scalpy

A few years back we were playing without our male singer and my wife was covering all the vocals. We were dragging out a few easy numbers to fill out the set, and were playing ‘I Just Wanna Make Love To You.’ Cue drunk bloke taking to the empty dance floor (disaster of a beer festival) and trying to do ‘sexy’ dancing. His girlfriend looked horrified and clearly wanted the ground to swallow her up. This didn’t put him off mind, as dropped his trousers to moon us all, then hopped to his missus’ table and slapped her right in the face with his ****. My wife announced at the end ‘Don’t worry folks, the guitarist is a GP and counselling is available’ as the girlfriend stormed out.

This was huge for me when I discovered it in the late 90s. Sort out of ‘oh dear, I might like some jazz.’ The whole thing is great but the opening track is ridiculously 70s super session player, beautifully played. If anyone knows who the bass player was I’d be delighted because I have looked it up many times. And the iconic sax playing of Tom Scott certainly helps.

Great link thank you.

I always thought you could get away with it, then I watched Scott Devine explain it as the difference between when a drummer does a 16 beat alternating sticks and when they 16 beat one handed. That kind of defeated any of my arguments and now I try and get through Darling Dear one fingered, bitterly!

Peculiar as it’s very hard to analyse exactly what’s going on and how it works. Unlike a good train beat or the groove to Night Train where it’s got a very calculable degree of swing (still very hard to pull mind) the Stones are so scruffy and skew whiff it shouldn’t work, but yet it does. Not everybodies cup of tea I know but it’s certainly special to me.

Anything by the Stones. That band’s groove is very peculiar.

Be really careful warming up. I had a similar issue at uni and when you’re playing everyday and surrounded by good players your perception of what a gentle, slow exercise is can be serverely warped. If you’re not already, limit how fast you go with a metronome or similar and aim for being as economical as possible.

Is this still a Noble product please? Can’t work it out!

Thanks for the tip with switch inside. Just tried it and the pop is gone. Got a power trio dep gig next weekend so will give the Soul Food another run out and see how it does.

That’s John Bollinger, noted Nashville multi instrumentalist and journalist. He comes across that way, but it’s his friendly way of not coming across as a know it all. Like I am, no doubt.

He’s really scaled back his pedal board- best thing about the interview is his introductory playing.

Think of it as the Picasso version of the Fender (as guitarist magazine once described it) Works for me!

A ‘I recommend my bass’ post, but I played a £3500 CS fender in Mansons, Exeter the other day and my LB100 knocked it into a cocked hat. The fender felt cumbersome and overweight whilst the G&L has that sound but is much more comfortable.

Got to be honest, underwhelmed by mine, not helped by the fact it makes a huge click when I turn it on. But it was a present from the wife so it stays on the board, unused and unloved.......

Gone are days of this type of thing. It’s well rough, under rehearsed and bizarre. I love it.

Congrats on your good health and new bass. Still loving your old Aggie db112s you sold me!

Have a good one, looks like a proper red letter day.

I said it was the easy answer! There are of course more complicated examples. In tierce de picardie examples you invariably resolve to the tonic major, so the root would imply what key you’ve been in based in. Of course in those styles of writing it is likely you’ve also modulated through numerous keys as well. In the more modern examples suggested you are of course right, but in those cases you look at related substitutions or cadences and get the ball park. As someone once said about this wonderful art form, it doesn’t have to be correct, it just has to be right.

The easy answer I was taught is look at the last chord.

Before anyone starts the modern G&L design is ace, I love it.

Late 70s wasn’t Ringo at the height of his drinking? Nobody’s form is completely consistent even if the industry is a lot more sanitised these days.

Mods: There needs to be a ‘yeah cheers for that mate, now I’ve got GAS’ button.

Or why most are going kemper/ helix etc and in-ears.

We’re an 8 piece band, it kinda has to be before they all get there. You’ll need space to put cases and lighting rigs etc off the stage before you’re finished. They don’t always remember but my lot know not to unload into the performing area- you end moving everything 3 times and tripping over each other. Lastly, have you played the venue before? Knowing where to park, where the plugs are and how many, are you going to obscure fire exits etc takes the stress level down massively. And use a digital desk!

Ah, I made the mistake of mentioning ‘heavy’ in a thread about Barefaced. I meant tonally. Interesting to see the perils of hired gear permeate through to the pros! I’d have gone with the Aggie every time, the logo’s much prettier.