The Last Bass Outpost

You never told us you live by the swamp. What else?

The Brooklyn Museum and the Brooklyn Botanic Garden are even closer, and both well worth a visit, even for presumably highly cultured German folks.



No gators, though. And no bass shops in the neighborhood either except (ugh) G***ar center.

I really like it. I kind of want one

Yeah I quite like the sound except for the pathetic E string.  That bridge problem is really bad.

Not sure how special the foil thing sounds.... it sounds like any decent single coil in the mid position to me, ie it's totally fine, I like it, but how different/better is it compared to a 51 P / tele style instrument ?

That's cool that you found LITERALLY your first bass!

I hope my Montoya has been burned, it was so bad nobody should suffer with it.
Permanently warped neck made the action horrible, and the pickup was either permanently muddy or the tone control was shorted to full mud all the time.



Well, it only cost $50 USD used in 1980, and it was enough to learn "Hey Joe" and "Day Tripper".
Two years later I got a quite decent Ibanez Blazer P-copy, which I still own, though it's been much abused and modified.

I never saw they who shall not be named, but sometime in the 90s I did see the other Aussie band mentioned in this thread, and that was one of the best live shows I ever saw.  Midnight Oil live was quite powerful. And that's another band that evolved quite a bit over time, they kept trying different things on their albums. It's a bit of a journey from "Powderworks" to "Earth and Sun and Moon".

Plus, late bassist Bones Hillman was great, really solid and a phenomenal backup singer, and this particular live recording is possibly the most overly-loud Thunderbird II recording ever, I have no idea what the mix engineer was thinking, but it's great:

Yeah, when they were good they were great. I didn't always love the songwriting but the approach to guitar was influential.

I had a guitarist friend in college who was _obsessed_ with this live version of Little Johnny Jewel. It made a lasting impression on me too.
It goes on quite a journey, more the sort of extended voyage you'd associate with a jam band like the Dead, but with more of an edge to it.

I didn't say that Kurt didn't hear the difference between an A minor and an A major chord, he wasn't tone deaf. But claiming that a profound harmonic understanding went into his compositions is overstating things - I think he just played by ear and liked (or didn't mind) chord changes that grated a little.

Finally something we agree on: I think he played (mostly or entirely) by ear and definitely liked grating chord changes.

I did not say anything about "profound harmonic understanding". I said "good working understanding of keys and harmony regardless of whether they have learned the terminology."

It's entirely possible, as an artist, to know what you're doing without being able to put it into words.

Anthrax have, to my ears, got better at meshing their riffs with Joey Belladonna's voice. I really enjoyed their work on "For All Kings". The chorus of this one is downright hooky.  Uwe still might not like it because it uses both major and minor

And Nirvana didn't even know what the hell they were doing either way, manor- or mijorish.

That's just trolling Uwe - but I am going to fall for it
Nirvana were perfectly aware of the difference between major and minor. "Wrong" notes are a prominent part of the aesthetic. You just don't like it .  And that's fine.  But to claim it was accidental ignorance is false.

Getting away from those two tangents and back to my original tangent that still has little to do with Gibson factory tours ....
while I can enjoy Raining Blood (with the bass properly submerged in the mix), I think some of you may join me in enjoying this version better... I'm sure I've posted it before ... the bridge is a thing of genius.