DunRockin

I bought a set awhile ago and suspecting some degree of hype/exaggeration was genuinely astonished at the weight and balance diff they made. Every time I pick up the JB they're on it surprises me.
Their rep is fully deserved. GLWTS.

[quote name='timmo' timestamp='1454323452' post='2968486']
How strange. I just read that Signe Anderson, the original singer of Jefferson Airplane died on the same day, as Paul, at the same age.
[/quote] A terribly poignant coincidence. RIP, Signe.

As Mykesbass said, we're in that time when the great pioneers will be leaving us. I loved those early Airplane albums. RIP.

Ho hum. It was worse than I expected. Much as I love his playing I was involuntarily cringing with almost every (bar Al Green) selection.
His work still stands. RIP.

Not sure if it's a repeat. On the Vintage TV channel (Sky 369) at 5pm.
An hour long show with him choosing his 'vintage' tracks, apparently (inc an AC/DC track according to the listing.... hmm).
Worth a watch for fellow Fraser fans, though I imagine it will be cursed with the Vintage channel blandness.

Received my own Fender part from Paddy just as fast as Sparky Mark and concur resoundingly with previous complimentary sentiments - cheers, Paddy

Just about to PM you re the Fender pickup cover.

Thanks guys - for some reason HB1s seem to be in short supply everywhere and even so the 80 quid set from Axesrus is starting to look the norm at the mo'.
So now I have to discover if Gotoh have a tuner with the screw hole spacings of the HB1. :-)

Thanks, guys - Gotoh are certainly looking like a good and cheaper alternative to Hipshot.

Finally discovered that the drop-in replacement Hipshot tuners for my CV PB are Hipshot HB1s.
Axesrus have them at £80 a set - just wondering if anyone knows anywhere here in the UK or overseas where they'd be cheaper (adding overseas postage from eg the US might end up being almost the same, I suspect).
For that matter any other comparable quality brand - I've never upgraded tuners before so I'm only going by reputation. Gotoh?
Cheers.

GLWTS, Andy. Surprised it hasn't been grabbed already. I have the white version of this model and the neck profile is wonderfully slim.

[quote name='brucew' timestamp='1432069738' post='2777933']
Int BTW 'DunRockin' , l've been playing 'Everlasting love' for donkey's, and l've always played 3 note's to every chord on the chorus, and l've always thought it sounded OK, surprising how differerent players hear the same song ? irregardless of ability.
[/quote] Indeedy. The disturbing thing about hearing all these 'isolated' bass tracks that have appeared now is how much technique and how many notes get lost in the mix, notwithstanding some (wonderful) hard stereo 60s mixes allowing for sharply panned bass line clarity: eg Les Hurdle's session playing on a stereo 'Baby, Now That I've Found You' by the Foundations....

Re the session player/fees aspect - I'm sure I found a far wider ranging web page (union/fees issues) that cited the above record company 'attitude' re the recording of the song.

And an earlier band version of the song may or may not have played a part in using session players -
http://en.wikipedia.org/wiki/Everlasting_Love#Overview
It's not as though the use of session players was uncommon....

Indeed, that great 'orchestral' arrangement by Mansfield and production by Mike Smith making for a superior cover of the original, though as I originally mentioned Stableford's bassline on the UK version was a direct read-over from Putnam on the Knight original...

To get back to my orig post though - while I'm pretty knowledgeable on these matters I'm hoping someone might know of a pop/rock recorded predecessor to that distinctive chorus '2 note chord' descent pattern - otherwise Putnam (or possibly Gayden as writer, potential arranger) stands as first instance thereof.

(It's odd with the ongoing 'continuum' aspect of riffs/licks - for example - lots of people dismiss Peter Hook's 2 string drone parts as no great innovation/invention, but no one ever comes up with a concrete, indisputably recognisable example that precedes them, other than some unsubstantiated ref to an unnamed, and probably apocryphal jazz-fusion track Hook would certainly never have heard... he just invented them....)

I can imagine - great song.

Yep, but though the particular form of the descent seems so [i]likely[/i] to have been well used, decades after first hearing it I've never heard this distinctive form of it used prior to this track on a pop/rock/'soul' track - all the stranger since it disguises/enhances such a common chord sequence so well. Herbie Flowers used a variation on a later (and similar - nothing wrong with sticking to the formula - lol) Love Affair hit 'Day Without Love', but the very fact it's so distinctive makes any precedent to it's 'first' appearance conspicuous in its absence, as it were.
Also - though co-writer/gtr player Mac Gayden could easily have arranged it, it doesn't seem altogether improbable that the original players created their own parts.

I'm an old timer now and a long term fan of melodic post Macca/mid 60s bass parts, but as I say, I've not heard that distinctive descent used prior to the Everlasting Love track.
Just hoping someone has.

Turns out that those fab Russ Stableford bass lines in The Love Affair's cover of Everlasting Love were in the original Robert Knight version and played by, of all people, legendary Norbert Putnam.
Got me to wondering if anyone might know if that notable chorus bass descent in Everlasting Love - the 2 note 'chord', lower to higher note pinging (not the octave) has any [i]exact[/i] (ie[i] not [/i]a standard single note descent line) precedent or if Putnam effectively invented it. The obvious precedent might be from Jamerson, but I don't know of anything quite like it on any Motown stuff.
Any thoughts, guys?

What's the neck [i]profile [/i]like? I've heard that these Jand D Jazz necks are pretty chunky.

That said I have a J and D PB (aside from the slightly 'wrong' PB shape, a damned nice player) and the maple is so hard it's handled a fair bit of sanding down to a shallower profile.

Can only echo the preceding positive feedback (for this Sonic Blue Squier CV PB) - smooth proceedings, robust packaging and a nice guy.
Thanks, Ben.

I'll have this if you can break it down and post it Up North. I live far too far away to meet.

Thanks for all the ideas and suggestions - almost spoilt for choice. Very much appreciated, guys.

Hi all,
Just wondering if anyone in the UK has found a readily available aerosol paint spray can colour that's reasonably similar to yer Sonic Blue once it's sprayed on primer. I've found a few pale blues at the usual DIY chains (Wilko, B and Q, etc) but the colour on the can may not be what it actually looks like sprayed on, so I'm wondering if anyone's actually[i] used [/i]anything that proved a half decent, inexpensive substitute...

Cheers, Dave.

PMed you for info

[quote name='BetaFunk' timestamp='1417296016' post='2618995']
Russ Stableford.
[/quote]
Indeed it was, and not, as commonly misconceived, the 'ubiquitous' Mr Flowers...

[quote name='rushbo' timestamp='1416388802' post='2609578']
Jellyfish were brilliant. Great tunes, amazing harmonies (which they could pull off with aplomb live) and great players, too. I saw them a few times back in the day and was blown away every time. Omnivore are doing a fantastic job with the back catalogue of some of my favourite bands including The Posies and Game Theory. Well worth checking out.
[/quote]
I couldn't possibly not say Hello to someone namechecking 3 of my all time favourite beat combos in one post. Miller's Loud Family, too.
Miller was/is a really decent guy as well as the obvious gifts.

I saw them on that Spilt Milk tour, too. I stood there swooning with joy. I seem to recall them doing a note perfect encore of 'Grass Grow' by The Move.
Giants in the old 'Powerpop' genre which, when I loved (and listened to) music, was the genre I loved the most...
I second the recommendation re both the fantastic Grays album (also featuring the worthy Jon Brion) and the Falkner solo stuff, though all his solo albums have a fair proportion of so-so material as well as the really inspired stuff (also a feature of fellow Pop rock king Matthew Sweet's catalogue.).