ambient

I just took delivery of a Protection Racket 7051, which I have to say is brilliant, I’m really pleased with it. It’s well padded and offers lots of protection. It’s also pretty roomy. The cushions attach with Velcro allowing you to either remove them completely or reposition them. Theres a strap too across the neck rest. I paid just over £100 for it from GAK.

Just make sure you don’t lose it.

I have an interview in a week or so for a company that runs music lessons in primary schools. One of the instruments I’ll be teaching is ukulele, which I don’t at the moment play. Can anyone recommend a reasonable cheap instrument that I can practice on please?

That’s what I was about to say. I’m wary of these remixes, surely you end up with everything sounding like it was just made?

I was somewhere recently where they were playing a Jimi Hendrix album. In between songs he said to the audience: ‘you want to hear the same old songs? Man, we were just trying to get some new stuff together’’ You’re right though. It has never been easier to record. Is it an age thing? The hits being a kind of safety net for them? I guess it must get pretty demoralising for those who do release something new, when they read a reviewer making a comparison to something they released thirty years ago? Personally, I don’t think I’ve ever been to a gig by an artist where they haven’t been promoting a new album. The last gig I went to was Steven Wilson at the RAH. He’s quite prolific and I think only tours to promote an album. The next gig I’m going to is Porcupine Tree in November. I know they’ll be playing older stuff. They’re currently touring North America, there’s a section of the set featuring just Wilson and Barbieri where they play older material. They’re promoting the new album though, so there’ll be a lot of new tracks there. I saw him once at the O2 and he played tracks off an unreleased album.

This is something I was just about to say. I don’t mind how long bands or solo artists go on for, as long as people are enjoying what they see. However, when there’s virtually no one from the original band left, then that’s a different matter. I heard on the radio this last week that Big Country are currently touring. I don’t see them as being Big Country without Stuart Adamson. It’s like having Phil Gould and Mike Lindup without Mark King.

Wired?

Surely if that’s what the audience wants, that’s what you give them? it’s often the case that an audience will want to hear that they know, rather than new stuff, even when artists are in their heyday.

I thought McCartney’s recent Glastonbury show was fantastic. He did get criticism for it from some people. Those people I think missed the point that his performance there gave a great many people across the world a huge amount of pleasure. That’s surely what entertainment is all about?

I believe there are two UB40s now, as if one wasn’t one too many.

I’m not sure they should. If both the audience and the artist are still enjoying the music, then great. I guess it’s nostalgia.

Will that make it sound ‘heavier’?

Totally silent.

I’m quite pleased with the results. I’ve never considered myself much of a handyman before. The last time I tried to solder I burned myself and the carpet. My dad usually keeps his DIY tools locked away, out of my reach. He’s away on holiday though, and I know where he keeps the key.

It is was a whole album, then there’s 4 1/2 hours you won’t get back.

I used to walk miles with my bass in one. I commuted by train to and from uni in London three days a week for three years. Differing instruments but always the same Mono M80.

Are they your instruments? The one in the centre of the group looks fabulous.

I’m glad I’ve seen this, I just ordered one from GAK. It was £70 posted.

I’ve never seen a Pangborn in real life. I did a Google search before I posted my reply; there doesn’t seem to be many examples of his work about. To be honest, it would be asking a lot to have gone from this example - which I actually quite like - to the one featured in the very old magazine I have, with the dragon inlays and LED eyes, in just four years or so.

Anthony Jackson Tony Levin Pino Leland Sklar I’m checking out Nate Navarro at the moment too. He’s a very technical player, currently on tour with Porcupine Tree.

He’s getting some media attention now, though for his entertainment scams rather than his thievery. https://www.thestage.co.uk/news/news/booking-firm-owes-us-tens-of-thousands-claim-tribute-acts?utm_source=facebook-instagram&utm_medium=fb-insta-stories&utm_campaign=stories

I’ve worked on a cruise ship. The main skills required are being able to sight extremely well read and busk/improvise well. On the gig I did there were three books of songs, one red, one yellow and the other was blue. The singer was calling out page numbers and the book colour. So blue book page 60, pick up the book, turn to the page and play. There was no rehearsing, mainly because the concert room was in constant use throughout the day. The band played three 40 minute sets for five nights. It wasn’t for me, it was far too regimental, I didn’t enjoy it. I was asked again a couple of years ago and said no. I took two basses with me, but only used one.

Ashley Pangbourne? He built Alembic style instruments in the 1980s.

The serial number suggests there’s at least 132 similar instruments on the planet.

The best thing is to sit in front of a mirror and watch yourself play. Pay particular attention to the left hand. Look to see which left hand fingers are free when you hear notes sounding that you don’t want. Use those free fingers as mutes. Unless you’re playing chords then the chances are that you have three fingers to spare. Start slowly, very slowly and gradually increase the tempo as you get more proficient at muting and slapping. To start with it has to be a conscious thing, after a while it just happens.