Old Man Riva

Though probably more ska, Jackie Mittoo is also well worth checking out. He was the keyboard player in the original line up of the Skatalites. As well as having their own career, they were also the house band at Studio One…

This popped up this morning, which might be interesting?

That Flea interview is wonderful. Got a bit choked up watching that. 
 

Thanks for the heads up… 

2 hours ago, Beedster said:

Listening to them now, had never realised just how tight a rhythm section they were 👍

Reni was (probably still is) a staggeringly good drummer. Pete Townsend tried to nab him for some of his solo stuff, and likened his natural carefree playing to that of Keith Moon.

His and Mani’s styles complimented each other so well. Some of the rehearsal footage in Shane Meadows’ documentary/film is wonderful, with the dynamic duo just laying it down with not a care in the world.
 

They made it look all so easy. And fun. Never forgetting fun… 

56 minutes ago, peteb said:

 

I would have thought that the latter Roxy albums with Alan Spenner would have been the ones to go for, if your interest is in great bass performances that are generally under-rated...! 

 

I think the John Gustafson and Alan Spenner eras get a fair bit of love and respect their way - and rightly so! For me, the first two Roxy albums can get overlooked, which is a real shame. They also hold a special place as they were pretty important records when I was first really getting into music - so not necessarily better, just my favourites, and I think underrated, from a bass playing perspective.

But as I say, the whole Roxy catalogue is full of great bass moments, across all eras… 

4 hours ago, Grooverjr said:

Not sure if Mysterious Traveller by Weather Report would count as Alphonso Johnson is well-acknowledged as a virtuouso and the album is hardly unknown. But in terms of counterpoint bass working in the spaces yet still driving the music, and the use of effects to get some killer tones, I think it's a visionary bass masterpiece from start to finish.

And always worth reminding the world that Weather Report is Zawinul and Shorter plus a great rhythm section and not simply a vehicle for Jaco as it sometimes seems to be painted. 

Cucumber Slumber is seldom mentioned when Weather Report (and highly regarded bass lines) are discussed. That big fat funky line is life-affirmingly good! 

I’ve always found Roxy Music albums to be a treasure trove of low end delights, but the first two records are probably my favourites. Graham Simpson on the debut record, and John Porter on the For Your Pleasure follow up, are wonderful players, and add so much to the albums…

On 20/11/2025 at 10:00, rushbo said:

Be Bop Deluxe: 'Live in the Air Age'

Charlie Tumahai did an amazing job in supporting Bill Nelson's extravagant and complex material. He's surprisingly funky, too. He also contributed some outstanding harmony vocals and had a very cool stage presence. 

‘Live! In The Air Age’ is a great shout. Charlie Tumahai is fabulous on that record. The bass is also quite prominent in the mix, so tracks like Shine (which was included as part of the additional EP) really showcase his talent. Funky double stops ahoy!

John McKenzie, in his time with Steve Hillage, puts me in mind of Charlie Tumahai.

Mani on bass…

That's lovely, Brian... 

Chanan Hanspal’s YouTube channel has some excellent XTC content. Well worth checking out…

6 hours ago, peteb said:

 

This was very common with Fenders, especially from the 70s that were not thought to 'vintage' until relatively recently!

 

I've got my 78 P bass on a stand next to me right now. These days it has a Badass bridge, a different p/up, new pots and (I think) a new nut. It's also had a re-fret and the back of the neck now has a satin finish. The only original things left are the wood, the scratchplate, the knobs and the tuners, which still work great.  It looks, sounds and feels like a 70s Fender, just it's had a few tweaks over the years to ensure that it plays and sounds how it should! 

 

A similar tale here. The ‘73/‘74 Jazz I’ve had since the early/mid 80s has had five different sets of p/ups in it - the originals, 70s cream coloured DiMarzio, first generation EMGs, a sourced set of ‘74 p/ups, and currently a set of Seymour Duncan Antiquity. The original owner was responsible for the first two sets, and I’ve piddled around with the rest!

I took off the tug bar and covers (as most people did at the time) and left them in a wardrobe at my mum’s decades ago. She then had a clear out and they ended up at the main Coventry tip! The original case is long gone too.

It’s been played to within an inch of its life, and I still love the thing as much today as the first day I had it… 

Ali Baba by John Holt would be worth considering… 

3 hours ago, The fasting showman said:

You've been listening to the same stuff as me this week I guess. Incredible seeing Charlie Hunter play guitar and bass at the same time, the tracks he does on Voodoo are great. 

 

Fabulous, isn’t it! That blows my tiny mind!

I saw him when Snarky Puppy played the Albert Hall - he was part of the support act with (if I remember correctly) Becca Stevens. I just couldn’t get my head around how he was doing it!

The low note at 1.45…

I’ve genuinely got no idea what’s going on, but I love it…

8 minutes ago, tauzero said:

Oh yes, that reminds me:

 

Trace Elliott - supposed to be the pinnacle of bass sound. The 4x10 combo was made from depleted uranium and it didn't take long carrying it up and down stairs to the then future Mrs Zero's flat and not getting a sound that I particularly liked to make me decide that it was no longer for me. Being a slow learner, I bought a head with the GP12 preamp, and didn't much like the sound it made (on reflection, it's possible that the cab didn't help).

Same here. The thought of Trace Elliot gives me nightmares.

In the mid 80s I was in a band who got a publishing and development deal (I don’t think the latter exists nowadays, but it was essentially a pre-record deal where a label would fund gear and studio time, and have first dibs on you if you developed into what they were after). Trace Elliot were quite the thing at the time, so the first thing I did was ditch my perfectly fine Marshall 50w amp and 4x12 speaker for a snazzy, all singing, all dancing Trace Elliot rig. 250w amp, with UV light, a fan you could switch on (and off!), various bells, whistles, and a graphic equaliser that gave you the biggest smile you could ask for. 
 

I got to the first rehearsal and carted in my new rig. The band and sound guy crowded around, then slowly shuffled away in silence, leaving just the drummer, who, after about half-hour of witnessing me frantically move sliders up and down, and twiddle various knobs, said bluntly, “that sounds sh*t, can you get your old stuff back?!”.

It did, and I couldn’t…

19 minutes ago, Beedster said:

 

That is sublime tone and a lovely part 👍

Isn’t it just!

Genuinely one of my favourite bass parts to listen to (and play along to). Some lovely bits down the low end, some lovely bits up the high end. Melodic motifs, a few double stops and everything he does is sympathetic/adds to the track. But the killer thing for me, amongst the terrific playing/part, is the space he leaves. It really makes it.

The tone/sound has often baffled me. I always assume it’s played finger style, but at times, when I listen to it, it sounds like it could be a pick. I’ve spent way too much time over the years pondering this!

14 minutes ago, Russ said:

 

It's a brilliant bass part. It's a shame the album version of the track had synth bass instead of a proper bass guitar track. 

 

It also reminds me of how many people were influenced by the whole post-punk/goth thing - the P-with-a-pick midrangey tone, the melodicism, the high-register fills, etc - straight from the Hooky and Gallup school of bass. 

As well as the thundering bass line, the demo versions (or at least the stuff they did before getting signed) also feature exactly what you’re referencing. The droning open D, whilst playing a melody on the G - akin to Hooky, Gallup - is all in there…

Mark O’Toole wrote the bass line for Two Tribes. There are demo versions online that show the song in its early stages (pre ZTT) with the bass line pretty much formed. I think there was also a BBC (John Peel?) session at one point too (again, pre ZTT).

I always really rated him, even more so after I saw them live at Brum NEC in, around ‘86/‘87, touring the Liverpool album. It certainly belied the myth that they couldn’t play… 

I’ve known John W for nearly 40 years, and he’s always been superb at his craft.

It’s great to see him getting a deserved mention. A proper hidden gem, and a lovely guy with it!

Went to see Jerry Harrison and Adrian Belew last month doing the Remain in Light album, and they also did a really good version of this, which I’d completely forgotten from back in the day…

7 hours ago, Leonard Smalls said:

Three of us!

But then I'm a bit of a Laswell fanboi...

Well now it’s pretty much a revolution we’re in!