Burns-bass

I once bought a David Eden amp from a shop in Bristol. I tried to sell it a few months later and had a lovely chap come around (with 3 of his friends - which at the time seemed odd). He came in and nervously checked over the amp. About 30 minutes later a copper turned up and told me that the amp had been stolen and that he was taking it as evidence until I could prove where I had bought it from. Had the receipt in the book, so handed it over and that was the last time I ever saw the amp. Such is life. Another occasion someone bought a Peavey TNT130 amp from me using a couple of fake £20 notes. Perhaps my strangest ever deal was someone who came to buy a small Marshall combo. He agree to come at 10, but turned up at 12 with 2 other dodgy looking guys. Talked for about an hour and then left. All very odd, but he paid cash for the amp. Turns out he'd committed an armed robbery a little earlier in the day and tried to use me and my bandmates as an alibi. Very, very weird.

All free, but you'll need to send postage cost. Black precision guard - not sure about hole spacing. Black chrome bridge cover Generic bass bridge Gibson heck-late from the 60s (need to find this, but I do have it somewhere!). Send me a PM and it's yours.

[quote name='ribbetingfrog' timestamp='1496141210' post='3309022'] Are you even allowed to not like Flea? The guy is a legend. [/quote] I'm sorry. I don't like them. On a related note, I was given the RHCP bass, guitar and vocal book for this album (an album I have never owned). If anyone wants it, then send me a DM - free but you pay postage.

I'd suggest Simon & Patrick. I've had lots of acoustics in my time, but the old battered S&P I have is the. Eat acoustic I've played (aside from a 1940s Martin or a 60s Fender I had). They really are wonderful guitars.

Thanks, that's a great tip about the book. The whole package was £40 for the guitar and the amp. I thought it was really fair, eclectically given I couldn't try either of them. There were actually quite a few guitar, and even a left handed bass. I'll go back and see what I can find next week...

The 70s Jazz and P basses were in some cases poorly built, but there were some great ones out there. I had a 73 Precision that was a real gem, but a whole host of later 70s basses I used to part out as soon as I got them. Sounds like you got a good one! I suppose I am a Febder snob, but the US 70s reissues are lovely basses indeed. I've had a few and the quality far exceeds in many cases original 70s instruments. They really don't compare to the 60s Fenders however. They are very much on a different level.

Just picked one up for the princely sum of £15. It's a lovely guitar, I didn't realise they were so well made. The hardware is a little cheap but it's a nice looking thing. Plays really well too, in fact I'm very impressed. I was going to donate it to a music charity but I may keep it for a little while. It came with a Roland Cube. Don't know much about these little things but it's also great. All in all a very good day!

Agreed. It's such a lovely way to play. I've got a few recordings where he's accompanying jazz soloists I the 70s. Funk as hell and absolutely on the money. Guess that's what happens when you've played on thousands of recording dates. Would love to see some of those original Steely Dan charts. Did some work years ago with a producer called John Burns. He showed us some of the recording notes for 70s Genesis recordings he did. Fascinating stuff.

[quote name='Old Man Riva' timestamp='1495964904' post='3307761'] Fabulous stuff. A full three minutes more to hear than on the final/edited album version. As much as Becker and Fagen were/are sticklers for charts and the like I can't believe that a lot of what we hear is not coming from the players, esp. on the outro. Great guitar playing too... [/quote] Interesting, we've had this discussion in my old band. Weren't they using quite a lot of recreational drugs at the time and did literally hundreds of takes of some tracks? I think Fagen said they sometime struggled to remember who was playing on what track. Not sure how much of that is true, of course...

I just love the really fluid way Chuck Rainey plays. It's fantastic, and this is a great find. Listening to it reassures me I hadn't got it too wrong, but he leaves some space in the playing that I fill. Wonderful player(s).

Hi Rod, where in the Forest are you from? I hail from Cinderford (the heart of the Forest, regardless of what those b*stards in Coleford say!). Incredibly beautiful area, and a place I would encourage anyone to visit, incredible for walking, cycling and biking. My parents still live there and I go back regularly. Live in Bristol now. In the late 90s there used to be a good little pub scene in the area. Seems to have died down a bit, but always a rowdy crowd!

To be honest there's little point in faking a CIJ, so chances are it's genuine. They're nice basses, if it plays well then worth it.

A friend of mine works with her, records her demos and stuff and apparently she's one of the nicest people out there. and apparently she keeps all her Grammies in the basement of her house.

What always got me was the skill of managing the space on the stage. You're all so far away from one another it can be intimidating. Did a festival gig with Steve Hackett once and he took his own carpet for the stage, said it made him feel comfortable. You could try and find something that made you feel the same way. For me it was always trying to dress impeccably and know that I had everything down in the set. Then try and act cool I guess. I can't pretend it wasn't nerve wracking, but it was an awful lot of fun playing to tens of thousands of largely uninterested people. I once heard Lenny Kravitz describe how he played to an audience of over 1.5 million. That must have been quite staggering.

Cheers guys, this is all good. I love the GYBE stuff and saw them live too about 15 years ago I think. Was very loud indeed. Was it with Mogwai? God knows, I was using a lot of recreational drugs at the time (all given up now). My position paper on SBS has been finished and I can now crack on with getting some listening done.

That's fantastic news. I know how stressful the can be!

Was this inspired by my Smiths story on the other thread? I one played a gig at the Albert Hall and was caught by the band we were supporting making a very inappropriate joke about Heather Mills McCartney. I also exclaimed on stage "I'm standing where Eric Clapton stood!" Which was very uncool, apparently. In my formative years I played a terrible gig, but was bought loads of beers by my mates. The girl of my 17 year old dreams came up and appeared interested only for me to be sick on her tight white jeans. In a more sobering story, I used to lecture at a college and one day one of the students (17 year old kid) started crying. I did my best to help. When I met him 5 years later at a gig he was playing he thanked me for my help and support during a very tough time he was having, and it was music that pulled him through.

Cool bananas. Keep em coming. I saw Mars Volta live years ago, very good.

Why do we bother playing? Because we enjoy it. In fact, we love it. Even when I play badly it's often the best part of my day. My parents had to put up with a year of me learning and transcribing the Smiths back catalogue. Did they complain? Not once... We were all sh*t once.

Brilliant, thanks guys! I'll check it out when I'm not working on a policy brief about Short Bowel Syndrome. (This isn't a joke)

Hello all, I've recently been listening to bands like Battles and Three Trapped Tigers and am really enjoying it. I've been a huge Warp, Squarepusher, Apex Twin fan in the past but, if I'm brutally honest, am now old and have a baby so I have no time to find new music. Be interested in hearing recommendations on what I should be listening too if anyone has a view or an insight into the genre, or where I should be looking.