KK Jale

[size=4]Just came across this song by a Boston band I'd never heard of… love the vocal, the arrangement, the nods to Jackson Browne/Aretha, and the bass by Bridget Kearney who also wrote the tune… [/size]

[size=4]Be warned, it's as hooky as fook! [/size]

http://www.youtube.com/watch?v=uRrjDhQLw9s

[quote name='merello' timestamp='1403989119' post='2488392']
Who is the bearded hippy in the woolly bunnet? Singing Mars?
[/quote]

John Grant. Sweet song. Been out a while.

https://www.youtube.com/watch?v=mzWQSabtWLs

[quote name='MacDaddy' timestamp='1403704548' post='2485472']
If it's not good enough for Pino anymore it's not good enough for me.
[/quote]

[size=4]Fair point... the drummer I play with isn't good enough for Pino anymore, mind, and[i] ​[/i]he's more than good enough for me [/size] [size=4] [/size]

Funny, I watched the movie just two nights ago at my local pub's film night. Some pretty funky bass stuff on there.

Much better songs than Rocky Horror IMO. Suddenly Seymour is a corker. Ellen Greene had a heckuva voice...

Well it's up on the site, just not in the best place

http://www.guitar-bass.net/page/gb-25-10/

[quote name='PierBea' timestamp='1402010847' post='2469297']
Can you post a link to info on Ken Parker's archtop basses, please?

[/quote]


I cannot, as Parker has not made an archtop bass, to my knowledge. That paragraph was on the subject of guitars, not basses. Apologies.

Interesting. I once played a Halfling model six-string by Tom at the Montreal guitar show. It was beautiful, but Ken Parker's archtops left a far greater impression on me.

High-end is right, I bet this bass will cost north of $30,000...

^Very very wise (and even better coming from a drummer) [url="http://basschat.co.uk/index.php?&app=forums&module=extras&section=legends#"][/url]

Thanks!

Watching a video of a recent (and very enjoyable) dep I did - acoustic country-soully-rocky band with a good drummer, never played with him before - I noticed that I do have a tendency at times to play towards the front of the beat. Pushing a touch, if you like.

It's a bit of a surprise as I always thought I was a middlish-of-the-pocket kind of player.

If I'm right in what I hear (and maybe I'm not), I suspect it's the kind of deep-set thing that would take quite a lot of work to correct, and I'm not sure if I should.

Nobody's ever complained, but I'm wondering if it would be good to recognise it and try to keep an eye on it.

On the other hand... are such things the meat of what makes a rhythm section individual? For instance, I've heard Booker T and the MGs tunes which had Duck Dunn (personal hero) as a fairly on-it bassist, and Al Jackson (total genius) who was sometimes so far behind the beat that he was still outside in the street.

Any thoughts?

Re. Casino: see if you can find an Elitist model to try. They're made by Terada in Japan and the quality’s way up on the Chinese ones.

Otherwise, a secondhand P- or R- serial prefix Casino will have come from the Peerless factory, they're the best of the Korean bunch IMO.

I'm down to just a Tele and a Gibson 330 (same thing as the Casino, as you know). Totally different, but so complementary. An ideal pair.

^Arr! Me too moi luvver.

Come to think of it, if Rob Green reluctantly changed the name as little as possible from the original 'Strata' having been threatened with toenail-removal, pliers-wise, by the ever-charming and relaxed Fender company, allegedly, then it's possible it was, originally, pronounced 'Stah-tus'.

Which would make the Americans right, and me cross.

^That's lovely.

Here's my Epiphone Texan. It's a 1958.

[url="http://smg.photobucket.com/user/transalp1998/media/EpiTex1web.jpg.html"][/url]

I tried that Starfire the other day. Very good indeed IMO. (I went in to try the M-85 but the ergonomics, neck dive, string spacing and bridge were all hopeless.)

While I was there a swearing ranter came on the phone with what sounded like a minor set-up problem on a Squier he'd bought, and the guys were incredibly patient. Props to them.

Super enjoyable dep at the weekend with old mates. I don't half look grim when I'm having fun [url="http://basschat.co.uk/index.php?&app=forums&module=extras&section=legends#"] [/url]

[media]http://www.youtube.com/watch?v=lv3ZfUg1gP4&feature=share[/media]

Hmm. Watching it. Lukather yes, Frampton with the red 335, no?

Painfully Hollywood but that's I guess the way they do it. Sincerity overload. Still, give the guys yet more props while they're still here. Nothing wrong with that...

Ok, just googled the band... Kenny Aronoff (drums), Lenny Castro (percussion), Chris Caswell (keyboard), Peter Frampton (guitar), Rami Jaffe (organ), Steve Lukather (guitar), Greg Phillinganes (keyboard), and Don Was (MD & bass)...

Looks like a bitsa... a maple Telecaster Bass neck jammed onto some kind of 80s body with P/J pickups, one of the old high-mass bridges and a 51-style control plate.

Santa Monica is a nice (and safe) trip out and easy to get to. In fact it's a good place to base yourself for a day or two. Hotel Carmel is the one I use. There's a bunch of mainstream shops, plenty restaurants, a blues club I never found. A beer with nachos on the end of the pier is cool. Truetone Music is a particularly visitable guitar store.

From Santa Monica I like walking down to Venice Beach along the front, looking round there, maybe checking out the old canal area, then walking back on Pacific Avenue, two streets back from the sea... nice cafes on there, couple of thrift stores. Long day but a good one. Stay away from Venice Beach at dusk though.

Inland, maybe do Sunset Blvd, get out to Guitar Center, oggle all the overpriced vintage stuff, buy cheap accessories. There's another music store just nearby as I recall.

I quite like LA and have even gone around by local buses - you do meet the freaks though.

i think it's "The road is shiny, the wheels slide, four turkeys on a dangerous ride" - the wonderful Eno and King's Lead Hat.

Thinking of which...

"I got some groceries, some peanut butter,[font="Verdana, Arial"] [/font]to last a couple of days...."

It'll be as bonkers and theatrical as you'd expect. I heard it’s being directed by her son... who's about 15 as I recall

No tix for me, but I would if I could.

Hmm.

An Alembic might be the ultimate statement of 1977 but probably too astronomical...

Tobias? I think they started in '77. There's Hamer. Also Guild, but if you don't like Gibsons…

Or think much closer to home… not just Shergold/Burns but Dick Knight, Geoff Gale, Gordon-Smith, Chris Larkin, Pete Back… possible serious bargains in those areas…

Lovely! Precisely the kind of thing I've been looking for

I'll chuck my twopence worth into the "don't refinish yet" side of the argument... cos I really like it.

Stripped-body Fenders can be rather cool when they've got a bit of age on them.

And there's something so nice about 'honest' non-originality, to my mind...

^Not necessarily... old Martin ukes had markers at fret 5, 7 and 10, the expensive ones 3, 5, 7, 10, 12. It's a bit of a uke tradition.

Pre-'30s Larson Bros guitars were 10th fret too.

When I was apprenticed as a luthier I once put an octave marker at the 11th. In my defence, I was terribly hungover. New fingerboard. Ouch.

That's pretty bad. 20 mins is getting long, 25 mins people start to notice, 30 mins they're rightly pissed off.

Breaks should be about 15 minutes tops... just long enough to get to the bar, get served, a quick fag for those who do, pile back in.

Like the nine minutes for the snooze button on your alarm clock, 15 min band breaks are a scientific fact.

Way, way more EQ control I imagine (wouldn't be difficult). No gain, but you could outboard that. I would LOVE one of these.

Apologies - rock context, so not what you seek, but a favourite of mine. With the Cowdenbeath Brass Band. Give it a couple of minutes.

[media]http://www.youtube.com/watch?v=hhtvhxbb40s[/media]