A little annoying when a writer is not very familiar with what they're writing about. It is what it is...
http://www.bestbassgear.com/ebass/gear/hardware/whats-a-mudbucker-pickup.html
You can tell that he's not a fan!
"This pickup to most player's ears sounds just plain awful and very "muddy", hence the nickname mudbucker".
Yup, he starts with the assumption that mudbucker = bad sound.
I wonder what he uses his batteries in...?
Oh, brother.
If most players think they sound "just plain awful" then why are they "next to impossible" to find? Truth is, the author really doesn't know what most players think, and they're not that hard to find at a reasonable price. A few have changed hands here and they do come up often on eBay.
No, Gibson will not sell you one, because they haven't made one in 34 years.
Jack Bruce's tone on his EB-3 is nowhere near pure mudbucker tone. Terrible example. After the Sunshine video he says "and that's pretty much the exact tone you'll get out of a mudbucker. Throw enough power at one and you can "force-blare' an overdriven sound for that 60s psychedelic tone, and not much else." Um, nope. A mudbucker's output is so high you don't need to throw any power at to go into overdrive, and there's nothing psychedelic about its tone. Now I suppose you could call Jack's tone psychedelic, but it sounds pretty much the same as his tone on the original recording, which was done with his Danelectro.
Reader comments mention Epi, Gotoh, Artec and Curtis Novak as aftermarket. AFAIK Curtis Novak is the only one of those who winds to vintage specs. The Epi and Gotoh are nowhere close.
FWIW, I never heard the term mudbucker until seeing Steve Barr use it about 12-13 years ago. And at first he was referring to the original Tele Bass humbucker, which is quite different but still muddy.
This reminds me of the Geico commercial from several years back in which they keep making "inaccurate" statements about cavemen. Then at the end of the commercial one of the cavemen admonishes them with the statement---"Next time maybe do a little research?"
The mudbucker is neither good or bad, but simply idiosyncratic. It's a color that can be used to great effect in some situations, but of course not in all. That Sunshine of your Love track played by a three piece would sound rather thin with a trad Ric or Precision sound. Nothing layers and fills like a mudbucker, you might not be able to hear notes, but you feel there is something filling the emptiness! :mrgreen:
And Jack Bruce sounds like he does and if he was playing a banjo.
I'm not too damning on the article, it's a light, whimsical piece, doesn't profess to document the history and the usability of the mudbucker. That it is not a great sound to the ears of "most" bass players is just a simple truth, we are a minority/acquired taste lovers here, face it. And in reality we wouldn't want it any other way. I hate being in the majority, always have. ;)
the preferred p bass tone of the late sixties and early seventies would certainly fill any holes. what happened to the days in which a name bassist would play a whole show with only one bass, which in many cases became their signature instrument. now even guys in cover bands take four or five basses to a gig. what's the point. ???
Quote from: nofi on February 07, 2013, 05:56:37 AM
the preferred p bass tone of the late sixties and early seventies would certainly fill any holes. what happened to the days in which a name bassist would play a whole show with only one bass, which in many cases became their signature instrument. now even guys in cover bands take four or five basses to a gig. what's the point. ???
Don't ciriticize me so harshly, I have to see to the needs of the members of all of my harem!!! Besides, the audience might not hear, but it sees the difference if you strap on another bass! :mrgreen: :mrgreen: :mrgreen:
I'm not knocking a P bass sound, but its focus comes at a price. Cream had a fullness in live sound that The Who hadn't even though their instrumental line up was exactly the same. I'm currently listening a lot to the much lauded The Who Live at Hull, allegedly their live holy grail as it was recorded one night after Leeds under better technical circumstances (save for the bass dropping out on the first six songs which they meticulously restored with the Leeds bass track, well done, you can't really hear that it comes from somewhere else), I will get clobbered for saying this here, but frankly the mighty Who sounded thin, skeletal and forlorn in 1970 performimg their own earlier stuff (and especially the Tommy tracks which cry out for broader instrumentation), they were well-advised to beef up their line-up for live gigs in later years. The Grand Funk Railroad Live album sounds like a 10-piece in comparison even though Mel Schacher's individual notes are a lot less distinct than JAE's.
Now, dear Who fans, regroup for the counter-attack! :mrgreen: And if I may motivate you some more: In 1970, The Who, to my ears (and I listened to both CDs of Live at Hull concentratedly several times, they did have good harmony vocals live btw), sounded like a sixties rock band turned up louder, but had none of the urgency, immediacy and intensity in sound of then up and coming bands such as Deep Purple, Free, Led Zeppelin, Ten Years After, Uriah Heep or even Grand Funk Railroad had. Townshend is a gifted songwriter but his guitar playing is really too stiff and rigid to fill the position of a solitary guitarist well.
Himmel, this is going to be fun! I have finally attacked the holy cow of this forum. :mrgreen: :mrgreen: :mrgreen: :mrgreen: :mrgreen:
(http://www.freakingnews.com/pictures/25000/Holy-Cow-25208.jpg)
http://www.bing.com/images/search?q=holy+cow&id=D6F00524617027DDEDFE9F2F95E57D1DAE20D349&FORM=IQFRBA#view=detail&id=D6F00524617027DDEDFE9F2F95E57D1DAE20D349&selectedIndex=0
Danke für die Inspiration (of the cow pic), Nofi!
Interesting argument Uwe. Yes, at the time those bands you mentioned may have been a tad more urgent, immediate and intense or one could simply say more bluesy. In retrospect though, I think the Who's attitude and style had a farther reaching influence into the 70's and early 80's with the Punk scene and evolving into Alternative or grunge styles than the other bands. I hear more "can't explain" than "30 days in the hole" from rock bands these days. Oh, and Felix Pappalardi is the mudbucker king!
I listen a lot to three live albums of The Who from the same period: Live at Hull, Live at Leeds and Live at the Isle of Wight and especially the Tommy songs. The last one (Wight) sounds the edgiest, most rough and very, very very good! I even made one CD of the Tommy part, which starts half way the first CD and ends halfway the second. Great!
Leeds is cool to, a bit thinner, but Hull sounds quite bad IMHO. The mix just isn't that good.... very trebly.
I guess The Who doesn't sound badder than Cream. Just different:) ;)
The live-CD on the Deluxe Who's Next sounds great!
Quote from: uwe on February 07, 2013, 05:29:49 AM
The mudbucker is neither good or bad, but simply idiosyncratic. It's a color that can be used to great effect in some situations, but of course not in all. That Sunshine of your Love track played by a three piece would sound rather thin with a trad Ric or Precision sound. Nothing layers and fills like a mudbucker, you might not be able to hear notes, but you feel there is something filling the emptiness! :mrgreen:
And Jack Bruce sounds like he does and if he was playing a banjo.
I'm not too damning on the article, it's a light, whimsical piece, doesn't profess to document the history and the usability of the mudbucker. That it is not a great sound to the ears of "most" bass players is just a simple truth, we are a minority/acquired taste lovers here, face it. And in reality we wouldn't want it any other way. I hate being in the majority, always have. ;)
Light and whimsical? Maybe. My objection is that he's dead wrong on just about every point he touches. Of course Jack Bruce always sounds like Jack Bruce, but his EB-3 tone is nothing like what a mudbucker sounds like. I don't profess to know how much if any of the mudbucker is in there but you can't get that kind of midrange out of a mudbucker.
Real mudbucker tone that's easy to pick out:
http://www.youtube.com/watch?v=9_0zrd2u3uk
On my Hull version you hear JAE well and not trebly at all, trouble is that his pentatonic runs sometimes make you forget the chord structure if Townshend is soloing or not playing the most indicative chords. I'm not knockimg them as individual musicians, but a lot of their live renditions cry for a second guitar or a keyboard (or both). And Moonie and JAE, bless them both, were not the most structured rhythm section on earth. Moonie plays a lot with zest and gusto, it's fun to hear (and see), but if you listen closely it's often the same drum roll - from left to right - over and over, the bass drum work is neither tight nor adventurous. And JAE is on a quest of his own, really someone who would need a (disciplined!) drummer and a guitarist backing him.
Quote from: Dave W on February 07, 2013, 09:07:24 AM
Light and whimsical? Maybe. My objection is that he's dead wrong on just about every point he touches. Of course Jack Bruce always sounds like Jack Bruce, but his EB-3 tone is nothing like what a mudbucker sounds like. I don't profess to know how much if any of the mudbucker is in there but you can't get that kind of midrange out of a mudbucker.
Real mudbucker tone that's easy to pick out:
http://www.youtube.com/watch?v=9_0zrd2u3uk
Of course. And not all mudbuckers of all eras sound the same either. Whether JB needed the minibucker (not that that is a good pup!) to create his sound or not I don't know either, you read different things about it, but in the reunion gigs with Cream he certainly got a similar sound with a single neck pup EB-1 (a fifties, i.e. single coil one though, not the true mudbucker 69 version).
Quote from: Dave W on February 07, 2013, 09:07:24 AM
Light and whimsical? Maybe. My objection is that he's dead wrong on just about every point he touches. Of course Jack Bruce always sounds like Jack Bruce, but his EB-3 tone is nothing like what a mudbucker sounds like. I don't profess to know how much if any of the mudbucker is in there but you can't get that kind of midrange out of a mudbucker.
Real mudbucker tone that's easy to pick out:
http://www.youtube.com/watch?v=9_0zrd2u3uk
Dave, thanks for posting that. He sounds great on a Thunderbird too:
http://www.youtube.com/watch?v=Ydc1DkrtxP8
And until Dave posted that video I too thought the mudbucker tone less than desirable, at least in the context of rock and roll. With Cream, Free, Mountian, et al the bass tone is more the result of overdriven tube amplifiers than choice of pickups.
This sounds desirable to me.
http://www.youtube.com/watch?v=Up6EdGt68cM
Quote from: uwe on February 07, 2013, 06:19:27 AM
I have finally attacked the holy cow of this forum...
Has Uwe
Peter cooked his goose
step ...?
Same time, same channel...
I'm disappointed, I expected more outrage and venomous hate!!! :mrgreen:
Quote from: uwe on February 07, 2013, 04:12:45 PM
I'm disappointed, I expected more outrage and venomous hate!!! :mrgreen:
Lessee....I had a bottle of venomous hate around here somm'ers......if I recall, it was an IPA with extra hops. ???
I'm a Fender guy, and I don't particularly like JAE's tone on Live at Leeds.
I think in general, P-bass tone is fat enough to fill a room, though...with a very articulate high end. It's a p-bass thing...doesn't have to sound like an airplane taking off.
The jazz/blues video above has a tone to die for...makes me want to try a Gibson again (been a long time). So did Scott's last video. Excellent tone.
"P-bass tone is fat enough to fill a room"
On the E and A, yes, it has its limits on the D and G. That is where a mudbucky Gibson hobbitses bass just fills more. And Jack played a lot on the D and G, wouldn't have sounded the same on a Fender P nor filled the music as much.
The P Bass conquered the bass world because it decided on the - to most bassists at least - more important pair of strings to sound better! :mrgreen:
Quote from: uwe on February 07, 2013, 05:22:16 PM
"P-bass tone is fat enough to fill a room"
On the E and A, yes, it has its limits on the D and G. That is where a mudbucky Gibson hobbitses bass just fills more. And Jack played a lot on the D and G, wouldn't have sounded the same on a Fender P nor filled the music as much.
The P Bass conquered the bass world because it decided on the - to most bassists at least - more important pair of strings to sound better! :mrgreen:
That is just nonsense.
Why did we never see this guy with a mudbucker? He played a lot on the D and G too.
(http://www.thewho.net/whotabs/images/bass/gp-jaecoll02.jpg)
I was talking about scale length (hence the "hobbitses" remark), not just pup choice! JAE was never much of a short scale man except in his early days when shorties were still more common. And when he was playing higher notes I never found him especially full-sounding either, just very audible (= loud!) and fast. (To be fair, a lot of JAE's speedy runs would have simply not even been heard with a sluggish mudbucker sound.)
There is a warmth and density in tone to a short scale D and G that long scales have a hard time matching, just as a short scale E will always battle to have as much authority as a long scale E.
Counter-question: Why did Mel Schacher and Billy Sheehan put mudbuckers in the neck positions of their Fenders? I don't believe they wanted to sound thinner and more trebly with them. :mrgreen:
Quote from: the mojo hobo on February 07, 2013, 10:37:32 AM
Dave, thanks for posting that. He sounds great on a Thunderbird too:
He does, although I think the mudbucker tone works better for their music.
Quote from: the mojo hobo on February 07, 2013, 12:35:22 PM
And until Dave posted that video I too thought the mudbucker tone less than desirable, at least in the context of rock and roll. With Cream, Free, Mountian, et al the bass tone is more the result of overdriven tube amplifiers than choice of pickups.
The amps were a good part of it for sure, Felix' tone was usually overdriven and not well defined, but I always assumed Jack Bruce's tone to be mostly from the mini-humbucker. Then in the late 90s I read Graeme Pattingale's Cream site in the late 90s which confirmed it, if you assume that his research is accurate. Don't know about Free (never a fan).
At any rate, it might not work for all situations but the Black Dub video shows you can get a nice deep sound that's nothing like the unrecognizable mud some people would have you believe.
Had a teacher years ago that played jazz on a variety of mud-bucker equipped Gibsons. He always sounded great. Through a B-15.
My one foray into owning a Ripper (for maybe a week or two). Showed me that a Gibson could be a real bitch to eq in a larger room. I used it on one gig in a high school gym in maybe 1975...and it just roared through my Acoustic Amp. Traded it in the next day on a P-Bass. Maybe this just shows how far amplification has come in 30-40 years. Course I sort of wonder how the band in the video above would sound in a large theater with the mud-bucker equipped bass.
Dave, being a bassist who doesn't like Free is like being a duck that hates water. As much as I love Cream, Andy Fraser was a technically superior bassist IMO. I'd say he was getting most of his sound from the mini-bucker as well. Even though he used almost the identical set up as Jack, he had a way more focused live sound. This was due to his Jaco-esque right hand over the bridge pickup style for the most part and also because he didn't crank up the vol. on as many stacks as Jack.
"Dave, being a bassist who doesn't like Free is like being a duck that hates water."
:mrgreen: :mrgreen: :mrgreen: :mrgreen: :mrgreen:
I'm no Free nut - Paul Rodgers is a great singer, but sometimes a little too safe for my taste, I prefer singers who sometimes take a risk, without overstretching all the time -, but Fraser was gifted, especially considering that he was still a kid back then. But technically superior to Jack Bruce? With Fraser you heard where he was coming from (nothing bad about that), the Motown influence and all, but Jack Bruce sounded like no one before or even after him. His playing defies analysis, is hugely intuitive and kinda strange. Actually, I probably like Fraser better as a bassist, but Jack Bruce is a lot more idiosyncratic. That is what I always liked about Baker and Bruce as a team: They drummed and played bass like no one else, they had that free-flow jazzy thing going on. Not commercial at all by standards then and even less by today's standards, but they gave Cream a feverish urgency which Free was devoid of. Fraser, Rodgers, Kirke and Kossoff always tried to sound as if they were 10 years more mature than they actually were.
Or let's put it that way: Cream sounded and Jack Bruce sounded like they/he took the more interesting drugs! :mrgreen:
Quote from: 4stringer77 on February 08, 2013, 08:05:47 AM
Dave, being a bassist who doesn't like Free is like being a duck that hates water. ...
;D
For me, it's all about the music as a whole, not about the bassist or the bass lines. If a band or artist's music doesn't appeal to me on some level, then I won't be paying attention to the bassist, no matter how talented.
If you're inspired by Free's music or Andy Fraser's bass work, that's great. It never appealed to me. There's plenty of music out there and no shortage of bass to be inspired by.
Figured I might chime in here. I had a slothead EB-0 briefly, and took it on a band audition. What I noticed about the mudbucker was that it was awesome in a closed environment. In that rehearsal room, with very little bounce and echo, the bass almost tore my heart out of my chest. It had all these great qualities that some of us love in a bass. Put that same bass in some open area, and the mudbucker earned its name. Vague, undefined, and lost.
I'm going to rip and post my Jack Bruce boot to Dropbox for us. Despite the conditions of the boot, we were still 20 feet in front of his amp, and the bass is pretty clear.
I can dig that Dave. Rocco Prestia in Tower of Power was another grooving bassist but TOP could be downright sappy to listen to. Cream broke out before Free when everyone was getting into Acid for the first time so the culture lended itself to a more experimental band. Free was a much more traditional groove oriented band. looking forward to that Cream boot gweimer!
"What I noticed about the mudbucker was that it was awesome in a closed environment. In that rehearsal room, with very little bounce and echo, the bass almost tore my heart out of my chest. It had all these great qualities that some of us love in a bass."
Brilliant and true observation. Also the death knell for the dark sounding Gibbies: They were a pain in the butt to mix for most soundboard guys, while everybody knows that you have to be stone-deaf to render a Fender P inaudible or bad-sounding over a PA.
You can also get quite good results with a Muddie in a studio environment (with some eq tweaking, once you have explained to the engineer that you have already rolled on all available treble on your bass and he shakes his head in despair!), but live on a large stage you'll have issues.
"Rocco Prestia in Tower of Power"
... can play circles around me and I appreciate his superior technique, but he always makes me wonder why he is playing these hurried 16ths or even 32ths (dumb question: because he can!) when a quarter or an eigth note would do just as well and get the bass melody across better. The Steve Harris of funk!!! :mrgreen:
I like sparse funk bassists such as the late Bernard Edwards of Chic better.
Quote from: uwe on February 08, 2013, 10:03:05 AM
"What I noticed about the mudbucker was that it was awesome in a closed environment. In that rehearsal room, with very little bounce and echo, the bass almost tore my heart out of my chest. It had all these great qualities that some of us love in a bass."
Brilliant and true observation. Also the death knell for the dark sounding Gibbies: They were a pain in the butt to mix for most soundboard guys, while everybody knows that you have to be stone-deaf to render a Fender P inaudible or bad-sounding over a PA.
You can also get quite good results with a Muddie in a studio environment (with some eq tweaking, once you have explained to the engineer that you have already rolled on all available treble on your bass and he shakes his head in despair!), but live on a large stage you'll have issues.
In a live setting, you don't want to have the low end boosted. For years, I have brought down the low end a bit, and either flattened or suppressed anything under 100 hz, and then boosted between 150-250 hz. Then, TURN IT UP LOUD. You'll get that nice Gibby sound. The live post I have here somewhere with the Embassy was done with a room mic at the back of the club, and not from the board.
Never been a fan of Free. Somehow the Grooves never worked for me.
I always loved TOP...Rocco grooves, but he is quite busy. For me it's the feel.
Dave, does the band "Black Dub" above have any commercial recordings?
Can't forget this mudbucker clip! ;D
http://www.youtube.com/watch?v=dPR3p0xmZgM&feature=youtu.be
What language is that? At first I thought it was Spanish, but I can't understand one word of it.
Some kinda Scandinavian. Icelandic maybe? Had a real good Larry Graham kinda thing going there for a sec.
I think he's from Finland.
But stark raving mad! In a talented way.
No, I don't think they had exactly that in mind when the good people of Gibson created the baritone switch.
Put on "James Gang Rides Again"
Plenty of good tone there...fills a hall, very articulate. Far as I know...P-Bass.
Quote from: chromium on February 08, 2013, 02:57:44 PM
I think he's from Finland.
Thanks. Normally, I'm pretty good at detecting languages. But I can't ever remember hearing Finnish spoken. It sounds nothing like I was expecting.
Quote from: patman on February 08, 2013, 03:23:13 PM
Put on "James Gang Rides Again"
Plenty of good tone there...fills a hall, very articulate. Far as I know...P-Bass.
I could be wrong, but I think a Precision is all Dale Peters ever played. Tom Kriss definitely played a Gibson EB-3 on the first album, something I'm sure most people already know.
As a Tommy Bolin acolyte I prefer Bang and Miami!
http://www.youtube.com/watch?v=F7AhAXjO0GU
Tommy Bolin replaced Ritchie Blackmore too, you know. :mrgreen:
Quote from: westen on February 08, 2013, 04:12:08 PM
Thanks. Normally, I'm pretty good at detecting languages. But I can't ever remember hearing Finnish spoken. It sounds nothing like I was expecting.
No prob! I wouldn't recognize Finnish if it bit me in the a$$ ;D I had looked him up - Anssi Kela. Pretty talented and accomplished fellow, from the look of it.
As for James Gang, I always liked this amped-up version of Walk Away. Bass sounds fine by me!
http://www.youtube.com/watch?v=l_4iQDYDVNo
Bolin in Purple...? I knew that one, Uwe... did you see the tour...? :mrgreen:
That other guitarist with that other band did reasonably well for himself...
Why must you always rub your superior classic rock acts live experience in with me!!!! :-\ :-\ :-\ :-\ :-\ :-\ :-\ :-\ :-\ :-\
I would have given my left nut to see Bolin with Le Purps!!! That line up imploded before they could tour Germany.
http://www.youtube.com/watch?v=vXyjp-h0OQE
http://www.youtube.com/watch?v=nqAqWuo66YU
There's bugger all else I've got over you... (I really should dig those dodgy pics of the Wembly show out ;D)
An advantage purely of geographical location and being slightly older than you - the guy I bought my Hiwatt and SG from had just seen #3 at the Hammersmith Odeon... I had to wait until the reunion to see #2 in Paris (Mountain supporting, -Felix)...
I'm almost tempted to buy a ticket for Quo to bump into you ... ;)
Incoming! I put a 13 minute version of "Sunshine of Your Love" in the Outpost dropbox.
Quote from: patman on February 08, 2013, 01:11:46 PM
...
Dave, does the band "Black Dub" above have any commercial recordings?
Just one (http://www.amazon.com/Black-Dub/dp/B0041EVYVK) from a couple of years ago, AFAIK. It's one of Daniel Lanois' projects.
Quote from: chromium on February 08, 2013, 04:54:09 PM
No prob! I wouldn't recognize Finnish if it bit me in the a$$ ;D I had looked him up - Anssi Kela. Pretty talented and accomplished fellow, from the look of it.
As for James Gang, I always liked this amped-up version of Walk Away. Bass sounds fine by me!
http://www.youtube.com/watch?v=l_4iQDYDVNo
My curiosity often gets the best of me if I hear a language I can't identify. I've even gone up to people at airports and asked them what language they're speaking. I also like that version of Walk Away very much.
I've heard Finnish influences sound. Or not, I can't quite remember.
It's the memory that goes first... I can't remember who's quote that is though...
Memory only come fourth ...
"The great featherweight Willie Peps once said, talkin' of fighters' lifetimes, the first thing to go is your legs, then it's your reflexes, and then it's your friends."
That is a truly classic quote... :sad:
I just read the thing. Wot a douchbag.
As far as Gibson bass tone, I have very little time for this Free/Cream/Deep Purple- hippie sludge rock. I think of a Gibson bass, I think of The Zombies, the Animals, or Sounds Incorporated. Even parts of Are You Experienced.
And this:
http://www.youtube.com/watch?v=QFq5O2kabQo
Rock and Roll!
Quote from: eb2 on February 11, 2013, 04:48:10 PM
I just read the thing. Wot a douchbag.
As far as Gibson bass tone, I have very little time for this Free/Cream/Deep Purple- hippie sludge rock. I think of a Gibson bass, I think of The Zombies, the Animals, or Sounds Incorporated. Even parts of Are You Experienced.
And this:
http://www.youtube.com/watch?v=QFq5O2kabQo
Rock and Roll!
But that's a mud single coil, not a mudbucker. That would be too much for the author's poor brain to process.
We must have both!
Quote from: eb2 on February 11, 2013, 04:48:10 PM
I just read the thing. Wot a douchbag.
As far as Gibson bass tone, I have very little time for this Free/Cream/Deep Purple- hippie sludge rock. I think of a Gibson bass, I think of The Zombies, the Animals, or Sounds Incorporated. Even parts of Are You Experienced.
And this:
http://www.youtube.com/watch?v=QFq5O2kabQo
Rock and Roll!
What? You don't like Free, Cream, and Deep Purple???? As for the "Are You Experienced" album, I don't know why I thought this, but I used to think the EB-2 was only used on one or two songs. However, last year I checked the recording dates. The Gibson EB-2 was definitely used on 8 out of the 12 songs on the original American version of AYE. "I Don't Live Today" could have been recorded with a Fender or Gibson. The only songs that were definitely played with a Fender were Manic Depression, Are You Experienced, and May This Be Love. So, yes, when I think of Gibson bass tone I also keep the AYE album in mind. I think for what they were doing the EB-2 worked out well. The Fender did sound good on Manic Depression and okay on May This Be Love. The Fender bass on Are You Experienced (the song) was almost lost in the mix compared to all the other songs, though. I suspect 99% of their attention on that song was focused on Hendrix's guitar (as it should have been.)
i don't listen to classic or any other kind of rock any more, save the odd pink floyd tune. i'm worn out on the whole deal. i am always looking for new music but it ain't rocked and rolled. :bored:
I can listen to both old and new. Kings of Leon in one moment, Bloodrock (remember them?) in the next. Gary Numan followed by Rick Wakeman, Status Quo followed by Porcupine Tree/Steve Wilson. At all times there has been good and not so great music.
And then of course my cult stuff like the criminally underrated Heavy Metal Kids that walked the line between pomp, punk and glam. I love Gary Holton's cockney sneer.
http://www.youtube.com/watch?v=NYkP6377ZE8
Oh, and I'm waiting for the 17 CD BÖC Box of Remasters to reach my house!
^
I agree. Old and new is the way to go. Otherwise, it would be unbalanced for me at least. There are people who just listen to old, and those who just listen to new, but I don't see how they do it. I especially don't see how anyone could only listen to old music. I usually find it hard to even watch a good movie twice.
ha! bloodrock - d.o.a.
Stablemates to GFR - Terry Knight managed them at the same time - the double live was pretty good...
http://www.youtube.com/watch?v=eMTQt_bAOPc
This track will certainly give you a clear indication of the sound and their likeness to GFR... probably why I liked them as much... Mel Schacher bass sound pretty much replicated on this...
http://www.youtube.com/watch?v=rU_foI7_IlQ
Uwe... BOC box set...?
Really really sorry to mention this but the HMK's supported Alice Cooper's WTMN tour in '75... saw that one too... :sad: :o
Poor Terry, he met a sad end. Stabbed to death by his daughter's boyfriend while defending his daughter.
... trying to do the right thing, by all accounts...
Quote from: HERBIE on February 12, 2013, 05:02:58 PM
Stablemates to GFR - Terry Knight managed them at the same time - the double live was pretty good...
http://www.youtube.com/watch?v=eMTQt_bAOPc
My first pro band did "Lucky In The Morning" as our closing song. Thanks for the memory!
I had the first Heavy Metal Kids album. I recall it being OK, but nothing spectacular. I did like these guys a decade later, though (Jim Cregan produced, so the influence is pretty obvious). Hey...lookie that bass!
http://www.youtube.com/watch?v=nNFRQ9Lblz4
And I'm a lot like others here...all over the musical map, both old and new.
http://www.youtube.com/watch?v=20HmSomEHZ0
http://www.youtube.com/watch?v=LnKUD_OztRE