KK Jale

Noel himself wrote a book, Are You Experienced: The Inside Story Of The Jimi Hendrix Experience, published in 1996. Though it had some insights on Hendrix it swiftly descended into whole chapters detailing Redding's post-JHE life in Ireland, the years of bitterness, management injustices and endless litigation. A very, very depressing read. 

'64 sunburst? Pics taken from genuine dealer Andy Baxter's site, see below. It's a den of thieves. ALL the high end stuff on London Craigslist is a scam. Nobody polices it. Often you see a tragic "avoid this seller, he ripped me off" advert. Run, run away. 

Craigslist: https://london.craigslist.co.uk/msg/d/1964-fender-precision-bass/6421008008.html

Baxter: http://andybaxterbass.com/details.php?id=531

NYE will make it 51 this year. Two bands have gone very quiet but are still a pleasure when they happen. The trio/duo has been making most of the running. On top of that there are occasional deps in two or three other outfits. This year has been slightly more guitar than bass, again. A new and potentially busy old-school rockin' originals start-up has just imploded, making the diary look a lot thinner than I had hoped. Boo!

For mostly playing at home, plus  the odd small scale gig, I'd pass over the AER and take a shuftie at the Schertler Giulia.

It's light, looks nice and sounds good. 

https://www.thomann.de/gb/schertler_giulia_y_amp_wood.htm

Though I'd love to have been in Duck Dunn's shoes, or Jamerson's, or Kaye's, I wouldn't have had the chops for those serious '60s studio gigs (tell a lie, I could manage with the MG's... probably my all-time fave band).

I'd like to have played with Dylan, or Van Morrison, anywhere roughly between 1967 and 1974. Simple song structures but flying by the seat of your pants and right in the middle of that swirling mercury sound. 

On 11/23/2017 at 13:09, mentalextra said:

What makes a good drummer? 

Swing. 

Not sure if it's still the case, but the Spitfire guy apparently used to rout an over-large pickup hole in his P-bass guards.  If you search on here you may find him explaining why. I'd need to check he's come to his senses before ordering one. 

Those would be a really excellent choice if you decide not to search for the raised polepiece thing.

Welcome!

If your JV is a '57 as your name suggests, of course you'd be looking for a pickup with raised A string polepieces (whether these help or hinder string balance is another question!) As far as I know, your options are limited to a secondhand one taken from a real JV, or from a Fender US Vintage Reissue.. don't think they've ever been available separately. Otherwise, you could order a really nice custom pickup with the correct specs... plastic covered wire, raised polepieces, etc. Maybe try Mojo Pickups or Oil City?

[quote name='tauzero' timestamp='1508057550' post='3389455']
One came up on That Ebay a few days ago at a very reasonable price, collection only from That London.
[/quote]

I really really wish I hadn't looked that up and seen how much you snagged it for.

If you're looking at a MIJ Fender from Ishibashi or similar, take a look at the upmarket PB62 DMC/VSP, which came in nitro.

A possible contender: Ronnie Hilton, Love You I Will, UK 1964

Can't find it on spotify nor youtube, alas.

[url="http://www.45-rpm.org.uk/dirr/ronnieh.htm"]http://www.45-rpm.or...irr/ronnieh.htm[/url]

Rich is a top geezer who communicates and does packing with equal verve. Thanks Rich!

...

Fender were much later. This Fender Japan catalogue with the red P/J is from ’84, though the bass may have been released in ’83.

[url=http://imgur.com/IzWkSII][/url]

I'm going to bid 1976 (for production basses, at least) with this Ibanez...


[url=http://imgur.com/YSkLhOs][/url]

She's new to me, what a knockout, great talent.

[color=#282828][font=helvetica, arial, sans-serif]Guitarist did review a Maison bass around this time but it was a red bass partnered with a green guitar, not the other way around...[/font][/color]

Or this... Vester Clipper VB11, Guitarist Feb '93, any good?

Do it.

I'm lucky enough to dep now and then for a very respected older guitarist and his band on the rock'n'roll scene, there's about 50+ tunes, no fixed set list, you get the title and maybe a key shout and it's 1, 2, 3, 4 and you're in.

My advice: you have to commit, swing like mad, keep your ears open, and watch for the obscure songs... some of the true classics (My Gal Is Red Hot, Flyin' Saucer Rock'n'Roll, etc) can be very much NOT 12 bars and you must, must nail them. You can develop ways of playing walking lines that keep your options open for a fraction of a second in tight spots. Listening to the sometimes sketchy way real upright '50s rock'n'roll players played their run-downs and walk-ups - it can change your electric bass playing for the good. Divide the set list into bass line types and do a crib sheet - 1 5 1 5 , 1 3 5 6, whatever your personal riff notation is (mine is pretty dumb but it works for me). Watch for the stops - there can be lots of them - very much part of the song, you must nail those too.

It's loads of fun.

I think you're right. Nothing's impossible but I'd say bound and blocks on a P is very (x 100) unlikely.

Honestly, JJ's actual P-basses are some of the very few star instruments I have any interest in.

I mean, the bass that was played on THIS... c'mon!

(And if anybody here's never seen this, it's well worth a few minutes of your life, especially with headphones on).

[url="https://www.youtube.com/watch?v=fPkM8F0sjSw"]http://www.youtube....h?v=fPkM8F0sjSw[/url]

Weirdly, it's not even the bass the SELLER is photographed with back in the day (it's never had a headstock button, but the one in the photo has).

Bizarre.

Emerald, no?

http://emeraldguitars.com/guitar-galleries/emerald-balor-bass/?v=79cba1185463

That's an interesting viewpoint but no agency-using band I've ever been in has used an agency-owned PA or lighting rig. Is that a US thing?

*edit: dangit Blue, just put all your thoughts in one post like everyone else

With no judgement as whether these are my styles of music or not...

Band 1: sounds fairly together. Actual gig figures for last year mean something. Mention of DI/in ears/stage volume is appreciated. If they want a new guy up and running in 4 weeks they'd better pay, I suspect they do. If I was looking, I might be on the phone to these guys.

Band 2: This is a band that just lost their bass player... again. Sounds like they rehearse four times more than they gig. What's their definition of "attitude" or "chemistry"? I've got a mental picture of these guys and it's bad. There's a cop on drums, a Christian primary school teacher on guitar and the singer once nearly had a deal and it eats him up. Avoid.

Band 3: This lot seems like a B-grade working commercial country outfit and I can tell that because crucially they included their name so I can look them up and see if I like them. I don't (oops, I just broke my rule).