Shaggy

Sweet Transvestite - Rocky Horror Picture Show (again)

Marys’ prayer - Danny Wilson

Let’s do the time warp again - Rocky Horror Show

Wednesday morning, 3 am - Simon & Garfunkel

Sexcrime (Nineteen eighty-four) - Eurythmics

Tales from the riverbank - The Jam

Sick and tired - Anastasia

Victoria - The Kinks

Get back - Silver Beatles

Lady Linda - Beach Boys

Thirteen - Johnny Cash

One after 909 - Beatles Edit - Apologies, I should have noted the countdown....

It ain’t me, babe - Bob Dylan

Liking that, especially the “2 tone” silver finish

Red right hand - Nick Cave

The importance of being idle - Oasis

Computer love - Kraftwerk

As the (rather poor) pic of my old '84 GS Galaxy on p1 is deleted; I've reattached here. Traded a while ago, and I do miss it, but realistically got too many nice semis already. Te point about Gordon Smiths is they were very workmanlike instruments made with non-fancy tonewoods, and mostly inspired by classic US designs. What was so good about them was the level of craftsanship that made them a joy to play - I don't think I've ever owned a bass that I could get the action so ridiculously low as on my old Galaxy.

Cindy Incidentally - Faces

Local boy in a photograph - Stereophonics

Beautiful stranger - Madge

It's a subject for a whole new thread I know - and it's probably already been done - but seems to me that bass playing height / playing stance goes very much with era and musical fashion: In the 1960's it was as the John Entwhistle pic in posts above: standing fairly stationary (unless you were Jet Harris) with bass at mid-height, and plunking away (though of course JE took the plunking to a whole new level) In the 1970's the rockers started slinging the bass l-o-o-o-w (as Pete Way, and also most of the punk rockers) plus adoption of the "power stance" and / or prowling about on stage (Phil Lynott, Chris Squire etc etc) In the 1980's bass playing height either got even lower (hair metal), or if you were a funkster the bass was up under your armpit (as Mr Mark King - no Thunderbird pictured of course, but definitely a Thunderthumb...) After that - anything goes.......

Absolutely agree; IHMO the original '64 T'bird was the finest passive bass that Gibson ever produced. The "tune-a-matic" type bridge is a joy, and the pickups sublime - they're the units that Mike Lull and Thunderbucker Ranch "reverse engineered" for their Thunderbird pickups. Only downsize was the big headstock on a skinny mahogany neck with no volute; they had a strong tendency to snap at the top of the neck with any impact. I think the headstock on the bicentennial (and onwards) was smaller and thus stronger. Entirely gratuitous pic of my 1965 T'bird IV -

Rhythm of cruelty - Magazine

Wrecking ball - Miley Cyrus