KK Jale

Our singer does it only very occasionally, with a home crowd, usually near the end of a certain cover... an obscure and lovely Neil Young song that's become something else, the way we do it. So we stay on the turnaround while he gets it done, break down section, really soft, and the cool thing is, as it's going round, nobody does a single thing different. Not one slap, lick, roll, twiddle, or parp. Best band I've ever been in.

[color=#282828][font=helvetica, arial, sans-serif]Though I must admit, I played a private boat party yesterday for a load of charming theatre lovelies, and the ever-fragrant Juliet Stevenson was bopping about, and I strongly suspect I was grinning like a fool. [/font][/color]

I know from pics and videos that I mostly look fairly stern/miserable. I try to alleviate it by taking enjoyment when others in the band play something cool. Otherwise, I don't bother. I'm trying my darndest to play the best I can, every time. Acting doesn't come into it. If I did corporate gigs for £250 a pop, maybe I'd make an effort. I was once nobbled at the bar in the break by a girl accusing me of not looking happy, but she picked the wrong night. I very truthfully turned to her and said, "Well, I fell off my bike four days ago and broke two ribs, it hurts me to blink, and frankly I'd rather be in front of the telly with a shitload of Tramadol. Have you got any?" She went away rather quickly, looking shocked

All looks good from top to toe but I do notice somebody's had a go at the truss rod nut. I once bought a dead mint Squier JV '57 P which was probably only mint because it turned out to have an inoperable rod. Probably not helpful. Sorry.

Done.

[quote name='Jazzneck' timestamp='1456328003' post='2987917'] Well, that's me out then - 1949 - unless someone knows of one. [/quote] Sir, your only shot, as far as I know, is a '49 Bud Tutmarc-built Serenader Electric String Bass. Aaaaand good luck with that [URL=http://smg.photobucket.com/user/transalp1998/media/aaaJPEG_zpswkcumlpf.jpg.html][IMG]http://img.photobucket.com/albums/v348/transalp1998/aaaJPEG_zpswkcumlpf.jpg[/IMG][/URL]

Loads of top suggestions, many of which are in my reckoning, so I won't repeat them... But just to add... Bowie's Scary Monsters (And Super Creeps)... ...and Kirsty MacColl's Kite.

Same here, cancelled. Hey ho.

Don't worry, it's fake

I think it's the highest possible calling for a carefully-crafted inanimate object to be gradually worn out in the heat of battle. If my Precision finally falls apart at exactly the same time I do, that'll be a result for both of us.

Great price, couldn't resist. Cheers!

'Tis a Yamaha SuperJam 500. Edit: like this [URL=http://smg.photobucket.com/user/transalp1998/media/aaaa_zps2gch3o7b.jpg.html][IMG]http://img.photobucket.com/albums/v348/transalp1998/aaaa_zps2gch3o7b.jpg[/IMG][/URL]

Ha! But no. At the time (the mid-'80s) I was listening to a lot of Beetheart and Sun Ra, and quite up for embracing the unexpected. This wasn't a jam, it was more like spiritual kidnapping.

Can't compete. But... I once worked in a place in Bristol, a very easy-going and fun job with lots of people my age, and one of the guys on my team was a drummer (pattern emerging?) who seemed very friendly and who eventually invited me over for a jam with a mate or two of his. So I went along and we started mucking about with these "pieces" that he had. They were very strange. It was like a kind of math-rock-meets-world-music, but odd and disjointed. The drummer seemed fixated on superimposing odd patterns over certain chord forms while smiling a lot. Eventually the story came out. The drummer was involved with a cult - sorry, "esoteric movement" - called the Emin. The Emin, as far as I could make out, believed in many things, including colour vibrations, numerology, the power of object's shapes, attaining levels of knowledge and light, and some kind of actual space exodus. The drummer was attempting to create, with the movement's local leader, some form of music to illustrate/accompany these beliefs. Hence the clashing time signatures, weirdness, and air of basic unlistenability. I didn't hang around long enough to discover whether the Emin involved some kind of pay-as-you-go system. I suspect it did.

I'd like to give banjo a go again. It's been years. Must say these days I'm much less drawn to warp-speed bluegrass and much more to frailing/clawhammer styles, mountain tunings, that old-time vibe.

[quote name='FuNkShUi' timestamp='1451847952' post='2944018'] The Tech 21 doesn't have a DI though does it? [/quote] I think it does. It's on the underside of the chassis. They can go for under £100, as well.

Yes! SHO's are cool and I bet this one is cooler.

A secondhand [color=#34495E][font=Lato, sans-serif][size=4]Tech 21 Trademark 10 might do nicely. [/size][/font][/color]

I'm not sure the OP is talking about originals at all, average or not - folk and obscure funk covers were mentioned. I'd say do it. I once formed a band doing strictly obscure Stax songs (all Commitments-type material was totally banned). We got decent local gigs and within six months we were playing a show in France to 2000 people. The project didn't last: the horn section were a problem, a singer had personal issues. But it was cool, and popular, and musically exciting, and it could have done well. [quote name='blue' timestamp='1451689943' post='2942603'] For me playing covers is also creative and fun especially if your geting decent pay. I think this whole creative thing in some cases is overplayed as well as an excuse for some that have problems getting consistent bookings. And I'm never sure about this "I don't need the money, I have a job". Seems like a slap in the face for those of us doing this for a living. [/quote] I think your viewpoint is narrow and I'd guess that almost every song in your set was written and popularised by a hard-working band who did NOT go out with the attitude you do. Respectfully: you are a follower. I'm 90 per cent that way myself.

Three sets starting from 9.30. Lead guitarist did a great job on the mic at midnight. Massed dancing on tables (really), got a nice sound, the Precision and the Orange doing everything from full-on pick rock to DB style on ballads. Songs from Everlys to Beatles to Bowie to Monkees to Glen Campbell... very mad, and very busked. Fun night, oldies and youngies all joining in, job done. Only irritant was lingering for the money. 2am and will ye pay the fecking band? Jeez. Happy new year.

Those [color=#282828][font=helvetica, arial, sans-serif]Maruszczyk scratchplates, though. *shudders*[/font][/color]

Simples. Buy another Japanese Precision that doesn't have the sentimental value of your old one, and use that. Squier JV, Fender JV, you know the drill. Will hold value, not hard to resell down the line, and you already know they're great.

I'm a fan of mocha too. Off topic, but very brown-based... did you ever hear of the lapsteel-style walnut colour discovered on one '56 Tele not so long ago? http://www.indoorstorm.com/56tele.html Gorgeous...

I loved it. Weird, challenging and sexy. Some clues about the song's characters in this interview with director Johan Renck. http://noisey.vice.com/blog/david-bowie-blackstar-video-johan-renck-director-interview

[quote name='tedmanzie' timestamp='1447878224' post='2911223'] these are reverse tuners on this from what i can see. [/quote] Yep! pobrien's right though... there were two types of reverse tuners found on 1982 Squier basses. Good info on this thread, BC style.