The Bass Geek

We’re getting close to the deadline of the podcast book, and there are few things that need to be taken care of before we move on the final production. The material has already been edited and vetted for accuracy, but there’s the little matter of the accompanying CD. This is the first project I’ve worked on that will have digital media included with the book (the bass book had audio examples, but they’re stored on the web), and the task of creating screencasts has fallen to me.

It’s easy enough to show somebody how to use a program in person (go there, click that, please get up, what did you do to this poor machine?!), but recording the video for posterity is a different thing. Even with a script and decent prep time for the “shoot,” I’d find myself reaching for the “abort” button on the iShowU software purchased just for this occasion (I’d tried a freeware version of another program, and it blew. Seriously blew. So much so that I won’t dishonor the scientist it was named after by including it here) more often than not and starting over again. I managed to get through two Tuesday evening, and there’s three more to go. Once those are done, I think the book will be ready. Maybe. We’ll see.

Only in Canada would this kind of bass (and the two-string configuration) make sense.

Still, it could handle both a country root-fifth bass line and a one-timer with ease. There’s something to be said for that level of versatility.

This is a double bonus, because it’s both a beautiful instrument and it originates from a local luthier, GW Basses from Grandon Westlund, the “Bass Kahuna.”

I love this particular model for a couple reasons. First, it looks like it could come from a Tolkien forest. Second, I’m a sucker for the single cutaway design. Not only does it seems like more body mass (which in turn usually equals better tone), but something about the body shape just works for me.

New York Magazine recently took some time to consider Indianapolis (beyond wishing Reggie Miller had chosen to do something else with those storied 8.9 seconds) and decided that Indianapolismusic.net (and the podcast) should be lauded as “well-informed.” For that, I say thanks. Thanks for making me have to spend so many more hours justifying that quote. Gotta hit the books now. Feh.

After getting lost in downtown Denver for a bit in a search for coffee and breakfast, we made our way back to Red Rocks for the second day of the festival. It was a little warmer (near-prefect weather), and although the stairs hadn’t made themselves and easier on me, the overall conditions were set for a great day. To the music:

• Bob Log III came out and won a lot of fans (catching the great majority of them by surprise; he must be used to that by now). The requests for “Boob Scotch” were honored, but nobody actually demonstrated said activity.
• Locals Stranger Lazy have gotten a lot louder and more aggressive than their Built-To-Spill-roots.
• We spent most of the rest of the evening at the main stage - the lineup was just undeniable.
• Margot and the Nuclear So and So’s battled through some inconsistent sound issues (too much high-end and EXPLOSIVE impacts on the auxillary drums) for a good set; the road has served them well.
• I had 50/50 odds on the Brian Jonestown Massacre showing up, my wife gave them better than that average. She was right. When they played, the music was a swirling mass of well-crafted melodies and a massive guitar sound. When they weren’t playing, there were rants about tuning and stage volume, costume changes (shirts were worn and removed, pants were changed, jackets were tossed, etc.), praise for the Flaming Lips and the indepenence of Nicaragua, a plea to read “The 12 Caesers,” and a plea to download his music for free - “It was made to listen to, not for fat, old men to argue about.”
• It only makes sense that Art Brut will be the opening act for The Hold Steady - they come from very similar places. Whereas The Hold Steady draw from literature, alcohol and the E Street Band, though, Art Brut take their speak-sung lyrics from a strong and biting need for social commentary and the place of pop songs in same, and their music draws from New Wave acts and styles. The lead singer combines a smooth stage style from Bryan Ferry and an acerbic wit in his delivery, and he’s ably backed by the band. The live act was wonderful, and it easily won me over. My only quibble was the order for everyone to go and form new bands - while this may mean many good bands (and more work for bassists), it may also mean a load of crappy-ass bands. Be careful what you wish for.
• A burrito run made me brave the stairs once again (seriously, those things are killer), but it did allow me to take in Earl Greyhound. Excellent rock stomp with a powerful singer/bassist and the largest bass drum I’ve ever seen on a kit.
• Spoon was tight, concise, polished, and driving. The keyboards acted almost in the same role as Mark De Gil Antoni’s in Soul Coughing - triggering samples and soundscapes as much as traditional lines. Everything started smearing together after a bit, but they had the crowd in the palm of their hand.
• It’s amazing how much of their normal show the Flaming Lips managed to cram into a festival appearence. Wayne Coyne apologized for not having the new UFO lights - the Russian-made (and supposedly Chernobyl-irradiated) equipment was evidently being detained by Homeland Security for not being “entirely legal.” There was, however, a huge stage show with Santa Clauses, martians, confettii, the audience-walking ball, a huge LCD screen with “mic cam,” many pleas to defeat the current administration, and wonderful songs.

We got about three hours of sleep before boarding our plan home, and I’m wiped out. I managed enough energy for laundry and football this Sunday (Steelers win 26-3, 2-0 and first in the division), and that’s about it. Back in the Square now, and I’m loving the oxygen.