Music videos featuring Fat-Bottom Girls (Rippers, Victories, etc)

[uwe]

Landfill Indie Rock, a girl, tattoos and what I believe to be a Novoselic Signature reissue RD - it looks too new to be an old Standard and - what glimpses I get of - the headstock isn't large enough.

[Highlander]

Spotted the sig and there are pole-pieces visible...

[uwe]

Trying to make up for that Hellcat affair, huh?

[Highlander]

I'm so over that... (and I have a BIG magnifying glass)

[gearHed289]

That was cool. SG sounds great. Big shiny Gibson logo on the bass case in the background...

[Nocturnal]

Early in the song you can see the sig on the headstock for just a second. Plus the pickups give it away. It's what mine USED to look like 

[uwe]

Those tattoos must have distracted me.

[Highlander]

Tattoos...?

[Dave W]

Sturgill Simpson covering Otis Redding. Seriously.

RD sighting.

https://www.youtube.com/watch?t=17&v=LXqloRsk05c

[Basvarken]

Poor Ripper...

[Granny Gremlin]

Saw a punk band last night.  Who knew the Grabber would be such a perfect fit tonally; snappy and took overdrive well.  Sorry no pic.  Talked to the dude afterwards; he said he really wanted a Ripper, and an EB3 as well because that's what the Slade guy used.  I told him he reminded me of some guys I know online and warned him that full mud ain't for all occasions (all the while thinking "what sort of punk bassist wants to be like Jim Lea" )

[uwe]

"what sort of punk bassist wants to be like Jim Lea"

AAAAARGH!!! 

No repectable punk bassist of course, Jake, Jim Lea and punk bass playing really is like maple and syrup, there is no connection whatsoever ...



Eenuff eeze eenuff, someone here has to bring light into dense Canadian foilage as well as defend Jim Lea





and Slade's punk credentials in the process!!!



Jake, they actually were skinheads at one point (late 60ies, before skinheads became unfashionably neo-fascist). And in the late seventies - after the punk revolution - one of their albums looked (and sounded) like this here:



"Whatever Happened to Slade is the seventh album by the British rock group Slade. It was released on 21 March 1977 by Barn Records, but did not enter any national album chart. By the time of the album's release, Slade's popularity was waning as were their record sales, which they acknowledged in the album's title. The glam rock movement, of which Slade were associated, had died, along with its founder Marc Bolan, frontman of T.Rex, who was killed in a car crash in 1976, and–in a figurative sense – the careers of other glam rock artists such as Mud, Gary Glitter and The Sweet had also died. In Britain, where Slade had traditionally been most popular, the fashion of the day was punk rock. With this album, Slade firmly stood its ground as a straight rock group, and gone were their "glam" statements of the early decade.

The album was met with critical praise and support from the English punk uprising. Nevertheless, the record was a commercial failure and the band's financial woes continued. For many years, the album was a much sought-after collector's item amongst fans. However, the album is available today via CD remaster from 2007 and download. In later years, the album became a popular trade amongst American musicians developing what would be known as "grunge" as both Billy Corgan (Smashing Pumpkins) and Kurt Cobain (Nirvana) have cited the album as influential."

Slade were a band that the punks of the UK Summer of 77 were at the very least gentle with or unabashedly admired (because of their working class background, their thick Brit accents, because they had driven English school teachers mad with the bad orlthogiraffy of their song titles etc): The Damned, Generation X, The (Hammersmith) Gorillas (Anybody remember them? Sideburns courtesy of Noddy Holder!!!),





or The Vibrators, they all appreciated Slade's "Charles Dickens meets Clockwork Orange"-looks and the rabble-rousing, warts and all raucousness of their music. And if you listen to Jim Lea here, dinosaur prog rock his bass solo ain't, I hear a lot of punkish attitude, buzzsaw bass before Lemmy made a habit of it:



I was an avid reader of the NME at the time and the NME gushed over punk, giving it a huge forum: I don't remember any punk musician of the time that said anything negative about bands that were perceived as glam in one way or another: Sweet, Slade, T. Rex, Alice Cooper or Suzi Quatro (all of them bands met with derision in "serious rock music" quarters and especially by the rock press that wanted to distance itself from teenybopper mags). One look at Gaye Advert of The Adverts told you where she got her look from, she was like an English Joan Jett, another Quatro-acolyte.


GAYE!

JOAN!!

SUZI!!!
Look at those Slade fans pretending to be punk here:



But it's ok, Jake, ignorance still works best (and most forgivably) coupled with (comparative) youth  and Jim understands.




PS:That a Grabber and punk go together well is really no surprise, it does sound (and was meant to sound) like a trashy P Bass after all. And if you listen to the sonics of early Kiss recordings that featured the Grabber, then that sound has more to do with punk sonic esthetics than with how the bass sounded in bands like, say, Led Zeppelin, Black Sabbath or Deep Purple.

[nofi]

awful quatro solo to match that awful lea solo. really. don't these people get it.

[uwe]

The Lea solo isn't his strongest, it's from the era when Slade tried to crack America by hitting people over the head with pure energy as a - feared and frenzied - opening act. It never translated into record sales though. I saw them around that time for the first time - stadium-honed in a German club with an oversize PA, I've told this many imes before: The only concert I have been too where the music was so physically loud that a guy next to me suffered all of the sudden from nose bleed as he stood right in front of those Martin bins. he enjoyed it though.

What shall I say about Suzi? I still have a crush on her, but if truth be told then I have never heard her play anything remotely remarkable on bass. To her credit: Her timing is better than it appears in that solo, I think there is a billowing acoustics issue there.

And while she will always remain the leather-clad glam goddess for me, these this actually tends to be my favourite song from her, she's really hooked on that Memphis boy:



I know it's twee, let me, I'm old!!!

[Granny Gremlin]

That's a bit of a stretch there Uwe.  Working class they may be; trying to save their careers by hopping on the punk bandwagon (shaved heads or no) doesn't prove anything.  I have never heard any of those bands you mentioned refer to Slade in any way being influential to them.  Maybe Kurt Cobain, but his tastes were very eclectic.  If that supposed Slade punk record was so punk, and punks liked it, why was it a commercial failure vs Bollocks, which wasn't?  Don't buy it, sorry.

Funk Punk and Junk is a fair attempt to go there, but fails in it's inability to find any substance beyond trying to be a party anthem... the only other punkish thing about it may be the emulation of Reggae, except that the tendency of that genre to recycle musical tracks and just change the vocals and release it as a whole new single wasn't the particular trait the punk scene latched on to (all jokes about punk being simple and repetitive with songs that all sounded the same aside; they weren't the exact same riff/chords). F P and J is the same riff as Thanks for the Memories and also nearly if not bang on identical to the riff from Be (from that 'punk' record of theirs you mentioned), and that one (Be) comes off much more like later era Beatles tune than a punk, song. I will grant you this: Noddy certainly had a voice that would have worked for punk; just not the lyrics.  If anything, Come on Feel the Noize came closest; coulda been a later era pop punk track, but instead it was covered by hair metal acts which they definitely did influence.

In closing, there is not enough irony in all of space-time for this to be a portait of a punk band (but you can draw a straight line from this to hair metal):



And you know there are more poignant examples I could have used (like the live vid of that same  track on Youtube).

And yes, agreed the Grabber is a natural at punk; my point was more that it is surprising more punk bassists don't use them (they're also cheap, relatively so it really is a mystery).  The Green Day dude is the only one I can think of off the top of my head and some would argue if that even qualifies.

I have now become what I hate; someone who engages in X is punker than Y arguments, all because I tried to make a Slade joke so my last post would have some appeal to y'all.