Sean

That post applies to pretty much exactly my situation in a previous band.

We grow our own apples, pears, plums, strawberries, rasberries and gooseberries and we also go blackberry picking. Most of it gets preserved as chutneys, relishes and jam except the strawberries which get eaten immediately. Other than that I don't think we ever buy or eat commercially available fruit.

We drop the 30 second organ intro to Faith but otherwise it's exactly like the record.

My current covers band and previous covers band made changes to songs that I don't really understand and I don't know the origins of. I'm not talking key changes or replacing a sax solo with a guitar part, I'm talking about structural changes. These changes include chord sequence changes, complete rewrites of sections, changing the way a song ends, changing the intro, etc Now, these aren't avant guarde bands, or artists doing reinterpretations. They're pub/club/function/festival covers bands. Some of it is so subtle it hardly seems worth it, some of it is just plain wrong, some of it seems like someone was just trying to be creative and add their own twist. I'm yet to come across one that is either an improvement or that is easier to reproduce than what is on the original. This must be a more common occurrence than I previously thought. I can't really remember dealing with it in the past. What's your experience of this sort of thing? A few I've experienced recently to get the ball rolling: 1. Mr Blue Sky (reprise at the end). Instead of 12 bars of Db then C then B etc there's a completely different ending that uses G A Bb with a riff. 2. Long Train Running. It goes G///|G///|Eb///|Eb/D/| at the end of the verses instead of G///|G///|Eb///|D///| I have to concentrate to not play it like the Doobies. 3. Message in a Bottle. Has a different ending that you'd never guess. 4. Other songs: the chord sequence for the guitar solo is simplified. I see some logic but knowing the skills of the guitarists, I just can't see why they needed it simplifying. 5. Summer of '69. After the guitar intro the band comes in on the A not the D.

Last Wednesday was my first rehearsal with the covers band I joined recently. They've been busy gigging for over 15 years and are keen to get me integrated. We went to Firebird Studios in Bristol, which I think is top notch. It's very well appointed. We got through 20 songs and other than a couple of bits where they deviate from the original recordings, I felt that we were pretty much giggable. A great bunch that have really welcomed me and gave me free reign to run the rehearsal as I wanted. They feel that as I'm new to the band but definitely not new to bands, that the best way was for me to drive the bus. I started us off with some easier songs to get warmed up then did what I considered to be the ones that might have needed some detailed attention and then went on to some of the more fun ones to play so that we would end on a high. Other than having to restart one song because I inadvertently trod on my FX power supply and disconnected it, everything went smoothly. We're back in this week doing the rest of the set and running through a few that are new to them too, so I'm really looking forward to us all being in the same boat from that respect rather than me playing catch up. Recording the rehearsal seemed to be a new concept and got a few questions. I explained that I intended to build a library of play-along tracks for home practise that will be better than using the original artist recordings. I also mentioned that it's just good practice for any band to record and listen back to gigs and rehearsals as QA/QC. I use a Zoom H2n and then slice up the file in Logic and use the generic mastering. It's pretty good and more than fit for purpose. Edit: The "deviations"? 1. Mr Blue Sky (reprise at the end). Instead of 12 bars of Db then C then B there's a completely different ending that uses G A Bb with a riff. 2. Long Train Running. It goes G///|G///|Eb///|Eb/D/| at the end of the verses instead of G///|G///|Eb///|D///| I have to concentrate to not play it like the Doobies. I don't know why or what the origins of these are, I'm just playing 'em "wrong" so it fits in. There were a lot more of these anomalies in my previous band and didn't understand any of them. It's almost like they've been put in there to trip up deps/newbies 😃 It's probably worth a thread of its own...

Yes, that's it. I played in a band with a chap that owned one and he had a Fender Strat sprayed to match. He'd play the first set with the Fender and then switch to the Bender later on. I think as many as 10 audience members noticed the switch over the years.

Tesco? Is that the place that used to secretly put horsemeat in its products and not tell the customers?

I hope it works out well. All the best.

I've played one of the Stratocasters and it was a very nice guitar to play.

Another sign of the times I guess. Tariffs are mentioned. Remember the politics guidelines we have. https://www.notreble.com/buzz/2026/01/17/harley-benton-to-close-u-s-reverb-store-ending-direct-u-s-distribution/

Over 10 years ago we did a fund raiser for the Teenage Cancer Trust following the death of the daughter of a couple that the band knew, it was quite high profile locally and the local MP popped in, it was well-attended and was part of a series of events that the couple did to raise funds for TCT. I was told on the day that they'd raised over £1600 just at the event we played. There was a photo of the couple in the local rag after these events presenting a big mock cheque for around £400 to TCT. A friend of mine checked and that was the only donation made by them, so where the money raised at the event that we played went and what happened to the cash raised at the other events we can only guess. As you might imagine, this has coloured my attitude towards any event where I'm donating time/money.

I'm now playing in a band that has been around a long time (I'm new) and the majority of the gigs come either from an agency or rebookings from venues previously played. There's a few functions in the calendar too. The band has a good reputation for delivering a good show and the guys are all very personable and no dramas. There's very little promo material and cold calling venues to get bookings is a challenge because there's nothing to show them, so it's a combination of reputation and having a good strong loyal customer base that brings in repeat business. I get the impression, though I haven't asked, that they don't play many/any venues they don't like mainly because they've been around for >15years and have learned what venues to choose to return to.

I agree. What I will say is that the bookers don't do any means testing and I've played in bands with a lot of folk that do work that is paid at a similar level to bar work or not much above minimum wage. I've done a few of these gigs over the years and without exception, they've been poor experiences where the bookers don't value the bands, don't treat them in a civil manner and seem to completely forget that you're giving up your time, paying to be there and also blocking your calendar for a paying gig. For context, I do around 500-700 hours a year of charity volunteer work for a (not at all musical) cause that I'm passionate about, it costs me money but I get appreciated, I expand a wide skill set and it does a lot of good for those receiving the benefit. The concept of giving my time/money for a good cause is fine with me but I'm not dragging others into it and unless it's something I know a lot about, I'm turning it down. I've got a story about one gig I did years ago to raise money for the Teenage Cancer Trust that makes my p155 boil but I'll save that for later.

And, I'm sure I've posted this a few times over the years, going back about 15 years ago a band I was in used to get paid >£1000 or more for doing British Heart Foundation, CF Trust and other big charity fund raisers. The mentality is that if you have quality entertainment the punters will part with more cash.

In these situations the guys in the bands are the biggest contributors. It's not something I get involved in. You're effectively donating. I used to ask if the bar staff were working free and if the beer profits went to the charity but now I just say, "Sorry, we're booked for a private function." There're plenty of bands that'll play it. And, a good standard response I keep in case I hear "that phrase", is "Yes, I know but we get all the exposure we need at paid gigs".

Just released as a remaster is the Thunder Live album on Spotify. This must've been from Chris' first coupeleof years in the band. It's beautifully recorded and Chris' bass sits nicely in the mix with a great tone. There're so many fills to plunder on this recording.

And, folks, Like, Share and Subscribe etc, as from my point of view I think the content is much better than many other UK bass channels. I learn stuff from most of Brooksy's content that other UK bass Youtubers just can't match. There are UK bass YouTubers whose content just makes me think that I should pull my finger out and do a bit myself. Support the quality Youtubers.

This was a fabulous day out and one of the many highlights was @Mike Brooks doing this interview with Chris Childs. It’s a very insightful chat and even if you’re not that familiar with Chris’ work and extensive resume, it’s fascinating and very funny in places. Very enjoyable watching.

This is exactly where I was. I'd be interested to see if there's an answer.

It looks like April according to my accountant before the 24-25 tax year rebates will be in. They will of course pay a whopping 2.75% for keeping your money from you all that time.

I'm not sure. I put @Woody1957 in touch with the seller and that was the last I heard. I can send you the seller's details if you want.

As someone who should know better and who rarely buys cheap cr4p, I will put my hands up and say that cheap soldering irons/stations are just landfill. I found out the hard way of buy cheap, buy multiple times. Spend a few quid on decent kit. Cheap stations have vague temperature control, they can have thermal lag after delivering their initial heat and the actual temperature versus setpoint can be off enough to screw up your work. Also, the tips are rubbish, although you can use good tips with them but that doesn't fix the other issues. The vague temperature control and lag can lead to dry joints, component damage through overheating and just frustration with the job that can lead to burnt fingers. The recommendation from @itu on 60/40 and 63/37 is very good too. Lead-free solder plus cr4p gear is a "challenge" to say the least. I was reminded of my own past failings recently when someone showed the difference in quality of the work between the looms in a Nash Jazz and a Limelight Jazz. Now, the quality of the work in the Limelight has nothing to do with the price difference of £1k vs £2.5k between 2 different partscasters. The quality of the work in the Nash is what it's supposed to look like and that in the Limelight was just unacceptable. I'm capable of getting both results and even following the same process, the big difference is the gear and the solder.

Nice to see they got the headstock design sorted. It looks classic Ibanez and it'll age well.

Another fab selling experience on BC courtesy of Ian. Superb comms, prompt payment. Thanks very much.