musicbassman

Well. it's a 'clever' bass line and it agrees musically with notes in the slightly odd chords - but I also agree with OP that it doesn't quite work. Sorry, but i also think it's a pretty naff song compared to 'We don't talk anymore' which Alan Tarney also wrote around the same time.

Back in the day there were what were called 'rehearsal bands'. You met up with a regular group of similar minded players to work on material you liked just to improve your own playing, work together and learn from others. Having just taken up playing again after a 16 year break I've joined a South Coast based 'musicians collective' - which is basically a rehearsal band. It's great, an ideal way of making contacts and improving technique, and no big egos involved. Yet when I've mentioned the term 'rehearsal band' to other people they've no idea what I'm talking about. Maybe some musos think the term 'rehearsal band' is demeaning or sounds amateur. To me, if a band is rehearsing regularly but has no intention of gigging then it's...............a rehearsal band! So why don't people just say that?

What might throw you is the different acoustics - If a band's been rehearsing in the same practice room for ages and then you're suddenly in an echo-ey hall it can be very distracting, and for bass players a hollow stage can give all sorts of false harmonic information making it difficult to monitor your own playing. If you've got a small rig, getting it up off the floor can help with this.

In 1977, I was invited to audition for a new backing band, for a new singer signed to Stiff Records. I'd never heard of him, he was a complete unknown with a weird name............. The audition date clashed with my long awaited driving test date, so I didn't go........... His name was Elvis Costello...................

Yes, just listened through to quite a bit of her material, not a genre I'm familiar with TBH but very impressed. Feels like this is music from a couple of decades into the future. I don't begin to understand it but it's quite captivating.

Yes, back in the day there was a massive stigma against anything 'post CBS' - and whilst I agree that when the accountants moved in to slash costs in the early '70's quality took a dive, to suggest that quality went downhill the very day CBS took over is clearly nonsense. From an investment point of view, I guess the pre CBS would be a better bet. But if it plays like a worn out old dog and you're planning on buying something to actually use rather than hanging on the wall then choose the '72.

[quote name='mikel' timestamp='1501581548' post='3345610'] Funny you should mention it. I have been in lots of bands, as a drummer, a guitarist and as a bassist, so no agenda. Had lots of problems with vocalists, and other musicians, but never with a bassist. Is it just me? [/quote] Ah - bassists - in my experience:- Turn up on time Play in time Find the time to mend broken leads, stands etc.for everyone else in the band. Find the time to counsel the guitarist whose girlfriend has just left him. Somehow manage to find the time to get the girl singer pregnant (happened to two other bassists I knew) And finally...........find the time to help audition a replacement bassist when he's had enough.......................

Just a couple of ideas: Firstly, you describe yourself as a bedroom warrior. Do you play sitting down on the same stool in the same place in the same room all the time? Get a little plug in headphone amp with a beat box built in - (I've been using the little Vox AP2 BS lately and it's brilliant) and play standing up - in the lounge, in the loo , in the garden. anywhere different. A change of location and posture could possibly change your feel, and if you do want to play live, you'll need to get used to playing in the standing position. Secondly, I'm sure your teacher has told you about playing 'on top of the beat' or 'behind the beat' etc. Just try creating a groove on two or three notes - (my fave tempo to practice feel is a shuffle around 110bpm). Then keep slowly changing and developing the riff pattern. And listen to the effect on the feel of the riff by slight changes in finger pressure, damping and the exact note timing. Maybe suddenly it will just sound 'right' And then maybe play your riffs to your teacher for an opinion or get your teacher to play the same riffs - does it sound different and if so, why? Best of luck

I had a Jazz rear pickup and active electrics fitted into a [u]brand new[/u] Squier Precision in 1982. It was one of the very first Squiers made, when they were produced with a large Fender logo on the head. 35 years later, I still have that bass, now as my sole instrument, Whoever would have thought that one day these first issue basses would be highly sought after - but whilst this mod has certainly devalued it, I have had the pleasure of 35 years of the most playable, tonally versatile and sweet sounding four string I ever owned.

An old friend of mine is a long time successful songwriter in London. He also does theme tunes for sitcoms and adverts - no names, but one of his TV themes has been on UK telly for over 10 years now. I've discussed songwriting with him many times, and he always suggests to me: 1) Thinking of a band you know that doesn't play the type of music you are currently playing, but that you respect. 2) Try and write a song in their style - visualise them playing it, or the singer singing it, in your head as you write it. 3) Repeat exercise with another band in a different genre 4) Now try doing the same with your favourite band 5) If successful, now get your band to play a 'cover' of this. It all sounds so easy, but I've never cracked it! Good luck.

What a weird poll. Surely 'Wedding/Corporate' is a type of gig, not a type of music?.

Wow, a new name to me - just listened to some tracks on Youtube - pure solid gold funk! Thanks for spreading the word.

Yes - I agree with the other posts I'd actually pick out 4 or 5 really tricky ones, either in terms of virtuosity or complexity, and then go back to the band and ask them to drop at least one of these.. Then you'll have a more manageable workload! Good luck, and of course it will all help with improving your ear and your playing in the future.

Sounds like the local music shop on a Saturday morning circa 1990.........................

Well, boo hoo for the guitar dealers and mass manufacturers – decent guitars (and basses) aren’t an ever evolving product with a limited life - like a family car that is worn out and obsolete after 10 years. You’re selling musical instruments, not refrigerators. Decent guitars, with a few exceptions, usually play just as well (or better) at 20 or 30 years old than when new. Unless they are physically damaged or subject to extremes of heat or humidity they still play perfectly and any minor electrical or fret problems can be quite easily fixed. So there is not just an ever decreasing customer base amongst the young, as the article explains, but most older players already have several guitars, and unless they have chronic GAS maybe rather wish they had a few less. Mass manufacturers can’t keep on churning out millions of guitars a year into an already saturated market, no matter how cheap and well made they are, so maybe their days are numbered.

Yes, there's a lot more to it than root and 5th - and it's also very much about feel - for the C&W feel you'll be playing well behind the beat and not on top of the beat, and lock yourself in really tight with the drums - sounds obvious, but some bass players think it's all a bit of a giggle when they get a dep job playing C&W and make a complete hash of it!

Thanks. I should have looked at Wikipedia first - which (if correct) says that Intelligent Design was on their 2nd album from 2007, and that all the tracks on that album were composed by Michael League. What a talented guy. If Zappa's 'Intelligent Design' has no music, then what is it? Spoken word?

Thanks for that, it's certainly obscure. I've never heard the original, but the Pup's arrangement is certainly sublime.

I'm trying to trace the origins of a Snarky Puppy track called 'Intelligent Design' I've been told it was originally a Zappa composition, but I can't trace it. Anybody know about this? If you'd like to listen to it on YouTube, the best recording is the one done on the John Lennon mobile studio, which unfortunately has a really dodgy piece of student's video project to go with it. Any information gratefully received! Thanks.

I expect many of you already know this, but increases in perceived loudness to the listener (Db) only increase on a logarithmic scale compared to multiples of amplifier wattage. So, a 300 watt amp will not be 10 times louder than a 30 watt amp, only about twice as loud. Plenty of info on the web about this, Google is your friend.

I’m 64. I first started playing bass in 1969 – first bass was a [b]Danelectro Longhorn[/b]! I moved to London and worked professionally from 1973 – 1978. No one famous, just played in numerous different bands of all styles to pay the rent. I bought a [b]’62 Jazz Bass[/b] in 1974 and a [b]’63 Precision [/b]in 1975 – they could be had for about £150 at the time. Later I moved onto playing top end functions and similar – earnt good money from this over the years. Had a [b]Musicman 5 string[/b] by then. Finally stopped gigging in 2001 – I’d had enough of the late nights and dragging equipment around. I seriously reckon I must have done well over a thousand gigs in my 30 years of regular working. Now after a 16 year break and retired from my regular day job I’m taking up playing again just for pleasure – so looking for a rehearsal band or similar in West Sussex, arranging material to a high standard. I think I've kept up to date musically over the years and I'm a big fan of current favourites such as Michael League and Tim Lefebvre. I bought a new [b]JV Precision in 1982[/b] – one of the very first - these had a Fender logo – and I’ve kept this tucked away all these years so this will now be my main instrument. Best wishes to all.