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John Paul Jones fan club?

Well, I have to respectfully contest the notion of Rotosound 77s, despite what the man himself has to say.

Note that the strings you always see on his Jazz have black (possibly dark blue) silks... to me, that evokes either original Fenders or LaBellas. Rotos have always been red to my knowledge based on the footage I've seen of Roger Waters, who used both their 66 rounds and 77 flats. Furthermore, as hard as it is to come by decent headstock shots, it seems to me the silks were staggered, reaching equally far down past each tuner post rather than coming down flush to the nut... and that I have only ever seen on the old skool Fenders.

Aaaaand... I'm pretty sure the above is exactly what JMac warned of :laugh:.
yeah…
but, are there color pics of JPJ's studio bass '68-72? I'd love to see any pics there of! It really is high time to get to the bottom this. Love the vids, recordings, especially all iso.
fnord!
 
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With all the talk you hear on TB about how "the tone is in the fingers", this photo made me think – you know, it's really worth noting how heavy his RH technique is... that E string is yanked up over the edge of the fingerboard.

EDIT: Just noticed the silk ends on the strings match the 70 RAH show perfectly.

f222484e8ecb3673307e2a9de6b60d0e.jpg
 
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Minor detraction from the thread topic here, but I was listening to some Uriah Heep the other day when the bassline on Sweet Lorraine really blew my mind. Not knowing any better, I'd totally peg this as Jonesy... it's got that driving, melodic, fantastically overplayed groove to it. I mean, dig those little runs from around 3:32 out...

Now, I don't mean to trivialize the late Gary Thain's skills in any way, but I feel like there's a certain degree of unmistakeable influence...

 
After doing several searches, I was surprised to find seemingly little appreciation for the man compared to other bassists from bands of that magnitude... so I figured I'd try and unite some fellow JPJ admirers.

Personally, JPJ was probably my biggest inspiration to pick up the instrument. After several stagnant years of playing guitar (more like "owning a guitar" :D), I was listening to Led Zep II when the bassline on The Lemon Song just hit me. All of sudden, I started paying attention to the low end like never before... by the time Ramble On came on, I was hooked. I just had to play that. Thanks to that epiphany, I've been the proud owner of a candy apple red American Special Jazz for almost two years.

Succinctly, what I admire about him most is his Jamerson-like ability to lay down a shipload of notes without overplaying at all. Every note fits so delicately and perfectly, whether it's a laid back folky groove or no-nonsense rock 'n roll.

Anyone else with a similar experience?

Yes, JPJ is a master bassist and musician, no doubt.

May I please get a number for the John Paul Jones Fan Club, Kind Sir of the JPJ Number Givers? Much obliged.
 
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With all the talk you hear on TB about how "the tone is in the fingers", this photo made me think – you know, it's really worth noting how heavy his RH technique is... that E string is yanked up over the edge of the fingerboard.

EDIT: Just noticed the silk ends on the strings match the 70 RAH show perfectly.

View attachment 961101

If you look closely, just behind Jones, Bonzo seems to be really enjoying what's going on.
 
Happy Birthday! My wife plays keyboards in a Led Zep/Page and Plant tribute band. They rock and hearing her dissecting these songs has given me a new appreciation for JPJ and how versatile and talented he is. I already was in awe of his bass playing, since I started playing but now am even more in awe listening to the keys and other instruments he plays. Long Live JPJ!!
 
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