You can download Grown-Ups At Play from here, and the whole Slow Food album from here.
The simplest tune on the record in terms of the techological wizardry. There’s one little loop towards the end, but most of it is just Trip and I playing, with him hitting some deep, deep bass pedals (srsly, you’re not going to hear those if you’re listening on laptop speakers or through crappy headphones. They dig deep.)
Trip and I have experimented with this kind of thing before. I think this is the best tune to ever come out of our non-loop improvs. It’s almost like we growed up ‘n’ stuff.
This is almost an old fashioned duet.
Almost.
The loop section adds a lil’ StevieSpice to the proceedings. After all, we are grown-ups.
Click here to download The Upward Spiral. And here to download the whole ‘Slow Food’ album.
It was really tricky to choose the opener for the album, and this wasn’t the obvious first choice, as it has a kind of false start… it feels likes it’s going to be all big and ambient, then Trip hints at a sparse bass groove, I switch to the rolling rhythmic line, he follows, then jumps in with the jaunty melody, switches to fretless…
Two minutes in, it’s hopefully clear why it’s the opener.
Joyous, optimistic, improvised music. That’s the idea.
Of course it turns into a freaky glitch-fest at the end, but not before a crescendo of euphoric blade-runner-esque cinematic guitar-ish-ness.
10 years ago today, I received a shipment of CDs from ICC duplication, to the Greenbelt Festival in Cheltenham – it was my first solo album, And Nothing But The Bass, and the start of my solo recording career.
Here it is – please download it for free:
10 years on, and I’m less than 24 hours into the life of a brand new album, Slow Food, with Trip Wamsley. It’s been such an amazing journey, not least of all because what seemed like such a weird thing to do back then – to me and to everyone else – is now so normal. The internet is awash with people experimenting with solo bass, and looping crops up everywhere from coffee-shops to the top of the charts.
The gimmick potential diminished many years ago, for which I’m most grateful. It let me get on with making the music that mattered to me, via the method that made most sense.
Solo bass was never a circus trick for me.
I was never interested in looping as a way of showing how clever I could be.
It was a way of me getting the music inside my head out to the world.
I hear things in layers, I hear evolving texture not rock drums and last-chorus-key-changes.
The template is still much the same. I’m just much better at it. The vision is more refined, the tech is better (thank the baby Jesus for Bob Amstadt and the Looperlative) and yes, I’m orders of magnitude more developed as a musician – technically, theoretically, conceptually, melodically… I just make better music happen. At least, I make music happen that is ever-closer to the soundtrack to the inside of my head. And I’m still loving it.
I’m loving the collaborations this has all led me to – the albums with Jez Carr, Theo Travis, Lawson Dodds Wood, Mike Outram and now Trip Wamsley. The gigs with Lobelia, Michael Manring, BJ Cole, Cleveland Watkiss, Julie McKee… The myriad incredible musical moments of the Recycle Collective at Darbucka, The Vortex and Greenbelt.
And I’m grateful to every journalist that’s ever taken the time to listen to and write about the music, every radio DJ that’s ever played it, and every person who has played a CD to their friends and said ‘check this out’, or emailed them a link, burned a CDR for them, emailed them some tracks. It’s all great, and I thank you for it.
So, 10 years on, here’s the new album: Have a listen, enjoy, pay whatever you think its worth. For me, the last 10 years have been priceless.
Over the years, I’ve sent literally hundreds of CDs to magazines and radio, in the hope of reviews and airplay. And I’ve had a quite large amount of both:
But, what is evident to anyone who experiences these things first hand, is that word of mouth – my listeners telling their friends and family about the wonderful music they’ve just discovered – is worth more than all that mainstream press put together. Continue reading “It’s The Little Things That Count – You Are The Press.”
So, does the ‘massive downloader’ scenario I outlined in the previous post account for all download traffic? Of course not.
My own torrenting experience has been almost exclusively to get digital copies of music I own physical hard copies of. For me, torrenting wasn’t a replacement for buying music, rather it was a replacement for buying a USB turntable to legally convert my vinyl collection to MP3… or actually, borrowing one – I hope the BPI wouldn’t be in favour of people buying unnecessary hardware for limited use. Continue reading “What’s A Download Worth Pt II: Recovery and Discovery”
Trip and I have been friends for over a decade. We met at the NAMM Show in LA in ’99, and I was immediately a fan of his music. I doubt he heard anything I was on at the time – I was still 11 months away from my first ever solo gig, and he’d already been doing the solo bass thing for best part of a decade – he was SO far ahead of the curve, inspired by Michael Manring, playing opening shows for big name acts in The South all on his own. A real inspiration. Continue reading “Two EPs On The Way, Duets With Trip Wamsley”
Following on from the BPI and their mad statistic that £200 MILLION is lost in UK music revenue due to ‘illegal downloading’, (their head of public affairs attempted to defend the notion, based on ‘research’ they’d done at the all party meeting last week. Balls.) I thought it’d be worth talking about what a download is worth.
Because, clearly, a collection of bytes on a harddrive isn’t, in and of itself, worth anything. It’s also not ‘taken’ from a central repository of bytes that gets smaller as it is dipped into. In fact, every time a new person downloads it, more ‘product’ is able to exist. If bands were in a situation where for every CD they gave away, they were given another 2 CDs to give away, they’d give everything away, because CD ownership is a tangible, measurable thing, and having 100,000 CDs out there, and not have lost a penny to make it happen, would be awesome.
You may or may not have noticed that at the bottom of the Bandcamp page for each of my albums and tracks, instead of the little copyright symbol, there’s a ‘Creative Commons’ license note, with a symbol and the phrase ‘some rights reserved’.
Creative Commons licensing is a way of putting a legal framework around allowing people the share/remix/reuse your work for non-profit/non-commercial purposes while maintaining your right to license for-profit usage as you always have done. So if you want to give a copy of one of my albums you downloaded to a friend, it’s perfectly legal to do so. Continue reading “Thoughts On Creative Commons Licensing”
Last night I was invited to contribute to a discussion hosted by the Digital Economy All Party Parliamentary Group – it was a meeting, convened by Eric Joyce MP, to start the ball rolling on the discussion that REALLY should have happened before the Digital Economy Bill became the Digital Economy Act, forced through in the ‘wash-up’ at the end of the last government following a huge amount of lobbying by representatives of the major labels and their allies. Continue reading “The Digital Economy Act – The Way Forward?”
