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foal30

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Posts posted by foal30

  1. I think Prince only released 3 of the best albums of all-time in the '80s.
    yes to that Grace Jones /Trevor Horn - Slave to the Rhythm
    New Order did some good pop music
    Talk Talk
    Talking Heads
    Kate Bush might have done a corker of a record too
    and of course the Style Council
    possibly Mr Weler's finest moment

    The The and The Smiths

    crikey the '80s were chock full of great music.

  2. Tori Amos covering Kate Bush covering Nirvana covering Boston

    Simple Minds covering Prince was not my ideal interpretation of another's music.
    the aforementioned Paul Young version of JD

    I'd probably view any cover of anything by the Blue Nile skeptically.

  3. MoonDance
    Paul you should PM Bilbo, he will have this, it's one of his favorites.

    Stevie Wonder - Master Blaster (not very well)
    Style Council - Shout to the Top (slightly better)
    Journey - Don't Stop Believing ( better again, still not very good)

    it's one of the most valuable things you can do, and not surprisingly I find it quite hard work.
    I often find I'm quite insecure about the correctness of note choices and generally even worse on making a concert decision on what chord THAT is

    but like theory and sight reading a little bit a day adds up.

  4. yes to Willie Weeks and Stanley Clarke
    both Voices Inside and School Days amazed me. Still do. Great music.

    Prince - 2NigsUnited4WestCompton
    Paul Chambers - Blues by 5
    Marcus Miller - Legends Concert, on the fretless 6, nice.


    always liked the Sade tune with the bass break in it, quite like some Joy Division but probably Perfect Kiss New Order video version for specific bass solo, Larry Graham Hair

  5. heh I took my '83 Steinberger to Jazz School
    and they were fighting over it
    and it wasn't just about stopping me playing it

    is it sensible to not learn to read and write English?
    if Music is a language (as opposed to strictly a "feeling")
    should we not converse in as many of it's dialects as possible

    theory is not to the exclusion of ear training or technique or groove or improvisation
    it's one part of what can make us musical artists
    arguments that imply theory hampers other aspects of musicality
    have limited reality in my playing history
    in fact, with near uniformity, it is the opposite the applies
    those who love their instrument enough
    to slog through the hard work of theory
    are often the most interesting and joyful people
    to participate musically with

  6. there is nothing intrinsically wrong with wooden Steinbergers
    it's just unnecessary
    if you want a wooden bass buy a Fender
    if you want graphite buy a Steinberger

    what is the sound of Steinberger?
    phew...
    well the L2 is tonally versatile.
    this I realize is a terrible answer

    I like old strings, neck pup full, tone off, bridge pup 10%
    thumb w/ palm mute

    it is fair too say this would be an atypical Steinberger use potentially.

    try Elton John
    "I guess why they call it the blues"
    here is an original Steinberger
    poptastic Dee Murray

  7. a playalong is a sympathetic piano and drums
    I do not think it is mechanical and as for looped, it should be because you are learning "those changes"
    I'm of the opinion it's far less likely to cause the described fret w***ery
    agreed most bass solos are terrible

    a playalong is a great tool to make real music, far preferable to a drum machine or even worse a metronome. It's good for your ears too, you hear "proper" chords. A lesser musician will always bang out formulaic, ill conceived ideas if that is the limit of their imagination. Unless you can afford to hire a pianist and drummer for your practice time I'm not sure how the beginner/intermediate player is supposed to be able to "hear" the tune(s).

    I don't think your mad. aside form the unaccompanied solos bit :)
    different people use different tools different way.
    I know some people who swear by grip-masters and TAB so it's clear it's horses for courses eh

  8. practice and public performance are two different things
    but you can't do one without the other

    I reckon I bought Slutsky Jamerson book in 1992
    I still practice from this

    also practice music not scales
    but a scale can be musical
    so you need to practice why it can be

    the older I get the more I enjoy practicing. I especially like you can hear your a "better" player but paradoxically there is a lot more to do :) You practice more to learn your shortcomings or gaps in ya knowledge

    everyday practice is
    reading...look at any old sheet music and have a go
    Jazz ... put a standard up with a playalong and have a go
    ears... either interval recognition/transcription/singing
    work... whatever specific requirements are needed for upcoming Bass jobs.

    I don't practice technique, I practice music. To make it sound "right" or "better" I might address or be more conscious of left hand muting... but it's Music first, everything else 7th.

  9. surely Bass Player's decline is relative to both our advancing years and the scarcity of quality subject matter?

    FWIW BP Mag was one of the best tutors I ever had... got to learn heaps from it over the years.
    195 issues I have bought, and whilst the best for me was probably the mid-90's! if it was as helpful to some young cat stratign out now as it was too me then , well fair suck of the sav.

    Roberts and Jisi could return though eh? :)

  10. why are you in a band?
    alternately why do you work?

    sometimes the difficulties make the rewards sweeter. I realize this can be a fine line. If your in a band because certain parts of this state are "enjoyable" try and focus on them. Conversely make the band experience a template of how the next group is potentially going to function. Bands are people, sometimes. Most people have a level of unpredictability and self-interest. How we mange this could be a mark on what we call sucess

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