cloudburst

[quote name='Count Bassy' timestamp='1389281303' post='2332314'] I know and agree! My dig was not at Pino, but at the people on here (and elsewhere) who seem to think that people who play covers/versions are somehow lesser musicians than those who play originals. [/quote] Yep. I have full respect for Pino's creativity, regardless of whether the song itself is a cover of an old classic. He never seems to copy the existing line. For me: - Composing a bassline to go with our own material = difficult at times to a) make people want to dance come up with both hook and mundane rhythms to keep it interesting while c) setting the right mood for the song's story - Copying some great basslines when playing a cover = even more difficult at times to correctly replicate a certain nuanced technique My opinion is that you NEED to copy other bassists' work in order to expand your own capabilities. Attempting to cover some songs will require you to develop a tricky technique that your inbuilt 'laziness' gene would avoid using if you were just composing your own bassline. CB

I hear you! It just gets a bit wearing when forums are full of in-jokes. Can get in the way at times. CB

Ah thanks - now I think I understand. The poster wanted to appear funny by regurgitating said folklore? CB

[quote name='Count Bassy' timestamp='1389221737' post='2331682'] Re "Every Time you Go Away": This is a Hall and Oates song that pre-dates the Paul Young version by some 6 years.Therefore Paul Young's version is a cover version, therefore Pino is playing on a cover version: I think you'll find that that makes it pretty worthless according to some of the "Real Musicians" here. [/quote] I think a lot of Paul Young's songs were covers. However, (and I may be wrong in some cases) I think Pino's basslines were new and completely different to those in the originals. In my book, these basslines are worthy of study/comment/praise etc. But hey, that's just me. CB

[quote name='wateroftyne' timestamp='1389112962' post='2330171'] It's a joke, I think... [/quote] Sorry, not seeing the joke. This sort of stuff is a bit unhelpful and just confuses people. CB

[quote name='Bikenbass' timestamp='1389051182' post='2329462'] I think you'll find it was all Carol Kaye. [/quote] What was all Carol Kaye? CB

[quote name='wombatboter' timestamp='1381270190' post='2236907'] Again, I've got no idea how she would play it.. the original track is too loud in the mix to judge. She did the same thing with the slap bass on the Jackson tune. There's nothing that I love more than see and hear someone do a good job but in this case the information isn't very clear. More like a glorified playback too me.. [/quote] What is a glorified playback? CB

Just been giving my fretless Sterling and OC-2 a bit of a workout over the last couple of days, learning PIno's part in Phil Collins' "I Wish It Would Rain Down". Thoughts: - How the heck does he intone so well so consistently. I know he reckons he doesn't. But he does. - How does he think this stuff up??? - Has anyone else noticed that, even when you learn some of his parts, that plenty of his fills tend to be different from each other, so whilst some of the part forms a repeatable pattern, it's really hard to remember which fill goes where. And some of said fills are real finger twisters... - ...which leads me to ask again...if they are such finger twisters, how does he come up with them - Doh. - And has anyone noticed the guy who works at Queen St station in Glasgow all the time and is the spit for a young Pino? So even when I'm not playing bass, I can still get reminded how s**t I am. CB

Pino has always been my favourite player. And, unfashionable as it may be, it's his fretless playing that I love. Now, his playing alone (on Call Me, Shoot Down The Moon, NY Minute, Playhouse, Wish It Would Rain Down, Do You Remember etc etc) makes my jaw go slack. But what makes my jaw actually hang open is when I consider that, without formal theory training and whatnot, he had the maturity, at the tender age of 26, after playing bass for only 9 years, to engineer classical Stravinsky ideas into a pop song - Wherever I lay My Hat. It takes a particular type of artistic mind to do that. Whoever reckoned there are thousands like Pino Palladino - I think not. CB

Yamaha BB5000. CB

My Steinies (as expected) stay in tune. However, more surprisingly, my Jazz rarely needs tuned. Probably because the strings are quite stable, now that they are 39 years old. CB

[quote name='CamdenRob' timestamp='1377763074' post='2191368'] Man that white one is an attractive piece of kit... I've no idea what these sound like and never played one but that's seriously easy on the eye. Rob [/quote] The XLs... The white one is close to mint and my go-to bass Rob. The black one is absolutely pristine and is for trade. They sound as big and fat and punchy as any bass I've played. Hotter output than my Bongo too. Being small and made of graphite, they travel well and stay in tune. The pivot point of the boomerang being the CoG of the bass, you don't feel it after a whole night's playing. You mainly need to get used to the fact that the nut is a little bit further away when the bass is strapped on - can mess with your muscle memory a bit. CB

[quote name='lonestar' timestamp='1377763559' post='2191375'] Or a Fairlight [/quote] Or a Jupiter 8 - like this one I'm watching on eBay. http://www.ebay.co.uk/itm/221271758396?ssPageName=STRK:MEWAX:IT&_trksid=p3984.m1423.l2649 CB

Yes indeed Gus - the Kramer Pitchfork was a very 80s thing. As was Mark King's JayDee. CB

CB

With the fscs only protecting £85k per bank that goes tits-up, you can run out of banks when trying to save fairly safely. So given the eggs/baskets scenario and the fact that you don't actually make a lot of interest on savings these days, it makes sense (certainly for me) to buy commodities which are not going to lose money, may gain a little and can be enjoyed too. CB