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Can we please keep the Brexit stuff out of this thread? It's got nothing to do with the new single or the band's musical trajectory, it causes trouble and no one's got anything new to say. "Leavers" and "Remainers" alike: if you want to bang on about politics, please: either go somewhere else and do it or wrap your heads round the sentiment below:

This may possibly be the single-most British thing I've ever read.

And she is finished - I think a solder has come loose on fixing as only the neck pick up is working! But it sounds mint, minor tinkering only, hope my brother ends up a happy man.....!

Full disclosure: This bass was sent to me by Glarry Music. We were in discussion about advertising and I wanted to try the product beforehand. They sent me a bass to try in return for a review on Basschat. The Glarry GP bass retails for an incredible £72.99 with free shipping. Yes that's right - this bass costs about the same as an effects pedal or a couple of packs of strings. It can't be any good, surely? Maybe OK for a beginner? I had to try one for myself to see just how bad a bass in this price range would be. Glarry GP in bright yellow I have had a few Precision style basses over the years, and my first bass was a Squier Affinity Precision Bass (now apparently only available as a PJ) in blue. P basses are often associated with beginners; they're cheap, simple and fit in with all sorts of music. That's why many seasoned players end up going full circle and purchasing a more expensive 'boutique' Precision years later. Someone new to playing bass may not have much money to spend, not knowing whether they'll play for long, and with so many other demands on finances - so one might assume a cheap bass is the way to go. I'm going to argue this can be the case, but with some exceptions. The paintwork is flawless The bass arrived in a triangular cardboard box with a styrofoam insert holding the bass. Included are wrenches for the bridge saddles and truss rod, plus a 1/4" jack lead. Although the lead is cheap and rather thin looking, it's a nice addition. Indeed, Glarry sell a pack including an amplifier for £104.99. This looks like the ideal starter kit, doesn't it? Immediately upon picking up the bass, I could see how well finished it appeared to be. The bright yellow paint was even and flawless to my eye - and the fit and finish of the accoutrements seemed every bit as good as I expected. The body is incredibly light, making the neck feel heavy, however as a whole the bass only weighs 3.05kg with the balance point being around the 15th fret. After tuning up I decided to have a quick play to see how it felt 'out of the box', which is how many beginner players would use the bass. I don't remember ever thinking about action or truss rods when I started playing; it wasn't until much later that I started to tinker and get any bass playing better. As some have pointed out, those hard won early battles against high action and poor setup allow us to later appreciate a finer instrument and may even help develop our playing early on, but with budget basses being so well made these days, it's hard to argue now that someone should put up with something poorly setup. The trouble is how the player would know that their instrument can do better. The attractive headstock As such, out of the box, I found it difficult to play. The action was quite high and there was some back bow to the neck, choking out the first two frets. The strings supplied were steel rounds which felt about 0.045 standard gauge - they felt a little rough and there was some 'chorusing' on the E string which I've had with dud strings before - however, the bass was playable; it had a decent output and I'm sure a younger me could have lived with it like that, no problem. Often at Bass Bashes I play someone else's bass and find the action way too high for my tastes, so I think my own preferences should be ignored from this perspective - I should think someone more used to a higher action would have found it perfectly comfortable. I did wonder if it would be helpful for the bass to come with a brief setup guide, but that could appear daunting and I suppose most people would be able to find out some basic tips online if they were so inclined. My own worry would be that some people might not realise and it could put them off playing. The tuners are where the cost cutting is most evident Let's start with the top of the bass and work our way down. The headstock, bearing the quite stylish looking Glarry logo is unfinished maple, as is the back of the neck. It's generally smooth to the touch but has a very slight roughness, though the back of the neck feels great. The tuners are fairly poor quality - after a little grease they started to work more positively but they are quite rough and stiff to turn, especially when stringing up from scratch. Once you're in the right ballpark they seem to hold the tuning well and adjustments are easy and accurate, but their stiffness really gave me a workout as I strung the bass up and down whilst I adjusted and dismantled the instrument. I should have bought a motorised winder! The fretboard is a dark rosewood. It's quite a thick slab and it looked very dry, with small pieces of fluff stuck in the grain from where it has been presumably wiped down during construction. I gave it a liberal application of Planet Waves Hydrate which really helped the look and feel of the board. The neck itself is quite rounded and fairly deep which took a little getting used to but familiar to many with a 42mm nut. Worth mentioning is the fretwork - it's extremely tidy!! No high frets I can detect, not yet at least - and although the fret ends are cut a little roughly they can be easily addressed. Before - a bit dry! After - looks much nicer! Action post shim showing fret ends The neck joins the body in a conventional bolt on fashion. Here, there's a plastic spacer between the neck plate and the basswood body and a four bolt arrangement. I found the neck pocket to be too deep, so I ended up adding a shim to lift the fretboard up, allowing a lower action. Even by normal standards, with the bridge saddled flat on the floor, the action was quite high and I noticed how close the fretboard was to the surface of the body, almost more like a neck thru design. I'm not sure if this is normal or whether mine was cut a little deep, but I added a shim of about 2mm to bring the action into line. I should note that I also had to file the saddle of the G string down another 2mm in order to get a super low action - again, not something everyone would need to do. Neck with shim added I restrung the bass with Ernie Ball Cobalt Flatwound strings, 0.040 size, which instantly made it feel better and reigned in some of the uneven response from the round wounds. Worth mentioning though that the rounds that came with the bass are for sale at only £6.99. The Cobalt flats alone cost more than half the price of the rest of the bass. Worth mentioning and also noticed at this point was the nut - it was quite rough and had a few sharp edges which I removed with a knife and some sandpaper. Otherwise it seems to be cut just right and functional enough. The nut before tidying up New strings The precision bass pickup is a thing of great mystery - there are so many types, overwound, underwound, alnico or ceramic magnets, vintage or modern, poles or blades, you name it. The pickup use here is actually perfectly acceptable - it has a good even response which is particularly snappy in the treble range and though I think it lacks some low end, the output is decent and it has a truly authoritative sound. The pole pieces sit quite proud of the cover which I don't like the feel of because I keep touching them, but I've seen others which are flush with the cover so I'm not sure which is most common. The height of the pickup was a little bit low, and the lack of foam underneath or springs on the retaining screws means that can't be adjusted easily, and I'm not taking the strings off again to add some springs until I have that motorised winder! Electronically all seemed in order - it’s a simple wiring harness, the soldering looked quite neat and the pots are freely rotating and with a nice amount of resistance. However, after reassembling the bass (I removed the pick guard and removed the debris in the cavity and sandpapered off a few rough edges on the plate itself) I found the tone control no longer worked. After some poking about with a screwdriver I found the cap on the tone pot had one leg touching the wire to the volume knob - the post are quite small and the legs are quite close together. I probably bent it a little bit whilst removing the plate, so I bent it back into position and all was fine again. I'm not sure that would have been a problem otherwise. The Glarry P bass pickup The guts and wiring - would benefit from a little extra shielding And finally, the bridge. A classic 'bent tin' affair, with five bolts at the back but also an extra two at the front corners. The saddles are free to move side to side of course, but once strings are under tension it's stable enough. Adjusting the intonation was fine, but as mentioned I did have to file down the string slot on the G string as those barrel saddles are quite tall - but I've had to do that on all sorts of basses, not just cheap ones. Otherwise it's business as usual at this end. The bridge after adjustment My overall impression? I now have a super playable and excellent sounding bass which is great to look at, comfortable, light and CHEAP! I definitely recommend that you buy one if you're confident with doing setups or just want to have a play around - even for the painted body alone you can't say fairer than the price. Others have pointed out how these basses could be the ideal testbed for modifying, but personally I think it's just great fun playing such a cheap and cheerful instrument. Would I recommend one to a beginner? I think so, with a caveat - honestly I think once set up properly these make superb basses for beginners or otherwise, but they really do need some fettling to make them more playable, which ultimately might mean a beginner sticks with it. The trouble, as mentioned, is getting a beginner to realise that they should put some cash aside for a setup when they buy one - however with a test sample of one bass, I'm not able to judge how well setup there are generally. As mine had a little backbow on the neck I think a beginner would be reluctant to try and adjust that themselves. The sound? well, I know some magazines and reviews give a star rating but I don't think it's possible to judge the sound with stars - all I'll say is that this bass sounds great now, with good strings it has all the snap and clank I like from a Precision. You could say it's a little 'poky' sounding, but it has a really nice character and I really do like the treble response of that pickup. Soon I'll add some sound clips to the post but in the meantime, please ask away if you have any questions! Cheers ped

Dear Fellaz & Fellazettes! Five Watt World is back with yet another great video! This time it's about the Precision Bass! https://youtu.be/3tw8Ms1Sbek A lot of research done there, obviously. Learned a lot in that video about that beloved instrument ! Jazz Bass lovers: U better subscribe & hit the bell button to get notifications cuz it seems that the Jazz Bass video is already on the way! (Read the comments under the video!)

There are fairly frequent posts on here regarding the difficulty of seeing position markers on dark stages. Here's my solution....... Firstly go on eBay and search for adhesive luminous tape, (will cost a couple of quid) Next get hold of a hole punch (see pic) again, no more than a fiver from eBay You'll need tweezers and something like a small screwdriver to poke out the luminous marker from the punch. (see pic!) Craft knife. Tools needed. Use the punch to cut a marker out of the tape ( there are 5 or 6 different sizes on the punch I have) Remove the marker from the punch using the screwdriver.... Place marker in the desired position using tweezers..... And repeat as necessary..... Enjoy!!

With @Sibob 's neck sorted and, with the remaining bits now arrived, just before the final TLC bits of @wwcringe 's Squier recon, there was a gap wide enough to do the neck two important bits of the dreadnought. First the installation of the pickups. It's interesting - just after coming to the conclusion that the most flexible solution for Matt's studio and live work was to have two outputs, I found out that his present Faith guitar has just that. In my case, it whittled down to the L R Baggs Anthem mic/piezo and the K&K Pure Mini. Now you can probably see why I opted to leave the back off at this stage! The two jacks will be unscrewed and taped to the inside while I do the back binding the finishing, but those are pretty easy to fix in place with arm through the soundhole. With the other stuff, it's difficult to get everything in exactly the right place and securely glued when you can't reach and can't see! The battery fits in a pouch velcro'd to the back. Also not forgetting the all important label! And so, finally, after many dry-fit checks, the glue's on and it's too late to change my mind

According to Glenn Fricker (YouTube studio recording advice channel in Canada), we're c*+ts...

When I was looking I couldn't find a lightweight, narrow string spacing 5er Precision so for the past 18 months have been enjoying this rather spendid Mah-roos-chick Jake 5. Weighs in at an even 8lbs.

Played last night. Checked the bass I was taking beforehand as I always do. Didn’t take a backup for a variety of reasons - new car so not yet sure how much fits in it (was picking up guitarist with his gear too) and the usual “I’ve never needed a backup” lazyman theory. Gig to the sound check, plugged in, nothing. After some help from the sound guy it turned out to be the input jack, the material was so weak that it had just given up, bending it into position was fine, put the hack plug in it and it bent it out of position with no contact. Luckily the headline bands bassist allowed both support bands to use their backup bass (insult to injury here, I was meant to be loaning my bass to the first band on who had come over from Germany). So to anyone who doesn’t need a backup, in my 30 plus years of gigging I never have until last night. Lesson learned, always take a backup bass, doh!

Took my 13 year old son to see The Pixies last night in Plymouth, I've never seen them before, and really enjoyed it, riotous! He'd never seen crowd surfing before and thought it was wild! Great boys night out

Here’s my well thought out opinion. After giving this some careful consideration, I have decided: I don’t mind, really.

Shortly before Mr Entwistle popped his clogs I dragged a much younger and slightly sceptical work colleague along to see The Who. He was literally a changed man afterwards, asking for a list of the best albums and generally carrying on. I left the company not long after but ran into him a few years later. 'You know what I did after that gig?' he said. 'I went out and bought a guitar and learned to play it'.

They threw "The Golden Condom" into the crowd, saying that whoever caught it would be expected to come on stage, cavort with their nude dancer, then go backstage with her. Nobody made any effort to catch it - there was a rush to get out of the way as if someone had thrown a human turd. One poor drunk fellow was ushered towards it by his "mates" - he picked it up and was pushed on stage to be grabbed by the dancer. As he suddenly realised what was happening a terrified look came over his little beardy face, and there was a huge sigh of collective relief from the audience. Last we saw of the unfortunate sap was him holding onto the (male) guitarist in an effort to stop the dancer dragging him backstage. Makes the (male) stripper we had once at the Marquee look like CBeebies!

Clearly the best way of finding out is to find one and try one (maybe GuitarGuitar would get their Edinburgh one shipped to your nearest branch?) But, design-wise, it should balance fine - and there's a couple of reviews I've found that say that it does. As @ahpook says, there is a sweetspot on bass guitars and electric of where the front strap button sits that is a bit of a 'goldilocks' zone - ie, level with the 12th / 13th fret. It is unlikely, with anything like orthodox designs, that a bass with the strap button here isn't at least going to balance on the strap. This is the 34" Lakland that MusicRadar reviewed: As you can see, the strap button is in that goldilocks zone. The next thing I generally look for is the size of the headstock. Because of the leverage effect, small weight changes at the headstock make BIG differences to the balance. This one is comfortingly small. Another thing I would look for is where the lower waist sits and how wide it is. This affects the balance over the knee. This also looks pretty good to me. And actually, I'm not sure that the Lakland is particularly light-bodied. I can't get the numbers, but comments from various forums seem to indicate that it is not a super-lightweight. This one I designed and built for @Len_derby is less than 6 1/2 lbs and this one - following the same principles above - balances just fine : By the way, the MusicRadar review that the Lakland photo came from was comparing 4 semi-basses. They said that the Lakland was in a complete different league to the other 3 ...

We played a street festival today. It was our acoustic act. Not a great crowd, but you know what, Our stage looked great, we looked great, the weather was fantatic 75° sunny clear skys with a nice breeze off the lake. We had a blast playing and singing we were really tight today. So much fun. We have another outdoor event tomorrow 4:00 -7:00. Blue

So.....more tinkering. Picked up a set of seymour Duncan Rickenbacker pick ups, but don’t have a Ric, so what should one do - rout a jazz body and see what happens! Managed to get a USA Fender Highway One body nicely cheap, and an unused status P bass neck (love a status neck!) for a great price, and off we went. In addition I picked up a Stellartone Duo 6 V4 Tonestyler Jazz plate up cheap as well. Disclaimer - I have no routing tools so a combination of a Firsch Forster not, chisels and Dremel did the routing, so it’s not ‘neat’ but it's functional. Also at this stage I have not commissioned a Pickguard to fit as this would be the best thing to cover my sins, but Ashtrays give to me by a friend do a decent job. Now of course, silly me forgot that the Rick pick ups are nearer the neck than the bridge, so of course, the volume drop off on the E and G is noticeable! Just a word for those doing something similar to remember! Options i I thought of were flipping the saddles 180 degrees on the E and G string so the underside is uppermost and that should bring the groove in closer, or get a Schaller 3D Bridge where you can get a string spacing of 14.5mm (this bridge is at about 18mm), fortunately I found a good second hand one so it’s on the way. I am also getting carbon paint for the cavity as it’s a little noisy and the copper tape made it short out. I did have a little play, and you know what, it really works, full, Rich and punchy. Will update when finished

I returned today, to one of my old, favoured bass places, Promenade Music in Morecambe. Used to go there every few weeks but hadn't been for 2 years. Anyway, Gary's still working there and is a great bloke for loads of friendly, knowledgable chat and a cup of tea. Had a hankering for another 4-stringer and after some discussion, we more or less narrowed it down to 3 basses. A Marleaux Consat Custom 4 (used), a Fender Flea Signature Active Jazz Bass, in Satin Inca Silver and a Musicman Stingray Special, in Chopper Blue. The Marleaux is a superb bass, with a classy, hand made feel and quality woods. The only part that didn't impress me was the pre amp, it just didn't seem to deliver, to my ears. I was a bit dubious about the Flea Jazz but I have to say, I think it is a great bass. I reckon Flea told Fender to take a JB and make as much like a Stingray as they could. And they've done a bloody good job, IMO. Very solid and resonant, really well built and a rather good pickup. The only changes I'd make would be a 3 band EQ, instead of 2 and a slightly wider string spacing at the bridge end. I would have been very happy to bring it home with me but as the title suggests, the winner was the Stingray Special. Now I already have a standard 2014, EBMM Stingray, with a single HB and 3 EQ, that I reckon is great. So why get this as well, other than the usual excuse of permanent GAS? To me, there enough differences between the 2 Stingrays to give enough of a different playing experience. The Special has a slightly different pickup, with Neodymium magnets and an 18 volt pre amp, to deliver even more bassy goodness. The gorgeous, roasted maple neck feels a tad narrower, with slightly more rounding off, of the rosewood fingerboard's edges and lovely stainless steel frets. The tuners are definitely nicer, with a more 3D ergonomic, comfy feel to them and the body is rounded at the neck heel to improve one's upper fret playing experience. Also, overall the bass is a little lighter. So does all this make the Special better than my old Stingray? Probably yes but I do so enjoy my older model, it's not going to be left on it's stand. I really like the Chopper Blue coloured body, with the pearloid white pickguard, black pickup and chrome hardware. This is a pretty bass and definitely feels like it's got all the iconic, classic aspects you have to have in a Stingray. Yet it's subtle improvements feel like a natural evolution, with no revolution needed, thankyou. I'd test driven this beauty through a rig very similar to my own and so am looking forward to the next band rehearsal. Specifications: Model: StingRay Special Size: 13-1/2" wide, 1-5/8" thick, 44-7/8" long (34.3 cm wide, 4.1 cm thick, 114.0 cm long) Body Wood: Select Hardwoods Body Finish: High gloss polyester Bridge: Vintage Music Man® top loaded chrome plated, steel bridge plate with vintage nickel plated steel saddles Scale Length: 34" (86.4 cm) Neck Radius: 11" (27.9 cm) Headstock Size: Only 8-3/4" (22.2 cm) long Frets: 22 - High profile, wide, Stainless Steel Neck Width: 1-5/8" (41.3 mm) at nut 2-1/2" (63.5 mm) at last fret Neck Wood: Select roasted maple neck Fingerboard: Fretted - Rosewood Neck Finish: Gunstock oil and hand-rubbed special wax blend Neck Colors: Standard – Natural with finished headstock Tuning Machines: Custom Music Man, lightweight with tapered string posts and ergonomic clover design Truss Rod: Adjustable wheel - no component or string removal Neck Attachment: 5 bolts - perfect alignment with no shifting; Sculpted neck joint allows smooth access to higher frets Electronic Shielding: black plated aluminum control cover Controls: 3-band active preamp with 18 volts of headroom; vol, treble, mid, bass Pickups: Standard - Single Humbucking with Neodymium magnets.

If it is genuine any remedial work on it will affect its value negatively. You speak of the 'paint checking' : many try to replicate this to make a Bass look older. However it looks as if the paint may not be original as I think I can see the indentations for bridge cover holes are covered in paint: if this was original paint you would either see wood in the screwhole or no indentations if the bridge cover was not fitted from new. Just do as others have suggested re the pickguard and chrome knobs, an old bass does not have to look perfect!.

I always take a spare bass to every gig. The last time I had to use one was about three years ago when the strap button came away from the body of the instrument. 30 seconds later, I was playing again. I’d never be without one.

I’ve given in and ordered the Boss. Nobody has stock and the next load isn’t due until end of October, but if I didn’t order now I’d blow the money on something else! I am so weak.

That’s. lovely story. Entwistle was at the gig I saw and he was phenomenal. Power of music!

“Stop getting The Who wrong!!!”

I don't mind a bit of bad boy behaviour from the stars but every time I've seen a guitarist so much as whip a shirt off down the Green Dragon, mid set halfway through that Stereophonics cover everybody seems to do, I've tended to think *(insert whatever words our spam filters would change right here)*

He would’ve approved I think. 🍻

I'm tempted to agree with you. The 80's and 90's were not kind to The Who. Townshend's brief though disastrous embrace of New Romantic fashion (and eyeliner) will likely never be forgotten. Likewise his stint at a publishing house where he self-importantly edited collections of poetry or something. Nevertheless, at some point in the 2000's the band seemed to reconcile themselves to being a Greatest Hits act and their live performances became audibly and visibly more punchy, their set at The Olympics being a good example. Clear-eyed fans viewed the occasional release of new Who albums as theoretically desirable but unlikely to deliver uniform satisfaction. Anyway, all the good stuff is still out there to be enjoyed and - who knows - there may be a corker of a track lurking somewhere on the new album. I'm glad they're still going even if Pete is even more of a miserable bastard than ever. His autobio was such a narcissistic downer I read it and - against normal procedure - threw it in the bin. PS: FWIW, when Moon died in 1978 Townshend was only 33 and already publicly agonising about the relevance of 'old men' playing rock music. When the news broke that Moon was dead I was in a bar in Athens. The whole place went silent for a minute then everyone got blind drunk and fell over.

Iggy also shagged a teddy bear on Saturday morning kids TV, so I wouldn't necessarily use him as a marker of conventional stage behaviour

Never mind a backup bass, I’ve forgotten to even take a bass in the past. On TWO occasions!!

👏👏👏

This is what I do for a living so I pretty much practice every day. How much varies, but it's usually betweeen 3 to 4 hours per day- sometimes more. What I work on is usually dependent on my on going studies with Charlie Banacos. Although Charlie is no longer with us, his top student - Garry Dial - of 38 years who works on behalf on the Banacos family continues to carry on Charlie's legacy. I studied with Charlie for 10 years and in that time had 150 lessons with him. I haven't counted, but I've been with Garry for the last 8 years and have probably had roughly well over a hundred lessons with him as well. These are all Charlie's original lessons in his own hand. They are very involved and it takes a lot of time to work these concepts into your vocabulary. At the moment I'm working on a bunch of John Coltrane improvisational concepts which are mind bending to say the least. My formula is simple: Listen, practice, play! I never warm up- I just sit down and do the work. Often to find out what I need to work on, I'll practice improvising over a tune (with no backing tracks) and after about 12 choruses, I can find various things that bug me about the way I played. It's sort of a reverse-engineering process but it works for me.

I do remember seeing The Vandals supporting Pearl Jam about 20 years ago - I only remember the name of the band for two reasons: their drummer was in the original line-up of A Perfect Circle, and their singer inexplicably got his kit off during the PJ support gig. Fortunately I was far enough back not to experience either psychological trauma or retina burn. Phew. I wasn't so lucky for a couple of gigs my last band did in our early days. In a triumph of booking mismatch we (a female-fronted proggy/gothy/rocky band) were on the same bill as local hardcore punk veterans The Swellbellys - who, as the name & pedigree suggests were rather well-fed gentlemen from the halcyon days of punk rock. The intervening decades might have softened their waistlines, but not their attitude or desire for freedom of expression - their encore involved the entire band getting naked, and exhorting the boisterous, enthusiastic and very, very drunk audience to do the same. In a very, very small room. I still have nightmares. Often about chipolatas and scotch eggs.

Blimey, you wouldn't want to buy a used bass off them .... but having said that, at least it wouldn't have any buckle rash on the back.

It could equally be called the Stringed Tuba

She's just getting clued up so she'll absolutely know for sure that you'd bought an original '59P for £20k, when you'd told her you were actually only buying a Custom Shop reissue for £2K....

You could ‘charge’ it with a small UV torch, too. A few seconds and they’ll glow for ages! 🔦 ☀️

That was very interesting and well done. Enjoyed that a lot. Dave

Just back from a Grateful Dudes gig in Cockfosters. Difficult acoustics, but the soundman had it sorted by half way through the first set. Audience all up and dancing around - they're a lovely bunch, the Deadheads!

I thought this was another 'show us your rig' thread......😇

Basically, doffing one's kecks and flaunting one's trouser trout is something that a tiny minority of male singer / front-men were wont to do back in the late 60's - early '70s. Indeed, among big-name performers I can think only of Mr Mr Pop and Mr Jim Morrison who embraced this approach, though lesser or local luminaries will doubtless have followed suit in homage or in imitation. (As an aside, it should be noted that Mr Fee Waybill of The Tubes was accustomed to wear a fake penis, this peeping coyly from his shorts). We should remember that the 1960's was a decade where going 'sky-clad' was very much a thing among young people, in part because to do so symbolised a rejection of bourgeois values. Nowadays, of course, young radicals never take their clothes off, for fear of triggering other young people. Indeed, it would seem that today's adolescents and young adults consider sexual intercourse to be a hate crime. But I digress. Going butt-nekkid in front of an audience is something that almost never happens these days and in olden times it was pretty much only the singer who did it*. Back then the rest of the band customarily remained fully clothed (though I am open to correction) possibly for aesthetic reasons though - more likely - to accentuate the singer's nudity. Nobody attended a Doors or a Stooges concert in the hope that Ray Manzarek or James Williamson would haul his winkle out and in the event that other band-members had brogged off I would have expected both Mr Pop and The Lizard King to have given them a swift punch up the throat. To be honest, most audiences today would be surprised if the singer took off his clothes but bewildered if the bass player did so. 'Why has the chap with the big guitar dropped his strides?' they'd cry. 'It just doesn't make any sense'. * Apart from the dancer Stacia out of Hawkwind

If this has been released as a single can't see it getting many plays as the intro is not really radio friendly and the song takes too long to get going. Not unpleasant and very recognisable as The Who however.

Very nice, well done on the Highly Commended award. Is there much Titch in it? Frames and running gear with your own body and power transmission? I'd like a lathe, but to be honest I can only think of a couple of projects that I'd need it for, and I probably wouldn't start them anyway.

That was great. Lovely bit of bass geekery. @yorks5stringer in fairness that part of the video was talking about the rise of the electric bass in general rather than the Precision in particular.

That's nothing.... the pro's go in ear.

Very interesting, We have our first gig with our new lead guitarist next weekend. A 4 hour gig. Weve reheased with him twice and gave him a cd of our live show . He couldnt make it to rehearsal this week. He's 25 a family man and student. He's a talented guirarist and singer. He came to us through our drummer. I'm not to keen on either of them But, you know what., I'm keeping my mouth shut. I'm 66 twice the age of all other members now. I'm old school and these guys think very differently about everything. They're young and smart and the gigs keep rolling in. I'm lucky to have this job. I'm lucky to get to the gigs and home without getting lost. I'm old I can't fight these youngsters. Don't you feel sorry for me? 😄 Blue

Very interesting, We have our first gig with our new lead guitarist next weekend. A 4 hour gig. Weve reheased with him twice and gave him a cd of our live show . He couldnt make it to rehearsal this week. He's 25 a family man and student. He's a talented guirarist and singer. He came to us through our drummer. I'm not to keen on either of them But, you know what., I'm keeping my mouth shut. I'm 66 twice the age of all other members now. I'm old school and these guys think very differently about everything. They're young and smart and the gigs keep rolling in. I'm lucky to have this job. I'm lucky to get to the gigs and home without getting lost. I'm old I can't fight these youngsters. Don't you feel sorry for me? 😄 Blue

GEESUS the sight of me in a french maids outfit ,,,, i dont think so