Rich

Joe Bonamassa?

Stones.

Two PCBs in the mail from Fuzzdog. Looking forward to some nice relaxing tinkering at the workbench.

Oh my word. I feel an interesting photoshop project coming on

This. Absolutely everything about it. No redeeming visual qualities whatsoever.

Or aesthetics in general, for that matter.

Oh thanks, now I really fancy a caramac. Off down the shops for a spot of social distancing, then.

I don't mean functional features like slim necks or tighter string spacing, I'm talking about purely aesthetic stuff here. Body shapes and the like. I'll start the ball rolling. Early P-bass/Tele headstock shape. Don't like it, at all. It looks like someone's had a bandsaw accident with a regular P neck and tried to make the best of it. 90s hair-metal Charvel/Jackson pointy headstocks. Looking at them, you can just smell the hairspray and dodgy spandex. Stick your foot on the monitor and away you go. Far, far away please. "Whoops". Rawwwwk. Errm, no ta.

Cynical marketing exercise. "What are we going to do with all these leftover Jag bodies?" "Easy. Tweak the router CNC, knock the point off the top horn and bang on a Tele neck." "Ok, might take some time to do that." "Simple . We'll just call it CS or Masterbuilt and charge seven grand. The usual people will lap it up." "See, this is why you're head of marketing."

Long Beggs-related story. Feel free to scroll on by. Back in late '86, when I had hair and a discernible waistline, my rock-pop band were making our desperate bid for stardom. We lived in Reading, so it was dead easy to jump in the car and head into London to play gigs. We played quite a bit at the Red Lion in Brentford (RIP) -- our first few gigs there were as support to a guy called Philip Jap (the old farts among you might remember him) and his then band 'Secret Society'. I think he missed a trick by not calling them 'Jap's Eye'. Anyway, he asked us to play support at a party in London and we accepted. Being the mid 80s, slap was still acceptable -- almost mandatory in fact -- and our songs featured a lot of it. A lot. So there I was, thumbing the blazes out of my poor Wal, and it gets to the song with my showoff solo bit... I take a deep breath and go thwack-thwacka-ding wickety-wackety-wockity-dang, and having given it my best I look out at the crowd... straight into the eyes of Nick Beggs. Apparently an ex-label mate and friend of Mr Jap. I had a brief moment of wanting the ground to open up, I mean here's this bass god looking at me and I've just tried to impress this audience with something he could probably have done with one arm tied behind his back. But then his face broke into a big genuine smile, and with a nod he raised his glass towards me. I was walking on air for a month after that. I've bumped into him a couple of times since then, obviously he doesn't remember me but he's always been really friendly and happy to chat. Definitely one of our instrument's Nice Guys.

Officially the happiest song of all time.

No thanks, I want to keep the few friends I've got

I know, I was just being facetious. God knows we could do with a bit of a chuckle at the mo.

My bitsa P has a J neck. Will that do?

My Wal is for me. Always will be. I'll sell a kidney first.

Good call. I'll just pop out and buy one... ah.

Waghorn RD. That top is just stunning.

Shuker 'Uberhorn'

Yes it's definitely not Jamerson, but it is an entirely accurate facsimile of his original bassline.

14:09, when it steps up a gear and the bass pedals kick in... Oh my word. Gives me shivers and goosebumps, every time.

This for my money is the greatest single bassline ever recorded. It's very busy but still sits beautifully in the song without overpowering it, and when you isolate it you really get to appreciate its fluid majesty. Brilliant.

Topics merged

As long as you kept the "whoa, fookinell" which is my favourite bit I'd definitely have kept Eleanor Rigby and binned Ob-la-di (and Octopus' Garden, did you keep that?), but I agree on a lot of the others. I'm not wild about their twee moments either.