scalpy

Pretty sure there’s been plenty of good rock music since then, Songs for the Deaf springs to mind, but it officially died the day Andrew Lloyd Webber released the School of Rock musical. Even if John Bonham could do CPR it’s way too late now.

Great video and had a quick check against my transcription- and we work it the same way fortunately. However, I maintain if you have a band that isn’t really familiar with the song and the singers don’t dictate where the tune is it’s blooming tricky!

The verses are all over the shop as well, I wrote it out for a fireworks night do thinking it would be an easy learn but each one is different. No rules for those guys, just change chord where the tune dictates.

The guitarist in our band has a 62 strat, gigs it occasionally. Everyone thinks it’s a reissue unless they really know what they’re talking about. Re finish so slightly different rules compared to the bass above.

Yep!

Yes, the Sting/ Shaggy record.

Was in Cheltenham the other week, right by that place. Never heard of it fortunately as I’d now be in the possession of a criminal record.

Are you sure we didn’t play the same place? Exactly the same for us at above example. Herefordshire/Worcestershire border?

Did one last year. The drummer arrived first and the venue manager told him he was too loud before his tom case was out of the boot. There was a 70dB limit for us at the bar. The bar was quite a way from the stage, we did a dB check with no music, just the punters laughing amongst themselves was peaking 85 or so. The bride also wanted to perform first- she and her sisters had been in a girl group and the groom had never seen them. They did about 10 insipid All Saints numbers and we went on. The bar promptly served the food and we just watched the audience exodus from the dance floor. Then the manager comes over and said we were too loud. First dance was wind beneath my wings, which would make a worthy much shorter post on this thread in itself. Only the bride and groom on the dance floor. Things did get rolling a bit but we had a laugh telling the audience off for clapping too loud.

How to take credit for the audience dancing.

First off, I adore the first bjork clip, that got me into her in a big way- seemed so unreal and interesting. Second, it’s a great shop window for unusual and off the beaten track stuff which is interesting but sometimes you just want some balls to the wall rock n roll. Jo Wiley remembers this episode the way I do, I think it was overloaded with rock, wolfmother and another I can’t recall, and the Foos come on at the end and go, enough’s enough, have some of this. Love it.

Dancing in the Street is our current set 2 opener. Does what is says on the tin.

Do a Pino in the Who.

Thread won and over.

We had a few of our songs used by itv on their F1 coverage. We’d recorded them at AIR with a producer called Matt Butler, who has recorded some other bass players in his time, like Geddy Lee, Marcus Miller and Paul McCartney. One of those songs was going to be in a Hollywood movie as well, but 9/11 happened, and as the film featured some terrorists it was pulled never to resurface.

Thank you, that’s us in the middle of our Knock on Wood skit. Head on to the Hey Yahs Facebook page, we’ve been a little quiet of late but there’s some videos on there, mostly of us being idiots!

Eurolite for the 4 panel LEDs, got a package with case, footswitch and stand, around £250 each. I wouldn’t get them again though, the stairville stuff is better, better autorun programs, brighter, and not as fussy if you want to use xlr cables instead of dmx (which I don’t have a clue about.) Can’t see the exact bundle doing a turbo search for the uplighters but there’s be loads of applications for something like this one- https://m.thomann.de/gb/stairville_led_bar_240_8_rgb_dmx_3_bundle.htm?o=31&search=1525705879

We were in a similar boat and I’ve started to get a basic rig together. I made the classic mistake starting out thinking it was about lighting the band, so have two pole mounted 4 panel LED bars for either side of the stage. We leave them on a basic slow fade from one colour to the next, they’re the same brand so I just set them off at the same time! The best things I’ve bought so far are two LED bars for uplighting the the back of the stage. Thomann jobs, 70 quid for a pair. They make a huge difference, especially if you’re playing in a marquee or up against a white wall, the colour gets soaked up and it’s like you’ve got a screen behind you. I also have two single floor mounted flood panels hooked up to them, lighting the drummer’s silver kit (we call him Ginger Bacofoil) What I’ve since learned however, is that you light live music from the back, going out to the audience. Next step for us is a basic frame and some moving heads running on automatic. Thomann is amazing for lighting gear and it’s easy to carry, small and cool as well- gone are the days of Turkey basting bulb powered lamps. Obligatory photo of our rig in action (also highlighting how hard it is to keep leads tidy on a white floor!)

Good quality wedges do sound immense, but in my experience the monitor guy will be so intent on proving it you spend half of soundcheck going ‘that’s great, just turn it down, no further please, no more....’ One guy even stopped me during an interval and said I needed to turn down- my amp was set at less than we rehearse at, and didn’t realise the bass drowning out the pa was his rig.

I had a really nice JJ jewel, which I used at work to take soul band rehearsals. It had got knocked over once before and had a hairline crack around the neck pocket. One day we were working on ‘performance’ and they decided I should demonstrate the Pete Townsend leap I was on about, which I promptly did. Upon landing, I felt the strings go slack and the body drop, which I caught. Looking down the neck was completely separated from the body. I put the dismembered guitar on the floor and the trumpet player asked me ‘Is it dead sir?’ When I confirmed i thought it indeed was he picked up his instrument and played the last post as solemnly as he could manage, the cheeky begger.

I was stood by the desk at V festival in Weston Park one year. Their sound engineer and the hire guy were having a blazing row about something, from what I could gather about what he could or couldn’t do, and when the band started they sounded terrible. The sound guy got to work, 8 bars in and the kick sounded exactly Questlove should, then the whole kit. By the chorus the vocals were loud and proud, and the end of the song they sounded magnificent. The guy worked like a dervish, and it was a proper insight into how to mix on the fly and make the best of a bad job on unfamiliar gear.

Don’t Stop ‘Till You Get Enough just came on in the car. Nothing on that track that isn’t perfection but can’t imagine it without the percussion part, especially on that outro, which has a groove deeper than Zuckerberg’s pockets.

13 when I attended this. Ray Cooper can certainly power a song, when he cuts across to the tambourine still gives me chills. Vocal energetic more than musical mind. Also, whilst on the topic of Ray, he once featured in a documentary made by George Martin where he duetted with a slowed down recording of tree cells rejuvenating and I’ve never been able to find it. If anybody knows I’d love to see it again. Seriously, I would!

If I was buying new I wouldn’t touch Aggies, but I got my pair of db112s in boss tweed for less than the price of a single new one, with covers. Doing the kind of playing I do the only cab I’d need to purchase now would be a barefaced one ten. But it would have to be silver grill or limited run ‘posh’ finish, because of the clients requirements, not mine.

I know they are stupid money now but one thing I will say in their defence, and I have said it before on here so my apologies- they look great. It may not make a huge difference to some, but I play mainly weddings and small/mid theatres. I swear blind if you rock up with cabs that look like they fell out of a astra in the 90s (unfortunately many top end cabs do) the client thinks you’re too loud before you’ve even put the cab onstage. Only TKS can rival Aguilar in my book, and I saw a big increase in bookings when I got mine.