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Stoner/Doom Bassists Thread, Part 90: Maxed Out
- Thread starter Korladis
- Start date
Ampeg 410HE is solid for a sealed 410, SWR made a bunch of killer ported 410's with Eminence drivers that sound great. They usually have a tweeter, which you can turn off, and rat fur, but they sound pretty good with loud solid state heads like a GK.
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I love Sad Wings but I think Stained Class will forever be my fave JP album.
I'm with you. I more than admire SRV's skill, and that of his band, but I just don't care much for more modern blues stuff. My blues jams are the pre-WW2 rural guys...Sleepy John Estes, Mississippi John Hurt, Little Hat Jones, Tommy Johnson, Skip James, Charley Patton, Geeshie Wiley, etc.
I do like some of the early electric Chicago blues (Howlin' Wolf, Hound Dog Taylor, Muddy, etc.) but I'm pretty picky when it comes to blues, and jazz too.
I'm on that one now, this morning was revisiting albums that I listen to the least. Now I'm just on favorites that aren't British Steel or Screaming for Vengeance.
Bwah ha ha ha that is so true. I saw a gig of a blues guitarist who toured in Buddy Guy's band at a restaurant in Williamsburg. It was unbearable, the treble guitar tones were ear shattering, I have seen way louder bands but it was pure misery, we left and went to the outside seating area.
Ouch. Same thing with Albert Collins. Totally treble. Any time I hear the descriptor of "stinging attack", all I can think of is eardrum rupture.
I think the only concert I ever walked out on due to abject disgust was a George Thorogood & The Destroyers gig in the early-mid 80s. I got in for free for some reason or another...it might be that the buddy I went with paid.
I already wasn't a fan of the guy, but after about a half dozen songs that all sounded alike and a half dozen or so meth head looking trailer gals flashing their teats at the stage, my friend and I just looked at each other and took off.
I've left shows for other reasons before, like I had to get somewhere, but I can't remember another show I just thought sucked so much I had to split.
I saw BB King in Tulsa sometime in the 80s. Was looking forward to it but it was one of the worst shows I've ever been to. He played for 18 minutes and left. I don't know why, but even that 18 minutes seemed too long. Maybe he was just having an off, off night.
Around the same time I saw John Lee Hooker at the Cains Ballroom in Tulsa and it was an incredible show.
And speaking of Judas Priest, I saw them with the band Heaven opening sometime around 1982 or 83 I guess. I was very, very happy.
Sometimes it is cool to have some age on you, but I took an awful lot for granted back then...mostly my health and mortality.
Yeah, now see, that is some good chit. Always liked him, so I suppose that negates some of what I said about my love of modern blues.
When it comes to both blues and jazz, there is very little of it I like that was made after the 50s...maybe up to the mid-60s for jazz.
It was sad because he could sure play and the bassist was awesome, but the treble was physically painful, I felt so bad for the people that just came there to have a nice dinner and had to eat a meal through that disaster.
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Luther was interjecting funk, soul and rock music into his blues - which makes it miles better than the straight, no-deviation-from-standard blues that is so wildly popular.
I used to have a live bootleg where he did a cover of Red House that was shaging amazing. Can't seem to track it down now, though.
There's a tribute album to Hendrix called "The Power of Soul", on which a song called "Purple House" is Prince's cover of "Red House". And he just tears up that guitar.
Yeah, as mentioned, Buddy Guy and Albert (The Iceman) Collins both really go for that high-pitched, dog-frequency, all-treble sound. I don't get it. I agree re: Luther Allison too. Blues based, but took off in many directions, ending up with more of a gumbo. I don't mind pretty straight up blues, but I like it a LOT more rawboned than the way most players from the past 30-40 years pull it off...once you get to middle-aged white dudes with horn sections and backup singers doing covers of already watered-down stuff ("After Midnight...") I go beyond losing interest.
Jazz is like that for me too...so much stuff recorded after around 1965 just seems so rote and clinical and sterile to me. My ears HATE pretty much all fusion stuff I've ever heard (although sometimes it gets a little wilder) and even when I hear post-60s jazz that strikes me as decent, I always think "Why wouldn't I just go back and listen to the original cats doing this..Coltrane, Monk. Mingus, Dolphy, Sam Rivers, Albert Ayler, Ornette Coleman..."
It's true I am a music snob I guess. It's odd because I am not that way at all with other art forms. I love all kinds of Grade B-to-Z movies and can enjoy decent pop fiction that goes down like a candy bar, but my criteria for what is worthwhile is a whole lot more stringent when it comes to music.
I realized when I saw your reply that my browser changed SWR to SVT. Corrected on my original post. I've played a bunch of good 410 cabs. Never liked a single SWR amp I ever played, but their ported 410 cabs sounded great pushed hard with a DOD 250 running into a solid state amp. I did a few different versions of that in an old band and got a lot of compliments on it.
