HNb9k4JoyOc[/url]

If you're asking then I'd suggest you need to do a lot more homework. You should only spend that amount of money on a dead cert. Having said that, my Wal Custom mk3 5 string was the best bass I've owned and played. They are a cut above in quality, sound and feel. They are not for everyone and not for every band. I sold mine because after the studio dates and originals bands dried up it didn't get used very often, but it was very special while it lasted.

[quote name='Twincam' timestamp='1450697773' post='2934897'] Why doesn't someone get together at the next bass bash a small selection of class d amps and a small selection of other amps similar power rating. [/quote] We already did that last year at the SE Bass Bash. We put valve, SS and D class amps through a Barefaced 212. The results were closer than you'd expect. There were no turkeys and nothing sounded bad. Also, nothing sounded good enough to make me want to sell my TH500, which sounds perfect when going through either my Bergs or Barefaced cabs.

I get out the Bach Cello Suites when I want to brush up on my reading. So far no one has ever asked me to gig any of that stuff. Very worth while playing though.

[quote name='Behlmene' timestamp='1450587170' post='2934070'] The "Elevators", a very cool band name [/quote] All the bands that are using it seem to think so too.

[quote name='JTUK' timestamp='1450529199' post='2933645'] All building blocks for when I do play live. [/quote] +1 Most of the numbers I play at home I'll never play live, but most of the bass lines, phrases and fingering will get used at one time or another. Always pick numbers you're not used to playing and you're not comfortable playing and work on them until you can play them in your sleep. The best players have the biggest library of ideas under their finger tips.

I'd get a Squier P bass and replace the pickup and pots.

That's how we do it.

Good idea.

[quote name='Paul S' timestamp='1450424582' post='2932570'] Great fingerstyle groove 'Mind On You' from their latest EP 'Sirens' recorded live. IMO back to the simple acid jazz of the early days. [/quote] That's what I mean. . . . I like that one.

[quote name='Yawn_Blah' timestamp='1450425375' post='2932580'] Hi chris thanks. what are the possible problems, before i search for a techie because they are rare in my area. [/quote] YB, I can't think of anything that would be helpful. Where are you based? I know luthiers can use Loctite 222 Screwlock to keep screws in place, which might otherwise vibrate loose. It might stop your truss rod unwinding. http://www.amazon.co.uk/Loctite-Screwlock-Controlled-Torque-10ml/dp/B00M1UDU36