Leonard Smalls

You missed exactly this in this month's Basschat December Covers Challenge... I did Sylvester's "Do you Wanna Funk" but with a P... Unfortunately, my band don't think the lyrical content is serious enough for us to all play it. Praps if I sing it too?

Not straight ahead metal, but not easy! Otherwise their alter-egos, Infectious Grooves with "Violent and Funky" - live version here...

Discovered these Oz rockers at Rebellion this year...

Most sadly missed. I remember booking them once and they turned up, sniffling and obviously not at all well but they still put on a brilliant show. Lovely blokes as well!

Not necessarily! It's just a question of arrangement. One can do the bass-ics, the other can do rhythm guitar, or play counterpoint to the vox or guitar, or do little widdley bits left right and centre. That's what we do!

If she's only a beginner all she has to do is play the simple root stuff, allowing you to solo wildly over the top. Like we do in our 2 bass band!

ER... For the cover challenge I thought I'd do a completely original song wot is all my own work. Any similarity to the Sylvester disco classic with a very similar name is purely co-incidental! This also features my wife on backing vox! Featuring Wal bass as both disco bass and punk guitars (via Bias FX), vox by me and my wife, sequencers are Massive and USynth, drums through EZ. All rolled in Neutron 3 and Ozone 9, with some Nectar Elements on the vox.

K, on the right is particularly funpartysilliness boy, though I wear my cowboy hat out occasionally, goes perfectly with my backless leather chaps. But the Weeds are deeply serious, and have many faces...

Here's a Weeds photo... We're not by any means Country or Western, but 2 cowboy hats, a trilby and a fez!

I think we did the first couple of times, in much the same way as a whole pub cheers when someone drops a glass. We kind of hoped they'd feel a bit self-conscious and STFU just a bit. But they didn't, and after 2 or 3 weeks of this we started dropping hints about ball gags and the like.

Nice!

I'm not sure that's the case... I lived in a shared house once where one guy's girlfriend was a screamer. While the performance may have been great for those in the room, the rest of us in the house trying to sleep wished for, at the very least, a full isolation booth for the pair of 'em!

Funnily enough I knew an awesome sport climber (doing 8a/b and the like) who decided it would be best to move into a bungalow so that he wouldn't develop his legs too much by running up and down stairs... He was an odd one, mi'nd.

From that list, best musician would surely be the actual best musician? So not Macca, because he most certainly isn't. And bear in mind Geddy has an altar to Les Claypool in his bathroom... So from that list, I'd say actual best musicians would be Stanley Clarke, Anthony Jackson and probably either Les or Marcus Miller. And in terms of influencing me, from that list again, it would be Bootsy, Norman Watt Roy and Flea...

Jaco has a whole 13 votes!

I'm done as well. Until that Kubicki I always wanted turns up. Or a nice GUS like Mr Red X has. Apart from that, I'm done. Though I always fancied a Warwick Dolphin Pro... And a Washburn Bootsy bass... And perhaps original Steinberg cricket bat it sparkley pink...

S'funny what people look for in their all-time list! None of those are even in my top 10...

Bit of proggy type stuff...

This may become a very long list... For me, you'd need Bootsy on there as well as Jamaaladeen Tacuma and Jonas Hellborg!

My top artists were Peter Tosh and Jacob Killer Miller... Though most of my Spotify listening is at work, whether I'm there or not. So it plays my 1500 song playlist 8 hours a day 362 days a year, and they're the most played, weirdly followed by Vivaldi, probably because all his bassoon and lute concertos are on there too! Top song was Mister Bass Man by Fatback Band, not sure why their shuffle play chose that more than any other song.

Many years ago when I worked on Beeb dramas like Lovejoy and Hetty Wainthropp I used to go along to the music recording sessions at the BBC TV Centre studio... in each case there'd be maybe 30 or 40 cues, ranging from 2 - 30 seconds (Napalm Death, eat your hearts out!), and all of it would be recorded and mixed in a day! And this was about 20 musicians with instruments ranging from clarinet to electric bass via keys and drums and even violins. Every musician knew all their parts, and there was only ever 2 takes recorded, everything to picture!

Finally had a basses only (no drums or vox) rehearsal to make sure our arrangements worked. Turned out we were playing all sorts of bits that clashed either rhythmically or note-wise. They were just hidden by guitar or drums previously. Hopefully our collective bottom end will be tight as two gnats'!

"Stands the test of time" isn't necessarily an indication of "greatness". Nowadays, with umpteen radio stations playing golden oldies almost anything stands the test of time... There's yer Polka Dot Bikini, yer Grandma, Yer Obladi, Oblada, Shang-a-Lang and many many more! And bear in mind that Bach had been largely forgotten after his death; it took 100 years until 1820-odd for his music to be revived by Mendelsohn. I would personally argue that "great" is rather overused - it's generally applied to almost anything that's relatively popular. I think it should be reserved for music that's ground-breaking and influential as otherwise it's just another way of saying "I like it, and so does he/she". So, frinstance, Derek Bailey's experimental feedback music should be seen as great despite the fact that most people would absolutely hate it and call it noise. But that noise influenced Jimi Hendrix heavily...

Luckily our battery was charged enough that we could cook dinner during the session and still use no power. Whether there's a saving over previous use, and what they compare with, is another matter!