- March 2018
- October 2017
- July 2017
- March 2017
- January 2017
- November 2016
- October 2016
- July 2016
- June 2016
- May 2016
- April 2016
- March 2016
- February 2016
- January 2016
- December 2015
- November 2015
- October 2015
- September 2015
- August 2015
- July 2015
- June 2015
- May 2015
- March 2015
- February 2015
- January 2015
- December 2014
- October 2014
- September 2014
- August 2014
- July 2014
- May 2014
- March 2014
- January 2014
- December 2013
- November 2013
- August 2013
- July 2013
- June 2013
- May 2013
- March 2013
- January 2013
- November 2012
- September 2012
- July 2012
- May 2012
- April 2012
- February 2012
- January 2012
- December 2011
- November 2011
- August 2011
For further information, go to the Profile Bass page.
The first thing about it that stood out was that the pickup is probably the loudest P-bass style pickup I’ve ever heard, and the low end response on it is astonishing! For sure, this bass can rumble the house! But it also has a clear ringing high end when the tone control is dialed up. Also notable is the sustain, hit a note and it’ll ring for nearly a minute … The neck is great! The fingerboard width is reminiscent of a ’60s P-bass, but the neck width is somewhat slimmer, making it really easy to play … The instrument is light and very comfortably balanced.
All in all it’s great instrument for the money, and it’s a world of fun to play. I’ve been using it nearly exclusively since I got it, and getting a lot of complements on it from other bass players. I have to say, out of the box I was a lot more pleased with it then with the last few new Fender basses I’ve bought. It certainly holds it’s own compared to other instruments of any price. (Scott Reid)
The bass is a beautiful colour- that’s what strikes you first. Neck has a great satin finish and shallow profile which makes it very easy to play… a very distinct variant of the “P”. Sound is very much as one would expect from a split “P” configuration … a well-built, very playable, striking instrument. Comes with Elite Stadium 105s! … I thought I saw John McVie playing one on Sky News today – it looked like the headstock. Anyway, having played & owned the instrument for a few months, I think it is probably the most “Rod Mackay” bass I own & I have a lot of Fenders. Tone, neck profile, colour, cost. Good effort! (Rod Mackay)
The bass arrived this morning. What a fantastic instrument. So lovely to play … Congratulations. (Peter Gale)
The pickup output is considerably hotter than the standard “P” pickups. Really a great instrument! (Mike Miller)
This bass is amazing and I make you responsible for making me total addicted to it. (Carsten Holt)
I’m away for a week to Wales, so here’s a collectors’ item to keep you going. This is when the Quiver and Humble Pie boys met the Pink Floyd for a game of soccerball. Willie Wilson, Quiver’s drummer on the left, me, and Roger Waters and Nick Mason. Others there were Jimmy McCulloch and Steve Marriott. My friend, the noted wit and bon viveur John Hughes, asked if it might not more accurately be designated as a game of ‘Spot the Muscle’.
In 1967 it was unheard for an unknown band to be asked to headline at the Marquee club in London. But the Marquee’s manager, John Gee, believed 1-2-3 to be the best band he’d ever seen — a Scottish trio comprising of Harry Hughes, drums; Ian Ellis, bass and Billy Ritchie, organ (l to r on photo). Often John Gee had to come on stage and interrupt to calm the audience and tell them that if they wanted boring R&B music, they should go to the 100 Club, just up the road.
What the restless and occasionally violent audiences were witnessing was a virtuoso trio unleashing a new musical form in the front of their very eyes — a form of music which featured all the ingredients that would later identify progressive rock (or Prog, as it became known) — complex time signatures, and a deconstruction of the verse-chorus pop song format into dramatic movements lasting for up to ten or twenty minutes, with classical overtones and informed improvisation.
Despite the anarchic audiences, a second more-receptive group was following the band around the country — other musicians who realized they were hearing the sound of things to come and were watching a group ahead of its time. Many of these musicians, like David Bowie (who declared Billy Ritchie to be a genius), Keith Emerson and Rick Wakeman would soon be famous and successful. These guys weren’t so much taking notes as making photocopies. When 1-2-3 were derailed by the unfortunate timing and unexpected death of their manager Brian Epstein (yes, that Brian Epstein), the band faltered. Chrysalis agency eventually took on the band, and renamed it Clouds. But the copyists had already moved in.
My own band at the time was Village — an organ trio! We too had a Marquee residency and were also signed to Chrysalis and so we often ran into1-2-3/Clouds on the circuit. Our organist, Peter Bardens (left), had just disbanded his old outfit which had a Mick Fleetwood and Peter Green on drums and guitar, and a vocalist called Rod Stewart (don’t know what happen to them).
Village played an R&B/jazz set (I had a Fender 6-string bass) featuring material by the likes of Jimmy Smith and Miles Davis. The band stood squarely — almost symbolically — between the eras of R&B and Prog — because, after Village, Pete Bardens went on to form the prog outfit, Camel. One of the bands that supported Village at the Marquee was Kippington Lodge, with its bass player, a pleasant chap called Nick Lowe. It was many years later before our paths would merge — on the crest of another new wave.
(With thanks to Dave Dawson)
I’ve just done a new interview with Mr Harry Pye of The Rebel magazine if any of you would like to take a look.
I was rummaging through some boxes in the loft when I came across some old gig lists for the first six months of my time as an Attraction. Back in the day, before the office provided us with printed schedules, I used to write it all out meticulously … as you can see.
The rehearsal on July 3 was the first time the four of us got together and played as a unit at the same time in the same place. It was also the day that I came up with both the name of the band (EC wanted ‘The Sticky Valentines’) and the name ‘Steve Nieve’. Later in July was the rehearsal week in Cornwall where we came up with the arrangements for Chelsea and Lipstick Vogue … and did our first ever gig on July 14.
‘Nashville’ refers to a pub in west London not the city in Tennessee.
The first US tour, was done in a Plymouth station wagon with no heater … and then into the studios on December 28 to record This Year’s Model. Other than that, not a lot happened.
A while ago I started playing around with photo-manipulations of peoples’ faces. I long ago noticed (like you probably have) that most peoples’ faces are not symmetrical. One eye usually has a different expression to the other — and the mouth is usually slightly lopsided.
Without going into all the science of it (which would fill several books) there’s sound evidence to support the idea that one half of the face (usually the person’s own right side) represents the more conscious aspect of himself that he or she likes to present to the world — while the left side embodies the unconscious side and reveals the inner person.
That’s why deceitful people are called ‘two-faced’ — you’d expect to see a difference in the faces of people who have very divergent outer and inner lives — or secret agendas at odds with what they say and do. …Though you’d also expect a similar thing in people who have rich and vivid inner lives, like philosophers and artists.
The face that Lance Armstrong presents to the world is broader than the other side — more a football player than a cyclist. It’s might be the wholesome face of the man who fronts a charity — or the poster for a man who wasn’t far away from achieving his ambitions of political office.
The lighting of the photograph has even subconsciously conspired to illuminate LA’s darker side. We all now know what his secret agenda was for years, and what he was hiding. But the dark side wasn’t the drug-taking fraud so much as the vindictive sociopath who ruined the lives of many of his former friends and colleagues, who told the truth about him. It’s the man who set about destroying the life and business of Greg LeMond — the greatest American cyclist of all time.
This is a picture of the young Tony Blair before he became leader of Britain and took the country to war on the basis of a bogus dossier and a litany of lies. Most of us here now know him (unaffectionately) as Tony B, Liar. As a youth Tony was an actor — about as good an actor as Hitler was painter. If either of them had been any good at their chosen career, the world would have been the better for it.
The inner Blair is a bit of a cheeky chappie , saying ‘Like me, like me, please.’ The outer face is more mask-like, like an actor’s mask. Tony’s acting techniques still served him in good stead though — as the saying goes: ‘The most important thing is sincerity … and once you can fake that you’ve cracked it’.
‘The man who does all those horrible paintings,’ as Margaret Thatcher called him. Bacon’s paintings of half-human grotesques, burning popes and carcasses form a body of work that got progressively more inward-looking, bleaker and concerned with death. In this later portrait of him on the left, it’s as if only one eye is looking out into the world.