SteveK

Watched the first episode last night with my 15 year old son, who is a huge fan. We both thoroughly enjoyed it. Staggering to see how easily great songs flow from Paul's mouth. It was quite striking that while Paul is playing around with The Long and Winding Road everyone was just sitting around, reading newspapers, bored and generally not interested. I'd be like, jumping up and down, and shouting, "Hey everyone, listen to this f***ing amazing song Paul's writing!" I'd probably be asked to leave the studio . I guess, when you're there, witnessing a genius at work on a daily basis it just becomes the norm. Looking forward to 2 & 3

Oh dear, I appear to have found myself in the Daily Mail comments section.

This quote from Tony Visconti: "If we'd used [Bowie's] former musicians they would be rock people playing jazz...Having jazz guys play rock music turns it upside down."

This track features Tony Visconti and myself in 1981, in a mega bass shootout🤩 Actually, I'm kidding! I think minimalist is a word that better describe what's going on, or not going on in the bass department😕 Tony plays the high acoustic bass in the verses, while I play the more traditional role throughout. There's a section where Tony suggested I track the bass several times - probably in a desperate attempt to make the track sound vaguely interesting.

That reminds me of an onstage episode I witnessed with The Troggs. In the late 80s I was in a band that played quite regularly with The Troggs. During one show, a short way into a song, Reg (singer) turned to Ronnie (drummer) and bellowed for all the crowd to hear, "Why are you playing those drums so f***in' slow?"😳 Those BCers of a certain age will be aware of The Troggs Tapes. Let me tell you it wasn't an act.

It seems to me that you already have it nailed. Obviously difficult to offer advice without hearing the part and context, but it's easy to fall into the trap of "Oooh, that's a good bit. let's make sure everyone hears it", by doing so, you run the risk of over egging it.

Yeah, good job the appearance is ruined by overhanging baseplates🤪

Maybe it was "customised" for some bizarre quiz show - "Now it's time for the 'Tune this bass in less than 30 seconds' round".

Jammyryqui jimmyrockway Jay Kay's band were never really on my radar, so don't really have anything to contribute, other than to say... 3 or 4 years ago I was invited to Warwick's Bass Camp, as was Stuart Zender. I think it's fair to say that he still hadn't forgiven Jay Kay for his treatment of him😠. Oh, and he missed the artists bus from Warwick (Markneukirchen) to Frankfurt airport which made for much gossip, bewilderment and amusement to all those on board. Edit: I should add that he seemed like a thoroughly decent chap🙂

I put ABBA in the same bracket as the music of Andrew Lloyd Webber. They're obviously well crafted songs, well performed, and the whole world likes them. Personally... my life would be just that little bit better if I never hear another one of their tunes (😉). ABBA and ALW get nowhere near to pressing any of my buttons. Having said that, ABBA do inspire me get around the aisles of Morrisons like Max Verstappen around Monza😊

I wouldn't let "consistent sound EQ etc" determine whether to use fingers or pick. I haven't heard you play, but I would think the sound difference is less than you think. Certainly not enough that a little judicious adjustment wouldn't fix it. If you have a FOH engineer you may want to give him a heads up. For me, the difference between pick and fingers is more than EQ - There's a difference in attitude, and a subtle, or not so subtle difference in playing style. Only you can decide when to use which.

Assuming that your IEMs are operated at normally safe levels, the text I've highlighted suggests that your tinnitus may not necessarily be a result of loud noise. Maybe a trip to the doc's would be advisable. While I've never used IEMs myself, I've worked with many professionals... and singers😉 who have. Invariably the professionals say that they have to be used properly, ie: Not half in - half out; Not just in one ear; Problems can arise when using IEMs in addition to on stage monitors; etc Edit: Just seen Bolo's post.

I've had a maple P bass since '72. Apart from when changing string gauge, have never had to make any serious adjustments. I would doubt humidity would make much difference to a lacquered maple neck. Extreme heat though, may well cause problems and necessitate adjustments.

That all sounds very sensible😉

I've played and attended loud shows for more than 50 years, played professionally for nearly 45 years, and not had a noticeable problem until about 5 or 6 years ago. Until then, I cockily thought that I'd got away with it. The permanent tinnitus appeared to happen after one particular show, although ear damage had probably been building up over many years. To answer your question: My tinnitus is at the point, where, any louder it would be extremely difficult to live with. I try to be philosophical about it, and think that it is the result of many incredibly enjoyable shows, some great times in my life, and a hazard of the trade that has been my living and life - it's my equivalent of "the old shrapnel wound"! Of course, I'd rather not have the constant noise in my ears, but, it is what it is! I wouldn't change a thing... other than maybe starting to use earplugs sooner. Hindsight, eh? I'm not ready to retire, and fully intend carrying on with playing live shows. The only difference now being the wearing of custom earplugs. The gigs are a little less enjoyable, but at 66 I guess it's time to be responsible😨

Sadly, on social media that does seems to be the general opinion, "Considering Phil's problems, he did very well!" I've always been of the opinion that if an artist or band in their 70s or 80s wants to tour, then that's absolutely fine. There's no hiding a band's age from the ticket buying punter. We kind of know what we are, and what we aren't going to get. Pete Townshend is not going to be doing his leaps and spins from his 20s and 30s. Jagger is not going to be leaping from the drum riser. However, I've always assumed that all these ageing musicians (of which I'm one) do everything in their power to get their chops up to scratch, to be match fit, in order to deliver the best (age related) show possible. As I said earlier in an earlier comment, I found Phil's comments... "I don’t do anything at all. I don’t practise singing at home, not at all. Rehearsing is the practice. These guys (Tony & Mike) are always having a go at me for not, but I have to do it this way." quite disappointing, and not very respectful towards the ticket buying fans. But, of course, the bottom line is - everyone had a great time, so what's the problem(?)

Nothing would give me greater pleasure🥳! Sadly, my laptop isn't up to the job... such a shame😁

I (obviously🤪) haven't listened to all of them, but the couple I have listened to sound like the genuine artist. Certainly, "Money for Nothing" is the real McCoy.

There's so many (thousands?), that my laptop ground to a halt. It was impossible to view them all. Not complaining - just staggered at the number of files.

That's a helluva lot of isolated tracks. Fast scrolled through them for 15 mins and still haven't seen all of them

Yep! At the risk of over analysing the part - It's interesting to note that all those string squeaks add to the rhythm of the bass track, some of them aren't necessary (as in, consecutive notes that aren't any distance apart), but they clearly help Tony Levin get into the groove of the track and give a great performance. Afterall, that IS the main objective of a bass player, or any musician🤘.

Great to hear all the imperfections: String squeaks and rattles etc. I wonder how many of today's young producers would let it go.

Just read this in The Guardian. Have to say, this section makes for disappointing reading. It makes me think Phil's problems really aren't just physical. It does rather give the impression - as long as he shows up, he thinks all will be fine. This is what he said when asked by the reporter how he is preparing vocally for the tour... “I don’t do anything at all,” says Collins, as Banks and Rutherford look on, uneasy for the first time. “I don’t practise singing at home, not at all. Rehearsing is the practice. These guys are always having a go at me for not, but I have to do it this way."

@Barking Spiders You say that you have "several other long standing interests". Would you say that one of those interests has had an impact on your life? Surely, any interest that you regularly commit a part of your life to can be said to "impact on my life"... even going to the pub! Thinking about it, regularly going to the pub has probably impacted some peoples lives more than intended😟

Surely, how much music impacts your life depends on how much you're into it. If you don't play in bands, don't go to gigs, don't have musician friends... then, you can likely say that music has no impact on your life. However, if you play in a band, rehearsing and gigging fairly regularly, have lots of musician friends, go to watch other bands... then, I think it's possible to say that music will have had a significant impact on your life. The longer you stick at it, the more the impact. For me there wasn't really one song/album/gig that did it. It was more a combination of 6 or 7 significant events. Since about the age of 11, music has totally enriched and changed my life. I have no idea what my life would be without music.