Jim Carr
Dr. Jim
- Jan 21, 2006
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- fEARful Kool-Aid dispensing liberal academic card-carrying union member Musicians Local 72-147
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I just updated my post, I meant Mickey Waller, not Mickie Most. Brain fart on my part right there. Mickie Most DID produce both of the first Jeff Beck Group albums though.
Jim Carr
Dr. Jim
- Jan 21, 2006
- 16,223
- 7,614
- 76
- Disclosures
- fEARful Kool-Aid dispensing liberal academic card-carrying union member Musicians Local 72-147
Good catch, it was Mick Waller on drums. He was an amazing musician.
...
You can also see them here, however with another bass player (Ronnie isn't there, but Mickey Waller is, so it's pre-Beck-Ola):
Nah, that's definitely Ronnie, though I agree with their hair they look rather similar.
(Interestingly enough, on the right you can see the Rickenbacker Transonics, which Jimmy Page did use on early tours)
Additionally, I don't believe Jeff Beck and Jimmy Page were even speaking at this point, after Jimmy recorded You Shook Me so soon after Jeff had. Jeff thought it was a betrayal of sorts and I don't believe they spoke to one another for many years.
I have a '72 Hiwatt DR103 that I use for bass sometimes. It's a sledgehammer - kind of like an Ampeg with less "give".
Thanks for the comment! I've read that Hiwatts don't break up as fast as an Ampeg. Any truth to that?
Nah, that's definitely Ronnie, though I agree with their hair they look rather similar.
(Interestingly enough, on the right you can see the Rickenbacker Transonics, which Jimmy Page did use on early tours)
Additionally, I don't believe Jeff Beck and Jimmy Page were even speaking at this point, after Jimmy recorded You Shook Me so soon after Jeff had. Jeff thought it was a betrayal of sorts and I don't believe they spoke to one another for many years.
Where are you finding these incredible pictures?
I forget who it was but there was an up and group that played a local club in my town in the late 70's early 80's.
Pretty sure it was Hiwatt amps but they had them upside down.
According to the sound man, they had to be upside down so they would run cooler and not breakdown.
To this day I see no logic in this; I assume this was just stupidity but thought I would ask to see if there was ever a good reason to run a tube amp upside down.
Was there ever an amp that needed to be upside down to survive?
Jim Carr
Dr. Jim
- Jan 21, 2006
- 16,223
- 7,614
- 76
- Disclosures
- fEARful Kool-Aid dispensing liberal academic card-carrying union member Musicians Local 72-147
I must confess to an oversight. I think one must add Barefaced to the nearly empty list of great English bass amps. OK, Alex only builds cabinets, but they are probably the best thing to come out of England in the bass amplification product category in like forever!
SirMjac28
Patiently Waiting For The Next British Invasion
I love my AB200B I have it paired with the OBC410 and I can't be happier.
I used to see the Jeff Beck Group in the clubs and pubs and at the beginning Ron Wood played a Jazz bass (he said his manager bought it for him, but who knows if that story is correct) and a 200 watt Marshall stack. They were the prototype for the Heavy Rock bands that followed.
Before that I used to see Ron playing guitar in a local band called the Birds. I went to school with the brother of Chrissie Wood so got in at the beginning of a few bands.
Before that I used to see Ron playing guitar in a local band called the Birds. I went to school with the brother of Chrissie Wood so got in at the beginning of a few bands.
Just using Google image search
Sounds like some nonsense to me. However, funny you should mention upside down, as on a related note, there's some photos from the late 60s of the Jeff Beck Group stacking their slant top cabs upside down:
There is also evidence of some other bands doing this too:
However, I think both these photos are actually just of other artists using Jeff Beck's gear. The first is Ron Asheton (The Stooges) at the Grande, and I think they might be opening for the JBG, who are at the Grande in the 3rd pic of them above. In the pic with Jimi, you can see he's actually playing Jeff's stripped LP, and that looks like Ronnie in the background.
You're speaking my language, brother! WhIch clubs did you see them play at? I have to just imagine the impact of early Marshall stacks in small clubs when nothing like that had existed previously. Did you ever see Woody in his brief stint in The Creation? That's one of my favorite bands of that scene and I have never been able to figure out if he just sat in on a few gigs or was actually in the band properly. I imagine the Birds were a pretty powerful live act.
Approval of the Orange from SirMjac28 is all I needed to know that this is the right amp! He is at the forefront of the next British Invasion after all.
There were dozens of local clubs. Anywhere with a room big enough to fit 200 people in to it could be used. Book the band, put up posters and watch the audience flock in. It was a magical time for live bands. Clubs in West London included the Ricky Tick in Hounslow, Burton's in Uxbridge, The Blue Moon in Hayes, Starlight Ballroom in Sudbury Town, then there was the Manor House, Marquee and Flamingo. It's a very long list. The Who still played the Marguee but you could also see the likes of Bowie at the bigger clubs. The there was a very young Mick Taylor with The Gods. Later there was Clapton with John Mayall and Cream and Peter Green with Fleetwood Mac.
I wasn't aware that Ron played with the Creation. Kim Gardner (Birds bass player did and then went on to form Ashton, Gardner and Dyke) and that's probably the link. Throughout the last 40 years Ron has always been one for "hanging out". He turned up everywhere and even shared a flat with Jimi Hendrix at one point. That's "networking" on a heroic scale. Ron joined Jeff Beck's band on guitar but they couldn't find a bass player so he switched. The rest, as they say, is history.
The Birds were playing a mix of Motown covers and blues and R&B numbers. They had a great live show, but like most of the great live bands of the time they didn't transfer so well to record. The "rock" producers hadn't evolved yet and most bands ended up with middle aged engineers with short hair cuts, in brown coats with a row of pencils in their top pockets and clip boards. A little while later Clapton had the argument about not turning down for the John Mayall Beano Album , but when the Birds were recording you did what you were told or they kicked you out!
Way off topic!!
[/reminiscing]
The 15 sounds better than the 410, to me anyway. The 410 gets really boomy while the 15 is much more balanced in its output. Really defined lows.I MAY consider it but I have to say, I think I'm a 4x10 man.
Yes, Chris_B, we might have to take this mid- 60s London love fest to another thread! What about Eel Pie Island? I'm too young and too American to have such a fascination with this time, really. I always try to imagine to bands trying to navigate an early Marshall stack across the foot bridge to Eel Pie Island.
The OBC115 and the AD200 is more like a B15 tone than the Orange 410.
Another great 15, made in the UK, cheap as chips, is the Trace 1153. I like them very much with the AD200. No boom and very sensitive. Tunable ports as well.
I was at the Marquee club in 1991.
It surely wasn't a 60's style band but the talent was amazing and as I remember mostly original songs.
Can this thread be about old British amps and bands?
If so, what is the club scene like in England these days?
It surely wasn't a 60's style band but the talent was amazing and as I remember mostly original songs.
Can this thread be about old British amps and bands?
If so, what is the club scene like in England these days?
