Pete Academy

My funk brother, we can always rely on you to keep us up to date with the latest grooves. This one is sublime. The bass part is deceptively easy...but aren't they all? Thanks again

I gave up listening to other bass players' sounds years ago. There's no point. When you hear a great bass sound and you realise it's a cheap instrument, you want to put away that four grand Roscoe. It is, and always will be, in the fingers.

I can't stop looking at it. Wonder what Stan thinks?

Did anyone do a double-take when they first saw Stanley Clark on the cover of BGM? Best viewed from about four feet away.

I went to the Gorilla to see him. First time I'd witnessed him live. His bass sound was every bit as stunning as I hoped it would be. Anthony Wellington has been with him for some time, providing the bottom end while Victor is soloing. His sound was more scooped, but still immense through his Aguilar rig (I'm getting more impressed by Aguilar the more I hear it), and he kept the groove going all the time. On a few solo spots, he proved he could slap as well as anyone. Victor is a great personality and showman. He made some mistakes, especially on Norwegian Wood, which only goes to prove these players are human, too. Derico Watson, his long-time drummer, was incredible. My only complaint is about Regi, his brother, on guitar. He displayed an amazing tapping technique, and on his solo spot he sang some good classic soul songs. However, once we'd seen his diddling for a couple of minutes, he should have stopped. Instead he carried on, and on...I think he was close to spoiling the gig. Luckily, Victor managed to turn it around with an incredible solo performance. I think there will always be those that see him as a trade show preforming monkey, but getting up and close to one of the finest players on the planet, is testimony to just how great he is. By the way, does anyone know what pedal he used to get the little arpeggio at the end of certain notes?

Never seen him live before. I've got tickets for Gorilla in Manchester, June 30.

My friend has agreed to lend me the MM for my next gig.

I have a lovely all-original 1978 Jazz, plays like a dream, fantastic sound. However, it weighs a bloody ton - the heaviest bass I've ever known. I gigged with it last Saturday, and with the help of a Comfort Strap, it wasn't too bad. But the next day I really felt it, my muscles really aching. A mate of mine has a mid- to late-80s Stingray, which I've always liked, and he's asked me about doing a swap. I have to admit I'm tempted. I would probably need about 400 cash plus his bass. I know my bass is more if an investment, but I'm not getting any younger. Should I ask for a deal or just suffer the weight?

Larry Graham has always been credited for having invented the slap style for electric bass, due to him trying to fill in for the absence of a drummer while playing with his organist mother in church. However, I've read a couple of interviews with Louis Johnson, whereby he claims that he learned the style himself without ever hearing Graham play. Any thoughts?

I was working in music retail in the 80s. Everyone had Mark King/slap bass mania. One young guy was obsessed with Mark, to the point where he bought the same JD bass, Funkmaster strings, Trace Elliot amp - he even wrapped black gaffer tape around his thumb. One Saturday afternoon he came into the shop, face like a slapped arse. 'What's up?' I asked him. 'I went for band practice and they sacked me.' 'Why?' 'I slapped 'House Of The Rising Sun'.' True story.

Love it.

Fantastic track.

Thanks mate

I miss playing with Nearly Dan. My concept. 18 years down the pan The joys of alcohol...

I don't think about chord names. I think of the fretboard as a grid and remember everything as shapes on that grid.